Exhibition Information

~beacon_code
2017 Acrylic on canvas 291x218cm

~beacon_code
2019 Acrylic on canvas 227x181.8cm

~beacon_code
2017 Video installation in dark room_ stereo sound 800x415cm

~beacon_code
2017 Video installation in dark room_ stereo sound 800x415cm

			Exhibition Contents 
Contemporary artist Park Jong-kyu's exhibition, <Beacon_Code Beacon Code>, will be held in the gallery floor. Park Jong-kyu, who is currently receiving love calls at various art galleries and galleries at home and abroad, has held individual exhibitions at Shilla Gallery, Gwangju Museum of Art, Gallery Judo, Xian Museum, Lian Gallery, Sungkok Art Museum, Youngeun Museum of Art, Gallery Date and Indang Museum. He also held individual exhibitions at the Amorischow Focus section in New York, the Basel Hong Kong Art Fair Insight sector, Hong Kong Ben Brown Gallery, New York Gallery and Triumph Gallery in Russia. The gallery exhibit is the first of its kind in six years, following the 2013 Layers & Dimensions Layers & Dictionaries. 
Author Park Jong-kyu writes 0-dimensional (point) and one-dimensional (line) patterns inspired by the visual images of digital pixels as basic motifs of work. The images that he shows, in the form of a canvas or with images that move in a project, are numerous dots or lines They also look like codes that can be decrypted separately. In the author's conception, it is an image derived from an auditory format rather than from vision. The image he shows across analog and digital works is an attempt to visualize noise. In the audience's view, it was a very immediate step, rather than a completed and confirmed form, leaving a vague section throughout the work. 
Nevertheless, the title Beacon Code has a different meaning. Beacon code, an electrical and electronic term used in flight or navigation, is a signal that helps to follow a set coordinate. The series of exhibitions and creative moves that the author is showing can be interpreted as a kind of declaration that he will go on such a relentless course. This year, the artist has been navigating the route leading to the private exhibition of the Daegu Museum of Art and the invitation to the Korean Cultural Center through the multi-purpose cultural space "Billyworks," a new gallery in South Gyeongsang Province, and the main exhibition at the gallery distribution center. In the individual exhibition that takes place in the gallery distribution, the artist will unveil about 10 representative flat-panel paintings featuring the meaning of momentum that reveals the identity of the current writer, focusing on large-scale media art that will be implemented as a project. 
(Jo Jun-ho, chief curator of gallery distribution)

