Sung Neung Kyung, ๐˜™๐˜ฆ๐˜ข๐˜ฅ๐˜ช๐˜ฏ๐˜จ ๐˜•๐˜ฆ๐˜ธ๐˜ด๐˜ฑ๐˜ข๐˜ฑ๐˜ฆ๐˜ณ: ๐˜—๐˜ฆ๐˜ณ๐˜ง๐˜ฐ๐˜ณ๐˜ฎ๐˜ข๐˜ฏ๐˜ค๐˜ฆ ๐˜ฐ๐˜ง 100 ๐˜—๐˜ฆ๐˜ฐ๐˜ฑ๐˜ญ๐˜ฆ (trailer), 2023

ะžะฟัƒะฑะปะธะบะพะฒะฐะฝะพ: 27 ะะฒะณัƒัั‚ 2026
ะฝะฐ ะบะฐะฝะฐะปะต: GALLERY HYUNDAI
301
9

#OnView ์„ฑ๋Šฅ๊ฒฝ์˜ ใ€ˆ์‹ ๋ฌธ ์ฝ๊ธฐใ€‰(1976โ€“)๋Š” ์‹ ๋ฌธ, ์‚ฌ์ง„, ํ–‰์œ„๊ฐ€ ์œตํ•ฉ๋œ ์„ฑ๋Šฅ๊ฒฝ ๋งŒ์˜ ๋…์ž์  ์ž‘ํ’ˆ ์„ธ๊ณ„๋ฅผ ๋Œ€ํ‘œํ•˜๋Š” ํผํฌ๋จผ์Šค์ด์ž, ํ•œ๊ตญ ํ˜„๋Œ€๋ฏธ์ˆ ์‚ฌ์—์„œ ์•„์ด์ฝ˜๊ณผ ๊ฐ™์€ ์ž‘ํ’ˆ์ด๋‹ค. ใ€ˆ์‹ ๋ฌธ์ฝ๊ธฐ: 100์ธ์˜ ํผํฌ๋จผ์Šคใ€‰๋Š” 2023๋…„ ํ”„๋ฆฌ์ฆˆ ์„œ์šธ ๊ธฐ๊ฐ„์— ๊ฑฐํ–‰๋œ 1976๋…„ ์ฒซ ๋ฐœํ‘œ ์ดํ›„ ์‚ฌ์ƒ ์ตœ๋Œ€ ๊ทœ๋ชจ๋กœ ์ง„ํ–‰๋œ ํผํฌ๋จผ์Šค๋‹ค. ์ž‘๊ฐ€๋Š” "๋‹จ์ฒด๋กœ ์‹ ๋ฌธ์„ ์ฝ๊ณ  ๊ธฐ์‚ฌ๋ฅผ ์˜ค๋ ค๋‚ด๋Š” ํ–‰์œ„๋Š” ํ•ฉ์ฐฝ์ด๋‚˜ ์ค‘์ฐฝ์„ ํ•˜๋Š” ๋“ฏํ•œ 'ํ˜‘๋™ ํ•˜๊ธฐ์งˆ'์ด๋ฉฐ, ๋‚˜์•„๊ฐ€ ์ด๋Ÿฌํ•œ ๋ณ€ํ™˜์˜ ์‹œ๋„๊ฐ€ '๊ณ ์ฐฉ๋œ ์˜ˆ์ˆ  ํ–‰์œ„'์—์„œ '์—ด๋ฆฐ ํ•˜๊ธฐ์งˆ'๋กœ์˜ ๊ฐœ๋ฐฉ์  ํƒœ๋„๋ฅผ ๊ฒฌ์ง€ํ•œ๋‹ค"๋ผ๊ณ  ์„ค๋ช…ํ•œ๋‹ค. 1970๋…„๋Œ€ ์œ ์‹  ์ฒด์ œ์— ๋งž์„œ๋Š” ์ Š์€ ์˜ˆ์ˆ ๊ฐ€์˜ ์ €ํ•ญ์˜ ๋ชธ์ง“์„ ์ƒ์ง•ํ–ˆ๋˜ ์ž‘ํ’ˆ ใ€ˆ์‹ ๋ฌธ ์ฝ๊ธฐใ€‰๋Š” ํ˜„์žฌ๋ผ๋Š” ์ข…์ด ์‹ ๋ฌธ์˜ ์œ„๊ธฐ ์‹œ๋Œ€์—, ๋˜ ๋ฐ˜์„ธ๊ธฐ ์ „๊ณผ๋Š” ๋น„๊ต๊ฐ€ ์•ˆ ๋˜๋Š” ๋„์‹œ์˜ ์œ„์ƒ์„ ๊ฐ–๊ฒŒ ๋œ ์„œ์šธ์—์„œ ๋‹ค์–‘ํ•œ ์–ธ์–ด๋กœ ์ธ์‡„๋œ ์ข…์ด ์‹ ๋ฌธ์„ ์ฝ๋Š” ํผํฌ๋จผ์Šค๋กœ ์ง„ํ™”ํ•˜์—ฌ ์ƒˆ๋กœ์šด ๋งฅ๋ฝ์„ ๊ณ„์†ํ•ด์„œ ๋งŒ๋“ค์–ด ๋‚˜๊ฐˆ ๊ฒƒ์ด๋‹ค.

