Sojung Jun’s I Do Nine-Tailed Fox begins with two figures of transformation. The first is the Gumiho, the nine-tailed fox of East Asian mythology, which can take on any form. The second is a seed borrowed from Octavia Butler’s fictional religious system, “Earthseed”. Carried by wind, animals, or water, the seed signifies survival and return amid planetary breakdown. Together, these figures ask what persists through displacement, and what must change in order to endure.

The video takes us into the history of the Koryo-saram, Koreans forcibly relocated to Central Asia under Soviet rule. Working with women artists from the Koryo Theatre in Almaty, Kazakhstan, Jun traces the community’s sonic legacies. The video is housed in inflatable structures that are low-cost, portable, and adaptable, with their shifting forms echoing the nomadic identities explored throughout the work. Together with a seed vault and digital sculptures, these structures expand the installation into a space where ecology and technology converge.

On screen, AI-generated transitions unfold in a continuous flow, adopting the fox’s metamorphosis as the film’s underlying structure. Identities branch, voices multiply, and the boundaries between archaeology and speculative imagination dissolve. Archival footage enters into dialogue with the present and an imagined future, shifting shape as fluidly as the fox itself and revealing untold stories within the gaps of history and migration.