1 2 3
시선,
영원 속으로
Gaze into Eternity
시선,
영원 속으로
Gaze into Eternity
Gifts from
Germany
Telepathy And Landscapes
Telepathy And Landscapes
July 2018
Readymade Objects
Group Exhibition Zeitgeist at the Institut Für Alles Mögliche in Berlin
Close-to-perfect orientation and curatorship at the exhibitions in Germany was my great inspiration during the study trip for Dada. Using readymade objects, I created a series of artworks that function as decorative containers for the gifts I bought for my friends and family.
2018 - 2019
Archival project to explore the beauty of Korea
The ongoing archives of Telepathy And Landscapes (TAL) currently include visual and sound documentation of performances, conversations, objects and field researches.
Since 2018, I became very interested in the origin of my cultural background to research the context of my superego after having traveled around the Europe in summer. I have grown up mostly in a western environment as my parents sent me to a private Christian elementary school in Korea, and I moved alone to Canada at my age 14. Although I never had a good
chance to deeply inquire about my national identity, I always knew by heart that my conscience was deeply rooted in the culture of Korea.
When I came to visit home during the vacations, I had field trips to historic places to trace down my national identity and made a series of collaborative projects to explore the visual aesthetic and philosophy of Korea. In 2019, my friends and I formed an anonymous performance group named TAL (Telepathy And Landscapes), meaning mask in Korean (referring to Hahoe Mask). The purpose of this collective movement is to understand our origin in-depth by researching, performing, and making civic scale art to raise awareness to appreciate the intrinsic value of Korean folk rituals, shamanism, architecture, and natural landscapes.
2018 - 2019
Archival project to explore the beauty of Korea
The ongoing archives of Telepathy And Landscapes (TAL) currently include visual and sound documentation of performances, conversations, objects and field researches.
Since 2018, I became very interested in the origin of my cultural background to research the context of my superego after having traveled around the Europe in summer. I have grown up mostly in a western environment as my parents sent me to a private Christian elementary school in Korea, and I moved alone to Canada at my age 14. Although I never had a good
chance to deeply inquire about my national identity, I always knew by heart that my conscience was deeply rooted in the culture of Korea.
When I came to visit home during the vacations, I had field trips to historic places to trace down my national identity and made a series of collaborative projects to explore the visual aesthetic and philosophy of Korea. In 2019, my friends and I formed an anonymous performance group named TAL (Telepathy And Landscapes), meaning mask in Korean (referring to Hahoe Mask). The purpose of this collective movement is to understand our origin in-depth by researching, performing, and making civic scale art to raise awareness to appreciate the intrinsic value of Korean folk rituals, shamanism, architecture, and natural landscapes.
Who is my audience?
Where is my territory?
Territories of Fine Art at Chelsea College
Dates: October 1st - December 7th
Tutor: Ben Fitton
Group Member
Hosu Lee
Merel Bochove
Marina Hajioannou
Coco Tsui
Kate Gardiner
Key Words
Obsession
Pattern
Time
Individuality
Container
Communication
The first meeting (October 5th)
We set up the studio space with two tables and chairs. I asked the members if they wanted to create either individual or collaborative work. I thought this decision in the early stage was important to find my position in this group before starting to think about the project.
If working individually, each work will likely be curated and orientated under a subject theme. Working together all time is not necessary. If we choose to work on a collaborative project, the space will be utilized for one installation. It may require more commitment and responsibility under professional time/role management in order to implement a solid project.
Two of the members tended to create the individual work, and one believed that the decision at this point was not necessary.
Reflection
In the beginning, I was more ambitious in creating collaborative installation considering my previous projects. Later, however, I realized that the individual work would be more suitable for my schedule in this term since I needed to prepare my solo exhibition at SITE gallery by October 27th, which seemed to be quite urgent at this point.
