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International Creators magazine
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10,000 KRW
ELOQUENCEinternational creators magazine
COVERPHOTOGRAPHER HAL
STARRINGPARK SEUNGYEASEUNG JOON CHOIDONGHYUN SONBY BORRE
SANGBONG LIEMOTOELASTICODONGMEE LEETHE STRIKERS
VAKKISHODA YUKIHIRODIMITOROBERT BRADFORD
KIRINTOSHIFUMI TANIUCHI
FEB 2012
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EDITOR’S NOTEEloquence – The International Creators MagazineEloquence is a magazine for creators and also about theme. As the only creators’ magazine in Korea, it provides a unique platform for creative people. With an international editorial team comprised of editors from Korea, Japan, Australia, Sweden, Germany, the US and UK, and
of international culture exchange, informs about new developments in creative scenes from all over the world and turns the creative passion of leading creators into inspriring stories.
Eloquence’s readers are professional creatorsEloquence connects the world of trendsetting creators with a wider audience of art lovers and countless ambitious aspirants interested in Art, Design, Events, Music, Film, New Media Art, and New Collaborative Projects. Ideas spread faster around the world than ever before, and Eloquence readers are part of a global community anticipating the changes that come with this development.
Eloquence is available all over the world Eloquence is distributed on famous galleries, art spaces, clubs, and
Eloquence will visit another city around the world.
Eloquence is a social networking magazine in the digital eraEloquence is preparing digital format of the content produced for the print
digital content for tablet magazines.
Eloquence is a new project magazineEloquence is a new project magazine that creates content that not only reports but also produces events and projects. Already introduced art and culture projects are in production or will be launched soon. Currently
are ready to be part of us, join us in any time. We welcome you with open arms. For your information, the next issue of the Eloquence will be
Editor-in-chief Woo-chi Jeon
contents
exhibitioneventmusicprojecteventprojectarchitecturemusicartphotographybrandartmediafashionphotographymusicstudio visitjournalismdrawingartartartfilmcollectionprojectinformationcollection Cover. Photographer Hal
010012014016020022024028030036044048054058066072074080082092100106110114122128137
DAVID LACHAPELLE IN SEOULTIGER TRANSLATEROSSY PP PADDING JACKET PROJECTCut & Paste Seoul 2011SILENT JEJU MotoelasticoKIRINLISTEN TO THE CITYPHOTOGRAPHER HAL DIMITOROBERT BRADFORDSouvenirs from Earthby BorreLouis ParkTHE STRIKERSVAKKIDONGMI LEEBukchon PARK SEUNG YEADONGHYUN SONSEUNG JOON CHOISHODA YUKIHIRO FUKUSHIMA POJANGMACHA PROJECTWorld ExhibitionsLIE SANG BONG 10 YEARS
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staff
Editor in ChiefJeon WooChi / [email protected] Creative Director
Art DirectorYom Snil / [email protected]
EditorAnna Choi / [email protected]
IDA Grändås-Rhee / [email protected]
South East Asia EditorLondon EditorTokyo Editor Yuta Sugihara / [email protected] Editor
Intern Editor
Suesasha Joung / [email protected]
Copy EditorRoss Gardiner / [email protected]
Writer / Contributor
Head Designer
Assistant DesignerMi Kyung Kwon / [email protected] Ran Jeong / [email protected]
Su Rim Nam / [email protected]
PhotographerJun O Hwang / [email protected] Son / [email protected] Eeow / [email protected]
TranslatorEsther Hwang / [email protected]
Web Designer
Ji Young Kang / [email protected]
Executive Producer
Chairman
President
Managing Director
Chief Manager
IT General Manager
IT Management Team
Yo Han Kim / [email protected]
Distribution
TIMES CORE CO.
ELOQUENCE
international creators magazine
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contributors
Udo Lee
Eloquence as a creative director. As soon as Udo came on board, he received high
successfully. In addition, his sharp analytic
guidance for creators.
Hyeon-min Kim
Hyun-min Kim is an energetic producer who is
projects, including ‘Ho-wha-dae-ban-jeom’, ‘Pojangmacha Project’, and ‘Paris Project’. Kim, who was a stage actor, is playing an important role in completing each project with
He always pursues perfection in everything no
and give him the much deserved praise for his
Hea-won Kim
Hea-won Kim is a photographer and designer. Originally from Seoul but educated in the Netherlands, she has lent her unique aesthetic sense to a number of projects here in Seoul,
and aweh.tv. For this issue, Hea-won was behind the lens of her trusty and ever-present
talents again and again in upcoming issues of Eloquence.www.ppochu.com
Junk House
Junk House was invited on behalf Korean
held in Sydney last November. Despite her tight schedule during her short stay, she sent us the interesting stories about
Eloquence. She will also share her current ongoing project in the redevelopment area of
hope this unique artist with a strong personality
www.junkhouse.net
Ross Gardiner
Ross Gardiner is the real hidden hero for
Scotland is the copy editor of Eloquence. Since our contents are sent from all over the world, Ross is entrusted with gluing together
much for that.
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exhibition
DAVID LACHAPELLE IN SEOUL
Museum
Sometime the early the 14th century, the Italian poet Dante Alighieri laid out his vision of heaven, hell and purgatory in a metaphysical treatise on the soul’s journey to God. Known to us today as The Divine Comedy, it
not the least of which the contemporary American photographer David
Arts Center, provides a revealing glimpse into the last quarter century of
read as a visual CliffsNotes for Dante’s epic poem. While the exhibition
editorial photography for Rolling Stone and GQ and visionary spreads for Vogue and Vanity Fair
After a successful career creating images that graced the pages of some of
belongings and retreated to a cabin in the rainforest, where he continues to live today. While such a drastic change in lifestyle and location might have signaled a similar transformation in artistic practice or aesthetic sensibility,
The Divine Comedy
22 November 2011 – 26 February 2012 / Seoul Arts Center / Opening hours: Monday – Sunday, 11:00-19:00 / Admission: 13,000 wonwww.dlcseoul.com
these tragic human tendencies head-on, using equal amounts irony and
more subtle, complex and mature means to carry the photos.
Perhaps unsurprisingly given his self-imposed return to nature, some
His 2007 Museum series, which depicts museum galleries half-submerged in stagnant water, offers a very personal meditation on the long-term effects of climate change and the imminent consequences of their impact on museums and similar institutions aimed at preserving our
status as an artist, exploring his own impotence to change the fate of his artistic legacy. Gaiaexhibition, offers another environmental perspective. Instead of following
in a state of agitation, suffering and even agony, as if in the throes of a
the business sector’s unscrupulous and unrepentant sapping of the world’s natural resources.
an outlet for his own inner monologue on the world as he sees it, may
not. He’s simply grown up.
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event
TIGER TRANSLATEalso participated in the meaningful event on behalf of Korean artists. Editor. Anna Choi
and supports them in collaboration projects. It also provides new graphic artists with new opportunities through competitions.
exposure to different cultures and experiences. Fusing visionaries from the ends of the world, the event showcases the best of emerging Asian
of Sydney’s cool set descend on an industrial estate in Alexandria to experience an ongoing program of entertainment by some of the best up-and-coming creative and music talent from Asia and Australia.
live as guests entered the venue at 7pm that evening.
www.tigertranslate.com
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music
ROSSY PP about her music.
Editor.Yunhee KangPhotographer. Jun O Hwang
Q. Your name - ROSSY PP - is impressive.
Q. Your music genre is not punk.
I want to cover a variety of genres based on pop. Q. You are a singer-songwriter who has composed all the songs on your album. But you haven’t received any regular music education. Wasn’t it hard?I always dreamed of becoming a singer; it was a lot of fun and it even
a ‘good composer,’ not a ‘good singer.’ I am more of a composer than a
Q. Please tell us more about your album which is comprised of a variety of genres.
to the lyrics. In fact, each song on this album is charming, and they get different reactions from the public.
Q. You’ve been in a rock band and have a strong identity as a
but it’s not yet the time. I will do it later when I become famous. Q. You majored in theology, and you are searching for the meaning of life in your songs. It seems like you are interested in religious themes.I have been interested in theology since I was little because I’m interested in the meaning of life. I do believe in the existence of an
I have no intention to relate my music and theology. If I did so, my music would be distorted. Q. Please tell us about your future plans.
from my album and cover songs. I feel excited because I get reactions immediately. I’m planning to hold my solo concert in January. I’m
high quality live music, and a variety of songs, as well as active communication with the audience. I will also focus on promoting my
www.rossypp.com
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project
PADDING JACKET PROJECT Editor. IDA Grändås-Rhee
on running a bar/restaurant with a combined performance space at
the project famous in Seoul, the project has just now reached the point
Seoul. When South Korea’s extremely cold winter arrived, everyone was
projects to try to effect the relationship between consumer and producer - to create products that are based on actual communication, connected
designs.
and what can be learned from it. Since then, a lot of people have joined
you do if you get a hole in the fabric and the padding starts coming out,
than the actual words of the answers. An example would be the reactions
interviewees swear, sweat and are obviously stressed over the pressure
All the material from the 3000 conducted interviews will be put up on the website for designers - from fashion universities in different cities
students participating in the project - expected to be about 2000 - will
and sold, 2000 samples with an individual name tag of the owner attached to the collar.
turned into an archive that also will be shown in exhibitions, in galleries and online. And the next communication-based product project will start soon after.
www.paddingjacket.com
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YOM’SVISUAL/LAB
Eloquence runs E
loquence’s art director, YO
M’s visual experim
ent. In this issue, he treats ‘Dictators’ them
e of HA
FY series.
