Jin-me Yoon’s early works take on Vancouver photo-conceptualism and transform it into a vehicle for challenging the construction of Canada’s national narratives. She later connected her critical perspectives on Canada to larger narratives of colonialism, exploitation, and extraction, focusing in particular on the difficult histories that she inherited from the country of her birth, Korea. Ultimately, her stirring art combines video, performance, and social practice to reimagine our relationships to each other and to the planet in order to build more hopeful futures.

  • Jin-me Yoon, Souvenirs of the Self, 1991

    Souvenirs of the Self 1991

  • Jin-me Yoon, A Group of Sixty-Seven, 1996

    A Group of Sixty-Seven 1996

  • Jin-me Yoon, between departure and arrival, 1997

    between departure and arrival 1997

  • Jin-me Yoon, Intersection 3, 2001

    Intersection 1996 2001

  • Jin-me Yoon, Fugitive (Unbidden), 2003–4

    Fugitive (Unbidden) 2004

  • Jin-me Yoon, The dreaming collective knows no history (US Embassy to Japanese Embassy, Seoul), 2006

    The Dreaming Collective Knows no History (US Embassy to Japanese Embassy, Seoul) 2006

  • Jin-me Yoon, Beneath, 2012

    Beneath 2012

  • Jin-me Yoon, This Time Being, 2013

    This Time Being 2013

  • Jin-me Yoon, Other Hauntings, 2016

    Other Hauntings 2016

  • Jin-me Yoon, Long View, 2017

    Long View 2017

  • Jin-me Yoon, Untunnelling Vision, 2020

    Untunnelling Vision 2020

  • Jin-me Yoon, Mul Maeum, 2022

    Mul Maeum 2022

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