Solo Exhibitions (Brief)

HAN’s solo exhibitions include 《Palindrome》 (Incheon Art Platform, Incheon, 2023), 《Logistic Feedback》 (Platform-L Contemporary Art Center, Seoul, 2023), 《Audio Feedback: The True Balancer》 (Oil Tank Culture Park, Seoul, 2022), 《Radio Shower: 3-3000MHz Listening Session》 (Windmill, Seoul, 2022), and 《Feedbacker: Ambiguous Borderer》 (OCI Museum of Art, Seoul, 2021).

Group Exhibitions (Brief)

HAN has also participated in numerous group exhibitions, including 《2084: Space Odyssey》 (Culture Station Seoul 284, Seoul, 2024) as part of UNFOLD X 2024, 《Random Access Project 3.0》 (Nam June Paik Art Center, Yongin, 2023), 《Whisperwhispering》 (TINC, Seoul, 2022), 《Tune made with art and technology》 (Bupyeong Art Center, Incheon, 2021), and 《Follow, Flow, Feed》 (ARKO Art Center, Seoul, 2020).

Awards (Selected)

HAN was the final winner at the exhibition 《New Media Art》 (Seoul Arts Center, 2021) and was selected as an OCI YOUNG CREATIVES artist in 2020.

Residencies (Selected)

He also participated in the Incheon Art Platform Residency in 2023.

Originality & Identity

JSUK HAN expands the concept of “feedback” to the center of artistic inquiry through the physical phenomena of light, sound, and vibration. He notes that the relationship between input and output, reception and transmission, forms a loop of interaction and circulation rather than a simple delivery structure. Here, feedback is presented not merely as a technical phenomenon, but as a “living system” that continuously generates and disappears while containing unpredictable mutations and errors. Through this, HAN explores both the incompleteness of communication and the nonlinear order of the world.

His early Live Feedback (2020–2021) series models the circulation structure of information on social networks, revealing feedback loops that repeat infinitely with unspecified senders and receivers. This structure also serves as a metaphor for how data in contemporary society self-proliferates and overwhelms human perception.

In his solo exhibition 《Feedbacker: Ambiguous Borderer》 (OCI Museum of Art, 2021), the work Ambiguous Borderer (2021) extends this series, exposing moments of error that mechanical systems cannot predict through reciprocal “dialogue” between AI speakers, and presenting a zone where the boundaries between human and machine, subject and object, become ambiguous. Another exhibited work, Constellate (2021), experiments with a space where “events occur on their own” through flashes and noise generated by the connection/disconnection among secondhand speakers, positing feedback as a mechanism of growth.

A turning point where the theme expands to natural and physical systems is 《Logistic Feedback》 (Platform-L, 2023). Here, he translates the logistic map and bifurcation into sound to make patterns of nonlinear growth and chaos audible. In the same year, in 《Palindrome》 (Incheon Art Platform, 2023), he expands the palindromic concept of “reading the same forwards and backwards” into the resonance of complementary binaries—up/down, forward/reverse, plus/minus—to construct a cyclical sense of time in which beginnings and endings blur, like sunrise and sunset.

His scope clearly broadens to invisible media as well. 《Radio Shower: 3–3000MHz》 (Windmill, 2022) translates radio waves in the 3–3000 MHz band into light and sound, rendering perceptible the “invisible shadow” of the city. In 《Random Access Project 3.0》 (Nam June Paik Art Center, 2023), he implements a structure in which the vibration of speakers induces or interrupts the contact of copper rods, blinking light and sound; this shows the interdependence of input/output as a chain of “utterance–response–re-utterance.”

Recently, he has expanded his perspective to an “ecology of listening.” The collaboratively developed Howling Vault I/II/III (2024) at Oksang Factory amplifies audio feedback in an ambisonic environment, drawing the audience’s bodies into the system as variables (the audience’s movement and posture are immediately reflected in the sound field). Nidifying the Sonic Creatures (2024, UNFOLD X) presents generational shifts of autonomously evolving “audio objects” via flocking and genetic algorithms, proposing the birth/death and swarming behavior of nonhuman entities as a sonic ecology.

Style & Contents

HAN’s work employs audio output devices—speakers, microphones, wires, metal rods, electronic components—as primary materials, adopting sculptural, installation, and performance formats to test the interaction of light and sound. By making physical vibration, electronic signals, and resonant frequencies visible and audible, he induces an expansion of perception beyond sensory limits. In Constellate, irregular light and noise arise from electrical interactions among secondhand speakers, transforming the exhibition space into a site of unpredictable events.

The mediational potential of his self-built sound systems expands rapidly in 2022–2023. In 《Radio Shower: 3–3000MHz》, invisible electromagnetic waves are translated into sound and light to construct a frequency–image map and configure an “invisible sound field,” prompting reflection on waves that cannot be captured by human senses.

A shift toward performance and spatial acoustics is also notable. The live rendition of Central Dogma in 《Random Access Project 3.0》 amplifies real-time interactions among light, sound, and operation through collaboration with fellow artists. Howling Vault implements an omnidirectional sound field (up/down/front/back) with a 7-meter vault structure and a 12-channel configuration, and amplifies a feedback loop through a central microphone. Within the sound field, audiences become “co-performers” who can alter frequency response, delay, and phase relationships simply by moving.

The recent work Nidifying the Sonic Creatures stages the emergence–reproduction–extinction of algorithmic sonic entities through 16-channel control and LED/PVC structures. Here, the artist realizes a sonic ecology of nonhuman entities via autonomously evolving “audio objects,” proposing a sensory horizon that exceeds human-centered aural perception.

Topography & Continuity

HAN’s practice sits at the intersection of sound art, generative art, and Mono-ha’s thinking. While inheriting Mono-ha’s attitude that emphasizes the materiality of things and phenomenological operation, he employs digital systems and algorithms to explore the complexity of technical and physical feedback. This pursuit carries forward the expansion of “sound–machine–human” relations proposed by electronic media art after Nam June Paik, while renewing the social and ecological meanings of feedback within today’s networked environment.

His feedback systems function not as mere technical devices but as metaphors for contemplating existence and relation. Within nonlinear spaces entangled with countless noises and errors, HAN searches for the “truth of imbalance” rather than “perfect tuning,” sensorially revealing the order of a world that resists control. This aligns with an artistic ethic that seeks to construct a sonic ecology cohabited with nonhuman entities, moving beyond an anthropocentric perspective.

In this context, HAN draws an original trajectory along the boundary of contemporary sound art and new media art. He goes beyond simply utilizing the technical properties of media, expanding feedback into a vital mechanism that explores the resonance of a complex world where art and nature, humans and machines, are entangled. Going forward, his work is likely to continue proposing new possibilities in “sound–space,” where sensory experience and algorithmic thinking converge.