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
Introduction to 2018 Gyeonggi Creation-Center Artist in Residence : HyoungSan Jun
Gyeonggi Creation-Center
2018 residents of Gyeonggi Creation-Center can be found at the Gyeonggi Creation Center website (http://gcc.ggcf.kr/). |
2018 Gyeonggi Creation-Center Artist in Residence : HyoungSan Jun
Irresistible crust #4 ; Electric chair|HyoungSan Jun|2011|Mixed media , Interactive sound installation ( rocking chair, telegraph, motor, speakers, television )|Variable size
[ Artist Note ]
Now a days, through a various medium, we live in a newly contemporized period. Individuals form systems of cognition and awareness based on combination of collected sensible information. Unknowingly, I becomes familiarized with overwhelmed and limitless information and this circumstance make myself misunderstand senses as the absolute truth. My work starts from suspicion on my senses itself and postponement of judgment. Also, it tells how our senses are imperfect and we often make hasty decisions with certain conditions. This is the one of the process for new understanding “I” in modern environment. The new understanding will occur through various medium that reflects our perspectives and the importance of following judgment.
As the < Incomplete Truth > series reveals limitation of sensory centered understanding system, it metaphorically reflects that we need multifactorial communication method to understand specific events.
Furthermore, the < Irresistible Perception > series informs that reasons which reflecting the judgment and inference should connect with our perceptions and it must be seen as the result of the process of mechanical impression. For those reasons, the project take interactive component. The work structured with ‘display to tell’ and ‘display to make listen’ which deals with communication conflicts that comes from individuals’ custom or traditional social relationship.
< a priori bits > series start from noise itself and one of ‘fabrics’ are creating through structuralization of sound object. This has distinct characteristic as one of medium and metaphorically reveals realistic process within the latent state of sound noise. This kinds of sound noise and inter-phases, which happens every day of our life and even unable to escape from, are communication line with the world and create relationship between real ( visible object ) and imaginary ( invisible space ) world. The sound that produced through that process are not the noise anymore but sound of all existent in the world.
Thus, my current work has been in progress following the topics: the production of non-musical sounds and ‘musicalized’. ‘Sound’ is settled in categorization between the musical and nonmusical group within the long historical standard. Within the history, general perception of recognizing unintended sounds as noise but not as music is one of significant issue with this work. The feeling of the low-tech sounds is not beautiful but more annoying to our ears. However, this work practicing with analogue and mechanical method to produce nonmusical sound to extend areas of sound and interact that offers chances for unique and sensible communication. Also, it has the meaning of ‘hyper-media’ as by creating a new symbologies in the form of Synesthesia work through a combination of ‘hearing’ and ‘seeing’.Therefore, this work is trying to bring transformation to the structures of perception that observes the outside world through the new experiences of the sensory organ. Therefore, this work is trying to bring transformation to the structures of perception that observes the outside world through the new experiences of the sensory organ.
< Suspension of Disbelief >
Suspension of Disbelief #1; Void|HyoungSan Jun |2018|
Sound installation, mixed media|140×60×180cm
Suspension of Disbelief #1; void recognizes the surrounding environment through the camera repeatedly moving up and down, and creates new images, and it follows the mechanism to function as the graphic score of another picture. In fact, the machinery scans the surrounding environment of the exhibition, including the spectators, to begin the performance, and the performed graphic score is printed and stacked in the space. This refers to the system where the visual image becomes the invisible sound and that sound returns to become visible as a graphic score, and this creates the space of sound being void and non-void at the same time.
Suspension of Disbelief #2; tremor|HyoungSan Jun |2018|
Sound installation, mixed media|dimension variable
The machinery of Suspension of Disbelief #2; tremor reads the color slide being composed by the artist to create the vibration of the wire, and the movement of the cable car limits the vibration of the wire. The sound, which began with a small vibration, shakes the space and reveals its existence.
Suspension of Disbelief #3; contact|HyoungSan Jun |2018|
Sound installation, mixed media|dimension variable
the author records all produced sounds on the luminous board Suspension of Disbelief #3; contact is a work which maximizes sensory effects in order for the spectator to feel the contact of sound with the whole body, beyond the audio-visual senses. 6 glittering antennas ( Loop ANT ) pick up frequencies we would never recognize, and the rotating cylinder as a graphic score, which is the origin of sound, tries to dismantle and to re-deploy the indiscreet sound. The sound being made like this would move and rule the space through 4 speakers spread throughout the exhibition, and would make one spectacle by adding the movement of the light and the machine. However, there is no recognizable implication, and it is not properly re ned or comfortable, either. The spectators only exist in the overwhelming space, and they are just waiting for the meaning reproduced newly through their movements and experiences.
