It is my sincere pleasure to host the East Bridge 2016 exhibition, featuring the contemporary art of Korea and China, which serves as a new platform for our two countries to advance cultural understanding through artistic exchange and interaction.
This exhibition, the third project since the 2014 signing of a cultural exchange agreement between the Korea Foundation and China’s Beijing 798 Cultural and Creative Industry Investment Co., Ltd., promises to be another opportunity for Korea and China to build an even stronger collaborative relationship. Moreover, 2016 is an especially significant year as the Force Gallery (organizers of the East Bridge exhibition in China) and Total Museum of Contemporary Art (Korea’s first private art museum) are joining hands to present this in-depth exhibition here in Korea.
As neighboring East Asian countries, Korea
and China have consistently sought to maintain friendly and cooperative relations. Today, in terms of interchange at the people-to-people level, the two countries exchanged some 10.3 million visitors between them in 2014 – a remarkable eighty-fold increase from 1992, when they first established formal diplomatic relations. About 50,000 Chinese students are currently studying in Korea, making up a large share of the 63,000 or so foreign students here today.
Achieving a proper and profound understanding between our two peoples is essential for sustaining the longtime friendship of Korea and China and for ushering in an even higher level of development. I am confident that exchanges in the culture and arts, such as this exhibition, will play a pivotal role in building a solid foundation for this kind of two-way understanding. I am hopeful that a large number of visitors will come by to view the creative works of the artists of Korea and China, and thereby contribute to the
cultural interaction of our peoples.
In addition to its cultural exchange projects with Beijing 798, the Korea Foundation is also working to bring the Korean and Chinese people together through a variety of exchange efforts, such as the Korea-China Public Diplomacy Forum, the Korea-China Next-Generation Leaders’ Forum, and Korean-Chinese youth exchange visits, along with having plans to continue building on this positive momentum.
Finally, I wish to express my heartfelt thanks to the staff members of the Beijing 798 Cultural and Creative Industry Investment, Total Museum of Contemporary Art, and Force Gallery for all of their hard work in preparing for this meaningful exhibition.
인사말
왕옌링
북경798문화창의산업투자유한공사 회장
致辞
王彦伶
北京798文化创意产业投资有限公司 董事长
EAST BRIDGE는 전문성과 학술성을 갖춘 글로벌 예술
교류전으로서, 한중 양국 문화 교류 차원에서 만들어진
국제적 플랫폼입니다. 저희는 한국국제교류재단과 손잡
아 장기적인 문화 협력 프로그램을 만들고, 더욱더 발전된
예술교류 무대를 통해 문화적 소통을 진행하고자 합니다.
세계 각국간의 왕래가 잦아지고, 서로간의 문화교류 또한
잦아지고 있습니다. 각 나라의 문화는 지역적 특성을 띄고
있어, 이를 한 자리에 놓는것은 매우 흥미로운 일입니다.
이를 통해 우리는 서로에게 많은 질문을 던질 것이고, 양
국간의 예술문화교류를 강화하며, 예술의 발전에 발돋음
할것이라 생각 됩니다.
중국의 국제적 영향력을 키워가고 있고, 문화 발전의 필
요성 또한 중국내에서 많이 거론되고 있습니다. EAST
BRIDGE는 이런 시대적 배경속에서, 중국 문화의 국제 화를 위해 798예술구에서 진행하는 국제 문화교류 프램 그램입니다.
저희는 한국측과의 긴밀한 협력을 통해, EAST BRIDGE 를 글로벌 문화 교류의 대표적인 사례로 남겨지긴 위한 노 력을 기울일 것 입니다.
WANG Yanling Chairman, Beijing 798 Creative Industry Investment. Co., LTD.
East Bridge is an exhibition of global artistic exchange boasting a mixture of expertise and scholarship, an international platform created for cultural interchange between Korea and China. Our aim is to join the Korea Foundation in creating a long-term program for cultural collaboration, encouraging cultural communication through an improved forum for artistic exchange.
Interaction among the world’s nations is increasing, and so is mutual cultural exchange. Each country’s culture takes on the characteristics of its region, which makes it all the more fascinating to place it together in one setting. In the process, we can ask each other all sorts of questions, boost bilateral exchange in arts and culture, and make progress in the advancement of art.
China is achieving greater international influence, and the need for cultural development has become the topic of much discussion there. It is against this historical backdrop that East Bridge offers an international cultural exchange program in the 798 Art District to support the globalization of Chinese culture.
We look forward to continuing to work closely with Korea to make East Bridge a leading example of global cultural interchange.
인사말
노준의
토탈미술관 관장
致辞
卢俊义
TOTAL美术馆馆长
한국국제교류재단과 북경의 798문화창의산업투자유한
공사의 양국 간 문화교류를 위한 업무협약으로 진행하는
East Bridge전을 중국에서 진행해 온 포스갤러리와 함
께 저희 토탈미술관이 참여하게 되니 진심으로 기쁘게 생
각하고 감사드립니다.
100년 전 쯤, 그때까지는 자연스레 주고받던 양국의 문화 교류가 냉전체제 였을지 또는 서구 문화를 만난 시점의 차
이였는지 늘 관심을 가지면서도 멀게만 느껴졌던 중국과
의 관계가 오늘 만남을 통해 물꼬가 트인 느낌입니다.
문화는 역시 사람의 마음을 움직이는 힘이 있음을 실감하
면서 우리가 함께 다가올 문화를 예견하는 통찰력 있는 기 획을 지속해간다면 함께 삶의 질을 높이는데 기여할 것입 니다.
전시가 가능하게 도와주신 798 문화창의산업투자유한공 사 왕옌링(Wang Yanling) 회장님, 한국국제교류재단 윤 금진 교류협력이사님, 그리고 포스갤러리 이동임 대표님 께 감사드립니다.
