IM Suniy

2010 여수국제아트페스티벌 특별전 - 엑스토피아 / 2010.10.01 - 10.14 /전남대학교 전시관 등(예정)

imsuniy — Fri, 03 Sep 2010 21:15:36 +0900

여수국제아트페스티벌
특별전 - 엑스토피아
2010.10.01 - 10.14
전남대학교 전시관, KBS갤러리, 갤러리 연

22회 중앙조각회전 / 2010.09.02 - 09.14 / 연세재단 세브란스빌딩 1층 로비

imsuniy — Fri, 03 Sep 2010 21:09:05 +0900

22회 중앙조각회전 / 2010.09.02 - 09.14 / 연세재단 세브란스빌딩 1층 로비

감기

imsuniy — Tue, 31 Aug 2010 00:05:21 +0900

이놈의 감기는 떨어질 줄 모르고
낫질 안는다.
덕택에 귀도 잘 안들리고
더위와 습기 때문에 피곤하고....
저질 체력 같으니..
자꾸 아프니 짜증만 나는군

사는게 무지 자유로워 질 수 있을까!?

덥기도하고 쌀쌀하기도 한 날씨

imsuniy — Wed, 25 Aug 2010 00:28:30 +0900

어제,오늘 갑자기 폭우가 내리더니
밤에는 쌀쌀해서 보일러까지 살짝 틀어야 하는 상황까지 이르렀다.
한해 한해 날씨의 변화가 이리도 달라지니
지구가 병들긴 했나보다.

모르던 바는 아니었지만, 먹고사는 문제로 지구까지 걱정할 여력이 없어
외면하던 문제들이 거대한 문제로 나타나고 있다.

작업할때 폴리는 좀 자제해야겠다.

The Describing Scape / Artist Statement

imsuniy — Wed, 18 Aug 2010 02:09:52 +0900

The Describing Scape

There are many species forming city scape. One specie pretends to be an owner and expels other species, and the expelled is ousted to the back alley of the city, is parasitized on there without a word, and lives to survive forming scape like a hidden picture. This group continues to make a social class and to be sacrificial victim of the class within same species. There are two columns in this exhibition. One is a story about the expelled species which is tamed to survive out of the city. The other is about the difficult eye to see nature materialized by the species.

The world they live is our scape where we can't see it well. They roam around the city to live and look for food with minimum motion and sound like a camouflaged soldier on the battle field. When they are dead on the street, as possible, they are not allowed to scream loudly except a short cry. The way they live is to proliferate their numbers infinitely and to preserve the back alley invisibly. Fossilized by passing of the time, they stray with same face and same look as one. For them, there is no right to be sad or happy. What they have is the face with vigilance and survival. Their habits are like an old relic covered with rust of the time.

I arrange an occasion to celebrate their own world for them who occupy without anyone's ornamental phrase right away and secretly. The difficult eye is the way they see things, and it is an image of the original object and a multi-dimensional view rotated at a 10-degree angle and photographed it. And also, it captures the images seen in many different ways as a flat image. The captured image becomes image without outline. The missing images of outline are an appearance by another way of seeing, and the overlapped, flat, spacial flow without outline. The species with different eye has difficult eye.

Artistic Work as Existence / Koh, Won-seok (Curator, Gallery Space)

imsuniy — Wed, 18 Aug 2010 02:08:45 +0900

Artistic Work as Existence

Koh, Won-seok (Curator, Gallery Space)

Im, Sun-yi has her own distinct personality as an artist. This doesn't refer to personal basis as her speech or air. Rather, her personality means that she is connected with existent life and reveals an association with several emotion from her experience through her works in-depth. Various strands in her works show a true side of obscure expectation and confusion, disorderly trail and error and repetitive uncertainty of daily life, not visualization of organized conceptual frame clearly and exquisitely.

This is a critical key to understand her works with consistency from the beginning of her career until now. When Im was at university, she connected and arranged pipeline placed on an indoor wall with other pipes nearby, and built a kind of transformed scape at Art Factory Project, in 2000. Certain objects seemed probable within real scape are transformed and inverted intentionally, and they become another scape with resemblance to the original certainly. Once she said, almost viewers passed her works by without knowing whether those are artistic work or not. This anecdote means that she has controlled intervention of other elements to visualize her intention.

She held her first solo exhibition at Do Art Gallery in 2003. The exhibition was different from other young artists' scanty solo exhibitions with repetitive, replicated ideas. Harmonizing with cement floor of the hall, the cactuses made of cement led the exhibition's air. She made the objects be placed on the space without any stimulation, and created a new scape joined with the objects naturally. The objects themselves include artificiality, even negative feeling, nevertheless they has something intense which makes us believe that they have been in the original scape harmoniously. The ability of observation everything with attribute of material in daily life we pass by and of domination over ambience in the hall by minimum scale speaks for her special artistic gift.

She has continued a series work with intervention to the scape since then. Thinking that most of scenes in daily life are romanticized intentionally, she found distorted, stereotyped scape from the TV monitor broadcasted the national anthem. She felt doubt that the result of violent act that natural scape considered beautiful thing normally is processed a sort of utopian background and familiar thing come from the experienced actually makes us accept the processed scape as a true scape missing a certain criteria and viewpoint.

However, her stance about intervention to this distortion is not clear. She is keeping the distant from both extremes, denial and scepticism, and agreement and assimilation. What she pays attention is a cognitive situation making them romanticize, not a criticism according to result for this tendency. This means that she has focused on the issue about cognition and viewpoint looking at the scape, rather than the scape as a result of continued act.

