《MUR/MURS, la peinture au-delà du tableau》

Period/ 2018.04.19(Thu) ~ 2018.06.17(Sun)

Venue/ Project Gallery in Gyeonggi Museum of Modern Art

《MUR/MURS, la peinture au-delà du tableau》

Supervisor

Gyeonggi Cultural Foundation

Organizer

Gyeonggi Museum of Modern Art, Domaine de Kerguéhennec

Supporter

Samhwa Paints Industrial Co., LTD, SandollCloud

Sponsor

French Embassy in Korea, French Cultural Center in Seoul

Artists

Janos BER, Claire COLIN-COLLIN, Michel DUPORT, Christian JACCARD, Chriatian LHOPITAL, Olivier NOTTELLET, Emilie SATRE, Soizic STOKVIS

Gyeonggi Museum of Modern Art holds Mur/Murs, la peinture au-delà du tableau as its first project exhibition in 2018, where you will be able to find murals created by French artists. The eight artists from France created their murals directly on the wall of the gallery to introduce French contemporary art from different angles. Having existed only as the background of pieces of art, the walls of the exhibition hall become core elements to the paintings through the various artistic practices of the artists.

From the late 1960s to the early 1970s in France, an artistic movement called Support-Surface saw the day. It allowed the study of the painting through its deconstruction. The participating artists in Mur/Murs, la peinture au-delà du tableau continue to inquire what the painting is, with their creative and fundamental study of the painting, inside and outside of the canvas. Their experiments of the painting go beyond the frame onto the walls and into space. They either produce the world of abstract and supernatural images with their painting and drawing or engrave the images by making cracks on the wall or with soot.

In the exhibition hall, where the walls become the painting and the paintings are the walls, visitors can approach the works and have new visual and perceptual experiences that go beyond their range of vision by walking through the murals. In Mur/Murs, la peinture au-delà du tableau the form, color, and traces of artistic movement are maximized in the murals and give the visitors an opportunity to intensively think about what an image is in today’s world flooded with virtual reality, symbols, and images.

Main works and Artists

Emilie Satre, Loose, 2018, paint on wall

©2018IllésSarkantyu

Emilie Satre paints the mural through promenade, her own practice of painting. The forms made of colors and fields continue linearly following the artist’s movement. Her mural is her trace. Connected and overlapped, the forms do not describe any external objects, but are constructed in a spontaneous and coincidental way, appearing on the wall in an abstract pattern. The elements of the drawing may seem like shapes that are mechanically repeated, and yet they are not specifically measured, but manually drawn one by one. They are the trace of handicraft work in an organic flow, piling up the temporal development of the working process. What makes the shapes a masterpiece is the drawing itself without being fettered by any rule or doctrine, the journey and the moments. Far from the painting that shows a closed conclusion, her drawing moves freely like wind, infusing life in the color, line, and bulk.

Janos Ber, No Title, 2012-2018, acrylic on canvas

야노스 베르, 무제, 2012-2018, 캔버스 천에 아크릴 이미지입니다

©2018IllésSarkantyu

Janos Ber does not paint on a canvas placed on an easel, but instead, he lays the canvas cloth on the ground and draws lines with a huge brush. The artist leans his body close to the canvas in order to paint rhythmic lines with intervals. He excludes any specific explanation, artificial composition, or literary modification, and makes traces with unconscious and coincidental movements. The making process, with its repetitive bodily motions, resembles that of asceticism. There is no hierarchical logic in his work. White, the background color between the lines, is not simply a background. It is an important element that enables the colored lines to exist and one that transforms into another form of line, connected to the colored lines. Not only the lines come into view against the white background, but the white background itself appears as another shape between the lines, making the lines also become the its own background. This relationship between the colors may remind viewers of Orientalism.

Olivier Nottellet, Hard Wall, Sweet Home (Painting Writes Me), 2018, paint on wall

올리비에 노틀레, 딱딱한 벽, 즐거운 우리집(회화가 내게 편지를 쓰다), 2018, 벽에 페인트 이미지입니다

©2018IllésSarkantyu

The space made of Olivier Nottellet’s mural makes the viewers direct their attention to the bright yellow wall and black drawing. With the abstract colored fields and forms, the silhouettes simultaneously speak to the viewers in different ways. Black silhouettes appear like heroes on theatre stages against the wall that looks like a frame between the huge yellow and white sides. The strange black silhouettes entering the abstract screen seem somewhat familiar but not easy to define. For visitors, viewing those black silhouettes will be the chance to contemplate, making stories based on their imagination or pulling out memories of some forms they have seen. As so, the artist provides the visitors with hints, giving them a more playful way of contemplating art. While not reproducing the landscape in a tricky way, but arousing the active imagination of the viewers here and there on the wall, the artist works like a film director who edits the scenes, utilizing the wall and space as a huge frame.

Christian Lhopital, A Kind of Mind – Viewed by Soul, 2018, graphite powder on wall

크리스티앙 로피탈, 마음의 일종 - 상상, 2018, 벽에 흑연 분말 이미지입니다

©2018IllésSarkantyu

Filling the whole wall with graphite drawing, the paintings of Christian Lhopital embody images such as clouds in the shape of weird plants, ghosts, or extraterrestrial beings. This hits one with the feeling of déjà-vu from one’s dream, or the sense of a supernatural and mysterious experience. The comical and humorous images intertwined and connected with grotesque images, like those of the devils in medieval cathedrals, form a world that seems to be in motion. The artist is good at freely and spontaneously drawing the uncanny figures that are likely to be in the imagination of youths or in myths. Resembling animated films that inspire movement by connecting stationary pictures, the artist arouses the phantom of an unreal world by her continuously ongoing, transforming, and rhythmical painting.

Michel Duport, Forms Without Quitting the Piece of Painting : Wall Arrangement, 2018, colored and paper on wall

미셸 뒤포르, 회화를 떠나지 않은 형상 : 벽 배치, 2018, 이미지입니다

©2018IllésSarkantyu

The abstractly colored fields and the reliefs deliver a sense of volume, showing the characteristics of both the two-dimensional painting and the three-dimensional sculpture. Michel Duport has focused on the arrangement methods of canvas frames on colored walls in the 19th century, applying the composition and the tone of the background wall to the abstract art. The clear contrast between the achromatic colored wall and the primary colored reliefs reveals the intersection point of the painting and the sculpture. The reliefs have a form similar to those that can be seen in cubist paintings, where the structure of objects are analytically expressed – paintings of a combination of disconnected shapes. The artist avoids making his work voluminous by describing the painting so, but put in reliefs as real lumps that meet the flat painting. In front of his protruding work, visitors can take an active viewpoint by moving from the colored surface to the sides of the reliefs, not looking through a perspective that goes into the canvas. For the artist’s painting, the wall takes an important role as a real chunk and surface in space.

