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atrocitycl · 7 years

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Drama Review - “Fight My Way”

(Official Trailer 2)

Lee Najeong (Director) – Fight My Way

Reviewed on September 3, 2017

I highly recommend this drama. While it is not perfect at all and does contain—in my argument—certain, significant flaws, I find that this drama is still one of the best I have ever seen. Furthermore, as I will focus on in this review, this drama’s main strength lies in how it is incredibly versatile and this reason is, perhaps, why the drama was incredibly popular—both in South Korea and even elsewhere. After all, Fight My Way arguably flourishes in the two main aspects of dramas: it appeals to a wide audience; and, it contains solid theatrical features in order to maintain said wide audience.

Personal Message: Edit: As one can tell, I intended to post this review far sooner. I am incredibly busy with university, so I hope for readers to be understanding with the lack of content lately. It has been two weeks since the prior post, but I will sincerely attempt to still be active with this blog despite how hectic my university schedule is. In fact, just finishing this review was incredibly fun and rewarding and it is moments such as these that I regret not writing every day.

Apologies for the lack of content. University has indeed started as of this sentence and thus, I will be busy with upcoming classes. I expect this semester to be by far the busiest, but I will do my best to post around six or so reviews per month. I also will still try to catch up on other reviews from the summer that I have not reviewed: GFRIEND’s “Love Whisper” and Blackpink’s “As If It’s Your Last.” But, considering there are recent comebacks that might be more relevant to review such as PRISTIN’s “We Like,” those mentioned reviews might have to unfortunately be skipped.

Regarding this review, this will be a “bonus” review: a review that still attempts to bring critical, thoughtful discussion but one that will ultimately be hindered by lack of experience. Therefore, readers should feel free to openly challenge this review’s take to the drama or at least interpret the review lightly. After all, while I do enjoy watching dramas from time to time, I am exceptionally inexperienced with the theatrical aspects that are involved. Lastly, for the remaining clarification needed, while it should be noted that there are many to praise and credit for the production of a drama, in this review I will explicitly credit and oftentimes refer to Lee Najeong—the director of Fight My Way. I have decided on doing this as, if I am correct, the directors are the ones in charge of directly guiding how each scene appears in the drama—this being akin to, say, an author of a novel. As a result, she will be who I explicitly credit but of course, in the overall scheme of creating a drama, I hope to remind readers that all staff members deserve credit.

With all of that, let us head into the review for Fight My Way.

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Recommendation: I highly recommend this drama. While it is not perfect at all and does contain—in my argument—certain, significant flaws, I find that this drama is still one of the best I have ever seen. Furthermore, as I will focus on in this review, this drama’s main strength lies in how it is incredibly versatile and this reason is, perhaps, why the drama was incredibly popular—both in South Korea and even elsewhere. After all, Fight My Way arguably flourishes in the two main aspects of dramas: it appeals to a wide audience; and, it contains solid theatrical features in order to maintain said wide audience.

Plot Summary: Summarizing this drama is a bit difficult. Overall, Fight My Way focuses on four main characters: Aera, Dongman, Seolhee, and Jooman. Rather than a singular event being the driving force of the plot, this drama differs in that it is solely minor events that move the plot. For example, the drama might focus on how Aera and Dongman are developing romantic feelings towards each other and the comedy that such brings, or it might opt for a more serious route with showcasing how the two—and even Seolhee and Jooman—constantly face failures with their careers. Ultimately, what can be most appreciated is how relatively tame the plot is and yet how deep and impacting it can be upon viewers; it truly is a drama that addresses “life” in of itself—though in a comedic, romantic, and serious manner.

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Analysis: One distinct aspect to the drama, and perhaps its strongest point, is how it manages to capture a wide audience. This is a surprising point given the typical trends of dramas: targeting a specific audience and then complying with that very audience’s desires. However, with Fight My Way, despite the drama being explicitly labeled as a romantic-comedy, Lee Najeong’s directing is not limited to fulfilling the ideas such a genre encompasses. Without spoiling too much about the drama—hopefully, that is—let us home in on a scene that perhaps best illuminates Lee Najeong’s and the drama’s versatility with genres. (I will be vague so as to not spoil moments.)

During one specific scene and episode, we find that Aera fails to acquire a certain job role due to unjust decisions. In her defeated state, she ends up running into Dongman. Fast forwarding, we find the two sitting together on a bench as Aera eventually reveals that she did not in fact get the job. After Dongman’s insightful, lingering quote of how, in summary, pretending to be fine and refusing to cry are not “cool acts,” Aera finally sheds tears—though, comically, she mentions that if anyone sees her cry, Dongman will become her murdered victim. And, for the remaining details, as avid drama watchers might predict, Dongman indeed shields Aera with his jacket before finally pulling her head into his chest for her to cry into.

Now, for what makes this scene so momentous, it is due to how well the director balances various tones and even genres if we dare go that far. Simplistically, the director could have opted to focus on one specific tone and flesh it out—a simple example being heavily emphasizing the romantic aspects to this scene. But, instead, Lee Najeong includes the three main points to the drama: seriousness, comedy, and romance. With the serious take to this scene, for example, Aera’s depicted situation is far from merely being “only in dramas”; her being rejected of that dream job had a lot of social commentary if we dare analyze Fight My Way in this lens. For what occurred, Aera lacked—or more accurately, lacks—“social capital”; she is not young nor deemed pretty, she lacks formal education via college degrees, and she lacks “experience.” The most upsetting aspect, though, is that she is skilled and has the passion and work ethics. Sadly, none of those traits matter when her overall social capital does not suffice—“capital” that is hard for a lower-classed individual to have due to their circumstances.

And so for what this reveals, Fight My Way despite being a romantic-comedy does at times become incredibly solemn—a feature that not only helps balance out the drama, but is one that attracts viewers who otherwise would be repelled away by excessive romance and comedy. Likewise, though, the director still accommodates for those who are watching primarily for the romance and comedy—such as, admittedly, in my case. Quite clearly, those aspects are also fulfilled within this very episode and scene given Aera’s remark of threatening Dongman’s life to maintain her tough persona and how Dongman does very sweetly hold her close and comforts her. All in all, this versatility is arguably why the drama does well in terms of having a very broad yet loyal audience: it simply captures the spectrum of viewers who care more for serious aspects such as social commentary (be it gender or class as the drama tended to focus on), but also for viewers who merely want to gush over the romance.

Moving on to focusing on the drama in a theatrical sense, we will transition to this point as while we understand why the audience is broad, we now need to understand why that very audience remains loyal to watching the drama. The answer, then, is we need to focus on how the drama plays out in a technical, theatrical sense.

For what initially caught my attention and perhaps many other viewers, Fight My Way’s aesthetic appeal—this ranges from the overall setting to as specific as what the actresses and actors wear—entirely goes against the average drama: it is humble. In fact, even Park Seojoon, the actor who portrays Dongman, addresses this point and embraces it as he finds that this allows the drama to focus less on sheer visual appeal and more on the actual acting that occurs. But even without the added bonus of the acting having a greater presence, there is another benefit to the drama’s lack of exquisite fashion or a setting that is luxurious: the drama unveils the beauty of “normal”—that there is, indeed, beauty to sceneries that would seldom exist in dramas. From simple t-shirts and sweatpants to smaller apartments to a roughly established rooftop hangout spot, Fight My Way boldly challenges the way many other dramas utilize their settings. In many cases, gorgeous settings are used to help viewers escape reality but with this drama, Lee Najeong seems to want viewers to see reality—to see that their own lives, to certain degrees, are reflected in the drama.

For another theatrical aspect that I do wish to cover, as with any drama, we definitely need to spend time covering the acting—the skill that brings dramas to life akin to vocalists bringing a song to life. Regarding the acting, as stale as the following will sound, I find that the actresses and actors have all done an excellent job. There were minimal—if at all any—moments where I found the acting to be far too exaggerated or simply unfitting. To perhaps best explain why the acting is quite impressive, I think we ought to look not at emotional scenes—scenes that typically are used to gauge acting—but rather we need to look at comical scenes. After all, emotional scenes are easily manipulated beyond just acting: music; mere empathy; tears on everyone; and so forth. In other words, I find that it requires much more acting to make someone laugh versus to make them cry and hence why I believe that focusing on comical scenes is important if we are to gauge the acting.

Once again to prevent spoilers, I will be extremely vague but I do wish to refer to a certain scene. There is a time where Dongman finds that Aera is dating someone, and in short, much laughter is to come. Most impressively, though, is that the humor has less to do with witty scriptwriting and more with Park Seojoon’s performance (and, of course, Lee Najeong’s directing). Through purely facial expressions for example, viewers are able to gather many details: that Dongman’s world has shattered. It is through his horrified look that viewers not only get basic comedy out of such, but it is also when viewers could start piecing together that, perhaps, Dongman does have a crush on Aera and thus we are able to laugh at Dongman’s regrets and poor decisions of being mean to Aera. Similar types of acting-based comedic scenes also occur—a notable one being when Dongman begins to finally notice how Aera is attractive to him and seems to be struggling for breath as he wonders why her legs are now pretty despite, quite obviously, Aera’s leg never physically changed at all. (And, this is even more comedic when we factor in how, in many prior episodes, Dongman was extremely repulsed at having to touch Aera’s hair.)

