Sangjin Kim

I know this steak is not real, 2020

In ancient dream-readings, auto-fellatio has been considered an unnatural act, distinct from masturbation, indicating an utmost loss in life, such as the death of one’s children or wife and dire poverty. Such introverted circulation, in which the inevitable external narratives from desire to compensation have been destroyed, rushes up to an ouroboric error, where there is no beginning — the extinction of the dialectic border — so there is no end, and thus no beginning.

However, auto-fellatio in today’s world is rather a play emerged from the emptiness caused by cathartic affluence than a tragedy provoked by cathartic loss. (Drastic loss and drastic fulfilment are two different names of drastic emptiness.) Now everything is being substituted by the language of the tool, and therefore, inevitably every narrative is becoming hollow. Old signs that had been holding the structure of the authority and its narratives have now lost their altitudes, and are being replicated endlessly without context, in a flat network as commodities of display. The desperation of the original has long gone. Now we are leaving the heavy body, which has become a mere device for maintaining the Self, and ceaselessly throwing ourselves into the swamp of the lost signs and thus into the bog of the boring plays.

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The right-wing suspension and engine are the moving force of the craft. The gas-based G4 Anti-Shock suspension avoids damage caused by the vibrations of the engine. The acoustics inside the suspension are best described as having an unexpectedly pleasant vibrato.