Park Chan-kyong: Gathering
Park Chan-kyong: Gathering
MMCA Hyundai Motor Series 2019: Park Chan-kyong - Gathering
October 26 2019 – February 23 2020
In MMCA Hyundai Motor Series 2019: Park Chan-kyong - Gathering, Park took on the structure of a mise en abyme frame narrative with 8 new works. Installed near the entrance, Small M...
In MMCA Hyundai Motor Series 2019: Park Chan-kyong - Gathering, Park took on the structure of a mise en abyme frame narrative with 8 new works. Installed near the entrance, Small Museum of Art functioned as the exhibition’s self-reflective frame and explored whether or not our familiarity with art history and museums stems from an artificially indoctrinated framework. Belated Bosal is a 55-minute film that paired the religious event of Siddhartha Gautama's nirvana with the Fukushima nuclear accident. The film’s black and white negatives evoked images of Fukushima’s radioactivity as the story unfolded by alternating between a middle-aged woman wandering through the mountains and a woman hiking to measure radioactive contamination. Fukushima, Autoradiography projected photographs taken in a village hit by the Fukushima nuclear disaster with Masamichi Kagaya's autoradiographs that visualize radioactivity. The work was presented alongside Sets (2000), both of which highlight Park's distinct way of seeking similarities in different objects and thus finding points of conversion. At the center was Water Mark, featuring cement panels engraved with different styles of waves with wooden maru (raised flooring of a traditional Korean house). Lectures and discussions in relation to the exhibition theme were held here as a significant space of diverse “gatherings” – reflecting Park’s view that “art is the conversation about art”.
Park Chan-kyong (born in Seoul, Korea, in 1965) is known for his film, installation, and photography with the theme of Cold War, division of Korea, folk religion, and modernity of East Asia. He majored in painting but after graduation, he mainly has written about art and curated exhibitions. His first solo exhibition in 1997 was titled Black Box: Memory of the Cold War Images. He worked mainly through photograph and video, such as Sets (2000), Power Passage (2004), Flying (2005), and Believe It or Not (2018). Upon presenting Sindoan in 2008, he began directing feature films and short films on modernity of Korea through topics of Korean folk religion and shamanism. Park has been awarded the Hermès Foundation Missulsang (2004), and the Golden Bear for Best Short Film at the Berlin International Film Festival (2011). He has also curated the exhibition SeMA Biennale Mediacity Seoul 2014, Ghosts, Spies, and Grandmothers.