Mixed Messages

김수희展 / KIMSOOHEE / 金秀希 / installation   2013_0722 ▶︎ 2013_0828 / 일,공휴일 휴관

김수희_Mixed Messages_혼합재료_가변크기_2013

초대일시 / 2013_0726_금요일_06:00pm

관람시간 / 09:00am~06:30pm / 토요일_01:00pm~06:00pm / 일,공휴일 휴관

송은 아트큐브 SongEun ArtCube 서울 강남구 대치동 947-7번지 삼탄빌딩 1층 Tel. +82.2.3448.0100 www.songeunartspace.org

내 작업의 기초 개념은 사물의 기능과 사용 그리고 이 둘의 모호한 관계에서부터 시작한다. 이는 기능과 사용에 의해 정의될 수 있는 사물의 '역할'에 주목한 것으로, 이들이 맺는 관계 또한 주어진 상황에 따라 분류될 수 있다. 한 사물이 두 개 이상의 역할을 가지고 있는 경우, 특정한 목적 없이 별다른 역할을 수행하지 않는 사물의 경우 그리고 주어진 상황으로 인해 원래의 사물의 기능을 못하는 경우 등의 예가 있다. 사물의 역할은 시간과 장소에 따라 달라지기도 하는데, 이로 인해 그 역할에 대한 판단은 어려워지고 경계 또한 모호해진다. 현실에서 사물이 만들어진 목적에 맞게 사용되었을 때 우리는 그 사물이 맡은 역할을 하고 있다고 본다. 반면, 사물이 그 역할이나 목적을 잃었을 때 그것은 우리의 일상에서 벗어나게 된다. ● 예를 들어, 아이가 태어나면 유모차의 필요성을 느끼게 된다. 유모차를 처음 사용했을 때는 아이를 팔에 안았을 때의 불편함에 비해 유모차가 훨씬 편리하다는 것을 느끼지만 한 번 익숙해지고 나면 그 편리함을 잠시 잊게 된다. 만약 유모차가 고장이 나 쓸 수 없는 상황이 되면 사용자는 또 다시 불편함을 느끼게 된다. 그리고 본래의 목적을 잃은 이 사물은 현실에서 떨어져 나오며 거리감을 갖게 된다. 하이데거는 이 순간을 '눈에 띔 (conspicuousness)'이라고 정의한다.

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우리는 낯익은 사물을 대할 때 그 기능에 대해 생각하지 않더라도 몸이 먼저 반응한다. 반면, 새로운 사물을 대할 때에는 몸이 반응하기 보다는 머리로 그 사물의 쓰임새를 유추하게 된다. 이와 같이 상반된 두 가지 상황은 사물과 자신과의 관계를 보여준다. 낯익은 사물은 우리의 몸이 그 사물을 기억해낸다. 예를 들어, 의자가 있을 때 우리는 그 기능을 따로 생각하지 않고 즉각적으로 앉는다. '의자' 라는 것은 내가 앉는 행위에 의해 그 역할이 정해진다. 하지만 평소에 접해보지 못한 새로운 사물 앞에서 우리는 사물과의 거리감을 느끼며, 몸의 반응에 앞서 그 사물이 과연 어떻게 쓰여지는가를 생각하게 된다. 우연치 않게 접하는 이런 낯선 상황은 예술적 경험과 맞닿아있다. ● 나는 이 개념을 작품을 통해 전달하고자 한다. 작품의 기본이 되는 모양은 인간의 몸에 익숙한 가정용품이나 인테리어에서 가져온다. 이러한 사물들의 기능을 전혀 다른 맥락으로 전환시킴으로써 그 본래의 역할을 수행하지 못하게 된다. 이것은 순수한 사물 자체와 조우할 수 있는 순간이 된다. 나는 이 순간에 대한 이야기를 내 작업과 설치로 풀어내고 싶다.