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event
Cut & Paste Seoul 2011Photographer. Jun O HwangImages courtesy. Platoon Kunsthalle
Q. What is Cut & Paste? John Fiorelli: Cut & Paste is a live design battle created to bring designers together, showcase young emerging designers and develop new relationships and professional opportunities. Q. why did you start Cut & Paste to help the world’s emerging designers?JF: We didn’t start it to help the world’s emerging designers; we started it originally as a party to celebrate design and to celebrate people we
more. It’s really to the credit of our community for inspiring us and giving
designers. Q. How did this whole project get off the ground?
is our third show here in Seoul, and we’ll continue on to do the other nine shows around the world in 2012, from January to April. Our global championship will be in the autumn, when the winners from all the cities
2D designers have 15 minutes, 3D designers have 20 minutes. How did you come up with those time limitations?
that’s just how long people are willing to watch something continuously. We wanted to be sure it was audience-friendly and something entertaining. In addition to being something inspiring or educational, it at least needed to be entertaining. With 3D modeling, designers really
focus on what their concept is. You can show a lot of good design in a short amount of time, even if you don’t have time to polish everything, and you can learn a lot about a designer in terms of how they prioritize and focus their attention. Q. Are you a designer yourself?
interested in that area of creativity. Q. Tom, are you a designer? I know your work with Platoon involves
advertising, so design comes later to me, as a passion, you could say.
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Q. How did you hear about Cut & Paste?
from that point onward we thought it would be a great idea to bring Cut & Paste to Korea. So we launched it here at Platoon last December, exactly one year ago, and it’s become an event that we at Platoon really love and are passionate about. Q. How has your experience been working with designers in Seoul and what’s your take on the whole design scene here?
half. We’re actually very impressed with the 3D modeling talent here. We
overseas, and I would also say vice-versa: there are a lot of brands that
Q. Tom, you said you had wanted to bring Cut & Paste here to Korea. Why do you think it’s so important to have this event here in Seoul?
that a bit.
Q. How does this year’s show differ from last year’s?
in the last year. Overall, everyone was more excited about the event.
of Cut & Paste worldwide?
and they really develop their territory as well as their Cut & Paste
Q. What are the judges looking for when they’re judging an event like this?JF: Every judge is different and they value their own criteria a little
designer to communicate effectively. So, whatever the brief is, whatever the themes are, they need to be able to communicate them clearly and effectively.
Q. Cut & Paste is obviously geared towards helping individuals advance their careers and improve their visibility worldwide. What do the winners of the city-level rounds, like the one in Seoul,
like this?
commissions with brands or design studios that they admire and have a
3D winner around the world, in all 12 cities receives a sponsorship with Shapeways to develop a new 3D printed product. So our goal with prizes is always to deliver a new opportunity as much as delivering great
the show, you already win because we get the opportunity to brag about
through all the video that we shoot. We don’t just capture the event itself, but also the preliminary design rounds that they do. Our goal is to share more, not only about the designers, but of their creative process, and so we hope we provide a layer of creative humanity about designers and I
the next promotion from a junior to a senior [designer]. If I win this
means a lot for the people competing here. Q. Next year are you looking to expand to more than 12 cities, or will you keep the number the same?
of what Cut & Paste delivers to the people who are already in it. So we’re
Q. What makes Seoul the “right city?”JF: As a city, obviously it’s the city in Korea. As a creative capital,
government is very supportive of the creative community and the creative
would say that Seoul is sincere in supporting the creative economy here,
Q. Tom, as a leader in this world of international creative development, what’s the value of a program like this for Platoon?
we want to bring new creative ideas into this country. I really love this
whole creative industry in this country over the coming years. www.cutandpaste.comwww.kunsthalle.com
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project
SILENT JEJU Editor. IDA Grändås-Rhee Writer. IDA Grändås-Rhee
Q. Why Jeju?
particular meaning to us, more than being being an island and a prime example of isolation. Q. Why silence?
sentences. With silence we approach each other more slowly and
on this two day trip we are not occupied by verbal language. When we
harder before we express ourselves. Q. Why silent travel?
one other, and this project allows people to try a different way of life for a few days.
Q. Why biking? First we thought of isolation and we thought of islands, and then we found silence, and then we found electric bicycles. We felt this was more
sound, and they’re eco-friendly.
People were more willing to communicate and get creative than we
to communicate in different ways and soon people we met on the road
during these three days, in silence, is basically a fair society, because the
Q. What is TravelRo?
travel community for people who are bored by ordinary travel and are exploring and sharing different ways of traveling. With launching Silent
www.travelro.co.kr/route/3166
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architecture
Motoelasticosuccess in terms of something much more primal.
Photographer. Hea-won KimImages courtesy. Motoelastico
Q. The two of you work together under the enigmatic moniker “Motoelastico.” Can you explain the story behind the name and the kind of work that you produce?Simone Carenca: Moto means movement, as opposed to an actual destination, and this idea can be applied to everything we do; the media that we employ, our trans-disciplinary activity, and even the mode transportation that we use (motorcycles). It’s the best Italian architecture
when it moves, which is a very nice metaphor for design or exploration in
Q. In addition to architecture, you are also working in a number of
of your portfolio come about?
that we have. In our experience, architecture was never isolated from everything else. Even as students, we were already doing furniture, urban design, urban economics, etc. At the time when we were in
school, architecture was the only degree that allowed you to enter the design world. Now it’s more specialized, so you can choose from
and concrete, and at the same time have interrelations with all the other disciplines, such as urban design, which is maybe more about
Q. What other disciplines besides architecture is Motoelastico involved in?
sometimes. In the past, we’ve done architecture, interior design, installation, fairs, furniture, some products, a lot of media, events … I can’t name them all.
as well, so it’s a dilemma. For example, is it better to be pro or to be amore, which means
therefore you lose the chance to learn something new. In our case, being able to do many things is an advantage; it’s a mode of survival, because it’s sort of a hostile situation.
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HAPPOLICE HAPPOLICE KIMUSA
Q. Despite whatever hostility you’ve experienced, you’ve managed to stay and develop Motoelastico here in Seoul over the last decade or so. Do you think that your work also helps other ideas or notions of creativity survive? What effect does being a “survivor” day in and day out have on your practice?SC: Yes, you represent an alternative, which sometimes can be very
represents an example of the alternative.
SC: According to Vitruvius, there are three elements in architecture. , which is the solidity of
the building and how strong it is, and utilitasthe thing that is so often forgotten is venustas, or what is usually referred
terms of proportions and as related to art, it’s really about the happiness of the message; the bottom line of why you create something and what
the people who experience it. At the end of the day, this is really what we are trying to do.
Q. One thing that’s interesting about you two, and about a lot of people working in the creative industry, is just how interdisciplinary— or “amateur”—people are working these days. How important is this kind of approach to the work that is coming out of Motoelastico?
since everything has become multi-media and we are all doing things with our personal computers these days, we expect things to affect us on many levels.
Q. Do you think that in order to survive, you really have to diversify everything you do so that you can satisfy the client?
that’s a very big discussion.
Q. These days, what is the majority of the work you’re doing?SC: It’s been a while since the last time we were so involved with it, but
expect something different from us, but we have a very clear design
something that’s already been built by somebody else and use that as a
beginning that was very frustrating.
Q. What’s it like working on interiors, given your background in architecture?
it’s part of the job, actually. For example, until ten years ago, there was
now, you have to go to a private school if you want to do that, so for us there is really no difference.SC: When we are doing an interior, we design the façade and use it as a way to connect to the rest of the building. When you have a door, you constantly imagine the experience beginning from a bit before, a bit
architecture project. It’s the same as urban design, something which for us is more than a series of buildings; it’s also the experience of the
idea was to design these roads and these squares as if they were interiors. What was happening behind the façades didn’t matter; creating
Q. Does your strong connection with Italy play a part in the commissions you get here in Seoul?
attract business, but of course that comes with a fear as well, because
corporations.
work?
virgin land where very few people have the opportunity to go so deep.
