Bronze, Steel, Wood, Straps Size: After all, astonishing parallels and associations emerge when one relates the fictional story to the real one from this perspective. The results are demonic, post-Minimalist ribbons of color fixed to stretcher bars, bound with neat, staple-like lengths of canvas cloth, and then framed. Smith and Michael A. Art encourages seeing, sharpens the perceptual capacity and provides us with a variety of suggestions which we use in our day to day business. Here, beauty is revealed as a weapon.
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Certains imposent un numero de carte de credit , d'autres non. Sharpe dismisses as near-miss the common explanation of prehistoric drawing and writing on the wall as magical means for producing, ensuring, even increasing the food supply.
Why did these artists always creep into the deepest recesses of the caves to draw their representations? In addition, Sharpe points out, when human figures appear in these cave drawings they wear animal masks. So I see in the drawings of primitive man, in the animals, and men with animal masks, the first attempt in art to resolve a conflict raging around the problem of food and death. The totem is adopted as name and the bearer identifies with the totem animal, which represents the dead father.
Under the main text of Notes Upon A Case of Obsessional Neurosis , a footnote allows that rats are chthonic creatures that convey the souls of dead children n2. A pot containing two rats which penetrate into or out of the anus first sent Ratman scurrying to Freud.
As he listened to the officer recount this torture Ratman saw the ground heave in front of him as though there were a rat under it Ratman relates to Freud only with great difficulty the torture in which the criminal sits down on a pot containing rats which — Ratman concludes just as Freud breaks through his resistance — bore their way into the anus The death wish, magic, the name, and the technical media are all applications of omnipotence of thoughts which must in each case be shared with a dead person.
Because omnipotence of thoughts can always turn around into a death wish which is bound to be its first application , this pact between the dead and the living intercepts by phantomizing the rebound of hostile feelings. This rat which the father slaves, even in death, to animate is not, however, Ratman. While just a child, Ratman, in the course of being punished by his father for biting someone, called his father a series of indiscriminately selected names which, by thus gnawing loose the proper link between words and meanings in the place of the proper name, kept Ratman henceforward in a safety zone with regard to paternal punishment and intervention, a zone shaped and safeguarded by the magical power of his words and wishes But in other words: He was terrified that it had come to life again, and threw it down.
Ratman imagines Freud and his wife with a dead child between them. But Freud, thus charged with proper burial of a dead sibling, only discerns Ratman gaining — on him. Freud thus registers this gain on the other side of his own resistance, which emerges spectacularly at the start of the original record: The memories were really his. Suicide is always committed in the office of the other: In the original record the dead sister rules absolutely: The ghost of his little brother Julius, dead in infancy, haunted Sigmund Freud with determining force.
His mother made a secret deposit of her inability to acknowledge the loss of one son inside her surviving son. The original record of the Ratman case demonstrates that the difference between the underworld of original notes and footnotes and the public, published sphere of the main text cannot be reduced to repression.
If Freud turns with the force of inevitability to the relationship to the father, it is not because that relationship was a living standard, whether in society at large or in the biographies of his patients. In his elaboration of the transference in therapy, Freud saw the creation, in the course of the sessions, of an artificial illness the transference neurosis that however contained in every possible sense of the verb a treatable or inoculative dosage of the original illness.
By addressing the artificial illness — mourning for the father — as curable, Freud suggested one could treat, by proxy or inoculation, the actual illness which was thus, by implication, precisely untreatable and unmournable. She had to make the giving of life last. His mother had attained this Dasein-rhyme once before: The first child to die was thus the only child who would have a birthday of her own. The first doubling of birth dates gave shelter to her surviving children, to be sure.
But in return she would never let her two sets of twins die on her. Choi came back from his zoo trip with his mother and selected as his totemic animal the elephant, because of its long trunk, and drew it for her admiration.
This is the primal scene of the artist as young child. It packs a trunk, in which one can pack away hidden goods, a legendary capacity never to forget, and the distinction of being the other species generally known to make the effort to put the dead to rest. Choi dates his start as artist It was the date of his becoming a father, one of the enabling conditions, in his case, for being an artist.
Before application he buried the fecal matter in order to dry it out. But is burial the only way to dry out and decorporealize excrement? Excretion is first contact with the body as capable of falling away from itself. The experience gets libidinized early on, for example as the childhood theory of anal birth. In interview with Jerry Salz Choi gives a chain of bio experiences which show how the art that started, according to the artist, with his becoming a father, at the same time had to give shelter to his indigestible task from childhood: Let it bleed and read, but under-cover, in an excremental underworld that stays just a flush away.
