동시적 울림

Simultaneous Echoes展   2014_0723 ▶︎ 2014_0930 / 월요일 휴관

워크샵 / 2014_0728_월요일_07:00pm

"한국 현대 미디어 아트와 백남준의 유산들" 워크샵 장소 / 포르타밧 미술관 본관 B1 세미나실

참여작가 섹션 1 / 이이남_뮌_오용석 섹션 2 / 유비호_이종석_임상빈 섹션 3 / 류호열_박준범_한경우_이예승

기획 / 손영실(예술감독_경일대 교수) 주최 / 주 아르헨티나 중남미한국문화원 협찬 / 삼성전자 후원 / 한국문화예술위원회

관람시간 / 12:00pm~08:00pm / 월요일 휴관

포르타밧 미술관 Colleccion de Arte Amalia Lacroze de Fortabat Olga Cossettini 141 Puerto Madero Este (1107) Buenos Aires, Argentina Tel. +82.54.11.4310.6600 www.coleccionfortabat.org.ar

『동시적 울림(Simultaneous Echoes)』展이 오는 7월23일부터 9월30일까지 아르헨티나 부에노스 아이레스에 있는 포르타밧 미술관 본관 2층에서 열린다. 이번 전시는 2000년대 이후 활발한 활동을 펼쳐온 한국 미디어아트 작가들의 작품들을『동시적 울림』이라는 주제 하에 구성하였고 오용석, 이이남, 뮌, 이종석, 유비호, 임상빈, 류호열, 박준범, 이예승, 한경우 작가의 작품들을 한 자리에서 만날 수 있는 소중한 기회가 될 것이다. ● 본 전시는 미디어에 관한 혹은 동시대 한국 사회를 바라보는 다양한 관점을 보여주는 2000년대 이후 등장한 한국 미디어 아트 3세대 작가들의 작업을 통해 한국 미디어 아트의 조형 언어를 분석하고 그 실천의 의미를 살펴보고자 한다. 그와 동시에 백남준의 미디어를 향한 시선과 한국 미디어 아트에 끼친 그의 영향을 현 세대의 젊은 작가들의 작업들을 통해 병렬적으로 고찰하면서 한국 미디어 아트의 현재 진행형 담론을 제시하고자 한다.

이이남_미인도와 벨라스케스 그리고 개미이야기_LED TV, 영상_00:04:00_2011
뮌_앙상블 Ensemble(Ethics Business)_링 미니어처, 안개 장치, 사운드_15×40×40cm_가변설치_2014
오용석_Drama No.5_2채널 영상_00:04:33_2006

2014년은 백남준의 인공위성 프로젝트「굿모닝 미스터 오웰」이 소개된지 30주년이 되는 의미있는 해이다.「굿모닝 미스터 오웰」의 TV 생중계는 한국 미디어 아트의 흐름에 있어서 일대의 전환기를 제공했는데, 비디오 아트의 창시자로서의 백남준을 일반 대중들에게 알리는 중요한 계기가 되었을 뿐만 아니라 동시에 새로운 예술 형태인 비디오 아트에 대한 인식의 확산에 힘입어 한국 미디어아트 1세대 작가들의 등장에 직접적인 영향을 미쳤다. 따라서 본 전시는 한국 현대 미디어 작가들의 작업들을 제시함과 동시에 한국 미디어 아트에서의 백남준의 영향을 젊은 작가들의 작업을 통해 병렬적으로 고찰해보고자 한다. 이러한 시도는 백남준과 젊은 미디어 아트 작가들의 미디어 아트에 관한 시선과 사회를 바라보는 시선에 있어서의 차이와 간극을 드러냄과 동시에 급격하게 개인화되어진 미디어의 변용에 대한 중요한 시사점을 제공하리라 기대된다. ●『동시적 울림』展은 정치적, 문화적, 사회적 정체성이 급격하게 재편되고 전이되는 변모의 과정을 거쳐온 한국 현대 사회 속에서 한국 현대 미술과 미디어 아트, 백남준과 그의 유산들, 사회와 개인, 예술과 삶, 기술과 예술과 같은 이항대립적 관계를 통해 파생되는 동시적 울림에 주목한다. 동시적 울림을 만들어내는 이러한 대립적인 관점들은 작가들의 창조적 상상력에 의해 새로운 예술적 비전으로 적절히 구축되고 변형되어져 나타난다.