무엇보다도 서로 다른 문화적 환경과 역사적 배경 속에서 다양하고 독특한 작품세계를 펼쳐 주신 양국의 작가님께 감사드립니다.
I am truly pleased and gratified that Total Museum has the opportunity to take part alongside China’s Photo Gallery in the East Bridge exhibition, an event organized through a work agreement between the Korea Foundation and the Beijing 798 Cultural and Creative Industry Investment Co. for bilateral cultural exchange.
Around a century ago, cultural exchange between Korea and China was a natural occurrence. Yet because of the Cold War, or differences in when the two sides encountered Western culture, relations with China have felt distant despite our unflagging interest. With today’s encounter, it feels as though the gates have truly been opened at last.
If we can continue experiencing the power of culture to move people’s hearts and engaging in insightful planning that foretells the culture
to come for us all, I am sure it will contribute to improving quality of life for everyone.
I wish to thank 798 Culture and Creative Industry Investment Co. chairman Wang Yanling, The Korea Foundation president Hyun-seok Yu, and FORCE Gallery president Dong-im Lee for helping to make this exhibition possible.
Most of all, I wish to thank artists on both sides for presenting their diverse and unique artistic visions within their differing cultural environments and historical contexts.
플라스틱 가든(인공정원)
윤재갑
PLASTIC GARDEN展 큐레이터
상해 하우아트뮤지엄 관장
塑料公园
尹在甲
策展人
上海昊美术馆 馆长
1989년의 동서독 통일과 구소련의 해체로 시작된 현실
사회주의의 위기는 중국과 한국은 물론 전세계 지식인층
에게 엄청난 정신적 충격을 던졌다. 비판적 지식인 계층이
사상적 구심점을 상실하게 된 것이다. 이러한 혼동의 와중
에 중국에서는 자본주의로의 급격한 대전환이 일어났고,
세상은 전지구적 자본주의 체재, 신자유주의로 재편되어 갔다. 이로 인해 탄생한 글로벌 신자유주의는 ‘시장을 위 한’, ‘시장에 의한’ 사회로 바뀌었고, 더 이상 '사회적 정의
와 정치적 전위'는 사라지게 되었다. 정치-경제-사상적 무
력감이 전 지식인층에 만연했다. 그들에게는 기댈 수 있
는 사상적 거점도, 현실을 비판할 열정도, 또 이를 떠받칠
수 있는 자아에 대한 강한 신념도 사라졌다. 그리고 그 자
리를 차지한 것은 신경증적 강박, 무력한 자기위안적 판
타지, 그도 아니면 거기에서 비롯된 엉뚱한 공상과 수다
가 있을 따름이었다. 이러한 경향들은 알렉상드르 코제브
(Alexandre Kojève 1902∼1968)의 말을 빌어보자면, '작품의 사회적, 정치적, 문화적 책임의식은 더 이상 존재
하지 않으며, 이러한 가치들은 더 이상 그들로 하여금 작
업을 하게 하는 원동력이 아니다. 실재의 열정이 불가능한
시대에 우리는 살고 있으며... 오늘날 우리의 삶과 거기에
서 피어나는 문화는 동물화된 삶이며 동물화된 문화이다.
동물화된 삶은 계몽을 요구하지 않고, 동물화된 취향과 에
토스는 사회적, 윤리적 정당성에 의해 보장받을 필요성을
느끼지 못하는 것'이다.
이번 전시는 중국과 한국의 젊은 작가들이 경험한 이러
한 정치-사회적 변화와 무관하지 않다. 1990년대부터
진행된 이러한 현실적 무력감과 정신적 공허를 Plastic Garden 이라는 주제 아래 묶어보았다. 이 전시는 그래서 양국 현대미술의 성취에 대한 얘기가 아니라 상실에 대한
Curator of the exhibition, PLASTIC GARDEN Director, HOW Art Museum, Shanghai
The crisis that befell practical socialism, starting with the 1989 unification of East and West Germany and the disintegration of the former Soviet Union, came as a tremendous psychological shock to intellectuals not only in China and Korea but around the world. With it, a class of critical intellects had lost their philosophical center. Amid the chaos, a massive, rapid transition toward capitalism arose in China, and the world became reorganized under a system of global capitalism known as neoliberalism. This emergence of global neoliberalism brought a shift toward societies for the market and by the market; the notions of social justice and a political vanguard disappeared. Intellectuals everywhere were gripped by a sense of helplessness –political, economic, and philosophical. Gone was their ideological base to depend upon their passion to cri-tique the practical reality,
and their powerful convictions regarding a self to support it. What took its place was little more than neurotic obsession, a helpless, selfconsoling fantasy, or else the wild imaginings and conversations emerging from same. Of this trend, Alexandre Kojève (1902–1968) said, “No longer is there any sense of social, political, or cultural responsibility to artwork; these values are no longer a driving force leading artists to create. We are living in an age where passion for reality has become impossible . . . Our lives today, and the culture that blossoms from them, are animalized lives and animalized culture. Animal-ize lives demand no enlightenment, the animalized tastes and ethos do not arouse in us the need to obtain the assurances of social and ethical legitimacy.”
This exhibition is not unrelated to the political
and societal changes experienced by the young artists of China and Korea. This sense of practical impotence and psychological emptiness since the 1990s has been brought together under the theme “Plastic Garden.” The exhibition thus consists principally of stories not of the achievements of contemporary art in both countries, but of its losses. Positing this transformation of society – its collapsed discourse, the way it has been rendered a field of speculation by neoliberalism – in terms of an artificial garden, it seeks to embody the artists’ sense of defeat and futility.
