Monthly Art Magazine artnmap_2013_05

So-young Park portrays the Four Gracious Plants, par-ticularly bamboo and plum blossom, in such spatial output. Because bamboo and plum blossom belong to the Four Gracious Plants commonplace in tradi-tional Korean painting, So-young Parks work can be seemingly construed as following the conventional meaning of bamboo or plum blossom emblematic of a virtuous person or moral ideal such as fidelity and filial piety. However, So-young Park expresses the image of bamboo and plum blossom not as an emblem of a virtuous man but as a metaphorical symbol of na-ture. Bamboo and plum blossom represent not only a familiar stuff that she can naturally encounter in everyday life but also a subject material that she rec-ognizes as an emblem of nature. Bamboo and plum blossom captured by So-young Park includes the place, time, and weather conditions surrounding her observation thereof. In this regard, they are also an accumulation of her experiences and memories. Such form of circular combination also looks like one bunch or several bunches of grapes. No matter how this appears, namely grape or other shape whatso-ever, it is unchangeable that this takes the form of circular accumulation to capture nature. Such circular form matters to So-young Park only as a basic ele-ment that constitutes and expands the meaning of her artwork. With its root in traditional painting, So-young Parks The Cosmos and Nature cherishes her individual experience and trace of time. Cosmic space created by circles in different shapes and natural growth and change plus rotation and repetition therein. Diverse variations still go on under the orderly mechanism established by So-young Park.

05 2013 Vol. 44l

that many familiar mise-en-scnes in movies in fact originated from art historical traditions. Ultimately, more important than such unanswerablequestions as whether cinematic mise-en-scne has truly influenced contemporary art or painting is thefather of cinematic mise-en-scne is the fact that the kinds of art works in this exhibition, which utilize composed scenes, have created more possibilities for viewers to approach art. As long as cinema is a critical player in our visual culture, contemporary artists not only can recycle the narrative tradition in classical art through utilizing cinematic mise-en-scne, but also can take advantage of the quintessential visual lan-guage of contemporary society. Compared to commercial films produced with large-scale capital and through the contribution of diverse professional labors, which always feel familiar to view-ers, personal and even at times esoteric contemporary art works appear far more difficult to approach. The works in this exhibition and the dramas they tell about complex human emotions, however, present the history as well as the multidimensionality of narra-tives that can resonate with the viewers. From a moving image that recomposes a western masterpiece painting to constructed photographs that are composed like film stills to an installation that captures a moving image of a model set, the photo-graphs, videos, and installations by artists from Korea and elsewhere in this exhibition together provide the viewers with opportunities to reflect on the diversity of contemporary art with their many narratives and compositions. Mise-en-scne, in which stage drama and cinema, art and photography, and literature and painting cross paths with one another, is not only a tool for cinema, that most modern medium, but can also contribute to expanding the perimeter of contemporary art-making in general.

Mise-en-scene: Directing in Contemporary Art (Koo Kyunghwa)

In contemporary photography, moving image, and installation, cinematic composition has been used for exploring the everyday and the unconscious, for reinterpreting the histories of art and cinema, and in other diverse ways. Mise-en- scne is not a mere tool for conveying a story, however. In film theory, mise-en-scne usually refers to an unedited, single long take, in which various elements unfold, encouraging the viewers active interpretation. If works in this exhibition were cinematic films, they can all be considered single long takes and suggest possibilities of autonomous participation on the part of the viewer. This is in striking contrast with contem-porary commercial films that hypnotize viewers with their rapid editing. Moving-image works with purposely eliminated spoken lines can convey characters emotions and moods, transcending the limits of language, and photographic images can approach viewers as a kind of prototypical images, even if they do not know the source novels, pictures, photographs, or movies. The large-scale composed photographs in this exhibition, as they rely on viewers interpretative ability to read stories in them, in the end return to composition and iconographythe crucial aspects of classical art. It is possible that in looking at such works, contem-porary viewers, who are likely more familiar with movie theaters than with museums, may realize

Adad Hannah sketch

MISE - EN - SCENE lEEuM

TITLE MISE - EN - SCENE EXHIBITION TERM 3.28 6.2 2013VENUE Leeum, Samsung Museum Of ArtHOURS 3.28(Thu) 6.2 (Sun) 10:30 am 6 pm CONTACT +82.(0)2.2014.6901ARTIST AES+F,Gregory Crewdson Thomas Demand, Adad Hannah Jung Yeondoo, Yang Fudong Eve Sussman l Rufus Corporation Zin Kijong

SaMSuNg MuSEuM of art

MISE-EN SCENE -

2013. 3. 28 - 6. 2GROUND GALLERY

AES +F l : AES+F l The Feast Of Trimalchoio: Arrival Of Golden Boat l 2010

Courtesy of MAMM and Trumph Gallery. Moscow

park,So youNgwalkINg IN NaturE

TITLE walking in naturePLACE Hoam Faculty HouseDURATION 3.11-6.8 2013ARTIST Park, So youngCONTACT +82.(0)2.880.0311

walking in nature_65x100cm_Color on Korean Paper_2013

l E E , j I N h y u D E S p u S Q u E ?

