Exhibition Information

Kwon Oh-sang, New Structure 20
2018 Print on plywood 450x220x220cm

Hong Seung-hye, My Garage Band
2016 Flash Animation

Mwin, Contingent Rule
2009 Interactive video installation 가변크기

Lee Chang-won, Mark of Promise, Untitled
2014 Plastic objects, LED lights, MDF, ground glass, metal frames 117x180x45cm, 65x100x35cm

			Today's artists put forward agendas that actively reflect politics, economy and technology that have emerged throughout society, and create innovative art through new ways of interdisciplinary participation. As you can see, many of today’s works are hard to bind to traditional categories such as paintings and sculptures, and what can no longer be defined as "art" just by its outward appearance. Even if you don't stress Arthur Danto's view, you are well aware that today's art is too pluralistic in its intent and way of realization, as it categorizes art by one form or dimension.

In his 2004 book Post-Production, French art theorist and curator Nicola Bureo asked, "What can we do with what we already have, to define the specificity and commonality of contemporary art practice based on radical plurality?" Of course, you can recall Duchamp’s Ready-made in "What You already Have," but here’s where the Burio wants to talk about the form of "already produced." For him, art practice means sampling, appropriating, or re-producing available cultural products, or further re-exhibition or use of existing forms of art. Therefore, art works are not a point of closure, but a moment of a series that implies the possibility of being used in other works, programs, narratives, etc. After all, artists today program the format rather than organize it, he explains.

Remix embraces Burrio’s concept of art practice and examines today’s situation with today’s artists, Kwon Oh-sang, Hong Seung-hye, Muen and Lee Chang-won, who constantly challenge and expand the limits of the media. In fact, remix is a musical term that refers to "how to mix and recreate the multi-track of existing music in different forms," where it symbolizes the practice used by contemporary artists in the creative domain and encompasses certain sites where exhibitions and exhibitions combine the entire exhibition. The authors of these four (teams) in Remix borrowed the form of existing works of art and appropriated existing economic, technical and cultural products and data. By writers, form becomes art, life of the times is cited as art, and the selected object becomes art.

The system, borrowed and appropriated by Kwon Oh-sang, Hong Seung-hye, Muen and Lee Chang-won, draws the power of art production and embodies its meaning and peculiarity. Familiarity in the form, data, and images used as materials is produced through this system. So Remix builds Mijangsen by artistic use of "what already has" by writers who embrace and merge the world in a free manner, and by proposing various forms related to it. As a result, Remix itself is a remix site that works by forming new frameworks and weaving structures with disparate works that already exist.