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
페르세포네의 납치, 조세프 마리 비앙, 1767, 그르노블 미술관
전주 서노송동 698-9 설치전경 ( 2020. 2월 21 - 3월 6일 ), 사진. 최민경
Installation view of Jan van eyck academie openstudios 2021 Still cut, The geometry of the hunter, Single channel video, 2021
Taxidermists' waiting room
The Brain Mixologist, A Tale of a Tub
로테르담, 네덜란드, 2021
박제술은 동물의 가죽을 보관하는 방법으로, 동물의 죽은 몸에서 껍질을 벗기고 부패를 방지하기 위해 처리한 후 살아 있을 때와 같은 모습을 재현한다. 〈박제사의 대기실〉은 작가의 몸의 일부를 캐스팅하고, 전시기간동안 식물성 미생물 발효가죽을 수조에서 3번 배양하여 흩어진 몸의 제스처를 살아있는 물질로 봉인한다. 전시장의 개방되지 않는 공간에서 박제사를 연기하는 작가는 시간에 따라 물성이 변형되는 식물과 동물 사이에서 새로운 몸을 기다린다. 3주에 한번 진행되는 퍼포먼스는 은폐된 공간과 연결된 외부 모니터를 통해 투사되고, 내부 공간은 벽에 뚫린 몇 개의 구멍을 통해서만 분절된 채 공개된다.
*오션 뷰옹의 장편소설_On Earth We’re Briefly Gorgeous, 2019
사진제공. A Tale of a Tub