Information on the collection and utilization of personal information
Art Map collects personal information for members who wish to answer questions as shown below.
1. Collecting personal information item : [Essential] Member name, Phone number and E-mail address
2. Purpose of collecting and using personal information : to secure personal identification and a smooth communication path according to request for inquiry 3. Retention and Utilization Period of Personal Information : Keeping shall be made for six months from the end of processing the enquiry and destory it.
4. Added Information for the right to refuse consent : You may refuse the above consent for porsonal information collection.
However, if you refuse to accept the request, you will be restricted from asking.
I agree with you on the collection and utilization of porsonal information. *
정보 수정 요청서
※ 작가,전시회 담당자가 아닌 경우 요청이 반려될 수 있습니다.
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수정내용*
Information on the collection and utilization of personal information
Art Map collects personal information for members who wish to answer questions as shown below.
1. Collecting personal information item : [Essential] Member name, Phone number and E-mail address
2. Purpose of collecting and using personal information : to secure personal identification and a smooth communication path according to request for inquiry 3. Retention and Utilization Period of Personal Information : Keeping shall be made for six months from the end of processing the enquiry and destory it.
4. Added Information for the right to refuse consent : You may refuse the above consent for porsonal information collection.
However, if you refuse to accept the request, you will be restricted from asking.
I agree with you on the collection and utilization of porsonal information. *
Eunjung Park is an artist who investigates painting as a process of visualizing affect. Her work captures moments in which traces and symbols of affect are generated and dismantled through the accumulation and erasure of paint’s material properties. Through repetition and layering, drawing and overwriting, she painterly experiments with the unstable structure of affect and its rhythms of change. Since relocating to the United States in 2013, her practice has been grounded in melancholia and ontological estrangement arising from a diasporic life, as well as the bodily and sensory disorientation produced by time differences and climatic shifts. The pictorial space that emerges from the convergence of environmental, biological, and affective factors expands into a fictional yet ecological terrain in which emotions circulate and adapt.