park seungmo
This catalogue is published by HADA Contemporary to accompany the exhibition:
PARK SEUNGMO 3 - 27 APRIL 2014 No part of this publication may be reproduced in any form or by any mean, electrical, mechanical or otherwise without prior written permission from HADA Contemporary Ltd.
pa r k s e u n g m o
PARK SEUNGMO The long tradition of studies and theories on the mirror and the reflection alludes the myriads of meanings and associations they carry. Although initially used as the symbols of the wisdom, self-knowledge and purity, gradually they came to be associated with the negative values as the vanity, deception and illusion from the transitory and shallow nature of the reflection. Perhaps, the most widely known is the young Narcissus of a great beauty who wastes away his life while self-admiring his reflection in the water. In A Picture of Dorian Gray (1890) by Oscar Wilde (1854-1900), the portrait of beautiful Dorian acts as a mirror that reflects his age and sinful acts showing the true nature of perpetually youthful protagonist. Furthermore, Sturken and Car twright suggest that Jacque Lacan’s (1901-1981) ‘mirror phase’ theory is not about the mirror as a reflection of self, but about the mirror as the constitutive element in the construction of the self.[1] Here, Park employs the invisible and intangible mirror that divides the exhibition space into two, a present reality and its reflection to elaborate the idea that we would not otherwise be able to see. The unseeable mirror is the vital object that emphasise the illusion of the real, as the real itself does not differ to its own reflection in its appearance. The notion of the image, self and reality as the construction of fragmented illusions accelerated and concretised further in the modern and postmodern era through diverse philosophical minds as Günther Anders (1902-1992) and Jean Baudrillard (1929-2007) with the advent of the media and its aesthetics and criticism. Especially, Baudrillard highlights this fragile reality of the ‘perpetual motion picture’ as ‘it is the generation by models of a real without origin or reality: a hyperreal… The
desert of the real itself.’[2] ‘The dependent origination (pratītyasamutpāda, 연기, 緣起) means everything exists through abundant reciprocal relationship of causes (hetu, 인, 因) and conditions (pratyaya, 연, 緣), thus without these relationships there is no fruit
of one’s action (phala, 결과, 果). All these environmental relationships together form ‘me’ and my ego. If you look closely, wire mesh is nothing more than what it is. And these meaningless layers of wire mesh together show something that is illusionistically real through the shadow. In the end, we all appear like the illusionistic real that has been put together through the diverse relationship.’ – Park Seungmo In Hinduism, the atman refers to the eternal self, the real self beyond ego or false. It is often referred to as spirit or soul and indicates our true self or essence that underlies our existence which also suppor ts the idea of reincarnation.[3] Ironically, the ar tist brings together luminous neon signs, the product of modern age that symbolises ceaseless development, to solemnly declare this cyclical nature of the universe and our life. Furthermore, Buddhist practitioners believe on the four noble truths (dukkha, samudāya, nirodha and magga, 고집멸도, 苦集滅道) that the origin of suffering (samudāya, 집제, 集諦) is from the three roots of evil – the greed and desire, ignorance or delusion and hatred and destructive urges.[4] Hence, one need to seek the path to the cessation of suffering (magga, 도, 道) following the principles of the Eightfold Path also known as the Middle Way to search for the enlightenment. As seen from Buddha is not gold (2014) that derives from the traditional Eastern sculpture forms of the seated Siddhar tha amidst deep meditation away from the varnitas of life before becoming Śakyamuni. Similarly, the burden and the pain of Narcissus and Dorian originate from this samudāya and not acknowledging the impermanence of life as once taught by Buddha. Interestingly, these philosophies fundamentally shaped the writing of Ar thur Schopenhauer (1788-1860) in his book The World as Will and Representation (1818) that played crucial par t in influencing other contemporaries as Richard Wagner (1813-1883) enrapturing him to sketch an opera, The Victors (1856), based on a story from the life of Buddha[5] which were later explored in Parsifal of self-renouncing, reincarnation, compassion - although differ from the inevitable misunderstanding of the original beliefs of the Eastern philosophy during the time. Whether it is a Greek mythology, a literature and a stream of philosophy, the essential principles underneath fundamentally question and negate the essence of nature and life distinctly reflecting the philosophy of ancient Eastern sages. These works are Park’s effor t towards the emancipation of his true self, practicing the philosophy as once Wagner used as to fuel his creativity, in turn, questioning us of our own.
