Simultaneity: Min Oh

Enseoul is pleased to present Simultaneity, a solo exhibition by Min Oh, on view from 28 June to 6 July 2025. The exhibition features new and recent works from Oh’s ongoing project of the same name—an extended enquiry into time, structure, and perception. Since 2024, the project has taken shape through performances, video installations, lectures, and publications, with earlier iterations shown at venues including De Appel.

Trained in classical music and performance, Oh works across sound, image, and score. In her installations, voice, rhythm, camera, and movement operate on equal footing. Rather than building towards a single narrative, her work establishes a field in which these elements coexist, overlap, and respond to one another in real time.

At Enseoul, Simultaneity brings together a selection of video lectures, motion graphic scores, and drawing-based references and scores, including:

• Post-Texture, Lecture (2022): A video lecture introducing Oh’s earlier research into the idea of post-texture. The work traces how acoustic structures evolved over time and argues for sound mass in contemporary music as a way to break from hierarchical models rooted in classical harmony and musical texture.

• Simultaneity, Lecture (2025): A single-channel video in which Oh presents simultaneity as a structuring condition of contemporary experience, building on her previous work in Post-Texture.

• Simultaneity, Score (2025): A silent motion graphic work layering diagrams, musical notation, and text, composed from materials produced between 2016 and 2022.

• Score: Simultaneity, Conference (2025): A visual score for Act II of Oh’s live performance at De Appel, mapping frameworks for interdisciplinary collaboration.

• Works on paper such as Simultaneity, Lecture, Reference and On All Their Facets and In All Their Parts, which treat citation as both material and method—tracing simultaneity across time, geography, and authorship.

These works do not seek resolution. Instead, they stage complexity—inviting the viewer to inhabit simultaneity as a condition of dissonance, interruption, and interrelation, reflecting how we experience the present moment. As Oh writes: “Simultaneity never stops becoming. It is an ‘infinite set’ that acts on others and reacts to others, on all their facets and in all their parts.”