지지씨 기관 회원 가입 안내
경기도내에 위치한 국공사립 문화예술기관, 박물관, 미술관, 공연장 등 도내의
문화예술 소식과 정보를 발행해주실 수 있는 곳이라면 언제든지 환영합니다.
지지씨 기관 회원은 지지씨 콘텐츠를 직접 올려 도민들과 더욱 가까이 소통할 수 있습니다.
기관에서 발행하는 소식지, 사업별 보도자료, 발간도서 등 온라인 게재가 가능하다면 그 어떠한 콘텐츠도 가능합니다.
지지씨를 통해 더 많은 도민에게 기관의 사업과 콘텐츠를 홍보하고, 문화예술 네트워크를 구축하세요.
지지씨 기관 회원으로 제휴를 희망하는 기관은 해당 신청서를 작성하여 메일로 제출바랍니다.
지지씨 기관 회원 혜택
신청서 작성 및 제출안내
경기 문화예술의 모든 것, 지지씨는
기관 회원 분들의 많은 참여를 기다립니다.
지지씨플랫폼 운영 가이드
지지씨는 회원 여러분의 게시물이 모두의 삶을 더욱 아름답게 해 줄 거라 믿습니다. 경기문화재단은 여러분이 작성한 게시물을 소중히 다룰 것입니다.
제1조(목적)
본 가이드는 재단법인 경기문화재단의 ‘온라인 아카이브 플랫폼 지지씨(www.ggc.ggcf.kr. 이하 ‘지지씨’)’의 기관회원(이하 ‘회원’)의 정의 및 권리와 의무를 규정하고, 회원의 생산자료에 관한 기록 저장과 활용에 관한 내용을 규정함을 목적으로 합니다.
제2조(정의)
본 가이드에서 사용하는 용어의 정의는 다음과 같습니다.
① ‘지지씨’는 경기도 소재 문화예술기관의 생산자료 등록과 확산을 위해 경기문화재단이 운영하는 온라인 아카이브 플랫폼입니다.
② ‘회원’이란 소정의 가입 승인 절차를 거쳐 지지씨 글쓰기 계정(ID)을 부여받고, 지지씨에 자료 등록 권한을 부여받은 경기도 소재 문화예술기관 및 유관기관을 의미합니다.
‘생산자료(=콘텐츠)’란 ‘회원’이 지지씨 플랫폼 상에 게재한 부호, 문자, 음성, 음향, 그림, 사진, 동영상, 링크 등으로 구성된 각종 콘텐츠 자체 또는 파일을 말합니다.
제3조(가이드의 게시와 개정)
① 경기문화재단은 본 가이드의 내용을 ‘회원’이 쉽게 알 수 있도록 지지씨 플랫폼의 기관회원 등록 안내 페이지에 게시하여, 자유롭게 내려받아 내용을 확인할 수 있도록 합니다.
② 본 가이드는 경기문화재단의 온라인 플랫폼 운영 정책 및 저작권 등 관련 법규에 따라 개정될 수 있으며, 가이드를 개정, 적용하고자 할 때는 30일 이전에 약관 개정 내용, 사유 등을 '회원'에 전자우편으로 발송, 공지합니다. 단, 법령의 개정 등으로 긴급하게 가이드를 변경할 경우, 효력 발생일 직전에 동일한 방법으로 알려 드립니다.
1. 본 가이드의 개정과 관련하여 이의가 있는 ‘회원’은 탈퇴할 수 있습니다.
2. 경기문화재단의 고지가 있고 난 뒤 효력 발생일까지 어떠한 이의도 제기하지 않았을 경우, 개정된 가이드를 승인한 것으로 간주합니다.
제4조(회원자격 및 가입)
① ‘지지씨’의 ‘회원’은 경기도 소재 문화예술기관과 유관기관으로 합니다. ‘회원’은 글쓰기 계정을 부여받은 후 지지씨에 생산자료를 등록하거나, 게시를 요청할 수 있습니다.
