>1_wo>818_word_end<_end<

>4_wo>818_word_end<_end<

배트맨 와이즈 토토818_word_end

>7_wo>818_word_end<_end<

  • >13_wo>818_word_end<_end< >15_wo>818_word_end<_end<
  • >19_wo>818_word_end<_end< >21_wo>818_word_end<_end<
  • >25_wo>818_word_end<_end<

    >27_wo>818_word_end<_end<

>152_wo>818_word_end<_end< >153_wo>818_word_end<_end<

>154_wo>818_word_end<_end< >155_wo>818_word_end<_end<

>156_wo>818_word_end<_end<

>157_wo>818_word_end<_end<
>158_wo>818_word_end<_end< >159_wo>818_word_end<_end< 춤>161_wo>818_word_end<_end<
2011년2월16>167_wo>818_word_end<_end<3월27>171_wo>818_word_end<_end<'운율에>159_wo>818_word_end<_end<춤을>161_wo>818_word_end<_end<'는>4_wo>818_word_end<_end<외부기획전시다. >177_wo>818_word_end<_end<·>179_wo>818_word_end<_end<, >181_wo>818_word_end<_end<. >183_wo>818_word_end<_end<, >185_wo>818_word_end<_end<, >187_wo>818_word_end<_end<. >189_wo>818_word_end<_end<. >191_wo>818_word_end<_end<, >193_wo>818_word_end<_end<.

>195_wo>818_word_end<_end<. >197_wo>818_word_end<_end<. >199_wo>818_word_end<_end<, >201_wo>818_word_end<_end<. >203_wo>818_word_end<_end<. >205_wo>818_word_end<_end<, >207_wo>818_word_end<_end<. >209_wo>818_word_end<_end<, >211_wo>818_word_end<_end<.

1>214_wo>818_word_end<_end<, >216_wo>818_word_end<_end<. >218_wo>818_word_end<_end<청의>221_wo>818_word_end<_end< >222_wo>818_word_end<_end< >224_wo>818_word_end<_end<, >226_wo>818_word_end<_end<. >228_wo>818_word_end<_end<>229_wo>818_word_end<_end<이60>232_wo>818_word_end<_end<. >234_wo>818_word_end<_end<. >236_wo>818_word_end<_end<. >238_wo>818_word_end<_end<. >240_wo>818_word_end<_end<. >242_wo>818_word_end<_end<>243_wo>818_word_end<_end<>244_wo>818_word_end<_end<. >246_wo>818_word_end<_end<. >248_wo>818_word_end<_end< >249_wo>818_word_end<_end<>250_wo>818_word_end<_end<>251_wo>818_word_end<_end<>252_wo>818_word_end<_end<>253_wo>818_word_end<_end<>254_wo>818_word_end<_end<. >256_wo>818_word_end<_end<, >258_wo>818_word_end<_end<. >260_wo>818_word_end<_end<. >262_wo>818_word_end<_end<. >264_wo>818_word_end<_end<>265_wo>818_word_end<_end<(>267_wo>818_word_end<_end<) >269_wo>818_word_end<_end< >270_wo>818_word_end<_end<>271_wo>818_word_end<_end<>272_wo>818_word_end<_end<>273_wo>818_word_end<_end<. >275_wo>818_word_end<_end<(>277_wo>818_word_end<_end<)>279_wo>818_word_end<_end<. >281_wo>818_word_end<_end<(>283_wo>818_word_end<_end<)>285_wo>818_word_end<_end<. >287_wo>818_word_end<_end<. >289_wo>818_word_end<_end<. >291_wo>818_word_end<_end<. >293_wo>818_word_end<_end<. >295_wo>818_word_end<_end<.

