No One River Flows
2013.12.27～2014.02.23
09:00 - 17:00
"No man (sic.) ever steps in the same river twice..." Heraclitus 6th Century BC The preceding quote is something that was reputedly said by the ancient Greek philosopher Heraclitus, though everything we know about him is from second-hand accounts. If Greek thought was about to flourish and dominate for the next three millennia, continuing on into our own tenuous and exhausted present, Heraclitus was in its earliest days the sharpest voice of dissent, attacking its foundations with his philosophy of flux. One hundred years later he would be criticised by Plato, and then Aristotle, for violating the first principle of the law of non-contradiction, without which, they claimed, scientific knowledge would not be possible. But while stating from the outset that humans are too stupid to understand his theories, Heraclitus propelled forward an alternative strain of thought that has survived but never prospered. Perhaps a wayward son of the aristocracy, Heraclitus described himself as being
self-taught”. He attacked Pythagoras, the founder of Mathematics, as a fraud. Whereas Pythagoras and his secretive cult-like following worshipped numbers whose harmony they believed to be the basis of nature, Heraclitus stated that there are no stable entities.
Nothing endures but change”. Instead there is the ebb and flow of matter which connects and forms into constellations, but only momentarily, before separating apart. Not only could one not step twice into the same river - as the moment one has stepped into the river it is already no longer the same - but also, one would not be the same person. Heraclitus allowed no stable unitary identity. Rather than a philosophy of objects and being, it is a philosophy of process and becoming. Heraclitus appears to have been extremely isolated. He was frequently derided, called
The Weeping Philosopher”, as a commentary on his melancholia but also as a slight on his famous river aphorism. Raphael, in his famous fresco
School of Athens”, figured Michelangelo as Heraclitus, separate and aloof from the other philosophers, moody and alone. And yet his philosophy could not be ignored. Plato often referred to it and in a sense agreed with Heraclitus but worked around his theory by stating that while the material world is in flux and full of illusion, behind this world is another plane of pure forms where true reality resides. Plato famously uses his cave analogy to describe slaves inside the cave watching the flickering shadows on the walls generated by a fire they cannot see. This illusion is the closest they will get to reality and they can never know the pure forms. Only the philosopher through reason could escape this enslavement and begin to understand reality and truth. Plato's pure forms posited a transcendental human subject but formed a foundation for human knowledge in the face of Hericlitus' radical challenge. When Marcel Duchamp exhibited his urinal, he threw the status of the object, which was so important to the culture of industrial capitalism, in question. Its meaning appeared not as an inner or innate quality but more determined by its multiple relations and position as inserted into a network of signs. Dada disrupted the composed centered human subject that had been developing since the Renaissance , and introduced chance and non-rationalism into the equation. Throughout the twentieth century there was a drive towards countering the fetishised art object and the position of spectator within the logic of exhibition. Fluxus, conceptual art, Happenings, and process art, were among those strains challenging the hegemony of the reified art object; even if these experiments rarely impacted beyond the art world and its institutions. By the eighties though the large neo-expressionistic canvas was back in vogue, with once-radical expressionism now codified for the market, and art has in a general sense got bigger, more expensive, typically veering towards the spectacle that is at the heart of this publicity age. Enter economic collapse, major global power shifts and the other side of optimism in regards to ideology, and process can be seen to be tugging its way to the forefront of possible relevancy again. If social media has hollowed us out and turned our most intimate connections into publicity stunts and promotional activities, then more process-based art and events conjulating disparate and '”purposeful yet purposeless” activities could be an anecdote to the pimped-out-ed-ness we feel from the management of the abstract self-image we produce, maintain and administer through the digital manipulation mechanisms we call home. There is a calling in these times for an art of the event, the unpredictable channelling together of multiple incommensurate flows. The exhibition
No One River Flows” at Kuangdu Museum in Taipei. Curated by WANG Chun-Chi, the exhibition features work dealing with process more than the immediacy of the retinal, veering towards the ethemeral, by TING Chaong-Wen, LIN Kuo-Wei, CHENG Ting-Ting, Chihiro Minato, Olaf Hochherz, WANG Fujui and RohwaJeong. These works invite the exhibition attendee to enter into the fray, and consider themselves beyond the mere relation of visual spectator in the art they are experiencing.
self-taught”. He attacked Pythagoras, the founder of Mathematics, as a fraud. Whereas Pythagoras and his secretive cult-like following worshipped numbers whose harmony they believed to be the basis of nature, Heraclitus stated that there are no stable entities.
