2018.11.05-2018.12.01

Flat digital




( 한국어 )


인터넷과디지털 매체는 반복적이고 지속적인 시각적 폭로에 익숙해진 우리의 살랑한 마음을 사로잡고 그 시각적 기대에 부합하기 위해 매일매일 매혹적인 이미지 제품을 생산해낸다. 문제다.. 이는 결국 세상에서 일어나는 실제 사건들의 심각성을 묽게 만들고 사람들이 비극적인 상황에 연민의 감정을 가지는 것을 억압한다. 처음엔 입체적이고 얼기설기 했던 다양한 감정과 여러 각도의 이야기 덩어리 덩어리들이 디지털 매체의 거름망을 거치면 어찌나 그렇게 감정적으로 납작하고 평면인 이미지로 바뀌는지... 우리의 얄팍한 욕망에 딱 부합하는 사고 팔기 좋은 납작한 시각 제품으로 재탄생 한다.

작업은 대체로 우리가 지난한 일상에서 자주 경험하지 못하는 평면 이미지들을 디지털 아카이브(구글, 네이버, 페이스북, 인스타그램 등)에서 채집하는걸로 시작된다. 네이버 실시간 검색어에 오른 살인 수법이 그렇게도 악랄하다는 범죄자가 잡혀가는 모습, 아침에 본 중앙일보 전면에 크게 올라온 제천의 한 스포츠클럽이 화염에 휩싸여 시뻘겋게 타오르는 이미지, 페이스북 피드에 실시간으로 올라온 공동경비구역에서 북한군 한명이 차를 세워두고 남한쪽으로 뛰고있는 cctv 영상 자료 등은 좋은 영감이 된다. 수집된 이미지 자료와 사람들의 댓글, 실시간 검색어 추이 등을 보며 사람들이 이미지 자극에 어떻게 반응하는지, 실재 입체적인 사건과 평면의 디지털 자료를 통해 전해져오는 자극을과 이를 받아들이는 사람들 사이의 간극은 얼마나 큰지 생각해본다. 그 후, 디지털 매체를 떠돌아 다니던 이미지들의 거칠고 험상궃은 느낌을 없애기위해 부정적인 시각적 요소들을 화려한 색과 만화적인 표현으로 지우고 가려 기분좋은 이미지로 변형시킨다. 이는 우리 대중이 인터넷과 디지털 미디어가 매개해주는 이미지들에 어떻게 받아들이고 대처하는지 역설적으로 묘사하고 극대화시키려는 시도이다.

‘어떻게 하면 이 실재하는 재난과 사건들의 복잡다난함을 더, 더, 더 극적으로 역설할까, 그 역설된 이미지들은 어떤 방식으로 감정적으로 평면이게 보여질까, 재난이나 사건의 비극성이 시각적으로 매력적이면 이미지에 대한 관람자의 감정적 연결이 실재로 옅어질까?’ 하는 고민을 한다. (조주현)




( English )

The media produce and commercialize more and more fascinating images to satisfy the needs of the dulled public with the quantitative repetition of stimulation. I have made it my task is to try to understand how the stimulation of mass media images distracts people from real content and makes it harder for them to sympathize with the pain of others, whilst attempting to interpret how the public responds to them, and using my chosen medium to remove and hide negative elements to expose the viewer to what is happening. My works of art reforms the content from the real cruelty of the media displayed, and through this, it paradoxically maximizes the position the media portrays for the public consuming the image.

My works are an exploration of the extremes that the modern deluge of media can have as an effect on the audience. It creates a delusional state where those experiencing the images or media that they are given become dispassionate about its content. This then creates the role of the media as the spectacle peddler and the audience as a consumer of this. To be exposed to the tragedies of the world but without emotional traction with what is taking place becomes the experience average consumer.

These issues are expressed in the work by taking modern media images surrounding major world events, such as the shooting of ICBMs by North Korea, and turning them into visually appealing cartoon paintings. They become visually appealing spectacles of real world disasters that the media has continuously exposed to the public. There is the idea that this disaster porn becomes the normal way to deal with the events that unfold in the worldI began to think that people require spectacle, they actively seek it out and need it. The real content inside the image doesn’t matter, they seek it to be entertained by the spectacle.

From this I developed the view of what the extreme of this would look like. Where would the end for this be? How could it look taking this idea to extreme? Is there a point when you try to make a disaster visually appealing that it breaks experience? When an audience experiences this I want to explore what their reaction will be and to see if they realise what is happening in front of them. To see how they will respond to images they have likely seen before on news channels and websites, but presented as something entirely new.

I think that there needs to be questions asked about how the public experiences media and how it relates to events that are taking place. We need to explore the questions about the need people have to be brought into the 24-hour news cycle and lurch from one catastrophic event to the next. (JUHEON CHO)






1. I was there

디오라마로제작된 오염된 자연속에서 아무렇지도 않은듯
소풍을 즐기고 있는 플라스틱 사람들의 모습이 보이고
스마트폰의 카메라는 가상 풍경의 일부를 찍어 실시간으로 스트리밍 중이다.
스트리밍 영상은 전시장 벽에 따로 영사되는데 모형의 풍경은 영상 속에서 흡사 진짜 현실의 풍경으로 보여진다.

Inside the diorama there’s bunch of plastic people enjoining a walk around the polluted lake and smart  phone is live streaming the part of the view to the wall. Weirdly the view from the screen on the wall, it looks like a real not a diorama.




Miniatures on polyurethane foam with Chrome cast, projector,
Variable Installation,
2019-2021


*Detail



*Sketch








2. Empty of meaning



Empty of meaning - 맹물 같은 소리 (2018.10.3), Digital print on a snow paper, 380cmx50cm, 2018







3. Never fear or worry


Never fear or worry (Fukushima radiation leak/후쿠시마 방사능 유출), Korean traditional paint on handmade mulburry paper , 101cmx130cm, 2018







4. Irradiated Rock
Series


Radiated  Rock No.2-6, Acrilic spray on plastic rock, digital camera, Max:100cmx60cm, Min: 50cmx30cm, 2019







5. Flat digital+Flat painting Ver.1 (Atom Land Ride)




Flat digital+Flat painting Ver.1 (Atom Land Ride),
        colour on paper and digital media, Xbox controller (Game developer-Warren Heath),
280cm x 100cm, 2018


*Detail









6. Filling dots


Filling dots, colour on news paper, 36cmx21cm, 2018


*Following works










7. Posters











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조주현 曺周賢 JUHEON CHO







︎︎SOLO EXHIBITIONS

Memories ; Obersee
2019.2020.2021
Fifth solo show
Berlin


Flat digital
2018
Fourth solo show
Seoul


A Spectacle Fever; Media between real and digital
2017
Third solo show
Seoul


Tamed by spectacle - the opaqueness of image
2016
Second solo show
London



The little boy and a toxic land
2015
First solo show
London




︎︎INDIVIDUAL PROJECTS

Mein Leben, meine Realität
2021.2022++


Disaster Game
2017.2018++

Colour mining
2017.2018.2019.2020++

Dazzling memories..
2019.2020++


Dazzling plastic things..
2009.2010.2011.2012++
 

Empty of meaning
2018++


Never fear or worry
2018++


Psychedelic nature-invisible fear
2016++


26m Panorama disaster painting
2016.2017.2018.2019++


MMD-022
2016++


Disaster painting
2016.2017.2018++


Filling dots 
2016.2017.2018++


One plus fan zone🎉
2017.2018++


Irradiated Rock
2018.2019++


PROPAGANDA scroll
2015.2016++


Show room
2016.2017++


Wall paper series
2016.2017++



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