City Waterfall

Hong Soon-chyul
1996 (2022 reproduction)
Hong Soon-chyul, City Waterfall. 1996 (2022 reproduction). single-channel video (sound), monitor and urinal. dimensions variable (3 sets of video and monitor). 8 min 55 sec (loop). Reproduction: Donghyoun Kwon, Kim Kyoung-ho. Reproduced by the 12th Seoul Mediacity Pre-Biennale. Courtesy of the artist. The 12th Seoul Mediacity pre-Biennale I Station. Nam-Seoul Museum of Art. 2022. Photo: Lee Euirock
Hong Soon-chyul, City Waterfall. 1996 (2022 reproduction). single-channel video (sound), monitor and urinal. dimensions variable (3 sets of video and monitor). 8 min 55 sec (loop). Reproduction: Donghyoun Kwon, Kim Kyoung-ho. Reproduced by the 12th Seoul Mediacity Pre-Biennale. Courtesy of the artist. The 12th Seoul Mediacity pre-Biennale I Station. Nam-Seoul Museum of Art. 2022. Photo: Lee Euirock
Hong Soon-chyul, City Waterfall. 1996 (2022 reproduction). single-channel video (sound), monitor and urinal. dimensions variable (3 sets of video and monitor). 8 min 55 sec (loop). Reproduction: Donghyoun Kwon, Kim Kyoung-ho. Reproduced by the 12th Seoul Mediacity Pre-Biennale. Courtesy of the artist. The 12th Seoul Mediacity pre-Biennale I Station. Nam-Seoul Museum of Art. 2022. Photo: Lee Euirock
Hong Soon-chyul, Drawing of the City Waterfall project, 1996. Pen on paper. 21 × 29.7 cm each (2 pieces). Courtesy of the artist. The 12th Seoul Mediacity pre-Biennale I Station. Nam-Seoul Museum of Art. 2022. Photo: Lee Euirock
Hong Soon-chyul, City Waterfall, 1996. single-channel video (sound), monitor and urinal, drawing. 200 × 500 × 300 cm (4 sets of video and monitor), 8 min 55 sec (video). Courtesy of the artist. Collection of Seoul Museum of Art. The 1st SEOUL in MEDIA 1988-2002. Seoul Museum of Art. 1996. Photo courtesy of the artist
Hong Soon-chyul, City Waterfall, 1996. single-channel video (sound), monitor and urinal, drawing. 200 × 500 × 300 cm (4 sets of video and monitor), 8 min 55 sec (video). Courtesy of the artist. Collection of Seoul Museum of Art. The 1st SEOUL in MEDIA 1988-2002. Seoul Museum of Art. 1996. Photo courtesy of the artist
Hong Soon-chyul, City Waterfall, 1996. single-channel video (sound), monitor and urinal, drawing. 200 × 500 × 300 cm (4 sets of video and monitor), 8 min 55 sec (video). Courtesy of the artist. Collection of Seoul Museum of Art. The 1st SEOUL in MEDIA 1988-2002. Seoul Museum of Art. 1996. Photo courtesy of the artist
Hong Soon-chyul, City Waterfall, 1996. single-channel video (sound), monitor and urinal, drawing. 200 × 500 × 300 cm (4 sets of video and monitor), 8 min 55 sec (video). Courtesy of the artist. Collection of Seoul Museum of Art. The 1st SEOUL in MEDIA 1988-2002. Seoul Museum of Art. 1996. Photo courtesy of the artist
Hong Soon-chyul, City Waterfall, 1996/2024. three-channel video (color, sound). 8 min 5 sec. Video Editing: Kim Kyoung-ho, Studio SUJIKSUPYUNG. Commissioned by the 13th Seoul Mediacity pre-Biennale. Courtesy of the artist. The 13th Seoul Mediacity pre-Biennale STATION - IMAGE COMMUNITY. SeMA Bunker. 2024
Hong Soon-chyul, City Waterfall, 1996/2024. three-channel video (color, sound). 8 min 5 sec. Video Editing: Kim Kyoung-ho, Studio SUJIKSUPYUNG. Commissioned by the 13th Seoul Mediacity pre-Biennale. Courtesy of the artist. The 13th Seoul Mediacity pre-Biennale STATION - IMAGE COMMUNITY. SeMA Bunker. 2024
Hong Soon-chyul, *City Waterfall*. 1996 (2022 reproduction). single-channel video (sound), monitor and urinal. dimensions variable (3 sets of video and monitor). 8 min 55 sec (loop). Reproduction: Donghyoun Kwon, Kim Kyoung-ho. Reproduced by the 12th Seoul Mediacity Pre-Biennale. Courtesy of the artist. The 12th Seoul Mediacity pre-Biennale I *Station*. Nam-Seoul Museum of Art. 2022. Photo: Lee Euirock

The 1st SEOUL in MEDIA 1988–2002 proposed an organic way to enjoy artworks that transcended the distinctions of existing art systems—as symbolized by the exhibition hall—and approached urban environments. Hong Soon-chyul’s City Waterfall is a piece that clearly manifested such intentions. The toilet functions as a symbol of the city’s banal public spaces, while video footage played on a monitor connected to the toilet confronts passers-by and potential audiences amid a liminal zone of everyday imagery of the sort that is perpetually presented on electronic boards outside the exhibition hall. A composition of virtual nature of contemporary society, which is capable of networking manifold spaces in Seoul, are also integral to the artist’s drawings. In the Station, still images from the work are screened by the media board at the entrance of Nam-Seoul Museum of Art, in order to connect the inside and outside of the exhibition space.

Hong Soon-chyul, Drawing of the City Waterfall project, 1996. Pen on paper. 21 × 29.7 cm each (2 pieces)

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