March 2009
Calligraphy Series
title: 며칠전
1996
Approx. 60 x 50 x 3cm
wood, linolium, paint
title: -어
1996
Approx. 60 x 50 x 3cm -Awe, 1996, wood, linoleum, house paint, 130 x 140 x 3 cm, Courtesy of Private Collection.
-Awe is a simple form of work depicting “-Awe,” a speech filler that embodies various interpretations such as surprise, hesitation, or else. It is drawn on linoleum, a common industrial material of that time. Clearly distinguished from traditional Hanji floor paper and neat calligraphy, the glossy vinyl, and shaky writing expose explicit and blatant forms of imitation we commonly see around us. Although the artist herself thought it was enjoyable to watch this casual situation, it allows open possibilities through the semantic void of “-awe.”
-Awe is a simple form of work depicting “-Awe,” a speech filler that embodies various interpretations such as surprise, hesitation, or else. It is drawn on linoleum, a common industrial material of that time. Clearly distinguished from traditional Hanji floor paper and neat calligraphy, the glossy vinyl, and shaky writing expose explicit and blatant forms of imitation we commonly see around us. Although the artist herself thought it was enjoyable to watch this casual situation, it allows open possibilities through the semantic void of “-awe.”
https://sema.seoul.go.kr/en/whatson/exhibition/audio_guide?exNo=1080199&audioGuideNo=1080472&photosketchNo=121962¤tPage=1&glolangType=ENG
title: TV
1996
60 x 50 x 3cm
wood, linolium, paint
title: TV
1996
60 x 50 x 3cm
wood, linolium, paintYour Bright Future: 12 Contemporary Artists from Korea
June 28, 2009–September 20, 2009
Organized by Los Angeles County Museum and the Museum of Fine Arts, Houston (MFAH), Your Bright Future: 12 Contemporary Artists from Korea features a generation of artists who have emerged since the mid-1980s—some well-known and others on the brink of such recognition—all of whom work on the cutting-edge of international art trends and within a distinctly Korean context.
Kim Beom questions Korean mass media in Untitled (News) (2002), for which he edited together numerous television news broadcasts in clips short enough to alter what the reporters were saying. Instead of reporting on events of the day, these familiar figures spout statements that vacillate between the inane and poignant. Using humor, the work questions whether the actual words of such television personalities are more enlightening than the ones that Kim has put in their mouths.
curated by Lynn Zelevansky, LACMA’s
Terri and Michael Smooke Curator and Department Head of Contemporary Art;
Christine Starkman, MFAH Curator of Asian Art;
and Sunjung Kim, Director of Samuso: Space for Contemporary Art, Seoul, South Korea.
artists;
Bahc Yiso, Choi Jeong-Hwa, Gimhongsok, Jeon Joonho, Kim Beom, Kimsooja, Koo Jeong-A, Minouk Lim, Jooyeon Park, Do Ho Suh, Haegue Yang and the collaborative, Young-Hae Chang Heavy Industries
Organized by Los Angeles County Museum and the Museum of Fine Arts, Houston (MFAH), Your Bright Future: 12 Contemporary Artists from Korea features a generation of artists who have emerged since the mid-1980s—some well-known and others on the brink of such recognition—all of whom work on the cutting-edge of international art trends and within a distinctly Korean context.
Kim Beom Untitled(News) single chanel video 01:00:04 (2002)
Kim Beom questions Korean mass media in Untitled (News) (2002), for which he edited together numerous television news broadcasts in clips short enough to alter what the reporters were saying. Instead of reporting on events of the day, these familiar figures spout statements that vacillate between the inane and poignant. Using humor, the work questions whether the actual words of such television personalities are more enlightening than the ones that Kim has put in their mouths.
curated by Lynn Zelevansky, LACMA’s
Terri and Michael Smooke Curator and Department Head of Contemporary Art;
Christine Starkman, MFAH Curator of Asian Art;
and Sunjung Kim, Director of Samuso: Space for Contemporary Art, Seoul, South Korea.