유비호_Invisible City_단채널 영상, 퍼포먼스_00:07:25_2006
이종석_Urbanwave-Redeveloped_단채널 HD 영상_00:03:20_2014
임상빈_IM SANG BIN_단채널 영상_00:11:35_2013

본 전시는 3개의 섹션으로 구성된다. 첫 번째 섹션 '이면의 여정(Reverse Journey)' 는 역사와 기억에 관한 담론들로, 한국 사회의 역사적, 문화적 혹은 개인적인 기억들을 끄집어내며 일상의 층위를 본질적인 물음으로 환원시켜내는 작업들로 구성된다. 두 번째 섹션 '도시풍경과 내밀함(Cityscape and Intimacy)' 은 현대 사회에서 개개인의 삶과 그 시선을 보여주는 작업들로 구성된다. 세 번째 섹션 '장면의 뒤에서(Behind the Scene)' 은 세상을 마주하고 그 속에 오롯이 자리 잡고 있는 우리의 인식들을 뒤집어 볼 것을 제언하는 작가들의 작업들로 구성된다. ● 이번 전시는 디지털로의 예술적 환경 전이를 몸소 경험하며 새로운 감수성으로 미디어 아트를 받아들이고 2000년대 이후로 본격적인 활동을 해온 작가들의 작품들을 통해 한국 현대 미디어 아트의 새로운 지표를 제시하는 행위가 될 것이다. 그와 아울러 한국 현대 미디어 아트의 흐름을 보여줄 수 있는 본 전시가 아르헨티나에서 개최됨으로써 양국의 상호 문화 교류 및 한국 미술을 소개하는 중요한 계기를 제공할 것이다. ■ 손영실

류호열_Baum_단채널 HD 영상_00:03:00_2014
박준범_송도 만들기_3채널 영상_00:05:00_2009~14
한경우_Star Pattern Shirt_단채널 영상_00:05:17_2011
이예승_CAVE into the cave: A wild rumor_인터랙티브 미디어 설치_가변설치_2013

