Curved Showcase

Exhibition Description

Curved showcase provide an opportunity for us to face the discontinuous and fragmented of our contemporaries. Through the process of observing the interior of the landscape, which was insignificant and small, it points out things that were alienated from the development-oriented contemporaries. We propose the views and attitudes of contemporary members through the reconstruction of the moments we had to miss in the time we moved forward for a better, more comfortable life only.

Curved showcase begins with a review of the museum’s role in collecting, preserving and advancing. As time goes by, it must also be the museum’s important mission to faithfully collect and march along the flow. However, they attempt to restore what they missed due to poor preservation. It collects microscopic, instantaneous materials, scenes, and emotions by recounting the feelings of small hopes and regrets, such as “what you wanted to do but couldn’t do.” Collections are restored and displayed in their own ways. They recognize and accept the complex direction of the contemporary era, but follow the path of what they missed in the flow. Instead of a sharp and unfriendly form, it is expected to expand out of the shelves through a face-to-face encounter with the object that is placed on a curved display. It is hoped that the exhibition, located between the gallery and the museum, will see a glimmer of light of things still wriggling in slow, low places.

Ko Woo-hyeon asks questions about the preservation of values by matching natural stone with stone artificially modeled after it. We share a serious view of the value and preservation of the original copy through the sensory comparison between the original and the copy. Through the primitive religious act of “building a stone pagoda” - which carefully builds a tower of stone and conveys wishes - which has not lost its meaning to this day - it restores a chronicle of values that do not exist, such as individual wishes.

Kim Seo-young visualizes experiments on objects, frames and their relationship. By questioning the position of the frame, an attempt is made to dissolve the stereotype of preservation and neglect that has been taken for granted based on the presence and absence of the frame. Through these attempts, we seek to discover the variety of possibilities due to the expansion of objects in various directions and the (negative) harmony of elements.

Oh Ju-an delivers the meaning through the capture of the momentary scene. By giving precise scenes to delicate and perishable beings - flowers, snowmen, and clouds - things that are helplessly “visible” restore and preserve their presence in an instant. This helps us recognize and understand the thick narrative of one being.

Choi Jin-a shows her attitude of personal maintenance by capturing the person taking the yoga position. Just as they seek to harmonize and maintain the body by using neglected muscles, they suggest thinking about their own ways to go beyond the limits. This proposal extends to the question of the standard of preservation and neglect that goes against the grain by comparing <다운 독> and <사실 미끄러지는 중>.

Written by Kim Chae-min.

Dates

April 30 til May 6, 2020.

Artists

Ko Woo-hyeon, Kim Seo-young, Kim Chae-min, Oh Ju-an, Choi Jin-a.

Selected Images