photos by 김희철, 이주영
Kim Kim + Friends : 생명의 물 (2026)
designed by AI
킴킴 + 친구들 : 생명의 물, 2026
Kim Kim + Friends ; The Water of Life, 2026
2026. 11.3 - 12. 31
실학박물관
기획: 킴킴갤러리
참여; 이수진, 이혜임, 오지용, 장뽈리, 조진경, 김전, 김현주, 김진아
"무작정 달려가는 것이 행복일까요"
현대미술이 건네는 위로와 희망…영상, 사운드, 설치 등 12점 전시
"예술은 삶에 대해 질문하는 일"
인천에서 태어난 작가 우순옥(58)은 고3 때 인생의 큰 충격을 겪는다. 40대 중반의 아버지가 돌연 수면 중에 심장마비로 세상을 떠난 것이다. 가정주부였던 어머니와 4남매는 세상이 무너진 듯한 슬픔에 허우적거린다. 이화여대 서양화과에 입학한 그는 부잣집 미대생들의 틈바구니에서 알베르 카뮈의 글을 읽으며 우울한 대학 시절을 견뎠다. 4학년 때는 5·18 민주화운동이 일어났다. 존재와 부재의 질문이 커지기 시작했다. 아르바이트를 하며 대학원까지 나온 그는 비행기표만 간신히 끊을 정도의 여비만 가지고 독일 뒤셀도르프 유학길에 오른다. 작가가 되기 전까지는 돌아오지 않겠다는 배수진을 친 것이다. 그곳에서 평생의 은인인 귄터 우커 교수를 만나 조교를 하면서 7년을 유학했다.
'나는 무엇인가'라는 정체성 질문과 함께 작업의 실마리도 찾았다.
지금은 모교 교수가 돼 한국에서 개념미술 작업을 하는 우순옥이 5년 만에 서울 삼청로 국제갤러리에서
개인전 '무위예찬'전을 연다. 제목이 다소 거창하다. 그에게 무위(無爲)는 '아무것도 하지 않으면서 모든
일을 이룬다'는 역설적 의미다. "결과중심주의가 일상을 압도하는 시대에 개인들이 한 걸음 뒤로 물러서서 삶을 바라봤으면 좋겠어요."
그는 전시 곳곳에 느림과 무위의 풍경을 펼쳐 놓는다. 관람객을 처음으로 맞이하는 작품도 영상 '무위의
그는 전시 곳곳에 느림과 무위의 풍경을 펼쳐 놓는다. 관람객을 처음으로 맞이하는 작품도 영상 '무위의
풍경'(2014)이다. 독일 쾰른에서 자동차로 30분 정도 떨어진 작은 예배당 '브루더 클라우스 채플'을 찾아가는 과정을 찍은 영상이다.
건축가 페터 춤토어가 설계한 단순한 직육면체 교회를 찾아가면서 촬영한 10분짜리 영상을 늘려 10시간이 넘는 분량으로 만들었다. 결과적으로 영상은 마치 정지돼 있는 사진처럼 느껴진다.
"영상을 가능한 한 길게 늘린 것은 우리가 목표를 향해서 거기까지 가는 게 중요한 게 아니라 그 과정에서 내 마음도 다시 만나고, 풀도 다시 보고 하늘도 다시 보고 그 섬세한 과정이 중요하다는 것을 보여주고 싶었어요."
그는 2000년부터 비움과 무심함을 강조하는 '마인드 프로젝트'를 이어가고 있다.
"요즘도 마음의 평정심을 달라고 기도하고 있어요. 고요함이 너무 좋아요."
이번 전시가 열리는 갤러리의 통 유리창에는 'form is emptiness is form'이라는 글자가 황금색으로
새겨져 있다. 이는 2015년 11월 13일 파리 테러가 발생한 직후 파리 19구 뷔트 쇼몽 공원을 방문한 작가가 땅바닥에 쓴 'Form is emptiness, Emptiness is form(색즉시공 공즉시색)' 반야심경 구절을 줄인 것이다.
물질과 형상의 덧없음을 이야기하지만 작가는 허무나 부정을 뛰어넘는다.
물질과 형상의 덧없음을 이야기하지만 작가는 허무나 부정을 뛰어넘는다.
첫 독일행 유학 길에 돌돌 말아 가지고 갔던 그림 '침묵의 바다'는 30여 년 만에 '시간의 그림'이라는 제목의 작품으로 갤러리에 걸려 있다. "우리 모두는 피로 사회에 살고 있잖아요. 그런데 무작정 달려가는 것이 행복일까요. 제 작품을 보면서 한 번쯤 돌아보고 질문하고 또 위로를 받았으면 좋겠어요. 예술의 역할은 질문이니까."
Abstract Democracy 추상적 민주주의 (2026)
민주주의는 너무 잘 정리되어 이제 손에 잡히지 않는다. 투표와 참여, 자유와 권리는 반듯한 제도의 문장 속에 진열되어 있지만, 삶의 현장에서는 여전히 누군가의 입이 막히고 몸이 밀려나며 감각이 불온한 것으로 분류된다. 승인된 참여는 환영받고, 승인되지 않은 몸은 질서를 어지럽히는 위험이 된다. 민주주의는 그렇게 관리되고 길들여지며, 효율과 성장과 안전이라는 매끈한 언어 속으로 회수된다.