Recent series work titled Trifocal Sight can be understood according to same context as well. Mt. Inwang is centrally located in Seoul, so it is a typical example of familiar scape with everyone. Although, few people in Seoul have a chance to experience the mountain, and it remains an existence in idea. By accident, Im watched for the form of the mountain and made up her mind to reinterpret it considered a nominal mountain. After taking off a certain form of frame by scaling the contour map of Mt. Inwang, she acquires the mass of delicate form by cutting the contour line. And then negative scape from the rest of the space burrowed down beneath the form is found. She tries to achieve multi-dimensional materialization of the object by using the subject matter, contour which is analyzed and embodied by system of symbolism, as a medium with materiality.

She said, she has paid attention to existent things as an unmatched image with scape of the world existent things unnaturally. Although the cement cactus is not unpleasant to the eye, it is pretended to be a living green cactus and is quitely parasitic on the scape with breakable dry condition. Needlework on the floral pattered wallpaper or boring the holes into floor paper is the same with that. She confesses that she found herself doing something alone out of the trendy movement in fellow group as entering school more late than people of the same age.

As I mentioned above, she focuses on the issue of contemplative view about circumstance, not her own response to the situation. Perhaps, the view she expresses is a kind of illusion. It is not clear that she tries to conceal herself or reveal by the illusion. And also, this doesn't need to specific definition. This obscurity is an important element forming her real existence. According to an absolute law, the world is not un changeable as it is. The world is relatively changeable according to a subject's eye. Now, the attention is paid to her who realizes the objects, not to the objects materialized by her. At last, we can meet her own world embodied by her life as an artist's life.

There are no predictable circumstances with firmed, exquisite rule and criteria. Living things always feel anxiety, repeat wandering, and stand on the incompatible extreme point with restlessness. Based on the interview with her, I guess she would aim for an artist with confirmed, organized view as an ideal model. If my guess is right, I would talk to her that she who has continued the artistic work doesn't need to assign herself a strict task. Because something undistinguished can become a certain phenomenon in her life finally, and, from a wilder point of view, a part of her works as it is. To live as an artist is to perform his/her vocation.

Trifocal Sight / Artist Statement

imsuniy — Wed, 18 Aug 2010 02:07:18 +0900

Trifocal Sight, or gaze with three focal points, signifies the neurotic, unstable gaze or contemporary humans and also a metaphoric type of disorder caused by the multiple, simultaneous processing of close range, middle, and distant views. The gaze amidst chaos is waste of an act and secondary sensory process toward the complex surrounding sights.

Trifocal Sight-dimensional images undergo distortion through a gaze placed on the surrounding scenes, which is none other than the landscape of our present times defined in Sight.

As an extension of the Landscape Seen Through Red Eyes series, my next work will involve drawings that present a new interpretation of the images I gathered after observing my surroundings, the act of seeing aspects of contemporary society through visual perception, and the capturing of landscapes through trifocal sight

I make urban landscape into models after cutting a few thousands of topographical maps. After then, I create new landscape images by capturing them from clos range, middle, and distant views. Through my arduous, persistent labor cutting several thousands pieces of paper, each. contour becomes a two-dimensional sigh. That becomes the accumulation of natural lines, forming a natural scene in an ambiguous connection.

Absurd Sight : Trifocal Sight

imsuniy — Wed, 18 Aug 2010 01:37:36 +0900

Absurd Sight : Trifocal Sight

By Nayoung Jung, Curator SOMA Museum of Art

Suniy Im narrates the life of contemporary humans who ceaselessly undergo identity confusion and psychological conflicts between nature and an artificial(civilized)state. She is also concerned with the difference between what she sees and what is seen by others. In her pieces titled The shelter and An Isolated Island, the artist presents unfamiliar, disquieting sights by putting objets made form the combination of natural subject matter and artificial materials into an urban space. This work reminds viewers of some of the desperate situations of contemporary people, such as isolation and separation, leading them to such psychological states. The sense of emotional homogeneity we perceive enables us to communicate through her work. In the process of her mental efforts which have demanded her concentration and physical labor that have been mechanically repeated, the artist presents an exploration of her identity and her attempts to solve there conflicts, Im's An Absurd Journey is in an extension of such work.

The destination of her journey is Inwang Mountain. Why is it Mt. Inwang? Inwang is a symbolic mountain centered in Seoul. It stands in nature while coexisting within a metropolis, which has led Im to choose it as her subject matter, Im's travels to Mt. Inwang begin from the impression and surprise she felt when the mountain she has in her mind overlaps with the image of the mountain she sees form the street. Her traveling method is quite unique. Im frist explores the shape of the mountain through a topographical map made by putting various maps of reduced scale together. The next step of her journey is the cutting and accumulating of paper. In addition, her journey is recorded through the act of taking photographs, thus bringing new aspects and changes. All the processes of her journey are symbolically represented: for example, the red lines on the map signify her inflamed eye brought about by fatigue of her travels. Im's metaphorical methods are strangely persuasive as to convey meaning when we compare our own lives to a journey.

Upon closer examination, An Absurd Journey beings after mathematical and geographical exploration through the reduced scales of topographical maps. When cutting along the contours, we eventually get two divided parts: a large square paper with a hole in it and the resulting piece of hole-shaped paper. After cutting thousands of pieces of paper in the same way, centering them, and piling them up, two divided three-dimensional objects, one of concave and convex, are formed. Put

together, the two make up a heap of heap of square paper: one is mountain-shaped while the other is the negative space of the mountain, a reversed canyon-shape, not in the typical mountain from. We stare at each layer of paper in this work called Landscape Seen Through Red Eyes. Achromatic or monochrome objects make viewers focus on the act of seeing itself. These objects trigger our sense of vision to perceive all sorts of minute protrusions. Through the photographic element of Im's work, the exploration of sight is reborn.