But this underworld nevertheless kept on asserting itself in uncanny acts of doubling. Then during a routine critique one of my teachers said: Then he turned all of the above into his art, through which it became possible to keep, but at the same time keep apart, two things going in one word, world, or painting.
And yet he knows first hand that two is the uncanniest number you will ever know. Freud calculates not only in twos but at the same time in threes which gets him from doubling to coupling, from the crowd to the father, and back again.
Pepto Bismol is the ultimate product of the U. But, being in every sense a cure-all, it is also as old as animism or allegory. Pepto Bismol goes beyond the conflict or contradiction in most over-the-counter cough syrups for example which both suppress the cough and loosen phlegm for more coughing , and soothes the entire metabolism, from excess to access. Pepto-cure-all is omnipotent, like thoughts and wishes in childhood fantasy, as in magic, as is technology.
Coughing rhymes with coffin. Why was Choi alternating between techno-externalizing and techno-internalizing something in place of nothing? The same reason Andy Warhol wanted to be a machine. This is easier said than undone. During the first Pepto Bismol period that was the punctuation mark continuing his preparation for and deferral of the true origin of his art in he was drinking a bottle a day for two and a half years , the dates he tried to keep with those California girls were uncontainable experiences of two things being one: He was at a loss with his troubling doubling dates.
Anecdotes about culture shock fit right where they were to divert us from. How many ghosts have been given shelter in the cross-cultural phenomena of Americanization? Karaoke gave a voice to lip synching and elevated singing along in the car to the status of teen sport.
The missing link between lip synching and singing to the music while being fed the lines was the sotto voce singing with the music that originally shaped or customized your singing along. This is as basic as the fact of life that we first learn to read out loud only to receive the counter injunction not even to move our lips while reading.
That link, as missing, has been incorporated within the current phase of karaoke, the success-story phase for East Asians Choi has assured me that the Koreans are by now better than the Japanese whose readiness to rise to the occasion as instant vocal stars is already legend.
But the link with the missing, that media voice that limited the range or choices of your voice, packaged and led your voice to a more perfect fit or sync, is still, if only in some other place, humming along. Behind every artist there is the mother, as the mother of all media. Not every artist carries an undead charge — but many do.
The last born can be assigned lasting missions by the mother. The father, at least the primal father, finally spares the last born who, by no default of his own, skips the paternal pressure to get lost or lose it. The last is the one to last. The literal is the material is the maternal medium of retention or preservation.
Digitalization opens the sensorium wide beyond the limits of the body. But first it internalizes all the older media many of which were inevitably prosthetically attached to the body that determined them via gadgets and box-sized techno stations. To make fun of father precursors or make them take on the abject status the son assumes for himself on the side is to lube identification with the father, the identification little boy and little girl alike assume must be taken up the ass.
In his second Pepto Bismol phase, Choi incorporated the medication as totem and medium. In the interview with Saltz, Choi counts to three to account for the energy he draws on to make work and which he also stores in the boxes with the cutaway inserts that keep out castration. What he understands stays in his consciousness. He calls this his non-consciousness Choi defines thinking as not knowing He can know and not know at the same time only via non-consciousness, the third place set for what goes best with being non-conscious, the state of being with the dead.
Choi told Salz that his two principal problems were food and friends Kinkos had an ad slogan, once upon a time, that said it all: But these two problems, these problems with the two , have earned a lessening over time through metabolization guided by a raising up to consciousness of its contents. But to say Choi is in recovery does not set a closure to his digestive process. What Choi calls non-consciousness is the place of the uncontrollable other: All media technologies were originally prosthetically attached to the body and thus implied, as that which both adds on and replaces, a relationship to and through loss, separation, castration.
The computer is the prosthesis of the unconscious in dissociation with the body: Digitalization has undone the loss of generation, the castrative cut of film editing, the irreversible fadeout of the photo positive without its negative, among many other way-stations of loss in our pre-digital media Sensurround.
Digitalization uncanny-proofs the two-at-the-same-time and makes functional what could be contemplated before only in the allegorical absence of function. Works Cited Choi, Cody. Farewell to the 20 th Century. The Hogarth Press, : Volume 10, : Volume 13, : The Encyclopedia of Japanese Pop Culture.
