X-Mission Episodes One - Four

X-Mission Episodes One - Four 2009 - 2010

Ursula Biemann

X-Mission is a piece of video research on the extra-territorial status of Palestinian camps and the refugees who inhabit them. Like the many extra-territorial and otherwise exceptional spaces that have emerged in the wake of globalisation, contemporary refugee camps are designated spaces outside the national territory.

X-mission

Empty Space

Empty Space

An Immaterial Survey of Our Peers is a group show currently on display at the School of the Art Institute of Chicago. Curated by Web collective JOGGING, the exhibit brings together the work of a group of artists whose art is primarily displayed and distributed via the Web. Given the immaterial quality of much of the work, the show does not physically take place within the gallery space itself. Instead, the artwork has been collected and arranged over photos of the empty gallery space using digital compositing techniques. These photos are then displayed as documentation of the exhibit on the show website, and projected onto the walls of the gallery space for the show's duration. Artists on display include AIDS-3D, Kari Altmann, Jon Rafman, Travess Smalley, Ben Schumacher, and Hermonie Only, among many others. The show is currently on display both online and at the Sullivan Galleries at the School of the Art Institute of Chicago.

Contemplating the Void: Interventions in the Guggenheim Museum

View the online exhibition


공간에 대해 사유하다. 구겐하임 온라인 전시
세계최고의 200명의 아티스트, 디자이너, 건축가가 참여한 구겐하임 공간에 대한 실험적인 사유들

오랜만에 inspiration이 되는 작업들

proposal ! click!

February 12–April 28, 2010
Since its opening in 1959, the Frank Lloyd Wright–designed Guggenheim building has served as an inspiration for invention, challenging artists and architects to react to its eccentric, organic design. The central void of the rotunda has elicited many unique responses over the years, which have been manifested in both site-specific solo shows and memorable exhibition designs. For the building’s 50th anniversary, the Guggenheim Museum invited nearly two hundred artists, architects, and designers to imagine their dream interventions in the space for the exhibition Contemplating the Void: Interventions in the Guggenheim Museum. Organized by Nancy Spector, Deputy Director and Chief Curator, and David van der Leer, Assistant Curator for Architecture and Design, the exhibition will feature renderings of these visionary projects in a salon-style installation that will emphasize the rich and diverse range of the proposals received. Contemplating the Void: Interventions in the Guggenheim Museum will be on view at the Solomon R. Guggenheim Museum from February 12 to April 28, 2010.

Aristotle famously pronounced that nature abhors a vacuum, an idea that still resonates in art today. In designing the Guggenheim Museum, Wright flaunted the notion of the void, leaving the center tantalizingly (or threateningly) empty. Over the years, when creating site-specific installations or exhibition designs for the building, artists and architects have imbued the space with their presences, inspiring unforgettable works by Matthew Barney, Cai Guo- Qiang, Frank Gehry, Jenny Holzer, and Nam June Paik, among others. For the building’s 50th anniversary, the Guggenheim invited scores of artists, architects, and designers to leave practicality or even reality behind in conjuring their proposals for the space. In this exhibition of ideal projects, certain themes emerge, including the return to nature in its primordial state, the desire to climb the building, the interplay of light and space, the interest in diaphanous effects as a counterpoint to the concrete structure, and the impact of sound on the environment. Conceived as both a commemoration and a self-reflexive folly, Contemplating the Void confirms how truly catalytic the architecture of the Guggenheim can be.

Submissions were received from all over the world from a wide range of artists, designers, and architects, including emerging as well as established practitioners. Among the many works in the exhibition are projects by artists Alice Aycock, FAKE DESIGN (Ai Weiwei), Anish Kapoor, Sarah Morris, Wangechi Mutu, Mike Nelson, Paul Pfeiffer, Doris Salcedo, Lawrence Weiner, and Rachel Whiteread; designers such as Fernando and Humberto Campana, Martí Guixé, Joris Laarman Studio, and Studio Job; and architects such as Álvaro Siza Vieira Arquitecto, BIG (Bjarke Ingels Group), Greg Lynn FORM, junya.ishigami+associates, MVRDV, N55, Philippe Rahm, Snøhetta, Studio Daniel Libeskind, Toyo Ito & Associates, Architects, and West 8. In addition to the exhibition in the Thannhauser and Annex Level 4 galleries, Contemplating the Void will be accompanied by a comprehensive exhibition Web site, which will document each submission and feature introductory essays texts by Nancy Spector and David van der Leer.







The Leadership Committee for Contemplating the Void: Interventions in the Guggenheim Museum is gratefully acknowledged.



