Download - Kim, Dong Yoo

Transcript

THE FACEKIM, DONG YOO

Art Vitamin

사비나미술관

관 장| 이명옥

책임큐레이터| 황정인

큐레이터| 우선미

에듀케이터| 윤희은

홍 보| 박민영

테크니션| 박노춘

인 턴 | 구민경

후 원 인| 강맑실·(주)사계절출판사대표강지혜·아주대학교영문학부교수김대회·KBSN 상임이사김생기·(주)나래코리아대표김은성·도슨트김제완·한국과학문화진흥회장김종규·한국박물관협회명예회장김지은·MBC방송국아나운서김철진·(주)비엘티커뮤니케이션이사김태식·(주)림스코대표김학현·서울과학고등학교교사김현옥·아주대학교영문학부교수김흥규·서울광신고등학교교사문홍진·도서출판오마이북스대표박성태·(주)공간이사

도록

발 행 처 | 사비나미술관

발 행 인 | 이명옥

편 집 인 | 황정인

번 역 | 임성연

디 자 인 | KC Communications

등 록 | 1996. 1. 20 제 1-1971호

ⓒ 2007 이 도록에실린작품사진이나글을사용하시려면사비나미술관에상의해주세요.

Printed by KC Communications

박유미·출판편집자신성우·대학생신정민·전사비나미술관큐레이터신창현·(주)이레 E&C대표이광렬·KIST미래기술연구본부책임연구원이동주·한국과학기술연구원총무팀장이상림·(주)공간대표이상훈·가톨릭대학교생명공학부교수이재학·이코노미스트코리아이창무·태백경찰서서장임용수·(주)부림구매회장전길자·전국여성과학기술인지원센터장전우석·시공사편집과장정경훈·아주대학교영문학부교수조미정·부경대학교국어국문학과교수

THE FACEKIM, DONG YOO

2007. 5. 30 - 6. 30

THE FACEKIM, DONG YOO10th SOLO EXHIBITION

Art Vitamin

사비나미술관

2007. 5. 30 (수) - 6. 30 (토)

김동유는상투적인이미지를차용한다.키치를차용하고,크리쉐를차용하고,대

중적인 이미지를 차용하고, 미술사를 차용한다. 이렇게 차용된 이미지는 일종의

낯설게하기를통해그이미지와의미가전복된다. 전복된의미는그림에대한투

명하고총체적인독해를방해하면서새로운의미들을파생한다. 그러니까의미놀

이, 착시놀이, 키치그림, 나비그림, 이중그림(초상화연작), 미술사연작등의의미

의 지점들로 현상한다. 이 의미의 좌표들은 서로 긴밀하게 맞물리면서 이미지와

그의미를증식해나간다.

의미놀이.개념미술가요셉코주스는실제의의자와그의자를찍은실물크기의

사진그리고의자에해당하는사전적정의를제안한다. 또는실제의망치와그망

치를찍은실물크기의사진그리고망치에해당하는사전적정의를제안한다. 그

리고당신이알고있는의자또는망치의 (진정한) 의미는이것들가운데무엇에서

비롯되었느냐고묻는다.김동유는실제의팔레트와그팔레트를찍은실물크기의

사진그리고이를그대로재현한그림을제안한다.(도판 1) 또는실제의레코드재

킷과그재킷을찍은실물크기의사진그리고이를그대로재현한그림을제안한

다. 그리고 당신이 알고 있는 팔레트 또는 레코드 재킷의 (진정한) 의미는 이것들

가운데무엇에서비롯되었느냐고묻는다.

이런물음속에는소여된조건으로서의실제와그실제를지시하는의미와의관

계에대한동일시(동일성)의 인식혹은비동일시(비동일성)의 인식이들어있다. 동

일시의인식은실제와의미가일대일의관계로서로대응하고조응한다는결정론

적인식이며, 닫힌 체계, 완결된체계, 자족적인체계, 비활성체계가이를지지한

다.비동일시의인식은실제와의미가일대일의관계로서로조응하기는커녕오히

려 (무수한) 차이(의미론적차이)를 만들어낼뿐이라는비결정론적인식이며, 열린

체계,미완의체계,관계적체계,활성체계가이를지지한다.

실제는객관적사실이지만의미는주관적사실이다. 실제의좌표는고정돼있지

만 의미의 좌표는 유동적이다. 이러한 사실은 유형의 실제보다는 무형의 실제에

서, 지시적 의미보다는 가치론적 의미에서 더 극명해진다. 그나마 실제가 객관적

Kim Dongyoo appropriates stereotypical images in his work. He

appropriates kitsch, cliché and popular images. Through a method of

disorientating such appropriated images, the images and their significance

get subverted. Then the subverted meaning derives new meaning while

disturbing general and clear readings of his paintings. Hence, this subversion

develops into a play of significance, an illusion play, kitsch paintings, butterfly

paintings, dual-image paintings (portrait painting series). The coordinates of

meaning engage with each other and proliferate the images and their

meanings.

Playing with Meaning. Conceptual artist Joseph Kosuth talks about the

meaning of a chair in its lexical, actual and photographic representations. He

also discusses the meaning of a hammer in the same way. Through the

suggestions, he causes the viewer to question where (true) meaning of a chair

or hammer might lie. In Kim's case, he presents an actual palette and the

photo of the palette in its actual size, and a realistic representation of an actual

palette.(Plate 1) Or he presents an actual LP record cover, and the photo of the

cover in its real life size and a realistic painting of the cover. And he asks that

among which of these constructs the truth of the things.

