2014 Korea Artist Prize
National Museum of Modern and Contemporary, Korea, 08/05/2014 - 11/09/2014
ABOUT
Co-sponsored by the National Museum of Modern and Contemporary, Korea and SBS Foundation, Korea Artist Prize adopted an award and sponsorship system. Now in its third year, the 2014 Korea Artist Prize seeks to identify and support talented artists who represent the vast potential and future vision of Korean contemporary art through the works that have significantly contributed to the development and advancement of Korea art. Offered in conjunction with an exhibition of works by selected artists, the 2014 Korea Artist prize adheres to its mission of promoting a vibrant art scene in Korea and presenting new trends and discourses within Korean contemporary art.
For the 2014 Korea Artist Prize, under the guidance of a new steering committee (2014-2015), it was decided that the recommenders and judges would be chosen separately. In awarding the prize, the steering committee first commissioned ten esteemed figures from the art world to recommend one artist each. Then, a panel of five judges, consisting of Korean and international members (also selected by the steering committee) reviewed the portfolios and conducted interviews of the ten recommended artists in order to narrow the field to the four finalists to be featured in the exhibition for 2014 Korea Artist Prize. This year’s finalists are Koo Donghee, Kim Shinil, Noh Suntag, and Chang Jia. For this exhibition, the four artists were given the opportunity to realize a large-scale project within a wide, prominent space. Perhaps most importantly, the exhibition allows viewers to experience the brilliant minds and stunning achievements of Korea’s finest contemporary artists. In consideration of each artist’s qualifications and contribution to the exhibition, the aforementioned panel of judges will select one artist to receive the 2014 Korea Artist Prize. The recipient will be chosen and announced during the exhibition period.
■ Kim Shinil: Ready-known
Kim Shinil (b. 1971) produces visual creations that seek to deconstruct our inherent—i.e. “ready-known”—ideas and beliefs through the act of “seeing.” Through such works, he seeks to expose and subvert the complacency of contemporary society, which he feels is a response to the overwhelming inundation of information and non-stop “categorization” of the world.
For this exhibition, Kim combines his letter sculptures with video works to render the gallery space as a single structure. A sensor is installed to automatically adjust the sound and lighting according to people’s movements in the space. When the gallery darkens, auditory elements are emphasized to stimulate people’s perception through hearing; when the lights brighten up, visual elements are highlighted to engage their mental reasoning. Kim’s letter sculptures consist of abstract blocks formed by a massed conglomeration of letters. These large blocks extend up from the floor to a height of up to 2.4 meters. Through these sculptures, Kim impedes the semantic function of words and letters and reconstitutes them as purely visual elements. Once the letters cease to exist as mere vessels for human thoughts, their overlooked sensuous aspects come to the forefront. As such, the viewers find themselves in a place outside of meaning. For example, three words—“mind,” “belief,” and “concept”—are installed in front of a mirror, but the mirror is programmed to vibrate with the rhythm of a heartbeat, so that the words become illegible. Or the words are placed within an acrylic box to manifest his abstract concept. A video is projected behind a letter sculpture, so that the light and shadow cast on the planes of the letters make them appear alternately concave and convex. Kim visualizes the acquisition of men’s true autonomy through light, emphasizing intuitive nature over the rational mind. Only by subverting concepts inherent to reason in favor of instinct can we begin to grasp our true nature. This notion is evinced in his video A Conversation in 42000 sec. (2014), wherein images of urban or everyday landscapes are enlarged until they become pixilated and unrecognizable. Two videos then intersect with one another, enacting a discourse that allows us to approach truths that lie beyond the reach of human vision and reason. Through his myriad experiments with visual perception—integrating drawings, sculptures, and videos—Kim Shinil conducts experiments on visual perception by crossing over drawing, sculpture and video to broaden our scope of comprehension with realization of the simplified visual language.
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Co-sponsored by the National Museum of Modern and Contemporary, Korea and SBS Foundation, Korea Artist Prize adopted an award and sponsorship system. Now in its third year, the 2014 Korea Artist Prize seeks to identify and support talented artists who represent the vast potential and future vision of Korean contemporary art through the works that have significantly contributed to the development and advancement of Korea art. Offered in conjunction with an exhibition of works by selected artists, the 2014 Korea Artist prize adheres to its mission of promoting a vibrant art scene in Korea and presenting new trends and discourses within Korean contemporary art.
For the 2014 Korea Artist Prize, under the guidance of a new steering committee (2014-2015), it was decided that the recommenders and judges would be chosen separately. In awarding the prize, the steering committee first commissioned ten esteemed figures from the art world to recommend one artist each. Then, a panel of five judges, consisting of Korean and international members (also selected by the steering committee) reviewed the portfolios and conducted interviews of the ten recommended artists in order to narrow the field to the four finalists to be featured in the exhibition for 2014 Korea Artist Prize. This year’s finalists are Koo Donghee, Kim Shinil, Noh Suntag, and Chang Jia. For this exhibition, the four artists were given the opportunity to realize a large-scale project within a wide, prominent space. Perhaps most importantly, the exhibition allows viewers to experience the brilliant minds and stunning achievements of Korea’s finest contemporary artists. In consideration of each artist’s qualifications and contribution to the exhibition, the aforementioned panel of judges will select one artist to receive the 2014 Korea Artist Prize. The recipient will be chosen and announced during the exhibition period.
■ Kim Shinil: Ready-known
Kim Shinil (b. 1971) produces visual creations that seek to deconstruct our inherent—i.e. “ready-known”—ideas and beliefs through the act of “seeing.” Through such works, he seeks to expose and subvert the complacency of contemporary society, which he feels is a response to the overwhelming inundation of information and non-stop “categorization” of the world.
For this exhibition, Kim combines his letter sculptures with video works to render the gallery space as a single structure. A sensor is installed to automatically adjust the sound and lighting according to people’s movements in the space. When the gallery darkens, auditory elements are emphasized to stimulate people’s perception through hearing; when the lights brighten up, visual elements are highlighted to engage their mental reasoning. Kim’s letter sculptures consist of abstract blocks formed by a massed conglomeration of letters. These large blocks extend up from the floor to a height of up to 2.4 meters. Through these sculptures, Kim impedes the semantic function of words and letters and reconstitutes them as purely visual elements. Once the letters cease to exist as mere vessels for human thoughts, their overlooked sensuous aspects come to the forefront. As such, the viewers find themselves in a place outside of meaning. For example, three words—“mind,” “belief,” and “concept”—are installed in front of a mirror, but the mirror is programmed to vibrate with the rhythm of a heartbeat, so that the words become illegible. Or the words are placed within an acrylic box to manifest his abstract concept. A video is projected behind a letter sculpture, so that the light and shadow cast on the planes of the letters make them appear alternately concave and convex. Kim visualizes the acquisition of men’s true autonomy through light, emphasizing intuitive nature over the rational mind. Only by subverting concepts inherent to reason in favor of instinct can we begin to grasp our true nature. This notion is evinced in his video A Conversation in 42000 sec. (2014), wherein images of urban or everyday landscapes are enlarged until they become pixilated and unrecognizable. Two videos then intersect with one another, enacting a discourse that allows us to approach truths that lie beyond the reach of human vision and reason. Through his myriad experiments with visual perception—integrating drawings, sculptures, and videos—Kim Shinil conducts experiments on visual perception by crossing over drawing, sculpture and video to broaden our scope of comprehension with realization of the simplified visual language.
For More Information