Swiss Federal Institute of Technology
Zurich
2010
© Robert Estermann
Hybrid Riding Crop Multiple
for 19 Performance Relay
19금 퍼포먼스
Kim Kim Gallery Marketing Readymade
Produced by Kim Kim Gallery
Inspired by the idea of Robert Estermann
Edition: 19
Various color
Plastic fly catcher, leather, rivets
Approx: 15x55x1cm
Nov. 2010
A Bastard 비열한 놈
A Performance by 정서영 Chung Seoyoung
at 19 Performance Relay
19금 퍼포먼스 릴레이
Date: 30 Nov. 2010
Time: PM 8:15
Venue: 공간 해밀톤 Space Hamilton, Seoul
19 Performance Relay
11월 30일 하룻밤, 10팀의 퍼포먼스가 공간 해밀톤 1,2층에서 릴레이로 펼쳐진다.
1,2층을 번갈아서 끊임없이 이어지는 10개 팀의 퍼포먼스는 각 19분내에 반드시 끝내야 한다.
11월 30일(화) 7시– 11시
공간 해밀톤
19 Performance Relay
Schedule
7:00 Mok Jung-ryang/Sound Performance/ 1F
7:25 Hong Sung-min/Dance Improvization/2F
7:50 Part Time Suite/Concert/야외
8:15 Chung Seo-young/Performance/2F
8:40 Kim Jee-sun/Performance/ 1F
9:05 Noh Kyung-ae/Dance Performance/2F
9:30 Kim Kim Gallery (Nayoungim & Gregory Maass)/Video Projection + Performance/1F
9:55 Chung Kum-hyung/Physical Performance/ 2F
10:20 Yoon Sa-bi/Sound Performance/
19금 퍼포먼스 릴레이
Time table
7:00 목정량/Sound Performance/ 1F
7:25 홍성민/Dance Improvization/2F
7:50 파트타임스위트사운드/Concert/야외
8:15 정서영/Performance/2F
8:40 김지선/Performance/ 1F
9:05 노경애/Dance Performance/2F
9:30 Kim Kim Gallery (김나영 & Gregory Maass) /Performance/1F
9:55 정금형/Physical Performance/ 2F
10:20 윤사비/Sound Performance/1F
웹 사이트 포도(podopodo.net)는 공간 해밀톤의 1주년 기념 및 클로징 파티로서 19금 퍼포먼스 릴레이를 선보입니다.
지난 1년간 공간 해밀톤에 관심을 갖어준 많은 분들에게 감사드리며,
향후 어디론가 짐을 싸고 새로운 여행을 떠나는 시점에서 웹사이트 포도와 공간 해밀톤이 지난 1년간 견지해온 ‘어느 것에도 포섭되지 않는 태도’의 결산으로 기획한 퍼포먼스 릴레이 파티에 여러분을 초대합니다. 10개의 팀은 모두 각 19분안에 퍼포먼스를 마쳐야 한다.
‘대한민국이 당신을 빼놓지 않도록’
Organized by: Hong Sung-min
www.podopodo.net
후원. 계원디자인예술대학
Space Hamilton 공간 해밀톤
683-142 Hannam-dong,
Yongsan-gu, Seoul
19 Performance Relay
Kim Kim Gallery presents Robert Estermann
at
19 Performance Relay
19금 퍼포먼스 릴레이
Venue: 공간 해밀톤 Space Hamilton, Seoul
Date: 30th Nov. 2010
Time: PM 9:30
Work title: Parallel Discipline
A performance for 19 minutes, for viewers over 19 years old,
containing video projection.
Videos by Robert Estermann
2005-2007
© Robert Estermann & Kim Kim Gallery
at
19 Performance Relay
19금 퍼포먼스 릴레이
Venue: 공간 해밀톤 Space Hamilton, Seoul
Date: 30th Nov. 2010
Time: PM 9:30
Work title: Parallel Discipline
A performance for 19 minutes, for viewers over 19 years old,
containing video projection.
Videos by Robert Estermann
2005-2007
© Robert Estermann & Kim Kim Gallery
unreiner Duft
Performance with 19 people
Title: Impure Frangrance
Venue: Amt für Hochbau, AH III und AH IV
Zürich
Date: February 26, 2003
© Robert Estermann
A.I.R.
