机能失调的执念 Dysfunctional Obsession 尹邰劲 TaeGyeong Yoon

Skills: 展览 Exhibition


Untitled Space
The new exhibition this month
South Korean Resident Artist
TaeGyeong Yoon
Solo exhibition
Dysfunctional Obsession 
Exhibition Opening
October 20th, 4 PM




London and Hong Kong-based South Korean artist TaeGyeong Yoon, specialises in painting and printmaking. He was awarded his MA in Contemporary Art Practice at the Royal College of Art and has been since facilitating between mediums adept to communicating contemporary debates.


Solo Exhibitions 个展

Virtue: 美道미도: 16.03.2017, Versace 范思哲, Tai Koo Li 太古里, San Li Tun 三里屯, Beijing 北京, China 中国
Perspective Studies: 02.05.2014, Studio 44, The Glasgow School of Art 格拉斯哥艺术学院, 167 Renfrew St 伦弗鲁, G3 6RQ 英国


Group Exhibitions 群展

Terminal O: 2019, The Horse Hospital, London 伦敦, WC1N 1JD 英国
Things Going Nowhere: 2018, Dyson Gallery, Royal College of Art, Riverside, 1 Hester Road, London, SW11 4ANNEW ART 2015: 09.01.2014 – 03.02.2015, Galleria360 Galleria d’arte moderna e contemporanea Firenze Via il Prato 11r
BCN: Global Art Agency Art Fair: 2014, Casa Batllo, Passeig de Gracia, 43, 08007, Barcelona 巴塞罗那, Spain 西班牙
Parallax Art Fair2014, Chelsea Old Townhall, King’s Road, Kensington 肯辛顿, SW3 5EE 英国
Endurance2014, Govanhill Baths, 99 Calder Street, G42 7RA 伦敦 英国
Synecology2013, Studio 41, 41 West Graham Street, G4 9LJ 伦敦 英国
ET AL2013, Studio Warehouse SWG3, 100 Eastvale Place, G3 8QG 伦敦 英国
FLUSH: 2013, Clarke Fyfe Gallery, The Glasgow School of Art, 167 Renfrew St, G3 6RQ 伦敦 英国
On Tenterhooks2013, Studio 41, 41 West Graham Street, G4 9LJ 伦敦 英国

On Dysfunctional Obsession: 





Passion, fascination, infatuation, craze, and preoccupation are primarily the ways we describe these acts of, occurrences of, the directions of, the perspectives of, that best depicts the state of the captive individual and the incessant modes that are in question. This individual is an enthusiast at the conduct of pursuit, and in the state of reiteration regarding their subjects. They resemble their multi-faceted observations in uniquely personalised ways. The artist wants to bring your attention to; To circumscribe the emphasis of this text onto the methodological relationship in which the enthusiast and their subjects are constantly at tension with; To enquire about the functions and the modes that comprises of our laborious practices, at the same time the mode which is the repetition of questioning, recording, thus collecting that does not necessarily result in an accumulation of bettered artefacts or advanced enquiries or enhanced outcomes.




The next hypothesis then would be that this act of litany that is executed, must demonstrate a direction of progress towards even the vaguest aim, however broad the enquired might be, whatever the nearing results show to be. On the contrary, what if there were no such pivotal movements towards the direction of their obsession despite the duration spent with or in or on it? That the state, the act itself was merely an accumulation, and that her or his satisfaction of state, mode and virtue came perhaps from the variations of accumulation in itself. How must we comprehend this as context, as application, as material, as an extended body of the practitioner or of the researcher? There are no given guidelines; there is no given law concerning the reasons behind this gravitational pull towards gathering items of knowledge, or of our attachments, or of our enquiries. The artist is constantly at the battle of attempting to understanding why it is, and, how it is that one given person may be so intrinsically focused on one given entity, thing or field, and on the contrary, how one might be about countless fields.



This exhibition echoes notions of the artist’s essay, ‘Dysfunctional Obsession’, 2018, referencing a variety of personal encounters that Yoon had attempted to analytically categorize into mathematical equations according to the artist’s indexicalities. Art as an extension of the artist’s hand at the site and the physical labour as an extension of the artist’s body at the mode of production. Works created at the Untitled Space Residency gather Yoon’s various notions regarding enquiries relative to decision making and learning, operating between the lines of production vs. exploitation, order vs. disorder, as well as a luxury vs. pseudo-gratifications. Questioning the modes of enquiring encounters in daily lives as well as the personification of contradicting principles, through ‘Dysfunctional Obsession’, the artist is attempting to create a visual reference point of personal scales of importance and mass through utilizing various modes of physical labour in search for alternative states to maximize connections tied to understanding.


Previous Work 代表作品


Sadistic Vibrations Incubator, 2019
Acrylic, silicone, 11.5 – 55.1 L of water, 
Smart robot toys, 166cm x 166cm x 31cm tank

Inert Peel, 2019
Site specific piece
12 x 340cm Chains installed in 12cm intervals

Tentative Artificial Echiura (Spoonworm)
Installation view, 2018
Dimensions variable
Acrylic, aluminium, Insides of an analogue metronome, and other found objects 

Oculus, 2017
200cm O x 5.5cm D
Pen, charcoal, cement, white cotton thread and acrylic on canvas

Back to Where it Began with White, 2017
200cm O x 5.5cm D
White cotton thread and acrylic on canvas

Astro Series: Luck, 2017
130cm O x 3cm D
White cotton thread and acrylic on canvas


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