My initial purpose of studying abroad in London was searching for new inspiration and challenge apart from my previous projects at SAIC, in which I admire to find/build my identity. I strongly felt need in more self-reflection than collaboration.
Plan
I want to create an artist book about my obsession and compulsive behavior, similar practice to Gift From Germany. I will present this artist book at my solo exhibition as the main piece of work that represents the theme of the show. I want to make it very special one-of-a-kind which cannot be reproduced or copied. It might be closer to the practice of making sculpture rather than book.
Research
"Obsession"
I have OCD [Obsessive-Compulsive Disorder]
Obsession: Consistent thoughts, images, urges, worries and doubts. Constant intrusive
Compulsion: repetitive activities that you do to reduce anxiety caused by obsession
I do not want to call this symptom as "disorder" that implies negative sense. Obsessive thoughts and compulsive behavior can lead to a productive result. Indeed, it is a creative process of creating order from chaos.
I am often obsessed with visual imaginations, vivid colors and forms. Sometimes, these imaginations are brutal such as killing, or dying with striking pain, and I get unbearable fear and anxiety of imminent death. Then, I try to be obsessed with a vital wave of other imagination that swallows up these fear. I intensify this wave with compulsive act of writing and sketching.
"Container"
Container Technology by Zoë Sofia
Structurally necessary but frequently unacknowledgable precondition of becoming. For example, pizza delivery within the container.
Exploited but not noticed and obtrusive.
Facilitating environment: Intelligence is not confined to the deliberation of the intended ego but can be found in changing pattern of mutual adaptation and co-adaptation. The environment itself is bearer of intelligence.
Potential space: imaginative space between inner and outer. Workspace for discovery and invention.
According to Mumford's distinction between tool and machine is "the degree of independence in the operation from the skill and motive power of the operator. The tool lends itself to manipulation, while the machine to automatic action," the container can perform its holding function automatically. Then, the container is a form of action itself rather than inhering property of shaped space. "intersubjectivity" forms in the space whose holding and supplying as a result of maternal labor (effort/care).
Taking + keeping = outpouring (unity)
to cherish, and protect, to preserve, and care for
Transitional object: the tool is never "a purely material object but always has its partial origin in the inner world... is always meaningful with part of narrative and set of human purpose"
"There is no such thing as an infant" (Winnicott, 1965)
"There is no such thing as an infant [apart from the maternal provision]" (Ogden, 1992)
"There is no such thing as tool [apart from workshop]"
"There is no such thing as organism [apart from environment]"
"There is no such thing as discovery/invention [apart from potential space]"
Experience
Artist talk with Yun Chul Kim
Professor Dr. Siegfried Zielinski (media archeologist) and Monica Bello (curator and head of Arts ad CERN)
October 4th
It was interesting to see how art was appreciated in terms of science and technology. These days, artists are inspired by scientific research along with the sophisticated technology and facility to examine so-called "objective truth". However, vice-versa, is science also inspired by the work of art? It seems like scientist is only appreciating the work of art but not inspired or challenged by artist. At least, that was what I felt from the talk regarding Yun Chul's exhibition.
Is there a presence of authority, sense of hierarchy, between art and science? During the medieval age, art functioned as effective media to communicate with the society about faith and religion by transforming itself into a physical/visual evidence of Christianity. Art was merely celebrating and reflecting the triumph of religion. I did not like that. I believe that the power of art practice is more than just representation of truth. I believe that art can be the active practice to examine the ultimate truth just like science does. In that way, art can challenge the authority of science. I think that renaissance is the best example for art challenging the authority of intelligence. Perhaps, art has not reached that level yet, but I certainly believe that it is on the way for another renaissance hopefully in my generation.