I am grateful to Cody Choi for finding time during his February LA visit to attend two sessions with me. Otherwise undocumented bio info in this essay can be assumed to refer to our live-in-LA analysis. Consisting of steel, glass, mirrors, and LEDs it situates viewers in multiply reflected versions of themselves activated by the autonomous mirrored cube as both an exterior skin and as an interior space, and by the surrounding space of a pedestrian zone between the university hospital and the road.
Cody Choi realized this sculpture, Luminous Cube, as a public project in and Visiting the site in , I was astonished by the coldness and elegance of this object. I seemed to be isolated in front of it standing outside , yet also reflected in its interior—so that my own selfhood, reflected in fragments, appeared split, fractured, and broken.
This is not a Dan Graham cube beset by anticipatory borrowings. Jabberwocky In , seven years after the surprising success of Alice in Wonderland, Lewis Carroll escorted his heroine on another journey into the realm of fantasy, where logic is once more turned on its head. His story is an intellectual game with language, space, and time, turning on ideas and experiences of transformation and perception.
In Through the Looking-Glass, Alice climbs through a mirror and enters a world that at first resembles the real world, except that everything is backwards. Alice is playing with her cats in front of the fireplace and philosophizing about what the world would look like on the other side of a mirror. Then she climbs onto the mantelpiece and notices that the mirror above the fireplace actually leads to a parallel world.
On the other side she finds a reflected version of her house, in which objects such as pictures, clocks, and chess pieces have come to life. After all, astonishing parallels and associations emerge when one relates the fictional story to the real one from this perspective. Educational Complex During his childhood and as a young man, Choi spent numerous hours watching movies at the cinema. His pastime was somewhat different, however, from the humdrum experience of filmgoers at movie theaters around the world.
In the nineteen-sixties, few Koreans had the opportunity to watch television or go to the movies due to endemic poverty after the Korean War. Most of the TV programs were American dramas and films dubbed into Korean. And, thanks to the dubbing, he was convinced that all Americans spoke Korean.
With the establishment of a four-kilometer-wide Demilitarized Zone, the border between the two Korean states was also set along the thirty-eighth parallel as a result of the military governments after the Second World War similar to the Soviet Occupation Zone in former East Germany. The fear of another invasion continues to affect politics in the partitioned nation to this day. Born in , Choi was strongly influenced by these political events, just as he was by the early death of his two older sisters.
There was only one destination for him: After Choi spent a brief period studying sociology in Seoul, his family was forced to flee the country and immigrated to California in Thus, he arrived on the other side of the mirror more or less against his will, and the strange world that he had previously seen in movies was now real and unreal at the same time.
Yet, nothing from the movies corresponded with reality. He suffered from schizophrenia. Everything was reversed by the cruel refractions of emotional perception. The Korean in LA was shocked, then frustrated and depressed. He fell ill, plagued by gastric ulcers. His body had long since arrived in America; his heart and his stomach were there, but he was somehow unable to speak. Recognizing his problem with communication, Choi was fortune to find a mentor and friend, Mike Kelley, a sensitive but unabashed deconstructor of symbolic orders, whom he met in The friendship between the two artists afforded Choi a new trust in himself and helped him overcome his shyness.
Kelley guided him toward postcolonial theory and ideas about cultural difference, and encouraged him to focus on—rather than try to discard or abandon—his own fears. If painting is a subjective act, the mirror is passive: Instead of contemplation and numinousness—as modernist art more or less dictates—we are obliged directly to confront our own image. Richter allows viewers to determine the meaning of their own image and their relationship to it.
The mirror is reminiscent of the banal photographs that Richter began using in as templates for his figurative pictures; for the photograph and the mirror represent two methods of capturing a moment. However, while the photograph preserves a moment, the mirror is not a permanent medium. Instead, in painting, it is a clear symbol for vanitas: We directly experience our own impermanence. Georg Baselitz, Gerhard Richter. Mirror , the work shown there and and which remains in the museum collection today measures x cm and was one of his largest works at the time.
Never before had a painter questioned his own work as well as that of his colleague, Baselitz more coolly, clearly, conceptually, or brilliantly.
In numerous other paintings, to be sure, the mirror shows what is located outside of the picture. And this, of course, is also the case with Richter: In this way, a curatorial concept was realized within a broader framework. The relation of Choi and Richter, however, is somewhat different as they combine neo-conceptual approaches. The metabolic breakdown that results in each case is blatantly—and ironically—accentuated in works from the nineteen-nineties using the staple pink stomach medicine Pepto-Bismol and toilet paper.