artists;
Bahc Yiso, Choi Jeong-Hwa, Gimhongsok, Jeon Joonho, Kim Beom, Kimsooja, Koo Jeong-A, Minouk Lim, Jooyeon Park, Do Ho Suh, Haegue Yang and the collaborative, Young-Hae Chang Heavy Industries
당신의 밝은 미래
Your Bright Future: 12 Contemporary Artists from Korea
한국은 1950년 이후 전쟁과 재건이라는 하나의 주기를 경험했다. 분쟁으로 인해 황폐화, 진압을 위한 탄핵 등으로 점철된 풍파를 겪은 이후, 21세기에 들어 한국은 세계적인 수준의 경제적 성장과 변화된 국가 정체성, 그리고 예술적 표현인 문화를 활발히 향유하며 새롭게 부상했다. 이 기간 동안, 김수자(1957년생), 서도호(1962년생)같은 예술계 인물들이 폭넓은 명성을 얻게 되었고, 이로써 더 젊은 작가들이 그들의 자취를 따르도록 고무되었다. 아시아 미술에 대한 세계적인 관심과 미국 내 큰 공동체를 이룬 한인 사회의 활발한 활동에도 불구하고, 서구에서 한국의 현대 미술은 여전히 잘 알려지지 않았고, 특히 중국이나 일본 미술에 비해 그 인지도가 상당히 떨어져 있다. 이러한 실정을 개선하고자 “Your Bright Future: 12 Contemporary Artists from Korea” 전시는 한국의 신진과 중진 작가들이 이뤄낸 성과를 보여줌으로써 작지만 힘찬 동시대 한국 예술의 움직임을 집약적으로 다루고자 한다. 전시에는 박이소, 최정화, 김홍석, 전준호, 김 범, 김수자, 구정아, 임민욱, 박주연, 서도호, 양혜규, 장영혜 중공업이 참여한다.
본 전시는 미국의 주요미술관이 국제 미술계 동향의 최첨단에 있는 한국 작가들만을 집중적으로 다루는 최초의 전시라는데 깊은 의의가 있다. 특히 한국인들 또는 한국계 미국인들이 공동체를 크고 활발하게 이루며 문화적인 영향력을 활발히 끼치고 있는 로스앤젤레스에서 본 전시가 열리게 된다는 점도 주목할 만 하다. 로스앤젤레스의 중심부이자 코리아타운에 근접해 있는 LACMA에서의 전시는 현지 한국인들과 한국계 미국인들에게 훌륭한 문화적 원천이 될 것이다. LACMA에 ‘Korean Initiative’가 출범된 것은 2000년 로버트 무어 컬렉션(Robert W. Moore Collection)이 미술관에 들어오면서부터였으며, 이로써 LACMA는 한국 전통미술의 해외 컬렉션으로서는 가장 폭넓은 소장품을 보유하게 되었고 이는 현재까지 국제적인 학문적 연구 주제가 되고 있다. 본 전시는 이러한 컬렉션의 발단을 보완하고 미술관의 Korean Initiative의 방대함을 입증하며, LACMA의 한국 미술 및 문화에 대한 장기적인 노력 및 비전을 굳건히 할 것이다. 한편, MFAH의 한국 미술 및 문화에 대한 전시는 1982년 기증을 통해 한국 미술 최초의 컬렉션이 된 17세기 조선의 유려한 봉황 도자기(Phoenix Jar)에서 시작되었다. MFAH의 디렉터 피터 마르지오(Peter Marzio)가 2004년 한국여행 중에 받은 한국의 현대 미술에 대한 강한 인상과 문화 전반, 한국인들로부터 받은 감동을 바탕으로, 휴스턴으로 돌아와 한국 미술 및 문화 프로그램을 한층 더 야심차고 전망 있게 정비하는 일에 착수했다. 그 초석으로서 미국 남서부에서 가장 큰 한국 미술 전용 공간을 설립하여, 2007년 12월 비로소 MFAH에 한국관(Korea Gallery)이 문을 열게 되었으며 2008년 1월 서세옥 전시를 개최하였다. 한국 미술에 대한 이러한 깊은 애정과 노력의 일환으로서 “Your Bright Future”를 개최하게 되었으며, 괄목할만한 한국 작가들을 통해 국제 미술계의 약동하는 혁신적인 동향을 휴스턴 지역 사회에 소개할 것이다.
http://www.samuso.org/wp/당신의-밝은-미래/?ckattempt=1
Your Bright Future: 12 Contemporary Artists from Korea
Your Bright Future: 12 Contemporary Artists from Korea was written by Christine Berkman and Lynn Zelevansky with contributions by Joan Kee and Sunjung Kim.
