@article{ART003312585},
author={Eui-Jung Han},
title={Surface of Experiment and Control: Young-Hae Chang Heavy Industries and the (Un)Emancipated Spectator},
journal={The Journal of Aesthetics and Science of Art},
issn={1229-0246},
year={2026},
volume={77},
pages={92-108}
TY - JOUR
AU - Eui-Jung Han
TI - Surface of Experiment and Control: Young-Hae Chang Heavy Industries and the (Un)Emancipated Spectator
JO - The Journal of Aesthetics and Science of Art
PY - 2026
VL - 77
IS - null
PB - 한국미학예술학회
SP - 92
EP - 108
SN - 1229-0246
AB - For Jacques Rancière, the “surface” is not a medium of painting, but a theater of de-figuration and denomination, a layer on which art operates autonomously, and a field in which the sensory order is reorganized. The “sentence-images,” a combination of text and image specific to this aesthetic regime presented by Young-Hae Chang Heavy Industries since the late 1990s also unfold on their unique surfaces. They do not take the critical approach of appealing to the depths of the world beyond the surface. Rather, YHCHI’s sentences return the image to the fragility of the surface, suspended in fragments of discourse about the world. It is there that conflicts and injustices are revealed and given time to speak. In YHCHI’s work, the viewer is confronted with the “dissensus” of text and image, the absurdity of real and virtual, the paradox of critical content and rhythmic form, and consequently fails to interact with or fully interpret the work. Thus, submitting to the surface of experimentation and control, which YHCHI defines as democracy and fascism, cannot constitute a total overthrow of the existing regime but only a function of rupture. The politics of aesthetics, however, is brought about by the multiplicity of small ruptures that refuse to threaten to overthrow the regime. Emancipation begins when we understand that the very articulation of the structure of these relations of speaking, seeing, and practicing belongs to a structure of domination and submission.
KW - dissensus;Emancipated Spectator;Jacques Rancière;political art;surface;Young-Hae Chang Heavy Industries
DO -
UR -
ER -
Eui-Jung Han. (2026). Surface of Experiment and Control: Young-Hae Chang Heavy Industries and the (Un)Emancipated Spectator. The Journal of Aesthetics and Science of Art, 77, 92-108.
Eui-Jung Han. 2026, "Surface of Experiment and Control: Young-Hae Chang Heavy Industries and the (Un)Emancipated Spectator", The Journal of Aesthetics and Science of Art, vol.77, pp.92-108.
Eui-Jung Han "Surface of Experiment and Control: Young-Hae Chang Heavy Industries and the (Un)Emancipated Spectator" The Journal of Aesthetics and Science of Art 77 pp.92-108 (2026) : 92.
Eui-Jung Han. Surface of Experiment and Control: Young-Hae Chang Heavy Industries and the (Un)Emancipated Spectator. 2026; 77 92-108.
Eui-Jung Han. "Surface of Experiment and Control: Young-Hae Chang Heavy Industries and the (Un)Emancipated Spectator" The Journal of Aesthetics and Science of Art 77(2026) : 92-108.
Eui-Jung Han. Surface of Experiment and Control: Young-Hae Chang Heavy Industries and the (Un)Emancipated Spectator. The Journal of Aesthetics and Science of Art, 77, 92-108.
Eui-Jung Han. Surface of Experiment and Control: Young-Hae Chang Heavy Industries and the (Un)Emancipated Spectator. The Journal of Aesthetics and Science of Art. 2026; 77 92-108.
Eui-Jung Han. Surface of Experiment and Control: Young-Hae Chang Heavy Industries and the (Un)Emancipated Spectator. 2026; 77 92-108.
Eui-Jung Han. "Surface of Experiment and Control: Young-Hae Chang Heavy Industries and the (Un)Emancipated Spectator" The Journal of Aesthetics and Science of Art 77(2026) : 92-108.