In this question, there is recognition of unity or disunity concerning the

relationship with meaning that indicates the truth and the truth as a given

condition. The recognition of unity is a determinate recognition that truth

and meaning correspond to and agree with each other as one to one in

closed, complete, self-sufficient, and inactive systems. The recognition of

disunity, on the other hand, is an indeterminate recognition that makes

innumerable differences in semantics, rather than corresponding to each

other as one to one relationship supported by open, incomplete, concerned,

active systems.

Reality is an objective truth, but meaning is a subjective truth. The

coordinates of reality are fixed, but those of meaning are flexible. This

becomes more obvious in incorporeal reality than corporeal reality, and

Kim Dongyoo's painting_the reconstruction of meaning and Cliché

Kho Chunghwan (Art Critic)

김동유의 회화_의미의 재구성, 크리쉐의 재구성

고 충 환 (미술평론)

1. 3개의 팔레트│120.5×51cm│Photo, Object, Oil on canvas│1993

이며 그 좌표가 고정돼 있다는 인식마저도 그 자체 사실이기보다는 한갓 신념의

수준에서만 정당화될 뿐이다. 플라톤의 관념상(궁극적 실제로서의 이데아)마저도

사실상 감각경험을 근거로 유추된 것, 생활경험이 투사된 상에 지나지 않은 것임

을 현상학은 밝히고 있다. 그러니까 한마디로 이념상은 이미 지각상의 소산인 것

이다. 그리고 이때의 감각경험이나 생활경험이 전개되는 장은 다름 아닌 온갖 이

질적인 의미들이 부침하고 상충하고 차이를 만들어내는 장, 차이 나는 의미들이

생산되는장,의미론적장이기도하다.

실제와의미와의관계를묻는김동유의제안은이에대한동일시의인식을폐기

하고비동일시의인식을받아들인다. 의미는물론이거니와실제의좌표마저도고

정돼있지않다거나,매순간주어진이질적인상황으로부터새로운의미가발생한

다거나, 그 상황여하에따라서의미는수정되기조차하는것임을주지시킨다. 실

제는하나지만그실제가놓여지는상황, 전제, 문맥, 맥락은하나가아니다. 이때

의 (무수한)상황이 (무수한)의미를낳는다.

착시놀이. 식당에가면여러형태의간이벽을볼수있다. 그 중일정한간격으

로촘촘한주름이있어서접었다폈다할수있는소위자바라식의벽체가있다.

김동유는이자바라식의벽체를본떠만든변형캔버스위에다그림을그린다.그

그림은보는방향에따라서달라보인다.한쪽에서보면대나무숲이보이고,다른

쪽에서 보면 대나무 숲과 함께 호랑이가 보인다. 대나무 숲을 배경으로 호랑이가

드러나보이기도하고사라지기도하는것이다.더불어서그림은움직이는것처럼

보이기도 한다.(도판 2) 이처럼 보는 각도에 따라서 나타나거나 숨겨지는 이미지,

심지어는움직임을암시하기조차하는이미지가어지럼증을불러일으킨다. 이메

스꺼움은분명옵아트의현란한착시효과에서기인한것이다.

그러나 옵아트가 패턴화된 문양의 동어반복적인 나열에 바탕을 둔 추상미술과

형식주의의소산이라면,작가의그림은재현회화의형식을띠고있다는점에서구

별된다. 이를통해작가는위장이라는개념을추슬러낸다. 따지고보면위장은인

상파그림에서이미예견된바가있다.멀리서보면형태가보이지만, 가까이다가

가서보면무의미한붓질과물감덩어리만을확인하게되는식의소위감상을위

한적절한거리개념이그림과위장과의관계를말해주고있는것이다.

이그림을통해김동유는그림그리기란결국이미지나의미를드러내고숨기기

와 관련된 숨바꼭질의 한 형태임을 주지시킨다. 비가시적인 것을 가시적인 층위

로불러낸다는예술일반의기획역시이러한사실을암시하는것이아닌가.더불

axiological meaning than appellative meaning. However, the recognition of

the fact that reality is objective and its coordinates are fixed is justified only

at the level of mere belief. Phenomenology clarifies that even the Idea of

Platonism (the idea as ultimate reality) is inferred based on sensible

experiences. It is only a reflective image of living experiences. Therefore, the

image of an idea is already the result of image perception. And the sphere

where these sensible experiences or living experiences unfolds can be a

sphere where all the contrasting significances are clash and make

distinctions between each other and produce differences. In other words, it

is a semantic sphere.

Kim's questioning of the relationship between reality and its meaning

renounces the recognition of identity and accepts that of non-identity. It points

out that not only the meaning but also the coordinates of reality are not fixed,

or that new meanings can be born through heterogeneous situations given in

every moment, and even meanings can be corrected by each and every

situation. Reality is only one, but the situation, proposition and incoherence

that reality confronts are not. And these unlimited sorts of situations produce

plentiful meanings.

Optical Illusion Play. We often see many different forms of walls at a

restaurant. Among those, there is an accordion shape wall, which can be

folded and unfolded with its pleats. Kim Dongyoo paints on a canvas, which is

modified after this accordion shape wall, and then the painting can have

different appearances from each different viewpoint. From one point of view,

there is a bamboo forest, and from another it shows a tiger in a bamboo

forest. With the bamboo forest background, a tiger appears and disappears.