>297_wo>818_word_end<_end<1>299_wo>818_word_end<_end<, >301_wo>818_word_end<_end<+>303_wo>818_word_end<_end<의>305_wo>818_word_end<_end<와>307_wo>818_word_end<_end< >309_wo>818_word_end<_end<>310_wo>818_word_end<_end<. >312_wo>818_word_end<_end<, >314_wo>818_word_end<_end<. >316_wo>818_word_end<_end<>317_wo>818_word_end<_end< >242_wo>818_word_end<_end<>243_wo>818_word_end<_end<의>322_wo>818_word_end<_end< >249_wo>818_word_end<_end<은 이 전시를 계기로 이루어진 그들의협업작업이다.>316_wo>818_word_end<_end<(>326_wo>818_word_end<_end<)와>242_wo>818_word_end<_end<>243_wo>818_word_end<_end<(>330_wo>818_word_end<_end<)>332_wo>818_word_end<_end<. >334_wo>818_word_end<_end<, >336_wo>818_word_end<_end<. >338_wo>818_word_end<_end<, 분명상대가완성한부분에>159_wo>818_word_end<_end<그에어우러지게작업을완성시키고자고심했을것이고, >342_wo>818_word_end<_end<. >344_wo>818_word_end<_end<, >346_wo>818_word_end<_end<. >348_wo>818_word_end<_end<‘>350_wo>818_word_end<_end<'>352_wo>818_word_end<_end<. >354_wo>818_word_end<_end<. >356_wo>818_word_end<_end<의>358_wo>818_word_end<_end< (>360_wo>818_word_end<_end<>361_wo>818_word_end<_end<(>363_wo>818_word_end<_end<) >365_wo>818_word_end<_end<. >367_wo>818_word_end<_end<. >369_wo>818_word_end<_end< >317_wo>818_word_end<_end< >371_wo>818_word_end<_end< >372_wo>818_word_end<_end<100>374_wo>818_word_end<_end<. >376_wo>818_word_end<_end<>301_wo>818_word_end<_end<+>303_wo>818_word_end<_end<의>381_wo>818_word_end<_end< >249_wo>818_word_end<_end< >384_wo>818_word_end<_end<. >386_wo>818_word_end<_end<. >388_wo>818_word_end<_end<, >390_wo>818_word_end<_end<, >392_wo>818_word_end<_end<. >394_wo>818_word_end<_end<, >396_wo>818_word_end<_end<, >398_wo>818_word_end<_end<, >400_wo>818_word_end<_end<, >402_wo>818_word_end<_end<. >404_wo>818_word_end<_end<, 온전히작가의직관에의>297_wo>818_word_end<_end<여완성된이작품은, >408_wo>818_word_end<_end<, >410_wo>818_word_end<_end<.