This unprecedented book focuses on the work of 12 of Korea's most significant artists: Kimsooja, Bahc Yiso, Do Ho Suh, Choi Jeong-Hwa, Gimhongsok, Jeon Joonho, Kim Beom, Koo Jeong-A, Minouk Lim, Jooyeon Park, Haegue Yang, and Young-hae Chang Heavy Industries. These artists work in a range of media, including sculpture, drawing, video, installation and performance, and the World Wide Web. The book also includes artists’ interviews and brief biographies.
This book, Your Bright Future, was created to document the exhibition Your Bright Future at LACMA.
- Paper over board cover
- 208 pages, 8 3/4 x 10 1/2 inches
- 18 b&w and 159 color illustrations
- 2009
This unprecedented book focuses on the work of 12 of Korea's most significant artists: Kimsooja, Bahc Yiso, Do Ho Suh, Choi Jeong-Hwa, Gimhongsok, Jeon Joonho, Kim Beom, Koo Jeong-A, Minouk Lim, Jooyeon Park, Haegue Yang, and Young-hae Chang Heavy Industries. These artists work in a range of media, including sculpture, drawing, video, installation and performance, and the World Wide Web. The book also includes artists’ interviews and brief biographies.
This book, Your Bright Future, was created to document the exhibition Your Bright Future at LACMA.
- Paper over board cover
- 208 pages, 8 3/4 x 10 1/2 inches
- 18 b&w and 159 color illustrations
- 2009
$50.00 USD
By Accident
By Accident Booklet Cover page
Curated by Komplot : http://www.kmplt.be/
14th March - 4th April 2009
Opening 14th of March 7pm with performances
Exhibition from 3 to 8pm, from Wednesday to Saturday and by appointment
le commissariat, 13 rue Ternaux. Paris.
"We cannot produce accidents to order" (William Burroughs and Brion Gysin, 'The Third Mind', 1978).
‘By Accident', historical survey, “Concept, text &
performance” by Douglas Park (with other input from Matthew Burbidge,
Jean-Philippe Convert, David Evrard & David Garchey), presented by Komplot,
Le Commissariat, Paris, 2009
Performance of Jean-Philippe
Convert and Douglas Park after a text of Douglas Park
The following attempts to
introduce, describe and explain every exponent and example coming to mind and
recommended of a seemingly overlooked but nonetheless worthy idiom or genre
identified. This cultural area being fate striking work at any stage of
production, exposure or whenever, only for drastically affected outcome to be
kept by the authors, deliberately addressed and appearing as part of their
output –as well as actually generating other work. Existing, original,
intentional and self-conscious meaning, expectations and plans can change
beyond recognition, actually become further added to –or even lead to entirely
new possibilities opening up.
Questions asked encourage and provoke playing
with and defiance of proscribed constructs as to whether any process, product,
experience or situation is ever predictable, fixed, definitive or controlled in
ongoing and inconclusive reality –and also the feasibility of choice and
freedom within any conditions.
Such circumstances include
(both foreseeable and unexpected): accidents, complications and mistakes;
personal setbacks; interpersonal, political, legal, media and public etc
adversity and backlash; grievances and disputes; resource and facility
shortages; technical hitches; conservation, storage and transit issues; side
effects, spinoffs, unfinished business and afterlife; changes of mind;
hindsight, improvements, updates, amendments and retraced steps later
etc. Still more factors are flexibility, opportunism and
capitalisation.
Without detracting from anything, consideration,
definition and selection policy struggled with overlap and similarity with
other (equally relevant) tendencies and instances not brought about or operating
in the same way. These include: useage of other’s work; “challenges”
(attempting to influence other’s decisions); works engaged with important and
serious episodes, phases and circumstances in the artist’s own life; the
reappearance of imagery from and of other works; retrospectives, surveys and
monographs as work; archival and preparatory / working material as work;
involvement of other’s input in production; solicited and curated contributions
submitted to works and projects akin to collections, archives, publications,
programs and exhibitions.