Claire Colin-Collin, No Title, 2018, paint on wall

©2018IllésSarkantyu

Claire Colin-Collin paints a first layer, removes the paint and paints over it again, making her 2D piece of painting into a picture with weight. In this exhibition, the artist makes cracks in the wall using cracks of old oil painting as a motif. The clefts on the wall made by the chisel are filled with colors. Repeatedly scraped and plugged, the wall turns into a mural accumulating the traces of time, similar to wrinkled skin. While, the lines in the painting suggest the time that it took for the painting to be complete, they are not tools that represent or describe the external object, but a part of the mural that proves the life of the painting. Engraving shapes through the creative action of forging wounds into the wall is not possible on the canvas, and it reminds the basic human desire for painting as seen with the primitive murals in caves.

Soizic Stokvis, Linear, 2018, paint on wall

©2018Patrick Chapuis

Born in the Netherlands and having spent her childhood there, Soizic Stokvis was influenced by Piet Mondrian, the Dutch abstract painter, and De Stijl, a Dutch artistic movement of geometric abstraction. Having been interested in the city landscape, system and structure, she displays objects in a simplified structure, one that would have been seen from an aerial view of any city. Viewers will see the colorfield area surrounded by straight lines on the white wall. Completing a mural sized geometric abstract painting, the artist shares her experience of facing a huge colored fields. Her work allows the viewers to examine the color and the form, the basic elements of the painting, without decoration. Just as the basic materials for architecture make the framework of a building, the lines and surfaces, the basic elements for making a shape, make the cuboids. The shapes that seem like a combination of lines and rectangular modules are placed in an order, but without a sense of volume or weight, free of the law of gravity. The artist finds out the attributes of signs in abstract art, as when in language consonants and vowels irregularly meet but allow communication.

Christian Jaccard, Wall Burning, Soot Shadows Partition, 2018, combustive gel on wall

©2018IllésSarkantyu

Christian Jaccard makes abstract patterns by using fire to cover the wall with soot. When the movement of fire meets the wall, it produces an abstract painting with cadence and rhythm. This suggests the primitive mural paintings in caves. No conventional painting materials can be found on this wall filled with soot and burnt traces. No paint, no brush were used during the working process, but only the recurrent blazing and extinction of fire. The fire, the combustible gel, and the wall as the painting’s support – The only three tools used become the result of the work themselves. The combustion process evokes the flickering nature of life in a metaphorical and implicit way, just like poetry. Being suggestive of both the providence of nature and the energy that was released during combustion, the fossilized traces of the burnt gel and the wall full of soot create a ritualistic and sublime space.

GMoMA Media Collection : Single Channel Video 2000-2010

Period/ 2018.03.16(Fri) ~ 2018.06.24(Sun)

Venue/ Project Gallery, GMoMA

GMoMA Media Collection : Single Channel Video 2000-2010

《The GMoMA Media Collection: Single Channel Video 2000-2010》 will project four to five videos on one screen in each of the three screenings using a conventional projector. The first screening will include works by artists KIM Sejin, OH Yongseok and Koo Dong Hee that reflect cinematic experiences derived from the nature of popular movies that are accessible to anyone. The second screening, consisting of artworks by PARK Junebum, Rhee Jaye, Ryubiho, and Ham Kyungah, will include works that experiment with aesthetic and formal possibilities, and that reveal a paradox within a framework created by the artist by constructing a specific environment and inserting narratives into it. The third screening, consisting of works by JEON Joonho, Yangachi, Jung Yoon Suk, and Park Chan Kyong, will show a new “writing” of history at the point where the concrete reality of Korean society and the artists’ utopian imagination meet and conflict with each other, and experiments in which the medium of film is translated into an art form via the documentary recording archive.

Main Arts

KIM Sejin (b.1971) Their Sheraton

KIM Sejin is an artist who has incorporated certain techniques used in film into her works as a means of making her work more approachable for the public. Kim boldly deals with subjects that cannot be tackled in films, and uses the structure of film as a subject of her artworks. Their Sheraton, which adheres to the documentary format, was created by filming the rooms of the Sheraton Walkerhill Hotel in the same place at the same time each day. This work, which shows people at various moments of the day in the same place at the same time over a certain period, uses the long-take technique to convey the isolation and sense of disconnection felt by modern people by presenting the “hotel” as a temporary space that embodies the “individuality” of capitalism.

KIM Sejin (b.1971) Take a Picture

Take a Picture projects onto a monotone screen a repeated process, in which a picture is taken of 46 male and female high school students wearing uniforms. It shows that even before pressing the shutter of the camera, the students are fixed in an immobile stationary position and do not even breathe. The movement of the screen is a repetitive act in which the students – unable to endure the lasting tension – disperse and then gather again. The artist deliberately prolongs the photographing process, which requires a pause of a few seconds, thus disturbing the audience’s visual consciousness with the unfamiliarity of time.

OH Yongseok (b.1976) Memory of the Future

OH Yongseok has been working on putting together multiple pictures and video clips to form a continuum. Memory of the Future is a video that combines scenes from classic SF movies produced between the 1930s and the 1970s with contemporary everyday scenery that is the same or similar to the places in the movies. It is designed to express the idea that time circulates inattentively, by putting the future of an already outdated past into scenes from old movies and present-day life, in order to bring past, present and future together on one screen

Koo Dong Hee (b.1974) Static Electricity of Cat”s Cradle

Koo Dong Hee, who has presented his unique world of art through the Single Channel Video and Installation projects, induces the audience to contemplate the meanings and functions of cultural practices between realistic narration and personal imagination. The artist shows how fantasy films make things that are impossible seem possible by exposing cinematographic devices designed to hoodwink audiences, such as wire action, chroma-key, curtains, and so forth.

Art Is Forms

Period/ 2017.10.25(Wed) ~ 2018.08.19(Sun)

Venue/ Gyeonggi Museum of Modern Art

Art Is Forms

“A line is a trace of movements, and one of the oldest forms of art ins the history of man.”
– Rudolf Steiner –

We start to draw lines in our childhood when we are able to hold something in our hand. We come to be satisfied with how our line turns into a circle, rectangle, triangle, and shapes such as a star. We all have a memory of our childhood, drawing family in a sketchbook. Thus, a line is a trace of a hand’s movement, and the first picture by oneself.

The educational exhibition, ‘Art Is Form’, at Gyeonggi Museum of Modern Art offers an opportunity to enjoy works of contemporary artists by starting from a line to forms of nature, the human figure and from imagination. We can look at the line and the forms of nature interpreted by artists, and traveling to various mountains and forests in the world through virtual reality (VR). And we can think of nature around us in a new perspective with the idea of line and form. Moreover, by observing human movements through moving images and Korean paintings, we can attempt to find line and form in our body, and express them. Interactive art gives an opportunity to understand lines through our body by recognizing movement of our muscles with a kinetic sensor. We can also see line and form floating in the air and freely moving from this process. Those new experiences on line and form through art works give an opportunity to see the world with a new point of view. And we expect to find diverse lines and forms in our everyday life.

