Installation, performance, archaeology, takes on many facets the production of Seoul (now London-based) artist Shan Hur. His works can be read according to many facets, bordering on the definition of detritus, placed within neat museums, as if they were mistakes or a path not foreseen by the curator.
Attached to this is the theme of discovery and adventure, which Hur investigates by embedding common objects in concrete, as if they were archaeological finds brought to light. These same objects are commonplace, familiar to visitors, but transformed into new discoveries that represent the stage of a new transformation.
To hide the works in the wall is to ttivate a discourse on the meaning of buildings, capable of maintaining and concealing the illusions of men within their environments.
Shan Hur also makes compositions of objects arranged in perfect balance, or searching for the concept of balance, like those totems of stones that served a sacred function for some primitive civilizations. The artist combines objects such as basketballs or baseballs with heavy concrete blocks, creating a strong surreal contrast of structures and rewriting an idea of lightness and strength, which ends up being a subjective feeling and not something that can be experienced.
Walls and pillars with their rigidity are a useful subject for twisting a certain idea of reality, so here appear corroded columns that seem on the verge of having to collapse and others knotted as if they were made of rubber.
The game and the magnifying glass pointed at places that every day would not have much to tell us, but in Shan Hur’s works they become interesting peepholes within which to look.