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Savina Museum 유근택전 2009년

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  • YOO, GEUN-TAEK

  • : BeginningoftheWorld 200212cm 2009() : AScene 8165cm 2009()

  • 2009. 11. 4 wed - 11. 29 sun

    YOO, GEUN-TAEK

    Depiction of the Universe

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    2009 11

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  • 7ForewordSavina Lee

    Exhibition Planners NoteKang, Jae-Hyun

    Fountain

    ,Artist Dialogue between Yoo, Geun-Taek and Kang, Hong-Goo

    /Beginning of the World / Growing Room

    , Presence of objects and questions about method of perception,

    performance of the body and its intervalsYoon, Jin sup

    Supper

    Depiction of the Universe

    Biography

    Contents

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  • 18

    Artist Dialogue between Yoo, Geun-Taek and Kang, Hong-Goo

    1.Kang, Hong-Goo: I have been thinking about what we shoulddiscuss today, and I think we should begin with a discussion onpaintings. How about we talk about what we can do with paintingsincluding Oriental painting, the methodological problems concerninghow we reach our goals with it. How is your solo exhibition comingthis time?

    Yoo, Geun-Taek: Labor that involves the act of drawing containsanalogue style boundaries in its aesthetics, however, I think that itrather has a possibility for that reason since it after all has a deepconnection to the ontological question of an individual or of the era.The history of painting has been holding the ontological argument ofeach era, and it is still the same in the 21st century. In the long run, Iwould like to continuously ask a question about the problem of thelimitation of time and of my painting. After all it is a part of the answerto the question, how art is going to resist against time?

    Kang: That is a problem that many have been dealing with from along time ago, because the starting point of art was the resistance ofdeath and time. And humans have been producing images inphotography and paintings constantly in order to prove that it is stillvalid. In other words, humans somehow are the subsistence thatneeds to keep making images. Now you seem to be talking about thesearch of the limitation of time, the proof of identity as an artist, and Ithink that it may be too big of a subject to talk about from thebeginning, especially the thing about substance is too fundamental todiscuss.

    Yoo: As a matter of fact, the question about substance can be areflection of the fact that paintings are the artists attitude, theaesthetic of the artists body, rather than a big topic. From time totime I reference your work in my class. Whenever I look at your work,I feel that it is very much related to your attitude quitestraightforwardly aside from your techniques in photography. I find itvery interesting that your work somehow makes me feel your cynicalattitude toward your subject matter, and the pictorial sensitivity in yourwork is very interesting to me.

    Kang: In my case, photography is another type of painting. Just likeyou, I also painted subjects that can be expressed by different typesof images. In your case, like these paintings on the wall, most of yourworks begin with something very common such as the interior ofapartment or some parks, but then the Supper series seemssomewhat different from others. Personally I am wondering if yourSupper series started from your experiences with some diner shows,after parties or opening parties. Was the excessiveness of such

    parties the starting point of your work?

    Yoo: Of course the process of the deterioration of party tables got myattention. That the table that is set up with great stuff gets totallytransformed by the end of a party seems interesting. And one day Iwatched a documentary on the restoration process of da Vincis theLast Supper on TV. There they showed the previous state of the workbefore its restoration, and in the close up scene of the supper part, Iwas able to find a surprising energy from the deteriorating images ofglasses and food. That was a sort of terminating power of nature. Inthe beginning of my Supper project, I captured the images of the handmovements at a supper table set up in forest. However, as I workedon the series more and more, I sometimes focused on the clash-points of desires, or the relationships that surround the act of eating,or sometimes even dealt with political issues. By doing so, I think thatI have been expanding the range of its interpretation. Such as YaltaConference or the Six Parties talk in recent news can be places whereeach participating nations benefits and understanding clash.

    Kang: I have never presented it, but I have taken a picture related to asupper a long time ago. I took it at an opening party of someinternational exhibition at Seoul City Art Museum, and in this sense, Iguess there are some areas that your perspectives and mine overlap.

    2. Yoo: Your work is a photographic work, but there are many partswhere I share a strong affinity with you. I personally likedGosagwansoodo (a scholar overlooking water from the high hill, 1999-2001), your Park series that showed the scenes around the riverside,and your Eunpyung New Town work. And I think you dont justrepresent some scenes for viewing, but you seem to be taking outmore stories from the back. I think these are the works that bring outanother language existing in our everyday life and then maximize it,and I think on that point I can share my sensitivity with you.

    Kang: Today on my way here, I could see a convex traffic mirror, agreen bus and street trees, which often appear in your paintings.However, in your case you are beyond the representational stage ofeveryday life scenes. In techniques, you use gouache, a western painting material, andHoboon (Chinese white), an Asian material together, and I think thatbecause of that reason, it creates some kind of tense atmospheresince the images seem to be soaked onto the paper at the same timethey stand out as if they are about to come out of the canvas. If youworked with only one material, you would not have been able to givesuch layers.

  • 19

    Yoo: I should say something about the problems regarding paintingmaterials. It was around 1999 when I started to use Chinese white inmy work. I used it for The Scenery Outside Window in an exhibition atWonseo Gallery, and it was a very symbolic work for me. Long beforethe exhibition, I had been feeling so heavy and burdened about theextreme idealism of Oriental Painting of that time. I really wanted toput such heavy feelings down to the ground; therefore, I thought veryhard about things around myself and how to represent them. In themean time, I made this work, and found an artistic possibility in it. Atthat time, I was living on the first floor of an apartment building, andthere was a pathway right outside our window. So I was able toobserve different scenes each day, and those everyday scenes cameto me as interesting and mysterious experiences. I began to makedrawings to study them, and then ended up making 13 pieces ofworks there. After that exhibition, I realized that through the scenesoutside my window numerous languages and interpretations can beapplied, and from that time I started to use the Chinese white anddevelop its property.

    Kang: When using Chinese white, it leaves traces, and it alsoaccumulates. I guess maybe that characteristic of Chinese whiteworked as an allegory of the time that has passed in your work. Itsounds like the subject matter and techniques got mixed well with theproperties of the painting materials and gradually completed the series.

    3. Yoo: There was a printed copy of the image of Geumgangjeondo (TheEntire Landscape of Geumgang Mountain) by Jeong Seon (1751) inthe inside cover of my middle school textbook. At that time, I felt as ifI was looking at the real Geumgang Mountain, and it was a quiteshocking experience to me. It was amazing that the artist from severalhundred years ago made some middle school student