As is
When a familiar object is handled through an artist's eyes, the object can deliver an emotion that is not usually felt. Artists can express the particularities of objects somewhat differently - nonexistence may be felt and the invisible may be seen. Through the artist’s process, after numerous inspiring thoughts the artworks steadily reach their completion. While artists always try to express something and share it, the audience asks questions to its ambiguous expressions.
In this exhibition, by presenting their visualization process, their inner emotions and conceptual thoughts we intend to present an artist’s attitude toward thought and the new perspectives generated through the artists’ eyes.
Hyewon Kwon’s 'Memory Museum - Guro' tracks the history of a building in the outskirts of the Guro Industrial Complex. Kwon transforms the building into an imagined museum by mining the narratives found in its past. No records are left from this imagined museum, only its intangible memories are preserved and replayed. Through the chronicling of past and present a stage for memories comes to coexist inside the present. The artist communicates how the past can be channeled into the present. From an old, secret sump underground a soundtrack is recorded. Not unlike how an old sound is preserved somewhere in the building and re-played through a wall, the work integrates the sounds of the whole space that are transformed as they move through the building’s structure.
Bona Park is interested in how social structures - including the art system - operate and how people work to create individuality behind these structures. The artwork for this exhibition involves cropped photographs of hands from pictures of performances since 2011. By cropping around the hands of the performers these documentary photographs implicitly present information like race, sex, labor intensity, and profession. By including a photograph of hands that have constructed the photographic frames the artist gives a nod to those whose work makes an exhibition possible. By revealing the work of those who are usually invisible, the artwork intends to make subtle break in the structure. I believe this suits this exhibition’s subject, visualization of the Invisibles.
PARK Yoon Kyung employs a process of imaging texts and making painting installations. She presents a picture of an abstract image that possesses a different front and back. The artist says: “The process in which a text is transformed into image relates to the area that is destroyed when meaning is delivered through the frame of language.” The abstract image is read differently according to an audience’s subjectivity. The first image transmitted by the artist presents this form of meaning’s destruction. In this manner, the abstract is a ground that can accept ‘disputes,’ eliminating the hierarchy between artworks and audiences created by forms of unilateral communication. Furthermore the abstract facilitates an artistic space where artwork, audience and space are given equivalent authority. The actual space projected through the translucent screen and through the installation suggests a picture that enables open forms of interpretation by interacting with the audience, making relations with the audience.
Hyungsub Shin expresses objects in a totally new form by using industrial materials and objects from daily life. What is remarkable is the artist’s perspective and mode of visual expression where he represents the form of a natural root using artificial wire or presents unbreakable objects as crushed fragments. ‘Energy Field’ is a mutable installation made from magnets and the objects that are attracted to them. In the areas that are magnetized the objects create a certain form, but they are also easily deformed by other physical forces. The objects are spread on the ground to induce audience participation. From the perspective of the artist and while considering his expressive mode, the audience might sense the artist’s eyes when interpreting the object’s properties.
Hyunjeong Lim has interests in expressing the fairytale-like primitive world of the unconscious as a visual image. Lim does so by capturing internal scenes of an imagination and by arousing various feelings inside the viewers. The scenes in her work rearrange private imageries that are only visible to the artist, raising questions about the truth of the invisible. Through her works the artist asks if creating invisible links inside other people’s minds can become a way to understand others who live through different backgrounds and cultures.
Heo Suyoung repeatedly overlaps images, maximizing a form of visual multiplicity. When appreciating the artwork, one feels movement as if we could hear inaudible sounds. Multiple visible objects fill the scene, not allowing any empty space. Not knowing when to finish, the work tries to capture every visible thing. The artist continuously draws something in-between and on the drawn objects, as if penetrating, until she can no longer intervene. At last, there is nothing more she can do and she finishes the drawing, but after a while, she says she can still find empty spaces.
Seunghee Hong presents the depth of emotions using invisible creases. She forcefully destroys the hard unique properties of matter around an object, creating an intended gravity, and crease made by the sunken object that shows the depth of her emotion. Her work in this exhibition, ‘Force to Depth-same desk presents three desks that are deformed from their original sizes. Presenting the transformed shapes of the desks, the artist expresses the relations of space and time where the desks are positioned.
Event
Opening Reception : 2016. October 6th 5pm
