TWO VISITS TO JINJOON LEE'S AUDIBLE GARDEN
by Justin Coombes
* Dr Justin Coombes is a poet, artist and a Senior Ruskin Tutor at the Ruskin School of Art, Oxford University.


(...) Jinjoon Lee draws on a range of media including sculpture, new media installation and architecture to explore perceptions of utopian space and its attendant ideologies in his films, writing, photographs, scrolls and installations. Rich in metaphor and highly allusive to a wide range of both Far Eastern and Western cultural traditions, (...)
by Arnaud Petit
* Dr Arnaud Petit is Sub Dean and Stipendiary Lecturer in Philosophy at Brasenose College, University of Oxford. 


One is not thrown into Audible Garden: one is drawn in. Slowly, at first, then all at once. Before anything, there’s a melody: the song of a bird chirping, nowhere to be seen, and yet somewhere, present. And then: the chirping becomes a laugh, a cry of joy; the bird has ceased to be a bird for an instant and is now a child. But only for an instant. (...)
by Minji Chun
* Minji Chun is an art critic, curator, and translator based in Seoul and Oxford.

 Audible Garden, which was held at the Korean Cultural Centre UK, is Lee’s first solo exhibition in over 10 years since Artificial Garden in 2011. Through the use of sound installations and interactive sculptures, the artist has transformed the static nature of a traditional garden into a dynamic and immersive experience. Lee, who has meticulously studied the liminoid experience and liminal space through light, sound, and East Asian Garden philosophy, envisions the intersection of art, technology, humans, and space. (...)
by Daha Kim

In the solo exhibition, in the production of art, the methodology used in science seems actively adopted. Usually, raw data that align with the question of scientific researchers are transformed into information and concluded with the knowledge that fits to the early hypothesis. The artist transformed audio-visual data into artwork which is not hypothesized as that of the scientists. Audio Midi data were transformed into the sound and visual results. The visual video data were converted into an abstracted form. The transformation and translation produce unexpected idiosyncrasy. (...)
by Sunghoon Lim
* Sunghoon Lim is an aesthetician, art critic. 

One autumn day in 2022, when the afternoon sun starts to set down and the evening light gets dusky, I met media installation work of Jinjoon Lee entitled Manufactured Nature: Irworobongdo (hereinafter abbreviated as Irworobongdo) at Changgyeonggung Palace. This installation work created based on AI technology makes us realize how immensely art can take us to a different cultural landscape. 
by Wonbang Kim
* Wonbang Kim is art critic, Professor of Hongik University.

The basic elements which constitutes the work are 3: light which is flamboyant and oneiric and which associates the stage of shows or theaters; space where endlessly reproduces and expands because of being full of mirrors and a stainless steel object which is installed in the center and is seen as if it is a stage for the performance of lead characters. I believe that those 3 elements could induce the psychological experiences of spectators. (...) 
by Yong-sung Baek
* Yong-sung Baek is art philosopher, Professor of Humanitas College of Kyung Hee University

“A religion without practice is no longer a religion." This applies equally to their lives and their destinies. It also holds true for art. Art without practice is already an institution, a self-repeating cycle captured within a hierarchical system of 'aesthetic division' like that expressed by Rancière. However, the practitioner bears a precarious fate, in a dual sense. (...) 
by Choo-young Lee 
* Choo-young Lee is curator of National Museum of Modern and Contemporary Art, Korea.

The gift given equally to all human beings by the divine is death. Death is an inevitable object that no human can avoid, and it was a subject of fear and awe. On the other hand, death was a presence of immense and fatal attraction that did not tolerate human resistance. Curiosity about the world beyond death and the desire for escapism from reality enabled voluntary death. (...)
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