jung represented Korea in the 58th Venice Biennale together with artists Hwayeon Nam and Jane Jin Kaisen in the exhibition “History Has Failed Us, but No Matter” curated by Hyunjin Kim.
jung then returned to Ewha to write a dissertation titled “The Politics of Gender and the Aesthetics of Dissensus: With a Focus on the Yeoseong Gukgeuk Project,” graduating in 2015 with a Doctorate in Fine Arts.
[4]: 50 jung began incorporating performance into her artistic practice with her ongoing series Yeoseong Gukgeuk Project (2008-), which grapples with issues around tradition, queerness, disability, intersectionality, and archival memory and loss.
The introduction of Western theater and values more broadly in South Korea,[7] as well as lack of institutional support that was predominately directed instead to male performers as a part of Park Chung Hee's efforts to modernize the country, led to yeoseong gukgeuk's decline in popularity.
[4]: 49 Deferral Theatre, a video shown in the 2018 "Artist of the Year" exhibition at the National Museum of Modern and Contemporary Art (MMCA) in Korea, explores the connections between Nam Eunjin, gagok performer Park Minhee, and drag king Azangman.
jung states that her juxtaposition of the three figures is meant to emphasize their need for mutual support, the generative possibilities for yeoseong gukgeuk standing outside of the scope of institutional recognition, and how the instability of queerness can allow them to "write our own history by deferring it.
"[5] The audio-visual installation A Performing by Flash, Afterimage, Velocity, and Noise was shown in the Korea Pavilion at the 58th Venice Biennale as part of the group exhibition titled "History Has Failed Us, but No Matter."
The video centers on four performers: actor Yii Lee, Azangman, director of the Disabled Women's Theater Group "Dancing Waist" Seo Jiwon, and electronic musician KIRARA.