Venue: Clayarch Gimhae Museum, S-Korea
Date: 12th Nov.-31th Dec. 2010
Artists: Kensuke Takahashi, Ceren Selmanpakoglu, 최윤정,
김나영 Nayoungim & Gregory Maass, 김주리, 송준규, 박경숙,
조윤득, Alexis Gregg & Tanner Coleman
Installation view at the show
Exhibited works
title: cigarettes:
dimensions variable: Approx. 270X200X80 cm
Ceramic sculpture, glazed stoneware, wall paper, painting
Edition limited, each unique
2010
title: toilet paper and kleenex cover:
dimensions variable
Ceramic sculpture, glazed stoneware, liquid gold
Edition limited, each unique
2010
title: Use your Noodle
dimension: each Approx. 46x46x19cm
Edition limited, each unique
2010
approx. 215.5 x 127.5 x 80 cm (overall).
Courtesy of the artist. © Nayoungim & Gregory Maass
Micro-Colonial-Drift / Growth-Area (via the Scenic-Route)
Freshly sprung up, polite and welcome interruptions to weary, deceased and crumbling, fag ash and xerox grey, dustbowl and wreckage inland wastescapes; many a silver flecked, lapis lazuli amethyst sapphire cobalt Delft chinaware blue ocean, sparkles dazzlingly, despite secret hiding (complete with full working order, hot and cold running salination, waves, current and tide supply). Hence, inland ocean. Differing to usual seas, not solely in scale or habitat, every inland ocean being nebulous, amoebic -and of no fixed abode. Bulging from each inland ocean, swell verdant emerald olive moss mint lime green acorn clumps, secured to rust textured fawn brown island foundations -and light ochre shore surrounds. Therefore, acorn island. Unlike typical, larger earthmasses, any acorn island will auto assemble, dismantle, intersperse, navigate -and anchor roots. Whether feral inland ocean lidos and mutant acorn island crops are only a recent discovery or actual evolution or stray migrant or captivity escapee or naturalised exodus or abandoned fly tipping or deliberate introduction or even invention, still remains unknown. As for geography, climate and eco-systems: inland ocean harsh arctic polar snow-storm sleet hail blizzard frost ice hazard conditions and skating / hockey rink -protect exotic coral reefs; whereas acorn island desert terrain's tropical rainforest jungles -lead to towering alpine peak ski slopes. And zoology? Irrigatory inland ocean reservoirs and botanical park acorn island plantations provide Noah's ark nature sanctuary for all species and genera attracted. Ongoing mutual dependency support exchange relays between iridescent inland ocean water garden, bonsai weed acorn island rockery, lilliput menagerie -and now rejuvenating, convalescent host, absorbing their shared fuel. If inland ocean minefields spread, breeding a single acorn island apiece, epidemics of gutter aquarium inland ocean overspills and high-rise acorn island farms, promise and threaten to drown, outgrow, halt and consume all in their paths -catapulting supernova rainbow bridges to pole vault off from one inland ocean and acorn island diving board and then on to the next inland ocean and acorn island trampoline; or effervescing inland ocean wells might very easily leak, dehydrate, sink straight through plughole, right down drain, leave blossoming acorn island beauty spots high, dry, beyond repair, withering away, shrivelled up, in disintegration -exposing flora and fauna against elements to fend for themselves. But phoenix diasporas of vaporised inland ocean floret spray, alongside soluble acorn island spore and pollen fall-out, always carry, sprinkle, sow, plant, settle and flourish, once again, elsewhere...
Copyright, Douglas Park, 2001
Originally appeared in Metronome 7
The Bastard/Magnetic Speech
group publication
edited by Dr Clementine Deliss
London, 2001
Copyright, Douglas Park, 2001
Originally appeared in Metronome 7
The Bastard/Magnetic Speech
group publication
edited by Dr Clementine Deliss
London, 2001
Objects Being Taught They Are Nothing But Tools
The Cleveland Museum of Art presents Kim Beom: Objects Being Taught They Are Nothing But Tools.
The Cleveland Museum of Art presents the first solo museum exhibition in the United States of the work of Korean artist Kim Beom. The exhibition includes three new mixed-media installations and selections of drawings from 1994 to the present. It will be on view in the museum’s 1,800-square-foot project gallery from November 13, 2010, until March 6, 2011.