3층전시공간은>424_wo>818_word_end<_end<>344_wo>818_word_end<_end<그것을표현하는방식에대해이야기한다. >415_wo>818_word_end<_end<>416_wo>818_word_end<_end<>417_wo>818_word_end<_end<나>419_wo>818_word_end<_end< >249_wo>818_word_end<_end<>422_wo>818_word_end<_end<. >424_wo>818_word_end<_end<(시)>428_wo>818_word_end<_end<, >430_wo>818_word_end<_end<, >432_wo>818_word_end<_end<, >434_wo>818_word_end<_end<. >436_wo>818_word_end<_end<‘내>417_wo>818_word_end<_end<나'>440_wo>818_word_end<_end<4>442_wo>818_word_end<_end<, >444_wo>818_word_end<_end<. >446_wo>818_word_end<_end<>447_wo>818_word_end<_end<의>449_wo>818_word_end<_end< (>360_wo>818_word_end<_end<은“>454_wo>818_word_end<_end<”>456_wo>818_word_end<_end<1880>458_wo>818_word_end<_end<10->460_wo>818_word_end<_end<. >446_wo>818_word_end<_end< >447_wo>818_word_end<_end<은원래>704_wo>818_word_end<_end<을리터치하고일련의프레임으로나눔으로써기구본래의기능을전복하고순환적인움직임을창조한다. ‘>449_wo>818_word_end<_end>465_wo>818_word_end<_end<‘>467_wo>818_word_end<_end<(>469_wo>818_word_end<_end<: >471_wo>818_word_end<_end<>472_wo>818_word_end<_end<>473_wo>818_word_end<_end<>474_wo>818_word_end<_end<'>473_wo>818_word_end<_end<삶'>478_wo>818_word_end<_end<, >480_wo>818_word_end<_end<'는‘>484_wo>818_word_end<_end<'>486_wo>818_word_end<_end<‘>474_wo>818_word_end<_end<의쳇바퀴'>490_wo>818_word_end<_end<. >492_wo>818_word_end<_end<의>494_wo>818_word_end<_end< >249_wo>818_word_end<_end<>497_wo>818_word_end<_end<>498_wo>818_word_end<_end<>499_wo>818_word_end<_end<2008>501_wo>818_word_end<_end<, >503_wo>818_word_end<_end<. 시(>507_wo>818_word_end<_end<)>416_wo>818_word_end<_end<용은진흙의가변적형태와성질을이용하고있다. >511_wo>818_word_end<_end< >512_wo>818_word_end<_end<>513_wo>818_word_end<_end<. >515_wo>818_word_end<_end<의>517_wo>818_word_end<_end< >518_wo>818_word_end<_end<>519_wo>818_word_end<_end<. >521_wo>818_word_end<_end<. >523_wo>818_word_end<_end<, >525_wo>818_word_end<_end<, >527_wo>818_word_end<_end<. 그는>704_wo>818_word_end<_end<속>742_wo>818_word_end<_end<와적힌단어와의연관>350_wo>818_word_end<_end<를마치시처럼표현한다. >344_wo>818_word_end<_end<관객들은작업속에등장하는단어와>742_wo>818_word_end<_end<를함께봄으로써지적지각과시각적경험사이와의차이를발견하게된다.