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strong and you can’t relax enough to be creative. Korea represents a place that wants to be global and that has the technology and population to accomplish that. It’s still very fertile and changing all the time, so it’s very interesting.
Q. You’ve said before that the “sixth sense” of design is having a sense of humor, and this comes through in a lot of ways in the work you do. How do you view the role of humor in your practice and in architecture in general?
are doing business and there is real money involved. If you’re building someone’s house, for example, it’s their main investment, andthere’s usually so much pressure involved that people forget about
humor; not silliness, but laughter.
Q. Then again, some of your projects can also be very serious and research-based, such as the “Borrowed City” book you’re currently developing.
Vera Wang Flagship store in Chungdam-dong / 2007
investigating the city from a point of view which, in many ways, is not
and illegal can produce interesting design. We are always amazed by the way that people here are able to manage a situation of incredible density,
never see anywhere else in the world. For example, putting your phone
because of the privacy issue, but what happened here was that little by little, people began decorating these little phone numbers with cushions,
research you can do, but it doesn’t apply to any urban design school.
of architecture. It helps you to understand the apartment building,
alternative. All the car culture, residential architecture, all these things are connected. And it’s happening so fast that in ten years, it will all be new. It’s really an accelerated laboratory. Here you can experience things that
www.motoelastico.com
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CONICONI / 2011 / originally designed for Choi Jeong-Hwa’s CCul space exhibition
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music
KIRIN
Photographer: Jun O HwangImages courtesy. Kirin
Q. Could you tell us about what you’re doing right now?
Q. Do you have any new work in the pipeline?
a man who expresses his true feelings to a woman he is in love with.
about how modern people still feel lonely despite their busy lives. Q. You have an eccentric style. Where do you go shopping?I’m not much of a shopper to be honest. I go shopping once or twice a year when I need a few things for my music videos, but I usually just
wander around the stores in my neighborhood. I don’t really have a preference for old style fashions, and I usually borrow clothes from my father, my friends, and my friend’s father. Q. What genre does your music fall into?
exciting elements.
Q. You portray a retro sense in all your music, visuals, and music videos. What is it that you are trying to express? And why?In Korea, there is a saying called ‘Samposidae’, which means living a life without dating, marriage, and children. And I believe the only way to
passion and love. So, I wanted to use those strong characteristics in my music. Q. As a rookie, did you face any obstacles?
terms of both music and cooperation. If I had any obstacles, it was probably my eagerness to share my music with other people. Q. Where did you get the inspiration for your music? Is there an
to them. Furthermore, the instruments in synthesizers, particularly the ‘Orchestra Hit’ touched me and helped me a lot.
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Q. Can you tell us about your current private exhibition?
Since the motive of my exhibition is passion, I displayed as many pieces
and audience. Q. What are the differences between writing music and painting?
paintings and my music.
PLEASE STAY / 2011
/ paint on canvas / 2011
space / paint on canvas / 2011 / paint on panel / 2011 skull / paint on panel / 2011
Q. What are your plans for the year 2012?
Q. What are your goals as an artist and musician?
forms equally.
www.facebook.com/sunzkirin
HERE WE GO NOW / 2011
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art
LISTEN TO THE CITYsponsored construction projects to labor and property rights, concern for Korea’s alarming rate of urban development informs her unique artistic practice, one that stands in a category of its own within this country’s contemporary art scene.
Photographer. Hea-won Kim
Q. A lot of words can be used to describe you with regard to your artistic practice: artist, activist, tour guide, publisher, curator. Do you embrace all these terms or is there one in particular with which you associate strongly?
organization, as social designers and curators. We wanted to bridge the gaps between art and society and we ended up realizing that art and design can be really helpful to understand what’s going on in today’s
easier for our participants or observers to understand us if we adopted a single sentence or term, but really we are an organization for society and
Q. Is the term “activist” appropriate to describe some of the things you do? I know this is a rather loaded term these days, but do you consider your work to be activism?
as a product, so we began developing a new role for art in our society; a new concept of art.
Q. What about the name of the collective—Listen to the City. What’s the story behind it?
things for the citizens, and then the city government just decides what
the name of our organization to propose that they listen to the citizens.
Q. How did you get started, personally, working along these lines?I was interested in political issues to begin with, and I was actually trained as a painter and sculptor. At a certain point, I realized that sculpture and painting weren’t really the best media to address these political issues or social problems, and so I decided to change the format
more interested in actually doing something, rather than just watching or
to create a sort of bridge between them.
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project begin?We wanted to reveal the insanity of Seoul and show how the city government destroyed not only its natural beauty, but also some
about something, they don’t feel the need to go out and actually see it. We wanted to show the reality of the city and show people what’s really
happening. What’s happening with Cheonggyecheon, for example, is almost impossible to describe on the internet or through writing; you need to see what’s going on there and how strange it all is. It’s much
think it’s strange?Originally, there were approximately 10,000 street vendors who had small businesses in the area, but the city government evicted them
destroyed the real stream and replaced it with a layer of rubber, followed
water; it’s tap water. If they were to restore the river and follow the
presidential election [which he went on to win]. During the construction,
However, restoring these remains properly would have required further
the project was about restoring history and nature, but it was all a lie.
Q. You’ve recently devoted a lot of attention to the more recent Four Rivers development project as well. Does this connect at all with your research on Cheonggyecheon?
especially after he and the country’s big business conglomerates [chaebol] realized that the rivers were the only areas left that hadn’t
‘space morae’ at Duriban (Hongdae, Seoul) / 2011
the result: they are systematically destroying all the country’s rivers.
such large-scale development in Korea. For example, during the Cheonggyecheon development, the regulations regarding the maximum height of the surrounding buildings were changed to allow them to be built even higher. Considering that the city government initiated the
have instead imposed even stricter limitations on the height of buildings. As a result of the change in regulations, land prices in the area went up. Despite then-Vice Mayor Yangun Jae being arrested for bribery
president] released him after serving only two years. He subsequently became a supervisor of the Four Rivers development project. Of course,
companies made a lot of money from their contracts for the project as
buy it with money.
Q. How and why did the river become the point of access to your politically-driven art practice?
desire for wealth has become the most important thing and people don’t
Korea, it’s really unbelievable that our government would get rid of all
word and to share the meaning of the river with other people.Our team is showing what we have in this society; besides money, there is nothing left over.
Q. In addition to rivers, Listen to the City has increasingly directed its focus toward urban development projects in Seoul. The Dongdaemun Design Plaza initiative, which has seen the rights of street vendors and other small business owners scuttled in the name of redevelopment, has been the focus of much of your recent work. What has been Listen to the City’s approach to this particular issue?
Claes Oldenburg / 2010 / performance, single-channel video / 8 min
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Memorial for Buddist Monk Munsu
We did research on the Dongdaemun Design Plaza project for a long
to tell the story of these people and what happened to them; we wanted
about what happened there, so we put together a history of normal
so there’s nothing; it’s the same as so many of the old areas in Seoul.
Q. This research is currently included in Artsonje Center’s “City Within the City” exhibition, which focuses on issues of urbanization and others central to your work. Listen to the City’s project, however, is somewhat isolated and removed from the rest of the exhibition. Is there any reason for that?
in that setting. Honestly, our project is completely different from the other
our own exhibition outside of the museum, and we are using the space
Q. So you separated your work from the rest of the exhibition?
Left image [Design Olympics] Designing a Better Dongdaemun Design Park than Zaha Hadid / 2011 / Open performance advertisement poster
place to see an exhibition. Even people who aren’t really interested in
with regards to space and place.
Q. Let’s talk about your plans for the future. How do you move forward from here?
can get the power to force them to have a more transparent process. I
Artists are poor, but they are very important in society. Other people
money.
Q. Will this labor group be a Listen to the City project?
this, especially now. We have a new mayor now, and he seems left-wing,
need to create something to get some power.
www.listentothecity.org
3636
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YOM’SVISUAL/LAB
Every D
ictator comes in applauses of the public, then they often goes spoils w
hen they are enjoying the power. S
o we have to w
ait for new generation w
ho can defeat them, although they also can go bad. I call them
, ‘H
appy Alternative Functional Youths.’
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photography
PHOTOGRAPHER HAL FLESH LOVE FLESH LOVE
Editor. Yuta Sugihara
©HARUKI
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Q. How did you conjure the idea of putting models in a vacuum packed bag?I have been shooting couples trying to express their love since 2004.
concept of ‘adhesion’, I feel that I can visualize the deep love between the couples on a different level. I used the bathtub as a setting in which to photograph the couple because of the bathtub’s oblong shape. I felt
is a mundane object found in every household, I found a certain charm in it. I have published three of the series:
was really the next step. I experimented with the idea for about six months. Eventually, I released the new series.
elements in environment, and through these shoots many new ideas
projects.
