Disappearer

『Disappearer』는 금천예술공장 9기 해외작가들의 성과보고전으로, 사라지는 것들과 사라짐으로써 드러나는 예술의 역설에 관한 이야기이다. '드러나기 위해서 사라진다 To disappear is to appear'는 모토는 일정 기간 갤러리에 전시되었다가 철수되는 작품의 운명 뿐 아니라 작품에서 돌아섰을 때, 작품이 부재할 때 비로소 그것이 남긴 반향과 여운을 마주할 수 있었던 우리들의 경험을 가리킨다.

Barbezat-Villetard_Palm Resort_Centre PasquArt, Bienne, Switzerland_ 야자수, 종이, 네온, 블랙테이프, 마이크로폰 스탠드, 케이블, 변압기_ 400×240×480cm_2015

Barbezat-Villetard는 스위스 출신의 듀오로, 물질의 형상, 부피, 구획, 관점을 축소하거나 확장함으로써 특별한 공간을 창조한다. 이 공간은 새로운 인식의 장을 열고 주변 환경의 의미와 맥락을 변이시킨다. 이들은 자신의 작업을 안과 밖, 그리고 보이는 것과 보이지 않는 것의 경계를 넘나드는 '지리학 총서'라고 명명하기도 한다.

Daniel Stempfer_Snake Oil_기화 장치, 전자담배 니코틴 베이스, 스틸, 아크릴 유리, 스피커, 마이크로-컨트롤러_2015

Daniel Stempfer는 자연과 도시환경이 교차되는 지점에 관심이 많은데, 정원손질부터 우주여행에 이르기까지 다양한 층위에서 주거지역을 탐색하고 확장시킨다.

윤인선_서로 입 맞추는 코라 Kissing Khôra_유리, 플렉시글라스, 스테인리스 스틸_ 서울시립 남서울미술관에 가변설치_2016

윤인선(Julie Insun Youn)은 컴퓨터 그래픽을 사용하여 디지털 드로잉과 실크스크린, 설치 작업을 한다. 본래 주변성과 장식성을 본성으로 하는 스트라이프 패턴을 작품의 중심에 두어 어떤 '결핍의 경험'과 '무의 상황'을 연출하고, 일관된 화두인 '불가능성'과 '역설'의 코드가 담긴 텍스트를 제목으로 제시함으로써 상상의 균열을 일으키고자 한다.

Lyoudmila Milanova_AGENS_단채널 영상, 16:9, 스테레오_2018 (collaboration with Steffi Lindner)

Lyoudmila Milanova의 작업은 습관적인 시선을 이탈하는 어떤 변화의 과정을 다룬다. 정지상태와 움직임 사이의 추이에서 영감을 받는 그녀는 빛, 구름, 연기 등의 특별한 재료를 사용한다. 이러한 만질 수 없고 재조형할 수 없는 자연 그대로의 재료를 전시공간에서 길들이고, 단명하는 물질성과 통제할 수 있는 인공물 사이의 대비를 극대화하는 것이다.

Yoan Robin_NOMADIC MOVIE SCREENING ON THE WALLS OF PATAN_ 퍼포먼스, 영상_02:00:00, 반복재생_2015~6

Yoan Robin은 다양한 기법과 매체를 사용하여 지역과 문화예술에 대한 관념들을 재전유하고 그 방향을 전환시킨다. 이번 전시에서는 홍상수의 영화에서 발췌한 화면과 서울을 배경으로 촬영한 영상을 담은 '책'들을 전시한다. 이는 종이책과 영상을 중첩시킨 디지털책으로, 책장을 넘길 때마다 새로운 영상이 나타나고 해설자의 목소리와 시각 정보가 겹쳐진다. ■ 금천예술공장

『Disappearer』 is the group show curated and created by 9th International Artists in Residence at Seoul Art Space Geumcheon. The title mainly refers to the fleeting, non-verbal moment we experience before a work of art, as well as to the paradox of art which mystically appears in our mind while it is disappearing. ● The work of collaborative duo Barbezat-Villetard takes over physical/mental territories by arranging objects or setting up installations that temporarily graft themselves to the given space. The resolutely minimal, though sometimes radical, intervention by this Franco-Swiss duo is not intended to serve as a declaration of form. ● By reducing, extending and ablating shapes, sections, perspectives and volume, they create remote spaces, both real and imaginary. The duo deploys a geometric compendium reminiscent of the formal chemical and biological nomenclatures that allows them to play with the boundaries between the inside and outside, the visible and the invisible. In doing so, they offer the viewer a new perception of space, enabling him to truly modulate his environment. ● In the world of Barbezat-Villetard, a single step can uncover a new architectural framework, which in turn generates a subtle social, cultural, historical and geographical mise-en-abyme. The landscapes they redraw are as sweeping as they are untamed, as tiny as they are aseptic, and renders the, albeit fragile, perception of spacetime intervals possible. ● Daniel Stempfer's works are often concerned with the intersection between so-called natural environments and environments created by humans. He is particularly interested in the expansion of habitable zones on very different levels, ranging from casual things like gardening to large scale projects like space travel. His sculpture and installations often deal with temporary phenomena, the traces they leave behind and sometimes contradictory narratives those traces support in retrospect. ● Julie Insun Youn expands her work from digital drawing to installation. The 'stripe' in her work operates as veil which inscribes 'unfamiliarity' into the everyday life, 'unknown' into the frame of banality. It situates anonymous scene of non-meaning in its endless repetition and superimposition. As a former painter, she calls her work as 'post-painting': a non-painting which refers to the absence of 'painting' while searching the 'abyssal' gesture existing in the work of painting. Her installations are often made of glass, plexiglass, and stainless steel to set a flexible scene of 'layers' visualized in a space. ● Lyoudmila Milanova has been dealing with changing processes, which usually escape one's habitual attention. She is particularly inspired by the subtle moments of transition between standstill and movement, the static and the kinetic and different states of materials. Milanova often works with natural elements such as light, clouds and fog or the physical laws of things. ● The initial trigger for the video work she wants to show is a research on domestication of natural elements. She was intrigued by the fact that there is almost no raw material left, which hasn't been shaped and cultivated by men, to use it for human purposes. The contrast between the idiosyncratic behavior of natural materials versus man-made shapes of the very same materials drew her attention towards non-tangible substances, whose immanent driving force hasn't been completely deciphered by men yet. ● Yoan Robin alters artisan techniques, exchanges the role of the artist and those of the craftsman. He also writes fake books (pastiche) and moves concepts from one medium to another. He uses a tool on an apparently inappropriate medium or in an inappropriate way to distribute free ideas about intellectual property, to replace words in sentence with invented ideograms, and to draw cartographies by enlarging the scale. He has been trying to rethink the place and the status of notions related to art and culture through his work. For him, alteration (re-appropriation, "detournement") is the simple way to question and to solicit those who are participating. ■ Seoul Art Space Geumcheon

Vol.20180327c | Disappearer展