USIAREVIEW

(Above)Nudi hallucination 2022 Glass, steel, aluminum, silver, artificial plant, chain, resin, pigment. Copyright © 2024 WOOSON GALLERY.

Omyo Cho was born in 1984 and graduated from Goldsmith's Department of Fine Arts. Starting with the solo exhibition of Taxidermia (2019), She has participated in many group exhibitions including the Surim Art Center, Ulsan Contemporary Art Festival, and Osan Museum of Art. She works on narrating our lives by leaning on form and material, crossing the past, present, and future tense through literary imagination.

From the early series to the present, Omyo Cho has written a novel first and has given birth to artwork based on the novel conceived. As a result, each task differentiated in various ways, from sculpture, installation, and VR video, appears as a nonlinear phenomenon on a completely different level. The main theme of her works, 'Memory Transfer between Others', seems to be a story of a distant future far from reality, but it is in contact with the present, where you feel and edit your life by watching other people's SNS or YouTube. She continues to work with interests in how to remember the present from the distant future to the past.

Interview by Francisco Lacerda to the Artist Omyo Cho:

Francisco Lacerda: Is it correct to say that you have a disruptive art?

Omyo Cho: In response to whether my work is destructive, I would argue that it is our reality that serves as the true arena of destruction. Humanity, in its relentless quest to understand and dominate the world, has continuously reshaped nature, often to the point of distorting and breaking its very essence. Yet, my work seeks something beyond that destruction—a new world of possibilities rising from the ruins. My attempt to transform the immateriality of memory into a physical form is akin to reaching out to grasp the unseen, to hold in our hands what seems intangible. Memory, contrary to what we might think, is not merely an abstraction. It is a concrete world unto itself, a complex weave of molecules, proteins, synapses, and neurons within the brain.

Thus, I imagine a future where human memories and sensations become commodities—bought, sold, and embedded within one another. A world where another’s memory can take root inside me, where another’s experience becomes an inseparable part of my own. This vision hints at a fluid space where the boundaries of identity and perception are constantly crossed and blurred. My work seeks to explore this blurring of lines, to search for the potential of new existences. This exploration might feel unfamiliar, even unsettling or violent to some, but it is merely an invitation to a world where forms yet unknown to us might reside.

We often equate the end of humanity with the end of the world itself. But what if humanity’s absence marks the beginning of something else entirely? Imagine new forms of life and consciousness emerging in places where the traces of humans have faded away. These are fragments of new possibilities, conceived within the realms of our memory and imagination. I gather these fragments, weaving a quiet narrative of life growing amid the rubble of a shattered reality.

Ultimately, my work is a dream of rebirth after destruction—a journey into a post-human world, a quest to uncover the possibilities and lives we have yet to discover. Within the debris of a broken world, we might encounter a beauty we have overlooked. This is the essence of my work: the story of another world emerging from the cracks of a fractured reality, a story that carries with it the promise of another possibility waiting to unfold.

FL: Do you think that today science fiction is becoming a reality?

OC: Is science fiction becoming a reality today? I’d like to answer this question from a different perspective. Think of George Orwell’s <1984>. Orwell’s vision of 1984 was not the reality we lived through, nor does it resemble our world today. Yet, whenever we sense even the faintest hints of authoritarianism, we invoke <1984>, as if Orwell were a prophet who foresaw the future. But Orwell wasn’t trying to predict the future. He used the future as a mirror to reflect the totalitarian politics of his present.

This is why I immerse myself so deeply in world-building whenever I create. By envisioning the future shaped by advancing technologies, I find myself questioning whether that future is truly accessible to all. Just as today’s technologies are often privileges of the few, so too might tomorrow’s innovations serve only a select class. Think of the billionaires venturing into space—are they explorers of a new frontier, or are they just wielding a different form of power?