Sung Neung Kyungโ€™s ๐˜™๐˜ฆ๐˜ข๐˜ฅ๐˜ช๐˜ฏ๐˜จ ๐˜•๐˜ฆ๐˜ธ๐˜ด๐˜ฑ๐˜ข๐˜ฑ๐˜ฆ๐˜ณ (1976โ€“ongoing) is an iconic performance in the history of Korean contemporary art, encapsulating the artistโ€™s sustained practice that has utilized action with media objects such as newspapers and photographs. ๐˜™๐˜ฆ๐˜ข๐˜ฅ๐˜ช๐˜ฏ๐˜จ ๐˜•๐˜ฆ๐˜ธ๐˜ด๐˜ฑ๐˜ข๐˜ฑ๐˜ฆ๐˜ณ: ๐˜—๐˜ฆ๐˜ณ๐˜ง๐˜ฐ๐˜ณ๐˜ฎ๐˜ข๐˜ฏ๐˜ค๐˜ฆ ๐˜ฐ๐˜ง 100 ๐˜—๐˜ฆ๐˜ฐ๐˜ฑ๐˜ญ๐˜ฆ, presented during Frieze Seoul 2023, was the largest in scale since its first iteration in 1976. The artist has stated that โ€œcollectively reading newspapers out loud and cutting out articles is a kind of โ€˜collaborative doingโ€™ comparable to a chorus, and such attempts announce a liberating shift from โ€˜fossilized creative actsโ€™ to โ€˜open forms of doing.โ€™โ€ In its original context of Koreaโ€™s dictatorship period, ๐˜™๐˜ฆ๐˜ข๐˜ฅ๐˜ช๐˜ฏ๐˜จ ๐˜•๐˜ฆ๐˜ธ๐˜ด๐˜ฑ๐˜ข๐˜ฑ๐˜ฆ๐˜ณ can be read as a young artistโ€™s gesture of resistance. Meanwhile, in our present, where print media faces extinction and Seoul has become a major global city unimaginable half a century ago, the reenactment of Sungโ€™s performance promises to continue transforming with its shifting contexts and growing network of helping hands.
โ €
๐—š๐—ฎ๐—น๐—น๐—ฒ๐—ฟ๐˜† ๐—›๐˜†๐˜‚๐—ป๐—ฑ๐—ฎ๐—ถ & ๐—–๐—ผ๐—บ๐—บ๐—ผ๐—ป๐˜„๐—ฒ๐—ฎ๐—น๐˜๐—ต ๐—ฎ๐—ป๐—ฑ ๐—–๐—ผ๐˜‚๐—ป๐—ฐ๐—ถ๐—น
๐™Š๐™ฅ๐™š๐™ฃ ๐™ƒ๐™–๐™ฃ๐™™๐™จ
๐—”๐˜‚๐—ด๐˜‚๐˜€๐˜ ๐Ÿฏ๐Ÿฌ โ€“ ๐—ฆ๐—ฒ๐—ฝ๐˜๐—ฒ๐—บ๐—ฏ๐—ฒ๐—ฟ ๐Ÿญ๐Ÿฑ
๐—š๐—ฎ๐—น๐—น๐—ฒ๐—ฟ๐˜† ๐—›๐˜†๐˜‚๐—ป๐—ฑ๐—ฎ๐—ถ (๐Ÿด ๐—ฆ๐—ฎ๐—บ๐—ฐ๐—ต๐—ฒ๐—ผ๐—ป๐—ด-๐—ฟ๐—ผ)
โ €
Explore more: https://www.galleryhyundai.com/exhibi...
โ €
______
Artwork: Sung Neung Kyung, ๐˜™๐˜ฆ๐˜ข๐˜ฅ๐˜ช๐˜ฏ๐˜จ ๐˜•๐˜ฆ๐˜ธ๐˜ด๐˜ฑ๐˜ข๐˜ฑ๐˜ฆ๐˜ณ: ๐˜—๐˜ฆ๐˜ณ๐˜ง๐˜ฐ๐˜ณ๐˜ฎ๐˜ข๐˜ฏ๐˜ค๐˜ฆ ๐˜ฐ๐˜ง 100 ๐˜—๐˜ฆ๐˜ฐ๐˜ฑ๐˜ญ๐˜ฆ (trailer), 2023, single-channel 4K video, color, sound, 37 min. 35 sec.
#SungNeungKyung #ReadingNewspaperPerformanceof100People #OpenHands #GalleryHyundai #CommonwealthandCouncil #์˜คํ”ˆํ•ธ์ฆˆ #๊ฐค๋Ÿฌ๋ฆฌํ˜„๋Œ€ #์ปค๋จผ์›ฐ์Šค์•ค์นด์šด์Šฌ