This film explores the toilet not simply as a functional domestic space, but as a stage on which the boundaries between private and public are both enforced and undone. The set takes the form of a triangular prism, with a sharply angled floor plan and an unusually high ceiling. Within this strange architecture stands a thin red door that covers only the most minimal part of the body, barely concealing the buttocks. By reducing privacy to such an inadequate barrier, the work turns the toilet, a space where privacy is expected to be absolute, into a structure of exposure.
Throughout the film, the figure performs acts that would normally remain unseen in the presence of others: defecating, eating, reading magazines, and grooming. Yet the thin door never fully protects these actions from view. The audience is made to witness what should remain hidden, confronting the instability of the boundaries that separate intimate behavior from public display. The toilet becomes a paradoxical space in which liberation is inseparable from vulnerability, and privacy becomes something fragile, partial, and performative.
By introducing an absurd and contextually unstable architectural setting, the film also unsettles familiar ideas of cleanliness and contamination. What appears clean or dirty, proper or improper, private or exposed, is revealed not as a fixed truth but as a cultural construct shaped by perception, social codes, and structures of power. Humorous yet unsettling, the work examines how the most ordinary domestic space can become a site where bodily instinct, shame, freedom, and self-presentation collide.
Collaboration
Coordinate
Co-directed and co-designed the set with Nyoungjun Moon.
Moving-image production, belt design and fabrication by Han.
Performance by Nyoungjun Moon.
(62, 55)