Hong Jinhwon, Good afternoon, Good evening, Good night v2.0, 2021. statement, (wall) image, structure, web-based YouTube subscription and streaming service, two-channel video, single-channel video, photography. 59.4 × 42 cm (statement), 200 × 150 cm (wall image), 358 × 260 × 106 cm (stucture), 54.6 ×41 cm (36 photography). 9 min 42 sec, 18 min 25 sec. Footage: Media Chamsesang. Supported by the 11th Seoul Mediacity Biennale. Courtesy of the artist. The 11th Seoul Mediacity Biennale One Escape at a Time. Seoul Museum of Art. 2021
Hong Jinhwon, Good afternoon, Good evening, Good night v2.0, 2021. statement, (wall) image, structure, web-based YouTube subscription and streaming service, two-channel video, single-channel video, photography. 59.4 × 42 cm (statement), 200 × 150 cm (wall image), 358 × 260 × 106 cm (stucture), 54.6 ×41 cm (36 photography). 9 min 42 sec, 18 min 25 sec. Footage: Media Chamsesang. Supported by the 11th Seoul Mediacity Biennale. Courtesy of the artist. The 11th Seoul Mediacity Biennale One Escape at a Time. Seoul Museum of Art. 2021
Hong Jinhwon, Good afternoon, Good evening, Good night v2.0, 2021. statement, (wall) image, structure, web-based YouTube subscription and streaming service, two-channel video, single-channel video, photography. 59.4 × 42 cm (statement), 200 × 150 cm (wall image), 358 × 260 × 106 cm (stucture), 54.6 ×41 cm (36 photography). 9 min 42 sec, 18 min 25 sec. Footage: Media Chamsesang. Supported by the 11th Seoul Mediacity Biennale. Courtesy of the artist. The 11th Seoul Mediacity Biennale One Escape at a Time. Seoul Museum of Art. 2021
Hong Jinhwon, Good afternoon, Good evening, Good night v2.0, 2021. statement, (wall) image, structure, web-based YouTube subscription and streaming service, two-channel video, single-channel video, photography. 59.4 × 42 cm (statement), 200 × 150 cm (wall image), 358 × 260 × 106 cm (stucture), 54.6 ×41 cm (36 photography). 9 min 42 sec, 18 min 25 sec. Footage: Media Chamsesang. Supported by the 11th Seoul Mediacity Biennale. Courtesy of the artist. The 11th Seoul Mediacity Biennale One Escape at a Time. Seoul Museum of Art. 2021
Hong Jinhwon, Good afternoon, Good evening, Good night v2.0, 2021. statement, (wall) image, structure, web-based YouTube subscription and streaming service, two-channel video, single-channel video, photography. 59.4 × 42 cm (statement), 200 × 150 cm (wall image), 358 × 260 × 106 cm (stucture), 54.6 ×41 cm (36 photography). 9 min 42 sec, 18 min 25 sec. Footage: Media Chamsesang. Supported by the 11th Seoul Mediacity Biennale. Courtesy of the artist. The 11th Seoul Mediacity Biennale One Escape at a Time. Seoul Museum of Art. 2021
Hong Jinhwon, Good afternoon, Good evening, Good night v2.0, 2021. statement, (wall) image, structure, web-based YouTube subscription and streaming service, two-channel video, single-channel video, photography. 59.4 × 42 cm (statement), 200 × 150 cm (wall image), 358 × 260 × 106 cm (stucture), 54.6 ×41 cm (36 photography). 9 min 42 sec, 18 min 25 sec. Footage: Media Chamsesang. Supported by the 11th Seoul Mediacity Biennale. Courtesy of the artist. The 11th Seoul Mediacity Biennale One Escape at a Time. Seoul Museum of Art. 2021
Hong Jinhwon, Good afternoon, Good evening, Good night v2.0, 2021. statement, (wall) image, structure, web-based YouTube subscription and streaming service, two-channel video, single-channel video, photography. 59.4 × 42 cm (statement), 200 × 150 cm (wall image), 358 × 260 × 106 cm (stucture), 54.6 ×41 cm (36 photography). 9 min 42 sec, 18 min 25 sec. Footage: Media Chamsesang. Supported by the 11th Seoul Mediacity Biennale. Courtesy of the artist. The 11th Seoul Mediacity Biennale One Escape at a Time. Seoul Museum of Art. 2021
Hong Jinhwon, Good afternoon, Good evening, Good night v2.0, 2021. statement, (wall) image, structure, web-based YouTube subscription and streaming service, two-channel video, single-channel video, photography. 59.4 × 42 cm (statement), 200 × 150 cm (wall image), 358 × 260 × 106 cm (stucture), 54.6 ×41 cm (36 photography). 9 min 42 sec, 18 min 25 sec. Footage: Media Chamsesang. Supported by the 11th Seoul Mediacity Biennale. Courtesy of the artist. The 11th Seoul Mediacity Biennale One Escape at a Time. Seoul Museum of Art. 2021
Hong Jinhwon, Good afternoon, Good evening, Good night v2.0, 2021. statement, (wall) image, structure, web-based YouTube subscription and streaming service, two-channel video, single-channel video, photography. 59.4 × 42 cm (statement), 200 × 150 cm (wall image), 358 × 260 × 106 cm (stucture), 54.6 ×41 cm (36 photography). 9 min 42 sec, 18 min 25 sec. Footage: Media Chamsesang. Supported by the 11th Seoul Mediacity Biennale. Courtesy of the artist. The 11th Seoul Mediacity Biennale One Escape at a Time. Seoul Museum of Art. 2021