(That said, for a serious moment and digression, readers who know what scene I am referring to might have found it disturbing—and that is not due to sexual undertones as that was not there. Rather, I refer to Dongman controlling Aera’s fashion. In terms of what viewers need to understand, this is where viewers need to be aware of cultural context—that, indeed, Dongman’s act was less of being oppressive and more of protecting, though that can and should be openly challenged or even defended depending on one’s argument. Nevertheless, it is worth bearing in mind why such a very stereotypical drama romance scene was used there, and of course that it added the comedic element of, as explained, Dongman acting as if Aera’s leg had suddenly changed.

Ultimately, how viewers interpret that scene is up to individual ideas: one can find it disturbing and offensive and rightfully so, but equally one has to bear in mind different cultural takes and how the “fashion control” that occurs is, in the appropriate cultural context, less about a man controlling a woman and more as merely “protecting” an individual. And, overall, I hope this single scene does not entirely detract from the drama’s otherwise very positive messages about gender equality and feminism—after all, both Aera’s and Seolhee’s depicted characters offer the most balanced perspective one could ask for and I admire the drama for offering what I argue is true feminism: that a woman should behave how she wants. Aera’s character presents the typical “strong woman” that many appreciate and love when it comes instantly thinking of feminism, but Seolhee’s character also presents the side that is oftentimes forgotten: that there is nothing wrong with desiring to be a stay-at-home-Mom and that her main dream in life is “to be a mother”—though I have now arguably just spoiled a very powerful line from her as viewers who watch the drama will see. Without this tangent getting any further, I simply wish to end it with the drama’s message about feminism: that it is not just only about a “strong woman” like Aera; feminism also means giving a voice to women who do not want to be like Aera but instead are more like Seolhee. And, before men are dismissed, much is also to be appreciated for the drama showcasing that a man crying, being emotional, and showing moments of weakness is, as Dongman would say, in fact “cool.”)

On topic, now that we have covered many reasons for why the drama is a stronger one, I unfortunately cannot end the review here. I recommend Fight My Way and will claim it is by far one of the best dramas I have seen, but it would be erroneous to claim it was objectively the best. It does have, as any drama does, many flaws—some of which, I will argue, are too significant to ignore.

One prominent problem that the drama struggles to handle is that towards the last four or so episodes, the drama’s tone and genre versatility disappear. Suddenly, Lee Najeong’s impressive directing where there is a balance of seriousness, romance, and comedy becomes predominantly just serious. Much of the comedic aspects are lost, and given how central humor is in the drama, having it entirely put aside—while understandable as the drama is attempting to conclude neatly—leaves a noticeable void. Likewise, many of the romantic scenes are lost—though if heartbreak counts, then perhaps “romance” in a distorted sense does still remain. (And readers should watch the drama to understand this supposed “heartbreak” that occurs towards the last episodes. Before readers claim I spoiled the ending, I will say that is far more complicated.)

Even so, while one could indeed dismiss the prior point, I find that what ultimately prevents me from claiming that Fight My Way is the best drama is due to poor character developments that occur for non-lead characters. Many supporting characters are simply far too one-dimensional, and this does hinder the plot and complexity of the drama. One key example is Hyeran, Dongman’s ex-girlfriend. Her character exists to cause tensions between Aera and Dongman but, the infuriating part is Hyeran lacks reasoning for her heinous acts. The drama, in essence, simply did not develop her character enough for there to be understandable reasons—or at least, I personally do not count “Hyeran became divorced and now wants to go back to her first option: Dongman” as a thoroughly developed character. It would have been far more interesting as a character and plot if, for example, Hyeran was actually a typical, well-behaved human and that she had a deeper past with Dongman. Instead of relentlessly and disturbingly chasing Dongman after being divorced, what if the two were previously in a very respectful and close relationship and ended on good terms and that she now wonders if they could get back together? This route not only prevents Hyeran from being a superficial character, but it also suits with the drama’s realistic style and causes conflicts not due to, essentially, being stalked but because Dongman has feelings he needs to address if he is to understand how he truly feels about Aera. Other characters such as Moobin are also one-dimensional and positioned as antagonists merely for the sake of having antagonists. Rather than relying on generic, binary characters of “good versus evil,” the drama would have been more appealing by having actions that are centered as moral dilemmas rather than the characters themselves. A good example of what I mean is if we look at one of our leads, Jooman: a man whose heart is, without doubt, full of love and helping others. The “evil” that exists, then, is whether too much kindness can ironically become bad.

In Jooman’s case, I argue he was an example of excellent character development and of straying away from the generic, “good versus evil” archetype. For his situation, his kindness with a new co-worker, Yejin, has led to some misunderstanding with Seolhee, his partner—more so as Yejin begins developing feelings for Jooman and is unaware of his relationship with Seolhee (or at least initially). Certainly Jooman never did anything inappropriate with Yejin at all, but as Aera presented, the problem was not focused on that: “It doesn’t matter if you didn’t sleep (have sex) with her or not.” The problem was Jooman constantly lied to Seolhee when helping Yejin as he did not wish to cause mistrust or create suspicion of an affair that did not exist. Now of course, Jooman’s true mistake was simply the lack of open communications and being truthful, but if it took a lie of how he was meeting his friends in order to get an incredibly intoxicated Yejin home safely, Jooman valued doing “what was right” even if it meant having to lie to Seolhee. The main takeaway, overall, is that Jooman’s character presents a situation where he is innately a good person and yet it is his actions that prove complex. He never intended to betray Seolhee’s trust but, in difficult circumstances of wondering what is ethically right—of caring for the safety of a co-worker at the cost of having to lie—we find a character who does away with the typical “good versus evil” setup that Moobin and Hyeran and other character rely on. This level of depth in characters—even for the supporting ones—would have made the drama far more insightful and pleasing. As it stands, many non-lead characters are simply far too one-dimensional and lack convincing, realistic reasons for what we would perceive as inappropriate and cruel behavior.

In the end, I still find Fight My Way to be an incredible drama and the best I have seen. I recommend it to both those familiar with Korean dramas or for those who might be watching one for the first time. Assuming one can overlook poor character development in supporting characters and how the drama becomes excessively serious towards the final episodes, Fight My Way is easily one of the better dramas produced. For me, I personally came for the romance—and rightfully, bawled so much at the most climactic kiss scene I have yet to witness—but ended up very much embracing its serious aspects and social commentary about class and gender and even other aspects such as family. Dongman’s relationship with his father, for example, mirrored my own life: while my father and I are at times somewhat distant, we still do express our love. A particular scene that I heavily related to was despite Dongman and his father having a hefty argument, in the end both left each other gifts and realized they both are the same—and comically, Dongman’s father questioned where Dongman gets his behavior. And of course, there is always the romantic aspect to delight in—though for me, love is still distant. That said, I also feel similar to Dongman with developing a crush for someone but this is definitely far too embarrassing to elaborate on. All in all, as Fight My Way has proven, it truly is a drama about “life” and thus, many readers would most likely find it a worthy drama to watch.

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Apologies for the lack of content for the past two weeks. University is incredibly busy, and with other technical tasks I need to handle—scholarships, working as a writing tutor soon, and so on—it has become hard to find time to write reviews. Given that this review is, despite being a “bonus,” is exceptionally lengthy, the next post will come in a week or so. Song reviews will come as usual, but I ask for readers’ understanding and patience—and likewise, for those waiting for Fiestar subtitled videos.

Until then, look forward to usual song reviews and as always, thank you so much for reading or skimming this review.

#Fight My Way #Korean Drama Reviews #Show Reviews #Park Seojoon #Kim Jiwon #Ahn Jaehong #Song Hayoon #Lee Najeong #Im Sangchoon

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weekend-seoul · 7 years

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Things to Come 笃定发生

시아오시 비비안 비비안 친

Xiaoshi Vivian Vivian Qin

2017. 11. 25 ~ 12. 24

*별도의 오픈식은 없습니다.

그들이 온다. 주요 인물은 이들이다:

와이만-마이클은 갓 대학원을 졸업한 새내기 보험설계사이다.

복잡한 가족사가 있다. 인간이다.

제트는 유전학과 관련된 약품의 의인화로, 의미심장한 캐릭터이다.

제이크는 야동 웹사이트의 의인화이다. 굉장히 매력이 있는 캐릭터이다.

대두 동 (큰머리 동)은 사교성이 좋은 플로리스트이다. 40대. 인간이다.

네명은 철물의 중심지인 쉰젠에서 개최된 “지구멸망 대책 워크숍”에서 만났다. 하지만 “지구멸망 대책 워크숍”은 사기로 드러났고, 그들의 관계는 점점 더 복잡해지는데…

위켄드에서 열리는 전시는 “Boy's Love (BL)"라는 장르에 대한 일련의 예술적 탐구의 시작이다. 일본에서부터 애니 문화와 인터넷을 통해 전파되어 유행에 이르게 된 “Boy's Love (BL)” 장르는 여성 관람객을 위한 남성과 남성의 로맨틱한 관계를 일컫는다.