Therefore, the picture looks as if it is mobile.(Plate 2) The hidden or moving

image seen from different angles can even cause dizziness. This kind of

dizziness is definitely from the vivid optical illusion effect in Op art.

However, if one says the Op art was a result of abstract art and formalism

based on repetitive patterns, Kim's art would be distinguished by the fact that it

has a form of representation. In this way, the artist is accomplishing a

camouflage effect. As a matter of fact, camouflage was already mentioned in

impressionist painting. From a distance, the shape is visible, but close up, the

only thing we see is meaningless paintbrush strokes and chunks of paint: a so

called concept of proper distance represents the relationship between painting

and camouflage.

2. 더블이미지│184×122.2cm│Acrylic on canvas│1997

어 보는 각도에 따라 다르게 보이는 그림이란 그것을 대면하는 개별주체의입장

(관점)에 따라서 다르게 받아들여질 수 있다는 의미로 확대해석할 수 있을 것이

다.이는말할것도없이창작주체보다는향수주체에게그초점을맞춘소통이론

과통한다.이와함께그림을감상하기위해좌우로옮겨다니는행위나착시효과

가불러일으키는울렁거림은조형예술의경계를단순한시각적경험너머로까지

확장시킨다.

키치그림. 미국의한방송국이중산층사람들을대상으로설문조사를한적이있

다.자기집에걸어놓고싶은그림의종류를묻는것이었는데,그세목들을합성해

놓고보니영락없이키치그림이었다고한다.고즈넉한호수를끼고있는초원에서

한가로이풀을뜯는순록,그초원을마치병풍처럼둘러친끝도없이펼쳐진전나

무숲,그리고정상에채녹지않은눈을이고있는설산은그대로크리쉐로부를만

한상투형의조합을보여준다. 이는현대인이상실한것들이나거머쥘수없는것

들,그좌절된욕망이투사된일종의인공낙원이며의사유토피아같은것이다.

김동유는이러한키치그림의우리식버전이랄수있는상화(商畵) 위에다그림을

덧그린다. 물레방아도는초가집위로뜬금없이평화를상징하는비둘기의비호를

받으며태극기가하늘높이날아오르고있거나,화사한화병주위로나비들이나풀

거리는식이다.나비는상화가결여하고있는현실감을되돌려주기도하고,오히려

상화 자체의 비현실성을 더 강조하기도 한다.(도판 3) 이렇듯 상투형을 차용하는,

상투형에기생하고개입하는작가의그림그리기는그러나키치적이지가않다.

상투형에대해상투형으로대응하는작가의태도는일종의이중부정(그자체지

양즉부정을통한긍정과통하는)이나낯설게하기와연관된다. 이로써상화는친

숙하면서도 낯선 이중의 결을 드러낸다. 이는 키치를 부정하고 폐기하기 위한 것

이기보다는키치자체의자족적인존재성을인정하고그고유의삶을되돌려주려

는태도와통한다. 상투형에대해상투형으로, 크리쉐에대해크리쉐로, 키치에대

해키치로대응하고부가하고개입하는과정을통해일종의의미론적인반전효과

를불러일으키고,의미론적인역설상황을발생시킨다.작가의키치그림은말하자

면이질적인(친근하고낯선)요소들의우연한결합이불러일으키는예기치못한서

사를겨냥한초현실주의의사물의전치에대응하는아방가르드식의버전이며그

실천논리를예시해준다.

나비그림. 캔버스위로하나둘나비들이날아든다.나비들은때론빽빽하게때론

In this painting, Kim points out that after all painting is a game of a hide and

seek with regards to the revealing and hiding of images and meanings. In

general, aren't artistic projects for revealing the invisible on a visual plane? In

addition, it can be said that the reading of paintings that are seen differently

from each different perspectives can be subjective given the differences

between each individual's point of view. This is connected to the

communication theory that focuses on the subject of the audience rather than

on the subject of the creator. On top of that, moving left and right to be able

to see a painting or experiencing dizziness for optical illusion expands the realm

of formative art beyond the merely visual.

Kitsch Painting. A broadcasting station in the United States once did a

survey on upper-middle class people about what kind of artwork they would

like to put on their walls. After they compounded the results, the majority

wanted a kitsch painting. A reindeer on a prairie with a quiet lake. An endless

fir forest surrounding a prairie with snow covered mountains in the

background. These stereotypical compositions can be cliché or a utopian ideal,

a longing for a sort of artificial paradise; a projection of contemporary people's

frustrated desire.

Kim Dongyoo paints on top of Korean style commercial paintings, which can

be called Korean style kitsch. Possible compositions might be a thatched

cottage with a water mill, a Korean national flag flying in the sky with passive

pigeons representing peace, or butterflies flying around a splendid vase.

Butterflies might return a sense of reality, which the commercial painting lacks,

or otherwise, it can emphasize the unreality of the painting.(Plate 3) However,

Kim's artistic attitude of interaction and interference with and appropriated

stereotypes is not kitsch at all.

