High-Frequency Signals Echo in the Company Lobby... 'VHS' Exhibition by Three Young Artists

Space Isu Special Exhibition Runs Until March 20
Questioning Sensation Beyond the Visual
Intervening in Space with Sound, Vibration, and Image

"We designed this exhibition to break away from the typical aspects of traditional art, creating an experience filled with sensory elements that even those unfamiliar with art can feel physically."

Jinseoba by Seonah Choi (2026). Provided by Space Isu

At the press conference for the special exhibition "VHS (Very High Signals)" held on January 13 at Space Isu, the cultural and artistic venue of Isu Group in Seocho-gu, Seoul, curator Jeon Hyokyung introduced the exhibition in these terms. The gallery is located on the first floor of the Isu Group headquarters. Since 2020, it has hosted a variety of exhibitions to foster open-minded cultural thinking among its employees, many of whom have backgrounds in science and engineering. Rather than imposing art, the intention is to gently expose employees to it, allowing it to seep in naturally over time. The exhibition's title, "VHS (Very High Signals)," reflects this concept. Like faint high-frequency signals, the exhibition aims to act as a subtle signal within the space. Curator Jeon explained, "While the works do not stand out excessively, we wanted them to be perceived differently nonetheless."

The exhibition prompts us to reconsider the issue of visuality in a world surrounded by countless "things to see." Rather than clearly directing the viewer's gaze, it intentionally removes focal points, leading visitors into moments where there is "nowhere to look."

Choi Seona's (27) "Jinjiba" (2026) is a work in which clay (Sculpey) is attached to a 14-meter-long glass wall in the lobby. Utilizing the clay's natural stickiness, the artist pressed each piece by hand over three weeks to complete the work. Instead of emphasizing specific symbols or clear meanings, the piece draws attention with the unique beauty of its surface, which changes with the sunlight at different times of day.

Music Siren by Hong Aerin (2026). Provided by Space Isu

Hong Aerin's (34) "Music Siren" (2026) was inspired by the name of a product manufactured by Yamaha in the 1950s. The device creates harmonies by driving multiple siren units with a single motor. At the time, the president of Yamaha devised it to transform the intense sound of warning sirens into melodies that villagers could enjoy. After the atomic bombings of Hiroshima and Nagasaki in 1945, siren sounds in Japanese society became reminders of traumatic memories. "Music Siren" is an attempt to reinterpret these memories of war through a different sensory experience, conveying the realization that, although the amplified sound seems to become something grand, it ultimately amounts to nothing.

Kodae Young's 'Papillon' (2025~2026). Provided by Space Isu

Kodae Young's (33) "Papillon" (2025~2026) uses artificial intelligence (AI) technology to magnify videos of people around him, shot in the past, by 80 to 100 times. AI compensates for the loss of image quality that typically occurs during such enlargement, creating an unfamiliar visual texture. The artist expands the project by sending the silent videos to friends and asking them to respond with sound. This exchange continues as a performance throughout the exhibition. The sound pieces by Lee Minhwi and Choi Taehyun will be performed for the first time on January 17, and the recordings will subsequently be played in the exhibition space alongside the videos. This format is reminiscent of the days of silent films, when live music was performed in front of the screen during screenings.

The exhibition runs until March 20.