ELOQUENCE_vol.50 International Creators Magazine 2012.MAY.
ELO QU ENCE international creators magazine MAY 2012 10,000 KRW Do Ho Suh Magpie Decade shop Wayofseeing Project Outings 202 Factory Open Stage Hong Seung Pyo Do Ho Suh Magpie Decade shop Wayofseeing Project Outings 202 Factory Open Stage Hong Seung Pyo Yong-oh Kim HackerSpace Seoul Song Byeok Yong Ho Ji Cyjo Recandplay The Wa Michael Osterman Yong-oh Kim HackerSpace Seoul Song Byeok Yong Ho Ji Cyjo Recandplay The Wa Michael Osterman Seoul Urban art Project Bill Wadman Baiyon Kris Kuksi Junghee Lim Bell&Nouveau France Danse Festival Seoul Urban art Project Bill Wadman Baiyon Kris Kuksi Junghee Lim Bell&Nouveau France Danse Festival Lisa Shahno Differ 10/10 France Danse Festival Pojangmacha Project Lisa shahno EDITOR'S NOTE ELOQUENCE . , ELOQUENCE . 21 < > . . 3 . . . . . `' . , . AA . `' . , . . , `' , . . `' . G.O . , ` ' . `' . , . ELOQUENCE . . ELOQUENCE . , . , . . `' `' , , . ELOQUENCE . ELOQUENCE , . <MAG TO MAG> `SUP' <Seoul Urban art Project>, <HOW TO : FIlM>, <OPEN STAGE> . . . . . ELOQUENCE . . . ELOQUENCE is a project-based magazine. As such, one of our aims is to support a variety of projects and watch them grow. One such initiative, the so-called Pojangmacha Project, recently had its grand opening at Platoon Kunsthalle on 21 April. Over the past several months, many people have asked me about the Pojangmacha Project and I've always given the same explanation-- probably over a thousand times, by this point. The Pojangmacha Project is focused on the research and development of the boundless possibilities of pojangmacha as a foodservice model, starting with its design and construction and branching out to include other aspects of its functionality. The project was initially started by two architects, Tae-ho Kim (who grew up in Wales, UK) and Korean-Japanese Tae-beom Kim. After meeting while students at the Architecture Association in London, they visited Korea and saw pojangmacha on the streets of Seoul for the first time. They were immediately captivated by it, and as they began to develop ideas for a new pojagmacha unit, they approached me for advice on how to best present their concept. After seeing vvvthe passion of the project's founders and the focused identity they had for their idea, I invited them to consider expanding the project from a one-time exhibition into an ongoing program. I recruited G.O. as the project's food director and Udo Lee as its creative director to help support the project and guide it to the full creative potential of what Tae-ho and Tae-beom had already begun. At ELOQUENCE, we believe that the independence of the initial concept is of paramount importance to the success of any project such as this. All the directors of the Pojangmacha Project respected the autonomy of the two architecture directors' vision, and never failed to remain focused on executing their plans. As if to prove this point, each director cooked and sold the dishes by themselves in the project's guerrilla pop-up phase. And finally, the Pojangmacha Project has been translated into reality, supported by talented art directors and project managers. The projects ELOQUENCE hopes to support in the future are ones achieved by many skilled artists from various disciplines and practical backgrounds. Keeping this spirit in mind, ELOQUENCE plans to continue sponsoring even more experimental projects like the Pojangmacha Project in the future. In fact, we have already begun this process with a handful of diverse and exciting initiatives--the magazine launching project MAG TO MAG, the street artist collective Seoul Urban art Project, the film project HOW TO: FILM, and the music project OPEN STAGE (in collaboration with Platoon Kunsthalle)--all of which we believe will inspire young enthusiasts' passion. It is often said that the success of a project depends on the idea itself, which is correct. But there is something even more important than that; its people. When people work together in perfect accord and with respect, authenticity and passion, the project will shine in the end. Then, ELOQUENCE will shine too. Editor in Chief Woochi Jeon 4 contents 6 010 012 014 016 018 020 022 026 030 034 038 044 050 058 062 068 076 082 085 092 102 106 110 116 122 128 132 136 146 166 exhibition project space project music dance brand art studio visit art art art photography video art photography art multimedia line drawing fashion art fashion fashion photography project festival project project information project Do Ho Suh: Home Within Home Magpie Brewing Co. Decade Shop WAYSOFSEEING Project Outings Differ 202 Factory Seung Pyo Hong HackerSpace Seoul Yong-oh Kim Song Byeok Yong Ho Ji CYJO RECANDPLAY The Wa Bill Wadman Kris Kuksi Baiyon The Botanical Garden by Junghee Lim Mythical Torso Michael Ostermann 10/10 Lisa Shahno Andrey Sarymsakov Seoul Urban art Project France Danse Festival Open Stage Pojangmacha Project World Exhibition Yom's Visual Lab Cover Art, photograph by Dojin Choi 2012 from Mythical Torso (pg. 95) 7 staff Editor in Chief Woochi Jeon / firstname.lastname@example.org Creative Director Udo Lee / email@example.com Art Director Snil Yom / firstname.lastname@example.org Photo Director Najhin / email@example.com Producer Jack Lee / firstname.lastname@example.org Editors Sungmi Yu / email@example.com Linda Choi / firstname.lastname@example.org Giseok Cho / email@example.com Andy St. Louis / firstname.lastname@example.org Jinseop Lee / email@example.com Regional Editors South East Asia. Vincent Sung / firstname.lastname@example.org London. Suk Kyung Yun / email@example.com Tokyo. Yuta Sugihara / firstname.lastname@example.org Amsterdam. Eun Kyung Hwang / email@example.com Intern Editors Suesasha Joung / firstname.lastname@example.org Pearl Kim / email@example.com Copy Editors Ross Gardiner / firstname.lastname@example.org Hassan Haider / email@example.com Writers / Contributors Tae Ho Kim / firstname.lastname@example.org Hyo Bong Chong / email@example.com Head Designer Yoon Jeong Lee / firstname.lastname@example.org Photographers Dojin Choi / email@example.com Hea-won Kim / firstname.lastname@example.org Translator Esther Hwang / email@example.com Web Designer Yong Hoon Kwon / firstname.lastname@example.org Executive Producer Joohyung Lee / email@example.com Chairman Deog Soo Lee / firstname.lastname@example.org President Jung Sik Lee / email@example.com Managing Director Jee Yea Lee / firstname.lastname@example.org Chief Managers Kevin Tak / email@example.com Julia Baik / firstname.lastname@example.org IT General Manager Kang-il Kim / email@example.com IT Management Team Jung Hun Kim / firstname.lastname@example.org Yo Han Kim / email@example.com Distribution Sung Sook Choi / firstname.lastname@example.org ELO QU ENCE international creators magazine TIMEs CoRE Co. E&C TOWEr 8TH FL., 46 YANGPYuNG dONG 3GA, YEONGDEUNGPO GU, SEOUL, KOREA 150-103 PHONE. 02.392.3800 / FAx. 02.392.1800 8 CULTURE STATION SEOUL 284 05.05 - 05.29 Blue Lady �Claude Le Ahn contributors Alyssa perry Zack Cluley Fashion shooting Team Alyssa Perry is freelance writer. She is originally from San Francisco, California, where she has written for several music publications. In Seoul, she has been able to use her skills to highlight the international art and music scenes. For this issue, she has interviewed one of the most talked-about Korean-American artists, CYJO. Zack is a freelance writer and photographer. His fascination with the arts keeps him constantly informed of inspiring creators of all types. Before coming to Seoul, Zack owned and operated a small music production company in Austin, Texas, where he brought artists from as far as the uK to perform. His interview with New York-based photographer Bill Wadman appears in this issue of ELOQUENCE; we look forward to seeing more great creators profiles and interviews from him in the months to come. www.perzpective.com Make-up artist Hong Min Chul and his assistant Kim Min Ji showed passionate and creative energy in their work on this issue's fashion shoot, `Mythical Torso.' Hong, who is more than just a general make-up artist, made great suggestions throughout the shooting process which contributed to making the final product abound with sensory appeal. Spanish model Anna was the heroine of the shoot-- despite the weight of Bell&Nouveau's bulky headpieces, she endured everything without any single complaint from morning till night. Thank you to all! Jinseop Lee suk Kyung Yun shin Hye Rim Multi-creator Jinseop Lee, who is simultaneously a brand manager, music coordinator, pop columnist and DJ, has moved in charge of ELOQUENCE music editor. The force of his speedy, accurate and compact writing style is already well known through his work with Naver and M-net. ELOQUENCE feels very fortunate to have him join the team, as if we've gained a thousand troops supporting us due to his involvement. Starting this month, he serializes coverage of Platoon Kunsthalle's Open Stage project, which recently joined forces with ELOQUENCE as a media partner. All of us ELOQUENCE are very excited about having Lee onboard as a key member of the team from this point onward. blog.naver.com/djpepsi ELOQUENCE London editor Suk Kyung Yun has landed in Korea. Having previously worked at The Bling as well as in Benetton Korea's marketing team, she is now living in London and working on various projects while also serving as foreign correspondent for ELOQUENCE. Since arriving back in Korea for a two-month visit, she has played an active part in the Pojangmacha Project, both as the project's Platoon event manager. She is also the editor for the ELOQUENCE feature on the event, for which she organized interviews with its participating artists with unparalleled determination and expedience. Shin Hye rim collaborated with ELOQuENCE this month on Yom's Visual Lab. She met with our art director Yom for the first time since their initial meeting five months ago to shoot the project, and didn't achieved great results. Between Shin's attractive photo style and the nice proportions of her model Bowon Lee, everything was smooth and clear. 10 11 exhibition Do Ho Suh: Home Within Home Arguably the most widely-known and critically-acclaimed Korean artist alive today, do Ho Suh has achieved a level of international recognition most artists can only dream of. His dramatic installation-based work boldly engages the East-West divide, navigating the treacherous psychological territory of locating one's identity within a globalized world. In `Home Within Home,' the artist's first solo exhibition in Korea since 2003, Suh invokes as much of his home-bred sensibility as he does of international know-how, resulting in a universally-understood but very individually interpreted exhibition experience. Editor. Andy St. Louis Image courtesy. Leeum, Samsung Museum of Art `Home Within Home' / 2012 / Installation view at Leeum, Samsung Museum of Art `Home Within Home' is split between two galleries in Leeum's special exhibitions wing (designed by Rem Koolhaas), with a third separate area devoted to screening documentary video about major works in do Ho Suh's oeuvre that are not included in the exhibition. In the upstairs gallery, enclosed by Koolhaas's floating `black box,' is a diverse grouping of pieces in a variety of media--all of which address the concept of `home,' but when taken as a whole, lack the knockout punch that has come to be expected of Suh's work. downstairs, however, is the exhibition's real focal point: five installation pieces from Suh's ongoing Home series (1999-2012). These five remarkable works use translucent dyed cloth to recreate some of the homes inhabited by the artist during his life, giving viewers an unusually intimate glimpse into the artist's domestic surroundings--from the hanok building in Seoul his family occupied in his childhood, to the towering facade of a New York brownstone, to the corridor of a railroad apartment in Berlin. While the visitor's first impression is invariably one of amazement at the fastidious detail with which even the most mundane details are stitched in these to-scale models, upon reflection one begins to appreciate Suh's more intimate preoccupation with our relationships to domestic spaces at large and the implications they suggest with regard to the artist's nomadic lifestyle. Suh is a self-described nomad, having been born and raised in Korea and subsequently receiving the bulk of his formal artistic training-- advanced degrees from RISD (painting) and Yale (sculpture)--in the United States. Throughout his life, he has constantly been on the move--even as a child, his family changed residences multiple times--and he continues this embrace this nomadic existence to this day, as he continues to split his time between New York and Seoul. In spite of being `homeless,' as it were, Suh is no aimless drifter, and his attachment to his Korean roots are a fundamental motivation behind his work. Indeed, much the work on display in `Home Within Home' (the five Home installations in particular) can be seen as a contemporary recontextualization of the aesthetic ideals unique to Oriental painting--a discipline he is all-too-familiar with, considering the prominence and recognition of his father, Suh Se-ok, considered one of the last Oriental painters in Korea's literati tradition. One of the distinguishing features of Oriental--and especially Korean-- painting is the quality of its lines, and by extension, their capability of expression. In the Home series, we encounter lines of a different sort; rather than describing a scene using ink on paper, they instead demarcate the edges of Suh's domestic worlds in three dimensions. No matter how lifeless or insipid these (often) run-of-the-mill interiors may be, however, the suppleness and delicacy of the cloth used in their construction lends them a distinctly organic, hand-crafted and charming quality. Like a consummate painting in the Oriental tradition, the lines of Suh's homes illustrate his sensitivity to balance and composition; whether stretched taut or hanging slack, textured with detailed stitching or left bare, the variations in line reflect the artist's appreciation for this unmistakeably Oriental concern. Suh further honors the aesthetics of Oriental painting in his use of empty space--not only in his work, but also in the design and layout of the exhibition on the whole. The works in the Home series are as much about the empty space they circumscribe as anything, particularly when one takes into account the diaphanous translucency of their walls. The fabric itself plays a major contributing factor in fostering a sense of openness in viewers; even when inside one of these `structures,' the surrounding gallery space remains in plain view, and vice versa. Installed in Leeum's vast open-plan gallery space, these five installation pieces have plenty of breathing room, resonating with their overall sense of emptiness and resulting in an overwhelming sensation of balance and stability--the marks of an Oriental painting of the finest execution. Do Ho suh: Home Within Home 22 March 3 June 2012 Leeum, samsung Museum of Art www.leeum.org 12 13 Magpie Brewing Co. ELOQUENCE caught up with Magpie Brewing Co.'s four partners to taste the difference between good beer and bad as well as talk about their dedication to growing the culture of craft beer in Korea. Editor. Linda Choi Photographer. Najhin project Q. What is Magpie? Essentially Magpie is `craft beer' with attention to rich flavors and local ingredients. Basically, we are trying to introduce this beer to Korea and let people experience something that they haven't tried before. Thus there is an educational aspect to Magpie as well, which is why we offer classes on beer tasting, pairing food with beer, and even home-brewing at The Beer Store, which opened in April in Gyeongridan. Korea has a really rich culture of making and enjoying different kinds of alcohol; friends of ours have parents or relatives who make their own makkeolli, for example, so making beer isn't such a big leap. And Koreans love beer--we want to add to that. Q. Is there any specific reason to choose the name, Magpie? We went through many iterations while picking the name and debated quite a bit. But we all agreed on the word `magpie' because it is a Korean symbol for good luck. It came out of a conversation we had with a designer friend of ours. We mentioned our idea for the name and she told us that in Korea magpies would traditionally build their nest in your shingles and become like part of the family; the nest would grow bigger every year, chicks would hatch every spring, and unlike other birds which migrate and leave, they'd live there year in and year out. We found that to be a good metaphor for our own lives here. Q. Why did you start this project in Korea? At first, we just started the project because we missed good beer. There was no microbrew or local beer in Korea and the market is dominated by large commercial products with a serious lack of character. We thought that there must be other people looking for the same thing we were after. We also want to work together with other microbreweries and we look forward to building the community and culture in Korea. We don't think of them as competitors. When we look around, many of the businesses started by foreigners in Korea are introducing a product that's already established, so there isn't much work they have to do to truly learn more about Korean culture. But with Magpie, we're introducing something that isn't just a product; it's a mindset, a culture, and a new way of doing things. So, just as much as we are bringing something new, we're also learning a lot at the same time. Q. How do you plan to differentiate your products and services compared to others? We do really focus on the fact that the product is made in Korea and ultimately we want Korean consumers to try what we make. We try to use Korean ingredients whenever we can. Additionally, we're not trying to explode onto the scene or grow too fast. We want to work with bar owners and event managers who get what we're trying to do. Later, one of the things we want to do is match Korean food with our beer. Chi-maek [chicken & beer] is standard, but craft beer paired with good food according to different flavors--that's never really been done before in this country. Q. It seems like each of you has a really different character. Tell us about your team dynamic and how you work together. I think the best part of our team is that we are so different. There's no point working together only with people who think the same as you. Aside from our personalities, we have all have different skills and we complement each other. Q. What do you want Magpie and The Beer store to be for people? The Beer Store is not just a place for enjoying beer but also an experimental space like a laboratory. We want Magpie to be the hub of craft beer culture in Korea. www.magpiebrewing.com 14 15 Decade Shop Editor. Suesasha Joung Photographer. Dojin Choi space Last month Decade Shop, a vintage style and imported menswear store, opened in Garosu-gil, Sinsa-dong. Owned and operated by two foreigners living here in Seoul, it sells high-quality clothing which has been carefully chosen according to their discerning fashion sensibilities. Decade Shop offers a carefully curated selection of brands ranging in style from rugged to refined in order to attire customers for any situation. The product shop's stock is made of the highest quality materials, with the caliber to become staples of your wardrobe for many seasons to come. Growing up in America and Canada, the owners were introduced to quality garments at an early age. Instead of focusing on quantity, many North American companies believe in creating a closely based relationship between the design process and manufacturing; this is in order to keep everything local and quality-controlled. These products aren't meant to be worn for one season, but are rather developed for practicality and longevity. Many brands that decade Shop stocks, such as Filson, Individualized Shirts, and Mark McNairy (produced by Sanders Co.), have all been making garments in the same manner for over fifty years in the same country where they originally began fabrication. Other brands available at the shop, including Wings+Horns, Makr Carry Goods, Monitaly, Post O'Alls, and Alexander Olch, follow a similar approach, despite having been founded more recently. Despite their relative youth, the latter brands aren't designing progressively. They are instead modernizing traditional ideas by making slimmer silhouettes, using various patterns, and/or adding further details, all without sacrificing quality. In addition to their inventory of new, seasonal products, the showroom features a unique collection of rare imported vintage items and accessories that is constantly being replenished. By offering both classic vintage and new versions of products, Decade Shop's philosophy reveals itself to customers. This is especially important for items that actually look better with age or need to be broken-in. Decade Shop was started as an opportunity to become an ambassador of these brands' ideals, "Buy less, buy better." The owners feel extremely positive about being a part of the quality-menswear push in Korea. The goal is really to get people excited about their clothes--whether it be discovering differences in fabrics used in neckties or noticing a patina that changes colors on some leather brogues. To them, Decade Shop is a place for customers to realize that, with proper care, their timeless products will be loved for many years. www.decadeshop.co.kr 3F Myungho Bldg, 540, Sinsa-dong, Gangnam-gu, Seoul, Korea 16 17 WAYSOFSEEING Editor. Pearl Kim Image courtesy. Kimbo Kim project Here's an interesting film project. unlike other commercial films, this is a movement-like project where artists from all different genres get together to study and evolve. On 1 April, a unique film WAYSOFSEEING previewed at a caf� run by the artist group Sun-in-jang. This video project, directed by Kimbo Kim (who was introduced in ELOQUENCE's April issue), is making headlines for some of its unconventional aspects; shooting at a real caf� and featuring the film's producers as actors. The primary shooting location for the film--from which the project takes its name--is a caf� and project space run by the artist group Sun-in-jang. The project began here and is evolving here. The key factor of this project, however, is that it is created by artists coming from a variety of backgrounds, including fashion, hair and makeup, publishing, film and visual art. As a group, they are producing this film by studying the images together; all of them take part in the project to produce the film or act in the film. For all these reasons, WAYSOFSEEING is at the forefront of a new generation of contemporary film artists focused on creating experimental films based on comprehensive study of art and film simultaneously. WAYSOFSEEING is a serial film made up of 10 episodes, each with a run time of 15 minutes. Although the episodes have themes specific to the plot lines unfolding therein, the whole series centers on the overall concept of `youth, art and dream,' with the guiding vision for the project aimed at illustrating the passion of "young creators who follow their dreams, energy, life and agony." Through the project, Kim takes advantage of the opportunity to reflect on his own past as a young artist who followed his dreams despite an unstable reality and a poor environment. He continues to fight this battle. The story begins when an ordinary engineering student from the countryside named Jung-un starts working as a part-timer at WAYSOFSEEING caf� to earn some money for his tuition after being discharged from military service. He begins to assess his own life dreams while spending time with inspiring group of artists also employed at the caf�, a place that serves as their creative base. As mentioned above, the actors featured in WAYSOFSEEING are played by their true-life counterparts. Therefore, in terms of acting skills, they may appear somewhat awkward upon first glance. However, this gives rise to a charming sense of naturalism in the film, their candid expressions and honest reactions giving the scenes an undeniable attraction. Kim hopes more artists will join in this project in the future, and in order to facilitate this, chose an `open scenario' technique to allow for changes on-the-fly as more artists become involved and the direction of the project continues to evolve. Cracker Lab, which is already well-known for producing many interesting projects, along with ELOQUENCE have signed on as main sponsors of the project. Through its official webpage, WAYSOFSEEING will inform the public of its upcoming online and offline activities. They will release a new episode via Youtube on the first day of every month, along with pertinent updates on the show's progress. www.waysofseeing.net 18 19 PROJECT OUTINGS Editor. Suesasha Joung Photographer. Najhin music Project Outings create dance music parties that have their own unique touches and give the Korean clubber a taste of what lies below the surface. 20 Q. Could you tell us a bit about Project outings? Project Outings is a booking platform dedicated to artists and venues in Korea. It presents a new way to entertain by staging a variety of dance music parties based on different concepts. We also book international acts, mostly focusing on independent electronic dance music labels around the world. We are striving to build a network between local and foreign talents. Q. How did you two (Antoine Le Toumelin and Dambi Kim) meet one other and start this project together? Antoine Le Toumelin: We met in Hongdae last summer when we were throwing separate parties at Bar ExIT--I was running Hear to Listen Here to dance, and dambi was running discowave. dambi Kim: We heard about each other before we actually met, and we were very curious about who was behind these cool parties. We just naturally became friends. Q. What do you think about the club scene in Korea? Also what kind of dance music is hard to find in Seoul and how are you aiming to bring fresh sounds to the country? It's really dynamic in terms of the number of clubs. It seems like a new one opens every month, but at the same time it's not very diverse or cultivated. Unfortunately many of them play similar music, have the same sort of design and concepts, which are heavily geared towards the mainstream audience. But we do believe the city has a lot of potential to grow, and we'd like to help cultivate the music subculture as party promoters. There are some great dance music DJs/producers who haven't been introduced to Korea yet. We are trying to make connections with these international musicians and to throw parties with them in order to introduce them to the Korean dance music scene. We believe that as we present these good quality shows, more people will start being aware of them. Besides, this will also affect the young dance enthusiasts who will be responsible for the club scene in the future. As far as taking it to the next level, we would like to form a space for musicians, regardless of their nationality, to show what they've got and for different crowds to interact with each other and to look back on the good times they've had after the party. Q. Do you think seoul is ready for the kind of music that you're bringing? Yes, Seoul is definitely a good place for the kind of party that we'd like to provide. We just need to get more people that are passionate about quality dance music parties to help us. Q. What is stranger Than Paradise? Stranger Than Paradise is an electronic dance music party created by Project Outings, mostly influenced by the sounds of disco, house, funk and techno. It introduces people to something different from what they usually experience at Korean clubs. It offers a versatile selection of international artists and DJs, and establishes Seoul as a new destination for the contemporary club music scene. Q. Who would you like to bring to the next stranger Than Paradise? There are so many! The first Stranger Than Paradise was a great success, and despite the fact that it rained like hell that night, we received very encouraging feedback from everyone. The featured DJ was Toshiya Kawasaki from Tokyo who runs the biggest house music party in Tokyo and heads Mule Musiq, Endless Flight and Let`s Get Lost. The next Stranger Than Paradise party is in June, and will present the best in underground house and techno in the country. Q. Who are the DJ/Artists that you work with in Korea? Our favorite local DJs at the moment are the up-and-coming Seoulbased duo, the WEEKEND (MagicoToDisco and Antwork.) They are currently in production, so stay tuned! Q. Who or what inspired you the most in terms of music? AL: I grew up in France, and music was always a part of my life. Growing up, I worked in a music store where I could borrow as much music as I wanted. I was mostly influenced by `90s hip hop like Nas, Notorious BIG and NWA, as well as French rap. It was about that time that my sister introduced me to New Wave bands like New Order and The Cure; that's when my taste in music started to branch out. These days I don't like the idea of sticking to one genre. I discovered house music later, when I started going to clubs and festivals with my friends who were also throwing small parties. They are now dJs and producers in the French underground house music scene. dK: The internet. I feel like I am already friends with all these incredible musicians around the world because I can always keep track of what's going on with them over the internet. That's how I got to know about this kind of dance music as well. I also listen to many different types of radio stations, podcasts, songs and mixtapes, ranging from classical, salsa, hip hop, blues to disco, techno and deep house presented by some of the most influential producers, dJs and radio hosts throughout the world. While going through all these, I always find some fresh and amazing tunes ahead of anyone else. That's when I feel extreme happiness. I just love this curiosity I have. Q. What is the purpose and mission of Project outings? Our aim is to cultivate a new scene and to educate people in the underground. We want to provide Seoul with a quality selection of artists/ DJs and create a new way to entertain the masses. Q. What are your future projects? Well, we're working right now on the second Stranger Than Paradise for June. We also have some new projects, such as a monthly chill-out aperitif party on Fridays at Platoon Kunsthalle, and another free and easy house music party at Bar ExIT in Hongdae. Q. What are your favorite songs ... - To wake up to? AL: My Blackberry alarm ringtone, "Antelope" dK: KurT SLOAN & uncle TNuC - "dEEP MOuNTAIN MEdITATION MIx" - In the shower? AL: Prince - "You Got the Look" dK: Toni Toni Lee - "Elevate" - on the way to work? AL: resident Advisor - Beats In Space podcasts. dK: NTS radio, podcasts, anything longer that I don't have to pay attention too much to change songs. - At noraebang (karaoke)? AL: roy Orbison - "Only the Lonely" dK: Limp Bizkit - "Hotdog" - on a day off? AL: Zapp and roger - "doo Wa ditty (Blow That Thing)" dK: "The Powers that Be" - remixed by rayko - To make out to? AL: Jodeci - "Come and Talk to Me (Hip Hop version)" dK: Late Nite Tuff Guy - "Hidden disco Gems" Q. Who is your favorite artist at the moment? A: Jimmy Edgar and his upcoming album Magenta, which will be released in May on Hotflush recordings. d: Saschienne. They're a romantic techno duo between Sascha Funke and his wife, singer Julienne dessagne. They recently released their first EP on Kompakt. Q. What is your favorite record label at the moment? We're looking to invite a young and promising label from Europe called `somethinksounds` who released music by artists like Lucky Paul and Eliphino last year. www.projectoutings.co.kr 21 dance DIFFER Editor. Udo Lee Photographer. Najhin differ is a member of one Korea's first B-boy crews, T.I.P. (Teamwork Is Perfect). He was part of the Korean B-boying scene's rise on international stages, and witnessed the logic of brands' and creative agencies' obsession with this trend. ELOQUENCE met the B-boy legend to talk about the past and future of B-boying in Korea. 