Now that the “alternative” and “avant garde” have been commercialized, what is there left for us now to dream?
PLASTIC GARDEN
KOREAN & CHINESE CONTEMPORARY ART
2016. 3. 17 ~ 4. 24
TOTAL MUSEUM OF CONTEMPORARY ART, Seoul
저우웬두 周文斗 ZHOU Wendou
쩡하오 曾浩 ZENG Hao
셴샤오민 沈少民 SHEN Shaomin
정승 郑胜 JUNG Seung
권순관 权纯寛 KWON Sunkwan
이세현 李世贤 LEE Seahyun
린티안먀오 林天苗 LIN Tianmiao
김학제 金学济 KIM Hak-J
진양핑 金阳平 JIN Yangping
최정화 崔正化 CHOI Jeonghwa
ZHOU Wendou 저우웬두 周文斗
ZHOU WenDou YOU NEVER UNDERSTAND MY DANCE (detail) Electric fan, book page 250×170×70cm(h), 2 pieces 2013
Photo_LEE Sangjae Installation view at TOTAL MUSEUM, 2016
ZHOU WenDou YOU NEVER UNDERSTAND MY DANCE Electric fan, book page 250×170×70cm(h), 2 pieces 2013
Photo_LEE Sangjae Installation view at TOTAL MUSEUM, 2016
ZHOU WenDou BEIJING AIR (4pcs)
Beijing evening news, acrylic, wooden board
200×150×9cm(h)
2015
Photo_LEE Sangjae Installation view at TOTAL MUSEUM, 2016
Zeng Hao
4PM, FEBRUARY 2, 2008
Electric fan, book page 300×240cm
2008
ZENG Hao
photo_LEE Sangjae
ZENG Hao
MAY 11, 2008
Oil on canvas
200×240cm 2008
photo_LEE Sangjae
FIVE PAST FOUR AM, MAY 29, 1998
ZENG Hao
Oil on Canvas 180×200cm 2013
photo_LEE Sangjae Exhibition view at TOTAL MUSEUM, Seoul, 2016
SHEN Shaomin
SHEN Xiaomin
POTTED LANDSCAPE_3
Synthetic material
SHEN Xiaomin POTTED LANDSCAPE_2
Synthetic material 60×50×100cm 2015
photo_LEE Sangjae Installation view at TOTAL MUSEUM, Seoul, 2016
SHEN Xiaomin POTTED LANDSCAPE_1 Synthetic material 93×43×50cm 2015
photo_LEE Sangjae Installation view at TOTAL MUSEUM, Seoul, 2016
JUNG Seung
郑胜
JUNG Seung
CRYING MAN
8channel video, monitors, plaster, steel frame, about 350×200×150cm
2015
photo_LEE Sangjae
KWON Sunkwan
THE GREEN STRUCTURE
Digital C-print
150×180cm
2008
ED 2/7 Preface; Unfinished dialectical theater series
KWON Sunkwan
Digital C-print 125×100cm 2013
ED 1/7, Preface; Unfinished dialectical theater series
KWON Sunkwan THE STACK, #1
125×100cm 2013
ED 1/7, Preface; Unfinished dialectical theater series
KWON Sunkwan THE STACK, #2
Digital C-print
LEE Seahyun
LEE Seahyun
BETWEEN RED–206 Oil on linen
photo_LEE Sangjae
LEE Seahyun BETWEEN RED-014DEC Oil on linen 40×150cm 2014
photo_LEE Sangjae Installation view at TOTAL MUSEUM, Seoul, 2016
LIN Tianmiao
LIN Tianmiao SCULPTURE (one set in 13pcs)
Colored silk, polyurea, metal components, wooden table, etc. Variable size
photo_LEE Sangjae Installation view at TOTAL MUSEUM, Seoul, 2016
LIN Tianmiao SCULPTURE (one set in 13pcs)
Colored silk, polyurea, metal components, wooden table, etc. Variable size
photo_LEE Sangjae Installation view at TOTAL MUSEUM, Seoul, 2016
photo_LEE Sangjae Installation view at TOTAL MUSEUM, Seoul, 2016
FUTURE LYRICISM - 진동지구
Mixed media, installation
Variable size
2007-2015
Sangjae Installation view at TOTAL MUSEUM, Seoul, 2016
KIM Hak-J
photo_LEE
JIN Yangping
JIN Yangping
BAD BOY Oil on canvas 135×195cm
photo_LEE Sangjae
JIN Yangping KNIFE HOLDER
Oil on canvas 140×250cm 2015
photo_LEE Sangjae
JIN Yangping RESISTANT BODY Oil on canvas 135×240cm 2015
photo_LEE Sangjae
CHOI Jeonghwa
CHOI Jeonghwa
CHINESE ENCYCLOPEDIA 중국식백과사전 (detail)
[back]
CHOI Jeonghwa
[front]
CHOI Jeonghwa IN
photo_LEE Sangjae Installation view at TOTAL MUSEUM, Seoul, 2016
CHOI Jeonghwa
photo_LEE Sangjae
PLASTIC GARDEN
CHINESE & KOREAN CONTEMPORARY ART
塑料公园
中韩当代美术的今天
2015. 11. 14 ~ 12. 20
798 ART FACTORY, Beijing
저우웬두 周文斗 ZHOU Wendou
쩡하오 曾浩 ZENG Hao
셴샤오민 沈少民 SHEN Shaomin
정승 郑胜 JUNG Seung
권순관 权纯寛 KWON Sunkwan
이세현 李世贤 LEE Seahyun
린티안먀오 林天苗 LIN Tianmiao
김학제 金学济 KIM Hak-J
진양핑 金阳平 JIN Yangping
최정화 崔正化 CHOI Jeonghwa
저우웬두 周文斗 ZHOU Wendou
쩡하오 曾浩 ZENG Hao
셴샤오민 沈少民 SHEN Shaomin
정승 郑胜 JUNG Seung
권순관 权纯寛 KWON Sunkwan
이세현 李世贤 LEE Seahyun
린티안먀오 林天苗 LIN Tianmiao
김학제 金学济 KIM Hak-J
진양핑 金阳平 JIN Yangping
최정화 崔正化 CHOI Jeonghwa
ZHOU Wendou 저우원도우 周文斗
설치 및 멀티미디어 작가인 저우원도우는
1970년 베이징에서 출생, 1996년 중앙미
술학원 졸업 후 스페인으로 건너가 회화를 전공하였다. 10년이상 스페인에서 생활해 온 작가는 회화에서부터 설치와 영상까지 다채로운 매체들을 사용하여 작품활동을