Further addressed is explosion of clichés and constructs expecting
specialness and supremacy to cultural practice, lifestyle and products –against
the inescapable reality of external determining factors occupied; nothing is
immune or exempt to social, political, cultural and economic forces or
scientific and natural laws. Much that’s included becomes real-life
satire on the irrationality and superstition of anecdote, biography, legend,
mythology and romanticism (most notably: Wassily Kandinsky’s famous
“revelation” about the light filtering through tree leaves and branches,
passing on further through his window onto some blank canvas or unfinished
work-in-progress –supposedly the “inspiration” behind Kandinsky and other’s
early abstraction). Between the critical and creative approach, crossover
arises with idea that great scientific and technological discovery and
invention come out of mistakes or carelessness.
While belonging
more to the (ho, ho, ho) homage (of visual and lingual puns on attributes of
major figures and works etc), certain artists and work falling outside this
category deserve a mention for addressing issues at stake.
During the
rise of the conceptual-era, the Belgian autodidact satirist and social
commentator, Jacques Charlier identified ideological and ethical contradictory
flaws and downright hypocrisy behind-the-scenes of these supposed radicals and
manqué revolutionaries. As well as other works parodying his
contemporaries, Charlier photographed workmen struggling with the strain of
carrying Daniel Buren’s rolls of striped wallpaper and textiles, Andre Cadere’s
clashes and arguments with ordinary gallery and museum personnel about if or
where he could place his “barre de bois-ronde”, also capturing the visitors and
behaviour at vernissages and other occasions. Additionally, Charlier drew
deadpan cartoons and comic strips, including visual and written impressions of
what each major male artist’s penis might look like, specific attacks on Buren
and Cadere in particular –and even observing the procedures and speakers at a
conference. Around the same time, the U.K artist Tony Rickaby, as part of
his concerns with class values, wrote and published his bookwork, An Unknown
Art History (Art Net, London 1975) and Six Unknown Yet Influential Artists of
the 1960’s in General Schmuck periodical (edited by Felipe Ehrenberg and David
Mayor, Cullompton, 1975). Both of which are series of short fictional
stories about well-known 20th century modern “master” artists crossing paths
with some ordinary member of the public during everyday life –with coincidental
similarity to their work. More recently, the U.K contemporary artist,
musician and educator, Bob & Roberta Smith produces his signboards telling
stories which mix and match the people and events of art and cultural
history.
© Douglas Park, 2009
FRAGMENTS from an INTRO by Douglas Park (© 2009)
“... Nothing is immune or exempt to social, political, cultural and
economic forces or scientific and natural laws. Much that’s included
becomes real-life satire on the irrationality and superstition of anecdote,
biography, legend, mythology and romanticism...”
“Between the critical and creative approach, crossover arises with idea
that great scientific and technological discovery and invention come out of
mistakes or carelessness. “
“... Fate striking work at any stage of production, exposure or whenever,
only for drastically affected outcome to be kept by the authors, deliberately
addressed and appearing as part of their output –as well as actually generating
other work... such circumstances include (both foreseeable and unexpected):
accidents, complications and mistakes; personal setbacks; interpersonal,
political, legal, media and public etc adversity and backlash; grievances and
disputes; resource and facility shortages; technical hitches; conservation,
storage and transit issues; side effects, spinoffs, unfinished business and
afterlife; changes of mind; hindsight, improvements, updates, amendments and
retraced steps later...”
LE COMMISSARIAT, Paris
For this exhibition, Le Commissariat, a Parisian curatorial group, invited Komplot, a Belgian curatorial group, to produce a show; Komplot invited London-based writer Douglas Park, who compiled an archive of relatively recent art-historical accidents, complications, and mistakes. The show’s theoretical key is a quote from Burroughs and Gysin’s now very fashionable The Third Mind (1978): “We cannot produce accidents to order.” In the exhibition’s press materials, Park cites Mel Bochner’s 1966 exhibition at the School of Visual Arts, “Working Drawings and Other Visible Things on Paper Not Necessarily Meant to Be Viewed as Art,” as a specific, even archetypal example of such an accident.
