The recent exhibition titled 'The Politics of Residue' by artist Kim Jae-nam, showcased at the experimental space Yuz in Suwon, features over a ton of cockle shells that echo the natural environment of Yeosu, Korea. Visitors can experience the tactile sensations and sounds created by walking over the shells, which initially appear as mere piles of white residue but reveal deeper ecological connections as one engages with the installation. The charcoal drawings on the walls, inspired by celestial imagery, complement this sensory experience, drawing attention to the interplay of natural materials and their time-worn traces.

At the core of Kim's exhibition is the concept of 'residue'—representing what remains after life has passed. The artist explores how to express this residual reality through the exhibition format, prompted by memories of women laboriously collecting cockles along the shores of her hometown, Yeosu. By bringing the shells into the gallery, Kim not only reflects on the ecological realities tied to her heritage but also presents a visual narrative that contrasts the vibrancy of life with the stark remnants of existence. The use of charcoal, symbolizing the suffering of African American laborers in 19th century cotton plantations, further layers the meaning of residue and its implications within the broader theme of the exhibition.

Entitled 'The Politics of Residue,' the exhibition critiques contemporary digital visual culture's tendency to overlook the remnants of life and labor. The artist invites viewers to reconsider the consumption of images, urging a deeper engagement with history, ecology, and the socio-political narratives that shape our understanding of what is often visually marginalized. This unique exhibition stimulates a sensory and intellectual dialogue, ultimately fostering a greater awareness of how our lives intersect with the materials we often take for granted.