Originality & Identity

Sungsil Ryu's artistic practice incisively delves into political and social issues within contemporary Korean society through the lens of black comedy. By dismantling the boundaries between reality and fiction at the intersection of capitalism and individual secular desires, Ryu exposes the inherent contradictions of today's social structures. Adopting the format of one-person media broadcasts, the artist employs performance, video, and installation to sharply critique modern social phenomena.

The 'BigKing Travel' series (2017-) exemplifies this thematic approach, depicting a fictional filial-piety travel agency that portrays a society where traditional values and neoliberalism intertwine. The travel agency 'BigKing Travel' markets filial-piety tour packages to elderly male clients, while the young female guide 'Natasha' operates strictly according to economic logic. Through this setup, Ryu humorously critiques how the traditional value of filial piety becomes distorted when intertwined with capitalistic profit motives.

In her first solo exhibition 《BigKing Travel Ching-Chen Tour》 (Post Territory Ujeongguk, 2019), Ryu presented a compressed 30-minute tour package set in the fictional resort nation of 'Ching-Chen.' Although it appears as a pleasant travel experience on the surface, the narrative ultimately revolves around the mysterious death of an elderly man, highlighting the tragic consequences of commodifying filial piety. The work satirizes how social customs become co-opted by capitalist logic, resulting in a distorted reality.

Her solo exhibition 《The Burning Love Song》 (Atelier Hermès, 2022) reflects a shift in focus amid the COVID-19 pandemic, portraying the transformation of 'BigKing Travel' operator 'Dae Wang' into a pet funeral business entrepreneur. This exhibition reveals the tragic reality of modern society, where even life and death are thoroughly commodified. By exploring the commercialization of death, Ryu critically addresses the progression from commodified filial piety to the broader industrialization of mortality within capitalist structures.

Style & Contents

Sungsil Ryu’s works traverse diverse media, with a notable emphasis on the one-person media broadcast format, which she uses to critique the contemporary media landscape. By deliberately incorporating excessive subtitles and low-grade audiovisual elements typical of YouTubers and BJs, Ryu exposes how today’s media environment is dominated by sensationalism and provocation.

One of the most striking examples of this approach is BigKing Travel 2020 (2020), which allows users to directly experience the fictional Ching-Chen tour through smartphone interaction. Adopting a game-like format, this work invites viewers to touch the screen and actively participate in the unfolding narrative, thereby critically examining the sensory experiences generated by digital technology.

Another significant project, the 'BJ Cherry Jang' series (2018-), features Ryu performing as the fictional character 'Cherry Jang,' a live-streaming BJ. Through exaggerated and provocative broadcasts filled with fake news and conspiracy theories, the character lampoons the contemporary media phenomenon of spreading social anxiety. Ryu’s use of absurd and theatrical presentation draws attention to the problematic consumption of mixed truth and falsehood within modern information environments.

In 《The Burning Love Song》 (2022), Ryu transforms the exhibition space into a pet funeral parlor, immersing viewers in the mourning ritual of a deceased pet. By facilitating an indirect experience of a commodified death, the work encourages reflection on the reality where human life and death have become commodified. This interactive presentation amplifies the irony of commodifying death and critiques the commercialization of human experiences.

Topography & Continuity

Sungsil Ryu's works consistently capture the contradictions of contemporary Korean society through direct expression and black comedy, effectively highlighting the clash between traditional values and modern capitalism. While her early works addressed the commercialization of traditional values like filial piety, her recent projects have expanded to critique digital media environments and the commodification of death, exploring how technological advancement merges with capitalist frameworks.

By actively incorporating the one-person media format while scrutinizing its inherent contradictions, Ryu’s works have become significant examples in the discourse of media critique within contemporary art. In an age where digital technology has become ubiquitous, Ryu’s practice not only unpacks the contradictions and problems inherent in modern life but also engages the public through humor and satire.