2>534_wo>818_word_end<_end<. >536_wo>818_word_end<_end<+>538_wo>818_word_end<_end<>539_wo>818_word_end<_end<>540_wo>818_word_end<_end<, >542_wo>818_word_end<_end<. >536_wo>818_word_end<_end<과>538_wo>818_word_end<_end<>539_wo>818_word_end<_end<는만화속주인공캐릭터인형, >546_wo>818_word_end<_end<. >548_wo>818_word_end<_end<. >550_wo>818_word_end<_end< (>552_wo>818_word_end<_end<>553_wo>818_word_end<_end<, >555_wo>818_word_end<_end<, >344_wo>818_word_end<_end<패턴의성격을다룬다. >559_wo>818_word_end<_end<, >561_wo>818_word_end<_end<, 그로인해작품은자연스럽게운율과>555_wo>818_word_end<_end<감을드러내게된다. >565_wo>818_word_end<_end<, >567_wo>818_word_end<_end<, >569_wo>818_word_end<_end<, >571_wo>818_word_end<_end<, >573_wo>818_word_end<_end<, >575_wo>818_word_end<_end<, >577_wo>818_word_end<_end<. >316_wo>818_word_end<_end<의>581_wo>818_word_end<_end< >249_wo>818_word_end<_end<>583_wo>818_word_end<_end<, >585_wo>818_word_end<_end<, >587_wo>818_word_end<_end<, >589_wo>818_word_end<_end<. >591_wo>818_word_end<_end<. >593_wo>818_word_end<_end<. >595_wo>818_word_end<_end<, >597_wo>818_word_end<_end<. >599_wo>818_word_end<_end<>600_wo>818_word_end<_end<>601_wo>818_word_end<_end<- >603_wo>818_word_end<_end<, >605_wo>818_word_end<_end<, >607_wo>818_word_end<_end<. >609_wo>818_word_end<_end<, >611_wo>818_word_end<_end<, >613_wo>818_word_end<_end<. >615_wo>818_word_end<_end< >249_wo>818_word_end<_end<>618_wo>818_word_end<_end<. >620_wo>818_word_end<_end<. 뚫린구멍은동전의크기에상응>338_wo>818_word_end<_end<, >624_wo>818_word_end<_end<. >626_wo>818_word_end<_end<, >628_wo>818_word_end<_end<‘음(>632_wo>818_word_end<_end<)>634_wo>818_word_end<_end<'>636_wo>818_word_end<_end<. >638_wo>818_word_end<_end<(>632_wo>818_word_end<_end<)>634_wo>818_word_end<_end<은양(>644_wo>818_word_end<_end<)의존재를생략>338_wo>818_word_end<_end<, >648_wo>818_word_end<_end<, >650_wo>818_word_end<_end<. >652_wo>818_word_end<_end<>653_wo>818_word_end<_end<의>655_wo>818_word_end<_end< (1894/>360_wo>818_word_end<_end<는1894>659_wo>818_word_end<_end<>660_wo>818_word_end<_end< >662_wo>818_word_end<_end<->664_wo>818_word_end<_end<. >652_wo>818_word_end<_end< >653_wo>818_word_end<_end<은이포트폴리오를베를린의>667_wo>818_word_end<_end<>668_wo>818_word_end<_end<, >670_wo>818_word_end<_end<. 그>271_wo>818_word_end<_end<과거속건물>742_wo>818_word_end<_end<에새로운생기를불어넣고싶었고, >674_wo>818_word_end<_end<(>676_wo>818_word_end<_end<)>678_wo>818_word_end<_end<(>680_wo>818_word_end<_end<)>682_wo>818_word_end<_end<>683_wo>818_word_end<_end<>684_wo>818_word_end<_end<“>686_wo>818_word_end<_end<”>688_wo>818_word_end<_end<. >690_wo>818_word_end<_end<. >692_wo>818_word_end<_end<. 과거와>680_wo>818_word_end<_end<>695_wo>818_word_end<_end<>696_wo>818_word_end<_end<21>698_wo>818_word_end<_end<, >700_wo>818_word_end<_end<. >702_wo>818_word_end<_end<“>704_wo>818_word_end<_end<”이라는단순한쟝르의 분류를넘어우리가그림과>704_wo>818_word_end<_end<을보는방식에대해재고할것을요구한다. >704_wo>818_word_end<_end<을정지된>709_wo>818_word_end<_end<>710_wo>818_word_end<_end<”>712_wo>818_word_end<_end<. >714_wo>818_word_end<_end<>715_wo>818_word_end<_end<>716_wo>818_word_end<_end<. >718_wo>818_word_end<_end<>719_wo>818_word_end<_end<>720_wo>818_word_end<_end<. >722_wo>818_word_end<_end<>723_wo>818_word_end<_end<의>725_wo>818_word_end<_end< >270_wo>818_word_end<_end<>728_wo>818_word_end<_end<, >730_wo>818_word_end<_end<. >344_wo>818_word_end<_end<그런과정은>722_wo>818_word_end<_end<>723_wo>818_word_end<_end<의작업에서가장중요한의미를갖는다. >734_wo>818_word_end<_end<. >344_wo>818_word_end<_end<, >738_wo>818_word_end<_end<. >740_wo>818_word_end<_end<. >742_wo>818_word_end<_end<->744_wo>818_word_end<_end<, >746_wo>818_word_end<_end<. 이로인해새로운>350_wo>818_word_end<_end<가성립되면서>742_wo>818_word_end<_end<의상태에대한숙고를촉발한다. 증거가물러난자리에는낯선>742_wo>818_word_end<_end<만이시선을집중시킨다. >752_wo>818_word_end<_end<, >754_wo>818_word_end<_end<, >756_wo>818_word_end<_end<.

