seize to remember where I am

I pull in closer only to return

another reflection seize to remember

what becomes is never I

disrupt surface clouds my vision

waiting for the calmness to settle in

begin to dance on reflection a slow heavy thumping

neither beginning neither an end

detached isolated without origin

where is I - seize to remember

memory dress herself

pondering in exhaustion I gasp for air

only to realize

myself looking in

memory dressed in light











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In his installations, bae jungwan explores ways to think, feel, and move beyond the rigidity of the built form through the pliable, impermanent, and non-linear experience of memory. Architecture has long taken for granted the centrality of the fixed form and linear movement through space. The structure of memory, however, is unstable, biased, at times overlapping and even unreliable. Although memories can acquire the permanence of testimony on the one hand or, the fluidity of a fleeting remembrance, on the other, they are always being reconstituted in relation to the constantly changing world of sensations, thoughts and events around us.  His works explore how various architectural elements and materials affect and are affected by the visual, aural and temporal mechanisms of memory.  They draw attention to the movement within and our interaction with the structures that surround us.


At Topohaus, the artist presents a multimedia installation using repetition of form that reveals constant dualities and reflections where one is never the same as the other. As if looking through a slit into memory of love, the projected impression will serve as a prologue for his new works to come.


Five identical structures made from crude metal; a rectangle is folded into two trapezoid mirrored by the fold-line.  This fold enables the delicate balance needed for the 6m-wide 4m-high twisted frame to stand without any bracing.  The identical forms appear different through its abrupt encounter of scale, its varying position and rotation angle. The three layers of nylon string compose each structure (each layer following different parallel-line) which make up the complex surface of the folded frame. These surfaces catch, reflect and extend the projected light through the gaps of the structure, making the light image float in between. Two neutral characters (a man and woman) are introduced, each repeating the same movements (walking in and out, reaching for, undress and lying down) independently. Different speed of their motion allows them to fall in and out of sync. Colored circle slowly comes closer giving the room an overall tone. As one moves around the structure the light projection reveals different motion from the same source. The drunken voices casually discussing love in the background bring the viewer to encounter one’s own memory association of the repeated visuals. Noise (sound and visuals of raindrops, footsteps of the city) disrupts our encounter where we exist only as silent shadows. From the silent shadow we notice an abstract dancing figure taking its image from the circle; it multiplies, rotates, and reflects back into abstraction, suggesting the amorphous nature of memory.


A multimedia love poem; melancholy music, abstract visuals architectured in space, punctuated by drunken ramblings about love make out a bittersweet piece about romance, involving all our senses. The scope and intermingling of the medias involved - architecture, video, music, narration- deepen our involvement into this contemplation of love.