Main Works

유영국

유영국, 산, 캔버스에 유화, 132x132cm, 1997

유영국은 한국 최초의 추상화가로 ‘산’을 소재로 하여 선·면·색채로 구성된 추상적 형태로서의 자연을 표현한 작가이다. 그의 회화에서 삼각형은 ‘산’, 원은 ‘빛, 타원은 ’나무‘를 나타낸다. 작품 속에서 보여 지는 ‘산’은 고향 울진의 산을 마음에 담고 그리워하며 표현한 것들이라고 한다. 아름다운 색채 대담한 형태로 서정적인 아름다움을 선사하는 작품을 남긴 작가는 지신의 묘비에 ’산이 내 안에 있다‘라는 묘비 말을 남겼다. 평생을 고향의 산을 주제로 아름다운 회화작품을 남긴 화가의 산은 마음속에 담고 있는 또 다른 자연의 표현이었던 것이다.

이혁준

이혁준, 숲#18, 디지털 피그먼트, 130x115cm, 2009

이혁준이 표현하는 사진에는 ‘판타지’가 존재한다. 작가는 세계 여러 곳의 자연과 도시환경을 카메라에 담고, 그것을 디지털로 처리하는 과정을 거쳐 ‘가상의 숲’을 만들고, 자신이 만든 상상의 이미지를 30장의 사진으로 나누어 출력한다. 이렇게 생산된 30장의 사진을 다시 수작업으로 이어붙이는 과정을 통해 한 장의 사진을 완성한다. 세상에는 존재하지 않는 작가의 상상으로 새로운 자연의 풍경이 탄생하는 것이다.

오재우

오재우, 흐르는 강물과 흘러간 내 모습과 당신의 메아리, 4‘50“, 미디어 설치, 작곡:신문선, 안무:하예지, 2011

오재우는 현대 산업에 의해 통제되는 ‘몸의 움직임’에 관심을 가졌다고 한다. 그래서 기계의 동작에 맞추어 생산현장에서 반복적인 움직임을 보여주는 노동자들의 모습에서 사람의 움직임이 하나의 기계가 되는 현상을 발견하고 그것에 주목하였다. 완벽하게 분업화 된 생산시스템 안에서 반복적인 움직임을 보여주는 노동자들의 모습을 모티브로 하여 안무를 만들고, 그것에 리듬을 더해 영상을 만들었다. 영상 속에서 보여 지는 무용가들의 몸동작에서 인간의 몸이 보여주는 선·형·태를 새롭게 발견할 수 있을 것이다.

서세옥

서세옥, 춤추는 사람들, 한지에 수묵, 164x260cm, 1987

서세옥은 현대적인 한국화를 개척한 작가로 1950년대에 점과 선으로만 표현하는 파격적인 수묵추상작업으로 한국현대미술에 새로운 바람을 일으켰다. 1970년대 후반부터는 사람의 모습을 바탕으로 하는 ‘인간’ 시리즈를 보여주기 시작하였다. 점이 머리, 선이 움직이는 몸과 팔로 표현되어진 사람의 모습은 단순한 몇 개의 선으로 화폭 위에 표현되는데, 놀랍게도 그 동작과 표정이 매우 풍부하게 나타난다.

이병찬

이병찬, 소비생태계-팽창된 무거운 질량, 설치, 가변크기, 2017

이병찬은 일상에서 사용하는 다양한 비닐을 이용하여 기괴한 형태의 움직이는 조각을 창작하는 작가이다. 물건을 담는 비닐봉투, 놀이동산의 커다란 헬륨풍선의 재료인 호일비닐 등 여러 가지 색채의 비닐조각을 이어 붙여 작가의 상상 속 형상을 현실화시킨다. 모든 것을 빨아들이는 우주의 거대한 블랙홀은 거대한 질량을 가진다고 한다. 작가는 거대한 질량을 가진 블랙홀이 모든 것을 빨아들여 데이터만 남긴다는 가설에서 출발하여, 주변을 빨아들이는 압력에 당장이라도 터져 버릴 것 같은 고통의 모습을 형상화하였다. 우주의 카오스적 형태를 작가의 상상력으로 표현한 작품이다.

문준용

문준용, 비행, 프로젝터, 키넥트 센서, 컴퓨터, 맞춤 소프트웨어, 가변크기, 2017

문준용은 기술과 예술을 다루는 인터랙티브 미디어 작가이다. 특히 그는 사람의 골격을 인식하는 키넥트센서를 이용한 프로그램을 개발하여 컴퓨터가 사용자의 행동을 인식할 수 있게 하고, 이러한 기술을 아용해 어떤 예술을 할 수 있는가를 실험하고 개척하는 것에 관심을 가지고 있다. 이러한 관심을 바탕으로 ‘비행’시리즈를 연속하여 발표하고 있다. 그는 인터랙티브 미디어 작품 ‘비행’을 통해 체험자들이 어린 시절 놀이의 추억이나 상상이나 꿈같은 것들을 떠 올리기를 기대한다. 움직임을 통한 선의 출현과 그것들의 어우러짐은 새로운 선·형·태의 체험이 될 것이다.

고산금

고산금, 동아일보 사설(2007. 01. 12. A36. A35), 판넬에 가짜 진주, 아크릴 물감, 접착제, 91.5×63.5cm, 2007

고산금은 텍스트를 이미지로 바꾸는 시각번역작업을 하는 작가이다. 글자는 작가의 작업으로 의미를 전달하는 기능이 없어지고, 시각에만 반응하는 존재로 남게 된다. 그녀의 작품을 들여다보고 있으면, 글자로 존재할 때는 보이지 않던 간격과 리듬이 보여 진다. 유학시절 실명의 시간을 가지게 되고, 그것을 회복하는 과정에서 보여 지던 세상의 아른거리던 모습과 닮아있는 이미지가 표현된 진주작업에서 글자가 치환된 점들이 모여 보여주는 선·형·태를 감상할 수 있다.

경기문화재단 경기도미술관 교육상설전시

미술은 폼이다 / Art is Form

2017.10.25 – 2018.08.19 2F 기획전시실

Nam June Paik Exhibition 《More than 30 minutes》

Period/ 2018.02.15(Thu) ~ 2018.09.26(Wed)

Venue/ Nam June Paik Art Center 1F

Exhibition Title

More than 30 minuets

Period

2018. 2. 15(Thu) ~ 9.26(Wed)

Venue

Nam June Paik Art Center 1F

Organized and Hosted by

Gyeonggi Cultural Foundation, Nam June Paik Art Center

More than 30 minutes is an exhibition that sheds new light on Nam June Paik’s video art in the context of the Counterculture that swept America and Europe in the 1960s. Nam June Paik’s work was also influenced by such a cultural background of American society in the ’60s, a decade in which reflections on the Western civilization gradually grew into a movement against the established values. Behind Nam June Paik’s progressive video art exists a new vision of communication sought in the midst of the Countercultural upheaval. It was also Paik’s urgent solution for contemporary people who just entered the age of commodification and automation.

