Ink on paper, 33 x 22 cm
미완의 여정 Unfinished Journey
한국예술종합학교 개교 20주년 기념 미술원 졸업작가展
카이스 갤러리 CAIS GALLERY2012_1128 ▶1221참여작가; 곤도 유카코_구명선_구민자_권경환_권순관김동규_김승택_김시원_김실비_김영은김준명_김현정_남화연_문성식_박미경박미례_백기은_빈우혁_서보경_심소라안세권_옥정호_이소요_이예린_이은우이주리_이호인_장고운_장석준_장지아정지현_조해준_차영석_천영미_최아미_하지인
한국예술종합학교 개교 20주년을 기념하는 미술원 졸업 작가전인 『미완의 여정(Unfinished Journey)』 展은 지나온 과거를 기념하기보다 현재 시점에서 앞으로 다가올 미지의 상황과 현실을 이야기하기 위해 기획되었다. 현재 미술계에서 활발하게 활동하는 젊은 작가이자, 한국예술종합학교 미술원 조형예술과의 졸업생이기도 한 이들은 아직 끝나지 않은 여행의 길목에서 그 누구보다 실험적인 도전정신과 숙고로 자신의 창작세계를 구축해나가고 있다. 한 장르와 주제로 한정되지 않은 36명의 작가들을 바라보면서 기획자들은 자기 나름의 항해도와 지도를 찾고자 고군분투하는 작가들의 열정을 가까운 곳에서 느끼고 또 배울 수 있었다. ● 『미완의 여정(Unfinished Journey)』 展은 새로운 미술 교육법과 미술에 관한 뜨거운 대화와 변화의 자리를 마련해온 한국예술종합학교 미술원이 처음으로 졸업 작가들을 한 자리에 초대한 전시이다. 이 자리에서 우리는 같고도 다른 젊은 작가들의 작업을 바라보며 이들 각자의 예술 세계가 얼마나 다르고 하나로 합쳐질 수 없는가를 오히려 확인할 수 있었다. 이것은 '작가'라는 존재가 오늘날 각기 다른 자신만의 방식으로 예술세계를 창작해나가는 과정의 여로 속에 있음을 이야기한다. ● 전시에 참여한 36명의 작가들은 모두 미술원 조형예술과 학부 및 전문사 과정을 졸업한 이들로 미술원이 개교한 시점부터 현재까지 다른 시기 학교를 경험한 이들이다. 그리 길지 않은 한국예술종합학교 미술원 조형예술과의 한 역사를 이루는 젊은 작가들은 학교와 함께 성장해오며 그 때를 인생의 가장 뜻 깊은 배움의 시절로 기억하고 있다. 전시장에 모인 작가들은 동문을 넘어서 동시대 실력있는 젊은 작가들로서 한국 미술계의 새로운 움직임을 보여준다. 그런만큼 『미완의 여정(Unfinished Journey)』 展은 한 학교를 졸업한 다양한 특성을 지닌 젊은 작가들이 2000년대 대한민국을 비롯한 전세계적 상황에 어떻게 자신의 예술적 감각으로 반응하고 있는지를 살펴보는 자리가 될 것이다. ■ 우현호https://neolook.com/archives/20121130c
'Brainwashed' rock, canvas-filling maze, screaming painter - the absurd art of Kim Beom
 |
| Kim Beom's "A Rock That Was Taught It Was a Bird" (2010) |
Veteran conceptual artist's first domestic solo exhibition in 13 years mounted
at Leeum Museum of Art
By Park Han-sol
In a dimly lit room at the Leeum Museum of Art in central Seoul, a curious spectacle unfolds.
In one corner, a single rock is perched on a bough. Next to it is a video of a man sternly lecturing that very stone for 87 minutes on how it should be able to fly because it "is, in fact, a bird!"
Across the room sits a model ship, equally subject to a 91-minute-long videotaped lesson as the supposed instructor lists geological, meteorological and astronomical evidence to convince the waterborne object that the Earth consists only of land.
