KORKUT2026

Мәңгілік жел салтанаты

II Korkut үн өнері триенналесі

Триеннале дыбысқа және дыбысты қабылдауға арналады әрі институционалды шекаралармен шектелмей, кең диапазонды дыбыс практикалары үшін кеңістік жасайды. «Мәңгілік жел салтанаты» жобасы аясында екі ай бойы мұнда дыбыс инсталляциялары орнатылады, дыбысты қабылдау және дыбыс серуендері сеанстарын қамтитын тікелей іс-шаралар, гибридті дәрістер, пікірталастар мен шеберлік сыныптары, соматикалық перформанстар, сондай-ақ дыбыс мүлдем жоқ немесе ол мүмкін болмайтын орта мен дыбыс рәсімдерін зерттеуге жол ашылады.

«Целинный» заманауи мәдениет орталығы

Sojung Jun

Biography

Sojung Jun's art transforms how we experience time — not through abstract theory, but by fundamentally changing how our bodies move through space. The Seoul-based artist, born in Busan in 1982, draws on her background in sculpture and media arts to explore how time does not always move forward in a straight line. What makes her approach remarkable is how physically grounded it remains, even as it opens up new ways of understanding chronology. Jun’s recent work with text and publishing extends this sensory exploration further.

At the heart of her practice is a focus on migrant workers, adoptees, refugees, and the visually impaired. But Jun is not simply making art about marginalized communities — she is fundamentally restructuring who gets to participate in the very architecture of perception. Her work asks not only who gets to see, but also who gets to be seen and felt.

Jun has been the subject of several solo exhibitions, including at The Showroom (London), Leeum Museum of Art (Seoul), and the Centre Européen d’Actions Artistiques Contemporaines (Strasbourg). Her work has also been featured in numerous group exhibitions, including the 11th and 12th Gwangju Biennale and the Performa Biennial (New York). She earned her BFA in Sculpture from Seoul National University and her MFA in Media Art from the Graduate School of Communication and Arts at Yonsei University.

Sojung Jun’s participation in Rites of Eternal Wind is supported by the Korean Cultural Center in Kazakhstan.

‍I Do Nine-Tailed Fox
‍Film and audiovisual performance (2025–2026)

Within the framework of the Triennial, Sojung Jun’s work will be presented in two iterations: as a single-channel video in the exhibition and as a collective audiovisual performance as part of the concert program.

Based on real stories of Koreans forcibly relocated to Central Asia during the Soviet period, the work engages with the Koryo-saram community in Kazakhstan, particularly the unique Korean Theatre in Almaty. Drawing on archival materials and contemporary video footage, Jun explores themes of migration, tradition, memory, and blurred identity, juxtaposing the history of the Koryo-saram with the myth of the gumiho — a nine-tailed shape-shifting fox. Working with the theatre’s women artists and tracing its sonic legacies, the film unfolds as a continuous, no-cut flow of AI-generated transitions, appropriating the gumiho as an apparatus of metamorphosis, branching, and polyvocality, braiding archaeology with speculative imagination.

The performance takes the form of an opera composed of nine nonlinear chapters, set in a speculative future in 2075. Guided by a “sound archaeologist” who excavates and reassembles lost voices and temporalities, the work is brought to life by nine musicians—a pansori singer, soprano, saenghwang player, North Korean gayageum player, thereminist, cellist, percussionist, dombra player, and conductor — who together weave an improvised soundscape. While the performance is anchored in the Korean narrative form of pansori, which entwines song, speech, and percussion, Jun extends its sonic texture with instruments that move across and beyond Korean heritage. The piece will be performed by an ensemble specially assembled for the Triennial, consisting of traditional, academic, and experimental musicians, in collaboration with the Korean Theatre in Almaty.

‍The Problem Child says:‍

“The wind is ever-changing. Today it carries the voices of the oppressors; tomorrow, those of the oppressed. I want to catch it, but it throws my words back into my face. Someday, we will be able to speak again.”