Nothing endures but change”. Instead there is the ebb and flow of matter which connects and forms into constellations, but only momentarily, before separating apart. Not only could one not step twice into the same river - as the moment one has stepped into the river it is already no longer the same - but also, one would not be the same person. Heraclitus allowed no stable unitary identity. Rather than a philosophy of objects and being, it is a philosophy of process and becoming. Heraclitus appears to have been extremely isolated. He was frequently derided, called
The Weeping Philosopher”, as a commentary on his melancholia but also as a slight on his famous river aphorism. Raphael, in his famous fresco
School of Athens”, figured Michelangelo as Heraclitus, separate and aloof from the other philosophers, moody and alone. And yet his philosophy could not be ignored. Plato often referred to it and in a sense agreed with Heraclitus but worked around his theory by stating that while the material world is in flux and full of illusion, behind this world is another plane of pure forms where true reality resides. Plato famously uses his cave analogy to describe slaves inside the cave watching the flickering shadows on the walls generated by a fire they cannot see. This illusion is the closest they will get to reality and they can never know the pure forms. Only the philosopher through reason could escape this enslavement and begin to understand reality and truth. Plato's pure forms posited a transcendental human subject but formed a foundation for human knowledge in the face of Hericlitus' radical challenge. When Marcel Duchamp exhibited his urinal, he threw the status of the object, which was so important to the culture of industrial capitalism, in question. Its meaning appeared not as an inner or innate quality but more determined by its multiple relations and position as inserted into a network of signs. Dada disrupted the composed centered human subject that had been developing since the Renaissance , and introduced chance and non-rationalism into the equation. Throughout the twentieth century there was a drive towards countering the fetishised art object and the position of spectator within the logic of exhibition. Fluxus, conceptual art, Happenings, and process art, were among those strains challenging the hegemony of the reified art object; even if these experiments rarely impacted beyond the art world and its institutions. By the eighties though the large neo-expressionistic canvas was back in vogue, with once-radical expressionism now codified for the market, and art has in a general sense got bigger, more expensive, typically veering towards the spectacle that is at the heart of this publicity age. Enter economic collapse, major global power shifts and the other side of optimism in regards to ideology, and process can be seen to be tugging its way to the forefront of possible relevancy again. If social media has hollowed us out and turned our most intimate connections into publicity stunts and promotional activities, then more process-based art and events conjulating disparate and '”purposeful yet purposeless” activities could be an anecdote to the pimped-out-ed-ness we feel from the management of the abstract self-image we produce, maintain and administer through the digital manipulation mechanisms we call home. There is a calling in these times for an art of the event, the unpredictable channelling together of multiple incommensurate flows. The exhibition
No One River Flows” at Kuangdu Museum in Taipei. Curated by WANG Chun-Chi, the exhibition features work dealing with process more than the immediacy of the retinal, veering towards the ethemeral, by TING Chaong-Wen, LIN Kuo-Wei, CHENG Ting-Ting, Chihiro Minato, Olaf Hochherz, WANG Fujui and RohwaJeong. These works invite the exhibition attendee to enter into the fray, and consider themselves beyond the mere relation of visual spectator in the art they are experiencing.
