Euyoung Hong
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Index on Territory

2020

Munumi (Teawhi Kim)




Even in the process of updating a game, the direction of its developers and operators is likely to be present. There is a hidden context in which the player is induced directly or indirectly when adjusting the scoring method winning strategy, and balancing the characters. Nonetheless, some players find new cracks from the intention. They find ways to get out of the huge framework and be more effective in winning. For example, some of the players misuse bugs, and others come up with new strategies by turning the adjusted frame-work to their own advantage. Even if the game is perfectly balanced, it con-stantly requires to update new contents for new entertainment (especially in PC game). Following the updated version, the strategies of players may change little by little, but what rarely changes is the unique set point of each player. The point involves a wide variety of settings, ranging from operations such as shortcuts and mouse sensitivity to graphics settings such as reso¬lution, vertical synchronization, and lay-tracing. Of course there would be those who don¡¯t dwell on such options, but I think it is those settings where we are able to find a specific style. In this sense, this article aims to guess the perspective of each of the three artists (HyunJeong KimBak and EuYoung Hong) who participated in the exhibition¡¶Media, Configuration Setting (2020)¡·at Seongbuk Young Art Space and suggest a somewhat indecisive similari¬ties.

First of all, HyunJeong KimBak seems to find similarities between the pro¬cess of photofinishing and printing, in which a wide-exposed figure settles through a lens, films and prints in some cases, and in the casting process of a sculpture using a frame. This similarity means that it is only the light through which we can see artworks no matter what kind of visual art it is, and the shape of the work eventually gets to be fixed. Although KimBak¡¯s discovery may not be the first, artworks created based on this basis are enough to shake up the established rigid concept of ¡®what is photographic¡¯ often stand¬ing for index. The¡´Painter Series (2020)¡µallows v iewers to appreciate the work comfortably with calming chroma and stable contrast. Woven fabrics of canvas and sleekly printed surfaces can be said to contradict the traditional view, but it is rather denotative sense of balance that it is colliding with. While one unified sense dissolves the distinction of media, it is woven into a new context-image. Thanks to the approach, the¡´Painter Series¡µhas a different grain from other experimental precedent showing explicit resistance to a medium. Naturally on the top of the canvas, there are traces of brush tools instead of brush touches, and instead of applying paint, they simply force to represent photographs with it. For a person held within the conventional con¬cept of the media, the work would make him or her ponder somewhile.

For example, the level measurement line in the image that is upright in¡´ Navigation(2020)¡µ, located on the second floor, becomes an index of height. One scale is different from another, such as distinction between photographs and paintings. Isn¡¯t the difference the artist senses while looking at the media is just the difference in degree, such as stairs and gradations that go up anddown to view¡´Operator Series(2020)¡µ? In order to lead viewers to this kind of drastic imagination, KimBak vitalizes the work to actively function, giving the title of the series as ¡®painter, printer, operator.¡¯ This desertion gives the option for photography to move into the context of visual images, not being trapped in the traditions that do not borrow the aesthetics of traditional art, such as paintings, plays, and sculptures, or take current situation into account. Even if you do not agree with these preferences, it is hard to deny that the ¡®envi¬ronment¡¯ of 2020 is not the same as before under the popularization of digital photography, smartphones, photoshop, and illustrator. Especially for people who are staying in a traditional discourse of photography, it seems inevitable for them to get out of it. A competent theorist, Rosalind Kraus, who has excel¬lent ability to reorganize existing concepts, stated in her book¡´A Br ief Studyon Index (1977)¡µthat a symbolist named Puss could also find the function of index in examples that point to specific indicators, so that Marcel Du¬champ¡¯s¡´The Large Glass¡µand several abstract pa intings should be included in the category of index. Still, many people misunderstand that the index is a privilege of photography. Because I myself, who was reading the references to write, have made this kind of mistake, clearly, ¡®the photographic¡¯ can be refuted and supplemented, because ¡®the photos¡¯ are only prominent index, including areas of drawing and symbols, and the concept of ¡®index¡¯ is also in the context as argued by Puss.

If we Imagine that HyunJeong KimBak defects from the territory of the in¬dex, EuYoung Hong is set free from the index of the territory. Based on the investigation on the specific space, Hong¡¯s works have focused on sculptureand installation. In the solo exhibition¡¶Met iculous Oblivion(2018)¡·, held at the Yeongeun Museum of Art, the artist¡¯s work brought objects found in the demolished space and placed them in the works, or cast them as urethane. The soft materials used for casting, such as silicon, urethane, and wax, shows vulnerability of the space, while the slanted or curved form shows tension. This tension reflects the housing problems that the artist has in mind. Based on fragments and indexes of symptoms as study room, split housing, and re¬development, the artist forms a unique structure. What she directs is not lim¬ited to the debris that was in the place, but also to the place where the objet was. That is why Hong¡¯s work often gives the impression of being both indic¬ative and relational. The works exhibited in¡¶Media, Configurat ion Setting¡· consist of works that combine drawings and symbolism with space. Partialmaterials such as¡´First Horned Face(2020)¡µare combined using mater ials discovered and collected by the artist in Jungneung 3-dong. The etymology of the title comes from a dinosaur called ¡®Triceratops,¡¯ from a conversation between the artist and her mother while investigating Jungneung 3-dong, a redevelopment area with many old houses. The ancient Greek word, triceratops, means ¡®tri-cerat-ops¡¯ in English. And the artist combines the concept of an old building that is empty in that the dinosaur¡¯s existence is proven to be a thin fossil. Instead of using casting methods, the vulnerability of hard horns is revealed through vinyl, which is the same flow in that it diagnoses macroscopic dimensions with micro clues like the previous work, which ex¬tracts the impression of the neighborhood from a child¡¯s ignition. Perhaps on fossils with only skeletons left, the artist embellishes the flesh with her imag¬ination. At the same time, the loose-height temporary structure is placed on the level of symbolism as a monument to the residence. In her previous works, the residence problem was the focal point of the work, while this this time, the emotional and subjective weight increased and giving it a pleasant look.¡´Arch itecture Without Architect(2020)¡µ is a work that combines com¬plex wires unique to old residential areas, such as Jungneung 3-dong, where residents share common land like common garden and place flower pots on many stairs. This work not only presents the structure of space in miniature like an architectural model, but also features a bundle of wires and organicity produced by light.¡´A Conversation Between Three Strangers (2020)¡µ is a col¬lection of almost all the ingredients from the village. The viewer has a diverse view of the stones placed on the three-sided mirror, which leads the viewer to look at oneself and the space in the reflection. Like segmented perspectives, the artist¡¯s attempt on dividing and diversifying a single dimension stands out.

Kraus¡¯ other work,¡´A Sculpture in an Expanded Chapter(1978)¡µ, is well-known for its unique structure. While the aforementioned¡´A Br ief Study onIndex¡µshows an approach to graft into a new context, the 1978 art icle shines with insight that points out the differences in the area with its unique negativity of ¡°something not landscape¡± and ¡°something not architecture.¡± The two artists combine and bind the concepts of different contexts, and present their own insights with reconstructions that shed light on discrepancies within the same context. To see through or separate the insight is the ecology of the image surrounding oneself, which is the context of the previous work. Each piece will be placed in a different environment over time, but it will remain the same as each moment marks its new direction.






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