near the well is a seven-minute video installation projected onto a folding screen and doubled by an acrylic mirror, accompanied by continuous white noise. The work follows a body becoming legible through images that name, simplify, condemn, and circulate it. Projection, reflection, furniture, and sound form a perceptual apparatus in which the body appears only after being filtered through media and display.
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Staged in the historic Aula of the Academy of Fine Arts Vienna, Fans, Fans. disperses mirror-polished cylinders, porcelain, a white-noise machine, a smoke detector, and wooden structures across a monumental floor. Reflection turns the institution back onto itself while domestic fragments meet ceremonial architecture. Comfort and surveillance operate on the same surface, producing an atmosphere in which human presence is held, watched, and quietly managed.
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Taking the EA FIFA video game series as a point of departure, freekick, non-freekick examines how football culture converts the body into a readable and tradable unit. Player ratings, interface graphics, scores, and repeated gestures organize the installation as an economy of comparison and metric control. Bodies and technical systems do not simply reflect one another; they actively produce one another through display and spectatorship.
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happymeal projects a machinima environment onto industrial safety mesh in a subterranean parking space. Chickens, pigs, and cattle move through rendered barns, transport cages, and feeding lines while the mesh acts simultaneously as fence, filter, and screen. The surrounding concrete, artificial light, and ventilation extend the barn into the underside of the city, revealing care, capture, and consumption as parts of one continuous logistical surface.
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A Korean family’s online worship is interrupted by an unknown error. From that rupture, ohayo drifts through blue skies, kebabs, and the hidden logic of a cactus positioned by the window. Domestic belief, interface failure, and more-than-human observation fold into one another as the home becomes shrine, screen, and malfunctioning system. The plant is not a decorative object but a witness that changes how the household can be perceived.
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JH Gim (b. 1996, Seoul) is an artist and filmmaker based between Vienna and Seoul. He works across moving image, performative installation, and sculptural arrangement. His practice examines how bodies and images are shaped by domestic and technical systems—from screens, furniture, and sound to infrastructures of measurement and display.
Treating images as spatial and behavioral conditions rather than representations, Gim constructs situations in which projection, reflection, ambient devices, and familiar objects choreograph attention. Across his works, support and dependency become unstable: bodies, objects, machines, and non-human actors sustain one another while also producing habit, pressure, and quiet constraint.