The whole spectacle culminates in a pseudo-classroom, where everyday items ― a kettle, a fan and a kitchen scale, among others ― are seated in front of a blackboard to learn that they are nothing but tools built for humans and therefore "should not ever think for themselves."
Through such absurdist scenarios, veteran conceptual artist Kim Beom's poignant installation series comments on the ways in which the education system ― including that of the 1970s and 1980s he experienced growing up during Korea's authoritarian regimes ― influences individuals' views about the world and their own identities.
The series is one of the centerpieces highlighted at Kim's solo exhibition "How to become a rock" ― a rare, large-scale survey of the eclectic creator's oeuvre that often uses absurdist premises and dry humor to question our understanding of our surroundings.
More than 70 installations, paintings and videos on view are refreshing to both the eye and the mind, urging us to momentarily push aside our habitual ways of thinking and adopt an alternative lens to reexamine our given social environment.
"Kim is an artist who thinks the most and shows the least," Leeum's deputy director Kim Sung-won said at the recent press preview. "And when faced with his works that are minimalist and unpretentious in nature, we need to notice and react to as many clues as possible that lie beneath the surface."
Sculptural pieces like "Pregnant Hammer" (1995), a hammer with a bulging handle, and "Inanimated Objects" (2008), a video that documents everyday items "dying" and turning into dust, represent the artist's persistent interest in animism as he steers away from anthropocentric tendencies and attributes consciousness to items of little worth.
Some works dethrone various symbols of power and prestige, thereby taking a jab at socially ingrained notions of authority.
He puts an unexpected twist on the traditional blue-and-white porcelain, long reserved for the royal court during the 1392-1910 Joseon Kingdom as a symbol of wealth and decorum, by producing a playful "knockoff" of his own. Made out of common paper clay instead of kaolin, his jar features a dinosaur motif drawn with a ballpoint pen in place of a dragon.
In "Untitled (News)" (2002), Kim splices hours-long footage of television news based on each syllable uttered by the newscasters and rearranges the shots so that the presenters would "read out" an article that the artist himself had written. Such an attempt destabilizes the mass media's conventionally unilateral power and influence on shaping public perception.
Likewise, his canvas works are anything but predictable.
"Landscape #1" (1995) refrains from depicting any pictorial image and instead resorts solely to handwritten instructions ― recalling the practices adopted by 1960s and 1970s conceptual artists. By asking viewers to "look" and "stare" at the unseen blue sky, trees and flowing river, the piece pushes them to fill the empty canvas with their own imagination.
"In a fundamental sense, paintings like this embody the very idea of interactivity," said the deputy director.
The active spectator participation also becomes essential in the "Untitled (Intimate Suffering)" series, where the artist painstakingly fills the entire canvas with a dizzying maze ― thereby tapping into the human instinct to find solutions when confronted with challenges.
Similarly, Kim's so-called "perceptual painting" series invites viewers to constantly play guessing games by portraying subjects in a semi-abstract form and at an unconventional angle ― such as an extreme close-up of the notch of a car key that resembles mountain ridges from afar.
By Park Han-sol
In a dimly lit room at the Leeum Museum of Art in central Seoul, a curious spectacle unfolds.
In one corner, a single rock is perched on a bough. Next to it is a video of a man sternly lecturing that very stone for 87 minutes on how it should be able to fly because it "is, in fact, a bird!"
Across the room sits a model ship, equally subject to a 91-minute-long videotaped lesson as the supposed instructor lists geological, meteorological and astronomical evidence to convince the waterborne object that the Earth consists only of land.
The whole spectacle culminates in a pseudo-classroom, where everyday items ― a kettle, a fan and a kitchen scale, among others ― are seated in front of a blackboard to learn that they are nothing but tools built for humans and therefore "should not ever think for themselves."
 |
| Kim Beom's "Objects Being Taught They Are Nothing but Tools" (2010) / Newsis |
Through such absurdist scenarios, veteran conceptual artist Kim Beom's poignant installation series comments on the ways in which the education system ― including that of the 1970s and 1980s he experienced growing up during Korea's authoritarian regimes ― influences individuals' views about the world and their own identities.
