'wanting/waiting' opens at Lease Agreement in Baltimore, MD
An invitation to exhibit at Lease Agreement in Baltimore, MD, to work with Adam and Allison Yasukawa. Lease Agreement is a collaborative curatorial project by artists Adam Farcus and Allison Yasukawa. Set in the living room of the couple’s rental house, Lease Agreement continues in the tradition of apartment gallery exhibition spaces by exhibiting conceptually rigorous, engaging work within the context of a home.
March 1 through March 23, with an opening reception on March 1 from 6-9PM.
ICA@50: Pleasing Artists and Publics since 1963
Through a commission by the Institute of Contemporary Art and Assistant Curator, Kate Kracson, I have a new installation on view at the ICA for the first installment of ICA@50: Pleasing Artists and Publics since 1963.
My installation, "there's universe in your head that leaks through your eyes and mouth and hands," is on view between February 13 through February 23, with works by Paul Thek and Ann Wilson.
An article about the exhibition from the Philadelphia Weekly.
Interview with Kate Abercrombie in Title Magazine
Selected as 1 of 9 Artists for Philadelphia's first Community Supported Art Program
Like a Community Supported Agriculture program, the Community Supported Art program supports a direct maker-to-buyer relationship between artists and collectors working and living in the Philadelphia region. Over the last 20 years, Community Supported Agriculture has become a popular way for consumers to buy seasonal food directly from local farms. With the same buy-local spirit in mind, Grizzly Grizzly and Tiger Strikes Asteroid's Community Supported Art is a endeavor to support local art, artists, and collectors.
Since its inception by Springboard for the Arts in Minneapolis, MN (2010) this model has gained a lot of notoriety and has been replicated throughout the country. The goal of both Grizzly Grizzly and TSA is to cultivate an open, authentic, and deep connection between artists and collectors. This program seeks to create dialog through a series of events revolved around local, innovative artwork.
I am fortunate to be in the company of the following talented artists:
Sarah Kate Burgess, Anda Dubinskis, Jacob Feige, Sarah Gamble, Brian Giniewski, Ivanco Talevski, Brent Wahl, and Douglas Witmer
My contribution to the CSA:
Linda Yun will create an edition of fifty small-scale, modest sculptures cast or fabricated in metal to resemble gold, which are to be installed within the owner's home at a location selected by them. Inspired by the Japanese tradition of kintsugi, the art form of mending cracked pottery with lacquered resin dusted with powdered gold, Yun's sculptures will take on the form of similar fissures, once a record of violence or damage, yet transformed to a beautiful moment of healing, repair, and contemplation. At this particular time in her life, Yun has experienced moments of transformation, heartache, self-reflection, and beauty, leaving her feeling somewhat lost while quietly trying to find her way. In acknowledging the complicated nature of a sacred 'home', be it a physical or psychological space within, it is Yun's hope that these sculptures can serve as a compass for the keeper, functioning as an intimate visual cue to facilitate finding one's true 'north.' Much like religious crosses or portraits of loved ones adorning the walls of spaces we dwell in, the subtle and modest 'mend' will hopefully serve as a quiet reminder of the strength within.
Read more here: Press
Four artists keep Vox Populi concise and diverse
Review of 'Reflect' at Vox Populi
Review of 'Reflect...', a new installation at Vox Populi
Philadelphia Weekly, April 17, 2012 by Katherine Rochester
Objects of Our Affection at Rebekah Templeton and Vox Populi
Linda Yun's Reflect... Will Put a Spell on You
Installed at the Delaware County Community College
A press review for Rouse, part of an exhibition titled Installed at the Delaware County Community College.
Interview between Katherine Rochester of the Philadelphia Weekly and Linda Yun
The Space Savers Project
What interested you about participating in this project? How did you first hear about it?
Christopher had been thinking about organizing this project for a while, and had discussed it with a few artist friends who showed interest in it for various reasons. When it seemed like the project might be feasible, he touched base with those who had originally shown interest to see if they would commit. I am drawn to very specific projects with unique parameters, and was drawn to the challenge of working with the public in an intimidating arena that requires a sort of aggressive stance. I typically don't think of my work or posture as being aggressive, so this project seemed like a good opportunity to deal with this territory. I knew the project would make me feel extremely uncomfortable, so I thought it was something I should explore.
What sort of work do you normally create? Is this divergent or does this fall in line with your previous work?
My work typically deals with perception and experience, memory and the re-presentation of moments I find compelling. It is typically installation based, with objects or experiences being employed in order to access something within the viewer, whether it be a new experience or an old memory buried deep within oneself. I see both parallels and differences between this project and my other work; the ways in which I am thinking about the viewer's approach to the piece is something I take seriously and try to understand and address, along with formal concerns associated with how parts come together in its form, color, composition, etc. In addition, I tend to gravitate towards materials which are familiar and recognizable, and employ them in a slightly humorous or different way. In terms of differences, I think again, the aggressiveness of the work is unusual for me, as well as the overt gesture of addressing a very specific situation: saving parking spots. I normally try to let work hint at what I'm thinking about, but remain loose enough for others to interpret or discover what they want. I'm hoping there will be room for this in the Space Savers project, but it will require some thoughtful consideration beyond the quick explanation of what my piece is.