What are after the last phase of An Absurd Journey are more distorted, absured landscapes. In Trifocal Sight, Im simultaneously captures a close range view, a middle distance view, and a middle distance view, and a distant view, like eyeglasses that artificially correct the function of the eye, The treatment of trifocal sight brings about an extremely awkward, two-dimensional feel. The artist underlines the shape of a deep valley by giving the stark contrast of light and shade, using artificial lighting. Its details fill the entire canvas and are printed in a larger scale than reality. The sense of distance is minimized, the sense of depth is amplified, and the scale doubled, thereby evoking a dramatic effect. Through this process, the sight of a modem city reduced to completely new image.

Im's work brings about a filtering effect of perception through the changes from there dimensional reality(real mountain) to two dimensional objects(topographical maps)and from three dimensional models(mountain and valley models) to two dimensional photographic(landscape photographic). As a result, Im's work remains farther away from reality and indistinctive in its special quality. Instead, that becomes an open landscape that unfolds an unknown world for all viewers. Through An Absurd Journey, the artist intends to communicate whit an external world. opening up the possibility of diverse interpretations by admitting and allowing the difference between what we see and what is seen. Like this, Im's work brings changes to our perception through an incessant chaos, defining modern scenes. Drawings seen through swaying eyes show Im's unique work methods with which aspects of contemporary society seen through contemporary people's uncertain, variable eyes are metaphorically represented. I wonder what landscape unfold in her following work being captured by her perception and sight.

The absurd Journey / Kim, Eun-jung (Art Management/Art Consultant)

imsuniy — Wed, 18 Aug 2010 01:31:52 +0900

The absurd Journey

Kim, Eun-jung (Art Management/Art Consultant)

Artist Im, Sun-yi holds her third exhibition with series work called The absurd Journey. She was selected by the national art studio in Chang-dong, Seoul as a member of 5th period in 2006-2007, and joined the invitation exhibition held at Songeun Arts and Cultural Foundation in 2006 and the temporary exhibition titled Selected Emerging Artists held at Seoul Museum of Art the same year. As the above-written, she is working as an outstanding artist of ability.

Viewers can notice her own unique tone in her works which resemble herself with familiarity and comfort, because all qualifications such as matters from nature, colorlessness, repeatability with freshness, and delicacy involve her works. The extreme understate mental conflict of artist's deep inner world is refined and appears in the works. She finds her identity, reveals mental conflict intermittently as floating on the open sea alone, and makes the circumstances communicate with others by creating the works. Burden from tired life of people in the rapidly changing modern city, absence of identity, and mental conflict made of them are expressed into topographic condition of island as isolation and uniqueness metaphorically in her previous series works. In her first solo exhibition titled shelter at Do Art gallery, Seoul, she represented and projected viewpoint toward variable outer circumstance, changing cognitive difference, and images of city dwellers living in modern urban civilization watched by Im on this exhibition. Cactus used as a motif of her own interpretation and new expression way is placed on the floor like another being which is deprived of green and made of rough, colorless cement. This is the artist's contemplative view on the reality toward metaphoric, emotional meaning, and a process of realization about the way of finding herself. Alleviating mental conflict by collective, mechanical, repetitive work, and concentration from a process of detailed casting are chosen as a way to solve the problem of conflict which is not faced on her.

She makes the issues and the approach about them that she has searched for more implicative, deeper and wider in this solo exhibition. Seeing and the seen. Journey gives us new expectation and romance. She takes journey as a text with delicate form reflecting the artist's realization by nature which embraces difference and strangeness in new surroundings. Achievement of the journey depends on likes and dislikes about emotional response forming a process of realization. Imprinted circumstance by stereotype and conflict generated from difference of interpretation's view willing to see the circumstance are comprised in communication as a possibility actively. She tries to ask about notion, especially, structural difference of thoughts, and arouse the boundary point to new viewpoint.

Im tells about first literal definition of the word absurd, but also symbolism of the other meaning of the word. The visual, symbolic message is visualized to mountain scape as a cradle of life and collection of nature. Mountains are the place of oppositional coexistence; seeing and the seen, and the civilized and the wild. And they are variable scape which changes natural color and living things according to the season. Observation and change of the realization on the scape, and our life with it are reflected on the works deeply and emotionally.

Thousands of topographic map of Mt. Inwang printed by red color is piled on a large square mass in Natural Scenery Through Red Eyes. Remodeling work to cut the contour of the map creates a new complex scape. One of our natural surroundings, Mt. Inwang is chosen as a double link which has accessibility and visuality. Red color is represented Im's eyes. The inflamed eyes become an indicator of communication derived from difference of view about seeing and the seen.

Structural form of the mountain is seen at a lookdown in Climb and See, and shading of piled contour is maximized according to view point in Natural Scenery Through Red Eyes. This is for creating two narratives to generate another space in the exhibition hall. Visual change by repetitive approaching and retreating, and infinite imagination from process like this make viewers concentrate spacial experience actively. In series work Natural Scenery Through Red Eyes, the photograph by Lamda printer which shows closed-up certain part lets us create an illusion as if we're travelling somewhere around deep canyon. Looking at the photograph on the exhibition wall, viewers pay attention to the work installed the floor naturally. However, Im excludes correlation of the photograph with the installed work. Suggestion of thought with objective, understate formal structure is generated without emotional effect exquisitely. Change of curve according to width of contour evokes another visual excitement. The scape in the photograph can be another scape imagined by viewers.

Im makes viewers imagine virtual reality which is seen, but not existent rather than somewhere they are familiar with or imprinted natural scape where they never have been. The possibility of multilateral, approachable, interpretative method of seeing by the seen and overlapping existence of real scape on artificial, imaginary scape through the process has it's openness. This is an experimental mind to make us present, look at ourselves and communicate with each other. She wants to make us look at her works with eyes of difference of variable realization, but also with eyes of simple, understate description and suggestion of symbolic meaning, because the journey she wants to have means to achieve the diversification of living scape.