② ‘지지씨’의 가입 신청은 지지씨 누리집에서 가능합니다. 회원가입을 원하는 기관은 계정 신청서를 작성, 가입 신청을 할 수 있습니다.
1. 회원가입을 원하는 기관은 지지씨에서 내려받기 한 ‘온라인 콘텐츠 플랫폼 지지씨 계정 신청서’를 지지씨 공식 전자메일(ggc@ggcf.kr)로 제출, 승인 요청을 합니다.
2. 한 기관에 발급되는 계정은 부서별/사업별로 복수 발급이 가능합니다. 단, 사용자 편의 등을위해 기관 계정 관리자 1인이 복수 계정의 발급을 신청한 경우, 승인 불가합니다.
3. ‘회원’ 계정은 신청인이 속한 기관명/부서명/사업명 등의 한글로 부여됩니다.
4. ‘회원’은 계정 발급 후 최초 로그인 시 비밀번호를 변경합니다.
5. 계정의 비밀번호는 가입 승인된 계정과 일치되는 ‘회원’임을 확인하고, 비밀 보호 등을 위해 ‘회원’이 정한 문자 또는 숫자의 조합을 의미합니다.
③ ‘지지씨’ 가입 신청 방법은 내부 방침에 따라 변경될 수 있으며, 가입 신청에 관한 구체적인 내용은 지지씨 누리집에서 확인할 수 있습니다.
④ 경기문화재단은 다음 각호에 해당하는 신청에 대하여 승인 불허 혹은 사후에 계정을 해지할 수 있습니다.
1. 과거 회원자격 상실 회원. 단, 경기문화재단과 회원 재가입 사전 협의, 승인받은 경우는 예외로 함
2. 정보의 허위 기재, 저작권 등 관련 법률을 위반한 저작물 게시 등 제반 규정을 위반한 경우
⑤ ‘회원’은 회원자격 및 지지씨에서 제공하는 혜택 등을 타인에게 양도하거나 대여할 수 없습니다.
⑥ ‘지지씨’는 계정과 생산자료의 효율적인 관리를 위해 〔별표〕에 따라 ‘회원’을 구분합니다. 회원 구분에 따른 이용상의 차이는 없습니다.
제5조(회원 정보의 변경)
① ‘회원’은 언제든지 가입정보의 수정을 요청할 수 있습니다. 기관명, 부서명 등의 변경에 따른 계정 변경도 가능합니다. 단, 계정 변경시에는 계정(신청/변경)신청서를 다시 작성, 제출해야 합니다.
② ‘회원’은 계정 신청 시 기재한 사항이 변경되었을 경우 전자우편 등 기타 방법으로 재단에 대하여 그 변경사항을 알려야 합니다.
③ 제2항의 변경사항을 알리지 않아 발생한 불이익에 대하여 재단은 책임지지 않습니다.
제6조(회원 탈퇴 및 정지‧상실)
① ‘회원’은 지지씨 공식 전자메일, 전화 및 경기문화재단이 정하는 방법으로 탈퇴를 요청할 수 있으며 경기문화재단은 ‘회원’의 요청에 따라 조속히 탈퇴에 필요한 제반 절차를 수행합니다.
② ‘회원’이 탈퇴할 경우, 해당 ‘회원’의 계정 및 가입 시 작성, 제출한 개인정보는 삭제되지만, 탈퇴 이후에도 등록자료는 ‘지지씨’에서 검색, 서비스됩니다.
③ ‘회원’ 탈퇴 후에도 재가입이 가능하며, 탈퇴 전과 동일한 아이디를 부여합니다.
제7조(생산자료의 게시와 활용)
① ‘회원’은 글쓰기페이지(www,ggc.ggcf.kr/ggcplay/login)를 통해 계정의 아이디와 비밀번호를 입력, ‘지지씨’에 접속합니다.
② ‘회원’은 ‘지지씨’ 에디터 프로그램을 활용하여 해당 기관의 문화예술 관련 자료를 게시 및 수정, 삭제할 수 있습니다. 단, 사업의 일몰, 기간의 종료, 추진부서의 변경 등의 사유로 삭제는 불가합니다.
