Jane Jin Kaisen. Burial of This Order (still), 2022.
Jane Jin Kaisen
Burial of This Order
September 3, 2026—January 10, 2027
Morris & Ann Dancyger Observatory Gallery
Burial of This Order brings together three works by Jane Jin Kaisen that underscore her ongoing interest in ritual, collectivity, capitalist critique, and the possibilities of social and political transgressions.
The exhibition centres on Kaisen’s titular video installation (2022), through which the audience is invited to follow a funerary procession gathered to ceremoniously bury a world order built upon hierarchy and division. The social actors called on to perform this duty, including artists, poets and activists, transgress traditional ceremonial practices indicating that this ritualized enactment is a funeral without grievers, assembled to dismantle unlivable structures, rather than lament current conditions. The exhibition’s central work is accompanied by Sorrow Waters This Land (2024) and Dokkaebi (2024). The former focuses on the setting for the procession – a derelict resort on Jeju Island that was abandoned following the IMF financial crisis of the 1990s, now persisting as a crumbling ruin of capitalism. The latter features powerful Dokkaebi deities from Korean folklore, unpredictable tricksters who dance suggestively through the space, haunting or perhaps compelling the procession.
The exhibition’s focal film builds towards a moment of revolutionary fervour when the procession refuses to complete their task and instead overthrows and dismantles prevailing power structures so that other narratives and realities can be imagined into being. Articulating their desires for transformation and disruption by way of collective emergence and rebirth, the mourners forsake the ritual burial but hold to their promise of elapsing this world order.
Curated by Noa Bronstein.
Upcoming Programs
Program Archive
Photo by Daniel Zox.
About the Artist
Jane Jin Kaisen
(she/her)
Jane Jin Kaisen (b. 1980 Jeju Island, lives in Copenhagen) is known for her visually striking, multi-layered, performative, poetic, and multi-voiced feminist works concerning memory, migration, and borders, conceived at the intersection of lived experience and larger political histories. Other long-term commitments revolve around nature and island spaces, alternative cosmologies, sustainability and the preservation of intangible cultures. Kaisen represented Korea at the 58th Venice Biennale and is the recipient of various recognition grants and awards. Recent exhibitions include the 13th Berlin Biennale, the 13th Seoul Media City Biennale, the Hawaii Triennial 2025, and the Korea Artist Prize 2024 at MMCA Korea.
About the curator
Noa Bronstein
(she/her)
Noa Bronstein is a writer and curator based in Toronto whose practice is often focused on the social production of space, and thinking through how artists disrupt and subvert systems including those registering across social, political and economic structures. Bronstein has previously stewarded two leading artist-run centres through her role as the Executive Director of Gallery 44 Centre for Contemporary Photography and Gallery TPW, and in 2018 held the position of Senior Curator for the City of Mississauga. Noa has curated and programmed projects/exhibitions at institutions across Canada, including at the Art Gallery of Ontario (Toronto), The Rooms (St. John’s), Doris McCarthy Gallery (Toronto), and The New Gallery (Calgary). Her writing has appeared in publications including Artforum, Border Crossings, C Magazine, Canadian Art, esse art + opinions, PUBLIC Journal, and The Journal of Curatorial Studies. Bronstein is currently the Assistant Director of the Art Museum at the University of Toronto.
