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Special Exhibition 《Common Front, Affectively》
Period/ 2018.03.22(Thu) ~ 2018.06.24(Sun)
Venue/ Nam June Paik Art Center 2F
■ Overview
Exhibition Title
Common Front, Affectively
Period
22 March 2018- 24 June 2018
Venue
Nam June Paik Art Center 2F
Opening
22 March 2018 4pm
Curated by
Hyunjeung Kim(Curator, Nam June Paik Art Center),
Seong Eun Kim(Chief researcher, LEEUM Samsung Museum of Art)
Artists
Hyewon Kwon, Daum Kim, Ragnar Kjartansson⦁The National, Rosalind Nashashibi, Bojan Djordjev(with Katarina Popović and Siniša Ilić), Cécile B. Evans, Ed Atkins, Ignas Krunglevičius, Yunjung Lee, Everyday Practice, Femke Herregraven, Yang Ah Ham, Minki Hong
Hosted and
Organized by
백남준아트센터 로고 이미지입니다경기문화재단 로고 이미지입니다
Supported by
로고
■ Exhibition Related Programs
[Perpormance]]
프로그램개요는 프로그램, 일시, 장소로 이루어진 표입니다
Program Date Venue
Between
Spot and Spine
Yunjung Lee (Artist) March 22(Thur)
16:30
Nam June Paik
Art Center 2F
The
Discreet Charm of
Marxism
Bojan Djordjev (Artist,
in collaboration with
Katarina Popovic
and Siniša Ilic),

Prof. Namsee Kim
(Studies in Visual Arts,
Ewha Womans University)
May 17(Thur)
– May 19(Sat)
Nam June Paik
Art Center
PP World
Open Beta Service
Minki Hong (Artist) March 24, April 7,
April 21, June 9,
June 23
14:00 – 18:00
Nam June Paik
Art Center
[Talk]
Artist and curator talk program will be held between April and June.
* For more information and reservation, please check the homepage.
■ Introduction
In the rapid development of digitally networked environments, we are participant observers who at once go through and bring about social and political changes that might not have been anticipated. Some of the changes are triggered by the emotional flow which makes you feel pain about the sufferings of others, rage against social injustice and violence, and finally take some actions collectively. This is particularly driven by the fact that social media become part of everyday life, and the arena of public discussion is situated to link online and offline, which make social emotions to take on a new form, and sensorial perceptions to follow a new course.

Common Front, Affectively is to show different standpoints of contemporary art about the propagation of emotion and sensation. Thirteen artists(teams) working in video, installation, sound, performance and design, capture different formations and movements of affects. Their works of art pose questions as to how discrete individuals transpose their feelings to common values, whether individuals not only burst out into a public forum, but build it up inside themselves. These works also turn to a world transformed by technologies on an emotional level and probe the ways technologies affect the mind in responding to social issues and rethinking the self-other relationships. What are featured in the exhibition seem to tell us that the vulnerable, precarious, helpless minds notwithstanding, we may perhaps be able to generate a certain undulating and intermingling movement by murmuring what we feel and what we think, even if this sounds undecipherable and incomprehensible at first.

In Common Front, Affectively, the relations between the individual and the collective with regard to connectivity and isolation, between the affects manifested and controlled, come to the fore on the waves of a multitude of voices. Whenever the waves are shattered, the realities-yet-to-come are evoked out of a common front, affectively constructed in between and cumulated beside you.
■ Participating Artists and works
1. Everyday Practice(Korea), Common Front, Affectively, 2018, exhibition identity design, graphic installation, publication
1-일상의실천