③ ‘회원’은 ‘지지씨’에 게시한 해당기관의 자료를 뉴스레터, SNS 등 온라인 매체로 확산, 활용할 수 있습니다. 단, 타기관의 자료를 사용하는 경우 사전 사용 협의 및 출처를 밝혀야 합니다.
④ ‘회원’의 게시물은 도민 문화향수 확산을 위해 출처를 밝히고 뉴스레터나 SNS 등의 채널에 가공 없이 활용될 수 있습니다.
제8조(회원의 아이디 및 비밀번호의 관리에 대한 의무)
① ‘회원’의 아이디와 비밀번호에 관한 관리책임은 ‘회원’에게 있으며, 이를 제3자에게 제공할 수 없습니다.
② ‘회원’은 아이디 및 비밀번호가 도용되거나 제3자가 사용하고 있음을 인지한 경우, 이를 즉시 경기문화재단에 알리고 재단의 안내를 따라야 합니다.
③ 본조 제2항의 상황에 해당하는 ‘회원’이 경기문화재단에 그 사실을 알리지 않거나, 알린 경우라도 경기문화재단의 안내에 따르지 않아 발생한 불이익에 대하여 경기문화재단은 책임지지 않습니다.
제9조(회원의 개인정보 보호에 대한 의무)
① 경기문화재단은 지지씨 계정 신청시 수집하는 개인정보는 다음과 같습니다.
1. 계정 관리자 이름 2. 사무실 연락처 3. 담당자 전자메일
② ‘회원’의 개인정보는 「개인정보보호법」 및 경기문화재단 개인정보처리방침에 따라 보호됩니다.
③ 경기문화재단 개인정보처리방침은 ‘지지씨’ 누리집 하단에 공개하며, 개정시 그 내용을 ‘회원’의 전자메일로 알립니다.
제10조(사용자 권리 보호)
① ‘회원’의 게시물이 저작권 등에 위배될 경우 경기문화재단은 사전 협의나 통보 없이 바로 삭제조치합니다. 이와 관련한 분쟁은 「저작권법」 및 「공공기록물 관리에 관한 법률」 등을 따릅니다.
② 경기문화재단은 ‘회원’의 게시물이 타인의 권리를 침해하는 내용이거나, 관련 법령을 위배하는 등지지씨의 운영 정책에 부합되지 않는 경우, ‘회원’과 협의 없이 삭제할 수 있습니다.
‘지지씨’의 게시물로 기관의 명예훼손 등 권리침해를 당하셨다면, 경기문화재단 지지씨멤버스의 고객상담(VOC)을 통해 민원을 제기할 수 있습니다. 이는 (사)한국인터넷자율정책기구(KISO)의 정책 규정을 따라 처리될 것입니다.
본 약관은 경기문화재단 대표이사의 승인을 얻은 날부터 시행됩니다.
대분류 | 외부기관 | 경기문화재단 |
---|---|---|
중분류 | 뮤지엄(박물관,미술관)/협회/문화예술공공기관/시군청 담당부서 등 | 본부/기관 |
아이디 | 사업부서명/사업명 | 사업부서명/사업명 |
글쓴이 노출 | 아이디와 동일(한글) | 아이디와 동일(한글) |
콘텐츠 등록/수정 요청
01. 콘텐츠 등록 및 수정 요청서 양식 다운로드
콘텐츠 직접 등록 및 수정이 어려우실 경우, 해당 요청서 양식을 다운로드 하신 후 작성하여
지지씨 관리자에게 등록·수정을 요청해주세요.
02. 콘텐츠 등록 및 수정 요청 안내
상단에서 다운로드하신 해당 요청서 양식 파일을 지지씨 관리자 이메일로 제출해 주세요.
