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
소 보 람
1984년 한국 출생
마스트리트 거주
학력
2014 파리국립예술학교, 포스트 디플롬, 프랑스
2013 파리국립예술학교, 펠리시타시옹 졸업, 프랑스
2008 한국예술종합학교 미술원 졸업
개인 프로젝트
2021 얀 반 아이크 아카데미 오픈스튜디오, 사냥꾼의 기하학, 마스트리히트, 네덜란드
2017 가면대여소, 전주, 한국
2017 그 Vs 그것, 명산여관, 전주, 한국
2016 눈동자 구멍의 넓이로 볼 수 있는 것, 전주, 한국
2016 404㎢ 에 관한 지질학, 오재미동 갤러리, 서울, 한국
콜렉티브 프로젝트
2020 이십면체로의 귀환, 게르다 블레스와 2인 프로젝트, 얀 반 아이크 아카데미, 마스트리히트, 네덜란드
2020 독립페스티발, 두번째 바람, "목격자를 찾습니다", 전주, 한국
2019 안(安)을 위한 노트, 175갤러리, 서울, 한국
2014 흩어진 세계의 가능성, 펠리시타시옹 전시, 팔레 데 보자르, 파리, 프랑스
2008 자기만의 방, 스페이스 함, 서울, 한국
수상 & 기금
2020-2021 펠로우쉽, 한국문화예술위원회
2017 창작지원기금, 전북문화관광재단, 한국
2016 신진작가지원, 전주문화재단, 한국
레지던시 프로그램
2020-2021 얀 반 아이크 아카데미, 마스트리히트, 네덜란드
2017 관두미술관 단기 레지던시, 타이페이, 대만
2017 전북도립미술관 창작스튜디오, 완주, 전라북도
2016 완주문화재단 창작센터, 누에, 완주, 전라북도
워크숍
2015 작가-큐레이터 워크숍, 인사미술공간-아르코, 서울, 한국