작가는 광저우의 SCNU 대학교와 연계된 고등학교의 애니/망가 동아리에서 “Boy's Love (BL)” 장르에 관심이 있고 재능있는 여학생들과 몇몇 남학생들과의 친분을 쌓게 되었다. 이 프로젝트는 작가와 예전 애니/망가 동아리의 구 멤버들과의 콜라보레이션이 될 것이다. 디지털 프린트 패널, 비디오, 그리고 사운드를 사용한 유머 있는 작품을 구상하며, 작가는 현재의 중국과 그 너머 다른 곳에도 존재하는 권력의 관계를 새롭게 상상하며 일상 속 느끼는 무기력함에서 탈피하고자 한다.

Here they come. These are the main characters:

Waiman-Michael(伟文-Michael) a young human entry-level actuary just out of grad-school; has serious family issues.

Z, a mysterious personification of some sort of Genetic medicine still in development.

Jake, a personification of a pornography website, extremely attractive.

Datou Dong (Big Head Dong/大头董), a very outgoing florist. human. in his forties.

The four met at a doomsday prep workshop in Shenzhen, the new world capital of hardware and since became friends. The workshop turned out to be a scam and their friendship developed into something complicated…

The show at Weekend marks the beginning of a series of artistic investigation in the tradition of Boy’s Love(BL) fiction. Originally from Japan and popularized through manga/anime subculture and the internet, Boy’s Love portrays romantic relationships between male characters for a female audience.

The artist attended the Affiliated High School of SCNU in Guangzhou where she joined the manga club and befriended many talented young women and some men who shared interests in BL. This project will be a collaboration between the artist and former members of the manga club(details to be published later). Using sense of humor, digitally printed panels, videos, and sound, the artist reimagines the power relationships in contemporary China and beyond as an attempt to escape the increasingly-felt helplessness in everyday life.

A Matter of Awareness

기획: 박혜린, 이나정

Curated by: Hae Lin Park, NaJeong Lee

참여 작가: 고경호, 김겨울, 왕선정, 우한나x조응철, 최이다

Artists: Kyungho Ko, Winter Gyeoul Kim, Seonjeong Wang,

Hannah WooxEungchul Cho, iida Choi

2017. 10. 14 ~ 12. 24

“마땅히 있어야 할 것이 빠져서 없거나 모자람”

결여는 근본적으로 욕망과 연결되어 있고, 이는 곧 반대로 모든 욕망은 결여로부터 생겨난다. 우리의 일상적인 대화에서 마땅히 있어야 할 것들의 부재에 따른 아쉬움과 그것을 갈망하는 목소리는 어디를 향해 있을까?

이번 전시에서는 동시대를 살아갈 때 마땅히 있어야 함에도 부재한 두 가지 요소를 인지하고, 이에 대해 고찰해본다. 첫째로는 사회 안에서 각 주체가 맺어가는 관계를, 둘째로는 내면의 흐름을 직관적으로 짚어가는 여정을 통해 관객들이 작품에 빗대어 자신의 삶을 성찰해 볼 수 있는 다양한 트리거(trigger)를 제시한다.

<Reveal>에는 고경호, 왕선정, 우한나x조응철 작가의 회화, 설치, 사운드 작품을 선보인다. <Trace>에는 김겨울, 최이다 작가의 회화, 비디오 작품이 전시된다. 그리고 전시와 관객을 이어주는 매개체로 <Share> 프로젝트를 진행한다. “Lack or absence of something needed”

Absence is fundamentally connected to desire as desire arouses from absence. In our daily life, in what ways do we notice, and fulfill the absence of essential elements?

This exhibition cognizes two elements that should be fundamentally satisfied, but have been missing in our life. Audience is triggered to introspect their life through relationships between entities in society, and the journey of tracing the inner flow.

<Reveal> presents Kyungho Koh, Seonjeong Wang, and Hannah WooxEungchul Cho’s painting, installation, and sound works. <Trace> features Winter Gyeoul Kim, and iida Choi’s painting and video works. A Project space <Share> is presented as a mediator between audience and the exhibition.

2017 Weekend Program

12/17 ~ 1/22 이환희 Fanhee Lee (b. 1990)

fanheelee.com

이환희는 현재 서울에서 거주하며 작업하고 있다.

Fanhee Lee lives and works in Seoul, Korea.

All of the works on his first solo exhibition at Weekend got their titles after completion. The works themselves couldn't thank him enough for their perfect marriage to the titles. curated by Jeongyoon Choi

2/4 ~ 3/5 조나 킹 Jonah King (b. 1985)

jonahking.info/

조나 킹의 비디오 설치 작품은 디지털 기술이 자연과 인간의 심리관계에 어떤 영향을 끼치는지를 탐구한다. 그는 허구와 사실적 이야기들을 지역 사회공동체나 배우들과 스튜디오에서 촬영한 영상들로 엮어낸다. 유토피아나 종말론적 꿈과 같은 사변적인 내러티브를 환기함으로써 작가는 최근 크게 디지털화 되고 있는 인간 생태계의 의미에 대해 질문을 던진다. 조나 킹은 2012년에 더블린의 National College of Art & Design을 수석으로 졸업하였고, 2016년에는 Columbia University에서 석사학위를 취득했다.

Jonah King’s video installations explore how digital technology is changing our psychological relationship to land. King weaves fictional and true accounts through constellations of moving images generated in the studio, with actors, or in collaboration with community groups. By invoking speculative narratives of envisioned utopias and apocalyptic dreams, he questions what it means to be human in an ecology increasingly infused with the digital. Jonah King received his BFA from the National College of Art & Design, Dublin in 2012 (valedictorian) and his MFA from Columbia University in 2016.

organized by Jenny Cho and NaJeong Lee

3/18 ~ 4/16 이희준 Heejoon Lee (b. 1988)

이희준은 서울을 기반으로 활동하며 도시 건축의 이미지와 인테리어 환경 속에서 조형적 요소들을 수집하고 재구성하여 평면적 환경을 만드는 작업을 한다. 2013년부터 그가 거주했던 홍대 일대의 건축물을 그리기 시작했고, 2014년 스코틀랜드의 글라스고 예술대학에서 석사과정을 마치고 귀국 후 공릉동 작은 공간에서 노토일렛을 운영하며 4번의 전시를 열었다. 2015년에는 중랑구 망우동 작업실에서 <Interior Nor Exterior> 회화 연작을 시작하여 현재에 이르게 되었다. 아이슬란드 아큐레이리, 영국 글라스고, 런던, 에딘버러 및 독일 베를린 등지에서 다수의 기획전시에 참여했으며 2014년 런던 사치 갤러리가 주관한 New Sensation 2014 수상 후보로 선정된 바 있다. 2016년 서울에 위치한 기고자에서 첫 개인전을 가졌다.

Heejoon Lee is a visual artist based in Seoul, South Korea. The conceptual range of his painting includes architectural structure and trendy interior objects of our time. Heejoon received his BFA in Painting and Sculpture at Hong-Ik University in 2012 and his MFA at Glassgow School of Art in 2014. His recent group exhibitions include; I DROGUM at the Art Museum of Akurey, Akurey, Iceland, Dear Green at ZK/U, Berlin, Germany, 2014 and Tipping the Line at My Occupy Time Gallery, London, UK, 2014. He was nominated in 'Jury Picks' in 100 Painters of Tomorrow(Thames & Hudson 2014) and the New Sensation 2014 by Sattchi Gallery. His first solo exhibition was held at Kigoja in Seoul, 2016.

curated by Jeongyoon Choi

이희준 작가는 11/17 ~ 12/9동안 이목 화랑에서 세번째 개인전 <에메랄드 스킨>을 선보입니다.

5/6 ~ 5/28 이사라 Yi Sa Ra (b. 1988)

yisara.com

이사라는 주로 비디오 설치 미술과 디지털 사진 작업을 하는 미술가이다. 그는 개인적인 경험이 동시대의 사회, 문화적 곤경과 어떻게 연결되는지 탐구한다. 현재 서울에서 거주하며 작업하고 있고, 2018년에 뉴욕 컬럼비아대학교 대학원에 진학할 예정이다. 2011년 로드아일랜드 스쿨 오브 디자인을 졸업하였고, 2010년에 예일대학교로부터 엘렌 배텔 스토켈 펠로우쉽을 받아 예일 노퍽 섬머 스쿨 오브 아트 앤드 뮤직을 이수하였다. 챕터투, 한국 (2016), 에치고 츠마리 아트 트리엔날레, 일본 (2015), 예술의 전당 한가람 미술관, 한국 (2013), 로저 윌리엄스 국립공원, 미국 (2011)에서 전시했다.

