사각 속의 뜬구름 Drifting Clouds in a Square 30×29×25cm 브론즈 Bronze 2007
김정명 개인전 Drifting Clouds in a Square
2008. 5. 1 (THU) - 6. 8 (SUN) ※ 월요일은 휴관입니다.
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The Satirical Spirit of Kim Jungmyung and His Words Toward the World Choi Taeman (Art Critic)
A Secret Room, Familiar but Strange 285 Keumsungdong, keumjung-gu, Busan. Kim Jungmyung s studio located in a small town known as Sansung village by the steep Dongrae mountain path is indeed le cabinet de curiositĂŠs , a paradise of images and a museum unto itself. As a matter of fact, the artist is using the space as a secret chamber of his creation and an exhibition space as well. The contents of his work are precise and straightforward. But at the same time they contain complex metaphors and wit, an overthrow and a great word play. As with his direct, yet ambiguous works, his studio also shows a very interesting trait: it is very clear in its function, but looks like a magical space. What attracts my attention the most in that space is the attic that is located through the complicated structure of the half-basement and first floor. And there all the rooms interconnected in a straight line are exhibiting the series of his maquettes including fingers, pocket, yellow line and book that he has been exhibiting until now. In fact, there is no better place than his attic exhibition for helping us understand Kim Jungmyung s artistic world in a short period time. An attic is a space where we store all kinds of clutter, but at the same time it is a confidential storage room where the particles of everyday life get accumulated, preserved and hidden. In other words, it is a small museum, a kaleidoscopic world where dĂŠpaysement arises. As suggested in a phrase from Les Chants de Maldoror written by IsidoreLucien Ducasse under the pseudonym of Comte de LautrĂŠamon that is a beauty that arises from the strange meeting between a sewing machine on an anatomy table and a bat shaped umbrella, Kim s work has a peculiar trait constructed by objects and concepts that don t seem to assimilate with each other. His work is full of revolts against existing norms or faith that regulates our reality; however it does not have such masochistic narcissism of Maldoror or a violent fantasy about death. Rather his satires and jest seem to work as a keen but never harsh attack toward our hackneyed awareness indulged in boring reality, which has us as though we are soaked in warm bathtub water. Furthermore, since this attack arises from a criticism to awake our dull senses that tend to believe a phase of a subject as the truth, it is a progressive provocation that induces us to broaden our perspectives and speculation.
Sarcastic Subversion and Critical Mind The ironies, paradoxes, and sarcasm agitating his work are the special features that have been appearing since the beginning of his work. For instance, his works from Ppal (new forming) to the series of Frame and Canvas, Scrap, Fingers and Pocket have been trying to deconstruct the authority of art history while crossing over the barrier between sculpture and painting, and at the same time a defiant mind that seeks to destroy fixed concepts about art works from the inside flows through his works. And while seemingly passionate in appearance his scheme for overthrow that calls for us to fall into it actually keeps itself cool from the hypnotic trap that he created. How skillful he is in
the magic of images is exposed in his works that reveal the characteristics of the artist; that he is only gratified with production of familiar but strange images. I probably don t have to explain everything about it here. Maybe it is enough for us to read all the previous writings on his works written by many theorists. Yet let us look at one example of his peculiar narrations in the manner of continuous succession here. From Altamira to Picasso, a deceitful assemblage of a bison from the Altamira cave paintings and Picasso s Bull , consisting of a bicycle seat and a handle, condenses the whole of art history. In this work, Picasso s Bull appears in a label that reminds of Andy Warhol s Campbell canned soup. Here he is stating that art history is certainly an ocean of information. Furthermore, he is suggesting that such overflowing information can transcend the reality through his reproduced images and ready-mades. In the work where he mixed Jasper Johns bronze Ballantine can images with the garbage of consumer society, he institutes questions about art and objects, ideas of art and the information that consumes those ideas. While quoting the original work, he is questioning its authority, and for that reason, we can say that he is using parody as his method. His parody is publicly but covertly connected to sexual desire. The enlarged finger candidly exposes the fact that sexual desire reaches its peak through touch. For people living in this information-dense society, it is not an exaggeration to say that we are living in an era that a computer became our usual routine and is going to dominate our lives in the end. That is what Kim s finger work s stinging satire points to. Here the thumb becomes a monitor, and the numerous fingers become a keyboard: this work is a result of the consciousness of crisis that a fantasy of technopia could bring a mutation of human body. In other words, this work stimulates our imagination that as we get more dependent on computers, the more our fingers, the tools for putting information, will get excessively evolved, and eventually other organs might even become degenerated. Therefore, it seems to be saying that what controls our senses is not our brain but the tip of our fingers, fingerprints, which are keenly advanced as tentacles. Can it be so? This thumb of personal computer somewhat reminds of a phallus. This imposingly arrogant thumb is not the head of an absolute authority reigning above the world, but the root and power of it and also a symbol of law. Although he poignantly exposes the dystopia hidden within technopia he is never a rebel causing discord with the world, but rather an outcast. The optimism flowing through his works seem to be groundless but it arises continuously through his sparkling witty remarks. As a matter of fact, how can we expect progress without criticism? Although the liberation that he dreams of is not completely in keeping with the freedom that surrealists were dreaming of, since his hilarious provocation is rooted in reality, not just floating in a state of weightlessness of imagination and enlightening us to see things with more care, it is legitimate to say that he makes a defiant step toward freedom.