Q. What does FLESH LOVE mean?FRESH LOVE
people are put into a vacuum bag. Since they cannot breathe inside it, I
that.
Q. Can you talk us through the process of capturing these moments
After the models are set inside the vinyl bag, using a vacuum cleaner,
I have to start pressing shutter as soon as the air is out of the bag. I get about two chances to capture the image. I’m always tense about the potential danger involved, because this process involves the possibility
an emergency life saving course. We always prepare portable oxygen
overheat. I guess this project explores both love and death. Q. How do you plan their poses?
Q. It seems that models for this work has unique color and fashion. How do you think about colorfulness and fashion as art elements for FLESH LOVE ? And how do you feel when you stand in front of them arranged in such a strange way?I sense feelings of eroticism, cuteness, and a pop vibe in the visual sense when coming across these poses. Color is always very important factor for color photos. Sometimes I put my images with cheap lollipop
naturally chose the models with the characteristics mentioned above. I
difference between nudity and fashion. I feel that fashion photos can show us temporary times and culture scene. Particularly with Japanese people, as they seem to devote themselves to their choices in such
Q. How do you plan to progress this series?I plan to continue with FLESH LOVE
www.photographerhal.com www.tosei-sha.jp
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brand
DIMITOcreating a sensation this winter. Editor. Anna ChoiPhotographer. Jun O Hwang
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Q. What does your brand name DIMITO mean?
foreigner named Dimito actually contacted us and said he wanted to buy our clothes. Q. Your slogan is: “Positive Mind.” Can you explain more about your slogan?
provide high quality products to our customers. Q. What made you start a fashion brand exclusively for snowboarding?
At the time, I was dreaming of becoming a respected snowboarder, but, unfortunately, I wasn’t talented in sports. However, I still wanted to pursue a career related to snowboarding. So I majored in visual design in
company was in its beginning stage, I was in charge of a variety of things
harmoniously. Q. How did you recruit your co-workers as a brand director?A year ago, one of my friends named Sung-jun Huh and I launched
with me. All of them accepted my offer because they were all crazy about
me because all of them joined voluntarily as we shared the same dreams
love what we do. Q. People enjoy snowboarding only in the winter. What do you do in other seasons?Winter is the busiest season for us because snowboarding is a winter sport. However, we are always busy in other seasons. We are constantly
dealing with other lifestyle items. We are planning to expand our product lines to produce year-round items people need in all four seasons. I predict our customers will be able to use our new products in two
products, as well as everyday clothing and accessories. Q. The colors and textures of DIMITO are very impressive. What do you consider most when choosing colors and textures for your products?
neon colors with pastel colors to give mystic hues. In our second season,
Since snowboard fashion requires functionality, our subsidiary materials are also uniquely designed. We try to content our customers with carefully designed details.
Q. It seems like DIMITO is related not only to clothing, but also sports, music, public art, graphic design, party culture, and many other different genres.Other than snowboarding, I was interested in music when I was
the snowboarding business. Music was still a part of my life though. Fortunately for me, I was able to interrelate with various musicians
satisfaction through my musician friends. I can easily relate to other artists and musicians because we share many things in common. In fact, it is hard to draw a line between art, music, and sports because they are
of DIMITO’s “Visualize” category.
and logos. I prefer images with unique stories in them rather than the
will mean a lot later down the line. In order to show people how my brand
image. Q. DIMITO has various supporting programs for snowboarders. Please tell us more about it.
Some of them belong to the national team, and others are amateurs who
the national team in participating in the 2018 Winter Olympics, and I
until my dreams come true. Q. What are the future plans that you want to accomplish through DIMITO?About 3 to 4 years ago, Korean snowboarders had to rely on imported sports clothing and equipment. In some ways, I contributed to create a
more than I thought, and now, people are buying more domestic brand products than imported ones. Compared to 4 years ago, the current
brands over imported ones in a matter of a few years. However, there are many limitations to Korea’s snowboarding industry. For now, I will just
interested in other sports. I’m a very ambitious person, and I’m interested
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art
ROBERT BRADFORDEditor. Anna Choi
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KALASHNIKOV FLORA / 110 x 25 x 6 cm
Q. What made you interested in toys as your sculpture material, and when did you start to make this artwork?
Cornwall England), I was using a very large ex-cow shed for a studio, and there were boxes stored at one end. In one of the boxes there were plastic toys discarded by children who had grown out of them. I responded to the colours and random juxtapositions of the toys in
Q. How have you been able to collect so many toys? Do you buy new toys for your work sometimes?
I needed large quantities, so I began to buy them from car boot sales, (vide graniers in France). It has become a sort of treasure hunt each
often based on size, color, shape and form than a particular attitude to
aspects are present more or less in what I do. Often I need pairs of things to create symmetry and will buy new toys where necessary (or if I
Q. You made a shape of a dog-like animal. Does it have a special meaning?
of charming many of us enough to feed them and not have to hunt etc.
Q. Toys are one of the strongest symbols of childhood. What place do you feel they have in the adult world of art and galleries?I used to be a psychotherapist, so the relationship between the forming
of in the art world. I want to communicate simply and directly. And not just to the gallery-going public. I want to touch the heart and the feelings
what have people’s reactions been to your sculptures?
explain themselves. I want the pieces to feel real, a part of life or larger than life. Of course they are art - not life or real, they are substitutes for, or equivalents of, real things in life. Which I hope focuses people on the nature of reality by twisting or confusing it a little. Within each bigger
the idea that if one of my sculptures is made up of one or two hundred
Q. What concept are you expressing through the plastic artwork?
‘meanings’, and I don’t always use plastic. I have used everything from
pegs and hair brushes. If the material feels right for the job, I’ll use it.
Q. What is the next plan as a sculpture artist?
what offers for shows or commissions come in. Next year, I may have
and Greece. So, context may affect the next thing. At the moment, I want to cover several species of animals. Maybe one from each continent. A
www.robertbradford.co.uk
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BIG FAIRY / 170 x 80 x 100 cm
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CHRISTMAS PISTOL / 50 x 35 x 5 cm
/ 110 x 60 x 25 cm
SCRUBBERS / each hight 50 cm
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TOY BOY 40 / 200 x 110 x 80 cm
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POWER ANGEL OF DEATH / 110 x 50 x 30 cm
DARK SNIFF / 110 x 60 x 25 cm
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media
Souvenirs from Earthwith him for an exclusive interview on the future of SFE (Souvenirs from Earth) in Korea and around the world. Editor. Vincent SungPhotographer: Vincent SungImages courtesy. ‘Souvenirs from Earth’ (art video images)
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surpriseparty
Q. Marcus, you are a video artist and you founded Souvenirs From Earth in 2006. What is SFE ?
delivered by international artists.
Q. What do you see when you tune into the channel?Mainly video art, but we also have photo shows, contemporary dance,
Q. Where can we see the channel?
worldwide over the Internet via our homepage sfe.tv. Soon we will be to
is a truly international project and an interesting platform for advertisers
Q. How big is the market?
art terminal. You don’t have to be into contemporary art to appreciate the program; the channel has a wide range of fans, including all social classes and ages. It is a universal project.
Q. How did SFE came about?
Q. How did you get into art videos?
Q. So SFE is to some extent making a place in history?
video creation around the world. No gallery or museum can offer such an overview. Our catalogue, which includes more than 1,000 artists, is by far the biggest around. We also show long-forgotten video clips from the
Q. The future for SFE...
deliver programs to a large number of devices, content is increasingly
www.souvenirsfromearth.tv
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surpriseparty
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cantine / Kreiss
houston / Young-1
kiss / Kilo
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fashion
by BorreEditor. Anna ChoiFashion pictures. Jean Garcin
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Q. Please tell us about the concept of your fashion line .
The First Cycle stands for everything I wanted to show to the public, not
process is a big part of the collection, so the subtitle of the show explains
of the collection I made. One cannot exist without the other. Q. How did you get the inspiration for the oversized knitted coats and dresses?
over again. Q. What made you interested in thickly padded knits? And when did you start to design in this style?
more I tested the more I realized could do with them. So the pieces have evolved over the last 2 years. I’m a designer that fashioned a process out
material and technique will always lead me to new projects where the outcomes will be dictated by the materials used. Q. Please introduce us a little about your project .
Netherlands. It’s an amazing place where they have all the textile
technicians, and that leads to new experiments in the textile industry.
Q. Please talk us through the process of making designs.In the stop motion animation that I did with the animator Niels Hoebers, I tried to explain the steps of the production process, from choosing
We wanted arouse the interests of people that are not interested in the production process and at least have fun watching it. It’s not about only
encourage the viewers to have fun too.
