Between Inside and Outside- a philosophy

14 05 2012

Here is a text to help understand the exhibition and the philosophy behind it.

In 1920, two young girls living with a wolf were found in a small village in India. It is known that the two girls who lived like wild animals in the jungle, thoroughly isolated from society, acted like beasts. They were eventually saved and given rudimentary education to adapt to the new environment. But, it was not easy to make them members of the community. One of the girls died shortly after she was discovered, and the other girl mysteriously died after nine years without reason. It is presumed some determinant elements formed in their subconscious while living with the wolf were a grave burden that clashed with civilized reality.

Most people facing a new environment try to compromise with the reality to adapt themselves to the new and unfamiliar. If one tries to keep their inner self, they will be confined on an isolated island. Mowgli syndrome is a term applied to those who depart from reality and lose their identity, becoming trapped between the worlds of humanity and animal. Feeling uneasy in a community, they try to hide themselves or commit incomprehensible acts. Only a few people suffer from this syndrome, but those who do suffer greatly. People usually distinguish familiar scenes from the unreal by building a high wall between the conscious and unconscious. Those who cannot distinguish the two worlds are diagnosed and cured. I consider myself an agent healing, and try to look for proper treatments.

The first treatment is to stimulate a monolog. Utterances made, following the stream of thought, account for each symptom as it is. Narratives from the inside and outside are naturally linked like putting together a puzzle. The second treatment is a walk. After walking along a mountain path, I enter a deep forest unconsciously. As my trail disappears in the shadows cast by densely growing trees and fragmented skies, I recognize where I am. My directionless walking leads me to an ideal place in my subconscious. The last treatment is balance. A struggle to maintain a balance between two different drives generates afterimages. An ideal state is when the conscious and the subconscious are in a balance. If one is lopsided, one will deny themselves due to a sense of psychological emptiness. The subconscious has to hide under the conscious, and the conscious has to accompany the shadow of the subconscious. When I am awake, I agonize in the boundaries of the two worlds, simultaneously creating dreams. The interior and exterior of the conscious become blurred when numerous images are linked. I intend to capture images evoked from the observation of myself.

The first treatment is to stimulate a monolog. Utterances made, following the stream of thought, account for each symptom as it is. Narratives from the inside and outside are naturally linked like putting together a puzzle. The second treatment is a walk. After walking along a mountain path, I enter a deep forest unconsciously.

As my trail disappears in the shadows cast by densely growing trees and fragmented skies, I recognize where I am. My directionless walking leads me to an ideal place in my subconscious. The last treatment is balance. A struggle to maintain a balance between two different drives generates afterimages. An ideal state is when the conscious and the subconscious are in a balance. If one is lopsided, one will deny themselves due to a sense of psychological emptiness. The subconscious has to hide under the conscious, and the conscious has to accompany the shadow of the subconscious. When I am awake, I agonize in the boundaries of the two worlds, simultaneously creating dreams. The interior and exterior of the conscious become blurred when numerous images are linked. I intend to capture images evoked from the observation of myself.

I sometimes look into a mirror to confirm the effect of treatment. But, the black mirror reflecting nothing tries to swallow me like an unfathomable cave. I experiment with other remedies, and record the results. I am trying to cure a terminal illness. Like a protagonist in a film, I am probably confined to the imaginary environment I have designed and become more seriously sick, denying reality.

 

Mowgli syndrome is a term used by Wendy Doniger O’Flaherty in her 1995 book Other Peoples’ Myths: The Cave of Echoes to describe mythological figures who succeed in bridging the animal and human worlds to become one with nature, a human animal, only to become trapped between the two worlds, not completely animal yet not entirely human. – From Wikipedia, the free encyclopedia





Korean Artist Kwoun Ko

27 01 2011

Kwoun Ko was born in Jeju, Korea in 1980 and now lives and works in Seoul. He received a B.F.A. in Korean painting at Jeju University in Jeju, Korea in 2007. In 2009, he earned his M.F.A. in Oriental Painting from Hong-ik University in Seoul. Ko specialises in painting. His works have been exhibited throughout Korea:

Solo Exhibition

Solo Exhibitions
2009 The Days Twinkled
Gallery Munhwailbo, Seoul, Korea
A Personal Memory of Mr.K Gallery Good Morning Sinhan, Seoul, Korea
2008 Marginal Man-Become Travelers Gallery Sinhan, Seoul, Korea
House of Desert Gallery Hut, Seoul, Korea
Group Exhibitions
2009 Jeju Art Festival Jeju Art Hall, Jeju, Korea
Seogwipo art festival Gidang Contemporary Art Museum of Seogwipo, Jeju, Korea
Jeju Art, Yesterday and Today Jeju Museum of fine Art, Jeju, Korea
2008 Gang Hwa Byulkuk Bupyeong History Museum, Inchun, Korea
Preview Gallery Munhwailbo, Seoul, Korea
ASYAAF Seoul station, Seoul, Korea
2007 Jeju Art Festival Kim-Jung Culture Hall, Jeju, Korea
Same Boat Kyung Hyang Gallery, Seoul, Korea
Wa-won Hong ik Univ. Contemporary Art Museum, Seoul, Korea
Island-Space Jeju art hall, Jeju, Korea

He says,

Life is a place that is so bizarre and multifarious filled with a lot of questions marks that we cannot fully comprehend.

