We Play, We Stage And We're Enacting - FOCA Palbok Art Centre
We Play
We Stage
And We’re Enacting
08/12/2018-05/01/2019
A proposition by espace p( )otentiel
Co-curated with FOCA Palbok Art Centre
FoCA | 전주문화재단 팔복예술공장
Factory of Contemporary Arts, Palbok Jeonju
Artists: Mikhail Karikis, Simon Whetham, Effi and Amir, Gary Hill, Tatiana Bohm, Bomi Ahn, Jeong Jinyoug, Jo DongHee, Ryu Hankil
08/12/2018
Lecture by Raya Lindberg, espace p( )otentiel and panel discussion with Hee Kim, curator at FoCA
Performance by Simon Whetham
Performance by Tatiana Bohm
16/12/2018
Performance by Ryu Hankil
What is going on in the viewer’s mind watching a painting, or to the listener attentive to a music score, or to a visitor walking in an exhibition space and immersing himself in an art space, whatever the context ?
Something happens. Projected visions that feed a dramaturgy, displaying a potential zone for disorder and hidden conflicts? It happens. It happens because we are confronted to something new.
You get to think and get some of the invisible and the immaterial, yet here with a political hint. E(s)pace potentiel is offensively projecting the Imaginary, and thus maybe an utopic vision. As we let go of the idea of the use of an image becoming a possible testimony, a referencial twined to reality, it then becomes an expressive aesthetics form, carrying an abstract and conceptual strength. We may then consider that any creative space confronts us with a staging of the making, a dramaturgy that supposes the perception of a projected image, or rather a staged image.
If an image can be de facto some kind of archive of Reality, i.e ; a document, in it’s raw form, it can be embodied by an aesthetics and expressive form. Dramaturgies thus generates an active form between making and designing. A perceptive mode, and a field of tension. Hereby the art works may suggest that it can be open to different possible readings ; whether we look at them as paintings, whether we decipher them as books, or whether we experience them as Live Art.
This project orchestrates works staging a documentary trace. Of a place. Of an historical event. Of a human experience. Traces can sometimes be branded in our memories as something dramatised and the reality can then become a projected fictional space taking shape in our gaze.
Artists experimentation of hybrid narrative objects made from everyday observation actually do propose a different kind of staged images and therefore emphasising new narrative and poetic processes. Choreographing automatic gestures of factory workers, conducting musical scores of rivers, re-inventing tales dealing with exile, shaping an industrial space into a theatrical stage.
The artists are here invited to research and experiment on hybrid narrative objects stemming from reality. Each would stage something different, and at the same time suggest new forms of narrative process that us, as viewers may interprete as choreographing the repetitive gestures of a fabric worker ; the swinging of the sound of a river waves ; re-inventing a musical fairy tale for refugees; staging an industrial site or impacting a classic painting support to abstract a political contemporary view.
These are all views you may see, but mostly these are ideas we are staging.
Raya Lindberg (espace potentiel)
ARTISTS
Effi&Amir (live and work in Brussels, Belgium)
The artists Effi and Amir work in the fields of visual art, film, video and performance. They question ideas of boundaries and transnational borders, representing social, geographical identities and exploring notions of territories. Their participative projects, along with their video and sound installations open up to a projected, political, and thoughtful vision of contemporary beings and places.
Effi&Amir, House Warming
Tatiana Bohm (lives and works in Brussels, Belgium)
The work of Tatiana Bohm relates on changing the shape of images, distorting classical references to shape a more contemporary interpretation and allows a political reading, that steps out. Her process is not though an attempt at copying systems of re-interpretation, but rather to think about the impact of Images differently.
Tatiana Bohm
Tatiana Bohm, performance
Gary Hill (lives and works in California, USA)
Gary Hill plays with his body as if it was an art work frame. He thus becomes a telling image and the Dramaturgy consequently fades out his body to reveal an immediate image. A negative/ positive game in between the hole and the wall; choosing a space between white and black; which yet does not exclude contradiction, and thus presents a dialectic expressing differences. A stream of consciousness is indeed constructing a play. Yet a plastic and mirroring play for the spectator facing it. Confronted to Wall Piece, we see a mirror showing ourselves.
Gary Hill, Wall Piece
Courtesy Gary Hill Studio
Bomi Ahn (lives and works in Seoul)
The work of Bomi Ahn talks irremediably within and without her will, about different comments. Her drawing gestures subscribes to contemporary mechanism of showing, hence maybe hereby foreseeing a concomitant desire to express strong abstract figures along with figurating a contained visual movement. All hinting at an oniric vision. Her ability to compose images, drawing composite and rounded lines, yet marking ponctuations in the making of a vision marks an ability and a willingness to present us with something different.
