{"id":277947,"date":"2025-06-01T20:31:36","date_gmt":"2025-06-01T11:31:36","guid":{"rendered":"https:\/\/www.adfwebmagazine.jp\/?p=277947"},"modified":"2025-06-01T20:31:36","modified_gmt":"2025-06-01T16:07:13","slug":"do-ho-suh-walk-the-house-at-tate-modern","status":"publish","type":"post","link":"https:\/\/www.adfwebmagazine.jp\/en\/art\/do-ho-suh-walk-the-house-at-tate-modern\/","title":{"rendered":"STITCHED MEMORIES: DO HO SUH\u2019S WALK THE HOUSE AT TATE MODERN"},"content":{"rendered":"

\"The Genesis Exhibition: Do Ho Suh: Walk the House\" is currently on display at Tate Modern<\/h3>\r\n

I<\/span>n the cathedral-like stillness of Tate Modern\u2019s galleries, Do Ho Suh: Walk the House opens not with grand gestures, but with whispers\u2014delicate echoes of memory, space, and time suspended in fabric. This long-awaited solo exhibition, Suh\u2019s first in London in over twenty years, is more than a retrospective. It is an act of remembering\u2014intimate, meticulous, and tenderly architectural.<\/p>\r\n\r\n

\"adf-web-magazine-stitched-memories-do-ho-suh-walk-1\"<\/a>

Do Ho Suh, Nest\/s, 2024 \u2028Polyester, stainless steel ; 410.1 x 375.4 x 2148.7 cm
\r\nCourtesy the Artist, Lehmann Maupin New York, Seoul and London and Victoria Miro. Photography by Jeon Taeg Su
\r\n\u00a9 Do Ho Suh<\/p><\/div>

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Do Ho Suh Nest\/s, 2024
\r\nPolyester, stainless steel ; 410.1 x 375.4 x 2148.7 cm
\r\nCourtesy the Artist, Lehmann Maupin New York, Seoul and London and Victoria Miro. Photography by Jeon Taeg Su
\r\n\u00a9 Do Ho Suh<\/p><\/div>

\"Press<\/a>

Do Ho Suh
\r\nPerfect Home: London, Horsham, New York, Berlin, Providence, Seoul, 2024
\r\nPolyester, stainless steel ; 455 x 575 x 1237 cm
\r\nCourtesy the Artist, Lehmann Maupin New York, Seoul and London and Victoria Miro.
\r\nPhotography by Jeon Taeg Su
\r\n\u00a9 Do Ho Suh<\/p><\/div>\r\n\r\n

Suh\u2019s work defies categorization. It sits somewhere between sculpture and architecture,\u00a0 memory and material. Using semi-transparent polyester fabric in shades of pink, blue, green, and red, he recreates the places he has called home: a childhood house in Seoul, cramped apartments in New York, rented flats in London. Every door handle, every faucet, every light switch is present\u2014stitched with astonishing fidelity into gauzy forms that float in the gallery air like lucid dreams.<\/p>\r\n

At the center of the exhibition is Perfect Home: London, Horsham, New York, Berlin, Providence, Seoul<\/i> (2024), a poetic conflation of six different residences. It is a home that never existed, and yet one that feels instantly familiar. Visitors walk through doorways into overlapping geographies of memory, across continents and decades, all held together by thread and transparency. The seams are literal, and metaphorical: this is how lives are stitched together when permanence is elusive.<\/p>\r\n\r\n

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Do Ho Suh, Perfect Home, 2024 (Detail). Courtesy of the artist and Lehmann Maupin New York, Seoul and London and Victoria Miro. Photography by Jeon Taeg Su<\/p><\/div>

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Basic description of key persons or activity
\r\n(where applicable)<\/p><\/div>

\"adf-web-magazine-stitched-memories-do-ho-suh-walk-6\"<\/a>

Do Ho Suh, Perfect Home: London, Horsham, New York, Berlin, Providence, Seoul, 2024, installation view, The Genesis Exhibition: Do Ho Suh: Walk the House. Courtesy the Artist, Lehmann Maupin New York, Seoul and London and Victoria Miro.\u00a0 Creation supported by Genesis. \u00a9 Do Ho Suh. Photo \u00a9 Tate (Jai Monaghan)<\/p><\/div>\r\n\r\n

Suh has an uncanny ability to elevate the mundane into the profound. A radiator. A doorbell. The invisible nicks and grooves of a lived-in corner. These are the things we forget to remember\u2014until he renders them in translucent fabric, and we see them anew. The installations are ghostlike, yet never eerie. They carry the warmth of human habitation, the accumulated presence of absence. It\u2019s not only about the form\u2014it\u2019s about the memory encoded in that form. The way a hallway feels different in winter. The squeak of a floorboard you knew to avoid. These are the textures Suh reweaves into architecture. In these quiet sculptures, everyday life becomes reverent.<\/p>\r\n\r\n

