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The name of Perspectives Strikes Back to capture the viewpoints alienated through the modernizing process of Korea is more or less rough. It's as if it's staring at the gaze of those alienated and casting a spell for someone to reform it. The gaze of the alienated here is reinvented through the gaze of female artists.

Im Min-wook's 44-minute single-channel video documenting a performance of sightseeing on the Han River on a tourist ferry. Alluded to are the problems of the long-term prisoners and the despair of the 880 thousand-won generation, and although not clearly interpreted, it also seems to poke fun at the second architectural boom referred to as the Renaissance of Seoul's Han River, a continuation of the Han River miracle.

The part that takes our gaze in the exhibition is Jung Eun-young's video that portrays the present life of the Korean traditional theater actresses of the 1950s and 60s. It depicts the complex and subtle emotions of sexual identity of female actors as women who portray the role of men. What is juxtaposed is the old-fashioned traditional Korean theater that is unfamiliar to the average person, and its present position in today's context that's maintained its life yet is still unfamiliar. It's unknown whether or not the Japanese Takarazuka has had an influence on the traditional Korean theater, but the fact that the Korean traditional theater is used as a subject for art work is an interesting point in the exhibition.

Yune, hyang roh, The SECRET Series

Yune, hyang roh, The SECRET Series (Drawing)

Im, Min wook_SOS disharmony adopted

Im, Min wook_SOS disharmony adopted_Single channel HD Video performence record_00:44:00_2009

Jung Eun young_Time of makeup

Jung Eun young_Time of makeup_Single channel video_2009

Joh Ik jung_Four refrigerator

Joh Ik jung_Four refrigerator_Single channel video_00:12:00_2009

Part time sweet_Ofof stage-September of 2009, vacant lot 160-1 Shin mun loh

Part time sweet_Ofof stage-September of 2009, vacant lot 160-1 Shin mun loh_2009


The emerging artist Yun Hyang-ro's drawings quietly look at the problem of sexual abuse and oppression on the female members within the family, and seems to deliver the message that it also goes beyond the realm of the family to being a universal societal issue.

As a measure of realizing herself as an independent agent (financially independent), Cho Ik-jeong video-documents an uncomfortable relationship of taking advantage of a senior living alone in order to secure the space to share with her 20-some-year-old boyfriend. The intention of the female artists to present the reality of being a woman in the contemporary context is understandable, but it's rather unfortunate that it's unclear as to exactly whom the gaze of the exhibition is directed at.


                                                      IAN Art Critic




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Posted by EYEBALL_Media Arts Webzine


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