오늘의 아시아에서 민주주의는 완성된 제도가 아니라 아직 끝나지 않은 몸들의 싸움이다. 군부와 시민, 개발과 생존, 국가와 개인, 자본과 노동, 정상성과 소수성이 서로의 살을 밀어내며 충돌한다. 거리에서 버티는 몸, 돌봄을 떠맡은 몸, 노동으로 마모된 몸, 말할 자리를 빼앗긴 몸이 민주주의의 실제 표면을 만든다. 정치는 국회의 문장이 아니라 누가 보이고, 누가 말하며, 누구의 고통이 끝내 들리지 않는가를 둘러싼 감각의 전쟁이다.
〈Abstract Democracy〉에서 추상은 현실을 지우는 형식이 아니다. 현실을 너무 단단하게 조직한 힘의 압력을 만지는 방법이다. 작품들은 도시의 속도에 흠집을 내고, 개발의 표면을 벌리며, 공동체라는 이름 아래 압축된 개인의 리듬을 다시 흘러나오게 한다. 서로의 존재가 서로의 자리를 불편하게 흔들 때, 공간은 전시장이 아니라 정치가 발생하는 감각의 장소가 된다.
민주주의는 안전하게 보관되는 명사가 아니다. 민주주의는 몸과 몸 사이에서 계속 실패하고, 부딪치고, 다시 시작되는 불완전한 동사다. 이 전시는 민주주의를 설명하지 않는다. 민주주의가 사라질 때 가장 먼저 사라지는 감각을 거칠게 끌어내고, 아직 제도의 언어로 번역되지 않은 떨림을 전시장 한가운데 풀어놓는다. 추상적 민주주의는 바로 그 흔들리는 자리에서 다시 발생한다.
오프닝 포럼 2026년 10월 3일 2시
민주주의는 어디서 감각되는가?
-민주주의는 왜 다시 거리로 돌아오는가?
-개발과 성장 이후, 공동체는 누구의 것인가?
-예술은 정치가 될 수 있는가?
참여작가
구민자
김화용
김월식
양아치
이끼바위꾸르르
한국농인 LGBT
GelanggangOlah Rasa - Fajar Abadi Ramadhan
(ParaparaSpace), - Afsana Sharmin
Sujan Dangol, Rupesh Man SIngh
https://www.facebook.com/photo/?fbid=28734461382838650&set=a.184083784969791
com(motion) (2008)
Small Wonder Foundation presents
com(motion)
April L. Durham & Brian Gorrie, Los Angeles, 2008
Collaboration (in-progress),‘Life on the Other Side of Our Street’
(with Helena Sidiropoulos),
(with Helena Sidiropoulos),
com[motion]: a movement made jointly, together, with
a note from the editor
When last checked, the movement of the gaze implicated the viewer,
this according to Todd McGowan, a handsome professor who is as keen as I on David Lynch films.
The allegation that the viewer cannot be wholly unambiguous, transparently divorced from that upon which le regard falls, is one that can make the skin crawl, the conscience pinge. Irony leads to heartache.
When did a glance become so burdened? At the moment of understanding, that time when it all comes together and we can no longer claim blamelessness, virtuousness, freedom from guilt. The burden is lightened, however, by play and by choice and by the mad, mad, mad gruesomeness of it all. (insane laughter followed by a dabbing of drool, fine-looking elders dancing.)
Following the movement made jointly, where gazing and being gazed upon are united in an awkward foxtrot of commingled pain, ardor, awareness, the ensuing things are possible:
• a delicious lunch for two of “prize winning pickles” and tentatively oozing Camembert and a hint of peppered rectangular rice cakes, dry as dust;
• a cross-pollination effort that results in a new breed of extrapolation, criminality, and eye-irritant, OK?
• a chit-chat over and above what is required for basic communication efforts, in other words, a[detailed]consideration[or]examination of a[topic] without cease;
• a free-fall out into nothing, a leaving of this world for a while, floating over the void until morning and you won’t even know you were gone;
Douglas Park Page
Life on the other side of our street.
The sun has passed our street, very high at two and from then on slowly fading, falling behind the apartments across. The blackness in the streets throws a new light on the city. Deadened sounds and silence. My own physicality takes on a stronger role in this piece: Night. Everywhere small scenes are performed. Light plays different. Today.
I see the outlines of the window.
A light bulb, mirrored.
The tree hides the house. And my eyes aren’t the best ones. Much is not to be expected from this voyeur.
A person is moving in the space; a shade.
A bookcase, a red book.
The remaining I can only guess
.
And so a story arises, a life is created. Virtual neighbors are quite refreshing. They are Japanese, a family with one daughter. The nephews visit often. The parents are hectic, always running around, moving from one room into another, communicating through the complex choreography of their everyday lives, in between kids and furniture.
Tiptoeing on high heels and balancing on the airwaves of (again) life.
When they fight the somewhat reasonable movements mutate into angular gestures, spastic puppets perform agitating responds. Order gives way.
Colors reflect on the white walls, varying from black to red and loosening into a soft blue.
Now the trees speak and the inside tells nothing. Secrets are kept during the day, not at night as one dares to say.
