문지윤 《PIT BIT》

문지윤 《PIT BIT》
Mun Juni 《PIT BIT》

2025.07.19.(토) - 07.27.(일) 10:00-19:00
예술공간 [:틈] 마포구 월드컵로 31길 6, B1

PITBIT is a solo exhibition by Amsterdam-based visual artist Juni Mun (b. 1993, South Korea) that explores the fragmented nature of memory and its interconnection with migration, inheritance, and cultural history. Through installation and paintings, Mun presents a series of material and sensory gestures that reveal the instability of remembrance and the emotional impact of diasporic identity.

The title PITBIT evokes the tension between absence and residue—between “PIT” (a void, a rupture) and “BIT” (a shard, a trace). By how it sounds, the term also resembles the Korean word 핏빛 (PIT-BIT), meaning “the color of blood”—a concept that connects historical structures of classification and violence to intimate experiences of lineage and transmission. In this context, blood is not a biological marker, but a carrier of memory across generations.

At its core, the exhibition explores the complex thematics of Mun’s memory—not as a single story, but as a mosaic shaped by history, family, and imagination. Rather than centering on a singular narrative, the exhibition considers memory as an accumulation of fragments—some remembered, some inherited, some imagined. Drawing upon a multi-generational history of migration, including Mun’s maternal grandmother’s movement from Pyongyang during the Japanese occupation and Korean War, Mun situates personal memory within broader structures of colonialism, war, and displacement across East and Southeast Asia, Oceania, and Europe.

The exhibition unfolds between two forms: the installations explore multiple conceptions of time, while the paintings function as landscapes of memory. The two glass house sculptures serve as vessels for mourning and prayer—one transparent, the other opaque black. Each contains slowly burning incense, its smoke escaping like a breath of memory. Between fragility and ritual, these forms resemble personal shrines, holding presence and absence, grief and ceremony. They evoke the labor of clinging to what inevitably slips away. Together, the sculptures and paintings shape the exhibition into a broader emotional topography. Each painting becomes a site of memory—some drawn from Mun’s personal experience, others rooted in spiritual traditions or inherited beliefs. The works portray memory as fluid—constantly flickering, distorting, and reconfiguring through the shifting forces of time and place.

The PITBIT exhibition unfolds with a question: “What is left when the structure of memory falls apart—and what we discover in the process of rebuilding it?"