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한진해운 박스프로젝트, 서 도 호 , <Hanjin Shipping The Box Project: Do Ho Suh>
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현대국립미술관 방문은 3년만에 찾은 고국 땅 에서 미술에 대한 깊은 인상을 준 곳으로 서울에 새롭게 지어졌다. 한국 미술문화를 확연히 새로운 경지로 이어줄 곳으로 굉장히 기대되는 이곳은 경복궁부터 인사동 사이의 고급스러운 상업미술관들 사이로 이국적인 자태로 우뚝 서 있다. 현대국립미술관은 내게 엘에이의 게티 미술관이 영상이 되게하였다.이 방문 속 3개의 인상 깊었던 전시들을 필자의 소견으로 짤막이 소개하려 한다. (http://www.moca.go.kr/)

Prak-sis Contemporary Art Association (이하 프락시스)는 2009년 1월에 시카고에서 설립된 다양한 국제 문화를 조화롭게 이해 시키는 것을 목적으로, 공간을 이주하며 역동적인 예술을 육성하는 비영리 예술 단체이다. 수 년간 많은 갤러리, 엑스포, 아트 페어와 협연한 프로젝트들이 있으며 2010년부터 지역사회 조직과의 예술적 소통과 상호이익을 위하여 크고 작은 프로젝트들을 전통미술분야부터 뉴 미디어 아트를 포함하여 실시하고 있다. 동시대의 국제적, 문화적, 세대적 틈을 연결시키며 국제 현대 미술계 속에서 하나의 독립체로 거듭나고 있다.)

Prak-sis (www.prak-sis.com) was founded in January 2009 as a not for profit art organization. Prak-sis is a dynamic art experience, migrating to diverse locations across the cityscape. Prak-sis had transformed building spaces rendered vacant due to a downturn in the market, obsolescence, or neglect into art galleries. From these experiences Prak-sis has developed exciting projects in art expos and gallery shows. Prak-sis Project aims to show that even in times of economic crisis, life can blossom, a culture can grow and most of all, hope need not die.

For projects since the Fall of 2010, Prak-sis has worked with small businesses and neighborhood support organizations for mutual benefit. With technology flooding our modern lives, we seek to promote art in new media as well as traditional art forms. Prak-sis continues to further develop and focus on online projects as we organize physical art exhibitions, bridging the gap between new technologies and traditional artistic practices.

Mi-yeon Kwon: 권미연 디렉터는 대중과 호흡하는 미술프로젝트를 많은 심여를 기울이고 있다. 디렉터권은 또한 시카고도시 전체를 캔버스화 하여 프락시스 현대미술기관과 함께 수차례에 전시회를 빈 상가를 이용하여 미술작가들과 협력미술프로젝트를 작가로써 활동할 뿐만아니라 또한 다른 작가들에게 그와같은 기회를 주었다. 이런기획의 목표는 생명력을 불어넣기위함이었다. 시카고는 지난 수해동안 많은 경제적 변화를 다른 대도시와 마찬가지로 격었다. 권미연 작가이자 디렉터로써 그녀의 고향이 겪어왔던 문화의 목마름이라는 경험으로 아주 강한 신념을 가지고 있다. 미술이 우리의 삶을 바뀌게 한다고. 현재 권미연디렉터는 엑시스 2014 국제 아트페스티벌을 프락시스 미션을 완수하는 목적으로 준비하고 있다.

Executive Director, Mi-yeon Kwon’s art practice has been primarily focused with communicating with audiences. Kwon has used the city of Chicago as an urban canvas. In staging art shows through Prak-sis Contemporary Art Association, Kwon has shown collaboration in projects with artists, and management of other participating artists, to bring life to empty commercial spaces in the city. Chicago, where Prak-sis is based, has experienced a change in economic status as many other domestic and foreign cities have. Mi-yeon grew up in an industrial city with lack of cultural exploration. This emptiness gives her motivation to create art and sustain her belief that art can change the public’s life. Currently Mi-yeon Kwon actively working for AXIS 2014 International Art Festival to fulfill the mission of Prak-sis.

한진해운 박스프로젝트, 서 도 호 , <Hanjin Shipping The Box Project: Do Ho Suh>
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Fast Translation To English:

The National Contemporary Art Museum is newly built in Seoul, South Korea. I was quite impressed by my country of origin during my recent visit after three years. This museum is located at Insadong where many significant commercial galleries can be found. I sense that that this museum will enhance Korea’s presence in the international art community. The National Museum of Modern and Contemporary Art (MMCA http://www.moca.go.kr/eng/) is reminiscent of the J. Paul Getty Museum in Los Angeles in the U.S. In this article, I will review three exhibitions at this museum.

