The Temperature of a Hand span - The Aesthetics of Measuring Relations

2016. 10.1(Sat) - 12.31(Sat)

Blume Museum of Contemporary Art, BMOCA

Squares _ steel, motor, plastics _ 200x270x90(cm) 2piece _ 2016

The Temperature of a Hand span - The Aesthetics of Measuring Relations

2016. 10.1(Sat) - 12.31(Sat)

Blume Museum of Contemporary Art, BMOCA

Squares _ steel, motor, plastics _ 200x270x90(cm) 2piece _ 2016

Jung Sungyoon Solo Exhibition: Minor Threat

2016. 8. 5 (Fri)~ 9. 25 (Sun)

KIM CHONGYUNG MUSEUM

*Shapes/ 2016/ steel, motor, plastics/ 400 x 270 x 90cm 3 pieces *

Shapes- An Allegory

Park, Choon Ho (Chief Curator, Kim Chong Yung Museum)

Jung Sungyoon displays his work titled 『Shapes』 in the upcoming exhibition 『Minor Threat』. It is a work made of two black triangles, which are 2m 60cm in height, 4m in width, and 28cm in thickness, and one black quadrangle whose cross section looks like a triangle from side, and these are vibrated by mechanical device. Each triangle or quadrangle is different in its form such as a right-angled triangle or an isosceles triangle. He used geometric figures in his previous works as well. He used circles before triangles. Let’s take a look at his works using circles. The work 『Two Hearts』 makes spectators feel nausea since two circles with different diameter move toward different directions. The other work is titled 『Eclipse』, and two circles with the same size repeat overlapping and separating while constantly following the track. It seems like the feeling of nausea and repetition of meeting and separating are allegories for something.

I would like to focus on two features from Jung Sungyoon’s previous and current works. One is that he is constantly choosing geometric figures. ‘Geometry’ is one of the oldest subjects in mathematics along with ‘the number theory’. I should remind you that the word ‘geometry’ is the combination of ‘geo’ meaning ground and ‘metry’ meaning measurement. This is because geometry began as a practical tool for measurement in ancient Egypt. In ancient Greece, geometry went through abstraction and became a branch of mathematics which requires logical thinking. What is the difference between a circle and a triangle? A circle is a figure which can be drawn with the most number of dots. A triangle is the exact opposite of it. A triangle is a figure that can be drawn with the least number of dots. In fact, he seems to categorize a circle as one kind of dots in that circles appear in his work titled 『Dot』. Strictly speaking, a dot with no area can only exist conceptually. Like this, geometry requires deductive thinking thoroughly based on the public interest of minority. He made a note saying “consideration of a triangle” during the sketch for this work, which shows his consideration in deciding the shape of work while recognizing this characteristic of geometry. This may be due to the fact that he was a designer.

The other feature I would like to focus is the title of his work. He provided the spectators with the possibility of speculating the intention of the artist to certain degree by the titles such as 『Two Hearts』, 『Eclipse』 in which he used circles. However, it is unlikely to find that kind of possibility from the title of this exhibition, 『Shapes』. The difference comes from the fact that ‘two hearts’ and ‘eclipse’ are used as metaphors in nearly every society because they have actual objects they are referring to or they are visible while ‘shapes’ are not used as metaphors.『Good Bye』, which I mentioned earlier, put the title Good Bye on the very top of the work so everyone could see it. It seems like he is gradually leavingthe interpretation of his works to the spectators through a series of changes in the titles.

Three huge triangles are vibrating in the exhibition hall. Why are these giant triangles vibrating? What is the relationship between ‘triangles’ and ‘vibration’? This was the first question which came to my mind. He emphasized “a triangle is a figure which can be drawn with the least number of dots.” The triangular structure is used in various ways in our lives such as a frame of a bicycle, a tripod as a support, a wedge which is used to fix something. In addition, the number 3 is a material often used for describing the relationship between men and women such as love triangle, it appears in fairy tales like 『The Three Little Pigs』 and in ancient myth like the crow with three legs as well. Because of the title 『Shapes』, the spectators might think this exhibition is irrelevant to the various implications of 3 mentioned above. However, the spectators would definitely have some kind of psychological response when they see the huge triangles vibrated by mechanical devices.“The spectator is a part of the eternal creative process of change and chance.”This is what Duchamp said. Spectators interpret the work by projecting their own perspectives. Therefore it cannot be said that one particular interpretation of certain work is the only right interpretation. It is just one way to see the work. ‘Vibration’ is ambivalent. Too excited or too frightened! Especially when someone vibrates with excitement, it would be the moment when he or she uses the imagination from their expectations. Erotic things are included here as well. They become more excited as they imagine. Three huge black triangles are vibrating. The vibrating speed of each triangle is different. They seem much bigger because the black color. They seem much sharper in corners because they are triangles.