The title ‘More than 30 minutes’ came from the text “Afterlude to the Exposition of Experimental Television”(1963) written by Paik, in which he encouraged viewers to watch his television more than 30 minutes. The exhibition interpreted the meaning of 30 minutes as a requisite for a sympathy with others as well as a journey of communication. According to Paik, video art is not only a passage of ‘harmonious chaos’ to escape from now and here, but also a starting point of imagination to move into there and beyond. We hope that his video art will melt our heart overwhelmed by the flood of information into a strong bond of sympathy.

■ Artworks

Nam June Pailk, Flower Child, video sculpture, 1998

Nam June Pailk, Autobiography inside Womb, drawing on news paper, 1981

Nam June Pailk, Living with the Living Theatre, single channel video, 1989

Nam June Pailk, Tiger Lives, single channel video, 1999

Special Exhibition 《Common Front, Affectively》

Period/ 2018.03.22(Thu) ~ 2018.06.24(Sun)

Venue/ Nam June Paik Art Center 2F

Special Exhibition 《Common Front, Affectively》

■ Overview

Exhibition Title

Common Front, Affectively

Period

22 March 2018- 24 June 2018

Venue

Nam June Paik Art Center 2F

Opening

22 March 2018 4pm

Curated by

Hyunjeung Kim(Curator, Nam June Paik Art Center),
Seong Eun Kim(Chief researcher, LEEUM Samsung Museum of Art)

Artists

Hyewon Kwon, Daum Kim, Ragnar Kjartansson⦁The National, Rosalind Nashashibi, Bojan Djordjev(with Katarina Popović and Siniša Ilić), Cécile B. Evans, Ed Atkins, Ignas Krunglevičius, Yunjung Lee, Everyday Practice, Femke Herregraven, Yang Ah Ham, Minki Hong

Hosted and
Organized by

Supported by

■ Exhibition Related Programs

[Perpormance]]

프로그램개요는 프로그램, 일시, 장소로 이루어진 표입니다
Program		Date	Venue
Between Spot and Spine	Yunjung Lee (Artist)	March 22(Thur) 16:30	Nam June Paik Art Center 2F
The Discreet Charm of Marxism	Bojan Djordjev (Artist, in collaboration with Katarina Popovic and Siniša Ilic), Prof. Namsee Kim (Studies in Visual Arts, Ewha Womans University)	May 17(Thur) – May 19(Sat)	Nam June Paik Art Center
PP World Open Beta Service	Minki Hong (Artist)	March 24, April 7, April 21, June 9, June 23 14:00 – 18:00	Nam June Paik Art Center

[Talk]
Artist and curator talk program will be held between April and June.
* For more information and reservation, please check the homepage.

■ Introduction

In the rapid development of digitally networked environments, we are participant observers who at once go through and bring about social and political changes that might not have been anticipated. Some of the changes are triggered by the emotional flow which makes you feel pain about the sufferings of others, rage against social injustice and violence, and finally take some actions collectively. This is particularly driven by the fact that social media become part of everyday life, and the arena of public discussion is situated to link online and offline, which make social emotions to take on a new form, and sensorial perceptions to follow a new course.

Common Front, Affectively is to show different standpoints of contemporary art about the propagation of emotion and sensation. Thirteen artists(teams) working in video, installation, sound, performance and design, capture different formations and movements of affects. Their works of art pose questions as to how discrete individuals transpose their feelings to common values, whether individuals not only burst out into a public forum, but build it up inside themselves. These works also turn to a world transformed by technologies on an emotional level and probe the ways technologies affect the mind in responding to social issues and rethinking the self-other relationships. What are featured in the exhibition seem to tell us that the vulnerable, precarious, helpless minds notwithstanding, we may perhaps be able to generate a certain undulating and intermingling movement by murmuring what we feel and what we think, even if this sounds undecipherable and incomprehensible at first.

In Common Front, Affectively, the relations between the individual and the collective with regard to connectivity and isolation, between the affects manifested and controlled, come to the fore on the waves of a multitude of voices. Whenever the waves are shattered, the realities-yet-to-come are evoked out of a common front, affectively constructed in between and cumulated beside you.

■ Participating Artists and works

1. Everyday Practice(Korea), Common Front, Affectively, 2018, exhibition identity design, graphic installation, publication

Everyday Practice (EP) is a graphic design studio tackling the role of design: what can design do for today’s realities? Primarily based on graphic designs, EP does not limit itself to two-dimensional works searching for different design methodologies. In parallel, EP carries out a series of self-initiated projects, from a poster work I Don’t Care (2013) to the exhibition Means of Movement (2017). They are concerned with boundaries between ‘you’ and ‘me,’ and with how design can establish a connection between people; and they seek to find a new way of life in which design is instrumental as one of the ways of social movement. In this exhibition, EP creates an identity design that combines a human face represented as a place to exchange an emotion and make up a sense of community, with emotions in a state of flux whose uncertainty is represented by the material texture of flowing and meandering. A set of variations on this identity design is then to intervene in the exhibition space in the form of moving images and prints. The design concept is also applied to the exhibition catalog which unrolls Common Front, Affectively, in a specific manner to the platform of publication.

2. Yunjung Lee(Korea), Between Spot and Spine, 2018, performance, video documentation

*Previous work, Yunjung Lee(Korea), 1 and 4, 2017, performance, video documentation, 49:37
Choreographer and dancer Lee performs different ‘in-betweenness’: between the body and space, between the body and time, between the body and language, and between bodies. Through the friction of bodily contacts in dancing, she explores the relations between self and others, between individual and society, between minority and majority, and between parity and disparity. Between Spot and Spine started with her life-long source of trouble, a lateral curvature of the spine and a large brown spot on the arm. She pursued a personal investigation into these abnormalities, to realizing that she was oppressed under the social gaze. Her distress about her own body is in fact precipitated by how a majority views it in the society. Representing the introspective process and consequently feeling liberated from the gaze of others, she was encouraged to reflect on whether she herself belonged to the social majority. Her research on these issues was rendered in her previous works Seventy-Fifth Second (2015), 1 and 4 (2017) and in this new solo piece.

3. Ed Atkins(United Kingdom), Hisser, 2015, 2-channel HD video installation, color, sound, 21:51
(Images are courtesy of the artist and Cabinet Gallery, London.)

How an equivocal sense of disquiet holds power over the body in the digital age preoccupies Atkins, and he infuses meticulously constructed high-definition images with poetic and literary qualities. Hisser draws inspiration from a real story of a man in Florida, whose house was said to be swallowed by an enormous sinkhole. A hyper-realistically created CGI character seems to be infected with sadness, loneliness and desire, in an eerie and sorrowful room. At one moment, he is trying to sleep in the bed, and at another, is fiddling with Rorschach cards in the corner of the room. At yet another moment, he shows himself in the whitened space inside a computer screen, roaming nakedly and repeatedly muttering, “I’m sorry, I didn’t know,” “I don’t know what to say.” This avatar-like figure in the virtual world utters anxiety and confusion, as if he encounters these feelings for the first time in his life, in a mixture of singing and sighing. “It took me so long to get my feet back off the ground,” “I can feel it coming round inside me,” “I didn’t know her life was so sad, I cried.” With a roar, then, his room collapses to vanish in a flash.