경기문화재단
GMOMA Collection Highlights
2018-08-14 ~ 2018-11-25 / Gyeonggi Museum of Art
Since the opening in 2006, Gyeonggi Museum of Modern Art (GMoMA) has focused on collecting Korean contemporary artworks post-1950’s in diverse genres including traditional Korean painting, painting, sculpture, photography, installation, and new media. That effort has now reached about 559 pieces. They were purchased through external announcements and the research of the curators (86%), donated by participating artists in special exhibitions (11%), and gathered from the management of Gyeonggi Creation Center (3%) over the last 12 years. The majority are representative artworks of known artists of the 1970’s to 1980’s and the representative work of contemporary artists in Korea after the 1990’s.
For this exhibition the curators of GMoMA selected representative artworks in the collection by considering its value in the context of art history and contemporary scenes. The curators conducted three meetings to select appropriate work for the exhibition from among the 559 pieces; 99 pieces were selected to represent GMoMA. Then among those 99 pieces, 25 were selected for the exhibition according to the limitations of the space and their frequency in prior exhibitions. The works that were excluded from this exhibition also will be introduced to the public through the collection book under the same title, published to celebrate the 12th year of the opening on October 25th.
GMoMA Collection Highlights is intended to promote the value of Gyeonggi-do’s artistic cultural resources and to report on the last twelve years of GMoMA in conducting its role of public museum. It is also an excellent opportunity to appreciate the work of representative contemporary artists of Korea together at one event.
□ Major works
>Kim Hong-joo, Untitled (2002)
Kim Hong-joo | Untitled | 2002 | Acrylic on canvas | 162×162cm | Purchased in 2006
Kim Hong-joo (1945-) is an artist well-known for his paintings of flowers and letters made with hyper realistic drawing techniques. After participating in the S.T (Space Time) Group, which led the conceptual and speculative activities in the early 1970s, Kim lost interest in the abstract play of conceptual art. From the mid 1970s, he reproduced objects such as dressing stands, windows, and mirror frames by drawing a portrait, human figure, or landscape into the object in a hyper realistic technique. Through the attempt to bring together what is seen and what is reflected from a realistic image, he has researched object representations and phantasm, and the limitations on how to draw them. At that time, solid-color abstract planes were prevailing among painters, but Kim Hong-joo didn’t follow the current trends and pursued hyper realistic reproduction. Since the late 1980s, he has been working with subjects of farmlands and fields, cities, mountains, maps, letters, flowers, and so on.
Untitled (2002) is a piece from the flower drawing series that he started in the mid-1990s. Kim gives prominence to a single flower with a full front view on a large canvas 162cm both wide and tall. The drawing of the single flower with empty marginal space allows the viewer to focus on the flower without redirecting their gaze. The flower drawing with slender brush strokes becomes an abstract painting, breaking away from the flower shape that we already know. Kim Hong-joo’s flower drawings break from conventional visual and verbal sense, suggesting to viewers unlimited interpretation possibilities from all directions and perspectives, leading to a new visual definition of an object.
>Min Joung-ki, Waryongchu (2005)
Min Joung-ki | Waryongchu | 2005 | Oil on canvas | 223×113cm | Purchased in 2005
Min Joung-ki (1949-) is a member of ‘Reality and Utterance’ (Korean art movement group in 1980) and a representative artist of Minjung (People’s) art movement. His early works were mainly drawn from common paintings found at barbers in “kitsch” style, and his paintings depicting urban landscape brought the ‘utterance’ of real society to the mainstream. He then moved to Yangpyeong, Gyeonggi-do in 1987, and began to paint the history and story of the life we live. After exploring and observing scenic spots and places of historic interest throughout Korea, he has revived the interest and dignity of traditional landscape paintings in a new way while using western materials and oil painting techniques. Based on ancient Korean traditional maps, his works reflect both human geographical history and its present appearance, transcending both time and space in order to create his unique world of ‘cartographic landscape paintings.’