Week. What were your impressions of the fashion week?
funny to see that press called me ‘mad’ to be showing at the same time
someone showing their production process. It was good to see that the
Q. What is the next experiment with your fashion designing?
with the plans I need way more capital than I can front at the moment. The First Cycle
me. In the future I hope there will be more opportunities for me to have
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photography
Louis ParkEditor.Yunhee KangPhotographer. Jun O Hwang
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Q. You were pretty successful in London. What made you come back to Korea after spending 10 years there?
a wonderful city, but it all depends on your mindset. I had a lot of fun
Q. The theme of your photo exhibition is “Boy.” Why are you so interested in boys?
beautiful thing is the human body; the body lines of females, especially, are indescribably beautiful. However, I was more attracted to boys with
my pictures. Q. Boan Inn used to be an old inn, and now it is used as a gallery.
pretty interesting.
would create an interesting vibe, so I set the date for my exhibition. As I expected, it created a special vibe, and I received good reactions from
and exhibitions. Q. Is mood the most important factor you take into consideration when taking pictures?
models because of the atmosphere. I love the facial expressions of the
Q. You seem like a very sensitive person.People say that my pictures are lyrical. Photos automatically reveal the character of the photographer, and I can’t help but express my delicate and sensitive characteristics through my pictures. Compared to my
learned over the years that controlling my emotions allows me to express more things.
Q. Why did you add painting to your photos? How did it start?
structure, harmony, and mood.
reason for that?
white photos are the best way to create portraits. Q. You were a fashion stylist. What made you become a photographer?
As a matter of fact, the number of photographers who are also directing their whole fashion shoots is increasing in Europe these days. I still consider myself a fashion director rather than a photographer. After all, photos are the means to express fashion. Q. Don’t you want to work on other projects other than photography?I’m actually preparing for other things. I released some simple video clips at the exhibition. I’m also operating my own homepage and upload articles there, but it is under construction at the moment. I’m
collaborations with other artists. Q. It seems like you are interested in human beings. Do you actually enjoy interacting with others?Yes, I do. I love hanging out with people. I always say to my friends,
memories is the most meaningful thing in my life. Q. Why do you hang out with young people often?
of talented young artists in Korea, but unfortunately, there aren’t many
true. Q. What are your future plans?
projects with various companies. I will hold my personal exhibition in the
here and mingle with many people. I will lead a happy life. www.imlouis.com
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MAX 17
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KENO 17
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PATRICK 17
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music
THE STRIKERSband’s vocal and bassist Ahn Kyung-sun about their new album and their music.
Editor. Yunhee Kang Photographer. Jun O Hwang
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Each member of the band was preparing for the next album, while doing personal projects. I was playing music with the Copy Machine with the
years to release the new album. We put a lot of effort in it.
Q. Can you tell us a little more about your concerts in Japan?
band got together because we love a variety of sub-cultures, including
and got some opportunities to perform in Japan. Since we didn’t have
Japan frequently. So we performed around 25 times a month across the country. It was pretty hard and tiring, but we had a ball. Q. Your band is well versed in melodic Sk8 punk. How is melodic Sk8 punk different from regular punk?
Q. Melodic Sk8 punk is not really widely listened to in Korea. What about in Japan?
in Japan enjoy various genres of music compared to their Korean
music cultures are set equally in every county of the country, which are
Q. The lyrics of the songs in your new album are mostly English. Is there any particular reason for this?
our originality are all over the world. We are trying to sing in English in the hope of letting many music lovers enjoy our music, regardless of their
Q. The title of your new album is ‘Screaming Youth.’ However, some people may think you guys are not young. Of course I think three of you are still young. Do you consider yourselves young?
thought. Our music itself is young and we try to act young on the stage
the age when I cannot scream and run around the stage. Q. Your band has a strong image of naughty boys since you are doing punk rock, combined with street culture. But I feel that you guys take life seriously whilst being aggressive and violent.
seriously. Our music also contains the agonies of life that everyone can easily relate to.
Q. Your band is in the sub-culture category. Don’t you wish to proceed to the mainstream category in order to communicate with a larger number of people?
our music, and I’ve never given up my hope. I just don’t want to dilute our originality to appeal to the public. In fact, it is wrong to distinguish
media decides the demand. For example, music programs include only
Q. You are already acknowledged as a top band in Korea. What was the focus on your new album?
polished. Personally, I put a lot of effort into it and spent two years, and,
and hopefully the general public can enjoy and relate to it as well.
Q. Have you got any gigs coming up in the future? In Korea, we will be playing at small theaters and we will also have a
people if we could hold a concert, but now people are inviting us to play
our best to spread it to more people.
Q. How long do you think the Strikers will last?
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studio visit
VAKKIPhotographer. Jun O Hwang
Q. Please introduce yourself for our readers.
love exploring new things. I consider myself an interesting woman.
Q. You are creating your artwork using a variety of methods and
thoughts in various ways. I also wanted to communicate with people
Q. Your productions are witty and cheerful. Are you a witty and cheerful person, too?I love something cheerful and pleasant. As I told you earlier, I’m a pretty
humorous and witty ways, rather than serious and heavy ways.
at the same time. From where do you get your inspiration?
they used raw images to encourage consumption. I often use these
interesting. I experience new visual experiences in between the familiar and strange images. My graphic images are also creating patterns from these experiences.
Q. You are also working as a VJ. Please tell us more about it.
of our society experiences, rather than expressing my feelings to the music’s beat with simple motions. I’m trying to express my thoughts and feelings through visual images.
Q. Are there any special methods you use to create your artwork?
observe the things and living organisms around me carefully. I always have a lot of curiosity about them, and I feel excited as I learn about them. As I imagine the objects, they create stories in my imagination. I
ways, I’m using a variety of media.
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Q. You have a lot of cute dolls and fancy things in your house. Why do you collect these things?
different things. Interestingly, these things unexpectedly go well with each others as I display them in one place.
Q. When did you start using the workroom?
Q. Can you tell us some of good things about the Workroom?
because the structure of the space meets both purposes. My residence
room has a different atmosphere. My cats are also happy because this
windows. I often invite my friends over for dinner parties.
Q. Your workroom is beautiful and well-decorated. How does the
it is not really decorated. Many objects are out of order and sync. If I
from different angles. I wanted to have good relationships with all living
enjoying my life more. Previously, I was always busy and conscious
second cat was a stray from the street. Strangely enough, the stray cat
house now.
Q. What are you currently working on?
projects using the microscope that I bought in an attempt to see the small world with more broad vision.
Q. What do you want to try in the future?
www.playvakki.com
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“Will You Come Again Tomorrow?”
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The End of The World / 7’20’’ / 2010
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Woman / 5’45’’ / 2010
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Tuna can woman / Acrylics on Canvas / 2011
The two tomatoes that she threw away / Acrylics on Canvas / 2011
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journalism
DONGMI LEE Editor. Yunhee KangPhotographer. Jun O Hwang
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Q. Congratulations on your new book, ‘Itaewon Freedom.’ Why did you decide to write it?Itaewon is my favorite place. I’ve been coming here for 10 years, and I’ve got many regular places that I go. I’ve become attached to this place.
Itaewon. I didn’t care much about other places, but since it was about Itaewon- I personally wanted to write it. Q. There are many places people can hang out. Like Hong-Dae or Chong-Dam. Why do you like Itaewon so much?
in the club crowed with 20 somethings. You can see children and old men in a trendy café. I used to hang out in Hong-dae, but as I got older I
all gathering together, and they form their own society. Q. Do you have any favourite gay bars or clubs that you often go?I used to go to ‘G bar.’ It was the hottest spot on Homosexual Hill, but it shut down and I feel very sad about that. Couple of years ago,
erotic show, but it is a performance full of laughs, tears, and emotions.
as a cultural product. Q. Recently, we have seen a lot of fancy restaurants and lounge bars spring up in Itaewon. What do you think about these changes?
or she usually hung out in Itaewon, we assumed that they were a bit
difference between Itaewon and other popular spots in Seoul is that we can see the balanced harmony between luxurious culture and sub culture. Sometimes I get worried that are losing the unique ‘Itaewon-atmosphere’ as the capital of major companies comes gushing in, but
underground culture. Q. Can you give us any recommendations from your book?
restaurant which only uses halal food and doesn’t sell alcohol. ‘Spain Club’, where you can taste Jamon with the best fresh ham. ‘Sortino’s’ is an authentic Italian restaurant. In fact, Italian food is a bit salty for
meals, but they never change their recipes. So, people have no choice
can’t really decide whether it’s a creative space, an exhibition or an art shop. Q. Through detailed information and fun episodes in your book, I get the strong impression that you do know the places you write about very well. How do you feel that this familiarity helps the book’s credibility as the ‘must have’ guide to Itaewon?I hate prejudice. I want to convert the negative-prejudices that people have on Itaewon. Of course it’s getting better nowadays, but people
I am afraid that if a large number of people visiting them might ruin the
enjoy Itaewon without prejudice. Q. Are there any other places that you want to introduce?
everything about. It’s very odd but some of cities that I am really drawn to
about. Q. It seems like you really enjoy traveling to cities.I used to cover stories about the hottest or trendiest places, and most trends in Seoul are coming from overseas. So I naturally started introducing hot spots abroad. A life of leisure in a rural area would be
interests me a lot. Q. You like people, don’t you?
important, but in the end, it comes down to the people I communicate with. If the place is owned by a good person and has good customers,
Q. What are your plans for the future?I want to continue to write. I don’t want to write just about travel, though
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drawing
Bukchon modern Korean culture coexists harmoniously. Illustrator. Sngoog ChoiEditor. Anna Choi
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as shades of galvanized steel sheets on the eaves.
