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
404km²에 관한 지질학, 2016
검색창에 404km²을 입력하면,
404km², 대한민국 국토(99,720km²)의 0,4퍼센트이다.
404km², 서울시 면적(605km²)의 3분의 2에 해당한다.
404km², 대한민국 개인토지 소유자 상위 100명이 가진 토지면적의 총합과 일치한다.
(2008년 행정자치부 ‘세대별 토지보유 현황’)
404km², 낙동강 유역의 토지 총 면적(23,708.7km2) 중 대지면적-집터로서의 땅의 총합과 일치한다.
(2008년 환경부 ‘선진형 수질개선 대책마련 및 타당성조사’)
404km², kejimkujik 국립공원(캐나다)의 면적과 일치한다.
404km², 모헬리국립해양공원(모잠비크)의 면적과 일치한다.
404km², Gantrisch 국립공원(스위스)의 면적과 일치한다.
404km², Nelapattu 조류보호구역(인도)의 면적과 일치한다.
404km², Espace Belledonne, 북부 보호산악지대(프랑스)의 면적과 일치한다.
사라진 웹페이지를 찾으려고 할때,
404 에러페이지(Error 404)가 나타난다.
사라진 404km² 는 ( )이다.