22 Q. When did you start dancing? I started dancing in my second year of middle school; I was 16 then. I didn't know anything about B-boying. It was during a break time after a music lesson that three or four guys created space in the back of the room and began dancing. I had no idea what it was, but I wanted to try it as well. I wasn't bad at sports, but dancing didn't fit me well in the beginning. After that, however, we started dancing during every break we got at school. In every class there was a group of people like us, and when we got to our third year in school, we upgraded from dancing in the classroom to dancing in the hallway. Q. Where did it go from there? The better dancers from these hallway sessions teamed up and went out to competitions. There were small festivals by the Han river where we competed against teams from other schools. It was at one of those events that I met B-boy Eye, with whom I now dance at T.I.P. Crew. Actually, we went to the same high school. He was a member of T.I.P. Crew then, and when I got closer with the crew, I thought more about what I wanted to do with my life. At that time, dancers were considered `bad guys;' there wasn't much respect for us out there. After middle school, I thought a lot about which path in life I should follow: dancing or studying? School was tight, so there wasn't any time for practice. On the other hand, there was dancing. It was my life and I was young, so I told my parents and quit school. Q. How did they react? They slapped me, like in a TV drama! But what could they do? I just didn't want to go back to school. But in a way, it was a fortunate decision. Others went out to clubs and did bad things, but we did nothing but dance. I mean, we had to because our hyungs would give us shit otherwise. Around that time, I became a member of T.I.P. Crew. That really made a difference, and people respected me. We had a team, but we didn't really have a studio. Q. Where did you practice at that time? We practiced at Hongdae Station. There was a spot where you could plug in your boombox. At that time, there wasn't much access to music from abroad. So, using a tape recorder, we recorded music off a video tape we'd gotten hold of. Everything had to be quiet, and when somebody--like someone's mum--opened the door while recording, we had to do it again. We always practiced to music from these tapes. Then, in 2000, we finally had a studio with speakers and everything. It was really nice. Q. It seems that the environment you started in was quite limited. How were you able to you make it from there to the international stages? In 2001, the first Battle of the Year (BOTY) preliminaries were held in Korea. That was a big issue on the scene because, up until then, it had been almost unimaginable to go to an international battle. So some of the best dancers in Korea got a project team together combining members from different teams, and Visual Shock was born. The team won the `Best Show' category with a fan dance. B-boy Eye called me immediately after they won to tell me what was going on. That was such a big thing in Korea. Q. so that was the event which triggered the interest of the public? That was the beginning. A Korean team had won the `Best Show' title, but hadn't won an international battle yet. In 2002, there were preliminaries for the UK B-Boy Championship. T.I.P. crew won that. But for the trip to the UK, a project team was put together again, Project Korea, which won the Championship. This title can be seen as the real starting point of B-boying on a big scale. Since then, Korea has held the image of good teamwork, ridiculous technical skills, etc. Q. What were the reactions in Korea? I have to admit I secretly hoped that journalists would be waiting for us at Incheon Airport, but when we got out, nobody was there! In my opinion, the street dance scene developed really, really fast--maybe too fast. Before there was even a proper scene, there was international recognition. B-boys would travel a lot and bring the latest fashion back from their trips--clothes, hats, etc. And with the internet, information poured into the scene, which grew and grew. Korea won so many international championships that it caught the attention of big companies and their agencies. In their eyes, B-boying was the next big thing in Korea. And whenever a video was produced to promote Korea, B-boying had to be part of it, just like Yuna Kim is now. Q. That's interesting considering that only a few years earlier, the public image of street dancers wasn't positive. What did you think about the development at that time? In the beginning, it was good. We got a lot of requests to dance at events. But something happened along the way. The mainstream, including the companies and agencies, didn't have any criteria from which to base opinion. To them, good dancers and bad dancers looked the same. All of them were just spinning around. So the companies didn't understand why they should pay more money for the good crews. As a consequence, the level of dance fell more and more. B-boying was never given the time needed to be accepted as an art form. The situation abroad was different. There, the scenes were alive. Q. What do you think is the reason for that? One simple example is France, where (from what I have heard) there is a lot of funding to support the arts. Also, the audience is very educated; they respect artists when they see them. The same is true in the UK and Scandinavia. In Asian countries, like China and Korea, it's much different. Reactions were sparkling for a short time, but when the value for the companies sank, they didn't invest anymore and moved on. Everything is short-lived, and people just want instant entertainment. They haven't made an effort to understand B-boying as a culture. Q. How did this affect the scene? It went down. In the past, there were a lot of competitions each year, but now it's hard to find even one. We are getting older and need to move on, earn money and develop the arts, but the support lines have been cut off. We still work hard to open new paths, create exchanges and make a living. Hip Hop culture originally began in the streets because there were no resources, like money, studios, etc. Today, it's not a street dance anymore; it's `studio dance.' Not many people dance in the streets these days. As I said before, we have to make a living now, but when you want to professionalize and make a business out of it, you hear stuff like, "That's not real. Why are you selling out?" from people within the hiphop culture. I think that's stupid. The underground can only grow as long as the commercial aspect grows. Q. What changes would you like to see then? I would love to unify the scene, but the partitions are too rigid right now between the `underground' people and the ones who think like me. But we can still communicate on the dance floor. I want to create a better environment for the next generation. They have so much more access to the necessary tools than we had. They are not poor. This generation cannot be forced to dance in the streets. They should know the roots and the history of what they are doing, but I don't think it's right to only recognize the old ways. It would be great if the next generation could dance--and make a good living doing it. Q. How do you think that can be achieved? We have to communicate more with people outside the B-boy culture. I am constantly thinking about it. For example, T.I.P. members are active in diverse environments; in the entertainment sector, universities, the media, etc. I would like to put together a show that brings together all the connections we've made so far. In the end, dance is one, and a good show can bring all that together. Q. Each environment creates certain expectations. Isn't is necessary to deal with these expectations as well? Right. This is why we want to create a show which doesn't conform to the stereotypical assumptions about B-boys. We want to include diverse elements so people can see the dance from a different perspective. This spring, we also want to go out to the streets, street dance and put on spontaneous workshops. Before, B-boys only danced. For me, even this interview is another form of what I do, and I want to put more effort in this direction--interviews, dialogue, music, education--to give people a deeper understanding of B-boy culture. 23 brand 202 FACTORY Editor. Sungmi Yu Photographer. Najhin Images courtesy. 202 Factory Bo-ram Lee is the designer of 202 Factory. She always delivers hope in her design, and that hope is the thing that makes 202 Factory unique. 202 Factory Transparent Earring / 202 Factory Silverball Chain ring 24 2012 S/S Lookbook Q. Please introduce your brand, 202 Factory. It is a brand that makes handmade bags and accessories. 202 Factory was born for people who have a strong identity. Q. When did 202 Factory begin? We launched this brand in 2010, and we are now in our third season. Q. I found a sentence on your homepage that describes 202 Factory as: "A conglomerate factory that produces fashion and art." What does this mean? It means that I want the company to produce many things. I want to keep working on personal projects, such as installations and illustrations. Although I produce fashionable items to sell, I'd like to make them artistic as well. Accessories and bags are also categorized as fashion items. Q. I heard that you majored in industrial arts in college. Is there any reason for you to choose accessories and bags? The idea of designing accessories didn't come overnight. It came to me naturally while majoring in industrial arts. I first came in contact with fashion when I was working as an editor for Kai-aakmann. From there, I started thinking about jobs in which I could use both my major and my knowledge of fashion. I came to the conclusion that I should start my own company, and 202 Factory was born. Q. You don't want to work and study at the same time? I'm happy to do that for the time being, but I'd like to study abroad further. I'm not in any position to judge, but I think jewelry designs in other countries are more daring than Korean designs. It seems like both the designers and customers take to those unique designs more easily. I think that having that freedom helps designers when creating designs. Q. What do you take into consideration when working on designs? I always try to create something different. Also, the designs have to have the unique features of 202 Factory. Q. Like the rope bag for instance? Exactly. The rope bag is 202 Factory's signature item. I feel sad to see the fake rope bags at Dongdaemun market that imitated our design though. Q. If you look at it in a positive light, it could be a good thing since it means that 202 Factory's design is distinctive. What do you think makes 202 Factory unique? Our designs may look simple, but they are actually very unique. For instance, we find harmony in materials that seem like they don't go well with each other, such as the rope bag. I enjoy mixing various materials because I used to use metal and textiles together when I was in college. Q. Most of your items have sold out. You must be happy since they were made to be sold, but do you feel truly satisfied with the final designs? Not really. I always start working on the next designs in the hopes of making better items. Q. What kind of brand do you want 202 Factory to become? Come to think of it, I've never thought about it before. I just take things step by step. I will have to think about it seriously this time! Q. What is your plan for the rest of the year? To extend our business abroad. We participated in Rooms Link in Tokyo, Japan last March. Simply put, it was a fashion fair. Rooms is a PR company that publicizes and distributes Japanese brands across Japan and introduces new, influential brands through the event. Since people working in the fashion industry get together from all across Asia, there's a chance for us to extend our business abroad. Fortunately, 202 Factory received positive reactions. Rooms Link is held twice a year and we will be taking part in again in October. Q. Good luck with your plan to go abroad. It seems like your brand has grown pretty fast over the last two years. I think so. Most of my plans have worked out as I wanted them to. I have been lucky so far. I can't forget about the help I've received from my friends, though. I'm very thankful to them and I am determined to work harder. Q. What are your own goals, aside from those for 202 Factory? My goals are the goals of 202 Factory. The theme for this season is `It Is Genuine.' I came up with the theme because I felt unsatisfied about the desolate reality we live in. I'd like to regain my innocence and sincerity. And I'd like to do my best because I love my work. www.202factory.co.kr 25 Transparent Simple Bracelet / Transparent Earring Chain Earring (dark grey) / Chain Bracelet Simply Silver Clutchbag (s) 26 White Chain Swarovski Necklace 27 art Seung Pyo Hong delicate etchings of mechanical machines from the first half of the 20th century are Seung Pyo Hong's trademark. The artist explains what Goya has to do with Japanese Manga, what human organs and machines have in common, and the irony of organic food. Editor. Udo Lee Photographer. Najhin Images courtesy. Seung Pyo Hong 28 Metal Breathe / 2009 Man Without Shoes / 2009 Q. Your background is in printmaking. How did you get into it? When I was in high school, I really liked Goya, Rembrandt and Dali--especially Goya's and Rembrandt's etchings and Dali's lithography. I saw these styles in my sister's books (she's a designer) and decided to study printmaking. Q. Do you mean analog printmaking? Yes. In former times, printmaking was the most innovative technology of the day. Before that, there were only originals. But with printmaking, the idea of editions was possible--books and all that. What interests me is the process. When I run my paintings through a printmaking procedure, it becomes part of a mechanical process. Take photo etching for example; you expose a photo onto a steel plate. Q. What exactly draws you into the work of Goya, Rembrandt and Dali? I am fascinated with their drawing styles. Visually, it just looks good. When you see Goya's paintings, and especially the etchings, the lines are really contemporary; it's unbelievable. Although they're quite old, you can draw similarities between Goya's drawings and Japanese Manga. It's surprising when I look at these works. They feel almost Asian in their style. Not many people are familiar with Goya's etchings, and when I show them to people, they sometimes think they're Japanese Manga art. Q. In your work, there are a lot of machines, especially mechanical machines. Could you tell us a little about that? When I was young, I spent the school holidays with my father, who owns a factory. He is actually really creative. He always tried to assemble new machines, blueprints. I think that is where my motivation comes from. Q. so your father was an inventor? Not really, but he had the spirit--the DIY [Do-It-Yourself] spirit! Q. Though it may not be a conscious decision, do you feel naturally drawn to mechanical machines? Before I decided to become an artist, I wanted to be a scientist. Q. Not an engineer? No, not an engineer, but a biologist. That's a different story. I also always liked old machines and I liked to disassemble them to see how they worked. That's what comes through in my drawings. Sometimes I include parts of existing machines, and sometimes I come up with machines myself. I've seen so many types of machines. It's a bit like inventing something. Q. When I look at your paintings, I mostly see mechanical machines, but actually, there are old computers too. What exactly fascinates you about machines? My paintings started with Charles Darwin. I was fascinated with the organic functions of humans and that got me thinking about how machines work like organs. Q. Which organs? All organs really, whether in humans or other animals. In the beginning, I examined a fish--the gills, the air bladder, the heart, etc.--and studied how everything worked. Then I tried to forget what the organs looked like and imagined how the functions could be reproduced by machines and computers. I'm not a scientist, so my knowledge is limited. I think that makes my machines look very retro. That's my concept of machines: they have to work with steam. They're not very advanced! Today's machines are so varnished. If you look at the iPhone, you can't see how it works. Q. so, if I understand correctly, the `machine' is a way to understand the `organic.' Is it about creating a cyborg? What is the connection between them? It's actually quite tricky. Sometimes my machines don't make any sense. They're kind of sarcastic in a way. What I believe is that, in the past, human evolution depended on natural conditions. Most animals kept depending on nature, while humans adjusted to it. Now, humans both create their environment and adjust to it. It's like a circle. We make the environment; we change with the environment. So in my paintings, I create machines which are like organs and put figures in them. It's like we live in the organs we made. Q. Why can't you see any reference to the `organic' in your paintings then? I want to avoid what people have done before. Have you seen images of heads in which a machine replaces the brain? That's too obvious to me. I want to show people that we live in the environment which we made. So I don't need the references to organs as my motivation for the invention of machines. Q. When did you start to work on that series? I started in 2008. My new works are kind of similar; there are so many machines in my head to be created. Well, it's a bit of a different story, but I am developing it. My main story will be distorted. At the moment, I am working on an amusement park--or circus--series. Sometimes I wonder where that came from; it seems so far from what I've done before. But somehow it is connected. I also make sculptures now. I have so many blueprints that I'm working to put into practice. Q. so you make sculptures from machine parts? Yeah. I have one painting which called Sky Sounds, Engine Crawling (2011). It's a sound installation which plays with engine sounds from airplanes. When I lived in London, I could hear airplane sounds all the time, and this mechanical sound had an effect on me. Q. since you mentioned the sounds of machines: What kind of music do you like? It's also a contradiction! I like German techno and classical music, especially Chopin. Q. Is it like an analogy for you? Techno for the machines and classical music for the organic? I don't know; it's just a coincidence I guess! 29 Q. Does music influence your paintings? No, I wouldn't say so. My paintings are more conceptual. I have an idea and then look for a way to visualize it. But I love science fiction, especially older movies, like Fritz Lang's Metropolis (1927). I didn't know much about it, but it always hugely impacted me. Q. Do you think it's good or bad that we live in these mechanical environments? I take it from a playful perspective. I cannot say it's bad since I take advantage of machines by drawing them a lot. Also, I love to watch machines, for example at airports. My favorite airport is Nagoya because it has this huge observation deck from which you can see the airplanes. And you can hear all these sounds from the different airplane motors. Machines sometimes make our human way of life worse, but what can you do? My family likes to eat organic food, but I am a bit skeptical about that. It's contradictory: people want to eat fresh stuff, and at the same time, they want to enjoy the advantages of technology. I am just playing the grounds in between. Q. What I find interesting is that your paintings look very clean, more like blueprints or construction plans. But somehow I always associate dirt with mechanical machines and their workings. Where is the dirt in your paintings? A lot of people have this association between machines and dirt. For me, however, they are masterpieces of art. True art! It's more about the principles of how it works, not about how dirty the surface looks. But I like irregularities that can derive from executing these drawings by hand. Sometimes you make mistakes which turn out to be beneficial to the result. As I said before, my background is in printmaking, and I am a bit perfectionist. It's like the old print makers who would look for the perfect print or perfect replica for an edition. But sometimes mistakes are good because they can elicit certain emotions. Wireless Retina / 2010 Forest Express / 2011 Sky Sound, Engine Crawling / 2011 30 Warm Absent / 2009 31 HackerSpace Seoul The sixteen members that make up this unique studio and creative incubator do things according to their own rules. This month, ELOQUENCE has a studio visit with dan Mikesell and Jihyun Song, directors of HackerSpace Seoul. Editor. Andy St. Louis Photographer. Hea-won Kim studio visit Najhin Q. Please introduce yourselves: who are you and how do you each define HackerSpace Seoul? Jihyun Song: I am a media artist, producer and festival organizer. HackerSpace Seoul is a creative community where professionals from various fields come together to share knowledge, experience and the process of making. Our members include biologists, engineers, designers, architects, artists, professors and just people who are curious. We are constantly meeting newcomers through HackerSpace Seoul's regular open hours and workshops for the public at our current space in Euljiro, a hub for industrial materials and supplies in central Seoul. dan Mikesell: I came to Korea as part of the WCu (World Class university) grant with Hongik university, where I teach in the digital Media department. HackerSpace Seoul is a community of people who like to make stuff, do stuff, experiment or do any other crazy thing. In truth, HackerSpace Seoul is constantly changing and evolving--perhaps because of the fast-paced nature and continuous evolution of Seoul itself. Q. What is the international hackerspace community like? How does Hackerspace seoul stack up with hackerspaces elsewhere? dM: There are hackerspaces all over the world, from large-scale groups with dozens of members to just a few people meeting at the local bar. What really motivated me to start HackerSpace Seoul was the fact that there wasn't anything like it here in Korea. That seemed like a shame, considering the easy access to electronics and supplies in Seoul. HackerSpace Seoul is different from a lot of other hackerspaces, which typically have very independent people working on their own projects. We get a lot of people asking us to collaborate, so we usually have several group projects going on at the same time. JS: That's part of our mission--to develop a creative community, rather than fostering only this sort of auteur-artist type. Also, it's about providing a place for people who are sort of dissatisfied with their jobs and want to do something fun to be able to come and make stuff. Q. When and how did Hackerspace seoul begin? dM: It started as an open community for creative people--or people who want to be creative. Actually, in the very beginning, I was teaching a summer workshop with WCU in 2010 about hacking and physical computing. Some of the students in the class were really interested in making a hackerspace, and it sort of took off from there. Q. What do you mean by `physical computing?' dM: It's basically programming and electronics for creative minds. It's engineering to a certain extent, but it's not as mathematical; it's a bit more artistic. With physical computing, you're not necessarily looking for the optimal circuit or program--you want something that works and that does what you want it to do. It can be applied to objects, spatial environments, etc., so it has really exploded in the field of interaction design. Q. How did your students get turned on to the idea of starting a hackerspace? dM: I'm not really sure that they knew what it was, but I mentioned it and so we started out very small, just meeting informally. That's how I met Jihyun. JS: I actually wasn't in his class, but I had a friend in his class who told me about the kinds of things he was doing. I was working at a broadcast company at the time, where I was importing a lot of documentary films about open-source and new media projects. The idea of starting a new movement based on creativity and collaboration really appealed to me 32 and the idea of a hackerspace seemed like a part of this new media movement. So a lot of us [other like-minded people] started talking about it and we decided that we needed to get a space--to stop talking about it and actually make it happen. Q. How did you go about finding a space to get started? JS: First we approached Moonji Cultural Institute, which is an alternative space. They support a lot of programming related to theory and practices, but they don't really see a lot of output coming from their academic courses. We presented them with the hackerspace model--a lab available for people to use and create anything they want--and they were really supportive. Then we got another residency at Platoon Kunsthalle. They were really interested in the project and its potential for defining a sort of subculture, as well as the hackerspace process of operating outside the `system.' Their concept of the residency space and our concept of hacking were a great match. dM: The residencies--especially the one at Platoon--were really good for raising awareness about HackerSpace Seoul. We're really grateful to Platoon for giving us a chance, because without them everything would have been much more difficult; even just finding people who are of a like mind and into what we're doing. Q. After the residencies, how did you make the transition to the more permanent space you have now? dM: We basically said, "OK, if we want to continue as a hackerspace, we need to find a new space as soon as possible." Especially with regard to the energy and momentum that we had by the end of the residencies--if we didn't get something immediately, we knew people would start to get involved in their own lives again. So we went searching for someplace we could afford, which was tough. JS: We got to the point where we realized that everything we had been looking at was too expensive. I knew a mechanic with a shop in Euljiro, so I asked if he knew of anything available in the area. He mentioned a place that was sitting empty that might work. It was much cheaper than the other places we were looking at, and the fact that it was in Euljiro was a huge plus. And now, here we are. Q. Why Euljiro? JS: When we were at Platoon, we would always stop by Euljiro to pick up materials--big, long, cumbersome stuff--and then we'd carry it on the subway or the bus or whatever, which was terrible. So it just made a lot more sense to rent a space in Euljiro itself. At first we really wanted to have our own expensive equipment here, like laser cutters and stuff like that. But in Euljiro, you just walk down the street for two minutes and ask a guy to do it for you. dM: That was one downside of the residencies: we didn't have any tools. After we started working in our space here in Euljiro though, we sort of realized--we don't need any tools! Here, you can give someone a sample (or even a picture sometimes) and they'll say, "Oh yeah, I can make that." Q. What would you say is the primary demographic of Hackerspace seoul members? dM: A lot of our members are people who use this space sort of as their workspace. The guys making 3D printers, for example--they're here almost every day working on that project. We have another artist who uses this as his primary workspace, doing custom circuitry. For these people, it comes down to either working at home or working here, and so they like coming here since it gets them out of the house. Q. Has