ENGLISH
The thematic consciousness behind the exhibition was directed towards exploring possibilities in open creativity by focusing on the essence of creation or curating, and further on by emphasizing the intuitive mindset and the free autonomy of artists. The sharing and actualization of the entire process involved in the staging of experimental form of installation and space and creation of meaning becomes refined and complete as each individual audience accepts such various intuitive and spontaneous mind set of the curators and artists. The main element of this project is to reflect on the power and practice regarding the production process of creation, as well as the sense of unfamiliarity and insecurity that is exposed through familiar objects and relational situation selected by artists Kang Min-sook, Yoo Hwa-soo and Lee Wan.Each process pursuing the unfurling of creativity is only just a dormant possibility, and our attempt remains in Insa Art Space as a dormant possibility.

 
 □ Exhibition Preface
We hope that our exhibition does not imitate the suspicion of typical definition or self-justification commonly found in other previous exhibition prefaces. We also hope that this exhibition provides the opportunity for the viewers to see how the artists in this project convey the fluid yet lasting evolution in the value of ‘creativity’ through the meaning of (  ). The following issues, remaining as questions until now since the planning of the exhibition, stand as the introduction of this exhibition.
 
 The ‘exhibition’ itself cannot be the subject of the exhibition. / Can the ‘exhibition’ itself become the exhibited object?
 
Do the concerns of artist A differ from that of Mr. Kim, the carpenter of the installation set? / Artist A worries about the same things as Mr. Kim, the carpenter of the installation set.
 
The outcome of the exhibition speaks about the artist. / Can the artist speak through the outcome of his work?
 
Exhibition should be carried out in a stable manner. / Can exhibition still be carried out even in non-stable condition?
 
Curator completes the concept of the planning. / Does the curator complete the concept of exhibition plan?
 
Exhibition without audience is useless for artist B. / Would exhibition still be a success to artist B even if no viewers came to the exhibition?
 
The artist’s spontaneous attitude is a threat to exhibition. / Is it the artist’s spontaneous attitude that threatens an exhibition?
 
Artist C assumes the framework of the exhibition as the subject of the work itself. / Is artist C’s subject of his work the framework of the exhibition itself?
 
This is an exhibition for the audience. / Is this an exhibition for the audience?
 
There is such thing as completely equal joint-curating. / Is there such thing as completely equal joint-curating?
 
The curator must think about the problems of communication. / Does the curator need to be concerned about the problem of communication?
 
The audience is curious about the behind-story of the exhibition. / Will the audience be curious about the behind-story of the exhibition?
 
The clues to (    ) can be found in the exhibition space. / Can the clues to (   ) be found in the exhibition space?
 
 
□ Exhibition content and works at Insa Art Space

 
● KANG MIN-SOOK (2nd floor, Insa Art Space)
 
Focusing on the audience’s multi-sensorial experience and the relational situation which arouses such experience, Kang Min-sook proposes the second floor of Insa Art Space in this exhibition as the stage on which the audience and the staff members at Insa Art Space meet. The staff members of the space, as well as office fixtures and furniture of Insa Art space office are arranged according to the artist’s careful discretion on the 2nd floor exhibition, being presented as actors (performers) that play their own specific role (actual office work).
The things that construct the presented stage have been taken down from the office into the exhibition space, not according to the existing environment, but according to the direction of the autonomous artist in charge. Upon entering the staged office space in the exhibition hall, the viewer confronts the sense of presence and unfamiliarity of familiar ordinary objects (fan, curtain, etc.), and enters the stage as a host and experiences the role of an actor before he or she even perceives of it. The ambiguous space between the ‘host’ and ‘audience’, and the subject and point of view triggers tension in between.






Unnamable Things
Let’s presume this space where many different things clash, unite and coexist as a stage charged with many possibilities. Rather than having their own separate meaning and outcome, the objects in this space exist as a process or state. Through the multisensory experience or performativity acknowledged directly ‘here and now’, the viewer thus becomes the host that temporarily and endlessly constructs and deconstructs new meanings. –From Kang Min-sook’s artist note
 

So Therefore Upright and Observing
Tools and Labor
The futility of labor that is both non-continuous and void of finality
And the indivisible relationship and marginalization of the new form of human and labor which,
despite the futility, must be upright and observing without the slightest error in the outcome.
 
– From Yoo Hwa-Soo’s artist note
 
 
Yoo Hwa-Soo’s So Therefore Upright and Observing project sheds light on the question whether the authority and practice behind the production process and installation of art rests on the artist, and proposes interpretations on the element of tools and labor generated in the process. Yoo directly applies the form and system particular to TV drama sets made of shoddy temporary material produced to withstand the minimal amount of force. He then carries out his project as the supervisor, with people in different trades that have worked systematically in the stage production industry for a long time.
 
The standard creative process through the artist’s hands is taken to a site of practical discourse, through the entire process of questioning and answering issues as to whether an art work must be produced through the tools and labor of the artist himself, and as to how the concerns of the artist and the task performers who create for the artist.
This project took place on the 3rd floor of Insa Art Space, which has been used as Insa Art Space office space and has never functioned before as exhibition space. On the opening day of the exhibition will be a performance that fulfills the installation of the art work for two hours.
The works are kept in the exhibition space for 15 days starting with the opening of the exhibition, and will be taken down by professionals in the trade during the rest of the exhibition period. A video record documenting the entire process from installation to taking down of the work is left at Insa Art Space.
 
 
 
● LEE WAN (Basement, Insa Art Space)
Tower of objects found in office space are piled up relying on gravity in the basement space of Insa Art Space. For this exhibition, Lee Wan has used as the subject of his work, the objects that have been accumulated in the office space of Insa Art Space for many years, with the function of assisting tasks or exhibitions. Having existed as props or supporting material, they are transported from the 3rd floor of Insa Art Space, the highest floor in the building, to the lowest basement floor. The movement from the third floor to the basement signifies physical movement as well as a new standard, which is endowed with the context of being part of art work. The objects selected by the artist support each other, standing as rearranged columns that connect the ground to ceiling of the basement exhibition space of Insa Art Space.
The first column consists of official documents as well as immaterial sources and information (computer), which is considered the core value of Insa Art space. The second column is made of office machines that function as the tool that assists such documents and information, and the last column is constructed of things that are considered worthless. The three columns metaphorically reference an unstable structure where the three columns must be uniformly same or differences must be met with sameness. Standing perilously between stability and instability, the objects stand as if to collapse at any moment.
 



 The inner invincible entropy of absolute criterion
_From Lee Wan’s artist note
Laughing wavelets of standard
      Lap against my chin.
Can everything that we agree on make us free?
        Although I can’t understand
        Even a sip of the wavelet,
        I can’t deny that it flows in my blood vessels.
        The invincible inner entropy of absolute standard
        Towards the greatness that soars in the water of deep night, as infinite as the sun and immortal as eternity.