www.51plus.kr

'2011 전국자립음악가대회'가 홍대앞 두리반과 걷고 싶은 거리에서 열린답니다.(4.29~5.1)
아시는 분은 다 아시겠지만, 더 많은 분들이 참여하셨으면 해서요.
멋진 뮤지션들 많이 나오시네요.

 www.sturightnow.com

학생인권조례제정운동서울본부 사이트입니다. 너무 늦었군요. 마감일이 4월 26일이네요. 제 블로그를 방문하시는 분들 중 몇 분이라도 참여해주셨으면 하는 바램입니다. 사이트에 들어가셔서 인권조례내용도 한 번 보시고, 주민발의 참여하기를 하시면 됩니다. 서명용지를 다운받아 서명한 후 우편으로 보내시면 됩니다.

 Being light and fragile doesn't necessarily mean it is always destined to give way and go to pieces. Even a transparent, fluttering piece of plastic wrapper has its own voice of protest. Not trying to produce something magnificent — I intentionally do the minimum of what I am capable of, like a piece of wrapper claiming "This is the loudest call I can ever make." That is, however, the maximum I can do to show my respect for all the insubstantial substances.

 For One's Own Territory

 A simple structure made of plastics, aluminum or the like, a signboard stand is easy to find wherever we live with a small placard advertising a business attached to it. However, the skeleton of the structure is laid bare when it is used, without the advertisement it was meant to carry, for a different purpose — that is, to occupy a certain amount of space in front of the storefront. Moreover, when the owner modifies the angle and position of the frame, affix other materials or top the stand with something, the stand turns into something utterly different than a ready-made, mass-produced signboard stand. The resulting structures have went through different processes, with their owners' different ways to reform them, but all of them serve as a plain display of the willful decision their creators made, the self-serving purpose they had in mind and the amount of labor they had to put in. All the effort they have expended implies a "short-lasting freedom." Might I suppose that to be genuine? The "shape of freedom," which took shape in a rather crude way, gives me a glimmer of hope that there might be a way to escape from the ghost of all that were subdued. If a domain of freedom surfaces innocuously — in the corner of nearby streets.

 가볍고 부서지기 쉬운 물질들이라고 해서 그 성질 그대로 항상 약하고 잘 부서지는 것은 아니다. 투명하고 펄럭거리는 비닐 한 조각도 항의의 목소리를 가지고 있다. 대단한 소리를 내려는 의도는 아니고, 마치 비닐 한 조각이 ‘내가 낼 수 있는 최대한의 외침은 이 정도’라고 하는 것처럼 나는 고의적으로 내가 할 수 있는 최소한의 행동을 한다 _ 그러나 그것이 바로 가벼운 물질의 목소리를 존중하기 위해 내가 취할 수 있는 최대한의 배려이다.

 For One’s Own Territory

 작은 현수막을 걸어 상점을 홍보하는 입간판은 플라스틱과 알루미늄 등으로 이루어진 구조물로 사람들이 사는 이 곳 저 곳에서 흔하게 볼 수 있다. 하지만, 제 원래 목적인 홍보 현수막은 걸치지 않고 다른 목적_말하자면 자신의 상점 앞 일정 공간을 점유하려는 목적으로 사용되는 입간판의 프레임은 꾸밈없이 완전히 드러난다. 더욱이 프레임의 정해진 위치와 각도를 주인이 마음대로 바꾸고, 다른 재료를 덧붙이고 새로 무언가를 올려놓기라도 한다면, 대량으로 생산되어 판매되는 입간판과는 전혀 다른 성격을 가진 것으로 탈바꿈한다. 사람들이 자신들의 방식대로 제작해서 밖으로 내놓은 여러 가지 형태의 구조물들은 그 과정에는 차이가 있으나, 주인의 자유로운 선택, 주로 자신을 위해서 새롭게 만든 목적, 실제로 만드는데 쓰인 노동력 등을 어렵지 않게 알아챌 수 있다. 그들의 노력에서 엿볼 수 있는 ‘잠깐의 자유’는 진실하다고 여겨도 될까. 서툰 방식으로 드러난 ‘자유의 모습’에서, 오랜 시간동안 지배당한 모든 것의 유령으로부터 잠시라도 벗어날 수 있겠다는 희미한 가능성을 발견한다. 거리 모퉁이에 순진하게 모습을 드러낸 자유세계가 바로 이 근처에 있다면.

EMPORIUM - A New Common Sense of Space
Curated by: Beatrice Leanza
November 5 – December 8, 2009
Museo della Scienza e della Tecnica Leonardo Da Vinci Via San Vittore 21, Milano - Italy
Opening for Press and Invited Guests - November 4, 2009, 6:00 PM

..

'상상력에 자유를' 이라는 슬로건으로 문화예술의 자율성 회복을 위한 서명을 받고 있습니다.
서명참여하실 분은 http://freeimagination.kr으로 가셔서 성명서를 읽어보시고 서명을 해 주십시오.
서명하신 후에는 freeimagination0606@gmail.com으로 성명에 동의하신다는 메일을 보내주십시오.
그래야 홈페이지 서명참여리스트에 명단이 올라간다고 합니다.

