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1. They are still alive-magalania 2. Sea monster
Kang makes biological approaches to the questions of the evolution of living creatures on the earth. According to scientists, there are a still greater number of living beings on the earth than that of species that have been confirmed to exist on it. What are those numberless entities that have not been discovered? What really are those monsters of mystery that have been told by word of mouth or in legendary stories? What appearances would these monsters that seem to have escaped from the evolution process have? 강’s imagination is initiated by these unanswerable questions. He loved to read SF comics during his childhood and had a huge interest in those non‐existent beings (beings that were existed and yet are absent) to the extent that he could memorize the names and appearances of dinosaurs. These childhood interests operate as what forces Kang to create new existences by himself.
Kang sets off his artistic journey at those questions about the beginning of the world that cannot be proved through scientific processes. The magalania and the sea monster to be shown at the sea exhibition of this biennale are parts of ‘They Are Still Alive’ Series that has resulted from such interests of him.
Kang materializes and gives forms to the possibility of the existence of these creatures and seamonster, a creature in the deeps of the sea which is yet unknown area and is said to be the territory that no living thing can inhabit.
Those beings, which are in the outside of reality and are endowed with life by Kang, oblige us, above all, to ponder upon in an agonizing way the entities that have been suppressed or forced to be absent in the course of the development of civilization. When the beasts/monsters/creatures are unfamiliar existences deranged from everyday perceptions, then they are not different from what are on the outside of the category of the normal in our lives. In other words, the interest in these bizarre beasts/monsters/creatures is nothing but the paradoxical reminding of daily life and the critical introspections on the territory in which we reside. In front of Kang’s works we are to be confronted, therefore, by unfamiliar living/life deviated from evolution/evolutionary velocity.
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