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Juxquilogy (ˈʤʌkskwɪˌlədʒi) n.
On language that reveals invisible enemies Work Index
2023 - Juxquilogy Ex.1 Karma Circle - Juxquilogy Ex.2 Chaining Table - Juxquilogy Ex.3 Suffocated - Juxquilogy Ex.4 Parked - Juxquilogy Ex.5 Vomit - Juxquilogy Ex.6 The Synchronized - Juxquilogy Ex.7 - Juxquilogy Ex.8 The Crawlers - Juxquilogy Ex.9 Melted 2024 - Juxquilogy Ex.10 Production Failed Artist Statement
Jan 2nd, 2024 There has been a frequent occurrence of high-profile suicides in Korea. The rigid societal atmosphere we have created, marked by habitual hatred and cancel culture, intensifies when a virtual goal of 'common good' emerges. To illustrate, instances in South Korea have witnessed extreme proposals, such as citizens advocating for the complete shutdown of smoking areas throughout entire neighborhoods citing health risks or the exclusion of unvaccinated individuals from communities amidst a widespread virus outbreak. To expose the concealed totalitarianism infiltrating our society under the guise of a highly moral facade, the term Juxquilogy was coined. The Juxquilogy series actively employs the psychological mechanism of 'Abjection,' where one shapes one's identity by distancing oneself from unpleasant and hateful elements. In contrast to artists like Kiki Smith or Cindy Sherman, who use inherently repulsive materials like 'excrement' or 'blood,' Juxquilogy focuses on mannequins clad in pristine hazmat suits and an array of colorful balloons. Materials seemingly distant from repulsiveness paradoxically amplify discomfort in the face of the bizarre actions of the mannequins, mirroring the facets of today's rigid community. In Juxquilogy Ex.2, four mannequins lean on each other's knees, barely maintaining balance. The nature of their mutual dependence means that all mannequins fall in succession if one collapses from exhaustion. The question arises within this painful support system: for whom do the mannequins seek equilibrium? The artwork challenges the voluntary construction of extravagant constraints that ultimately fail to bring true happiness to any of its members. Furthermore, Eul delves into how the public contributes to the demise of an individual. Juxquilogy Ex.3 features a mannequin suffocated by a multitude of colorful helium balloons. While the force of each balloon is feeble, their collective formation creates a sculpture with the strength to lift a person's body weight effortlessly. Implicitly, the responsibility for the suffering of the mannequin shifts from individual balloons to the indistinct entity of the 'community.' Additionally, the limited time helium can stay within the balloons—barely surpassing a day—raises questions about the hasty attribution of the label 'suicide' to a situation where the perpetrator has vanished. In this manner, Eul labels the invisible adversaries lurking in our society as Juxquilogy, shedding light on the uncomfortable dynamics they impose on our social fabric. |
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