Sculpturing the World Kim has always refused to settle. On that point, his consciousness is thoroughly nomadic. Isn t there a saying like: a wanderer would not even stay on the road ? In the respect that he can move to somewhere else without any regret after accomplishing a work, he can be described as an explorer who has interests in many issues around the world and a wanderer who considers settling down depravity, so he can pack his back and leave quickly. This doesn t mean that he is a recluse who hides from the world nor an opprobrious speaker who curses everything with an aversion toward the world. At some points, it can be said that he is a storyteller with plenty of curiosity about the world that he narrates with images. When looking at 12 heads, which consists of 12 subjects such as structures, garbage, brands, cartoons, a prize, sex, religion, a constellation, books, fingers, pockets, the twelve zodiac signs, we can see how much he enjoys stories. He is a witty talker. What constitutes this head is same as what constitutes the world, and the world itself, further it is the Tower of Babel accumulated in human desires. In fact, our brain gets controlled by these desires. Amongst those, what calls my attention is after all the head formed with books. With the citation The List of 100 Required Readings for a Person of Culture including the Tripitaka Koreana, the Bible, Zhuangzi, Talmud, Leviathan, II Principe, Phenominologie des Geistes, Interpretation of Dreams, Three Kingdoms, Don Quixote de La Mancha, Metamorphoses, Der Zauberberg, and Dongibogam, or staking up the books in the library, this book, in its form, reminds us of the painting of a court librarian of Maximilian II of the Holy Roman Empire by Guiseppe Archimboldo. Is he praising knowledge through this work? There is some indication of that, too. But knowledge is not something that can save the world. This work is rather an epitaph dedicated to the humans who have been restricted by and become the slave of knowledge. Interestingly enough, the very bottom of this tower of knowledge is not a book but some kind of monogram composed with the artist s name in English capital letters and a cross. His sarcastic and also narcissistic attitude at the core of his work can be confirmed again through his own portrait in the medal hung at the bottom of the heads made of all the different kinds of prizes in the world. After all, through this series of heads, we can find that the world is a history of challenges toward accomplishments and that the artist himself also desires to be a hero of it and not dismissed. This series of twelve heads gives each singular form, but when gathering everything with their plethora stories and images in one place, one can find observe his view of the world easily. That is the subject of the world is the artist himself.
A Drifting Cloud in a Square Along with his Head series, he has enthusiastically produced a series of bubbles. This is perceived from the bubbles, an element of cartoons, where the images are eliminated and indeed the sound of silence of blank space opens possibilities. As much as the eliminated image, the bubbles without words make us question, whether there was a word in beginning. A bubble is indeed a place where all speech is condensed; a prison for words. Nevertheless a bubble is a place for the formation of meaning and of a debate to justify the images. Yet this bubble is imprisoned in the frame of a square. Of course, the designated
place of bubbles, the square frame and divided flat surface are from cartoons. The frontality is also derived from cartoons. In this manner, although it is from the frame of cartoons, a square is obstructed space. Ancient Chinese thought that the sky was round while the earth was square. This is, of course, a wrong belief, but maybe it was a proper way to understand the logic of the world and the cosmos. The world sectioned into a square is measurable and is included in a provable sphere. A cartoon incorporates the world into its square frame with some lines and words. Even though it is not at all related to reality, from the moment when we start reading a cartoon we