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When we stand before a piece of art we engage in a relationship with the work, and without thinking our mind and bodies begin to react. This reaction is ultimately influenced by the totality of our knowledge of the world around us and our capacity to see beyond the limits of our understanding. We must dare to venture beyond the daily traditional media as well as the increasing digital media flowing over and through our world. ● This is a world shaped by previous generations hoping to create a modest, rationalist conception drawing from 18C enlightenment. Amongst its many aims was a desire to be free from authoritarian forces designed to limit human relations and subjugate people. This process of shaping our world through 'little nudges' is both continuous and far removed from the utopian dreams that once lay at the heart of nefarious political and economic ideologies which leached out of a beleaguered Europe. Time shows all those who strive to see, that all is not quite what at first it may appear to be. It would appear that in todays world of economic uncertainty, celebrity culture, an expanding global political elite, and ever increasing pressures to embrace consumerism, we might well all benefit from taking a second look. ● As we go about our familiar world we increasingly make associations based upon our experiences of form, function, space and time, and it is easy to assume that when we are confronted with the unfamiliar, there must be a mistake; someone is having a joke at our expense. After all, we take much pleasure in decoding objects, photos, film plots and in turn and by turns, excitedly discussing our findings with friends eager to share in our understandings. And in a subtle turn from Plato's allegorical 'Cave' story, we must understand the difference between what we think we see and understand and what we are actually capable of seeing and understanding. As with much of our lives, we strive to live in such brief sublime moments whilst endeavoring to avoid the less pleasant occasions. ● It is precisely at this point of confrontation where the work of artist SooHee Kim begins its conversation. A first glance of her artworks reveal nothing apparently threatening as the form, shape, space and time all appear to comprehend with what we understand. Cupboards, chairs, tables and drying racks all skillfully and lovingly made by the artist, appear as familiar as any household object. Yet these objects are from a shadow world of ambiguous boundaries, to quote Kim, where there is little relation to function and use. The apparent familiarity of the object has led us to form an understanding of its intended use and usefulness, and yet as we look closer we understand the object could not possibly perform its assumed function as it has been rendered useless through its less immediately noticeable characteristics. This is normally the preserve of rubbish and broken objects having served their purpose. ● Yet these pieces show no sign of daily use, wear and tear, neither have they served out their time as consumer goods. There are no scratches, stains, dents or scrapes with which we relate to memory and a lived past. Kim's works are indeed beautifully made and presented in pristine condition, so how do we react when we first realise they hold no purpose or function ability in relation to their associated forms? In reality we should be considering our reaction to this feeling and not the objects physical form. In her own words, Kim states, 'I focus on this moment. The perplexity of this moment is similar to the artistic experience.' Basis household products and objects which relate to the human form, and yet through a subtle turn of physical emphasis, the function is changed and lost, yet its role is not, as we now must engage the object as a pure object, and not one with a familiar and intended use. This is after all the function of any artwork. ● Kim's works are real, yet they hold no recognisable place at the table of reality. We are invited to dwell in the circumstance of this sublime moment, and yet she is not the first artist to do so as she stands in very good company. Nearly one hundred years ago, Marcel Duchamp placed a men's latrine into an art exhibition demanding the viewer question their understanding of what is to be considered art. A different question to that which Kim asks, and yet the experience is lived in the single moment of comprehending the question and the subsequent journey required to find the answer. ● The components of Kim's new forms hold good and offer up stirrings of new possibilities. This is possible because the works bring together elements of life held apart by the media and through circumstance of our subsequent limited understandings. Kim's work opens a negotiation with the intelligible, and through this she enters a dialogue; the invention of relations between disparate levels of consciousness. She invites us to live in the moment of knowing the artwork, and its complex relationship with the world. All at once we are at the ideological opposite of authoritarianism. ● Today, art works are less of a luxury reflecting the 'glorious past' and more of a theoretical horizon where human interactions become social context. Louis Althusser described this aesthetic of relations as a 'materialism of encounter,' for which there is no purpose in the material form, even though this form is typically a recognisable feature of our world. We must break the confines of our understanding of form as merely physical, material and functional. Kim's objects are orphans of the material consumerist world, possessing no discernable place, hailing from no family of objects or belongings. We are not to be deceived by their apparent recognisable shape and the allusion to an apparent function. We must cast aside concerns of beauty and taste and nostalgia for an historic presence. ● Kim opens a conversation of the missing contents, whose apparently recognisable features offer the viewer a place of pleasure - the thought that reason should not exceed presentation - or pain - accepting imagination should not exceed the concept. In that moment of understanding the ambiguity of these objects and our subsequent reaction to this feeling, we are invited to dwell and open our minds to new possibilities and consciousness. The theoretical journey may indeed be long, but we must have open minds as the shadow of Duchamp reaches well into the 21C. Perhaps with time Kim's Egg Drier 2009 and the subsequent performance, or pieces such as Stair Case 2001 and Safety Gate 2012 will come to exemplify the early work of a growing reputation. There is little doubt she continues a dialogue touched upon by amongst others Joseph Beuys, and not just in the nature of the materials used but in the apparent random nature of the questions she asks. But do not be fooled as there is nothing random at work here. Kim demonstrates a focused line of thought and questioning which will hold greater meaning as her body of work expands. With time artists theoretical and working practices begin to develop, inspiring new avenues of work. It won't be long before Kim begins to scale the heights where reputations are formed, and perhaps witness her own growing shadow. ■ Andrew Mitchell

Vol.20130722e | 김수희展 / KIMSOOHEE / 金秀希 / installation