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One Pot Reaction
One Pot Reaction
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One Pot Reaction
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2024-07-11 ~ 2024-09-07
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02-3482-7096 
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SONG ART GALLERY¿¡¼­ µµ»ê´ë·ÎÁ¡ M & SONG ART¸¦ °³°ü ÇÏ¿´½À´Ï´Ù.

M & Song Art À̹ø Àü½Ã´Â ÀÛ°¡ÀÇ Á¤Ã¼¼ºÀ» µå·¯³»´Â ƯÁ¤ ÁÖÁ¦¿Í ¾ÖÂø¼ÒÀç°¡ ¾î¶² ¿µÇâÀ¸·Î ÀÛ°¡ÀÇ ³ú¸®¿¡ ±í°Ô °¢ÀεǾú°í, ¶Ç´Ù¸¥ ÀÚ¾Æó·³ ÀÚ¸®Àâ¾Ò´ÂÁö ±× keyword À̸éÀÇ ³² ´Ù¸¥ ¼­»ç¸¦ ¹ÝÃßÇغ¸°íÀÚ ÇÑ´Ù. Ä­Æ®¹ÌÇп¡¼­ ¾Æ´Â ¸¸Å­ ´õ Áñ±æ ¼ö ÀÖ´Ù´Â °¡¼³ÀÌ Àִµ¥ ±Ù·¡ ³ú °úÇÐ ¿¬±¸°á°ú ¿¹¼ú¿µ¿ª¿¡¼­´Â ±íÀÌ ¾Æ´Â »ç¶÷Àϼö·Ï ¿¹¸®ÇÏ°Ô °¨»óÇÏ°í ±â»ÝÀ» ´õ ´©¸± ¼ö ÀÖ´Ù°íµµ ÇÑ´Ù. ÀÌ °üÁ¡¿¡ ´õÇؼ­ °³¼º °­ÇÑ ÀÛÇ°µé¸¶´Ù ¹ÌÇÐÀû °³³äÀÌ ¼­·Î ´Ù¸¥ ¿ä¼ÒµéÀÌ ¾î¶»°Ô Àü½ÃÀå¼Ò ¾È¿¡¼­ ±äÀå°¨À» À¯¹ßÇÏ´Â µ¿½Ã¿¡ À¯±âÀûÀ¸·Î »óÈ£ ÀÛ¿ë, ¿¬°áµÇ¾î ¸¶Ä§³» »õ·Î¿î Æз¯´ÙÀÓÀ̶ó ÇÒ ¼ö Àִ Ưº°ÇÑ ÀǹÌÀÇ Àå¼Ò¼º (Sence of place)À» µå·¯³»°í È®ÀåÇÏ´ÂÁö ±× Á¡¿¡ ¼¼½ÉÇÑ ÁÖÀÇ ±â¿ï¿© ÁÙ °ÍÀ» Á¦¾ÈÇÑ´Ù.

³Ê ÀÚ½ÅÀ» ¹ß¸íÇ϶ó Çß´ø ´ÏüÀÇ ¸í¾ðó·³, ¹Ì¼ú°¡°¡ ÀÚ½ÅÀÇ ±¼°î Áø »î ¸ðÅüÀÌ¿¡¼­ ÁÖ¿ö ¿Â ±ØÈ÷ ÀÛÀº Æí¸°, ªÀº ¸ðƼºê¸¦ ÀÛ¾÷ÀÇ ÇÑ Çü½ÄÀ¸·Î »ï¾Æ ´Ù¾çÇÏ°Ô º¯ÁÖÇÏ°í ¶§·Î´Â Æò»ý ÇÑ ÁÖÁ¦¿Í ÇüÅ¿¡ ´ëÇØ Áý¿äÇÏ°Ô »çÀ¯ÇÏ´Â °ÍÀº °¨°¢½Å°æ½Ã½ºÅÛÀ» »ç¿ëÇϵç, °³³äÀûÀÎ µÎ³ú ½Ã½ºÅÛÀ» Áß½ÃÇÏµç ±× ÀÌÀ¯´Â ³ª¸§´ë·Î °­·ÂÇÏ°Ô Á¸ÀçÇÒ °ÍÀÌ´Ù.