your membership changed at all since Hackerspace seoul started? dM: In some ways, yes. We're not as open in some ways--that being said, we are always looking for new members. Q. What's the process like to become a Hackserspace seoul member? dM: Imagine if you're looking for a roommate; you have sort of `roommate interviews.' It's kind of the same thing here--we're sharing a space together, so we want to know who you are, if we're compatible, etc. The way I see it, if you can keep coming and you can get into what we're doing, then clearly you're `one of us,' in a sense. Q. Are people here everyday? JS: Yes. It all depends on people's work schedules and when they have time to come in. We also have open hours on Wednesdays when anyone can sort of drop in and see what we're doing. Q. You must also get a lot of non-members into the space for the workshops you hold. What are the workshops usually like? JS: Through the workshops we try to encourage people to familiarize themselves with the idea of hacking: disassemble an old product and find a way to create something new out of the parts. New ideas come from those activities, such as hacking disposable cameras or creating flash light projectors. We do them once or twice a month. The 3d printer workshop takes a whole day, since they have to build a whole printer each time. We have a two-day workshop about open-source video compositing and effects software that's coming up, and we have a lot of shorter workshops that we do. Q. What about the events and exhibitions you do outside the space? JM: We need a venue to present our work. dM: If you want to exhibit as an artist in Seoul, generally it costs you money. So we figure that if we show as a group then we have a certain `brand leverage.' We can often get a budget, which means we can show our work and not necessarily have to pay for it ourselves. That makes all the difference. Q. What are some of the major projects people are working on at Hackerspace seoul these days? dM: We're biologically programming bacteria to produce a pigment when it is hit by light. Basically, we're using it in a photographic process; we use a stencil and a light to create an image in bacteria. It's not necessarily a new concept or process--it's been done before--but our next step is producing other colors of pigments. To do this on a large scale, which is what we're trying to do, we're going to have to make a huge incubator where we can cultivate these huge petri dishes. JS: A project we're getting started on now that's specific to Euljiro is mapping out all of our favorite places for sourcing materials and components. Many times, people who come to this area get so overwhelmed and they don't even know where to start. We'd like people to be able to upload their own information as well and share their knowledge of the area. dM: Also, because our members are very interested in learning about mass production processes, we are designing some HackerSpace Seoul products so the group can learn how to design, build and bring a product to market. We don't currently have an industrial designer in our group, but that will change. www.hackerspaceseoul.com Floorplan, HackerSpace Seoul 33 34 35 art Yong-oh Kim Yong-oh Kim's work is attractive because it delivers the fantasy of real stories using diverse colors and strong reinterpretations. ELOQUENCE met with this rising artist who is attracting public attention through his involvement with ruFxxx's recent Padding Jacket Project, his book Seoul of the Dead (2012), and other eye-catching projects. Editor. Linda Choi Photographer. Dojin Choi 36 Deoksugung Palace / 2012 / digital Freehug / 2012 / digital Q. Please tell us about yourself. My name is Yong-oh Kim. Ah, sometimes people mistake my name as `Young-oh Kim' but my name is `Yong-oh Kim!' I usually work in Seoul and I graduated from college this year. But I still feel hesitant to call myself an artist just yet. Q. How did you become interested in illustration? I've loved drawing pictures since I was a child, although they were more like scribbles back then. Later, I found inspiration from my friends who were drawing pictures, too. I have no intention to stick solely to illustration; I'm working on illustration because this is what I'm interested in now and what I'm good at, but I hope to branch out in the future. Q. The style of your work is very distinctive, particularly the effect of dripping ink. Could you tell us a little about how you developed this unique style? I like to draw detailed drawings using pencils. I kept drawing while I was serving in the army, but one day drawing seemed like a hard thing to do. So I started trying new things that I had never done before, like using pen for my illustrations. At the time, I was reading the magazine Nylon and I came across a picture where the contrast of the background color and the model was really striking. The drawing I was making at that moment became the basis of my current style and completely changed my impression of color. Q. Your first illustrations contain pictures of street fashion and it seems like you are interested in this field. The reason why I started drawing street fashion illustrations was that I was strongly attracted to the individual character and fashion style of each person. I was inspired by the fashionable people who had a great sense of aesthetics. Personally, I'm very interested in clothes and fashion. Q. You just graduated from college, but you have been doing a variety of events since 2009, such as exhibitions, collaborations, and publications. I still have a long way to go. After completing my military service, I came across a minor individual exhibition. Although it was very small, I could feel the passion of the artist and I was overwhelmed by the atmosphere, so I wanted to hold an exhibition of my own, no matter the size of the space. That's when I started drawing on canvas. Then, slowly, people started recognizing my work and I began working on projects with some of them. Q. Please tell us about your recently released book, Seoul of the Dead (2012). The book was created through the SSE project which selects an artist and publishes a book once a month in the form of a limited-edition booklet and online platform. I was already interested in the project before, and I participated in it several times through concept books. I had been drawing some zombies and the director of the SSE project liked my work and so we started working together. I chose zombies because they are universal characters that transcend cultures. In addition, I like to naturally incorporate the fact that I'm a Seoulite into my illustrations because my work is affected by my own experiences. This was why I put zombies in the background of my drawings of Seoul. I try to tell stories about the feelings and situations people often come across in Seoul. Q. It seems like I'm reading your personal diary when looking at your work because it contains pop culture, street fashion and your personal life (including vacations you've taken). How do you pick the subjects for your work? I try to express the memorable moments of my everyday life or the things that have had a strong emotional impact on me. I also read magazines and seek out images to get inspiration, and traveling also inspires me. I have been a curious person ever since I was young and I've always loved traveling around. I used to travel around town riding the bus and take strange paths that I'd never walked before. I set out on a short journey to Thailand when I was a college student and I really loved the new environment and the people I met there. Even after I came back to Korea, the memories kept lingering in my head and I ended up visiting Thailand again. The frustrations you feel in a strange place and the nagging feeling of isolation are parts of traveling that stimulate my imagination. I decided to illustrate my travels when I was recently in 37 India. I went through all kinds of experiences there and I naturally started drawing my memories of that place after coming back to Korea. Q. Are there any memorable episodes or art works that you created during your trips? So many interesting things happened in India! I lost my passport and I spent 16 hours inside a bus. The most interesting drawings I made during the trip were the Himalayan trekkers and the camel safari. Q. Do you have any new plans? I'm planning to visit India again and stay there for about two months. I'm also planning to visit Thailand and Malaysia. But other than that, I have no other specific plans yet. This is the beauty of traveling! I'd like to publish a travel book based on my drawings and sketches, not based on information and photos about the destinations themselves. I guess it should really be called an `illustrated book' since there won't be a lot of articles and it will be mainly drawings. Q. What are your goals and dreams as an artist? I'd like to make a travel film before my mid 30s! My final goal is to become an omnidirectional artist who expresses his own style using diverse forms of media. In order to do that, I should develop my own style first so that I can express my ideas in the form of movies and sculptures. www.infinitykyo.com Jaisalmer / 2012 / digital Mayabay / 2012 / digital Truck / 2010 / digital Gairivas / 2010 / digital 38 Kaosan / 2012 / digital 39 art Song Byeok Song Byeok is an artist that paints `freedom.' He painted propaganda paintings for the North Korean government before fleeing to the South. Now he is painting pictures that indirectly depict the reality of the North Korean society that he wishes to change. He sat down for an interview with ELOQUENCE recently to talk about the world he is seeking and about his own personal history. Editor. Suesasha Joung Photographer. Najhin Images courtesy. Song Byeok 40 Q. As a painter from North Korea, can you tell us about your working life as an artist in south Korea? I painted propaganda paintings for seven years in North Korea before fleeing to the South. That was an indescribable hardship for me. Many people starved to death and many families faced complete breakdown. Our family almost disintegrated, too. We felt that we couldn't live like that. So I made up my mind to cross the border into China with my father to get food. While we attempted to cross the river, he was killed and I was arrested by a security guard, and later put into a prison camp. I managed to arrive in South Korea in 2002, but not without overcoming many difficulties. I entered the College of Education at Kongju National University in 2003, where I studied Korean painting for four years. Afterwards, I continued studying art and enrolled in a graduate program at Hongik university. While studying, I thought I should communicate with South Korean people by painting pictures that depicted the North Korean society's past and present. After graduation, I firmed up my resolve and became absorbed in my work. I held my first solo exhibition at a gallery in Insa-dong in downtown Seoul in January 2011. Q. How did people feel about your debut show? I received a surprisingly enthusiastic response. I came under the spotlight as soon as I opened the exhibition. Even some people who hadn't liked my work before applauded. Thanks to its success, I was able to hold another exhibition in Atlanta, USA earlier this year. After the exhibition in Atlanta, I realized that I should communicate with a wide range of people in foreign countries, as opposed to working solely in South Korea. As an artist, I now have a plan to deal with a variety of topics, such as human rights, freedom, peace and religious conflicts, rather than focusing only on inter-Korean issues. Q. What is the main motif of your works? I deal chiefly with human rights, the noble dignity of human beings and peace. Most people are just living day-to-day, oblivious to the preciousness of human dignity and freedom. I'd like to let them know how precious they are. I'm going to hold an exhibition in Washington in April and through this event I want to deliver a message that gives hope to those who're living in despair, saying, "We all can live in hope and peace." Q. Your work Take off Your Clothes (2010), a satirical picture with Kim Jong-il's face on Marilyn Monroe's body, is impressive. Where did this satirical image stem from? I came to know about Marilyn Monroe through a magazine when I was studying at graduate school. She's sort of a symbol of freedom in the United States. Among the pictures of her famous face, I was most impressed by the picture showing an updraft from a subway grating lifting the hem of her dress. It dawned on me that it would be a good idea to draw North Korean leader Kim Jong-il's face on her body. I drew Monroe first and then replaced her face with Kim's. I showed the picture to curators of several galleries in South Korea to get their critiques. But after seeing it, many people advised me not to put it on display. I received both friendly advice and harsh criticism for its straightforward manner. I didn't take the criticism particularly well. I tore the painting to pieces when I got home. But I didn't give up hope. I thought it through again and again. Perhaps I have artistic obstinacy. I started working on the same motif all over again and then drew a few goldfish. I decided not to listen to my critics and I put it on display at my first solo exhibition in Insa-dong. Q. Then what do the goldfish stand for? What message did you want to deliver through Marilyn Monroe? You know, North Korea is a closed society. When I arrived in South Korea, all the people here looked handsome and pretty. Everybody was happy and smiling, which I had seldom seen back in the North. Most North Koreans are dark-faced and short. They usually keep their heads down when walking on streets. Maybe because I grew up in such an environment, I felt as if I were an alien from another planet when I first arrived here. In the North, there are no fundamental freedoms, such as freedom of religion, freedom of art or freedom of expression. So I wanted to satirize the reclusive country by superimposing the face of Kim, who wanted to brush his closed society under the carpet, on the body of Monroe, a symbol of freedom. The goldfish symbolize the North Korean people. Goldfish in their bowl believe that the space in which they're moving about is the only universe. They symbolize North Koreans who have no idea what's happening outside their country. Jumping fish stand for North Koreans who are crying for freedom and wanting desperately to deliver their message to the outside world. This is the background for Take off Your Clothes. This work laid the foundations for my visit to the United States. Q. How do you express your utopian idea of `freedom' through your works? Many doves and butterflies appear in my paintings. I've often wondered why Korea is divided and why we live separately from each other, although we share common descent; why we have such a tragic legacy. I used butterflies to symbolize the people who can't come and go across the demilitarized line freely. I used doves to symbolize the North Korean people's ardent wish for freedom and peace. I'll continue to use these symbols to depict the situation in the North in my work, and I'm planning to introduce various techniques of Korean painting, as well as its inexhaustible power and pride, to people around the world. Q. There is an enormous amount of courage in your work. Where does this come from? I think that calling what I am do courageous is missing the point. My mother and younger sister starved to death in the North. I have nothing left there. There are really so many families like ours in the North. I wondered what I could do for those who died in dire circumstances. They must be watching me from heaven. What would they think if I produced only brilliant and beautiful pictures? That's why I started painting pictures that would give the impression of courage. I hope that the people of the world will one day remember the artist named Song Byeok and take pride in him, saying to each other, "He engaged in such-and-such artistic activities." I believe somebody should try to show some courage in this situation, and as an artist from the North, I think I should do the job. Q. How was your art education in North Korea? Was it very different from the education you received in south Korea? I never received regular art education when I was there. There's no such thing as `early-childhood education' in the North. Since I was young, I've loved art. Whenever I came back from school, I drew my mother and father, or my younger sister studying hard. I was recognized by neighbors and chosen later as a propaganda artist. Only after I arrived in South Korea did I begin receiving regular art education. Here, artists' personalities stand out vividly through their works. But all the paintings look identical in the North, as if only one artist has drawn them. In the North, where there is no freedom, no artists can express their personality and ideas through their work. The most remarkable difference between the two Koreas lies in whether artists can express such diversity freely or not. For example, there's no such thing as `nude figure drawing classes' at art colleges in the North; only `figure drawing classes.' Female models in swimsuits normally pose for art students there. So when I first enrolled in a nude figure drawing class in South Korea, I thought that a model in a swimsuit would come into the classroom. But I was stunned when a model walked in, took her clothes off and showed her naked body! My hands trembled and I had difficulty holding the pencil because it was the first time I had experienced something like that in my life! This is just one example of the tremendous differences between the two parts of the peninsula. Q. We understand you painted propaganda pictures for Kim Il-sung in the North. Could you tell us a little bit more about this? Propaganda paintings have distinct characteristics. An agency of creative artists makes poster samples first and sends them to the Workers Party's Propaganda Department for approval. If approved, photocopies of the sample pictures are distributed to propaganda artists like me. Then we have to copy the pictures. Nobody can express their own personality, techniques, ideas, or messages in the propaganda paintings. At that time, we all believed that copying propaganda paintings was a way of genuine freedom and a duty we should fulfill. Q. We hear that the hardship you experienced in the North inspired you. Could you give us one example in detail? In the North, children are taught to get ready to liberate South Korea, 41 where they believe people are starving and in rags. If you ask any of the North Korean children what they think of their peers in South Korea, you'd hear a stereotypical answer: "I wish I could bring South Korean children, who are starving and in rags, here as soon as possible so that they can play and study in the bosom of our general." North Koreans believe they are really blessed. When seen from the outside, North Korean society is made up of big and small contradictions. I'm inspired endlessly whenever I see the contradictions, because I was completely blind to them when I was in the North. Q. Where should the North give priority to if it wants to change? Whether it is South or North Korea, or it's capitalism or socialism, they exist for the people. Both capitalism and socialism are good, but only when the people are happy. In fact, socialist theories are very idealistic. From a socialist point of view, the North Korean regime shouldn't leave its people starving or suffering. But the reality is quite different. The North is always drilling their mantra into the people: we need to become a powerful and prosperous nation. The regime pours all its political and social energy into this propaganda. But the reality shows that everything runs counter to this slogan. Many people have a hard life. A basic human need is to fill up your stomach. But I suffered hunger with my family. After I arrived in South Korea, I cooked rice using an electric cooker. But when I took that first scoop I thought of my mother and younger sister back in the North and I had difficulty eating it. When I was in the North, we couldn't find food, so we boiled tree bark. But here in South Korea, I saw many female college students go on diets, even skipping meals. I suffered hunger there, so I just sigh at the thought of this kind of thing going on here. Health is more important than anything else, isn't it? I want to tell these students to go to and live in the North for just a month. There would be no better diet program than this! Q. Have you ever been threatened here because of your anti-North Korean sentiments? No, I've never been threatened by anyone. But I once felt afraid that someone might be trying to kill me. On the opening day of my first solo exhibition, a young man carrying a bag watched me for quite a long time, pacing back and forth in front of the gallery. He ran away when I stared at him. Normally, I don't feel obviously threatened. But I can't help always feeling uneasy. I walked up the stairs to the studio for a photo shoot for ELOQUENCE. Maybe because of the location of the studio, on the top floor of this building, I suspected for a split second that your editor and photographer were agents from the North! Q. Young people in south Korea don't feel quite so connected to North Korea. What advice about the North would you like to give to south Koreans? Though we live separately, Koreans share common descent. I hope they won't lose this national identity. These days, young people forget about this. How many South Koreans pause and think they share common descent with their brethren in the North? Most South Korean people in their 20s don't know much about, nor take any interest in this. I want to talk about this through my work. As an artist I'd like to emphasize the national identity in a roundabout way. Q. Didn't you have any difficulty adapting to South Korea after fleeing the North? What was the most difficult part? I've had no particular difficulty. But life was an ordeal because I missed my family in the North and I was very lonely. All North Korean defectors have such difficulties after they arrive here. This is probably because it's hard for them to have opportunities to communicate with other people. Q. You've experienced two quite different systems. What irrationality or contradiction have you found in south Korean society? There's too much freedom here! Sometimes, I suspect it has been abused. A defendant once shouted, "Long live Kim Jong-il!" during a court hearing. A person went on the rampage in a police station, wielding a knife and threatening to kill a police officer. Such things are hard to imagine in the North. Many people are dyeing their hair here, which is unacceptable there. Except for people's extreme liberal ways of thought and behavior, I don't think there's any irregularity or contradiction in South Korea. Q. What does eternal freedom mean to you? I've failed to find an answer to that question so far. Eternal freedom should be discussed jointly between the audience and myself and it's a matter that should be solved in the process of discussions between the audience and myself. Q. Do you have any new projects coming up in the future? I'm going to hold an exhibition in Washington in April, and then I'll tour several American universities to give lectures there. My plan is to help resolve irregularities and stop religious oppressions conducted in the name of God around the world, as well as in North Korea. I want to ask why many women in some parts of the planet are kept from enjoying their human rights and taking pride in their beauty. I want to contribute to building a beautiful world where everybody is willingly to try to find solutions to such social and global issues. I'm also going to donate a certain percentage of the profits from my exhibitions to charitable causes. I believe that, given everything I've experienced in my life, it's the right thing to do. www.songbyeok.com Desperate Wish / 2009 42 Take Off Your Clothes / 2010 43 Let Me Taste It Long Live the DPRK / 2009 44 Targeting / 2011 45 art Yong Ho Ji Yong Ho Ji is an artist who is living proof that the foundation of art comes from sincerity and effort. The creatures he creates with tough but malleable waste tires are almost like warped self-portraits. Editor. Linda Choi Photographer. Najhin Images courtesy. Yong Ho Ji Q. I heard that you visited New York before this interview. What brought you there? I didn't go there for any specific reason. New York is a familiar place for me because I went to graduate school there and it is a wonderful place to learn the trends of the global art industry. This last trip was my first visit in two years, so I just wanted to visit galleries and meet my friends. Q. The moment I saw your artwork, the material caught my eye. What gave you the idea to use old tires? When I was a college student, I visited Europe and saw the works of Michelangelo and Rodin with my own eyes. I realized that I wouldn't be able to make good works by using stones and soil, no matter how hard I might try, so I decided to try and find the most suitable material for my sculptures. I realized that the best material for my work was used tires, just like soil and stones are suitable for the work of other artists. In my work, which typically represents mutated or strong creatures, used tires are great for expressing soft but strong features, such as muscles. I like the texture of worn out tires and their black color. In fact, used tires are not easy materials to work with. I have all the tools and machines in my workroom to cut the tires, but even so, I sometimes hurt myself while working. Q. I would imagine that you are well acquainted with the structure of animal heads, bodies and skeletons? Since it is hard to capture the movements of real animals, I usually learn their postures from anatomy books. I also spend time studying National Geographic programs and when I see impressive poses of animals, I pause the scene and draw them. In particular, the animals in my works are suspended in a state somewhere between attack and defense. Q. You tend to choose species that often attack other animals; how do you select which animals to use as the basis for your works? At first, I mainly chose carnivores that have strong images. But recently I've become fascinated bysmaller animals that have evolved to survive by adapting to their environment. So now my selections are a bit more diverse. Q. Do you see any changes in your work since the days when you began? My artworks are in a constant process of change and evolution. For example, the Shark series (2007-2011) that I created in the early days is totally different from my most recent one. This is mainly the result of the changes in my working style. These days, I tend to work based on my senses rather than from specific plans. First, I create a huge drawing or a model and then find the most suitable tire for it. I enjoy creating works as the result of my feelings and improvisation in the moment. This is why some works end up turning into mutations in the end and totally different from the first drafts. Some animals turn into hybrid animals by mixing their features with humans. 46 Q. What would you like to express through your works? I'd like to open my work up for interpretation and allow people to have their own thoughts. Some people just look at my works from one angle and say that they are huge and strong, while others interpret them in terms of their environmental and social spectrums. Q. Could you tell us a bit about how you work? I stick to the traditional method. I create frames inside and put on tires on them. I use industrial tires for bigger parts such as shoulders and chests, and for delicate parts I use bicycle tires. My works are huge, so when I was working in New York, I used to have a hard time carrying them. I had to move them from my workroom using the elevator, but it was only three meters wide, so back then I was forced to create the heads only. Q. Your website reminds me of Darwin's theory of evolution, wherein you introduce your works in a very didactic order: animal, hybrid animal and hybrid human. Everything is evolving. The same goes for humans, animals, the environment and even my works. Ultimately, it is about humans. What's interesting is that the audience tends to feel uncomfortable seeing mutated and distorted art works. This is why I use animals instead. Q. Your recent work was your Human series, created in 2011. I'm curious to know your next theme. Do you have any particular projects in mind? I made a lot of progress in the Human project. As a matter of fact, I have been working on that project since I was in college. I was in the process of adding and correcting the missing parts, and I learned and experienced a lot in the process. My current work is not entirely about me, however. As I age, the experiences I go though become part of my life, and I'm planning to ask fundamental questions about my future sculpture projects based on my experiences. I also try to use new materials to create picturesque sculptures at every chance I get. I can't predict exactly how far my work has evolved, but I certainly feel that it has come quite a ways. Q. Recently, you participated in the `Korean Eye' exhibition in Abu Dhabi and elsewhere. How do you feel as a representative Korean artist in the global art industry? In the Asian art market, China and Japan are considered as one market, but Korea has just started. I wasn't actually involved directly in the Korean Eye exhibition; it was operated by the collector who owns some of my work. Of course, I'm very thankful and happy to hear that it was successful. I haven't had chances to display in the European market so far, so I'm planning to hold exhibitions in Europe in the near future. Q. Korean art hasn't really expanded to the global stage, for the most part. What do you think is it about your work that makes it stand out? There are certain steps one can take in order to exhibit, particularly through open recruitments and contact with commercial galleries both in Korea and abroad. In my case, some people expressed concerns because I hadn't been verified by such steps at the time. However, I have doubts about the sincerity of the verification process. Today, many of these conventional processes have disappeared. I was lucky in terms of timing. But most importantly, you should be always ready to work, regardless of the routes that brought you recognition. This is why I always try to concentrate on my work. Sincerity is the necessary basic attitude of any artist. One of the hardest parts for artists is finance. In Korea, people have only just begun buying artists' works. Before now, there haven't been many ways or alternatives for artists to make stable earnings. Of course, artists have to keep their balances between the commercial route and non-commercial route. By all means, if I can, I'd like to show young artists that they can live wonderful lives as artists. Q. What are your dreams or goals as an artist? I'd like to go all the way as an artist. I'm not sure how far I can go, but I'd like to become a `great artist.' The notion of a `great artist' has changed since I started working, though; I guess a great artist may be a person who can entertain people even when he has aged. www.yonghoji.com ANTI ANTI6 Buffalo 1 / 2010 / stainless steel, used tire 47 For. Elk 1 / 2008 / used tire, wood, steel, styrofoam Lion Woman 1 / 2007 / used tire, synthetic resin 48 Jackal Man 1 / 2007 / used tire, synthetic resin 49 Bull Man 3 / 2009 / used tire, synthetic resin 50 Man 1 / 2011 / used tire, synthetic resin, steel 51 CYJO Editor. Andy St. Louis Writer. Alyssa Perry Images courtesy. CYJO photography Fine art photographer CYJO (Cindy Hwang) migrated from a life in New York City and a job in the fashion industry to Beijing, China, where she has lived and worked as an artist since 2009. Her work examines notions of identity and beauty, from both Eastern and Western perspectives, a process she navigates with particular interest by virtue of her own identity as a Korean American. Her portrait series KYOPO (2004-2009) is currently on view at the National Portrait Gallery in Washington, d.C. through October 14, 2012 as a part of the exhibition `Portraiture Now: Asian American Portraits of Encounter.' 