White Cube
Doris Salcedo, Palimpsest (2013-17) and Tabula Rasa (2018)
Anselm Kiefer, For Vincente Huidobro: Life is a parachute voyage and not what you'd like to think it is (2018)
See the note below
Serpentine Gallery
Pierre Huyghe, UUmwelt (2018)
See the note below
Science Museum
Experiment
Nootropics
are drugs, supplements, and other substances that may improve cognitive function, particularly executive functions, memory, creativity, or motivation, in healthy individuals. While many substances are purported to improve cognition, research is at a preliminary stage as of 2018, and the effects of the majority of these agents are not fully determined (Wikipedia, 2018)
(For details :https://en.wikipedia.org/wiki/Dietary_supplement) (For more information: https://www.jenreviews.com/best-greens-powder/)
After the research about LSD (Lysergic acid diethylamide) during the last semester, I wanted to experiment more with different drugs and supplements that can boost the cognitive function especially to increase the capacity of memory, or generally understand more about the nature of memory.
I purchased the total of eight supplements: Phosphatidylserine, CDP-Choline, Pyrrologuinoline Quinone (PPQ), L-Theanine, Caffeine, Fish Oil, Pine Bark Extract, Multi-Vitamin with Minerals (Vitamin A, B1, B2, B6, B12, C, E, K, and D with Zinc, Calcium, Iron, and Magnesium)
Description of usage, function, dose of each supplement, see the note below
Lectures
"Context of Art"
"There is no possibility of an artwork without a context"
Who is the audience? What does wrong audience mean? What is the frame/boundary of field?
How can I relate this idea with Container Technology? "There is no such thing as artwork without a context"
*Context is a container of an artwork.
[Art is tool] & [Context is the workshop]
[Art is organism] & [Context is environment]
[Art is technology] & [Context is standing reserve]
[Art is discovery/invention] & [Context is potential space]
*Context can function both taking and holding
Context "can perform its holding function automatically" therefore, context is a "form of action itself"
Context can outpour like a jug as [a way of communication, appreciation, celebration] = Art [physical media]
"All meaning is collectively produced"
Then, is there an archeological aesthetic, instinct sense of beauty? Is there a complete failure in making aesthetic?
Does intended meaning need to be specific or general?
"Individual mind is immanent but not only in the body
larger mind of which individual mind is only subsystem." [Bateson]
"Intelligence is not confined to the deliberation of the intending ego or cogito,
but can be found in changing pattern of mutual adaptation and co-adaptation"
Inter-subjectivities [Stern, 1985]
"infant subjectivity is immanent within and emergent from the context of [inter-subjective, containment]"
[Inner world of fantasy] X [outer world of socio-technical reality] = "Transitional Object" (imaginative space between inner/outer)
Functionality of [transition/transformation] = negotiation, communication, compromise
The tool is never '"a purely material object" but always has its partial origin in the inner world
which is always meaningful
is part of narrative with the set of human purposes
Facilitating environment = "adaptive intelligence"
"Floor"
Physical boundary that defines the proximity to the artwork
Ritualistic ground where the audience begins to engage
2-dimensional background to a facet of the object
reflection
Where is the territory of my practice?
What change/mark do I want to make in this time of history?
How can my practice be significant to others?
Who needs my art?
All these questions always end up with the search for my identity.
It is a new thing now.
I can no longer represent my past identity which has been already faded,
I tend to forget automatically as a part of evolution
Yes, now I totally agree, at least right now.
Life is a parachute; and I am riding a bicycle in the sky,
pedaling hard as if I can move forward, as if I can even move.
Does sun have meaning without us?
Without us, the observers, who have discovered the presence of the sun
looking at it with all the efforts to seek the truth about it,
can it even possibly exist?
but in fact, hasn't it been there forever?
What is it there invisible, waiting to be discovered
to find itself a petty meaning?
Discovery is an indication of progress
making probability a little meaningless
to make our exile a little meaningful.
Curation of my practice: SITE Gallery Application (due by 27 oct)
Condition #2
Disruption
Lecture #3
Dr. Dan Byrne-Smith
Science Fiction: Literature of cognitive estrangement
Seminar #1
What Does Narrative Means?
