Zum Inhalt

Ep Park

Ep Park

Bereich: Bildende Kunst

an object lesson, 2008-ongoing project

an object lesson, 2008-ongoing project

© Ep Park

<DO-AH KIM TRANS-military-warrior-killed-history -in-action-CRIPTION ROOM> installation view,2019

© Ep Park

<DO-AH KIM TRANS-military-warrior-killed-history -in-action-CRIPTION ROOM> installation view,2019

© Ep Park

<DO-AH KIM TRANS-military-warrior-killed-history -in-action-CRIPTION ROOM> installation view,2019

© Ep Park

<DO-AH KIM TRANS-military-warrior-killed-history -in-action-CRIPTION ROOM> installation view,2019

© Ep Park

FinTim,collage, series of citing_silencing_speaking-marking-mirroring-labouring action (a wall paper), 2020-on going project

© Ep Park

FinTim,collage, series of citing_silencing_speaking-marking-mirroring-labouring action (a wall paper), 2020-on going project

© Ep Park

FinTim,collage, series of citing_silencing_speaking-marking-mirroring-labouring action (a wall paper), 2020-on going project

© Ep Park

FinTim,collage, series of citing_silencing_speaking-marking-mirroring-labouring action (a wall paper), 2020-on going project

© Ep Park

FinTim(_amust), collage,Labouring _ gesturng_dictating (a scab), 2020-on going project

© Ep Park

FinTim(_amust), collage,Labouring _ gesturng_dictating (a scab), 2020-on going project

© Ep Park

<Island sale 201217; pronounced as I will land and sail> installation view 2018

© Ep Park

<Island sale 201217; pronounced as I will land and sail> installation view 2018

© Ep Park

a friend of mine, video, part of installation aFoM 2012

© Ep Park

video,2010-ongoing project

© Ep Park

Key Facts

Nationalität

Korea

Bereich

Bildende Kunst

Wohnort

Seoul

Empfehlende Institution

BMEIA

Zeitraum

Juli 2021 - August 2021

A life as an “outsider” formulated Ep’s practice. Every experience as a perpetual outsider looking in and faced with a “border wall” which does not talk back, or when it answers it leaves one with a feeling of paralyzing impotence, that each “gob smacking” experience drives the practice and the practice itself is a survival technique to keep asking: how can the artist within us, from this precarious position envisage a clue(crack) to all this entangled puzzle hidden beneath the smooth surface of the wall so that we are able to open up possible changes and understandings.

Amongst piling questions that need to be contextualized and as an individual within the ever-present cycle of deterriotization and reterritorization, the trajectory of the deployed feminist’s slogan “personal is the political” connects to the concept of “the art of not being governed quite so much”. To avoid ending up just being another self-destructive survival tool that turned out to be an end in itself, Ep conceives of each project as the “conversation piece”, various objects are props to form “intertextuality” where the “paradox of autodidact” is a folded-in overall concept for the practice. (Hence the main components are collaged verbal “essay writing happening”, and the concept of index cards of underlined library books which shares the multiple points of thought forming, “uncoerced kindness in human interaction”).

2016 project, 1983 per-hap, Büro k für i.o.f.s. (in our forged soul) provides a stage, the büro, the forged site of dissemination, to facilitate actual process of production; where Ep takes a position of translating machine attempting to "search of lost time" by making 'gestures', translating untranslatable transcription from the Camus’s speech during weekdays while the visitors to become the partners in that endless machinery of "citation, quotation and implantation", excerpting and collecting from the references occupying in the space.

This taking of “pseudo-job/duty” in order to trigger conversations with the visitors is the continuation of the “gallery guide Park” job which was integral main component of 2014 project. These are “subtle and polite” performances that are refracted mirror images of “feminist expressionist” performances in that both are situated to subvert and deconstruct position of body in “place”.

Ep Park graduated with an MFA in Fine Art from Goldsmiths College, University of London and an MA in kontextuelle Malerei from the Akademie der bildenden Künste Wien.
Solo exhibitions and participations include: Residency AGA LAB, Amsterdam(2020); < DO-AH KIM TRANS-military-warriorkilled-history -in-action-CRIPTION ROOM >, Palais de Seoul, Seoul(2019); <Island sale 201217- pronounced as I will land and sail>, Hankuk Art museum, Yong-in(2018); <1983perHap>,mythtakemuseum, Cheong-pyeong(2016); <shallcellsellshellelsewhenelsewhere(sighsight into the control machine)>, youngeun museum of contemporary art, Kwangju(2015); <WORK IN PROGRESS FOR BETTER TOMOR-ROW by u nity infraproject ltd>,Space Bm,Seoul(2014); <Words to be Spoken Aloud;knotted> as 666 6,performance,turner contemporary, Margate (sound work created by phil root 2013) and A Rate of Exchange, Publish and Be Damned (2013).

Projektinfo

“when we must”1

You live in a gated community, you pay premium but it’s worth it.
Out of the corner of your eye, today or was it yesterday, you notice the Monday, Wednesday and Thursday guard has been replaced.
It was just last week that Mr.
Takaki had been passed away and been replaced, so you heard.
You were very fond of them and used to call them agent orange.
It really is an unfortunate and you are feeling rather letdown by them as they provided good CIA undercover story to tell at the likes of mundane museum fundraising events where that lingering feeling of ache is soothed by passing pink salmon sushi, foie-gras canape and feet cocooned within mink lined sandal and neon running shoes.


So, the story might unfold in the foreseeable future.

Image 1. A childhood memory of a Portrait of president Kennedy hanging on the wall of dentist’s praxis

Image 2. A foreign worker watching Doctor Zhivago.

Image 3. A fast jogger singing aloud, almost shouting, every day is like Sunday

Image 4. A scab

Image 5. Angelus Novus

How does “idolization (that relates to docilization)” kick off?

The fever pitch of 2020 and 2021 are not new “normal” but the festering of the exacerbated “partition practice” that has been concealed and ignored or even encouraged in our daily life.

Through all the overlapping of fear and uncertainty resulted reflection on “powerlessness” of art practice lead me to look back on the path of my own art practice again from the very beginning while at the same time on the formation of current ideological hegemony. The old enthusiasm that art could change, feeling of disillusion dealing with reality of being an artist after graduation and this present feeling of acute powerlessness facing crisis juxtapositions itself to how culture has been deployed as a tool for ideology and how cultural actors has been participated in that propaganda scheme knowingly or unknowingly and sometimes after their own certain political disillusionment.

The underpinning focus on anti-hero characters, the driven artist I once had been, is also because they in many ways to be the symptoms of the competitive individualized system and biopolitics’ survival technique which thrives while annihilating ecological and mental health.

The experiential and chance encounter of multiple matrix through research process will shape assimilated weaving. And that weaved constellation would be the project I would be working over the residency.

The morphological process of interweaving that connects researching body positioned within it to time and space travel, hopefully reveals and initiate deeper questioning how we stumble on this multiple crisis and where do we go from here.

1 “multilaterally if you can, unilaterally if you must.”
Madeleine Albright, former Secretary of State and U.N.ambassador

Zur Hauptnavigation

Diese Website verwendet Cookies, um Ihnen den bestmöglichen Service zu gewährleisten. Durch die Nutzung dieser Website erklären Sie sich mit der Verwendung von Cookies einverstanden. Detaillierte Informationen finden Sie in unserer Datenschutzerklärung.