Many works of science fiction choose dystopia over utopia because the genre uses the future to cast light on the present. Dystopia acts as a lens, allowing us to step back and see the now more clearly. It’s like casting the shadows of our current world against the backdrop of a dark future sky. But this doesn’t mean that science fiction is always delivering a political message. Just because I mention <1984> doesn’t mean I’m a political activist. Rather, my work explores the complexities of the present through the stage of the future.

Science fiction isn’t about becoming our future reality; it’s about borrowing the language of the future to tell stories of the now. It doesn’t predict what’s to come but rather uses a mirror that transcends time to make our current reality more vivid. While it seems to ask, “What will happen?” it is actually asking, “Where do we stand today?

FL: Why did you create the installation ‘Nudi hallucination’?

OC: If you ask why I created , it began with an exploration of transforming memory from something intangible into something physical. In 2021, my collaboration with neuroscientist Dr. Hye-Young Ko introduced me to experiments involving the transference of memory and surrogate sensations using sea slugs, a model for human brain cells. This naturally led me into a realm of science fiction imagination. Memory is not just an abstract concept; it is something stored within the tangible structure of brain cells, a reality composed of interwoven molecules and neurons that, through their complex interplay, bring memories into being.

What happens, then, if we enter a world where memories can be artificially transferred or even fabricated? A world where we might buy and sell another’s memories, possess sensations we never lived ourselves? In such a future, how might we evolve? What kind of beings would we become?

These are the questions that gave birth to .I envisioned a future where memories and sensations are exchanged and created new entities—new aquatic beings, sculpted forms that reflect this speculative evolution. They are the offspring of a world where technology and nature intertwine in unexpected ways.

The specter of climate change and environmental upheaval looms like an impending disaster, yet from within this chaos, I imagine unknown intelligent life forms relying on technology to survive. And still, the belief that science and technology can save us is often shadowed by dystopian outcomes.

Ultimately, my work is an exploration of the new possibilities that might emerge from a shattered reality. Destruction is not necessarily an end; it can be a beginning. Technology could be our salvation, or it could lead us into new forms of bondage. What matters are the possibilities we choose to find within it. is about seeking those possibilities, finding stories that might emerge anew among the remnants of what was lost.

A special thank you to Jihye Seo and Yi Youjin from art gallery WOOSON GALLERY. 11th September 2024.

Paul Ndema, born in 1979, is a prominent contemporary painter living and working in Kampala, Uganda. With nearly two decades of experience, Ndema stands out as one of Uganda's leading artists. He was born in Mbarara, located in the western region of Uganda, and pursued his studies at the Margaret Trowell School of Industrial and Fine Art at Makerere University, graduating in 2002 with a Bachelor's degree in Fine Arts.

Ndema has showcased his work in several notable exhibitions, including "Kampala Contemporary" at Circle Art Gallery in Nairobi (2016) and "East African Encounters" at the same gallery (2014). His art has also been featured at the Cape Town Art Fair (2016, 2015), the 1-54 Contemporary African Art Fair (2016), and the Kampala Art Biennale (2014).

Renowned in Kampala for his distinctive style, Ndema's paintings are easily recognizable through their use of portraiture and provocative subject matter. His work delves into themes such as politics, religion, cultural identity, sexuality, and history within Uganda and the broader context of global African society. Balancing subtle satire with tongue-in-cheek commentary, Ndema's art does not draw conclusions but instead poses thought-provoking questions. He achieves this through a blend of sharp humor, sensitivity to societal nuances, and exceptional technical skill.

Interview by Francisco Lacerda to the Artist Paul Ndema:

Francisco Lacerda: These canvases, made of Plastisol inks and acrylic, are based on the stories from people you met at the market. Why are these stories important to you?

Paul Ndema: Different types of mats are usually woven for different purposes. For example, there are those that are specifically woven to encourage marital sexual harmony , spirituality and those that are a reserve for politically high standing individuals.
The weavers explain the difference in craftsmanship and functions of the woven mats. These stories are important to me because they revive a rich traditional and cultural practice that is increasingly being ignored and forgotten over generations. The mat, in addition to its physical functionality, becomes a symbol of societal cohesion and harmony.