\"adf-web-magazine-stitched-memories-do-ho-suh-walk-7\"<\/a>

Do Ho Suh, Nest\/s, 2024
\r\nPolyester, stainless steel
\r\n410.1 x 375.4 x 2148.7 cm
\r\nCourtesy the Artist, Lehmann Maupin New York, Seoul and London and Victoria Miro.
\r\nPhotography by Jeon Taeg Su
\r\n\u00a9 Do Ho Suh<\/p><\/div>

\"adf-web-magazine-stitched-memories-do-ho-suh-walk-8\"<\/a>

Do Ho Suh, Rubbing\/Loving Project: Seoul Home, 2013-2022, installation view, The Genesis Exhibition: Do Ho Suh: Walk the House. Courtesy the Artist, Lehmann Maupin New York, Seoul and London and Victoria Miro. Repurposing supported by Genesis. \u00a9 Do Ho Suh. Photo \u00a9 Tate (Jai Monaghan)<\/p><\/div>

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Do Ho Suh, Rubbing\/Loving Project: Seoul Home, 2013-2022 (detail). Installation view at Museum of Contemporary Art Australia, Sydney, Australia.
\r\nPhotography by Sebastian Mrugalski
\r\nCourtesy of the artist, Lehmann Maupin, New York, Seoul and London and Victoria Miro.
\r\n\u00a9 Do Ho Suh.<\/p><\/div>\r\n\r\n

Not all of Suh\u2019s work in this exhibition relies on architectural form. His Rubbing\/Loving Project: Seoul Home<\/i> (2013\u20132022) is a deeply tactile, devotional act. Here, Suh uses colored pencil and paper to record every inch of his former homes by hand-rubbing the surfaces\u2014a laborious process that yields fragile, paper skin-like impressions of walls, ceilings, and moldings.<\/p>\r\n

This series is less about reconstruction and more about intimacy. The rubbings are traces of touch, of goodbye, of holding on. Each mark is a love letter to the spaces that made him. As Suh himself has said, \u201cWe bring our memories with us when we move. And my memories inhabit the architectural pieces that I create, which are physical, but also psychological and metaphorical.<\/i>\u201d<\/p>\r\n

Through this lens, his work becomes an embodied form of memory\u2014a way to stay connected to places long gone. As a Korean-born artist living in the West, Suh\u2019s work has always grappled with ideas of displacement and migration. But rather than foregrounding trauma, Walk the House offers space for reflection, empathy, and even solace. The fabric homes are portable, pliable, and porous\u2014homes that can travel, adapt, unfold. They speak to the modern condition of never fully arriving, of constantly translating oneself into new contexts. Yet rather than mourn this, Suh elevates it. His work suggests that home is not a fixed address, but a fluid constellation of moments, details, and sensations that we carry with us.<\/p>\r\n\r\n

\"adf-web-magazine-stitched-memories-do-ho-suh-walk-10\"<\/a>

Do Ho Suh, Home Within Home (1\/9 Scale) 2025, installation view, The Genesis Exhibition: Do Ho Suh: Walk the House. Courtesy the Artist, Lehmann Maupin New York, Seoul and London and Victoria Miro.\u00a0Creation supported by Genesis. \u00a9 Do Ho Suh. Photo \u00a9 Tate (Jai Monaghan)<\/p><\/div>\r\n\r\n

This makes the exhibition especially resonant today, in an era marked by dislocation\u2014whether through globalization, crisis, or choice. Suh\u2019s installations invite viewers to ask: What does home feel like? What have I brought with me, and what have I left behind?<\/i><\/p>\r\n

The immersive nature of the exhibition further collapses boundaries between viewer and artwork. One doesn\u2019t simply observe Suh\u2019s spaces; one inhabits them. To move through a corridor of red gauze or brush against a filmy kitchen sink is to feel briefly inside someone else\u2019s skin. It is a rare kind of empathy that Suh cultivates\u2014one grounded in spatial memory rather than spectacle.<\/p>\r\n\r\n

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Do Ho Suh, My Homes, 2010, installation view, The Genesis Exhibition: Do Ho Suh: Walk the House. Courtesy of the artist, Lehmann Maupin, New York, Seoul and London, Victoria Miro and STPI - Creative Workshop & Gallery. \u00a9 Do Ho Suh. Photo \u00a9 Tate (Jai Monaghan)<\/p><\/div>\r\n\r\n

Tate Modern\u2019s Walk the House<\/i> is more than a display of technical mastery (though Suh\u2019s precision is awe-inspiring). It is a deeply emotional, almost meditative journey through the architecture of memory. The light filtering through fabric walls casts soft shadows that move as you do. The silence in these rooms is not empty\u2014it is filled with the echo of footsteps long passed.<\/p>\r\n

There is a quiet generosity to Suh\u2019s work. Though rooted in his biography, it makes space for ours. We are invited not just to look, but to inhabit\u2014to step inside someone else\u2019s memory, and find our own reflection there. In doing so, Suh collapses the distance between artist and viewer, past and present, personal and universal.<\/p>\r\n

INFO<\/span><\/h3><\/div>\r\n

Do Ho Suh: Walk the House is at Tate Modern from 1 May to 19 October<\/i><\/p><\/article>","protected":false},"excerpt":{"rendered":"

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