Dark Sea of one pyeong / Artist Statement

imsuniy — Wed, 18 Aug 2010 01:30:28 +0900

Dark Sea of one pyeong

Small-sized space called one pyeong is the earth which I lean my life on. People living in this land try to fix their eyes of oblivion without focus dreaming of mountains and sea. All expectations they had are concerned about itself and have a dream in confined small-sized space. I put my gaze into a vague stillness waiting for coming of night and dawn. Living in the city, I receive the scape of the world standing on the earth, one pyeong. The scape is romanticized and has an eye of longing being trapped in a monitor. Where I never have been, but I seem to have been...

I use the sea scape as a subject matter with island appearing on TV at the break of day awaking the city in this work.

Natural scape was a spiritual world with authenticity of nature as it is and truth of greatness, on the other hand, city scape is only pixel and color with showy image romanticized and imprinted on our mind before we are aware through the mass media. Although we never have been there, we are not conscious of there because of it's commonness.

Primarily, I finished numerical geologic exploration by scale of topographic map (modeling work by scale of topographic map as we had learned at geography class in middle and high school), and I made small-sized dark mountains and sea.

Flat, brilliant gradation of asian-ink is an expression of wildness and fluidness, on the other hand the gradation in Dark Sea of One Pyeong excludes brilliant tone of asian-ink and makes it pixel gradually. The pixelized island is the same with a few of words from the tongue of an empty schemer. This is the body of the first person from his view point, and the path of scape of people in the city like a present state of the body.

The Island Confined / Artist Statement

imsuniy — Wed, 18 Aug 2010 01:29:06 +0900

Artist Statement

The Island Confined

We feel stillness and silence in the modern city with complexity and splendor. This is not absence of sound or motion, but unbalanced movement from a point in distant, deep sea with closure and concealment.

As the flow of the seabed prevents us screaming and waving, an arbitrary closure and concealment let us build an island on our mind. Energy of the word, island has meanings of closure, absence and concealment. The unmoved images of island placed on a horizontal point of the sea resemble us, modern people in the city.

They are found on the TV monitor and through the TV sound awaking the city around dawn. Perhaps, scape of the island and the sea came out with the national anthem from TV is a portrait of ourselves.

Romanticized images of sunrise's ruddy light and splendid sea extremely are coming to our scape. The images become our images which stretch out the city out of the TV monitor trapped in pretence. We and light from the monitor awaking the city look at each other in a small room, and the island becomes image and scape of ours.

As an image of island, modern people are placed on the sea, that is city in stillness. They are floating on the sea with image of island being located on stillness and abyss of the sea.

The title The Island Confined in this exhibition is a phenomenal selection from the urban system maintaining island of ourselves by having an effect each other by force, and I try to reveal one side of our images by using the images.

The Stuffed Wildness - Shelter in the City / Lee, Eun-ju (Art History)

imsuniy — Wed, 18 Aug 2010 01:27:30 +0900

The Stuffed Wildness - Shelter in the City

Lee, Eun-ju (Art History)

A cactus made of cement in artist Im, Sun-yi's studio attracts the visitor's attention. It's form stands still like a scene from monochrome picture. It looks like a specimen in botanical garden. Motif such as ornamental plant, floral wallpaper, folding screen embroidered with butterflies in Im's works is the image to be found in standardized urban daily life. We don't need to have a critical mind on the materials in the works, because they are very close to our life. But, impression from a stuffed, ash-colored cactus is not casual at all. Rather, it is have a strong impact to reverse the unmoved life.

In the previous series work called finding the hidden picture, Im inserted images she made into a scene from urban-scape such as electricity line or gas pipe on cement wall, cover for a women magazine, and transformed it remarkably. This looks like an ordinary, common thing at first sight, but there is a subtle cutoff breaking the daily life and it takes a part as comma on ordinary visual circumstance in the work. In this exhibition bringing up the subject shelter, Im's works lead viewers to use their daily circumstance, to see and interpret the hidden meaning of it.

Shelter means an usual, private space preserving us from outer space. Sehando(winter scene) used as a motif in her work symbolizes a private space isolated from the outer. The original intention of Sehando is solitude as inner reflect, and the meaning on aseity's self-image is converted to the metaphor as social, cultural isolation in the context of ornamental plant, cheap floral wallpaper, folding screen embroidered with butterflies. The isolation in this work connotes double meaning with self-safety device and disassociation from it. Especially, she remarks about identity of urbanite in private space through the intention as isolation from nature.

From Adam's leather clothes to modern apartment town, tools of human civilization have developed to protect human from natural threats. Our habitation surrounded by square concrete wall is a substantial shelter preventing the outer from intruding and an extreme artificial space castrated natural wildness. City dwellers in the shelter are protected, but, in fact, they build an artificial rampart to grow further apart with natural conditions of human nature by isolation from natural energy. In the middle zone between mental fear to violence of nature and homing instinct to natural life, urbanites fill their space with stuffed, coded, fake natural objects instead of natural circumstance filled with wildness. The artist's work reminds us a basic dilemma like this modern life symbolized as pet, ornamental plant, floral wallpaper, and insecticide.

Im never agrees or disagrees with our unstable balance on the obscure border between the natural and the artificial. She just reveals the subtle state of equilibrium. Image of artificialized nature, minimum openness to the outer space and covert gaze to the inner space are crossing each other in the form of Sehando pierced by pin or icon of asian paintings cut out like a digital cell. The boundary line between the inner and the outer space, nature and human placed on her work imply existent condition of modern people. It seems that she expresses our ironic image expanding personal space according to natural law, as the law of survival of the fittest is artificialized nature like a cement cactus, although all things become artificial circumstance. However, her tone involves some kind of an affectionate sympathy without cynic. There is no doubt that she knows, in fact, hygienics in modern civilization denying aging and decomposition and taking something new is the sign of weakness of ourselves.

