User:Igarbani/sandbox

Anne Duk Hee Jordan
Korean-German artist, born in Korea in 1978. She lives and works in Berlin, Germany.

Early life and education
Anne Duk Hee Jordan, an orphan from Korea, was adopted by a German couple at the age of four, and grew up in a small village in West Germany. She was trained as a rescue diver, deep sea diver, and free diver. She was also trained as an occupational therapist, specializing in Kinesthetics. She started her art education at 27, when she enrolled at the Berlin Weissensee. Disappointed by the program after several of her professors left the school, she joined Olafur Eliason’s Institute for Spatial Experience in 2012 as a master student.

Career
Anne Duk Hee Jordan's background shaped her interests in art, science, and philosophy. Her work often speaks of issues of migration, identity, and social spaces, using natural or biological processes as metaphors. Her installations are meticulously researched, and often use humor to get her point across. She uses both living and dead materials, at times constructing machines that can mirror organisms, and creates a dialogue between art and science, her identity and social systems.

Major Works

 * Mein Deutsches Herz / My German Heart (2009): identifying herself with the ubiquitous potato in Germany (a plant from "elsewhere" introduced to Europe) the artist installed a small motor in a gutted potato, painted red, animating it like a beating heart. The work was a metaphor for her life: she comes from a place she cannot remember, and now lives in a "destination she does not know".
 * Water Me / Eat Me (2009): a self-sustained laboratory, where the artists not only "fed" a potato field with her own blood, but where the potatoes also acted as a source of energy for watering the plants, through a series of copper and zinc plates placed inside the potatoes.
 * Metrotopie (2011): Anne Duk Hee Jordan collaborated with Shira Wachsmann, which took a subway car filled with living plants that traveled across Berilin. The train car acted as a symbol of energy, while also recalling the Chinese meridian system (qi).
 * Lost Princess of Mongolia, Icarus (2012): in this video installation, the artist interweaves images of herself, dressed in traditional Mongolian dress and wandering the streets of Berlin, with images of the artist preparing food (washing lettuce, peeling potatoes). Dealing with issues of identity, the video ends with Anne throwing the potato into a river, thereby symbolizing her return to her origin across the ocean.
 * Ziggy and the Starfish—How one becomes One with a Fish (2016/18): the artist investigates the sexuality of marine life, and the effect of climate change on its adapting and changing sexual behavior.
 * Into The Wild (2017–18): dinner parties where up to 100 guests eat seasonal plants that grow in the city of Berlin. No utensils are provided and the table itself is edible.
 * Changing Sex in Ecology (2018): in this video of photographs, the artist builds on the work from Ziggy and the Starfish, juxtaposing images of gender fluidity in both art and in nature.