With an expressive vocabulary that relies on deadpan humor, absurdist enunciation, poetry, and childlike imagery, Kim investigates our perception of the world by bringing reality and imagination closer together. By referencing animistic notions by which artists ascribe a spiritual core to individual works, as well as 20th-century avant-gardes that mined the human subconscious and practiced a kind of social awareness, Kim’s work has developed around the visual tradition of illusionism. In particular, Kim inspires the viewer to come closer and become actively engaged—or even entangled—in the projection of images and thoughts. Fusing the position of artist and docent, and merging the art object with the larger social field, these works stand for how we invest art with meaning. This exhibition introduces the viewer to Kim’s multifaceted work in a variety of media, as well as his continued reflection on Korean society and its recent history.
Daily objects, wooden chairs, blackboard with fluorescent light, wooden tables, single channel video on TV monitor (21 min., 8 sec.); approx. 165.5 x 427.5 x 230 cm (overall).
<교육된 사물들>, 2010
Courtesy of the artist. © Kim Beom.
A Rock That Wasa Taught It Was a Bird
2010
<정지용의 시를 배운 돌 A Rock That Learned the Poetry of JUNG Jiyong>
돌, 나무, 테이블, 9인치 평면 모니터에 1채널비디오, 12시간 11분, 가변크기
Stone, wood, wooden table, single channel video on 12-inch flat monitor
(1 hr. 27 min. 30 sec.)
approx. 146.8x220.5x127.7cm (overall)
Courtesy of the artist. © Kim Beom.
Video still of A Rock That Was Taught It Was a Bird, 2010. Kim Beom (Korean, b. 1963).
Courtesy of the artist and Cleveland Museum of Art
via http://museumpublicity.com
The Cleveland Museum of Art presents the first solo museum exhibition in the United States of the work of Korean artist Kim Beom. The exhibition includes three new mixed-media installations and selections of drawings from 1994 to the present. It will be on view in the museum’s 1,800-square-foot project gallery from November 13, 2010, until March 6, 2011.
With an expressive vocabulary that relies on deadpan humor, absurdist enunciation, poetry, and childlike imagery, Kim investigates our perception of the world by bringing reality and imagination closer together. By referencing animistic notions by which artists ascribe a spiritual core to individual works, as well as 20th-century avant-gardes that mined the human subconscious and practiced a kind of social awareness, Kim’s work has developed around the visual tradition of illusionism. In particular, Kim inspires the viewer to come closer and become actively engaged—or even entangled—in the projection of images and thoughts. Fusing the position of artist and docent, and merging the art object with the larger social field, these works stand for how we invest art with meaning. This exhibition introduces the viewer to Kim’s multifaceted work in a variety of media, as well as his continued reflection on Korean society and its recent history.
Daily objects, wooden chairs, blackboard with fluorescent light, wooden tables, single channel video on TV monitor (21 min., 8 sec.); approx. 165.5 x 427.5 x 230 cm (overall).
<교육된 사물들>, 2010
Courtesy of the artist. © Kim Beom.
A Rock That Wasa Taught It Was a Bird
2010
<정지용의 시를 배운 돌 A Rock That Learned the Poetry of JUNG Jiyong>
돌, 나무, 테이블, 9인치 평면 모니터에 1채널비디오, 12시간 11분, 가변크기
Stone, wood, wooden table, single channel video on 12-inch flat monitor
(1 hr. 27 min. 30 sec.)
approx. 146.8x220.5x127.7cm (overall)
Courtesy of the artist. © Kim Beom.
Video still of A Rock That Was Taught It Was a Bird, 2010. Kim Beom (Korean, b. 1963). Courtesy of the artist and Cleveland Museum of Art
via http://museumpublicity.com
네 토끼를 잡아라
국립현대미술관(관장 배순훈)은 2013년에 완공될 서울관(가칭) 건립현장에
정서영 작가의 아트펜스 작품,『네 토끼를 잡아라』를 설치.
2011년까지 운영한다고 밝혔다.
아트펜스 『네 토끼를 잡아라』는 경복궁 동문쪽 옛 기무사(국군기무사령부) 건물 도로변에 110M 길이로 설치되었다.
빛 속으로 달려가는 토끼와 선명한 분홍색 배경은 도전적인 현대미술의 장을 표현하고 있으며,
이는 곧 국립현대미술관 서울관을 상징한다.
정서영 작가의 『네 토끼를 잡아라』는 국립현대미술관 서울관 설립부지의 공사현장을 가리는 가림막 역할 뿐아니라,
이곳에 설립될 새로운 미술 문화공간을 대내외에 예술적으로 홍보하고 미술관에 대한 관심을 증대 시키는 역할을 수행할 것이다.
