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  • 我是我的镜子 DOUBLE MIRROR

    展览时间:2019年11月5日-2020年3月29日

    开放时间:周二–周五 13:00-17:00 / 周末及节假日 11:00-17:00

    展览地点:上海手机万博登录博物馆园区 H18展厅

    项目艺术总监李力

    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

    朴庆根是”退火“项目中首位国外艺术家,该展览也是其在中国首次个展。在这次的展览中,朴庆根从“质疑影像艺术家在工作中的主观性”出发,企图探索与“观看”动力相关的更为复杂的欲望机制。他运用大量动态、抽象的手机万博登录机械装置,令其在空间中旋转变换,模糊地暗喻了人性中不可琢磨、无法驾驭的不确定性,这些不确定性恰恰是人性魅力所在。除手机万博登录装置之外,他最新的影像作品以一对双胞胎为主角,描绘了潜意识的心理机制,扩大了装置所带来的不确定性的心理暗示,与手机万博登录装置相辅相成。

    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

    微信图片_20191023105854

    朴庆根,1978年生于韩国首尔,现工作生活于首尔。2000年毕业于加利福尼亚大学洛杉矶分校(UCLA),2005年获得加利福尼亚艺术学院获硕士学位。朴庆根的创作以纪录片、录像和装置为主。他的作品主要是在自我认知和社会文化生活剧烈变化的背景下创作的,涵盖了了韩国近代工业史,军事创伤和流行文化心理学。朴庆根的最新纪录片《军队》入围2018年釜山国际电影节,并获得最佳纪录片奖。该影片随后入围了2019年德国莱比锡纪录片&动画电影节。

     

    http://kelvinkyungkunpark.com/

    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.

     

    http://kelvinkyungkunpark.com/

    艺术家说 ARTIST's statement

    “我一直害怕用相机捕捉一个人。当在生活中看到的某人和被拍摄的某人之间的差异性时,这让我抓狂很抓狂,尽管这个人可能在影像中表现得更好一些。因为,从一个人身上获取的信息似乎是无穷无尽,无法用有限的图像捕捉到。一个人的多个层面取决于我的态度和我与那个特定的人之间的关系。正是我的态度决定了另一个人是谁。有时,当我觉得内心与某个人真正有所联系时,才能获得一种意外的快乐。

    在过去的几年里,我一直在质疑自己在工作中的主观性。我觉得亚洲文化中的“自我”感相对较弱,因为亚洲文化的现代性还没有被集体内化。我曾经有过这样的阶段:对自己的欲望非常怀疑,把我想要的东西和集体无意识区分开来。当我开始看到比以前多一点的东西时,我意识到“观看”的动力实际涉及到一个非常复杂的欲望机制。

    对我来说,我的动态手机万博登录雕塑就像女性的身体。这些女性的身体似乎能被转化为无限可能性的形式,这对我来说是很难把握的。女性,有时是危险的,有时是美丽的,是我不能够认识或不能理解,却只能感知到的个体。这件动态手机万博登录雕塑由不稳定的手机万博登录平面由钢条的中心结构支撑,使用锥齿轮的简单力学原理,利用电机的旋转马达转换成左、右、上、下四个不同的方向,进而演化出复杂的形状。

    如果说,雕塑是外在性的,那么作品中的影像作品就是内在性的。相配套的影像作品描绘了潜意识的心理机制,即梦的王国。我特别选择了一对双胞胎女演员作为主演,每个人既扮演自己,又扮演她的双胞胎妹妹。由于她的身体在镜子迷宫中被无限地反射和破碎,她试图去拯救另一个人,却发现她是那个需要拯救的人。暂时性失忆是姐妹俩从痛苦的现实中解脱出来的一种保护机制。反映她们身体的镜子房间如同用在心理学治疗上的幻想回音室,让一个人保持持续的自我意识。”

    “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.”

    创作过程 WORKING PROCESS
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