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
SEARCHING FOR WITNESS, JEONJU, KR, 2020
This project aims to examine the power dynamics between urban regeneration projects, and art, concerning the closure of a red-light district ‘Sunmichon’. Sunmichon is a controversial place especially regarding the context of gentrification. As a participating artist and a witness to its problematic relation, I question the position of art and artist in the district, presenting five European paintings of the 18th-19th century.
The five paintings are revelations of the power structure, described by the artist was a witness of the time. I have speculated that the composition of «The rapt of Proserpina, Joseph-Marie Vien, 1767» that had an influence on the next four paintings; «The Massacre at Chios, Eugène Delacroix, 1824», «Beating at Four Stakes in the Colonies, Marcel Antoine Verdier, 1849», «The death of the deer, Gustave Courbet, 1867», «The First Day of School, Johann Peter Hasenclever, 1852».
These paintings are composed of a figure on the right side who is about to commit violence towards on the opposite side, describing the power dynamic between male & female, conqueror & immigrant, whites & blacks, human & animal, and adult & child, as well as onlookers who are observing the violence. I identify myself to the onlookers inside the paintings and the artist who painted the work at the same time, as a witness of the political and economic structure involved with the district.
Veiling the figure with a red circle that corresponds to the position of onlookers on each painting, I printed out the paintings and installed them in the neighborhood such as on the walls of administrative agency, window prostitution building, women's rights center, and travel agency. Through the work, I invite the visitors to participate in this event to be a third-party witness, searching for onlookers in the paintings.
* The permission of each image is granted to reproduce for publication by 5 institutions ; Musée de Grenoble/Ville de Grenoble(France), RMN-Grand Palais(Musée du Louvre,France), Musée des beaux- arts et d'archéologie, Besançon(France), The Menil collection, Houston(USA), Image Korea & sponsored by The Ministry of Culture, Sports and Tourism of the Republic of Korea and Jeonju municipal government.
The rapt of Proserpina,Joseph-Marie Vien, 1767, Musée de Grenoble
Installation view at 698-9 Seonosong-dong, Jeonju
( February 21 - March 06, 2020), as part of Print/Out,
Photo by Minkyoung Choi
