Exhibition Information

			The 60th-anniversary exhibition of 3.15 movement

<Rewriting the poetry>

History has tried to immortalize itself by singing and remembering its deeds in poetry about human acts worthy of attention. At the same time, it wanted to honor the spirit through the establishment of a community. Also, history has not hesitated to categorize and edit based on the political situation of the times and cultural sentiments, thus dividing it into a great event with specific universality and an event that does not. As such, the times have continuously produced discourses of affirmation and negation by bringing history into our lives. Nevertheless, historical errors still haunt us today, and we cannot deny the reality that historical tragedies are repeated by changing the names every time.

History, before it is a great discourse, is human and human life, daily and today. It must be recognized not as an unwavering outcome but as an important clue to determining the way and attitude of humankind lives, and that it is working much more closely with itself than we think.

Marking the 60th anniversary of the 3.15, the exhibition <Rewriting the Poetry> is designed to use contemporary art as a media to think about what original motives or substance have not yet been revealed in history, and how the wave operates with our lives today, noting that history can serve as a sign of multifaceted meaning to predict the present and future generations.

The exhibition consists of the process of sensing a world that we have never seen before, identifying or distinguishing it, and finally recognizing the present.

The exhibition is held in the exhibition hall 4, 5 and the central hall. In the exhibition hall 5, which is the introduction part of the show, it senses the wavelength and things to remember in the space accumulated by the series of Hong Soun’s side-scape and ISEOJAE’s engraved images and sentences. Followed by Park Chankyong’s <Citizen’s Forest> which reconstructs history with crossing the actuality and fiction, and Choi Suhwan’s <doppelganger > that visualizes the circulating history as a movement reveal things that are not spoken by the event itself. In the central hall, there located Kang Taehun’s works, including the <Dead-end#2>, make us think about how the reverse side of social structure, which we are not aware of, in reality, is working on individual attitudes. In the exhibition room 4, we approach the stage of awareness by asking the fundamental questions about our lives in the Suh Yongsun’s ‘Human Crowds’, and Jung Yunsun’s <Inattentional blindness> which brings a sense of historical scene by participating in the movement of the crowd as the subjects of space.

The exhibition is not intended to list historical products of affirmations and negations or to celebrate revolutionary moments. However, it is to look at history as a new possibility by elevating the microscopic and non-thinkable phenomena from the history of the great discourse to artistic imagination. It will be an attempt to scrutinize the substance of historical values of poetry, which named for freedom, democracy, justice, etc., and approach the essence of it. As Adorno said, "To write poetry after Auschwitz is barbaric,” perhaps we'll be helpless in the face of hopeless reason and may have lost our will to ask questions about the beautiful world. However, the world is maintained, and we are alive. Asking and writing down what is the nature and meaning of the values that history is trying to convey to us, along with the original problems of human life, might be a natural life obligation. Although it is only a little part that cannot be clearly described, this exhibition aims to explore the possibility of writing small poetry that we want to keep, such as taking coral and pearls from a broad and deep-sea of history. It hopes that poetry can reach its essence by not describing everything, and it will build up today's life in a dignified manner.