August 15, 2011
2004 Àü½Ã¼­¹® / ¿©Çà - ¼­¿ø¿µ
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A Trip to Wooljin
The works of Ahn Kyung-Jin presents the will of redemption from the dull everyday life through the Journey. Most of his works are installation resembling narrative and representational character. The usage of images and characters is a way to deal with a grave theme in the playful manner. It is likely to focus on the remaining power rather than strive within the heavy burden of life.
In his show, it is the narrative factor making a plot and dividing it into scenes that effect the whole. The first work in the showroom, <Bruise>, confronts the viewer through a tiny window blocked over it. When moves around the corn-shaped pedestal, one can see a man of tired looking. It may seem that a man of wall recalls symbolic difficulties and despair, but that is not necessarily a direct pessimism of determination. Like a life of insect goes through the dormant period, everything that appears is not all. Thus, the title of the work using pun is standing for bothe the unattainable and dormant nature of the work and the retinal mechanism of the outward window.
Such a phase of human can be also found in the <Lunch Break>. It is hard to recognize an individual from the mass figures overflown to fill their hunger and resume their work. It is also a truth to be apt to consider the figures as wokholic ants rather than give the every individuals minute concerns. The terracotta figures fill the ground under the ruling segment of dark cubic buildings. As like the wall of <Bruise>, they all serve perfectly well by the Pavlovian law spilling out through the blocks.
The presence of <Witness>, like the society of Big Brother in George Owell's, a watching camera makes the viewer recall peeping Tom. The tool of power to hit the break like a mild sheep whenever driving like a out law, as like our own sight to watch ourselves impossible to hide, reveals candid embarrassment of ourselves finding the camera.
There is an image processed work uniting the viewers' presence. Ahn Kyung Jin's <Road> is projecting the seaside passage on the wall of dark room. However, this image is on recording by another camera where the viewer can find himself on the monitor. The video work, which synthesized a kind of self-reproducting sequences, shows the artist's will to break the banality of everyday life by the will of redemption. The acuality of the image starts with the running shot on the searoad, and we recognize that we are traveling with a bird flying out there. A bird's pill pointed still shot ends with sun rising, where the viewers are participating the simple and symbolic trip. The typical video images were not on the scenario but on the fragm! ents of memories all happened in the spot.
<Wol song jung> and <King Crab> is a representation of the other end in this trip which enabled him to recollect himself and to arrive at the understanding the enigma of life and the process of redemption. Yet, a trip is a short passage in its meaning, and it also means a cycling status rather than a linear end. We are able to satisfy ourselves given full rewards to see the road meet another on and on, which signifies the readiness in our minds to be by ourselves and to expect the energy to be born again, right? Again, <Wol song jung>s relief composition reveals a kind of panorama by its empty bars, which differs from the watchful sight of <Witness> in the meaning of acception and broadness. One should remind hims! elf that the paper reliefs are free from the construction of the building itself. His remembrance on Wuljin covers both the symbolic character and graceful nature of the city. The artificial touch on king crab claw and symbolic character never conceal their playfulness.
The return point of our everyday life in <Once Again> is not easy at all. The interior space seen through the lens above keyhole of the door is strikingly wide. Such a paradoxical space in his trick gives the viewer a hint of identifying the physical space with the visual. We should remind ourselves where we are trying to escape could be another aspired end to reach for others, and the door we struggled to get in could be another way out of freedom. Thus, the message of the artist is not a trip to escape the everyday life but a passage of redemption traveled through.
The various narrative in Ahn Kyung Jin's show are using familiar images and mechanism. In the report and memo of his work, what he wants to share is not a philosophical jargon but a literal meaning of journey. The terracotta figures, the pun and the self-reproduction of the images are all playful humors of appropriation. His healthy thought can be verified in that he never hesitate to use the tools of these narratives toward the viewers.
Won-Y. Seo(Sculptor)
 
August 15, 2011
2004 Àü½Ã¼­¹® / ¿©Çà - ¼­¿ø¿µ
August 15, 2011
2006 'BATON RELAY' < °èÁÖ > - ÀÛ°¡³ëÆ®
August 15, 2011
2006 Àü½Ã¼­¹® / ±â°£ÀûÀÎ ³»¸é Ç¥Çö Á¶°¢À» ÅëÇÑ ³»°¡ ´Þ¸®°íÀÚ¡¦
August 16, 2011
2011 Àü½Ã¼­¹® / ¿¡·ÎƼÁòÀÇ ¸ðÈ£ÇÑ ¼¶±¤ - ¹é¿ë¼º
July 31, 2012
2012 '¿øÇüÀÇ ÆóÇãµé' ÀÛ°¡³ëÆ®
July 31, 2012
2012 Àü½Ã¼­¹® / Çü»ó ȤÀº ȯ¿µphantomÀÇ À¯Èñµé: »õ·Î¿î °¨°¢¡¦
January 01, 2014
2013 Àü½Ã¼­¹® / È®»ê°ú °øÆ÷ÀÇ ½Ã¼±µé - ¹é¿ë¼º
May 23, 2017
2017³â '½ÅµéÀÇ Ãã' ÀÛ°¡³ëÆ®
July 31, 2018
2018 Àü½Ã¼­¹® / ±×¸²ÀÚ ±ØÀåÀÇ ¾È°ú ¹Û - °­Á¤È£
May 23, 2017
2017 Àü½Ã¼­¹® / ±×¸²ÀÚ - Üôì£ÀÇ ¼¼°è·Î °Ç³Ê°¡´Â ¡°Ëµ¹ - ÀÌ¡¦
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