Korean artists at the Asia Pacific Triennial of Contemporary Art, 10 avril 2016

The 8th Asia Pacific Triennial of Contemporary Art

Queensland, Australie

Jusqu’au 10 avril 2016

 

Asia Pacific Triennial of Contemporary Art (APT) is the Queensland Art Gallery | Gallery of Modern Art’s flagship exhibition focussed on the work of Asia, the Pacific and Australia. This eighth edition emphasises the role of performance in recent art, with live actions, video, kinetic art, figurative painting and sculpture exploring the use of the human form to express cultural, social and political ideas, and the central role of artists in articulating experiences specific to their localities. APT8 includes more than 80 artists and groups from over 30 countries, an ongoing program of artist performances and projects; a conference as part of the opening program; extensive cinema programs; publications; and activities for kids and families.

It includes two focus projects from India and Melanesia looking at Indigenous, vernacular and performance art, and features site-specific installations by artists from UAE/Iran, India, South Korea, Myanmar, Australia and New Zealand.

 

CHOIjeonghwa

Choi Jeong Hwa

Born 1961, Seoul, South Korea
Lives and works in Seoul

Choi Jeong Hwa is known for his inflatable sculptures and large-scale, riotously coloured installations of everyday objects. For APT8, the beaded strands of his Cosmos 2015 are suspended above his mandala project created for QAGOMA’s Children’s Art Centre. The Mandala of Flowers 2015 involves a high level of audience participation and interaction, inviting children to create their own mandalas from colourful plastic bottle lids. The form of the work contradicts the content, since plastic is often regarded as a waste-product, inorganic, non bio-degradable, cheaply made and mass-produced — unlike the mandalas which are highly labour-intensive, transient, sacred and return immediately to the earth. Choi’s works celebrates the beauty to be found in cheap plastics, kitsch souvenirs and popular imagery, challenging conventional taste and ideas of value. He intensifies the aesthetic experience of consumer culture, particularly as it manifests in the flea markets and street stalls in Seoul.

 

SIREN

Siren Eun Young Jung

Born 1974, Incheon, South Korea
Lives and works in Seoul, South Korea

Siren Eun Young Jung has been researching yeosong gukgeuk (all-female musical drama) since 2008 and has produced films, photographs, performances and installations exploring this historical Korean form. In APT8 she is represented by four video works, Act of Affect 2013, and Lyrics I, II and III 2013. Yeosong gukgeuk draws on classical Korean musical theatre and involves all characters, regardless of gender, being played by women. It emerged in the 1940s and reached its peak in the 1950s and 1960s, but has since been on the decline, with fewer and fewer practitioners. Siren’s interest in the form takes a feminist position, seeing yeosong gukgeuk as a challenge to patriarchal structures within Korean society. Her work creates rich interconnected narratives about the actors’ transformations into male characters, their relationships with each other, and the passing of knowledge from one generation to another. Through yeosong gukgeuk she shows women creating a world for themselves in which they can freely live out their aspirations.

 

YANGhaegue

Haegue Yang

Born 1971, Seoul, South Korea
Lives and works in Seoul and Berlin, Germany

Referencing modernist art history, literature, and social and political events, Haegue Yang transforms spaces through light, colour, objects and movement so that they are constantly shifting and directing our experience. Sol LeWitt Upside Down — Open Modular Cubes (Small), Expanded 943 Times 2015, uses everyday domestic materials — in this case over 1000 Venetian blinds — to create a formal, immersive structure. For Yang, abstraction is highly metaphorical, alluding to multiple narratives. Her blinds partially block sight, but they also delineate and draw attention to a space, providing boundaries and articulations, and implicating viewers through their transparency and domesticity. In her early sculptures she used IV stands, then clothes-racks on wheels. Like the blinds, these industrially produced items were deliberately evocative of anthropomorphic forms, while also emphasising a sense of movement and the imminent possibility of change.


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