Jiyoon Chung's 'Dead End' Explores Suspended Value at Anton Janizewski

Jiyoon Chung's exhibition 'Dead End' at Anton Janizewski in Berlin examines the slippage between physical obstruction and psychological state through a site-specific installation. The show features works that critique systems of value, circulation, and meaning. In 'Untitled' (2026), a stainless-steel structure with LED tubes recalls Minimalism and the illuminated crosses of South Korean cities, but its four directions terminate rather than extend, becoming a 'dead end to the imagination.' 'Hyperreal, 0.0' and 'Hyperreal, 1.1' (both 2026) are cruciform containers cast in transparent epoxy, holding distilled water and Jack Daniel's whiskey with dissolved graffiti ink respectively; as the liquid evaporates, faint deposits remain. 'A Lot of Yeses' (2025) replicates celebrity-owned tequila brand bottles from Kendall Jenner, George Clooney, and Michael Jordan in resin, with an agave worm suspended inside each—a vestige of fermentation now devoid of function. 'Dead Flips' (2026) inserts over 200 Euro coins cast in transparent resin into slits in the gallery wall, each coin revealing both sides simultaneously, evoking a stalled system of exchange in an increasingly cashless society. Across the exhibition, Chung traces how capitalism operates as an atmosphere, pervasive yet thinning, with value present but inoperative.