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2020, installation view @DOOSAN Art Center (photo: Hong Cheolki/ Baufoto)



์ตœ์œค, ยซ๋งˆ์Œ์ด ๊ฐ€๋Š” ๊ธธยป


๋‘์‚ฐ๊ฐค๋Ÿฌ๋ฆฌ ์„œ์šธ์€ 2020๋…„ 5์›” 6์ผ๋ถ€ํ„ฐ 30์ผ๊นŒ์ง€ ์ตœ์œค์˜ ๊ฐœ์ธ์ „ ยซ๋งˆ์Œ์ด ๊ฐ€๋Š”๊ธธยป์„ ๊ฐœ์ตœํ•œ๋‹ค. ์ตœ์œค์€ 2019๋…„ ๋‘์‚ฐ๋ ˆ์ง€๋˜์‹œ ๋‰ด์š• ์ž…์ฃผ์ž‘๊ฐ€ ๊ณต๋ชจ์— ์„ ์ •๋˜์–ด์˜ฌํ•ด 7์›”๋ถ€ํ„ฐ 12์›”๊นŒ์ง€ ๋‘์‚ฐ๋ ˆ์ง€๋˜์‹œ ๋‰ด์š•์— 6๊ฐœ์›”๊ฐ„ ์ž…์ฃผํ•  ์˜ˆ์ •์ด๋‹ค. ์ตœ์œค์€ ํ†ต์†์  ์ด๋ฏธ์ง€์™€ ๊ทธ ์ด๋ฏธ์ง€์— ์ˆจ๊ฒจ์ง„ ์ง‘๋‹จ์  ๋ฏฟ์Œ์˜ ์ƒํˆฌ์„ฑ์— ๊ด€์‹ฌ์„ ๊ฐ€์ ธ์™”๋‹ค. ๊ทธ๋ฆฌ๊ณ  ๊ธธ๊ฑฐ๋ฆฌ๋‚˜ ๊ณต๊ณต์žฅ์†Œ, ๋Œ€์ค‘๋ฌธํ™” ์‚ฌ์ด๋ฅผ ๋– ๋„๋Š” ํ‰๋ฒ”ํ•˜๊ณ  ์ง„๋ถ€ํ•œ ์ด๋ฏธ์ง€๋“ค์„ ํฌ์ฐฉ, ์ˆ˜์ง‘, ๋ณ€์ข…ํ•˜์—ฌ ์˜์ƒ, ์„ค์น˜, ํผํฌ๋จผ์Šค ๋“ฑ์œผ๋กœ ์„ ๋ณด์˜€๋‹ค.


โ€˜๋งˆ์Œ์ด ๊ฐ€๋Š” ๊ธธโ€™์ด๋ผ๋Š” ๋ง์€ ๊ธ€์ž ๊ทธ๋Œ€๋กœ, ๋„ˆ๋ฌด๋‚˜ ํ”ํ•œ ํ‘œํ˜„์ด๋‹ค. โ€˜๋งˆ์Œโ€™์ด๋ผ๋Š” ๋‹จ์–ด๊ฐ€ ๊ฐ–๊ณ  ์žˆ๋Š” ๊ด€์Šต์ ์ธ ์ƒ๊ฐ ๋•Œ๋ฌธ์—, ์•„๋งˆ ๋งˆ์Œ์ด ๊ฐ€๋Š” ๊ธธ์€ ํ•œ๊ฒฐ๊ฐ™๊ณ  ์ˆœ์ˆ˜ํ•  ๊ฒƒ ๊ฐ™์€ ๋Š๋‚Œ์„ ์ฃผ๊ฒŒ ๋œ๋‹ค. ํ•˜์ง€๋งŒ ์‹ค์ œ๋กœ ๋งˆ์Œ์ด ๊ฐ€๋Š” ๊ธธ์€ ๋•Œ๋กœ๋Š” ๋ณ€๋•์Šค๋Ÿฝ๊ณ  ์„ธ์†์ ์ด๊ธฐ๋„ ํ•˜๋‹ค. ์ตœ์œค์€ ์ด๋Ÿฐ ์ƒํˆฌ์ ์ธ ๊ด€๋…๊ณผ ๊ทธ ์ด๋ฉด ์‚ฌ์ด์—์„œ ์ƒ๊ฒจ๋‚˜๋Š” ์ด์ƒํ•œ ๊ฐ์ •๊ณผ ์ƒ๊ฐ๋“ค์„ ์Œ“์•„ ๋‚˜๊ฐ„๋‹ค. ์ด๋ฒˆ ์ „์‹œ ยซ๋งˆ์Œ์ด ๊ฐ€๋Š”๊ธธยป์—์„œ ๊ทธ๋Š” 2017๋…„ ๊ฐœ์ธ์ „ ์ดํ›„๋กœ ํฌ๊ณ  ์ž‘์€ ์ „์‹œ์—์„œ ์ง„ํ–‰ํ•ด ์˜จ ์ž‘์—…๋“ค์„ โ€˜๊ฒŒ์‹œโ€™์™€ โ€˜๊ฐฑ์‹ โ€™์ด๋ผ๋Š” ๋ฐฉ์‹์œผ๋กœ ๋‹ค์‹œ ๋ถˆ๋Ÿฌ์˜จ๋‹ค.


