OTHER VIDEOS

  • 2014 Groundhog Day Benefit Concert
  • About the Halsey Institute of Contemporary Art
  • Aggie Zed: Keeper’s Keep
  • Ahead of the Wrecking Ball: A film on Ronald Ramsey
  • Art, Life & Politics: Shepard Fairey in Conversation with Mark Sloan
  • Awaken the Wall – Shepard Fairey Paints Murals in Charleston
  • Black Boiled Coffee & the Cacophony of Frogs – Evon Streetman
  • Bloodline
  • Bob Trotman: Business As Usual
  • Creature Comforts – Volker Seding
  • Diary of Dust: A Film on the Work of Jumaadi
  • Don ZanFagna: INFRA/ULTRA
  • Doug Beube: Re-Breaking the Codex
  • EMMETT STILL: A Short Film by Fahamu Pecou
  • Erwin Redl ART AS SYSTEM
  • Erwin Redl: Cubes (3×16)
  • ERWIN REDL: RATIONAL EXUBERANCE
  • Hunter’s Paradise Found – Kevin Kelly
  • I Can Heal
  • If Wishes Were Rivers – Jerome Meadows
  • Jiha Moon: Double Welcome, Most Everyone’s Mad Here
  • Joseph Burwell and Herb Parker
  • Jumaadi: forgive me not to miss you not
  • Labyrinth – Motoi Yamamoto
  • Leslie Wayne: Recent Work
  • Lonnie Holley at Eddie’s Attic
  • Memory Speaks – Tiebena Dagnogo
  • MiniMusuem – Richard McMahan
  • Moon v 11-11-11
  • Mr. Bonetangles performs at the Groundhog Day Benefit Concert
  • PAPER PLANE PEOPLE SHADOW TROUPE
  • Paper, Wood, Rope etc. – E.H. Sorrells-Adewale
  • Patricia Boinest Potter: Patterns of Place
  • Pentagram of Loss – Pinky/MM Bass & Renee’ Cheveallier
  • Pulse Dome Project Slide Montage
  • Return to the Sea: Saltworks by Motoi Yamamoto
  • Return to the Sea: Saltworks by Motoi Yamamoto (Dismantling Ceremony)
  • Return to the Sea: Saltworks by Motoi Yamamoto (Making of)
  • Riccarda de Eccher: Montagna
  • Set in Stone: Zen Garden Installation by Long-Bin Chen
  • Shadow Puppet Performance
  • Shepard Fairey by Brett Novak
  • Something to Take My Place: The Art of Lonnie Holley
  • State of the Arts
  • That’s Show Biz!
  • The Paternal Suit: Heirlooms from the F. Scott Hess Family Foundation
  • White Days Unswallowed – Bob Ray
  • Work V. Work N. – Aldwyth
  • Jiha Moon: Double Welcome, Most Everyone’s Mad Here

    Produced and Directed by John Reynolds
    Executive Producer: Mark Sloan

    The Halsey Institute commissioned acclaimed videographer John David Reynolds to create a mini- documentary about Jiha Moon for the exhibition Jiha Moon: Double Welcome, Most Everyone’s Mad Here. In the video, the artist talks about her creative process and inspirations.

    Based in Atlanta, Georgia, Moon harvests cultural elements native to Korea, Japan, and China and then unites them with Western elements to investigate the multi-faceted nature of our current global identity as influenced by popular culture, technology, racial perceptions, and folklore. Featuring over fifty works, Moon blurs the lines between Western and Eastern identified iconography such as the characters from the online game Angry Birds© and smart phone Emojis which float alongside Asian tigers and Indian gods, in compositions that appear both familiar and foreign simultaneously.

    Moon’s witty and ironic work explores how Westerners perceive other cultures and how perceived foreigners see the West. Korean born, now living in the United States, Moon asks the pertinent question, “Why do people love foreign stuff so much? When we travel to other countries, explore different cultures, and meet with new people, we tend to fall in love with things that are not our own. People have a soft spot for foreign things. The world is so interconnected nowadays, how can you even tell where someone or something ‘comes from’ anymore?” In her work, Moon acts in the role of a traveler, and explores the notion that identity is not beholden to geographic location.

    Honoring traditional Asian arts through her use of Hanji paper, Korean silk, and calligraphic brushstrokes, throughout the exhibition she plays with iconography and symbols that have been classified as “foreign” such as blue willow china patterns, fortune cookies (which originated in California but are identified as Chinese), Korean fans, and floating dragons and intermingles them with references to Pop and southern folk art. Her use of the peach identified in Chinese mythology as a symbol of immortality is also a nod to her home state of Georgia’s mascot, the “Georgia Peach.” Moon transforms a traditional Korean fashion accessory called “Norigae” into endearing quirky manifestations of various personalities, with such names as Gloria and Rachel whose hair is interwoven with eclectic items such as children’s plastic barrettes or Native American beaded dolls. Her misshapen and whimsical ceramics reference southern folk art face jugs yet are painted in traditional Asian ceramic glazes and motifs. At the heart of the exhibition, Moon presents an installation featuring perceived kitschy elements of Asian home décor: low wooden tables and silk embroidered pillows placed on Japanese tatami mats. Displayed on the various surfaces are her unconventional ceramic works reflecting her interest in the “beautiful awkward” in which she makes reference to a tourist’s desire to collect foreign and exotic elements to beautify their houses back home.

    At first glance, Jiha Moon’s work appears as a mash-up of high-and-low brow cultural references. Upon further inspection, slyly ironic and humorous references emerge that are satirically filtered by the artist, who reminds us that our preconceived notion of “others” is not a true manifestation of actual identity.


    Community Partners 2017