Arko Art Center
Moving/Image is an outgrowth of the exhibition and performance program of the same title held in summer 2016 at Seoul Art Space Mullae. Moving/Image is both an exhibition and a small festival aimed at generating perceptions and interpretations on the distinctions between viewing the body in motion in media or the body in motion in live performance.
single channel video, 4 channel audio, 6’53”, 2017
single channelvideo, stereo audio, 31’33”, 2017
Audience and Performers are two individual yet interdependent performance works whose causes and effects intertwine. The preliminary score for Audience serves as a basis for the performance in Performers, while performing Performers provides the final score for Audience. The common denominator for these works is the tension produced at the point where the performers’ attitude as observed by artist Min Oh in past works intersects with the meaning and form of the score, the process of the work’s organization, and questions about the role of the participants. “Kinesthetic response” and rhythm are used here as materials to strike a balance between instability and stability, and between the natural and the planned.
painted steel lines, 50–200cm size varies, 2017
Scribbles are traces of scrawled writing. As the simplest embodiments of insincerity and intemperance, scribbles are something visualized, but they are also the eruption or hysteria that arises when disordered thoughts reach a dead end. In Scribble Carriers, the body becomes a medium for carrying the abstract energy of scribbling. The scribbles use the body to cross spaces, resting atop the body or winding around it. Scribble Carriers produces movements that guide the bodies of the creator behind the work and the viewer processing it to become “carriers” themselves.
steel, fabric, 136 × 60 × 60 cm, 2017
steel, fabric, approx. 70 × 40 × 30 cm, 2017
and 6 drwaings and 16 porcelain works with different sizes, 2014–2017
Schwindt presents a new body of work consisting of existing as well as new sculptures, costumes and two acrobats who will inhabit the exhibition space exploring conventions and histories of looking at the body, especially the female body. One example is the figure of the mermaid revealing Schwindt’s belief in the possibilities of magic and in a life based on different logic and order, even while aware of the world’s horrors and the seeming impossibility of change. The works shown question the power of the mermaid, a figure that, in fairy tales, upsets or subverts established order and systems but only, in the end, to reproduce them, retaining her still position on her rock. Schwindt created these works as an attempt to strip the mermaid of her historical, cultural and social connotations, wondering whether the mermaid would then disappear or lead a revolution. The mermaid functions as the representation of unrealised potential, presenting the possibility of an alternative order that will however never be achieved unless it is completely taken apart and challenged to its very core. A series of ceramic sculptures look at ancient traditions of representing the female body, dealing with several stages of abstraction, regarding the abstract body as a potential for creating a new order. The exhibition is conceived as a choreography in which the relationship between the visitor and the objects activate multiple subjectivities.
Courtesy: Zeno X Gallery, Antwerp
Performance: 7.21(Fri) 6pm, 7.22(Sat) 2pm
Performer: Youngsun Kong, Li Ya
slide projection, 80fillms, 2sets / painting on wood panel,
181 × 46 × 1.5 cm, Collection of Tsunagi Art Museum
— Tsunagi Japan (Dusk, 19:00–19:24 Jul, 21, 2013)
— Chicago USA (Dawn, 05:00–05:24 Jul, 21, 2013)
at 30second intervals
For this work, a sunrise and sunset were photographed simultaneously as they happened at the same time on the same day in Tsunagi, Japan, and the US city of Chicago. The picture exhibited alongside the video was discovered by the artist at a public high school in Tsunagi and is an educational tool showing the sunset locations for various seasons.
The Floating Monument
glass, dimension variables, 2015–2017
Since 2015, Shitamichi Motoyuki has visited Okinawa every year to carry out this project. He has assembled glass bottles washed up on Okinawa’s beaches from surrounding China, Korea, and Japan and ground them down to make new objects. Being made of a combination of different materials, the objects are sensitive to temperature changes and extremely fragile.
HD video, sound, 5’20”, 2012
In Paramètre, the artist works by pressing his face against pieces of paper showing geometric shapes. The outlines of the face are removed as the paper is cut. With each attempt, Robert recites a text that he has written himself. Drawing is a matter of depicting three-dimensional shapes in two dimensions. The cut paper becomes sculpture as it repeatedly transformed through the artist’s delicate movements and gestures.
