Museum Project簡(jiǎn)介，目錄書(shū)摘
2020-02-17 14:33
來(lái)源：京東
作者：京東
Museum Project
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In The Museum Project, Korean artist Atta Kim commandeers average scenes - city streets, department stores, freight depots, and forests - and turns them into exhibition spaces. On display are people crammed into acrylic boxes, stacked in sets, on end, or sometimes alone. The overall project is comprised of a number of series, such as "War Veteran," "Sex," "Suicide," and other human typologies, each intended to highlight a particular mode of behavior or belief.
Kim compares his efforts to that of an archaeologist, sifting through the cultural strata in order to unearth and uphold exemplary objects for our contemplation. The trajectory of the work is cyclical and evolving; in the final series, "Salvation" and "Nirvana," the subjects begin to emerge from their plastic cases, and the societal categories explored in the previous work give way to a study of religious iconography and the human form. In the accompanying essay, curator Yu Yeon Kim addresses the metaphysical and societal aspects of Atta Kim's work. She examines how the work relates to Eastern philosophy and Buddhism, as well as how it reflects the pressure cooker of contemporary society.
Atta Kim: The Museum Project presents images that range from the shocking and iconoclastic to the sublime and transcendent. Curious and startling, Kim's work straddles the indeterminate ground between performance, photography, and an alternate form of anthropology.
In The Museum Project, Korean artist Atta Kim commandeers average scenes - city streets, department stores, freight depots, and forests - and turns them into exhibition spaces. On display are people crammed into acrylic boxes, stacked in sets, on end, or sometimes alone. The overall project is comprised of a number of series, such as "War Veteran," "Sex," "Suicide," and other human typologies, each intended to highlight a particular mode of behavior or belief.
Kim compares his efforts to that of an archaeologist, sifting through the cultural strata in order to unearth and uphold exemplary objects for our contemplation. The trajectory of the work is cyclical and evolving; in the final series, "Salvation" and "Nirvana," the subjects begin to emerge from their plastic cases, and the societal categories explored in the previous work give way to a study of religious iconography and the human form. In the accompanying essay, curator Yu Yeon Kim addresses the metaphysical and societal aspects of Atta Kim's work. She examines how the work relates to Eastern philosophy and Buddhism, as well as how it reflects the pressure cooker of contemporary society.
Atta Kim: The Museum Project presents images that range from the shocking and iconoclastic to the sublime and transcendent. Curious and startling, Kim's work straddles the indeterminate ground between performance, photography, and an alternate form of anthropology.
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