get captivated by the square. Does this state only happen in the cartoon? A painting in the square frame also suggests a vision that is totally not related to reality, and aren't they in the end just some lines and forms and a composition of colors in a limited space? No matter how infinite the world that we can perceive, cartoons or paintings narrate it in the flat surface of a square. Sometimes words are utilized as supplementary equipment, or sometimes as an equipment of progressive persuasion, appeasement and assertion. It sounds like I am making a mistake, reciting the same words here, however; the world is a square. The artist himself has spoken about the fact that humans are used to the square from cradle to coffin. For that reason, a square is the world. And yet the stories of the inside of the world are diversified and three dimensional, so hard to predict, very kaleidoscopic and complicated. On that account, restricting it in the square is unjust and unreasonable. But it is impossible to reject. Our body and mind are too used to the world of the square, so we cannot be free from it. Then what if we erase the narrative in the square? Can we achieve the freedom of liberation? First get rid of the images and then empty out the words that the images stipulate. Now what remains are the square frames, the bubbles that imprisoned the now erased words and the simple lines in the square; an exile to silence: while Badashanren is known to express his severance with the world by putting the word mute on his door, in Kim s work even that is eliminated. By emptying the words, there is neither excuse nor insistence. Then does he want to insist upon silence as a way of cultivation to reach enlightenment in Buddhism? Of course some part seems to be that way. His remark, If there is no word, there is no mistake , even brings a sense of religious profoundness. But then how can we argue with the theory that by learning words, humans can finally achieve their identity? Emptying the words wouldn t mean that the usefulness of it should be expelled. The charm of his bubble series works is found in the point that by erasing all the words a possibility for a new meaning to enter arises; not in the point that all the meanings disappear. Looking at the work where he eliminates the inside of some old books that he found, and then inserted silent bubbles, I was thinking that maybe he is trying to reject theories at first, and also to express his doubts about the truth of the holy words. On the other hand, he also seems to have a lot of words that he desires to say. Wouldn t he be expressing his desire with a metaphor of floating cloud in a square since the words could cause other conjectures? I would like believe that his drifting cloud is not forcing us to keep silent to comfort our souls tired of lies, but rather that it is a stepping stone for him from which he can begin to talk toward the world.
사각 속의 뜬구름 Drifting Clouds in a Square 102×181cm(2ea) 스테인레스 스틸, 우레탄 페인트 Stainless Steel, urethane paint 2007
사각 속의 뜬구름 Drifting Clouds in a Square 124×245cm 스테인레스 스틸, 우레탄 페인트 Stainless Steel, urethane paint 2007
사각 속의 뜬구름 Drifting Clouds in a Square 124×245cm 스테인레스 스틸, 우레탄 페인트 Stainless Steel, urethane paint 2007
사각 속의 뜬구름 Drifting Clouds in a Square 124×245cm 스테인레스 스틸, 우레탄 페인트 Stainless Steel, urethane paint 2007
memory in the mirror video installation 9min 20sec. 2007
브랜드, 섹스, 돈 그리고 뜬구름 Brands, Sex, Money and Drifting Clouds Detail
브랜드, 섹스, 돈 그리고 뜬구름 Brands, Sex, Money and Drifting Clouds 가변설치 Dimensions Variable 알루미늄 Aluminum 2007
사각 속의 뜬구름 Drifting Clouds in a Square 28×22×38cm 브론즈 Bronze 2007
사각 속의 뜬구름 Drifting Clouds in a Square 39×30×37cm 브론즈 Bronze 2007
▶아파트 Apartment 80×20×106cm 브론즈 Bronze 2007 ◀아파트 Apartment Detail
커피한잔의 의미 Meaning of a cup of coffee 28×32×23cm 브론즈, 오일페인트 Bronze, Oil paint 2007
명상 Meditation 28×23×32cm 브론즈, 오일페인트 Bronze, Oil paint 2007
잠자리 Dragonfly 38×29×29cm 브론즈, 오일페인트 Bronze, Oil paint 2007
나비 Butterfly 38×29×29cm 브론즈, 오일페인트 Bronze, Oil paint 2007
책 Book 23×5×29cm 혼합재료 Mixed Media 2007 책 Book 24×4×32cm 혼합재료 Mixed Media 2007
책 Book 21×4×30cm 혼합재료 Mixed Media 2007 책 Book 19×7×17cm 혼합재료 Mixed Media 2007
