Jin-me Yoon

Festivals: M:ST 9 Biennial | September 7 - October 7, 2018.


Relaxing into Relation

An individual and collective performative experiment: physiological relaxation as a basis for a conversation. Focus: relational identities. How: by literally suspending our bodies in a sensory dep­rivation tank thereby loosening our sense of the bounded self and then talking.

I am interested in how we can discuss con­cerns related to identity, power, and oppres­sion in a relaxed state. I simply want to see what would happen to the quality of the dis­cussion when physiologically and neurologi­cally our systems are in a state of relaxation.

In particular, I am interested in discuss­ing inherited histories of colonialism. As a racialized immigrant to Canada from a former colony of Japan, I am interested in indigenous, non-indigenous relations and how to move forward, especially in rela­tion to art making and its possibilities for bringing about other imagined futures.

We will float individually then come together and have tea. We will share a conversation about what participants deem important related to the concerns stated above. As we know, altering and expanding our bound­ed self through various means has been widely practiced in many cultures. It can take us elsewhere, to see otherwise. Can another form of sociality be brought forth that is not based on the ad­versarial? An alternative way of being that is less prone to othering? The experience of each person taking something away is enough without trying to immediately instrumentalize it. However if useful, could provide a template for discourse-making.



Born in Seoul, Korea, Jin-me Yoon immigrated to Vancouver in 1968 where she lives and works. Since 1992, she has been teaching in the Visual Art program at the School for the Contemporary Arts, Simon Fraser University.

Since the early 1990s Yoon’s lens based practice in photography, video, and installation has reexamined questions concerning history, place, identity, and the body supported by an underlying interest in how these very questions are based on entangled and interdependent relations. Landscapes, particular sites and cities, people, and materials provide a departure point for broader issues and geopolitical histories to be identified.

Over the past three decades, Yoon has widely exhibited her work across Canada as well as international venues such as the Centre Culturel Canadien (Paris), Pollock Gallery, Meadows School of the Arts (Dallas, Texas), Ssamzie Space (Seoul), Seoul Museum of Art, IASmedia (Seoul), Marronnier Art Center (Seoul), Kumho Museum of Art (Seoul), Kunstlerhaus Stuttgart, Beppu Contemporary Art Festival (Japan), Yokohama Citizens Gallery, Tank Loft (Chongquing, China), Yuangong Art Museum (Shanghai), Centro de la Imagen (Mexico City), Centro Cultural Montehermoso (Vitoria-Gasteiz, Spain), Govett-Brewster ArtGallery (New Plymouth, New Zealand), Centre d’art contemporain de Basse-Normandie (France), Australian Center for Contemporary Art (Melbourne), Third Istanbul Biennial of Contemporary Art, and Garage Museum of Contemporary Art (Moscow).

In 2009, she was a finalist for the Art Gallery of Ontario’s Aimia PhotograhyPrize and in 2013 was awarded a Smithsonian Artist Research Fellowship.