정서영 작가는, “토끼는 2011년의 동물이자 활동적인 동물이며,
이상한 나라의 앨리스에서는 우리를 환상의 세계로 유도하는 매개자 역할을 하기도 했습니다.
또한 나에게 있어 토끼는 요셉 보이스와 바로 연결되기도 합니다.
즉, 토끼는 현대미술 자체를 혹은, 현대미술이라는 세계로 우리를 인도할 매개자를 상징하기에
토끼를 이번 프로젝트 작품의 주인공으로 등장시켰습니다.“ 라고 설명했다.
via http://seoulnewspaper.kr/
Disrehearsal
Published in the book ’Au Revoir Moodle Pozart’
Fuitmarket Gallery
Edinburgh, UK
Lowdown and background: mentor guru puppeteer holds court, dishing out orders; dependant devotee disciple entourage gather round, attend to every slightest beck and call, run about like headless chickens, fall and trip over each other, pursue assigned missions from this higher command, eagerly anxious and willing to please, always vying to be favourite, not wanting to disappoint, never that. Wardrobe and accessories: assorted menage wear sloppy, ill-fitting and misshapen costumes (more circus-clown, than period haute-couture), that got shrunk or went bloated in the wash; their discoloured carnival-mask and war-paint facial make-up and cosmetics clash, merge and run together; they wield unreliable joke-shop novelty-toy props; hair-piece wigs are same standard.
Cut to scholarly and learned study (with private personal reference library), set up in and occupying commandeered pantry (generously supplied on indefinite loan, with support from charitable patronage donor): opportunistic thieving magpies, in the area, on the off-chance sneak their way in, getting through faulty and unguarded window. Having broken and entered, they anxiously turn their heads around, on the lookout, checking to establish that coast stays well and truly clear for them to come out to play and get down to work. A lone dice is come across. Ballgames and rounds of pass-the-parcel using this find, unknowingly select and finalise decisions from all options on offer. Suddenly, many questions, mysteries and secrets are answered, known and understood, as if by magic. Without even waiting to be asked or any prompting or encouragement needed at all, household contents start to swap around, exchange places and switch about, by themselves, motivated and driven by their own self-propelling intention.
Returning to main cast again: under instructions directed by mentor guru puppeteer, dependent devotee disciple entourage unpack and fit together collapsible and folding out, concertina, accordion, jack-in-the-box, cuckoo-clock and pop-up book toy-theatre stage-set scenery backdrops (home-grown from assembly kit form, but blown up out of all proportions, beyond real life size), all very much incomplete, with many components missing or substituted. Entire stage-set scenery backdrops are motorised, powered by cumbersome and broken down lawn-mower engines; bulky, gas-guzzling, greasy, loud and temperamental, but faltering, inefficient, messy, unproductive and wasteful. Once properly up and running, stage-set scenery backdrops host 2 ceremonies: of, a.) crown-of-thorns starfish coronation for rise to the throne of mentor guru puppeteer; and, b.) order of merit championship award prize-giving to dependent devotee disciple entourage for bravery, distinction, good conduct and services rendered.
Back in scholarly and learned study (with private personal reference library), set up in and occupying commandeered pantry (generously supplied on indefinite loan, with support from charitable patronage donor): opportunistic thieving magpies watch dumbstruck when musical score notes from the latest unfinished symphony manuscript sheet (left open during composition), lift off, float away, become Olympic athletes, a Monopoly board-game serving as sports-ground; while troupe of chess-pieces leap (with a hop, skip and a jump), from one piano-key onto the next, in choreographic ballet dance routine. One of very few, rare and unmissable opportunities for exerting influence upon the very powers that most factors are passively controlled by; providing golden opportunity to combine with them, coming together, as a force and name to conjure, contend and reckon with; far more than just a contribution towards determining outcome of everything else, anywhere, out there in the whole big, wide world at large –and way beyond that as well. Such fast-moving and heated developments, prove far too much for these ignorant bandits, who, upon recovery and regaining of their senses, make their excuses and leave, scared off, beating a hasty retreat from the scene-of-the-crime, forever unaware of what they’ve done and has hit them.
Copyright, Douglas Park, 2003
Douglasisms
Icon for Decima's 'Douglasisms' event
33rd birthday party
The Gallery Upstairs
London, 2005
© Piers Wardle (Lewis Draper), 2005
New and versalite tablecloth
Dimension variable, PVC,
Santa Teresa, Rio de Janeiro
Sep. 2010
© Robert Estermann
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