jin yeowool
Joint Graduation Exhibition of 5 Art Universities in Tokyo
National Art Center, Tokyo
2020.2.20 (Thu.) - 2020.3.1 (Sun.) 10:00-18:00
国立新美術館 （〒106-8558 東京都港区六本木7-22-2）
2020年2月20日（木）～3月1日（日）
※ただし2月25日（火）は休館
10:00～18:00（入場は17:30まで）
シンポジウム：外から見た五美大展
日時：2020年2月22日（土） 14：00～16：00
会場：国立新美術館3階講堂
進行：モデレーター 杉田敦（女子美術大学 教授）
パネリスト 黒瀬陽平、田村かのこ、成相肇、長谷川新、藪前知子
Shift Operation : Tokyo Workflow
CAVE - AYUMI Gallery, Tokyo
Open Studio :
7 (Fri.), 8 (Sat.), 9 (Sun.) February
14 (Fri.), 15 (Sat.), 16 (Sun.) February
21 (Fri.), 22 (Sat.), 23 (Sun.) February
28 (Fri.), 29 (Sat.) February, 1 (Sun.) March
Open : 13:00 - 18:00
Exhibition :
Opening reception: 6 March (Fri.) 2020, 18:00 - 20:00
Date: 6 March (Fri.) - 15 March (Sun.) 2020
Open : 12:00 - 19:00
Closed : Wednesday, Thursday
shiftoperationtokyo.cargo.site
CAVE-AYUMI Gallery
東京都新宿区矢来町114 高橋ビル地下2階
Takahashi bldg B2, 114 Yarai-chou, Shinjuku-ku, Tokyo
Access :
東京メトロ東西線神楽坂駅より徒歩1分
都営大江戸線牛込神楽坂より徒歩10分
1min on walk from Tokyo metro Kagurazaka station
10min on walk from Toei Oedo Ushigome Kagurazaka station
Tel:03-3269-1202 （Nest-A Co., Ltd.）
<Shift Operation> is a project by Esther Brakenhoff and Maarten Schuurman that researches the micropolitics of space in relation to artistic practice. The development and exchange of ideas about work processes and forms of cooperation are central to this.
The name Shift Operation refers to the industrial production process that involves shift work. We use the idea of shift work as a basic structure for <Shift Operation>. We invite artists from various disciplines to join the project and form a temporary artists' community together with us.
The background for <Shift Operation> is our own professional practice as an artist and the questions we ask ourselves. This is often focused on individual production and presentation within the current art system. However, we also have a need to talk about work, to share experience and even to develop ideas and make work together. Different interests, knowledge and skills are brought together in a collaboration. However, good cooperation is more than the sum of everyone's input. The added value often lies in the space between individual knowledge and expertise, in the exchange of ideas and dialogue.
<Shift Operation> is a series of projects taking place at different locations with different groups of artists. Each version therefore has its own dynamics, process and outcome. For this we use the installation as a working form. Within each new location, the installation forms an autonomous space with its own working method and rules.
The installation is open to the public to follow the development. Special presentations and events will be organized.
Website: caveayumigallery.tokyo
"A Study on the Transformation of Places in the Field of Power and the Site-Construction on Art", Journal of the Korea Institute of Spatial Design. Vol.14 No.6
“미술의 권력장 및 공간의 위상구축에 있어서 장소변용에 관한 연구”, 한국공간디자인학회 저널 Vol.14 No.6 통권 60호
Art has been a part of humanity since the beginning of history. Tangible things related to life, such as goods, food, clothing, and shelter have value. Art, by comparison, is not always recognized as having material value.