사각 속의 뜬구름 Drifting Clouds in a Square 31×31cm(6ea) 혼합재료 Mixed Media 2008
사각 속의 뜬구름 Drifting Clouds in a Square 23.5×25.5cm 혼합재료 Mixed Media 2007
Empty 12.5×27.5cm 혼합재료 Mixed Media 2001
사각 속의 뜬구름 Drifting Clouds in a Square 56×40cm 혼합재료 Mixed Media 2007
Kim, Jung Myung
B.F.A College of Fine Art, Hong-ik University M.A. Dept. Fine Art Education, KeiMyung University Researcher, Dept. Fine Art, University of Tsukuba Research Professor, Art Department at California state University Northridge Presently: Professor, Department of Fine Arts, College of Arts, Busan National University
1999 1998
1997 Solo Exhibitions 2008 16th Solo Exhibition- Drifting Clouds in a Square (Savina Museum, Seoul) 2008 15th Solo Exhibition- Heads of Kim, Jung Myung (Gyeongnam Art Museum, Changwon) 2007 14th Solo Exhibition-Invited Exhibition Celebrating the 72th Anniversary of KBS in Busan (KBS Gallery, Busan) 2006 13th Solo Exhibition-Heads KAF (Busan) 2003 12th Solo Exhibition- Empty (Suka Art Space, Busan) 2002 11th Solo Exhibition- The Prisoner of Desire (CSUN. Art Gallery, California, U.S.A) 2000 10th Solo Exhibition- Yellow Line (Alternative Space Sum, Busan) 2000 9th Solo Exhibition- Book : Invited Exhibition Celebrating the Opening of Information Center KyoBo-Books (KyoBo Gallery, Busan) 1998 8th Solo Exhibition- Book (Lotte Art Gallery, Busan) 1996 7th Solo Exhibition-Invited Exhibition of The Seoul Group (Seoul) 1993 6th Solo Exhibition-Invited Exhibition of DongBaik Art Center (Busan) 1990 5th Solo Exhibition (Chosun Gallery) 1987 4th Solo Exhibition (Senyoo Gallery, Tokyo, Japan) 1985 3rd Solo Exhibition (Yoo Gallery, Busan) 1979 2nd Solo Exhibition (Suro Gallery, Busan) 1977 1st Solo Exhibition (Won Gallery, Busan) Group Exhibitions 2007 Reconstruction of the masterpiece (Savina Museum, Seoul) 2005 Commemorative Exhibition of Opening the GimHae Arts and Sports Center Playing Light (GASC, GimHae) Art & Math (Savina Museum, Seoul) 2004 Invited Exhibition Celebrating the 1st Anniversary of Geojea Art Center, From Youngsan-River To Nakdong-River (GAC, Geojea) 2001 Variation of Images and Objects (Busan Museum of Modern Art, Busan) 2000 Western Art History (GongPyong Art Center, Seoul)
1996
1995
1994 1993 1992
1991 1990 1989 1988
Commemorative Exhibition of Opening the Alternative Space Sum (Busan) Print, Art, Book (The Korean Culture & Arts Foundation, Seoul) 20c Korean Arts, The Environment and Fine Art of Busan area (Lotte Art Gallery, Busan) PICAF-International Sculpture Symposium (Busan Museum of Modern Art, Busan) Korean Arts of This Year (The Korean Culture & Arts Foundation, Seoul) Korean Arts 97 (National Museum of Contemporary Art, Gwachon) Development of Korean Modernism 1970-1990 (Kumho Museum, Seoul) 4SIDE (Laska Gallery, LA, U.S.A) an Organ without Body, Organs (Kumho Museum, Seoul) Invited Exhibition of Total Museum Art Prize (Total Museum, Seoul) Seoul International Contemporary Art Festival (National Museum of Contemporary Art, Seoul) Flow of Contemporary Art in Korea (Insa Gallery, Seoul) Exhibition of Kim, Jung Myung & Ishigawa, Koji (Toire Gallery, Fukuoka, Japan) Creation and Quotation (Hyundai Art Gallery, Seoul) 92 Invited Exhibition of Contemporary Art (National Museum of Contemporary Art, Seoul) Exhibition of 6 Busan Artists (Nouveou Gallery, Busan) 90-Seoul International Methodology Show (The Korean Culture & Arts Foundation, Seoul) Figurative Art of 80s (Kumho Museum, Seoul) The Quarterly Art Magazine Choice: New Generation of 16 Artists in Korean Contemporary Art (Sinsekye Gallery, Seoul)
Books 2006 Big Heads (Beonwho Publishing Company) 1998 Book (Publishing Department of Busan National University) 1990 Kim, Jung Myung (Publishing Department of Busan National University) Collected Main Art Works 2000 ‘The Chair of God’ (Symposium on International Sculpture in the UN Memorial Park) 1998 ‘Pocket-The Cosmos’ (MBC in Busan) ‘Auditorium’ (Busan Cultural Center) ‘Love, Dream and ...’ (Busan Museum of Modern Art)
김정명 개인전 2008. 5. 1 - 6. 8
Printed by KC Communications
2008
110-240 서울특별시 종로구 안국동 159 TEL.02-736-4371 FAX.02-736-4372 #159, Anguk-dong, Jongno-gu, Seoul, 110-240, Korea www.savinamuseum.com