His reacting to stereotypes with stereotypes seems to be related to a sort of

double negative (connecting to the positive through the negative) or

disorientation. Through this, commercial paintings get two layers, which makes

the paintings look familiar at the same time quite strange. This is related to the

attitude of recognizing the existence of kitsch and returning its authenticity to

itself rather than denying and destroying it. A stereotype for a stereotype, a

cliché for a cliché, and kitsch for kitsch. Through such processes the work

makes a reverse effect and semantic paradox. In other words, his kitsch

paintings are about how surrealism that aims to present unexpected narratives

countermoves toward the transposition of objects in avant-garde style,

4. 나비들-사유반가상│122×190cm│Acrylic on linen│20033. 화병과 나비│48.2×59.2cm│Oil on canvas│1994

성글게모여들면서캔버스위를수놓는데, 반가사유상같은부처나, 반 고흐와이

중섭의초상, 그리고벨라스케스가그린교황의초상의형상을띠고있다.(도판 4)

정확하게말하면, 바로그형상이라고확언하기는어려운이미지, 다만그렇게보

일뿐인이미지, 암시적인이미지들이다. 왜 하필이면나비일까. 나비들로써축조

된 형상은 결코 견고해보이지가 않는다. 나비들은 한데 모여 형상을 만든 것처럼

이내 나풀거리며 흩어져 형상을 해체시킬 것만 같다. 단순히 나비들의 집적에 지

나지않는이미지가하나의형상으로인지되는것은무슨연유일까. 이는혹여우

리가머릿속에그려낸관념상을화면속에서재확인하려는인지습성(말하자면동

일시의 습성)의 소산이 아닐까. 이런 습성을 배반하기라도 하듯 나비들은 형상을

비현실적으로만들고, 그 견고한정체성(혹은 정체성에대한확신)을 흔들어놓는

다.나비는관념상과감각상,실제와이미지,실상과허상,그리고현실과비현실을

가름하는벽을허물고넘나드는,비현실로부터현실속으로날아든경계의전령이

다.그꿈의전령이그려낸이미지에는그실체가없다.

김동유의이일련의나비그림들은우리가움켜쥐고있는형상에대한견고한확

신을 의심하게 하고, 재현된 이미지에 대한 신념을 붕괴시킨다. 이미지는 이미지

일뿐이며,허상이고허구이고마치꿈과도같은것이라는, 더나아가나비가만들

어낸형상뿐만아니라나비자체마저도한낱물감의흔적에지나지않는다는사

실을 주지 시킨다. 이 일련의 그림들은 작가의 여타의 그림들에 비해 상대적으로

정서적인환기력이강한편이다. 그정서적느낌은실제와그실제를재현한이미

지가결코같지않음(비동일성)을인정하는것에서오고,더나아가혹여현실이꿈

일지도모른다는사실의인식에서온다.

이중그림(초상화연작). 케네디의초상속에먼로가들어있고,먼로의초상속에

케네디가 들어있다.(도판 5) 박정희의 초상 속에 김일성이 들어있고 김일성의 초

상속에박정희가들어있다. 정확하게는전체이미지로드러나보이는초상화속

에 마치 부분 이미지인 양 다른 초상화가 반복적으로 그려져 있는 것이다. 이 그

림들에서의 전체 이미지와 부분 이미지는 의미론적으로 서로 연관관계에 놓여

있지만, 다른 그림들을 보면 반드시 그렇지만도 않은 것 같다. 예컨대 먼로의 초

상속에박정희가들어있는그림이나, 역시먼로의초상속에반고흐가들어있는

그림이그런경우이다. 도대체먼로에게박정희가그리고더욱이반고흐가무슨

상관이란 말인가. 이렇듯 작가의 그림에 나타난 전체 이미지와 부분 이미지와의

의미론적인 연관 관계는 우연이랄 것까지야 없겠지만 그렇다고 필연적인 것 같

furthermore, it suggests its practical theory.

Butterfly Painting. On canvas, butterflies are flying inland one by one.

Sometimes they come densely, sometimes sparsely, and they embroider some

shapes of a thinking Buddha, a portrait of Van Gogh or Lee Jungsub, and a

Velasquez's portrait of the Pope.(Plate 4) To be more precise, these are only the

shapes of images: only implications. Then why butterflies? The shape

constructed by butterflies does not look firm. As they gathered to make the

shape, they look like they are going to scatter away and break it. How come

these images of such simple accumulation of butterflies get recognized as a

shape? Isn't this a result of our habitual acknowledgement (so to speak a habit

of identity) that we try to reconfirm the conceptual image in our mind through

a canvas? As if subverting this kind of habit, the butterflies turn the shape into

unreal and shake up the solidity of identity (or the firm belief of identity). Here

the butterflies are messenger crossing the border between unreality and reality,

and break the wall between reality and unreality. There is no reality in the

image that the messengers of dream depicted.

The butterfly painting series of Kim Dongyoo makes our confidence about

images that we hold questionable and deconstructs the belief about the

represented images. And it emphasizes the fact that images are just images,

fiction, false, like a dream, and further that images of butterflies make and

even the butterflies themselves appear as traces of paint and nothing more.

This series of paintings have a stronger emotional awakening power than the

artist's other works. That awakening comes from the acceptance of the fact

that the represented images of reality and reality are never the same, further it

recognizes the fact that reality itself might be just a dream.

