Inspired by the life of double agent Alice Hyun (1903- 1956??), A l i c e & A l i c e: in Free Fall, pays tribute to the first Korean American born in Hawaii and the first Korean American to gain US citizenship through birth. This new body of work is the first solo exhibition of artist and performer Caroline Yoo, who continues her research practice of amplifying stories of forgotten women, the women who rebelled, the women who were too loud for history.  
Born while Korea was under Japanese colonization, Hyun believed in an independent one-nation Korea. The radical pioneer devoted her life to independence, enrolled in the USA military working partially as a linguist during World War II, and was stationed in Tokyo and Seoul until 1945-1946. However, in a turn of events, Alice was uncovered as a communist and was named as a double agent for North Korea. Despite her incredibly complicated and high stakes life, the independence fighter’s legacy is absent from Korean American and feminist histories in both mainland South Korea and the United States. 
A multimedia and multi-sensory installation, Alice & Alice includes a 3-channel video work, an interactive tea performance, and prints of translated archival documentation. The exhibition’s centerpiece, a 3-channel video made completely through thermal technology, weaves text from Alice Hyun’s archives and Lewis Carroll’s Alice's Adventures in Wonderland to pose questions about the role of nationalism in the diaspora. Alice Hyun was labeled a communist, a devil, an American spy by South Korea and North Korea, a North Korean spy to the US and South Korea, simultaneously both an enemy and ally. A l i c e & A l i c e: in Free Fall positions Alice as a metaphor for bodies that simultaneously house multiple cultures and multiple truths while asking what is the past, present, and future of diaspora politics tethered to motherland and birthland nationalism. 


 This new body of work is the first solo exhibition of artist and performer Caroline Yoo, who continues her research practice of amplifying stories of forgotten women, the women who rebelled, the women who were too loud for history.  Born while Korea was under Japanese colonization, Hyun believed in an independent one-nation Korea. The radical pioneer devoted her life to independence, enrolled in the USA military working partially as a linguist during World War II, and was stationed in Tokyo and Seoul until 1945-1946. However, in a turn of events, Alice was uncovered as a communist and was named as a double agent for North Korea. Despite her incredibly complicated and high stakes life, the independence fighter’s legacy is absent from Korean American and feminist histories in both mainland South Korea and the United States. 




Inspired by the life of double agent Alice Hyun (1903- 1956??), A l i c e & A l i c e: in Free Fall, pays tribute to the first Korean American born in Hawaii and the first Korean American to gain US citizenship through birth. 

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Alice & Alice:  in free fall

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Exhibitions

Exhibitions on view
 January-February 2024

A multimedia and multi-sensory installation, Alice & Alice includes a 3-channel video work, an interactive tea performance, and prints of translated archival documentation. The exhibition’s centerpiece, a 3-channel video made completely through thermal technology, weaves text from Alice Hyun’s archives and Lewis Carroll’s Alice's Adventures in Wonderland to pose questions about the role of nationalism in the diaspora. Alice Hyun was labeled a communist, a devil, an American spy by South Korea and North Korea, a North Korean spy to the US and South Korea, simultaneously both an enemy and ally. A l i c e & A l i c e: in Free Fall positions Alice as a metaphor for bodies that simultaneously house multiple cultures and multiple truths while asking what is the past, present, and future of diaspora politics tethered to motherland and birthland nationalism. 

ATTEND PERFORMANCE WORK

We’re all mad here
 
A live 35 minute sound, vocal, and movement performance : Feb  8th & 15th

Caroline Yoo is an interdisciplinary artist who was born and raised in the United States to Korean immigrants. Through her art practice of performance, social practice, intimate gatherings, and video installations, Yoo uses translation as a tool to map forgotten histories – to reveal psychological shadows haunting the diaspora – and perform contemporary translations of rituals for the living. Tracing the edges of hidden and silenced perspectives of the past to inform the personal and political of the present, Yoo visualizes narratives using multiple voices in tension with each other to highlight the complicated structures of empire and power, unraveling imperial illusions through geopolitical poetry. She is a co-founder and leader of JADED PGH, Hwa Records, and Han Diaspora Group, artist collectives focused on the Asian diaspora experience. Yoo has performed, exhibited, and produced at Carnegie Museum of Art; Institute of Contemporary Art, San Francisco; University of Michigan Ann Arbor; McDonough Museum of Art; University of Southern California; LA Art Show; Kelly Strayhorn Theater and more.

Caroline Yoo

Artist Bio


Both public and private, American front yards are highly visible places that become stages for self-expression and ideation. In The Front Yard, I use my own yard as a studio to construct and then photograph signs and outside decor. I mimic the ways these spaces are kept and decorated as a means to show the homeowner’s identity, class, and political affiliation. The photographs depict scenes with objects and messages meant to literally and figuratively exclude and alienate. Hand-made signs warn of uncertain dangers, pointing to a culture of fear and intimidation.
 
This work illuminates the way language is used to restrict and antagonize under the guise of free speech and morality. Words are powerful but are frequently used cavalierly without concern for their consequences. I borrow rhetoric that is often used in divisive and political ways, echoing themes of access, affiliation, and ideology. The messages are ominous yet vague, warning of an ambiguous but impending danger, echoing a theme of paranoia and fear of the status quo being overturned. 

 kept and decorated as a means to show the homeowner’s identity, class, and political affiliation. The photographs depict scenes with objects and messages meant to literally and figuratively exclude and alienate. Hand-made signs warn of uncertain dangers, pointing to a culture
of fear and intimidation.

This work illuminates the way language is used to restrict and antagonize
under the guise of free speech and morality. Words are powerful but are
frequently used cavalierly without concern for their consequences. I borrow
rhetoric that is often used in divisive and political ways, echoing themes of
access, affiliation, and ideology. The messages are ominous yet vague, warning of an ambiguous but impending danger, echoing a theme of paranoia and fear of the status quo being overturned.




oth public and private, American front yards are highly visible places that become stages for self-expression and ideation. In The Front Yard, I use my own yard as a studio to construct and then photograph signs and outside decor. I mimic the ways these spaces are 

B

The Front Yard

Price List

Bryan Martello is an artist based in Pittsburgh, Pennsylvania. His work intersects photography and objects, playing with excessive materiality to create a hyper-tactility that reinforces the photographic image’s physical presence. He is a 2022 Heinz Creative Development Award recipient. His work has been exhibited in solo and group shows, most notably at NARS Foundation in New York, NY; Silver Eye Center for Photography in Pittsburgh, PA; and Photographic Resource Center in Boston, MA. He attended the Skowhegan School of Painting and Sculpture in 2016. He received a BFA from the Massachusetts College of Art and an MFA from the University of Texas at Austin.

Bryan Martello

Artist Bio

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