Minjun Shin
About
Works
Moving Images
Exhibitions
Cultural Activisms
Texts
- CV
- Contact
2026
Steel structure, urethane foam, found objects collected from Garbage dump, clay, paper, spray paint, gel medium
92.0 × 35.0 × 36.0 cm
This sculpture is made by combining a steel frame, urethane foam, and found objects to form its structure. Its surface is then treated through a low-tech transfer process using gel medium and photographic images, and the work is presented together with lighting.
Monuments generally function as devices that remember public histories and events of the past, forming social cohesion through acts of commemoration. As an extension of the artist’s research into memory and monuments, this work turns not toward the past, but toward the future. How can a future that was once desired but has disappeared be remembered? Furthermore, how can the utopian impulses that existed in that period be called back into the sensory field of the present?
Unlike conventional monuments, this work is composed of provisional materials that resist fixity, such as urethane foam, found objects, paper, spray paint, and gel medium. These materials function as markers of time, reconfiguring broken and scattered memories into a single sculptural body. Images once made to imagine the future are roughly transferred onto the surface through low-tech processes, while a red light source cuts through the mass, bringing past aspirations and unrealised futures into collision within one body.
Through this, past, present, and future collide within a simultaneous sensory field mediated by memory. The work allows the remnants of a future once desired but never reached to be sensed again, and asks us to recognise, within the present, the coordinates toward that future.
Monuments generally function as devices that remember public histories and events of the past, forming social cohesion through acts of commemoration. As an extension of the artist’s research into memory and monuments, this work turns not toward the past, but toward the future. How can a future that was once desired but has disappeared be remembered? Furthermore, how can the utopian impulses that existed in that period be called back into the sensory field of the present?
Unlike conventional monuments, this work is composed of provisional materials that resist fixity, such as urethane foam, found objects, paper, spray paint, and gel medium. These materials function as markers of time, reconfiguring broken and scattered memories into a single sculptural body. Images once made to imagine the future are roughly transferred onto the surface through low-tech processes, while a red light source cuts through the mass, bringing past aspirations and unrealised futures into collision within one body.
Through this, past, present, and future collide within a simultaneous sensory field mediated by memory. The work allows the remnants of a future once desired but never reached to be sensed again, and asks us to recognise, within the present, the coordinates toward that future.