Yi Sa Ra (Sarah Lee) is an artist who primarily works in video installation and digital photography. Her work and research explore how her personal experiences inform social and cultural predicaments specific to our time. She currently lives and works in Seoul, and will be in New York City to attend the MFA program of Columbia University in 2018. She received a BFA from the Rhode Island School of Design (RISD) in 2011 and the Ellen Battell Stoeckel fellowship from Yale University to attend the Yale Summer School of Art and Music in Norfolk in 2010. Her work has been exhibited at CHAPTER II, Korea (2016), Echigo-Tsumari Art Triennale, Japan (2015), Hangaram Art Museum, Seoul Arts Center, Korea (2013) and Roger Williams National Memorial, USA (2011).

curated by Jeongyoon Choi

6/10 ~ 7/9 함혜경 Hyekyung Ham (b. 1983)

함혜경은 한국에서 활동하고 있는 비디오 작가다. 그녀는 다양한 장소에서 수집된 이미지를 재구성하여 ‘누군가’의 독자적인 이야기로 만들어 내는 작업을 하고 있다. 그녀는 이미 존재하는 내러티브와 이미지를 도구로 새로운 이야기를 만드는 방식에 주목하며, 현실의 어떤 불편함, 불완전함, 언제 끝날지 모르는데 끝나버릴(린) 상황등을 나름의 방식으로 은유 한다.

Hyekyung Ham is a video artist currently working in South Korea. She collects and edits images from various places into a unique narrative of ‘someone’. By focusing on weaving new stories from already existing narratives and images as the main tool, her works represent a metaphor of discomfort and imperfection of truth, and situation which to end (or has ended) in indefinite time.

curated by Jeongyoon Choi

8/26 ~ 9/24 전현선 Hyunsun Jeon (b. 1989)

전현선은 현재 서울에 거주하며 작업하고 있다. 이화여자대학교에서 서양화를 전공하였으며 현재 동대학원을 수료했다. 이화익갤러리 (2016)와 플레이스막 (2015)에서 개인전을 열었고, 인사미술공간 (2016), 하이트컬렉션 (2015), 두산갤러리 (2015), 스페이스 K (2015) 등 다수의 그룹전에 참여하였다. 그림과 글이 담긴 <그림이 된 생각들(열림원)> 책을 출판했다.

Hyunsun Jeon lives and works in Seoul. She received her BFA in Painting and completed her master's course in Painting from Ewha Womans University. She had solo exhibitions at LEEHWAIK Gallery (2016) and Place MAK (2015). She participated in group exhibitions at Insa Art Space (2016), HITE Collection (2015), DOOSAN Gallery (2015) and Space K (2015). She also published the book Thoughts that Became Paintings (Yolimwon Publishing Group) with her paintings and writings.

curated by Jeongyoon Choi

10/14 ~ 11/12 박아람 Rahm Parc (b. 1986)

rahmparc.tumblr.com

박아람은 서울을 기반으로 작업하며, 2014년에 첫 개인전인 <자석 올가미 측량> (케이크 갤러리), 2016년에는 두 번째 개인전 <질, 량, 형> (갤러리 엠)을 열었다. 참여한 그룹전으로는 <우주생활> (일민미술관, 2015), <오늘의 살롱> (커먼센터, 2015), <분석적 목차> (케이크 갤러리, 2015), <평면 탐구> (일민미술관, 2015) 등이 있다.

Rahm Parc works in Seoul, Korea. She received a BA in Visual Communication Design from Gacheon University and a MFA in painting from Hongik University. She has had solo shows at Cake Gallery, Seoul (2014) and Gallery EM, Seoul (2016). She has also participated in group exhibitions at Il Min Museum, Seoul (2015), Common Center, Seoul (2015) and Cake Gallery, Seoul (2015). curated by Jeongyoon Choi 11/25 ~ 12/24 시아오시 비비안 비비안 친 Xiaoshi Vivian Vivian Qin (b. 1989) xiaoshiqin.co

시아오시 비비안 비비안 친은 중국 광저우와 뉴욕을 오가며 작업한다. Denison University에서 Communication Theories and Art를 학사 졸업하였고 Columbia University에서 석사 졸업하였다. 그는 Queens Museum, 뉴욕 (2016), Jewish Museum, 뉴욕 (2014), HB Station at Times Museum, 광저우 (2014), SPRING/BREAK ART Show (2016), Barnard College (2016), I: project space, 베이징 (2015), 221A Gallery, 벤쿠버 (2015), Flux Factory, 퀸즈 (2015), Ying Space, 베이징 (2016), Biljana Circs' curatorial project You Won't be Young Forever (2016)의 전시에 참여하였다. 비비안은 the Lotos Foundation Prize를 2015년에 수상하였고 Modern Weekly Magazine

(周末画报)과 Leap Magazine에서 예술과 기술에 대한 글을 기고한다.

Xiaoshi Vivian Vivian Qin lives and works between Guangzhou, China, and New York City. She received her MFA from Columbia University (2015) and BA in Communication & Studio Art from Denison University (2012). Her work has been screened or exhibited in Queens Museum, New York (2016), Jewish Museum, New York (2014), HB Station at Times Museum, Guangzhou (2014), SPRING/BREAK Art Show (2016), Barnard College (2016), I: project space, Beijing (2015), 221A Gallery, Vancouver (2015), Flux Factory, Queens (2015), Ying Space, Beijing (2016) and at Biljana Circs’ curatorial project You Won’t be Young Forever (2016). She received the Lotos Foundation Prize in 2015. She writes about art and technology for Modern Weekly Magazine(周末画报) and Leap Magazine.

organized by Jenny Cho

2018 Weekend + 2/W 소개 2018년 위켄드와 2/W 는 하나의 고정된 디렉터쉽이 아닌 다양한 참여작가와 기획자가 공동으로 운영합니다.

앞으로 위켄드와 2/W 가 위치한 물리적 공간은 필요에 의해 유기적으로 합쳐지거나 나뉘어질 예정입니다. 더 많은 이름이 생기고 또 사라질 수도 있습니다. 공간에 관여하게 될 사람들 또한 특정한 역할이나 정체성에 얽매이지 않고 자유롭게 공간을 공유합니다.

이러한 새로운 구조를 통해 실험적이고 도전적인 작품과 기획을 마주하게 되기를, 또한 첫 전시를 하는 젊은 작가나 기획자에게는 새롭게 성장할 수 있는 틀을 스스로 구축할 수 있는 계기가 되기를 기대합니다.

In 2018, Weekend and 2/W will be operated by multiple curators and artists instead of a single artistic directorship.

The physical space of Weekend and 2/W will be organically structured as they could be put together or separated as needed. More identities can be added or removed, and the participating curators and artists are not bound to a particular role or identity.

With this new structure, we hope to provide an open platform where challenging young art and exhibitions of emerging artists and curators form their own frames of growth and development.

2018년 위켄드에서는 신진기획자 박혜린, 김연우가 역량있는 8명의 동세대 작가를 소개합니다. 기획자 소개를 포함한 2018년 위켄드 프로그램은 크리스마스 이브에 공개할 예정이오니 많은 관심 부탁드립니다. (공간문의: [email protected])

2/W는 위켄드 2층과 4층에 위치한 프로젝트 스페이스입니다. 찾아 주시는 관객, 참여 작가 그리고 기획자들이 함께 공유하고 운영합니다. (공간 및 참여 문의: [email protected])

Weekend is very pleased to introduce two emerging curators, Hae Lin Park and Yeon Woo Kim, and eight contemporary artists for 2018. Weekend program for the next year will be announced on Christmas Eve. (Inquiries: [email protected])

2/W is a project space located on 2nd and 4th floor of Weekend. 2/W introduces challenging young art and exhibitions through an open platform shared by participating artists, curators, and audience. (Inquiries: [email protected])

2017년 Weekend는 서울에서 독립 큐레이터로 활동하는 최정윤과 서울과 뉴욕을 오가며 활동하고 있는 제니조 작가가 공동설립한 공간으로 국내외 신진 작가들을 소개합니다.

Co-founded by Jeongyoon Choi, an independent curator based in Seoul and Jenny Cho, an artist based in New York and Seoul, Weekend introduces young and emerging local and international artists in Seoul.

0 notes

weekend-seoul · 7 years

Photo

에이포트레이트

Aportrait

박아람

Rahm Parc

2017. 10. 14 ~ 11. 12

Opening Reception: Saturday, 10. 14, 4 - 6 PM

이 그림은 나 자신에서 시작한다. 그 과정에서 거울이나 렌즈 등을 통해 나 자신을 비추어보는 일은 없었다. 대신 나는 나의 생년월일, 키, 몸무게, 발, 심박수, 호흡수, 체온을 측정하였다. 그리고 그로써 얻은 '수numbers'를, 회화의 차원에서 조작 가능 하도록 '획brushstroke'의 길이로 다시 규격화하고, 각각에 특정 너비의 붓을 대응시켰다. 따라서 그리기는, 마치 방의 공간을 가늠하려 사물을 이리저리 움직여 보고 배치하듯 획을 다루면서, 수치를 계산하고 그만큼의 획을 긋는 일의 반복이었다. 나는 이를, 회화를 '출력기'로서 재배치하는 전작에서 나아가, '가동 획 회화Movable Stroke Painting'라 부르기로 했다.