4. Ignas Krunglevičius(Lithuania)
4-1. Interrogation, 2009, 2-channel video, sound, 13:00

Sound artist Krunglevičius made this work out of his interest in psychological patterns arising in power relations. Interrogation draws on text materials from the police transcript of a murder investigation in the US after a woman called Mary Kovic was arrested for killing her husband. The text basically consists of a police officer’s questions and her answers, and with all visual information removed, is condensed into lines written in bold white on two black screens alternately. This is synchronized with the electronic soundtrack reinforcing the conversation’s strain and uneasiness. At the time of interrogation, the police offer mobilized REID, a technique to capitalize on the suspect’s psychological state. Red and blue screens on and off swiftly and intermittently stand for hesitation and delay. A sharp tone and a crescendo of pulsation are so intense to engulf the audience viscerally in the tense relationship between the two. Krunglevičius applied sonic intonation, rhythm and melody to each word so that the typed-out text could be felt as human.

4-2. Confessions, 2011, 8 single-channel videos, sound, 55:00

Similarly to Interrogation, this work is based on the court transcripts of confessions by eight convicted serial killers. Removing the part recounting an actual criminal act, the scripts are reduced to only those sentences where the criminals confide what they felt on the very moment they committed a crime. Krunglevicius pays attention to the fact that the most inhuman act of violence contains something that we can recognize in ourselves: reasoning and justification, remorse and/or the lack of it. The sentences are not presented for proper reading. Flickering white invades the silence-like black screen; vertical and horizontal white lines move across; and a block of white noise flows in and out. In varying font sizes, some sentences race past in a twinkle, and others come up word by word and stay on the screen for a while. All this is accompanied by techno-like thumping beats, which may sound grating and irritating, and the pace and texture of sounds have an effect of inscribing certain emotional veins on the text. This exhibition shows each single channel video of eight confessions consecutively.

5. Bojan Djordjev in collaboration with Katarina Popović and Siniša Ilić(Serbia),
The Discreet Charm of Marxism, 2013-ongoing, discussion performance, mixed media, 120mins

The title is borrowed from Luis Buñuel’s 1972 film The Discreet Charm of the Bourgeoisie. The main theme of this film satirizing the hypocrisy of the bourgeois class is a dinner that protagonists keep attempting to arrange only to fail for different reasons. Djordjev brings the dinner motive to this performance, whose menu is contemporary Marxist discourses. The Discreet Charm of Marxism is a 6-course meal hosted by the artist, and the invited audiences read and discuss together Marxist texts on class struggle and revolution and their present-day significances. The entire discussion is little academic at all; because it takes the form of dinner, a social event that can be completed by the participation of audiences, what is dealt with and digested here depends of the mood of the event and the chemistry among participants. Produced by Serbian theater-maker Djordjev in collaboration with graphic designer Popović and visual artist Ilić, this work was premiered in Amsterdam in 2013, and was subsequently staged in Geneva, Belgrade, Berlin, Brussels, Lisbon and Shanghai. Marking the bicentenary of Karl Marx’s birth, this theatrical dinner table at the Nam June Paik Art Center will play a role of another public forum.

6. Hyewon Kwon(Korea), See You at the Barricades, 2016, 8-channel HD video installation, color, sound, 10:47

Kwon undertakes research into historical events and places, and seizes upon the stories of people and spaces concealed in authoritative records, enacting and re-enacting them in her moving images. See You at the Barricades recasts the temporal and emotional experiences embodied in resistance songs and barricades structures. The eight monitor-speaker sets stage popular songs and architectural barricades employed by protesters with different issues across the globe. You can be engaged in the lyrics from Do You Hear the People Sing?, a musical number of Les Miserable, to Into the New World by a Korean pop group Girls’ Generation, conjoined by the structural formations of different barricades, respectively and as a whole. The historical and contemporary contexts of protest are interwoven into a diachronic narrative. This work sings out a possibility of solidarity in which the bodily movements of people explode emotionally to assume collective intensity and unleash the force of a spontaneous community.

7. Cécile B. Evans(United Kingdom), What the Heart Wants, 2016, single-channel HD video installation, color, sound, 41:05 (Images are courtesy of artist)

Courtesy of the artist, Galerie Emanuel Layr, Vienna and Barbara Seiler, Zurich Commissioned by the 9th Berlin Biennale with the support of Schering Stiftung Coproducers De Hallen Haarlem; Kunsthalle Winterthur; Kunsthalle Aarhus Additional support from Musée d’art moderne de la Ville de Paris; 20th Biennale of Sydney; Barbara Seiler, Zurich; Galerie Emanuel Layr, Vienna; Robert D. Bielecki Foundation; KIASMA Helsinki; FACT Liverpool, Metal, and Canvas, cocommissioners of Commercials, 2015

Evans asks the question of what it will mean to be human in the future, or even who will be considered a person. Part of this interrogation is about how emotions are circulated and exchanged, how they are valued in regard to our humanity. In What the Heart Wants, the narrator is a system called “HYPER” living in an era called “after K”. She introduces the viewer to some of the inhabitants of her world, such as a partially animated lover characters, a workers’ collective of disembodied ears, a spam bot, children living in a lab with their robot caregiver, an immortal cell, and a memory that has outlived the humans that remember it. They have exchanges about their own ability to be considered “human”, covering vast subjects like politics, geography, and love. Visitors watch from a “black box” platform overlooking a reflective surface, the video becoming its own double.

8. Ragnar Kjartansoon•The National(Iceland), A Lot of Sorrow, 2013-2014, single-channel video, color, sound, 6:09:35 (Images are courtesy of the artists, Luhring Augustine, New York and i8 Gallery, Reykjavik)

On 5 May 2013, there was an unusual concert of the indie rock band The National at the MoMA PS1 VW Dome, New York. Their repertoire consisted of only one song: Sorrow. In front of a live audience, they performed the three-and-a-half minute ballad in a continuous loop for six hours without a break. The baritone lead vocalist began to sing, “sorrow found me when I was young, sorrow waited, sorrow won.” He seemed to fill a not wide span of notes with the sediment of sadness and melancholy. Over time, however, the band played variations on the song with fatigue setting in, and the sentiment of sorrow spread into the whole space all the more powerfully. Engrossed in the atmosphere, the musicians and the audience also supplied certain vitality to each other incessantly. Kjartansson filmed the Sorrow concert with multiple cameras, and editing it into A Lot of Sorrow, he sculpted the presence of sound so that physical and emotional transformations can be perceived through temporal endurance and musical repetition. A 6-hour single playback runs from 11am to 5pm in this exhibition.

