Galerie Paris-Beijing is delighted to present Amphibology the second solo exhibition of Seoul-based artist MyeongBeom Kim from May 4th to June 17th. Amphibology 1. (Noun) From late Latin “amphibologia”, ultimately from the Greek “amphibolos”, where ‘amphi’means ‘on both sides’, ‘bolos’ means ‘throw’ and ‘logos’ means ‘word’. Literally ‘throwing words about on both sides’, or ‘mixing up words’ and hence ‘ambiguity’, double or doubtful meaning esp. from uncertain grammatical construction. Synonyms: amphibologia and also ambiguitas E.g. Wanted: chair for an old man with wooden legs Amphibology presents a series of new works issuing from a succession of mental connections and distorted memories related to the artist experience of his surrounding environment, bringing a psychological perspective to the perception of the most common artefacts. The title refers to a figure of speech generating an equivocal meaning, a linguistic doubleness: “when a sentence be turned both ways, so that a man shall be uncertayne what way to take” (Abraham Fraunce, Lawiers Logike, 1558). As a Shakespearean Mercutio, playing cleverly on the double meaning of ‘grave’: Ask for me tomorrow and you shall find me a grave man (Romeo and Juliet, Act III, Scene 1 line 97–98). Ambiguity of expression is not only the result of certain choice of words within a semantic construction. Even the unexpected juxtaposition of visual elements can lead the viewer to the same deadlock. In communication theory, while facing a double bind situation, the subject is caught between two conflicting inputs. On a logical level, he is confronted to an unsolvable dilemma. However going beyond the conventional correspondence of words and objects, as intended by the Surrealist movement is not the aim of MyeongBeom Kim’s practice. His intent is more to investigate the multiple ways surroundings can be perceived and interpreted by establishing a private dialogue with everyday objects. Like projections of an existence other than the one the objects were intended to have, Kim’s installations condense and reinvent forms and functions revealing the hidden significance of the futile, like a burning candle planted in the middle of an empty lawn.