Organised by Bangkok Art and Culture Centre, the Bangkok Metropolitan Administration, and incollaboration with Space for Contemporary Art and Korean Foundation for International Cultural Exchange Artists<\/strong> Undo Planet Part 1 <\/strong> The title \u201cUndo DMZ\u201d originates in DMZ Un-Do<\/em>, the name of a work by artist Haegue Yang. \u201cUndo DMZ\u201d uses art as a lens to imagine the current DMZ\u2014a symbol of war and division that teems with soldiers\u2014as a setting where the recovery of wildness and biodiversity has only been encouraged by the restrictions on people\u2019s access. The exhibition starts with works associated with birds, animals that are capable of freely flying over human-made national boundaries. Adrian G\u00f6llner\u2019s Trace<\/em> (2023), Young In Hong\u2019s White Cranes and Snowfall<\/em> (2024) and Accidental Paradise<\/em> (2025), and Jin-me Yoon\u2019s Dreaming Birds Know No Borders<\/em> (2021) all adopt birds as themes. <\/p>\n\n\n\n Trace<\/em> started from the artist\u2019s interest in birds that inhabit the DMZ or pass through it on their migrations. After observing wild birds during a residency near the DMZ, G\u00f6llner created drawings reflecting the presence of birds that live in the refuge represented by a space on the boundaries, outside the field of human view. Hong\u2019s White Cranes and Snowfall<\/em> is an installation work in which eight pairs of shoes made with sedge have been placed on white pebbles. The resulting world conveys the impression of the shoes of a crane having been set down on snow. The work is presented alongside the same artist\u2019s Accidental Paradise<\/em>, a sound-based work combining the cries of cranes with the artist\u2019s own voice and natural sounds from the DMZ. This work breaks down the hierarchies between species and the boundaries separating fiction from truth and stories from voices. Yoon\u2019s Dreaming Birds Know No Borders<\/em> is a video work focusing on the story of an ornithologist whose family was separated by the Korean War. Through the medium of a traditional Korean crane dance, it connects history and place with the disconnection within family.<\/p>\n\n\n\n Following these bird-centred works are creations by the Thai artist Akkachet Sikkakorn and the Korean artist Joon Kim. Sikkakorn\u2019s Fragile Memories<\/em> (2025) was based on a field survey examining records of the war in the DMZ region, along with the ecological environment and cultural memories. The artist makes use of protective talismans originating in Buddhist culture as the work re-examines the stories of the \u201cLittle Tigers,\u201d a Thai regiment that fought in the Korean War. Kim\u2019s Mixed signals<\/em> (2025), an installation work based on sounds and images gathered from the DMZ\u2019s border region, offers a setting where surveillance and ecology intersect. Acoustic sounds from nature and electromagnetic symbols are presented through a drawer-like operation device and a horizontally rotating sculpture, guiding the viewer to actively examine a DMZ landscape where disparate signals exist in layered form.<\/p>\n\n\n\n The next space features work by the Korean artist collective of Kyung Jin Zoh and Cho Hye Ryeong and the Vietnamese artist Tuan Mami. Zoh and Cho\u2019s Parallel Botany<\/em> (2023) focuses on plants referred to by different names in North and South Korea. The video work shows these botanical names being recited in the same language yet different words. Exhibited with it is DMZ Botanic Garden<\/em> (2019\u2013Present), which presents 23 plant specimens representative of the flora in the DMZ, bearing narratives of division as they collectively form an ecological and cultural landscape of the DMZ\u2019s natural environment. Tuan Mami focuses on mugwort, a plant that he discovered during his DMZ research in Borderless Garden (no.2)<\/em> (2025). Found across various regions in Asia, mugwort is a plant characterised by its ability to grow across borders in different climate environments. To show its vitality and mobility, the artist personally cultivated mugwort gathered in Thailand (the site of the exhibition), Vietnam (his own home country), Taiwan, and Korea\u2019s DMZ. A work of wall art inspired by Korea\u2019s foundational Dangun myth expands this legendary narrative of an animal\u2019s human transformation into linkages between plants, animals, and people. This serves a mediating role in terms of the overall exhibition, as it leads into the second part titled \u201cLand Art and Non-Human Beings.\u201d<\/p>\n\n\n\n The final space presents work by artist Haegue Yang\u2014with honeybees playing a mediating part\u2014and by ikkibawiKrrr. Yang\u2019s DMZ Un-Do<\/em> (2020) is a wallpaper-based work that juxtaposes various signs and symbolic images into something resembling radar: barbed wire, a \u201clast rest area\u201d sign, a hydroelectric power dam, a windmill, lightning, puzzle pieces, and more. This is a visualisation of the complex identity and energy of the Korean Peninsula as a setting where boundaries intersect with movement, tradition with modernity, and reality with imagination. Another creation by Yang, an animated work titled Yellow Dance<\/em> (2024), adopts a honeybee named \u201cBonghee\u201d as its central character as it tells the history of the Cold War in a monodrama format. The connected sculpture installations Palanquin Bee Soul Site<\/em> (2024) and Lighthouse Bee Double Mansion<\/em> (2024) are also mediated by bees, originating from the structures of hives used in apiculture. The work of ikkibawiKrrr is presented on the path leading out of the exhibition. Rhapsody<\/em> (2024) focuses on spaces that are like \u201copenings\u201d in the DMZ: places that are not perceived because they exist outside our field of vision, places where the restriction of human access has ironically made them important for the natural growth of plant life. Exhibited together with this video is graffiti-based work that makes use of plants gathered from inside the Civilian Control Zone. It depicts the plants as being like invaders occupying a space vacated by human beings. Rhapsody<\/em> shows plants awaiting the day they can be sent to North Korea, as the sounds of shells serve as a symbol of the Cold War. This alludes metaphorically to a laboratory preparing for a future that may someday come.<\/p>\n\n\n\n This exhibition was supported by the Korean Ministry of Culture, Sports and Tourism, and Korean Foundation for International Cultural Exchange (KOFICE) as part of the “Touring K-Arts” project.<\/p>\n","protected":false},"excerpt":{"rendered":" Organised by Bangkok Art and Culture Centre, the…<\/p>\n","protected":false},"featured_media":88680,"template":"","archives":[554],"locations":[602],"attendees":[],"sponsors":[],"class_list":["post-88687","event","type-event","status-publish","has-post-thumbnail","hentry","archives-main-exhibition-789"],"yoast_head":"\n
Principal Corporate: Thai Beverage Public Company Limited Supporter
Project Supporters: <\/strong>The Korean Ministry of Culture, Sports and Tourism and Real DMZ Project
Media Partners : ONCE, Room Books, KiNdconnext
Curated by Sunjung Kim<\/p>\n\n\n\n
\n\n\n\n
Adrian G\u00f6llner
Akkachet Sikkakorn
Haegue Yang
ikkibawiKrrr
Jin-me Yoon
Joon Kim
Tuan Mami
Young In Hong
Kyung Jin Zoh\/ Cho Hye Ryeong<\/p>\n\n\n\n
Bangkok Art and Culture Centre, in collaboration with Space for Contemporary Art and Korean Foundation for International Cultural Exchange, co-organises an international exhibition, Undo Planet. <\/em>The exhibition Undo Planet<\/em> uses art as a medium to examine possibilities for restoring nature. The artists join in wrestling with the issue of global climate change, offering various attempts and suggestions as to how our crisis-stricken Earth might be restored which consists of two parts: Undo DMZ<\/em> and Land Art and Non-Human Beings<\/em>.<\/p>\n\n\n\n