Everyday Practice (EP) is a graphic design studio tackling the role of design: what can design do for today’s realities? Primarily based on graphic designs, EP does not limit itself to two-dimensional works searching for different design methodologies. In parallel, EP carries out a series of self-initiated projects, from a poster work I Don’t Care (2013) to the exhibition Means of Movement (2017). They are concerned with boundaries between ‘you’ and ‘me,’ and with how design can establish a connection between people; and they seek to find a new way of life in which design is instrumental as one of the ways of social movement. In this exhibition, EP creates an identity design that combines a human face represented as a place to exchange an emotion and make up a sense of community, with emotions in a state of flux whose uncertainty is represented by the material texture of flowing and meandering. A set of variations on this identity design is then to intervene in the exhibition space in the form of moving images and prints. The design concept is also applied to the exhibition catalog which unrolls Common Front, Affectively, in a specific manner to the platform of publication.
2. Yunjung Lee(Korea), Between Spot and Spine, 2018, performance, video documentation
2-이윤정_1과4
*Previous work, Yunjung Lee(Korea), 1 and 4, 2017, performance, video documentation, 49:37
Choreographer and dancer Lee performs different ‘in-betweenness’: between the body and space, between the body and time, between the body and language, and between bodies. Through the friction of bodily contacts in dancing, she explores the relations between self and others, between individual and society, between minority and majority, and between parity and disparity. Between Spot and Spine started with her life-long source of trouble, a lateral curvature of the spine and a large brown spot on the arm. She pursued a personal investigation into these abnormalities, to realizing that she was oppressed under the social gaze. Her distress about her own body is in fact precipitated by how a majority views it in the society. Representing the introspective process and consequently feeling liberated from the gaze of others, she was encouraged to reflect on whether she herself belonged to the social majority. Her research on these issues was rendered in her previous works Seventy-Fifth Second (2015), 1 and 4 (2017) and in this new solo piece.
3. Ed Atkins(United Kingdom), Hisser, 2015, 2-channel HD video installation, color, sound, 21:51
(Images are courtesy of the artist and Cabinet Gallery, London.)
3-에드앳킨스_쉭소리를내는자

How an equivocal sense of disquiet holds power over the body in the digital age preoccupies Atkins, and he infuses meticulously constructed high-definition images with poetic and literary qualities. Hisser draws inspiration from a real story of a man in Florida, whose house was said to be swallowed by an enormous sinkhole. A hyper-realistically created CGI character seems to be infected with sadness, loneliness and desire, in an eerie and sorrowful room. At one moment, he is trying to sleep in the bed, and at another, is fiddling with Rorschach cards in the corner of the room. At yet another moment, he shows himself in the whitened space inside a computer screen, roaming nakedly and repeatedly muttering, “I’m sorry, I didn’t know,” “I don’t know what to say.” This avatar-like figure in the virtual world utters anxiety and confusion, as if he encounters these feelings for the first time in his life, in a mixture of singing and sighing. “It took me so long to get my feet back off the ground,” “I can feel it coming round inside me,” “I didn’t know her life was so sad, I cried.” With a roar, then, his room collapses to vanish in a flash.
4. Ignas Krunglevičius(Lithuania)
4-1. Interrogation, 2009, 2-channel video, sound, 13:00
4-1-이그나스크룽레비시우스_심문

Sound artist Krunglevičius made this work out of his interest in psychological patterns arising in power relations. Interrogation draws on text materials from the police transcript of a murder investigation in the US after a woman called Mary Kovic was arrested for killing her husband. The text basically consists of a police officer’s questions and her answers, and with all visual information removed, is condensed into lines written in bold white on two black screens alternately. This is synchronized with the electronic soundtrack reinforcing the conversation’s strain and uneasiness. At the time of interrogation, the police offer mobilized REID, a technique to capitalize on the suspect’s psychological state. Red and blue screens on and off swiftly and intermittently stand for hesitation and delay. A sharp tone and a crescendo of pulsation are so intense to engulf the audience viscerally in the tense relationship between the two. Krunglevičius applied sonic intonation, rhythm and melody to each word so that the typed-out text could be felt as human.
4-2. Confessions, 2011, 8 single-channel videos, sound, 55:00
4-2-이그나스크룽레비시우스_자백

Similarly to Interrogation, this work is based on the court transcripts of confessions by eight convicted serial killers. Removing the part recounting an actual criminal act, the scripts are reduced to only those sentences where the criminals confide what they felt on the very moment they committed a crime. Krunglevicius pays attention to the fact that the most inhuman act of violence contains something that we can recognize in ourselves: reasoning and justification, remorse and/or the lack of it. The sentences are not presented for proper reading. Flickering white invades the silence-like black screen; vertical and horizontal white lines move across; and a block of white noise flows in and out. In varying font sizes, some sentences race past in a twinkle, and others come up word by word and stay on the screen for a while. All this is accompanied by techno-like thumping beats, which may sound grating and irritating, and the pace and texture of sounds have an effect of inscribing certain emotional veins on the text. This exhibition shows each single channel video of eight confessions consecutively.
5. Bojan Djordjev in collaboration with Katarina Popović and Siniša Ilić(Serbia),
The Discreet Charm of Marxism, 2013-ongoing, discussion