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society and tradition coexist. During this time, people added modern
restaurants, boutiques and galleries in traditional Korean houses.
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photo. Jun O Hwang
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art
PARK SEUNG YEAPhotographer. Jun O Hwang
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Q. Your drawings embrace the grotesque, and leave us with a strong impression. What is the motive behind making these drawings?
through those processes, I am here now. My worries, pains, and hopes might have changed shapes, but the original identity was not changed
my drawings. Q. In most of your drawings we can see the combination of body parts, with the hands being particularly impressive. What is the meaning of all this?
are in the evolving intelligence and functions. And this happens because of using hands. Hands have evolved closely with the human brain and created civilization and the systems of operation. Human hands are clearly excellent tools. Among those functions as tools, I have focused on
Q. Most of your drawings are monotones. What’s the intention using this color scheme?It has symbolic meaning. I’ve learned how I can see things with my
but photographers need to see it as light. It’s not easy to differentiate
or lose while a physical phenomena happens. As a symbolic expression
Q. Monsters, fear and horror are among the things that you draw. Have you ever been haunted by any of these things?
a fear of something that has not happened yet. I’m not afraid of my
out from the drawings and strangle or bite people. I am familiar with
that I am afraid of, but I do need to face them directly. Q. You recently published the book ‘Nightmare Diary.’ Could you tell us about the book?I dream a lot at night and I have been recording them for a long time.
sometimes brings me joy and can sometimes be a record of my personal
or dreams cannot be separated from the real world. It is part of my
pure record of my nightmares.
Q. Could you please tell us about your artistic style?
represent a ‘written’ story. I draw and write. I tell a story by drawing and
desire for communication. Also when I tell my story, I become curious about other people’s stories.
not just me but just all artists- especially young artists, are struggling
is an action of pleasure and amusement, even though drawing itself is
to postpone drawing and consider it as something which is no longer a
in that situation, the only thing I want to do is draw. It might be true what
Q. You’ve got bachelors and a Masters degree in New York. What was life like New York? Do you think that your work has been affected by this period of your life?
it. When I had an idea, I put it into action the following day. Sometimes it
about that. Even though I had my parents and family there to help me,
content being in the lowest class of society. And I believe that it was at that I became who I am.
Q. What stimulates your creativity?When I see other artist’s paintings I become so eager to draw pictures that occasionally I catch a cab and go straight home. At those moments,
Q. Do you have anything that bugs you while you work?
It is consistent and continuous. I try not to push my language, but
metaphors, and be understood easily at the same time. Pain, desire, loneliness, and anxiety are not so different from one another, and are
in an understandable language. Finding that common language that transcends conventional speech and communication is probably the
Q. What are your plans for 2012?I am battling with the idea of ‘giving shape to plane level.’ I am still
never expected to. I always accepted a long way round as blessing and
Q. What is your goal as an artist?I want to be happy. And though I am sure that there are many ways to grasp happiness, drawing is where mine comes from. So I hope that
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hands bug / Acrylic, pen on paper / 2011
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casque1 / Acrylic, pen on paper / 2011
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feMALE Deer / Acrylic, pen on paper / 2011
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standarded / Acrylic, pen on paper / 2011
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enforced insight / Acrylic. pen on paper / 2011
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hand cought in the time of the space / Acrylic, pen on paper / 2011
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art
DONGHYUN SONDonghyun Son draws western pop icons in an Oriental style. Welcome to his world of art.
Editor. Anna ChoiImages courtesy. Gallery2
McDonald’s
Q. What made you merge western pop icons and oriental paintings?Nature is the most important and frequent subject in Oriental paintings.
traditional style. I chose to draw things that are closest to me and put them together in a sort of mash-up cultural mess. Q. Among the Oriental paintings, it seems that you are most
inspired you?In Korean history, the Joseon Dynasty was the era of restoration for
Oh and his on expression and the latter one is impressive in the way that it shows
Q. I heard that you actually study the characters before you draw. Can you tell us about your process for drawing these pop-icons?
also study the actor. And if the character is a real person, then I also
reproduces not only the shape, but also the mind.
with the Western icons?For me, it was natural to draw Oriental paintings with western icons, so I
Q. Your work makes people re-think traditional Oriental paintings. As an Oriental painters, what do you think about present oriental paintings?
painting. Or, we can also build our own theory.
your plans for the future?
explain it with language or writing. www.gallery2.co.kr
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/ 2008
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/ 2005
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/ 2005
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Portrait of the King / we’ve almost theret / 2008
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Portrait of the King
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art
SEUNG JOON CHOIEditor. Snil YomPhotographer. Jun O Hwang
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Q. Please tell us about your current jobs.
education. I participated in small to medium sized group art projects
movement that pursues humanity and productivity at the same time. Also, I sometimes consult organizations. I’m also experimenting with
media art project events and recently, I also participated in Google
‘Developing educational contents’ at the graduate school of dancing. In
ways. In the process, I also help them to meet, learn, and grow together.
Q. Please tell me about your previous projects.
(Interactivity and Practice), in which artists, developers, researchers, and curators interchange each other’s ideas. It was my debut as an artist.
contributing team, university students’ group Sunny (http://www.besunny.
pieces. In my second year, I spent time with teenagers who escaped from North Korea. It wasn’t easy to create displays with them because it
my career.
It was an experiment to produce an interactive play with a drama company Sadari (http://www.sadari.org/), which allowed children to participate in the play at the exhibition hall. Using some interactive
components of plays, the roles of actors, and the participation of the
how to incorporate technology into stories.
/ installation view / 2006
made spontaneously in about two hours after I came up with ideas for
love this project because it is stereotypical media art (the images change according to the reactions of the audience) in Korea and it also shows
I made plans and created the software to produce real-time images, my brother made the hardware and physical computing to create glittering images that react to sensors, and my wife made the ceramic ware
childhood when we blow dandelions. I also made it possible to blow the
features of the project, it was our family project.
I contributed columns to the media art webzine ‘Alice on’ from 2006. I started my columns with technology and ended with the relations with
included my opinions and experiences to let the artists and designers
experiments in college classrooms are also in a line with these articles. (http://limnm.tistory.com/1)
It was a social-cultural experiment project conducted by the ‘sustainable creators’ group,’ which was sponsored by the Ministry of Culture and
culture. I wanted to visualize the things we can learn and teach each other because I was impressed by the creators, who shared information
http://balsang.cc/ .
Q. What made you to become an ‘artist’?
since then. I was into Computer Graphics after graduating high school
20s. I majored in Applied Physics (I was not good at math and physics but interested in them, so i wanted to learn more about them when i enter a university.) and science education. However, I chose to build my career
natural phenomenon. In 2005, I was teaching rapid prototyping
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Blowing a dandelion
to the UI researchers at a conglomerate. It was about how to fast prototype software products that are user-interactive and the tools I used at the time were creative tools such as Flash’s Action Script and Processing. All of a sudden, I was wondering how Processing was used
the center and met with curators and artists. I ended up beginning my exhibitions with INP and the Project i while socializing with them. For the
the good and bad points. It was a very important experience for me and it
programming languages have the power to intervene into virtual reality.
is the process of translating my ideas into a language that the computer
Q. What is the main theme that you express with this tool?
positive energy between people rather than focusing on faster, bigger,
calling; I’m just trying to do the things I can do well by interacting with the
generations and I love experimenting under the themes meeting other artists, learning, and growing.
Q. Is teaching university students different from teaching kindergarteners?
teaching – be it an individual, a small group, or large group. Doing documentation all of the results, retrospectives visually has become
same methods of helping students to broaden their horizons. I also
curriculum in which their social interaction enriches their learning. As for
students. However, it is very possible for college students to visualize their own learning process and realize their own strength. Since I can
of their own personal growth and development. However, the basic idea behind it is the same – helping students to help each other to live their lives to the fullest. Of course it is important to invest in more time for the future, but it is important to help them enjoy their lives, rather than forcing
teachers and professors.