Waryongchu (2005) is a painting of Yongchu Falls located in Seungan-ri, Gapyeong-eup, Gapyeong-gun, Gyeonggi-do. The name of the waterfall, Yongchu, originates from a local legend saying that this was the place where a dragon ascended to heaven, and if a ritual for rain was held and water was scooped out of the falls during a drought, it would rain. Yongchu Falls is a small waterfall with the height of only about 5 meters, but it has plenty of clean water surrounded by rocks. These strangely shaped rocks are called ‘Waryongchu.’ Gapyeong has eight scenic views, and its third scenic view is called ‘Nine Yongchu Valleys’ or ‘Nine Okgye Valleys,’ which include Waryongchu, Musongam, Tangnyeongnoe, Gosiltan, Ilsadae, Chuwoldam, Cheongpunghyeop, Gwiyuyeon, and Nongwangye. The artist expresses the beautiful natural landscape and old story of the Nine Yongchu Valleys, one of scenic attractions in Gyeonggi-do, with his unique style of rough yet light brush strokes in a long canvas.
>Park Yung-nam, Landscape against Blue Sky (2006)
Park Yung-nam | Landscape against Blue Sky | 2006 | Acrylic on canvas | 250×200cm | Purchased in 2006
Park Yung-nam (1949- ) graduated from Seoul National University College of Fine Arts Department of Painting and City University of New York Department of Painting, and is an artist who has been working on abstract concepts since the 1990s, which has been an important feature of modern art in Korea. Park has continuously participated in solo and group exhibitions in Seoul, New York, Paris, Germany, etc. and has been also expanding the scope of his artwork with the so-called ‘finger painting’ through which he paints the emotions of nature and life freely and instinctively with his fingers.
Landscape against Blue Sky (2006) is a sensuous and intuitive piece of art. The image partitioned naturally through finger painting gives off a different feeling than geometric abstract or abstract expressionist works. The artist expresses the play of a basic esthetic desire by drawing blindly like a child, pursuing the purity of childhood. Park Yung-nam’s abstract painting conveys the liberty and beauty of the fine arts, just as when he says, “I just do my work by habit, while avoiding any kind of style, convention, or concept.”
>Park Hyun-ki, Untitled (1993)
Park Hyun-ki | Untitled | 1993 | Monitor, stone, wood, single channel video, silence | Purchased in 2010
Park Hyun-ki (1942-2000) is an artist from the first generation of Korean video art that expressed his unique world of artworks in diverse genres including drawing, three-dimensional structures, photographs, video installations, videos, performances, etc. His interest in video art was influenced by world-renowned video artist Nam June Paik (1932-2006), but Park’s works are more focused on harmony between nature, object, and physical property, following the flow of Korean contemporary art in the 1970s. While Nam June Paik used advanced technology, Park, aiming towards the non-technological genre, tried to materialize fundamental questions about art through video installations. His major artworks include Video Stone Tower (1978), created by juxtaposing real stones with stones in a TV monitor; TV Seesaw (1984), showing a stone and steel plate seesaw on which a large stone is sitting on one side and a TV monitor showing a stone image the other side; and Mandala (1997-1999) that shows cross-cut images of Buddhist iconography and porn scenes at a rapid speed.
Untitled (1993), one of the so-called ‘Wooden Hand’ series made with abandoned railroad sleepers and stones in the early 1990s, is composed of a long sleeper with five finger-like wooden bars on the bottom, a stone stuck between each wooden bar, and a small monitor showing the artist looking around the actual artwork hung on the left wooden bar. ‘Stone’, which has been the main object of the artist’s works all his life, is the nature that embraces primordial time and space, and the object with which the artist identifies himself as he felt the limit of Western science. In addition, ‘Hand’ is a common topic in his work, and the video in which the artist is contemplating this work composed of stones and the finger-shaped wood shows the state in which the work and the artist are becoming one.