9. Yang Ah Ham(Korea)
9-1. The Sleep, 2016, two-channel video installation, color, sound, 08:00

The gymnasium is a facility for public events and physical activities; and when disasters occur, it serves as a temporary shelter. In The Sleep, the gymnasium is a metaphor for the social system. It is filled with people sleeping on black mats placed at random across the floor, people sitting on chairs to supervise the sleeping people and falling asleep themselves, and people who stand trying to organize or control the situation. Ham struggled with the aftermath of the Sewol ferry sinking such that she was not able to produce any artwork for some time. With this work, she alludes to the tragedy that should have not taken place, and loads it with fears and anxieties of individuals confronted with catastrophic breakdown of the society itself. Far from being protected and consoled appropriately, the social bodies are enveloped in the gymnasium, whose emotions are neither manifest nor monolithic. Asking herself “whether it is possible to explore people’s emotions, but to express this in an unemotional way,” Ham sets forth The Sleep as an “abstract reality” whose portrayal of our society lays bare its emotional realities.

9-2. A Sketch for an Undefined Panorama, 2018, single-channel video, color, sound, 10:00

A critical awareness of the social conditions that gave birth to The Sleep, led Ham to combine research for alternative social systems with her art practices. An urgent sense of crisis for the society that would be sinking with current political and economic problems, has wrought changes to her art-making. At the core of this lies her belief in the role of art that can transform an individual’s life, as one of the ways to fulfill a life. In order to actualize an alternative social system, there need to be changes of individuals who have to operate the system. “Individuals who are able to view the entire society insightfully as well as their personal problems, who can respect others and are capable of living together with others, and who can open up their own lives and society creatively.” A new work featured in this exhibition is indicative of her transition to the next stage in the experimental journey of putting into practice her thoughts about these issues. This is a video sketch for the process to define a panorama to look at, in which you coexist with others within the very panorama.

10. Daum Kim(Korea), Blind Land, 2016, 4-channel HD video, 8-channel audio installation, color, sound, 9:00

Three friends in Hong Kong, Taipei and Seoul talk about their feelings about what happened to their houses recently, in the form of correspondence to each other. In a real estate transaction, a blind land indicates a plot of ground that is surrounded by lands of other owners and thus has no passageway to it. Kim’s ‘blind land’ also means a psychological and social one, and is further expanded into the notion of interface, an area in which subjects can be interconnected in a different way. When Kim worked on Blind Land, the Asian countries had been in sociopolitical turmoil, symbolized by ‘umbrella,’ ‘sunflower,’ and ‘candlelight.’ The narrators apparently confess concerns and uncertainty about their personal lives; but along the images and sounds that enclose the audience, it can be felt that they suggest the situations they are faced with are historical and social as well. The voice saying that “you cannot go anywhere or do anything if you don’t pass by someone else,” seems to invite the audience into the dialogue too, constituting another interface as an invisible speaker.

11. Femke Herregraven(Netherlands), Precarious Marathon, 2015, time-based generative installation, color, sound

Panel discussions are common in contemporary museum programs where a range of experts display their knowledge. Herregraven, who specializes in graphic design, creates a discussion event on art, stock market trading, and play, whose panelists are not humans but chatbots. Four newly designed chatbots play the roles of moderator, high-frequency trader, insomniac artist, and art critic. On the basis of a personal database (memory) and rule set (behavior profile), each chatbot reacts and responds to each other, generating text and sound. The screen of a speaking chatbot turns black with text subtitles while the other three screens show abstract graphic patterns in different colors. They also have sonic attributes per character that resemble ambient sounds. Only run by algorithms, the result of this panel discussion is unpredictable, and because no human bodies are involved, it is unhindered by mental or physical exhaustion. This also implies the flexible labor in post-Fordism, which can continue online endlessly.

12. Minki Hong(Korea)
12-1. NPC Tutorial, 2017, 3-channel video installation, color, sound, mixed materials, 1:16:35

In the online platform of public discussion, you can pronounce an opinion immediately and join heated debates with little hesitation. On the contrary there are some drawbacks inherent online, such as ambiguity of information sources, confusion caused by fake news, and automated social media that give you selective access to information thereby resulting in polarization. A digital native Hong represents the on and offline characteristics of public opinions, in the form of game. An online game player is given graded information about issues and incidents of Korean society. With the given information the player steers the offline Non-Party Cheerleaders. The player should be acutely conscious that relying on which information taken up, the course of the game may be different. The NPCs are also Non-Player Characters who cannot be completely controlled by the player. In the neutral position performing an assistant role to provide on-site information to the player, they bring forward the voices of different people in Gwanghwamun Plaza, Jongno, Hannam-dong, Ewha Womans University, and Noryangjin Fish Market.

12-2. PP World Open Beta Service, 2016/2018, performance (sticker photo booth, application)

Hong developed PP World Closed Beta Test (v.17.02.16), a sticker photo booth and its application. The photo’s background is composed of images that are reflective of social and political issues, and buzzwords appearing in related slogans and oft-mentioned by the press, all of which are colorful and cheerful like typical sticker photos. With updates of this application, Hong presents a performance PP World Open Beta Service in this exhibition. He will hang around with the movable booth in different places at Nam June Paik Art Center, to offer the museum audience a photo session. By means of the sticker photo which is an instant and popular medium, he intends to focus on having a conversation with the audience and inducing them to express their feelings and thoughts. When there is no performance, the sticker photos taken are posted at the PP World website as a photo album, and are also shared and displayed via the network of social media like Facebook, Instagram and Twitter.

13. Rosalind Nashashibi(United Kingdom), Electrical Gaza, 2015, 16mm film transferred to HD video, color, sound, 17:53 (Images are courtesy of artist, Animation by Visitor Studio, London)

In the Gaza Strip of Palestine, a land of conflicts for thousands of years, Nashashibi filmed something different from its familiar images you may learn from the media. The film begins with a scene of people flocking to Rafah Border Crossing and looking over the door to the side of Egypt, but the scene shortly cuts to an ordinary market district, kids playing in the alleyway, horses swimming in the sea, people chatting on the street, families and friends at home. Shot in a documentary style, the Gaza Strip retains an atmosphere of liveliness, excitement, boredom and banality of everyday life. As hinted by a large animated black dot floating on a backstreet, though, what hangs in the air at the same time is a sense of tension and terror derived from looming violence and tragedy and from sufferings caused by political containment. A few animated images are inserted in the video, inspired by the Japanese Ghibli Studio. Gaza in this film seems to embrace different worlds, or to transcend any temporal and spatial demarcation. Nashashibi whose father is a Jerusalem-born Palestinian, aimed to observe the Gaza Strip with an eye of childhood to express her own experience of the highly charged land.