Àå ÇǾÆÁ¦ (Jean Piaget)´Â ½Ã°ø°£ÀÇ ¸Æ¶ô¿¡¼­ ¾î¶² °´Ã¼¿¡ ´ëÇÑ ÀÎÁö¿¡ À̸£·Á¸é ´ë»ó¿¡ ´ëÇÑ ´Éµ¿ÀûÀΠŽ±¸¿Í ±³°¨ÀÌ ¼±ÇàµÇ¾î¾ß ÇÏ°í, ¾ÖÂøÀ̶ó´Â ³²´Ù¸¥ Àǹ̰¡ ´õÇØÁöÁö ¾ÊÀ¸¸é ±× °ø°£(space)Àº ÀÇ¹Ì ÀÖ´Â Àå¼Ò (place)·Î ¿ì¸®ÀÇ ³ú¸®¿¡ °¢À뵃 ¼ö ¾ø´Ù°í Çß´Ù. ÀÌ °°Àº ¾ÖÂø ÀÌ·ÐÀº ½É¸®ÇÐ, ÁøÈ­·Ð, µ¿¹°ÇÐÀ» ¾Æ¿ì¸£´Â ÇÐÁ¦°£ ¿¬±¸°¡ È°¹ßÇÑ ºÐ¾ßÀε¥ ´ë»óÀ» ´Ù¸£°Ô º¸°í Çؼ®ÇÏ´Â ¿¹¼ú°¡µéÀÇ ½É¸®ÇÐ °üÁ¡¿¡¼­µµ À¯È¿ÇÏ´Ù°í º¸¿© Áø´Ù. ¿Ö³ÄÇÏ¸é ¹Î°¨µµ ³ôÀº ÀÛ°¡°¡ °ÞÀº »óó, ºÒ¾È, °øÆ÷, À§¾È, °ü½É»ç´Â ±âÁ¸ °ø°£À̳ª ¼ÒÀç¿Í »óÈ£ ÀÛ¿ëÇÏ¿© ¼¶¼¼ÇÑ ÀǹÌ, °¡Ä¡, ±â¾ï, °æÇè, °ø°¨´ë¸¦ Çü¼ºÇϴµ¥ À̶§ ¾î¶² ±¸Á¶·Î µ¥ÀÌÅÍ º£À̽º°¡ »ç°íÀÇ Æ²·Î ÀúÀåµÇ¾ú´ÂÁö ¶æÇÏ´Â ½ºÅ°¸¶ °æÇèÀ» ÅëÇؼ­ ÀÛ°¡ÀÇ µÎ³ú¿¡ ±¸ÃàµÇ¸é ºñ·Î¼Ò Ưº°ÇÑ Àå¼Ò¼ºÀÌ Çü¼ºµÈ´Ù. ±×·¡¼­ Àå¼Ò¿¡ ´ëÇÑ ±â¾ïÀº °ø °¨°¢ÀûÀÌ°í ÀÔüÀûÀ̸ç ÃÑüÀûÀÎ ¼º°ÝÀ¸·Î »ýÅÂÇÐ °üÁ¡¿¡¼­´Â ÇÑ Àå¼Ò ¾ÈÀÇ ¹ÝÀÀ (One pot reaction)ÀÌÀÚ ¹Ì¼ú»ç·Î´Â Àå¼Ò ƯÁ¤Àû (site-specific art) ¼º°ÝÀ̶ó ÇÒ ¼ö ÀÖ°Ú´Ù.

°á°úÀûÀ¸·Î ÀÛ°¡ÀÇ °³º°ÀûÀÎ »îÀÇ °æÇè°ú ȯ°æÀÌ ³²´Ù¸¥ ¾ÖÂøÀÇ ¾¾¾ÑÀ» ¸¸µé°í, »çÀ¯¸¦ ÅëÇØ ½ÏÀ» Æ·¿ì¸ç ¼­»ç´Â ±í¾îÁø´Ù. À̶§ ÀÛ°¡·Ð°ú ÀÛÇ°µµ µ¿½Ã¿¡ ÁøÈ­Çϸç Á÷Á¶µÇ´Â Ãø¸éÀÌ °­ÇÏ´Ù. ±×·¯¸é ÀÛÇ° Çü½Ä¼Ó¿¡ ³»Æ÷µÈ Èû Á¡ÀÌ ¸ÖƼ½ÃÁ¡À¸·Î ¿¬°áµÈ ¾Ë°í¸®Áò °üÁ¡¿¡¼­ ÀÛÇ°µéÀ» À½¹ÌÇØ º¸±â·Î ÇÏÀÚ.