This painting departs from myself. Instead of reflecting myself in a mirror or lenses, I used my date of birth, height, weight, foot size, heart rate and body temperature. Those ‘numbers’ are then modularized as the length of 'brushstrokes' and the corresponding size of brushes, so they can be applied in the dimension of painting. Therefore, the act of painting became a repetition of calculating numbers and making the same amount of strokes and operating brushstrokes as if moving and placing objects around the room to estimate the space. Taking another step by reconfiguring paintings as a ‘printer’, I decided to name this work ‘Movable Stroke Painting’.

A Matter of Awareness

기획: 박혜린, 이나정

Curated by: Hae Lin Park, NaJeong Lee

참여 작가: 고경호, 김겨울, 왕선정, 우한나x조응철, 최이다

Artists: Kyungho Ko, Winter Gyeoul Kim, Seonjeong Wang,

Hannah WooxEungchul Cho, iida Choi

2017. 10. 14 ~ 12. 24

Opening Reception: Saturday, 10. 14, 4 - 6 PM

“마땅히 있어야 할 것이 빠져서 없거나 모자람”

Absence is fundamentally connected to desire as desire arouses from absence. In our daily life, in what ways do we notice, and fulfill the absence of essential elements?

2017 Weekend Program

12/17 ~ 1/22 이환희 Fanhee Lee (b. 1990)

fanheelee.com

이환희는 현재 서울에서 거주하며 작업하고 있다.

Fanhee Lee lives and works in Seoul, Korea.

2/4 ~ 3/5 조나 킹 Jonah King (b. 1985)

jonahking.info/

organized by Jenny Cho and NaJeong Lee

3/18 ~ 4/16 이희준 Heejoon Lee (b. 1988)

curated by Jeongyoon Choi

이희준 작가는 10/14 ~ 11/12동안 Keep in Touch가 기획한 그룹전 <Land Play>에 정현두, 최수인 작가와 함께 참여합니다.

5/6 ~ 5/28 이사라 Yi Sa Ra (b. 1988)

yisara.com

curated by Jeongyoon Choi

이사라 작가는 10/20 오후 6시에 인사미술공간에서 진행하는 릴레이 토크 프로그램 <막간>에 최정윤 기획자와 함께 참여합니다.

6/10 ~ 7/9 함혜경 Hyekyung Ham (b. 1983)

curated by Jeongyoon Choi

8/26 ~ 9/24 전현선 Hyunsun Jeon (b. 1989)

curated by Jeongyoon Choi

10/14 ~ 11/12 박아람 Rahm Parc (b. 1986)

rahmparc.tumblr.com

organized by Jenny Cho

2018 Weekend + 2/W 소개 2018년 위켄드와 2/W 는 하나의 고정된 디렉터쉽이 아닌 다양한 참여작가와 기획자가 공동으로 운영합니다.

In 2018, Weekend and 2/W will be operated by multiple curators and artists instead of a single artistic directorship.

With this new structure, we hope to provide an open platform where challenging young art and exhibitions of emerging artists and curators form their own frames of growth and development.

0 notes

weekend-seoul · 7 years

Photo

모든 것과 아무것도

FORESTS AND SWAMPS

전현선

Hyunsun Jeon

2017. 8. 25 ~ 9. 24

Opening Reception: Friday, 8. 25, 5 - 7 PM

‘모든 것’과 ‘아무것도 아닌 것’. 이처럼 양 끝에 있어 만날 수 없을 것 같은 정반대의 개념들은, 어쩌면 등을 맞대고 있는 두 사람처럼 마주 볼 수는 없지만 서로를 느끼고 있는 것이 아닐까 하는 생각이 든다. 캔버스 위에 그림을 그리는 일은 꿈속에 있는 것처럼 모든 것이 가능한 일인 동시에 기억나지 않는 꿈처럼 아무것도 아닐 수도 있다는 불안함과 두려움을 주는 일이기도 하다. 이런 정반대의 생각은 스위치의 on/off처럼 수없이 깜박이지만, 그 연속 안에서 어떤 견고한 숲을 만들어 나가려고 한다. 물론 그 숲은 갑자기 무너져내려 늪이 되기도 하지만 계속 그림을 그려나간다. 질문에서 시작해서 질문으로 끝난다고 하더라도 그사이에 몇 개의 깃발을 꽂을 수 있다면 그것은 그림을 그리는 이유가 되어 조금씩 화면을 채워나간다. 작은 부분들이 모여 이룬 전체 화면은 무언가를 외친다기보다는 모호한 상황만을 제시한다.

‘Everything’ and ‘nothing’; these two opposite concepts are perhaps similar to two people standing back to back. They are unable to look into each other's eyes, but still have a glimpse of one’s presence. The act of painting makes everything possible like in a dream. At the same time, this world can be a source of anxiety and discomfort as the potential may never be realized. While these two contradicting thoughts continuously flicker like an on/off switch, each small pieces piles up into a rigid forest. Even if that forest slides down into swamps, the act of painting shall be continued nonetheless. The works may begin and end with questions, and my reason to fill out the canvas is derived from a possibility to discover some values among those questions. This cluster of small segments comprises into a whole plane, alluding to ambiguous situations rather than crying out for an answer.

2017 Weekend Program

12/17 ~ 1/22 이환희 Fanhee Lee (b. 1990)

fanheelee.com

이환희는 현재 서울에서 거주하며 작업하고 있다.

Fanhee Lee lives and works in Seoul, Korea.

이환희 작가는 9/6~9/27동안 SOPHIS GALLERY에서 두번째 개인전 <Gambit>을 선보입니다.

2/4 ~ 3/5 조나 킹 Jonah King (b. 1985)

jonahking.info/

organized by Jenny Cho and NaJeong Lee

3/18 ~ 4/16 이희준 Heejoon Lee (b. 1988)

curated by Jeongyoon Choi

5/6 ~ 5/28 이사라 Yi Sa Ra (b. 1988)

yisara.com

curated by Jeongyoon Choi

6/10 ~ 7/9 함혜경 Hyekyung Ham (b. 1983)

curated by Jeongyoon Choi

함혜경 작가는 9/1~9/24동안 갤러리룩스에서 장보윤 작가와 함께 2인전 <유영하는 삶 Floating Life>에 참여합니다.

8/26 ~ 9/24 전현선 Hyunsun Jeon (b. 1989)

curated by Jeongyoon Choi

10/14 ~ 11/12 박아람 Rahm Parc (b. 1986)

rahmparc.tumblr.com

organized by Jenny Cho

Weekend 로고 디자인: 윤지수 Jisoo Yoon (b. 1989)

jisooyoon.com

윤지수는 서울에 거주하며 작업하는 그래픽 디자이너다.

Jisoo Yoon is a graphic designer who lives and works in Seoul.

Weekend는 서울에서 독립 큐레이터로 활동하는 최정윤과 서울과 뉴욕을 오가며 활동하고 있는 제니조 작가가 공동설립한 공간으로 국내외 신진 작가들을 소개합니다.

Co-founded by Jeongyoon Choi, an independent curator based in Seoul and Jenny Cho, an artist based in New York and Seoul, Weekend introduces young and emerging local and international artists.

Weekend in partnership with 67 in NY,

USCA in Antwerp, Belgium

0 notes

weekend-seoul · 7 years

Photo

보이스 오프

Voice Off

함혜경

Hyekyung Ham

2017. 6. 10 ~ 7. 9

Opening Reception: Saturday, 6. 10, 4 - 6 PM

눈길 한 번으로 그림이나 조각을 보고 지나가는 관객들에게 상당 분량의 텍스트를 읽게 하는 비디오 작업은 뭐랄까, 서글픈 구석이 있다. 이미 지나가버린 텍스트들, 느려지는 관람속도..

나는 가벼운 기분전환의 수준에서 이야기를 시작하고 싶다. 누구나 아는 것에서 시작해 깊고 내밀한 어떤 것에 대해 말하고 싶다. 나의 작업은 관계, 사랑, 욕망, 좌절, 일에 대한 나만의 해석이다. 나 자신의 모습을 발견할 수 있는 상황을 찾아내고, 그것에 대해 내 머릿속에서 떠오르는 장면들을 텍스트로 옮겨 비디오 안에서 말하게 한다. 그래서 어떻게 됐느냐 보다 캐릭터들이 그러는 동안 마음속에서 벌어진 일에 대해 이야기 하고 싶다.

작업을 하는 것이 나를 더 나은 사람으로 만들어 줬다고는 말할 수 없지만, 지난 몇 년간 내 안의 균형을 잡는데 도움이 됐다. 과거에 해결되지 않았던 어떤 일들이 작업으로 만들어지는 과정에서 이해가 됐다는 말이 더 맞는 거 같다. 나에게 하나의 작업을 완성하는 일은 궁극적으로 또 하나의 내가 정리되는 일이라는 생각이 든다.

극적인 상황도 없고, 결말을 짓는 커다란 제스쳐도 없다. 그저 사람들의 사고방식과 삶을 바라보는 태도 혹은 왜 살아가야 하는지에 대한 나의 고민이 담겨있다. 그래서 내가 이해하지 못하는 삶의 방식을 다루고 싶지는 않다. 어떤 사람이 내 작업 앞에 서서 자기가 지금까지 뭔가를 잊고 있었다는 걸 깨닫는 경험을 하는 상상을 한다. 그런 의미에서 이것은 나를 위한 작업이라고 할 수도 있겠다.

