Artist's vision driven by pressure

Looking at artist Jeff Gabel while he works might turn out to be more satisfying than looking at his art. In fact, he'll tell you himself: he tries hard, but not every creation is a masterpiece.
"Yes, I can do what I want," said the Brooklyn, New York artist. "But it makes me feel bad if I burn the guy [who hired me]. And it's my reputation."
He was brought in by the Ottumwa Area Arts Council and Anomaly Gallery, an artists' showplace next door to Hotel Ottumwa. He's working on a mural there, a wall installation. He doesn't really prefer working on wall installations. They're bigger than he's comfortable with. That is part of what is pushing him, pressuring him into creating something different.

For these jobs, he doesn't lay out a grid, he doesn't write out a plan, he doesn't make a sketch ahead of time. Because there's no advance work, spectators in the studio with him get a look at what the artist is thinking at that moment.
"Look, everything else, I control. [With smaller pieces] I control the canvas," he said Friday. "I have control of the paper. I think this is the only part of my life where there's chaos."
"You feel vulnerable," said Brad Covington, co-founder of Anomaly Gallery in Ottumwa.
"I do, I feel vulnerable," said Gabel. "I'm taking a risk."
Galleries and museums around the world give him part, or all, of a wall to do with as he sees fit. He'll read a few novels as he works, letting the story influence him. He'll grab an occasional quote from the book to use in his art. And he creates not just for himself, but with the intention that the art will be pleasing to spectators. He does care what people think. And he's only given a certain amount of time to get done and get out. All of that adds up to pressure.
"I could fail — and I have."
Once, at the end of 12 days —all the time he had — a piece for a museum, actually drawn and painted in that museum, just didn't look good: He could tell.
That pressure is part of the muse that drives him. So is the opportunity to get out of the office. Though originally from Nebraska, he works a white-collar job in New York.
"I've been a clerk in a law library for 10 years," he said.
So how is that?
"I'd rather detassel corn."

And no, he said, he doesn't particularly enjoy detasseling. It's just better than clerking. Of course, his true preference is to draw, paint and write.
He explained that he puts text on the blank wall. It can be a quote, or a paraphrase, or an improvisation loosely based on what he has read (preferably in German or Finnish). He does that first, then paints or draws over it.
"The text is there; you may not be able to read it, but it provides texture, a layer," Gabel said. "I don't know. That could all be wrong."
Come watch him work, he and Covington said.
"A big part of this is the experience, the journey, rather than the most important [aspect] being the [finished] installation," Gabel said.
Covington said he plans to keep the gallery open most days through Wednesday, so visitors can come watch Gabel work. Except Sunday. He wants to take his guest to see the American Gothic House in Eldon.

"Gotta' see the Gothic House," called out Gabel from where he was working.
-by Mark Newman
Sep. 2016


안전모, 1981

캔버스에 유채 
삶의 온갖 비가시적 영역을 가로지르는 주재환의 작업 속의 비물질성과 인생적 철학적 메타포들은 기본적으로 민중의 찐득찐득한 현실의 모순과 삶의 때를 직시하는 리얼리즘적 산문정신의 소산이라 할 수 있다. 이 산문정신은 다양한 반조형적 형식들을 통 해서 실현되고 있다. 대부분의 작업은 조형적 미학성보다는 오히려 조형적 가난과 외소함을 그냥 척 들이대는 식으로 제시되거나 아니면 주절주절 늘어놓는 식의 외양을 거리낌없이 취한 것들이다. 잡다함이나 산만함도 그의 미학의 익숙한 부분이다. 주의해보면 잡다하고 보잘것없는 것이 오히려 군더더기를 생략한 결과하는 것을 알고 놀랄 때도 있다. 조형적 힘주기를 빼낸 결과인 것이다.---성완경(미술평론가)

