repeat continues Cho’s intervention of the existing communication systems, namely those of language and music. Through a series of methodical processes, Cho explores the ambiguity, logic, and (in)accessibility of these arguably arbitrary structures. The artworks exhibited are the result of her highly idiosyncratic explorations.
Three works centre around Cho’s attempts to reproduce or transcribe Franz Kafka’s The Trial. In Trial I she reproduces the chapter “Im Dom” from Kafka’s original manuscript, written in German. Working with images she sourced from the internet, Cho carefully traced the manuscript three times onto loose-leaf sketchbooks.
Trial II and Trial III are both transcriptions of an audio book version of the English translation of The Trial. Trial II is a 42-foot long scroll on which Cho repeatedly hand-wrote the entire audio book until there was no more space to continue writing. Trial III is a series of transcriptions of the audio book made on an electric typewriter. In both cases, her feverish attempts to transcribe the work at the rate it is spoken causes her to miss words and to jumble sentences, rendering the final products incomprehensible.
The audio piece 08:17:30 is a recording of Cho transcribing The Trial on the electric typewriter as she creates Trial III. The clacking of the keys, the electronic error buzz and the reset pauses create a cacophonous soundtrack that starkly contrasts with the meditative appearance of the previous works.
In It's Cho present a black ball made up of the 29 used electronic type writer ribbons which the artists produced while creating 8 of the sets for her works Trial III.
Similar in process to Trial II and Trial III, Well-Tempered Clavier pulls as its source the collection of music scores “Well-Tempered Clavier Book 1” composed by Johann Sebastian Bach in 1722. Cho played the music scores in their entirety on a keyboard connected to music notation software that automatically writes sheet music based on her playing. She repeated this process producing 53 versions, in book form, of her own Well-Tempered Claviers that embody every mistake and stutter of her recitals.
Hyang Cho was born in Seoul, Korea in 1974 and currently lives and works in Guelph, ON, Canada. She holds a B.A. from Sogang Unviersity, Seoul, Korea (1998), a B.F.A. from Alberta College of Art and Design, Calgary, AB (2007) and an M.F.A. from the University of Guelph, ON (2009). Recent solo exhibitions include Permutations, Truck Contemporary Art Gallery, Calgary, AB (2011) and Procés, Optica un centre d’art contemporain, Montréal, QC (2013). Cho was shown for the first time in a focused public gallery exhibition context in Hyang Cho, K. Nicol and Jospeh Beuys: predisposed (…to thinking through the eye of mutual convenience), curated by Ihor Holubizky, at the McMaster Museum of Art, Hamilton, ON (2013), for which there is a forthcoming catalogue.
Hyang Cho would like to acknowledge funding support from the Ontario Arts Council, an agency of the Government of Ontario.