PROJECTS

APAP5

제목, 글쓴이, 날짜의 내용이 있습니다.
Honoré d’O A gate, a bridgea secret were seeking in the holy wilderness for treasures, historyfate
3 barrier gate operators, sandbags, pebbles single channel video, 30 min, color. Commissioned by the 4th Anyang Public Art Project (APAP)



Installation view, Kimchungup Museum, Anyang, 2014. Courtesy the artist (Photograph: Hong Cheolki, Kim Jungwon)
 
The 4th APAP maintains and repairs the artworks from its previous editions, while at the same time, gives livelihood to the works through re-programming the existing pieces. In this context, it invites artists of previous editions and takes on projects that allow them to interpret artworks under changed time and conditions. Honoré d’O was invited by the 1st APAP and presented in Anyang Art Park his work *The tears of the fish are falling in the water*. Putting well into consideration the surrounding environment, this work and also fountain has been loved by many visitors of APAP Tours. The fountain water, or as it were, the tears of the fish splashing down to Samseong Stream reminds us of the collective emotional outpouring often witnessed in South Korean society, suppressed under rapid social changes. When looked from a closer distance, this huge metal sculpture is connected to several objects that could be easily passed by; one is a *kimchidok*—a jar used to ferment kimchi—and the other is a travel suitcase, both tied to the top of a utility pole. The 4th APAP decides to begin another set of story from these objects that symbolize both convention and change of Korea, as well as recall an asymmetry between locality and an international art scene.
 
For the 4th APAP, Honoré d’O opens up a new story that connects the *kimchidok* and travel suitcase to a transformed object, a barrier gate operator. Focusing on the temporality of stories, the artist uses barrier gate operators, which signalizes stopping and passing, as a medium that controls time flow. Transforming its original design and operational method, a total of three installations either welcome or obstruct the audience from unexpected places. Meanwhile sandbags, easily seen around construction sites or recovery sites in the aftermath of natural disasters, compose the environment of the work, playing roles such as banks, bridges or pedestals. This project was initially conceived from the historic site regulations that do not permit entrance of the visitors. It is at once a warning that overprotectiveness can lead to severance, and also the artist’s humorous solution to it.
 
While swerving the common notion of objects, the visual rhetoric of Honoré d’O continues to draw the audience into a fascinating system of perception by using familiar movement and intuitive design. On this occasion, the artist especially rediscovers the travel suitcase as the medium connecting two stories—one of 2005 and one of 2014—together. Spanning from Samseong Stream and Kimchungup Museum, to the interiors of Munhwanuri Hall, the suitcase acts as punctuation marks for the storytelling audience, separating parts of the story to allow a brief break, and bridging the contrasts and differences.
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