Suspension of Disbelief #5; dismal|HyoungSan Jun |2018|
Sound installation, mixed media|25×28×100cm (2ea)
2 face-to-face speakers of Suspension of Disbelief #5; dismal emit a voice reading 1984 by George Orwell. The tone of the sound generated by the symbolization of ‘X’ and ‘X’ with a very little time difference coming from each speaker becomes fainter as the distance diminishes. The smaller sound, as the distance diminishes, would stimulate the desire of humans to rule sound, but the control of humans breaks down, and the spoken languages(logos), being deemed as an absolute transmitter of meaning, function as an auditory experience itself, which exists as just sound.
Suspension of Disbelief #6; Here$Now|HyoungSan Jun |2018|
Interactive sound installation, mixed media|86×20×41cm (2ea)
Suspension of Disbelief #6; here$now, consists of two light boxes, and aims to produce nonverbal communication. The spectator begins the communication through the Morse code machine at the right, and this message will be transformed into a sound by an internal device upon its visualization in the liquid crystal. The sound being created in this process is delivered to the device on the left, but it recognizes the surrounding sound at the same time, so it creates a completely different sound from the originally entered message. Now, regardless of existing here, various messages, in accordance with the surrounding context, which have lost their original intention or purpose, produce an error of the discretionary value judgment. However, the free world of the imagination being created by this error also has the positive aspect of opening up a new meaning of possibility at the same time.
< 4 Little Strangers >
4 Little Strangers|HyoungSan Jun |2018|Sound installation, mixed media|25×13×38cm (4ea)
4 Little Strangers, which consists of 4 light boxes, modi es the signal of the electromagnetic wave to the sound and provides a sound that you have never heard before. Each generated sound is left as another sound that only exists, but is not consumed.
< Words Not Being Dissipated >
Words Not Being Dissipated|HyoungSan Jun |2018|Sound installation, mixed media|50×40×20cm
Words Not Being Dissipated, visualizes the sound entered by the spectator through a microphone, or the sound entered by the surroundings on the luminous board of the turntable. The sound created by someone will disappear from this space soon, but its trace accumulates and is left on the turntable. Things not being consumed in reality, where production has value and meaning only when it is directly connected to consumption, are deemed useless and meaningless.
[Critique] Excuses for Deut.Bo.Jab( Eum ) : The Solo Exhibition Reverberation Time of Hyoung-San Jun (Wonjoon Yoo, Media Aesthetics)
0.
There is a term that is often used by the younger generations on the Internet. It's “ Deut.Bo.Jab ”. It
refers to something( hereinafter referred to as “ Jab ” ) that you've never “ heard ( Deut ) ” or “ seen ( Bo ) ”,
and it is used to describe an object( or a person ) that appears suddenly when you didn't even know
it existed. It is a term used jokingly, so it is a bit funny to think about it seriously. Nevertheless,
you get caught repeatedly thinking about its meaning. Maybe this is because the made-up words of
these times accurately reveal the perceptions of the public or a reality. “ Deut.Bo.Jab ” literally is the
condition of existing in reality that assumes a sort of being in a visible/audible area. In other words,
a figure ( or an object ) must be “ heard ” or “ seen ” to have the necessary and sufficient condition of
not being a piece of “ junk ”. This paradoxically reveals our common perception regarding an
existence as junk if we can’t hear it or see it. This term understandably arouses controversy, such
as “ who is the subject that hears and sees? ” When this term is commonly used, there is a dispute
about the possibility that the person given this term may be “ Deut.Bo.Jab ”, but the person might
also be very influential. The “ subject ” here refers to the perspective of the general public, but it is
hard to deny that our conventional and biased view of hiding ourselves in the group called “ the
public ” is pervasive.
1.
