2015 True Painting 《Time Collector》   

Gyeonggi Museum of Modern Art

Art Creation Support Project of the Gyeonggi Cultural Foundation 

The Gyeonggi Museum of Modern Art is holding an exhibition titled <time collector> to reflect on the meaning of precious time. This exhibition is a yearly event that showcases new artworks by promising artists from Gyeonggi-do Province, who are selected through the Art Creation Support Project of the Gyeonggi Cultural Foundation, which is celebrating its third anniversary this year. Artists LEE Changhoon, KOH Changsun, PARK Yuna, KIM Joon, CHUN Eun, JEONG Heejeong, JANG Youngwon, and LEE Jiyoung are participating in the exhibition. Artists who live in the contemporary period examine the texture of time more closely than anyone else. In the midst of fleeting time, artists capture strive to capture moments in time that most of us are not aware of and attach meanings to them. Time sometimes stacks up in layers or occupies a large space. If artists do not observe keenly what has come and gone or what colors have blossomed or withered, or if they do not 'collect' them meticulously, those times will not have existed with us. The exhibition <time collector> helps us to observe our daily life microscopically and look back on each life through various artworks which attempt to disclose the layers of time that have slipped away. We hope that visitors enjoy the beauty of passing time while appreciating this exhibition of artworks by artists who have been selected by the Gyeonggi Cultural Foundation.

KOH Changsun  
“In this era of unprecedented uncertainty, a time when the current generation can no longer build houses or pave land for the next generation, settling his life as an artist was not an unreasonable strategy for the artist KOH Changsun. As in the artwork titled ‹The blue moon which wants attention›, the sun rises and sets repeatedly in reality, while the existence of the moon remains unclear, but in the exhibition hall, the moon gets the attention, thus eclipsing the sun. The artist states that he pays attention to "Now and Here" in order to settle into the life of ‘Now and Here.’ In search of a place to moor a wandering wrecked ship, he is willing to make binoculars and tour the world. He will make paddles and give them to us. If we want them, of course.”   Written by Gu Jeong-hwa  

The major concept of my works has to do with establishing relationships with the viewers including physical mutual interaction through contact and feedback, creating an attitude towards the exhibition of the viewers or creating a situation to bind the viewers to the works and the method of reinterpreting the contemplation on the appreciation of traditional visual arts.

KIM Joon
“The modern era has expanded the range of human experience as well as our visual scope, while becoming "a reduced world" as well. The form of the world which began to be developed through new mechanical devices is not audible. For now, it is perceived as 'a world of silence'. For a gigantic explosion of celestial bodies or the minuscule sound of insects or cells to reach the ears of humans, a special technology is required. However, technology incites humans to desire more things than technology can realize. Technology follows a path that can realize certain goals step by step, and also reveal deficiencies in the process. The development of sound effect technology has awakened the artist to the 'desire' for other forms of expression. "The discovery of a soundscape being developed by artist KIM Joon has a close relationship with this issue.”   Written by Im Tae-hun  

These works are conveyed to the viewers through the information systems where(electromagnetic wave-like) physical signals or phenomena-unseen to our eyes yet endlessly emitted and extant in our living space-are communicated through nonmaterial signals known as sound.

‘The composition of abstract paintings,’ which make concrete things abstract, is the artist's core production method. A scene of a forest with a view of amassed ropes, the stump of an old tree, a stack of empty planters, trash bags, and a sewage tunnel is not easy to understand, despite the detailed depiction of objects which fill up the whole screen. However, the overall scenery delivers a somewhat weighty feel that cannot be ignored, yet cannot be defined clearly. Even though the scenery does not exist in reality, most of the concretely depicted images look familiar, and their apparent occupation of a space - as if deserted or useless - provides a sense of loss and existence at the same time.” Written by Sin Hye-yeong

I seek to create diverse conditions or situations that can perceive correlations with individuals and society within the process of depicting non extant human figures of symbolic form or unfamiliar landscapes.

I seek to create diverse conditions or situations that can perceive correlations with individuals and society within the process of depicting non extant human figures of symbolic form or unfamiliar landscapes.

LEE Jiyoung
“Artist LEE Jiyoung has been producing artworks which tell of reality through the use of different media and expression methods. The reality is the circumstances of disasters, failure, and disintegration. Trivial and fragile objects which scatter or disappear easily or go unnoticed are fragments of the scenery of disaster, and they reveal the sentiment of collapse and failure realistically. That is, the condition and movement of trivial things, not the description of circumstances with words, are the sentiment of failure. Instead of delivering incidents, the artist describes and sculpts the world as it is. He pursues realism in a different way by staring into planes, instead of reorganizing fictions or using a documentary method. As delicate images form a jungle on an unstable screen, the quiet moments depicted in the painting stir up the reversal of images.”   Written by Kim Hae-ju  

What remains is a state of vacuum, chillness. The state of vacuum, which is insensitive to external stimulation, is too chaotic beyond words and jumbled with mid level, ambiguous values. Here, what if work of searching for that something without knowing what one is looking for is unfolding?

LEE Changhoon
“Artist LEE Changhoon builds up a space left only with a pointer on a blackboard as he repeatedly writes and erases letters which symbolize his intentions. These markers are based on a very direct and simple causality, but due to the reason, the symbols evoke rich and complex sentiments, rather than an abstract meaning. The symbols have a closer relationship with the body of the person who makes them, so they are much more concrete than general symbols that resort to ideas.”   Written by An So-hyeon  

Within this time, our lives are merely exhausted in one direction within limited period of time, that is, birth activity death. Moreover, this time is not free form the task of repeating that including death again for this exhaustion.