>Bae Young-whan, The Way of Man – Bulgwang-Dong First Love (2007)
Bae Young-whan | The Way of Man – Bulgwang-Dong First Love | 2007 | Mixed Media with Abandoned Wood | 105×30×8cm, 110×45×15cm | Purchased in 2007
Bae Young-whan (1969- ) has been expressing cultural sensitivity and ideology unique to Korean society through various expressive media such as painting, sculpture, installation, and video since the late 1990s. His representative works are Song for Nobody, Can You Remember?, Fools’ Boat, and Pagus Avium, each work connecting to and disconnecting from each other to illustrate portraits of modern men. In the past few years, the artist has maximized the possibility of thinking through art by visualizing invisible concepts such as one’s life and death, depression and healing in modern society. Moreover, he has continued the public art projects that realize the role of art coexisting in everyday life, such as Library Project – Tomorrow, Shoulder Project, Homeless’ Notebook – In the Street and so on
The Way of Man – Bulgwang-Dong First Love (2007), which was unveiled at the special invitational exhibition at the Art Space Pool in 2005, shows the sentiment of his early work Song for Nobody with the ‘acoustic guitar’ object. The cabinet fragments inlaid with mother-of-pearl that decorate the guitar’s body are the important material that is in the same vein of his work in which the artist uses furniture abandoned at the end of its trend during the 1980s to 90s in order to create the guitar, which was once the symbol of the youth, romance and resistance. The guitars that cannot make any more sounds but only keep its appearance act as a metaphor for the men who lost their voices and are fading away in Korean society where only authority and success are valued. Based on affection and concern for people, The Way of Man – Bulgwang-Dong First Love is also a consolation to those men.
>Yun Hyong-keun, Burnt Umber and Ultramarine (1978)
Yun Hyong-keun | Burnt Umber and Ultramarine | 1978 | Oil on Linen | 270×140cm | Purchased in 2007 | ⓒ Yun Seong-ryeol
Yun Hyong-keun (1928-2007), a representative artist in the flow of monochromatic paintings in Korea in the 1970s and 80s, continuously showed abstract paintings in which simplified horizontal and vertical color faces or lines overlapped. Since the mid-1970s, the main colors of his works have been brown and navy blue, which are the essential colors of nature ultimately captured by the artist through repetitive omissions among numerous colors. The world of his works, in which the artist wants to embody a plain inner essence, not loud colors and shapes, resembles the oriental meditation and view of nature. Saying “My painting started from the writing of Chusa Kim Jeong-hui,” the artist shows his own abstract world by drawing strokes repeatedly on his paintings.
The title of the painting, Burnt Umber and Ultramarine (1978), which is simply the names of the colors, was named as such because the artist did not think that needed any explanation in words. For him, brown means ‘earth’ and navy blue means ‘sky’, and the black made by combining earth and sky means ‘the color that nature eventually returns to.’ His work, described as ‘the thing that is close to nature,’ embodies the order and mystery of nature based on the image of an old tree that was found by the artist accidentally. The artist uses paints that are diluted with turpentine to permeate through the linen canvas as he paints, expressing subtle effects of light and shade similar to the traditional painting technique of the Orient in which pigments are absorbed in cloth or paper. While his works have been more simplified in terms of composition of the painting by reducing the paints’ bleeding since the 1990s, this work produced in 1978 is one of his early works that express the light and shade of colors naturally.
>Lee Sang-hyun, Meditated Portrait of Korean Historical Epic – Tapacementor (1) (2004)
Lee Sang-hyun | Meditated Portrait of Korean Historical Epic – Tapacementor (1) | 2004 | Digital Print | 110×150cm | Purchased in 2007
Lee Sang-hyun (1954- ) has received public attention as his works have ranged over almost all areas of visual arts by transcending genres using the advanced technology and his extraordinary imagination ever since the early 1980s. Lee was selected as one of the most important artists of the 21st century in 1996 by Le Figaro, a leading French daily newspaper. His works show digital images synthesized with old black and white photographs or traditional Korean paintings, transcending time and space, the mixture of the ideal and the real, and the coexistence of truth and fiction.