That exhibition had originally been designed in a conventional fashion (prints framed and hung on the walls), but it was only because the school found it too expensive that Bochner was “forced” to adopt his famous exhibition strategy, in which sketches, invoices, calculations, and sundry ephemera and preparatory materials by many contributors were collated in four-ring binders, placed on pedestals, and made available for perusal. Park adopts a related casual approach. The core of the exhibition is the archive, which is compiled in a fifty-page booklet, with each entry discussed by Park in English and French, accompanied by David Evrard’s (seemingly unrelated) visuals. Copies are available, and there are chairs for sitting and perusing. On one wall, there is an orderly, legible slide show of many of the archived images and events, and on the other, there is a video of a drunken discussion—about the archive—with Park in a bar. The footage is grainy and dark, so that mostly what one sees are the French subtitles (which are not always accurate). There is a blustering and slightly helpless quality in Park’s voice and in the exhibition, but this lends the show a grimy authenticity and is indicative of something legitimately underground.
David Lewis
via http://www.myspace.com/douglas_park/blog
Kim Kim at rob-ert
Venue: Rob-ert Showroom, Berlin-mitte
Artists: Chung Seo-young정서영(kr), Kim Beom김범(kr), Soun-gui Kim김순기(kr.fr),
Robert Estermann(ch), Nicolai Seyfarth(de), Lily Wittenburg(de), Nayoungim김나영(kr) & Gregory Maass(de)
Opening Performance via skype: Douglas Park
poster design by Jayme Yen
김범(金範, 1963‒ )은 한국 개념미술의 역사에서 1990년대 이후의 새로운 흐름을 설명할 때 가장 중요한 작가 중 한 명이다. 그의 작업은 주로 일상의 사물과 상황을 유머러스한 방식으로 뒤집어 봄으로써 우리가 당연하고 익숙하게 생각했던 대상에 완전히 새로운 의미를 덧씌우는 방식으로 이루어진다. 그는 조각, 비디오, 드로잉, 출판물 등 다양한 매체를 이용하여 작업 활동을 해왔으며, 사물의 기능과 형태, 그것을 지칭하는 언어 사이의 관계를 기반으로 하여 기존의 질서를 흐트러뜨리거나 변형시키는 데 관심을 가져왔다. 그의 작품은 관객의 지적 경험을 끌어내면서도 직관적으로 이해 가능한 단순하고 경쾌한 형태를 띠는 것이 특징이다.
‹뿔들, 송곳니들 그리고 갑각들›은 김범이 뉴욕에서 체류하던 시기에 제작된 초기 비디오 중 하나로, 일상의 사물을 새로운 형태의 무기로 변화시키는 작가의 유머러스한 상상력이 돋보이는 작품이다. 영상 속 남성은 “개인의 일상에 침입한 적을 물리치기 위해” 가정에서 일상적으로 사용하는 사물들, 즉 시계나 선풍기, 의자, 과일 등을 방어용 무기로 활용하는 방법을 안내한다. 집에 있는 물건 중에서도 공격성과는 거리가 멀어 보이는 사물들의 엉뚱한/참신한 용도 변경은 진지한 시연과 내레이션 때문에 그 어긋남이 더욱 두드러진다.
‹뿔들, 송곳니들 그리고 갑각들›은 김범이 뉴욕에서 체류하던 시기에 제작된 초기 비디오 중 하나로, 일상의 사물을 새로운 형태의 무기로 변화시키는 작가의 유머러스한 상상력이 돋보이는 작품이다. 영상 속 남성은 “개인의 일상에 침입한 적을 물리치기 위해” 가정에서 일상적으로 사용하는 사물들, 즉 시계나 선풍기, 의자, 과일 등을 방어용 무기로 활용하는 방법을 안내한다. 집에 있는 물건 중에서도 공격성과는 거리가 멀어 보이는 사물들의 엉뚱한/참신한 용도 변경은 진지한 시연과 내레이션 때문에 그 어긋남이 더욱 두드러진다.
https://www.mmca.go.kr/collections/collectionsDetailPage.do?wrkinfoSeqno=5986&artistnm=%EA%B9%80%EB%B2%94
- KIM Beom
- 뿔들, 송곳니들 그리고 갑각들, 1997
- 싱글채널 video(1분42초반복)
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