Ta-iL, Bada Song

Reading time:

Bada Song, Gallery 1

Preview: 24th January, 6-9pm

25th Jan 2014 – 1st March 2014

The 
Agency 
is 
pleased 
to
 present 
works 
on 
paper
 by 
Korean
artist 
Bada
 Song 
in
Gallery 
1

Bada
 Song 
has 
been  
recognised
 for 
her 
strong 
position 
as 
a 
mark‐maker 
who 
is
influenced 
by 
her 
performance 
practice.
Her 
approach 
to 
drawing 
is broad
 and 
cross‐disciplinary,
involving
 live 
performance,
photography,
sound 
pieces,
video 
and 
painting.The
 ‘
 Leitmotif”
 of
 Song’s
 practice
 is
 Ta‐iL,
 a
 continuing
 series
 of
 representations
 of
 traditional
 hanok
 roof‐ tiles 
as 
a 
symbolic 
pattern.

The 
word 
Ta‐iL 
is 
a 
phonological 
play 
on
 the 
English 
word 
’tile’. 
It 
does 
not 
exist in
 Korean
 but
 is
 made
 up
 by
 the
 artist
 in
 reference
 to
 the
 common
 appropriation
 of
 English
 words
 into
 the Korean
 language 
using
familiar 
Korean 
sound
 patterns 
and 
English 
spelling. 
Song’s 
interest 
in 
the 
roof 
tile 
as a
 symbol
 of
 shelter
 stems
 from
 a
 specific
 Korean
 context:
 During
 the
 Japanese
 occupation
 of
 Korea
 until 1945
 traditional
 house
 building
 was
 discouraged,
 and
 in
 the
 subsequent
 Korean
 War
 (1950‐53)
 much
 of
 the housing
 stock
 was
 demolished.
 Post-war
 there
 were
 little
 funds
 and
 the
 devastated
 traditional
 hanok housing 
in 
urban 
and
 rural 
areas 
was
rapidly 
replaced
 by
hundreds 
of 
plain
 low-cost
apartment 
blocks, 
built  fast 
as 
company
housing
 on 
the 
periphery 
of 
the 
urban 
centres 
of 
South 
Korea.Despite
 the
 obvious
 and
 relevant
 direct
 references
 to
 hanok
 architecture,
 Ta‐iL
 as
 a
 conceptual
 principle
 underpins most
 aspects
 of
 Bada
 Song’s
 practice.
 The
 tile/
 cover
 also
 signifies
 shelter,
 covering,
 also
 the
 gesture
 of
 covering
 one’s face
 to
 hide
 emotions
 or
 covering
 one
 motif
 with
 another.
 Her
 recent
 triptych
 of
 Yeonji (2013)
 consists
 of
 three elements:
a
 photograph 
showing 
the 
artist 
as 
a 
traditional
 Korean 
bride,
her
 face
obliterated 
by 
a 
red 
circle, 
a 
diptych 
of sound
 pipes,
 covered
 in
 red
 nail
 varnish
 and
 lipstick
 marks
 emanating
 the
 sound
 of
 Bong
 Sun
 Flower,
 a
 Korean resistance
 song
 with
 a
 significant
 literary
 reference
 in
 Theresa
 Hak
 Kyung
 Cha’s
 1982
 post-structuralist
 novel
 Dictee and 
thirdly 
a 
life 
performance 
of 
the 
song 
with 
the 
artist 
covered 
by 
a 
giant 
cloth
hand
-sewn
 from
red 
circular 
pieces. 
All three
 elements
 reveal
 different
 rigorous
 approaches
 to
 layering
 and
 covering
 as
 a
 wider
 application
 of
 mark-making. This 
is
congruent
 with
 the 
dense 
graphite 
mark 
formations 
of 
her 
much 
more 
minimal 
Ta‐iL
 drawings.Bada
 Song’s 
work 
is 
a 
confident
 and 
intriguing 
way 
of 
negotiating 
drawing 
from 
a
premise,
which 
does
 not 
limit 
it 
to 
a 
genre. 
Instead 
her
 gestural 
and semiotic 
approach
opens 
drawing 
up 
as 
a 
cross‐medial
 art 
form.Bada
 Son g
was
 born 
in 
Jeju
 Island,
and 
grew 
up 
in 
Seoul, 
Korea. 
She 
moved 
to 
London
over 
a 
decade 
ago 
and 
was 
awarded 
the 
Jerwood 
Prize (
2nd) 
for 
Drawing 
in 
2012.

from: the Agency, 66 Evelyn Street, London SE8 5DD