What kind of room contains the red book and serves as a passage toward two other rooms: one slightly visible (a kitchen?) and another out of my reach
The family is moving a lot today; the silence, which you can sometimes grasp in their lives, is now abandoned for their usual running around like chickens without head (we say). Reluctantly. (met tegenzin)
Now there is no window, no light bulb, no red book.
I miss my room in the other city.
Life feels light there.
The red book is still there.
Though the trees lost their leaves, one can’t see much more than light.
A desk lamp in what I thought what was the kitchen, now I have doubts, although we have a desk lamp in ours…
An empty lit house.
Our entire household (with influx of guests and callers) finds we ran out of activities and actual ability to do anything, even if we wanted or needed to. Far in advance, our wills had been dredging every desire shelved in storage from the depths of our innermost selves; resource saved up for projection out of our bodies and heads.
Regardless of mere obstacles or inadequate outlets (such as windows, closed doors and letterboxes), this resource fitfully shines right through solid barriers and swerves past anything in the way. Over opposite, where little, nothing or not enough seems to happen or even simply exist usually — suddenly hosts or rather becomes some drive-in magic-lantern and x-ray vision movie and theatre.
Credit meter accounts overfed, thrown switches held locked in place and lit fuse detonator ignition kick and jump start engines for lift off, on full-steam-ahead, to set sail. Peep-show given birth to is granted and assumes real-life. Congregation watches proceedings unfold before them — and also influentially contribute as well.
Not all enactment and contents are shown on display though, much is often partially hidden. Whether this tableau-vivant cast and troupe are self-conscientious or considerate towards their audience is unclear; they certainly often present challenges or make life difficult, by possibly deliberately taking into account what lies between them and the path of visibility — especially when action and scenes gets recognizable, strange or exciting in whatever manner. However, any hindrance to clarity adds to games played, furthers attractiveness to scene, boosts interest and holds attention. Incomplete and unclear state of confusion reigns.
Instead of being a building, the mostly hollow and transparent premises are bare-boned foundations to cage that nearby trees and plantlife from parks and gardens take refuge in then add to — only for it to become death-trap, prison-sentence, time-bomb etc.
These beams and rays pass through the facing premises, travel, carry and steer, focused on and targeting distant destinations elsewhere so far off and away from here. Payback returns at us, headed for our direction, both from this local source in front of us and these other distant locations.
To be continued….
Several notes by Helena Sidiropoulos and Douglas Park toward an ongoing column in com[motion],http://www.smallwonderfound.org Small Wonder Foundation, April Durham & Brian Gorrie, Los Angeles, 2007
http://www.smallwonderfound.org/traces/collaboration/collaboration-people.html
Collaboration: Multipoint
Damien AIRAULT . œ
Damien is a curator living in London and working in the UK and France.
He is the creator of the UFCAO (unidentified flying contemporary art object),
first seen over Nantes, France.
Juliet CONLON . ∑
Juliet is a photographer and designer living and working in the Inland Empire.
Trinie DALTON . ®
Trini is a writer and artist living and working in Los Angeles. Find her at family books.
April DURHAM . ¥
April is a visual artist and writer living and working in Los Angeles and environs. She is the director of the Small Wonder Foundation in Riverside, California.
Mary Cecile GEE . ø
Mary Cecile is an artist, writer, and curator living in Oakland, California.
Jeff GREEN å
Jeff is a poet living and working in the vastness of the Inland Empire of Southern California. He is the editor of Epicenter magazine.
Andillon HACKNEY ∂
Andillon is a fiction and screenplay writer. She lives in the San Diego area and works in Los Angeles.
Olive MARTIN ∂
Olive is a photographer and filmmaker.
She and her partner, Patrick Bernier, recently completed a project in Aubervilliers,
a suburb of Paris. They won the European Jury award at the Angers International Film Festival for their short film, Manmuswak.
She lives in Nantes, France.
Stephanie MARTZ √
Stephanie is an artist and writer living in Houston, Texas.
Douglas PAGE µ
Doug is a writer living and working in the mountains north of Los Angeles.
Douglas PARK •
Douglas is a writer and artist working living in London.
He exhibits and is published widely on the internet and in Brussels, France, and the UK.
Cati PORTER ç
Cati is a poet living and working in Riverside, California.
She is the editor of Poemeleon an online poetry magazine.
Helena SIDIROPOULOS ª
Helena is an artist and writer living and working in Antwerp.
She has travelled with her work to the far reaches of the globe, including Boston, Thailand, and China.
Pam STRUGAR ∫
Pam is an artist, writer, and astrologer living and working in Los Angeles.
April Durham
http://www.smallwonderfound.org/traces/collaboration/multipoint-april.html
April Durham is a visual artist, writer, and scholar. She challenges boundaries between/among conventional media by making films that look like drawings and writing essays as prose poems. Unfolding complex structures by drawing anthropomorphized animals and birds who float above crop circles and through globular clusters, or writing about bootlegging grandmothers as though they were Saxon heros, her work is modeled on the overlapping arrangement of a fugue, where multiple voices speak as through a type of malfunctioning harmonium. Accumulation of information is presented with subtle demand for deciphering that is both intense and absurdly humorous.
