;A fantasy novel about hybrid nature
Nature speaks with the same language as ever. But the mind of human-beings constantly reconnects to nature with a new shape. The world of psychedelic, made up of the connectedness of mind1), is the history of the unique senses between humans and nature. Psychedelic Nature, which began with the question of “how had the human fantasy about nature changed the world today?”, attempts to reinterpret the human ideal of nature that emerged within the flow of popular culture called ‘psychedelic’ in the hippie era.
‘Psychedelic’ is a word derived from the transient and intense sensory experience introduced by the hippie in the mid–1960s as well as the artists who supported them. The experience of the psychedelic state rapidly penetrated into popular culture like film, fashion and music, furthermore it greatly influenced the direction of various academic studies such as philosophical discourse, psychoanalysis and physics. This ramification has led to a new interpretation of the hallucinational sensory that had been taboo since the industrialization, as a major sympathetic experience between humans and nature2). While the Psychedelic in this exhibition functions as a prism that looks into the source of the illusionary utopia of human beings for nature rather than concentrating on the aspects of psychopathology or the sensibilities of the period. The word also refers to the modern hybrid system itself, which created by the human long-standing instinct impulse for Paradis artificiels3) combined with new technology.
The work of cultural archiving, video, painting, installation and photography of nature and hallucinations shown in Psychedelic Nature not merely contrasting nature and non-nature or humans and non-humans, but rather baring today’s twisted, wandering and advancing nature in order to persistently stimulate the sense decussation and oscillation between them4). The artifacts created by participating artists; Nicolas Pelzer, Sungsil Ryu, Seungwon Yang, Heemin Chung, and Choi haneyl through oscillating between virtual and reality, the future and the past, are the today’s psychedelic nature in itself and the evidence of it. Withal, these works generate a new intersection between the rootless fragmentary on/off-line images of nature and the major discussions on soil, climate, geology and ecological approach which has been debated more latterly.
What will be the relationship between human beings and the nature of the future? Already the dichotomous logic toward nature has been sufficiently confounded. We mourn the loss of nature but do not reduce the acceleration in the rational movement for a paradise that still has not come. Nonetheless eventually, the new chapter of the relationship between man and nature will be ransacked and the continual attempt for finding another ultimate paradise will not be stopped. Hence to human beings, nature remains forever as an innocent outlaw and an ignorant incompetent. Nature speaks with the same language as ever.
1) The principle of “connectedness of mind and nature” is an area that analyzed and explored by British chemist Humphry Davy (1778-1829) and poet and critic Samuel Taylor Coleridge (1772-1834). Oliver Sacks, Everything In Its Place, (Pan MacMillan, 2019), 37p.
2) References. David Kaiser, How the Hippies Saved Physics: Science, Counterculture and the Quantum Revival (New York: W. W. Norton & Company, 2011).
3) A book published in 1860 by Charles Baudelaire, a French symbolist poet. Psychedelic Nature inspired by the description of the ‘psychedelic experience’ in this book.
4) Reference is a dull feeling of foreboding something strange, ineluctable is approaching (…) images and chains of images, long-submerged memories appear, whole scenes and situations are experienced; at first they arouse interest, now and then enjoyment, and finally, when there is no turning away from them, weariness and torment. It is typified by a continual alternation of dreaming and waking states, a constant and finally exhausting oscillation between totally different worlds of consciousness; in the middle of a sentence these transitions can take place(…). Walter Benjamin, Hashish in Marseilles, 1932.