Sturken, Marita and Lisa Car twright, Practices of Looking: An Introduction to Visual Culture, Oxford University Press, 2008, Print, p. 121 Baudrillard, Jean, ‘Simulacra and Simulations’, Jean Baudrillard Selected Writings, ed. Mark Poster, Polity Press; 2nd Edition, 2001, Print, pp. 165, 172 [3] Hindu Concepts, Religions, BBC, http://www.bbc.co.uk/religion/religions/hinduism/concepts/concepts_1.shtml, 2009, Web, 21 Mar 2014 [4] The Fourth Noble Truths, Religions, BBC, http://www.bbc.co.uk/religion/religions/buddhism/beliefs/fournobletruths_1.shtml, 2009, Web. 21 Mar 2014 [5] Hollinrake, Roger, The Wagner Compendium: A Guide to Wagner’s Life and Music, ed. Barry Millington. Thames and Hudson Ltd., London, 1992, Print, p. 147 [1] [2]
02 | 03
108 Ego | Electrode lead and bulb | 77 x 60 x 184 cm (x2) | 2014
04 | 05
108 Ego | Electrode lead and bulb | 77 x 60 x 184 cm (x2) | 2014 | Detail
10 | 11
Buddha is not gold | Aluminum wire , fiberglass, lifecasting and paint | 42 x 49 x 93 cm (x2) | 2014
12 | 13
Buddha is not gold | Aluminum wire, fiberglass, lifecasting and paint | 42 x 49 x 93 cm (x2) | 2014
14 | 15
ANO T H ER W A L L
Another Wall 320 | Stainless steel wire mesh | life size | 2014
18 | 19
Another Wall 406 | Stainless steel wire mesh | life size | 2014
20 | 21
Another Wall 527 | Stainless steel wire mesh | life size | 2014
22 | 23
Another Wall 608 | Stainless steel wire mesh | life size | 2014
24 | 25
v
PARK SEUMGMO
b. 1969 Lives and works in Seoul, New York and Berlin
EDUCATION 1998 BFA in Dong A University, Korea SOLO EXHIBITIONS 2014 Solo Exhibition, HADA Contemporary, London, UK 2013 Nampo Art Museum,Korea Art Issue Gallery,Taipei,Taiwan 2012 Bundo Gallery, Daegu,Korea Present Moment, HADA Contemporary, London, UK MAYA, Blank Space Gallery, New York, USA The Reality of Existence, Kips Gallery, New York, USA Maya, Lotte Gallery, Busan, Korea Dosi Gallery, Busan, Korea 2011 Absinthe Gallery, Korea 2010 Extreme Line, Ever Harvest Art Gallery, Taipei, Taiwan 2008 Gallery Artside, Seoul, Korea 2005 Gallery Artside, Seoul, Korea SELECTED GROUP EXHIBITIONS 2014 His GAZE, ES Gallery, Seoul, Korea 2013 Hong Sungchul & Park Seungmo, HADA Contemporary, London, UK Korea Tomorrow, Hangaram Art Gallery, Seoul, Korea 2012 JIN.TONG, Gwangju Museum of Art, Korea Korean Eye, Fairmont Bar Al Bahr, Abu Dhabi, UAE KOREAN ART SHOW, New York, USA 2011 Aha! Moment, Hangaram art museum, Seoul art center, Seoul, Korea Korean Eye, Museum of Arts and Design, New York, USA Korean Eye, The National Assembly, Korea, Seoul 2010 Power of Sculpture Group Exhibition, Samtoh Gallery, Seoul, Korea KOAS, Insa Art Center, Seoul, Korea Power of Geonggido, Geonggi Museum of Art, Korea Life in Art, Pohang City Museum, Pohang, Korea Form & Formless, Gallery Form, Busan, Korea Group exhibition with teachers, Insa Art Center, Seoul, Korea 2009 Play at Open Space, Ansan Arts Centre, Korea Mad for Furniture, Netspace, Seoul, Korea Korean Eye Moon Generation, Phillips de Pury, The Saatchi Gallery, London, UK Kroean Aesthetics, Albemarle Gallery, London, UK The Body Speaks, Touchart Gallery, Korea Ticktac-Korean Sculpture, Gallery Dodo, Seoul, Korea 2008 Albemarle Summer Show, Albemarle Gallery, London, UK Korea Now, Art Rink, Sotheby’s, Israel The Party, Gallery Gayang, Pusan, Korea 2007 Lines in Space, Gyeonggido Museum, Gyeonggi, Korea Three Men Show: Park SeungMo, Lee JaeHyo, Choi Tae Hoon, Nanas, Art Centre, Gyeonggi, Korea 2006 Gyeonggido Young Artist Exhibition, Ansan Arts Centre,
2004 2003 2002 2001
2000 1999 1998
1997 1996
Ansan, Korea Gyeonggido Established Artists Exhibition, Yoju, Korea Three Men Sculpture Show, Jang Eun Sun Gallery, Seoul, Kroea Outdoor Project, Sejong Cultural Centre, Seoul, Korea Hangul Exhibition, Mok-A Museum, Gyeonggi, Korea 1234567890 Sculpture Exhibition, INSA Gallery, Seoul, Korea Sculpture Park Exhibition, Zoo Land, Daejeon, Korea Hangul Exhibition, Mok-A Museum, Gyeonggi, Korea Korea Arts Exhibition, National Modern Gallery, Gyeonggi, Korea Nandan Arts Festival, Kolkata, India Dong A Sculpture Exhibition, Cultural Centre, Pusan, Korea Nan Bu Modern Arts Festival, Jinju Cultural Centre, Jinju, Korea Pusan Arts Festival, Cultural Centre, Pusan, Korea Dong A Sculpture Exhibition, Cultural Centre, Pusan, Korea Nan Bu Modern Arts Festival, Cultural Centre, Pusan, Korea Korea Arts Exhibition, National Modern Gallery, Kyunggi, Korea Dong A University Exhibition, Cultural Centre, Pusan, Korea Newcore Arts Exhibition, Kyunggi, Korea Drawing Exhibition, Gallery 2020, Seoul, Korea
This catalogue is published by HADA Contemporary to accompany the exhibition:
PARK SEUNGMO SOLO EXHIBITION 3 - 27 APRIL 2014 No part of this publication may be reproduced in any form or by any mean, electrical, mechanical or otherwise without prior written permission from HADA Contemporary Ltd.