52 Q. You were originally a fashion stylist in NYC. Why did you make the transition into art? I didn't see styling as a career choice for the future; I felt I could make more of an impact using photography as a medium rather than fabric. My exposure to professional photography was through the photo shoots I worked on when I was a stylist, so the transition from fashion to photography was a natural one for me--what I've learned about creating a collection has been applied to creating a photo series or body of work. Q. How have your artistic practices and areas of creative inquiry been affected by your prior jobs in fashion and publishing? Many experiences--including working in the fashion industry--have influenced my work. I spent a few years working with the international editions of ELLE magazine, and the Asian and Western editions sometimes had distinct differences in beauty. There were bronzing product advertisements in the Western editions and whitening product advertisements in the Asian ones. But what seemed to be the ongoing trend was the concerted effort people were making to improve their appearance in order to create better opportunities for their future, especially in Asia. I was intrigued by how cultures and individuals define beauty, and how we succumb to it. Q. Did you see a lot of differences in the interpretations of beauty in the industry? There are obvious natural traits in beauty that are specific to individual cultures, but they're sometimes overshadowed by manipulated traits of beauty. We are surrounded by so many images of beauty--in advertisements, music videos, fashion, etc.--it makes you wonder how deeply they penetrate society. How much can you resist conforming to what society dictates as beautiful? Or, do you want to? Q. I guess these were all factors that went into the development of your Beauty series (2010). Can you explain the creative process behind the series and how you were able to create those images? Beauty examines specific female facial characteristics through diptychs (2 images) and quadriptychs (4 images). Each quadriptych has two models, one Western and one Asian. Two of the four images show the models' original portraits, while the other two images are digitally manipulated so that each model shares the original trait of the other. For example, in Beauty 01 (2010) these manipulated portraits depict Asian models with double eyelids and Western models without them. This allows the viewer to digest these reversed characteristics and determine if they perceive beauty more so in the original or in the manipulated portrait. Q. Is this an ongoing series? Yes. Beauty 02 (2012) examines the nose structures of Asian and Western models. Beauty 03 is currently in production, showcasing the structure of the eyelash, and there will be others to follow. Q. KYOPO (2004-2009) is a project about identities of Korean ethnicity. But is there more to it? It seems to be more developed across a variety of media than your other projects. In 2004, I wanted to create a product that encased Korean culture and contemporary issues because I there weren't any photography books at the time on the topic. Growing up in a community that wasn't primarily Asian, I was also curious to see how others identified themselves who shared the same ancestry. The project turned out to be more than just an exploration of Korean and American identity; it embodied issues that included adoption, being mixed race, generational and familial pressures, transnationalism, Asians in politics, Asians in entertainment, etc. The project also reflects on an identity beyond race or culture--the evolution of culture and the individual. It questions how tradition is preserved, how modernity is embraced, and how both are transformed. Q. What is Kyopo? I grew up being called Kyopo by native Koreans I met either in Seoul or through relatives that visited the States. I've always defined it as a neutral Korean word describing an individual of Korean ancestry that lives outside of the Korean Peninsula. Q. Did you relate to your Korean-identity a lot when you were growing up? Not really. My mother wanted me to integrate with others in this country [USA], so I never fully integrated with many Asian-centric clubs or groups growing up. That was the mentality I grew up with, so I was unsure what the outcome of this project would be. I definitely felt more grounded after completing this project; the exposure to other stories, individuals and experiences has been nourishing. Q. How did you approach the notion of Kyopo from an artist's perspective? The individuals I photographed were all documented in the same location and under the same setting, not addressing scale but rather giving equal attention to each individual. Within a constant compositional structure, it becomes easier to differentiate between individuals. All this is comes together as a collective portrait, presented in book form, KYOPO (2011), published by Umbrage Editions in NYC. Q. You have an event for KYOPO coming up on 18 May at the National Portrait Gallery. What is that all about? KYOPO: Multiplicity (2012) is a multimedia expression (music, dance and projection) of the KYOPO photographic project, investigating how Asian culture and traditions survive, expand and evolve abroad. A 60-minute music composition in seven movements (which incorporate voices of select Kyopos in different languages) will be played by a live chamber orchestra. A modern dance company will be dancing to some segments of the piece, and large-scale projections--some over 50 feet tall--will compliment the piece. Q. What was behind your decision to include music within the context of KYOPO? The music addresses philosophical issues concerning language and nationality; it opens a debate to the understanding of a culture through music and how languages such as the `mother tongue' facilitate a subjective understanding of creativity. The instruments that make up the orchestra--including the gayageum, dizi and erhu, as well as violin, bass clarinet, flute, etc. - reflect the multitude of cultures that define KYOPO. Q. Continuing with the theme of identity, what inspired you to photograph multi-racial families for your Mixed Blood series (2010)? Many of my friends are from different countries or ancestries and have mixed children, so that is part of my reality and part of my community. There are so many parents now that want to ensure the utmost success for their children. Having a global mindset, exposure to other cultures and the ability to speak other languages are some of the keys to their success. I feel this behavior of parents wanting their children to be more engaged and aware of other cultures is indicative of how our priorities are changing. Q. What exactly is it that you think is changing? The idea of culture as being something homogenous, for example; our physical identities and our DNA. You can even see this in Korea, where immigrants from Southeast Asia and other countries are marrying into Korean families, giving rise to a new mixed generation. Q. Let's talk about your still and video project, Substructure (2010). Substructure is another project on migration, although in this case it's internal migration within a country. Substructure is a portrait series that documents 50 Chinese migrants, from five to eighty years old. Each individual's portrait is captured via both still and moving images, using a static and highly detailed photo in contrast with raw video footage of kinesthetic hand gestures. The photos reveal each subject's character, conveyed through the texture and anatomy of their hands. The videos visually document the interview process, conveyed through their hand gestures which form an expression of their memories and opinions of China's future. The project was created in collaboration with Compassion for Migrant Children, an NGO that helps provide free education to migrant children at community centers throughout China and elsewhere. Q. The titles of your other works are literal and straightforward-- what's the reason behind the enigmatic title for this series? Substructure is the supporting part of the structure, the foundation. It made sense to use this title, since Chinese migrant workers are instrumental and vital to China's development. 53 Q. What drew you to this particular topic? Living in Beijing brought a whole new meaning to the definition of a migrant worker. China is home to around 250 million internal migrants; living in Beijing, a developing city of around 20 million people, migrant workers are a very present part of the social fabric. What struck me was the acute disparity in socioeconomic levels in Beijing, which are much more extreme than what I've experienced in the USA. Because of the hukou system (China's official documentation system), people who migrate to other parts of the country don't receive the same benefits as other citizens who are from the area. Although they lack healthcare, education and housing benefits, many still migrate to help improve their life. Migrant workers are some of the hardest working individuals in society. Q. The mode of presentation is different from your other work. What was the motivation? Because the subjects are not officially supposed to be residing in other places other than their hometown, anonymous portraits of their hands were used to make the interview process more comfortable. Q. Tell us about the overall motivation behind your work in general. A lot of my work stems from personal experiences that embody interconnected themes of identity, migration, development and globalization. In order to execute a piece, there needs to be a cerebral connection with the topic so that the roots of the story can be fleshed out and investigated. It's not about providing answers, but sharing perspectives and asking questions that raise awareness of our environment and of ourselves. www.cyjo.net Beauty 01 East Diptych / 2010 Beauty 01 West Diptych / 2010 54 Substructure No 20 / 2010 55 KYOPO Collective / 2004-2009 56 57 Malco Kim Art Director Born 1971 in Seoul - Moved to the U.S. in 1990 � Grew up in Seoul and NYC � Lives in NYC When I first came to america, I brought two pieces of luggage and nothing else. I was a deliveryman and took any jobs that paid me money. I had tuberculosis in 2000, was hospitalized for one year and was living off of McDonald's coupons. I didn't want to bother my parents, and so they didn't know. I didn't ask for money from anybody. Identity is not about race, but about life. It's more about a Buddhist experience � understanding your sufferings, your desires, your ideals. Whether you're `successful' or not, there's some sort of agenda or problem to solve within each of us. And the continuous effort you have to put forth for daily survival is something that everyone has to go through. I've been living the past four years traveling a lot abroad in Europe, living there more than 6 months every year. I've gained a global citizenship where it's about living together for the future, not for the past. This has been my main agenda for a long time now. 58 Linda Choe Vestergaard Architect Born 1979 in Seoul � Adopted and moved to Denmark in 1979 � Grew up in Ingstrup, Tjele - Lives in Copenhagen At 6months old, I was adopted along with my other two identical triplet sisters by my parents who are Danish farmers. An internship brought me to America where I met my first non-adopted Korean friend who introduced me to the Korean culture. This experience fueled my desire to learn more about my ethnic roots. It is assumed by many in my Danish community that Koreans living there are adopted since there isn't a large Korean community. And so I had little exposure to the Korean culture prior to my internship. When we were young, my mother stitched colored marks in our clothing to tell us apart, yellow for me, red for my 2nd sister and blue for my 3rd sister. Today, my `red-sister' is a cook working in London. And my `blue-sister' is a project coordinator for a train company in Denmark, mother and wife. Although we're identical triplets, we have non-identical lives whose special bond resonates despite our differences. My wish is to be connected to the Korean culture as well as I have with the Danish culture. 59 RECANDPLAY Editor. Andy St. Louis Images courtesy. RECANDPLAY video This Seoul-based video-oriented music blog (or music-oriented video blog, you choose) is one to watch, particularly for those people who like their music (or video) honest and uncut. With an archive of videos stretching back to 2009 and collaborations with 20 bands already under their belt, the humble quintet behind RECANDPLAY's operations--Yeonju Jung, Achim Koh, Joonki Min, Churl Gwon and Jinkwon Choe--continue to contribute to the development of Seoul's indie music scene with every new video they release. Najhin 60 Q. How did RECANDPLAY get started? What was the inspiration for the project? Yeonju Jeong: I was looking through some European blogs that were making `take away show' videos with bands and I thought it was interesting. Q. What does `take away show' mean? Achim Koh: It's the name of the first famous series of this kind of video-- taking bands outside in the street and doing songs in one session--by a French blog called La Blogoth�que. Q. I see. so what was the next step in the process of moving forward from that point? YJ: I thought maybe we could do it in Korea and I started talking to Achim about it. This was back in summer 2009. One of Achim's other friends, Jinkwon, had seen the French blog as well and was thinking the same thing as I. So, by pure coincidence, Achim had two friends both talking about making a Korean version. Churl had been friends with Jinkwon for a long time--they were in the same film club and they've been working together on and off on some film projects--so he was involved from the very beginning as well. There were four of us initially. Q. How did Joonki get involved? Joonki Min: I stumbled upon a link to the rECANdPLAY website via one of my friends' blogs. I was aware of some other Korean blogs that were doing similar things, but RECANDPLAY was the one that really caught my interest. So I emailed them, and that same night they called me and asked to meet up the following day. That's how I became part of the project. Q. so the idea for this project took root in summer 2009. When did you make your first video? AK: November 2009. It was an expat band called Bridget and the Puppycats. Q. How did that shoot come together, in terms of selecting the band and the location? YJ: We wanted to do everything acoustic and they play with an acoustic setup: guitar, melodica, violin, etc. I had seen them play in Hongdae a few times before and I had a mutual friend with one of their members, so it was relatively easy to hook up with them. Churl Gwon: More than anything, we learned that the underpass where the shoot took place was going to be demolished to make room to expand the subway station. So we wanted to kind of document the history of that little spot. Q. Is that typical for your videos? Is documenting a location just as important as the music? AK: In that case, it wasn't really to document the history of that place. It was more to commemorate it a little bit. Every location is different, though. Sometimes we choose a spot simply because it looks nice, or maybe the musicians want to do it in a particular spot. Personally, I think the idea of doing a music performance and recording it in a place which is not designed for that kind of thing--it's about changing the context of it. We don't do it every time we make a video, but it's one part of what we do. Q. How do you deal with the different situations that develop with the public when you are out shooting? Do you do anything to keep bystanders or pedestrians out of the frame of each shot? AK: We never do that. We don't really like to control the people walking around while we're shooting. YJ: We put as much emphasis on the scenery as we do on the music, and the people who happen to be in the places we shoot are a part of that scenery. So we try to capture it. AK: There was one day when we were shooting in Insadong, with a lot of people around... YJ: ...and we got in a bit of trouble. The guys who sell ggultarae [Korean court dessert made of 16,000 strings of honey] didn't like us making noise in front of their carts, so they told us to stop. But then one of the people on the street who was watching us didn't want us to stop and she started arguing with the ggultarae sellers. We didn't want to be the cause of trouble, so we just left.We didn't want to be the cause of trouble but the shoot went on for another few minutes nevertheless and we had some of their ggultarae afterwards--good stuff. Q. What would you say is the biggest challenge that you have to deal with on a regular basis? YJ: There are so many locations that we want to use for the videos, but much fewer bands that we want to work with--and bands that we like, at the same time. That's the biggest difficulty we have. Q. Why do you think RECANDPLAY has been able to continue for so long? What is it about the videos that makes them so interesting? YJ: I think the selection of the bands is one thing. We try to pick bands that haven't been introduced to many people. AK: We took the kind of standard `one take/handheld' style of shooting, but our videos still look pretty different from the European blogs that inspired us. The most important thing for us is the content; the musicians and the locations. Q. Let's talk about the defining visual aesthetic of the videos and your `one take/handheld' approach to cinematography; has that always been your trademark, or was it something that you developed over time? YJ: Well, that was the standard style for the other blogs that we were looking at before we started making our own videos. We've always had just one camera. From time to time we'll have a second camera, but in those cases it's just a static shot; no real camera work. I think it works the best with the whole concept of these blogs, and particularly for us--always trying to shoot bands in unexpected places. CG: It also kind of optimizes the process. It's a pain in the ass to edit too much footage. With one take, it's as simple as that. Q. Your website is also very straightforward. Did you apply sort of the same philosophy to the web design? CG: We gathered to discuss the website design and we all kind of disliked the idea of having a complicated website. Our concept is based on a simple news article. Q. I'm surprised you say that, actually. To me, the write-ups you post with each video on the website are the opposite of `news articles.' Why did you choose not to do interviews or profiles of the bands? YJ: Our videos aren't only about the bands; they're also about the happenings that take place while we're shooting. We think about each video as an `episode.' Achim even takes notes during each shoot so he can write a kind of story about the day. AK: At first, we tried to do some profiling and interviews after each shoot, but that requires so much preparation and follow-up work. We decided that it was too much to do for something that was just a fun project. Q. Even though it's a `fun project' for you, RECANDPLAY seems to have made a very positive impact on the seoul underground music scene. How do you perceive RECANDPLAY's role in the larger indie music scene in seoul? AK: I think it's more of a fun thing for us; not necessarily for the scene. We're doing this for fun and it just happens to play a very small role in the scene. YJ: In the beginning, we sort of shared an ambition to be able to contribute a little bit to the scene, but I don't really think we're doing anything particularly new or significantly influential in Seoul, though we do try to look for and introduce bands that have not been given enough attention they deserve. We have our style, and some people appreciate that, and the fact that we've been doing this for a little while--that's reason enough to continue. www.recandplay.net 61 Artist: russian red date: 14 June 2011 Location: Bukchon Hanok Village Artist: 404 date: 30 October 2011 Location: Banpo Hangang Park Artist: SuriSuri MahaSuri date: 13 June 2010 Location: Jeongneung Artist: Chris Garneau date: 22 October 2010 Location: Bomun Market Artist: Lasse Lindh date: 15 december 2009 Location: Club Overground, Hongdae Artist. 10cm Date. 23 December 2009 Location. Seoul bus #273 62 Artist: Jeong Mina date: 5 January 2010 Location: Jeong Mina's room, Yunnam-dong Artist: Trampauline date: 13 September 2010 Location: Taxi stand, Sagan-dong Artist: Siwa date: 5 March 2010 Location: Oksu Hangang Park Artist: Hirasakana Oyogu date: 11 July 2010 Location: Seongmisan Artist: amature amplifier date: 25 November 2009 Location: Mangwon detention reservoir Artist: Bridget and the Puppycats date: 15 November 2009 Location: Seogyo underpass 63 art THE WA Editor. Suesasha Joung Images courtesy. The Wa An exclusive artist who unfolds his ideas to large public sphere, The Wa, has shared his words with ELOQUENCE. Timo Stamberger Q. Could you please introduce yourself to our readers? Hi, I�m The Wa. I'm French and have been living in Germany since 2007. I have always played in the urban environment, starting to skateboard around the age of eight and then later doing graffiti. Those activities allowed me to travel and helped me to develop a passionate relationship of both love and hate with the urban environment. What I'm doing these days is interacting with the city, using it as a stage where I can share some of my thoughts, discover new cultures, new signs, and new ways of life. I express myself using allegories and metaphors, mostly using the process of diversion (using an image that already exists but changing its context in order to give it a new sense) in order to encourage dialogue. Q. You mentioned that you did skateboarding and graffiti in your earlier days. In what ways have these things shaped you as an artist? Skateboarding made me see the city from a different angle. I always looked for new spots with my friends. At certain points, we knew the city really well. We spent our days discovering and looking for new things to do. But skateboarding wasn't really welcomed by the authorities. So from the beginning, there was some tension between the police and ourselves. Once you become a teenager, you start to search for your identity, and so I began to think that graffiti was the right thing for me to do. But after some years of using the city as a canvas, I realized that I could develop something that would speak about the city rather than merely push my name out there. Seeing all of the disease that a suffering urban landscape can bring about made me want to react, but I have never been one to throw stones. So I decided to initiate a discussion between the city and myself, and to hopefully share it with others; not using the city as just a way to get from point A to point B, but as a place that belongs to the citizens who live there. Q. Most of your works are installed in the public sphere. Is there a special reason why you chose those large public spaces over galleries and museums? Despite all the efforts by the authorities to hide what one could call this `social disease,' it still exists, and therefore I feel the need to react. The more you get to know the city, the more you will be amazed by the direction that urbanism is taking nowadays. In a cynical way, I would say that it is an endless source of inspiration. Maybe the reason why most of my work is outside is because it is the place where I feel the most inspired. When you deal with museums and galleries, it's a completely different world; a new rhetoric and a more specific audience. I've done exhibitions, but only when I have something to say about that specific context. I've never considered art as a way for making money, but rather as a way of life. Don't get me wrong--I have nothing against people who live by making money from their art, but I don't really understand why some people make art to make money. Q. so how do you continue to fund your projects? I just do. I'd rather do a shit paid job to fill my fridge than frame my work 64 in order to make it sellable. I'm pretty stuck in the definition of art made by the Fluxus artist robert Filliou: "Art is what makes life more interesting than art." He wasn't the richest artist of his period, but his life was full of freedom and great stories, and I kind of like his style! Q. What motivates you to continue taking to the streets and sharing your talents with the world? The reason why I am spreading my work is because I hope that can I have a shot at making people want to do the same! That's the reason to work in this environment. No matter what scale you work at, `the act is the beauty,' from Untergunthe from Paris (who repaired the clock of the Panth�on without permission), to the random guy who writes his thoughts on the toilet wall of a bar. Any kind of reactions are important for stimulating dialogue between people. Q. What is the most important rule for you to obey when you are using the city as a stage? I don't think there are rules for that. I spontaneously find my way by using images that people can read because they already recognize them. I find that the best way that my work can be understood is to use images that most people are already familiar with, as well as placing existing images in a new contexts so as to give them a fresh perspective. Installing a new work is always a new experience. I always like to use new materials and try my best to find the right form to share a thought, without being limited to a single medium. Then when it is time to install it, I enjoy every second of it! I love the uncertainty when you don't know if it's going to work and wondering if the cat will catch you! Q. You have frequently collaborated with other artists. What aspect of this do you enjoy the most? This probably won't be the best of answers, but I actually don't know! I work when I feel like doing it, but along the way you meet people and through sharing a different position with them you may be led to an idea that you might develop and later bring to completion. I have never collaborated because I wanted to `do something in collaboration with ...' The act of collaboration has always been spontaneous and fresh. All of those actions or projects have a special flavor and it is nice to share that with someone. Even before considering the collaboration, exchanging ideas with different people also influences my work. Exchange in general is important; it helps to not become `socially autistic.' Q. Among your many collaborations with so many diverse artists, which one stands out in your mind? That is a really hard question; it's a little bit like "Who do you prefer: your son or your daughter?" All of those actions were so special and unique! But a funny one was a work I did in Shanghai with J�rome Fino in the local subway system. I went to China for the first time in 2006, and when I took the subway I was shocked. Every wagon was packed with TV screens that were looping advertisements. Those screens interrupted my journeys so I found out how to switch them off. J�rome is a video artist and in 2007 when he came to Berlin he started filming some of my actions. I really liked his style and we got along super well with each other. So we came up with this idea to go to China for a month to see what came out of it. Once we were in Shanghai, I showed him that we could switch off the TV screens in the wagon, and then we started to think about what to do with it. We had five days to do something with it and trust me, during those days we didn't see much of the Shanghai skyline! We spent our days trying to find every single way to play with the system. First, I