Multi-Channel TV, Wallpaper, Dimension Variable
Installed at Buk-Seoul Museum of Art
Sound by Kwangmin Lee
3D Animation assistant by Haeun Sung
commissioned by Piknic
다채널 영상, 시트지, 가변 크기
서울시립 북서울미술관 설치
사운드 : 이광민
3D 보조 : 성하은
피크닉 커미션
Exceeded Scenes
〈초과된 풍경〉, (2023)
This work is composed of digital images and videos featuring things that can be found all around us outside, such as soil, leaves, moss, and insects. Everything was photographed with a macro lens, and then composited in a 3D space. The artist was inspired by soil, which is created when the remains of plants and animals accumulate through erosion and weathering. Gijeong Goo has focused on the relationships that can arise between humans, nature, and machines, from the mind-body connection to the exploration of the relationship between nature and technology. Synthesizing the connected and disparate, while arranging them to make their separation perceptible, is more a process of absorbing heterogeneity into oneself, rather than appropriating and expanding it through technology. As static still images and moving video images combine and circulate to create an unfamiliar feeling, audiences can contemplate what it means for technology to embody what the human eye cannot see.
This is a new version in the series Exceeded Scenes, which has been presented in various forms in the past. This is a site-specific work that has been reorganized to fit the theme and setting of this exhibition. The entrance space of the exhibition hall, where the work is installed, forms what seems to be a moving underground world—or an unknown space and time connected to reality—and constitutes a unique space to welcome visitors.
Text : Kahyun Song (SeMA Curator)
주변에서 흔히 볼 수 있는 흙, 나뭇잎, 이끼나 벌레 등을 매크로 렌즈로 촬영한 후, 3D 공간에서 합성한 디지털 이미지와 영상으로 구성된 작품입니다. 동식물의 유해가 침식과 풍화를 거쳐 누적되면서 생성되는 토양에서 영감을 얻었습니다.
이 작품은 다양한 형태로 변주하며 선보여온 <초과된 풍경> 연작의 새로운 버전으로, 이번 전시의 주제와 환경에 맞추어 재구성된 장소 특정적 작품입니다. 작품이 설치된 전시실 입구 공간은 움직이는 땅속 세계, 혹은 현실과 연결된 미지의 시공간을 형상화하며, 관람객을 맞이하는 독특한 환대의 공간을 구성합니다.
글: 송가현 (서울시립 북서울미술관 학예연구사)
〈초과된 풍경〉, (2023)
This work is composed of digital images and videos featuring things that can be found all around us outside, such as soil, leaves, moss, and insects. Everything was photographed with a macro lens, and then composited in a 3D space. The artist was inspired by soil, which is created when the remains of plants and animals accumulate through erosion and weathering. Gijeong Goo has focused on the relationships that can arise between humans, nature, and machines, from the mind-body connection to the exploration of the relationship between nature and technology. Synthesizing the connected and disparate, while arranging them to make their separation perceptible, is more a process of absorbing heterogeneity into oneself, rather than appropriating and expanding it through technology. As static still images and moving video images combine and circulate to create an unfamiliar feeling, audiences can contemplate what it means for technology to embody what the human eye cannot see.
This is a new version in the series Exceeded Scenes, which has been presented in various forms in the past. This is a site-specific work that has been reorganized to fit the theme and setting of this exhibition. The entrance space of the exhibition hall, where the work is installed, forms what seems to be a moving underground world—or an unknown space and time connected to reality—and constitutes a unique space to welcome visitors.
Text : Kahyun Song (SeMA Curator)
주변에서 흔히 볼 수 있는 흙, 나뭇잎, 이끼나 벌레 등을 매크로 렌즈로 촬영한 후, 3D 공간에서 합성한 디지털 이미지와 영상으로 구성된 작품입니다. 동식물의 유해가 침식과 풍화를 거쳐 누적되면서 생성되는 토양에서 영감을 얻었습니다.
이 작품은 다양한 형태로 변주하며 선보여온 <초과된 풍경> 연작의 새로운 버전으로, 이번 전시의 주제와 환경에 맞추어 재구성된 장소 특정적 작품입니다. 작품이 설치된 전시실 입구 공간은 움직이는 땅속 세계, 혹은 현실과 연결된 미지의 시공간을 형상화하며, 관람객을 맞이하는 독특한 환대의 공간을 구성합니다.
글: 송가현 (서울시립 북서울미술관 학예연구사)