"No man (sic.) ever steps in the same river twice..." Heraclitus 6th Century BC The preceding quote is something that was reputedly said by the ancient Greek philosopher Heraclitus, though everything we know about him is from second-hand accounts. If Greek thought was about to flourish and dominate for the next three millennia, continuing on into our own tenuous and exhausted present, Heraclitus was in its earliest days the sharpest voice of dissent, attacking its foundations with his philosophy of flux. One hundred years later he would be criticised by Plato, and then Aristotle, for violating the first principle of the law of non-contradiction, without which, they claimed, scientific knowledge would not be possible. But while stating from the outset that humans are too stupid to understand his theories, Heraclitus propelled forward an alternative strain of thought that has survived but never prospered. Perhaps a wayward son of the aristocracy, Heraclitus described himself as being
self-taught”. He attacked Pythagoras, the founder of Mathematics, as a fraud. Whereas Pythagoras and his secretive cult-like following worshipped numbers whose harmony they believed to be the basis of nature, Heraclitus stated that there are no stable entities.
Nothing endures but change”. Instead there is the ebb and flow of matter which connects and forms into constellations, but only momentarily, before separating apart. Not only could one not step twice into the same river - as the moment one has stepped into the river it is already no longer the same - but also, one would not be the same person. Heraclitus allowed no stable unitary identity. Rather than a philosophy of objects and being, it is a philosophy of process and becoming. Heraclitus appears to have been extremely isolated. He was frequently derided, called
The Weeping Philosopher”, as a commentary on his melancholia but also as a slight on his famous river aphorism. Raphael, in his famous fresco
School of Athens”, figured Michelangelo as Heraclitus, separate and aloof from the other philosophers, moody and alone. And yet his philosophy could not be ignored. Plato often referred to it and in a sense agreed with Heraclitus but worked around his theory by stating that while the material world is in flux and full of illusion, behind this world is another plane of pure forms where true reality resides. Plato famously uses his cave analogy to describe slaves inside the cave watching the flickering shadows on the walls generated by a fire they cannot see. This illusion is the closest they will get to reality and they can never know the pure forms. Only the philosopher through reason could escape this enslavement and begin to understand reality and truth. Plato's pure forms posited a transcendental human subject but formed a foundation for human knowledge in the face of Hericlitus' radical challenge. When Marcel Duchamp exhibited his urinal, he threw the status of the object, which was so important to the culture of industrial capitalism, in question. Its meaning appeared not as an inner or innate quality but more determined by its multiple relations and position as inserted into a network of signs. Dada disrupted the composed centered human subject that had been developing since the Renaissance , and introduced chance and non-rationalism into the equation. Throughout the twentieth century there was a drive towards countering the fetishised art object and the position of spectator within the logic of exhibition. Fluxus, conceptual art, Happenings, and process art, were among those strains challenging the hegemony of the reified art object; even if these experiments rarely impacted beyond the art world and its institutions. By the eighties though the large neo-expressionistic canvas was back in vogue, with once-radical expressionism now codified for the market, and art has in a general sense got bigger, more expensive, typically veering towards the spectacle that is at the heart of this publicity age. Enter economic collapse, major global power shifts and the other side of optimism in regards to ideology, and process can be seen to be tugging its way to the forefront of possible relevancy again. If social media has hollowed us out and turned our most intimate connections into publicity stunts and promotional activities, then more process-based art and events conjulating disparate and '”purposeful yet purposeless” activities could be an anecdote to the pimped-out-ed-ness we feel from the management of the abstract self-image we produce, maintain and administer through the digital manipulation mechanisms we call home. There is a calling in these times for an art of the event, the unpredictable channelling together of multiple incommensurate flows. The exhibition
No One River Flows” at Kuangdu Museum in Taipei. Curated by WANG Chun-Chi, the exhibition features work dealing with process more than the immediacy of the retinal, veering towards the ethemeral, by TING Chaong-Wen, LIN Kuo-Wei, CHENG Ting-Ting, Chihiro Minato, Olaf Hochherz, WANG Fujui and RohwaJeong. These works invite the exhibition attendee to enter into the fray, and consider themselves beyond the mere relation of visual spectator in the art they are experiencing.
self-taught”. He attacked Pythagoras, the founder of Mathematics, as a fraud. Whereas Pythagoras and his secretive cult-like following worshipped numbers whose harmony they believed to be the basis of nature, Heraclitus stated that there are no stable entities.