Her recent solo show, Self Created Chameleon on the Hot Seat, featured new drawings and the book, Common Objects, a collaboration with French photographer, Olive Martin, is available from Beyond Baroque Books on amazon.com.
April holds an MFA from Art Center College of Design in Pasadena (1999) and spent two years in France thanks to a grant from the city of Nantes and the École des Beaux Arts de Nantes. She is a PhD candidate at UC Riverside in the Comparative Literature Department researching the complex ways that subjectivity is reconfigured in site-contingent creative collaborative work.considering, for example, what collaborative aesthetic actions might contribute to contempoary understandings of "collective intelligence" and "distributed work."
Patrick Bernier et Olive Martin
http://www.plaidoiriepourunejurisprudence.net/spip.php?article28
Patrick Bernier was born in Paris in 1971. Olive Martin was born in Liège, Belgium in 1972.
Patrick Bernier studied Art and Philosophy at the Sorbonne in Paris and Olive Martin studied Art History and Fine Art at Toulouse University. They met at the École des Beaux-arts de Paris in 1996, and both graduated with honors, in 1999 and 2000 respectively.
In 1998 Patrick was awarded a grant to study for six months at the Institut National d’Art in Abidjan, in the Ivory Coast where he initiated weekly discussions about art and media on an art school internet chat-room. In 2000 he participated in the first session of the Collège Invisible, an online Postgraduate Diploma based at the École des Beaux-Arts de Marseille.
Olive Martin continued her studies at the Art Institute of Chicago in 1999, where she studied in the Film and Photography department. In 2003 she completed the postgraduate programme of the École des Beaux-Arts de Nantes.
Between 1998 and 2001 they produced numerous projects in collaboration relating to a chat room that they hosted once a week on the internet. They developed several works based on the texts that the chat room generated: a video trailer for a sitcom Now Talking in #atelierenreseau (1999, 10 min, part of the media collection of the Pompidou Centre), the solo exhibition A Nice Showroom at Seche Galerie, Paris, in 2000; an interactive installation A Nice Chat-room 2 at the Palais des Beaux-Arts de Paris, 2000; a radio drama, Résumé des épisodes précédents, on Radio Aligre in 2001, and a website, Episodes Précédents, in 2001.
Patrick Bernier then developed a number of specific projects around issues of hosting (both virtual and real) and hospitality. He experimented with non-material works presented in the context of art exhibitions including Lascaux 2, at the Villa Arson, Nice in 1999; the festival Tranz-Tech, Toronto, in 2001; Curatorial Market, Cuchifritos Gallery, New York, in 2002; and I am a Curator, Chisenhale Gallery, London, 2003. He relates these performative projects within a collaboration, ongoing since 2004, entitled Quelques K de Mémoire Vive (A Few K of Random Access Memory) with the storyteller Carlos Ouedraogo as an alter-ego narrating his experiences. The project has been presented in a number of different contexts: in an art gallery, the Gallery Maisonneuve in 2003 and 2005; in an art school, the École de Beaux-Arts de Grenoble, in 2005; in exhibitions in Paris (We Don’t Play, in 2003, at Ménagerie de Verre; Proposition de Colloque, in 2007 at the Kadist Art Foundation), and at a live arts festival (Bayonne, in 2005). The project was presented in March 2009 within the framework of a performance programme in the Jeu de Paume gallery in Paris and will be performed at Galerie Entre-deux in Nantes later in the year.
Since 2001, Patrick has been actively engaged in an association dedicated to the solidarity of migrant workers in Nantes where he gives juridical support and help with writing, fighting for equality of rights and the freedom of movement.
Olive Martin approaches in her work the notion of identity, interested in its detours and porosity. She pursues the idea of a ’whatever singularity’ (as developed by the philosopher Giorgio Agamben) in her photographs, films and installations. These have been presented in numerous exhibitions: Voilà at the Musée d’Art Moderne de la Ville de Paris in 2000 for Bertrand Lavier’s collective piece La Peinture des Martin; Blow by Blow at the Zoo Gallery in Nantes in 2001; Nursery World at the Jennifer Flay Gallery in Paris; La Femme au Portrait in various locations in Nantes, Time Warp at the Maisonneuve Gallery in Paris, and Ce Fût Comme une Apparition... at the Musée des Beaux-arts de Pau in 2003. In collaboration with April Durham, a writer based in Los Angeles, she published two books relating to a series of photographs: Common Object (published by Jocas Seria editions in Nantes for the French translation in 2005, and with Beyond Baroque books in Venice, LA for the original American version 2006, with financial support from Culture France); and Américains d’Amérique, an artists book in an edition of twenty, produced with the Maisonneuve Galerie in 2007. She had a solo show at Maisonneuve Galerie in 2008, exhibiting a large photographic series Américains d’Amérique which will also be presented in September 2009 in the Ring, Nantes’ ’artothèque’ (a lending library of original artworks) with the financial support of a regional arts grant.
