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Kim, Chang Gyum

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Savina museum kim chang gyum 2007

Text of Kim, Chang Gyum

  • ArtVitamin

    KCCommunications 1996.1.20 1-1971

    2007 .PrintedbyKCCommunications

    2007.

    KIM, CHANG KYUM

    2007. 9. 12 - 10. 31

  • KIM, CHANG KYUM6th SOLO EXHIBITION

    ArtVitamin

    2007. 9. 12 () - 10. 31 ()

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    ( 5 50),( 9 20),( 6 40),( 14) 4, 2 ( 7)1, 5. ,., , ., TV (),.,. , . . , .

    _

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    The recent works of Kim, Chang-kyum consists of composite

    photographs and some series of video installations from his previous

    works that are more upgraded and sophisticated this time. The

    photographs that he is presenting for this exhibition are mainly

    computerized composite photographs and still images from the video

    installation works. At first glance, the photographs and video installation

    works do not look to be related to each other, however, when

    considering them as the results of the technical process of composition,

    they are actually quite similar. In the other words, the images from his

    video installations are first made out of editing and composition

    techniques. But these images are then projected onto objects that the

    artist produced himself; therefore, the images and objects are

    compounded again. Some series of photographs also appear repetitively

    on a canvas, and fragments of different and unrelated images are

    compounded and mixed naturally. Such composite images and technical

    processes in his photographs and video installations can seen as be the

    main elements that come through Kim, Chang-kyum's work. With

    composite images, the artist suggests highly artificial reality, wherein we

    cannot recognize the difference between sensuous reality and artificial

    reality: an artificial situation, simulacra.

    Video InstallationsIn this exhibition, for video installation works, Kim presents five works

    including (5min 50sec.), (9min 99sec.),

    (6min 40sec.), (14min.) and (7min. each)>, which is a

    two channel video installation installed to have the images of a man and

    a woman facing each other.

    As a matter of fact, this series of video installations is the main part of

    this exhibition, and they possess the inclinations of video images and

    installations at the same time. This certainly differentiates Kim's works

    from other video artists'works that are based on the peculiarity of the

    medium as video itself, since he makes the objects himself and then

    projects images on to them. For instance, he makes a TV, a fish basin, a

    mirror, a stone mortar and many differentkinds of bottles with plaster

    casts. In the beginning, he used plaster cast, but nowadays he often

    uses polyurethane. Through this process, plaster or polyurethane objects

    are produced, and this is in line with plaster techniques in conventional

    sculpture. And such physicality and substantiality becomes the most

    conclusive point for characterizing the artist's video works.

    On one hand, the objects that Kim created are similar looking objects

    that only resemble the original forms, but never the same as the real

    objects. We can say that the forms of real objects are transferred onto

    Works of Kim, Chang-kyum _ Edited and Composite Reality and Hyperreality

    Kho, Chung-hwan (Art Critic)

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    white chunks of plaster or polyurethane. The artist, therefore, makes

    objects that can be considered as something similar. After that part is

    done, he produces video images including images of the originals.

    Otherwise said, if he makes an object in the form of a mirror, he then

    makes a video of a real mirror image, and finally unifies the objectand the

    image by projecting the image on to the object that he made.

    Such video images projected on to the objects-the projected images on

    the surface of the forms- deconstructs the barrier between reality and

    fiction. At the same time, it shakes the firm belief and preconception

    about the reality of the objects and images. The objects only look similar

    to the original objects; there is no similarity between those two other

    than the appearance. On the other hand, the video images also only look

    similar to the original objects, but there lacks a sense of physicality,

    which makes a real object become a real object. Like this, the

    relationship that the objects and video images have with the original

    objects is one of absence and deficiency(since they only mimic a part of

    the original objects). Therefore, they have a standpoint of substituting

    and supplementing the real objects. In this way, the artist's works bring

    together fiction(objects) and fiction(video images); further creating hyper

    realistic circumstances, which pass over reality through the overlapping

    of simulacra and simulacra(This might be the same as how negative and

    negative can create absolute positive in logic). On top of that, the artist's

    work tries to induce the audience to experience such circumstances as

    reality; such a creation of circumstances that transcend sensuous reality

    is the core theory of the artist's work. As a result, the artist's work

    seems sophisticated for its digital appearance, but in its process, it is still

    analog; in this sense, the artist's work brings a response from the

    audience with the impression of sophistication.

    In his works a video projection onto an object

    and a work that makes the background including a

    mirror with video images only, Kim, Chang-kyum is dealing with the

    meaning of mirrors and the real nature of memory reproduced by them.

    Mirrors have the characteristic of reflection, the mirror in Kim, Chang-

    kyum's work hints at a kind of self-reflective nature and occasion. People

    try to recall their memories and remembrances when they face mirrors,

    nevertheless, mirrors only returns fragments of imperfect memories and

    remembrances. The scene in the mirror and the background where the

    mirror is placed are not the same. Further, a wandering shadow image

    overlaps with all these scenes, the projection is brought togetherin two

    or three layers; making it so, the reality of memory cannot be grasped.

    The artist even inserts the scene of a mirror getting broken, and with this

    scene, he adds the uncertainty of memories and remembrances. Thus, a

    memory gets mixed up with another memory, and recollection gets

  • ().,. ................... , . , . . , . ,,.()..,. ......, ,() . , . ( ,),() (). , .. ., .

    mixed up with another recollection.Not to mention a consistent narrative,

    but we can only revive faulty narrative produced by all different kinds of

    fragments of memories that are like broken parts of a mirror.

    In the video installation works and , such a symbolic meaning of a mirror and evocation of

    incomplete memories through the mirror are transferred into the surface

    of water- a form of water mirror. In these works, the uncertainty of

    memory and remembering is described by fragmentedand

    heterogeneous scenes that disturb a consistent narrative, or are

    supported by changing images or broken images with 'bang' sounds or

    ripples on water surfaces. In particular, these fragmented scenes are

    characterised by some anonymous person's monologue in the

    background. "Lost...certain...now...in the past...each...the past was..." the

    voice that you can't hear unless you really pay attention signifies the

    imperfection of memory that overlaps with truth and adaptation, and

    present and past. Memory is not restoration of the past, but an

    interpretation and adaptation of something that happened in the past.

    The desire of present time gets projected onto the truth of the past and

    then distorts reality. Such a voice that testifies the failings of memory

    belongs to the body and states of unconscious desire, rather than states

    of consciousness. They are different words from those existing, words

    that even change existing words they are the words of body and words

    of desire. Jacques Lacan's saying, 'I think where I am not; therefore, I

    am where I do not think,' supports such words of body and desire, and

    the difference between words of consciousness and unconsciousness.

    In this way, a monologue in the background of Kim's video installation

    achieves a different significance. 'I am watching

    you... you are watching me.' However, the speaker does not appear in

    the projection. Owing to the hidden subject, at first it seems like the

    work was suggesting a theory of power relationship regarding a visual

    sense between the anonymous subject's gaze outside the canvas and

    the gaze of the subject in the canvas. Furthermore, it even sounds like 'I

    am watching you, but I can't watch myself. You are watching me, but

    you can't watch yourself.' Here we can see the artist's existential self-

    consciousness that there is a gap between I(me being conscious) and

    I(me being unconscious) and his alienation that says 'I' and 'You' cannot

    reconcile(only through subjectification of each other and objectification I

    can see you and

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