Come Run Away
After the decision was made on the return match between author Park Jong-kyu and the gallery distribution, the idea I took as I began writing the preface to the exhibition was, "Am I again?" As for your work, I've already written a review of his private exhibition, Layers & Dimensions, which took place in the same gallery in 2012. In 2018, he covered the work of his teacher on the front page. In a project that was attempted by Billy Works earlier this year, I wrote a preamble to the exhibition based on the concept of beacons code proposed by the author. And then I sat down in front of my laptop again. The 2012 article only wrote dryly well to introduce. But back then, I knew little about a character named Park Jong-kyu. Last year's article I wrote in the newspaper is the most regrettable of the series. When I do something, there is a provocation that makes people go wild. In that short article, Park Jong-kyu should have been angry with me for spreading the controversial chapter in his own yard, even though the target is a snow-crazy, hard-core essayist. But the teacher just passed by. In fact, the writer's schedule is not so idle as to waste a little emotion. The preface to the exhibition was originally planned to be replaced by a space experiment that took place a few months ago, followed by my writing at an exhibition held in Yangsan. However, as a person waiting for a much more authoritative and well-informed text in the upcoming exhibition of the Daegu Museum of Art, I needed to briefly address Park Jong-kyu's work and my subjective appreciation as an observer in the closest distance. 
Park's artistic ambition is in the process of visualizing something far away from art. What can be electronics or music? The background of the story is beautifully laid out. The author tries to extract his own image as plausible as possible, mentioning from storytelling, which is usually hard for audiences and artists to contemporaneous minimalism and contemporary art with media art. With regard to the results, the audience will enjoy the genre of modernist art, which is simple and brain-wasting. It is the reviewers who are at odds over how to continue to write two stories divided into engineering and art. There is no choice in the stage to prove a hypothesis, and it is too much to describe a number of propositions accurately. Well, that's not the fault of the critics. The cause is the writer himself. Although Park Jong-kyu's art has achieved a lot by creating a keen sense of art, it still has a tough and wrong personality. Dots and lines expressed in the artist's drawings are said to be the sound expressed in pictures through binary. Let's look at media art, where a very simple molding element interrupts through the space of dots, lines, faces, and particles through time. When I'm watching the big projective video work, I feel once again that it's not easy to find an artist with this sense. But the background of the image's birth is unknown to many people. If cipher-like dots and lines are visualizations of noise (noise), the process of producing sound can be realized by digital scanning, for example, like perforated paper that enables the automatic playing of piano. And that really happened. The music demonstrated as electronic music at Bongsan Cultural Center in 2013 was a pay-for-visual event for the visualization of sound. It's just a delusion, but it's easy to put in a single package with flat-panel work and an orgel box that reproduces it with sound.
Many groups of art inmates, such as audiences and critics, pride themselves on the knowledge of humanities, which originated from the sensibility of a literary boy when he was young, but instead look at the work from the perspective of an engineering boy. Everyone knows that the range of sounds that people can usually hear with their ears, the audio frequency band, is between 20 and 20.000 hertz. Based on this prefix, there is a process of changing from natural sound to digital sound. That would be the case with the A/D converter to create a music CD or music source. The sampling process, in which sound is drawn, standardized the frequency at about 44 kilohertz. Because the reception band is a little bit more than Claude Shannon's best, the theory that negative reproduction is half the sampling value. It is okay to set frequency width more, but the answer is "굳". Just because we listen to music would not mean that we would have all the sounds derived from the place where the music was played in our ears. When <School bell> is tapped on the solsola Solmee keyboard, the notes and spacing are the elements that make up the music, for example, the creaking of the chair on which the performer sits or the sound of the piano bounces on the wall. Most of the noise and low frequency that can be heard by the ear are filtered. The areas of social studies, journalism, and electronics that we deal with together are Shannon's communication theories. Without studying the mathematical theory of communication by Shannon with Weaver, one can't really understand art sociology. Here's their argument in this book, which contains many mathematical proofs. Messages sent by the informant must arrive at the destination via the channel, most of which are converted into signals and sent to the channel, then changed again, resulting in message-fuelling. However, there is noise that occurs during the process of being originally present or being changed into a signal. The two scholars believed that success or failure is determined as communication reduces uncertainty by picking up noise.
In both the physical world and in the human world, noise is inevitable. And we can't necessarily judge that it's wrong. Needs may be, for example, the inflammatory remarks of politicians in politics, the plummeting value of stocks in the economy, the emergence of new hypotheses in religions or in emerging sects and science. There are many examples in art, too. From the point of painting alone, the brushstrokes that scrawl Van Gogh's paintings may have originated from, but are noise. In the exhibition of Lee Se-hyun, which preceded Park Jong-kyu, all subjects in the painting are listed equally, with the main and secondary, without distinction of superiority, seniority or element. This is why I feel dizzy when I look at such pictures. The purpose of the artists, who had to sort out the subtracts, was elsewhere. On the contrary, let's think of the Jorju Sula starting from the Giorgio Sula. The task of reminding images with minimal points eliminates unnecessary visual noise. But here, the aesthetic world of Park Jong-kyu works in a different way. His art subtracts high purity from the noise in the supporting, sudden, useless and failing positions of art. At first, it may be empty, but it has become something that is plausible because it is repeated. It's hard to name this "something" right now. Shall we call it destination like Shannon and Weaver? Anyway, Park Jong-kyu leads us there. The exhibition's title, <beacon_code>, is also the name of the project chosen by author Park Jong-kyu, predicting this year. beacon means a high frequency signal that is displayed wirelessly in telecommunication technology. Beacon code is a signal that shows the way a plane or ship goes in sight. If the title I wrote last year, "Trajectory," means orbit, the Beacon Code is the author's declaration that he will go to his destination without going out of that orbit.(Yoon Kyu-hong, Art Director/Art sociology)