์‚ฌ๋ฌด์‹ค ์นธ๋ง‰์ด๋ฅผ ์‚ฌ์šฉํ•ด ๊ณต๊ณต๊ฑด๋ฌผ์ฒ˜๋Ÿผ ๊พธ๋ฉฐ์ง„ ์ „์‹œ์žฅ์€ ๋ฒฝ์— ๊ฑธ๋ ค ์žˆ๋Š” โ€˜๊ฒŒ์‹œโ€™์˜ ๊ณต๊ฐ„๊ณผ ๋ฐ”๋‹ฅ์— ๋†“์—ฌ ์žˆ๋Š” โ€˜๊ฐฑ์‹ โ€™์˜ ๊ณต๊ฐ„์œผ๋กœ ๋‚˜๋‰œ๋‹ค. ์ตœ์œค์€ ์ง€ํ•˜์ฒ , ๊ด€๊ณต์„œ, ๋„์„œ๊ด€, ์˜จ๋ผ์ธ ์ปค๋ฎค๋‹ˆํ‹ฐ ๋“ฑ์˜ ๋‹ค์–‘ํ•œ ๊ฒŒ์‹œ๋ฌผ ์†์—์„œ ์‹œ๊ฐ์  ๊ถŒ๋ ฅ์ด ๋‚ด๋ฉดํ™”๋˜๊ณ  ์žฅ์‹ํ™”๋˜๋Š” ๋ฉด๋ฉด์„ ํฌ์ฐฉํ•œ๋‹ค. ์ด๋Ÿฌํ•œ ๊ฒŒ์‹œ๋ฌผ์˜ ๋ฒฝ ์‚ฌ์ด๋กœ ์ตœ์œค์˜ ์ž‘์—…์—์„œ ๋–จ์–ด์ ธ ๋‚˜์˜จ ์ž‘์€ ์กฐ๊ฐ๋“ค์ด ์Šค์Šค๋กœ๋ฅผ ๊ฐฑ์‹ ํ•ด๊ฐ€๋ฉฐ ๋ชธ์„ ๋ถˆ๋ ค๋‚˜๊ฐ€ ์‚ฌ๋žŒ ํฌ๊ธฐ๋งŒํผ ์ปค์ง„ โ€˜์ฒ™์ถ”๋™๋ฌผโ€™๋“ค์ด ์ž๋ฆฌํ•œ๋‹ค. ๊ทธ๋ฆฌ๊ณ  ์ „์‹œ์žฅ ์ค‘์•™์— ์ž๋ฆฌ์žก๊ณ , ์‚ฌ๋ฐฉ์œผ๋กœ ์ˆ˜๋งŽ์€ ๋””์ง€ํ„ธ ์ด๋ฏธ์ง€๋“ค์„ ํ˜๋ ค ๋ณด๋‚ด๋Š” ์˜์ƒ โ€น๊ฒŒ์‹œ๊ณ„์‹œ๊ฐœ์‹œโ€บ(2020)์™€์‚ฌ์šด๋“œ ์ž‘์—… โ€นํ˜ธ๋Ÿฌ ์—๋กœ ์ฒœ๋ฐ• ์ฃผ๋ฌธโ€บ(2020)์€ ๋Š์ž„์—†์ด ๋ฐ˜๋ณต๋œ๋‹ค.