해오고 있다. 2008년 베이징으로 돌아온 그는 중국에서 활동하던 동료 작가들에게 작품창작의 새로운 시각과 영감을 제공하 였다. 그의 작품은 해학과 풍자를 담고 있되
이죽거리거나 가식적인 태도를 취하지는
않으며 소위 “컨템포러리”작가 혹은 작품 이 특별한 지위를 가지고 있다고 여기지 않 는다. 뉴욕, 홍콩, 마드리드, 베이징, 상하이, 타이페이, 서울 등에서 다양한 전시에 참여 해 오고 있는 저우원도우의 작품은 마드리 드 콤플루텐세 대학교, 스페인 에스탐빠 파 운테이션, 스페인 산 클레멘테 미술관, 시드 니 화이트 래빗 컬렉션 등에 소장되어 있다.
Born in Beijing in 1970, Zhou Wendou graduated Central Academy of Art and Design, Beijing in 1996. Af-ter graduation, he moved to Madrid and studied in Academy of Fine Arts, Complutense University of Madrid in 2001 and received DEA from same university in 2003. For
more than a decade of staying in Spain, he had experimented with various materials, from painting, installation, photography, video, to kinetics. After returning to Mainland China in 2008, his unique creations have delivered a different perspective and in-spiration to Chinese contemporary art. Works contain humorous banter and good manner, being different from such as so-called art creations which are thought as “contemporary.” In New York, Hong Kong, Ma-drid, Beijing, Shanghai, Taipei and Seoul etc., Zhou has participated in numerous exhibitions internationally. His works are collected by Complutense University of Madrid, Foundation Estampa(Madrid, Spain), Museums San Clemente (Cuenca, Spain), White Rabbit Collection (Sydney, Australia).
Taking the form of two lions facing each other, this work consists of pages cut from encyclopedias –English on one side, Chinese on the other – which are connected over mesh fabric. A fan makes the two lions move as though in conversation, symbolizing the different linguistic systems and cultures of East and West and giving visual expression to the phenomena where the two intersect and conflict.
Beijing Air
In this work, color densities are separated into a kind of chart with straight lines and rectangles. They are based on atmospheric conditions in Beijing analyzed by the artist over a period of four months. Using daily newspapers and acrylic, Zhou presents the state (pollution) of Beijing’s atmosphere on the canvas, in some-thing that may call to mind the words of Walter Benjamin: “There is no document of civilization that is not at the same time a document of barbarism.”
ZENG Hao 쩡하오 曾浩
장샤오깡, 팡리쥔과 함께 냉소적 사실주의
의 대표작가로 일컬어지는 쩡하오는 일상
의 풍경을 생경한 시선으로 관찰한다. 그의
작품에 등장하는 옷장, 의자, 화분, 침대, 램 프, 사과, 휴지 등은 현대인의 생활에 매우
익숙하면서도 쉽게 지나치게 되는 사소한
사물들이다. 깊이감 없는 캔버스 위에 부유
하는 이것들은 작가가 바라보는 현대사회 에 대한 냉소적인 시선과 거대사회 속 개인 의 무력감이 고스란히 드러나 있다. 1963
년 중국 윈난성 쿤밍에서 태어난 쩡하오
는 베이징 중앙미술학원 서양화과를 졸업
후 베이징을 중심으로 활동하고 있다. 베이
징 천안시간현대미술관, 뉴욕 Fredericks & Freiser 갤러리, 중국 션전 허샹닝미술
관 등에서 개인전을 진행하였으며 상하이 민생현대미술관, 제5회 청두비엔날레, 과 천 국립현대미술관, 런던 루이스 블루인 재 단, 제 53회 베니스비엔날레 중국관, 아테
네 국립미술관, 제2회 프라하비엔날레, 제 25회 상파울로비엔날레 등의 국제적 활동 을 지속해오고 있다.
Named alongside Zhang Xiaogang and Fang Lijun as one of the
premier practitioners of cynical realism, Zeng Hao looks at everyday landscapes from an odd perspective. The things that appear in his work – clos-ets, chairs, flower pots, beds, lamps, apples, and tissue paper – are all trivial items, things that are very famil-iar, easily overlooked parts of modern life. Floating on a depthless canvas, they show the artist’s cynical perspective on modern society and the helplessness of the individual in a vast society. Born in Kunming, Yun-nan Province, in 1963, Zeng graduated in Western art from the China Central Academy of Fine Arts in Bei-jing, a city where he has been based since then. He has had solo exhibitions at Beijing’s Tianan Shijian Mu-seum of Contemporary Art, Fredericks & Freiser in New York, and the He Xiangning Museum in Shenzhen. He has also been involved in ongoing international activities with Shanghai’s Minsheng Art Museum; the 5th edition of the Chengdu Biennale; the National Museum of Modern and Contemporary Art, Ko-rea in Gwacheon; the Louise Blouin Foundation in London; the China pavilion at the 53rd Venice Bien-nale; the National Museum of Modern Art Athens; the 2nd Prague Biennale; and the 25th São Paulo Bienni-al.