Nothing endures but change”. Instead there is the ebb and flow of matter which connects and forms into constellations, but only momentarily, before separating apart. Not only could one not step twice into the same river - as the moment one has stepped into the river it is already no longer the same - but also, one would not be the same person. Heraclitus allowed no stable unitary identity. Rather than a philosophy of objects and being, it is a philosophy of process and becoming. Heraclitus appears to have been extremely isolated. He was frequently derided, called
The Weeping Philosopher”, as a commentary on his melancholia but also as a slight on his famous river aphorism. Raphael, in his famous fresco
School of Athens”, figured Michelangelo as Heraclitus, separate and aloof from the other philosophers, moody and alone. And yet his philosophy could not be ignored. Plato often referred to it and in a sense agreed with Heraclitus but worked around his theory by stating that while the material world is in flux and full of illusion, behind this world is another plane of pure forms where true reality resides. Plato famously uses his cave analogy to describe slaves inside the cave watching the flickering shadows on the walls generated by a fire they cannot see. This illusion is the closest they will get to reality and they can never know the pure forms. Only the philosopher through reason could escape this enslavement and begin to understand reality and truth. Plato's pure forms posited a transcendental human subject but formed a foundation for human knowledge in the face of Hericlitus' radical challenge. When Marcel Duchamp exhibited his urinal, he threw the status of the object, which was so important to the culture of industrial capitalism, in question. Its meaning appeared not as an inner or innate quality but more determined by its multiple relations and position as inserted into a network of signs. Dada disrupted the composed centered human subject that had been developing since the Renaissance , and introduced chance and non-rationalism into the equation. Throughout the twentieth century there was a drive towards countering the fetishised art object and the position of spectator within the logic of exhibition. Fluxus, conceptual art, Happenings, and process art, were among those strains challenging the hegemony of the reified art object; even if these experiments rarely impacted beyond the art world and its institutions. By the eighties though the large neo-expressionistic canvas was back in vogue, with once-radical expressionism now codified for the market, and art has in a general sense got bigger, more expensive, typically veering towards the spectacle that is at the heart of this publicity age. Enter economic collapse, major global power shifts and the other side of optimism in regards to ideology, and process can be seen to be tugging its way to the forefront of possible relevancy again. If social media has hollowed us out and turned our most intimate connections into publicity stunts and promotional activities, then more process-based art and events conjulating disparate and '”purposeful yet purposeless” activities could be an anecdote to the pimped-out-ed-ness we feel from the management of the abstract self-image we produce, maintain and administer through the digital manipulation mechanisms we call home. There is a calling in these times for an art of the event, the unpredictable channelling together of multiple incommensurate flows. The exhibition
No One River Flows” at Kuangdu Museum in Taipei. Curated by WANG Chun-Chi, the exhibition features work dealing with process more than the immediacy of the retinal, veering towards the ethemeral, by TING Chaong-Wen, LIN Kuo-Wei, CHENG Ting-Ting, Chihiro Minato, Olaf Hochherz, WANG Fujui and RohwaJeong. These works invite the exhibition attendee to enter into the fray, and consider themselves beyond the mere relation of visual spectator in the art they are experiencing.
TING Chaong-Wen lives in Taichung City, Taiwan. Born in 1979 in Kaohsiung, Taiwan, Ting Chaong-Wen is an installation artist and a visual designer. Excelling in spatial installations of mixed media such as images and ready-mades, the artist has shifted his focus to the exploration of plastic potential of art with archives. His recent shows include ‘Home – Taiwan Biennial 2008’(National Taiwan Museum of Fine Arts),His artist-in-residence projects include Cité Internationale des Arts(Paris, France, 2010) organized by Taiwan’s Ministry of Culture(former Council of Cultural Affairs) as well as S-AIR Artist-In-Residence Programme /Sapporo2™ Project(Sapporo, Japan, 2013); for the latter, he studied ‘History of Hybrid Culture Movements’ for an art project. Currently, he lives in Taichung, Taiwan and is a doctoral candidate in Art Creation and Theory at the Tainan National University of the Arts.