They are vibrating. 『Shapes』completes an allegory with the combination of the shape of triangles, various implications of the number 3, and the ambivalent meaning of vibration. What is the meaning of it? It should not be overlooked that Jung Sungyoon’s work which started from ‘personal failures’ are becoming more and more abstract. As mentioned earlier, the irony which comes from the proper harmony of logic and emotion captures the attention of spectators and brings odd psychological responses from them since they are also amazed at the visual installment which is moved by mechanical devices. I think it doesn’t matter whether that feeling is fear or joy. Isn’t the fact they are feeling something what really matters? This has more significance to us today since all of us are losing our feelings and becoming more and more insensitive living in an era which is full of shocking and unimaginable incidents.

2016. 8. 5 (Fri) ~ 9. 25 (Sun)

KIM CHONG YUNG MUSEUM

2016 Young Creative Artists

Pyeonchang 32gil 30 Jongno-gu, Seoul, Korea 110-846

Shapes _2016 _ steel, motor, plastics _ 4000 x 2750 x 900(mm), 3piece _ part

Two Hearts from pisac on Vimeo.

Two Hearts_ steel, motor, plastic, 100 x 100 x 18 cm, 2015

On <Two Hearts>, two black circular plate of the same size is rotating in different directions. If two complete circles rotate it may seem as one dead circle. But, these two ellipses of long diameter 100 cm and 96cm short diameter rotate in different directions and create a winding outline and subtle movement. They seem to rotate, encounter, and wriggle, evoking a strange dizziness. A silhouette of two minds, an outline of everything.

Installation view, Thomas Park, 2015

Jung Sungyoon Solo Exhibition: Heart-Less

2015. 11. 3 (Tue)~ 12. 5 (Sat)

*They Spin Like Nonsense_ steel, aluminum, motor, billiard balls, 21x320x10cm, 2015*

Machine does not have a heart. Like the heart of a person who lost love.

<They Spin Like Nonsense> is made of 49 black billiard ball. (These balls are the size of 4-ball billiard, but black colored 4-balls usually do not exist.) Ball rotates on top of the 49 pieces of roller in different directions and it barely contacts each other without any device. Like 'the most intense and the most fragile relationship', they contact their body to fulfill an apparent straight line but its essential connection is always at stake. Like the title from the depiction of men and women dancing, each ball is performing senseless rotation which is similar to the pattern of relationship that we make. 49 is a remainder obtained by subtracting one from 50. Less than half is what is left after the lost love, and 49 balls is a symbol of it. If we love by heart, with a whole heart, lost love would not even come close to be 'a heart'.

*Two Hearts_ steel, motor, plastic, 100 x 100 x 18 cm, 2015*

On <Two Hearts>, two black circular plate of the same size is rotating in different directions. If two complete circles rotate it may seem as one dead circle. But, these two ellipses of long diameter 100 cm and 96cm short diameter rotate in different directions and create a winding outline and subtle movement. They seem to rotate, encounter, and wriggle, evoking a strange dizziness. A silhouette of two minds, an outline of everything.

Thomas Park

They Spin Like Nonsense_ steel, aluminum, motor, billiard balls, 21x320x10cm, 2015

Two Hearts_ steel, motor, plastic, 100 x 100 x 18 cm, 2015

They Spin Like Nonsense, Detail

기계는 심장이 없다. 사랑을 잃은 자의 가슴속처럼.

<They Spin Like Nonsense> 는 49개의 검은색 당구공으로 이루어져 있다. (이들은 사구 당구공 크기인데 검은색 공은 존재하지 않는다.) 공들은 49개의 롤러 위에서 각기 다른 방향으로 회전하고 있으며 어떤 연결 장치도 없이 겨우 맞닿아 있다. ‘가장 강렬한 관계일수록 가장 연약하듯’ 이들은 서로 몸을 맞대어 명백한 직선을 이루지만 그 본질적 연결 상태는 위태롭다. 남녀의 춤을 묘사한 시구에서 온 제목처럼 공들은 제각기, 무의미한 회전을 하고 있고, 이는 어쩔 수 없이 우리들이 빚어내는 관계의 양상을 닮아있다. 49는 50에서 하나를 뺀 나머지이다. 사랑을 잃은 후의 내가 절반이라면 49는 절반도 안 되는 어떤 상태를 표상한다. 우리가 하나의 온전한 심장으로, 마음으로 사랑한다면, 사랑을 잃은 그것은 ‘하나의 심장 a heart’에 미치지 못할 것이기에.

<Two Hearts> 에서는 같은 크기의 두 검은 원판이 각기 다른 방향으로 회전하고 있다. 완벽한 두 개의 원이 회전한다면 마치 하나의 원이 정지한 듯 보이겠지만, 이들은 긴 지름 100cm, 짧은 지름 96cm의 타원이고 서로 다른 방향으로 돌기에, 구불거리는 윤곽선을 그리며 미묘한 움직임을 낳는다. 맞닿아 돌며 꿈틀거리듯 묘한 현기증까지 불러일으키는 것이다. 두 개의 마음, 같으면서 다른 두 개의 모든 것이 그리는 윤곽선일 것이다.

토마스파크