Exhibition Information

			If you look at the history of art, you can see that the use of images and their work have played a very important role in the development of human civilization He wanted to see the image of God through images, and replace the object of desire with a visual component for a long time. Art began as a medium for recording such a sacred and precious thing. This has stirred up the history of reenactment.

People’s desires did not stay there but also dealt with subjects that moved in the category of ‘re-environment’. However, in an era when art media was limited, movement itself could not be recreated.

The invention of the camera was a novelty to the problem of re-enactment. And it has created a new philosophical problem by clearly showing the difference between real and fact in modern civilization. Artists were also forced to be affected by this trend. The European art world has come to terms with the new motif of ‘reversibility’. The running of horses, the glowing lights of the cafe, the beautiful dancing of ballerina, and the steam locomotives rushing into the platform were among the main themes of its dynamism. However, what can be expressed in paintings and sculptures was not the "movement itself" itself, but the "reverseness" of the movement, or a stationary scene that captured the metaphors of the movement or movement.

From the perspective of contemporary contemporary art today, many things that artists have agonized over and targeted in the past seem to have been solved. Visible and invisible have become far removed from the consciousness of important problems in art, and movement has actually become a possible reproduction. In fact, moving works are not the goal of implementing motion itself, nor are they merely a reproduction of dynamism. The invention of the movie was also a reproduction of time beyond the reproduction of vision.

The latest modern art embodied in us now can show the measure of modern science and technology, but it also warns of nostalgia for nature and the danger of selfishness that modern civilization has not foreseen. Now art is not like the admiration for the dynamic new landscape of artificial mechanical civilization brought by the Industrial Revolution. The images of art that we have looked at from a one-sided perspective are now eye contact with each other and target each other. Artificial objects detect and communicate new emotions by having movement and facial expressions like nature does. Not surprisingly, the optical and mechanical results of a movie or photo can make us cry and laugh. Now any movement, deed or expression has become a language of social message, not the wonder of the strange things witnessed by modern people. Then ‘move’ becomes a manifestation of emotion or perception. Semiotics translate the rich social, Signifié of modern society by analyzing the signifiant of this superficial body. For example, our gestures, make-up and plastic surgery, and the messages that various tastes of fashion and excess desire send to our society have another system of language.


The works on display here are the motion of the content, the facial expression, which stimulates us to become a special surface object. We will list the deficient adjectives and also respond with special expressions and movements. Changes resulting from stimuli or interference from these objects will produce a rich social language. In this process, we can confirm that what we call ‘work’ is not just a sign (cinipian), but at the same time a sign (cinipian), and that what we notice in the life of these symbols is that we hear a voice of special sensibility through works that suggest movement.