Dahee Min

Curating Contemporary Art (MA)

About

Dahee Min’s primary interest lies in fostering diverse interactions and intervening within them to articulate those relationships. Grounded in the notion of relationship, Dahee’s exploration begins by asking: How can curatorial endeavours manifest or embody intangible connections within the realm of art? As she recognises the power of art as a catalyst for strengthening and sustaining relationships, she has been exploring avenues to develop physical and conceptual legacies that extend beyond the exhibition itself. Dahee has found that community-based art spaces or projects have the potential to function as suitable paradigms since they actively conduct various activities, such as workshops, artist talks, screenings, publications, and audience participatory performances, all contributing to the establishment of lasting ties.

In line with Dahee’s passion for community-based art, her curatorial approach also encompasses the idea of collective memory. She is convinced that art acts as a powerful medium for cultivating shared emotional understanding. Moreover, artistic engagements foster the gathering of personal recollections from audience involvement, both during the event and in subsequent reflections beyond its conclusion.

She delves into the transformation of individual recollections into communal sensations, as these collective memories can become a valuable vehicle for art. An exhibition like ‘Tish Murtha: Works 1976-1991’ (2018) at the Photographers’ Gallery exemplifies how memory, as a social phenomenon, evokes emotions and experiences of the past, intertwining elements like social or historical events, cultural legacy, and individual and collective identity. Similarly, she believes that oral histories and documentation play a critical role in collecting personal narratives and diverse perspectives, as well as in encouraging community engagement and preserving intangible cultural heritage.

Essentially, the expanded focus of her research centres on classifying memory, which is comprised of multifaceted elements, especially with a lens on their social or cultural contexts. Contemplating the ethical and political facets of memory-making on a collective scale, her overarching aim is to unravel the possibilities of visualising collective memories derived from these classifications through artistic expressions.

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