Anne Duk Hee Jordan's artistic universe is populated by humorous robotic machines with which she explores connections to other species and ecosystems.
With I must alter myself into a life-form which can exist on this planet, we present the first solo exhibition of the German-Korean artist Anne Duk Hee Jordan in a Swiss museum. In her installations, the artist creates experimental
and futuristic scenes in which she questions the conventional attributes
of nature, culture and technology. In her imaginative and immersive
installations, Jordan addresses ecological and socio-political issues in
equal measure, creating enthralling arrangements of intertwined
environments in which she makes visible the small things that are
usually hidden from perception. She translates the complex ecological
problems of our time into visually experienceable, pleasurable worlds
and does so with a tongue-in-cheek humour that makes new perspectives
and approaches to solutions possible. Her works refer to the theories of
a post-anthropocene in which humans are no longer the centre of
attention but part of networked ecosystems. In this sense, Jordan's
works are both inspiring and evocative.
With her cautionary exhibition title "I must alter myself into a life-form which can exist on this planet", Anne Duk Hee Jordan refers to the imperative of our time: to harmonise with the environment and nature to avoid endangering our planet even further. To this end, she creates experimental and futuristic scenarios, working with sculptural, biological and kinetic elements to address a changing environment in which humans and non-human beings can evolve together. Her worlds have something sensual and playful about them and open up a new view of our environment, propagating new models of community between all living beings. Jordan sensitises us to a "togetherness with our environment" in the spirit of the theories proposed by Donna Haraway, philosopher of science and cyborg pioneer, regarding the kinship of species. "Making Kin", a term that finds expression in many of Jordan's works, is a maxim coined by Haraway that calls for symbiosis between species.
In her artistic practice, Jordan often combines existing works into new constellations that, in the context of an exhibition, create a form of Gesamtkunstwerk that addresses her inquiry into the ecological in new and inspiring ways. Transience and transformation emerge again and again as questions and themes. For instance, biological processes of decay and transformation are made vivid in time-lapse. Her works are compelling due to their unique aesthetic, which is nourished by a combination of documentary motifs and artistic imagination. Jordan directs our gaze to the details, allowing us to experience the world from both a micro and macro perspective in her works.