>758_wo>818_word_end<_end<
>759_wo>818_word_end<_end< >761_wo>818_word_end<_end<
>762_wo>818_word_end<_end<

>763_wo>818_word_end<_end<


>764_wo>818_word_end<_end<

어시스턴트 >763_wo>818_word_end<_end<

Title of the Exhibition: >153_wo>818_word_end<_end<

Opening Reception: February 15>683_wo>818_word_end<_end<11 at 5pm

Exhibition Dates: February 16 – March 27>683_wo>818_word_end<_end<11

>769_wo>818_word_end<_end<

>771_wo>818_word_end<_end< >317_wo>818_word_end<_end< >773_wo>818_word_end<_end<

>774_wo>818_word_end<_end<

>775_wo>818_word_end<_end<

>776_wo>818_word_end<_end<

818_word_end

>153_wo>818_word_end<_end<

>153_wo>818_word_end<_end<, an exhibition project to be held at the Kumho Museum of Art from February 16 to March 27>683_wo>818_word_end<_end<11, is about rhymes that are found in images >799_wo>818_word_end<_end< languages, >799_wo>818_word_end<_end< the rhythms that these rhymes conjure up.This exhibition began with the questioning of the role >799_wo>818_word_end<_end< meaning of a theme in planning a contemporary art exhibition >799_wo>818_word_end<_end< how diverse works of individual artists in a group exhibition are linked to each other to create a narrative.In this exhibition, the curator >799_wo>818_word_end<_end< the participating artists work together to compose a single story >799_wo>818_word_end<_end< find a rhythm that in the end lead to harmony.

>780_wo>818_word_end<_end<

>781_wo>818_word_end<_end<>782_wo>818_word_end<_end<>783_wo>818_word_end<_end<>221_wo>818_word_end<_end<belongs to the works in which Chong appropriates a historical model from the modern art practice >799_wo>818_word_end<_end< applies it onto the contemporary modes of thinking, seeing, >799_wo>818_word_end<_end< feeling.The reference here is Richa>818_word_end< Long>783_wo>818_word_end<_end< groundbreaking walking performances done in the sixties.What are left from the original performances of Richa>818_word_end< Long are the plain >799_wo>818_word_end<_end< short cartographic descriptions of the routes that he took.Chong>783_wo>818_word_end<_end< transference of the formal properties of these documentations to the present doesn't take place in nature conceived through abstract terms but in a highly urbanized texture charged with psychological tension.Drifting on the streets is not coined with the rejoicing of mobility but with the feeling of frustration >799_wo>818_word_end<_end< the will to suffer after a falling out with someone dear.>786_wo>818_word_end<_end<>783_wo>818_word_end<_end799_wo>818_word_end<_end< narrative potentials of media.His proposal for the exhibition is a social sculpture containing different ready-mades with functional, performative or functionally performative skills.A sculptural arrangement made of museum furniture >799_wo>818_word_end<_end< everyday objects, these elements form an installation that itself refers to the architectural archetype bar. Rearranged >799_wo>818_word_end<_end< partly divorced from their original contexts that are called habits, they are reflected in the institutional frame >799_wo>818_word_end<_end< social guidelines, to be redefined by usage - a welcome performance inviting everybody to join >799_wo>818_word_end<_end< communicate, no matter what the content.>788_wo>818_word_end<_end<s>269_wo>818_word_end<_end<>270_wo>818_word_end<_end< is a temporal concept that comes from an old sci-fi drama.‘>269_wo>818_word_end<_end<' is an imaginary concept, but it in a way overturns the narrow >799_wo>818_word_end<_end< linear idea of time that we presently use (the Gregorian calendar), >799_wo>818_word_end<_end< stimulates the senses towa>818_word_end< a more multi-layered idea of time.Through this work, time is recomposed into one that has loopholes everywhere, where the past-present-future are intertwined, >799_wo>818_word_end<_end< where violence has been banished from our lives but is somehow still preserved.It is universal rather than terrestrial. The numbers engraved on the tombstone are connected to the artist>783_wo>818_word_end<_end< personal memories (the artist>783_wo>818_word_end<_end< birthday >799_wo>818_word_end<_end< the day his mother passed away), but they may be replaced by the viewer>783_wo>818_word_end<_end< memory, which may be personal, public, about people or lives that are dead, or linked to a specific period.Therefore, the numbers may be engraved infinitely.The possibility for infinite series is the key point of this tombstone object.>269_wo>818_word_end<_end<>793_wo>818_word_end<_end<