Double Image Paintings (Portrait Series). There is a Marilyn Monroe

image in John F. Kennedy's portrait, and Kennedy in Monroe.(Plate 5) In Park

Junghee's portrait, Kim Il Sung appears, and in Kim Il Sung's, Park. Precisely

speaking, a repetitive portrait of one constructs the portrait of another as if

they are part of the protruding overall image of the portrait. In these paintings,

the overall image and the partial image might look as if they are semantically

related, but when seeing other examples, this is not always the case. For

instance, this is the case with the portrait of Monroe with repetitive image of

Park Junghee, or Monroe with repetitive image of Van Gogh. What does

Monroe have to do with Park and Van Gogh? Therefore, the whole image

6. 구겨진 모나리자│65.1×80.3cm│Oil on canvas│20035. 흑백 마릴린│130.3×162.2cm│Oil on canvas│2007

지도않다.나아가그관계는아무런이렇다할중요하거나결정적인의미도갖고

있지않은것으로비치기조차한다. 결국엔케네디와먼로, 박정희와김일성과의

의미연관마저도 그 관계에 대한 선입견을 파고드는 일종의 트릭 혹은 전략으로

느껴진다.

여기서 김동유는 부분과 전체와의 유기적인 관계에 대한 신뢰를 흔들어 놓는

다. 그리고여기에다비유기적인관계, 우연적인관계, 이질적인관계를대질시킨

다. 전체는 부분들 간의 유기적인 관계에 의해 지지되지 못하고, 부분 역시 전체

에 속해있지 않다(외적형식에서 엿보이는 부분과 전체와의 유기적인 관계는 다

만 우연의 일치에 지나지 않는다). 부분과 전체는 유기적인 관계 대신에 일종의

기생의 논리에 의해 지지되고 있는 것 같다. 말하자면 부분은 전체에 기생하고,

또한전체는부분에기생한다. 여기서부분은전체의숙주로서만의미를가질뿐

이며, 전체또한부분의숙주로서만의미를갖는다. 부분은전체를지지하고강화

하기위해서가아니라스스로의자족적인존재감을위해전체를필요로하며, 그

역도마찬가지이다.

이러한기생의논리는작가의다른그림들에서도광범위하게확인되고있는차

용된 이미지 즉 패러디와 통한다. 말하자면 크리쉐에 기생하는 크리쉐, 상투어에

기생하는 상투어, 키치에 기생하는 키치, 차용된 이미지에 기생하는 차용된 이미

지와통하는것이다.여기서차용된이미지는다른차용된이미지에기생함으로써

정체불명의 이미지를 낳는다. 예컨대 그 속에 먼로를 품고 있는 케네디는 케네디

가아니며,그역도마찬가지이다.그렇다고그저혼성으로볼수만도없는,작가의

그림은먼로와케네디사이에엉거주춤하게서있는것같다. 그리고그사이에서

허다한다른의미들(케네디에게도그리고먼로에게도속해있지않은)을낳고불러

오는의미의산종놀이를노는것같다.

미술사 연작. 김동유는상당한사실적테크닉을지닌작가이다. 이를 무기삼아

서양미술사에등장하는각종명화를차용한다.단지그뿐이라면보통의패러디논

의의수준에머물겠지만, 허나그렇지가않다. 작가는원화를단순히그대로옮겨

그리지는않는다.구겨진모나리자나구겨진나폴레옹이란화제에서도엿볼수있

듯이 작가는 원화를 차용한 것이 아니라 원화를 차용한 복제화를 재차 사진으로

찍은복제사진, 그것도구겨진채버려진복제사진을차용한것이다. 원본을차용

한사본의사본을재차차용하면서, 이를그대로차용하는것이아니라일종의변

형된형태로차용한것이다.(도판6)

작가의이일련의그림들에나타난사본의사본이나변형된차용개념은이미지

의연쇄를떠올리게한다.즉원본의사본은그생리가원본과가깝지만,사본의사

본은상대적으로원본과의관계가희미해진다.그연쇄가진작되면서점차사본과

원본과의관계는멀어지고,나아가그나마사본에남아있던원본의희미한흔적마

저 사라지고 만다. 마침내 사본이 원본과의 관계로부터 놓여나 그 자족적인 존재

성을획득하게된것이다. 그리고이이미지의유령들(시뮬라크라즉가상실제혹

은부재하는실제)은 현실보다더한현실, 실제보다더한실제를환기시키는강력

한기제로서군림한다. 아우라의광휘로빛나는사본, 물신으로서숭배되는사본,

신성한사본즉매력적인상품이된것이다.그사본은이처럼물신화된상품과동

격이란점에서키치와통한다.

김동유는미술사연작에서이처럼사본의사본으로나타난차용의논리에기대

어이미지의연쇄(그자체의미의연쇄와동격인)를드러내고, 변형된차용의개념

을통해서물신화된미술사와키치와의유기적인(공모적인)관계를드러낸다.

appears in the artist's work and the partial images don't necessarily seem to be

inevitable with the semantic relationship. Furthermore, the relationship doesn't

appear to be very important or decisive at all. In the end, the semantic

relationship between Kennedy and Monroe, Park Junghee and Kim Il Sung

might even look as if it is a sort of trick or a strategy to break into the

preconception of the relationship.

Here Kim Dongyoo shakes up the belief in the organic relationship with the

whole and its parts. And with that, he confronts an inorganic relationship, a

coincidental relationship, and foreign relationships. The whole is not upheld by

the organic relationship between its parts, and parts don't necessarily belong to

the whole. (The organic relationship appearing in the whole and the parts are

only coincidence.) The parts and the whole seem to be supported by a kind of

parasitic theory instead of an organic relationship to each other. In a sense, the

parts live upon the whole, and the whole live upon the parts. Here the parts

only have a meaning as the host for the whole, and visa versa. The parts exist in

order to have independent existential satisfaction rather than to support and

fortify the whole, and likewise the whole.

