Exhibit
Contraband Existence

This series is a celebration of neurodiversity, subversive reflection on somatization as a glorified “solution” and contemplation on modern existence within capitalist norms of productivity, conformity, and achievement as the real divergence from our humanity. For many people, medication is simply a means of survival within capitalist structures which do not provide for diverse types of people with different ways of thinking.

The artworks presented in this series of 6 hyperrealist drawings use color pencil to meticulously depict available doses of Adderall XR, a “designer” prescription for treating people diagnosed with Attention-Deficit/Hyperactivity Disorder (ADHD).
ADHD is characterized by symptoms such as inattention and impulsivity, has been linked with low levels of neurotransmitters in the brain, and affects an estimated 22 million adults and children in the United States alone.
Adderall is formulated on amphetamine, which is illegal in many jurisdictions such as Japan and Korea.
Even in the United States, this pharmaceutical is notoriously associated as a performance enhancement and with recreational use among students and professionals, as well as overprescription among children. In recent years the exponential demand for Adderall has created both pharmaceutical supply chain shortages and counterfeit black markets, while giving rise to outsourcing services that contact pharmacies to search for availability on behalf of wealthy individuals, resulting in even further inequity for those living with ADHD.

This series is an exploration of the artist’s lived experience of neurodivergence, a journey marred with many challenges and shame due to the taboo nature of seeking help for or even discussing mental health in her home country. Individuals struggling with mental health are not protected by anti-discrimination or medical privacy laws. As a result, Koreans hold the tragic statistic of having one of the highest suicide rates in the world, or resort to alcohol or religion as an palliative coping mechanism for suffering. The works presented in this exhibition represent her reclamation of vulnerability as strength and what it takes simply to exist in a world that demands productivity and achievement as a measure of one’s value as a human being.

There was so much for me to learn as an artist debuting with my first solo exhibition. But this opportunity to work with Gallery Mugen far surpassed what I could have imagined in my wildest dreams. I feel so blessed to have worked with my curator Peter Leghorn, who was not only a visionary in his conception of exhibiting my artwork, but just as formidable in how he shared his experience with kindness.

His ability to garner support from his incredible network within the Tokyo art community speaks to his standing within it. Unlike most private galleries, Gallery Mugen allows emerging artists such as myself to learn and grow together.
I never felt pressured toward a particular direction and was provided as much independence and autonomy that I felt comfortable with throughout the exhibition process. Even with so much freedom, I also felt secure in having access to the curator’s wisdom and guidance every step of the way.
This is a great opportunity for artists who are not only willing to roll up their sleeves and work hard for their vision, but also those who are flexible enough to listen and adapt to this context in order to make the most of what Gallery Mugen can provide.

During the exhibition, she stayed at our shared house in RYOZAN PARK. I asked her about her impressions of the experience.

Share House experience When I arrived in Tokyo for this exhibition, I was anxious about feeling lonely because I didn’t know anyone in Japan. I also didn’t know how I would feel about having to use a kitchen, bathroom and shower facilities with people I didn’t know after having lived alone for so long in New York City.
But after one month at Ryozan Park, I felt that I had gained an entire community through the connections I made among RZP sharehouse residents and cannot even imagine how different my experience would have been if I had stayed at a hotel. Everyone at RZP is so welcoming, kind, generous and open to newcomers.
Everytime I got to know someone at RZP was like starting to read a new book chapter in hearing about their different life stories and experiences. I made so many incredible memories by staying at RZP.
By the time I was leaving, everyone felt like a friend, if not family, which made saying goodbye quite difficult. But my heart feels content because the connections I made in this community are just that special, these relationships are built to last.
I would recommend RZP to anyone who is interested in sharehouse living, or return in a hearbeat if I have the opportunity in the future.

【Profile】
Aartist：Catherine Jiwon Ghim
(b. 1983, Los Angeles) is a self-taught visual artist based in Seoul, New York, and Mexico City. Ghim’s work explores identity, longing and consumerism through a visual language that is both familiar and subversive. It is also a reflection of her multicultural background and experience in journalism, human rights, and economics. Her work engages themes of necessity, luxury, and desire to challenge perceptions of value, aesthetics, and consumption with contemplative irony.
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Curator： Peter Leghorn
Peter Leghorn is a Scottish-born artist based in Tokyo, working primarily in drawing and painting. Leghorn fuses disparate imagery and techniques to create layered, multi-faceted works. His work probes themes of nostalgia, memory, and identity where personal and popular culture intersect and converse."
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