Mills and More, 2012

oil on canvas, 140 x 200 cm

Talking Picture Blues

Eine Ausstellung des Milton Prior Instituts für Reportagezeichnung, Düsseldorf

Kunstsäle Berlin

1. November 2013 bis 11. Januar 2014

Zusammengestellt von Clemens Krümmel

Alice Creischer, Stefan Hayn, Winsor McCay, Samuel Nyholm, Felix Reidenbach, Viola Rusche, Karin Sander, Albrecht Schäfer, Romana SchmalischDierk Schmidt, Andreas Siekmann, Shane Simmons, Chris Ware

Hinomaru – Himmel voller Horizonte (Januar 2011)

Dutch-Korean Contemporary Art 2003: Korean Contemporary Art 2003 - Facing Korea

Four exhibitions on contemporary Korean art were held at four venues in the Netherlands for the Dutch-Korean Contemporary Art 2003 programme. These exhibitions were part of the cultural activities commemorating the arrival of Hendrik Hamel in Korea 350 years ago, which symbolised the beginning of the Korea-Netherlands relations. Each of the four venues displayed an aspect of Korean contemporary art. In the Netherlands Media Art Institute, artists documented their experience of the fast-expanding and changing city lives with video, photography and installation. In De Appel, artists addressed the issue of the relationship between North and South Korea. Emphasis on the identity of the individual was the theme of the exhibition featuring works by 2 photographers at the Foam Photography Museum. Lastly, at Canvas International art, the focus of the artists was on 'national identity'.

:LEE Youngchul(이영철)BECK Jeesook(백지숙)
Language/s:Dutch, English
:KANG Youngmean(강영민)LEE Joongkeun(이중근)(Group) Younghae Chang Heavy Industries(장영혜 중공업)HAM Jin(함진)PARK Chankyong(박찬경)KIM Sanggil(김상길)JUNG Yeondoo(정연두)YANG Haegue(양혜규)KOO Bohnchang(구본창)GWON Osang(권오상)(Group) flyingCity(플라잉시티)IM Heungsoon(임흥순)JoSeub(조습)KOH Seungwook(고승욱)PARK Hwayoung(박화영)Jewyo RHII(이주요)KIM Beom(김범)BAE Youngwhan(배영환)PARK Hyesung(박혜성)KIM Jihyun(김지현)PARK Sejin(박세진)LIM Minouk(임민욱)MICHON Frederic(미숑프레데릭)CHOI Jeonghwa(최정화)(Group) mixrice(믹스라이스)
:Saskia BOSHenk SLAGERBECK Jeesook(백지숙)KIM Changjo(김창조)Colette OLOFMark KREMERYUN Cheagab(윤재갑)
Organiser/s:Canvas International Art (Amsterdam - The Netherlands)
De Appel (Amsterdam - The Netherlands)
Foam Fotografiemuseum Amsterdam (Amsterdam - The Netherlands)
Netherlands Media Art Institute - Montevideo/Time Based Arts (Amsterdam - The Netherlands)
Marronnier Art Center of the KCAF (Seoul - Korea)
Yellow Sea Cultural Network (Seoul - Korea)
Venue/s:Canvas International Art, Foam Fotografiemuseum Amsterdam & Netherlands Media Art Institute
Year of Publication:2003

with Joo Jae-Hwan

April 2015

endlessly battling between distinguishing oldness that no longer exists and newness that does not yet exist

Alternative Title:The 10th Anniversary Publication of the Hermes Foundation Missulsang
에르메스 재단 미술상
:Nicolas BOURRIAUDKIM Sungwon(김성원)
Description:Published on the 10th anniversary of the Hermès Foundation Missulsang, this catalogue does not correspond to one exhibition, but rather is a review of the past 10 award winners of the past 10 exhibitions.  The first Hermès Korea Missulsang (Hermès Korea Prize for Contemporary Art) was awarded in 2000.  H.S. Jun, Managing Director of Hermès Korea wrote the introductory remarks, and essays about contemporary art are by Nicolas Bourriaud and Sung Wong Kim.  At the end of the catalogue are lists of the nominating committees, judging committees, short-listed artists,  and winners from 2000 through 2009.  Brief winning artists' biographies are included. 