David Musgrave
Exhibition: Jenny Holzer at Tate Modern
Cinematography Principle
Sensation of flux
Montage Principle
Disparity, contradiction that interrupt continuity. "Montage is conflict" Sergei Einstein.
"two film pieces of any kind, place together, inevitably combined into new concept, new quality, arising out of that juxtaposition."
Stereoscopic Principle
Abandons portrayal of motion to establish a form of arrest that resist time
no effect of continuity but sufficiently related to be linked in a discernible pattern
Shattuck, Roger. "Proust's Binoculars." Documents of Contemporary Art, 2012, 30-40.
We forget looking at it in a right way, forget what being alive, actually feels like fully alive.
"the intelligence gathers, but flat, dry, because has not been recreated"
- Marcel Proust (1871 - 1922)
Good SF does not necessarily traffic in reality, but it makes clearer to us
Brian Aldiss
SF takes uncertainty and estrangement, and directs them towards both critique, and possibility of transformation
SF makes possible the familiarity as something else, and keeps open possibilities.
"And something that I've only recently come to realize fully is that artworks are interesting because they're singular, and at the same time they also remind you of all other artworks… The artwork is a figure on a ground - not a stable and established figure ground, but a shifting one - and you have to make up the relationship and construct it out of the contradictions that arise as you go on. And it seems to me that the more internally coherent, vivid and powerful art is - I hate to use this word because I'm sure some people in this room will jump on me for it - the more autonomous it is, the more it tells us about the background." (Art & Language, 2005)
"As Jean-Marie Schaeffer claims, artworks are as much operating structures' as structured operations" (Schaeffer, 1998: 48).
Art & Language, 2005 'What Work Does The Artwork Do? 2' (Symposium Transcript), http://jcamd.londonmet.ac.uk/Whatworkdoestheartworkdo2/symposium_1.html [accessed May 2006].
Schaeffer, J-M. 1998 'Experiencing Artworks', Think Art: Theory and Practice in the Art of Today, Rotterdam: Witte de With Center for Contemporary Art 1998: 39-54.
O'Riley, T. (2006) An inaudible dialogue. Working Papers in Art and Design 4
Who are my audience?
What are my artworks?
What is artist?
What is art?
What is artwork?
What are they altogether?
Who are my audience?
What are my artworks?
What is artist?
What is art?
What is artwork?
What are they altogether?
Who are my audience?
What are my artworks?
What is artist?
What is art?
What is artwork?
What are they altogether?
Who are my audience?
What are my artworks?
What is artist?
What is art?
What is artwork?
What are they altogether?
Who are my audience?
What are my artworks?
What is artist?
What is art?
What is artwork?
What are they altogether?
Who are my audience?
What are my artworks?
What is artist?
What is art?
What is artwork?
What are they altogether?
Who are my audience?
What are my artworks?
What is artist?
What is art?
What is artwork?
What are they altogether?
Who are my audience?
What are my artworks?
What is artist?
What is art?
What is artwork?
What are they altogether?
Who are my audience?
What are my artworks?
What is artist?
What is art?
What is artwork?
What are they altogether?
Who are my audience?
What are my artworks?
What is artist?
What is art?
What is artwork?
What are they altogether?
Who are my audience?
What are my artworks?
What is artist?
What is art?
What is artwork?
What are they altogether?
Who are my audience?
What are my artworks?
What is artist?
What is art?
What is artwork?
What are they altogether?
Who are my audience?
What are my artworks?
What is artist?
What is art?
What is artwork?
What are they altogether?
Who are my audience?
What are my artworks?
What is artist?
What is art?
What is artwork?
What are they altogether?
Who are my audience?
What are my artworks?
What is artist?
What is art?
What is artwork?
What are they altogether?
Who are my audience?
What are my artworks?
What is artist?
What is art?
What is artwork?
What are they altogether?
