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1999 The Method of 10 persons

The Method of 10 persons 

10인의 방법 전 - The noon of intelligence, Transcendence vs. Submergence-


  ::Opening Event
Noon - 4:00pm Performance: Modern dance (2 dancers including Eun-shil Lee)
Noon - 4:30pm < The noon of intelligence, Transcendence vs. Submergence >
                            Discussions and critics on the artwork in display
Artists :  Yong-kwan Kwon, Young-min Kim, Jin-wook Kim, Changsoo Park,
              Moo-ho Shin, Gil-shik Lee, Dong-hoon Yim, Jin-taek Jung,
              Byoung-Moon Choi, Joo-young Choi
Directed by : Ok-real Kim (Art Critic)
Date/Place:   July 6th, 1999 at 4pm / Daegu Arts Center, Hall 4



Byoung-Moon Choi

Jin-taek Jung

Joo-young Choi

Young-min Kim

Yong-kwan Kwon

Gil-shik Lee


Jin-wook Kim
Art has been provoking numerous modes and styles under the name of ‘originality.’ Such diversity usually acts as a creative power, but at times it burdens us and causes great conflicts and confusion between conventions and originality. Should we keep silence with the many who could never understand contemporary art and the few who would not even want to understand it? ‘The method of 10 persons’ assimilates the two ideas of unfamiliarity (isolation) and familiarization (imitation), without putting them in opposition. Our intention is to form one principle out of several opposing ideas existing in daily perceptual experiences, and to regard it as an active affirmation, rather than a negation. The participating artists project a sense of reality on various objects.

Object is an important medium for the expression of our interests, and a tool of communication. It is a window of the communication between individual subjects, and between human and nature. It turns away from conventions and attempts to make a conversation for which a basis of understanding is prerequisite. And it is by reaction that we discern whether or not this conversation has been based on understanding. However, the most important element in this process is to respond. This exhibition will remind us that we can only break the silence and enable the communication between experiences (collective and individual) when we respond to the artists’ invitation.



Dong-hoon Yim
 
 
Moo-ho Shin

Changsoo Park





June 6th, 1999
Okreal Kim(Independent Curator)

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Biography

OKREAL KIM Born 1964, lives and work in Daegu, Korea. Director of CAIKOR and Artspace Purl Education 1996-.2003  Ph.D(ABD)., 'History of Art and Aesthetics' YeungNam University, Daegu, Korea 1992-1995  MA , 'History of Art and Aesthetics' YeungNam University, Daegu, Korea 1984-1988  BFA, Fine Arts, YeungNam University, Daegu, Korea Professional Experience 1996 – 2006  Independent Curator, Art Critic 2007.8 - 2009.3  Chief Curator in MJgallery 2009 –  Director of Contemporary Art Institute and Art Space Purl Independent Curating 2006  Soma Condition, Cyber exhibition, okgallery 2004  Yang Sung Ock‟s, Hot meeting, Kwanghwamun gallery, Seoul, Korea 2001  Identity of a painting-Memo one, Daegu arts center, Korea 2001  Beauty, that is, Earth in ceramics, Bitsal museum, Daegu, Korea 2001  Summer history, residency a month in closed school, Sungju, Korea 2000  Dream of the Shinchun river, Shinchun riverside, Daeg, Korea 2000  Paradigm shift, Daegu arts

1999 Modern Myths 현대의 신화

  Modern Myths 현대의 신화   -In the body and language-  Presented by: Internet Gallery of Contemporary Art (today, Post Gallery) Display Period: May 11th – 16th, 1999 Opening Date: Tuesday, May 11th, 1999 Place: Daegu Arts Center (Halls 6, 7) Directed by: Kim Ok-real (Artistic director/Art critic) Artists: Kwon Ki-chul, Kwon O-bong, Jang Jae-hee, Jung Young-heouk Jung Eun-you, Jung Tae-kyung Do we see what a painting tries to say? Or, does it speak even? If so, how much do we listen to what it shows? Today I am again standing in front of a painting which I listen to with eyes and see with ears, trying to commune with it. Trying so that my eyes might become ears and my ears become eyes for those who have never made such an attempt nor even dreamed of it.  In fact, it is difficult to understand a painting. Perhaps it is the reality of contemporary art that it easily leads us to misinterpretations and misunderstanding. Many say that they have nothing to say about it. Most of these people had