The series is one of the centerpieces highlighted at Kim's solo exhibition "How to become a rock" ― a rare, large-scale survey of the eclectic creator's oeuvre that often uses absurdist premises and dry humor to question our understanding of our surroundings.
More than 70 installations, paintings and videos on view are refreshing to both the eye and the mind, urging us to momentarily push aside our habitual ways of thinking and adopt an alternative lens to reexamine our given social environment.
"Kim is an artist who thinks the most and shows the least," Leeum's deputy director Kim Sung-won said at the recent press preview. "And when faced with his works that are minimalist and unpretentious in nature, we need to notice and react to as many clues as possible that lie beneath the surface."
 |
| Kim Beom's "Fearless Fear" (1991) |
Sculptural pieces like "Pregnant Hammer" (1995), a hammer with a bulging handle, and "Inanimated Objects" (2008), a video that documents everyday items "dying" and turning into dust, represent the artist's persistent interest in animism as he steers away from anthropocentric tendencies and attributes consciousness to items of little worth.
Some works dethrone various symbols of power and prestige, thereby taking a jab at socially ingrained notions of authority.
He puts an unexpected twist on the traditional blue-and-white porcelain, long reserved for the royal court during the 1392-1910 Joseon Kingdom as a symbol of wealth and decorum, by producing a playful "knockoff" of his own. Made out of common paper clay instead of kaolin, his jar features a dinosaur motif drawn with a ballpoint pen in place of a dragon.
In "Untitled (News)" (2002), Kim splices hours-long footage of television news based on each syllable uttered by the newscasters and rearranges the shots so that the presenters would "read out" an article that the artist himself had written. Such an attempt destabilizes the mass media's conventionally unilateral power and influence on shaping public perception.
 |
| Kim Beom's "Pregnant Hammer" (1995) |
Likewise, his canvas works are anything but predictable.
"Landscape #1" (1995) refrains from depicting any pictorial image and instead resorts solely to handwritten instructions ― recalling the practices adopted by 1960s and 1970s conceptual artists. By asking viewers to "look" and "stare" at the unseen blue sky, trees and flowing river, the piece pushes them to fill the empty canvas with their own imagination.
"In a fundamental sense, paintings like this embody the very idea of interactivity," said the deputy director.
 |
| Kim Beom's "Landscape #1" (1995) / Korea Times photo by Park Han-sol |
The active spectator participation also becomes essential in the "Untitled (Intimate Suffering)" series, where the artist painstakingly fills the entire canvas with a dizzying maze ― thereby tapping into the human instinct to find solutions when confronted with challenges.
Similarly, Kim's so-called "perceptual painting" series invites viewers to constantly play guessing games by portraying subjects in a semi-abstract form and at an unconventional angle ― such as an extreme close-up of the notch of a car key that resembles mountain ridges from afar.
There is even a work that will surprise unsuspecting visitors' eardrums.
"Painting 'Yellow Scream'" (2012) adopts the format of a painting tutorial, taking spectators through the process of producing an abstract work of art with different shades of yellow. But the video takes an unexpected turn when the artist ― played by a hired actor ― explains that each brushstroke must be accompanied by "a scream induced by psychological pain."
"Prepare some lemon yellow on your palette, and let's put in some anguished screaming to it," he says as he yells at the canvas.
Playfully dubbed as the "Anti-Bob Ross" by some online users, the video humorously embodies the struggle and agony that are an intimate part of any creative pursuit.
"How to become a rock" runs through Dec. 3 at the Leeum Museum of Art.
"Prepare some lemon yellow on your palette, and let's put in some anguished screaming to it," he says as he yells at the canvas.
Playfully dubbed as the "Anti-Bob Ross" by some online users, the video humorously embodies the struggle and agony that are an intimate part of any creative pursuit.