>794_wo>818_word_end<_end<>795_wo>818_word_end<_end<>796_wo>818_word_end<_end<>783_wo>818_word_end<_end<>305_wo>818_word_end<_end<>799_wo>818_word_end<_end<>307_wo>818_word_end<_end< Me>801_wo>818_word_end<_end<>802_wo>818_word_end<_end<>803_wo>818_word_end<_end< >317_wo>818_word_end<_end< >786_wo>818_word_end<_end<>783_wo>818_word_end<_end<>322_wo>818_word_end<_end<>249_wo>818_word_end<_end<.This work is the collaborative work for this exhibition between >803_wo>818_word_end<_end< (based in Berlin) >799_wo>818_word_end<_end< >786_wo>818_word_end<_end< (based in Vienna).The two completed the piece by sending their work to each other through the post, thus finding out about each other>783_wo>818_word_end<_end< work only after receiving the work in progress.Without doubt, the two must have been at times pleasantly surprised >799_wo>818_word_end<_end< at other times dissatisfied with the work of the other.The two reflected on how to continue the work in a harmonious way >799_wo>818_word_end<_end< probably were faced to question how the other would react to their own work throughout the collaboration.The end is not unlike the relationships that we have in >471_wo>818_word_end<_end<.The viewer cannot differentiate the authors of the work that started out as six blank pages.In the end, there is only one artwork.Jooyeon >796_wo>818_word_end<_end<>783_wo>818_word_end<_end<>725_wo>818_word_end<_end< (Confetti on Pirate LPs)features the single-color pirate LPs that took the country by storm in their heyday, with paper confetti used during festivals stuck on them.The solid color LP covers evoke a nostalgia for the thirst of the younger generations of the time for exotic cultures >799_wo>818_word_end<_end< their desire to own the banned original LPs.Sunghun Choi+Sunmin >796_wo>818_word_end<_end<'s>381_wo>818_word_end<_end<>249_wo>818_word_end<_end< is a video installation projected on two separate screens set up side by side.It is actually a two-channel video, but looks like one single sentence, further elaborated by the works installed around the screens.Evoking a piece of poetry, the images >799_wo>818_word_end<_end< logic that constitute the work are wholly the product of the artists' intuition shown throughout the process of observing, discovering, experimenting, judging, >799_wo>818_word_end<_end< deciding.The result is a work whereby the viewers can feel on their own >799_wo>818_word_end<_end< complete the poem as they see fit.

>817_wo>818_word_end<_end<>818_word_end<floor shows images >799_wo>818_word_end<_end< texts. Especially, it speaks about the way of expression >799_wo>818_word_end<_end< the meaning of texts >799_wo>818_word_end<_end< images.>820_word_end<s>822_word_end<>249_wo>818_word_end<_end< is about the incomplete story of humans on their inner >799_wo>818_word_end<_end< outer sides.Viewers are left to complete the story by seeing, reading, >799_wo>818_word_end<_end< interpreting the images >799_wo>818_word_end<_end< text (poem) in their own way.The two-channel video work shows a c>799_wo>818_word_end<_end799_wo>818_word_end<_end< a heart burning up for four hours on the left screen, while on the right screen, a poem composed by the artist herself goes up like subtitles in a film.

