Exhibition Information

2020 ⓒThe Artist & Art Centre Art Moment 162×107cm

2020 ⓒThe Artist & Art Centre Art Moment 가변설치

2020 ⓒThe Artist & Art Centre Art Moment 가변설치

2015 ⓒThe Artist 11분 22초

			The [ ] balance of speed and weight?

Here's a quiz. The quiz is that [ ] the balance of speed and weight must be filled. As you know, speed is the amount of the displacement of an object divided by the time interval at which the change occurred, and the weight is the degree of gravity applied to the object. What is the relationship between speed and mass? A critic is a person who interprets the world in language. It uses the etymology, justice, and personal experience and social influence of words to gauge the overall concept of reality. Unfortunately, however, this is not a quiz that can only be solved by a conceptual approach.

The question, which asks about the balance between speed and weight, is the title of the regional-based project of the exhibition cultural space 'Time of Art' located in Doksan-dong, Geumcheon-gu. This project is a project in which participating writers of the project research the Geumcheon-gu area every year and publish a report on the results. Youngil Presence Co., Ltd., the parent company of Seoul Arts Time, has endured 40 years of leading as a semiconductor parts manufacturer in Doksan-dong. I was glad to hear that an art space would be introduced in Doksan-dong, a relatively cultural barren land.

This project should be analyzed on two axes. The first is the time of art and urban characteristics around Geumcheon-gu. The second is a site-specific art genre called 'region-based art project' or 'community art'. After analyzing the extremely philosophical and abstract question of the balance between speed and weight around the two axes, we are going to close the problem with pieces of visual art displayed in the art time. Artists will be instrumental in breaking down the world of critics' narrow language and solving problems.

Geumcheon-gu is an indispensable place when referring to the history of Korea's manufacturing industry and the resulting social class. In the 1960s, Guro-gu and Geumcheon-gu were established as major export industrial complexes in Korea, named 'Guro Industrial Complex'. In the 2000s, the industrial structure was reorganized mainly into high-tech industries, and Guro Digital Complex and Geumcheon Digital Complex were renamed Gasan Digital Complex, but Guro Industrial Complex is still an intangible entity that evokes certain emotions and nostalgia in Korean society, and this area is still a workplace and industrial site. New art is often born when the working class and the locality of the city meet with artists, and the Guro Industrial Complex was also the source of inspiration for Korea's labor literature. One of the most representative works is "Small Balls Launched by Nanjangi" published by Cho Se-hee in 1978, and although specific names do not appear in this novel like a jewel of Korean literature, the author said he covered Garibong-dong, Incheon-gu, Muak-dong, Jongno-gu, and Myeonmok-dong, Dongdaemun-gu. In addition, "Guro Arirang" released by Lee Moon-yeol in 1987, Shin Kyung-sook's "The Lonely Room" (1995) and Park Beom-shin's "Namaste" (2006) are also subordinate to the special Korean literary genre of labor literature, describing the site of Guro Industrial Complex and the lower class of Korean society.

While labor literature deals with the locality of Guro Industrial Complex as a form of accusing Korean society of irregularities based on the unhappiness and energy of workers and lower classes, the way visual arts deal with locality has been carried out on a slightly different level. The new genre of art thought, which began in the 1970s in the West under the name of "community art," is based on the belief that modern art should be carried out in society, life, and action away from art galleries and museums. Since the early 2000s, it has exploded in government-led form in Korea, and it was not uncommon for artists to conduct research and reinterpret as works of art based on certain regions, or even to carry out projects with community residents.

In this context, this regional-based project, which is carried out in art time, will inevitably put the biggest focus on artists' interpretation. A total of four writers participate in <Balance of Speed and Weight>. It is installation artists Kim Sang-hyun, Kim Si-ha, Hong Se-jin and media artist Yoo Bi-ho. For writers, the Geumcheon area has different visual images and stories. From a macro perspective, writer Kim Sang-hyun looks at Doksan-dong as a complex that has future hopes due to a mix of labor-intensive sites of past manufacturing complexes and current reckless development. For Kim Si-ha, the Guro Industrial Complex is imprinted with a unique fragmentary image of a ghost story and a visual artist, and Hong Se-jin observed the neighborhood more closely through his experience in moving into the Geumcheon Art Residence Art Factory in Geumcheon-gu, run by the Seoul Cultural Foundation.

