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  • 2018 1st AUO Artist
  • Kim Yoonha
  • Sungshin Women's University, Sculpture, 4th semester
  • Kim Yoonha is an artist who uses various method to express, such as Visual media, Installation, Performance, Sculpture and Photography. Her works deal with the objects or phenomena that are easily discarded or too commonly used in daily life which make that worthless. She gets an unfamiliar idea from those objects or phenomena and call them in her way of saying 'everyday noise'. She amplifies this noise especially by visualizing the expression. Through this, she explores something undesirable but exist, or something can not be seen but can be felt. And she continuously throws their reality and existence into question.
145

Emergency Exit

Media Arts / Performance

  • 2018
  • Emergency Exit, 1 Channel video, 00:04:14, Records of Australia and Korea
  • 2018
  • Emergency Exit, video cut
  • 2018
  • Emergency Exit, video cut
  • 2018
  • Main image

ARTIST'S STATEMENT

I call it my way of saying 'Noise of Daily Life' in the unfamiliar moments that are felt in everyday life (not just unfamiliar moments, but it also implies things that you don't want to feel, maybe you should feel.)

on the car through the endless grasslands of Alice Springs, Suddenly, I found a 'Emergency exit' sign in the car. For a moment, I was struck by a fear of death and Soon after, the design of the information board caught my eyes. Regardless of the meaning, I focused on the beauty of the image itself and took pictures. Subsequently I imagined breaking the window. The thoughts of 'scary' and 'pretty' were overlapped and erased. For me, the information board played a role as the medium of thought, and at the same time, its role as the actual role of the emergency situation guide did not work properly. It was only one image.

In this work, 'Emergency exit' sign worked as 'Noise of daily life'. The complex emotions felt in the signs seemed to be a sort of sensory confusion, and at one point it also led to insensitivity. I used everyday images to amplify this situation. They used daily life collected in Australia and everyday life collected in Korea as medium of complex emotions and encouraged sensory confusion. These experiments led me to agonize whether I was not rejecting the senses I felt in these float senses, or whether I was bringing in another sensation as if there was an error in synapses. I felt like a layer covering my feelings on the uncomfortable feelings settled inside. I had a question about the essence of my thoughts and feelings in these thoughts. Is my feelings and thoughts true? And are are the thoughts and emotions that we feel are really true?

In addition, I think that the same theory applies when I look at the social phenomenon of the Korean emergency exit, which is not directly reflected in the image. Emergency exit are everywhere like customs. However, the green emergency exit signs serves as only an illumination to illuminate the emergency staircase. And it is rarely used in practice. Moreover, the emergency stairs are not used in an emergency, but are used as warehouses of businesses, secret azit of lovers, and homeless houses. In other words, the sign is just an LED light with green light. Likewise, the layers of desire laid over the Korean emergency exits seemed to build up above their actual role and maybe it can't have played its original role. I would like to deal with more about this in later work.
국문보기
Advice
Kim Taiyun, Artist
총평:
작가의 첫 번째 “만상수집 잠상기록”에서 느꼈던 “이전 세대 같은 어떤 열띤 주장도 없이, 남의 일처럼 무심하게 상처받지 않은 듯이 ‘툭.’ 던지는 말들과 선형적인 내러티브에서 해체되어 파편적으로 흘러가는 이미지들”에서 어떤 무심함 내지 쿨함을 다시 생각해 본다. 세 번째 작품 'Emergency exit'에서도 두 번째 ‘The rage song for A’ 작업과 마찬가지의 방식을 취하고 있지만, 같은 주제와 관심사들을 반복해서 확인하면서 무심함 이면의 집요함과 끈질김을 새롭게 마주하게 된다. 작가는 죽음보다 아름다움으로 작용하고 있는 안내판 이미지를 통해서, “제대로” 작용하지 않는 세계에 대해 경고하고 있다. 이미지를 통해서 세계를 감각, 판별, 이해하고 살아가는 것이 진짜인지 작가가 묻고 있는 질문의 대상은 누구일까. 덧붙여 진실을 가리는 반작용의 프레임으로 비판적인 시각에서 “미술" 자체를 성찰하고 있는 태도에서 거의 무의식적으로 배열된듯한 영상 편집도 (논리적으로는) 이해가 될 것 같다. 앞으로 작업을 함에 있어, 새로운 세대의 흥미로운 특성들(이를 테면 유튜브 영상 같은 문법, ASRM과 같은 노이즈 사운드)을 김윤하 작가만의 고유한 표현 방식으로 발전시켜보는 것은 어떨까.
Kim Taiyun, Artist
멘토링 커멘트:


4분 남짓한 ‘Emergency exit’ 영상은 그간 작가가 보여주었던 작업들과 같이 유튜브 영상 형식으로, 버스 안에서 촬영한 호주 초원의 풍경과 코알라, 어느 계단의 갈매기, 서울광장에서 잔디를 정리중인 노동자들의 모습, 베란다에 서서 창 밖을 내려다보고 있는 어느 나이든 여인의 뒷모습, 주유소 네온 사인이 철거되고 있는 장면들을 교차해서 보여준다. 일상의 모습이긴 해도 제법 낯설고 다이나믹한 장면들과, 일상 한 켠에 늘 존재하지만 의도적으로 보지 않으면 잘 보이지 않는 장면들이 뒤섞여 있다. 그리고 버스에서 발견한 비상 탈출 안내판의 이미지를 어떤 표지처럼 덧붙인다.

작가는 “일상에서 느껴지는 낯선 순간들(단순히 낯선 순간뿐만 아니라 어쩌면 보기 싫어도, 느끼기 싫어도 느껴지는 어쩌면 느껴야 하는 그러한 것들을 내포)을 '일상의 노이즈'라고 명명한다.”고 설명했다. 작가가 노이즈라고 명명하는 보기 싫어도 느껴야(보아야) 하는 순간들은 일상이라는 닫힌 세계에 필요한 필수적인 “균열”로 느껴진다. 어쩌면 이 영상에서 내가 본 것은 시각화된 노이즈(균열) 라기 보다, 탈출구가 없는 시스템에 대한 절망과 체념의 주관적 혹은 세대적 감각 자체라고 보여진다. 이는 전에도 언급했던 아직 정의되지 않은 “무민[무(없다) + Mean(의미)] 세대”와 같은 신조어가 필요한 새로운 감각 방식이라고 느껴진다.

AUO translator

About 4-minutes long video ‘Emergency exit’ is a youtube video, like the previous works the artist has shown. It cross-cuts scenes of Australian meadow and koalas, a seagull on a random stairs, laborers cutting grass on Seoul Gwangjang, an old woman’s back looking out of the window from a balcony, and tearing down a gas station’s neon sign. They are all scenes from an ordinary life, but some of them are quite unfamiliar and dynamic. They are mixed with scenes of something that are always there in the corners of our lives, but are not seen if we don’t look close. And an image of emergency exit sign found in a bus is added to it like it is some kind of sign.
The artist explains “the unfamiliar moments that are felt in everyday life” (not just unfamiliar moments, but it also implies things that you don’t want to feel, maybe you should feel) by calling it ‘Noise of Daily Life’. The moments you have to feel (or see) even though you don’t want to, or as the artist calls it as noise, feels like a necessary “crack” needed in the closed world of daily life. Perhaps what I saw in the video, rather than a visualized noise (crack), seems more like despair on the system that has no exit, and subjective and generational emotion of resignation itself. As I mentioned before, I think it is a new way of feeling that has not been defined, often known as new word “Moo(means nothing)+Mean (English word ‘mean’) Generation.

2018-06-18 13:45:41

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