The series Meditated Portrait of Korean Historical Epic consisting of 20 works made over 10 months between 2004 and 2005 is Lee’s work that was produced when he resumed his artistic activity after years of a slump caused by his appearance in Jang Sun-woo’s film Lies (1999). This work is a composite picture in which the photos of Joseon Gojeok Dobo (Pictorial Guide to the Ancient Artifacts of Joseon, 1915-1935), compiled and published by Governor-General of Korea during the Japanese colonial era, were edited with a digital image. In the photographs, the artist in a black suit wanders around remains of Joseon under the Japanese colonial rule by riding the time machines ‘Tapacementor (Time+Space+Movement, 1988)’ and ’The Mind of Wind (1989),‘ invented by the artist himself. He appears like an alien at historic sites, which have become ruins, such as ruined Anapji Pond and deserted Bulguksa Temple, Gyeongju, and dilapidated Stone Pagoda at Mireuksa Temple Site, Iksan. His works criticize the political and historical situations of today’s Korean society such as the North Korean nuclear issue, China’s Northeast project, and Japan’s territorial claims to Korea’s Dokdo islets, referring to the history of Japanese colonial era.
>Lim Min-ouk, Portable Keeper (2009)
Lim Min-ouk | Portable Keeper | 2009 | HD Single Channel Video, Sound | 12’ 53” | Purchased in 2010
Lim Min-ouk (1968- ) projects the disconnection and sense of alienation from conflicts and the absence of communication between generations into a social context and expresses them through various media outlets such as installation, video, and performance. The artist presents a critical perspective on the rapid modernization of rural areas and the compact growth of Korea, which began with the Saemaeul Movement in the 1970s, and uses a social and personal sense of loss and heartbreak behind the success story of Korea’s modern history as the main materials for her works. Lim’s artworks are based on her personal experiences, such as the image of urban development witnessed from her youth, and her multicultural personal history. In the 1980s, she stopped studying and moved to Paris where she lived as a member of the writers and artists’ group called “General Genius”. The joint experiments in various genres such as design, public art, and archives, which she tried at that time, became the foundation of her works that display radical and challenging tendencies by crossing social reality and everyday life.
Portable Keeper was an ongoing project that started from 2009 and is composed of installation, performance, and video. In the video, a man carries on his shoulder the ‘portable keeper’ that is made of discarded parts of electric fans, feathers, writing tools, and artificial fur that are all connected lengthwise, resembling a totem. The man roams around a traditional market and ruined construction sites as if he is a modern version of a shaman who performs a ritual to protect and restore forgotten space-time. In this object combined with disparate materials, the artist embodies complex emotions such as a sense of loss and abandonment experienced while resisting against destruction and its process.
>Jo Dong-hwan and Jo Hae-Jun U.S. Army and Father (2005)
Jo Dong-hwan and Jo Hae-Jun | U.S. Army and Father | 2005 | Pencil Drawing on Paper | 27.3×39.5cm Each (22 Drawings) | Purchased in 2008
Jo Hae-Jun (1972- ) graduated from the Korea National University of Arts and studied graphics at Stuttgart Stata Academy of Art and Design in Germany. Jo Dong-hwan (1935- ) is father of Jo Hae-jun and was an aspiring artist. In 2002, as Jo Hae-jun was curious about the art catalogue given by his father Jo Dong-hwan, Hae-jun exchanged letters with his father. In the process, Hae-jun suggested that his father produce his own drawings including words about the father’s personal and family history. Since then, the father and son have been working together.
U.S. Army and Father is a documentary-style drawing work composed of 22 drawings based on the personal story of the father Jo Dong-hwan and U.S. soldiers whom the father met, heard of, and shared experiences with. Jo Dong-hwan met U.S. soldiers for the first time at eleven years of age in Hokkaido, Japan, in 1945 and served in KATUSA in the U.S. army in 1959. This drawing series is a story related to the US army seen from the perspective of a person who lived normally during the time of the upheaval in Korean modern history studded with Japanese colonial rule, independence, division of Korea into north and south, the Korean War, and anticommunism, and is also based on personal experiences that are interlinked with Korea’s unique condition of modern history. In this joint work, there is a story hidden within the personal and family history in which whenever the defensive and self-reflecting aspects of the father’s past memories are revealed, the hesitation and forgotten perception are uncovered.
<ggc의 모든 콘텐츠는 저작권법의 보호를 받습니다.>
GMOMA Collection Highlights
Period/ 2018.08.15(Wed) ~ 2018.11.25(Sun)
Venue/ GMOMA Exhibition Hall