May 2018, Brussels

A Tree That Became a Man in Its Dream and Found Its Own Picture, 1998

Mixed media , Dimensions variable
Image courtesy of Tina Kim Gallery

Site of Desire, The 1998 Taipei Biennial 
Taipei Fine Arts Museum
June 13-September 6, 1998

The 1998 Taipei Biennial was held at the Taipei Fine Arts Museum from June 13 to September 6, 1998. NANJO Fumio has been invited to serve as commissioner of the Biennial, which introduces over 30 artists from different parts of Northeast Asia, including Taiwan, China, South Korea, and Japan.
The theme of the 1998 Biennial is "desire." Since the first Biennial in 1992, the exhibition's contents have matured substantially; this marks the first international exhibition with foreign curators and artists.
The sudden shift from rapid economic growth and prosperity to deep economic crises and political unrest has deeply shaken the Northeast Asian region as the 21st century looms. Focusing its vision on desire as a generating force behind the society and world in which we live, the 1998 Biennial examines from various angles the changing chaotic shape and dynamism of today's cities, seeking new potential sources of energy for the future. Through the theme of desire, it also considers various contemporary social issues such as fashion, consumerism, identity, gender, and the conflict between tradition and modernity, while at the same time aiming to raise them to the level of universal questions regarding the true nature of culture and human existence.
The Biennial will be made up of works from a broad range of genres, and will include painting, sculpture, and media related work as well as installation pieces designed specifically for the exhibition space. The ages, experiences, and backgrounds of the artists too are diverse. The manner of displaying the works in the Biennial has two special characteristics. Firstly, the exhibition space is not limited to the 1st and 2nd floors, but is expanded to include the foyer, courtyard, and outside walls and outside museum spaces. Together, the number of works on display outside the building alters the external look of the museum. Secondly, regarding the exhibition rooms inside the museum, separate space has been allocated to teach artist as far as possible by respecting each artist's creative world.
We believe that the Biennial will lead to a reaffirmation of the historical and cultural ties shared by the different parts of Northeast Asia, which have formed unique cultures under the strong influence of modern West and the heritage of Asian thoughts, as well as promote further mutual understanding and cooperation among these regions.

김정헌, 주재환 2인전 Kim Jungheun & Joo Jaehwan

  • 2018년 6월 10일 – 7월 8일 
  • 통의동 보안여관 Artspace Boan 1942
  • Commenter / 강신대 이우성 홍진훤 Kang Sindae, Lee Woosung, Hong Jinhwon
  • Curator / 박수지 Park Suzy
김정헌, 주재환의 2인전 <유쾌한 뭉툭>은 동료비평을 매개로 전개된다. 민중미술은 1980년대의 시대 상황에 한정된 미술경향 또는 시대사조로 읽으려는 해석과, 민중미술의 동시대성을 발견하려는 해석이 여전히 치열한 영역이다. 이번 전시는 김정헌,주재환  작가의 미발표작과 신작을 중심으로 ‘작업을 하는 작가’라는 현재적 영역을 들여다본다. 민중미술의 카테고리가 두 작가에게 부여하는 상징과 한계를 뛰어넘고자 하는 전시다. 40여년간 비평적 동료관계로 지내며 작업을 해온  작가의 면면을 작품과  작가의 발화 행위를 통해 드러내며, 잠정적 동료 작가들(강신대, 이우성, 홍진훤)의 코멘트로 부대낌의 가능성을 모색한다. ‘작업을 지속하는 것’과 ‘작업을 지속하게하는 동료의 힘’이라는 주제로 비평적 동료의 가능성을 견인하고자 한다.
Pleasantly Bluntly is a two-person exhibition by Kim Jungheonand Joo Jaehwan. The exhibition unfolds with a peer critique between the two artists. Minjung Misul(the people’s art) is a contested territory where two different views  one that read it as an artistic trend or the trend of the times that took place under the context of the 1980s and another that tries to find its enduring contemporariness. The current exhibition presents new works and previously unexhibited works by Kim Jungheon and Joo Jaehwan, focusing on their present territory of being ‘working artists.’ In doing so,the exhibition attempts to overcome the symbols that have been given to the artists by the category of Minjung Misuland the limitations that entail. Through the act of speech by the two artists, Pleasantly Bluntly shows different aspects of the artists who have been engaged as critical colleagues for over 40 years. By inviting comments by their potential fellow artists (Kang Sindae, Lee Woosung, and Hong Jinhwon), the exhibition also tries to find a possibility of contact between the two artists and other artists in a different generation. In this way, it attempts to overcome the limitation of Minjung Misul that is being historicized or becoming an established legacy in the Korean art history. At the same time, the exhibition explores the possibility of the relationship of being critical colleagues to each other, presented under the themes of ‘maintaining one’s practice’and ‘the strength of colleagues that makes it possible for one to keep one’s practice.’

코멘터리 가이드코멘터리 퍼포먼스 /
강신대 <지난하고 지난하게, 미적인 것과 정치적인  어딘가에서>
퍼포먼스 : 6월 30일 오후 2시 boan194 지하 
강신대 작가는 주재환과 김정헌의 신작에 초점을 맞춘다. 민중미술 전시장에 동료 비평가들을 섭외해 코멘터리퍼 포먼스를 진행한다. 진지하고 지루하고 지난한 비평을 현장에서 쌓아나간다. 비평의 사회적 위계를 인식하지 않으면서도 진지하게 접근해보기 위해 민중미술이라는 배경을의 도적으로 배제한다. 작품의 시간성을 배제하고 동시적 관점에서 읽어내는 일은 미적인 것과 정치적인  사이에 놓인 작품에 대한 질문이기도 하다.
코멘터리 오디오가이드 이우성 <듣고보니>
오디오가이드 설치 방법 : 앱스토어 또는 Play스토어에서 ‘가이드온’  다운로드  ‘유쾌한 뭉툭’ 전시를 선택  ‘무료 다운로드’ 버튼을 선택  ‘다운로드’ 버튼을 선택  ‘오디오 가이드’ 버튼 선택  청취
그림 그리는 사람  그림 그리는 사람으로 질문을 건넨다. 이우성에게 김정헌, 주재환은 일종의 클래식처럼 여겨진다. 의미, 의도, 민중미술 자체에 대한 논의보다는 작업에서는 보이지 않는 과정과 그림을 그리는 방법, 작가로서의 삶에 수반되는 고민들에 대해 질문한다. 관람객은 이우성 작가가 녹음한 오디오 가이드를 통해 김정헌, 주재환에게 건네는 질문을 들으면서 전시를 관람한다.
코멘터리 웹사이트 홍진훤 
웹사이트 주소 :
김정헌-주재환 작업에 대해 웹상에서 얻을  있는 정보들을 검색하고 아카이브 하는 ‘봇 bot’을 개발한다. 개발한 봇은 전시기간 중에도 계속 데이터를 취합하고 작가도  정보들  유의미하게 여겨지는 것들을 걸러낸다. 누군가의 작품이나 작업에 대해 어떤 방식으로든 코멘트하는 것들이 과연  작업을 읽어내는 데에 도움이 되는가에 대한 질문이다. 홍진훤의 봇에서는 비평가가  글이든 관람객이  댓글이든 모두 데이터화 되기 때문에 이러한 플랫폼은 코멘트를 수평적으로 보여주는 방식을 시사한다.