Group exhibition with: Sebastian Eduardo, Haryung Lee and
Lou Masduraud
Produced and curated by SHOWER, Doris Son and Matheus Vo Ngoc
SHOWER
61 Duteopbawi-ro, Yongsan-gu
04336 Seoul
South Korea
Echo Chamber takes this premise and extends it beyond the visual into sound and water, forces that refuse containment. They reverberate, cross thresholds, and register histories in fragile yet insistent ways. If O’Doherty exposed the gallery’s power to delimit and to turn gestures into echoes of itself, the works here show how reverberation unsettles such limits. No echo comes back the same; each return is marked by the forces that have borne it.
Echo chamber takes shape through three practices. Haryung Lee’s installations treat water as a mnemonic medium. Liquid preserves and erodes simultaneously; it shifts state and surface, storing traces even as it dissolves them. In Lee’s work, water becomes an active agent of history. Lou Masduraud’s sculptural interventions pierce the gallery walls, opening apertures and thresholds that reveal the governing architecture itself. They show how access and perception are controlled, yet also how such controls can be breached. Through these openings, boundaries prove porous, refracting not only Lee’s liquid installations but the institutional space itself. Sebastian Eduardo brings sound into the space: a looping polyphony of styles that resists singular authorship. Functioning as the soundtrack for his drawings, it binds the exhibition’s elements, while simultaneously destabilizing them.
In political discourse, an “echo chamber” implies enclosure and repetition. O’Doherty pointed instead to the echo chamber of art history, where gestures are transformed over time and amplified beyond their origin. Here the exhibition space becomes a room of resonance: water erodes, sound distorts, architecture refracts. Echoes do not repeat; they displace and unsettle. Echo Chamber positions resonance as a critical force, rejecting the closure of the white cube and the stasis of repetition. Echo becomes a principle of proliferation, multiplying perspectives and exposing the fragile structures that seek to contain them. To attend to echoes is to confront unstable memory, permeable boundaries, and the transformative potential of every return.
– Eleonora Bitterli
As the Executive Producer of this international group exhibition in Seoul, I directed the end-to-end operational execution and project management, transforming the curatorial vision into a physical reality. My involvement began at the foundational stage, where I played a key role in the funding process to secure the project's financial viability.
Following this, my leadership encompassed the entire logistical framework. I was responsible for high-level artist liaison and gallery liaison, negotiating and managing all consignment agreements to ensure the secure and compliant transfer of artworks. This required meticulous planning and problem-solving to navigate the complexities of an international collaboration.
My duties included direct oversight of the exhibition install, managing timelines, technical requirements, and onsite coordination with the team at SHOWER's gallery in Seoul. Through strategic operations process improvement, I streamlined communication and workflows between all parties, ensuring the precise and impactful presentation of each artist's work.
2025, Contemporary Art, Group Exhibition, Sculpture, Drawing
Stripes, 2025
coated styrofoam, vinyl sheet, brick, metal bars, chain, rope, water, black ink
170 x 150 x 25 cm
Escape Plan (Floral), 2023
painted wood
40 x 70 x 3 cm
91st Year Of The Beast III, 2025
color pencil, black marker on paper
32 x 24 cm
91st Year Of The Beast IV, 2025
color pencil, black marker on paper
32 x 24 cm
91st Year Of The Beast I, 2025
color pencil, black marker on paper
32 x 24 cm