Friedlaender’s short fictional work, Goethe's Phonographed Speech introduces the story of a professor who traces the footsteps of the dead Goethe, who can no longer be heard or seen. The professor restores the occipital area of Goethe’s skull and connects it to a phonograph for a girl who misses Goethe’s voice, that she heard when he was alive. He assumes that “ if the voice caused vibrations whenever Goethe spoke, its echo only subsides over time, but never disappears, ” and so he attempts to restore the sound pattern that imprinted Goethe’s voice from a noise into sounds by using the acoustic amplification technology of that time. This story is predicated upon a scientific fact: that the essence of sound is vibration. So, the trace of something that is audible or visible will still remain now, if it existed in the form of sound in the past. This scientific fact has become commonplace nowadays, but we still try to understand sound as a phenomenal approach to the medium that carries sound. Thus, we belittle sound or consider it as nonexistent if it does not appear as music, or in the form of a very easily recognizable sounding body. In other words, it is simply “ Deut.Bo.Jab( Eum ) ” as in the context above.
2.
“ Reverberation ” is sound that remains after the echoes of the body of sound. It corresponds perfectly with the rule of “ Deut.Bo.Jab ( Eum ) ”. We must, however, understand that a certain subject has a very flexible existence that can be converted into something visible and audible through some circumstance, even if it is not visibly revealed or identifiable in the auditory perceptive area. This is because it always exists around us scientifically or philosophically, although it is in a potential state that is not turned into a realistic occurrence. This kind of understanding becomes the basic foundation for approaching the artist’s works. Jun has been continuously working with “ nonmusical sound ”. “ Nonmusical sound ” at this point (of course, it has a greater scope semantically) is presented as sound that has not been heard or seen. By turning down the commonsensical schema ( of nonmusical sound ) that not all sounds are music, we reach the field of artistic experience that is feeling sound itself, rather than music, and the possibility of Deut.Bo.Jab(Eum) opens up there. Accordingly, the exhibition title, “ Reverberation Time ”, which is interpreted as “ the time in which remnant sound remains ”, is the story about the journey of sound that reveals its traces or disappears when sound(vibrations) meshes with the path of time and space.
3.
The artist carefully arranges “ trivial ” objects in the exhibition hall. His strength as an artist is clearly demonstrated here, as he displays a combination of these trivial things in a refined way. He diverts old analogue machines for other purposes. This is well revealed in this exhibition. A variety of objets you may have passed by in compound shops or hardware stores are installed in the exhibition hall in strange combinations. This view shows the thematic sense that this exhibition wants to present. In other words, machines that lost their functional meanings over the course of time ( or by spatial migration ) show their semantic system being marginalized. The reason why each work in this exhibition has come down to only one strand, even if they all have different storylines, is based on the reinventing of the medium suggested by the works.
The exhibition is basically divided into the Suspension of Disbelief series, 4 Little Strangers, which is an individual work, and Words Not Being Dissipated. The subject or theme of the exhibition is not easily approachable, and, furthermore, the titles are somewhat abstract. Let's look into Suspension of Disbelief #1; void, which is the first work you encounter as you enter the exhibition hall, and which takes up the greatest portion of this exhibition. This work looks like a giant sewing machine and functions as a sort of instrument. The camera installed inside this piece scans the scenes appearing on the front of this piece into images by moving up and down. It is connected to the monitor that displays these images visibly, and the key mechanism of such an operation is hidden behind the operations of the machine. Interestingly, the images on the monitor, displayed as musical notes, are printed on the floor of the exhibition hall. The moment the viewers are blinded by these (external) devices, the work exposes the corresponding noises derived from this scene.
4.
The point that the artist wants to challenge is the dissolution of the dichotomous world signified by sound. Normally, such an attempt comes from the attempt to prove that a nonvisible area exists by using other senses to discover it, or by following the traces of sound that exist in an inaudible area. Words Not Being Dissipated inside the exhibition hall and Suspension of Disbelief #3; contact in the basement are concretely showing such approach by the artist. Words Not Being Dissipated is a process of stamping the sounds coming from the viewers or the exhibition hall on the record, and the process of listening to sound (or music) through a turntable in the past takes place in reverse. That is, the turntable here is a recording device for collecting sounds rather than playing them. Unlike the people who erase the trace of sound the moment they listen to and recognize the sound, this device visualizes the traces of sounds that vanish into space and time faithfully. Sounds that have not been heard or seen are reborn into traces of their own. Recalling that a certain sound inevitably faces the passing of time once it is generated, the existence of the reverberation that remains as the remnant is fully dependent on time. Meanwhile, Suspension of Disbelief #3; contact enlightens the world of the senses about sound, which expands synaesthetically beyond time. This work collects frequencies that transcend our sensitivity to being aware of these sounds through six flashing antennas, and returns them to the viewers by breaking them down and recombining them through a rotating cylinder in the center. While the senses firstly exposed or used in this work are vision and hearing, the process of returning the sounds is carried out in a tactile way. The spatialtemporal path of sound that penetrates the entire space and resonates adheres to the skin.