TITLE Despues...Que?VENUE Africana GalleryDURATION 5.3 6.3 2013CONTACT +82.031.708.8115ARTIST Lee, Jin Hyu

DespusQue? 120*120cm Mixed media on canvas 2013

Africana Gallery presents an exhibition of lee, Jin-HyuIn Jin-Hyu Lees world of arts, the two different roads coexist taking turns of opening and closing each other as the low and high tides or conception and abortion exist together. While the images of narrow crooked roads are internally created the black latticed frames confine the surface of works. The two different roads that form the connotation and denotation on his diversified works seem rather not harmonious but are tuned in his world as the dual allegories.

Shim, Sang Yong Art Critic

Se-yeon Park Art Critic

able fine art ny+1.212.255.2885

Images on Melancholy or Obsession05 08 - 05 21 2013

ana CriStea Gallery+1.212 904. 1110

1) Razvan Boar George Little James Viscardi 05 16 - 06 22 20132) LUKE DIIORIO Very Similitude 04 04 - 05 11 2013

aleXanDer Gray aSSOCiateS+1.212.399.2636

Joan Semmel04 17 - 05 25 2013

anDrea rOSen Gallery +1.212.627.6000

Main Gallery1) Wolfgang Tillmans from Neue Welt 05 04 - 06 22 2013Gallery 22) Lynda benglis sean bluechel jean dubuffet mika rottenberg axel salto 05 04 - 06 22 2013

aPertUre Gallery+1.212.505.5555

MaRTIN PaRR: LIfES a BEach05 02 - 07 03 2013

anDrew krePS Gallery+1.212.741.8849

Peter Piller - Umschlage 03 28 - 05 18 2013

antOn kOrn Galery+1.212.366.6939

Riichard hughes04 12 - 05 18 2013

atm Galery+1.212.366.6939

WILDEST DREaMS: Tomoo Gokita03.26 - 5.1 2013

bitfOrmS Gallery+1.646.455.0986

1) Yael Kanarek high Perf ormance Gear 04 18 - 05 25 20132) Vanishing Point 05 30 - 07 19 2013

blUe mOUntain Gallery+1.646.486.4730

1)Linda Smith 04 22 - 05 17 20132)Burt Van Deusen 05 20 - 06 14 20133) jeanie wing 04 22 - 05 18 2013

brUCe SilverStein+1.212.627.3930

1)Keith Smith 04 18 - 06 01 20132)Bruce Silverstein/20 04 16 - 06 18 2013

Cheim&reaD +1.212.242.772

Jannis Kounellis05 02 - 06 22 2013

CriStin tierney+1.212.594.0550

concrete Remains: Postwar and contemporaryart from Brazil05 09 - 06 22 2013

CereS Gallery+1.212.925.6190

1) Susan Grabel Venus comes of age 05 23 - 06 29 2013 2) Judy Werlin Spontaneous Generation II 04 30 - 05 25 20133) chalda Maloff Search Engines: New Digital Paintings 05 28 - 06 22 2013

Claire Oliver+1.212.929.5949

1) Judith Schaechter: The Battle of carnival and Lent 05 23 - 06 29 2013 2) andrew Erdos: Guaranteed Impermanence 04 20 - 05 18 2013

CUe art fOUnDatiOn+1.212-206-3583

Joshua Lutz |04 11 - 05 18 2013

Derek eller Gallery+1. 212. 206. 6411

1) Keith Mayerson 04 26 - 05 25 2013 2) Dan fischer 05 31 - 06 30 2013

DaviD krUt PrOJeCtS+1.212.255.3094

Kate Mccrickard03 28 - 05 18 2013

DaviD Zwirner+1.212.727.2070

1) Marcel Dzama Puppets, Pawns 04 06 - 05 11 20132) Gordon Matta-clark above and Below 04 02 - 05 04 20134) Richard Serra Early Work 04 12 - 06 15 2013

303 Gallery+1.212.255.1121

Rodney Graham05 03 - 06 11 2013

PublisherSeunghoonLeeManagingEditorSamRanKimEditorKyungMiLee,MinAhChoiSalesExecutiveAraChoDesignerKyungMiLee,MinAhChoi

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