Please describe the space saver you've created. What inspired you? Tell me about your process.
My Space Saver, Move Along / Please Stay, came about from me feeling uncomfortable with my position as the one essentially stealing a parking spot from my neighbors. And, to be honest, I actually chose not to install it right in front of my house, because I felt so uneasy about it. Instead, it will be installed slightly further away, distancing myself from it. In a way, I wanted it to be invisible, as though I really wasn't doing anything at all, and so I thought of employing the use of a mirror, camouflaging my gesture in some way. The idea being that as a driver pulls up in their car, their reflection in the full-length mirror would fool them into thinking the spot was taken. I then started thinking about all the sculptural forms of the tents at Occupy Wall Street, etc., and began thinking about the opposite side of the mirror, facing the sidewalk. I decided while the one side would be the mirrored surface facing the street, the opposite side would face the sidewalk, and serve as a street kitty sanctuary, replete with kibbles, water, places to snooze and lounge and play, etc, to finally provide a nice, comfortable place for these kitties to feel at home and sheltered. At first, I almost backed out of committing to the project, thinking this idea of mine was shallow, silly, and dumb. But after discussing it with Christopher, he encouraged me to do it, and pointed out my project, although on the surface very silly, actually dealt with the guilt I felt in stealing one of these parking spots for myself. The guilt of stealing was forcing my hand in giving back in some way, with a generous gesture, hopefully blinding someone to the selfish act on the other side. Even the fact that it's a cumbersome set up makes it a sort of a Space Saver with reservations. You have to want to commit to this aggressive stance with my version---there's no quick and dirty sneaking in and out of there with chair, lickity split. In a way, perhaps I'm setting myself up to be caught because I'm so uncomfortable with it.
Did you ever use a space saver for a parking spot before making this piece?
No, although much like Christopher, I think the artist in me has always been fascinated by the sculptural forms these things take. The thing that is so great about the Photoshop image Christopher made with all those objects crammed in, saving a spot, is that each and every one of those things were real objects used, absurd as it may seem. Perhaps coming from the suburbs, I, too, was shocked at the use of space savers, along with people parking on the middle of Broad Street. I mean, what is up with that? I need a parking permit to park in my own neighborhood where I own a house, and yet you can park in the middle of one of the busiest arteries through the city, no problem?
Do you agree with the practice of saving parking space? Why or why not?
I think if there are extenuating circumstances, like one is moving and needs a spot close to their home for a short period of time, sure. But for the most part, I believe it is sort of a breaking down of an implicit social contract, that becomes reduced in some way to every-man-for-himself. I understand the reasoning behind why some people do it, but I feel it can and does devolve into a complicated game, then, of where one draws the line. It can cascade down to complete chaos and aggression, as is witnessed by the inevitable stories of violence surrounding parking spot confrontations. And the thing is, for me, it's not isolated to just saving parking spots; I view this in connection with individuals who trash their neighborhoods, who sweep garbage into our sewers, who cut you off on the highway, who double-park on a street blocking traffic when there's a perfectly good spot to pull into, who feel it's fine to yap during an entire film...I view it all as this gradual deterioration of being respectful and considerate of others, and only being concerned with your needs. And what is troubling about it is that it puts me in a position where I either have to choose to bite my tongue and look the other way, or confront the perpetrator and take this also-aggressive stance I might not want to take.
Will you use the space saver you've created to save your parking space after the exhibition?
I have three kitties at the moment, so perhaps parts will be salvaged for their sake and enjoyment. But as a Space Saver, no. My neighbors would probably kill me. But, then again, maybe they wouldn't, since it seems to be acceptable in this city.
The Space Savers Project
Recall review on theartblog.org
Recall and Wow and Flutter at Vox March 14, 2011 by Alison McMenamin
Recall at Vox Populi (March 4-27, 2011)
Recall is on exhibit at Vox Populi through the month of March 2011.
Yun’s latest installation at Vox Populi, Recall, layers the experience of watching and reading familiar images through a handful of filters which complicate and fracture the moment, as embodied by the viewer’s movement and access within the space. Distance and the embracing of memory is forced, thus creating a reinterpretation of the familiar, complimented and enhanced by multiple points of access from within. By distilling and fracturing the experience, a more complicated understanding of the once-familiar is suggested and encouraged to the viewer. This is Yun’s sixth exhibition with Vox Populi.
2011 PEW Fellowship in the Arts
One of sixty individuals nominated to apply for the 2011 PEW Fellowships in the Arts.
2011 Philagrafika Invitational Portfolio
Invited to apply for the 2011 Philagrafika Invitational Portfolio, Philagrafika, Philadelphia, PA.