We pursue the situation that is not merged into 1. From the beginning, convergence to 1 was not our interest. For us, 1 is the conventional way of exhibition organized under a specific theme. When the artists and the curators started discussing this exhibition, it was easy to reach an agreement that we do not need to repeat the exhibition if it was to be held in the conventional way. Then, what could this exhibition be? By putting you in the place of the subject and putting me in the place of the object, we can start this exhibition. The title, Tu m’, is the compression of our attitude towards this exhibition. We have been knowing each other as long as 20 years or as short as two to three years. We have believed in each other and encouraged every course of artistic efforts. Finding an answer to art and contemporary art was left to the duty of each individual. Putting ourself in the subject of creation, we thought that this path was lonely and painful. Each one of us was impatient and longs for recognition and understanding. But it’s weird. Everyone has been yearning for the same thing, but why is this road still dark as if it is underground? Then, we ask each other a simple question, ‘so, what have you done?’.

Starting from you once again, we learn many things while trying to understand each other. In this attempt, empathy is demanded. We take time to think about each other while thinking about each other’s work. Hanul Gwak transforms Seungbeom Son’s attitude of Yeom (earnest wish, 念) into flowers. He meets Choulgue Jung, who sews his drawing on fabric, to do needlework together as grabbing his needle and hands it over back and forth on a cloth in between. To accept the errors involved with the process of understanding, he collaborates with his old friend, Wonjin Kim. At this point, the time difference between the relationships is inevitable. Wonjin Kim is aware of this difference and records the process of sewing performed by everyone who participated in Hanul Gwak and Choulgue Jung’s sewing, and names the video 〈Promenade〉. Wonjin Kim wants to meet agreement with Seungbeom Son in the perspective of art, but <Eye to Eye> rather resembles a splendid encounter mixing with understanding and misunderstanding than approaching consensus of opinions.

If Hanul Gwak and Wonjin Kim take the pulling and pushing process while facing each other, Seungbeom Son and Choulgue Jung draw a circle. Choulgue Jung believes that love is close to unrequited love. When love is one-sided and not returned, the emotion for loving someone can be more vigorous. As we hope to be recognized by you in moments of attraction, we go through every word, action, and trace of you. Those things are stolen and put in some boxes. In this exhibition, audiences can open the boxes one by one and listen to his story, which is similar to their own unrequited love. Seungbeom Son collects things leftover, which seems to be hard to throw away, from the studios of other artists, and transforms them into monuments. The leftover things after making something in the process of creation, end up with disposal. Seungbeom Son, who does not move his steps out of this unavoidable cycle, collected leftover things from the studios of Hanul Gwak, Wonjin Kim, and Choulgue Jung, and revives them into new life. 

The proper words to define such a method of creation I stated above are too scarce, so it is often referred to as collaboration. Our collaboration does not find a secured center of gravity. We attempt the possibilities of altering the name between pushing and pulling, rather than finding the balance point between us. If collaboration, in a general perspective, is something made by tentative intention at some point between the arrows come and go, the collaboration we have tried is the externalization of inquiry and the method of understanding you. Tu m’ is an experiment of forms and finds the way of revealing the process specifically in an exhibition. Although it carries out an experiment of form, the process and content are the specific responses to contemporary art for each one of us. In this experimental exhibition that consists of various attempts, we all are the emerging artists. Because the movement of arrows back and forth is not an event in the flat surface of two-dimension, it makes tangible and concrete creation that is bent, cut off, and drawn between each other. We start with four artists and two curators, but we want to meet the other and take them in the place of subject. I hope that you ( ) me to see and listen more.