Courtesy: Tanya Leighton, Berlin
entrances, acrylic, dimension variables, 2017
Entrances reformulate the exhibition space by introducing two devices; an entrance that distinguishes the indoors and outdoors of the building and a corridor that leads to the gallery. Designed in consideration of the wet and hot weather during which the exhibition Moving / Image is held, these “entrances” function as a passage for the viewer, while also guide the moving line of the viewer.
Manon de Boer
The Untroubled Mind
7’39”, 4:3, 16mm transferred to digital, 2016
This video, which consists of an assemblage of brief images, comes from a collection of videos taken by Manon de Boer over a three-year period, showing the aftermath of her young son’s playing. The video captures the dynamic and creative moments of discovery that arise in the course of a child’s day; the length of the shot, each around 20 seconds or so, is the length of time it takes to hand-wind a 16-mm Bolex camera and film. With its almost stationary stillness, the image records evidence of movement and the aftermath of incident.
Courtesy: August Orts, Brussels
Shooting Star Gymnastics
- 26 / 8.10 7pm, Arko Art Center Rooftop
This work originated with the performance Very Satisfactory Satisfactory Average Unsatisfactory Very Unsatisfactory(2015), a video work recording the movements of a device made by attaching ice to a balloon. The idea came from close consideration of the five-rating index found in service satisfaction questionnaires, which raises questions about whether it possible to talk about aspects of human lives by means of quantified indices. In a performance combining sound with the movement of objects, the balloon and ice try to travel in different directions. Filled with helium, the balloon want to float in midair; the ice holds it down with its weight. At times, the two objects seem to dance in the wind, their tension sustained until the ice melts and can longer hold the balloon.
Nuiyeon Kim, Yongwan Jeon
Rhetoric—Embellishment and Digression
8.5-8.6 6pm, Gallery 2 Arko Art Center
Rhetoric focuses on embellishment of language and digressive avoidance of words in the field of rhetoric, a discipline that “studies the usage of sentences and grammar to express ideas, emotions, etc., in an effective and aesthetic manner.” Rhetoric—Embellishment and Digression is a story about the peripheral elements that surround the main things. The stories take the form of two works of fiction and two performances.
Concept, Writing: Nuiyeon Kim, Yongwan Jeon
Choreography, Dance: Minsun Choi, Jinan Kang
Music: Sangtae Jin
Lighting Design: Yeonhwa Gong
8.16-18 4pm, 7pm (2 performances per day, total 6 performances)
Arko Art Center 3F, Seminar room
This work is one segment of a group of 12 performances to be completed in the future. Its focus is on the song style known as the cheosaga, one of the 12 gasa styles of traditional Korean song. The work addressed the “tradition of imagination” established in the 20th century. Viewers experience the things that have transformed in the living cheosaga form over its centuries of history; the way it has acquired an illusory status and gravitated away from the song as a form of play; and the existence of songs that can longer serve as “entertainment.”
Concept, Text, Performance: Minhee Park
Sound Design: Younggyu Jang
Lighting Design: Yeonhwa Gong
Book Design: Jaewon Yun
Stage Production, Stage manager: Sangyeop Kim
Objet: Minhee Park(Concept/Production), Hyangro Yoon(Painting), Sangun Ho(Painting)
Producer: Jinyoung Shin
Min Oh investigates the sense of tension in her work. She focuses on performance as a medium through which to observe techniques of estimating, planning, training and organising that human beings have developed to cope within securities as well as accompanying aspects of logic, structure, concentration, process, control and tension. She received bachelor’s degrees in piano performance (1998) and graphic design (2000) at Seoul National University, and her MFA (2008) at Yale University School of Art. Her work has been exhibited at Arko Art Center, Daegu Art Museum, Kukje Gallery, Kunsthalle Erfurt, Doosan Gallery Seoul, Museum of Modern & Contemporary Art, Korea, Nam June Paik Art Center, and Nederlandsche Bank Gallery.
Mire Lee has been working individually as an artist since finishing her undergraduate studies in sculpture and video in 2013. Her work is based in various experiments with material properties and the act of creation per se, focusing primarily on the bluntness of three-dimensional media while using various forms of medium —including sculptures, installations, kinetic art, sound, and text— to explore the energy and charm of artwork and the volatility and energy inherent to the media. She has taken part in a number of special exhibitions, including the solo exhibition War Isn't Won by Soldiers It's Won by Sentiment (Insa Art Space) and the group exhibitions NERIRI KIRURU HARARA: 2016 Media City Seoul (Seoul Museum of Art), A Snowflake (Kukje Gallery), and Mobile (Doosan Gallery).