Language/s:English, French, Korean
:BAHC Yiso(박이소)KIM Beom(김범)KIM Sunghwan(김성환)KOO Jeonga(구정아)LIM Minouk(임민욱)PARK Chankyong(박찬경)PARK Yoonyoung(박윤영)SONG Sanghee(송상희)Doho SUH(서도호)(Group) Younghae Chang Heavy Industries(장영혜 중공업)
Publisher/s:Fondation d'entreprise Hermès (Paris - France)
Year of Publication:2009
No. of Pages:286

Printing Talking Picture Blues Book

Jan. 2016


du 23/10 au 06/12, 2015


Anna Buros, Matthieu Clainchard, Théodore Fivel, Joo Jae-Whan, ByungJun Kwon, Suki Seokyeong Kang, Seulgi Lee, Soosung Lee, Ingrid Luche, Gregory Maass & Nayoungim, Benoît-Marie Moriceau, Suji Park, Samir Ramdani, Éléonore Saintagnan & Grégoire Motte, Azzedine Saleck, Sangdon Kim, Seoyoung Chung, Danny Steve, Lee Wan

En 2015 et 2016, la France et la République de Corée célèbrent le 130ème anniversaire de l’établissement de leurs relations diplomatiques. Avec le soutien de l'Institut français et de nombreuses institutions sud coréennes, Kim Kim Gallery, basée à Séoul et dirigée par les deux artistes Gregory Maass et Nayoungim, a sollicité Tripode sur une idée originale de Damien Airault (curateur indépendant) pour recevoir son projet d'exposition collective à Nantes. S'appuyant sur l'idée que l'exposition proposée est un écosystème composé de communautés multiples autant qu'éloignées, Tripode a convié -HAUS à imaginer et concevoir un parcours en s'entourant des complicités de Bel Ami concept store, laSuisse, Talensal et Mosquito Coast Factory (Campbon).
L'esprit résolument underground et outsider incarné par le choix des lieux d'exposition et des artistes emmène le public à emprunter des chemins très peu battus, atypiques, rares, insolites, voire bizarres.
Jungle Shoes emprunte son titre à une oeuvre du musicien et naturaliste Bernie Krause, acquis à la reconnaissance pour avoir composé des musiques de films célèbres, mais surtout pour avoir conceptualisé l'écologie du paysage sonore et devenir maître en bioacoustique. Il a ainsi ouvert un champ de la recherche totalement inédit, riche d'enseignement pour notre rapport à la musique et à la nature.
Le programme Jungle Shoes s’articule autour de 3 axes : art vidéo, performances, et expositions (peintures, sculptures, objets, etc.). Il effectue un aller-retour entre les médiums tout en s'attachant à présenter des oeuvres d'artistes français et coréens émergents. Jungle Shoes met en parallèle des scènes qui se rencontrent rarement pour créer de nouveaux dialogues. Public averti, ne pas s'abstenir.

Art-o-rama transport

Aug. 2015

Unfinished Conversations: New Work from the Collection at The Museum of Modern Art

Unfinished Conversations: New Work from the Collection brings together works by more than a dozen artists, made in the past decade and recently acquired by The Museum of Modern Art. The artists that make up this intergenerational selection address current anxiety and unrest around the world and offer critical reflections on our present moment.
The exhibition considers the intertwining themes of social protest, the effect of history on the formation of identity, and how art juxtaposes fact and fiction. From Cairo to St. Petersburg, from The Hague to Recife, the artists in the exhibition observe and interpret acts of state violence and the resistance and activism they provoke. They reexamine historical moments, evoking images of the past and claiming their places within it. They take on contemporary struggles for power, intervening into debates about government surveillance and labor exploitation. Together, these artists look back to traditions both within and beyond the visual arts to imagine possibilities for an uncertain future.
The title of this exhibition is inspired by John Akomfrah’s three-channel video installation The Unfinished Conversation (2012), which is included here and chronicles the life and work of the Jamaican-born British cultural theorist Stuart Hall (1932–2014). Hall recognized the power that museum collections have to both shape and reflect culture and communities, contending that they are sources of inspiration ‘which create thoughtprovoking visions of our past. They provide testimony to the darkest and brightest of human history.’ 

