www.clickscrollzoom.com
Artist
Yerin Joo

Yerin Joo notes on ‘a voyeuristic interest in acquaintance’s life’ revealed in the pattern of video consumption in everyday life. Joo illustrates video in life as the catalyst for day routine, observing the changes as video intervene in everyday life. Loop: endless video for endless routine(2020) is the first trial releasing her video-life routine, and The interview(2020) captures the experience of meeting her acquaintance over SNS account.
(01)
(02)
(03)
(04)
(05)
(06)
Artist
Yerin Joo

Yerin Joo notes on ‘a voyeuristic interest in acquaintance’s life’ revealed in the pattern of video consumption in everyday life. Joo illustrates video in life as the catalyst for day routine, observing the changes as video intervene in everyday life. Loop: endless video for endless routine(2020) is the first trial releasing her video-life routine, and The interview(2020) captures the experience of meeting her acquaintance over SNS account.
Curatorial Essay
- Seeking the machinery of null -

Stepping out, moving body, tilting head, and turning attention. In the era of the disappearance of these physical communions, a question about the web being suitable exhibition environment has arisen. The methodology of works is lost as they move into this environment. Performance and installation works, differing according to the condition of outside space, are more so.
But this disappearance is not hopeless, because it has become the starting point of a new experiment under forced quarantine. This experiment makes us wonder if what we thought of as disappearance was a legitimate ‘omission’ or ‘creation’ during a border-crossing from one media to another. In the process of omission and creation, serious consideration has begun; how performance and installation works, which are difficult to capture in two dimensions, are transformed on the web; what kind of new methodology is taken in the process of media conversion; and how this process is different from simple archivism.
Nayon Yon and Yerin Joo, who question the method of existence, have revealed ‘voluntary isolation’ and ‘a voyeuristic interest in acquaintance’s life’, respectively. Broadly interpreted, their main questions are in line with the media conversion process suggested by the web environment. Certain elements are isolated in the process of conversion and appreciation of visitors, and exposed to voyeurism by the screen interaction.
Apart from the success or failure of this small experiment, the implication of the result is clear. It is continuing endless consideration of the media’s completeness while recognizing the existence of discarded or newly created ‘machinery’. To break down, disassemble, assemble, and operate this machinery, which is within the range of nulls.

Curator Curie Lee
Individual Work Essay
Rooms as everyday living spaces are dominated by the video. Now we have, so to speak, a new world that exists on the screen, and the room as a personal space has come under it. Humans do not exist alone just because they are the only one in the room, as they are co-existing with ‘something’ inside machines that connect them to the new world. In this context, that ‘something’ is a video that moves and changes as they stroke the screen.
The main consideration of Joo’s work is the video consumer not being ‘alone’. Loop: endless video for endless routine shows a room transformed in an easy way to meet the screen here and there, which fulfills the plan to appreciate the video. Characters in The Interview have a couple of separate egos, adapting themselves to how they ‘look inside the video.’
But to reflect this situation pessimistically or to send an enlightening message that the viewer should get out of it is not the point. Rather it is to record the present. The videos in this work are played through YouTube, which is a familiar and comfortable for most contemporary spectators. So, the possibility of viewers selectively escaping from the video and setting the length of the video on their own is not much different from anyone’s usual way of viewing video these days.
Joo’s work is to record the present where videos have become everyday life, and capture phenomena that stem from it. As the videos in Joo’s work are quite ordinary, there is an unsolved question of what in this work is different from other YouTube videos. Of course, videos adopted or produced as work not show a trendy style of editing and its characters seem a little bit unaccustomed in comparison to ordinary YouTube videos. Even so, we cannot ignore the possibility of spectators regarding it as a test video by a YouTube fan or novice YouTube creator rather than an artwork.
However, this ambiguity is the center of this work. The boundaries between popular YouTube videos and video as art fade and the room loses its state as an alone place as it becomes a viewing space of videos. Then questions arise such as ‘Can we be truly alone?’ and ‘Do ‘I’ exist?’ Soon after we inspect ourselves in doubt if we have separated egos. This subjective record asks; to what extent have the rules and boundaries of recent videos been broken and erased?

Curator Curie Lee