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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.
Week 3(15-21 Oct)
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?