Logically enough, Richter also took up with abstract digital pictures in having experimented with numerous related methods and techniques. His Strip series, for example, is based on paintings whose colors are digitally analyzed and reproduced as horizontal lines.
Richter reinterprets his abstract painting by filtering it through a computerized imaging process: Both artists arrive at the same solution from completely different processes—one through disintegration and redefinition, and the other through abstraction as a figurative process for the derivation of the pictorial. In one case we witness a form of sociopolitical deconstruction of values; in the other advanced formal analysis and visual reconstitution.
No longer working digitally, he has instead engaged with traditional methods and iconographies. Choi seems to have stepped back in front of the mirror in order to reveal more of his own, physical self—as fractured and reflected by himself. At the same time, his works from the past decade seem like a broken mirrored reality that can only be entered, exited—or simply passed-through—by a fragmented self.
His concepts and statements are disguised and ambiguous; they direct the gaze to the wounds of the new value system and rub salt into them. Like advertising slogans, they promise a fleeting moment of individuality and happiness. Upon closer examination, however, they shock the viewer with an ambiguous indecisiveness that recognizes the artist as an object influenced by remote but systemic declensions of power. Choi developed various perspectives inside a structure that appears simple from the outside, like in a hall of mirrors.
Set up to solicit non-Euclidian perspectives, the inner non-perspective of the cube encourages an allover perspective. He also understands the work as a commentary on the pluralist position of the cyber generation, for whom perspectival multiplicity has became natural and self-evident.
But Choi—and his generation, like all Koreans who grew up before the internet—was only raised with only one perspective, which has confused and preoccupied him throughout his life. For him, art becomes a game of images and words, a form of conceptual art in the best sense of the word in which visual aspects nonetheless play a prominent role.
He emphasizes the artisanal, the painterly, and the appreciation of art—or, as in his neon works, that which is clumsy or non-designed, like the calligraphic twists of his own handwriting. These works are, quite literally, signature pieces; they return again to the self, and are, in a traditional sense, authentic and masterful.
This is very wrong and at the same time very right: Like Choi, we are in a phase of indecisiveness that programs its judgment on the status of art as an anthropological quality in the social realm of perception, including self-perception. What art and human beings are, what both can be, is inseparable—art and human beings are a symbiosis!
In the middle of an ink painting of a landscape without culture—without Western culture, to be more precise—a historical, Asian landscape scene, accompanied by words in capital letters which seem indebted to a nihilistic philosophy: Notes  Gayatri Chakravorty Spivak, for instance, emphasizes that it is politically necessary to try to understand identities—even if only temporarily and from a strategic point of view—in order to expose these identities as necessarily false. University of Illinois Press, Mike was the only teacher who understood and sympathized with my anger and cultural difficulties; but he was different from other teachers.
He caught my heart and always gave me advice. The other teachers only mentioned Western art and Western aesthetic and academic ideas. Catholic Tastes , exh. Koons and Choi were also affiliated with the Jeffrey Deitch gallery in New York; while the parallel Asian backgrounds of Murakami and Choi were important for my exhibition concept about Japan and Korea which featured their work alongside American pop art from the collection of Peter Ludwig.
Sovereign Power and Bare Life , trans. Stanford University Press, Picture, Medium, Body , trans. Princeton University Press, The concept of the image that is discussed here was developed out of the interrelationship between mental and physical images.
It also refers to the media on which they appear, in which images embody themselves and thus determine the physical experience of contemporary viewers. In this sense, every visual history is only the other side of a cultural history of the body. It seemed to me that there were connections between Choi and Nauman, notably in their shared interests in constrained bodies, the use of language as a tool, and the redeployment of objects and materials from American consumer society—sublimated by philosophical inquiry.
Cody was also finishing a series of Edge Paintings and three pieces in particular caught my attention: The decision to reproduce Magritte, who himself remade—or hijacked—works by his predecessors, is anything but haphazard. I remember our conversations about the writings of Gilles Deleuze and especially Jacques Lacan when I returned to New York in , shortly before Cody himself decided to go back to Korea.
Once, when we were walking in the gardens of the Nogushi Museum in Queens after an afternoon spent with friends, Cody told me about his new research. At that moment I noticed the beauty of his shoes, made from the best materials by one of the trendiest Korean designers.
In response to my questions Cody answered that his philosophical work was beginning to have an impact on his body, on his way of walking and that he was beginning a period of transition. The impact of a dominant aesthetic canon refers to restrictions of the body, of taste, of making mandated by convention. Cody explained to me how lifting the sole of the foot unsettles the posture and also blocks the correct irrigation of the brain, due to anchoring and circulation of corporeal energies.
