1979, Seoul, KR

Dancer in the Mirror Field

2025

Dancer in the Mirror Field is a speculative fiction film depicting an annual competition organised by a delivery service platform. Coordinated by a mysterious entity, the contest aims to identify the individual with the most optimised movements. The film reflects on the contemporary obsession with efficiency and the performative effects it has on bodies in the service of wider technological and economic forces.

In the work, three versions of the protagonist Ernst Mo (an anagram for ‘monster’) compete for the coveted title in locations where past and future seem to intertwine. Following the instructions relayed to them, the three Mos begin in a large structure resembling a high-tech gladiatorial coliseum that is inspired by Hong Kong’s sleek shopping malls. They then have a dramatic chase through the neon-drenched streets of a parallel universe Hong Kong. Throughout the film, various elements from Kim’s previous works reappear alongside digital cameos of real objects in the collections of M+ and Powerhouse, the museums that commissioned the work.

Photo by Joan Porcel Studio and Matteo Catania, Hubove Studio

1987, USA

1978 & 1982, USA

Online Marketplace of Ideas

2026

As the mainstream internet fragments, algorithmically, into niche communities, the attention economy is no longer its defining force. Instead, the dark forest has been suburbanized, with the social web increasingly playing out among an ex-urban sprawl of vibe-based cultural cul-de-sacs. This Online Marketplace of Ideas, created by Joshua Citarella & New Models with architecture by sub, collects a sampling of the objects that these digital enclaves produce for the physical world. Primarily, this comprises creator merch: the t-shirts, hats, and other drop-ship ‘basics’ that can be worn on a body. Signaling in social contexts that a screen cannot reach, merch is an analogue display technology that predates digital culture. It is also the oldest form of consensus technology — once printed, these items become snapshots of their creators’ ideologies and aesthetic preferences at a specific moment in time; once worn by community members, they become proof of belonging, proof of collective belief. In this context, alongside “doctrine” that’s given rise to our current era of the social web, works by artists engaging with the creator-protocol layer also appear.

Photo by Joan Porcel Studio and Matteo Catania, Hubove Studio

1980, USA

1984, UK

Attention Guild

2026

Attention Guild imagines new forms of collective coordination between humans and computational systems. At the center of the work are software agents collaborating toward shared goals, communicating through a bespoke musical language designed for machine-to-machine exchange. Their deliberations remain audible throughout the exhibition, making perceptible processes that usually remain invisible.

Visitors are invited to contribute to a collective memory that guides the agents in developing new applications within a mission framework established by the artists. The resulting software is made available through a public repository. The installation thus operates as an open productive system, in which the exhibition itself becomes an environment capable of generating tools, knowledge, and new forms of collaboration.

Powered by a protocol called “mission market,” groups of participants contribute context and information toward a common objective. At a moment when machines are increasingly capable of producing software autonomously, the work raises a fundamental question: what should be built, why, and how.

Photo by Joan Porcel Studio; Matteo Catania, Hubove Studio; Stefano Mattea

 1993, Berlin, DE

1988, Berlin, DE

Autonomous Forest

2025 - ongoing

Autonomous Forest is a non-profit association and a decentralized autonomous organization (DAO) dedicated to acquiring and collectively managing forest areas. Through decentralized platforms, members of the association make decisions collaboratively.

Since establishing Autonomous Forest in 2025, terra0 have considered various ways of presenting the work. They situate Autonomous Forest within the historical context of institutional critique and land art, which have adopted different strategies for representing themselves within institutions. terra0 feel it is important to work out how Autonomous Forest can be presented as an independent entity 'within the institution’.

Autonomous Forest is not an object, but rather a protocol comprising technical, economic, and ecological components that can constitute itself independently of art institutions. Beyond this, Autonomous Forest can primarily be exhibited through documentation.

Photo by Matteo Catania, Hubove Studio