Such a parasitic theory can be related to parody; other appropriated images

that are quite prevalent in the artist's paintings. In other words, it is related to

the cliché for cliché, stereotype for stereotype, kitsch for kitsch, appropriated

images for appropriated images. The appropriated image here bores

ambiguous image by depending upon the other appropriated image. In this

way, the Kennedy portrait having Monroe in it is not Kennedy, and visa versa.

But at the same time, this can't be a hybrid. Kim's painting stands somewhere

in between Monroe and Kennedy, and it looks like an ambiguous meaning

play, which produces so many different meanings (that are not included in

Kennedy or Monroe.)

Art History Series. Kim Dongyoo is an artist with exquisite technique in

realistic painting. With his technique, he appropriates many different

masterpieces. If that were all, the discourse of his painting would remain on

the issue of parody, however, the artist is not just copy original paintings. As

seen in the title on the works such as 'folded monalisa' 'folded napoleon,' he

uses a photocopies of masterpieces, especially folded and thrown

photocopies of copies of original paintings. By using photocopies of copies of

original he not only appropriates it but also appropriates in a kind of a

transformed form.(Plate 6)

The transformed appropriation or the copy of copy in the series of paintings

reminds of a chain image: a copy of the original is closed to the original in its

nature, but a copy of the copy is relatively distant from the original. When this

chain begins, the relationship between copy and the original become distant,

further, the weak trace of the original in the copy even disappears. At last, the

copy accomplishes an independent existence out of the relationship with the

original. And these phantoms of the image (simulacra, a pseudo reality, or

absent reality) powerfully dominate reality, or reality more real than itself, the

truth more true than truth. The copy shines with its aura, the copy worshipped

as fetish, a holy copy; it becomes therefore an attractive product. The copy

then connects to kitsch in the way that it became a fetish as a commercial

product.

In this way Kim Dongyoo reveals the interconnection of images (which is

equal to the interconnection of meaning) in the theory of appropriation, the

copy of copy, and also reveals the relationship between fetishized art history

and kitsch through transformed appropriation.

박정희│130.3×162.2cm│Oil on Canvas│2006

이승만 (Detail)

이승만│181.8×227.3cm│Oil on Canvas│2006

김일성│181.8×227.3cm│Oil on Canvas│2007

박정희│181.8×227.3cm│Oil on Canvas│2007

주은래│130.3×162.2cm│Oil on canvas│2006

등소평│130.3×162.2cm│Oil on canvas│2006손문│130.3×162.2cm│Oil on Canvas│2007 모택동│130.3×162.2cm│Oil on canvas│2005

은색해바라기│181.8×227.3cm│Oil on Canvas│2006

이중섭│130.3×162.2cm│Oil on canvas│2006│경기도미술관소장

붉은색 마릴린│130.3×162.2cm│Oil on canvas│2006

오드리 헵번│130.3×162.2cm│Oil on Canvas│2007

케네디│130.3×162.2cm│Oil on canvas│2007

청색 마릴린│130.3×162.2cm│Oil on Canvas│2007

고흐 (Detail)

고흐│130.3×162.2cm│Oil on canvas│2007

잭슨 폴락 (Detail)

잭슨 폴락│181.8×227.3cm│Oil on Canvas│2007

김구│130.3×162.2cm│Oil on canvas│2005│대전시립미술관소장

최시형│60.6×72.7cm│Oil on canvas│2007 이중섭│60.6×72.7cm│Oil on canvas│2007 김구│60.6×72.7cm│Oil on canvas│2007

얼굴습작 소품│25×35│Acrylic on canvas│1993

대나무 습작│33.4×24.2cm│Oil on canvas│2004 부채꼴 대나무 숲│60.6×40.9cm│Oil on canvas│2004 곤충│40.9×31.8cm│Oil on canvas│2005

얼굴습작│112.1×145.5cm│Oil on canvas│1986

우골두상│60.6×72.7cm│Oil on canvas│1987 회색대나무숲1│60.6×72.7cm│Oil on canvas│2004 회색대나무숲2│53×65.1cm│Oil on canvas│2004 대나무숲│45.5×53cm│Silicone on canvas│2004

1965 공주생1988 목원대학교미술대학회화과졸업1990 목원대학교미술대학원(서양화전공) 졸업

개인전2007 사비나미술관 (서울)2005 아트파크갤러리 (서울)2004 롯데화랑 (대전)2001 스페이스몸 (청주)1999 금호미술관 (서울)1997 조성희화랑 (서울)1996 대전문화원 (대전)

조성희화랑 (서울)1993 제3갤러리 (서울)1989 현대화랑 (대전)

단체전2007 아트타이페이 (무역센터, 타이페이)

북경아트페어 (무역센터, 북경)일상과미술 (롯데화랑, 대전)Small is beautiful (이화익갤러리, 서울)

2006 아트싱가포르 (선텍, 싱가포르)아시아동시대미술 (크리스티, 홍콩)기호와이미지 (이안갤러리, 대전)KIAF (코엑스, 서울)Best collections (이화익갤러리, 서울)길을가다 (이공갤러리, 대전)

