|Frame - ahn,soo jin
I am in the process of a kinetic art named'Poetics through
Movement.'It is an effort that tries to form the individual cultural identity
and the current of thought. This exhibition tells the story about false
and true ifnages of our lives. The modern people always occupy the limited
space, and I developed them into machines in a serial of the dramatiaed
spaces like the square.
These works have been started by accepting a frame structure that is observed
in The targe Glass by Duchamp and'melting object'by Francis Bacon. In
Duchamp's The Large Glass, one can feel the sexual allegory that is hiding
in its mechaniaed foreground actually functions as lubricating oil in
the machine, Duchamp's this work was made in the beggining of 20th Century,
and by this, the contemporary art that was stimulated by scientific result
in multidimensional grounds dug out a new breakthrough. On the other hand,
the in Francis Bacon's works it seems that there are humanities which
are molten by fear and anxiety in full- filled world. In this work by
me, mechanized cynical fantasy that were made by authoriaed science have
been mixed with vulgar realitf, and molten human in Bacanian fear are
solidified in structuraliaed world.
"Life tries to be similar to machine."
The will of life to be similar to machine is on guard
against the world, and makes cubic structure that divides inner world
and outer world strictly. In it, individua's cultural identity cannot
divulge and persuasion likes a man in front of the Red Guard. Machine
is dumb so that it cannot grasp its position or even right and left. Each
belonging on the ordered brackets do beautiful movement by operating given
sequence in the elegant permutation of axiom. These infinitely-repeating
vulgar movements in the room of each directory are meaningless and irrelevant
to other movements in the others; however it embodies the meaning and
And the satirical tools like pantomime suppose the world as a kind of
text. And the works are composed like'the strict indexes or notes beside
the text, so it actually hides the realistic atmosphere of the text and
the society-ruling ideology, so that is an allegory on the denial on the
adaptation and debris of the life.
In where the world ruled by mechanism-fantasy, the machine can induce
the reflection. And in the end the machines made by the maker becomes
the purpose themselves. They had born with presupposition of functional
using, but fiually aim at the useless situation, and that is the point
where the machine becomes the art without the instrumental features only.
Obviously the art isn't free from the cunning of the mechanical world.
Though one warns the death of art that is denying the transformed the
art, the system of the inclusive art museum turns them to commodities.
The mechanical cunning is a textualiaation that intercepts beyond the
space. And my work tries to reveal the symbolic index on the world, and
by intervening another reference in the reference, 1 try to find the evidence
of the mechanical ideology that is chemically molten in one's life in
forms of literal or artistic image.
long time ago, my old teacher said to me, "are your works installation
art?" "No, my works are equipment art." I answered, End
we both laughed. What I answered to him is both a joke and a serious talk.
That is a little different world from the world of ready made that Buchamp
opened; it means I use instrumentality of the objects without elimination
or transformation, However, as the machine that I designed begins to work,
it becomes a useless objectificated machiue, and exists in somewhere between'the
gathered and coustructed thingness'and'the means targeting beyond function'.
My works that try to approach the thingness by indirection perceive the
world with their working.
I am very busy to produce an artwork. T met lots of people whe are unfamiliar
with arO to produce the