- Technical Supportor YoungHo Lee, YeongHwan Kim
[Coinciding Exhibition / media facade COMO&HAPPY SCREEN_MAY. 2017 《Seoul Clock》]
date: 2017. 05. 12 ~ 06. 20
- COMO (SKT-Tower, Euljiro 1-ga Exit no.4 / Daejeon SKT Dunsan Bldg)
- Happy Screen (SK Bldg 4F)
* closed on weekends and public holidays
There are new postings piling up in one’s timeline on SNS(Social Network Service) every second. By moving a scrollbar, one gains information of “the present” s/he has just passed through as well as “now” which is about to arrive. This sounds very natural these days. Moreover, one can just click a trending topic that is constantly updated to view other
related subjects on top of the page, then one can access the most searched information over a specific timeframe that we prefers to explore. As it has become the norm that one stays connected to the network, the lag between the time that an event happensand the time one acknowledges it barely exists and the two time periods tend to overlap more and more.
In the current times, how “real” is real and how “virtual” is virtual?
When the time lag between the real and virtual is compensated, virtual events are easily perceived as real. Moreover,depending on the way we perceive time, the line between the real and virtual becomes blurred. Defining the terms “real” and “fiction” leads to a discussion about the temporality.The term temporality is deeply related to the passage of time. In the passing of time, there are no clear distinctions between the past, present and future, but it is a place where the present is situated by “now” and “here” which are constantly taking place. This means that how one defines “the present” determines how we interpret the reality and fiction. Such contemplation on time is significant since it
allows us to imagine ourselves being present in a moment that has not come yet. “Today” on its way from “tomorrow” will soon become the present and therefore is closely connected to the moment of “now.” It is actively mobile and it stays floating around at the same time. This provides a situation where reality appears to be fiction or vice versa.
Through this exhibition, Real Fiction, Art center Nabi introduces the artworks presenting the potentiality of time between the reality and the fiction. Participating artists are A/A (Andreas Greiner/Armin Keplinger), Jihoon Byun, and Hyoungsan Jun.
A/A is a Berlin-based media artist duo, and they are introduced to the Korean audience for the first time through this exhibition. Their work uncovers the double-sided aspect of the development of science and technology. This exhibition has an installation piece on display by the duo titled “1:1(2013)”. The piece has a device for ignition, which allows the
audience to imagine the moment of an explosion. Contemplating a hypothetical situation is imagining an event that hasn’t taken place. However, this can still create a strong tension in our minds when we identifies the possible event as something that can be experienced in the present moment. The work confronts the audience with a potential reality that hasn’t arrived by presenting a destructive and drastic circumstance.
“Clock (2016)” is by Jihoon Byun who creates interactive artworks based on programming language and presents “visual-tactile”experiences through his work. Clock, presented for the very first time in this exhibition, is a real-time interactive work created with Particle, a programming tool that the artist has been building for the past few years.
Functioning entirely in virtual reality, Clock processes and displays millions of moving particles and change of lights in real time, which allows the audience to perceive time as if it were tangible. “a priori bits #3; Radius (2014)” is a work by Hyoungsan Jun, an emerging artist who has created sound installations and performances with an interest in “non-musical sound.”The motif for a priori bits #3; Radius is the spinning machine, which is considered as an early form of the computer. The piece creates “sound-textiles” by structuralizing the undistinguishable noises found from the countless frequencies that drift among the standard radio frequencies. Each compartment in the piece functions as a composingtool as the sound is played by the shortwave radio coil, typewriter, and perforated plate sequentially as well as simultaneously. The exhibition Real Fiction presents seven pieces of work in total including the three works mentioned above.
Real Fiction serves as a mirror to look at the current time period where not only the virtual and the real are mixed up but also different values, ideologies, philosophies and circumstances are blended together. The exhibition provides the audience with a chance to view a variety of works dealing with different media and methodologies. It also encourages the audience to come up with questions for themselves as well as ways of framing questions about the time period they live in now.
1. A/A (Andreas Greiner, b.1979, Armin Keplinger, b.1982)
<small><1:1>(2013),Acrylic glass, ignition cable
A/A is interested in combining different elements and forces and experimenting with their relationships. <1:1> has a device for ignition, which allows the audience to visualize the moment of an explosion. Contemplating a hypothetical situation is imagining an event that hasn’t taken place before. However, this can still create a strong tension in one’s mind when s/he identifies the possible event as something that can be experienced in the present moment. The work confronts the audience with a potential reality that hasn’t arrived yet by presenting a destructive and drastic circumstance.</small>
<.>,2012, Water, Aluminium, Concrete, Heating Source, 90 x 30 x 30 cm
<·> is a “time-based sculpture” that produces a phenomenon, which one rarely comes across in a natural environment, and it is made possible through a specifically controlled setting. It is natural for water drops to disperse when they drip on the floor. However, the water dripping in the piece happens in a controlled environment, which enables the water drops to retain their own individual forms for a limited period of time. The distilled water from the tube connected to the ceiling drips down on a heated aluminium plate. The heated plate alters the surface energy of the liquid, allowing it to stay contained within its form while it slides around on the plate until its evaporation.