‘4pm, February 2nd, 2008’, ‘May 11th, 2008’, ‘Six past Four am on May 9th, 1998’
중국을 대표하는 냉소적 사실주의 작가인
쩡하오는 중국의 일상적인 모습을 생경한
시선으로 관찰한다. 옷장, 의자, 화분, 침대,
램프, 사과, 휴지 등은 현대인의 생활에 매
우 익숙한 대상으로, 깊이감이 없는 작가 특
유의 회화법을 통해 캔버스의 빈 공간을 부
유한다. 원근법이 적용되지 않은 캔버스 위
에 작고 왜소한 인물의 모습은 거대사회 속
개인의 무력감을 여실히 보여주고 있다. 작 가는 자본주의 사회로 변모하는 중국 사회
를 바라보는 방관자적 시점을 일상 생활 속 에 쉽게 지나치는 사물에 적용하면서 현재 의 소비문화가 삶과 사회를 지배하고 있는 건 아닌지, 소유의 욕망에 되려 고독해지고 있지는 않은지에 대한 물음을 던지고 있다.
“4pm, Febuary2, 2008,” “May 11, 2008,” “five past four am, May 29, 1998”
As a practitioner of China’s cynical realism school, Zeng Hao observes everyday scenes of Chinese life from an odd perspective. Closets, chairs, flower pots, beds, lamps, apples, tissues – his objects are very familiar parts of modern life that with the artist’s characteristic depthless depiction seem to float in the empty space of the canvas. Human figures, tiny and undersized on the perspectiveless canvas, show all the helplessness of the individual within a vast society. By applying this bystander perspective toward China’s transfor-mation into a capitalist society on objects that are easily overlooked in life, Zeng raises questions about whether modern consumer culture is now dictating our lives and society – and whether the desire to pos-sess is not leaving us more solitary than before.
SHEN Shaomin
션샤오민 沈少民
1956년 중국 헤이룽장성에서 출생한 션샤
오민은 호주 시드니와 중국 베이징을 오가
며 작업활동을 펼치고 있다. 중국의 저명 한 개념 예술가이자 설치 작가로 평가받는 그는 보통 “오피니언 리더”의 형식과 유사 하며 동시대 사회 문제를 폭로하고 특수성
을 비판하는 동시에 예술사 내의 일부 문제 에 대해 연구하고 반성하고자 하는 태도를 드러낸다. 나무를 이용하여 축소제작한 < 천안문>, ABS소재를 활용한 작품 <파이 터-X>, 소나무로 만든 설치작품 <분재>
시리즈 등 그의 대표작에서 보여지듯이 션
샤오민은 재료나 형식에 얽매이지 않고 설
치, 영상, 회화를 넘나들며 다채로운 작품
을 선보이고 있다. 2006년 12월에 진행된
인터뷰에서 “어떤 이들은 내가 한 가지 유
형의 작품을 만들고 있다고 여긴다. 그러나
이 작품들은 내 인생 중 하나의 단계를 표현 하고 있을 뿐이다. 매 인생의 단계마다 나
는 다른 재료들을 선택한다.” 라고 언급하
기도 한 션샤오민은 현재까지 인생의 여러
단계를 거쳐오며 다양한 작품들을 발표해 오고 있다. 작가는 2016년과 2012년 부 산비엔날레, 2012년 제 1회 키예프비엔날 레, 2012년 제8회 상하이비엔날레, 2006
Shen Shaomin (b. 1956, Heilongjiang Province, China) is an artist based in Sydney, and Beijing. He is a renowned Chinese conceptual artist working with installations. His works often reveals and comments on current social issues in the form of ‘advisory leader,’ while exploring and reflecting on the issues within the discourse of the history of art. His work is designed to make people think about the world around them, and the impact that they have on the world, both as individuals and as members of the human race. As shown in his works, including skeletons of mythical creatures, experimental fields (also constructed out of bones), bonsais, the Summit installation, Fighter X, and Kowtow Pump, he always considers an unconventional materials and forms. In an interview from December 2006, Shen said, “Some people seem to think that I make only one type of work. But they are only works from one stage of my life. In each stage I choose a dif-ferent material,” and as he mentioned, Shen has since passed through many stages of artistic creation. He has participated in numerous exhibitions internationally including 2016 and 2012 Busan Biennale, the 1st Kiev Biennale in 2012, the 8th Shanghai Biennale in 2012 and 2006 Liverpool Biennial etc.
여준다. 작가는 실제 살아있는 식물이 성장 하는 과정 속에서 지속적으로 물리적인 압 력을 행사하는데, 이는 중국 안에서 일어나 고 있는 사회적, 경제적 이슈들이 지닌 폭력 성을 은유한다. 서양에 비교해 자연적이라 는 평가를 받는 동양의 산수화에서도 고원 (高遠), 심원(深遠), 평원(平遠)으로 인간이 시선을 기준으로 한 삼원법이 적용되듯, 인 공의 화분 속에서 기형적인 모습으로 성장 하고 있는 식물의 형태는 인간 본연에 내제 된 야만성을 드러낸다.
Shen’s work shows plants that are bound and suppressed by cold, stainless prosthetics and tools. Through the continued physical pressure exerted by the living plant in its growth process, he alludes to the violence inherent to the societal and economic issues arising within China. Widely seen as more “natural” than its Western counterpart, Eastern landscape art evinces an approach known as “three distances” according to the human perspective: high distance (gaoyuan), deep distance (shenyuan), and level distance (pingyuan). In this way, the distorted shapes of plants growing in artificial flower pots reveal the inherent barbarism of human nature.