In progress:

Currently in Milano for Salone del Mobile 2009, we are preparing a new exhibition project (see introduction hereunder), comprising more than 30 artists from China, Korea and Japan.
Specific exhibition dates and opening times will come soon.


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EMPORIUM - A New Common Sense of Space

curated by: Beatrice Leanza

This exhibition project investigates multidisciplinary artistic practices from East Asia - China, Japan and South Korea - which implicate new formal and conceptual relationships with the space of the contemporary and the habitat of the everyday.
Emporium draws itself onto a cultural territory that defies notions of regionalism and nation-based entitlements, by privileging instead the impression of a mobile, productively unstable experience of identity, which signals the emergence of aesthetic strategies and subjective orders of yet specific cultural provenience.
These artistic practices resort to a sense of identity, specificity or locality that no longer claims for legitimate signs of ideological or historical authority; new patterns of identification have nowadays retreated from the grand narratives of transnational critique that often referenced the effects of expansive globality, and rather migrated into the expedient contingency of the quotidian and its material e­xpressions, by instituting a new logic of coexistence with its differential and perpetual character.
The new aesthetic order framed within this exhibition, inhabits the episodic nature of reality by reconnecting to its fragmented, scattered, precarious objects via subtle strategies of self-design, where fragile materials of everyday use and familiar forms are reassembled into new spatial relationships.

The projects included in this exhibition manifest an intrinsic connection with the spatial and social conventions of their original contexts, and intend to provide an understanding of the way new processes of artistic production and representation extend themselves into the community by forging aesthetic assemblages that subtend re-invented symbolisms and meanings for the contemporary.
The term Emporium, which literally translates as “a city of travelling goods and people”, is here employed as an allusive e­xpression for the visual ramifications of the different works exhibited, the mundane and functional quality of their stylistic languages and materials, as well as the explicit cultural interconnections among the geographical realities represented.  
Introducing an heterogeneous group of more than 30 among artists, art collectives and independent-run art spaces with backgrounds in art, design, music and architecture, the show is conceived both as a visual experience and a critical analysis of the way younger generations are formulating new ways to deal with the space of art and social action by assuming a position of open, dynamic marginality. The tentative, incomplete quality of these, for the large part, installation-based works (featuring photography, video, drawing, architectural interventions, publications, performances, sculpture) comes into being as a product of intimate negotiation and continuous readjustment with the immediate environment and its social implications.

The abandoned, discarded and cheap materials which are often employed in these works are recollected and brought into new relations of force, so to expand the field of vision beyond their contingent materiality. In this sense the relationship kindled between the viewer and the work is ever reformulated onto an ambiguous, non-deterministic territory, where consciousness and recognition are negated a manifest environment and rather accommodated in an unstable, non-representational space enforced by a rhetoric of the unexpressed. Between the facts of life and the fiction of art the visual experience that constitutes these works is the very place of artistic agency, where what is to be seen is not in the document of the represented image but in the logic tension it denotes in revealing itself as an object of interior consumption.  
Among others, alternative artistic collectives based in China (Homeshop, Arrow Factory) have been invited to contribute to the exhibition, as they themselves emplace critical action ‘spaces’ which enter into a specific material relation of use with the space of the local.

Designed as a special architectural intervention, Emporium includes also commissioned works by Doojin Ahn, Koki Tanaka, Naihan Li, Megumi Matsubara, Satoshi Hashimoto and Yotaro Niwa, together with a special project organized in collaboration with The Shop/Vitamin Creative Space, Beijing. They extricate the semantic layers upon which the show is constructed, and expose the transversal actions negotiated between stylistic contingency and self-process.
All of these works are juxtaposed in site of the exhibition in the guise of performative ‘moments’ so that the connection between everyday objects and their symbolic weight is continuously delayed and interrupted, and their visual literature casted in a shifting, ephemeral site, somewhere in-between real, perceptual space and psychological experience.


Artists and Projects by::
Ahn Doojin, An Jungju, Bae Young Whan, Birdhead (Song Tao & Ji Weiyu), Gao Shiqiang, Hashimoto Satoshi, Ho Elaine W./Homeshop, Jung Yeondoo, Kim Gisoo , Kim Sangdon, Lee Wooyeon, Li Naihan, Liang Shuo, Matsubara Megumi, Min Ji Ae, Moon Sungsic, Ni Haifeng/Arrow Factory, Niwa Yotaro, Young Jung Siren Eun, Qiu Xiaofei, Tanaka Koki, The Shop (featuring works and publications by: Yang Jun, Zheng Guogu, Duan Jianyu,Yang Jiang Group, Pak Sheung-chuen, Lee Kit, Heman Chong, Cao Fei, Xu Tan, Hu Fang, Yan Jun), Xijing Men (Gimhongsok, Chen Shaoxiong & Ozawa Tsuyoshi), Yan Jun, Yang Jun, Kimura Yuki, Kimura Taiyo.

하루 종일 충격에서 벗어나지 못한 채 멍하게 지냈습니다. 어떻게 이런 일이 일어날 수 있는지 그저 말문이 막힐 뿐입니다.
이제는 화도 나지 않습니다. 남아있는 건 무력감 뿐.

박이소 선생님을 기억하는 뜻깊은 자리였습니다.