<A\Doom>, 2017, Site -specific installation, VR animation, HTC Hive, Computer
utilizes the VR(Virtual Reality) technology to create a digital space where one can experience the doublesided aspect of technology. Audience wearing the VR headset see colorless gas that continuously condenses and disperses continues wrapping around them. It is as if the space has zero gravity. The work induces a feeling of being inside the ceaseless flow of time. The virtual reality refers to the feeling of emptiness and emotional void―another side of technology that is often overlooked. Therefore, the work carries both utopian and dystopian undertones regarding technology.
2. Jihoon Byun
Jihoon Byun is a media artist exploring the aesthetics of contemporary technology through his digital work based on programming language. Byun has been expanding his interest in technology as an aesthetic medium of expression and conducting a research in the field of philosophy of digital art concerning the relationship between human consciousness and sensory experience. He majored in design at Seoul National University and earned his master and doctoral degree from the same university. He has shown his works in exhibitions such as MAAP (Singapore, 2004), Experimenta Vanishing Point (Australia, 2005), National Review of Live Art (UK, 2006), Distortion Field (Korea, 2014), Indulging a Space (Korea, 2015) and many others. He currently works as an artist, designer and educator.
<Clock>, 2016, Projector, PC, Sensor(Kinect), Custom Software
* technical advisor Seungback Shin
Clock is a real-time interactive piece created with Particle, a programming tool designed by the artist himself. Particle is
a tool that allows the user to freely manipulate a particle, which is the most basic element of graphics, and it was used to create an interactive space in the work. In Clock, the audience encounters a digital clock made up of particles. Whenever the audience tries to touch the digits that seem to consist of tiny particles or smokes, they disperse and then return to their original state. In the very moment when the audience reaches toward the digits representing the current time, they scatter into millions of particles, giving the audience an illusion that time is almost tangible. The real-time interaction between the live audience who is physically present in the space and the clock represented by particles opens up a new perspective on the notion of temporality.
<Seoul Clock>, 2014, Multivision Display, PC, Custom Software, Web Application
* technical advisor Seungback Shin
Seoul Clock is a clock in the size of Seoul created with Void Drawing, which is used to project image data on an actual space. In the work, the city becomes a huge clock with moving hands. The clock has the hour and minute hand in white and the second hand in red. The hands of the clock begin rotating from the center of the city and are synchronized with real time. The user can log in Seoul Clock Web Application from his/her mobile device to experience the piece. When the second hand comes to the user’s geographical location, the screen of his/her device turns red. The minute hand signalizes the location of the users on their own digital device and creates a visual experience of time. The work is also part of the Media Façade exhibition Seoul Clock, which is presented in conjunction with Real Fiction.
3. Hyoungsan Jun
Hyoungsan Jun has created sound installations and performances with an interest in “non-musical sound.” By utilizing noise, the artist xpands the concept of sound, which is typically divided into the binary of musical and non-musical sound, and produces a new form of ound, which presents new questions about the general sensory recognition system. He majored in painting at Chugye University for he Arts and studied media art at the Yonsei University Graduate School of Communication & Arts. He is also the runner-up prize winner of the 38th JoongAng Fine Arts Competition.
<a priori bits #3; Radius>, 2014
Mixed media , sound installation(radio receiver, transmitter, typewriter, coil, motor, speakers)
a priori bits #3; Radius is an installation piece with modified radio equipment and five receivers. There is a cylinder wrapped around with a coil of wire on the wooden top, which used to be part of a sewing machine. The cylinder moves from side to side simultaneously to pick up the shortwave (SW) radio frequencies traveling through the air. Noises from the received frequencies are structuralized as they are manipulated and changed through the typewriter typing the sentence “Make some noise.” The altered noises go through the FM receivers and come out as one restructured sound. This is the moment that one unified sound is “woven” through the piece. In order to listen to the radio, one typically has to tune into a specific frequency. However, a priori bits #3; Radius focuses on the frequencies that fall between the assigned frequencies. The artist metaphorically reveals the process of realizing the potential of “noise-sound” by presenting the series of events in the installation.
<a priori bits #6; Meter>, 2014
Mixed media , sound installation(meters, 220v plugs, light sensors arduino, amp, speakers)
a priori bits #6; Meter consists of four electric meters and a speaker. Each meter runs to structuralize the noises that are indistinguishable from one another. The noises do not just remain as random noises but each noise holds its own structure with a beat. When the work is plugged in, the rotational speed of the disk inside the meter changes and produces a new sound. This is how the piece deconstructs the range of sound then rearranges it, resulting a sound that is perceptible to the human ear.