5.
The last piece of the story is completed in Suspension of Disbelief #5; dismal. You need to pay attention to the muted sounds coming from two speakers that are facing each other. The sounds are like the words ( language ) of people, and they die away like the chorus of a round of song as they move between the two speakers if you get close to them. The audience is convinced that these sounds are a language ( voice ) and try to interpret them, but eventually fail to understand their meaning. This is when the “insignificant sound”, namely, the remaining “surplus sound” that did not vanish, occurs. Realistic moments, where sound itself becomes the meaning, which is a kind of fact that this sound is heard and seen, are handed over to something that did not hear or see those moments. The phenomenological philosopher Merleau-Ponty insists that a “meaning ( significance ) is always a gap ( écart ) in a sense”. This makes us reflect when we are restricted by the definition of a meaning. Our desire to exhaustively reach the signified in the unintended interval of the unconscious or subconscious disintegrates, exhaustively.
Biography of Artist
HyoungSan Jun EDUCATION 2018. MFA Yonsei Graduate school of Communication & Arts. Media arts at school, Seoul, Korea 2011. BFA Chugye University for the arts, fine-arts graduation, Seoul, Korea EXHIBITION Solo Exhibition 2018.06. Solo Exhibition < Reverberation Time >, INSA ART SPACE, Seoul, Korea 2015.07. Drawing Relay Project#_ Solo Exhibition < Unexpected Sound >,Banjul-Schale, Seoul, Korea 2015.02. AliceOn Awards_New Stream 2014_ Solo Exhibition < New Normal; a priori bits >, The MEDIUM, Seoul, Korea Group Exhibition 2018.4. GCC Preview Exhibition < Unofficial Discoursers >, GCC Permanent Exhibition Space, Gyeonggido, Korea 2018.02. Gangwon International Biennale < The Dictionary Evil >, Gangneung Green City Experience Center, Gangwon-do, Korea 2017.12. Seoul Art Foundation < Another Point of Sight >, Seoul Art Foundation, Seoul, Korea 2017.12. 2017 GWANGJU MEDIA ART FESTIVAL < Human × Machine Systems >, Gwangju, Korea 2017.04. < Real Fiction > Exhibition, Art Center Nabi, Seoul, Korea 2016.10. 38th Joongang Fine arts Prize_ Exhibition, Sejong Art Center, Seoul, Korea 2016.09. V2, TEST_LAB_summer sessions 2016, V2, Rotterdam, Netherlands 2016.07. < three open gesture > Exhibition ,wumin art center, Cheongju, Korea 2016. 4 Art Project in Ulsan_ICAPU 2016, Ulsan, Korea 2016.02. Incheon art platform residency artist Reporting results Exhibition, Incheon art platform A, Incheon, Korea 2015.08. The 15th Seoul International New media art festival _ New Media Art Exhibition, the Rainbow Cube Gallery, Seoul, Korea 2015.04. Incheon art platform residency artist preview Exhibition, Incheon art platform A, Incheon, Korea 2014.02. < DAILY REFLCTIONS ; Korea-Japan Media Art Exhibition >, Total Museum of contemporary art, Seoul, Korea 2013.12. < Brainstotming > Art Exhibition , SMBA, Suwon, Korea 2013.10. Media art < mpression of the Moment > , Riverview 8th Avenue, Seoul, Korea 2011.10 Hansung Baekje Art Festival, Yesong Museum, Seoul, Korea 2011.06. < Mullae Resonance >Exhibition, Seoul Art Space Mullae, Seoul, Korea 2011.02. < Shoot for tomorrow!! 