공공미술2010

imsuniy — Fri, 13 Aug 2010 03:37:47 +0900

공공미술2010

imsuniy — Fri, 13 Aug 2010 03:36:43 +0900

공공미술2010

imsuniy — Fri, 13 Aug 2010 03:36:10 +0900

스팸 로봇 작성된 글 삭제 합니다.

system — Thu, 05 Aug 2010 12:34:54 +0900

해당 스팸 글은 사이트 관리자에 의해 임의로 삭제 후, IP 상위 대역 차단 및 log 정보내 분석단어 차단 했습니다.

2010 "경기도의 힘" / 경기도 미술관, 안산 / 2010.05.01 - 08.22

imsuniy — Sat, 31 Jul 2010 03:12:20 +0900

○ 전 시 명 : 2010경기미술프로젝트_“ 경 기 도 의 힘 ”

○ 개 막 식 : 2010. 04. 30(金) 16:30(예정)

○ 기 간 : 2010. 05. 01~08.22

○ 장 소 : 경기도미술관 기획전시실, 프로젝트 갤러리, 로비갤러리

○ 전시부문 : 회화, 사진, 조각 및 영상 설치작품

○ 작 가 : 원로, 중진, 중견, 신진작가 총 180여명

○ 주 최 : 경기도미술관

○ 공동주관 : 경기도미술관, 한국미협 경기도지회

바퀴벌레

imsuniy — Fri, 30 Jul 2010 01:46:40 +0900

간만에 안성집에 들어왔더니
나를 반겨주는것은 여기저기 나자빠져 있는 이노무쉐끼들,,,으~~~~~~~~~~~
작업실 가기전에 바퀴벌레 컴매트를 붙여놓고 같더니
먹고 나자빠져 있다.
집에 먹을 음식물 찌꺼기도 없는데
왜 우리집에서 둥지를 틀었는지 ㅜ.,ㅡ

징~한것들

1,2가 아닌 가끔은 3으로

imsuniy — Tue, 20 Jul 2010 01:51:15 +0900

살아가면서 누구나 목표는 1이다.
아니 살다보면 지쳐서 2까지는 절충하며 산다
적어도 예술가가 예술을 할때는 그러니까 할때는 이 중요하다.
하고나선 3이 될 수도 있다.
그러나 계속 말하지만 할때만큼은 1이거나 2다.
작가의 마음은 그렇다
그래서 항상 목에 가오잡고 사는 것이다.

집엘 갔다오면 1과 2의 마음은 무너진다.
그냥 3으로 절충하며 살고 싶다.
여기서 3은 삼마이에,3류,쌈마이를ㅡ 지칭한다.
3의 마음이 충만하다.
그리 살란다,

my room our atelier 아뜰리에 졸업전 / 2010.07.09 - 2010.07.25 / 가나아트센터,가나 컨템포러리, 서울

imsuniy — Tue, 13 Jul 2010 03:06:00 +0900

my room our atelier

아뜰리에 졸업展 2010_0709 ▶ 2010_0725

초대일시_2010_0709_금요일_05:00pm

관람시간 / 10:00am~07:00pm

가나아트센터 GANA ART CENTER 서울 종로구 평창동 97번지 Tel. +82.2.720.1020 www.ganaart.com

가나 컨템포러리 GANA CONTEMPORARY 서울 종로구 평창동 98번지 Tel. +82.2.720.1020 www.ganaart.com

아뜰리에 졸업展-my room our atelier ● 졸업은 이별을 전제로 한다. 사람과 사람의 이별뿐만 아니라 일정 시간 머물렀던 특정한 공간과의 이별, 그 시간과의 이별은 언젠가 올 것을 알면서도 막상 닥치면 슬픈 감정의 소용돌이를 일으킨다. '서로 갈리어 떨어짐'이라는 이별의 사전적인 의미는 무미건조하지만, 이별의 경험이 있는 사람이라면 그 단어만으로도 많은 기억과 추억과 감정의 흔들림을 느낄 것이다. 이별이란 경험을 기반으로 하지 않으면 의미의 깊이를 알기 어려운 추상 언어이다. ● 이별이 존재할 수 있는 시작점은 만남이다. 이별은 만남에서 시작하지만, 새로운 만남의 출발점이기도 하다. 이별과 만남은 상반된 개념이자, 동일한 개념이다.

이번 아뜰리에 졸업전 『my room our atelier』는 지난 2년간의 만남과 이별을 고하는 전시이다. 이별을 앞두고 그간 만남의 시간동안 있었던 일들을 되짚어 보려 한다. 2008년 아뜰리에 보고전 『천송이 꽃을 피우자』 이후 평창 아뜰리에를 정리하고 장흥 아뜰리에 2관을 개관하면서 본격적인 장흥 아뜰리에 시대를 연 가나 아뜰리에는 그 사이 큰 변화를 맞이하였다. 2002년 평창동에서 8명의 작가(고영훈, 반미령, 배병우, 사석원, 유선태, 이동기, 임옥상, 전병현)와 함께 시작한 가나 아뜰리에는 2006년 장흥 아뜰리에 1관을 개관하여 평창동과 장흥에서 각각 운영되다, 앞서 언급했듯이 2008년 장흥으로 아뜰리에가 모두 이전하였다. 그 사이 아뜰리에의 규모가 기하급수적으로 성장하여 2010년 현재 60여 명에 이르렀다. 그 결과 국내 사립 아뜰리에 중에서는 단연 최대 규모로 성장하였다. 양적인 성장과 함께 아뜰리에 입주 작가들의 질적인 성장 역시 눈부셨다. 국내외 유수 화랑과 미술관에 개인전과 기획 초대가 이어졌으며, 국내외 아트페어에서도 주목을 받았다. 한편 작가들이 다루는 매체 또한 영역을 확장하였다. 물론 여전히 회화가 큰 비중을 차지하고 있지만, 사진, 조각뿐만 아니라 영상, LED 미디어까지 현대미술의 장르를 아우르게 되었다. 양적, 질적인 성장을 이룬 가나 아뜰리에는 작가의 단순한 작업 공간에 머물지 않고 한국현대미술의 현주소라 일컬을 수 있는 단계에 이르렀다. 이로써 아뜰리에 졸업전 『my room our atelier』는 아뜰리에 입주작가의 작품 보고전에 머물지 않고, 한국현대미술의 축소판으로 현주소의 지형을 그려 낼 수 있다.