In early 2005 they completed "Manmuswak", a short 35mm film shot in Nantes with the support of both the film industry and the art community, combining their political engagement with their aesthetic sensibility. The film has been selected for numerous film festivals: Locarno, Rotterdam, Edinburgh, Leeds, Belfort, Barcelona, and Clermont-Ferrand, and won awards in Angers and Douarnenez. It was screened in cinemas and art centers such as the Cinémathèque Québecoise, the Pompidou Centre, the Jeu de Paume, and was shown in exhibition contexts such as the Galerie Maisonneuve in Paris in 2005 for its release, a collective show in Galerie Cortex Athletico in Bordeaux in 2007, and recently in Dublin at Project Arts Centre for the exhibition Prehistory of the Crisis.
That same year they received a six-month grant and residency at Studio Cormier in Montreal (supported by Culture France, and the Canadian organizations OFQJ / CALQ). During their stay they worked in collaboration with the storyteller Myriame El Yamani on an oral diary of their stay entitled Bienvenue Chez Nous (Welcome Home) which was presented for the first time in January 2006, at the end of the residency at the Studio Cormier, and then in September 2006 at Montreal University, within the framework of a seminar on inter-subjectivity. The project was adapted to a French context whilst in residence at La Box in Bourges in January 2007 and performed at the École des Arts Décoratifs de Paris, as well at the art space Béton Salon in Paris in November 2007.
In 2007 during a one year residency in Les Laboratoires d’Aubervilliers they developed Project for a Legal Precedent with two specialized jurists Sylvia Preuss-Laussinotte and Sebastien Canevet posing questions that overlap the fields of art and migration. They regularly published their research in the art center’s magazine and produced a performance entitled X and Y v. France, the case for a legal precedent. The plea has been performed by the two lawyers themselves in many different contexts since 2008: the École des Beaux-art de Paris; the Centre International Cimade in Massy; the Maison de l’Europe in Paris; Les Laboratoires d’Aubervilliers; the Extra City Art Centre in Antwerp in Belgium; the Paroles d’Hivers festival in Brittany; and this month at LIFE, the performing arts space in Saint-Nazaire, as well as at the Synagogue Art Centre in Delme. The project is scheduled to appear in Austria for the Linz Subversive Messe in May, in September at the École Sciences-Po in Paris, in November at the Centre Pompidou in Paris, and in Strasbourg at the FRAC Alsace.
During their six-month stay in Montreal they developed the idea of a new film entitled La Nouvelle Kahnawaké which combines their interest in new media and questions of identity and territory. They undertook a writing residency in Montreal and Kahnawaké, a Mohawk reservation, in 2007, with support in the form of a writing grant from the CNAP (National Centre for the Visual Arts). They plan to shoot the film this summer with co-production support from the CNAP and the Videographe Multimedia Art Centre in Montreal.
Since 2004 they have been programming monthly evenings entitled ‘Contrechamp’ dedicated to art, film and video in the independent cinema, le Cinematographe, in Nantes.
Patrick Bernier and Olive Martin were represented by the Gallery Maisonneuve in Paris until it closed in December 2008.
Patrick Bernier was born in Paris in 1971. Olive Martin was born in Liège, Belgium in 1972.
Patrick Bernier studied Art and Philosophy at the Sorbonne in Paris and Olive Martin studied Art History and Fine Art at Toulouse University. They met at the École des Beaux-arts de Paris in 1996, and both graduated with honors, in 1999 and 2000 respectively.
In 1998 Patrick was awarded a grant to study for six months at the Institut National d’Art in Abidjan, in the Ivory Coast where he initiated weekly discussions about art and media on an art school internet chat-room. In 2000 he participated in the first session of the Collège Invisible, an online Postgraduate Diploma based at the École des Beaux-Arts de Marseille.
Olive Martin continued her studies at the Art Institute of Chicago in 1999, where she studied in the Film and Photography department. In 2003 she completed the postgraduate programme of the École des Beaux-Arts de Nantes.
Between 1998 and 2001 they produced numerous projects in collaboration relating to a chat room that they hosted once a week on the internet. They developed several works based on the texts that the chat room generated: a video trailer for a sitcom Now Talking in #atelierenreseau (1999, 10 min, part of the media collection of the Pompidou Centre), the solo exhibition A Nice Showroom at Seche Galerie, Paris, in 2000; an interactive installation A Nice Chat-room 2 at the Palais des Beaux-Arts de Paris, 2000; a radio drama, Résumé des épisodes précédents, on Radio Aligre in 2001, and a website, Episodes Précédents, in 2001.
Patrick Bernier then developed a number of specific projects around issues of hosting (both virtual and real) and hospitality. He experimented with non-material works presented in the context of art exhibitions including Lascaux 2, at the Villa Arson, Nice in 1999; the festival Tranz-Tech, Toronto, in 2001; Curatorial Market, Cuchifritos Gallery, New York, in 2002; and I am a Curator, Chisenhale Gallery, London, 2003. He relates these performative projects within a collaboration, ongoing since 2004, entitled Quelques K de Mémoire Vive (A Few K of Random Access Memory) with the storyteller Carlos Ouedraogo as an alter-ego narrating his experiences. The project has been presented in a number of different contexts: in an art gallery, the Gallery Maisonneuve in 2003 and 2005; in an art school, the École de Beaux-Arts de Grenoble, in 2005; in exhibitions in Paris (We Don’t Play, in 2003, at Ménagerie de Verre; Proposition de Colloque, in 2007 at the Kadist Art Foundation), and at a live arts festival (Bayonne, in 2005). The project was presented in March 2009 within the framework of a performance programme in the Jeu de Paume gallery in Paris and will be performed at Galerie Entre-deux in Nantes later in the year.