JANG Youngwon  
“In ‹Garden of Tesseract›, no unknown plant goes unnoticed. Garden of Tesseract was created by adding the concept of a romantic garden to a physiological concept called 'Tesseract', which is a four-dimensional analog of the cube, but it does not offer the comforting feel we commonly get from a beautiful garden. The signposts which lead us to the garden are: ‘Arranged Coordinates’, ‘Unstable Rules’, and ‘A Shaky Place.’ The subtitles of this series, which consist of installations and videos, are standing on spots along an inconvenient journey in search of something incessantly. ‘Relationship’ and ‘Memories’ are the foundations of continuous work for the artist, but such memories do not seem to lead to happiness. Past memories, which summons the ‘Now & Here' and ‘Me,’ are open to adventures that go beyond the four dimensions and scientific time, but the shapes of memories realized by the artist resolutely betray such expectations. Helpless humans who are forced into autistic self-initiated movements under strict regulations, or humans who cannot even belong to marginal space--are the sceneries of our long-awaited garden. Whether we decide to enter or pass by is our sole choice.”   Written by Kim So-won  

I continue to exist within the times of the individual that have passed away from the point of life in the past. My times and three dimensional space are not independent from each other but can rather be thought as a four dimensional space time.

CHUN Eun  
“Artist CHUN Eun pays attention to the issue of recognizing the senses, including the vision system. The ‘Bird & Umbrella’ series describes the process of forming images while interacting with objects through a Foley Artist, which reproduces a specific sound in radios or movies. The poly tool, which is used to amplify the sound of footsteps through sound effects and sound tunnels or through the gestures of the effects man allows the visualization or production of sound through visual stimuli. The discrepancy between visible and invisible things may begin from inside the brain, rather than on the retina. In an era when the empowerment of sight through the eyes - an optical medium - dominates, the art of artist CHUN Eun poses a question about what the genuine awareness process is, and his imagery works consisting of sensuous elements, such as auditory or tactile senses, reach beyond the purely visual sense.”   Written by Chae YeongChae Young    

The space incoherently filled with all kinds of objects was a world that was not visual at all. When viewed only through the eyes, the objects that comprise that world are junk, merely trash. To realize that the objects are collected, categorized, and housed tools required efforts beyond seeing.

JEONG Heejeong  
“Artist JEONG Heejeong applies artificial manipulation to photos of scenery and intricately mixes actual scenes with his manipulated scenes. At times, he places the other side of the ambiguous scenes he creates in his photos on canvas. Consequently, the reality-based scenes he depicts surely look quite unrealistic and disturbing. JEONG Heejeong's “sceneries” intersect the scenery of unjust reality and an unrealistic world superbly. The sceneries he depicts no longer look like a wholesome space. It is because they describe contradictions and fractures in a condense way, like sceneries reflected in a broken mirror.”   Written by An So-yeon  

Landscape can be said to be a mirror that reflects oneself. Landscape is not just to be experienced with the body but to be seen through the mind.

Landscape can be said to be a mirror that reflects oneself. Landscape is not just to be experienced with the body but to be seen through the mind.

Gyeonggi Museum of Modern Art
Credits: Story

Time Collector
November 26, 2015-January 24, 2016
Exhibition Hall of Gyeonggi Museum of Modern Art

Director│Choi Eunjoo
Curatorial Team Manager│Yang Wonmo
Exhibition Curator│Hwang Rockjoo
Exhibition Assistant│Han Hyesun, Suh Joohee
Educator│Bang Choah, Kim Yoonseo
Education Assistant│Seo Jihyun
Communication│Bang Choah

Creative Support│Kim Jonggil, Kim Jinhee, Park Chohee
Project Support│PR & marketing team of Gyeonggi Cultural Foundation
Support│Park Uchan, Lee Chaeyoung, Park Bonsoo, Choi Kiyoung, Yoon Gahye, Lee Hyunkyung, Jung Seunghee, Lee Jiyeon, Jung Soomi,
Sin Unsu, Kim Kyungwook, Joo Namkyu, Cho Manheung, Moon Jonguk

Docent│Lee Sunhyung, Park Hyejin, Cha Sunkyung, Yoo Soohyeon, Kim Seoungyoon, Jeong Yeji

Design│Kim Minsu (Mdash)
Space Construction│Gyeonggi Synthesize Construction
Installation│Art Plus
PR Signs│BNB
Photography│Han Jungyoup(The Photo Library of Korean Art), Kim Jaekyu
Cinematography│TJ Choe
Translation│Park Sinhee, An Soyeon (長通坊)
Print│Samwon Printing

Exhibition Organized by│Gyeonggido, Gyeonggi Cultural Foundation
Exhibition Principal Boiler by│Gyeonggi Museum of Modern Art
Sponsored by│Arts Council Korea
Supported by│Samhwa Paints

Editor│Choi Eunjoo
Publisher│Cho Changhee
Publication│Gyeonggi Museum of Modern Art
Published on│20 December 2015

ⒸGyeonggi Museum of Modern Art

Credits: All media
The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
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