At first glance, it may not seem as though art is an essential element of life. However, when looking closely at universal habits and traditional rituals of mankind, it is clear to see how closely related art is to life. Art contributes to making life more fulfilling through a connection to things that humans desire and want to preserve. Yet in spite of its great role in encouraging human life, from forms of appropriation to jouissance life, art still exists as a culture that some enjoy. This study identifies the inequality of art jouissance as a class problem, a problem that is not quite visible but still firmly maintained, and the problem with the institutions supporting this inequality. Thus, the transformation of places in the field of art, where the production and consumption of art takes place, can be seen as the result of class struggle. Therefore, the researcher urges a reflection upon the field of art where art can be enjoyed evenly through consideration of the space and practices where the production and consumption of art intersect. The researcher derived research mainly from the French social participant and art sociologist Pierre Bourdieu and his concept of field-habitus as a reinforcing theory of research for an organic understanding of art and society. Bourdieu’s theory of field-habitus guards against the idea of dichotomous separation, which is often missing in life. This provides a cross-linked theory of structure and action, or theory and practice, where both perspectives can be understood as fluid relationships. Bourdieu's theory also expands the understanding of economic society by acknowledging the existence of a “symbolic capital.” In addition, the theory laid the foundation for the scientific understanding of the microcosmic social spaces with rich cultural character, such as the art world. The field-habitus theory is a fundamental principle that recognizes the autonomy of each field of cultural production. However, homology exists in the ranks of the social space and in the accreditation levels of participants in each field of cultural production. It is pointed out that heteronomy also exists in the field because the field of power, the place of power in society, is a structure that can exert pressure on the field. Therefore, on the theoretical foundation called homology of the social space and the field of cultural production, the transformation process of places of fine art after modern times was analyzed in the perspective of heteronomy and autonomy. This study is an attempt to understand the field of art with society and history. At the same time, the understanding of the field of art as a synchronic-diachronic perspective led to the scientific discovery of the limitations of the field of art.Therefore, this study identified multiple threats to the autonomy of the field of art by scientifically revealing the field dynamics of the field of art and the field dynamics of the social space and the art space. These threats have been preserved as a mechanism to solidify class in the social space and the field of art despite the repeated symbolic struggle. It is the hope of the researcher that looking at all of the real autonomy and strategies has provided languages that bring about the liberation of the field of art and the liberation of the audience.
ghost madeleines ゴースト マドレーヌズ 고스트 마들렌
ghost madeleines 고스트 마들렌 은 동시대에 열렬히 소비되고 있는 ‘기억’들에 대하여 예술의 장에서 재고하는 시간을 가져보면서 빠른 판단을 유보시켜보고자 합니다. 마르셀 프루스트의 소설에서 주인공이 어머니로부터 받은 마들렌과 한 잔의 홍차를 입에 머금었을 때, 잃어버렸던 유년기의 기억을 전부 떠올리는 것처럼, 우리도 각자의 마들렌을 먹어보고, 또교환해 봄으로써 잃어버린 기억처럼 가라앉은 세계를 부상시켜 봅니다. 잔잔한 티타임에서의 미각이 당신의 유년기 어딘 가를 일으키듯이, 본 전시가 ‘기억’이 가진 심부 어느 곳의 가능성(불가능성)을 상상해보고 그것의 미래를 불러일으키는 시도이길 바랍니다. 세 명의 작가는 서로 다른 아름다움에 대한 감각과 관점, 그리고 매체를 통하여 ‘기억’ 과 관련된 작업을 선보입니다. ‘기억’에 대한 완결되지 않은 다양한 이야기들이 마들렌을 교환해보듯이 관객과 또 다른 이야 기를 생성해내고 가늠해보며 기억이 그 자리를 찾아가기를 희구합니다.
<ghost madeleines ; ゴースト マドレーヌズ> は同時代に熱烈に消費されている「記憶」について、芸術の場で再考する時間を持ちながら早い判断を留保しようと思います。マルセル·プルーストの小説で主人公が母から貰ったマドレーヌと一杯の紅茶を口にした時、失った幼年期の記憶をすべて思い浮かべるように、私たちも各自のマドレーヌを食べてみて、また交換してみることで失われた記憶のように沈んだ世界を浮上させてみます。穏やかなティータイムでの味覚があなたの幼年期のどこかを引き起こすように、本展示が「記憶」の持つ奥深いどこかの可能性(不可能性)を想像し、その未来を喚起する試みであることを願います。三人の作家はお互いに異なる美しさに対する感覚や観点、そしてメディアを通じて「記憶」に関する作業を披露します。「記憶」に対する未完結のさまざまな話が、マドレーヌを交換するように観客とまた異なる話しを生成し、互いに感じてみながら記憶がその場を見つけて行くことを希求します。
pocke.jp
repression-expression-impression
JIN YEOWOOL
KIM HAESU
Duo Exhibition
2017
2017
26. April (wed)
-1. May (mon)
11:00am - 7:00pm
reception party
26. April. 2017
5:00am -
Azabujuban Gallery
Tokyo, Japan