Since 2001, Patrick has been actively engaged in an association dedicated to the solidarity of migrant workers in Nantes where he gives juridical support and help with writing, fighting for equality of rights and the freedom of movement.
Olive Martin approaches in her work the notion of identity, interested in its detours and porosity. She pursues the idea of a ’whatever singularity’ (as developed by the philosopher Giorgio Agamben) in her photographs, films and installations. These have been presented in numerous exhibitions: Voilà at the Musée d’Art Moderne de la Ville de Paris in 2000 for Bertrand Lavier’s collective piece La Peinture des Martin; Blow by Blow at the Zoo Gallery in Nantes in 2001; Nursery World at the Jennifer Flay Gallery in Paris; La Femme au Portrait in various locations in Nantes, Time Warp at the Maisonneuve Gallery in Paris, and Ce Fût Comme une Apparition... at the Musée des Beaux-arts de Pau in 2003. In collaboration with April Durham, a writer based in Los Angeles, she published two books relating to a series of photographs: Common Object (published by Jocas Seria editions in Nantes for the French translation in 2005, and with Beyond Baroque books in Venice, LA for the original American version 2006, with financial support from Culture France); and Américains d’Amérique, an artists book in an edition of twenty, produced with the Maisonneuve Galerie in 2007. She had a solo show at Maisonneuve Galerie in 2008, exhibiting a large photographic series Américains d’Amérique which will also be presented in September 2009 in the Ring, Nantes’ ’artothèque’ (a lending library of original artworks) with the financial support of a regional arts grant.
In early 2005 they completed "Manmuswak", a short 35mm film shot in Nantes with the support of both the film industry and the art community, combining their political engagement with their aesthetic sensibility. The film has been selected for numerous film festivals: Locarno, Rotterdam, Edinburgh, Leeds, Belfort, Barcelona, and Clermont-Ferrand, and won awards in Angers and Douarnenez. It was screened in cinemas and art centers such as the Cinémathèque Québecoise, the Pompidou Centre, the Jeu de Paume, and was shown in exhibition contexts such as the Galerie Maisonneuve in Paris in 2005 for its release, a collective show in Galerie Cortex Athletico in Bordeaux in 2007, and recently in Dublin at Project Arts Centre for the exhibition Prehistory of the Crisis.
That same year they received a six-month grant and residency at Studio Cormier in Montreal (supported by Culture France, and the Canadian organizations OFQJ / CALQ). During their stay they worked in collaboration with the storyteller Myriame El Yamani on an oral diary of their stay entitled Bienvenue Chez Nous (Welcome Home) which was presented for the first time in January 2006, at the end of the residency at the Studio Cormier, and then in September 2006 at Montreal University, within the framework of a seminar on inter-subjectivity. The project was adapted to a French context whilst in residence at La Box in Bourges in January 2007 and performed at the École des Arts Décoratifs de Paris, as well at the art space Béton Salon in Paris in November 2007.
In 2007 during a one year residency in Les Laboratoires d’Aubervilliers they developed Project for a Legal Precedent with two specialized jurists Sylvia Preuss-Laussinotte and Sebastien Canevet posing questions that overlap the fields of art and migration. They regularly published their research in the art center’s magazine and produced a performance entitled X and Y v. France, the case for a legal precedent. The plea has been performed by the two lawyers themselves in many different contexts since 2008: the École des Beaux-art de Paris; the Centre International Cimade in Massy; the Maison de l’Europe in Paris; Les Laboratoires d’Aubervilliers; the Extra City Art Centre in Antwerp in Belgium; the Paroles d’Hivers festival in Brittany; and this month at LIFE, the performing arts space in Saint-Nazaire, as well as at the Synagogue Art Centre in Delme. The project is scheduled to appear in Austria for the Linz Subversive Messe in May, in September at the École Sciences-Po in Paris, in November at the Centre Pompidou in Paris, and in Strasbourg at the FRAC Alsace.
During their six-month stay in Montreal they developed the idea of a new film entitled La Nouvelle Kahnawaké which combines their interest in new media and questions of identity and territory. They undertook a writing residency in Montreal and Kahnawaké, a Mohawk reservation, in 2007, with support in the form of a writing grant from the CNAP (National Centre for the Visual Arts). They plan to shoot the film this summer with co-production support from the CNAP and the Videographe Multimedia Art Centre in Montreal.
Since 2004 they have been programming monthly evenings entitled ‘Contrechamp’ dedicated to art, film and video in the independent cinema, le Cinematographe, in Nantes.
Patrick Bernier and Olive Martin were represented by the Gallery Maisonneuve in Paris until it closed in December 2008.
Christine Laquet (b. 1975)
http://www.codemedia.fr/christine-laquet/
Based in Nantes (France), Christine Laquet obtained her degree in Fine Art from the National Fine Art School of Lyon (FR) and the Ecole Cantonale d’Art of Lausane (CH).