2년 전 『천송이 꽃을 피우자』전을 기점으로 가나 아뜰리에가 새롭게 발돋움 했듯이, 이번 아뜰리에 졸업전 『my room our atelier』 역시 새로운 도약을 위한 발판이 될 것이다. 새로 입주하는 작가들은 나이와 연륜에 상관없이 새로운 공간에서 새로운 사람들과 적응하고 부딪히는 새내기의 자세로 돌아갈 것이며, 앞으로 2년 간 입주를 연장한 기존 작가들은 때로는 아뜰리에 선배로서 때로는 작가 선배로서 중심을 잡아갈 것이다. 신구의 만남이 어떤 상승효과를 일으킬 지는 서로간의 교류의 정도에 따라서 달라진다. 때로는 동료로 때로는 경쟁자로 충돌하고 소통하고 이해하고 다시 충돌의 과정을 겪으면서 작가들은 인간적으로 작업적으로 깊이를 더해 갈 것이다. 그 결과에 따라 가나 아뜰리에의 위상과 이미지가 좌우될 수 있다. 작가의 성장을 위해 그리고 아뜰리에의 성장을 위해 가나아트갤러리는 다양한 인프라를 제공하며 교류의 장을 만들 계획이다. 국내외 미술관계자들에게 아뜰리에 방문의 기회를 제공하면서 아뜰리에 작가들의 작품을 소개하고 그들과 비평의 시간을 가질 수 있는 프로그램을 활성화 하는 동시에, 르네상스 시대의 메디치가와 같은 예술 후원자의 현대적 모델인 기업의 문화 후원 사업과 작가를 연결하는 교두보 역할에 더욱 박차를 가할 예정이다. 이로써 국공립 창작스튜디오의 역할과 차별성을 두는 동시에 사회 속에서 미술계의 영역을 확장하고 다른 영역과의 교류와 협업을 이룰 수 있는 매개자의 역할을 수행하고자 다짐한다. ■ 박미연

Vol.20100710e | my room our atelier-아뜰리에 졸업展

수상한 집으로의 초대 / 2010.03.05 - 2010.05.23 / 서울시립미술관 남서울 분관, 서울

imsuniy — Tue, 13 Jul 2010 03:01:12 +0900

수상한 집으로의 초대

Invitation to a Wondrous House 2010_0305 ▶ 2010_0523 / 월요일 휴관

별도의 초대일시가 없습니다.

참여작가 고자영_권기수_권용래_김민정_김성연_김수진_김영섭_남경민_노준_루이스부르주아 손진아_써니킴_유현미_윤병락_윤애영_윤정원_이명호_이소영_이재삼_이중근_이지은 임선이_임영균_정영훈_칸디다 회퍼_쿠사마야오이_하상림_한운성_황순일_황인기_황혜선

관람시간 / 10:00am~08:00pm / 토,일,공휴일_10:00am~06:00pm / 월요일 휴관

서울시립미술관 남서울분관 NAM SEOUL ANNEX BUILDING OF THE SEOUL MUSEUM OF ART 서울 관악구 남부순환로 2082(남현동 1059-13번지) Tel. +82.2.2124.8800 www.seoulmoa.org

『수상한 집으로의 초대』소장품기획展이 오는 3월5일부터 2010년 5월23일까지 서울시립미술관 남서울 분관에서 열린다. 이번 전시는 서울시립미술관의 소장 작품들을 기존의 장르적 구분에 의해 보여주기 보다는 하나의 주제 하에 구성하여 좀 더 새로운 차원에서 소장품을 바라볼 수 있는 시각을 제공하고자 기획되었고 아울러 이번 전시의 특성 상 그간의 소장품 전에서는 많이 보여지지 않았으나 동시대 현대 미술의 다채로운 단면을 보여줄 수 있는 소장품들로 전시를 구성해보았다. 그리하여 이번 소장품 기획전은 현대미술의 다양한 흐름과 시도, 새로운 패러다임을 담은 동시대 작가들의 작업들을 만날 수 있는 기회가 될 것이다.

특히 이번 전시에서는 비교적 난해하게 느껴지는 현대 미술을 방의 개념을 중심으로 한 전시 구성을 통해 일상에 맞닿아있는 측면을 부각시키고 이해하기 쉽게 보여주고자 한다. 실제로 이번 전시가 진행되는 서울시립미술관 남서울 분관 건물은 원래 벨기에 영사관으로 사용되었던 역사적 건물로 여러 개의 방이 복도식으로 나열되어 있고 건물의 입구에 있는 철제문을 여는 순간 새로운 세계로 진입한다는 느낌을 가지게 한다. 이런 건물이 가진 특성을 활용한, 일종의 장소 특정적(site- specific) 개념을 도입하여 전시가 기획되었다. 따라서 본 전시는 전체로서의 집을 이루는 개개의 방의 기능적 특성에 맞춰 작품들을 구분하되 각각의 방은 원래의 방의 기능적 측면에 충실한 작품을 보여주기 보다는 관련된 이미지들을 보여주는 작품들을 배열하는 방식을 취하여 방 자체도 새로운 공간으로 열려진, 또 하나의 출구로서 기능하게 했다. 다시 말해, 각개의 방들은 모든 꿈과 생각들이 흘러나오고 들어갈 수 있는 하나의 입구로서, 상상으로 가득찬 풍부한 메타포로 작용할 수 있는 여지를 제공해주며 공간에 대한 매혹을 드러낸다. 여러 개의 방은 일상적인 범주화를 벗어나는 이미지, 공간을 보여주는 하나의 매개로 기능하며 일상의 경이로움을 드러낼 것이다.

