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The structural elements of miniature buildings and videos always apparent in Jeong Jeong-ju's works not only speak about the relationship between reality and imagination, but also about a certain kind of danger that we face in our world of perception. This danger comes from the fact that there is no such thing as a fixed standpoint in this world. As an audience, we cannot stand at certain safe standpoint that looks at everything from an external view. Sites of the gaze exist all over the place. It's uncertain as to which camera is pointing where. Naturally it's possible to conclude this structure, but what the audience faces in the exhibition is this danger that is perceived in the world of perception. We are exposed to innumerous gazes. There is no safe place. At a glance, Jeong's work seems to be composed within abstract domain and logical structure, but in actuality, it's the complete opposite. The physicality, location and perceptual experience of the audience are all important elements. Furthermore, the physical nature of this experience is sharper than the everyday condition that can safely encage the observed experiences to an abstract level. Where are we standing and what are we looking at? This issue is not irrelevant to the reason that the artist makes miniatures of actual buildings in the city and models the building which holds the exhibition. As long as perceptual experience is not abstract but is within concrete experience, her work is not a metaphor for a city, but is the city itself.

Jeong Jeong-ju_'Sites of the gaze'- Seoul_2010

Jeong Jeong-ju_'Sites of the gaze'- Seoul_2010

Buildings and houses rendered in miniature size, the closed circuit cameras installed in those buildings, the video that shows what's reflected on that camera: these are the structural elements that always appear in Jeong's works. It's true that we anticipate some degree of change as this setting has continued for some time. However, as there are artists who advance by shifting the subject issue or constituents of the work, there are also artist who propel along with things that are fundamental, further deepening the work. Jeong belongs to the latter type of artists. In a way, this exhibitions seems to have significance as a settlement of her works so far, as well as being a kind of an intersection. As a result of accumulating work that referenced three cities of Nagoya, Shanghai and Seoul for the last 2 years, there hasn't been a change in the basic composition of the work, but there is a heightened sense of complexity, and this complexity plays a crucial role on this exhibition. An artwork is not an abstract idea, but a perceptual embodiment. The audience's sharpness in perception is intensified by the mosaic-like installation of various incoherent buildings and the continuously rotating round building, and the complex circuitry that roams in between the building. Jeong's work presents a sense of exquisite reality to this experience by tightening the weaving of the net that wraps the audience.

Jeong Jeong-ju_'Sites of the gaze'- Seoul_2010

Jeong Jeong-ju_'Sites of the gaze'- Seoul_2010

Jeong Jeong-ju_'Sites of the gaze'- Seoul_2010

Jeong Jeong-ju_'Sites of the gaze'- Seoul_2010

Jeong Jeong-ju_'Sites of the gaze'- Seoul_2010

Jeong Jeong-ju_'Sites of the gaze'- Seoul_2010


Cho Seon Ryeong, Independent Curator

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Posted by EYEBALL_Media Arts Webzine


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