Her work has been widely exhibited both locally and internationally, and is included in public collections such as the FNAC (Fond National d’Art Contemporain). Recipient of numerous research and production grants, she has been exhibited in France in the Fine Art National Museum, the FRAC Pays-de-la-Loire, the L.A.I.T. Art Center, the Modest Art Museum, the Adhemar Castle Art Center and internationally ( in Bangkok, Hanover, Innsbruck, New York City, Poznan, Recife, Sao Paolo, Seoul), as in the Gyeonggi Creation Center (KR), the Contemporary Art Museum Aloisio Magalhaes (BR), the Galeria[ON] (PL) or the BUG gallery (TH) amongst others.
Christine Laquet has been exploring different forms of expression including sculpture, painting, photography and video. At the crossroads of political, anthropological or natural history, she questions what remains of contemporary beliefs for each of us and make familiar bonds between the social sphere and the ritual habits.
Since 2004, she is the co-curator of a film program called Contrechamp in an independent cinema in Nantes.
千葉国際芸術祭2025」の記録集
Chiba International Art Festival 2025
「千葉国際芸術祭2025」の記録集を発売中！
市内書店およびオンラインストアで購入できます。
芸術祭の軌跡を振り返る一冊をぜひご覧ください。
📖書 名 千葉国際芸術祭2025 ちから、ひらく。
📖価 格 3,300円（税込）
📖販売期間 2026年12月31日まで（木）
📖販売場所
・くまざわ書店
稲毛店、蘇我店、ペリエ海浜幕張店、ペリエ千葉エキナカ店、ペリエ千葉本店、ペリエ西千葉店、幕張店
・三省堂書店
そごう千葉店、カルチャーステーション千葉
・未来屋書店
鎌取店、千葉長沼店（アシーネ千葉長沼）、幕張店、幕張新都心店、マリンピア店
・未来屋書店オンラインストア
https://store.miraiyashoten.co.jp/Form/Product/ProductDetail.aspx?shop=0&pid=chiba&cat=002
📖掲載内容
国内外32組のアーティストによる37の市民参加型アートプロジェクトの記録を収録。
市内書店およびオンラインストアで購入できます。
芸術祭の軌跡を振り返る一冊をぜひご覧ください。
📖書 名 千葉国際芸術祭2025 ちから、ひらく。
📖価 格 3,300円（税込）
📖販売期間 2026年12月31日まで（木）
📖販売場所
・くまざわ書店
稲毛店、蘇我店、ペリエ海浜幕張店、ペリエ千葉エキナカ店、ペリエ千葉本店、ペリエ西千葉店、幕張店
・三省堂書店
そごう千葉店、カルチャーステーション千葉
・未来屋書店
鎌取店、千葉長沼店（アシーネ千葉長沼）、幕張店、幕張新都心店、マリンピア店
・未来屋書店オンラインストア
https://store.miraiyashoten.co.jp/Form/Product/ProductDetail.aspx?shop=0&pid=chiba&cat=002
📖掲載内容
国内外32組のアーティストによる37の市民参加型アートプロジェクトの記録を収録。
芸術祭のコンセプト「ちから、ひらく。」のもと、市内各地で展開された創造的な活動の軌跡を豊富な写真とともに紹介しています。
■本件に関するお問い合わせ先
千葉国際芸術祭実行委員会事務局
（千葉市市民局生活文化スポーツ部文化振興課内）
［MAIL］chiba-city-triennale@city.chiba.lg.jp
■本件に関するお問い合わせ先
千葉国際芸術祭実行委員会事務局
（千葉市市民局生活文化スポーツ部文化振興課内）
［MAIL］chiba-city-triennale@city.chiba.lg.jp
Publisher: Chiba International Art Festival Executive Committee
A record of the Chiba International Art Festival 2025.
Specifications: A4 size, 184 pages, full color
[Contents]
(1) Three keywords for opening the Chiba International Art Festival 2025
(2) Introduction of citizen-participatory art and projects held in six areas of the city
(3) A look back at the Chiba International Art Festival 2025
This record introduces how familiar landscapes that have been cherished by local people, such as train platforms, housing complexes, and closed greengrocers, take on new faces through the art festival. We believe that this will be of interest to a wide range of citizens, from children to the elderly, as well as art fans. In addition, it includes a wealth of photographs that convey what happened during the festival, allowing readers to visually experience the atmosphere of the venues and convey the charm of the art festival.
[Chiba International Art Festival 2025 Overview]
With the aim of creating opportunities for citizens to experience art projects more easily and to become aware of and familiar with the charm of art and the local area, this citizen-participatory art festival featured exhibitions of 37 citizen-participatory art projects by 32 artists from Japan and abroad. Unearthing little-known places with local charm, such as urban gaps, vacant shops, and public spaces that tend to be buried in everyday life, from the perspective of artists, the festival was held with a focus on six areas as arts fields (cultural creative hubs) for art projects.
성곡미술관, 우순옥 첫 회고전 《예술은 이미 당신의 마음속에 있다》
이미지와 속도의 시대에 침묵과 기다림을 말한 작가 우순옥, 작고 후 첫 회고전
《우순옥_ 예술은 이미 당신의 마음속에 있다 (Art is already in your mind)》
2026년 8월 12일(수) – 10월 3일(토)
성곡미술관
성곡미술관
이미지와 정보가 쉴 새 없이 쏟아지고 인공지능이 일하고 사고하는 방식마저 빠르게 바꿔 놓는 시대에, 성곡미술관이 정반대의 속도를 지녔던 한 작가를 불러낸다. 2023년 타계한 우순옥의 작고 후 첫 회고전이 열린다.
