What the critics have been saying about ‘Private Collection: Unperformed Objects’

Geumhyung Jeong, Private Collection Unperformed Objects, 2017. Exhibition view, Delfina Foundation. Credit Dan Weill.


“This folding from inflator to inflated, from medical to erotic, and erotic to comic and ludic, created the overwhelming impression that within and between these articles a narrative is written—a script waiting to be performed.”

— Ned Carter Milles, ArtAsiaPacific, 6 November 2017.

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“Jeong’s genius lies in the way she complicates gender imbalance in archetypal dynamics between puppeteer and puppet. In some instances, she controls a male character who assaults an inert female form, effectively performing the attack herself. But things get really interesting when she controls the male puppet while also performing the female submissive.”

— Ellen Mara De Wachter, GARAGE Magazine (Vice), 6 October 2017.

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“Artist and choreographer Geumhyung Jeong has been trawling the dark corners of the web for objects to be used in her performances: car crash dummies, model genitalia, a brain wrapped in cling film, a bearded rubber head frozen mid-scream. Instead of leaving her hoard languishing in store cupboards, she’s laid it all out for inspection (and titillation) at Delfina Foundation.”

— Alice Primrose, Royal Academy of Arts, 1 November 2017.

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“Despite the dizzying array of ways that technology has permeated our lives—raising both expectations and concerns about the porous boundaries between the realms of man and machine—Jeong invites her mechanistic props into the most intimate spheres of human existence, creating emotional and sexual bonds with them. In doing so, her performances cut through and complicate a number of boundaries—flesh and plastic, control and voyeurism, imagination and reality.”

— Haely Chang and Ann Arbor, Ocula, 13 December 2017.

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“The artist engages in simulated sex with machines, there’s a drone with a penis and a collection of sex toys, creepy masks and video game controllers. It’s a very intense exhibition covering the interaction of sexuality with technology, and one I’m not going to forget anytime soon.”

— Tabish Khan, FAD Magazine, 27 October 2017.

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“In her multifarious practice as a choreographer, dancer and performer, Geumhyung Jeong has consistently engaged in the potent and corporeal relationship between the human body and objects. This dynamic explicitly comes to the fore in her current exhibition at Delfina Foundation.”

— Philomena Epps, Artworks London, 20 October 2017.


And also recommended by Whitewall and Evening Standard.