2005 아시아동시대미술 (크리스티, 홍콩)회화의발언 (오원화랑, 대전)대전미술제 (시립미술관, 대전)KIAF (코엑스, 서울)금호미술관개관15주년기념전 (금호미술관, 서울)

2004 부드러운반복 (무심갤러리, 청주)한국현대미술전-미술과놀이Ⅱ (예술의전당한가람미술관, 서울)회화의조건 (신세계갤러리, 인천/광주)신소장품전 (서울시립미술관)봄에이끌림 (시민회관, 대전)

2003 Sense & Sensibility (부산시립미술관)아시아현대미술프로젝트City-net Asia (서울시립미술관)갤러리화소개관기념전 (갤러리화소, 대전)회화 10인의발언 (오원화랑, 대전)백화점에간미술가들 (롯데화랑, 대전)Painting and Painting (인사갤러리, 서울)움직이는정물 (do ART갤러리, 서울)자화상전 (롯데화랑, 대전)

2002 21C인간의해석 (21C갤러리, 대전)Daejeon 色 (시민회관, 대전)기념품전 (롯데화랑, 대전)롯데화랑개관기념전-Contemporary Daejeon (롯데화랑, 대전)한국현대미술제-한국미술을이끄는 66인의개인전 (예술의전당, 서울)상상력과호기심 (인사아트센터, 서울)

2001 젊은창작-보는것, 보이는것 (세종문화회관, 서울)Daejeon 風 (시민회관, 대전)Night & Light (이공갤러리, 대전)Drawing-Media (이공갤러리, 대전)목원대학교미술대학교수작품전 (목원대학교학술정보관전시실)한일현대미술교류전 (사이타마미술관, 일본동경)새로운시작 (교차로아트갤러리, 대전)

나비도상전 (문예진흥원미술회관, 서울)2000 2001’새로운시작 (교차로아트갤러리, 대전)

목원대학교미술대학교수작품전 (중구문화원, 대전)한국현대미술‘시대의표현 -눈과손’(예술의전당미술관, 서울)강경-Art. History. Images (한림미술관, 대전)2000년-200인작은그림축제 (선화랑, 서울)386 새로운지평 (립화랑, 대전)머리가좋아지는그림 (갤러리사비나, 서울)뷰파인더캔버스 (서남미술전시관, 서울)롯데화랑개관기념유망청년작가전 (대전)21C한.일미술교류전 (대전시립미술관)용꿈 (성곡미술관, 서울)

1999 금호미술관개관10주년기념전 (금호미술관, 서울)한국현대미술-90년대의정황 (앨런킴머피갤러리, 서울)이공갤러리개관기념전 (대전)그리기그리기 (한림미술관, 대전/프랑스문화원, 서울)전환의봄 (대전시립미술관)

1998 그림보다액자가더좋다 (금호미술관, 서울)대지와바람 (문예진흥원미술회관, 서울)KBS미술초대전 (KBS대전방송총국)인스턴트휴먼 (사이갤러리, 서울)일상의신화 (선재미술관, 경주)BOM (현대화랑, 대전)

1997 선화랑개관 20주년기념전-6인의큐레이터선정 (서울)현대미술의표상 (현대화랑, 대전)인데코갤러리신춘기획전 (서울)

1996 젊은모색전 (국립현대미술관, 과천)1995 대전현대미술의조망 (한밭도서관전시실, 대전)

INFRA-PAINTING (한림갤러리, 대전/덕원미술관, 서울)미술,습관,반성 (금호갤러리, 서울)클리쉐이미지와회화 (송산화랑, 청주)젊은기수전 (오원화랑, 대전)

1994 김동유,배준성,한수정,허구영전 (가인화랑, 서울)공산미술제 (동아갤러리, 서울)MBC미술대전 (예술의전당, 서울)미술세계대상전 (미술회관, 서울)운현궁미술회관개관기념전 (서울)

1993 박람과외연전 (홍인갤러리, 대전)중앙미술대전 (호암아트홀, 서울)김동유,복종순,황영기,허구영전 (학천화랑, 청주)김동유,배준성,허구영전 (제3갤러리, 서울)인간,육체,성 (도올갤러리, 서울)

1992 FLOWER SCULPTURE-INSTALLATION (현대화랑, 대전)1990 SELF-So (문화원, 대전)1989 존재전 (현대화랑, 대전)

한밭회화전 (시민회관, 대전)1987-00 EYE AND MIND (대전)

작품소장2007 경기도미술관2006 서울시립미술관, 임옥미술관, 인물미술관2005 대전시립미술관2004 부산시립미술관2003 대림미술관, 서울시립미술관, 한국민속촌미술관2001 대전시립미술관2000 한림미술관1999 금호미술관1993 호암미술관

김 동 유

1965 Born in Kongju, Korea1988 College of Fine Art, Mokwon University (B.F.A)1990 Mokwon University - major in painting (M.F.A)

SOLO EXHIBITION2007 Savina Museum of Contemporary Art (Seoul)2005 Art park Gallery (Seoul)2004 Lotte Gallery (Daejeon)2001 Space MOM (Cheongju)1999 Kumho Museum of Art (Seoul)1997 Gallery JO (Seoul)1996 Daejeon Culture Center (Daejeon)

Gallery JO (Seoul)1993 3rd Gallery (Seoul)1989 Hyundae Gallery (Daejeon)

GROUP EXHIBITION2007 Art Taipei 2007 (Taipei show, taipei)

Beijing Art Fair (China world trade center, Beijing)Small is beautiful (Leehwaik Gallery, Seoul)

