Artist Talk: September 1st, Thursday 5PM

Henna Joo

The Minimalism and the Pop-Art movements of the 1960s were to challenge the inner necessities of Modernism in ways of simple repetitive images or forms, while attempting to expose the properties of an era of mass-production and mass-media. The artists of the 1970s, who have been baptized with the post-modernism and post-structuralism semiotics, have made various attempts to create new meanings within these movements through experimenting with new objects or concepts, borrowing and repeating what their predecessors have done; however, most have failed to reach beyond the conceptual form of their work. Such failures resulted in more borrowings and repetitions of the old, and automatically led the artists to believe that there are little more or impossible to explore the new. This trend continued on until the turn of the century, and at the inception of the new millennium, new objects and media were beginning to be explored, along with a sudden boost in the world art market. And over the last decade, the art world has experienced convulsions such as enormous projects that deliver visual spectacles; unprecedented experimental art; changes and migrations of the world art centers; and most of all, massive growth of art fairs and biennials.

In this new movement, most recently we are able to witness the utilizations of repeating little objects—or units—to create a whole piece of artwork. This trend was first publicly witnessed at the Armory Show held in March, in New York. In this art fair, Tara Donovan had produced immense, coral-like installation work that simple beyond borrowers with strong beauty shows how sublime to the spectacular objects. Women often through repeated use of the goods in excess of 5 m in size produced Joana Vasconcelos’ work, , also produced on the basis of repeated, but repeated that the finished art object itself is no longer in which the unit does not stay in the routine sex is a strange force and dissipate energy. Attached to the forehead Bindi Indian women (Bindi) repeatedly, like an abstract painting, such as paste at the same time throwing the effectiveness of women's lives in India and Indian culture, a philosophy that carries inherent Bharti Kher, also it works noticeable in the form of a specific organism, but exerting a strong mystical, energetic force. Silk, ten thousand and two female artists to produce works based on repeat, but these concepts in the works of women writers in the liberal approach is too ad-hoc work or faithful to the works of visual spectacle did not realize carrying susceptibility and the remarkable energy that can be found natively.

Such phenomena as the existing text of a connection between things that produce the novelty of the concept of creative iterations widely ingrained in our society and culture, and that it had borrowed more than the formal and conceptual aspects that do not disprove the ten thousand iterations are adsorbed on . In return, like routine, everyday wear and live, but despite its incessant repeated every time one wants to seek novelty, and that you want to dream of happiness in everyday life is also evidence that our lives are.

Epic of Units exhibition beyond the postmodern repeat and repeat borrowers through the power of positive divergence and also the possibility of creating new shows and a new future, the four Asian women artists, Yayoi Kusama, Yeesookyung, Aiko Miyanaga, and Jean Shin collected works in one place. These units of work, whether it acts, or in any of the units, or an accident, regardless of whether the unit in a unit repeat of the ongoing creation of new meanings (or sent to us), and further, that the original of the completed objects Beyond the inherent meaning held by the unit in another dimension, creating a visual impact. Note that said, the visual results are Joana Vasconcelos and Tara Donovan, a strong energy is slightly different, more positive, and at the same time that the healing energy that is contained. Feast of the more powerful spectacle and conceptual attachment to the mature work of art forgotten in a feature writer han han audience to watch it, and in any way, touching and healing energy to pass. Engraved in the memories of childhood experiences and a small image that appeared in them a lifelong compulsive dominate his life and art, but that obsession that causes pain and depression is not out of it as four Infinity (Infinity Net) and Polka Dot (Polka dot) through a series of cosmic order and beauty that turns to Yayoi Kusama's work in the artist's life and her spirit is the result of the universe as it is written on the canvas. The state abandoned the wounds of divorce, abandoned luggage collected pottery shards in the process of sublimation every naphthalene and, yes, not a piece of pottery, not a new concept in the production of objects of beauty and truth, to find spirit and energy (Qi), Yeesookyung to isolate the writers themselves are the work of and the endless process of healing for the audience who will deliver a positive energy. Aiko Miyanaga's work in the passage of time erosion by working with the naphthalene invisible to visualize the passage of time and disappear from moment to moment 'now' makes the audience aware. Miyanaga, along with Iran at that moment that's past, present and future time is condensed, and flows into eternity at this moment, the artist finds here. The key has always been with people, or trophies, discarded lottery tickets, prescription bottles jinsin them to work together in the work of community members who made their dreams, or a past history of certain areas with unmet aspirations, want to keep losing things and things that are contained . But it is simply beyond our routine that holds with all that is fleeting and it is part of our lives by showing that life should be accepted positively.

Particular note the unit and it repeatedly, the work combined, while its own unique language gusahae that women artists' works under one roof to show this exhibition, the audience, the individual repetitive routine, a new meaning and, furthermore, this exhibition includes was repeated with the works of artists and the creation of the importance of aesthetics in contemporary art as the assets of the shop a little more hope.

------The title of this exhibition, Epic of Units, is derived from Hans Hatke’s poem, “Epos der Wort.” In it, he writes: "… One day, looking at a red flower-patterned table cloth on the table, I turned my eyes to the ceiling and saw the same red flower pattern everywhere, even on the window glass and posts. The room, my body, the entire universe was filled with it, myself was eliminated, and I had returned and been reduced to the infinity of eternal time and the absolute of space. This was not an illusion but reality. I was astounded. It I did not get away from there, I would be wrapped up in the spell of the red flowers and lose my life. I ran for the stairs without thinking of anything else. Looking down, I saw the steps fall away one by one, pulling my leg and making me trip and fall from the top of the stairs. I sprained my leg. Dissolving and accumulating, proliferating and separating. I feeling of particles disintegrating and reverberations from an invisible universe…”, Yayoi Kusama, quoted by Akira Tatehata in ‘Magnificient Obsession’, Japanese Pavilion(cat.), XLV Venice Biennale, Yayoi Kusama, Japan Foundation, Tokyo, 1993