Touchless Yet Touched
Text by: Eunhee Kim
 
We live while experiencing the flow of sensation. Sight and sound, the bodily and the non-bodily, intersect closely to shape our experience. The exhibition 《Resonant Chamber》 proposes an experimental space where visual, auditory, and bodily experiences intersect and resonate.

Donghyeon Lim transforms specific sounds encountered in his daily life into visual forms. By tracing the characteristics of sound—such as its texture and shape—he reconstructs them into new auditory experiences. The objects created through this process are not merely records of sound, but function as instruments that generate new sounds.

The cycle in which auditory experience appears as visual form and returns again to sound forms a chain reaction akin to an orchestral ensemble. Through sensory transposition, these works offer viewers new experiences and construct an interface where sensory interaction takes place.

Daewon Yun visually reveals the tension that arises at the boundary between the virtual and the real, reinterpreting the meaning of “touch.” Through remote images, his work enables viewers to traverse the boundary between reality and virtuality, creating spaces where the bodily and the non-bodily coexist.

In such spaces, viewers are not merely observers but directly experience moments of coexistence and contact. Through this, he builds new interfaces between body and sensation within digital media environments, presenting transcendent connections and expansions of the senses.

The sounds resonating from Lim Donghyeon’s objects meet Daewon Yun’s digital bodies to form new structures of resonance. Together, they dismantle the boundaries between sight and sound, body and non-body, experimenting with sensory transformation and intersection. These experiments re-examine the original functions of our sensory organs and prompt us to reconsider how we perceive and understand the world.

Such sensory interfaces function not merely as tools for artworks, but as experimental fields that explore the possibilities of sensation. The cyclical relationship between sound and form collapses the boundary between hearing and seeing, while the contact between reality and virtuality redefines the relationship between body and non-body. Their explorations interact within the exhibition space, inviting viewers to create their own sensory connections.

《Resonant Chamber》 encompasses physical, emotional, and conceptual resonance, guiding viewers—standing within the space—to participate as part of the interface itself. In reality, everything in the world emits its own unique waves and frequencies, constantly in motion. When two objects, two people, or two worlds meet, vibrations inevitably arise.

Our senses generate waves between them, creating new fields of energy. Thus, the exhibition proposes that sensation is not merely the reception of stimuli, but an integrative process that transcends the boundaries between body and mind, reality and virtuality, vision and sound.

One cannot sense or empathize alone. To sense and to feel is ultimately an encounter with the other—a process of passing through another being. Touch begins by acknowledging differences between others, forging new connections within those differences, and seeking resonance.

Like instruments in a symphony that maintain their unique timbres while completing a single piece of music, it is an experience of opening oneself to others, becoming one together—an event of dynamic intersections where different worlds meet.

Through the cyclical chain reactions of sound and form, and through the contact between virtual and real that proposes new sensory systems, the exhibition resonates, delivering vibrations of existence that go beyond sensory experience. Feeling vibrations, air, wind, and fear, we come to recognize “being alive.” Perhaps what is most beautiful and precious to us is the fact that, here and now, we are able to fully feel that we are alive.

References

• 《Resonant Chamber》