์ตœ์œค์ด ๋‹ค์‹œ ํ•œ๋ฒˆ ์ „์‹œ์žฅ ์•ˆ์œผ๋กœ ๋ถˆ๋Ÿฌ๋“ค์ด๋Š” ์ด๋ฏธ์ง€, ์‚ฌ๋ฌผ๋“ค, ์˜์ƒ๊ณผ ์‚ฌ์šด๋“œ๋Š” ์–ธ์  ๊ฐ€ ๋ณด๊ณ  ๋“ค์—ˆ๋˜ ๊ฒƒ๋“ค์ด๋‹ค. ๋•Œ๋•Œ๋กœ ์ฃผ์š”ํ•˜๊ฒŒ ์ž‘๋™ํ•˜๋Š” ๋งŽ์€ ๊ฒƒ๋“ค์€ ๋ˆˆ์— ์ž˜ ๋„์ง€ ์•Š๊ฑฐ๋‚˜, ๊ฑฐ์Šฌ๋ฆฌ๋Š” ์†Œ๋ฆฌ, ๋ง์—†๊ณ  ๋ณด๊ธฐ ์‹ซ์€ ๋ฏธ๊ฐ์„ ๊ฐ€์ง„ ๊ฒƒ๋“ค์ด ๋œ๋‹ค. ์ˆœ์ˆ˜ํ•˜๋ฉด์„œ๋„ ๋ณ€๋•์Šค๋Ÿฌ์šด ๋งˆ์Œ์ฒ˜๋Ÿผ, ์ตœ์œค์€ ์ง„๋ถ€ํ•จ์— ๋ฌปํ˜€์žˆ๋˜ ๋„ˆ๋ฌด๋‚˜ ํ•œ๊ตญ๋‹ค์šด ํ’๊ฒฝ์„ ๊ฐฑ์‹ ํ•˜๊ณ  ๊ฒŒ์‹œํ•˜๋ฉด์„œ ์šฐ๋ฆฌ ์‚ฌํšŒ๊ฐ€ ๋ฐ”๋ผ๋ณด๊ณ  ์žˆ๋Š” ๊ฒƒ๊ณผ ๊ฐ€๊ณ  ์žˆ๋Š” ๊ณณ์„ ๋‹ค์‹œ ๋ฐ”๋ผ๋ณด๊ฒŒ ํ•œ๋‹ค.


๋‘์‚ฐ๊ฐค๋Ÿฌ๋ฆฌ ์„œ์šธ
www.doosangallery.com






Yun Choi, Where the Heart Goes


DOOSAN Gallery Seoul presents Where the Heart Goes, a solo exhibition of Yun Choi from May 6 to 30, 2020. Selected for DOOSAN Residency New York in 2019, Choi will be partaking in the residency in New York for 6 months from July to December of this year in 2020. Choiโ€™s interest lies in clichรฉ images and the sense of banality in the collective faith hidden behind such images. She captures and col-lects common and banal images that float around in the streets, public places and in popular culture, playing variations on them through her video, installation and performative works.


โ€˜Where the heart goesโ€™ is literal expression, one that is excessively mundane. The conventional notion in the word โ€˜heartโ€™ gives the expres-sion a sense of steadfastness and purity. However, in reality, the way the heart goes is at times fickle and temporal. Choi explores this space in between such clichรฉ notion and what lies on the other side, accumu-lating the strange and uncanny responses and sensations that arise
in such space. In Where the Heart Goes, Choi โ€˜postsโ€™ and โ€˜updatesโ€™ her works previously shown in various exhibitions since her solo show in 2017.


The exhibition space is partitioned like an office and staged like a public building, divided into the space of โ€˜postโ€™ on the wall and space of โ€˜updateโ€™ on the floor. Choi captures how visual power is internalized and decorated in the various posts found in subways, public offices, li-braries and online communities. In between the walls of such posts, the small sculptures that take off from Choiโ€™s works renewed themselves, enlarging into โ€˜vertebratesโ€™ in human size. Finally, endlessly repeated in the center of the exhibition space are the video work NoticeRevelation-LaunchClock (2020), which omnidirectionally sends out infinite digital images, and the sound work Horror Eros Vulgar Spell (2020).


The images, objects, videos and sounds summoned into the exhi-bition space by Choi have all been seen or heard at one time or another. But many things that may have had an important role at one point are no longer so obviously visible, or have become an annoying sound or an eyesore. Like the heart thatโ€™s simultaneously unconditional yet fickle, Choi revives and posts up the banal landscapes that are so typically Korean, inviting us to reflect on what our society is looking at and where itโ€™s headed.


DOOSAN Gallery Seoul
www.doosangallery.com