1층은 공동의 공간이라 할 수 있는 정원, 거실, 식당으로 구분되고 2층은 개인적인 공간이라 할 수 있는 아이들방, 드레스룸, 명상의 방, 비디오 방으로 구성된다. 이번 전시는 회화, 사진, 설치 작업을 아우르는 다양한 작업들과 독특한 공간 구성을 통해 관람객에게 새로운 경험을 제공하여 미술관 소장품에 대한 관심을 유도함으로써 미술관이 지역주민, 혹은 학생들 및 일반시민들에게 더욱 다가가는 공간으로 자리매김하기를 기대해본다. ■ 손영실

경기도의 힘 / 2010.05.01 - 2010.08.22 / 경기도 미술관 ,안산

imsuniy — Tue, 13 Jul 2010 02:59:10 +0900

경기도의 힘

2010 경기미술프로젝트 2010_0501 ▶ 2010_0822

별도의 초대일시가 없습니다.

주최_경기도미술관 공동주관_경기도미술관_한국미협 경기도지회

관람시간 / 10:00am~06:00pm / 관람 종료시간 1시간 전까지 입장 가능

경기도미술관 Gyeonggi Museum of Modern Art 경기도 안산시 단원구 초지동 667-1번지 Tel. +82.31.481.7000 www.gmoma.org

경기도미술관(관장 김홍희)은 5월 1일부터 경기도미술관 전관에서 2010년 경기미술프로젝트 『경기도의 힘』 전시를 개최한다. 하종현, 김인순, 정문규 등 경기도의 원로작가부터 대안공간 배경의 신진작가까지 경기 작가들의 대표 작품전과 지난 30여 년간 경기도내 예술 소집단들의 활동을 총망라한 자료 아카이브, 살아있는 현대미술의 현장을 보여주는 경기도내 6개 대안공간에서 진행해온 대표적인 프로젝트를 재구성하여 새롭게 마련한 전시까지, 경기 지역 현대미술의 흐름과 현황을 한 눈에 파악할 수 있는 대규모 전시는 이번이 처음이다.

경기도미술관에서 2007년부터 매년 개최하고 있는 '경기미술프로젝트'는 경기도의 문화 전통을 현대화, 세계화하려는 목표 하에 경기도의 정치 사회 문화적 이슈를 화두로 삼는 연례기획전이다. 첫 프로젝트 『경기, 1번국도』(2007)는 '국도'의 현장을 통해 신도시, 산업화 그리고 분단의 문제를 사회/인문학적 관점에서 투영한 전시였고, 『언니가 돌아왔다』(2008)는 근대의 나혜석과 현대의 윤석남을 두 축으로 경기 여성주의 미술의 스펙트럼을 살펴보면서 21세기 여성주의 담론을 새롭게 제안하는 전시였으며, 『세라믹스-클라이맥스』(2009)는 도자기의 전통을 현대화하면서 현대미술의 재료이자 매체로 재탄생시킨 '현대 조형도자'전시였다. 올해 기획된 『경기도의 힘』은 그런 취지로 기획되는 네 번째 경기미술프로젝트이다. 그러나 『경기도의 힘』은 이전 전시들과 달리 특정한 테마를 가지고 있지 않다. 세 번의 전시가 내용(작품)에 초점을 맞췄다면, 이번 전시는 내용의 주체(작가)와 그들의 지역 현장성을 겨냥했다.

『경기도의 힘』 전시는 크게 세 부분으로 구성된다. 경기 현대미술의 전통을 형성해온 대표적 원로작가 및 중견 작가로부터 대안공간을 중심으로 활동하는 신진 작가에 이르기까지 경기 현대미술을 대표하는 주요작가들로 이루어진 기획전과 경기 현대미술 현장의 '힘'을 보여주는 1980년대 이후 경기도의 주요 예술 소집단의 활동 사항을 조사․수집하여 구성한 아카이브전, 수원(대안공간 '눈'), 안양(보충대리공간 '스톤앤워터'), 안산(커뮤니티 스페이스 '리트머스'), 의정부(문화살롱 '공'), 안성(대안공간 '소나무'), 부천(대안공간 '아트포럼리')의 대안공간과 협력하여 이들 기관에서 대표적으로 진행했던 예술 프로젝트들을 재구성한 협력 전시를 마련하였다. 이에 더불어, 기획전시실 내 별도의 공간을 활용, 경기도미술관이 위치한 안산의 대표적 문화 유산 '단원 김홍도'의 영인본 작품전을 개최하여 경기미술의 정통성을 밝힌다.