TING Chaong-Wen lives in Taichung City, Taiwan. Born in 1979 in Kaohsiung, Taiwan, Ting Chaong-Wen is an installation artist and a visual designer. Excelling in spatial installations of mixed media such as images and ready-mades, the artist has shifted his focus to the exploration of plastic potential of art with archives. His recent shows include ‘Home – Taiwan Biennial 2008’(National Taiwan Museum of Fine Arts),His artist-in-residence projects include Cité Internationale des Arts(Paris, France, 2010) organized by Taiwan’s Ministry of Culture(former Council of Cultural Affairs) as well as S-AIR Artist-In-Residence Programme /Sapporo2™ Project(Sapporo, Japan, 2013); for the latter, he studied ‘History of Hybrid Culture Movements’ for an art project. Currently, he lives in Taichung, Taiwan and is a doctoral candidate in Art Creation and Theory at the Tainan National University of the Arts.
LIN Kuo-Wei Born in 1982 in Taiwan, he relocated to Paris in the end of 2000. In 2004, LIN received a DNAP in Ecole Nationale Superieure des Beaux-Arts de Lyon and was honored with the BRFE scholarship for the Hochschule für Grafik und Buchkunst Leipzig. Later in 2007, Lin completed his MA Fine Art at Chelsea College of Art & Design in London. In 2012, Lin earned his Meisterschüler at the Kunsthochschule Berlin- Weißensee. Lin endeavors to understand the odd in the ordinary and the insignificant in the monumental through decoding and reconstructing the context. According to him, understanding a context begins with identifying the exceptional and making a possible and novel interaction within it. Lin’s works explore, articulate, reform, and give certain accents to contradictory spaces in relation to social topology and his individual experience of displacement.
LIN Kuo-Wei Born in 1982 in Taiwan, he relocated to Paris in the end of 2000. In 2004, LIN received a DNAP in Ecole Nationale Superieure des Beaux-Arts de Lyon and was honored with the BRFE scholarship for the Hochschule für Grafik und Buchkunst Leipzig. Later in 2007, Lin completed his MA Fine Art at Chelsea College of Art & Design in London. In 2012, Lin earned his Meisterschüler at the Kunsthochschule Berlin- Weißensee. Lin endeavors to understand the odd in the ordinary and the insignificant in the monumental through decoding and reconstructing the context. According to him, understanding a context begins with identifying the exceptional and making a possible and novel interaction within it. Lin’s works explore, articulate, reform, and give certain accents to contradictory spaces in relation to social topology and his individual experience of displacement.
CHENG Ting-Ting is a London based artist born in 1985, Taiwan, who graduated with an MA in Photographic Studies from University of Westminster. In her works, CHENG applies language as the symbol of identity, examining the communication between different cultures. Recently, by studying the representation of the others in the mass media, she explored how society reacts to foreignness, hoping to reflect the structure back to the viewers in regards to their own societies. Her works have been exhibited internationally, CHENG was also shortlisted for the Taipei Art Award in 2011, and selected by Dali International Photography for the Asian Pioneer Photographer Silver Prize, and as one of 40 artists under the age of 40 by Perspective Magazine in Hong Kong last year. She is currently studying an MFA in Fine Art at Goldsmiths College. Her works are in the collections of Taipei Fine Art Museum, National Taiwan Museum of Fine Arts and Addaya Centre d'Art Contemporani.
