NOTE FOR AHN(安), GALLERY 175, SEOUL, SOUTH KOREA, 2019
Exhibition Note for AHN (安) was a two-person exhibition I organized with Ahn Jaeyoung, which began from the question of whether an individual could escape from being possessed — one of the mysterious symptoms containing elements of superstition from Korea. The exhibition, tracks how images attained from one’s superstitious beliefs relate to mythical and religious images, then recombines and deconstructs them. Under our collaboration lies the hope to contact invisible but clearly existing sensual phenomena, and to together overcome anxieties, interpreting phenomena as the destiny of artist/mediator.
Paying attention to the number of tattoos on Ahn Jaeyoung‘s body (the Chinese character 安, a blue diamond, an arrow, a red-haired Anne, Piglet, Mickey Mouse, and an epitaph of Nikos Kazantzakis), I interpreted each image as a charm to ward off Ahn’s anxieties. I then, researched mythical and religious imagery in order to strengthen the shamanistic narrative. Observing that the number 12 frequently works as important motive in the myths of many different cultures, I set Ahn Jaeyoung‘s birthday, December 12, as a central axis and tried to discover the references to god-related signs from the number 12. Combining the symbolic world of the image, language, color, and numbers from ancient myths from twelve animals that guards tombs, I created a chart for a system of faith and proposed a psychological space for a praying man, just like the secret connotation of the ancient character, 安
NOTE FOR AHN(安), GALLERY 175, SEOUL, SOUTH KOREA, 2019
Exhibition Note for AHN (安) was a two-person exhibition I organized with Ahn Jaeyoung, which began from the question of whether an individual could escape from being possessed — one of the mysterious symptoms containing elements of superstition from Korea. The exhibition, tracks how images attained from one’s superstitious beliefs relate to mythical and religious images, then recombines and deconstructs them. Under our collaboration lies the hope to contact invisible but clearly existing sensual phenomena, and to together overcome anxieties, interpreting phenomena as the destiny of artist/mediator.
Paying attention to the number of tattoos on Ahn Jaeyoung‘s body (the Chinese character 安, a blue diamond, an arrow, a red-haired Anne, Piglet, Mickey Mouse, and an epitaph of Nikos Kazantzakis), I interpreted each image as a charm to ward off Ahn’s anxieties. I then, researched mythical and religious imagery in order to strengthen the shamanistic narrative. Observing that the number 12 frequently works as important motive in the myths of many different cultures, I set Ahn Jaeyoung‘s birthday, December 12, as a central axis and tried to discover the references to god-related signs from the number 12. Combining the symbolic world of the image, language, color, and numbers from ancient myths from twelve animals that guards tombs, I created a chart for a system of faith and proposed a psychological space for a praying man, just like the secret connotation of the ancient character, 安
Installation view of Jan van eyck academie openstudios 2021 Still cut, The geometry of the hunter, Single channel video, 2021
그 vs 그것
2024.12.1 - 12.22
요즘미술, 서울, 한국 2024
아티스트 토크 2024.12.14 오후 2시
전시제목 〈그 vs 그것〉은 로드킬로 떠난 사슴과 동물들을 기록한 2017년 개인전과 동명으로, “인칭대명사인 ‘그’와 지시대명사인 ‘그것’ 사이에서 죽은 동물의 몸을 어떻게 지칭할 것인가?” 갈등하는 마음에서 비롯한다. 전시는 ‘그’로 부를 만큼 친밀하지 않지만, ‘그것’으로 부른다면 불편한 감정이 드는 동물과 나의 관계를 신문자료조사(60년대-현재)를 통해 한국 사회로 확장하여 살피고, 인간과 동물 몸의 일부인 미생물 발효물질 연구 과정 안에서 ‘그’와 ‘그것’이 가진 위계적 질서와 구조를 재고한다. 전시는 공장식 축산에 문제를 제기하는 2023년 프로젝트 “스마트 스킨 팜”을 서로 다른 시기에 진행한 영상 작업과 리서치, 드로잉, 꼴라주 사이로 재배치하고, 수집된 인간의 개인정보와 식물성 미생물의 특징을 결합해 피부를 맞춤 가공-교환하는 장소로 구성한다. 또한, 인간의 출생 정보와 색 선호도가 반영된 차(茶)와 당을 먹고, 거시적 크기로 몸을 확장하는 ‘혼합 종’ 생장 과정을 기록하고 보존하는 시도안에서 동물을 무한한 물질 자원이나 수탈의 대상이 아니라, 고유한 역사를 가진 존재로 기억하기를 제안한다.