Bomi Ahn, [공통시대] 평론 글 : 김종길 평론가
Co-curated with FOCA Palbok Art Centre
FoCA | 전주문화재단 팔복예술공장
Factory of Contemporary Arts, Palbok Jeonju
Artists: Mikhail Karikis, Simon Whetham, Effi and Amir, Gary Hill, Tatiana Bohm, Bomi Ahn, Jeong Jinyoug, Jo DongHee, Ryu Hankil
08/12/2018
Lecture by Raya Lindberg, espace p( )otentiel and panel discussion with Hee Kim, curator at FoCA
Performance by Simon Whetham
Performance by Tatiana Bohm
16/12/2018
Performance by Ryu Hankil
What is going on in the viewer’s mind watching a painting, or to the listener attentive to a music score, or to a visitor walking in an exhibition space and immersing himself in an art space, whatever the context ?
Something happens. Projected visions that feed a dramaturgy, displaying a potential zone for disorder and hidden conflicts? It happens. It happens because we are confronted to something new.
You get to think and get some of the invisible and the immaterial, yet here with a political hint. E(s)pace potentiel is offensively projecting the Imaginary, and thus maybe an utopic vision. As we let go of the idea of the use of an image becoming a possible testimony, a referencial twined to reality, it then becomes an expressive aesthetics form, carrying an abstract and conceptual strength. We may then consider that any creative space confronts us with a staging of the making, a dramaturgy that supposes the perception of a projected image, or rather a staged image.
If an image can be de facto some kind of archive of Reality, i.e ; a document, in it’s raw form, it can be embodied by an aesthetics and expressive form. Dramaturgies thus generates an active form between making and designing. A perceptive mode, and a field of tension. Hereby the art works may suggest that it can be open to different possible readings ; whether we look at them as paintings, whether we decipher them as books, or whether we experience them as Live Art.
This project orchestrates works staging a documentary trace. Of a place. Of an historical event. Of a human experience. Traces can sometimes be branded in our memories as something dramatised and the reality can then become a projected fictional space taking shape in our gaze.
Artists experimentation of hybrid narrative objects made from everyday observation actually do propose a different kind of staged images and therefore emphasising new narrative and poetic processes. Choreographing automatic gestures of factory workers, conducting musical scores of rivers, re-inventing tales dealing with exile, shaping an industrial space into a theatrical stage.
The artists are here invited to research and experiment on hybrid narrative objects stemming from reality. Each would stage something different, and at the same time suggest new forms of narrative process that us, as viewers may interprete as choreographing the repetitive gestures of a fabric worker ; the swinging of the sound of a river waves ; re-inventing a musical fairy tale for refugees; staging an industrial site or impacting a classic painting support to abstract a political contemporary view.
These are all views you may see, but mostly these are ideas we are staging.
Raya Lindberg (espace potentiel)
ARTISTS
Effi&Amir (live and work in Brussels, Belgium)
The artists Effi and Amir work in the fields of visual art, film, video and performance. They question ideas of boundaries and transnational borders, representing social, geographical identities and exploring notions of territories. Their participative projects, along with their video and sound installations open up to a projected, political, and thoughtful vision of contemporary beings and places.
|
Effi&Amir, House Warming |
Tatiana Bohm (lives and works in Brussels, Belgium)
The work of Tatiana Bohm relates on changing the shape of images, distorting classical references to shape a more contemporary interpretation and allows a political reading, that steps out. Her process is not though an attempt at copying systems of re-interpretation, but rather to think about the impact of Images differently.
 |
Tatiana Bohm |
 |
Tatiana Bohm, performance |
Gary Hill (lives and works in California, USA)
Gary Hill plays with his body as if it was an art work frame. He thus becomes a telling image and the Dramaturgy consequently fades out his body to reveal an immediate image. A negative/ positive game in between the hole and the wall; choosing a space between white and black; which yet does not exclude contradiction, and thus presents a dialectic expressing differences. A stream of consciousness is indeed constructing a play. Yet a plastic and mirroring play for the spectator facing it. Confronted to Wall Piece, we see a mirror showing ourselves.
|
Gary Hill, Wall Piece Courtesy Gary Hill Studio |
Bomi Ahn (lives and works in Seoul)
The work of Bomi Ahn talks irremediably within and without her will, about different comments. Her drawing gestures subscribes to contemporary mechanism of showing, hence maybe hereby foreseeing a concomitant desire to express strong abstract figures along with figurating a contained visual movement. All hinting at an oniric vision. Her ability to compose images, drawing composite and rounded lines, yet marking ponctuations in the making of a vision marks an ability and a willingness to present us with something different.
 |
Bomi Ahn, [공통시대] 평론 글 : 김종길 평론가 |
Jeong Jinyong (lives and works in Jeonju , South Korea)
Using European traditional figurative codes- a cathedral- he embellishes the vision of what we may think as books made of stone. Most importantly, the work presented here is glazed with crystal glass, in which the viewer can perceive its own contemporay image in a vision that insists on our grounding in a passing history. Jinyong’s work in this exhibition is contextualising the idea of a mirroring image of time.