Mar. 19-July 30, 2017

“Ability vs Invisibility”: Korean artist Chung Seoyoung at Tina Kim Gallery, New York

Korean contemporary artist Chung Seoyoung develops a sculptural approach to appreciate less visible features in the world around us.

Installation of Chung Seoyoung, "Ability vs Invisibility", March 2 - April 15, 2017. Images Courtesy of the Artist and Tina Kim Gallery.
Installation of Chung Seoyoung, “Ability vs Invisibility”, 2 March – 15 April 2017, Tina Kim Gallery, New York. 
All images courtesy the artist and Tina Kim Gallery.
From 2 March to 15 April 2017, New York’s Tina Kim Gallery will present their first solo exhibition of South Korean artist Chung Seoyoung. Entitled “Ability vs. Invisibility”, the show features sculpture, installation and video work from the 2000s to the present.
Chung Seoyoung (b. 1964), who has lived in Germany for many years, is a post-Dansaekhwa conceptual artist and a key figure in the next generation of Korean artists. Her work explores the arbitrary and rootless nature of things. She often uses elements of the absurd in order to create a dialogue between material objects and a sense of ambiguity.
Chung Seoyoung, 'Curb', 2013, cast aluminum, 118.11 x 3.94 x 11.81 inches 300 x 10 x 30 cm. Image courtesy of the Artist and Tina Kim Gallery.
‘Curb’, 2013, cast aluminium, 118.11 x 3.94 x 11.81 inches 300 x 10 x 30 cm. 
Looking for the invisible
Chung uses cheap, Korean-made construction materials to create her sculptures and installations, exploring perceptions of space and time. As she explains,
Space and time are requisite conditions for comprehending the problems of reality, body, and objects more broadly. In other words, through the abstractness provided by space and time, the conditions for understanding the world can infinitely expand and be intensely challenged.
Installation of Chung Seoyoung, "Ability vs Invisibility", March 2 - April 15, 2017. Images Courtesy of the Artist and Tina Kim Gallery.
Chung’s work has expanded beyond the visual vernacular traditions of modern abstract painting and the populist Minjung art movement, which were prevalent in the Korean art scene when Chung was studying sculpture. In her years working in Germany, she developed a sculptural practice that moved beyond cultural narratives. She explored ideas of industrialism and environments through paired down representations. By turning the viewer’s attention away from the visual narrative, Chung throws into relief the non-visible aspects, such as time
Installation of Chung Seoyoung, "Ability vs Invisibility", March 2 - April 15, 2017. Images Courtesy of the Artist and Tina Kim Gallery.
In one piece in the exhibition, Nobody Notices, the visitor can sit on “a vaguely anthropomorphic sculpture made of rough concrete” while listening to the piece’s sounds through headphones. The sounds come from the Swiss composer Mandred Werder’s 2005/1, sounds recorded in Zurich’s central train station every day at 10am. Chung describes:
As Werder once mentioned in an interview, these sounds enable simple listening and concentration on what is going on in the world. It might be preposterous to gaze at the cement piece while listening to the sounds, or to experience sculpture in a state that is not formal/customary. Sculpture in general sense indicates something physical and tangible. I go beyond this limitation of general notion of sculpture and think of both sounds and texts as immaterial or nonmaterial sculpture. Thus, the experience of listening, at least for me, can be described as a “sculptural experience”, because the energy exerted in using our auditory senses to interpret the world around us creates some kind of intangible substance, which becomes the sculpture. Nobody Notices It is derived from my desire to approach everything that constructs the world with what I call “sculptural approach”.
Objects as social evidence
The exhibition “Ability vs. Invisibility” is part of a text project called The Ways. Chung explains the sense of opposition she creates in the title of the exhibition