CHENG Ting-Ting is a London based artist born in 1985, Taiwan, who graduated with an MA in Photographic Studies from University of Westminster. In her works, CHENG applies language as the symbol of identity, examining the communication between different cultures. Recently, by studying the representation of the others in the mass media, she explored how society reacts to foreignness, hoping to reflect the structure back to the viewers in regards to their own societies. Her works have been exhibited internationally, CHENG was also shortlisted for the Taipei Art Award in 2011, and selected by Dali International Photography for the Asian Pioneer Photographer Silver Prize, and as one of 40 artists under the age of 40 by Perspective Magazine in Hong Kong last year. She is currently studying an MFA in Fine Art at Goldsmiths College. Her works are in the collections of Taipei Fine Art Museum, National Taiwan Museum of Fine Arts and Addaya Centre d'Art Contemporani.
Chihiro Minato is a renowned Japanese photographer based in Tokyo where he has served as a professor at Tama Art University since 1995. After receiving the Gasei Scholarship from Argentina in 1982, Minato spent several years traveling in South America until he settled in Paris and Japan and became established as a photographer and critic. Minato has authored numerous books and exhibited throughout the world. In 2007 he served as the Commissioner of the Japanese Pavilion at the Venice Biennale(2007) and the mini-museum curator of Taipei Biennial(2012).The work “Ocean refuses no river”, The ocean means the political zone for Taiwan, China and Japan with those islands of dispute. But the ocean is also the Memory .I want to make an Ocean of photographic images of people ,of past and present. It will takes time for collecting and that process of collecting the ordinary photography will be a flow or flows of collective consciousness.
Chihiro Minato is a renowned Japanese photographer based in Tokyo where he has served as a professor at Tama Art University since 1995. After receiving the Gasei Scholarship from Argentina in 1982, Minato spent several years traveling in South America until he settled in Paris and Japan and became established as a photographer and critic. Minato has authored numerous books and exhibited throughout the world. In 2007 he served as the Commissioner of the Japanese Pavilion at the Venice Biennale(2007) and the mini-museum curator of Taipei Biennial(2012).The work “Ocean refuses no river”, The ocean means the political zone for Taiwan, China and Japan with those islands of dispute. But the ocean is also the Memory .I want to make an Ocean of photographic images of people ,of past and present. It will takes time for collecting and that process of collecting the ordinary photography will be a flow or flows of collective consciousness.
Olaf Hochherz born 1981 in Wuppertal, Germany. He studied electronic composition at Folkwang Hochschule Essen and media art and design at Bauhaus University in Weimar. Parallel to his education in composition he started to improvise with self built electronic instruments. He is interested in unstable systems. His goal is not to control a technical aperture but to create an associative field. He thinks that the sounds have their own life and he tries to keep them alive. He is interested in the effect of acoustic activity, the relation between the surrounding environment and instruments, between abstract sounds and associations, between electrical and other worlds. Olaf Hochherz has toured extensively throughout Asia and Europe, performing, taking field recordings and producing sound installations.
Olaf Hochherz born 1981 in Wuppertal, Germany. He studied electronic composition at Folkwang Hochschule Essen and media art and design at Bauhaus University in Weimar. Parallel to his education in composition he started to improvise with self built electronic instruments. He is interested in unstable systems. His goal is not to control a technical aperture but to create an associative field. He thinks that the sounds have their own life and he tries to keep them alive. He is interested in the effect of acoustic activity, the relation between the surrounding environment and instruments, between abstract sounds and associations, between electrical and other worlds. Olaf Hochherz has toured extensively throughout Asia and Europe, performing, taking field recordings and producing sound installations.
WANG Fujui is one of the pioneers of Taiwanese noise and digital art. His light installations, video projections and noise performances challenge the parameters of our sense perceptions and suggest an inbetween space both within and beyond a range of technologies. New York hyperrealist composer Noah Creshevsky described WANG's performane as being both “purposeful and unpurposeful at the same time”, and his light installation as “hypnotic”. After studying at San Francisco Art Institute in the 1990s, WANG returned to Taiwan and founded noise, the island's first publication and label dedicated to the new music.Wang is Head of the Trans-Sonic Lab in Center for Art and Technology of Taipei National University of the Arts, specializing in sound and interactive art. He has curated the Digital Art Festival Taipei and TranSonic Sound Art Festival. In 2013 had a solo exhibition at MOCA Taipei. He has performed all over the wold including at the Re-Opening of Queens Museum in New York and at Ars Electronica Center in Niels, Austria.