4 >, Alterative Space CHUNG JEONG GAK, Seoul, Korea 2010.12. Chugye University for the arts Exhibition of Graduation, Gallery LaMer, Seoul, Korea 2010.08. ASYAAF, Sungshin Women’s University Gallery Firoom , Seoul, Korea 2010.07. MYA ( Message from Young Artist ) Exhibition, Kwanhoon Gallery, Seoul, Korea 2010.04. < Preview > Artist Network Program, Alterative Space Team-preview, Seoul, Korea 2009.12. < Let’s Play Starbuck’s > Art Exhibition, Starbuck’s in Hongik U, Seoul, Korea 2009.10. Bugahyeon Public Art Project Exhibition, Seoul, Korea 2008.08. Beijing Olympic Exhibition- Small Art Works Festival, Beijing, Tianjin, China 2005.05. < Fo-rm > Art Exhibition, Chu-Jung Art hall, Seoul, Korea Performance 2018.07. Ultra Malbok Fest_ Sound Performance, KNEET, Seoul, Korea 2018.06. < Reverberation Time > Sound Performance, INSA ART SPACE, Seoul, Korea 2016.07. < three open gesture > Sound Performance ,Wumin Art Center, Cheongju, Korea 2016.05. Dotolim concert series 88th, Space Dotolim, Seoul, Korea 2016.01. Nam June Paik 10th anniversary memorial < Utopian laser TV stations >_ ‘Beyond sounds’ sound performance, Nam June Paik Art Center, Yongin, Korea 2015.11. IAP collaborative project < three little gesture > Sound Performance , Incheon Art Platform B, Incheon, Korea 2015.09. Bukchon Music Festival 2015_TRIAD_HyunjuWoo x JUN, HyoungSan collaborative sound performance, Gallery 57th, Seoul, Korea 2015.08. < Unexpected Sound > Sound Performance, Banjul-schale, Seoul, Korea 2015.04. Incheon art platform residency artist preview Exhibition _Sound Performance, Incheon art platform A, Incheon, Korea 2015.02. < New Normal; a priori bits >Sound Performance, The MEDIUM, Seoul, Korea 2014.11. Dotolim concert series 65th, Space Dotolim, Seoul, Korea 2013.08. < New Formation episode1:being > ,Seoul284RTO, Seoul, Korea 2013.01. Dotolim concert series 38th, Space Dotolim, Seoul, Korea 2012.12. Dotolim concert series 37th, Space Dotolim, Seoul, Korea 2012.10. festival for improvised and experimental music ‘Dotolimpic’, Seoul Art Space Mullae, Seoul, Korea 2012.08. < Shake it Up Yonggary; the Ragpicker/ dissection of a Yonggary Performance >, Kunstdoc Project Space:Nanji, Seoul, Korea 2012.04. < Spring of Seooul; Off road express > Border drawing Performance , Seoul, Korea 2012.02. < Super Robot Wars, The Age of Discovery For the Moon 3; Construction > Sale of Moon Performance, Seoul Art Space Seokyo, Seoul, Korea 2012.01. < Super Robot Wars, The Age of Discovery For the Moon 2; the enemy > Picking land Performance, Bugahyeon a redevelopment zone, Seoul, Korea 2011.12. < Sound Rips >improvisation performance for sound, SPACE_‘id’, Seoul, Korea 2011.10. < The Happening : TOURISM >, Seoul, Korea AWARD & RESIDENCY 2018. -Gyeonggi Creation Center_visual arts residency, Gyeonggi-do, Korea -ZER01NE_Creative Network Platform_Creator, Seoul, Korea 2017. -ARKO Creative Academy_AYAF_Art Council Kroea, Seoul, Korea -Seoul Art Foundation_Portfolio Fair 3th_ Award winners, Seoul, Korea 2016. -38th Joongang Art Prize_the Excellence Award winners , Seoul, Korea -V2, TEST_LAB_summer sessions 2016 arts residency, V2, Rotterdam, Netherlands 2015. -The 15th Seoul International New media art festival _ the IGong Award winners, Seoul, Korea -Incheon art platform _ visual arts residency 6th , Incheon, Korea 2013. -AliceOn Awards_New Stream 2014, part of sound art , Seoul, Korea 2011. -10th Hansung Baekje Art Festival _the Excellence Award winners, Seoul, Korea |
<ggc의 모든 콘텐츠는 저작권법의 보호를 받습니다.>
Introduction to Gyeonggi Creation-Center Artist in Residence/ HyoungSan Jun