This exhibition is to analyze formative language of Korean media art, by examining the meaning of its practice created by Korean media artists appeared since 2000s with various viewpoints regarding media or toward contemporary Korean society. At the same time, Nam June Paik's view toward media and his influence on Korean media art are studied with works of current young artists in a parallel manner to suggest discourse of Korean media art continuing in the present. ● Contrasting true reality and recorded one, video enables not only reflecting reality but also contemplating it. History of art-oriented video started from works of Paik in 1965. He early recognized social and formal importance of video art and gave birth to a new genre of video art by utilizing television set. His unrivaled role as mainstreaming electronic image art into modern art by using video and television is worthy of marking a new era in media art. His works were not restricted or limited by video technology or television systems. Rather, he brought innovation to creative expressions through changing form and structure of electronic images and positions of electronic images in space and television. He developed new tools to realize electronic images in cooperation with experts and kept improving contents for his works, visual images and formative shapes by integrating high-tech computers and digital technology with his artworks. Various video works and constantly changing images of Paik are not only to be a memory of history in the past but to present his wish and future visions toward open mass media in which individuals around the world and imagination and participation of local communities are reflected. This exhibition focuses on the media art in Korea. His influence on media art is enormous internationally. But now it is time to think of his heritages in Korean media art, because studies have focused only on Nam June Paik and his video art for quite a long time with no serious discussion in him and Korean art, especially in Korean media art. ● Paik was not known to Korean society until early 1960s but even in late 1960s, only a part of artistic figures recognized him. In his「Good morning Mr. Orwell」, the satellite project which connected Seoul, Paris and New York in the morning on January 1st 1984, Paik ridiculed Orwell's prediction in his novel『1984』that 'mankind will fall in 1984 for being subordinate to mass media' and imprinted new vision of image media as an artistic one with mutual communication. Live broadcast of「Good morning Mr. Orwell」on TV greatly impacted Korean society and Paik as the founder of video art came to be widely known to public and at the same time, people started to recognize video art, the new artistic form. Flashy image using Paik's video synthesizer and destruction of art created a great sensation to young artists who grew up within the process of media being generalized and in Korean society at that time where industrialization and urbanization were dominant and provided a turning point in the flow of Korean media art. ● It is further difficult to define media art in national or regional terms, since it has always been a nomadic form. However, the spectacle video installation method which exhibits Paik's television and single channel video in the form of sculpture or installation art were actively accepted especially by Korean media artists of mid-80s and they were sometimes demonstrated as Korean distinctiveness. They headed to seeking formativeness based on installation along with issues of new media and artistic forms. As formative expressions using leading-edge technology and artists focusing on new aesthetic experience emerged afterward, Korean media art came to grow rapidly. ● Since mid-90s, however, works approaching to the relation of cutting-edge technology and life have appeared rather than visual effects made by technology and more single channel video works than video installation started to increase and diversified forms of art were pursued through highlighting daily subjects or reality-participatory tendency which discussed problems in Korean society from a critical view or in personal themes. Harmonizing new concept creation through media and aesthetic experience in late 90s, media art was settled as one genre in Korean modern art. The media artists emerging after mid-90s on the basis of single channel video rather than new technology offered their independent views toward personal and private issues or to Korean society to demonstrate critical consciousness to reality in a descriptive manner, which was to express diversified values and cultures. ● As media become more accessible and varied, the public, specially in Korean society enters an era that seemingly allows more room for self-expression and individuality. The exhibition『Simultaneous Echoes』investigates the tensions derived from distinctive and opposing relations such as Korean modern art and media art, Nam Jun Paik and his legacy, society and individual, art and life, technology and art, in Korean society within shifting terrain where political, religious and cultural identities are being recharted,. This contrasting perspective making simultaneous echoes could very well be made up of a new vision of reason enriched by creativity and imagination. In selecting this theme, we paid special attention to the reality in Korea where the internet and cyber environment are developing into their extremes and the virtual/actual, and high-tech/low-tech. and traditional/modern are mixed and coexist. Following upon digital- video revolution of the nineties, the first decade of the new millennium has brought another new technology which is slowly, but surely ringing in the end of the celluloid format: high definition video. The attention of video artists has been turning more and more to the use of cinematic techniques. New media artists' generation emerging after 2000s is one interface to create new relations and contexts and they show various manners such as approach to interactivity as making media works or stipulating the overall process of imagery imagination to succeed and simultaneously change established works in media art by utilizing developmental aspects of technology. ● This exhibition is composed of three sections. The first section 'Reverse Journey' is composed of works which allow the layers in daily life to return to essential things by recalling discourses in history and memory which are specially related with the historical and cultural experiences in Korean society or personal ones . Artists pay attention to the dynamic relationship between memories and the present. Contemporary media art involves the world we are in and produces realities in parallel with the world. " The second section 'Cityscape and Intimacy' is composed of works which show individual lives and views upon them. It particularly raises a question on individualized life in cities. Media artists are invited to put forth cultural and artistic perspectives on recent shifts in technology. The distinguished body of works of artists have helped to shine a light on some of the most critical and urgent issues of our time. The developments which have taken place in media and technology have not only changed our daily lives but inspired new artistic visions and motives. The third section 'New Dialogue, Behind the Scene' is composed of works whose artists propose to overturn our cognition which is deeply settled within us facing the world. Media artists indicate new tendencies of media art, not depend on totally on the technology. They try to have a totally new viewpoint about their times as Nam June Paik and new language based on the perception. We will look back at today's paradoxical situation up to the point where the complexity, connectivity, perplexity, uncertainty come together. The meaning of adopting new devices is to enable them to think. The role given from screen space can be discovered in an aspect that thinking actually behind the scene is offered. Video as media can expose distortion revealed in the process that the relation of time and media is contemplated and perception goes to cognition. ● This exhibition would be an act to present a new indicator in Korean media art through works of artists emerging after 2000s who have grown up through experiencing themselves the rapid transfer in artistic environment for inflow of digital technology and also through accepting media art with new emotion. In addition, as commemoration for 30th anniversary of「Good Morning Mr. Orwell」of Nam June Paik, this exhibition would compare his media art and young Korean media artists' viewpoints toward media and make a diagnosis of contemporary media art. ■ SOHNYOUNGSIL

Vol.20140723d | 동시적 울림 Simultaneous Echoes展