본 전시와 연계하여 관람객을 위한 다양한 교육 프로그램이 제공된다. 5월 1일부터 주말 가족 프로그램으로 전시 참여작가 이윤엽의 작품을 모티브로 하여 구성한 움직이는 종이 판화 제작 프로그램이, 5월 10일부터 어린이를 위한 전시 투어 프로그램이, 5월 15일부터 청소년을 위한 프로그램으로 참여작가 고산금의 작품을 모티브로 문학교과서 속의 '시'를 시각화 해보는 교육 프로그램이 각각 운영될 예정이다. ● 보다 자세한 정보는 경기도미술관 홈페이지(www.gmoma.org) 혹은 031-481-7007을 통해 얻을 수 있고, 전시 관람료 및 모든 교육 프로그램 참가비는 무료이다. ■ 경기도미술관

■ 『경기도의 힘』 전시 연계 교육 프로그램 일시_2010년 5월 1일(토) ~ 6월30일(수) 장소_경기도미술관 체험교육실 · 전시실 대 상_주중-어린이 단체 / 주말-가족 / 1,3주 토요일-청소년단체

1. 어린이 단체 프로그램 '뚜벅! 뚜벅! 경기도' 운영_주중(월~금) 오전 10시 30분 ~ 11시 30분 내용_어린이 도슨팅 프로그램 전시의 공간 컨셉인 경기도지도를 이용한 활동지 구성과 더불어 지역별 zone에서 대표작가 감상

2. 가족체험프로그램 '판화가 움직여요!!' 운영_주말(토,일) 오전 10:30, 13:00, 14:30, 16:00 내용_이윤엽 작가의 판화작품을 모티브로하여 구성된 판화체험프로그램

3. 청소년체험프로그램 '시,時,See' 운영_1,3주 토요일 오전 10시30분 ~ 12시 내용_고산금작가의 작품을 모티브로 문학교과서 속 '시' 감상 및 '시'의 시각화 작업

작업을 시작해야 할때

imsuniy — Mon, 12 Jul 2010 00:03:18 +0900

스물스물 작업을 시작해야 할때
조금은 머릿속에 틈을 만들어 정신을 차려야 함
하나만이라도 제대로 된 작업을 만들어야 함

9일전시 오프닝 갔다옴
역시 사람 많은 곳을 질색이야
별다른 것 없이 앉아만 있었어도 아니
뚱한 표정 안지으려고 노력 많이했음
너무 과다하게 웃었음

안성 집에와서 뻗어서 이틀동안 꿈적을 하지 못함
담주에 한번 더 사람 많은 곳에 가야함.

우~~~~~~~~~~~~~~악

잘살아나가야 함!!!!!!

접니다.. 홍고로~홍반장^^

홍반장 — Wed, 07 Jul 2010 06:57:10 +0900

샘 그동안 지체무강하신지요?

저는 얼마전에 영국에 와서 살인적인 물가와 열심히 싸우고 있답니다.

담배한갑에 거의 만원..ㅜ_ㅜ... 필히 끊어야 되는데 그게 또 쉽지 않네요^^

지금은 가족보다 먼저 들어와서 집도 구하고 뭐 이것저것 필요한것 준비하고 있어요.^^

지금은 한달정도 하숙집에서 눈칫밥 먹고있어요.ㅋㅋ....

생각같아선 방한칸 구해서 온가족이 함께 살고싶은데, 여기선 또 그게 안된다네요...

머 어떻게든 되겠지요.ㅋㅋㅋ

건강하세요.. 또 연락드릴께요^^ 창동샘들 보시거들랑 안부도 전해주시고요.

그럼 20000. 만수무강하세요^^

힘!!!!!!!!!!!!!!

imsuniy — Mon, 21 Jun 2010 19:43:58 +0900

아무리 개떡같다 하더라도 극복하고 해내야 함.
느린어른은 성숙한 어른이 되는 길이 쉽지 않지만
자신의 능력을 한계 짓지말것.
훌륭한 어른이 되어야 함.

어차피 해야할것들에 대해 피하지 말것.
바보가 아니니까
잘 해결될 수 있으리라 짐작됨.

멋진 세상을 위하여!!!!!!!!!!!!!!

드뎌 종강!!!!!!!!!!!!!!!

imsuniy — Fri, 18 Jun 2010 02:58:07 +0900

드뎌 낼이면 종강!!!!!!!!!!!!!!!!
아직 성적 낼 일이 남아 있지만......
이제 작업을 슬슬 시작 해야할때.....
전시 준비와
방학땐 조형물을 무사히 완성시키고
행운이 함께 하길...................

"Beyond Landscape" 전 / 아트파크, 서울 / 2010.07.14 - 07.30

imsuniy — Wed, 16 Jun 2010 01:37:31 +0900

"Beyond Landscape"전
전시장소 : (삼청동) 아트파크
기 간 : 2010.07.14 - 07.30
오 프 닝 : 7.14 / 5 PM

은사님

imsuniy — Mon, 14 Jun 2010 02:05:39 +0900

금요일날 인사동 모갤러리에 들렸었다.
우연찮게 신교수님을 뵜다.

제작년 뇌졸증으로 쓰려지셔서 누워계시다가
작년부터 움직이기 시작하시더니 이제는 혼자 잘 다니시고
많이 회복 되신듯 하다.

그래도 여전히 어떤 부분은 힘드신듯.
사실 다른사람 같았으면 그렇게 회복하지 못했을 것도 같다.
워낙 에너지가 많은 분이고 투지나 긍정적인 마인드는 둘째 가라면 서러운 분이시다.

그런 스승이라 작업을 하는 제자들한테는 큰 힘이 되어 주시는 분이다.
대학원 다닐때만해도 교수님 떄문에 강한 투지가 생겼었는데..................

편찮으신 교수님을 뵈니 슬프기도 하고....
나에게 큰힘을 실어주던 엄마와 신교수님이 빨리 회복 됐으면 한다.

힘이 안나 사는데, 작업하는데,

드뎌 패닉

imsuniy — Thu, 10 Jun 2010 04:53:49 +0900

패닉상태.................
꼬인걸 풀어야 하는데
답이 안나오네

내가 무릎 꿇을테니
제대로 갑시다.

이런 제멋대로인 인간들아
엿 좀 그만 먹여라
알고 먹는 엿 토하겠다

젠장

imsuniy — Sun, 06 Jun 2010 02:42:54 +0900

먹고살기 힘듬.
내 맘 같이 되는 일 없음.
착하게 살수 없음.