Grace Schwindt is an artist based in London working with film, live performance, and sculpture. Her theatrical sets use minimal architectural elements and props to mark a location, in which she places bodies including her own. Using choreographies that move between dance and stillness, speech, sound and silence, every move relates to institutionalised systems through which she investigates how social relations and understandings about oneself are formed. Her work investigates histories and conventions of looking and specifically of looking at bodies in the different media that she layers and moves in between. Grace has exhibited widely, including recent solo exhibitions at MARCO–Museum of Contemporary Art, Vigo (2016), Institute of Contemporary Interdisciplinary Arts, Bath (2016), Tramway, Glasgow (2015) and recent group presentations at 14th Istanbul Biennial and Art Unlimited in Art Basel in 2015.
Shitamichi is renowned for works of photography and publication based on eld research. Neither records nor archives of historical fact, his works spotlight things that have been nearly forgotten, bundled away from our daily lives and attention. Through workshops and interviews, he meets with people and uses editing to present photographs and forgotten things in the form of valid questions about the present, as objects that can be grasped in our hands. Shitamichi was awarded the Noon Art Prize at the 2012 Gwangju Biennale.
Born in the French territory of Guadeloupe, Jimmy Robert currently resides in Bucharest, Romania. His main activities include making sculptures from cut and folded paper and staging performances that show shapes linking bodies into a single sculpture. He has exhibited and performed in Europe and North America since the early 2000s including Figure de Style (Cubitt, London, 2008), Vis-à-vis (Museum of Contemporary Art, Chicago, 2012), A Clean Line that Starts from the Shoulder (Museum M, Leuven, 2015).
Donghee Kim studied printmaking in Hongik University and is currently based in Seoul. Through a performative approach, Kim copes with and reacts to the changes in surrounding conditions. His recent projects explore different spaces and initiate within them unspecific events. The focus of these temporary spaces is to provide a starting point for the events which eventually connect with one another. He organized many temporary-drifting spaces, including Free Home Project (2011–2014), Class 3 Year 6 (2012), House of Dispersed Layers (2014), Opera Coast (2015–2016), 23rd Floor (2016), Aciba Vision (2016), and West Warehouse (2016). His most recent solo exhibition was held at Audio Visual Pavilion, titled 3 Volumes (2017).
Manon de Boer
Manon de Boer, born in Kodaikanal, India, lives and works in Brussels. She graduated from the Akademie Van Beeldende Kunsten, Rotterdam, and the Rijksakademie van Beeldende Kunsten, Amsterdam. In 2006, she and her fellow artists Herman Asselberghs, Sven Augustijnen, and Anouk De Clercq set up Auguste Orts (www.augustorts.be), a platform for the production and distribution of films by visual artists. De Boer currently teaches at the Ecole de Recherche Graphique, Brussels.
Daham Yeo focuses on minor incidents and trivial, easily overlooked feelings that arise in daily life, examining them closely and using his work to pose the questions he discovers inside them. Yeo was selected in 2013 as resident artist at Seoul Art Space Geumcheon; in 2014, he was one of the final candidates for the Hermès Foundation Art Award. In 2015, he created an association for research into non-advanced technology, and in 2016 he took part in an exhibition at Meymac Contemporary Art Center in France.
Nuiyeon Kim, Yongwan Jeon
Nuiyeon Kim and Yongwan Jeon are actively involved in literary work. They have staged performances for the 2016 Multi-Arts Project MMCA × KNCDC Performance: Unforeseen (National Museum of Modern and Contemporary Art) and Dotolim concert 101 Literary Walks.
Minhee Park is a creater / performer who experiments performing art mediums. She studied Korean traditional music for more than 20 years and has been questioning the ingrained attitude of ‘doing traditional music’ and fulfilling the traditional way of thinking in music in Korean society where the western perception is already dominated and generalized. She explores the social meaning of Korean traditional music and cultural/artistic de-colonization through performances using space and body; and share her questions with audiences. She has a solo album Love, Lie (2011, Akdang Iban), and her major works include No Longer Gagok series, ( )Promenade, Their Own View, among others.
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