Cerise Louisa Andrews has a degree in dance and culture, and MAs in dance research and applied linguistics. She taught English in South Korea from 2009 to 2019 and has reviewed for Dance Theatre Journal, Pulse magazine, and Undercover magazine
“Fantastic, baby!” declares singer G-Dragon, the pulsating beat of Big Bang’s hit song reverberating through the gallery space where his likeness, or, to be exact, his likenesses, are displayed in the form of Gwon Osang’s collage-covered sculpture Untitled G-Dragon: A Space Of No Name. The larger-than-lifesize figurines of Kwon Ji-yong (AKA G-Dragon) represent one triumphant Technicolor figure slaying another, his twin or alter ego, with a 3m-long microphone stand. It’s a perfect metaphor for the modern Korean wave, or hallyu. Surrounding the statue, there are futuristic-looking exhibits, including K-pop girl band Aespa’s all-white stage costumes, complete with impossibly cinched waistlines. The gallery hall is lit in sultry nocturnal hues reminiscent of a nightclub, or noraebang (Korean karaoke rooms) after midnight.
