Beak Jungki, Natural History Museum: Placentalia , 2019, Water, Bottle, Label, Steel, Mixed media, Dimensions variable ©OCI Museum

From March 13 to May 4, 2019, OCI Museum of Art (Director: Lee Ji-hyun) presents Beak Jungki’s solo exhibition 《Contagious Magic》. Having previously gained recognition through his participation in prestigious young artist programs such as 《The Emerging Artists》(2013, National Museum of Modern and Contemporary Art, Korea) and 《Art Spectrum》(2016, Leeum, Samsung Museum of Art, Korea), Beak returns after four years with a more mature artistic language and an expanded conceptual framework.

The exhibition title, "Contagious Magic," refers to a widely observed belief that objects, once in contact, continue to influence each other even after being separated. This principle is reflected in various cultures, such as the common belief that keeping a loved one's belongings maintains a connection to them or the idea that a doll infused with a person's hair can be used to cast spells upon them. Baek Jungki extends this concept, exploring how unseen forces continue to interact across time and space through bold artistic forms.

His artistic rituals, previously centered on rain-invocation ceremonies, have evolved into an exploration of traditional architecture, leading to works that incorporate 3D-printed objects and metal pipes, such as Dragon’s Lair(2019) and Chimhodu(2019). These new works expand into architectural structures, transforming the museum into a space imbued with mystical and ritualistic symbolism. His approach highlights a deep engagement with traditional Korean architectural ornamentation, which he has studied firsthand by traveling across the country to explore cultural heritage sites. His efforts to integrate these elements into contemporary art demonstrate the continuity of his artistic interests.

Materia Medica: Cinis(2017) ©OCI Museum

The exhibition also features the Korea debut of his installation and video work Materia Medica: Cinis(2017), in which Baek collects debris from fire sites, grinds and dilutes them, and refines them into a form of treatment. Based on the homeopathic principle of similia similibus curantur (like cures like), this work embodies a healing perspective that does not turn away from wounds but rather confronts them directly, addressing both physical pain and psychological trauma.
 
His new work, Natural History Museum: Placental Mammals, is also inspired by homeopathy. The medicinal properties of natural substances remain effective even when diluted to minute traces. Similarly, all life on Earth sustains itself through contact with water, suggesting that traces of all living beings persist within it. Baek presents this idea in the form of a "natural history museum," emphasizing the interconnectedness of life through water.


Is of: Seoul(2013–) © OCI Museum

Additionally, his ongoing projects, including Is of: Seoul(2013–), which captures Seoul’s landscapes using Han River water as ink on litmus paper, and Is of: Autumn(2017), in which pigments extracted from autumn leaves are used to print images of autumn mountains, are also showcased in this exhibition. These works offer a renewed perspective on the themes Baek has continuously developed over the past decade.

By seamlessly traversing the boundaries between science, art, and magic in his exploration of the fundamental essence of life, Baek Jungki’s exhibition signals a generational shift in Korean contemporary art. It is hoped that his fresh artistic approaches and unconventional perspectives will challenge preconceived notions and contribute to the evolution of the contemporary art discourse.

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