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
사진제공. 로미 핀케
사진제공. 로미 핀케
사냥꾼의 기하학
얀 반 아이크 아카데미 오픈스튜디오
퍼블릭 프로그램
마스트리히트, 네덜란드, 2021
사냥꾼의 기하학은 스나이퍼의 사격연습 노트를 기하학적 모티브로 삼아 열개의 챕터로 구성한 퍼포먼스다. 사냥꾼과 목표물의 관계를 지시하는 시각자료는 퍼포머의 신체적 제스쳐와 의복의 관계로 감각적으로 연동된다. 20세기 초 인도를 배경으로 쓰인 호세 루이스 보르헤스의 단편 푸른 호랑이들 (1977)을 푸른 사슴들(2020-)로 고쳐쓰는 작업과정에서 영감을 얻은 내러티브는, 호랑이와 사슴의 관계를 인간과 동물, 지배국가와 피지배 민족, 국가폭력과 개인의 관계로 확장된다.
신화적 존재인 푸른 호랑이를 쫒는 사냥꾼이자 스피노자 연구자인 보르헤스 글의 화자는 1904년에 발견된 푸른 호랑이가 사실은 검은 퓨마가 아니었을까 의심한다. 사냥꾼의 기하학은 1904년에 서로다른 국가에서 촬영된 두 개의 사진:중앙 아프리카에서 집단학살된 헤레로 민족과 대한제국 의병의 사진을 병치하면서 호랑이와 사슴의 구도를 지배와 피지배의 관계로 배치한다. 동아시아의 여러 국가에서 20세기 초에 촬영된 호랑이 사냥 기념사진을 반복적으로 병치시켜 지배자의 제스쳐를 호출해 나가는 과정에서 1968년 베트남 전쟁에 참전한 한국군이 살육을 즐기는듯한 포즈와 표정을 한 채 촬영된 사진과 마주한다.