Jacques Derrida drove his thoughts toward the ethical and political dimensions through his concept of ‘hospitality,’ which advocates the “open and acception of the alterity of the other.” Derrida broadened the sphere of the other to non-human beings and aimed to experience destructing the self-identity of subject through unconditional hospitality. The unconditional hospitality Derrida suggested was carried out up to the dimension of absolute ethics in order to establish the new law of justice, which seems impossible to come true in the reality of COVID-19 pandemic era. Derrida's unconditional hospitality remains the possibility of discussion in art with aesthetic discourse over the domain of politics or ethics.
With the term ‘poetic hospitality,’ Derrida suggests the possibility of thought on the impossibility of representation and realization. Here remains a room for discussing and practicing aesthetically the experience of ‘singularity’ of the events of hospitality as response to the other's call within art. As the event of encounter and the acceptance of the face of the unknown other(arrivant), hospitality within art represents such an unrepresentable unacquaintance with portrait/self-portrait images captured as overlap of I and the other. Kang Young-ho's photo series ’99 Variations as ‘self-portrait = portrait of the other’ is the event of the encounter with the other, within the gap between the possibility and the impossibility of hospitality, as well as of representation.