Dong Hee Jo (lives and works in Jeonju, South Korea)
This can just be four dots. Yet though let’s look at these four dots. Dots have become the central connection in our binary-led society. If we carefully and creatively look at them we can think at a way of making connections. Or we could look at the space around the dots ? The implicit aims at a different quality in connections between the medium and the image , and and it then may become a generalised frame of possibilities of contents through interpretatively becoming a sets of relations. Or we could just enjoy the poetry suggested in these dots.
Mikhail Karikis (lives and works in London and Lisbon)
Mikhail Karikis uses sound as a sculptural material and a medium for political intent. Images and sound, and their projected diffusion are used to mirror migratory movements, i.e. translating transition between places, when one is never to be settled and never be at home. People are being impersonated through their singing and their physical presence and hint at a re-appropriation of abandoned industrial spaces.
Mikhail Karikis, Sound from Beneath
Mikhail Karikis, No Ordinary Protest
Courtesy of Whitechapel Gallery
Simon Whetham (lives and works in UK and South Korea)
In his performances and installations, Simon uses his surrounding as the core material for his sonic work. A wasteland, a water stream, or dead twigs become musical instruments ready to be played with. A poetical and abrupt approach that captures the materiality of sound. At the same time, his work documents the surrounding natural world resulting in a constructed musical composition.
Simon Whetham, installation FoCA
Simon Whetham, Memory of the Storm, art in nature, Korea, 2016
Ryu Hankil (lives and works in Seoul South Korea)
SocioFrequency is an algorithm created by Ryu; it generates a self-operating frequency organism. A cluster of mold, even without a brain, tends to spread by a certain kind of inherent will of the organic material. Once we get out of the human-oriented viewpoint, as such, we can imagine a sustainable world, without human beings, where all the elements of the world would have their own unique sociality. This can also be similarly applied to human control over artificial products.
espace p( )tentiel
Confronting today’s mutations, espace p( )tentiel is a new platform proposing and displaying an aesthetics driven by a social and environmental awareness. Having yet a vision of making differences has to go through changes both in space and cultural eras. The physical roaming that may then displace ideas of values and practical use are critical.Espace p( )otentiel is a new project by Raya Lindberg (Artistic Director and researcher) and Nadege Derderian (Curator and Project Manager), founded in 2018.
Hosted by:
Organized by:
Supported by:
Jeong Jinyong (lives and works in Jeonju , South Korea)
Using European traditional figurative codes- a cathedral- he embellishes the vision of what we may think as books made of stone. Most importantly, the work presented here is glazed with crystal glass, in which the viewer can perceive its own contemporay image in a vision that insists on our grounding in a passing history. Jinyong’s work in this exhibition is contextualising the idea of a mirroring image of time.
Dong Hee Jo (lives and works in Jeonju, South Korea)
This can just be four dots. Yet though let’s look at these four dots. Dots have become the central connection in our binary-led society. If we carefully and creatively look at them we can think at a way of making connections. Or we could look at the space around the dots ? The implicit aims at a different quality in connections between the medium and the image , and and it then may become a generalised frame of possibilities of contents through interpretatively becoming a sets of relations. Or we could just enjoy the poetry suggested in these dots.
Mikhail Karikis (lives and works in London and Lisbon)
Mikhail Karikis uses sound as a sculptural material and a medium for political intent. Images and sound, and their projected diffusion are used to mirror migratory movements, i.e. translating transition between places, when one is never to be settled and never be at home. People are being impersonated through their singing and their physical presence and hint at a re-appropriation of abandoned industrial spaces.
 |
Mikhail Karikis, Sound from Beneath |
 |
Mikhail Karikis, No Ordinary Protest Courtesy of Whitechapel Gallery |
Simon Whetham (lives and works in UK and South Korea)
In his performances and installations, Simon uses his surrounding as the core material for his sonic work. A wasteland, a water stream, or dead twigs become musical instruments ready to be played with. A poetical and abrupt approach that captures the materiality of sound. At the same time, his work documents the surrounding natural world resulting in a constructed musical composition.
 |
Simon Whetham, installation FoCA |
 |
| Simon Whetham, Memory of the Storm, art in nature, Korea, 2016 |
Ryu Hankil (lives and works in Seoul South Korea)
SocioFrequency is an algorithm created by Ryu; it generates a self-operating frequency organism. A cluster of mold, even without a brain, tends to spread by a certain kind of inherent will of the organic material. Once we get out of the human-oriented viewpoint, as such, we can imagine a sustainable world, without human beings, where all the elements of the world would have their own unique sociality. This can also be similarly applied to human control over artificial products.
espace p( )tentiel
Confronting today’s mutations, espace p( )tentiel is a new platform proposing and displaying an aesthetics driven by a social and environmental awareness. Having yet a vision of making differences has to go through changes both in space and cultural eras. The physical roaming that may then displace ideas of values and practical use are critical.Espace p( )otentiel is a new project by Raya Lindberg (Artistic Director and researcher) and Nadege Derderian (Curator and Project Manager), founded in 2018.
Hosted by:
Organized by:
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