Rho Jae Oon

b. 1971. Lives and works in Seoul. Roh Jae Oon has produced a number of web-based projects including V (vimalaki.net), AEGIPEAK, Bite the Bullet! and God4saken. Rho has had solo exhibitions at Insa Art Space, Art Space Pool, Gallery Plant and Atelier Herm?s. He participated in numerous group exhibitions at venues such as PLATEAU, the Samsung Museum of Art and the New Museum. His work has been presented in international biennials including the Gwangju Biennale (2006) and Busan Biennale (2012). Rho is currently a director of C12 Pictures. vimalaki.net

Wands, 2014
Mixed media interface, dimensions variable
Commissioned by SeMA Biennale Mediacity Seoul 2014
Wands is a work related to special visual effects, which are increasingly expanding their presence and influence in movies and computer games with the development of technology. However, this work does not aim to achieve extreme sensory stimulation or the maximum level of spectacle, which are the aims of technologies such as computer graphics or 3D visualization that are made possible by the accumulation of capital. Wands proposes to reference and appropriates countless special visual effect scenes that are developed through the history of film, or the context through which they went, to the furthest possible level. At the same time, the work suggests reexamining and reusing these effects through a completely different perspective than the current development of special visual effect.
As I see it, “wand” is a symbol that represents the phenomenon called special effects. In many films where special visual effects are applied, the wand is an item that possesses the power to move the unmovable and unleash confined energy. It is also an item possessed by those who have such power or those who are able to manage it (wizards, ascetics, prophets, or Buddhist monks with great magical powers). It connects humans with a certain energy of heaven and nature; it delays or expands time; it summons non-existence (ghosts or souls) or abolishes them in front of one’s eyes. One can imagine different wands that play a number of different roles.
Why should the wand, which has to belong to everyone, exclusively belong to the special visual effects industry? I assume cases where people do not become a simple and passive audience of special visual effects. I imagine that they usurp the wand from the cinematic space and make the special effect as a technical form vanish, or they possess the power to manage a wand with freedom. Wouldn’t it be possible to bring back the power of heaven and nature, things that are invisible, or the passion towards the world?
Through Wands, I ironically imagine a different kind of special effect within a space time where visible special effects have vanished. [Rho Jae Oon]