TZUSOO

TZUSOO majored in printmaking and art studies, and studied fine art at the State Academy of Fine Arts in Stuttgart, Germany. Through her paper “The Aesthetic Logic of Overwatch (Online FPS Game)” (2017), TZUSOO explored how the digital world fascinates and drives the real world, and how gender is revealed in the history of games from an anthropological perspective. Through the results of her exploration, she laid the foundation for further works. Based on philosophical concepts, TZUSOO breaks the boundary between reality and virtual reality, and through her works she delves into an area where her personal experience and sociopolitical situations are connected. She is pursuing her experimental identity as a virtual activist, focusing on people’s working conditions in the digital age, the queer nature of people, gender and human rights.

Schroedinger’s Baby

“I am a real baby, am I not?” In Schrödinger’s Baby(2019/20), TZUSOO alludes to the popular thought experiment devised by Austrian physicist Erwin Schrödinger in 1935. Schrödinger proposed a scenario in which a cat is locked in a box with an unstable radioactive atom that could potentially begin to emit radiation and release a toxic gas. However, there is no way to say with certainty when or indeed whether this will happen without opening the box. The result is a paradox, with Schrödinger asserting that the cat enters a state of superposition that makes it impossible to say whether it is alive or dead.

The South Korean artist translates this famous paradox into the reality of her own life, creating a digital baby in virtual space. Based on her inner grappling with potential motherhood, TZUSOO bought the digital model of a developing embryo, refining it according to her own ideas. She is free to determine the sex, skin colour and other characteristics or to dispense with all specifications so as to avoid stereotyping. In Schrödinger’s Baby, TZUSOO thus discuss core aspects of her work including reflection on gender and origin for which she also draws on her personal experience as a South Korean artist in Europe. Being a digital native herself, TZUSOO often uses virtual technology applications in her work, creating avatars that operate in dreamlike settings oscillating between devastated landscape and hyperreality. This contrast of utopia and dystopia may also be seen to refer to all-embracing digitisation and its development. The future is not imaginable and it is not possible to foresee how the further development of artificial intelligence will play out and which ethical questions will need to be discussed in the course of this transhumanist discourse. For example, what will the possibility of digital surrogate motherhood entail and what responsibility do we have for the avatars we create or indeed they for us? TZUSOO’s works raise many questions connected with the current uncertainty of rapid digital development. We have long since reached the end of thinking in terms of linear progress and we now find ourselves in a world of exponential digital development. The experiment is therefore already in full swing, and in this digital world humanity is facing questions that we will only be able to answer when the future has become the present and we have opened the box.

  • Video
  • 2019/2021
  • Coming soon.
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1. Garden of Memes

‘Garden of Memes’ introduces contemporary artists who embody their own world of work using the methodology of imitation and cloning under the theme of “memes,” the digital generation’s visual characters. A meme is easy to make, easy to share, and intuitive for anyone to recognize,
but they are somewhat meaningless. It has become a symbol of the changing world in the digital image communication era and a type of everyday conceptualism. This attitude to overthrow realistic norms and to break down the cultural and artistic classes, in fact, resembles the legacy of Dadaism and pop art in contemporary art. However, if pop art in the industrial age was a joke rld of memes. ‘Garden of Memes’ focuses on the way contemporary artists repossess images through revelation and imagination in an era with platforms where anyone can easily create images and communicate with each other. This attempt will be an opportunity to look at how the artistic language of those who freely cross the boundaries of everyday life without being bound by art forms or aesthetic rhetoric gains uniqueness in the post-Internet era, while also looking at the impact of meme politics on contemporary visual culture.

Slowly with a turtle
Quickly with a crane
With a Turtle
With a Crane