The first exhibit is the Hanjin Shipping The Box Project: Do Ho Suh. I had previously shared video of this exhibition on Facebook as the interview was quite impressive. I was fortunate to catch his work on my visit. He was presenting both very contemporary as well as traditional elements in his installation. For visitors ranged in age from late 30’s to 60’s, this exhibit stimulates both intellectual and emotional responses. My generation, a post baby-boomer, would be proud to have any family members’ place of rest resemble the older Korean traditional style highlighted in this exhibit. These forms and silhouettes are still very respected and sought after in South Korea. For younger Koreans such as my nephew, a 24 year old new College graduate who accompanied me to this museum, these types of architecture and stylings are rarely incorporated into their surroundings, but are more historical relics to be memorized. Also, these traditional forms are often seen in movies and in books on past eras. As a spectator, strong visual cues are welcomed at this exhibit not to mention the inspirational feelings that come forth from such a massive installation. The visual achievement strikes a chord in our hearts. One of the most memorable ideas from this exhibit are the liner details and the single bold color that is used throughout the installation. The semi-transparent materials made an impact on me because of their extreme fragility. I continue to ask myself, why does this installation still resonate so forcefully?

In the second installation, The Aleph Project in the 7th Exhibition room is both beautiful and scientific. The evocative sounds accompanied by delicate glass objects were conducive to mental imagery. This combination of Science and Art has been controversial in some circumstances. Thus, I sense that it takes closer scrutiny for non-scientists. Some might even question if this is a work of art. How did the artist present it as an artwork? Why is this piece not in a science museum? Whatever the questions that result, you will enjoy this piece through its delicate composition and shadows. It is as if this installation speaks from a creation of beauty.

The third installation revolves around the Korean language and Korean letters. This project makes the statement about how Korean letters and language act aesthetically to fill an important role. Most Korean letters are very straight and this video projection uses interesting effects on the straightness. I have never seen a video installation before that filled the walls from top to bottom. An interesting fact is that one would focus on huge letters rather than what the writing is about and on the aesthetic shape of the words. The human silhouettes created by the appreciators harmonize with the words in the room, which seems to be the project’s purpose.

For only a 4000 Korean ₩ ($4.00 USD) admission fee, these art exhibits stand to provide Korea’s citizens a great cultural experience.

Rafael Lozano-Hemmer, Gallery: Baró Galeria at The Armory Show, 2014

Jessica Higgins, (more articles) American artist, lives and works in New York and Massachusetts. Formative dance studies at Juilliard and Joffrey. Daughter of Fluxus Founders Dick Higgins and Alison Knowles. She has direct experiential knowledge of Fluxus, having early formation in that culture by way of the original members and by participation in historic Fluxus events. She is a regular correspondent for Artist Organized Art and was the Creative Director of ‘Switch’ a local access television series of performance and intermedia out of Western Massachusetts. Her works and performances have exhibited in numerous countries.

Suzy Sureck, (www.suzysureck.com) Exhibits in the U.S., Europe, the Middle East, Korea, Australia and India. Recent works include installations in the Nature Art Biennale in South Korea; Poznan Biennale, and fringe events at the Venice Biennale 2009. Public works include QuamaneQ for the Neuberger Museum Biennial, Fault Lines for the Darmstadt Forest in Germany, Alice and the Looking Glass for the Evergreen House in Baltimore, Taking in the Rain for the Snug Harbor Cultural Center, The Bubble Field for the Kingston Biennial, Aqua Lumina spanning 200 feet over the East River in Socrates Park, NY and Double Crossings suspended 1500 feet above the Ramon Crater in the Negev desert in Israel. She completed 2 underwater installations Many Moons for Bass in Omi, NY and Polka Dot Pond at the University of Maine in Augusta, and looks forward to creating more large-scale drawings in and around landscapes. Her works have been highlighted in The New York Times, World Art. Sculpture Magazine, NY Arts and Flash Art, and can be found in both public and private collections including The Museum of Installation in London, The Artists Museum in Poland and the Dr. Fischer Arts for Peace Collection in Tel Aviv. Suzy received a Masters Degree in Sculpture from Cranbrook Academy in Michigan and a BFA from the Cooper Union, as well as studying at The Slade School of Art in London, and recently took up bee keeping. Suzy Sureck has presented lectures on her work at several universities in the Northeast and teaches at Queens College. She lives and works in New York City and Gardiner, NY..