Therefore, there is no answer to it and it is not a matter of cognition or attachment. Human beings can be nothing but marginal men in the incomprehensible world where various and heterogeneous cultures overlap, and reality and unreality spin around like fragmented objects. Internal anxiety of the marginal men is never ending and I am collecting their restless dreams.

Reality is absurd. I assume that the absurd reality is a desert, and the ocean of which the boundary is clear or unclear defined from the desert is the other world over the reality. In an art piece that I titled playground, the immature beings who are wandering around the desert are neither grown-ups nor children, they are marginal men. They are maladjusted men of the time who are standing on the antipode of where the realists stand who deftly adjust themselves to reality and lead it. At the same time, they are boundary men who have failed to assimilate into reality. Their anxiety, being unable to be accustomed to everyday cliché, is endless and their internal anxiety is fear about the condition of existence in the world where they were thrown like a stone. The strength they hold on to endure absurd reality is drifting in imagination, inner escape to the other world they long for, which is dreaming.

In my work, animals appear and accompany marginal men in their imagination. They wish to be animals. However, their attempt to gain freedom through the intermediary of animals turns out to be in vain in the end. Their wishing to be animals and being with animals means an entrance or a mirror for the marginal men who are like isolated islands. That means the exit to where they yearn to be, and the act of communication or self-reflection. The apparitional animals are messengers, invitations and bridges from the unreal world which is a hideout whose border ambiguously meets with the reality. The reason why such animals are the objects of friendship that provide them with the means of runaway and communication, and at the same time they are the objects of fear is that they are the object of self-reflection. Like in the excerpt from Kafka’s book, the illusive attempt of the marginal men taking the animals to project their inside pressure and internal anxiety is just like being on a journey to drive around with an earthly carriage and unearthly horses.

Sisyphean marginal man: a child holding fire

In the meantime, a child holding a burning stick in the painting symbolise an awakened being. The child is a being who recognises and accepts the absurd reality and his marginal fate in the middle of the marginal men who are rejected by the reality and drift away. His awareness can be understood on an extension of Enlightenment discussed in Zen Buddhism. As the structure of enlightenment is a process of a sprit awakening its sense of eye through each frame of time and space, the act of the child holding fire means the eye opening passage and journey.

‘The Myth of Sisyphus’ by Albert Camus features courageous Sisyphus who changes negative into positive. Realising the being of absurd reality is his own being, he identifies himself in absurdity of the boulder which he rolls up a hill only to watch roll down again, and yet he tires again.

I conceptualise that those who realise their own fate as marginal men in from of such absurd reality and hold the flames, that are their original force, are Sisyphean marginal men. The passage for enlightenment they make holding fire, the marginal force of imagination, means thorough self-awareness in reality, dreamy escape to inner self, and it is the seamless links of dream and reality. In conclusion, their seeking journey after truth is an aspiration for freedom earthly marginal men have and the original force to sustain their lives.

Please enjoy photos of works by Kwoun Ko!

“Meet on the Three Way Junction”, pigment on paper, 162 x 130 cm, 2009

 

“A Cold Day”, pigment on paper, 190 x 130 cm, 2009

 

“A Boy Wishing to Get In”, pigment on paper, 155 x 147 cm, 2009

 

 

“Mom! I’m Home”, oil on canvas, 162 x 260 cm, 2009

 

 





Oriental VisArt 1st Group Show- Opening Reception

4 10 2010

The oepning reception was on Wed 29 September 2010, at La Cave in Old Town, Geneva, Switzerland. The curator/sculptor Gunwoo Shin and Artist Juyoung Park were present to talk with the guests. There were many different groups of people- different nationalities, age groups and people in different fields. I would like to share the atmosphere of the evening with you!

Left: ‘Sculpture’, by Gunwoo Shin, Right: ‘Park Cemetery’, by Juyoung Park

 

‘La Cave’ in Old Town, Geneva

 

‘Skin of Trees’, by Parasuranman Saravanan

 

‘La Cave’ in Old Town, Geneva, Switzerland

 

‘Untitled’, by Parasuranman Saravanan

 

‘Empty Hands’, by Gunwoo Shin

 

Guest

 

Guests

 

Guests

 

Listening to the Curator/Sculptor Gunwoo Shin

 

Gunwoo Shin with the Korean Ambassador, his wife and the 1st Secretary in Geneva

 

Guests

 

Guests talking with the Artist and Organiser

 

Guests

 

Left: Curator/Sculptor Gunwoo Shin, Right: Artist Juyoung Park

 

Left: Artist Juyoung Park, Middle: Organiser Kayla Hye K. Yang, Right: guest

 

Guests

 

Guests

 

Guests

 

Our good friend ‘Antoine’ at the bar

 

Listening to the Artist ‘Juyoung Park’

 





Oriental VisArt 1st Group Exhibition in Geneva

25 09 2010

Threshold to everyday-life

Oriental VisArt presents ‘Threshold to everyday-life’, the 1st group exhibition in Geneva, which includes 5 Asian Artists, who are now working across Europe and Asia. This exhibition is curated by Gunwoo Shin.