Left: Alyson Shotz, Untitled, 2009 (detail). Laserjet print, 48.3 x 33 cm. Artwork © Alyson Shotz. Right: MAD Architects (Yansong Ma), State Fair Guggenheim, 2009 (detail). Digital print, 94.5 x 68.6 cm. Artwork © MAD Architects (Yansong Ma)

PMA manifesto group 1st exhibition

장소:W gallery, show style shop 1F
(신촌역 2번출구)
시간: OPENING 2010, 3,5, FRI, PM6:00
기간: 3,5~ 3,26

PMA manifesto group 1st exhibition

참여작가: 김동준, 김선우, 김준성, 허재석, 김시내
장소:W gallery, show style shop 1F
(신촌역 2번출구)
시간: OPENING 2010, 3,5, FRI, PM6:00
기간: 3,5~ 3,26

http://www.postmediaartmanifesto.com/

문화는 항상 그런것이며, 기존의 형식이나 장르, 실제로 기존의 정신활동과 매개, 그리고 사고와 표현은 다른 측면들에서 보면 미디어 산물이기도 하다는 것을 우리가 이제야 이해하기 시작한 것은, 오늘날 문화가 미디어의 문제라는 것을 우리가 알게 되었기 때문이다. (Fredric Jameson, 1991)

블로그, 페이스북, 채팅룸, 핸드폰등 대인관계를 혁명적으로 변화시킨 커뮤니케이션 미디어의 폭발에도 불구 하고, 우리는 여전히 타인과의 소통에 어려움을 느낀다. 핸드폰에 무수히 많은 사람들의 전화번호가 입력되어 있는데 어느날 밤 문득 누군가와 전화를 하고 싶어서 핸드폰 목록을 뒤지다가 결국 한 명에게도 전화하지 못했던 경험이 누구에게나 있을것이다. 우리의 삶은 온통 미디어에 둘러싸여 있지만, 개인이나 사회 문화적 소통의 불가능성이 확대되는 시대를 살아가고 있다.

쿤데라가 웃음과 망각의 책에서 전반적인 고립화 현상이 서광을 낳고, 이번에는 전반화된 서광이 전반적인 고립화 현상을 강화함으로써 문제는 더 심각해 진다고 언급했듯이, 각자는 저마다의 외부 세계에대해 어떠한 목소리도 차단해 버리는 자신을 벽으로 둘러싸고 있다. 겉에서 보면 외부와 철저하게 고립된 하나의 굳건한 성처럼 보이지만 감정적 기반은 쉽게 붕괴될 정도로 취약하기 그지 없다.

집합적 구원과 사회개혁은 테크놀로지를 통해 성취될수 있다는 기술적 낙관론에 대한 믿음은 많이 상실되었다. 하지만 무수한 미디어에 둘러싸여 오히려 소통 부재가 되어버린 시대 속에서 미디어를 통해 소통 가능성과 이러한 경험들에 대해, 이번 전시는 보다 성찰적으로 다루어 보는 계기가 될 것이다.

[PMA manifesto group 1st exhibition] 김준성

작품명: Hypothesis verification bias

우리는 누군가를 만나게 되고 누군가를 인지한다그 만남에 있어 때론 선입관에 의한 첫인상으로 상대방을 제한된 정보만으로 가둬버리는 위험한 일을 저지른다.그리고 자신이 내린 판단에 들어맞지 않는 정보는 받아들이지 않는다.이러한 현상을 사회심리학에서는 가설 검증 바이어스(Hypothesis verification bias)라고 부른다. 가설 검증 바이어스는 우리에게 타인을 받아들이는데 편견을 형성한다.타인과 나라는 경계. 그 사이에 보이지 않는 모호한 공간이 존재할지 모르겠다. 그 공간은 타인과 나에게 연결된 합일점이거나, 때론 자신을 보호하는 최소한의 경계이다.자신의 경계를 스쳐지나가는 사람은 수없이 존재한다.그리고 그러한 공간 속을 드나드는 사람은 모두 삶의 방식과 개성이 자신과 다르다.그것은 각자가 서로를 이해할 수 없음을 의미하거나. 본연그대로의 온전히 타자를 받아들이는 것이 힘든 것처럼 보인다.우리는 누군가를 자신만의 시선으로 가둬버리거나 단정 짓는다.나는 이러한 보이지 않는 공간을 구체적인 형상으로 제작하였다.이 공간은 타인과 자신의 경계에 임하는 현대인에게 스스로 질문을 던진다.제작되어진 상자 속 공간을 관람객은 타자의 속마음을 들여다보듯 들여다 볼 수 있으며,작품을 대하는 관객의 행위에 따라 공간속 이미지가 변화 하도록 제작되었다.그것은 어쩌면 타인과 나와의 조우를 이야기함과 동시에 경계선에 임하는 우리의 역할에 대하여 의문을 던진다.그리고 그것을 통해 자신의 삶에만 집중되어진 우리의 모습을 이야기 하고자 한다.
2010년 2월

Hypothesis verification bias

We meet someone and recognize them. The first meeting might make you prejudice that person because of how you felt about that person whenyou knew nothing about him or her.
Also, we do not accept what we think is not true.These cases are called "Hypothesis verification bias" in social psychology. These bias make us prejudice certain people.
A wall between me and others. There exists a small hole which cannot be seen.
That hole might be a connection between us, or the least protection for ourselves. There are a lot of people who passes that wall.Also, every person, who passes through that hole, has a life style of their own.That means that they cannot understand each other, or not accepting what the others style exactly. we just think of our lives.I designed this invisible hole physically.
This place asks people how people now days respond to the wall between one self and others.By looking into the designed box, audience might feel as if you are looking into others mind.and the image inside might change according to how the audience react.
I understood these situation as our society's prevalent personal differences.
These social conditions questions that we think of others only in our point.