Q. You are an artist and educator. What is it like to work both jobs?
media artist and it helped expand my horizons. However, these days,
rest to regain my creative energy and reorganize my thoughts to
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incorporate my various experiences and put them together to create
stepping stone to jump further.
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} void DrawCritter(PGraphics pg) {
pg.pushMatrix(); pg.translate(x, y, z); pg.rotateZ(dir); pg.box(r_visual); pg.popMatrix();
pg.pushMatrix(); pg.translate(x, y, z + r_visual * 0.5 + 2 * cos(t + phase)); pg.rotateZ(dir);
pg.translate(0, r_visual * 0.5, 0); pg.rotateZ(dir_head); pg.translate(0, r_visual * 0.5, 0); pg.box(r_visual * 0.5); pg.popMatrix(); pg.pushMatrix(); pg.translate(x, y + r_visual * 0.2, z); pg.rotateZ(dir);
pg.translate(0, 0, -r_visual); pg.scale(1, 1, 4); pg.box(r_visual * 0.2); pg.popMatrix(); pg.pushMatrix(); pg.translate(x, y - r_visual * 0.2, z); pg.rotateZ(dir);
pg.translate(0, 0, -r_visual); pg.scale(1, 1, 4); pg.box(r_visual * 0.2); pg.popMatrix(); }}
Q. Lastly, please open your programming source to our readers. I’ve introduced the sources for One processing projects. It is already
www.unid.me
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film
SHODA YUKIHIRO video clip tells you. Editor. Anna Choi
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© Chihiro Ishino
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Q. You are known in Korea for your video clip ‘ ’. Can you please tell us about that?blind imagines a parallel-universe version of Japan which also suffered
place where fallout readings are part of the weather forecast and gas
hope at the same time.
Q. What made you to produce this video?
Everything became normal again, and I felt the differences between
Q. What do you think about nuclear issues caused by the earthquakes?I personally believe that the development of nuclear power is
allowed the development of 54 nuclear power plants is unsettling enough. I have been living near 54 potential nuclear bombs without
eyes to see this fact, and I came to my senses when this catastrophic
from it and guide our future in the right direction.
Q. Recently, you have released a new project called ‘Social 0.0 lab’ with the team you’ve worked with before on ‘ ’. Can you tell us a bit about this team?
the Japanese internet broadcasting agency. Very exclusive members
to the people who are watching the video. Most have said, they are living
change when we face the political problems, or the development of
Q. Social 0.0 lab was made as a promotion video for Motorola. However, it is very interesting because it talks about modern people who are addicted to social media. How did you come up with the idea?
people have been pursuing is slowly changing and they have lost their
personal movies? And in which one did you put more effort?
and my point of view and the direction which I have decided to follow
and choosing the best conditions to produce something is of paramount
such absurdity. So all in all, the result is my responsibility and I should
excuses for not doing my best.
Q. The cast for Social 0.0 lab are mainly very powerful people in Japanese culture. What kind of messages do you want to deliver using their voices?
be facing, and how we will be living our lives. For example, I am living in
still living in those dangerous areas, and the government and the media are trying to avoid this fact. So, I hope to open the eyes of the public in the hope of pushing them to face their own situations even when the government and the media have turned their heads away.
and the inconvenience is abundant. Some claim, it is richening but the
this generation, our happiness is not simply just being happy with our individual lives, the environment, the culture is also a great contributor to our ‘full’ lives. So therefore, I believe that an education system and in a
closer to what we can call an abundant life.
Q. In general, your works contain strong social messages. What will your next project be?
that, I have portrayed and stressed the importance of the message in
idea of contemplating life has never escaped from my head, ever since I was into philosophy in high school. I hated the fact that a person’s
environment. So in order to exist on my own I have studied philosophy,
the more educated and profound I have become. I also believe that one
www.keep-ie-real.jp
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SOCIAL 0.0 LABmotorolaphoton.jp/social00lab.html
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FUKUSHIMA Editor. Yuta Sugihara
P H O T O C O L L E C T I O N B Y T O S H I F U M I T A N I U C H I
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Q. What encouraged you to enter the restricted zone?
use data to protest nonnecessity, while I wanted to record and tell what is really going on in an abandoned town that a nuclear accident created. I do not intend to demonstrate vocally, but I’m determined to straightforwardly convey my message of reality to the world by using my photos.
Q. What was the most impressive phenomenon of the area?
where people can no longer reside. I feel the need to get the message out that your town can be the next to come.
Q. Could you tell us a little about shot selection?
a motif. You may have experienced being in an empty town, perhaps on
different from that, the invisible fear as I feel them.
Q. How long will you continue this project?As long as possible because this is something people should not forget.
place will be grassy next summer, weeds will run rampant and ivy may climb a building wall and may turn into a scene from a Ghibli movie.
TOSHIFUMI TANIUCHI
exists, and I want to announce this as a report of what a nuclear disaster would bring forth.
Q. Do you not worry for your own health?I enter the town for a day or two at a time, armed with a protective suit,
is not too high, but I particularly worried about inhaling dust. Internal radiation exposure is what I fear the most. When I went near the reactor
Q. What are your aims within the documentary photography genre?
the power of photography, in a way that someone’s life could be saved
sure if this is a challenge, but it is clear that I’ve become more focused
www.tony-gogo.com
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PROJECT
POJANGMACHA PROJECTEditor. Anna Choi
Intellectual copyright by studio El
scattered around Korean streets, acting as small independent vessels
of the invisible fabric of the city and form an integral part of Korean street culture.
array of fried and traditional dishes, and the night wagons, with their
Pojangmachas today represent an alternative way to experience the city. We live in a time when most of the city’s existing fabric is more often than
which simply dilute the city of its original DNA. Pojangmacha for us is a tool that allows us to understand the city from a micro
perspective, where intimacy, routines and daily life form the core of modern dwelling in a metropolis.
we want to fabricate a new form of micro architecture, that transforms the way we conceive buildings and vessels can adapt to the city. Micro architecture in our view has the power to act as a sort of urban acupuncture, treating the ailments of the city not by surgically removing organs (buildings) but by relieving its stresses via precise interventions.
Pojangmachas operate within the forgotten corners of the city, in the interstices that we don’t normally associate with any useful program, this combined with their 100% practical and functional architecture results in a beautifully poetic composition that recaptures the lost human scale of
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We began by researching the existing typology of pojangmachas that were already in operation within in our metropolis. We tried to understand by
existing language.
pojangmachas.
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intended use.
intimacy.
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to cater for various events and needs, forming a larger structure that can be travel to any sites, any size and open up, engaging and catering to the urban metropolis at an intimate, micro level.
tables for the pojangmacha.
