Insane PARK

Post Vandalism is a video work that virtually stages the interior and exterior of the Seoul Museum of Art (SEMA) Nam-Seoul Annex as if they were covered in red spray-paint graffiti, visualizing resistance against institutional art and structures of power. The artist installs a fictional banner reading “Insanepark solo exhibition vandalism” and transforms “artist fee” into “artist pee,” exposing contradictions within the art system through acts of linguistic subversion. Slogans such as “All art is propaganda” and “Burn down the museum” violently articulate the frustration and distrust contemporary artists feel toward institutional authority, questioning both the social function and the structural limits of art. Set against the backdrop of an illegally occupied museum, the work examines how gestures of resistance can emerge from within the very system they critique. Insane PARK’s practice focuses on the immateriality and circulation inherent to digital art. The artist’s videos exist not as collectible objects but as files that can be infinitely replicated and transmitted. This immaterial condition frees the artwork from traditional notions of ownership, transforming circulation itself into a condition of art. By foregrounding the instantaneous reproduction and consumption of digital images, Insane PARK reveals how institutional authority and systems of artistic value are dismantled in the process. The work ultimately poses a fundamental question: what does it mean for an artwork to exist and circulate in the digital age?

Burning Down the Museum is a video work that, like the Post Vandalism series, addresses resistance against institutional art systems and dominant ideologies. The video virtually stages the National Museum of Modern and Contemporary Art (MMCA) Seoul engulfed in flames, presented as if it were being livestreamed on Instagram. Although it appears to broadcast a real-time incident, the scene is in fact a fabricated image created through digital technology and motion graphics. By transmitting the extreme event of fire or arson through the contemporary medium of Instagram Live, the work symbolically dismantles the stability and authority of institutional art, exposing the contradictions and tensions concealed within its structure.

In 2024, the artist participated in a residency program at Baan Noorg Collaborative Arts & Culture in Thailand, where they developed new work based on the methodology of Post Vandalism. Using locally common construction materials such as bamboo and white fabric, the artist created a banner installation that invited local participants to fill the white cloth with various messages and images using spray paint. Through this process, vandalism functioned as a means to dismantle social norms rooted in authority and hierarchy. This participatory project served as a form of resistance against social hierarchies and demonstrated how acts of vandalism can become a medium for communication and collective expression. Alongside the banner installation, the artist presented the video Post Vandalism (BACC) (2024), which featured a fabricated scene of the Bangkok Art and Culture Centre (BACC), one of Thailand’s major contemporary art museums, being vandalized. The work symbolically deconstructed the institutional authority and hierarchy embedded within the museum. Throughout the residency, the artist engaged in continuous dialogue with local participants about Thailand’s political situation, incorporating their perspectives and lived experiences into the video. The resulting work reflects a critical view of both Thai social issues and the structures of the art institution, mirroring the region’s political and social realities.