2006 Art Singapore 2006 (Suntec, Singapore)Asian Contemporary Art (Christie's, Hongkong)Sign & Image (Ian Gallery, Daejeon)KIAF (Coex, Seoul)Best collections (Leehwaik Gallery, Seoul)To go a way (I gong Gallery, Daejeon)

2005 Asian Contemporary Art (Christe's, Hongkong)Paintings speech (Owon Gallery, Daejeon)Daejeon Art Festival (Daejeon Municipal Museum of Art)KIAF (Coex, Seoul)

2004 Art and Playing Ⅱ (Hangaram Art Museum, Seoul)Beyond illusion (Shinsegae Gallery, Incheon / Gwangju)New Acquisitions (Seoul Museum of Art)Attraction of Spring (Citizen Hall, Daejeon)

2003 Sense & Sensibility (Busan Metropolitan Art Museum)City-net Asia (Seoul Museum of Art)Invitation exhibition opening of the Gallery Hwaso (Daejeon)The Artists gone to department store (Lotte Art Gallery, Daejeon)Painting and Painting (Insa Gallery, Seoul)Moving still-life (do ART Gallery, Seoul)Self-portrait (Lotte Art Gallery, Daejeon)

2002 21C Interpretation of Human (21CGallery, Daejeon)Daejeon - Color (Citizen Hall, Daejeon)Memento (Lotte Art Gallery, Daejeon)Contemporary Daejeon (Lotte Art Gallery, Daejeon)Korean Contemporary Art Festival (Seoul Arts Center)Imagination and Curiosity (Insa Art Center, Seoul)

2001 Young Creations Objects being Watched, Objects being Shown in & out (Sejong Center, Seoul)Daejeon 風 (Citizen Hall, Daejeon)Night & Light (I Gong Gallery, Daejeon)Drawing-Media (I Gong Gallery, Daejeon)Iconography of Butterfly (The Korean Culture & Arts Foundation, Seoul)

2000 Kangkyung-Art. History. Images (Hanlim Museum, Daejeon)

View-Finder Canvas (Seonam Art Center, Seoul)The Exchange Exhibition between Korea and Japan for 21st Century (Daejeon Municipal Museum of Art)Dagon Dream (Seongkok Art Museum, Seoul)1999 Korean Contemporary Art Trends in the 90's (Ellen Kim Murphy Gallery, Seoul)I Gong Gallery Planning Exhibition (I Gong Gallery, Daejeon)Peindre la Peinture (Hanlim Museum, Daejeon / France Culture Center, Seoul)Conversional Spring (Daejeon Municipal Museum of Art)

1998 Earth and Wind (The Korean Culture & Art Foundation, Seoul)K.B.S. Art Exhibition (Daejeon KBS)Instant Human (Sai Gallery, Seoul)Legends from Daily Life (Sonjae Museum of Contemporary Art, Kyongju)BOM (Hyundae Gallery, Daejeon)

1997 The Third Stage in Commemorating Exhibition of Openning Sun Gallery (6 Curators Selected)Contemporary Art Exhibition of partial idea (Hyundae Gallery, Daejeon)Indeco Gallery Planning Exhibition (Indeco Gallery, Seoul)

1996 The Gruping Youth '96 (The Nationnal Museum of Contemporary Art, Kwacheon)

1995 Infra-Painting (Hanlim Gallery, Daejeon/ Deokwon Gallery, Seoul)Art, Habit, Reflection (Kumho Gallery, Seoul)Cliché image and Painting (Songsan Gallery, Cheongju)Young Rider Exhibition (Owon Gallery, Daejeon)

1993 Kim Dongyoo, Bae Joonseong, Han Sujeong, Heo Guyoung Exhibition (Gain Gallery, Seoul)Kongsan Art Festival (Dong-A Gallery, Seoul)Grand Prix Exhibition of MBC (Seoul Art Center)Grand Prix Exhibition of Misul Segye (Fine Art Center, Seoul)Un Hyeon Gung Fine Art Center Opening show (Seoul)Exposition/Out-position (Hong Gallery, Daejeon)Special Prize Gand Prix Exhibition of Jungang Dail News (Hoam Gallery, Seoul)Kim Dongyoo, Bok Jongsoon, Whang Youngki, Heo Guyoung Exhibition (Hakcheon Gallery, Cheongju)Kim Dongyoo, Bae Joonseong, Heo Guyoung Exhibition (3rd Gallery, Seoul)Human, Body, Sex (Doll Gallery, Seoul)

1992 Flower sculpture installation (Hyundae Gallery, Daejeon)1990 SELF-SO (Culture Center, Daejeon)1989 Existence (Hyundae Gallery, Daejeon)

Hanbat Painting (Citizen Hall, Daejeon)1987-00 EYE AND MIND (Daejeon)

CollectionsBusan Metropolitan Art MuseumDaejeon Municipal Museum of ArtDaelim Contemporary Art MuseumKorean Folkvillage MuseumKumho Museum of ArtKyongkido Museum of ArtImok Museum of ArtSamsung Foundation of CultureSeoul Museum of Art93 Museum

Kim, Dong Yoo

110-240 서울특별시 종로구 안국동 159 TEL.02-736-4371 FAX.02-736-4372

#159, Anguk-dong, Jongno-gu, Seoul, 110-240, Korea www.savinamuseum.com

2007


Top Related