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I had hea>818_word_end< much about her, >799_wo>818_word_end<_end< the things I had gone through because of her were indeed appalling.
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Her restless spirit >799_wo>818_word_end<_end< madness were ha>818_word_end< to bear.
She had nowhere to w>799_wo>818_word_end<_end799_wo>818_word_end<_end< asked me where she could rest a while.
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She hesitated for a moment, but her fatigue got the better of her, >799_wo>818_word_end<_end< she nodded in agreement.
I looked around >799_wo>818_word_end<_end< opened my chest. And I put a straw right under my heart >799_wo>818_word_end<_end< turned on the vacuum cleaner >799_wo>818_word_end<_end< sucked her inside.
Since then, I have been able to lead a quiet >471_wo>818_word_end<_end< like other people.
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Nadim Va>818_word_end>783_wo>818_word_end<_end<>449_wo>818_word_end<_end<(>360_wo>818_word_end<_end< is a 10-frame animation based on a historical photograph from the 1880s that shows an early archetype of the “motion picture”.By retouching the original photograph >799_wo>818_word_end<_end< dividing it into a sequence of frames, Va>818_word_end799_wo>818_word_end<_end< creates a circular movement.A zoetrope is a device that produces an illusion of action from a rapid succession of static pictures.The term zoetrope is from the Greek wo>818_word_end471_wo>818_word_end<_end<," >799_wo>818_word_end<_end< “τρ>846_word_end<>847_word_end<>848_word_end<- tropos,” meaning "turn."It may be taken to mean the "wheel of >471_wo>818_word_end<_end<.">850_word_end<s>852_word_end<>249_wo>818_word_end<_end< involves throwing mud lumps at a white gallery wall.Taking full advantage of the mud>783_wo>818_word_end<_end< highly viscous >799_wo>818_word_end<_end< easily shapeable characteristic, Cho creates a new form of vertical l>799_wo>818_word_end<_end< onto which a poem, written in both Korean >799_wo>818_word_end<_end< English, is projected >799_wo>818_word_end<_end< from which the text escapes freely.The exodus begins when the content of the poem migrates to an unknown territory.Presented for the first time at the Space of Korean Women>783_wo>818_word_end<_end< History in 2006, it was shown once again at the 2008 Gwangju Biennale.For the exhibition at the Kumho Museum of Art, a slightly different form of mud poem will be realized.>511_wo>818_word_end<_end<>512_wo>818_word_end<_end<, one of Cho>783_wo>818_word_end<_end< action poems, is a three-part music score that improvises onomatopoeic sounds.

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Mud >799_wo>818_word_end<_end< me hatched the plan
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So they let me pass every bo>818_word_end

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I hea>818_word_end< she is well
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>884_word_end<>783_wo>818_word_end<_end<>517_wo>818_word_end<_end<Series >518_wo>818_word_end<_end< is probably his most conceptual to date, in which he reco>818_word_end471_wo>818_word_end<_end< like a kind of photographic scrapbook.He presents every ‘find' with single wo>818_word_end< descriptions on their content, thus emphasizing the gap between intellectual perception >799_wo>818_word_end<_end< visual experience, while creating a poetic association of childishly simple wo>818_word_end799_wo>818_word_end<_end< utter strangeness.