‘Potted Landscape’ series
JUNG Seng
정승 郑胜
정승은 고도화된 현대사회속에서 대량으
로 생산되는 기계적 산업생산물을 주로 반
복적으로 조형화 하거나 재조립하는 설치
작업등을 해오고 있다. 예를 들어 한번 끼우
면 조여지기만 할 뿐 다시 풀 수 없는 케이
블 타이의 특성을 활용하여 한계점에 직면
한 도시사회에 대해 은유적으로 조형화했
고
멀티탭을 수없이 이어붙여 마치 관절을
가진 연체동물처럼 조형화한 <멀티컴플렉
스>, 작동원리를 변형하여 빨아들이지 못
하고 역으로 내밷는 로봇청소기 <Robot
Irony>등 공산품이 가진 특징적인 원리를
활용하여 그가 주목하는 사회현상의 상징
과 연결시킨다. 자본주의 사회속에서 대량
생산과 인간간에 어떤 관계를 갖고 있는지
에 대한 담론은 나아가 산업 구조 속에 고립
되어 살고 있는 현대인간에 대한 작가의 비
판적인 시선을 내비추는 것은 물론 집단의
맹목적인 욕망 끝에 극단으로 치닫게 된 잘
못된 이성을 바로잡아야 함을 촉구하고 있
다. 그는 산업사회 오브제와 조우하는 순간
직감적으로 깨어나는 감각을 포착하여 변 화되는 사회에 대한 경각심의 메시지를 던 지고 있다.
Jung Seng’s work has primarily consisted of pieces that assemble mass-produced mechanical items from the modern advanced industrial society into artistic forms or installations. As an example, he has used the properties of the cable tie – something that once inserted becomes twisted and cannot be undone – as a met-aphorical representation of urban society at its limits. Multicomplex is a piece in which numerous multi-tabs are connected together into something resembling a jointed mollusk, while Robot Irony offers a robot vacuum cleaner with its operating principles modified so that it can only blow rather than suck. In this way, Jung uses the characteristic principles of industrial items to tie them together with symbols of the societal phenomena he notes. By presenting this course on the relationship between massproduction and humani-ty in a capitalist society – and by reflecting his own critical perspective on the isolated modern humans living within the industry structure –he urges us to right our skewed reason, which has driven us to the brink of blind collective desire. Jung captures the sense intuitively awakened at the moment of intersection with the objects of industrial society – and thus sounds a message of alarm toward a changing society.
락에서 작품 자체의 미학적 분석보다는 관
객들에게 있어 작품을 보며 간접적으로나마 각자의 뒤엉킨 감정들이 해소되는 순간을 경험해보는 것이 더 흥미로운 지점이 될 수 있을 것이다.
The tears that flow in the moments when sadness, anger, and feeling build to extremes have a role that goes beyond simple expression of emotion. Arguably more important than their basic role is the way they temper the extreme emotions that break down the body’s controls all at once before they are shed – and the way they help us regain our composure once the crying is done. Perhaps the more interesting aspect of the cry-ing man image lies not in aesthetic analysis of the work itself within this context, but an experience of the moment when the viewer’s tangled emotions are mitigated, however indirectly, in viewing the work.
Kwon Sunkwan graduated from the photography department at Sangmyung University and completed a formative art and art
professional program at the Korea National University of Arts School of Visual Arts. In his work, objects and subjects do not exist independently in and of themselves; rather, he presents them as having active meaning only within the momentum of various levels of intersecting forces and their com-position as an overall image. In his various pieces, he emphasizes the various, inverted values that emerge as the individual devices of the external environment, society, culture, and history surrounding the indi-vidual interact with the core of objectified reality. By substituting this question with others, or by shifting and reconfiguring in with different contexts, he attempts to subvert the base of “values” possessed by the factual as a compositional order. Kwon was awarded Artist of Tomorrow honors by Sungkok Museum in 2007 and showed the solo exhibition Incomplete Dialectical Theater at the Kyung Hee University museum in 2013. In addition, he has participated in solo and group exhibitions such as A Practice of Behavior (2009, Sungkok Museum, Seoul) and Isolation from Territory (2006, Art Space Pool, Seoul).
Green Structure and Stack
권순관은 일련의 작업을 <미완성의 변증법
적 극장>이라는 대 전제의 서론부라 지칭
하며, 질서화된 사실과 인간에 의해 인위적
으로 체계화된 현상 등에 은닉된 모순들을 사진의 간접적인 시선으로 재고해보고자 한다. 본 전시에서 작가는 여전히 작동 중
인 곡물 창고이자 공장을 촬영한 <Green Structure>와 수십 년의 세월 끝에 허물
Green Structure and Stack Kwon Sunkwan refers to this series of works as an “introduction” to the general premise of Incomplete Dialectical Theater, using the indirect perspective of photography to reconsider the hidden contractions within phe-nomena that have been artificially systematized by ordered fact and human agency. In this exhibition, the artist places Green Structure (photographs of stilloperational grain warehouses and factories) side by side with Stack (photographs of the remnants of warehouse and buildings demolished after decades of use) in order to examine them from the same perspective. The ironically symbolic quality of the green paint on the grain warehouse and the exotic aesthetic found in piles of casually heaped scrap metal function as meta-phors for the repudiation of an industrial society that is racing toward an extreme of consumerism, where everything constitutes a socalled “present.”