WANG Fujui is one of the pioneers of Taiwanese noise and digital art. His light installations, video projections and noise performances challenge the parameters of our sense perceptions and suggest an inbetween space both within and beyond a range of technologies. New York hyperrealist composer Noah Creshevsky described WANG's performane as being both “purposeful and unpurposeful at the same time”, and his light installation as “hypnotic”. After studying at San Francisco Art Institute in the 1990s, WANG returned to Taiwan and founded noise, the island's first publication and label dedicated to the new music.Wang is Head of the Trans-Sonic Lab in Center for Art and Technology of Taipei National University of the Arts, specializing in sound and interactive art. He has curated the Digital Art Festival Taipei and TranSonic Sound Art Festival. In 2013 had a solo exhibition at MOCA Taipei. He has performed all over the wold including at the Re-Opening of Queens Museum in New York and at Ars Electronica Center in Niels, Austria.
RohwaJeong is an artist consisting of two persons, Noh’ Yun-hee (b. 1981 in Seoul, Korea, F) and Jeong’ Hyeon-seok (b. 1981 in Seoul, Korea, M).Our work observes and pays attention to relations changing in various times and spaces, and makes efforts to capture them effectively in their works.In particular, we try to probe into diverse relations among individuals and the individuals’ detailed conflicts arising from their roles in the relations. This is a movement to get away from the majority’s subjective and violent eyes that interpret all phenomena around in somewhat lazy and stereotyped judgment. Accordingly, it sometimes appears to be a situation or state that may induce various interpretations of a certain relation through works. What is more, because each work adopts its medium in proportion to the weight to be conveyed, the overall formative uniformity among the works is avoided. That is, including the drawing series starting from a personal position, individual works employ different media such as installation, photograph and video that can be interpreted relatively according to subjective viewpoint so that each work may reveal its theme most effectively. Recently we are taking interest in so-called ‘work,’ which is an activity making works, and research is being conducted on the boundary between the act of work and artists’ private life – which may not be considered directly relevant to work.In other words, it is being studied whether a specific act absolutely necessary for the birth of a work – for example, the body’s action to conquer the object to be expressed using brush or other expression work tools or the process of mental exploration for the implementation of a theme or message that the artist is to communicate – can be defined as a direct act that implements a work. Nowadays, Artist are working on various exhibitions and residencies.
RohwaJeong is an artist consisting of two persons, Noh’ Yun-hee (b. 1981 in Seoul, Korea, F) and Jeong’ Hyeon-seok (b. 1981 in Seoul, Korea, M).Our work observes and pays attention to relations changing in various times and spaces, and makes efforts to capture them effectively in their works.In particular, we try to probe into diverse relations among individuals and the individuals’ detailed conflicts arising from their roles in the relations. This is a movement to get away from the majority’s subjective and violent eyes that interpret all phenomena around in somewhat lazy and stereotyped judgment. Accordingly, it sometimes appears to be a situation or state that may induce various interpretations of a certain relation through works. What is more, because each work adopts its medium in proportion to the weight to be conveyed, the overall formative uniformity among the works is avoided. That is, including the drawing series starting from a personal position, individual works employ different media such as installation, photograph and video that can be interpreted relatively according to subjective viewpoint so that each work may reveal its theme most effectively. Recently we are taking interest in so-called ‘work,’ which is an activity making works, and research is being conducted on the boundary between the act of work and artists’ private life – which may not be considered directly relevant to work.In other words, it is being studied whether a specific act absolutely necessary for the birth of a work – for example, the body’s action to conquer the object to be expressed using brush or other expression work tools or the process of mental exploration for the implementation of a theme or message that the artist is to communicate – can be defined as a direct act that implements a work. Nowadays, Artist are working on various exhibitions and residencies.
Works