Considering the way the audience look over the paintings and sculptures, the video work that requires close attention seems somewhat miserable. Flowing texts await no man, delay the appreciation...

I would like to start at the level of light diversion. The story starts from common ground to something deep and intimate. It is my interpretation of relationship, love, desire, frustration, and work. I try to find the situation where I can truly reveal myself, and transfer inspired scenes in my head to the texts, which will be spoken in the video. Rather than just focusing on the characters, this story reflects the process in my mind while they act through the scenes.

It is hard to say that my video works have led me to become a better person, but my last few years have been really helpful to stabilize myself. In fact, I was able to understand unresolved problems throughout the work process. Perhaps working is an ultimate way to reorganize myself.

There are neither dramatic moments nor significant gestures toward the conclusion. My contemplation bear in people’s perspective or attitude toward life, or even in the question why we should continue our life. This is the reason why I avoid using the way of life that I don’t understand. Sometimes I imagine a stranger in front of my work realizing what he or she has been missing. In the sense, this work is created for myself as well.

2017 Weekend Program

12/17 ~ 1/22 이환희 Fanhee Lee (b. 1990)

fanheelee.com

이환희는 현재 서울에서 거주하며 작업하고 있다.

Fanhee Lee lives and works in Seoul, Korea.

All of the works on his first solo exhibition at Weekend got their titles after completion. The works themselves couldn't thank him enough for their perfect marriage to the titles.

curated by Jeongyoon Choi

2/4 ~ 3/5 조나 킹 Jonah King (b. 1985)

jonahking.info/

organized by Jenny Cho and NaJeong Lee

3/18 ~ 4/16 이희준 Heejoon Lee (b. 1988)

Heejoon Lee is a visual artist based in Seoul, South Korea. The conceptual range of his painting includes architectural structure and trendy interior objects of our time. Heejoon received his BFA in Painting and Sculpture at Hong-Ik University in 2012 and his MFA at Glassgow School of Art in 2014. His recent group exhibitions include; I DROGUM at the Art Museum of Akurey, Akurey, Iceland, Dear Green at ZK/U, Berlin, Germany, 2014 and Tipping the Line at My Occupy Time Gallery, London, UK, 2014. He was nominated in 'Jury Picks' in 100 Painters of Tomorrow (Thames & Hudson 2014) and the New Sensation 2014 by Sattchi Gallery. His first solo exhibition was held at Kigoja in Seoul, 2016.

curated by Jeongyoon Choi

5/6 ~ 5/28 이사라 Yi Sa Ra (b. 1988)

yisara.com

curated by Jeongyoon Choi

6/10 ~ 7/9 함혜경 Hyekyung Ham (b. 1983)

curated by Jeongyoon Choi

함혜경 작가는 6/14 ~ 6/28동안 서울시 관악구 조원로 25 강남아파트에서 열리는 <관악구 조원동 1645-2>전에 참여합니다.

*이후 전시가 한달씩 연기되어 날짜가 변경되었습니다.

8/26 ~ 9/24 전현선 Hyunsun Jeon (b. 1989)

curated by Jeongyoon Choi

10/14 ~ 11/12 박아람 Rahm Parc (b. 1986)

rahmparc.tumblr.com

curated by Jeongyoon Choi

11/25 ~ 12/24 시아오시 비비안 비비안 친 Xiaoshi Vivian Vivian Qin (b. 1989)

xiaoshiqin.co

organized by Jenny Cho

Weekend 로고 디자인: 윤지수 Jisoo Yoon (b. 1989)

jisooyoon.com

윤지수는 서울에 거주하며 작업하는 그래픽 디자이너다.

Jisoo Yoon is a graphic designer who lives and works in Seoul.

Co-founded by Jeongyoon Choi, an independent curator based in Seoul and Jenny Cho, an artist based in New York and Seoul, Weekend introduces young and emerging local and international artists.

Weekend in partnership with 67 in NY,

USCA in Antwerp, Belgium

0 notes

weekend-seoul · 7 years

Photo

어쩌다가 특권처럼

Felt Like a Privilege

이사라

Yi Sa Ra

2017. 5. 6 ~ 5. 28

Opening Reception: Friday, 5. 12, 6 - 8 PM

이번 전시에서 이사라는 신작 영상을 선보인다. 전시의 주 작품인 ⟨어쩌다가 특권처럼⟩은 한국 경제사의 특정 사건 안에서 본인의 가정사를 이해하려는 작가의 인터뷰 여정을 담은 비디오이다.

1997년, 재계 14위였던 한보그룹의 부도와 함께 한보사태가 발생하였고, 이는 다른 대기업들의 부도로 이어지면서 한국은 곧 IMF 사태라는 비극을 맞이하게 되었다. 한보그룹의 업적은 80~90년대에 급진적으로 도약하며, 그 과정에서 부패와 비리를 서슴지 않았던 한국 경제사의 파편이면서, 동시에 작가의 아버지가 몸담았던 노동 현장이기도 하다. 작가의 아버지는 약 10년간 한보건설에서 근무하였고, 한보의 부도와 동시에 뇌종양이 발병되어, 다음 해에 생을 마감하였다.

20년이 지난 지금, ⟨어쩌다가 특권처럼⟩에서 작가는 아버지가 한보에서 근무했을 때 건설에 참여한 건물을 찾아가 기록한다. 또한, 부재한 아버지를 대신하여 당시 상황을 설명해 줄 목소리를 찾아, 한보가 건설한 아파트의 주민, 한보에서 함께 근무했던 고모부, 그리고 어머니를 인터뷰한다. 영상은 현재의 건물 풍경과 참여자들과의 인터뷰에 뉴스와 의료기록과 같은 과거 자료를 입히는 방식으로 서로 다른 정보의 시차와 누락된 정보의 빈자리를 드러내면서, 국가적 금융 위기와 작가의 가족해체를 연결시킨다.

This exhibition presents new video works by Yi Sa Ra. Felt Like a Privilege, the main video work of the exhibition, is a video that follows a journey of an interviewer played by the artist, trying to understand her family history within a specific event in South Korean economic history.

In 1997, the “Hanbo Crisis” occurred with the bankruptcy of Hanbo, the 14th largest conglomerate in South Korea. At the time, due to corruption, the demise of Hanbo rapidly led to bankruptcies of other conglomerates and, eventually, to the most severe financial crisis in the history of the country. The crisis was so significant that the country had to borrow a massive loan from the IMF the same year. The artist’s father, who had worked at the construction firm of Hanbo for ten years until its bankruptcy, was then immediately diagnosed with a brain tumor and passed away the next year.

20 years later, in Felt Like a Privilege, the artist discovers, and then visits, the buildings in whose construction her father participated while working for Hanbo. To gather diverse perspectives on these fragments of the past, she also interviews a resident of one of the buildings, her uncle-in-law, who also worked for Hanbo at the time, and her mother, and both explain the details of the situation to the artist on her absent father’s behalf. By overlaying archival news footage and medical records onto the current views of the buildings and interviews—which exposes the distance between information from different time periods and the gaps of missing information—the artist connects the national financial crisis with her family dissolution.

2017 Weekend Program

12/17 ~ 1/22 이환희 Fanhee Lee (b. 1990)

fanheelee.com

이환희는 현재 서울에서 거주하며 작업하고 있다.

Fanhee Lee lives and works in Seoul, Korea.

2/4 ~ 3/5 조나 킹 Jonah King (b. 1985)

jonahking.info/

organized by Jenny Cho and NaJeong Lee

3/18 ~ 4/16 이희준 Heejoon Lee (b. 1988)

curated by Jeongyoon Choi

5/6 ~ 5/28 이사라 Yi Sa Ra (b. 1988)

yisara.com

curated by Jeongyoon Choi

6/10 ~ 7/9 함혜경 Hyekyung Ham (b. 1983)

curated by Jeongyoon Choi

7/22 ~ 8/20 전현선 Hyunsun Jeon (b. 1989)

curated by Jeongyoon Choi

9/2 ~ 10/1 박아람 Rahm Parc (b. 1986)

rahmparc.tumblr.com

박아람은 서울을 기반으로 작업하며, 2014년에 첫 개인전인 <자석 올가미 측량> (케이크 갤러리), 2016년에는 두 번째 개인전 <질, 량, 형> (갤러리 ��)을 열었다. 참여한 그룹전으로는 <우주생활> (일민미술관, 2015), <오늘의 살롱> (커먼센터, 2015), <분석적 목차> (케이크 갤러리, 2015), <평면 탐구> (일민미술관, 2015) 등이 있다.

Rahm Parc works in Seoul, Korea. She received a BA in Visual Communication Design from Gacheon University and a MFA in painting from Hongik University. She has had solo shows at Cake Gallery, Seoul (2014) and Gallery EM, Seoul (2016). She has also participated in group exhibitions at Il Min Museum, Seoul (2015), Common Center, Seoul (2015) and Cake Gallery, Seoul (2015). curated by Jeongyoon Choi 10/21 ~ 11/19 시아오시 비비안 비비안 친 Xiaoshi Vivian Vivian Qin (b. 1989) xiaoshiqin.co

(周末画报)과 Leap Magazine에서 예술과 기술에 대한 글을 기고한다.

organized by Jenny Cho

Weekend 로고 디자인: 윤지수 Jisoo Yoon (b. 1989)

jisooyoon.com

윤지수는 서울에 거주하며 작업하는 그래픽 디자이너다.

