He taught at New York University, New York, USA from 1994 - 2004 and Hongik University, Seoul, Korea from 2004 - 2011. His artwork has been featured in many solo and group exhibitions in Europe, USA and Asia.His exhibitions include retrospective " Cody Choi: Culture Cuts" traveling in European from 2015 - 20 Venice Biennale Korean Pavilion.So much more steals its way into Choi’s art (for which the father/son moment of reversal serves as another digestive enzyme) – so much more presses for metabolization.
Louis Peacock Loop Dinner(food) and Patrick Tuttofuoco's Sign Language(welcome) If the world (of music, finance, politics, you name it) was full-on databasing by the end of the 1990s, then it was time for Cody Choi to invent the “third degree creation of painting” for which database would also serve as basis.
But the “new pictorialism” Choi thus founded first took itself aside, in its very inception, and gave itself the third degree of Oedipal interrelation.
Cody Choi, visual artist and cultural theorist was born in Seoul in 1961.
He attended Korea University Sociology major, Korea and Art Center College of Design, Pasadena, California, USA.
His work up to this point of the digital frontier was preoccupied, obsessed with our relationship to all those bodily products, whether through excretion, indigestion, or sublimation, that we just have to let go.
It would not be an overstatement (nor is this intended as diagnosis) to assert that Choi’s work up to the digital divide was compulsively obsessed with stepping or rather not stepping on all the cracks (break your mother’s back!The experiment that is part of every family album – will the son take after his father in his responses to various first contacts, for example, to his first visit to the zoo – was the onset of what turned into the father’s close encounter with the son’s techno priority.If like father, like son Joy had after the trip to the zoo drawn his favorite animal, even though he chose a tiger rather than the father’s childhood favorite, the elephant, he would have been drawn into the Oedipal trap of secondariness (the father, after all, is by profession an artist).“He believes in his power of bringing destruction upon his loved and feared objects, and because of this he must ceaselessly employ magical operations to bring his wishes to naught.His ego can live only under those psychical conditions. He has no justification for existence, so great is the condemnation passed upon his hostile impulses.Choi’s career-long investigation turns on the symbolic weight, moral burden, cultural achievements and social costs of the “economic miracle” achieved in South Korea during the artist’s lifetime, beginning in the decade following the end of the Korean War in 1953. Welchman, 2017This is a conception of space that is territorial and not symbolic.