switched off the TV screens in the wagon, which was easy and obvious. Then we tried to do an intervention in the subway stations themselves, which wasn't that easy because those screens were bigger and made the whole thing even more obvious! At one point, we also found a way to switch off the TV screens protected by a metal box without using the normal switch; we made a video of it and on our last day in Shanghai we managed to screen it on a TV in a subway station. After that action, I ran away whilst J�rome kept on filming and then we met again later that day. I think that was the best beer we have ever had! Q. Where do you get most of your inspiration from? Everywhere! From the dumbest blog to some tough experience from travelling. Once again, there is no specific lane in my way of executing work. It comes when it has to come. Q. Do you have anything new in the pipeline? I always have a lot of things on going, but I must admit to you that I'm superstitious and bit paranoid, so I'm sorry but I never talk about it before it's done! But don't worry I keep things updated! www.the-wabsite.com Zapping / 2008 / Shanghai / Collaboration with Jerome Fino Zapping / 2008 / Shanghai / Collaboration with Jerome Fino 65 Gift / 2011 / Berlin Kindergarden / 2010 / Shanghai 66 Playground / 2011 / Marseille Sous Les Pave / 2011 / Stockholm 67 Revolution / 2010 / Biarritz Different Techniques / 2011 / Torino 68 Parking / 2011 / Biarritz 69 Bill Wadman Editor. Andy St. Louis Writer. Zack Cluley Images courtesy. Bill Wadman photography New York City-based photographer Bill Wadman, who earned acclaim for his portrait photography in 2007 with his project 365 Portraits, changed things up in his recent Motion series (2010). The result, painterly images of dancers expressing themselves with their bodies, presents a stark contrast to Wadman's previous work and demonstrates the range of what this remarkable photographer is capable of. 70 Q. How would you describe yourself? I'm an editorial portrait photographer, for the most part. I do a lot of work for magazines. I started shooting professionally in 2008, and before that, I was an art director in advertising for about seven years. I don't have a formal education in photography, but I learn quickly. Q. When did you pick up your first camera? I bought a Pentax K1000 back in 2000 and got my first digital SLr in 2004. I didn't really get serious about photography until about 2007, when I completed a project called 365 Portraits in which I shot one portrait every day for a year. It wasn't always the same shot, so at the end of the project, I had 365 unique pictures of different subjects. Q. Were they all models, or were you asking friends to come in? They were all regular people. The majority of them were individuals who came forward and volunteered to be photographed. I put out a call for subjects and by the end of the year I had a 2000-person subject pool. Of course, within the project there were a number of friends and family members that I included, as well as a select group of people--heroes of mine--who I'd asked to be a part of it. I shot astronaut Buzz Aldrin, English singer/songwriter Imogen Heap, scientists, authors ... all kinds of people. By the end of it, I had a huge wealth of images to pull from for my portfolio, in addition to having met an incredible number of people along the way. Q. How were you able to manage your time and keep up with the pace of the project? Was it tough? Yeah, it was exhausting and awful. It was a full-time job. Every day, I had to choose a subject, meet with them, take the picture and post it on the website before I went to bed. Those were the rules. If I got sick with food poisoning, I still had to shoot. If someone canceled at the last minute, I still had to shoot. It was hectic, but it's a lot like running a marathon: once you get in a rhythm, you feel like you can go on forever. Q. Your recent project Motion (2010) has gained a lot of attention as well. Where did the idea for that project come from? Well, the original idea came from a lecture I attended that was hosted by an organization called PAI [Photography and Imaging], which is mostly made up of older, experienced photographers who give talks and present some of their notable work and projects. It's fascinating because these people--most of whom have been around since the `50s and `60s--have captured ideas that a lot of younger, `avant-garde' artists are, in reality, just rehashing. At this particular lecture, Marvin Newman showed a picture he took sometime in the `50s or `60s when he was a photographer for Sports Illustrated. The picture was of a boxer punching across the frame; Newman was trying to capture the speed and motion of the saturated red glove as it moved with the boxer's punch. He used this old, slow film and it completely blurred and smeared the glove's red color across the whole shot. It inspired me and got me thinking that it would be challenging and interesting to do an entire series on people in motion. Q. How did you come to the decision to use dance as the focus of the series? One day I had a friend--a dancer from a famous dance company in New York--come over to my studio. I simply set up a light above her and started doing some long exposures. The results were really interesting; using a constant light source instead of flash or strobe changed the whole dynamic for the subjects. With dancers, usually the more they move and the more kinetic their movements, the more energy they impart to the spectator. In this case, however, the more energetic they were--the faster they moved--the less energy came out in the picture. The photograph sort of inverted their usual approach. It was only the places where they were still or moved slowly that they showed up in the image. Q. How did you get the dancers to change their approach? It wasn't easy for them to adjust. I ended up shooting nine dancers, and it took all of them a good 10 or 15 minutes before they figured it out. In the beginning, I'd basically open the shutter and say, "Okay, so what do you feel like doing? What kind of motion do you feel like making?" Very rarely did those end up being the final shots, but they definitely opened us up to the point where we could start grinding out what worked and what didn't. One technique I made use of was showing them where the edges and corners of the frame were, and saying, "Fill that box. Move in such a way that you are covering all of that territory." That seemed to help the dancers structure what they were doing. I also decided to shoot tethered, which meant I could take a picture and show them what was happening in the image right away on my laptop. Q. so there was sort of a constant back-and-forth between you and each dancer? What was it like trying to direct that process? Most of the magic was just in the moment--it was impossible to really formulate or direct what I wanted to get out of the image. Even if I had tried to get the same shot over and over again, it's impossible to perfectly recreate the same picture twice with such long exposure time. I was shooting at f/8 or f/11 for 3 or 4 seconds per photo, so the dancers really had to pause to get the light to grab onto them. For example, there's a photo where the subject keeps her feet in one spot but moves her head around [Motion #32 (2010)]. It shows just how sensitive the process was; her head gets lost in all the motion and her flesh ends up looking like ribbons. It's incredible. Q. In what ways were you forced to change your own approach to photography when shooting the Motion series? I found it really intriguing because it was so different from the work I'd been doing. It was much more experimental; more about embracing chaos and abstraction and having the images feel as much like paintings as photographs. There's another picture that looks like there's a mass of people dancing together [Motion #8 (2010)]. It was still only one person, sort of dancing with herself, but you end up seeing over 12 feet in the picture. It ended up being one of my favorites because it looks like a wild mosh pit. So much dance photography consists of static shots (a girl jumping in the air, for example) where the dancer is caught in the moment. For me, the Motion series portrays the true spirit of dancers, capturing the intrinsic nature of what they dedicate their lives to--moving. Q. What things do you always keep in mind when shooting people--not just for the Motion series, but in your portraits and other work as well? Its all about energy and interaction with the subject. I'm the kind of photographer--especially when I'm shooting people--that even if the light isn't absolutely right, I'd rather keep the attention of my subject and maintain that momentum than stop shooting and get the lighting perfect. The flip side, of course, is that sometimes I end up doing a lot of extra post-processing. Q. Do you typically spend a lot of time doing post-processing? Yeah, I do a lot of post. I'll take 100 pictures or so, filter it down to 50, then 20, then 10, then 5, and then I'll pick the couple that I think are really good and open them up in Photoshop and start playing with things. I like to focus on local adjustments to each section of the photo, piece by piece. Sometimes my photos will end up having a bit of that Hdr [High dynamic range] kind of look, but not to the point of being egregious. It ends up looking more painterly than anything. Q. That sounds like a lot of time. I don't like when it becomes too easy. There's all the stuff with the phones nowadays, Instagram and Hipstamatic for example, and while I think it is impressive and interesting, I don't want to be just pressing a button to make a picture. There's more craft in what I'm trying to do. It's funny, I'll show my nonphotographer friends a photo on my phone and they'll be like, "Oh! You took that with your iPhone?" and I'll say, "No, this was $10,000 worth of equipment and 17 hours of work." Q. What kinds of things do you usually say to people when they ask you for advice on photography? Don't ever stop. Even when you don't feel like shooting, shoot. The tricky thing about creativity is, it really is a muscle and it's something that needs to be constantly exercised. My friends ask me why I shoot everyday, and I tell them, "It's like getting on a treadmill; my version of creative cardio." When you look at pictures by great photographers, yeah, there are 50 amazing worldclass pictures there. But what you don't see are the 50,000 shots they had to take in order to get those 50. Not every picture you take is going to be worldclass. The trick is to keep refining your work so that your average keeps improving over time. The result is that, like your average, your breakaways will continue to improve as well. www.billwadman.com 71 Motion #32 / 2010 72 Motion #8 / 2010 73 74 Motion #26 / 2010 Motion #3 / 2010 75 76 Motion #17 / 2010 Motion #19 / 2010 77 art KRIS KUKSI Editor. Giseok Cho Images courtesy. Kris Kuksi When looking at Kris Kuksi's artwork, viewers are overwhelmed by his exquisite detail and magnificently grotesque moods. ELOQuENCE interviewed him about his work distinct style, which transforms the traditional genres of painting, drawing, and sculpture. Q. Could you please tell us a bit about yourself? I like the unusual things in life, but I also have a deep love for beauty and harmony. I hate celery and cilantro, but love broccoli and pears. I am from a small town in the middle of America, but I have the world in my sights. I try to understand the viewpoints of people from all over the world but never favor one political, philosophical or religious view over the other. I seek to be a man of the world without ever losing touch with where I came from. I knew I would always be an artist from as far back as I could remember, although I knew I wanted to do other things in life to sate my curiosity. And lastly, I try not to take myself too seriously. Q. When looking at your work, the overwhelming feeling one gets is their grotesque nature. Are there any particular experiences that led you to this style? I come from a broken home and saw a lot of people in my life fall into substance abuse and divorce, yet I never felt it defined who I was. I am drawn to the grotesque because of its accompanying elements of fantasy and mystery, which has more to do with my curiosity than anything clearly defined in my past. For me, this realm just suits what I am interested in, and I think my viewers love the mystery. Q. You've worked with such themes as Greek mythology, the Bible and the authorities. What drew you to depict these kinds of themes? These themes relate to basic human traits and qualities. They are age-old and timeless--archetypes. However, I love to augment these narratives with additional micro-sized stories that entertain the viewer and allow them to make up and continue the tale. That's part of the mystery that I like to add to keep it fun for the viewer. Q. In all your series and their concepts, you seem to be really good at expressing your own creative world. Do you have your own perspective on the world and on art? I try to look at man as a game of halves. Mankind is half good, half evil. Half awake, half asleep. Half aware, half oblivious, etc. With regard to my work, one may find a feeling of power and authority--or even royalty--yet, there is a darker humor present that signifies our faults and mistakes. This is what breaks down each scene to a level where we are all revealed to be the same. And there is a distinction we always forget; the human mind is set apart from nature. Fortunately, there are artists here to constantly remind us that we cannot just delete what is natural and the inevitable evolution that results from it. Q. What do your artworks mean to you? They are the extension of my mind and creativity. They help to translate the `loudness' or the `noise' of what is within that needs to be expressed. It is raw emotion, yet blanketed with a refined touch and dramatic appeal. Often it feels like it is one of the only reasons I am here--to get this out and to influence others. Q. How did you decide to become an artist, particularly a sculptor? I never chose art; it chose me. I wanted to be a painter for the most part. However, through college I realized I was a builder more than anything. 78 I never felt completely satisfied only painting or drawing. There was something else picking at me, and it was sculpture. Q. What are the most important aspects of your sculptural practice? I never try to approach sculpture as a process, but rather a new journey each time. Symmetry is important, however, balance is the most critical in terms of visual needs. And when it comes time to finish a sculpture, it is all about eliminating all the boring areas and replacing them with things of interest. Q. Do you have a set work pattern that you use when starting a new piece? Beginning something new is the biggest challenge. It is never the same, although I know it is very important to be in a fresh state of mind. Time is the most critical part of it all. Time is always my enemy, and I find that I just enjoy building things and don't always like having to finish something for the sake of finishing it. Q. What is your favorite piece among your recent work? That is a hard question because every work is a favorite. However, I'd say Ode to Herculaneum (2011) because the entire process of working on it just flowed so effortlessly and it truly felt like it was something divine. It basically started from the center and went outward. It just sort of grew and grew with each element that I added. I used parts from things I had collected from as far away as Brussels so it had significance with parts being from Europe, a part of the world that is very close to my heart. Q. Do you have any new projects? I do--many in fact. I just finished a large solo show. It was an exciting journey to put that show together, but all things must come to an end. The next piece will have the bust of Abraham Lincoln in it, so I'm very excited to have something referring to American history. Q. You have worked in various different genres including drawing, painting, and sculpture. What were the characteristics of each genre and are there other areas that you want to work in? As far as drawing goes, I was influenced by the old masters and anatomy. I just loved to draw portraits of people I knew, although texture is really what I loved most about drawing--making a harsh tool such as a pencil deliver a very smooth surface. It takes patience, and it can't be done too quickly. When it comes to painting, I drew a lot of influence from the Symbolists of the 1900s, as well as a few modern artists, such as Ernst Fuchs and H.r. Giger. And lastly, my sculpture is a blend of the Baroque period with the modern world. It is my attempt to bring the old and the new world together; the flow and grace of the Baroque saturated with the rigidity of the modern world within one balanced composition. Q. What is the most interesting theme or motif in your work these days? I've always liked mythology because it seems to tie everything together from religion to politics, and point to the core of humanity--revealing the things that make us do what we do and narrating the lessons learned. Mythology is always a great storyteller because it helps us decide what we should do when faced with certain situations. Q. How do you usually spend time outside the studio? I love to collect and watch documentaries on all kinds of subjects. It's just my way of absorbing knowledge and getting inspired to work. I enjoy my time with my family, my wife and son and step-daughter always seem to help remind me that it isn't always about what's inside my head, and it just helps me to escape the studio if things there get too heavy! Q. Do you have any plans to bring your work to Asia? I have yet to go to any part of Asia, but I'm really looking forward to my first visit, no matter at what capacity. Plus, I can't wait to go shopping and buy up that part of the world's trinkets. Q. What is your goal as an artist? To reach as much of the world as possible and to share my views on humanity and existence. I also want to have my work in museums and to live an enriched life. www.kuksi.com Delphyne / 2011 / white charcoal 79 The Evidence of Tyranny / 2011 / 31" x 41" x 13" / mixed media assemblage 80 Ode to Herculaneum / 2011 / 17.5" x 22 x 6.5" / mixed media assemblage 81 Retreat of Daphne / 2011 / 21" x 27" x 8" / mixed media assemblage 82 83 A Herotic Abduction / 2010 / 19.5" x 31" x 9" / mixed media assemblage multimedia BAIYON Editor. Udo Lee Images courtesy. Baiyon Baiyon, Wet Side, Descanso Records. Tomohisa Kuramitsu has created many aliases to coordinate the different projects he is working on. The Kyotobased multimedia artist is a special case because he brings together what in the minds of many are complete opposites. The sweaty sensation of a club night and the immersive experience of video gaming. 84 Q. You are working in many different fields, and received a lot of attention for a game project that combines abstract graphical landscapes with elaborated sound design, PixelJunk Eden. The success of Eden led to the extension pack Encore and you are working on a new title, PixelJunk 4am. How does this project relate to your previous experiences? I believe that a very important issue with games is showing due respect to different cultures in context and how one brings that respect into the game. This brings a fresh feeling to the gameplay as well as a new sensation, a new experience. I am very happy when lots of people get enjoyment from this in a game. I have taken a lot of ideas for PixelJunk 4am from one facet of my creative output, that of DJ/artist and the live performances that I undertake in this regard. The initial development of 4am was carried out under the title lifelike. After Eden Encore came out, we received a lot of requests from people wanting us to release the soundtrack of the game. Back then we thought it might be nice to package the Encore soundtrack with an interactive visualizer. As this project began to take shape, we soon felt that the visualizer was lacking something and this led us to investigate the idea of a game where the user creates their own music. So when we were developing this idea, I did a live demonstration of this concept at the Q-Games office. When we were setting up for the live performance, I was explaining to the developers how fun it can be to just have some sound loops swapping in and out--the same principle for building up the vibe on a techno or house track. This is how the gameplay for 4am slowly revealed itself. Q. I often read that for you 4am is a romantic time in the club. What do you mean by that? I think if you are a fan of techno and house and you have a great night at a good club, you'll agree with this sentiment. This is a very laid-back, romantic time of night. In recent years, I feel that the most important theme that has been running through my work is LOVE. I feel the most love when dancing to house music just before the break of dawn, that instant when you are sharing a special moment with strangers. It is really difficult to explain to someone that hasn't experienced it, but this is the feeling that we have tried to infuse into the PixelJunk 4am experience. Q. How does the user interaction work, how can users get creative? The user controls four tracks: Bass, drum, Synth and rhythm. up to 4 loops can be set for each track. Using the MOVE controller, you can bring in loops, switch things around, mute certain tracks, etc. On each track we have something called 1shot, which can be used to introduce various sounds by moving the MOVE controller up/down or left/right. Also these sounds can be layered one on top of the other with dubbing. The effects can be added to make your own unique melodic style and flow. All the while FFT-controlled visuals are being displayed onscreen and they will follow any changes in the music. It is difficult to do by design, but every now and again it feels like you are painting with sound, which is a really strange and interesting experience. Q. 4am allows users to stream the experience in real time. What is that about? As I mentioned before, with 4am we focused on the live performance aspect. Your performance on 4am is automatically streamed to every PS3 that's connected to the PSN, worldwide. Also, on the bottom of the visualizer screen there is an indicator that shows if someone is watching your performance. The audience can give you kudos for a good performance. You can also use your viewer to watch other live performances and give kudos to those performers in turn. In order to reach as large an audience as possible, we will be making the 4am Live Viewer available free of charge to anyone connected to the PSN, so that you can watch performances for free. So if you watch a few performances and then feel like giving it a go yourself, all you need do is purchase the full version of PixelJunk 4am and a MOVE controller. Q. I am curious about how you approached the Playstation Move Controller. Did you think more from the developer's or more from the user's perspective? The decision to go with the MOVE controller was taken by Dylan Cuthbert at Q-Games. However, when we started to plan 4am as a visualize back in the initial stages of the project, I was adamant that there should be no interface on screen. So in this regard, the MOVE controller is the optimal solution. We have developed what we call the virtual audio canvas, which works in three-dimensional space. The sphere on the end of the MOVE controller changes color to show the user the track they are controlling at that time. The movement of twisting the MOVE controller like a screwdriver is used to control the filter effects. Q. You once said in an interview that games are at the intersection of two different fields you worked in for a long time, graphics and music. What do you think is the experience surplus games can provide, but other media cannot? Well other media also carry a host of possibilities. Firstly, the one thing I can say for sure is "I enjoy games myself," which helps make games special for me. The other thing that makes games unique for me is that you, the user, acts as the central character. This is a hard thing to pull off in film or music. The thing we make in a game, a story where you take the lead role, can be played by many millions of people. It doesn't get any more thrilling than that for an artist. Q. Do you see a fundamental difference in game design from Japan, Korea, the Us or Europe? PixelJunkTM 4am � 2012 Q-Games,Ltd. 85 I don't feel there is such a big difference. In Korea MMORPG are really popular and they have free wifi everywhere you go over there. When I was in Seoul I noticed that on trains young people would use wifi to chat with each other, it made me think of a game that we could base around this phenomenon. Wifi in Japan has become more prevalent, but we are not at this level yet. Q. Your games are conceptually different from other games. What are in your opinion the most important elements of a good game? Hmmm... that's a good question. I'd like to know myself. [laughs] What's most important to me are original visuals, sound, experiences and gameplay. There also has to be a lot of respect for all the cultures and contexts represented in the game. Or to put it another way, the game needs LOVE. Q. The term "Indie Games" sometimes carries not so favourable implications. Is it important for you, how the games you are codeveloping are labeled as? I think of our games as indie games. However, when I began developing games I had no idea as to the difference between an indie game and a triple-A title. [laughs] I think I understand it now, but back then I didn't and I think from a user perspective in way they don't care, be it indie or a "major" title I believe people are looking for a fresh experience. Q. You run a label, design games, produce and dj music and do graphic design. The Club and Game Developer Conferences... Is that representative for Baiyon's personality? Yes. My work always has a very personal aspect to it. The theme that prevails throughout my work is taking personal experiences and then amplifying it so that many people can share in it. So the material for my work often comes from a very deeply personal place and this forms the hidden core of much of what I do. For example, let's take something like `my love for my family'. People have their own deep feelings towards their own parents, so somehow it is easy for all of us to share this feeling of love for one's family. That's why this is an easy message to get across. The releases on my record label Descanso are currently projects where I have directly contributed, and this includes a lot of collaborations with people and friends that my work has brought me into contact with over the years. Naturally, my work is also affected by the seasons, the temperature and my mood at the time. So, let's say there are several tracks that I'm working on during the cold winter months and I don't manage to finish them. Spring comes and it starts to warm up. The tracks I started in winter are deeper than the warmer spring weather, so I need to take my spirit back to when it was cold in order to finish these tracks. But this often impossible to do. Well what happens is that the tracks turn out to be completely different to how I imagined them starting out, but that's OK. Q. Producing electronic music and producing games must involve a quite different workflows. Which one do you enjoy more, the lonely decision-making power as a computer musician or the teamworkheavy process of producing a game? I like both of them. Both process are about possibilities. I intend to spent the rest of my life searching out the possibilities in both these areas. www.baiyon.com PixelJunkTM Eden / 2009 / Q-Games, Ltd. PixelJunkTM Eden / 2009 / Q-Games, Ltd. 86 line drawing The Botanical Garden by Junghee Lim What can you see in the botanical garden? Junghee Lim enjoys the feast of various botanical shapes. The diversity of flowers and the shaped of their faces inspire her and she expresses what she sees in passionate illustrations on paper. Stamen and pistil dance to attract each other; leaves sparkle with energy. Now then, let's go into her botanical garden together. Editor. Snil Yom 87 88 89 90 91 92 93 MYTHICAL TORSO BELL&NOUVEAU x hong min chul x Dojin Choi A special collaboration project has been prepared for this month's issue. BELL&NOUVEAU, famous for their avant-garde art based on Greek sculptures, teamed up with hair & makeup artist Hong Min Chul and 5pointz art space's photographer Dojin Choi for a special fashion shoot with ELOQUENCE. Editor. Giseok Cho Photographer. Dojin Choi Photo assistant. Byungjin Kong Hair & Make up. Hong Min Chul Hair & Make up assistant. Kim Min Ji Model. Anna Styling. BELL&NOUVEAU Assistant. Gijung Shin 94 95 96 97 98 99 100 101 BELL&NOUVEAU Dojhin Choi Q. Please tell us about BELL&NOUVEAU briefly. BELL&NOUVEAU is an abbreviation of La belle �poque ("a good era") and Art Nouveau ("new art"). We started working on objet d'art under these concepts to try to create a new genre of art in this era. Since we are a duo of artists, we abbreviate our name to BELL&NOUVEAU. We are trying to express haute couture with new meanings under the motto of `Let special people wear special objects.' Q. What motivated you to launch BELL&NoUVEAU? I used to collect vintage clothes and I realized that I had too many of them at home by the time I graduated from school. After graduation, I opened a store/workroom on Garosu-gil and started selling unique vintage clothing. Nouveau was my online friend; he liked my shop and my work and he suggested running a business together. I decided to work with him because I have a similar working pattern as his. Partnering up with Nouveau made my working style more abundant, resulting in us being able to move to our current shop after only three months after together. Q. What inspires you when you create objets d'art? I like products with the artisan spirit. I