¹é³²ÁØ¿¡°Ô ¿À¹æ»ö°ú °í±¹¿¡ ´ëÇÑ Çâ¼ö´Â µ¿ÀǾî¶ó ÇÒ ¼ö ÀÖ°Ú°í, ÀÌ¿ìȯÀº ÁÖº¯ÀÇ ½Ã°£, »óȲ°ú °ü°è¿¡ µû¶ó¼­ ȸȭ¿Í °ø°£ ÀÚü°¡ À¯±âÀûÀÎ °ü°è¸¦ ¸Î°í ÇÑ ÀÛÇ°À¸·Î º¸À̵µ·Ï ÇÑ´Ù. ¿ì°í ·Ðµð³ë³× ¿ª½Ã ½Ã°ø°£, ÀÚ¿¬ °³³äÀ» ±â¹ÝÀ¸·Î ½Ã½Ã°¢°¢ º¯È­ÇÏ´Â ±× °úÁ¤ »çÀÌÀÇ ¼ºÂûÀ» ´Ù·ç°í, ·Î´ÏÈ¥Àº Áö±¸ Çö¾ÈÀ» ÅëÇØ Àΰ£ÀÇ °¨°¢À» ±ú¿î´Ù.

¸¶À¯±î ¾Æ¸¶¸ðÅä´Â À¯³âÀÇ ÃÊ»óÀÎ µ¿¹° ¿Ê ÀÔÀº ¼ø¼öÇÑ ¾ÆÀÌ À̸鿡 °¨ÃçÁø ¾î¸°½ÃÀý »óó¿Í ±ØµµÀÇ ºÒ¾ÈÀ» ÆË ¾ÆÆ® À帣·Î Ç®¾î³»¸ç À±Çü±Ù ¶ÇÇÑ °Ýº¯ÇÏ´Â ±Ù´ë Çѱ¹ »óȲ¼Ó¿¡¼­ ¼öÂ÷·Ê º¹¿ª°ú Á×À½ÀÇ °íºñ¸¦ ³Ñ°å´Âµ¥ ÀÌ ½Ã±â¿¡ ±ØµµÀÇ ºÐ³ë¿Í ¿ïºÐÀ» °æÇèÇÑ ÈÄ ÃµÁö¹®À̶ó°í ºÒ¸° ÀÛÇ° ¼¼°è°¡ ¸»³â±îÁö ÆîÃÄÁ³´Ù. ¹Ú¼­º¸ÀÇ ¹¦¹ý(ecriture) ½Ã¸®Áî´Â 70³â´ë ³× »ì ¾ÆµéÀÌ ÇÑ±Û ¿¬½ÀÇÒ ¶§ ¾²°í Áö¿ì´Â °ÍÀÇ ¹Ýº¹À» º¸°í Âø¾ÈÇÑ °æÇèÀÌ ¼ö¾çÇÏ´Â °úÁ¤Ã³·³ Æò»ý Áö¼ÓµÇ¾ú´Ù. ±èâ·ÄÀº ÀçÈ°¿ëÇÒ Äµ¹Ù½º À§¿¡ »Ñ·Á µÐ ¿µ·ÕÇÑ ¹°¹æ¿ï¿¡ ´ëÇÑ ±â¾ïÀÌ Æò»ý È­µÎ°¡ µÇ¾ú°í ¹°¹æ¿ï ÀÛ°¡·Î ³²¾ÒÀ¸¸ç ½É¹®¼· ȸȭ ¿ª½Ã ¾î¸°½ÃÀý Å뿵 ¾Õ¹Ù´ÙÀÇ ¹°°áÀÌ ¾ÖÂøÀÇ ¼ÒÀç·Î ÀÛ¿ëÇߴµ¥ »ý¼º°ú ¼Ò¸ê, °¡º¯¼º, ÀÚ¿¬ÀÇ ¼øȯ°ú ¹Ýº¹À» ÅëÇØ »ý¸íÀÇ ¿øÇüÀ» È®ÀåÇØ º¸¿©ÁØ´Ù. ÀÌ°­¼ÒÀÇ °­, ¿À¸®¿Í ¹è´Â ¸®µå¹ÌÄÃÇÑ ÇÊȹÀÌ »ó»óÀÇ ³¯°³ ÁþÀ» »ó¡ÇÏ´Â ½Ã¹ßÁ¡À¸·Î ¹«ÇÑÇÑ »ó»óÀÇ ¼¼°è·Î ¿ì¸®¸¦ ¾È³»ÇÑ´Ù.

