Exhibition Information

non titled
2018 mixed media 45x45x124cm

Spicdiction2-1
2018 wire, colored on fish amp 165x104x60cm

Cloud Dancer
2021 oil on canvas 162x130xcm

Mirror
2020 oil on canvas 45x45x124cm

			About the individuals, the time and the records in Memoirs

The exhibition "Memoirs" is the first exhibition of "Project <Jal>" and was designed with the motif of Osamu Dazai's <human disqualification>. The main character of Dazai Osamu's "Disqualification of Humanity" forms a false self in society through a contrived act that is recognized as a "good human being" externally. However, whenever I meet art (picture, writing), I am satisfied with the appearance of a disqualified human being that I have to hide to look good.

The exhibition aims to provide an opportunity for modern people who have no choice but to make themselves up for the "high" evaluation of society and groups, like the speaker in Dazai Osamu's "Disqualification of Humanity," to face their hidden (or denial, or forgotten) sides by facing art and its actions. Of course, the self to face through this place may not be modulated with provocative words such as (mostly) disqualification, but it is necessary to reconsider whether the thoughts, imaginations, and desires that pass through the moment of life were weighed down by the concept of "good" formed by society.

We don't know why Dazai Osamu described his discovery as an art method, because he was an artist, or if he actually had that experience through his artistic experience.Although the functions of art in society (such as sorcery, aesthetics, propaganda, and records) have gradually shifted over time to other media other than artwork, wouldn't the sensory satisfaction of art still be because it can "own" other aspects of me and intrinsic desires in society?

Thus, the stories in this exhibition are not grandiose, demanding the realization of a record of socially important events or the world-shaking ideology, but the impression of a person in a small amount of time. 
Records in the exhibition that hold on to the traces of deep moments and materialize them seem to want an individual to "own" the "difference" not to stagnate as a single element in the entire world in a routine and repeated flow of time.

 Kim Ji-hoon has produced many works in the form of wire sculptures, formed by artists who mainly use wire used as industrial materials to form shapes, containing discarded accessory materials.

In his work, He places his position on the material elements of iron and the non-material elements of light (although there are views as material elements). It describes the dynamics of pursuing non-material situations (success, hope, origin, etc., the idea that the viewer can imagine and desire) that are represented by objects of reality represented by sub materials that have lost their use.

Kim Jihoon's works, which express allegorical feelings of "desire" that many people, including writers, have at every moment of their lives, are not just records in terms of form. Through the process of refining, purifying, and shaping the imaginary image that approached the writer through repeated actions that weave wire, we will feel that each daily behavior resembles our lives to face the light in our imagination and desire.

Meanwhile, the artist Lim Dongseung has been organizing moments in his head through well-known (popular) images and conveying various messages through contradictory combinations and behaviors of images, and is currently working on creating images through a grid on canvas (formal) and over pixels.

Lim has long focused on recording his memories and subjects in time. This record does not just sketch ambiguous podiums and images of moments but reveals the moments that unfold in the world in the head through the process of processing (quote the Lim's words) that the writer has learned in reality.

Although this form of work has distanced itself from both Artists' world of record and the real world, assuming that the desire for the difference in the author's repeated life is the driving force of his imagination, it is the author's repeated process.

The works of the two Artists'  give a distinct impression, but they resemble the cycle of desire, desire, and repetition of daily and daily life, from the way we work to create changes in the world through the intersection of lines and materials.

Through this exhibition, I hope you will infer the works you face and the process of transferring the object as a result, reflecting on something that is not like "I" that suddenly pops up in your life and thinking about the definition of "I." When people living in the world are worn out and absorbed into society or groups in their repeated daily lives, we hope that the existential desire that suddenly comes to mind can be recognized and resolved here now.