was interested in unique things. Although I majored in fashion, I always headed toward art. Nouveau tended to seek fashion in fine art. We joined each of our tastes based on our love of vintage elements and created the objet, which is the combination of fashion and art. Q. There must have been some interesting episodes that you experienced whilst working together. A hat that Big Bang's TOP wore was worn by many other celebrities as well, and some sections of the media even put it to a vote to choose the person who would look best in the hat. Also, a Japanese man who runs a fashion school in Japan paid a visit to our shop in search for the hat and he even suggested opening a branch store in Japan. Q. Objets d'art are not for ordinary people. so who are your main customers? Our major customers are idol stars and celebrities. We lend or sell our products to them for their special looks. Then there are tourists and fans who often by the objet that has been used by celebrities. Also, unique but popular lines of products are often bought by young people, artists or foreigners. The other day, an editor working in Britain bought some objet gloves and a necklace and wore them in Britain at a Martin Margiella party. They received some good reactions from people, including some designers at Givenchy. If we keep getting good reactions abroad, so we'd like to extend our brand overseas. Q. Please tell us about the process of creating your objets d'art. I usually buy old-fashioned jewelry and antique metal materials because I get inspired by them even without sketching them. Sometimes I make an objet thinking about the celebrities who would look good with it, other times I think about the shape of an objet that could be used for an album jacket and have a strong impact. The materials that are useless in other places become something special for us. Q. What did you do before opening this shop? I was a graduate student majoring in fashion design. Nouveau majored in fine art and he came back from finishing his military service. Both of us wanted to work on our own art projects where we could express our personalities rather than working for a company. Q. What is your hobby? What do you do during your spare time? I usually take a nap and relax because I'm always tired since I'm working at the shop all day long, every day. Both of use love eating and we cook something delicious when we have time. We especially love traditional Korean food and we often visit famous restaurants across the country. Q. Can you tell us anything about some of your ongoing projects or new works? I'm working on changing the interior of our display to look like a gallery. Many people visit our shop to do film shoots for weddings. In order to fulfill their needs, I'm trying to turn our shop into a gallery focusing on the concept of `black & white.' We are also planning to expand our shop through systematic preparation. Q. Is there any project you would like to attempt in the future? I'd like to make a brand that can make its debut in the world collections. I hope our brand can become a colorful brand through a variety of collaboration works with other fashion brands. For now, we offer customized products for idol groups and Korean customers' tastes, but we'd like to create products that can express our uniqueness. Q. What are BELL&NoUVEAU's goals? We dream of contributing to our society. I hope BELL&NOUVEAU we can earn enough success to be able found a scholarship foundation and help people who don't have money to learn art. www.bellnouveau.com 102 103 art Michael Ostermann Editor. Linda Choi Images courtesy. Michael Ostermann Twenty year-old Austrian illustrator Michael Ostermann has been creating gloomy, grotesque and unusual digital art images for several years. This time, ELOQUENCE found him experimenting with surrealist concepts, and always striving to improve his work. 104 ANTI ANTI 6 / 2011 / digital illustration Chimaera 7 / 2012 / digital illustration Q. Please introduce yourself to our readers. My name is Michael Ostermann, an illustrator and graphic designer based in Vienna, Austria. I spend my time creating surreal, gloomy and colorless fashion-based images and graphics. Q. In your short Facebook profile, you introduce yourself as "an occultist and black magician, sometimes also artist." Are you still involved in those activities and does it affect your work? No. You shouldn't take that seriously. [laughs] Some people who have seen my work were joking about it, describing it as black magic and calling me a magician rather than an artist or designer. Q. I heard that you are self-taught. How do you think a lack of formal education affects your work? If I were to apply for a regular job in a regular company for a monthly income, that would hurt a little. If I were to apply to a decent creative agency, it wouldn't be a problem. Most people understand that creative minds can develop without education; after all, your work speaks for itself. Other than that, I think it doesn't make that much of a difference. Q. Why did you come to be a digital illustrator? No specific reason, things just developed this way. When I was younger, I had a copy of Photoshop on my computer. I was bored and I started playing with it. I enjoyed it so much that I've kept practicing almost every day since then. I discovered that it's the thing I enjoy doing most and it's also the thing I can do best. Q. What do you find attractive about taking realistic images and subjecting them to digital transformation? I don't like realistic things. If I wanted to explore realistic things, I would take my jacket and go outside. So I create things that can't exist in real life (although I do have plans to make some work that might contradict this), which makes the work--in my opinion--very interesting. Also, I simply like the idea of taking something that exists in real life and transforming it in a way where you can still recognize it, but you feel that something has gone wrong. Q. Looking at your work online, it seems like your style has changed a bit over time. Can you talk a little about that? As you grow older, your environment changes, which in turn changes you. This affects the work you do. My earlier work is different from what I'm doing now because I had different things on my mind back then. Nowadays I dive more and more into fashion imagery (mostly stills), but I've got some motion projects going on here and there as well. Besides that, I like doing more graphical images; classic graphic design with my style over it, so to speak. I admit that I currently show just a very small portion of it in my portfolio, but I promise that will change soon. Q. What about your creative process? Is there any particular method you stick to? I work together with photographers, fashion designers or agencies and work on their photographs. As soon as I start working, my brain turns off and I simply try out lots of different things until the outcome fits my taste. Sometimes I apply 3D graphics in different ways, sometimes I just use the photographs themselves for manipulating. You could say that my process is pretty chaotic, but I do try to stick to a specific style. Q. Where does your distinct and unusual style come from? I have an individual voice, which will always sound the same. The words I say might change, but my voice is unique. The style I'm working with is my own. It's the things that wander around in my head. The subjects may change, but the moods and configurations are straight from my brain. So, all in all, you could say that I did not come up with my style; it was always there, waiting to be extracted. Q. What is your most interesting recent work? or one that is your favorite? Ah, I don't really have something like a favorite artwork. All of my images are part of a big spiderweb; I like every string equally. But I'll just go ahead and show you this one, Chimaera (2012). It is part of a collaboration with Leyre Valiente, a really talented fashion designer I met. She created clothes based on the theme `Chimaera' and I got the chance to remix them visually. I like this piece a lot because it is very 105 simple, visually and also geometrically, yet for me it conveys something special which I can't describe with words. I wanted to keep the soul of the clothes intact, so I merely used Leyre's clothes to transform and manipulate the original images. Q. It seems that you've worked with lots of design companies and other creative communities. How do those partnerships usually come about? If you show your work in public, people will see it. If people like your work, they will contact you and then maybe you'll work together. Other than that, I often approach like-minded people and work together with them. I've gotten to know a lot of people who know other people and then introduce them to me. So far I've met a lot of friendly people with amazing talent. Q. And do you have any plans or projects for the rest of 2012? Yes, there quite a lot of plans and projects going on in the near future, but most of the time I prefer to let things flow. Stunning stuff happens then. But I'm afraid I can't tell you too much of it! There will be lots of new fashion-based stuff, but also a lot of design stuff! Q. What is your goal as an artist? I don't have any goals. It's over when you reach them. I am a dreamer; it's over when I'm dead. I try to make my limited time on earth enjoyable and get fascinated by a lot of things, and that's what I'm doing as an artist. www.michaelostermann.at Kuzmenkova Mary / 2011 / digital illustration 106 ANTI ANTI / 2011 / digital illustration 107 brand 10/10 Editor. Giseok Cho Images courtesy. 10/10 10/10 is a Thai fashion brand characterized by geometric patterns and avant-garde design. ELOQUENCE talked with 10/10's director, Suphanut Suwansanya. 108 A chance of sunshine, play with the changes / 2008 A chance of sunshine, play with the changes / 2008 Q. Could you introduce 10/10 to our readers please? 10/10 is a menswear brand based in Bangkok, Thailand that focuses on presenting modern styles with uniquely intricate detailing like none other. Its trans-seasonal pieces draw inspiration from many spectrums, from geometry to Gundam. 10/10 combines traditional tailoring and street wear with the avant-garde. The unique garments are a staple for any wardrobe that wishes to be awakened. Q. What does the name 10/10 mean? 10/10 (ten out of ten) in reality is the highest mark that you can get on any level. It has a positive meaning that reflects the amount of effort and care I put into creating my garments. Also, I would like people to remember it easily without thinking, and numbers can represent that very well. 10/10/2010 is also the date that I launched the brand. Q. How did you launch the brand 10/10? I started by myself. I worked on my own for a year in every area--design, pattern-cutting, making toile, fabric sourcing and production. It was a very, very small business when I started it. Now only one year later, I have a wonderful assistant that helps me a lot and has become an invaluable team member for 10/10. Things are far more organized when you have a good helping hand. The biggest obstacle so far has been organizing everything with regard to manufacturing and the market. And a very tight budget can give you a headache when you need that money to do a collection or produce a large number of items. However, these obstacles have made 10/10 stronger and I'm very grateful for their value as learning experiences. I am still learning a lot and hope for 10/10 to expand globally. I also want men to become more adventurous with their clothing choices. Q. Who is the main target of 10/10? The main target for 10/10 is anyone who is not afraid to try something new and different. People who want to have fun with their clothing and stand out from the crowd. Very individual and independent people. People who consider their complete look and want to look special at any kind of event or just in their everyday lives. People that think outside the box. Q. Lots of readers might be curious about the fashion market in Thailand. Are there any particular advantages or obstacles that you have to consider? The Thai fashion market for menswear is very small. People, in general, tend to all dress the same here because they do not want to look or feel alienated. Due to this reason, I try to encourage people to express individuality through their clothing choices. Also, a lot of large companies are saturating the market; this has replaced a lot of designer clothing, which is a shame. But I am not disheartened. Q. It seems that 10/10 cuts out patterns with geometric designs. What kinds of concepts do you use to come up with your clothing? Geometric shapes, straight lines, sharp corners, folding, layering, and a boxy silhouette have become my signature style that is present in all of my garments. I do not focus so much on a concept but rather choose techniques and certain details that become the theme of a collection. I trained at the London College of Fashion, we were taught to focus on the construction of garments that used a lot of tailoring techniques, so whenever I design something I first experiment with these fundamental techniques to see which of them are suited for the particular design. Q. What inspires you to make clothing? Before I start to design, I imagine the kind of the character that I want to see in real life. So I guess I always draw from my imagination, as well as thinking about what I would like to wear. Additionally, music and music videos are a huge part of my life and they are a huge inspiration to my creative process. Singers like R�is�n Murphy and people like Kate Lanphear are my muses in terms of being fearless with their looks and work, which makes them original in their own ways. Q. 10/10's lookbooks are quite interesting. What sorts of things do you focus on when putting together a lookbook for 10/10? I always play into the theme and mood of my collection. For example, my 2008 collection revolved around the concept of 3d. red and blue colors were also heavily incorporated into the styling of the shoot, with the models wearing 3d glasses and having bright red hair. For the 2012 Only Young Once collection, I chose a model that had a bad boy look because 109 The Exoskeleton / 2010 The Exoskeleton / 2010 I think it suits the 10/10 guys who really don't care what people think about them. They are what they are and they don't try to be someone else. Finding the perfect location can have a huge impact and often dictate other areas of the shoot as well. Everything has to be married perfectly in order for the lookbook to be fully realized. The creative process continues to flow, even as you are shooting. I like to keep the creative ideas flowing all the way through to the end, as I am always open to new and exciting ideas. Q. The color contrast of red and blue in 2008's lookbook is impressive. What is the concept behind the images? It was my graduate collection. The inspiration came from a book called A Chance of Sunshine (1999) by Jimmy Liao. The collection concentrates on the relationship between a man and a woman who always miss meeting each other due to being in the wrong place at the wrong time. I used red to represent the woman and blue to represent the man. Also, how the 3D glasses work is part of the main idea, as the red and blue are always next to each other but never truly become one. It's an illusion. In some patterns, I combined parallel lines to show their lifestyles that never match up, and the red jacket is the conclusion of this collection that represents their relationship and their ultimate chance meeting. Q. For 2012's lookbook, Only Young Once, what kind of clothing did you make to visualize the theme and what did you try to express? Only Young Once stemmed from the idea of the fearlessness of youth--a young spirit that wishes to express itself loudly and with its own voice. The pieces themselves are created with the precision cutting and color-blocking that continue to represent the foundations of the brand. The placement of specific mirrors indicate the unexpected personality of the human character, whilst multiplying it. Everybody has a voice, but not everybody can be heard. 10/10 is an amplifier for every look, with garments that perfectly compliment every type of lifestyle. Q. Are there any other areas that 10/10 wants to explore? It will be great if 10/10 can collaborate with some artists or accessories brands. I would like to push 10/10 and expand our scope beyond clothing. Creating bags, shoes and sunglasses would be so much fun and challenge us to put our signature into different areas. Q. Are there any new projects you're currently in the process of developing? There aren't any new projects at the moment for 10/10. I would like to concentrate on what we are doing and be able to expand the brand and elevate it to the next level. To be global is one of our dreams. In the future, you never know, you might see a women's wear line from me, but it might be only show pieces at first as I'd want to do it for fun and allow it to be as creative as possible. I would like to create something that can wow a crowd, without any outside limiting factors. Q. What type of brand do you want 10/10 to be known as? I want 10/10 to be a cool and unique brand that shows lots of fun within the design. I take my designing very seriously. But in terms of wearing the garments, I want my customers to enjoy wearing them. I wish for 10/10 to grow strong in the fashion business without losing its identity, which I think is impossible. For me, 10/10 should be a brand that represents both creativity and high quality, as well as reflecting the love that I put into creating fashion. www.facebook.com/suphanut.chuwan.suwansanya 110 Only Young Once / 2012 Only Young Once / 2012 Only Young Once / 2012 111 fashion LISA SHAHNO Editor. Giseok Cho Images courtesy. Lisa Shahno Lisa Shahno designs clothes that represent a geometrically patterned future. Her look is one that is not easily imitated, though it is completely believable that it will become the basis for a new style sensibility. ELOQUENCE had a conversation with her. 112 Q. Could you introduce yourself to our readers please? I'm a fashion designer originally from Moscow, Russia. My early childhood was spent in East Germany and in 2009 I went back there and won the avant-garde award at CREATEUROPE, a fashion contest in Berlin aimed at young designers. I studied pattern-making and fashion design in Moscow but also I worked as a freelance illustrator for local magazines. Now I'm concentrating more on designing clothes. Q. Your clothing is strongly influenced by geometric form and reminds us a little of origami. Could you tell us where your inspiration comes from? I've always preferred angular lines to curved ones. Exploring the polygonal form really helped me understand how to portray complicated shapes in my drawings. So when I started to create clothes, I applied the same method of construction, using simple geometrical forms like squares, triangles and rectangles and searching for an interconnection between them in an intuitive way. I wouldn't say that origami is a source of inspiration for me, but the things I know about Japanese culture are very impressive. I appreciate the way that many Japanese designers re-established an idea that was deeply rooted in folk costume. They explored the importance of leaving excessive space between the body and the fabric, so that the clothes were free from the restrictions of the human form. Q. on your website, there are geometric pictures beside The Iteration (2012) lookbook. What are those all about? While reading Cosmos (1980) by Carl Sagan I was fascinated with the scale of the universe; the Earth seems so gigantic to us, but compared with the sun, it's just a tiny dot. If you compare the sun with the supergiant star Antares, it would also seem small, and our planet would be invisible at that scale. Surfing the internet, I came across an article about the fractal cosmology theory, which describes the universe as a fractal, and thereby infinite in every direction. One of the most intriguing aspects of this theory is the idea that something enormously large to us--like a galaxy--could be seem as small as an elementary particle on the scale of another world; by extension of that logic, the atoms of our world could be galaxies of even smaller universes. After reading that article, I was thinking of an idea for my new collection and decided that it would be very interesting to take one module as a basic particle (a square divided with diagonals) and use it in the patterns of all the garments, but on different scales for each. Those grids in the lookbook show a two-dimensional layout of each piece, including the number of particles involved and their relative scale to each other. You can say that each model represents one level in the universe, from which you can create many more models using this simple grid. Q. It seems that you've also paid close attention to choosing unique materials, with the neon stitching of Hexapelerine (2010) standing out in particular. How do you select your materials and what do you focus on when choosing them? It depends on the situation. Sometimes I have a nice pattern and choose a suitable cloth for it, but sometimes I have the fabric as a starting point and then invent a shape according to its behavior. In my first collection, I used artificial leather and PVC to make sharp edges and flat surfaces, as well as some faux fur. I never use natural fur and leather. Q. Your lookbook is very interesting. For example, in The Iteration (2012) lookbook, it is intriguing that the model's head is never shown directly, but we can clearly see the shadow. Could you tell us more about your creative working process and the kind of people you're working with? To be honest, I didn't plan it to look like that. But when photos had been taken I thought that I wanted them look more mysterious and a bit scary, so I decided to erase the heads. At the end of 2010 when I was living in Berlin, I had just finished The Iteration (2012) and a friend of mine introduced me to a photographer named Valeria Mitelman. We started working together after that. I like using different photographers to shoot my designs--you never know how they will see them. Also I work a lot with The Local Genius (thelocalgenius.com)--a graphic designer and artist who helped to create my identity and my website. Q. What is the project In the Buddka (2011) all about? It's devoted to the characters that I draw from time to time. `Buddka' means a booth or a dog kennel in Russian. My `Buddka' is a small imaginary house in the middle of nowhere, almost an allegory of the mind. This house contains unconscious memories of the past that are transformed into unpredictable creatures. I add new characters on this site as soon as they appear on paper. Q. Could you give us an insight into your work process and tell us about any standout pieces in your collection? I think the most interesting process was creating waist packs made of silver artificial leather, but I haven't presented them yet. I had never thought of designing this sort of thing at all before, but one day I noticed some zippers with a lovely triangular charm on a slider in a store. They were too short for clothes and weren't suitable for anything I was making at that time, so I made a lot of paper layouts as I tried to figure out what I could use them on. After a few hours, I found the shape that gave birth to the waist packs. Q. Do you come across any difficulties in making your clothing? The main difficulty for me is to find the balance between utility objects and abstract objects without any practical means. I don't use traditional, cut-with-the-body measurements as a starting point, so I face problems sometimes--like the inability to change a piece's size. But I prefer this way of designing because you never know where you can go and there are many more chances of finding something very interesting. It's difficult to say how I overcome this problem, because every garment is different and requires an individual approach. Q. What is the most interesting theme or motif in your work these days? At the moment I'm fascinated with paranormal behavior, something that was always considered to be a mystery for people--sleep, hypnosis and telekinesis. Q. It seems that your clothing is not really aimed at the public because of its avant-garde styling. How do you manage to keep a business running, from a financial perspective? Doing business is complicated in Russia and to be honest, I'm not good with the financial aspects of it. I try to find individual orders and sell some pieces from the collections. Q. Are there any other fields you're interested in besides fashion? Geometry, science, mathematics...? Yes, I love mathematical puzzles and paradoxes, but math always seemed really boring to me in school and so now that's a huge gap in my knowledge. I'm also interested in art history. Lately I discovered some nice vegetarian recipes and now I like cooking from time to time, trying out new food combinations. Q. Could you briefly tell us about the concept of the upcoming collection? It will include the same theme of the abstract two-dimensional surfaces, but that's all I can say at the moment. Also, very soon I will be releasing some limited-edition bags based on the same design method. Q. What kind of clothing do you want to be making in the future? My goal is to create perfect, simple pieces with an attention to detail that exists outside the boundaries of trend and seasonality, all of which will hopefully come together to create a much bigger story. Q. What are you aiming for within the next couple years? I would like to have my own studio and a small team of like-minded people working with me on my projects. www.lisashahno.com 113 Squaring the Square / 2009 Squaring the Square / 2009 Hexapelerine / 2010 Hexapelerine / 2010 114 Hexapelerine / 2010 115 The Iteration / 2012 The Iteration / 2012 The Iteration / 2012 The Iteration / 2012 116 The Iteration / 2012 117 Andrey Sarymsakov Ukraine's fashion and art scenes are throbbing with life. Up-and-coming photographer Andrey Sarymsakov, whose work ranges from commissions from sensational pop group Kazaky and international fashion clients to individual art projects, recently had an interview with ELOQUENCE. Let's listen to his story. Editor. Linda Choi Images courtesy. Andrey Sarymsakov photography 118 Natural Beauty / 2010 Q. Could you please tell us a bit about yourself? My name is Andrey Sarymsakov and I am a modern fashion photographer from Kiev, Ukraine. Q. You taught yourself photography. How did you get interested in photography and what does it mean to you? I held a camera in my hands for the first time when I was 12, and I attended a photo class only twice. After I graduated from university, my everlasting love for women, something that I've had for as long as I can remember, kept me focused on finding ways to be at the centre of ladies' attention. But my career as a photographer started with weddings. Photography is the art of capturing unique moments and freezing someone's emotions. But for me it represents an art form that allows me to capture and project my own emotions through others. Q. In several of your projects, you chose the human body as a subject. What kind of message do you want to convey? The human body is beautiful and I love to depict it. I think that women are God's perfect creation. It can be shown in so many different ways, and there can be a different story told from every angle. It is an inexhaustible ground of creativity for me. Q. In Natural Beauty. The Women (2010), you show your strength at capturing motion. What inspired you to start this project? I was aiming to show the true beauty of a woman without embellishment or Photoshop. I chose women of different ages (from 22 to 45) and various occupations (from teachers to lawyers). I invited models directly from a dating site and sent each of them an email with a brief description of the project. Some girls came with no idea as to what the shoot would be focusing on. But the most pleasing aspect is that each girl left completely happy with the results. I feel that that is an extremely important part of what I do. Q. In Kazaky's video Pohvir (2011) and their pictorials, what do you aim to focus on? It is so clear--beauty, appeal, sexuality, passion and sex. Q. Do any of the shoots really stand out in your memory? While shooting with Kazaky, I was impressed by their professionalism. I was also completely inspired by their bodies. After that shoot I decided to start working out more. I lost eight kilos in a really short space of time! Q. You are very energetic and charming. How do you usually spend your free time? In my free time I used to watch Nickelodeon or the Cartoon Network! I still enjoy watching kids' shows from time to time, but these days I'm more interested in art and poetry, particularly Russian poetry. I'd like to quote this poem by Sergei Esenin to you: Inexpressible, blue, gentle... My quiet region after storms, when lightning strikes And my soul--a field boundless Breathing in the smell of honey and roses Q. Lots of our readers might wonder what Ukraine's fashion and art scene is like these days. As one of the country's most promising artists, what can you tell us about the scene there? There are lots of talented people in Ukraine. Personally, I think that if you believe in yourself there are no closed doors in your way. We can see that with Kazaky. I met them for the first time less than a year ago, and now they're dancing with Madonna in her latest video. The art market in Ukraine is in its early stages and some people are not quite ready to accept outrageous or conceptual ideas, but there is plenty of time for that to change and develop. I believe that it will. Q. You've been involved in many areas of photography, such as fashion shoots and commercial projects, as well as your solo projects. What else are you planning for this year? Recently I have been focused on my project Ukraine. The