Quilting with Hanji Kim Yun-seon’s Quilting with Dyed Threads

Period/ 2018.03.06(Tue) ~ 2018.04.01(Sun)

Quilting with Hanji Kim Yun-seon’s Quilting with Dyed Threads

Overview

Human history can be divided into before and after the appearance of the needle. Humankind continued to step forward to evolve themselves, until they were faced with the unbearable hardship of bitter cold in the ice age. It was the needle, and the clothes and shoes that were made by it, that enabled humankind to overcome the glacial chill. As creatures who pursued the beauty of symmetry even when making coarse tools like handaxes, humans have turned the backstitch for leather clothing into a work of art.

Kim Yun-seon’s quilting with dyed threads shows the highest perfection that could be achieved with sewing. She creates such beautiful and durable works, with a twist of Korean mulberry paper sewn stitch by stitch using colorful threads. Kim Yun-seon cherished the tobacco pouch of her grandfather, and provides us with the opportunity to appreciate the elegance of her quilted piece with dyed threads, passing it on to her daughter and her pupils to succeed the tradition. In Gyujung chiru jaengnongi (A Quarrel among the Seven Elements for Making Clothes), the needle boasts her art as “narrowly and widely stitching at will so as to skillfully make a piece of cloth.” It is time to enjoy the beauty of gorgeous sewing arts at the exhibition of Kim Yun-seon’s Quilting with Dyed Threads.

Profile of Kim Yun-seon

Selected in 2015 as a Skilled Craft Master in the field of quilting with dyed threads by the Ministry of Employment and Labor
1997. Presented with the Chairman’s Award by The Foundation for the Preservation of Cultural Properties at The 22nd Korea Annual Traditional Handicraft Art Exhibition
2003. Invited to the Tokyo International Great Quilt Festival NHK
2012. Presented with the Award of the Minister of Knowledge Economy at The 42nd Korea Handicraft Art Exhibition

Main Works

Tobacco Pouch, originally handmade by Kim Deok-cheon’s mother

Kim Deok-cheon (1899-1980) is the grandfather of Kim Yun-seon. For his whole life he cherished the quilted tobacco pouch that his mother had made for him with colorful threads. This is a reproduction by Kim Yun-seon, for which she received the Chairman’s Award from The Foundation for the Preservation of Cultural Properties at The 22nd Korea Annual Traditional Handicraft Art Exhibition.

안경집

A spectacle case made of baekgol (Korean paperboard made with 30 sheets of hanji, Korean mulberry paper) for a frame. This piece shows the shift in the artist’s world of art, which expands with subject matters such as geometric patterns, butterflies and flowers, auspicious animals, and natural scenery.

Evening Bag

A modern evening bag made by quilting with colorful threads

Lobby Gallery Deep Breath

Period/ 2018.02.05(Mon) ~ 2018.04.06(Fri)

Venue/ GGCF Lobby Gallery

Lobby Gallery Deep Breath

Gyeonggi Cultural Foundation presents Deep Breath by Yukawa Nakayasu as the first exhibition to open the year of 2018 at the Lobby Gallery. Yukawa Nakayasu is a duet artist group consisting of Yukawa Hiroyasu and Nakayasu Keiichi, who are carving out their career mainly in Japan. After staying in Gyeonggi Creation Center as a part of the 2017 international exchange residence program between Gyeonggi Creation Center and Akiyoshidai International Art Village in Japan, Yukawa Nakayasu is holding Deep Breath and held a private exhibition of the same title last year. At this Lobby Gallery exhibition, 10 works that were on display at the Gyeonggi Creation Center private exhibition and four new works that the group has created specially for this occasion will be introduced.

Yukawa Nakayasu initiates their project with ‘deep breath,’ an innate act of human beings for the past, present, and future, to examine into the ‘rich’ history that composes our lives. By closely observing the human’s process of finding an equilibrium in the relationship with others, they shed light on the primitive act that is shared by all living creatures. Through the 14 works presented at the Lobby Gallery, you will feel the artists’ way of communication for creating the ‘richness’ of life.
After embracing the works based on Korean culture that were created since Yukawa Nakayasu first participated in the Gyeonggi Creation Center program, 《Deep Breath》 will continue to be their theme of work, even in depth, and they will present the works based on the Japanese and Taiwanese culture at the exhibitions of the same title at Akiyoshidai International Art village, Japan, at the end of February and Taipei Artist Village in May.

Overview

구술 문학의 하나인 판소리 PANSORI as oral literature, 2017

구전에 담긴 심호흡 Breath in the old tales, 2017

백과사전(사회적 심호흡 편) Encyclopedia(page of social breath), 2018

빛에 끌리는 습관 A habit of being attracted to the light, 2017

포획 Capture, 2017 / 횃불 A torch, 2017

포획 Capture, 2017

경기문화재단 로비갤러리전

심호흡 – 유카와, 나카아스 / DEEP BREATH – YuKawa, Nakayasu

2018.02.05 – 04.06 경기문화재단 1F 로비

Lume(Auto) by Chris Shen: NJPAC-FACT Artist Residency Exchange Program Result Exhibition

Period/ 2018.01.30(Tue) ~ 2018.03.25(Sun)

Venue/ Nam June Paik Art Center 1F, Mezzanine

“NJPAC-FACT Artist Residency Exchange Program Exhibition”

백남준아트센터-FACT 작가 레지던시 교환 프로그램 크리스 쉔 《루메(자동)》 메인 이미지입니다

■ Overview

Exhibition Title

Lume(Auto)

Period

30 January – 25 March, 2018

Venue

Nam June Paik Art Center 1F, Mezzanine

Opening

30 January, 2018 4pm

Artist

Chris Shen

Hosted and Organized by

Supported by

※ This project is supported by Korea-England joint fund.

※ About the UK/Korea Cultural Season
Arts Council England is co-investing 1.4 million in international collaboration and exchange with Arts Council Korea. FACT and NJPAC are delighted to be among the 21 performing and visual arts projects in England and South Korea to receive awards from the fund. The Arts Council England–Arts Council Korea co-investment sits alongside and complements the UK/Korea 2017–18 season, jointly organized by the British Council and the Ministry of Culture, Sports and Tourism of Korea.

■ Introduction of Lume (Auto)

Nam June Paik Art Center and FACT (Foundation for Art and Creative Technology) have participated in the Artists’ Residency Program for UK/Korea 2017-2018 with the theme ‘Creative Future’ to promote emerging artists based in the United Kingdom and South Korea. Nam June Paik Art Center released an open call to select a UK young artist last September and ‘Chris Shen’ was selected as a final winner through a jury process last October. The artist has been participating in the Residency Program of Nam June Paik Art Center since December, 2017. We are pleased to have his exhibition Lume (Auto) at Mezzanine, Nam June Paik Art Center from January 30 to March 25, 2018.

