A film by Darren Tesar and featuring Brandon Cramm and Song-yun Kim.

CLING RING is a film, text and installation by Darren Tesar, featuring audio and artwork contributions by Brandon Cramm and the imagery of Song-yun Kim. 

CLING RING began as remake of the film  ________  by way of it being conceived as an essay written inside the subtitle track (.srt) of the 1992 version of ________ . Sections of description from the novel ________  by   were later introduced. 

CLING RING is made possible by the imagery of Song-yun Kim, yet directed, sequenced and purposed by Darren Tesar. (Editing, processing or manipulation of the images was not allowed.)

CLING RING marks the first time Tesar’s writing has been repurposed for audio and speech, which has been entrusted to Brandon Cramm. In order to emphasize the spectatorial quality of everything in (and coming into) the space, Cramm has chosen to have the spoken audio track stand separately as its own entity within the viewing space.

CLING RING is a type of dis(tancing)-appearance made possible by and out of a prolonged proximity maintained between entities. Prolonged proximities that produce a kind of material pidgin—a grammatically simplified means of communication that develops between two or more groups that do not have a language in common. The result is a production and maintenance of signs that are doubly non-native, meaning the author and object/subject are both made into partial objects. This notion of partial plays off all three of its possible meanings, namely having a particular liking or fondness for something or someone, that, by nature of its sentimentality (a form of bias or prejudice), relates to being or affectation only in part, not total; incomplete.


Preview: 06/04/22 (6-9 PM)

Weekends: 12-5pm (06/05, 06/11, 06/12)

Weekdays: by appointment (


Darren Tesar (USA), is an artist, writer and curator based in Saint Paul. They received their MFA from The Glasgow School of Art in 2010. Recent activities include: __storation of limbs, MnArtists, Minneapolis, MN, USA (2021); National Culture & Arts foundation: Development Grant (with Wen-Li Chen), Taipei, Taiwan (2020); Yoke Anima, Seohak Photo Gallery, Jeonju, South Korea (2019); Guest Curator: unsupportive, N/A Gallery, Seoul, South Korea (2019): VAF Fund, Midway Contemporary Art (Visual Arts Fund, administered by Midway Contemporary Art with generous funding from The Andy Warhol Foundation for the Visual Arts, New York), Minneapolis, MN, USA (2018); Guest Curator (with Wen-Li Chen): 和 [he’] (FOGSTAND Gallery) Taiwan Academy, New York, NY, USA (2018); Rough Sleeper, Sadie Halie Projects, Minneapolis, MN, USA (2018)

Brandon Cramm (USA), is a Minneapolis-based artist and received their MFA from The Glasgow School of Art in 2013. Cramm’s creative practice often makes use of digital imaging, text, sculpture and installation; and is guided by a curiosity in narrative/storytelling, design rhetoric, and the position of spectatorship. Select Exhibitions/Projects include love-love, FOGSTAND, Saint Paul, MN, USA (2019); A Crypt of Living Timbre, CCA: Intermedia Gallery, Glasgow, UK (2018); 和 [he’], Tiawan Academy, NY, USA (2018); Beholder, FOGSTAND, Hualien, TWN (2017); Self-Titled Group-Show, Market Gallery, Glasgow, UK (2016); The Grind, Voidoid Archive, Glasgow, UK (2015); Untitled, Sequences Festival, Reykjavik, IS (2015); God Only Knows, The Tip, Frankfurt, DE (2015)

Song-yun Kim (South Korea), is a Seoul-based artist and received his BFA from the School of the Art Institute of Chicago in 2008 and his MFA from The Glasgow School of Art in 2011. Exhibitions include: unsupported, N/A Gallery, Seoul, South Korea (2019); 和 [he’], Taiwan Academy, NY, USA (2018); 'ㄱ|ㅇ' , Gyenam rice mill, Jin-an. South Korea (2017); Finding it or the gazes, FOGSTAND, Saint Paul, MN, USA (2018); Absolving the Object, Latent Spaces, Singapore (2015); Contemplation ‧ Fairness, Trunk Gallery, Seoul, South Korea (2015); Knowns, FOGSTAND, Hualien, Taiwan (2014)

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