one we love, which is a collection of photos aimed at promoting modern Ukrainian photography (www.photo-ukraine.net). Anyone, from professionals to amateurs, can participate in the competition to present the best images of ukraine. For the final step, the jury, which includes myself, will choose the 30 best photographs to be exhibited in May at Mariinsky Park, the best open cultural space in Kiev. You should come and enjoy the show! I think that you will become deeply absorbed in Ukraine. Perhaps one day I could do a project like this in Seoul too! Q. That sounds fantastic! so, one last question: what is your goal as an artist? I want to encourage people to break free from stereotypes, with beauty and harmony inside. www.sarymsakov.com 119 Kazaky / 2010 120 121 Kazaky / 2010 122 123 project Seoul Urban art Project Shattering the perception that drawings are made in a studio on a square canvas, Seoul Urban art Project team takes to the streets, repurposing the corners of downtown Seoul as their canvas. We met the SUP team, comprised of fourteen artists. Editor. Pearl Kim Images courtesy. SUP Seoul Urban art Project (SUP) as a group focuses on pure art, spread all over Seoul. JunkHouse, a famous Korean street artist, heads the project with thirteen other members including Hez, Garoo, Handy, Basara, Jazoo Yang, Sihoon Kim, Jangkoal, Juno Hwang, Junseok Seo, TJ Chae, A Ram Lee and two foreign artists living in Korea, Jamie Bruno and Eric Davis. In addition to these members, various artists from different genres also participate in the project as guests or partners. Basically, SUP is a contemporary art movement unfolding their works on the stage of the city of Seoul without space restraints. They espouse an `open gallery' concept to communicate with people more directly, away from the traditional white cube art gallery system aiming at a particular audience. rather than public art that fits the taste of the masses, they want to show `real art on real streets,' with attention to diversity and a daring experimental spirit. By doing so, SUP believes that passersby through deserted areas of downtown Seoul could easily become an audience by confronting art in a familiar environment and they might reconsider forgotten and buried memories in retrospect. They work in some spaces with permission but they also enter other spaces without negotiating with authorities. Starting in December, 2011 at the old Samik Apartments, Bugahyeon-dong, Seodaemun-gu, Seoul, SUP began to explore ruined areas that afforded them total freedom. Samik Apartments was a very old '70s style, dilapidated eight-story building, the likes of which are no longer easy to find in Seoul. Divided into two zones, A and B, it was broken up into a very small acreage like a single flat. Each artist began to create their own pieces but a few days later building A was demolished. Even though working inside building B was risky, they went ahead with the project, knowing the other building could also be demolished anytime. Sometimes, the traces of each apartment's former occupants, the remnants of lives left behind, inspired their works. Bugahyeon-dong's redevelopment area (large areas marked for destruction and reconstruction, common in Seoul) was enormous and hundreds of buildings were scheduled to be torn down. Among them, they found Donghyun Church, located in front of Gyeongui Railroad and ended 2011 working around this area. In March 2012 the collective got its name and SuP made their first episode archives. Their next location has also been chosen; the area around Itaewon-dong, Yongsan-gu, Seoul. In the future, SUP will move forward into a new area roughly every month and sometimes roll out together to accomplish strategic tasks. They will cover not only redevelopment areas but also vibrant downtown areas with large commuter populations. They plan to present both pleasant and experimental artworks around the areas including Seoul and Gyeonggi-do as well as in quiet rural villages. These activities will be documented on their webpage, where they also plan to open the SUP archives as well as document other street artists' work in depth. The SUP team aims to keep their project going, as well as bring new artists gradually into the fold. www.sup-project.com 124 125 126 127 128 A Ram Lee Street artist & painter Paste-ups are a favorite technique of this artist, who is capable of creating work in many different styles. She is known for borrowing a toad motif from a Korean folk song's lyric--in return for an old house, give a new home, she introduces toad motif artworks that are especially poignant, given their placement in areas slated for imminent redevelopment. Jamie Bruno Artist An American nomad, Bruno's inclinations toward drawing (as well as tending her own vegetable gardens) inform her work, which investigates the subconscious attraction and repulsion towards structures of power and containment through a variety of mediums. www.jjeb.cc Basara Graffiti writer Starting from works on the roof of his apartment, he has gradually become a bigger and bigger player in the world of graffiti. After joining Wontak crew, he has continually experimented with a wide variety of styles in order to arrive at one he can call his own. Jang Koal Illustrator Using her own unique style, combined with a sizable amount of wit and charm, she executes illustrations of unusually bizarre and eerie objects in her work. Nowadays, she is winning hearts en masse through her ongoing collaborations with fashion brands. www.jangkoal.com Eric Davis Artist & musician Davis is an American artist and musician working in Seoul whose work embraces the limitations of the self-taught artist and presents improvised and emotional expression. Borrowing from existing images, he finds ways to give them rebirth in his own story. www.goo.gl/LUuLt JunkHouse Street artist On the international level, she has participated in various street art projects and collaborated with major brands such as Gmarket, MLB, Krink, and Biothem. www.junkhouse.net Garoo Street artist His distinct working process gets attention by using a plaster bandage with which he satirizes the massive capitalistic and consumption-oriented system. www.choegun.com Sihoon Kim Freelance illustrator This illustrator keeps active with his work for several magazines as well as commissions and collaborations with a number of brands. www.blog.naver.com/jjonaeggu Handy Graffiti artist Handy, the director of Wontak crew, is planning an upcoming Kore an urban artists' group exhibition which called `420ml.' Handy is an exceptionally talented artist, from Fake Art to character-based work, as well as an accomplished graffiti artist. Akela Photographer & video director As a video director, he has shot several artists' working processed, including his own. He aims to maximize the attractiveness of his subjects and broaden his own artistic practice by producing installation video, motion graphics and commercial films. www.akelas.blog.me Jazoo Yang Artist She has actively participated on both domestic and international stages, dealing with themes of loneliness and social alienation through painting, drawing and street installation works. She communicates with the public through live performances in which she strives to break down social conventions. www.jazooyang.com Jun-O Hwang Photographer Taking photos of the ever-changing cityscape, Hwang is devoted to showing dynamic images. He has been working on various areas in his career, including product shooting and fashion. Soon he will begin work in France, ending his domestic activities and seeking out a fresh environment. www.6cc.co.kr HEZ Graffiti & media artist Fascinated by the materials of simple spray lacquer and a wall, he has been working on graffiti for a long time. He has taken on the role as chief director of an exhibition and party for artists working in experimental and diverse media. www.hez370.com TJ Choe Producer & cinematographer In his video work with international artists of all sorts, Choe prefers details, movement and stillness, bringing all his subjects to the surface. facebook.com/tj.choe www.facebook.com/tj.choe 129 France Danse Festival Editor. Linda Choi Images courtesy. Institut Fran�ais de Cor�e du Sud festival After making stops in Japan and Italy, France danse has arrived in Korea. From April to June, these French artists will share their abundant, diverse and creative performances. Included in this tour will be opportunities to meet fans through collaboration concerts in Korea, living up to the name France danse-Cor�e 2012. ELOQuENCE will provide readers with an opportunity to encounter the world of modern dance through a two-part series of feature articles on the event, including the following lineup of festival highlight performances. Since 2007, France danse has visited thirteen different countries, introducing the dynamically developing world of French modern dance and joining hands with new partners at each stop. This is the most recent development of the French modern dance movement, which traces its roots back to the influence of the `Nouvelle danse' of the 1980s. "If you are curious about the future of ballet, look at France," say some critics of late, cementing the role of this art form in the ongoing development of contemporary ballet. Through France danse-Cor�e 2012, our readers will be able to enjoy and witness the history of a global modern dance, supported by Institut Francais and Institut Francais de Cor�e du Sud and in partnership with MOdAFE (Modern dance Festival), Festival Bo:m, Hanguk Performing Arts Center, LG Art Center, and Korea National University of Arts. Included in France danse-Cor�e 2012 is not only its namesake French dance performance, but several other various events for the audience as well, including Korea-France creative performances, opportunities to meet with professional dancers, workshops, and public screenings of past dance performances. Through the festival's programming, French choreographers have shared their previous creations with Korean dancers. In this rare form of cross-cultural exchange, dancers of many nationalities have come together to share ideas, interpret folk tales, and discuss cultural identities to produce new performances. ELOQUENCE would like to introduce some highlights from the festival--performances where you can expect to see an invigorating combination of the East and West and a renegotiation of the perceived differences between genres. Thomas Lebrun's Frankorean Tale (the story of France and Korea) will be the opening event at MOdAFE, while Angelin Preljocaj's And then, one thousand years of peace will serve as its closing performance. Preljocaj has been successful in the French dancing industry for the last 30 years. As for performances that go beyond the limitations of genre, you should take note of Abou Lagraa's Nya and Mourad Merzouki's Agwa & Correria with the National Ballet Company of Algeria, which will make its Korean debut during the festival. Syst�me Castafiore, one of the most creative dance groups in France, shows us that there is no restriction to the future of contemporary dance in Stand Alone Zone, an immersive performance in which dance, play and 3D digital images are combined together. In addition to performances, there will be seminars held with French journalists from 5 May to 29 May. A special video exhibition called `Cin�-danse' will be held at Culture Station Seoul 284, where you can enjoy 70 performances of French modern dance, featuring many different choreographers. For almost an entire month, these videos will be available free of charge for public benefit. Even though the name of the performance sounds unfamiliar, mark it on your calendar; we are sure that you will fall in love with the sincere character and liveliness of modern dance by watching the following performances recommended by ELOQUENCE. 130 Festival Highlight #1 Cin�-Danse 5 � 29 May 2012 Cultural Station Seoul 284 dance performance show Cin�-danse will bear witness to the history of French modern dance through 70 video screenings of notable performances, documentaries, and biographies of choreographers, all free and open to the public. So don't forget to stop in and catch a few clips before attending a real dance performance. On 17 May, Thomas Lebrun will be present for a conversation on his life and work, with an homage show and lecture by Angelin Preljocaj on the following day (18 May). Festival Highlight #2 Thomas Lebrun � Frankorean Tale, with Illico dance company 19 May 2012 Arko Arts Theater Frankorean Tale, produced as a French and Korean collaboration performance, is performed with six Korean dancers and Thomas Lebrun, the new director of CCNT (National Choreography Center of Tours). As the opening piece at MOdAFE, it takes its inspiration from both French and Korean folk tales. It combines all possible styles of dance, choreographic languages, rhythms, melodies, images and amusing creativity to create new fairy tales using the vibrant cultures of the collaborating countries, the combination of which alone is worthy of attention in this unprecedented encounter. Thomas Lebrun, who is currently involved in a number of collaboration projects in France as well as abroad, has taken a leading role in the education industry and the practice of inheriting dances. Audiences will enjoy a unique aesthetic in this performance, where high quality dance and dramatic elements are combined harmoniously. 131 Festival Highlight #3 Abou Lagraa � Nya, with La Baraka dance company 24 May 2012 Daehangno Arts Theater Abou Lagraa, who founded the modern dance division of Algeria's National Ballet Company, works with young hip-hop dancers in Algeria who are self-taught and plays the role of an active intermediary between the two worlds. His piece Nya is the first fruitful result of the France-Algeria art exchange project Pont Culturel M�diterran�en, having won the best choreography award in 2011. This performance by ten dancers from Algeria's National Ballet Company will give audiences a peek into Algeria's country's abundant cultural heritage as well as the face of new generation of Algerian dance, one greatly affected by the influence of hip-hop. The title of the piece, Nya, is an Arabic word meaning "faith about life," which is a value Algerians learn at an early age. Thus, the performance comes with the message, for those receptive to the communicative power of dance: if you live a life mindful of `Nya,' the hardships can be overcome as you move forward and open yourself to the world. In the performance, dynamic choreography dealing with distress over mixed identity melds with an air of tradition in harmony with modernity. Festival Highlight #4 Angelin Preljocaj � And then, one thousand years of peace, with Ballet Prejocaj 30 � 31 May 2012 Haeorum Seoul National Theatre Angelin Preljocaj, a representative artist in the French dance world for 30 years, co-produced And then, one thousand years of peace with Bolshoi Theater to celebrate the cultural exchange between France and russia in 2010. It started with an interest in eschatology and contains a universal truth of humans and inner unsettledness. A new version of this performance will be introduced as a part of France danse in May. Those who attend will truly be able to feel the efforts of the choreographer as he expresses his inner motives without hiding anything. Subodh Gupta was in charge of the stage design and DJ Laurent Garnier also took part in the production. Created by world famous artists, this is a performance of unprecedented talent you won't want to miss! 132 Festival Highlight #5 Marcia Barcellos & Karl Biscuit � Stand Alone Zone, with Syst�me Castafiore May 27 2012 Daehangno Arts Theater In 1986, the musician, composer and producer Karl Biscuit and the choreographer and singer Marcia Barcellos first met. A few years later, a dance troupe called Syst�me Castafiore was founded. This ensemble came into the spotlight within the panorama of the young French dance with its special creed: "We change the world while having fun." Inspired by a science fiction cartoonist and movie director from France, Enki Bilal's imagination and Georges M�li�s's movie, Stand Alone Zone proposes a creative world balanced on the borderline of fantasy and reality. In this performance, three dancers will perform on stage accompanied by video images, all within an intriguing scenario. A zone lies beyond a ruinous concrete maze built to resemble the remains of a disappeared civilization. This zone is surrounded by dense forest, rooms and complicated hallways, at the center of which can be found a hidden secret of the world. As one approaches the walls of the room, however, the border of reality disappears and subsequently hypnotizes anyone who dares attempt it, bringing in a suspensful risk of danger. An engaging and exciting performance! 133 OPEN STAGE PLATOON Platoon Kunsthalle Since it opened its doors in April 2009, Platoon Kunsthalle has slowly become the center of various cultural activities and sub-culture movements. Recently, it initiated its Open Stage project as a part of an indie music education program held every Thursday. Platoon Kunsthalle was created by the art communication group Platoon, which was founded in Berlin, Germany in 2000. Since then, it has become known for its `creative incubation' for sub-culture artists to help develop their creativity and potential. Among the countless projects executed by Platoon Kunsthalle, its new Open Stage project is designed to give unearthed indie musicians more varied opportunities. Starting with this month's issue, ELOQUENCE will join hands with Platoon Kunsthalle and to support and help promote the Open Stage project. Below, we introduce two indie artists full of potential who were recently showcased at Open Stage. Editor. Jinseop Lee Photographer. Najhin 134 Yukari Q. Your name is Yukari. Is this your real name? My real name is Soo-jung Lee. Personally, I really like koalas. I wanted to name myself after the Eucalyptus that they feed on, so I started calling myself `Yukari.' Q. You are a multi-talented musician who can compose, program, sing, and play all by yourself. Did you receive a formal education in music? When I was already a university student, I studied again for the musical college entrance exam, and I was accepted to Gyeonggi University's electronic music program. After graduating from university, I joined a band and started composing music. But I was more attracted to my personal composition work than playing music with other people. I guess I was inspired by the other musicians I'd met at various festivals. I'd been going to the festivals since I started composing electronic music. I thought it looked wonderful--how these artists expressed themselves through their music on stage. Q. Are there ways you express yourself other than through music? I enjoy keeping a diary. It helps me re-think the things that have happened to me. My diary is an actual record of facts rather than imagination. I guess I think highly of my feelings as they happen. Q. How did you feel about Platoon's open stage? As a matter of fact, it was my first time to actually perform here, although I've been here before to watch my friends' performances. The space was above my ability because I just started doing solo music. I was thankful because I felt like a real `artist' when I was playing for Open Stage. Platoon itself is a unique, interesting space, and I was very excited to be there. Q. What makes electronic music attractive to you? Electronic music can express imaginary sounds; it's not limited to natural sounds, and I guess this is the biggest charm it has. As for rock bands, it seems like their destiny to go forward must be the same destination as those of their members. On the other hand, electronic music doesn't impose this kind of burden on my shoulders. Q. Please tell us about Yukari's playlist. M83 � rEuNION NEON � INdIAN LAuGHING GAS Yoon Sang � The things I didn't know back then Q. M83, Yoon sang, Red House Painter, and Radio Department don't have strong beats, but they have something in common� they aim for lo-fi music and synthesizer-oriented sounds. Are these styles in collusion with your music? It seems like Yoon Sang's grayish hue, red House Painter's dreaminess, and Radio Department's dark liveliness are in collusion with each other. I guess the music style I'd like to pursue is a combination of these hues. Q. Please tell us about the instruments you use and the sequencer. I use a Micro Korg synthesizer and Ableton Live D.A.W. Q. What brought you to Hongdae's indie scene? I admired band music when I was in middle and high school. But then I had a stronger yearning to perform on stage myself. I guess my longing to perform led me to the stage. Q. What hobbies do you partake in when you have some free time? I like to spend time with my friends, listening to music, drinking, and chatting. And, personally, I love reading poetry. Gyu-won Oh, I love you! Q. What are your future plans? I'm planning to take part in a music festival in July, and I'm currently working on a new style of music with my friend. www.yukarimusik.com 135 136 Abrupt Departure Seok-woo Kang (SK) Guitar & Vocals Tae-baek Lee (TL) Bass Hye-soo Song (HS) Keyboard Woo-geun Jung (WJ) Drums Q. I was particularly drawn to you during your performance. You are my first interviewee for the Platoon Kunsthalle Open Stage project. What was your first impression of me? SK: To be honest with you, I was confused. In other countries, the show's host interviews the performer while emceeing the show, but that wasn't the case here. Besides that, today's performance had many problems in terms of technique and performance skill, so I was a little dubious when someone showed interest in our music. I'm just saying. I don't mean that I thought you were strange. The situation just seemed odd. Q. The name of your band is Abrupt Departure. Please tell us about the meaning of the name and introduce your members. SK: Our current members are Seok-woo Kang, Tae-baek Lee, Hye-soo Song and Woo-geun Jung. All four of us are engaged in other jobs that have nothing to do with culture and art, but we keep creating music with the producer Hyuck-soo Kim and working on an indie label in our small studio. TL: In 2006, when I was staying in England with Seok-woo Kang for a short period, we talked about creating a band. Then, in 2008, we created a quintet power-pop band with Hye-soo Song under the motif Teenage Fanclub and Trashcan Sinatras. However, due to each member's different personal tastes and issues, two people left the band. Then, drummer Woo-geun Jung joined our band, and we still have the same lineup. The name of our band Abrupt Departure was taken from one of Franz Kafka's books. The situation Seok-woo Kang was facing back in 2008 (secession of the two members and distress about music) inspired the name. But I guess the other members were thinking the same thing. In 2008, Seok-woo Kang was in his fourth year of college and just like any other Korean college student, he was thinking seriously about the reality of his freedom. It seems like this situation gave him the idea to express the beginning of `continual and consistent departure' musically. Q. You seem like a shy person, a polar opposite to your on stage persona. What are your members like? SK: Hye-soo Song is a really shy person, but the rest are not. Tae-baek Lee even worked as a member of the students' association in college, and Woo-geun Jung is a salesman. In my case, my shyness is just a perception. The other members don't really like to talk. Maybe they don't have many things to say, or they are just lazy! Q. How was the performance at the Platoon open stage? SK: It was the trendiest and the most wonderful place I've ever performed. In fact, only about ten people usually come to enjoy our performances except on Fridays and Saturdays. But it didn't feel like it was a weekday here at Open Stage. It was especially amazing to see foreigners who like our music. If I have another chance to perform there, I will definitely do it again. Q. It seems like you go more for lo-fi music rather than the trendy electronic music. Your music is somewhat similar to Pavement and sister's Barbershop. Is there any certain style of music you seek after? SK: I was happy when editor Jin-seop Lee told me this. It felt like people had finally started enjoying our music. Speaking of Pavement, I really like artists from the Matador Records label. I'd like to express `indism' through band formats instead of seeking a conventional lo-fi feel. HS: I play the keyboard, and I think the core of all music is melody. How one creates melody using minimalism, shoegazing, and lo-fi is a matter of methodology. If we had to categorize our music, it would be called `eclecticism.' Whether it's Pavement, Bon Iver or The xx, we tend to achieve an unintended style when working with producers and expressing our motif in band formats. Isn't music itself an Abrupt Departure? Q. As for seok-woo Kang, he plays the minor key in a unique way when he plays the guitar. I got the feeling that the sounds crossed subtly, and I thought this style of music was either intentional or spontaneous. Was there a reason for this? SK: It is not a mistake at all. I guess the producer Hyuck-soo Kim would click his tongue, but I personally think that a discord can also contribute to harmony. When the bass part is in the center, other instruments have more freedom than you think they would. I believe that intentional discords or tensions are spices that help create unique performances. Of course, if there are too many discords or errors, you would expect criticism from producers and other members. The point is, it's always with intention--no matter what I do. Q. Who usually writes the music? WJ : Most of the time, Seok-woo Kang does the composition part. Then, under producer Hyuck-soo Kim's supervision, all the members participate in the musical arrangement. Q. What does music mean for Abrupt Departure? WJ: Music makes the player happier than the listener. HS: Music is a `difficult play.' TL: As of now, I enjoy playing music more than dating a girl. SK: "The reason why I have to go to work." Salary men gathered together and made their own studio by investing all the money they had. No further explanation is necessary. Now, music is everything. Q. Which musicians' albums inspire your music the most? SK : Yo La Tengo � I Am Not Afraid of You and I Will Beat Your Ass (2006), Popular songs (2009) TL/WJ : The radio dept. � Lesser Matters (2003), Pet Grief (2006) Velvet Underground � The Velvet Underground & Nico (1967), Loaded (1970) Teenage Fanclub � Bandwagoneque (1991), Grand prix (1995) HS : Brad Mehldau � Live in Tokyo (2004) Q. I heard that you are planning to release an album. Please tell us about that as well as any upcoming concerts. We were working on an album, but most of our members wanted to release an EP first. Currently, we are selecting songs to record. Our EP, with about four songs on it, will be released in May. We will perform on Friday, 18 May at Gogos2 in Hongdae. Gyeonggi university's video event will be held along with our band's performance. www.abrupt-departure.tumblr.com 137 project POJANGMACHA PROJECT For the last seven months, ELOQuENCE has been working on the Pojangmacha Project, which draws together architects, chefs and artists of all kinds. Continuing from the project's previous Itaewon and Mullaedong pop-up projects, its third iteration was an opportunity to manage a larger and more complete project through collaboration with Platoon Kunsthalle, in conjunction with their 3rd anniversary celebration. Centering around architects Tae-ho Kim and Tae-beom Kim, the Pojangmacha Project is not merely an architecture event but has become quite the complex task, breaking down genre distinctions with the participation of creators of every stripe, bringing together food, art, music and video ever since its early planning stages. In the recent Pojangmacha Project pop-up, held at Platoon Kunsthalle, the collaboration of architecture and food turned out something special, with food director G.O. playing the pied piper to a team of 17 chefs. ELOQuENCE selected five teams from the creators who took part in Pojangmacha Project 3 to introduce to readers this month. Editor. Sukkyung Yun Photographer. Dojin Choi 138 Tae-ho Kim and Tae-beom Kim Architects The collaboration of these two young architects (who met while students at the Architectural Association School of Architecture in London) began with a workshop in Japan where they presented pojangmacha, street food stalls that are a ubiquitous sight on the streets of Korea, from a new perspective. Their intent was not merely to reinvent or rebrand pojangmacha, but also to create a micro-structure in a new form that is able to comply with the city by analyzing the pojangmacha `modus operandi.' Through this lens of urban heritage, they see the banality of the city anew on a micro-perspective and aim to understand it in a more profound way, shedding new light on this lost humane aspect of the city. The beautiful and emotional structure that developed as a result of their passion and creativity embodies the ideal combination of the perfect practicality of pojangmacha along with its functionality. Above all, they consider it meaningful to discover the emotional impression of and analyze it afresh through this project. 