Exhibition Information

Maybe we don't recognize each other even if we meet again.
2020 Silkscreen on steel plate, corrosion 270x120cm

pietà
2020 Silkscreen on steel plate, corrosion 180x210cm

			"Like the confession of love exchanged between lovers, songs that are loved by the ages and generations change are full of lyrics that express faith in the object of attachment, justice, mourning, compassion, or hostility. The texts used in this exhibition are the sworn languages derived from the lyrics of the national and military hymns and fads. Perhaps because of the nature of the language that is unquestioned but cannot be filled, these cliche quotes that are inevitably chosen because of the nature of the language, but which is not always overflowing or even half-full here, these languages become my own love stories that do not allow a gap like a sword to live without being pulled out and stabbed."
-Artist's note

• The One & Jay Gallery will host Choi's individual exhibition from Feb. 11, 2020 to March 8, 2020. The exhibition will showcase works that started from "I’m curious about what my warm love looks like" five years after "A Way to Happiness" (2015.11.5 - 12.4, Segye-dong, Yongsan-gu 236-22).


• Writer Choi Ki-chang started his career by winning the 20th Central Art Exhibition Award in 1998 and participated in the Busan Biennale 2018 Gwangju Biennale in 2016. The writer mainly explores the language that works at the daily level, the social and cultural conditions that make up our recognition system, such as symbols.

• It is repetition and rules that penetrate the work of Choi Ki-chang, who looks at the blind spot of the cause and asks questions. It looks rather random on the surface, but if you look closely, your rules are alive. The author brings together things called happiness or love in a series of lives, and presents them with visualizations of coincidental moments.

In the One kiss exhibition, 17 works emblazoned with words of vows to love, extracted from lyrics of the state, military, hymns and fads, and 18 works visualizing the behind or counterpoint of the blind god will be on display.

• As Jean Luc Nancy put it, "One kiss creates a crack in existence" describes the beliefs and emotions of a relationship that begin as accidental and coincidentally, namely, the traces and behinds that are created by outward or invisible. The exhibition runs from Feb. 11 to March 8, and is free of charge from 11 a.m. to 6 p.m. (Closed on Monday)

◈ Attachment - Exhibition Preamble
Everyone often believes that my own love is pure and unique, but the way it begins shows an accidental or accidental characteristic. Also, it is never easy to voluntarily withdraw the love for any reason. As can be seen in Jean Luc Nancy’s phrase, "One kiss breaks the crack of existence," once initiated love may stop everything, break it to pieces and turn it into something completely different. The work that started out of curiosity about what my whole love looked like can be divided into two main forms. One is visualizing text as a material and the other is imaging the other side of love. The 17 text works, displayed in three exhibition layers, are all composed of phrases of love extracted from song lyrics. The lyrics of the state, military, hymns and fads are full of vows and pledges about the object of love, affection and compassion.
These songs are sung and sung beyond the boundaries of time and generation. The love lyrics show the properties of repetition, which become as corrupt and contaminated as the number of times called and is forever cited as a means of confessing someone’s ‘my own’ innocence.Image work, another axis of the exhibition, shows a slightly different resolution among text work. If text work focuses on expressions that contain the blind faith of love in the song lyrics, image work focuses on the reverse or counterpoint of the blind faith. The work staring into the front of the first floor exhibition hall  <pietà> borrows the image of a statue considered one of Michelangelo’s three masterpieces. The sight of Mary holding Jesus, who died on the cross, is the scene of an insurmountable break in love, death and mourning, between God and man, sons and mothers, men and women, and so on. Reconfigured into 120 pieces of segmented image,  <pietà> is again fragmented by a small mangrove In this operation, the mesh technique is used to simultaneously capture cracks in the presence of corroded and penetrated, showing cracks and cracks. The front of the second floor is covered in a three-sided picture.1)> occupies The sea image of the work is not divided into three screens, but rather three slightly different images of the same ocean. The title of the work cited in the letter Nietzsche, which even went so far as to be attributed to Wagner, is this sentence of Nietzsche, written at the moment when he tries to voluntarily liquidate the relationship between Philos, who shares an irreplaceable gap, and one can feel how painful it is to be out of the category of love on one’s own. Just like Nietzsche’s unorthodoxy of being imperceptible even if encountered by chance, the divided sea, which has to be forgotten rather than remembering something, seems to some to be a cruel question of distance that cannot be overcome.

 <Better than Future>, listed in 16 images, is a work produced in a way called ‘Draw Drawing’. Like dice games, this method of throwing magnets one by one onto an iron plate and completing tasks with magnets attached exists in a similar form to the way star stories are woven between accidental generation and persistent traces.
As such, Choi’s personal exhibition, 《One Kiss 겹, overlaps double and triple, from the accidental and accidental connection to the love of lovers and friends to the military, religion and God at the same time.  - Choi Ki-chang-- 

1) * ...und vielleicht sehen wir nie wieder, - vielleicht au ch sehen wir wohl, aberererkenen unicht wiede r:(...And we'll never see each other again. If we see each other again, we won't recognize each other.) - Friedrich Nietzsche Essay, [Nice v. Wagner]