As we will see, the question of rules and of the canonization of contemporary practices corresponds to the criticism of a type of colonization. It is in dialogue with artists belonging to moments of rupture such as Michelangelo, and refers to an ability to constantly reactivate the question of modernity as an unfinished project. It is about an aesthetic that goes beyond the will to imitate, reminding us of the ultimate value of art.
Today, Baldessari often receives small groups of artists in his studio to continue the discussion. I remember our visit to Louise Bourgeois, at her Chelsea home, one spring Sunday. Louise welcomed us as usual, having asked the usual question: And your friend, is he ill? The pink color of the Pepto-Bismol used by Choi fascinated her. So Louise began to imagine badly stitched figures in fabric, puffy figures that sometimes turned pink.
It is anti-canonical by virtue of its challenge to classicism as much as for its annexation of mass-produced materials. It is also a heroic nude, following a tradition dating back to antiquity that was accentuated under Augustus, the first Roman Emperor 27 BC to 14 AD. It is also the product of an aesthetic, mystic, and political program: David represents the oppressed minority that wins thanks to its courage and wit, faced with a giant who is, by all appearances, stronger and better armed.
Choi transfers the message of this allegory to postwar relations between Korea and the United States—and to postcolonial experience itself. To attack this monument is literally to appropriate both an academic model and a universalist project by means of a work the scope of which is political because it is aesthetic.
To paraphrase the artist Morgan Fisher who was, in turn, paraphrasing Walter Benjamin: To answer this question we need to understand that the very interaction between ancient and modern practices leads quite directly, in concept and fact, to the persistence of the medium. For his nudity is fashioned after nature and is not subject to the canon.
Here, the contrapposto is a way of maintaining a precarious balance, one that connects it in a different manner to the sculptural work of Bourgeois, who also speaks of this sensitive, fragile tension in her work. One could speak here, of syncretism, or even of anthropophagy in a symbolic sense, methods for thinking a world in transformation.
It is the measure of a single individual, and any use of the work must adhere to this scale. This emphasis is reinforced by the photographs that accompany various steps in the production process.
The gap becomes a trace, marking an absence, the reverse side of the mold, the hole of the cut. Similarly, the constitution of a volume in wax is one stage in the technique of lost wax casting to create bronze sculptures, for example. In this way he inverts the founding principles of the rules of art, calling into question the established borders between the techniques that frame disciplines.
It is by these means that the work opens-up new articulations between codes: The repurposing of consumer products—taken up by other artists in the LA scene, notably Paul McCarthy ketchup, syrup, and sundry foodstuffs and Mike Kelley deodorizers —offers a social critique directed by what John C. McCarthy, for example, explains that ketchup designates the fake blood used in films, the abundant and outrageous gore that makes the artificial obvious. It is the fall of the studio that modernism fears.
By hijacking conventions he marshals an economy of negativity to produce twisted meaning. The holes in the wooden crates give birth to new figures—outlines of a phallus, an arm, a head, create a new, fragmented body, established by a founding absence.
It could represent something that is missing, or a space for play, or for breathing, as with a musical instrument, to allow air to circulate and sound to pass.
The Last Gasp becomes, then, The Last Gaps, the mark of a separation between East and West, between different systems for the representation and understanding of the world, between language and the inarticulate.
The message is the alphabet Cody Choi is adept at making witty remarks and puns, both written and spoken. He is aware that the alphabetical script of the Korean language, famously invented in the fifteenth century, became a means of resistance under the Japanese occupation in the first half of the twentieth century. Down Side is Heavy and When you say no, you know something. When you know something, communication is impossible. There are so many billboards in Korea—in a mix of languages, English, Chinese, and Korean.
Some of them are in English but use the Korean alphabet, some of them are Chinese with the Korean alphabet, some are the reverse and some of them are all mixed up.
What kind of culture is that? Recently, the English language has become one of the most important issues in Korea. Some rich parents force their children to have tongue surgery so that their English pronunciation will be more natural.
They want to be like Americans in speech, while their manner must be humble, in line with Chinese Confucian precepts. This gives rise to a new race of Koreans. I was angry at this development, so I translated a paragraph of Chinese philosophy into English and transferred it to the Korean alphabet on a neon billboard. What results is not a binary opposition, but a multiple overlapping. Recent paintings such as No Ego No Suffer —13 , mounted on an ancient fabric used for mourning garments, testify to a form of melancholic nostalgia for the historical Korea—epitomized by the Choson dynasty, an era noted for a renaissance in the arts that underwrote Korean cultural identity and which Choi wants to help reinvent.