FL: Many countries in Africa have different ethnic groups. These colors are based on the karyotype of each person you met. However, I wonder if these colors are related to each ethnic group. How did you choose those colors?

PN: The colours chosen are not exclusive or related to any ethnic groups. I chose the colours based on my emotional interpretation of the stories told by the weavers. The difference in their creative abilities with story telling, added drama to the colour selection process.

FL: Cultural identity and sexuality are also a focus of your work. What type of message do you want to convey when you create artworks that focus on this subject?

PN: When I make work that focuses on cultural identity and sexuality, I wish to convey a simple message of open mindedness, tolerance and unbiased curiosity about differences in cultural identities and sexualities, however alien they may seem.

A special thank you to Christophe Person and Marie Moignard from art gallery CHRISTOPHE PERSON.

5th June 2024.

One day with Mariella Devia, Soprano. António Lourenço and guest Nuno Fonseca, 5th July 2021

On July 1st, António Lourenço and I embarked on a journey from Lisbon to Alcobaça, a short one-hour drive, to meet the extraordinary soprano, Mariella Devia. Renowned for her remarkable voice, which she maintained impeccably until the end of her illustrious career, Devia is truly one of the greatest voices of her generation. This occasion marked her first visit to Portuguese soil, where she was invited to conduct a masterclass for promising young Portuguese singers, including both established soloists and those still seeking their breakthrough.

Fresh from her retirement, Devia was enthusiastic about sharing her extensive knowledge. Over the course of the day, we observed her working with six pupils, all but one being sopranos. It was immediately clear that she was dedicated to imparting the skills she had honed throughout her career to these aspiring artists.

Having participated in numerous masterclasses both in Portugal and abroad, I understand the high expectations placed on both the teacher and students. Devia and her pupils met these expectations superbly, even overcoming the acoustic challenges posed by the stone walls of the room, which were more suited for conferences than singing lessons.

From 10 AM to 1 PM and 3 PM to 6 PM, we delved into the soprano operatic repertoire. This is typical for masterclasses, as most participants are usually sopranos. We listened to arias from operas such as Turandot, La Sonnambula, Le Nozze di Figaro, and Lucia di Lammermoor.

Devia handled complex topics like breathing and intonation with incredible tact, helping the pupils understand how to work on their weaknesses and improve. She emphasized that there is no magical formula or one-size-fits-all solution; each singer must discover what works best for them under the guidance of a teacher.

During the afternoon break, we finally had the opportunity to engage with Maestra Devia herself and ask a few questions we had prepared beforehand.

António: Is there a reason why only now we here in Portugal are graced with your presence, after a long and distinguished career all over the world?

Mariella Devia: Well, you’ll have to ask my various managers about that (chuckles). I just never got invited to sing in your Teatro Nacional de São Carlos or anywhere else in this country.

Nuno: What do you think of opera audiences and their future?

Mariella Devia: With this ongoing pandemic, that’s still a big question mark. Prior to that, we were struggling to captivate and engage young audiences. As I said in previous interviews, music lessons from the earliest age, preferably from elementary school, could be of great help to young listeners and bring more people to the opera world. 

After we had exchanged some personal experiences, António mentioning his love for belcanto and how glad he was to finally be able to talk with he considers to be the queen of the operatic genre, up there with Renata Scotto in his opinion, in his bid to listen to perfection (if such a thing even exists),and me focusing on the sorry state of job offers regarding professional singers, be it in professional choirs or solo in Portugal, or my own experiences in masterclasses hosted by such sacred monsters of the opera world like Renato Bruson, Luciana Serra or Montserrat Caballé, we bid heradieu and I said I hoped I had the opportunity to be coached by her in the future, as, owing to the financial devastation caused by COVID-19 which left our life as singers in dire straits, as if our situation weren’t difficult enough before, I could only participate as a listener. Even so, I was ecstatic to have finally met the diva (I hope she doesn’t get mad at me for saying that) in the flesh.

5th July 2021.