"How to become a rock" runs through Dec. 3 at the Leeum Museum of Art.
https://www.koreatimes.co.kr/www/art/2025/01/398_357052.html
Adelaide Installations (Incorporating the 1994 Adelaide Biennial of Australian Art)
'Adelaide Installations' is a project developed by the Art Gallery of South Australia as the visual arts program of the 1994 Adelaide Festival. It is comprised of three parallel components, each drawn together by a leading Australian curator.
Alison Caroll's Beyond the Material World includes works by eight artists from North and South East Asia. Fifteen leading Australian artists are involved in the 1994 Adelaide Biennial of Australian Art, curated by John Barett-Lennard, and Moving Sands: forward momentum, curated by Doreen Mellor, involves four sand-based ground sculptures and performances created by seventeen Aboriginal artists.
Publication/Creation date 1994
No of pages 110
ISBN / ISSN 0959620958
https://aaa.org.hk/en/collections/event-database/adelaide-installations/search/keywords:soungui-kim
Curator Alison CARROLL, Doreen MELLOR, John BARRETT-LENNARD
Venue | Date |
|---|---|
22 Feb – 20 Mar 1994 |
미술관에 등장한 무당 굿...김순기 '게으른 구름' 퍼포먼스
2019. 9. 8일 4시부터 국립현대미술관 서울에서 '김순기: 게으른 구름'전 퍼포먼스 '시간과 공간 2019'가 열렸다.
작가가 만든 프로그램에 따르는 존재인 로봇 ‘영희’와 인간의 이성의 범위를 벗어난 초자연적인 존재와 연관이 있는 무당이 퍼포머로 등장했다.
작가가 만든 프로그램에 따르는 존재인 로봇 ‘영희’와 인간의 이성의 범위를 벗어난 초자연적인 존재와 연관이 있는 무당이 퍼포머로 등장했다.
게으르고 심심해하는 로봇 ‘영희’가 시를 읊고 무당 김미화의 굿하는 소리, 전시마당 내 설치된 다양한 기구들이 내는 소리가 어우러졌다.
https://m.news.naver.com/read.nhn?mode=LSD&mid=sec&sid1=103&oid=003&aid=0009444763
https://m.news.naver.com/read.nhn?mode=LSD&mid=sec&sid1=103&oid=003&aid=0009444763
Taipei Biennial 2023 "Small World"
The title “Small World” suggests both a promise and a threat: a promise of greater control over one’s own life, and a threat of isolation from a larger community following a global pandemic. Our world can become smaller as we grow closer to one another, but also as we grow apart. This “Small World” takes place within such a suspended state of being unable to join together nor completely separate. Through a series of presentations that comprise sound, music, moving images, photography, video, paintings, sculptures and installations, “Small World” presents audiences with the dilemma faced by us and our societies.
Curated by curator Freya Chou, writer and editor Brian Kuan Wood, and curator Reem Shadid, this year’s iteration will bring together over 50 international and local artists and musicians, transforming the museum into a space of listening, gathering, improvising, and exploring alternative ways to perceive and apply what we learned from the recent pandemic. Nineteen new works and commissions will be featured at the Biennial, alongside installations, performances, and musical and cinematic experiences that question promises of the simple and sensual amidst increasing tension and complexity.
The three curators stated that: “The small world is a lonely and entitled place that we have lost parts of ourselves and our societies to, but it may also be a place that welcomes strange acts of refusing to scale up or down, to amplify, unplug, move, or stay put. It might lure us towards illusions of impossible permanence and simplicity, towards absolute primacies and intoxicating authenticities that surpass all influences, but it also encourages us to betray the need to translate and be understood, to please others for some eventual benefit that never arrives."