139 G.O. Chef G.O. is the chef in charge of food for the Pojangmacha Project. He joined the project while it was still in its planning stages, and his responsibilities include improving the flow of human traffic in the pojangmacha. Having formerly been active in London as a chef of French cuisine, he has since returned to Korea and made the transition to Korean cuisine, working as head chef of Korean table d'hote restaurant daeJangGeum. His focus is lies in the eating culture that can be shared in a larger group, which he explores by researching the similarities and differences between Eastern and Western culinary cultures. Recently, he has been working on The Barcelona Project, which introduces Asian cuisines--including those of China, Japan, and Thailand--to Spain. He researches experimental and creative cuisine as well as culinary culture and art. 140 Jung-jin Lee and Kyoung-joon Park CheolDeunNom A team of five young people centered around Jung-jin Lee and Kyoung-joon Park, who have been friends since childhood, CheoldeunNom has a very special concept. After opening a studio in Mullae-dong, surrounded by iron foundries, they began research on roasting devices of a variety of styles, and eventually to produce them as well. CheolDeunNom is not merely developing new cooking devices, but also bringing about a more experimental approach by collaboration with many artists. In fact, their device production process has been filmed for a documentary. With a splashy showing at the second Pojangmacha Project pop-up in Mullae-dong, they're starting to get attention for their research and special production methods, and their studio has become known both a place of R&D as well as a storefront for roasted meat. 141 Jang Soon-kyu Visual Art Director After winning CUT & PASTE KOREA's graphic design contest in 2010, Jang got to know Tae-ho Kim (the contest's 3D prize winner) and has since worked on every visual necessity related to the Pojangmacha Project, including its logo and posters. A student at Dankuk University where he majors in visual design, he has won awards from Graphic AdC and Adobe Graphic, as well as red dot Communication design's `best of the best' Award. He also works on a variety of design projects as a member of Samsung design. He hopes his design work can make innovations in developing countries where technology, knowledge and systems are yet to come into wide use. Moreover, he shares the wish for the Pojangmacha Project to become an opportunity to rediscover what has been forgotten around us. 142 Sang-ryong Jin / Yook-sung Wang / Yeon-bok Lee / Jin-sun Hwang / Ki-myoung Wang HohwadaeBanJeom HohwadaeBanJeom is a contemporary cooking team that reinterprets culinary cultures with an emphasis on Chinese dishes. The team consists of the last Chinese cooks living in Korea who have inherited the century-old history of legitimate Koreanized Chinese dishes. The HohwadaeBanJeom Project, starring seven restaurants and seven head chefs, has already received a lot of attention, both domestically and abroad. In this project, four chefs from HohwadaeBanJeom participated, even taking a day off from their four respective restaurants to present their valuable dishes. 143 Choo Kwon-young Stand-up Bar Well-known among gourmets in Seoul by the nickname of `Korean Night Restaurant,' this stand-up bar features fresh ingredients and clean cooking methods. Kwon-young Choo, the chef/owner of the restaurant, has been recognized by experts far and wide for creating his own `Koreanized Japanese cuisine,' coming after a career of experience working in five-star hotels and restaurants, including the Chosun Hotel. He is famous for cooking only with seasonal ingredients he procures early every morning by combing through Noryangjin and Misari markets. He travels seaside towns looking for and testing ingredients of the highest quality, to present the freshest dishes in season that can usually only be tasted in the countryside. For the Pojangmacha Project, Kwon-young Choo set up a sushi kitchen in the second floor exhibition room of Platoon Kunsthalle, where he demonstrated his prodigious skill. 144 Seok-hoon Kim Project Manager After graduating from the department of the Interior design at Hanyang university, Seok-hoon Kim has been actively working in a variety of fields including architecture, interiors, design consulting and visual art. Having joined Pojangmacha Project's third pop-up as its project manager, he has handled all event matters from scheduling and transportation to booking and assistant management. With clear judgement and fast-paced management, he has performed this role very well and will soon embark on the next phase of his professional development; a Master's degree in architectural design at Columbia university's GSAPP in September. He says that he will continue to do his best as a project manager here in Seoul until he leaves. Wherever he may find himself, he will always be remembered as one of the Pojangmacha Project's key members. 145 146 147 World Exhibitions sEoUL suh Do-ho: Home Within Home 22 March � 3 June Leeum, Samsung Museum of Art www.leeum.org Dansaekhwa: Korean Monochrome Painting 17 March � 13 May National Museum of Contemporary Art, Korea www.moca.go.kr Bae Young-whan: song for Nobody 1 March � 20 May PLATEAU, Samsung Museum of Art www.plateau.or.kr x_sound: John Cage, Nam June Paik and After 9 March � 1 July Nam June Paik Art Center www.njpartcenter.kr Paul McCarthy: nine dwarves 5 April � 12 May Kukje Gallery www.kukjegallery.com Finn Juhl's 100 year anniversary of birth 26 April � 23 September Daelim Contemporary Art Museum daelimmuseum.org Beauty of Lines: The Beginning of Modern Furniture 3 April � 10 June Gyeonggi MoMA www.gmoma.or.kr Jaehyo Lee 30 March � 27 May Sungkok Art Museum www.sungkokmuseum.com The Centennial Celebration of Lee Insung's Birth 26 May � 26 August National Museum of Contemporary Art-- Deoksugung www.moca.go.kr Hein-kuhn oh: Middlemen 3 May � 17 June Artsonje Center www.artsonje.org Vogue Moment 18 April � 27 May SNU Museum of Art www.snumoa.org Kibong Rhee: Cloudium 18 May � 15 July Arko Art Center www.arkoartcenter.or.kr seMA Youth 2012: 12 Events for 12 Rooms 10 April � 17 May Seoul Museum of Art www.seoulmoa.seoul.go.kr Cartoon World 3 April � 17 June Seoul Olympic Museum of Art www.somamuseum.org olafur Eliasson 19 April � 31 May PKM Trinity Gallery http://www.pkmgallery.com/ Koen Van Den Broek: From the East to the West and Back 30 March � 19 May Gallery Baton gallerybaton.com Kim Jong Hak 1 May � 27 May Gallery Hyundai www.galleryhyundai.com Younhee Chung Paik 25 April � 13 May Gallery Hyundai--Gangnam Space information Leandro Erlich: Inexistence 4 May � 7 July SongEun ArtSpace www.songeunartspace.org Boo Jihyun: Fishing Lamps, Discovered: Reinterpreted objects 13 April � 23 May SongEun ArtCube www.songeunartspace.org Jungju An 11 May � 9 June Project Space Sarubia www.sarubia.org Woo Kuk Won: Thirteen stories 13 April � 18 May Salon de H www.artcompanyh.com soojung Choi: shoot the Moon 25 April � 31 May Gallery SKAPE www.skape.co.kr Lee sang Won 3 May � 27 May Gallery SUN Contemporary www.suncontemporary.com Eunhye Kim: BoDA 19 April � 20 May Gallery 2 www.gallery2.co.kr Wanderers Unduped 20 April � 12 May TV12 Gallery www.television12.co.kr Kyung Hyounsoo: Debris 19 April � 11 May Art + Lounge DIBANG www.dibang.org www.galleryhyundai.com Louise Bourgeois: Personages 23 May � 29 June Kukje Gallery www.kukjegallery.com Yum Joonho: The Taste of others 1999 3 May � 23 May One and J. Gallery www.oneandj.com Dongwook Lee: Love Me sweet 24 May � 30 June Arario Gallery Seoul Samcheong www.ararioseoul.com Hong seung-hye: square square 5 April � 12 June Atelier Hermes www.fondationdentreprisehermes.org Bond the Moment: 2012 Henkel InnoART Project 29 March � 24 May Alt Space LOOP www.galleryloop.com ToKYo Thomas Demand 19 May � 8 July Museum of Contemporary Art Tokyo www.mot-art-museum.jp Lee Bul: From Me, Belongs To You only 4 February � 27 May Mori Art Museum www.mori.art.museum Paul Cezanne: Paris and Provence 28 March � 11 June National Art Center, Tokyo www.cezanne.exhn.jp 148 Robert Doisneau 24 March � 13 May Tokyo Metropolitan Museum of Photography syabi.com Hiraki sawa: Lineament 7 April � 17 June Shiseido Gallery www.group.shiseido.com oliver Payne 14 April � 26 May NANZUKA nug.jp simon starling: Project for a Masquerade (Hiroshima) 9 February � 11 May CNAC LAB www.cnac.jp Tetsuro Kano: Protean Wood 7 April � 12 May Yuka Tsuruno yukatsuruno.com otomo Katsuhiro Genga Enxhibition 9 April � 30 May 3331 Arts Chiyoda www.3331.jp Daido Moriyama: Color 11 May � 9 June Taka Ishii Gallery www.takaishiigallery.com Yoriko Kita: Daybreak and Thereabouts 24 April � 2 June Take Ninagawa Gallery www.takeninagawa.com Go Watanabe: Portraits 14 April � 12 May ARATANIURANO www.arataniurano.com Hiroshi sugimoto: Five Elements 3 April � 23 June Gallery Koyanagi www.gallerykoyanagi.com Keizo Kitajima: Isolated Places 6 April � 13 May rat Hole Gallery www.ratholegallery.com Djordje ozbolt 25 May � 23 June Taro Nasu Gallery www.taronasugallery.com continuation of the Chiang Mai-based artist's Buddhist related themes, presents a a selection of collages from his journal that have been enlarged and transformed into large-scale paintings. Developed from collage sketches, the paintings allow Kamin's phrases to meaningfully communicate with contemporary audience. Nopchai Ungkavatanapong: Awkward 27 April � 30 May Bangkok Art and Culture Center www.bacc.or.th Art on Farm: A Diary from the Isan Plateau 31 March � 24 June Jim Thompson Art Center www.jimthompsonhouse.com Prasit Wichaya: Tales from the Land of the Plateau 27 March � 6 May dOB Hualamphong Gallery www.dobthailand.com Memento Mori 13 April � 3 June Arario Gallery Beijing www.arariobeijing.com sHANGHAI Michael Lin: Model Home 10 March � 3 June Rockbund Art Museum www.rockbundartmuseum.org Xu Bing: Book from the Ground 21 April � 29 May Shanghai Gallery of Art www.shanghaigalleryofart.com The Hanging Garden 4 May � 30 June Art + Shanghai Gallery www.artplusshanghai.com Leslie Thornton: Radical Symmetry 26 April � 31 May Elisabeth de Brabant Art Center www.elisabethdebrabant.com Aam solleveld: systems of Abundance 1 April � 13 May am art space www.amspacesh.com BEIJING Gu Dexin: The Important Thing is Not the Meat 25 March � 27 May Ullens Center for Contemporary Art www.ucca.org.cn Ma Ke: Life Most Intense 20 April � 18 June Platform China www.platformchina.org Liu Liguo: Trafficking Imagination 27 April � 18 May Yang Gallery Beijing http://yanggallery.com.sg Zhang Hui: Groundless 28 April � 17 June Long March Space www.longmarchspace.com Qiu shihua 12 May � 8 July Galerie Urs Miele www.galerieursmeile.com Li shi Rui: The shelter 5 May � 17 June White Space Beijing www.whitespace-beijing.com Luo Mingjun: New Works 21 April � 3 July Pekin Fine Arts www.pekinfinearts.com Hisaji Hara: symphony of Time and Light 21 April � 15 June Three Shadows Photography Art Centre www.threeshadows.cn HoNG KoNG ART HK12: Hong Kong International Art Fair 17 May � 20 May Hong Kong Convention and Exhibition Centre www.hongkongartfair.com Jiang Pengyi: Luminant 4 May � 2 June Blindspot Gallery www.blindspotgallery.com Huang Rui: Language-Color 19 April � 12 May 10 Chancery Lane Gallery www.10chancerylanegallery.com Phaneedra Nath Chaturvedi: An Anthropomorphic Incarnation 18 April � 12 May Karin Weber Gallery www.karinwebergallery.com Taiping Tianguo, A History of Possible Encounters 12 May � 12 August Para/Site Art Space www.para-site.org.hk Anselm Kiefer: Let a Thousand Flowers Bloom 16 May � 25 August White Cube Hong Kong www.whitecube.com BANGKoK Kamin Lertchaiprasert: Before Birth After Death 24 March � 31 May NumThong Gallery at Aree www.gallerynumthong.com This exhibition, which is a 149 Jiang Zhi: Impure Light 15 May � 16 June Saamlung www.saamlung.com Yayoi Kusama 9 February � 5 June Tate Modern www.tate.org.uk Rachel Goodyear: swarm 27 April - 26 May Pippy Houldsworth Gallery www.houldsworth.co.uk Christopher Hanlon: Disseminatus 27 April � 2 June Domo Baal www.domobaal.com Tim shaw 23 April � 26 May riflemaker www.riflemaker.org The sculptor Tim Shaw is known for his installation Casting a Dark Democracy, depicting the unrelenting horror of the Abu Graihb jail in Baghdad. Ron Mueck 19 April � 26 May Hauser&Wirth www.hauserwirth.com The works shown in this exhibition highlight Mueck's unique form of realism and his poignant use of scale and placement. Using contemporary subjects, Mueck explores timeless themes depicted throughout traditional art history, encouraging the viewer to identify with the human condition. oUT oF FoCUs: PHoToGRAPHY 25 April � 22 July Saatchi Gallery www.saatchi-gallery.co.uk stephen Prina 21 April � 3 June Maureen Paley www.maureenpaley.com The exhibition will include works from the series Exquisite Corpse: The Complete Paintings of Manet, in which Prina indexically draws on the complete oeuvre of Impressionist painter Edouard Manet. Characterized by the appropriation of other artists works, Prina's work has developed through a series of lasting projects that embrace a multi-faceted system in which personal and art-historical narratives augment one another. David shrigley: Brain Activity 1 February � 13 May Hayward Gallery www.southbankcentre.co.uk Galley Richard www.galerierichard.com d Moninot : "Prosopop�e. Dessins sur soie" 5 May � 16 June Galerie Catherine Putman www.catherineputman.com J�r�me Robbe : Country Trash 17 March � 19 May Espace A VENDRE www.espace-avendre.com Laurent Mareschal : Exchange 5 May � 16 June Galeri Marie Cini www.galeriemariecini.fr IsTANBUL Daniel Canogar: River of History 14 January � 13 May Borusan Contemporary Perili K�k Istanbul www.borusancontemporary.com river of History presents five recent installations that showcase the diverse and unconventional nature of Canogar's oeuvre as a new media artist; he combines video projection and photography with sculptural elements to create complex multidimensional experiences. Fifty Years of Urban Walls: A Burhan Doan�ay Retrospective 23 May � 23 September Istanbul Museum of Modern Art www.istanbulmodern.org With works that range from small sized pieces to big canvases, and installations that run beyond the walls, to various materials and pursuits, this exhibition unrolls the background to doan�ay's ways of working over the last 50 years. The exhibition gathers together 14 distinct series and periods of time with works coming from different collections all over the world. BERLIN Gary Hill: Up Against Down 27 April � 30 June DNA Galerie www.dna-galerie.de `Up Against Down' looks at a rare body of non-verbal works by an artist known for his examination of language/image relationships. In this exhibition, Hill's work presents contradictory notions of physicality, emptiness and hyper reality that reside comfortably in liminal space and suspended time. Bruce Davidson: subway 17 March � 20 May C/O Berlin www.co-berlin.info Charles Matton 27 April � 25 May Galerie Michael Haas www.galeriemichaelhaas.de Hans Aichinger: Wahrheit oder Pflicht 27 April � 3 June Maerzgalerie Leipzig Berlin www.maerzgalerie.com Gilbert & George: London Pictures 23 March � 30 May ARNDT Gallery www.arndtberlin.com DoHA Louise Bourgeois: Her Life, Her Work 20 January � 1 June QMA Gallery Katara www.qma.org.qa Takashi Murakami: EGo 9 February � 24 June Museum of Islamic Art www.qma.org.qa Cai Guo-Qiang: saraab 5 December 2011 � 26 May 2012 Mathaf: Arab Museum of Modern Art www.mathaf.org.qa LoNDoN Damien Hirst 4 April � 9 September Tate Modern www.tate.org.uk/modern Hans-Peter Feldmann 11 April � 3 June Serpentine Gallery www.serpentinegallery.org Hans-Peter Feldmann presents works from throughout his career. Among the earliest works is a series of booklets titled Bilder (Pictures), each consisting of a collection of photographs of everyday subjects or situations. MADRID Hans Haacke: Castle in the air 15 February � 23 July reina Sofia, Museo Nacional Centro de Arte www.museoreinasofia.es Jos� Loureiro: Luz M�xima 12 April � 17 May Distrito 4 www.distrito4.com Erlea Maneros Zabala 24 April � 23 June MAISTERRAVALBUENA PARIs Art speigelman: Co-Mix 21 March � 21 May Centre Pompidou www.centrepompidou.fr Carl Fudge : Wadsworth 12 May � 23 June 150 www.maisterravalbuena.com Jer�nimo Elespe 19 April � 17 May Galer�a Soledad Lorenzo www.soledadlorenzo.com www.annetgelink.com Marian Goodman Gallery www.mariangoodman.com Animism 26 April � 28 July e-flux www.e-flux.com siyeon Kim: Thread 10 May � 9 June DOOSAN Gallery www.doosangallery.com sheila Hicks 20 April � 25 May Sikkema Jenkins & Co. www.sikkemajenkinsco.com sturtevant: Rock & Rap /C simulacra 4 May � 23 June Gavin Brown's Enterprise www.gavinbrown.biz NEW YoRK PULsE New York 2012 3 May � 6 May Metropolitan Pavilion www.pulse-art.com Whitney Biennial 2012 1 March � 27 May Whitney Museum of American Art www.whitney.org Cindy sherman 26 February � 11 June MoMA www.moma.org Keith Haring: 1978-1982 16 March � 8 July Brooklyn Museum www.brooklynmuseum.org Revolutionary Ink: The Paintings of Wu Guanzhong 24 April � 5 August Asia Society Museum www.asiasociety.org schiaparelli and Prada: Impossible Conversations 10 May � 19 August The Metropolitan Museum of Art www.metmuseum.org Tacita Dean: Five Americans 6 May � 1 July New Museum www.newmuseum.org Richard Avedon: Murals & Portraits 4 May � 6 July Gagosian Gallery www.gagosian.com Karl Holmqvist: Words Are People 4 May � 2 June Alex Zachary Peter Currie www.azpcgallery.com Chiharu shiota 17 May � 16 June Haunch of Venison www.haunchofvenison.com Joseph Nechvatal : noise anusmos 12 April � 26 May Galerie Richard www.galerierichard.com nOise anusmOs suggests that this includes the connectivity of the noisy universe with the inner human in a spirit of imaginative artistic audacity and erotic spirituality. These new paintings can also be perceived as abstract paintings of light and space. Giuseppe Penone 4 May � 16 June BARCELoNA Centre Internacional de Fotograpfia Barcelona (1978-1983) 27 January � 20 May Museu d'art Contemporani de Barcelona www.macba.cat Joaquim Gommis: From the oblique Gaze to Visual Narration 2 April � 3 June The Joan Mir� Foundation www.fundaciomiro-bcn.org Marcos Palazzi 19 April � 22 May Galeria Trama www.galeriatrama.com Vanessa Linares: As days go by 30 March � 1 June Victor Lope Arte Contemporaneo www.victorlope.com A Collage Before Collage 6 March � 3 June Ajuntament de Barcelona www.museupicasso.bcn.es Peter Halley 3 March � 31 May Galeria SENDA www.galeriasenda.com This show presents a large series of medium size paintings as well as large format works and sketches, through which one can better understand the artist's personal creative method of abstract pictorial constructions with high symbolic value. Los ANGELEs Cai Guo-Qiang: sky Ladder 8 April � 30 July The Geffen Contemporary at MOCA www.moca.org Robert Adams: The Place We Live 11 March � 3 June LACMA www.lacma.org Herb Ritts: L.A. style 3 April � 26 August Getty Center www.getty.edu Rogo 23: Autonomous InterGalactic space Program 22 April � 17 June Gallery at REDCAT www.redcat.org Alex Prager: Compulsion 7 April � 12 May M+B www.mbart.com Yunsun Lee: Weeds 7 April � 19 May PYO Gallery LA www.pyogalleryla.com Kenny scharf: Hodgepodge 14 April � 19 May Honor Fraser www.honorfraser.com AMsTERDAM Guy Tillim: second Nature 3 March � 3 June Huis Marseille www.huismarseille.nl Marcus Harvey : sensation 7 April � 16 May Galerie Alex daniels - reflex Amsterdam www.reflexamsterdam.com Norman Dilworth 20 April � 16 June Art Affairs Gallery www.artaffairs.net Meiro Koizumi 24 March � 12 May Annet Gelink Gallery 151 012p Magpie Brewing Co. Q. Magpie ? Magpie (craft beer) . . `Magpie ' . , , . The Beer Store , 4 21 . , . . ! Q. Magpie ? . 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Project Outings . . . . Q. Antoine Le Toumelin Dambi Kim ? Antoine Le Toumelin (A) : EXIT , . Hear to Listen Here to Dance , Discowave . Dambi Kim (D) : . , . Q. ? ? . , . . , . DJ . . . . . Q. ? . . . Q. Stranger Than Paradise . Stranger Than Paradise Project Outings . , , , . DJ , . Q. Stranger Than Paradise 022p 202 Factory Q. `202 ' . . `202 ' . Q. ? 2010 , . Q. . ` .' ? . . , . . 153 . Q. . ? . . (Kai-aakmann) . , . `202 ' . . Q. ? . , . , . . ? Q. ? `' . `202 ' . `202 !' . Q. , ? . `202 ' . ... Q. `202 ' . `202 ' ? . . . Q. . . ? . . Q. ? . . . Q. ? . 3 < (Rooms Link)> . . `(Rooms)' . . `202 ' . < (Rooms Link)> 10 . Q. . 2 ? . . . . . Q. `202 ' ? `202 ' . `It Is Genuine' . . . . 026p Seung Pyo Hong Q. . ? , . . , . Q. ? . . . . , . . Q. , ? . , . . (Manga) . . , . Q. , . . . . . Q. ? , . DIY ? Q. , ? . Q. ? . , . . , . . . Q. , . ? . , . Q. . . , , . , . . . . . . . , . 202factory.co.kr 154 Q. (machine) . (cyborg) ? ? . . . . . . . . . . Q. ? . ? . . . Q. ? 2008 . ; . . . - - . ; . . . . Q. ? . " (Sky Sounds, Engine Crawls)" . . . Q. , ? , , . Q. ? ? . ? Q. ? . . . , (Fritz Lang) ` (Metropolis)' . . Q. ? . . . . , . . ? . . . . Q. . . ? . . ! . . . . . . 034p Yong-oh Kim . , Seoul of the Dead . Q. . . , `' , `'. () , . . Q. ? . . . . Q. . . . . Nylon . . Q. , . , . . . Q. , 2009 , , . . . , . . , . Q. , Seoul of the Dead . SSE . (SSE .) , . , SSE . . . . . Q. , , , . ? 155 , . . . . . . . . , . Q. ? . 16 . . Q. ? 2 . , , . ! . . Q. ? 30 ! ( ). , . www.infinitykyo.com . Q. , `' . . . , ` ' . . . . . . . . . , . . Q. ? ? . . . . . . . , , . . . . . . `' . Q. , `' ? . " , " . . . . . . , . Q. . ? . . . . . , . . ` ' . . . Q. ? ? . . . . . . . . . . , . . . . . . . 038p Song Byeok Q. . . , 7 . . . . . , , . . 2002 . 2003 4 . , . . , . 2011 1, . Q. ? . . . . . , , . Q. ? , . , . . 4 . ` , ' 156 Q. . . . , . , A4 . . , . . Q. . ? . . " ." . . . . Q. ? . . . . . . , , . . . . . . . . . ` ' . .  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Mixed Blood series (2010) ? . . , . . Q. ? . DNA . , . Q. Substructure (2010) . Substructure(2010) . 5 80 50 , . . , . Compassion for Migrant Children . Q. ? Substructure . . Q. ? . 25 . 2 . . ( ) . , , . . Q. . ? , . Q. . , , , . , . . , . www.cyjo.net 058p RECANDPLAY Q. RECANDPLAY ? ? : ` ' . Q. ` ' ? : La Blogotheque ( ) . Q. ? : 2009 . . . , . . ( .) . . Q. ? : RECANDPLAY . , RECANDPLAY . . , . : , . . Q. 2009 . ? : 2009 11. Bridget and the Puppycats . Q. ? : , , , . , . . : , . Q. ? ? : . . . , . . . Q. , , ? : , . . : . : . Russian Red . , ( .) . " , !" Q. ? ? : . . : . : . : . (16,000 ) . . . . 159 Q. ? : . , . . Q. RECANDPLAY ? ? : ? , . . : `one take/handheld' . . . . Q. `one take/handheld' . : , . . : . , . Q. RECANDPLAY ? : `I'm from Barcelona' . . : ? . `play' . (REC) (play) ? Q. , ? : . Q. . . ? : . . . . : , . . Q. ` ' , RECANDPLAY . RECANDPLAY ? : . . . , . : . . , . . www.recandplay.net Q. . The Wa. 2007 . . 8 . , . . . , , . . ( ) . Q. . ? . . . . . . . . . . . . . `A B' , . Q. . ? ` ' . . . . . . ` ' . . . . . . Q. ? . . " " . , . ! Q. ? . . , " !" . Q. ? . . , . . . . . Q. , ? , ! . . " " . . , 062p The Wa 160 . , . . ` ' . Q. ? . " ?" . ! . 2006 . TV . . . . 2007 . , . . TV . . 5 . . . TV . . . . TV . TV . TV . . . ! Q. ? ! , . . Q. ? . . . . www.the-wabsite.com Q. ? ? . . . , , , . . . . . , . Q. Motion (2010) . ? ... PAI (Photography and Imaging) . . 50-60 "" . , Marvin Newman Sports Illustrated 50-60 . . Newman . , , . , . Q. ? , . . . . , . , , , . . . Q. ? . . 10 15 . , ", ? ?" . . , . , . " . " . . , . Q. ? ? . , . , . 3-4 f/8 f/11 , . , , [Motion #32 (2010)]. . . . Q. Motion ? . , . . () [Motion #8 (2010)]. , () , 12 . , ( ) . , 068p Bill Wadman Q. ? 100% . . 2008 . 7 . , . Q. ? Pentax K1000 2000 , SLR 2004 . 2007 . , , 365 Portraits . , 365 . Q. , ? . . , 2,000 . , , . , , . Buzz Aldrin, Imogen Heap, , . , , . 161 , ( , ). , Motion - , "" - . Q. Motion , , ? . , , () , . , , , . 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Encore . Q. , , , ? . , MMORPG( ) . , . . , . Q. . ? ! , , . . . 163 Q. `' . ? . A . . , . ? Q. , , , . ? . . . . , . , . . Descanso , . , , . . . . ! . . Q. . ? . . . www.baiyon.com . . , . . . Q. . , . , , . Q. , ? , . . , . . . . Q. ? , . , . . Q. ? . . , . Q. ? ? , . , . . Q. ? . . `&' . . Q. ? . . , . Q. ? . 20 , . www.bellnouveau.com 092p Bell&Nouveau Q. . (La belle epoque) (Art Nouveau) . ` ', ` ' . . ` ' , haute couture . Q. ? , . , . , , . . , 3 . Q. ? 164 . Q. ? ( ) . , . Leyre Valiente . `Chimaera' (, ) . , . Leyre . Q. ? , . . . Q. 2012 ? . . , . Q. ? . . . , . . www.michaelostermann.au 102p Michael ostermann Q. . Michael Ostermann, , . . Q. `, , ' . ? (), . . Q. . ? , . . , . . Q. ? ? . . . . . Q. ? . . , . . . Q. . ? . . . , . . , . Q. . ? , , . . 3D , . . Q. , , . ? . . . , . 106p 10/10 Q. 10/10 . 10/10 , . . 10/10 . . Q. 10/10 ? 10/10(TEN OUT OF TEN) . . , , . 2010 10 10 . Q. 10/10 ? . , , , . . 10/10 . . . 165 . 10/10 , . , 10/10 . . Q. 10/10 ? 10/10 . . . . . Q. . ? . . . . . . Q. 10/10 . ? , , , , , . . London College of Fashion , . . Q. ? . . . , . . Roisin Murphy Kate Lanphear . Q. 10/10 . ? . , 2008 3D . 3-D . 2012 "Only Young Once" "bad boy" . 10/10 . . . , . . . . Q. 2008 . ? . Jimmy Lia "A Chance of Sunshine" . . , . 3D . . , , . Q. 2012 "Only Young Once" . , ? "Only Young Once!" . . . . . 10/10 . Q. 10/10 ? , . 10/10 . , , . . Q. ? 10/10 . . . 10/10 ? . . . Q. 10/10 ? 10/10 . . , . 10/10 . . www.facebook.com/suphanut.chuwan.suwansanya 110p Lisa shahno Q. . . . 2009 , CREATEUROPE . . . Q. , "" . ? . . , , . "" , . . . Q. THE Iteration (2012) . ? Carl Sagan "" , . , , . , , . (), 166 . , , . , . ( ) , . 2 , , . , . Q. HEXAPELERINE (2010) . , ? . , . . PVC, . . Q. . , THE ITERATION (2012) , , . . , . . 2010 "The Iteration" Valeria Mitelman . . . ? ID The Local Genius (thelocalgenius.com) . Q. In the Buddka (2011) ? . "Buddka" . "Buddka" , . , , . . Q. , . . . , . . . . Q. ? . . . . Q. ? , , . Q. . ? . . . Q. , . ? . . . . . Q. . 2 . . . Q. ? . . Q. 2-3 ? . www.lisashahno.com 116p Andrey sarymsakov Q. . Andrey Sarymsakov . Q. . ? 12 , 2 . , . , . , . . . Q. . ? . . . . . Q. Natural Beauty. The Women . ? . 22 45 , . , . . . . Q. Pohvir , ? . , , , . Q. ? . , . , 8 . 167 Q. . ? . . . . Inexpressible, blue, gentle... My quiet region after storms, when lightning strikes And my soul-a field boundless Breathing in the smell of honey and roses -S. ESENIN , , ... , - -S. ESENIN ( )Q. . . . , . . 1 , . , . , . Q. , , . ? Ukraine. The one we love . (www.photoukraine.net) . . 30 5 . Kiev Mariinsky . ! . . Q. ? . www.sarymsakov.com jamie Bruno, Eric Davis . ( ).Seoul Urban art Project . SUP . SUP . `Real Art in the Real Street' `Art on the Street' . Seoul Urban art Project . . . . . . 2011 12, . 7~80 8 . A B . A . . B . B . . . . 2012 3 , `Seoul Urban art Project' . . SUP , . . SUP . 2012 SUP . . www.sup-project.com 128p France Danse Festival France Danse , . 4 6 3 , France Danse-Coree 2012 . ELOQUENCE 2 . 122p sUP Seoul Urban art Project ELOQUENCE . ELOQUECE , , . Seoul Urban art Project . Seoul Urban art Project . , , , , , , , , , TJ, 2007 13 France Danse . 80 . ` 168 ' . France DanseCoree 2012 , . 4 6 MODAFE(), , , LG , 20 . France Danse-Coree 2012 , , , . , . BEST5 ELOQUENCE . Frankorean Tale ( ) MODAFE , 30 And then, one thousand years of peace MODAFE . Nya , Agwa & Correria . , , , , . Systeme Castafiore , , 3D Stand alone zone . , ` (Cine-Danse)' 70 5 5 5 29 284 . 70 . . ELOQUENCE . 1 - Cine-Danse 2012 5 5 ~ 5 29, 284 Cine-Danse 284 . , , 70 . , . 5 17 , 5 18 . . 4 - - And then, one thousand years of peace 2012 5 30~31, MODAFE(), 30 2010 And then, one thousand years of peace . France Danse . . DJ . . 5 - - , Stand Alone Zone 2012 5 27, MODAFE(), 1986 , , ` ' . ` ' . (Enki Bilal, SF , ) Stand Alone Zone . . , (zone) . . . www.france.or.kr 2 - - Frankorean Tale 2012 5 19, MODAFE(), MODAFE Frankorean Tale 6 . . , , , , , , . . , . . 132p 3 - - Nya 2012 5 24, MODAFE(), . Nya Pont Culturel Mediterraneen( ) , Nya 2011 . 10 2 . Nya , . `Nya' , . open stage 2009 4 [ ] [Open Stage] . 2000 ,  [ ] ` ' . [ ] [ ] . `' ` ' [ ] , . [ ] , ` ' , . 169 open stage #1 (Abrupt Departure) Q. . , ` ' . ? K : . , . , . . ` ?' . () . Q. ` '. . K : , , , . 4 , , . L : 2006, . , 2008 Teenage Fanclub Trashcan sinatras 5 . , , . ` ' . 2008 ( , ) . . 4, . `, ' . Q. . ? K : , . , . . . . Q. ? . . , 10 , . . . Q. . `' , ` ' . ? K : . . `' , Matador Records . `' . S : , , , , . `' . Pavement Bon iver The XX , , . ` ' ? Q. . , . , , . ? K : . `' , . . . . . Q. ? J : . . Q. ' ? J : S : L : . K : . ` .' . , . Q. ? K : Yo la tengo - I Am Not Afraid of You and I Will Beat Your Ass(2006), Popular songs(2009) L/J : The radio dept. - Lesser Matters(2003), Pet grief(2006) Velvet underground - The Velvet Underground & Nico(1967), Loaded(1970) Teenage fanclub - Bandwagoneque(1991), Grand prix(1995) S : Brad mehldau - live in Tokyo(2004) Q. . . , EP , , . 4 Ep 5 . 5 18 Gogos2 . ` ' . www.abrupt-departure.tumblr.com open stage #2 (Yukari) Q. , ? . , , `'. Q. , , , , ? , . . , , . , , . Q. ? . . , . . Q. ? , . , . `' . . Q. ? . . . . Q. . M83 - REUNION NEON - INIDAN LAUGHING GAS - . Q. M83, , , , , . ? , , . . Q. . Micro korg D.A.W Ableton live . Q. ? , . , . . 170 Q. ? , . . , ! Q. ? 7 , , . www.yukarimusik.com . , . . 2 3 , . . ( ) CUT& PASTE KOREA ( 3D ) ADC, winner, Best of best . , . � . . , , , () , . 100 . 7 , 7 ` ' . , , . , , , 4 .) 4 . () ` ' . ` ' . . . 2 . ( ) , , , . 3 , , , , . 9 Columbia University GSAPP . . . 136p PoJANGMACHA PRoJECT 7 ELOQUENCE ` ' . , . , , , . 3 . G.O 17 , . ELOQUENCE 5 , . , () 150 AA School `' . , , ` ' , . , , 100% , . . G.O. () G.O . . , `' . . , , ` ' . . , () , 5 . , . 171 YOM'S VISUA L/LAB YOM X SHIN HYE RIM ELOQuENCE's art director Yom interviewed Shin Hye rim five months ago. during the interview, he was fascinated by her as well as her photo works and suggested that they collaborate on a project together in the near future. Finally, for this issue, they met at gallery cafe Grafolio, the same place where he interviewed her last year and where he is currently holding an exhibition, to realize the collaboration. Yom prepared American Apparel red leggings and two original T-shirts of his own design. He explained his art concept to a model, Bowon Lee briefly first, then Shin took her portraits with Yom's Happy Alternative Functional Youths series(2011-2012) images as a backdrop. model. Bowon Lee photographer. Shin Hye Rim 172 173 174 175 176 177 SUBSCRIPTION We see the world through the eyes of creators. Please send your subscription request to email@example.com Transfer account: shinhan bank 140-008-087830 TIMEsCoRE Co.Ltd 120,000KRW per year 60,000KRW per half year . Creative ideas travel fast and far � Eloquence keeps track of them and the people behind them. We introduce creators and their works. We take a look behind the scenes and trace the effects of this journey. We share ideas about creators' lifestyles and working conditions. firstname.lastname@example.org 140-008-087830 () 1 , 120,000 , 60000 ELO QU ENCE international creators magazine