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  • 2017 2nd AUO Artist
  • Kwak Jisu
  • School of the Art Institute of Chicago, Sculpture, 10th semester
  • Kwak Jisu is an interdisciplinary artist whose work includes drawing, sculpture, photography, video, and performance. Using her body parts and Korean objects, such as a safety fence and newspaper, Kwak explores the themes of home, intimacy, Asian identity, and South Korea-United States relations. Her work has been exhibited at Crude Creatures Contemporary Art Gallery in Chicago, IL; 33 Contemporary Gallery in Chicago, IL; Roundhouse Community Centre in Yaletown, BC; and Mary Pratt Gallery in Fort Langley, BC. Kwak is currently living and working in Chicago, IL.
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In Abeyance

3D (Sculpture, Installa..

  • 2017
  • Bronze castings on steel rods
  • 9 * 152 * 15 (cm)
  • 2017
  • Bronze castings on steel rods
  • 9 * 152 * 15 (cm)
  • 2017
  • Bronze castings on steel rods
  • 9 * 152 * 15 (cm)
  • 2017
  • EuroGraphics Map of the World Puzzle (1000-pieces)
  • 13 * 8 (cm)

ARTIST'S STATEMENT

1. In Abeyance, South Korean Flag, 2017
Bronze castings on steel rods
60 x 3.5 x 6”

On March 1st, 2017, which was the 98th anniversary of Samiljeol (Independence Movement day against Japanese rule of Korea), many South Korean citizens refused to hoist the national flag outside their homes to avoid the misapprehension that they opposed the impeachment of the president Park Geun-hye. The South Korean flag – that was overwhelmingly used as an emblem, shield, and weapon by the agitators who supported the president Park – has gradually become the symbol of a particular political party often advocating for capitalism, pro-American policies, and objection to reunification of two Koreas.

In Abeyance, South Korean Flag is an attempt to dismantle, and also vacate the symbolic function of the South Korean flag as a tool of communication, support, violence, resilience, and surrender. The recreation of the flagpoles strictly follows the governmental regulation in its measurement, color, and material. Nevertheless, with its absent flag, forged poles, and worn down quality that have seemed to disregard the proper storing method and even the meaning of flag-raising, the flagpoles now embody limitless potential for all function, if not none.


2. Map of the World, 2017-ongoing
EuroGraphics Map of the World Puzzle (1000-pieces)

Map of the World is an on-going project in response to the history of the universally recognized map of the world that is deeply rooted in colonialism and romanticization of the unknown – particularly in nature, geography, and ethnicity. Using a self-imposed system to ignore the image printed on the puzzle and assemble the pieces according to their physical shapes, the map of the world is reconfigured. The assembly of the Map of the World is never to be completed; it will continue to transform.
Advice
Kim Taiyun, Artist
곽지수 작가는 한국/근대를 관통하는 역사, 사회, 젠더의 다양한 레이어들을 진지하게 성찰하고 시각 언어로 다시 언어화하려는 실험을 지속해왔습니다. 세 번의 멘토링 과정을 통해 개인과 집단 사이의 관계를 작가만의 시각언어로 이야기하려는 진지한 태도를 발견할 수 있어서 좋았습니다.

AUO translator

The artist have continued seriously observe different layers like history, society and gender that penetrate Korean/Modern and experiment to make it into a visual language. Through three times of mentoring I found it interesting to see the serious attitude to talk about a relationship between an individual and a group in her own visual language.

2018-01-18 13:06:42

Jung Hyun, Art Critic, Associate Professor, Independent Curator
정현입니다. 벌써 세 번째 글을 남깁니다. 곽지수 작가는 21세기에도 여전히 맹렬한 힘을 과시하는 냉전 시대 이데올로기가 한국의 현실을 지배하는 "탈구의 역사"(disarticulated history)를 지속적으로 탐구하는 걸로 보입니다. 시간과 공간, 과거와 현재 그리고 당연히 미래와 연결되는 이 시간축의 탈구란, 세계화를 주도하는 서구의 역사/시선/방향과의 틀어짐이자 우리 스스로와의 어긋남이기도 합니다. 은유나 직설적인 비유냐는 문제는 작가의 선택이라고 생각합니다. 아마도 현재 시카고에 거주하면서 활동 중인 것 같은데, 아무래도 미디어를 통해서 발견하고 확인하는 한국의 현실은 틀림없이 매우 극단적으로 보일 겁니다. 한편 이처럼 비평적 시선 너머에 연민과 고통과 같은 복합적인 감정/심리도 작가에게 필요한 덕목이라고 생각합니다. 그래서 당신은 후기 식민주의를 대변하는 글쓰기, 사고하기, 그리고 실천하기의 방법론을 자신의 방식으로 활용하여 질서를 해체하고 새로운 가능성을 위한 무질서를 계획하는 것처럼 보입니다. 그런데 이 과정이 덜 신선하게 다가옵니다. 제가 잘 모르지만 한국의 현실 속으로 들어오지 못 한 것처럼 보이기 때문은 아닐런지요? 이곳에서 일어나는 모든 사건들은 저마다의 원인을 가지고 있습니다. 반드시 인과가 일치되어야 한다는 의미는 아닙니다. 오히려 그 반대일 겁니다. 어째서 인과가 어긋나있을까? 이 어긋남을 재현해야 하는지 아니면 어긋남의 현상을 미시적으로 관찰함으로써 그 속에서 일어나는 온갖 감정과 갈등에 대하여 고민해 보는 것은 중요한 경험일 될 것입니다. 세계의 질서를 자신의 질서로 바꾸기 전에 어떻게 그 질서를 절개하고 내파(implosion)시킬 수 있는지 생각해보면 좋겠습니다.

AUO translator

This is Jung Hyun. It’s already the last comment. The artist seems to continuously study “disarticulated history” where ideology of Cold War Time still dominates the 21st century Korean reality. The disarticulation of time axis that connects with time and space, past and present, and also future is dislocation with the Western history/perspective/direction and dislocation with ourselves at the same time. Whether it is metaphor or straightforward figure of speech is up to the artist’s decision. The artist is living and working in Chicago right now, and the Korean reality which she sees from the media might seem too extreme. On the other hand, I think complex emotion and psychology like compassion and agony beyond critical perspective is one of the necessary virtues for artist. Therefore, it seems to me that you are planning disorder for new possibility by breaking up existing orders using your own way of Post colonialism method of writing, thinking, and practicing. However, I find this method less fresh. I don’t know everything, but perhaps because it seems like it doesn’t really enter into the Korean reality. The events that are happening here all have causes. It doesn’t mean that every cause and effect should match. Actually it’s the opposite. Why the cause and effect doesn’t match? It will be very important experience to think whether to represent this dislocation or micro-observe it to find all the emotions and conflicts happening inside. Before making the world’s order to your order, it would be best to think how to cut the order and make implosion within the order.

2018-01-18 13:53:41

Kim Taiyun, Artist
Confidential Advice.
Please kindly note that only mentor and mentee can view this advice.
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