Guest Country 2012——Korea
The other new project is Guest Country 2012. Each year CIGE picks a curator from any chosen country or region to present a special exhibition, which will deliver an impression of art there to viewers at CIGE. On the 20th anniversary of diplomatic relations between China and Korea, CIGE 2012 chooses Lee Daehyung to be the curator for the first Guest Country project: Solid Illusion Beijing, which will showcase multi-media artworks by outstanding Korean artists.
Solid Illusion Beijing
Lee DaeHyung (李大衡 1974)
PARK SeungMo (朴勝模 1969)
YANG MinHa (梁敏河 1975)
Bahk SeonGhi (朴善基 1966)
LEE LeeNam (李二男 1969)
Kim SeHyun (金世炫 1984)
KANG YiYun (康利姸, 1982)
Solid Illusion Beijing
By Lee DaeHyung
What is illusion? Is it real or fake? From cave art to the cutting-edge contemporary art, illusion has captivated many artists and pushed them to invent new methodologies to make it look more plausible. Today's cultural convergence of art, science, and technology provides wider opportunities for artists to challenge the very notion of how art is presented and to call into question its definition and function in the rapidly changing techno-culture society. Virtual reality, augmented reality, 3D mapping effects, and many other multimedia technologies have erased the distance between reality and illusion.
The title "Solid Illusion" is a paradox, a contradiction, and a kind of impossibility. It is an oxymoronic metaphor to describe a condition of illusion created between tangibility and intangibility formed by illusionary addresses to the senses. Of course it is a mere reflection of physical entity, but that reflection begins to emulate what we see as real.
As Plato's metaphor of the cave shows that interpretation is the decisive factor to read reality, what we believe as truth might be an illusionary castle built on our imperfect perception of the world. Therefore what we call reality is in fact merely an illusion of what we are actually able to observe. In this context, the targets of perception should not be aimed for objects per se but for perspectives, views, relations, and communications. The exhibition <Solid Illusion> leads the viewer to see six different visual logics presented by BAHK SeonGhi, KANG YiYun, LEE LeeNam, PARK SeungMo, VISUALOZIK, and YANG Minha
It is easy to define BAHK SeonGhi's work in connection with mimesis. But he classic concept of illusion is destroyed in his suspended charcoal site-specific installation. The wind from a ceiling fan made of burnt wood scatters the circular structure of the work. An image that looks solid is dismantled by faltering perspective of the viewer. Therefore distortion of original color, texture, gravity, and size becomes a key word to understand BAHK's floating sculpture.
You might ask a permission to go behind the scenes. KANG YiYun's illusion relies upon confounding expectations from the protruding, shadowy human actions from the back of the canvas. Although the actions are framed, trapped, and even blocked by the canvases, they are endowed with the semblance of being alive. Through the use of ghostly shadow play by multiple beam projections, KANG creates highly philosophical media installation that underscore the ten -sion between appearance and reality.
The transformation of reality, history and culture is the central theme of LEE LeeNam's video work. By using multiple screens, mixing different masterpieces both from east and west, and employing digital technology into the sequence of narrative, LEE's work gives the viewer a distorted sense of time.
PARK SeungMo's layered mesh sculpture captures images with more perfect fidelity to reality than digital image does. He is not creating moving pictures but encouraging the viewer to move back and forth, right and left to discover the hidden image that offers scenes of immediacy to the
location of the viewer.
VISUALOZIK's live graffiti digital mapping performance shows an increasing need for an aesthetic structuring of information which will allow the data to be presented in a form that is more reactive, attractive, manipulable, expendable and flexible. His illusionistic technique is basically to evoke the perception of form without suggesting a literal meaning.
YANG MinHa's interactive media work <Meditation Series> is engaging the multisensory mechanism of the body and thus maximizes meditative atmosphere for the viewer to have immersive visual experience. The pulsing sound waves, being reactive to the movement of the viewer, carry the connection of disconnection from exterior physical space and begin to simulate process of life.
Definition of realism as *trompe l’oeil *painting or sculpture is hackneyed anachronism. The current renaissance of the hybrid convergence between art, technology, and literature has seen the increasing number of artists who begin to experiment more visual methodologies to create their
own illusion. The skill of deception became greater than ever. These new illusionists are not simply duplicating reality. Their illusion challenges norms of our perception and make us discover which information is crucial for better recognition. Therefore the structure of solid illusion is
invisible. It is a logic applied to interaction between the viewer and objects. And this logic will determine the shape of "what you believe as truth". "Seeing is believing" is not always right.