Belated Bosal : Park Chan-kyong Solo ExhibitionPost date：2024-10-17
Updates：2024-10-17
133
- Event Time
- 2024-11-08~2025-02-16TUE. - SUN. 10:00 - 17:00
- Event Location
- Kuandu Museum of Fine Arts, Beitou Dist., Taipei City Taiwan, R.O.C
BELATED BOSAL
HD film, four-channel sound, 55min.
2019
* Film screenings occur every hour.
This film is mainly composed of black and white negatives and close to a feature film. Belated Bosal, paired with Fukushima, Autoradiography, stimulates the audiences’ conventional conceptions and images about light, air, radioactivity and nature to the extent that they re-think all of these ideas and representations of them inversely.
A mixture of the images of mountains, Buddhist myths, a nuclear power plant and art seems to forsake the coherence of the storyline. However, this film is close to a depiction of a society that has lost its coherency. As a result, the film leads the audiences to consider the nirvana of the great saint, the road to our individual deaths and, above all, the “gatherings” that take place at the time of someone’s death.
FUKUSHIMA, AUTORADIOGRAPHY
Film photo converted to digital image,
autoradiography, text, slide show, 24min 40sec.
2019
Collaboration with Masamichi Kagaya and Satoshi Mo.
This is a juxtaposition of images of the works of Japanese photographer Kagaya Masamichi and the botanist Mori Satoshi’s photographic images of the autoradiographs of diverse organisms and products, combined with Park Chan-kyong’s photo works taken in Fukushima in 2019.
Forming a contrast to the black and white autoradiographic images that are full of scientific precision and solemnity, Park Chan-kyong has scanned the landscape of a spring day in the post-catastrophic region. Without the black and white images that have been inserted into the flow of the scenery, the landscape simply looks like that of a small town of suburbia.
The autoradiographs and Park Chan-kyong’s photographs, alike, attempt to unravel the truths of the radioactive accident and the post-disaster reality. However, both constantly fail to reach their goals completely; the former because of the non-present-ness of its x-ray images, the latter because of the invisibleness of the radioactivity. Nevertheless, the audiences may be able to have a glimpse of the overall image of the disaster through their encounter with these images. This is the experience that the artist calls “the deadlock between images and textual information.” (MMCA)
Small Art History
Photography, handwritten texts with pencil
2017
In Small Art History 1-2, Park recreates his own version of art history by reconfiguring select artworks across the ages bridging the East and the West. Using the discourses on the aesthetics of the sublime, art institutions, appropriation, photography with texts, and East Asian culture and history as an axis, he studiously avoids a chronological narrative of art history or the false categorization of the East and the West. By doing so, Small Art History 1-2 questions the underlying criteria of conventional art history while at the same time critiquing and celebrating their inherent falsehoods.
HD film, four-channel sound, 55min.
2019
* Film screenings occur every hour.
This film is mainly composed of black and white negatives and close to a feature film. Belated Bosal, paired with Fukushima, Autoradiography, stimulates the audiences’ conventional conceptions and images about light, air, radioactivity and nature to the extent that they re-think all of these ideas and representations of them inversely.
A mixture of the images of mountains, Buddhist myths, a nuclear power plant and art seems to forsake the coherence of the storyline. However, this film is close to a depiction of a society that has lost its coherency. As a result, the film leads the audiences to consider the nirvana of the great saint, the road to our individual deaths and, above all, the “gatherings” that take place at the time of someone’s death.
FUKUSHIMA, AUTORADIOGRAPHY
Film photo converted to digital image,
autoradiography, text, slide show, 24min 40sec.
2019
Collaboration with Masamichi Kagaya and Satoshi Mo.
This is a juxtaposition of images of the works of Japanese photographer Kagaya Masamichi and the botanist Mori Satoshi’s photographic images of the autoradiographs of diverse organisms and products, combined with Park Chan-kyong’s photo works taken in Fukushima in 2019.
Forming a contrast to the black and white autoradiographic images that are full of scientific precision and solemnity, Park Chan-kyong has scanned the landscape of a spring day in the post-catastrophic region. Without the black and white images that have been inserted into the flow of the scenery, the landscape simply looks like that of a small town of suburbia.
The autoradiographs and Park Chan-kyong’s photographs, alike, attempt to unravel the truths of the radioactive accident and the post-disaster reality. However, both constantly fail to reach their goals completely; the former because of the non-present-ness of its x-ray images, the latter because of the invisibleness of the radioactivity. Nevertheless, the audiences may be able to have a glimpse of the overall image of the disaster through their encounter with these images. This is the experience that the artist calls “the deadlock between images and textual information.” (MMCA)
Small Art History
Photography, handwritten texts with pencil
2017
In Small Art History 1-2, Park recreates his own version of art history by reconfiguring select artworks across the ages bridging the East and the West. Using the discourses on the aesthetics of the sublime, art institutions, appropriation, photography with texts, and East Asian culture and history as an axis, he studiously avoids a chronological narrative of art history or the false categorization of the East and the West. By doing so, Small Art History 1-2 questions the underlying criteria of conventional art history while at the same time critiquing and celebrating their inherent falsehoods.