Lee Seahyun graduated from the department of Western painting and graduate school at Hongik Universi-ty. He began his Between Red series during his later studies at the Chelsea College of Arts in London; to-day, his works are part of numerous noted overseas
collections, including those of Microsoft and Bank of America. He has held solo exhibitions at European galleries such as London’s Union Gallery and Miki Wick Kim Contemporary Art, while garnering attention with his prolific activities at the Pace Gallery in New York and his engraving work. Utopian as it seems on the surface, Lee’s work depicts a dystopia de-stroyed by human actions. At a distance, it resembles a landscape; up close, it includes collapsing buildings and marks of bombardment that frankly recall more painful memories from Korean history. Fragments that illustrate contemporary suffering and the social reality are captured in his work alongside the artist’s own personal people and places.
The Between Red series appears utopian, bearing ideal landscapes that exist nowhere in reality. Yet it is intermingled with a dystopia destroyed by human action. Grand works of painting in red recall Korea’s tra-ditional landscape art, yet a closer look reveals unrealistic images all around, mixtures of tension, fear, and terror – everything from political figures like US President Barack Obama and Che Guevara to collapsing buildings, bursting shells, the artist’s younger self and his family, and objects and bikiniclad frolickers seemingly dissociated from the events unfolding around them. Fragments from societal and personal memory come together to form a narrative structure as they mix in a single canvas with the artist’s red landscape.
LIN Tianmiao
1961년 산시성에서 출생한 린티엔미야오
는 베이징 수도사범대학교에서 순수미술
을 전공하고 뉴욕으로 건너가 아트 스튜던
츠 리그에서 수학했다. 설치작가로 널리 알
려진 린티엔마야오는 설치, 조각, 사진, 영 상 등을 넘나들며 작품활동을 해오고 있는
중국현대미술을 대표하는 작가이자 가장
유명한 여성작가임에 틀림없다. 그녀의 작 품은 일상생활에서 쉽게 접할 수 있는 소소 한 물건들을 돌아봄으로써 예술과 생활의
관계에 대해 반문하고 개인과 사회의 관계
에 대해 깊이있는 성찰을 유도한다. 부군이
자 작가인 왕공신과 함께 1980년대 말부 터 90년대 초까지 뉴욕에서 생활하며 작업 한 경험을 바탕으로 린티엔미야오는 국제
적 감각과 네트워크를 바탕으로 왕성한 활 동을 영위해가고 있다. 그녀의 작품은 뉴욕 부르클린미술관, 뉴욕 국제 사진센터, 뉴욕 현대미술관, 홍콩예술박물관, 홍콩 M+미술 관, 상하이 롱미술관 등에 소장되어 있다.
林天苗，1961 年出生于中国山西，目 前工作、生活在北京。林天苗是目前 国内最广为人知的装置艺术家，是中 国当代艺术最重要的代表性艺术家之 一，也是中国杰出的女性艺术家。林 天苗的作品强调对生活中琐事杂物的 反思，关注艺术与生活的关系，探讨 个人与社会的关联。20 世纪 80 年代 末至 90 年代初，林天苗和同为艺术家 的丈夫王功新旅居纽约。1995 年林天 苗回到中国北京开始进行艺术创作生 活，她是中国少数的享有很高国际声誉 的女艺术家之一，她的作品被布鲁克 林博物馆（Brooklyn Museum）、国 际摄影中心（International Center of Photography）、现代艺术博物馆 （The Museum of Modern Art）、香港 艺术馆、香港M+美术馆、龙美术馆等机 构收藏。
Lin Tianmiao was born in Taiyuan, Shanxi Province, China, in 1961. She studied Fine Arts at the Capital Normal University in Beijing, and then at the Art Students League
in New York. For nearly a decade she and her husband, artist Wang GongXin, lived in New York City, where she designed textiles until the cou-ple moved back to Beijing in 1995. Working across installation, sculpture, photography, paper, and video, she uses daily supplies which are treated like trivia and meditate the relationship between art and life. Lin’s works are collected by Brooklyn Museum, International Center of Photography, The Museum of Modern Art in New York, Hong Kong Museum of Art, M+ Museum, Hong Kong and Long Museum in Shanghai.
As material for her work, the artist uses various fibers – strands of silk, cashmere, gold and silver – which are connected into something intricate and feminine. In her Sculpture series, she seems to combine various objects from industry and labor with the skeleton, a form representing the human body and death. In so do-ing, she seeks to embody human beings that are equated with the machinery
A graduate of the Hongik University sculpture department and graduate school, Kim Hak-J was awarded special prizes at the 1989 Seoul Modern Sculpture Competition and the Republic of Korea Art Fair the fol-lowing year in 1990, as well as the grand prize at the 1991 Republic of Korea Art Fair the year after that in 1991. In 1992, he took on a position training young
artists as a professor of sculpture at Dong-A University, a position he eventually quit in March 2010 to focus on his artwork. Since then, he has sought motifs for his work by capturing the marks left by humanity on nature in India, the Americas, and Europe. With his explorations of human civilization and nature, he uses his work to express future imaginings and lyrical sentiments. As his creative activities have become more prolific, he has transformed as an artist, using every-thing from sculpture to installations and digital prints to explore the theme of “future lyricism.”
Future Lyricism – 진동지구 본 작품은 작가 고유의 미래에 대한 상상력 과 시적 정서들을 표현한 것으로, 현 인류가
겪는 고독과 고립의 대안으로 인간과 자연 의 교합을 모색하는 과정이다. 자연과 동화
하듯 어울리는 인간의 형상은 시간성이 해
체된 고가구들과 함께 병치되어 지구 밖의
우주인 즉, 미래를 향해 재차 질문을 던지고 있다. 여기서 작가는 인간과 자연에 내제된 힘인 성(性)에서 현대 사회의 인간의 의미 와 역할에 대한 근원을 찾기도 한다.