Kim Sang-hyun's interpretation is both intuitive and symbolic. The writer wanted to create the history of English-Japanese Prescription and the atmosphere of the industrial complex through machine-productive results. The heat shield manufactured through the actual press machine represents the symbol of mechanical process production, and the red/blue/green/orange works made using stainless steel materials represent the culture of Geumcheon Industrial Complex, where sheet metal production is frequent. In addition, drawings produced in sound and photographs and projections intentionally deleted to show traces of time were all produced under the artist's plan. However, the most impressive thing is that the hydraulic press, which has endured the company's history for a long time, is on display. This work reflects the artist's intention to consider works that represent the history of factory machinery and labor.

Kim Si-ha's work is more space-efficient and metaphorical. The author implements visual space installations by bringing the temperature control function of the heat shield into the theme of work, based on the representative product of Youngil Prescription. By creating a situation in which two lights, red light bulbs symbolizing high temperature, blue sheets of windows symbolizing low temperature, and stainless steel waste materials on the floor, meet in one space, the "appropriate temperature" was to be visually implemented. The artist's unique minimalist space production and cool atmosphere are arranged.

Hong Se-jin's work is condensed into a very personal narrative, while replying to the future of the most technological work of the participating artists. In the case of the submission, <The End of the Needle>, it displays the shapes of 'the sphere' of various sizes and textures, which is the writer's long [ ] balance of speed and weight?

Here's a quiz. The problem is that [ ] the balance of speed and weight must be filled. As you know, speed is the amount of the displacement of an object divided by the time interval at which the change occurred, and the weight is the degree of gravity applied to the object. What is the relationship between speed and mass? A critic is a person who interprets the world in language. It uses the etymology, justice, and personal experience and social influence of words to gauge the overall concept of reality. Unfortunately, however, this is not a quiz that can only be solved by a conceptual approach.

The question, which asks about the balance between speed and weight, is the title of the regional-based project of the exhibition cultural space 'Time of Art' located in Doksan-dong, Geumcheon-gu. This project is a project in which participating writers of the project research the Geumcheon-gu area every year and publish a report on the results. Youngil Presence Co., Ltd., the parent company of Seoul Arts Time, has endured 40 years of leading as a semiconductor parts manufacturer in Doksan-dong. I was glad to hear that an art space would be introduced in Doksan-dong, a relatively cultural barren land.

This project should be analyzed on two axes. The first is the time of art and urban characteristics around Geumcheon-gu. The second is a site-specific art genre called 'region-based art project' or 'community art'. After analyzing the extremely philosophical and abstract question of the balance between speed and weight around the two axes, we are going to close the problem with pieces of visual art displayed in the art time. Artists will be instrumental in breaking down the world of critics' narrow language and solving problems.

Geumcheon-gu is an indispensable place when referring to the history of Korea's manufacturing industry and the resulting social class. In the 1960s, Guro-gu and Geumcheon-gu were established as major export industrial complexes in Korea, named 'Guro Industrial Complex'. In the 2000s, the industrial structure was reorganized mainly into high-tech industries, and Guro Digital Complex and Geumcheon Digital Complex were renamed Gasan Digital Complex, but Guro Industrial Complex is still an intangible entity that evokes certain emotions and nostalgia in Korean society, and this area is still a workplace and industrial site. New art is often born when the working class and the locality of the city meet with artists, and the Guro Industrial Complex was also the source of inspiration for Korea's labor literature. One of the most representative works is "Small Balls Launched by Nanjangi" published by Cho Se-hee in 1978, and although specific names do not appear in this novel like a jewel of Korean literature, the author said he covered Garibong-dong, Incheon-gu, Muak-dong, Jongno-gu, and Myeonmok-dong, Dongdaemun-gu. In addition, "Guro Arirang" released by Lee Moon-yeol in 1987, Shin Kyung-sook's "The Lonely Room" (1995) and Park Beom-shin's "Namaste" (2006) are also subordinate to the special Korean literary genre of labor literature, describing the site of Guro Industrial Complex and the lower class of Korean society.

While labor literature deals with the locality of Guro Industrial Complex as a form of accusing Korean society of irregularities based on the unhappiness and energy of workers and lower classes, the way visual arts deal with locality has been carried out on a slightly different level. The new genre of art thought, which began in the 1970s in the West under the name of "community art," is based on the belief that modern art should be carried out in society, life, and action away from art galleries and museums.