Jisoo Yoon is a graphic designer who lives and works in Seoul.

Weekend는 서울에서 독립 큐레이터로 활동하는 최정윤과 서울과 뉴욕을 오가며 활동하고 있는 제니조가 공동설립한 공간으로 국내외 신진 작가들을 소개합니다.

Co-founded by Jeongyoon Choi, an independent curator based in Seoul and Jenny Cho, an artist based in New York and Seoul, Weekend introduces young and emerging local and international artists.

Weekend in partnership with 67 in NY,

USCA in Antwerp, Belgium

0 notes

weekend-seoul · 7 years

Photo

The Speakers

이희준

Heejoon Lee

2017. 3. 18 ~ 4. 16

Opening Reception: Saturday, 3. 18, 4 - 6 PM

이번 전시 ⟨The Speakers⟩는 정육면체의 박스형 공간인 위켄드 전시장의 공간적 특성에서 영감을 받아 제작한 신작 시리즈를 소개한다. 총 12점의 캔버스 작업과 5점의 드로잉으로 구성된 본 전시는 전시 공간과 유사한 형태를 가진 다양한 스피커 이미지를 수집하여 드로잉을 제작하고, 일정 부분은 과감하게 생략하거나 혹은 강렬한 색의 사용으로 과장시켜 원본 이미지와는 느슨한 연결고리를 갖춘 이미지를 만들어낸다.

이희준은 서울을 기반으로 활동하며 도시 건축의 이미지와 인테리어 환경 속에서 조형적 요소들을 수집하고 재구성하여 평면적 환경을 만드는 작업을 한다. 2013년부터 그가 거주했던 홍익대 일대의 건축물을 그리기 시작했고, 2014년 스코틀랜드의 글라스고 예술대학에서 석사 과정을 마치고 귀국 후 공릉동 작은 공간에서 노토일렛을 운영하며 4번의 전시를 열었다. 2015년에는 중랑구 망우동 작업실에서 ⟨Interior Nor Exterior⟩ 회화 연작을 시작하여 현재에 이르게 되었다. 아이슬란드 아큐레이리, 영국 글라스고, 런던, 에딘버러 및 독일 베를린 등지에서 다수의 기획전시에 참여했으며 2014년 런던 사치 갤러리가 주관한 New Sensation 2014 수상 후보로 선정된 바 있다. 2016년 서울에 위치한 기고자에서 첫 개인전을 가졌다.

In this exhibition, The Speakers, Heejoon Lee introduces a new series of work inspired by the cubic space of Weekend. Lee first created five drawings based on a collection of frontal shapes of 'speakers' which relates to the exhibition space, and then produced twelve paintings by cropping some parts of images and applying bold colors, leaving a loose relationship to the original.

2017 Weekend Program

12/17 ~ 1/22 이환희 Fanhee Lee (b. 1990)

fanheelee.com

이환희는 현재 서울에서 거주하며 작업하고 있다.

Fanhee Lee lives and works in Seoul, Korea.

All of the works on his first solo exhibition at Weekend got their titles after completion. The works themselves couldn't thank him enough for their perfect marriage to the titles.

curated by Jeongyoon Choi

2/4 ~ 3/5 조나 킹 Jonah King (b. 1985)

jonahking.info/

organized by Jenny Cho and NaJeong Lee

3/18 ~ 4/16 이희준 Heejoon Lee (b. 1988)

Heejoon Lee is a visual artist based in Seoul, South Korea. The conceptual range of his painting includes architectural structure and trendy interior objects of our time. Heejoon received his BFA in Painting and Sculpture at Hong-Ik University in 2012 and his MFA at Glassgow School of Art in 2014. His recent group exhibitions include; I DROGUM at the Art Museum of Akurey, Akurey, Iceland, Dear Green at ZK/U, Berlin, Germany, 2014 and Tipping the Line at My Occupy Time Gallery, London, UK, 2014. He was nominated in 'Jury Picks' in 100 Painters of Tomorrow (Thames & Hudson 2014) and the New Sensation 2014 by Sattchi Gallery. His first solo exhibition was held at Kigoja in Seoul, 2016.

curated by Jeongyoon Choi

4/29 ~ 5/28 이사라 Yi Sa Ra (b. 1988)

yisara.com

이사라는 주로 비디오 설치 미술과 디지털 사진 작업을 하는 개념미술가이다. 그의 작업은 다큐멘터리 언어를 통하여 어떻게 그의 개인적인 경험이 동시대의 사회 현상과 연결되는지 탐구한다.

그는 2011년, 로드아일랜드 스쿨 오브 디자인을 우등 졸업하였고, 2010년에 예일대학교로부터 엘렌 배텔 스토켈 펠로우쉽을 받아 예일 노퍽 섬머 스쿨 오브 아트 앤드 뮤직을 이수하였다. 그의 작품은 챕터투, 한국 (2016), 에치고 츠마리 아트 트리엔날레, 일본 (2015), 예술의 전당 한가람 미술관, 한국 (2013), 로저 윌리엄스 국립공원, 미국 (2011)에서 전시되었다.

Yi Sa Ra (Sarah Lee) is a conceptual artist who primarily works in video installation and digital photography. Using the language of documentary, her work explores how her personal experiences inform social and cultural predicaments specific to our time.

She received a BFA with honors from the Rhode Island School of Design (RISD), USA, in 2011 and the Ellen Battell Stoeckel fellowship from Yale University to attend the Yale Summer School of Art and Music in Norfolk in 2010. Her work has been exhibited at CHAPTER II, Korea (2016), Echigo-Tsumari Art Triennale, Japan (2015), Hangaram Art Museum, Seoul Arts Center, Korea (2013) and Roger Williams National Memorial, USA (2011).

curated by Jeongyoon Choi

6/10 ~ 7/9 함혜경 Hyekyung Ham (b. 1983)

curated by Jeongyoon Choi

7/22 ~ 8/20 전현선 Hyunsun Jeon (b. 1989)

curated by Jeongyoon Choi

3/17 ~ 4/27 ⟨A STORY WITHOUT A STORY 이야기 없는 이야기⟩ 갤러리 룩스

9/2 ~ 10/1 박아람 Rahm Parc (b. 1986)

rahmparc.tumblr.com

curated by Jeongyoon Choi

10/21 ~ 11/19 시아오시 비비안 비비안 친 Xiaoshi Vivian Vivian Qin (b. 1989)

xiaoshiqin.co

Xiaoshi Vivian Vivian Qin lives and works between Guangzhou, China and New York City. She received her MFA from Columbia University (2015) and BA in Communication & Studio Art from Denison University (2012). Her work has been screened or exhibited in Queens Museum, New York (2016), Jewish Museum, New York (2014), HB Station at Times Museum, Guangzhou (2014), SPRING/BREAK Art Show (2016), Barnard College (2016), I: project space, Beijing (2015), 221A Gallery, Vancouver (2015), Flux Factory, Queens (2015), Ying Space, Beijing (2016) and at Biljana Circs’ curatorial project You Won’t be Young Forever (2016). She received the Lotos Foundation Prize in 2015. She writes about art and technology for Modern Weekly Magazine (周末画报) and Leap Magazine.

organized by Jenny Cho

Weekend 로고 디자인: 윤지수 Jisoo Yoon (b. 1989)

jisooyoon.com

윤지수는 서울에 거주하며 작업하는 그래픽 디자이너다.

Jisoo Yoon is a graphic designer who lives and works in Seoul.

Co-founded by Jeongyoon Choi, an independent curator based in Seoul and Jenny Cho, an artist based in New York and Seoul, Weekend introduces young and emerging local and international artists.

Weekend in partnership with 67 in NY,

USCA in Antwerp, Belgium

0 notes

weekend-seoul · 7 years

Photo

조나 킹

Jonah King

2017. 02. 04 ~ 03. 05

Opening Reception: Friday, 02. 03, 6 - 8 PM

조나 킹은 시간과 공간이라는 두 개의 다른 차원의 세계가 교차하는 지점을 작품에서 주로 다룬다. 그는 디지털과 실제 오브제, 몸과 생태계, 시뮬레이션과 심원한 시간(deep time) 간의 차이를 이분법적으로 나누지 않는다. 그 대신, 정보화 시대를 살아가는 인간의 연약함과 복잡다단하게 뒤얽혀 있는 상황 그 자체를 탐구한다.

작가는 과학자와 기술 분야 전문가의 조언을 받아 그의 관심사를 인류세(역자주: 인류로 인한 지구온난화 및 생태계 침범을 특징으로 하는 현재의 지질학적 시기), 특이성 이론(Singularity Theory), 창발성 이론(Emergence Theory)과 같이 새로 부상하는 패러다임과 연결하여 정교하게 다듬어나간다. 그는 과학이 사변에 빠지는 순간을 포착하며 과학적 진보의 이면에 숨겨진 개인적 욕망을 드러낸다.

