An emotional map of home, identity and belonging. The Korean-born artist transforms the museum with life-sized fabric installations, graphite rubbings and textile memories.
At the heart of The Genesis Exhibition: Do Ho Suh: Walk the House, on view at the Tate Modern until October 19, the London-based artist Do Ho Suh invites us to inhabit the in-between: between cities, between walls, between memory and structure. A collaboration with Genesis, the show traces three decades of Suh’s practice through large-scale installations, videos, drawings and architectural studies that question what it means to belong.
Through translucent fabric replicas of the places he has called home —from Seoul to Providence, New York to London— Suh examines how architecture shapes our identity, even when it’s not our own. “You’re surrounded by the built environment without your choice,” he has said. “It’s like gravity or your parents.” A poignant reflection that runs through the entire exhibition, especially in works like Nest/s 2024, a kaleidoscopic tunnel made from stitched memories, or Home Within Home, which fuses two houses from opposite ends of his life.
Other highlights include Rubbing/Loving Seoul House, a haunting graphite impression of his childhood home, and Perfect Home: London, Horsham, New York, Berlin, Providence, Seoul, stitched from Hanbok textiles and embedded with details from multiple domestic spaces. The show also delves into Suh’s recent Bridge Project and features a time-lapse video capturing Robin Hood Gardens before its demolition, aligning personal loss with collective displacement.
As visitors walk through these ghostlike architectures, Suh’s question lingers in the air: is home a place, a feeling, or an idea? In his hands, it becomes all three —and a space to dwell, at least for a moment.
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