我是我的镜子 DOUBLE MIRROR
开放时间：周二–周五 13:00-17:00 / 周末及节假日 11:00-17:00
Duration: November 5, 2019 – March 29, 2020
Open Time: TUE – FRI 13:00-17:00 / Weekend & Holiday 11:00-17:00
Venue: H18 Shanghai Museum of Glass Park
Art Project Director: Lise LI
关于展览 ABOUT EXHIBITION
Kelvin Kyung Kun Park is the first foreign artist in the “Annealing” Project. This exhibition is also his first solo exhibition in China. In this exhibition, starting from “questioning the subjectivity of image artists in their work”, Kelvin attempts to explore the more complicated desire mechanism related to the motivation of “watching”. He deploys dynamic glass mechanical installations, making them rotating and transforming in space, vaguely implying the unpredictable and uncontrollable uncertainties in human nature, which yet are precisely the charisma of it. Besides, his latest image works feature a pair of twins, depicting the psychological mechanism of sub-consciousness and continuing to expand the psychological implication of uncertainty brought by the installations.
关于艺术家 ABOUT ARTIST
Born in 1978 in Seoul, South Korea, Kelvin Kyung Kun PARK now lives and works in Seoul. He graduated from the University of California, Los Angeles (UCLA) in 2000 and received his master’s degree from the California Institute of Arts in 2005. Kelvin’s creations mainly include documentaries, videos and installations. Most of his works were created in the context of self-awareness and drastic changes in social and cultural life, covering the modern industrial history, military trauma and popular cultural psychology of South Korea. His latest documentary film “Army” was selected for the 2018 Busan International Film Festival and won the Best Documentary Award. The film was selected for DOK Leipzi 2019.
艺术家说 ARTIST's statement
“I have always feared capturing a person on a camera. The discrepancy between a person I see in life and one that is photographed or filmed (although a little bit better on film) drove me crazy because layers of information from a single human being seemed far too infinite to be captured on a finite image. Multiple layers of a person emerge depending on my attitude and the relationship I have with that particular person. It was my attitude that defined who the other was, and depending on my attitude, sometimes I have the accidental joy of having a real connection with the other.
In the past years I had questioned my own subjectivity in my work. I felt the sense of “self” is relatively weak in Asian cultures because modernity has yet internalized collectively. I was in a place where I had to be very suspicious of my own desires, distinguishing what I wanted from that of my collective unconscious. When I began to see a little more than what I used to see, I realized the dynamic of looking involves a very complex desire mechanism.
To me, my kinetic glass sculptures are like female bodies. These female bodies seem to transform into infinite possibilities of form that is difficult for me to grasp. Sometimes dangerous, sometimes beautiful, there are individuals that I do not know or understand but can only feel. The precarious glass planes are supported by the central structure of the steel rod. I was able to make complex shapes with simple mechanics of a bevel gear, transferring the rotation of a motor into four different directions of left, right, up and down.
If sculptures are the exteriority, video is the interiority. Video portrays the psychological mechanism of the subconscious, the realm of dreams. I have casted a twin actress who play both herself and the role of her twin sister. As her body is infinitely reflected and fragmented in a mirror maze, she tries to save the other only to find out she is the one who needs saving. A temporary amnesia both sisters face is a protective mechanism to spare both of them from the bitter reality. The mirror room reflecting their bodies is an echo chamber of fantasy that one needs to maintain a continuous sense of self.”
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