Hello, I am Happy virus that spread happiness to you.
This is Seocho Goblin from Seocho Tourist Information Center.
It’s a road we’ve talked about and introduced. This time, we’ve entered the opposite entrance, not the one we’ve seen a lot.
This winter, galleries gathered in Bangbae-gil are filled with new and magnificent exhibits.
I’ve visited you again.
The last time I visited you, I had a desire to visit because it was a gallery I had never seen before!
Can’t a sparrow walk past a mill?
There are a lot of galleries in Bangbae-gil where you have to make a reservation first, so you have to make a reservation before you visit! Don’t you want to beat the crap like our Seocho kid? Right?
I wanted to watch it, but I left my regret behind and moved the sound of my feet.
First, we revisited the gallery toast we had visited before.
<an exhibition introduction>
The Gallerost will hold “minimal tremors _ Baek Soo” from November 17, 2018 (to) to December 05. Writers work on the human imperfection of personal experience, extending it to the media in recent years. The exhibition will focus on social issues reinterpreted from his subjective perspective and convey a message that he would not simply consume them.
We consume an enormous amount of images that are constantly exposed to websites, sns, etc., and we remember only some of them. The author intervenes in these fragmented memories and reconstructs his feelings into a new image. The vague images on the canvas seem familiar and strange, and hope that the inner parts of the audience will be slightly shaken.
Through this exhibition, we hope that it will be time to gain insight into human imperfections without consuming too much social issues lightly.
Blue Dots_60.6×45.5cm_oil on canvas_2018
<The Writer’s Note>
My work mainly starts with clarifying the idea of human imperfections based on personal and indirect experiences. We try to visualize human nature through image transformation and distortion of the human body and face using properties, or by collecting images that suggest human nature or reconstructing them on the screen. The images collected are mostly produced and consumed by the media and social media, representing contemporary issues.
Today we are constantly exposed to countless images and consume a vast amount of images. In an environment where images are rapidly circulated anywhere and anytime across borders, modern people do not remember all of the images they have seen and remember only a few of them dimly, even if they think of them. Like this, many images of today are fragmented.
Sources : http://gallerytoast.com/
If you look closely, you see a silhouette of people behind you. Shadows and stereos have an impact.
The color comes pouring out like a volcano, the desire to hang on the embankment!
There were many miniature-sized pieces rather than large ones.
Two of the most impressive works
I don’t know if it’s political satire or exactly what the author is trying to convey, but it’s two of the most impressive works. Just like the second picture.
— Let’s move on to the next gallery.
Our first visit to the gallery is called the Gallery Gas.
an exhibition introduction
Mitsunori Kimura, Jaeyoung Lim, Jin Han
The gallery is holding its third exhibition, “Mitznori Kimura, Im Jae-young,” following this year’s “ImmVersion vs Balance” and “Complete or Incomplete.” If the previous two exhibitions began with an interest in the way and process the authors work, the focus on the topic itself is quite different.
For this reason, the three-person theme, ‘Before Form,’ focuses on the peculiarities inherent in the writer’s work. In large terms, each piece relates to the state of pre-socialization, pre-language or outside language forms, subjective experiences, and memories. Also notable is the fact that the focus on the media by targeting the form itself, such as painting, sculpture, and others, is not focusing on the media, but rather on specifying and testing the subject within the formal choices of the schedule.
First of all, it is the responsibility of a contemporary artist to make art objects as well as work processes and methods. It also means that when the reason for form is to assume the role of the stage in visualizing the writer’s ideas, interests, attitudes, and senses in the context of society and art, the so-called extreme end of minimalism in the 1960s can be assured us. But the point here is that the setting of a subject does not mean the direction or weight of its will to him.
Looking at the artists’ works, Kimura (b.1983) emphasizes the form of hair carved from wood in three dimensions and in supporting work as a means to symbolize life, or death. By portraying humans as apes mixed with primitive humans or animal figures, the author’s interest in relationships or the existence itself is deeply expressed. Much of this meets his personal experience. There is a lack of continuing relationships that have been experienced since childhood by parents’ divorce, positive changes that have come from raising a family after becoming an adult, and the desire for an independent self.
Im Jae-young (b.1986)’s images filled with the space in the painting seem to be building a specific narrative, intertwined like a scene or incident on stage. But if you look at it a little bit, you find that it doesn’t erase the context with a single script, but it just stays there one by one, and doesn’t exactly match the original verbal instruction, meaning of the shape. Therefore, the shapes persistently penetrate the loopholes of the recognition system and do not settle within the language system, but turn or slip the boundaries. Moreover, rather than persistently pursuing the physical completion of a painting while implementing it on the screen, the author further multiplies its effects by suggesting and stopping the direction of the painting.
Hanjin (b.1979) repeatedly visits places associated with the writer’s memory and experience, stays there for a certain period of time, and constantly re-examine and reproduces. He also selects sound or rhythm as a central element of such a work approach, strongly linked to the author’s career, who has long majored in music before starting art. For this reason, the “unrealistic landscape,” which was painted in the form of painting and drawing, is clearly a sensory and present but is not grasped outside the language, and a subjective experience and a sense itself.
Finally, to summarize the planning intent of the exhibition, the exhibition was set as an organic process to examine various aspects of the work, not a dichotomy approach to art. It also asks how flexible balance points can be possible to avoid being biased by empty form experiments or the expression of empty intuition, despite the myriad criteria that ultimately look at the work.
Not only Korean writers but also Japanese artists were on display.
I think I’m a bit of a teapot at home. ^^
The depth of art is It’s a long time since I went to the gallery.
Finally, I’m going to introduce you to the gallery.
This is Gallery well.
Entering the entrance, it looks like a big palace. At first glance, I feel like a house.
There was a solo exhibition by Nam Jong-hyun.
Korean beauty was strong and I was surprised to see the food and furniture that can be seen in our lives in the main works.
A painting by Goryeo celadon that reminds me of a genuine product!! The real gallery is like a comfortable, rich house, and the pieces on display are seasoned with the home.
This picture was taken when I left the gallery after finishing my appreciation. It used to be the entrance, but when I walked out of the gallery, it was EXIT! How about enjoying your work at the Bangbae Saigil Gallery this winter, drinking coffee at a pretty cafe, and healing time?
If you use the subway, go straight for 300 meters from Exit 7 of Mybang Station!