An expression of the artist’s distinctive future imaginings and lyrical sentiments, this work shows a process of seeking congress between humans and nature as an alternative to the solitude and isolation that modern human beings experience. Human forms that
coexist with nature as though in a process of assimilation are placed side by side with secondhand furniture – its temporality deconstructed – and thereby pose questions about the universe beyond the Earth – the future. At the same time, the artist also seeks out the origins of the meaning and role of humans in modern society within the sexuality that exists as an inherent power within humans and nature.
JIN Yangping
진양핑 金阳平
진양핑은 1971년 중국 유에칭에서 태어
나 상하이와 항저우를 기반으로 작품활동
을 하고 있다. 항저우의 중국미술학원 서양 화과 졸업(1997년) 후 동 대학에서 교수
로 재직 중이다. 진양핑의 작품은 대중매체
속 사람과 사회, 그리고 이들의 관계에 관해
이야기한다. 어디선가 본 듯한 무술의 한 장
면, 아파트와 달리는 자동차, 새, 나무, 취타
대의 행렬 등은 대중매체를 통해 흔히 접할
수 있는 중국 현대 사회의 단면들이다. 콜라
주로 얽혀있는 이러한 풍경과 인물들은 기
하학적 도형과 층층이 쌓인 물감과 붓 자국
이 더해져 혼란스럽고 불안하며 낯선 인상 을 드러낸다. 작가는 1997년 최연소의 나
이로 5년마다 열리는 중국미술대전(全国 美术院校作品展) 에서 1등 상을 받았다.
이후, 1998년 중국미술학원미술관 개인전, 2002년 베리에이션 2002(아트 코뮌, 홍 콩), 2003년 바디 2003(까세 갤러리, 파 리), 2007년 시우 린(갤러리 안드레아스 바인더, 독일 뮌헨), 2012년 도시 미로(상 하이 미술관, 상하이), 2014년 페이스타임 (학고재상하이, 상하이), 2015년 베이징 금일미술관 등 국내외에서 개인전을 열었 다. 그의 작품은 마카오시청, 항저우 저장성 미술관, 상하이 하오아트미술관, 미시간주 립대학교 엘리와 에디트 브로드 미술관 등 이 소장하고 있다.
Born in 1971 in the Chinese city of Yueqing, Jin Yangping works from bases in Shanghai and Hangzhou. He has taught as a professor at Hangzhou’s China Academy of Art since graduating in 1997 from its West-ern art department. Jin’s work speaks of the people and society within mass media and the relationships among them. A martial arts scene reminiscent of something seen somewhere else, apartments and moving cars, birds, trees, parading musical ensembles – all of them are aspects of contemporary Chinese society that one often encounters in mass media. Interwoven through collage, the landscapes and figures combine with geometric forms and layers of pigment and brushstrokes to evoke an impression that is chaotic, unsettling, and unfamiliar. In 1997, the artist became the young person to earn first place honors at the National Exhi-bition of Fine Arts, an event held every five years. Since then, he has had numerous solo exhibitions in China and abroad, including one at the China Academy of Art museum in 1998, the Variation 2002 exhibi-tion at Hong Kong’s Art Commune in 2002, the Body 2003 exhibition at Paris’s Cathay Gallery in 2003, the Game in the Forest exhibition at Munich’s Galerie Andreas Binder, the Urban Maze exhibition at the Shanghai art Museum in 2012, the Facetime exhibition at Hakgojae Shanghai in 2014, and a 2015 exhibi-tion at Beijing’s Today Art Museum. His pieces are included in the collections of Macau City Hall, the Zhejiang Art Museum in
작가의 작품은 대중매체 속 사람과 사회, 그
리고 이들의 관계에 관해 이야기한다. 작가
는 어디선가 대중 매체를 통해 보았을 법한
익숙한 장면들 속에서 중국 현대 사회의 단
면을 끄집어내어 캔버스에 재구성한다. 큰
화폭의 전면에 드러난 인물들의 형태는 어 딘가 불안하고 의뭉스러워 보인다. 여기에 작가 특유의 즉흥적인 붓 터치를 통해 쌓여
Buddha Words, Evil Mind, Knife Holder, and Bad Girl Jin’s work addresses themes of the person and society in mass media and the relationship among them. Through familiar-seeming scenes that one might have encountered somewhere through mass media, he extracts images from contemporary Chinese society and reconfigures them on the canvas. Foregrounded on a vast canvas, the figures seem somehow edgy and devious. Their suppressed inner feelings are given visu-al expression through colors in paints layered on with the artist’s distinctively spontaneous brushstrokes.
The work of Choi Jeonghwa appears in the most unexpected places – traditional Korean hanok homes, res-taurants, stores, cultural spaces, streets. Within art galleries or at the Museum White Cube, he has attempt-ed to take away some of the burden of art by breaking down its sense of alarm. Choi’s work seeks to expand the realm of contemporary art by borrowing visual images from modern life, occupying a middle ground at the intersection of trivial and not, stripped-down and dense. “Contemporary art is my hobby,” the artist simp-ly says. As someone for whom daily life is art, the only
interest lies in the systems of modern society as it produces and consumes.
Choi Jeonghwa notes the systems of a modern society that produces and consumes, creating work that bor-rows from the visual imagery and objects seen in everyday life. In Chinese Encyclopedia, he assembles used washboards from China – airlifted in exchange for new ones – to use them as traces of time from Chi-nese daily life and evidence of its documentation in a visual examination of Chinese history.
2015. 11. 14 ~ 12. 20 @ 798 ART FACTORY, Beijing 2016. 3. 17 ~ 4. 24 @ TOTAL MUSEUM OF CONTEMPORARY ART, Seoul