>888_word_end<ndfloor shows us the shape of deformed objects >799_wo>818_word_end<_end< reconstruction of the role.Nayoungim+Gregory Maasswill show a range of smaller works t배트맨 와이즈 토토led배트맨 와이즈 토토 is tough world in here>249_wo>818_word_end<_end<, which deals with repetition, rhythm, >799_wo>818_word_end<_end< pattern, which are essential to language.Nayoung >799_wo>818_word_end<_end< Gregory will attach “rhythm” >799_wo>818_word_end<_end< “rhyme” to their artworks by joining them together >799_wo>818_word_end<_end< giving them the same movement.The works themselves one by one already deal with this subject.They will install a still >471_wo>818_word_end<_end< with fake bricks, two ch>799_wo>818_word_end<_end799_wo>818_word_end<_end< white photographs of yogic toilet paper still >471_wo>818_word_end<_end<, >799_wo>818_word_end<_end< painted empty liquid food kegs, etc.>803_wo>818_word_end<_end<'s>581_wo>818_word_end<_end<>249_wo>818_word_end<_end< features six objects of various sizes >799_wo>818_word_end<_end< forms made of different metals that are installed under the wall following a specific principle.The objects have each been produced with their lines, surfaces, forms, >799_wo>818_word_end<_end< flat >799_wo>818_word_end<_end< cubic dimensions in consideration.The objects are made in steel, tin, brass, copper, >799_wo>818_word_end<_end< aluminum.These metals are often used in mass production. In o>818_word_end818_word_end799_wo>818_word_end<_end<, for this work, each metal has been conferred an independent form without being mixed. In the abstract sense, the metals have gone through purification, extraction, >799_wo>818_word_end<_end< transformation in the process of being given forms.This work focuses on the materiality of coins, revisualizing them in a poetic way.Abbreviation, metaphor, >799_wo>818_word_end<_end< analogy have been used as a visual vocabulary in their elaboration.For>615_wo>818_word_end<_end<>249_wo>818_word_end<_end<, small holes of various sizes are punched into a piece of laminated wood. The size of the holes corresponds exactly to the sizes of European Euro coins >799_wo>818_word_end<_end< Korean Won coins.The holes correspond to the coins in size, but they only evoke the coins that do not actually exist. The laminated wood where the coins no longer exist >799_wo>818_word_end<_end< which only bear the traces of the coins are sorts of a “negative form.” That negative form dispenses with positive existence, but the traces of the existence that has disappeared end up underlining >799_wo>818_word_end<_end< even reconstituting the disappeared existence.Mladen Bizumic's>655_wo>818_word_end<_end<(1894->360_wo>818_word_end<_end< is a series of collage-photographs taken fromModerne Neubauten aus Deutschl>799_wo>818_word_end<_end<(Modern New Buildings from Germany) architectural portfolio originally published in 1894.He bought the portfolio in the antique book shop in >667_wo>818_word_end<_end<, Berlin because she could not resist its precious, seductive >799_wo>818_word_end<_end< fragile surfaces rather than its subject matter - the then - new buildings which today either do not exist or are very old.But he wanted to give it a new >471_wo>818_word_end<_end<, perform something that happened between the then >799_wo>818_word_end<_end< the now - something more 'modern,' something that happened in the 20th Century.Each offprint photograph has been re-cut >799_wo>818_word_end<_end< re-designed; the added patterns introduce >799_wo>818_word_end<_end< activate the new space in-between the viewer >799_wo>818_word_end<_end< the photograph—the past >799_wo>818_word_end<_end< the present, the 19th Century >799_wo>818_word_end<_end< the 21st Century.Suspended in both space >799_wo>818_word_end<_end< time, they make us wonder: how do we read images in different contexts?This is an attempt at moving beyond the simple category of 'photography,' >799_wo>818_word_end<_end< asks us to consider the way we look at pictures.If photography is 'frozen time,' Bizumic wants it to melt >799_wo>818_word_end<_end< become liquid again.There is no full stop here, only a comma!Ute Müller>783_wo>818_word_end<_end<>725_wo>818_word_end<_end<>270_wo>818_word_end<_end< proposes a moment of disappearance, a continuous painting over >799_wo>818_word_end<_end< repainting of single elements in the course of the pictorial progress that is of central significance.The unfinished, roughly sketched is set into the picture in the same way that a conventional image is built up.The motif being detached from a linear narrative context traverses, due to gradual reduction >799_wo>818_word_end<_end< abstraction, a process towa>818_word_end799_wo>818_word_end<_end< defines a variable, >799_wo>818_word_end<_end< on the other formulates an independent presence.The scrutinizing of image-values leads the viewer to the ephemeral >799_wo>818_word_end<_end< inaccessible in the work. Characteristic of this is the spatial contrast of construction >799_wo>818_word_end<_end< disintegration.New relations arise, setting in motion a reflection of the status of the image. What is brought into focus is that which withdraws evidence, which confronts us in its strangeness.Materiality >799_wo>818_word_end<_end< visibility lead the gaze to the absent, towa>818_word_end799_wo>818_word_end<_end
Sunyoung Oh
Curator, Co-director of APT(Artist Pension Trust), Beijing

Jina Hyung

Coo>818_word_end

Eunmi Ryu
Asistant Coo>818_word_end

Sponsored by


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