Operating at the intersection between technology and art, Chris Shen has conducted research on the characteristics of the instruments and devices and explored his own artistic methodologies. The exhibition Lume (Auto) on display at the Nam June Paik Art Center shows an interminable interaction of objects, using automatic security lights, based on a chain reaction of lights operated by neighboring sensors. Shen explains it as an ‘unpredictable propagation as well as binary ripples of light.’ The artist creates a new way of communication or interaction, and presents a series of open ended questions so that the viewers can discover their own meaning through the works, whilst examining the effects of complex structures of devices or instruments on our everyday life.

A handful of types of elementary particles, which vibrate and fluctuate constantly between existence and nonexistence and swarm in space, even when it seems that there is nothing there, combine together to infinity like the letters of a cosmic alphabet to tell the immense history of galaxies…

– Carlo Rovelli, Seven Brief Lessons on Physics.

■ Artist

Chris Shen (Born in 1988, UK) graduated from UAL: London College of Communication. With solo exhibitions in London and Hong Kong, as well as group exhibitions including: Victoria & Albert Museum (UK), Museum of London (UK), Eyebeam (USA). He has participated in residency programs at Videotage (Hong Kong), Pier-2 Art Center (Taiwan) and MMCA (Korea).

Operating at the intersection between technology and art, Chris Shen pursues to re-imagine the relationships of technology and communication. Utilizing basic principles of how technology works to highlight the ways we use them and the impact these complex tools have on our everyday life.

– Artist Note

■ About the Institutions

◦ Nam June Paik Art Center, Korea
Opened to the public in 2008, the Nam June Paik Art Center aspires to revive the generosity, criticality and interdisciplinary nature characteristic of both Nam June Paik’s work and life. To fulfill the artist’s wish building ‘the house where the spirit of Nam June Paik lives on’, Nam June Paik Art Center develops creative and critical programs on the artist.

– Address: 10 Paiknamjune-ro, Giheung-gu, yongin-si,Gyeonggi-do, 17068 Korea
– Website: http://njp.ggcf.kr

◦ FACT(Foundation for Art and Creative Technology), United Kingdom
FACT (Foundation for Art and Creative Technology) is the UK’s leading media arts centre, based in Liverpool, focusing on bringing people, art and technology together. FACT harnesses the power of creative technology to inspire and enrich lives through a wide ranging program of exhibitions, research and innovation, and community-led projects. Its award-winning building houses three galleries, a café, bar and four cinema screens. Since the organisation was founded in 1988 (previously called Moviola), it has commissioned and presented over 350 new media and digital artworks from artists including Pipilotti Rist, Nam June Paik, Krzysztof Wodiczko, Ryoichi Kurokawa, Apichatpong Weerasethakul, and Isaac Julien.

– Address: FACT, 88 Wood Street, Liverpool, UK, L1 4DQ
– Website: www.fact.co.uk

■ Artwork and Exhibition Images

NJPAC-FACT Artist Residency Exchange Program Lume(Auto) by Chris Shen

Exhibition view of Lume (Auto) at Nam une Paik Art Center 1F, Mezzanine
Chris Shen, Lume Field (Auto)_120,, 2018, 120 automatic security lights, electrical cable

Exhibition view of Lume (Auto) at Nam une Paik Art Center 1F, Mezzanine
Chris Shen, Lume (Auto) ⌀109, 2018, 12 automatic security lights, steel, electrical cable

Bin Woohyuk’s Luftzeichner (Air Painter) – Quantum Jump 2017, 4 Artists Relay Show

Period/ 2018.01.04(Thu) ~ 2018.02.18(Sun)

Bin Woohyuk’s Luftzeichner (Air Painter) – Quantum Jump 2017, 4 Artists Relay Show

The Gyeonggi Museum of Modern Art holds Luftzeichner (Air Painter) by Bin Woohyuk from January 4 through February 18 as the last exhibition of the ‘Quantum Jump’ 2017, 4 Artists Relay Shows.

Bin Woohyuk has worked on painting forests in silence so as to shut himself out from the pain that comes with a hard life. For the last five years, the ‘German forests’ that he has painted have been a symbolic space for calmness and healing, freeing the artist from the agitations and complicated mentalities that result from adverse circumstances and dark past memories. He expressed the complexities of his rough feelings with charcoal in these early works. In the paintings on display at this exhibition that deliver bright colors and meticulous details, however, you can take a glimpse into the calm and more organized feelings of the artist with the changes in material and method.

“The forests and the forest landscapes, or, differently put, most of my paintings, are both the remnants and byproducts of the resistance to personal sorrow and distress that have been so hard to overcome. I had a habit of visiting forests to find consolation in my childhood. But when I became an adult, I faced a reality that hindered me from visiting any green spaces. Finally, I escaped that reality to reach the German forests and reclaim my old habit, and they gave me the comfort that I had sought. I accepted the process of taking strolls and drawing in order to smile bigger when I felt sadder and to give comfort to myself even when I am in greater pain, and to hide my feelings. The landscape that seems to lack any story for anyone but myself will ironically prove the reason for the silence.” – From the artist’s notes

2017 GCC Year End Exhibition

Period/ 2017.12.21(Thu) ~ 2018.02.11(Sun)

Venue/ GCC Permanent Exhibition Space

Participating Artists

Kang ju hee, Kim Nam Hyeon, Munhee Park, Bin Woohyuk, Yoola Shin, Ahn hyo chan, Yang Seungwon, Yang Yooyun, SUNGFEEL YUN, JEHO YUN, LEE SUJIN, IM Youngzoo, Wooyeon Chun, jeikei_Jeon Heekyoung, Chung Jene kuk, Hyunik Cho, HA Tae-Bum, Hoh Woojung, Ran Hong

The Gyeonggi Creation Center of the Gyeonggi Cultural Foundation holds Bracketing, the 2017 GCC Year End Exhibition, from December 21 (Thu) through February 11 (Sun) at the GCC Permanent Exhibition Space and Project Exhibition Space. The opening reception commences at 4 PM December 21 (Thu) at the GCC Art Café.

In this exhibition, 19 artists who have participated in the artists’ residency program of the Gyeonggi Creation Center in 2017 will present the results of their creative works from during the year. Daily life at the Gyeonggi Creation Center, which is an island attached to the mainland where one can take a walk anytime to see the sea and mountains, is silent and still as always. The resident artists have concentrated on their creative work, isolating themselves for a certain period of time, and this exhibition will become a turning point within their practices for their respective artistic ideals.

Bracketing, the title of the exhibition, is a phenomenological method – a suspension of judgment regarding the obviousness of the world. It refers to an active grasp of essential attributes by suspending prejudice or conventional values when experiencing the situation of approaching an object. To live as an artist means to become an artist. It is necessary to pass through some phases in order to strengthen one’s own world and to get closer to the essence of art by incessantly practicing and applying art in one’s life. The artists in residence, who have spent a just under a year at GCC and are waiting for the next journey, will show their own way of catching a breath and reorganizing themselves through their works, which would not be their last. You will remember these artists, who will play innumerable roles as the protagonists of the future in the art scene by suspending their judgment and assessment.

Overview