https://www.tfam.museum/Exhibition/Exhibition_Special.aspx?id=745&ddlLang=en-us
Kim Beom, Spectacle (2010) (still). Single-channel video. 1 min, 7 sec, loop. Exhibition view: Taipei Biennial 2023: Small World (18 November 2023–24 March 2024). Courtesy Taipei Fine Arts Museum
《호민과 재환》 𝘏𝘰𝘮𝘪𝘯 𝘢𝘯𝘥 𝘑𝘢𝘦𝘩𝘸𝘢𝘯 전시구성
2021. 5. 18.(화) - 2021. 8. 1.(일)
서울시립미술관 서소문본관 2, 3층 전시실
전시의 두 번째 섹션
https://www.facebook.com/SeoulMuseumofArt.kr/photos/pcb.3933905826707798/3933903816707999
우주생활 - Space Life
Feb.-May 2015
Ilmin museum of Art
Seoul
[전시 연계 강연 안내]
“우주와 인간, 그 사이의 생활”
<우주생활>전은 우주공학 전문가, 천문학자, 비평가 등이 함께하는 강연으로 알차게 구성 되어 있습니다. 총 7회의 다양한 주제로 이루어진 강연을 통해 그동안 궁금하셨던 우주 과학 이야기를 들어보세요. 매 강연 시작 전에는 기획자 이영준의 전시 설명이 있습니다. smile 이모티콘
1) 2월7일(토) <우주생물도 진화하는가?>
오후 3시: 이영준 스페셜 도슨트
강연자: 이명현(천문학자), 장대익(서울대학교 자유전공학부 교수)
2) 2월 28일 (토)
오후 4시: <실재하는 판타지, 우주와 SF 우주 이미지>
강연자: 박상준(서울SF아카이브 대표)
3) 3월 14일 (토)
오후 3시: 이영준 스페셜 도슨트
오후 4시: <우주생활의 희망은 지평선 너머에, 아니면 우리의 방구석에>
강연자: 이영준(기계비평, 계원예술대학교 융합예술학과 교수)
4) 3월 28일 (토)
오후 3시: 이영준 스페셜 도슨트
오후 4시: <북극광과 우주생활>
강연자: 김남수(안무비평)
5) 4월 11일 (토)
오후 3시: 이영준 스페셜 도슨트
오후 4시: <인터스텔라와 그래비티, 영화 속 우주 이야기>
강연자: 이종필 (고려대학교 BK연구교수)
6) 4월 25일 (토)
오후 3시: 이영준 스페셜 도슨트
오후 4시: <백곰미사일부터 나로호까지- 한국의 로켓 개발사>
강연자: 안동만 (한서대학교 항공시뮬레이션학과 교수, 전 국방과학연구소 소장)
7) 5월 16일 (토)
오후 3시: 이영준 스페셜 도슨트
오후 4시: <테크노 내셔널리즘과 한국의 우주과학>
강연자: 안형준 (조지아공학대학 과학기술사 박사과정, 전 과학동아 과학전문 기자)
https://www.facebook.com/ilminmuseum/photos/a.577135578977622.1073741825.541481689209678/929186620439181/?type=1&theater
Exhibition Catalog
published by Ilmin Museum of Art
designed by Workroom
https://www.facebook.com/ilminmuseum?fref=ts
인피니트 챌린지
국립현대미술관 아시아아트프로젝트의 두 번째 전시.
아시아 출신의 여성 뉴미디어 아티스트들의 예술세계를 조명한 전시이다.
뉴미디어 아트에 대한 이해도, 사회적 지원도 부족한 척박한 상황 속에서 불굴의 의지로 새로운 예술에 대한 도전을 멈추지 않았던 예술가들의 작품을 소개한다.
- 기간 2014-04-29 ~ 2014-07-13
- 장소 국립현대미술관 서울 제 3, 4전시실
<끝없는 도전_인피니트 챌린지>전 작가와의 대화 02. 김순기
1970년대 중반부터 비디오, 설치, 사운드 작업에 전념해온 선구적인 예술가인 김순기와 함께 새로운 매체 실험을 시도해온 예술적 여정에서의 경험과 소회
일시: 2014년 6월 5일(목) 오후 2시 ~3시 30분
장소: 국립현대미술관 서울관 교육동 세미나실
인원: 50명
http://media.bigfoot9.com/article/304674142901626_687850181250685
https://www.mmca.go.kr/exhibitions/exhibitionsDetail.do?exhId=201404040000073
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