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PHOTOLOG OF POJANGMACHA PROJECT
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World ExhibitionsSeoul
City Within the CityFor its only group exhibition of 2011, ArtSonje brings together 18 artists and artist collectives in an examination of the state of the city as a conceptual entity, especially with regard to history, population, and geography.12 November 2011 – 15 January 2012ArtSonje Centerhttp://artsonje.org/
Joris LaarmanDec 13, 2011 - Jan 20, 2012
TV Commune
explores the implications of television in art and society via the
contemporaries as
Choi Dae Jin: Human Work
Arendt as its jumping-off point, Choi uses sculpture, installation and mural to assert
stirring and deeply person exhibition.24 November – 31 January
http://galleryloop.com/
Lim Eung-Sik: Father of Korean Photography
quintessential realist photographer, MoCA Korea honors the anniversary in this large-
life and times of ordinary Koreans throughout the twentieth century.21 December 2011 – 12 February 2012National Museum of Contemporary Art,
Tell me Tell me: Australian and Korean Art 1976-2011A joint exhibition venture between NMOCA Korea and MCA Sydney,
departures in contemporary art of Korea and
National Museum of Contemporary Art
Five Different Prologues13 January – 25 February
Whanki Kim6 January 6 – 26 FebruaryGallery Hyundaiwww.galleryhyundai.com
Reviewing Korean Sculpture: amplitude and vibration
SOMA Museumhttp://www.somamuseum.org/
David LaChapelle in Seoul22 November 2011 – 26 February 2012Seoul Arts Centerhttp://www.dlcseoul.com
photography exhibitionA retrospective of the photography of fashion
been part and parcel of Chanel ads for over a quarter century.13 October 2011 – 18 March 2012Daelim Contemporary Art Museumhttp://daelimmuseum.org
PPP by 275c Exhibition
Collection11 February 2012 – 11 March 2012
www.gallerycola.com
New York
Roni Horn
Andrea Rosen Gallerywww.andrearosengallery.com
Jeff Wall: New Photographs
Marian Goodman Gallerywww.mariangoodman.com
Maurizio Cattelan: All4 November 2011 -22 January 2012Solomon R. Guggenheim Museumwww.guggenheim.org
Trisha Brown
Peter Liversidge: Where We Begin8 December 2011 – 28 January 2012Sean Kelly Gallery
Beverly Fishman10 December 2011 – 28 January 2012Galerie Richardwww.galerierichard.com
Sherrie Levine: Mayhem10 November 2011 –
Whitney Museum of American Artwww.whitney.org
Myong Hi Kim: Borrowed Landscape12 January – 25 FebruaryArt Projects Internationalwww.artprojects.com
Clifford Owens: Anthology13 November 2011 -12 March 2012MoMA PS1www.momaps1.org
London
Paul McCarthy: The King, The Island, The Train, The House, The Ship16 November 2011 – 14 January 2012Hauser & Wirthwww.hauserwirth.com
London Art Fair
UK’s largest art fair
and contemporary art returns, with over 100 galleries featuring the great names of
the 20th century alongside exceptional recent
18 January - 22 January
information
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The Mystery of Appearance7 December 2011 – 18 February 2012Haunch of Venisonwww.haunchofvenison.com
Lygia Pape: Magnetized Space7 December 2011 –
Serpentine Gallerywww.serpentinegallery.org
aida rubio gonzalez: la vida es un sueno15 December 2011 – 20 February 2012Rosenfeld Porciniwww.rosenfeldporcini.com
Zarina Bhimji
Whitechapel Art Gallerywww.whitechapel.org
Beijing Wang Qiang: Venus Hotel20 November 2011 – 15 January 2012
www.whitespace-beijing.com
Huang Ying: My Mirrored Realm31 December 2011 – 16 January 2012
www.todayartmuseum.com
Henry Hudson: Between A Rock and A Hard Place20 November 2011 – 30 January 2012F2 Gallerywww.f2gallery.com
Hong Hao: As It Is10 December 2011 – 26 February 2012
www.beijingcommune.com
Zhan Wang: My Personal Universe26 November 2011 – 25 February 2012UCCA – Ullens Center for Contemporary Artwww.ucca.org.cn
Los Angeles Tom Knechtel3 December 2011 – 10 January 2012Marc Selwyn Fine Art
photo l.a. 2012Continuing the discourse on photography’s
dealers from around the globe a platform
contemporary photography, as well as video
juxtaposition creates the character that is photo l.a.12 January – 16 JanuarySanta Monica Civic Auditoriumwww.photola.com
LA Art Show: Modern & Contemporary18 January – 22 January
www.laartshow.com
Glenn Ligon: AMERICA23 October 2011 – 22 January 2012
www.lacma.org
Danny First: Peaceful Solitude7 January – 18 FebruaryMaloney Fine Art
Weegee: Naked Hollywood13 November 2011 – 27 February 2012
of Contemporary Art (Grand Avenue)www.moca-la.org
Tokyo
Yoko Ono10 December 2011 – 28 January 2012
www.
com
Nobuko Tsuchiya: We are living in a time machine18 November 2011 – 28 January 2012
www.scaithebathhouse.com
Aki Eimizu
MA2 Gallerywww.ma2gallery.com
Ryoko Aoki10 December 2011 – 4 February 2012
Yutaka Koyanagi
James Welling: Wyeth
Wang Yahui: Pick up a leaf when it falls20 January- 25 February 2012
Ken Matsubara: The Sleep Water-Meling Frozen Memories-Ken Matsubara dissolves our sleeping
antique objects.3 February – 4 March 2012-01-13 MA2 Gallerywww.ma2gallery.com
Bettina Rheims: Made in Paradise26 March – 15 May
Museum of Photographywww.syabi.com
Bangkok
Lady Image: Artist: Anchalee Arayapongpanich
paintings inspired by the artist’s experience with all the media in
January 26, 2012 - March 4, 2012
www.ardelgallery.com
M L Toy Xoomsai An exhibition to honour the pioneer of nude photography in
the fascist state and its imposed social order.
fantasies concerning the opposite sex. 7 January – 26 February 2012
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Korean version
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LIE SANG BONG10 YEARS
COLLECTION
Editor. Vincent SungConcept / Production. Visual Sponge Project
Photographer. Vincent SungHair Artist. Min Oh
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2003FW
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2007FW
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2004FW
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2011FW
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2002FW
2008FW
2009FW
2010FW
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2005FW
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2012SS
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2006FW
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2002 FWLOST MEMORIES
human life as a watch spring to represent the return
from the past, and the use of red expressed the
Also, stitch-printing and handmade elements were used to express lost memories. 2003 FWCULTURE MIX
uses contrast through loose and tight silhouettes to emphasize the sexiness and felinity of a woman’s body. Various prints and pelt techniques were used on wool and leather fabrics to create a unique texture mix of the materials with a color palette of
2004 FWMONOCHROME FILM
fun mix of various fabrics and shapes maximized the glamorous beauty of women.
2005 FWPUMP UP THE VOLUME
the Volume collection literally expressed the exaggerated volume of puff sleeves, shoulder lines
violet, and gold as accent colors. Materials that are
a woman who is feminine but strong enough to express herself. 2006 FWMOONLIGHT SHADOWPreviously, no one had ever done a collection based on Korea’s national writing script, Hangul, and this
including moonlight shadows with a distinctly bluish tint, winter tree prints that appeared in the blue moonlight, and exquisitely drawn Hangul letters by
2007 FWSWINGING EAST
of the details were inspired from antique Korean
achieved through the use of metallic and plastic materials combined with enamel leathers.
2008 FWHEAVENLY CREATURESInspired by Kimera, one of Korean’s treasured singers and world famous pop opera singer, the outstanding structural symmetry combined with asymmetry of the collection is what commands
and accordion shapes which represent the harmony
and leather printing creates the modern Korean mix and match. 2009 FWCAT PEOPLE
process of creative endeavors regarding shapes,
was the strong desire to infuse a Korean motif into
its climax with the combination of traditional motifs such as the structural silhouettes of the exaggerated shoulders, laser cut leather with traditional patterns,
do, as well as extreme decorations using tassels and a structured silhouette designed with modern tones.
2010 FWINNER CITY LIFEInspired by strong and chic city women, this collection incorporates architectural silhouette with graphical prints, and adds a futuristic and military
ceramic/plastic, it gives contemporary women a city
blue with a Korean mother of pearl the collection reinterpreted urbanity into a trend setter.
2011 FW
arched lines and curved horizons of Zen imagery has been reinterpreted with a modern twist throughout
architectural silhouettes with a feminine form in hues of grayish beige and brown with splashes of gold.
with a touch of Cloque detailing.
2012 SSDANCHEONG
colors painted on wooden buildings and artifacts
connecting the past, present and future together by going beyond time and spaces with the theme. Splendid patterns with a mix of straight and organic lines create unique graphic images and bright color
and dresses were created through playing with the
along with a mix of jersey and tencel.
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in 1996, you have continued to successfully surprise me with
inspirations from?I’m inspired by everything I’m interested in and everything I want.
country or place impressed you the most? Where would you wish to live, if not in Seoul?
images and its mysterious culture are still embedded in my head. Each
for me is Santorini Island in Greece because the weather is warm and
cherish both modern and ancient civilizations.
Q. Since 2002, you have started to grace Paris’ catwalk with your
world in Paris? How different or similar is it to the fashion world in Seoul?
of creativity and supportd continuous collections, but collections are not considered important in Korea. Seoul has a long way to go before advancing to an international fashion scale.
Q. Any particular anecdotes/stories from Paris you would like to share with our readers?Right before boarding the airplane, I heard over the intercom that they
luggage that I had forgotten to bring with me before the departure procedure. When I came out of the departure control center, I realized
explosive.
Q. Can you tell us more about your artistic projects for the future?
Fashion designer
LIE SANG BONG
Q. Could you give us more information about your projects in New York?
Q. What projects were you assigned to the Korea National Tourism Organisation/Seoul City as a “representative of contemporary fashion” abroad?
Q. Tell me more about your travels and your favorite places to visit. I also know some of your friends living in Bali ....
Ocean.
Q. Can you give us your ‘bucket list’ (list of all the things you would
Q. Who inspires you in the world of entertainment/fashion? And why?I respect all designers, but I especially admire Vionnet and Yves Saint
get inspired by those great designers.
Q. Can you give us hints about your next collection’s *F/W 2012 concept/inspiration? What inspired you for the next collection?
streets, and the stone walls between the houses acted as communication pathways where people shared love with each other.
www.liesangbong.com
Creative ideas travel fast and far – Eloquence
of this journey. We share ideas about creators’
We see the world through the eyes of creators.
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