Entering the realm of Anne Duk Hee Jordan’s work is like walking into a Wunderkammer. Her work is like an interactive fantasy play with the knowledge and theories about the world and our souls. In the absence of concrete knowledge, fantasy runs riot. Jordan opens up doors to a holistic universe where she humorously and romantically creates machines that mirror, extend or convert biological processes and chemical reactions between living organisms and dead material, which are then interwoven with classical mythology and poetry.
Anne Duk Hee Jordan has been creating her own Wunderkammer for many years now. It is an ongoing process in which she prepares all the specimens herself. Just as in a cabinet of wonders, all of her works are interconnected to one another and are developing a continual narrative between science, art and philosophy.
The impetus behind Jordan’s installations is often a specific biological process that symbolizes a social space, in which she allows certain circulations and prohibits others. She explores flows of energy, while simultaneously treating her own inner conflicts as a theme. In her artwork, man and nature encounter one another; yet through her creative process, she contradicts that initial categorization in the first place.
It is fascinating that her work acts as a discourse between her own identity, the identity of social origin and the social structure of existence. She analyzes structures and systems in an ironical or cynical debate with an apparent factuality and enters thereby into a discourse between art and science. One may wonder whether she wants to explain science through her art or if she wants to decry it. Nevertheless, the work remains a discourse between these realms.
Jordan opens up doors to a holistic universe where she, humorously and romantically, creates machines that mirror, extend or convert biological processes and chemical reactions between living organisms and dead material, which are then interwoven with classical myth and poetry. In her work she explores the flow of energies, human constructs of time and memory, decay, death, her own identity and encounters between mankind and nature.
All of her works are highly interrelated to one another. The impetus behind her installations is/ are often (a) specific biological process(es) that symbolize a social space, in which she allows certain circulations and prohibits others. Jordan also treats the microscope of her memory like a mirror in which the adventurous gaze projects her own fantasies. Her work adeptly renders the disappearance and reappearance of the physical, even the sexual. This paradoxical force elevates her art into symbols of the transcendent: that which can only appear as an absence in consciousness, summoned into aesthetic form.
Anne Duk Hee Jordan was born in Korea and lives and works in Berlin. She studied at the Academy of Arts, Berlin Weissensee, and continued with a Master of Fine Arts in Berlin at the Institut für Raumexperimente under Olafur Eliasson.
Jordan has had solo exhibitions at Balzer Projects (2016), Basel, Museum für Angewandte Kunst, Frankfurt, and Berlin, including Metrotopie at the House of World Cultures, (HKW) – as well as being part of group shows at Neue National Gallerie, Berlin (2015), nGbK, Berlin (2014), Marrakech Biennale 2014, Flux Factory, New York (2013), Hebbel am Ufer, Berlin, Museum of Contemporary Modern Art Tokyo (2011), Goethe Institute Sao Paolo (2011), and the Reykjavik Art Museum (2011).