This imaginary confrontational composition cannot be comprehended as simple competition or opposition between the two, and choosing one over the other becomes almost ridiculous. The effect of such confrontation can be achieved only by discovering a new dimension within that confrontational composition. This is deeply related to my interest in objects as social evidence, and my effort to recognise the unexpected moment when a sculpture arises.
Installation of Chung Seoyoung, "Ability vs Invisibility", March 2 - April 15, 2017. Images Courtesy of the Artist and Tina Kim Gallery.
‘East West South North’, 2007, steel, wheels, 196.85 x 236.22 x 24.8 in, 500 x 600 x 63 cm. 
In the large-scale sculpture East West North South (2007), bright still fences fill the gallery space, creating a marked out yet empty space. The title, with the emphasis on directions, is at opposition to its location in space, and the viewer does not actually know from the work what its orientation is in the gallery. The piece serves to disorientate and question markers of direction.
Chung Seoyoung, 'The Adventure of Mr. Kim and Mr. Lee', 2010-2012, three-channel video installation, approximately 17.72 x 27.56 inches, 45 x 70 x 2.5 cm. Image courtesy of the Artist and Tina Kim Gallery.  ‘The Adventure of Mr. Kim and Mr. Lee’, 2010-2012, three-channel video installation, approximately 17.72 x 27.56 in, 45 x 70 x 2.5 cm. 
Another work that looks at how objects become social is the three-channel video The Adventure of Mr. Kim and Mr. Lee (2010-2012). In this performance, nine performers and a dog are situated throughout the stage, the dressing room and the hallways of LIG Art Hall, Seoul. They are all moving apart from a man smoking and walking the dog. Their clothes challenge the assumed identity of each character; the child is dressed like an old woman, the woman has a mustache and a man has a monster’s ear. Clothes that should provide signs for understanding the context have been abstracted and altered, provoking the viewer to question unnoticed assumptions. In addition, because the performers are silent and the identities of Mr. Kim and Mr. Lee are not revealed, the viewer becomes a dynamic participant of the piece, creating a narrative to put on the mute characters
Installation of Chung Seoyoung, "Ability vs Invisibility", March 2 - April 15, 2017. Images Courtesy of the Artist and Tina Kim Gallery.
Chung has also incorporated language into her work, such as in A tiger only in half, a palm tree upside down, FAST! (2012) and excerpts from her drawing series Monster Map 15 Min. (2008). Chung explains in the exhibition text:
the titles I choose are another type of work in themselves, using language to shape the lineaments of a piece, or gesture beyond the boundaries of that piece to where it might lead.
Chung Seoyoung, 'Table', 2007, wood, 47.24 x 28.94 x 35.43 inches 120 x 73.5 x 90 cm. Image courtesy of the Artist and Tina Kim Gallery.
‘Table’, 2007, wood, 47.24 x 28.94 x 35.43 in, 120 x 73.5 x 90 cm. 
In some of her artwork titles, she uses language to refer to what is not seen, such as the geographic orientations in East West North South or the half-missing Table (2007). Another example is Curb (2013), which is cast in the shape of a curb on the street but which is removed from its natural context and placed in the gallery environment. The relationship between the object and its nature, or function, has been rendered unusual.
Installation of Chung Seoyoung, "Ability vs Invisibility", March 2 - April 15, 2017. Images Courtesy of the Artist and Tina Kim Gallery.
‘Fist vs. Finger’, 2015, pencil drawings on paper
In other instances, Chung’s titles add another layer to the meaning of the work by providing another lens through which to see an object or a situation. The Adventure of Mr. Kim and Mr. Lee is an example of this, where the space between the title of the work and its context allows viewers room to add their own meaning and narrative. The strangeness between the title and the objects encourages interpretation and leaps of the imagination. This space of strangeness, open to multiple understandings, is present throughout Chung’s oeuvre, whether it is in her videos, sculptures or installations.
Claire Wilson