Mi(x)ing Zone - Voice Prisms
Ian Kang & Yun Lee exhibition
Curated by Yuwen Huang (E-von)
Date
Jul 18–Aug 10, 2025
Opening: Jul 18, 2025 (Friday) 7:00–10:00 PM
Venue
OH Art Foundation
3/F Zhou B Art Center
1029 W 35th St, Chicago,
IL 60609
We are thrilled to present Mi(x)ing Zone - Voice Prisms, a collaborative immersive exhibition by interdisciplinary artists Ian Kang and Yun Lee, curated by Yuwen Huang (E-von). Running from July 18 to August 10, 2025, at the Oh Art Foundation, the exhibition invites visitors into a shared space where fragments of the suburban American landscape are reconstructed and magnified. Through mirrored reflections and multilingual family voices, it navigates the tension between migrant memories and suburban American life.
Based in Chicago and sharing Taiwanese heritage, Ian and Yun are deeply attuned to how diasporic life continues to evolve in today’s interconnected cultural landscape. As the core of the installation, seven custom-built, spinning disco balls interlace Ian’s multi-language sound systems and Yun’s projections. Their work prompts a revisit to suburban homogenization through the home languages of migrant families. Re-examining AI as a critical lens rather than a neutral tool, they reveal the way technology reinforces the same modes of idealized family life that underpin suburban uniformity. This dynamic environment dissolves linguistic borders, creating moments of shared resonance.
Within this multi-layered setting, visitors are encouraged to wander this sonic labyrinth, catching snippets of Chinese, English, and other neighbourhood chatter, sensing how different migrant memories weave into the familiar rhythms of American suburban life. In our increasingly standardized daily existence, their practice becomes an aspiration—a reaching toward pluralistic and authentic ways of being.
Join us to experience this multi-sensory journey in Mi(x)ing Zone - Voice Prisms.
For inquiries, please contact Yuwen Huang (yuwenhuang.3evon@gmail.com).
About the Artists
Ian Kang is an interdisciplinary artist based in Chicago. His work explores the entanglements between digital technology, human perception, and diasporic identity. Through 3D animation, real-time audiovisual performances, and experimental video, he constructs systems that examine how algorithmic tools reshape memory, language, and cultural narratives. Drawing from glitch aesthetics, AI-generated content, and cross-cultural dislocation, he approaches technology not as a symbol of linear progress, but as a contested terrain shaped by history, power, and possibility. By weaving together obsolete media, voice synthesis, and real-time computation, he creates temporal collisions that resist dominant narratives of innovation. His work envisions a techno-cultural commons where past and future tools—VHS artifacts, AI models, analog noise—interact in mutual disruption and reinvention. Rather than reproducing hegemonic systems of control, his practice seeks to open cracks within them, proposing an alternate imagination of co-existence between humans and machines rooted in fragmentation, multiplicity, and shared agency.
Lee Yun (b. 1998, Taiwan) is a media artist whose work explores the translation of figures and gestures in moving images to interrogate time, memory, and identity. Using film, video, installation, and real-time audiovisual systems, Yun examines how gestures are preserved, fractured, and reconfigured across temporal, cultural, and spatial landscapes. Cultural depiction in Yun’s practice is fluid, shaped by traces, reflections, and ephemeral presences. Drawing from phenomenology and postcolonial discourse, they explore moving images as both personal and collective memory, questioning the authority of representation and embracing the ambiguities of identity. Rooted in an expanded approach to editing, Yun treats cuts as rhythmic disruptions and images as spectral artifacts, dissolving linear time to reconstruct figures in a state of flux. Through a poetic lens, Yun’s work reimagines time as echoes and disruptions, constructing spaces where figures exist in perpetual translation, unbound from the structures that seek to define them.