주로 비디오로 작업하는 작가는 전통적 비디오-에세이의 영역을 확장한다. 작품은 허구와 사실이 한데 뒤섞인 내러티브를 다루고 있으며, 실제로 물질을 다루는 것과 디지털 효과�� 모두 사용하여 영상을 제작한다. 상황에 따라 배우, 무용가, 특정 커뮤니티, 작가의 친구 등 다양한 사람들과 협업한다. 다채널 영상 작품은 컨셉트에 맞추어 조성한 공간에 설치된다. 그의 작품은 상상 속에 존재하는 유토피아와 종말론적인 미래를 중점적으로 다루며, 혼란스러운 광경을 선보인다.

조나 킹은 세르게이 파라자노프(Sergei Parajanov), 마야 데렌(Maya Deren), 얀 스반크마예르 (Jan Svankmajer), 케네스 앵거(Kenneth Anger)와 같은 초기 아방가르드 영화감독들에게 영향을 받았다. 그들은 페르난도 솔라나스(Fernando Solanas)의 “총체적 영화 제작자(total filmmaker)”로서의 태도를 강조하였다. 즉 작품 제작 전반에 관여하기 때문에 기존 제작 방식의 제약에 구애받지 않고 급진적 상상력을 펼칠 수 있게 되는 것이다.

작가는 고고학자였던 모친의 영향으로, 유년기의 많은 시간을 아일랜드의 발굴 현장에서 보냈다. 그곳에서 작가는 피의 제물과 태양의 숭배, 두 세계의 남겨진 문화 흔적을 다루었다. 그는 아일랜드의 경제붕괴 이후 뉴욕에서 유학하였고, 자연, 신념, 매개의 팽팽한 긴장 상태를 작품의 중심 주제로 삼게 되었다.

조나 킹은 2012년에 더블린의 National College of Art & Design을 수석으로 졸업하였고, 2016년에는 Columbia University에서 석사학위를 취득했다. 같은 해 the Skowhegan School of Painting and Sculpture에 재학하였다. 또한 런던의 Central Saint Martins와 벤쿠버의 Emily Carr University of Art and Design에서 재학하였다.

조나 킹은 뉴욕의 Judith Charles Gallery, Fisher Landau Center for Art, The Jewish Museum, The Broadway Symphony Space, 벨파스트의 Catalyst Arts Centre, 더블린의 Kevin Kavanagh Gallery, National Science Gallery, Block T, Basic Space, Temple Bar Square, Project Arts Centre, 벤쿠버의 Abraham J Rogatnick Gallery, 베를린의 Zwitschermaschine, 서울의 Weekend, 밀라노의 Bergamo Scienza 등 다수의 그룹전에 참여했다. 또한 The Irish Ties, Totally Dublin, Cactus Magazine, Freedom of Space, The Guardian UK, RTE에도 소개된 바 있다.

작가는 Andrew Fisher Fellowship, Ox-Bow Resident Award, Block T Gradate Award, Owen Walsh Award를 수상하였다. 그의 작품은 the Irish State Collection에 소장되었다.

또한 Exchange Dublin를 설립하여 꾸준히 전시기획에 참여하고 있다. 지난 5년간 4000여 개의 이벤트를 진행하였고, Example Gallery에서는 과정에 중심을 두고 작업하는 16명의 국제 예술가와 여러 단체를 1년간 선보였다.

조나 킹은 뉴욕에서 거주하며 작업하고, 현재 Meyohas Gallery(뉴욕)에 소속되어 있다.

Jonah King’s work charts a crossing of great distances in time and space. His projects repurpose distinctions between digital and mineral, body and ecology, simulation and deep time, presenting them as spectrums rather than binaries, tracing the complexities of human vulnerability within the Information Age.

King consults scientists and technologists to refine his inquiry into emerging paradigms such as the Anthropocene, Singularity Theory, and Emergence Theory. He searches for moments where science gives way to speculation, revealing motivations of personal desire and belief that underpin scientific advancement.

Working primarily with HD Video, King’s works expand on the tradition of the video-essay. Fictional and true accounts weave through constellations of moving images generated via a myriad of digital and material processes and in collaboration with actors, dancers, community groups and the artist’s friends interchangeably. As multi-channel installations within sculptural environments, his works create disorienting spectacles of envisioned utopias and apocalyptic dreams.

King takes influence from early avant-garde filmmakers, such as Sergei Parajanov, Maya Derren, Jan Svankmajer, and Kenneth Anger. These artists emphasised the “total filmmaker” approach (Fernando Solanas): by embodying all aspects of production, they sought to realise the possibilities of radical imagination outside the confines of an established production model.

King, whose mother was an archeologist, spent much of his childhood on excavation sites around Ireland, handling the remains of cultures that held testament to travel between worlds, blood-sacrifice and sun-worship. Coming to study in New York in the wake of the Irish economic crisis, he found that these tangible tensions between belief, nature, and mediation became central themes of his work.

Jonah King received his BFA from the National College of Art & Design, Dublin in 2012 (valedictorian) and his MFA from Columbia University in 2016. He attended the Skowhegan School of Painting and Sculpture in 2016. He has additionally studied at Central Saint Martins, London and Emily Carr University of Art and Design, Vancouver.

His work has been exhibited internationally in venues including Judith Charles Gallery, Fisher Landau Center for Art, The Jewish Museum and The Broadway Symphony Space in New York; Catalyst Arts Centre in Belfast; Kevin Kavanagh Gallery, National Science Gallery, Block T, Basic Space, Temple Bar Square and Project Arts Centre in Dublin; Abraham J Rogatnick Gallery in Vancouver; Zwitschermaschine in Berlin; Weekend in Seoul; Bergamo Scienza in Milan. He has been featured in The Irish Times, Totally Dublin, Cactus Magazine, Freedom of Space, The Guardian UK, and RTE.

King is the recipient of an Andrew Fisher Fellowship, Ox-Bow Resident Award, Block T Graduate Award and Owen Walsh Award. His work is included in the Irish State Collection.

As part of an ongoing curatorial practice King was a founding director of Exchange Dublin a state-supported multidisciplinary arts center that hosted approximately 4000 events over a five year period and Example Gallery a year long project showcasing process-based artworks by 16 international artists and collectives. In addition he has authored and contributed to numerous catalogues and gallery publications.

Jonah King lives and works in New York City. He is represented by Meyohas Gallery (NYC).

2017 Weekend Program

12/17 ~ 1/22 이환희 Fanhee Lee (b. 1990)

fanheelee.com

이환희는 현재 서울에서 거주하며 작업하고 있다.

Fanhee Lee lives and works in Seoul, Korea.

All of the works on his first solo exhibition at Weekend got their titles after completion. The works themselves couldn't thank him enough for their perfect marriage to the titles.

curated by Jeongyoon Choi

2/4 ~ 3/5 조나 킹 Jonah King (b. 1985)

jonahking.info/

organized by Jenny Cho and NaJeong Lee

3/18 ~ 4/16 이희준 Heejoon Lee (b. 1988)

Heejoon Lee is a visual artist based in Seoul, South Korea. The conceptual range of his painting includes architectural structure and trendy interior objects of our time. Heejoon received his BFA in Painting and Sculpture at Hong-Ik University in 2012 and his MFA at Glassgow School of Art in 2014. His recent group exhibitions include; I DROGUM at the Art Museum of Akurey, Akurey, Iceland, Dear Green at ZK/U, Berlin, Germany, 2014 and Tipping the Line at My Occupy Time Gallery, London, UK, 2014. He was nominated in 'Jury Picks' in 100 Painters of Tomorrow (Thames & Hudson 2014) and the New Sensation 2014 by Sattchi Gallery. His first solo exhibition was held at Kigoja in Seoul, 2016.

curated by Jeongyoon Choi

4/29 ~ 5/28 이사라 Yi Sa Ra (b. 1988)

yisara.com

curated by Jeongyoon Choi

6/10 ~ 7/9 함혜경 Hyekyung Ham (b. 1983)

curated by Jeongyoon Choi

7/22 ~ 8/20 전현선 Hyunsun Jeon (b. 1989)

curated by Jeongyoon Choi

9/2 ~ 10/1 박아람 Rahm Parc (b. 1986)

rahmparc.tumblr.com

curated by Jeongyoon Choi

10/21 ~ 11/19 시아오시 비비안 비비안 친 Xiaoshi Vivian Vivian Qin (b. 1989)

xiaoshiqin.co

organized by Jenny Cho

Weekend 로고 디자인: 윤지수 Jisoo Yoon (b. 1989)

jisooyoon.com

윤지수는 서울에 거주하며 작업하는 그래픽 디자이너다.

Jisoo Yoon is a graphic designer who lives and works in Seoul.

Co-founded by Jeongyoon Choi, an independent curator based in Seoul and Jenny Cho, an artist based in New York and Seoul, Weekend introduces young and emerging local and international artists.

Weekend in partnership with 67 in NY,

USCA in Antwerp, Belgium

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