데뷔기 드로잉부터 마지막 시기 대표작까지 회화·드로잉·설치·영상을 한자리에 모은 이번 전시는, 한 작가의 40여 년을 통째로 되짚는 동시에 지금 우순옥을 다시 본다는 것이 어떤 의미인지를 묻는 자리이기도 하다. 전시명은 작가가 2011년 발표한 같은 제목의 영상에서 그대로 가져왔다.우순옥은 이화여자대학교에서 회화를 전공한 뒤 독일 뒤셀도르프 쿤스트아카데미에서 귄터 우커(Günther Uecker, 1930–2025) 문하에서 공부했고, 1995년부터 2022년 정년퇴임까지 이화여대 교수로 재직했다. 그가 평생 붙든 주제는 기억과 시간, 장소, 그리고 인간이라는 존재였다. 이를 풀어내기 위해 물감과 캔버스에 머무르지 않고 연기와 녹, 빛, 식물, 낡은 사물, 옷, 영상과 소리까지 생활 속 온갖 것을 작업으로 끌어들였다. 무엇을 강하게 주장하기보다, 사물이 스스로 드러내는 것을 조용히 지켜보는 편이었다.
우순옥, 방, 1998_1993, 면천 12장, 조명 2개, 20 x 10 x 2.6m (국제갤러리 설치전경)
그 밑바탕에 있는 태도가 '무위(無爲)'다. 모든 과정을 뜻대로 통제하기보다 사물과 자연에 깃든 시간과 우연에 자신을 맡기고, 무언가 변해 가는 과정 자체를 예술로 본 것이다. 손을 놓는 것이 아니라, 자연과 사물이 제 힘으로 바뀌고 드러날 때까지 기다리는 쪽에 가깝다. 빠른 소비와 즉각적인 해석에 익숙해진 눈에는 이 기다림의 감각이 오히려 낯설고, 그래서 더 또렷하게 다가온다. 일상의 사물을 다뤘다는 점에서 마르셀 뒤샹과 견주어지기도 하지만, 예술의 개념 자체를 겨눈 뒤샹과 달리 우순옥에게 사물은 한 사람의 기억과 시간, 살아온 경험이 밴 존재의 통로였다.
전시장에서 이 태도는 시기와 매체를 넘나드는 대표작으로 확인된다. 초기작 〈깃발(외로운 긍지)〉은 밑칠 없는 두꺼운 종이에 목탄과 물감 가루만으로 그려, 화면 한가운데 짙고 굵은 세로선이 쓸쓸하면서도 결기 있는 깃발처럼 선 검박한 화면을 보여준다. 시간의 흐름을 눈에 보이는 감각으로 옮긴 설치도 눈길을 끈다. 〈연기드로잉〉은 달군 전기판 위로 물방울이 떨어져 자국을 남기고 수증기가 빛 속에 잠깐 나타났다 흩어지는 작업이고, 〈따뜻한 벽〉은 둥글게 휜 벽 속에 발열 장치를 넣어 37.5℃의 체온을 내보내 관람객이 벽에 기대며 몸의 감각을 되새기게 한다.
우순옥, 12편의 신기루, 2011, 파운드 푸티지 이미지 12점, 야생화, 나무 오브제, 가변크기 (국제갤러리 설치전경)
일상의 사물을 다룬 작업도 한 축을 이룬다. 〈아주 작은 집〉은 전등갓·거울·비누·책처럼 저마다 사연을 품은 사물 108점을 바닥의 사각 격자 위에 놓고 명멸하는 불빛으로 온기를 입힌 작업으로, 2006년 국제갤러리 개인전과 시드니 비엔날레에도 소개됐다. 무위의 태도가 집약된 〈사물의 질서〉는 작가의 옷과 말린 과일, 깨진 거울, 돌 등 제각각인 사물을 여백과 함께 늘어놓아 서로 다른 것들이 각자의 자리에서 어우러지게 한다.
전시명이 된 영상 〈예술은 이미 당신의 마음속에 있다.〉에서 작가는 작업실을 거닐며 보르헤스의 책에서 만난 6세기 무렵의 불교 시를 나직이 읊는다. 예술은 완성된 결과물이 아니라 삶과 기억, 침묵 속에서 끊임없이 새로 생겨나는 경험이라는 그의 믿음이, 이 전시를 지금 마주하는 이들에게 가장 조용한 방식으로 건네지는 대목이다.
전시장에서 관람객은 잠시 걸음을 늦추고 눈앞의 사물과 시간을 지나가게 된다. 우순옥의 화면과 설치 앞에 머무는 일은 한국 개념미술에서 그가 놓인 자리를 되짚는 시간이자, 전시 제목처럼 예술이 멀리 있지 않고 이미 각자의 삶과 기억 속에 있음을 확인하는 시간이 된다. 뜨거운 여름을 지나 쏟아지는 속도에 잠시의 쉼표가 필요한 이들에게 방문을 추천한다.
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