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  • 두산갤러리(NY) 권용주 개인전 '연경(Tying)'(9/7-10/5)
  • sukie
    Sep 05, 2017
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    • Doosan Gallery New York
    • Yongju Kwon: Tying
    • 9.7 - 10.5, 2017
    • DOOSAN Gallery New York, 533 West 25th St.
    • 9.7, Thursday, 6-8pm
    • http://www.doosangallery.com

    doosan.jpg

    Tying

    Yongju Kwon


    9.7 - 10.5, 2017

    Opening Reception: 9.7, Thursday, 6-8pm

    DOOSAN Gallery New York


    DOOSAN Gallery New York is pleased to announce Yongju Kwon's solo exhibition "Tying," from September 7th through October 5th, 2017.

     

    Yongju Kwon has been contemplating and studying the idea of survival through observing the moving routesof discarded objects as well as looking at the lives of blue-collar workers. In 2014, Kwon participated in an art project hosted by Jim Thompson, a textile mill in Thailand, and was able to research the cross-cultural similarities among individuals working within specialized industries. In addition, by using his side job (one in which he needs in order to maintain his livelihood) as the content for his artistic practice, Kwon questions the value of the labor of an artist. Through this exhibition, the artist continues his exploration of revealing the various layers within the sentiments behind labor.

     

    This exhibition centers around Kwon's magnum opus Tying (2014-2016) and will also comprise of The Almighty Wall (2014), as well as his new piece As Boring As Possible (2017). Tying consists of a video component along with a woven silk piece and a dyed thread installation. The 28-minute video footage includes the interview audio of the artist's mother, who had worked at a Korean textile factory for over thirty years, and a factory worker from Jim Thompson. Differing from the 2014 version where the work was shown in three channels, the artist takes the content from both interviews along with the repetitive movement of the factory's machines and interchanges them within a single channel frame.

     

    "Whether you are dragged to live on a gravel or sand field, you would be able to lay the cornerstone, build a house, and survive," Kwon's mother says of herself in the interview. These words that characterize someone with an iron strong will are shown in the video, embroidered in gold on a piece of silk by a jacquard loom. The jacquard silk piece from the video is presented in the exhibition space with the dyed thread installation that mirrors a portion of the textile mill.

     

    Multi-Use Wall (2014) contemplates Kwon's own identity as an artist as well as a worker. While the artist displays video work that depicts his production process in the gallery, in the ending credit of the video, he reveals his production company "buup" (which means side job or day job in Korean) and includes its contact information, thereby breaking down the boundary between fine art and commercial advertisement.

     

    Shown adjacent to Multi-Use Wall is As boring as Possible (2017). As Boring as Possible juxtaposes physical labor of constructing a wall alongside the intellectual labor of an exhibition specialist. The artist shows the process of exhibition design in a time-lapse form on a computer screen. Within this footage includes the artist's interior design process of projects he had overseen, such asExtraordinary Phenomenon, Nam June Paik Art Center; Forum A's GwangJu Biennial reconstruction project; NANJI 10 YEARS: SeMA NANJI RESIDENCY Archive Exhibition, Seoul Museum of Art; and, the CR Collective space for Project Acts.

     

    Yongju Kwon (b.1977) received his B.F.A. in Environmental Sculpture at the University of Seoul. He hasheld solo exhibitions at Art Space Pool (2016, Seoul, Korea), D Project Space (2014, Seoul, Korea),Seoul Art Space Mullae (2011, Seoul, Korea), and Insa Art Space (2010, Seoul, Korea). He showedin group exhibitions at Indipress (2016, Seoul, Korea), DOOSAN Gallery New York (2016, NewYork, United States), Gyeonggi Museum of Art (2015, Ansan, Korea), National Museum of Modernand Contemporary Art (2014, Gwacheon, Korea), Seoul Art Space Geumcheon (2014, Seoul,Korea), DOOSANGallery Seoul (2014, Seoul, Korea), Gallery Factory (2013, Seoul, Korea), CultureStation Seoul 284 (2012, Seoul, Korea), Art Space Pool (2011, Seoul Korea), Art Space Boan (2009,Seoul, Korea), and many more.