In my opinion, one of the most frequent discourses in the art world since the 1990s has been the notion of the ‘everyday-life’. Artists are fed up with the boundlessly expanding notions of art and its bulky discourses. They have sought to discover their own values and have tried to capture and represent this theme of the everyday. At this moment, there is no doubt that the domain of contemporary art has expanded from the ambiguous and abstract to the specific and concrete. The world each of us knows consists of everyday incidents and specific happenings, repeated over and over again.

The exhibition ‘Threshold to everyday-life’ brings together five international Artists. Each Artist presents and manifests how everyday-life can influence them and the world through their works with diverse cultural perspectives. All the work, exhibited in this show, might open new avenues to the question: “what is real everyday life and what exist beyond it?

By Gunwoo Shin

Chinwook Kim attempts an expansion to another unfamiliar space in ever-changing daily life. He inserts an image he discovered in a familiar place in another space, randomly, and endeavours an attempt to excavate another aspect buried between image and image, space and space, through new assumptions and suppositions.

Gunwoo Shin’s work portrays mental landscapes on the crossroad between the conscious and the unconscious, through relief style painting. He freely moves beyond the lines of reality and the world of the surreal, giving diverse artistic imaginations to realistic subject matter.

Ju young Park focuses on ‘movement’ in her painting with fast strokes. She starts with moving her brush very quick and tries to capture her gestures. After that the Artist develops spontaneous brush work into a more objective language. Her paintings look quiet and tranquil. However, you can feel a kind of ‘tremble (moment)’ even in the static image on a plane surface.

Kumeresan Selvaraj experiments with new spaces and materials using untouched marginal areas of medium in his work such as a blank space of photography or an outer space of existing objects. His perception of self-existence is the key source for understanding his works. He transforms his perceptions into works of art through confusion, analysis and references.

Saravanan Parasuraman‘s works are based on his intelligence that he acquired from his self-existence. He has been influenced by the world of nature. He uses ordinary objects such as an old palm tree, steel balls and clay in his work. He is interested in capturing traces of which every element has reacted to the world.

The opening reception is on Wednesday 29th September from 6pm to 10pm. The Curator Gunwoo Shin and one of the Artists Juyoung Park will be present. Hope to see you there. I will attach the invitation and Artists’ information. Thanks a lot!

Artist

‘Skin of Trees’, Fibreglass & Silverstone, 49×96 inches (inc frame), 48×18 inch each panel, 2010

 

Kumaresan Selvaraj, Orpin, Fibreglass, 91.4 x 91.4cm, 2010

 

 

Inside and outside of landscape-4, Chinese ink on canvas, 152 x 122 cm,  2009

 

 

‘Toto’, watercolor on paper, 78.5 x 57 cm, 2009

 

 

‘Untitled’, Acrylic on resin on wooden board, 100 x 125 x 20cm, 2010





Korean Artist ‘Sujin Jeong’

9 03 2010

She was born in 1980, in Changwon, Korea and currently living and working in Seoul, Korea. She completed her M.F.A  and B.F.A. from Sungkyunkwan University Majored in Oriental Painting, Seoul, Korea. she was selected for ‘New Start Artist support’ (Arts council Korea) in 2008 and a winner from the ’3th Commemorative Ink Painting Exhibition for an Artist Baeknyun Huh‘ Held by Gwangju MBC in 2003.

Her subject matter is ‘an island’ which is in  a city or surrounded by a city. A city is not something natural but artificial. It is a space molding new things destroying old things on the pretense of development. A city goes through the process of destruction and creation; something is destroyed for creation, but other thing is just destroyed for nothing. A culture critic Min Ho Huh says

“Sujin Jeong starts at this point. A safety zone in the very middle of the road in which an automobile runs at full speed, of which Jeong takes notice: a space for an automobile not to trespass, which is a shelter for us to avoid it. It is a space that speed of movement stops, and a space not to be ruined by urban speed. It looks life a space of reflection located in the exterior of speed. She has been seeking for the exterior of urban speed all the way through the works in her first private exhibition Isle in a City.  …..  Interestingly, she does not criticize a safety zone itself, but the mythical figures filled in it. While criticizing the urban myth, she considers a safety zone still as the exterior existing in public space of a city. That is why she describes, to keep composure, a lake and summer house into a safety zone located in one side of the road that abstract speed is sweeping away. We can surely see a roadside sign forbidding more than 60 kilometers per hour in a safety zone. She advises us to keep on our own living. It means that she tells us to ruminate on their lives, but then it is a whisper to herself. She confesses her own feelings of loss, lack, and chaos in her urban speed”.

Enjoy her series of ‘An island of the city’!

‘An Island of the city’, mixed media on ricepaper, 75x103cm, 2009

‘Island of the city’, mixed media on ricepaper, 129×160.6cm, 2009

‘An Island of the city’, mixed media on ricepaper, 84cm, 2009

‘An Island of the city’, mixed media on ricepaper, 60x80cm, 2009








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