Watch a Young Korean Girl Live, 2017
Installation of a week-long performance, publicly live-streaming my bedroom online 24/7, accompanied by posters, a manifesto, journal entries paired with daily portraits of the surveillance camera.
The piece is in part a defective response to the ongoing proliferation of girls' and women's' bodies (in private spaces such as the bedroom and restroom stalls) filmed, reproduced, and digitally shared as pornography under no consent in South Korea.
South Korea in recent years has amassed an incessantly shared and growing digital archive of nonconsensual, intrusive, and sexually violent videos of women and girls of various ages circulating in unregulated websites and forums as exchangeable pornographic objects. Footages range from public "spy cam" shots in bathroom stalls to private bedrooms. The videos, attracting rapid accumulation in internet traffic and wealth for website creators, become disembodied, fleshy commodities that endlessly multiply. "Digital sexual crimes" then become an industrialized economy of violence.
The delineations of public and private space, of internet borders, and of banality and spectacle collapse in the matter of the gendered female body and its precarious subjectivity while the body dances on the line of the liminal. A common method used in these videos is the employment of a "spy camera" or any form of device that sllows filming of an unaware or unconscious subject. These videos are in retun celebrated as "natural," connoting the non-performativity of the body on view. Non-performativity implies that the subject possesses no agency over how her body is framed, looked at, and exhibited, thus renderinf the body into complete objecthood.
To complicate and disrupt the aesthetic of the "nautral" and embody the witnessing of violated bodies, I performed a durational piece from November 27, 2017 to December 3, 2017. By installating a surveillance camera in the upper corner of my bedroom that ran 24/7 as a liverstream on a publicly accessible website, junjuwon.com/live, I appropriated the aesthetic of an unstylized "natural" view of my daily life.