Young Eun Kim ()
Halo Composition
2015
multi-channel sound installation
duration variable (unique durations per looped channel), mixed media, dimensions variable

This work focuses on the corporeality of the human voice, a quality that allows it to viscerally evoke bodily presence. It is generally inspired by the situation of having a loud neighbor.
For Halo Composition, the artist selected international hits by famous singers and removed all the tones and recognizable words. The remaining sounds - shouts and breaths - are hidden within domestic architectural forms: a door, a column, a curtain, etc. The work re-positions the disembodied voices through invented relationships with a distinct physical entity and space.
Young Eun Kim ()
Flesh of Sound
2015
multi-channel sound installation
9min, mixed media, dimensions variable

This work starts from an interest in the power of collective voice as a medium and of re-contextualizing song. Songs used during protest stand as potent symbols, reinforcing strong emotional bonds among protestors. Much of the time, new songs are written for the occasion. Other times, however, the collective selects a pre-existing, arbitrary tune to serve a revolutionary purpose.

In particular, this work presents three songs that have gone through a seemingly accidental symbolization process, and highlights the phenomenon of collective voice as a powerful unifying force and medium: the Happy Birthday Song sung by protesters for the “Umbrella Movement” in Hong Kong, a Korean pop song Morning Dew, and a Norwegian childrens’ song Children Of The Rainbow—all re-sung by multiple voices. The lyrics for each song had been phonetically transcribed, thus their full meanings are unknown to the singers. What remains is the power of the collective voice.
 
Young Eun Kim () Young Eun Kim () Young Eun Kim () Young Eun Kim () Young Eun Kim () Young Eun Kim ()
Casting Trio
2014
sound performance
3 voices in 6 movements
15 min

The work is about a hidden passage behind the artist's studio. Three performers in three separate rooms count each corner aloud, traverse the space sustaining their scored voices and run through the passage. These sounds give physical information about the room they are in.

Performers hide themselves in spaces from where they cannot see or touch one another, and continue their performances according to other performers’ faint sounds and the conductor’s remote signals. The audience, too is placed in a situation in which they cannot view the performers, and only through sound can they trace the performers’ positions or imagine and interpret the spaces they inhabit. Therefore, while the performance is in progress, various sound-spaces complexly overlapping are formed, and they are the invisible sound-space layers between performers, another set of spatial sounds in between performers and the audience, and the sound-spaces in the audience’s minds according to their individual, unique imaginings and interpretations.

 
Young Eun Kim () Young Eun Kim () Young Eun Kim ()
Vertical Canon
2014
sound performance
2 voices and elevator in 3 movements
7 min

Two singers perform in the elevator; one operates the elevator while the other sings.
The call button pressed determines the starting pitch to be sung.
The audience is not allowed to go into the elevator. They can only listen to the vertically moving sounds coming out from it.