M&SONG Art¡¯s inaugural exhibition explores the specific themes and cherished motifs that have imprinted themselves upon and taken root in the artist's mind as almost independent entities, providing an illuminating glimpse of the artist¡¯s identity not distant from Kant¡¯s aesthetic theory of knowledge as enhancing pleasure, recent neuroscience findings show that engagement in the arts correlates to a deeper sense of appreciation and joy. Building on this concept, the exhibition encourages visitors to closely observe how distinct works, each with its own aesthetic approach, generate tension and engage in organic interactions within the exhibition space, ultimately unfolding and enriching a new paradigm termed the ¡°sense of place.¡±

To echo Nietzsche¡¯s famed urging to reinvent oneself, the exhibition gathers fragments and motifs taken from challenges faced by artists in their lives, which have served as inspiration for diverse thematic variations or sometimes as a single, persisting subject across a lifetime.  These motivations are rooted in either the sensory nervous system or the conceptual brain system.

Jean Piaget proposed that to cognitively engage with an object within the contexts of time and space, active exploration and interaction must come first. Without embedding distinct meanings such as attachment into these interactions, the space fails to imprint itself in one¡¯s mind as a meaningful place. Attachment theory resonates across various disciplines, including psychology, evolutionary biology, and zoology, and is particularly relevant from the perspective of artists who perceive and interpret objects in unique ways. This pertinence is rooted in how the  personal experiences of sensitive artists¡ªencompassing their wounds, anxieties, fears, comforts, and interests¡ªinteract with existing, surrounding spaces and materials. These interactions cultivate delicate meanings, values, memories, experiences, and points of empathy. During these interactions, the manner in which data is organized and stored as cognitive frameworks in the artist¡¯s brain¡ªreferred to as schema experiences¡ªultimately constructs a special sense of place. Consequently, memories of a place take on a multisensory, multidimensional, and holistic character.

Ecologically, this process can be seen as a reaction within a single location, termed a ¡°One Pot Reaction,¡± also known in the realm of art history as site-specific art.

As a result, the unique life experiences and environments of artists serve as the genesis of distinct attachments, which, when nurtured by contemplation, enrich these narratives. During this process, the theoretical understanding of the artist and the artwork itself intertwine deeply to evolve together. Visitors are invited to engage with these artworks from a perspective that connects the inherent strengths of these art forms through a multi-viewpoint algorithm.

Lee Ufan orchestrates a unified, organic relationship between painting and space influenced by situational time and circumstances, while Roni Horn addresses issues concerning the Earth through which our human senses are awakened. Influenced by pop art, Mayuka Yamamoto reflects underlying childhood wounds and extreme anxieties concealed behind the innocent visage of a child dressed in animal costume. Having endured multiple imprisonments and near-death experiences amidst the upheavals of modern Korean history. Yun Hyong-Keun utilized his intense anger and frustration to create a profound body of work known as The Gate of Heaven and Earth, which he continued to develop until his later years. Park Seo-Bo's Ecriture series was inspired in the 1970s by observing his four-year-old son repeatedly writing and erasing Hangul characters¡ªa contemplative practice the artist maintained throughout his life. Kim Tschang-Yeul, notable for his Water Drops works, established the memory of glinting water droplets on recycled canvases a lifelong motif in his art. Shim Moon-Seup¡¯s paintings draw upon his childhood memories of the waves off the coast of Tongyeong, exploring themes of creation, destruction, variability, and the cyclical nature of life to delve deeper into its archetypes. Lee Kang-So¡¯s paintings of rivers, ducks, and boats, with their rhythmic brushstrokes, symbolize the flapping of figurative wings, guiding audiences into a world of boundless imagination.


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