    두산갤러리 뉴욕은 2017년 9월 7일부터 10월 5일까지 권용주의 개인전 《연경(Tying)》을 개최한다.

     

    권용주는 버려진 사물의 이동 경로, 그리고 노동자의 삶을 통해 생존에 대한 고찰을 지속해왔다. 2014년에는 태국의 대형 실크 공장인 짐 톰슨(Jim Thompson)사 주최의 예술 프로젝트에 참여하면서 특정 산업구조에 속한 개개인의 경험과 그들 삶의 범문화적 유사성을 연구했다. 또한, 자신의 생계 유지를 위한 부업을 작품으로 표현함으로써 예술가의 노동에 대한 가치에 의문을 가졌다. 이번 전시를 통하여 권용주는 전작부터 이어온 노동의 다양한 층위와 정서를 보여주고자 한다.

     

    이번 전시는 대표작 <연경>(2014 - 2016)을 중심으로 <만능벽>(2014)과 신작인 <될 수 있으면 지루하게>(2017)를 선보일 예정이다. <연경>은 영상과 실크 직조 작품 그리고 염색사 설치 조형물로 이루어져 있다. 28분 길이의 영상은 30년간 한국의 방직공장에서 일했던 작가 어머니와 짐 톰슨사의 방직 노동자의 인터뷰 음성을 다룬다. 이번 전시에서는 3채널로 보여주었던 2014년 영상과 달리 두 사람의 인터뷰 내용 그리고 공장 기계의 반복적 움직임을 교차시켜 만든 단채널로 화면을 구성한다.

     

    "자갈밭에 끌어다 놔도 살아날 거고, 모래밭에 가도 주춧돌을 만들어 집을 짓고 살 인간이라고..."는 어머니와의 인터뷰 내용 중 일부이다. 삶에 대한 강한 의지가 느껴지는 이 문장은 전자동 기계가 검은 실크 천 위에 금실로 새겨지는 모습으로 영상에 소개된다. 어머니의 문구가 새겨진 화면 속 실크 직조 작품은 방직공장의 한 켠을 재현한 염색사 조형물과 함께 전시장 한편에 설치된다.

     

    <만능벽>(2014)은 예술가인 동시에 전시 기술자이기도 한 작가의 역할에 대한 고민을 이야기한다. 작가는 제작 과정이 담긴 영상을 전시장의 작품으로 보여주고, 엔딩 크레딧 대신 자신의 제작 업체 'buup(부업*)'의 연락처를 노출해 예술작품과 상업적 홍보물의 경계를 무너뜨린다. <만능벽>과 나란히 보여지는 <될 수 있으면 지루하게>(2017)는 만능벽을 짓는 실질적 노동 이면의 전시 기술자의 지적 노동에 대해 다룬다. 작가는 컴퓨터 화면에서 진행되는 전시 디자인 과정을 타임 랩스 형식으로 보여준다. 이 영상은 올해 상반기에 작가가 작업한 백남준아트센터의 '비상한 현상,' 포럼 A의 광주 비엔날레 재구성 프로젝트, 서울 시립미술관의 '난지10년 난지미술창작스튜디오 10주년 아카이브전,' 프로젝트 엑츠의 씨알 콜렉티브 공간 디자인 과정이 담겨있다.

     

    권용주(b. 1977)는 서울시립대학교 환경조각학과를 졸업하였다. 아트 스페이스 풀(2016, 서울, 한국), 디프로젝트 스페이스 구슬모아 당구장(2014, 서울, 한국), 문래예술공장(2011, 서울, 한국), 인사미술공간(2010, 서울, 한국) 등에서 개인전을 개최하였고, 인디프레스(2016, 서울, 한국), 두산갤러리 뉴욕(2016, 뉴욕시, 뉴욕주, 미국), 경기도미술관(2015, 안산, 한국), 국립현대미술관 과천관(2014, 과천, 한국), 금천예술공장(2014, 서울, 한국), 두산갤러리 서울(2014, 서울, 한국), 갤러리 팩토리(2013, 서울, 한국), 문화역서울284(2012, 서울, 한국), 아트 스페이스 풀(2011, 서울, 한국), 통의동 보안여관(2009, 서울, 한국) 외 다수의 그룹전에 참가했다.

     


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