Presented by Kim Kim Gallery and curated by Clemens Krümmel, the exhibition TALKING PICTURE BLUES (VOICES RISING) 토킹 픽쳐 블루스 (커지는 목소리들) will include a display of the GRAND MOVING MIRROR OF CALIFORNIA 캘리포니아의 거대한 움직이는 거울 , a moving panorama created by the VELASLAVASAY PANORAMA 벨라스라바사이 giving a journey around CAPE HORN 케이프 혼, through the ISTHMUS 지협(地峽) arriving at CALIFORNIA 캘리포니아 during the GOLD RUSH 골드 러시.
TALKING PICTURE BLUES (VOICES RISING) 토킹픽쳐블루스 (커지는목소리들)
Songwon Art Center 송원아트센터
Address: 106-5, Hwa-dong, Jongno-gu, Seoul, 110-210, Korea 서울종로구화동 106-5
Dates: June 12 - July 12, 2015(closed on Mondays) 11 AM - 6 PM
Exhibition Debut: June 12, 2015 5-7 PM
GMMOCA Performance: June 13, 2015 3PM
Artists: Seoyoung Chung 정서영| Moritz Fehr | The Velaslavasay Panorama, Los Angeles, CA | Franz John | Miyeon Lee 이미연 | Viola Rusche | Karin Sander | Romana Schmalisch – Mobile Cinema | Dierk Schmidt | Andreas Siekmann | Shane Simmons | Chris Ware | Ben Katchor | Austin Osman Spare | Stefan Ettlinger | Stefan Hayn | Hyangro Yoon 윤향로
With its point of departure in the world-wide image industries of the 19th century, this exhibition focuses on a mythical structure in contemporary thinking about mediatised images: According to this myth, artists’ pictures must „talk“ by themselves, or they will be considered secondary, derivative, or even irrelevant.
In the selection of artworks organized by Berlin-based curator Clemens Krümmel, researcher at the Melton Prior Institute for Reportage Drawing and Printing Culture in Düsseldorf, this projection of the „talking picture“ that yet remains insufficient in itself is transposed into an arrangement of „semi-autonomous“ pictures.
Artworks combined of moving and static images always in relation to an additional layer that can be considered the „talking“ one. The main reference extends to different types of picture recitation – as the historical basis for today’s cultures of the commented image.
Speaking out next to pictures has a great history – and this did not only include street balladeers or market criers. For a long time, practices of the text-image, of text-based documentary art forms, of description and recitation, have not only developed in the direct context of artworks, but also as hybrid artistic modes of production in their own respective rights.
Using the walls and angular spaces of Songwon Art Center in a self-reflexive manner, this cabinet-type exhibition develops a contemporary reading of notions like “layout”, “framework“, and “animation“ – mostly by arranging images from diverse contexts and by transforming different degrees of these images’ performativity into layers, frames, and motions.