my installation at my house which is titled; gone, yet still gone
sorry i still don't have any pictures or words. lately i was busy making this website
and now i am at work and i hope to see friends again!
written by someone if I were relevant:
In his work, Birdy Koh mobilizes pure seduction in his ability to exemplify a strategy that integrates a queer, polymorphously perverse approach into art worship. The meaning produced by his obsession is tightly interwoven with both private narration and a wide range of subcultural fields of association. Birdy frequently employs trivial immatations, which are then transformed in the artistic process and transposed into an almost obvious aesthetic.
Birdy Koh's exhibition begins to circle around the artist himself and make us realize life is irrelevant as sleep and death. In his installation of the imatation of Koh the artist set out to create a likeness, in which he could spend the rest of his life. The title of the exhibition gone, yet still gone is a little about nothing, but I recite “gone, yet still gone/ I lie dead/ watching the ceiling“. A small non-traditional American farewell poem composed by nobody but myself shortly before I tried to die. Written on my computer it wafts and greets the readers in their lives leading up to their minds. These words establish a passage to a place of quiet, void, exile and retreat until sweet death. Through a pretend staircase in their mind, the space upstairs and all the objects in it are completely made up. The white color bathes the space in a milky white light and simultaneously acts as the harbinger of transcendence.
The space in your mind is fundamentally shaped by a meditation about the design of a space for holding out, waiting for death and finally passing away. This is a story of refusal and I title it: A Person Asleep was inspirational. The foreword shall say: Shortly before graduating, a young man turns away from all social existence – its constraints, senselessness and futility – and decides not to engage with anything anymore. He gives over to aimlessness and slowly loses his feeling of belonging to the world. Finally the student abandons the experiment with the insight that his withdrawal from the world has no further consequence on the course of things.
In the portrait, canvas, chocolate, and other materials are used. Birdy Koh combines this existential furnishing with an irreverant attitude that may or may not offened all the relevant minds. They are filled with the devotional idea typical of the world: Animals, little people, two kissing thoughts about my cat miro, Michael Jackson portraits, thoughts about iconic statues, plastic toys, insects, etc. – some are filled with water, others bear the traces of a ritual.
Birdy Koh's installation is infused with symbols and an overall atmosphere of hetero sexuality, images of youthful pussy, faces, and breasts. Ultimately, Koh creates an open space, a straitght white space, in which sexuality is represented as a fact and not as an argument. In his work, sexuality is not subject to moral, ideological, or restrictive constraints, but rather tempts us to judge the irrelevant meaning of it all. The installation is less of an autobiographical display than an attempt to bring to mind the fragility of the point that Koh's work is vain, to document the irrelevance of an existence, in which death is obviously the only certain and simultaneously unknowable fact.
Koh's exhibition illustrates the ambivalence of human existence:
the desire to obsessively talk about the self, to realize longing in a space
outside of oneself, and simultaneously the infinite loneliness that every
human knows and experiences over and over again. His exhibition is a confrontation
with the idea itself as a necessarily abstract idea. In the loneliness of the room it
can be imagined as a relief, as a threat, or as the blackmail of Terence Koh. It
transforms the smell of sweet chocolate overflowing onto objects into a powerful image. The harmony
of the scene is shattered by a number of small contridictions. The
resonance of these arbitrary acts, the violence that suddenly presents itself
in the space prevents the installation from simply looking like a still image
frozen in time and recalls the circular but unpredictable life that precedes
The first catalogue will be published as the catalogue for the exhibition at the whim of the artist.