Hong Jinhwon, Good afternoon, Good evening, Good night v2.0, 2021. statement, (wall) image, structure, web-based YouTube subscription and streaming service, two-channel video, single-channel video, photography. 59.4 × 42 cm (statement), 200 × 150 cm (wall image), 358 × 260 × 106 cm (stucture), 54.6 ×41 cm (36 photography). 9 min 42 sec, 18 min 25 sec. Footage: Media Chamsesang. Supported by the 11th Seoul Mediacity Biennale. Courtesy of the artist. The 11th Seoul Mediacity Biennale One Escape at a Time. Seoul Museum of Art. 2021
Hong Jinhwon, Good afternoon, Good evening, Good night v2.0, 2021. statement, (wall) image, structure, web-based YouTube subscription and streaming service, two-channel video, single-channel video, photography. 59.4 × 42 cm (statement), 200 × 150 cm (wall image), 358 × 260 × 106 cm (stucture), 54.6 ×41 cm (36 photography). 9 min 42 sec, 18 min 25 sec. Footage: Media Chamsesang. Supported by the 11th Seoul Mediacity Biennale. Courtesy of the artist. The 11th Seoul Mediacity Biennale One Escape at a Time. Seoul Museum of Art. 2021
Hong Jinhwon, Good afternoon, Good evening, Good night v2.0, 2021. statement, (wall) image, structure, web-based YouTube subscription and streaming service, two-channel video, single-channel video, photography. 59.4 × 42 cm (statement), 200 × 150 cm (wall image), 358 × 260 × 106 cm (stucture), 54.6 ×41 cm (36 photography). 9 min 42 sec, 18 min 25 sec. Footage: Media Chamsesang. Supported by the 11th Seoul Mediacity Biennale. Courtesy of the artist. The 11th Seoul Mediacity Biennale One Escape at a Time. Seoul Museum of Art. 2021
Hong Jinhwon, Good afternoon, Good evening, Good night v2.0, 2021. statement, (wall) image, structure, web-based YouTube subscription and streaming service, two-channel video, single-channel video, photography. 59.4 × 42 cm (statement), 200 × 150 cm (wall image), 358 × 260 × 106 cm (stucture), 54.6 ×41 cm (36 photography). 9 min 42 sec, 18 min 25 sec. Footage: Media Chamsesang. Supported by the 11th Seoul Mediacity Biennale. Courtesy of the artist. The 11th Seoul Mediacity Biennale One Escape at a Time. Seoul Museum of Art. 2021
Hong Jinhwon, Good afternoon, Good evening, Good night v2.0, 2021. statement, (wall) image, structure, web-based YouTube subscription and streaming service, two-channel video, single-channel video, photography. 59.4 × 42 cm (statement), 200 × 150 cm (wall image), 358 × 260 × 106 cm (stucture), 54.6 ×41 cm (36 photography). 9 min 42 sec, 18 min 25 sec. Footage: Media Chamsesang. Supported by the 11th Seoul Mediacity Biennale. Courtesy of the artist. The 11th Seoul Mediacity Biennale One Escape at a Time. Seoul Museum of Art. 2021
Hong Jinhwon, Good afternoon, Good evening, Good night v2.0, 2021. statement, (wall) image, structure, web-based YouTube subscription and streaming service, two-channel video, single-channel video, photography. 59.4 × 42 cm (statement), 200 × 150 cm (wall image), 358 × 260 × 106 cm (stucture), 54.6 ×41 cm (36 photography). 9 min 42 sec, 18 min 25 sec. Footage: Media Chamsesang. Supported by the 11th Seoul Mediacity Biennale. Courtesy of the artist. The 11th Seoul Mediacity Biennale One Escape at a Time. Seoul Museum of Art. 2021
Good Afternoon, Good Evening, Good Night v2.0 is Jinhwon Hong’s rejoinder to the control that video sharing sites such as YouTube exert over their users’ worldviews and values. Criticizing the algorithms and user interfaces of big, profit-seeking platforms as tools for furthering “visual power,” the artist has launched his own disruptive, alternative visual subscription service, DESTROY THE CODES. This alternative service enables users to learn about global issues and perspectives that tend to be ignored by commercial platforms, and also to post their own content. A real-time visual feed of the subscription content and a manifesto are on view on the first floor of the exhibition, while a photography project on the third floor explores the dynamics between visibility and invisibility in the media ecosystem. On the one hand, the scale of the investment behind producing and promoting appealing images of landmark urban projects undertaken by Olympics host countries ensures the proliferation of those images. On the other, images of protestors may only circulate when their acts of protest are spectacular enough to compete in the attention economy.
