Exhibition Information

			The main character of the novel, after spending some time in an old house of a village acquaintance in the mountains, wakes up in the middle of the night and hears a small but clear sound of someone ringing a bell from afar. Such sounds overwhelm curiosity rather than fear, and the protagonist wakes up right away and visits places where he can hear them.In the backyard of the old house connected to the mountain, there is a shrine that is said to have been built with the old house, and you can see the sound coming from the trees surrounding the shrine. "When I entered through the thick trees, I saw a pile of huge stones and the sound of bells flowing through them. The protagonist, who felt that he had to find out the real sound of the bell that he heard for two nights in a row, decided to call a dealer and clean up a big stone with his neighbor living in the opposite house.

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This is certainly a forest road that I know very well. So I know where the trees and rocks are and how they look, but I can't find the scenery that I saw yesterday (the day before yesterday) in this place at night. They welcome me and threaten me with a completely different face. They are looking for twigs of trees, but they are tied up in the darkness one by one, making it difficult to grasp them. Even if the darkness is bound to a thicket, it shakes and shakes when the wind blows.

When I change my identity into this many layers of darkness, curiosity that I could not feel in the strangely clear daytime forest keeps me running. I want to stand still and check the details and scale of the space hidden by a large mass of darkness, so I stare persistently. I can't stand the fact that there are areas that I can't reach right now.

It seems like you can go uphill and look up towards a wooden pillar, but it is not clear whether you can go there because of the dark sky. Once you get used to the darkness, you will be able to see things that you can't see, but not on this forest road, where streetlights are lit up.

Therefore, I will try to block the possibility of being out of my sight and think about whether to think of it in a black background with bushes that I can see now, or imagine a crow-like thing that might be sitting in an invisible space.

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There was a summer disaster in the park cemetery where I enshrined my grandfather on my mother's side who died when I was one year old for more than 20 years. It was Ashura who visited with his family. The terraced tomb mounds were washed away under rainwater, and the coffins and stone structures scattered here and there were miserable conditions. It was like a cemetery where dozens of coffins were buried under one large mound, rather than a cemetery park where the mounds were arranged step by step. While walking around with people involved in the scene, many questions were answered to the question, "Are the bereaved families angry or crying, and why are the broken coffins and the remains of the deceased returning to their place before this horrible scene?"

It was like that. Even if all the government officials visit the original place, will they be able to make the same greeting as a tomb and a tombstone that they visited on every holiday? Is that the same as visiting the previous grave?Then, the only way to identify who was buried in the tomb was to trust the tombstones and stone structures outside the tomb.What have you buried and where have you expressed your condolences? .

"If I Put You in the Poison" began by exchanging the following questions with the writers. And this unfamiliar and confusing situation, in which the things that should be in the ground were pushed out beyond the boundaries - not seen - appeared, goes with these questions to the question of trust in the visible. We talk, have the will to believe that what we can see is universal, and have a magical power to rationalize it, so we will try to subvert this phenomenon in our own way.

With the exhibition hall as the stage, Kang opens up the possibility that "anxiety about being stabbed" and "good luck in finding gold" exist at the same time, and suggests "action" by recognizing unpredictable results. While acting with desire, it is intended to constantly cross the psychology of avoiding the danger of being attacked at any time, and during that time, it encourages you to imagine the time of an invisible future. Ju Hyun-wook uses "mosquitoes" that are fatal to the "public" and that everyone wants to be excluded from the public as McGaffin to carry out the process. Introduced as the second mode following the summer, this task causes the first event of universal and unconscious cracking in summer and, by repeating it again in winter mode, positions dislocation in a reasonable world to obtain universal and reasonable truth. The warring leader divides the scene of the painters and the gaze movements they have been looking at over the years, and lists them as if they were blinking. While moving images captured by the writer who witnessed the moment of the incident on his cell phone, monitor, and on the canvas, they are edited again, but they expand, escape, or drift away in the process. At first glance, after trying to ventilate several times, the distorted image is concentrated and monopolized in the author's domain, and it can be said that the image has been transformed into a more fundamental image than the moment it was first captured.

The works look at what they believe to be everyday and the world in which they cannot see the basis of their daily life, the events that occur while undulating the boundaries, and the value system with a double structure based on the boundaries in a different way. Through this exhibition, in which these views of artists who solve their own questions cross each other, let's suggest the time for thinking about changing visual perception.