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
눈동자 넓이의 구멍으로 볼 수 있는 것, 전주시, 2016
이 프로젝트는 전주시 성매매집결지 선미촌에서 우연히 줍게된 타인의 인조 속눈썹을 통해 장소와 나, 성매매여성과 나 사이에 우발적으로 발생한 좁혀진 거리감에 관한 사유에서 출발하였다. 속눈썹이 가진 여러겹의 휘어진 곡선형태를 조형적으로 확장하여 관객의 신체를 구속하는 긴 통로를 만들어 그 사이를 통과하도록 제안하였고, 이를 통해 여성을 향한 오랜 억압의 역사를 은유하고자 했다. 통로의 입구는 포주의 방에 나있는 낮고 좁은 문으로, 출구는 폐허가 된 개인의 집으로 설정하였다.
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 땅-
의 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.