Here, Choi remakes some of the key paintings of modernity: The cuts and amputations Choi inflicts on these and other pieces relates to aspects of colonial and postcolonial history that are often ignored in the sanctioned narratives of modern and contemporary Korean art.
The life-sized plastic weapons suspended on either side of it in this mobile are a nod to the phallocentrism propagated by Hollywood films and Western cultural marketing. The debt-laden counter-gift becomes a treacherous, even poisoned, gift.
Choi told me about the American army blankets he used for his paintings, Pepto-Bismol Hit and Overlay, Rambo both , but also recalled the smooth tires sent from the US to Korea with which he and other Korean kids would play.
For the artist it was a case of delivering an offset to a monocentric, enunciative apparatus, opening it up to new perspectives, suffusing it with humor, and bearing witness to history by pointing outside of its margins. Here, beauty is revealed as a weapon. Notes  The earliest version of Perspective II: Maggie Gilchrist and James Lingwood Marseille: Beacon Press, , Her series of sculptures in stitched pink fabric represented figures of often exaggerated size, such as Three Horizontals Even if Rodin proved his intentions, a certain level of doubt persists.
Gallimard, , 63— Freud already noticed this fact and used them in his study on wit and on the forms taken by the return of the repressed within the field of an order: University of California Press, , Two wooden panels are installed twenty inches apart, one extremity being open and the other closed-off by the wall on which they lean.
Lacking instructions, the spectator may enter the corridor but does know what is at the end of it. Drawings, Collages, Writings , ed. Eugenie Tsai New York: Columbia University Press, , Routledge and Kegan Paul, Destruction of Music by Futurist Machines , trans. Robert Filliou Sun Vision Press, Unable to find publisher info, does the author have this? In the fifteenth century, Sejong the Great imposed the Hangul , an alphabetical system, in order to spread literacy as widely as possible.
Scorned at first by the educated classes, in the twentieth century this vernacular writing became a form of resistance under the Japanese occupation. Practized widely in the Pacific region and by American Indians, the main purpose of potlatch was to avoid war. However, gifts create a debt that must be honored, with the consequence that villages might be utterly destroyed in cases where the exchange is based on a superior counter gift.
See, Marcel Mauss, The Gift: Forms and Functions of Exchange in Archaic Societies , trans. The aesthetic of transgression that has been implemented since his first performances has produced sculptures and paintings that address art conventions and push them to their limits. The body at work is first and foremost his own, brought into confrontation with the canons of western culture sublimed by classical sculpture, being itself turned towards its Greek and Roman roots.
But wasn't there already an idea of pastiche or at least challenge in Michel-Angelo's David whose proportions go beyond the norms of nature? The work of art would be the culmination of a process of transformation of the sexual urge. Cody Choi's David has its foot in a pink basin, filled with Pepto Bismol. It stands on a plinth that is simply composed of boxes that were used in previous performances, with the artist inserting his body into the holes that correspond to the measurements of different parts of his body, in this case his posterior while he is crouching Untitled, The artworks of Cody Choi question the limits of what we consider as sculpture or painting, which is in itself the question of modernity, but more particularly he gives form to emotions that are the result of an experience of frustration.
This emerges from the gap between the imagined projection and reality, and it is this that is confronted, challenged and overtaken by the forms produced. Right from the first paintings and performances, the body of the artist is at work, not as a completed portrait but as vector of an energy that is common to all. This energy is that of frustration, he explains. We could say that it is this gap between what is desired and the real, between what we project and what stands firm that must be transformed by the artistic act.
Cody Choi chooses not to fill this gap but rather to use it as a vibration, on the scale of his body, cast but not sculpted in marble, is a decision to halt the process at a point before bronze casting, in an unstable fragility. This is accentuated by the basin filled with a liquid palliative that becomes a visible prothesis for a suffering body. Playing between gravity and colorful perception, the pictorial pieces of Cody Choi are consequences of his initial performative works. The use of Pepto Bismol is of the domain of the pharmakon, both poison and remedy, an artificial color that reminds us of flesh and the internal functions of digestion and transformation of matter.
It is the effect of the real that produces this, and not sublimation. This use of objects, this functionality maintained in the final artwork, creates a double tension.