|Date : 2018-09-05 ~ 2018-12-08|
|Artist : Gilsuk Ko, Daehong Kim, Eunjoo Rho, Hyejin Jo, Jaroslav Kyša, Mitra Saboury, Ruth Waters|
|2018 International exhibition White Shadows: A story about the invisible cleavages in everyday life
The interest in everyday life started as modern industrial society was formed through the appearance of capitalism. In parallel with stormy discussions and great philosophy it received continuous attention because individual life means more than just being a component of a society. Under our boring and vain repetitive life, the social system, the logic of the times, the strategy and pressure of capitalism permeate everything even if we do not directly feel it. Meanwhile, everyday life is easily considered just a pattern of repetitive life or a personal problem at the individual level but looking carefully at everyday life can create a reconsideration of society and this era.
Therefore, this exhibition focuses on social cleavages and the minute explosions which are traces of disharmony within the spectrum of the meaning of ‘everyday life’. This is because a considerable number of these problems always have a possibility of remaining in everyday life even if changes are attempted.
Through her works Gilsuk Kho implies the inherent conflicts and labors in the shadows that repeat in relationships. In other words, the artist represents the structure of inequality and irrationality that covertly inheres throughout realistic relationships. Daehong Kim sheds a new light on minorities and the neglected life through a garbage bag that is easily thrown away after being used. Through representational objects Eunjoo Noh objectifies the contradictory feelings she felt during the development process of a new town where creation and destruction repeat. Hyejin Cho’s series of structures focuses on how the social meaning of a flowering plant changes into a consumer good originally having the meaning of celebration or condolence through the ‘registration of utility model right’ of Dosiru. Jaroslav Kysa instantly invests ‘jamais vu’ to the structure of a city by driving a group of pigeons with birdseed on a street in London. Mitra Saboury repeats breaking away from the original use of ordinary standards or objects in order to bring fear or to confuse the silence laws in the structure of a city. Ruth Waters looks back at the new lifestyle of people today who are forced to have desire for beauty, health, a peaceful mind, and to improve their ability, wealth and success in Ja Generalised Anxiety Relaxation.
As in the works of the participating artists this exhibition attempts to capture the scenes of microscopic and minor irrationality hidden under the obstinate ideology of everyday life. In the end the subject of everyday life is about the society that creates it (as well as the contemporary), and it defines the character of where we live. Moreover, as contemporary art is not in an ivory tower (separated from the world) this exhibition has significance in the sense of looking back through art at the issues of today’s society, especially in the problems in everyday life.