“Artificial Nature” is an art installation series and research project by Haru Ji and Graham Wakefield. It is a kind of artificial ecosystem, created by computers through the principles of complex systems, inspired by nature’s creativity and biological mechanisms. Artworks of the “Artificial Nature” series are embodied in immersive mixed-reality as an interactive environment in which viewers are included. In this essay, I trace the history, meaning, and the technological methods of Artificial Life (AL), and summarize the characteristics of the emergence and self-organization of AL art, and then described the development of AL art from the 1990s to the present. Focusing on the “Artificial Nature” series, I examine the significance and implication of the technological method of artificial ecosystems using genetic algorithms, as well as of the mixed-reality installation method that maximizes the ontological role of the all perceivable elements within the interactions with viewers. The “Artificial Nature” series conveys the aesthetics of the emergence and generative creativity of computer-based art, which incorporates the concepts and techniques of artificial life into art, and reflects the philosophical quest for aesthetic meaning of artificial ecosystem, in the age of ‘changing concept of life’ of the 21st century.
This study originated from catching the characteristics of contemporary art since the 2000s and demonstrating 'the Concept of Hétérochronie' in them. Contemporary art, which was influenced by globalization due to technological advancement, began to use technological media in its works. From media art to installations, various genres began to appear in a complex way, images were reused and edited, and works that deviated from the existing continuous and sequential times appeared. Such images began to show the phenomenon of being uniquely divided through the medium, among which it was possible to find the concept of Hétérochronie. In this paper, I use the theories of Gilbert Simondon and Bernard Stiegler to understand and demonstrate the alienation of human beings as reflected in; the intrinsically pure consciousness of technical media. In the work of Apichatpong Weerasethakul, the whole is connected to allegories, memories are edited and summoned, and it can be seen that the Hétérochronie is well represented in the process. Therefore, in this article, I would like to discover and analyze the clues that can lead to an integrated reason for contemporary art through his work.
The aim of this study is to compare and study autobiographies published in the 20th century by two female artists-, Louise Jopling and Anna Klumpke who worked in the European Academy of Arts in the late 19th century, and to analyze the characteristics of their self-narrative strategy. The main subjects of this study are Jopling’s autobiography Twenty Years of My Life: 1867-1887 (1925), Klumpke’s autobiography Memoirs of An Artist (1940), and Klumpke’s biography of the artist Rosa Bonheur, Rosa Bonheur: sa vie, son oeuvre (1908), all of which feature quoted diaries and letters, a means of private self-narration. The autobiographies reflect their authors’ attempts at ‘writing from within.’ It can be said that Jopling and Klumpke recorded their voices as subjects and the others. These are feminine narratives that conform to the concept of ‘l'autre biographie’ by Hélène Cixous, argued that the reason for the non-chronological listing of events and themes, another similarity between Jopling’s and Klumpke's autobiographies, was the result of some artistic crisis after the rise of Modernism.
This study aims to investigate the aspects of the changes of Na Hyesuk's paintings in terms of their style and meaning. I attempt to trace the significance of her colored works produced during the 1930s by focusing on the change of her understanding and adopting of Post-Impressionism via an investigation of her writings. Na wrote about her experiences of European art and culture to expand her comprehension, and published art critical essays.
Na’s stay in Europe allowed her to gain direct information and knowledge of Western art in contrast to the refracted view that she learned during her school years in Japan. She previously seemed to have confused Impressionism and Post-Impressionism, but became able to discriminate clearly between them after her trip in Europe. She observed of Post-Impressionists that they would “not forget the essence of art” but “creatively individualize the artistic spirit.” We can observe that Na seems to have become able to project her intuitive interior world into her works as seen in her “Nokdong Landscape,” “Wharyeongkeon Peony,” and “Haein Temple Landscape,” in which she sought to integrate art with her life; by combining Impressionist colors and Fauvist expressions with a Post-Impressionist view of art in composition.
This study is intended to review the discussions on modernity that were held in Korea's art community in the 1950s. Since the 'art' sector in Korea was regarded as the product of Western modernity, it was taken for granted that acts of artistic creation or criticism within the art system should pursue the Western type of modernity. Discourses in Korea in the 1950s were generally made in the context of Westernism in the pursuit of anticommunism, nationalism and liberal democracy, and against the persisting colonial modernity. Korea's art community at that time was not only in sync with Korea's turbulent modern history, but also led by dominant discourses from the artistic mainstream. Although Korean art critics in the 1950s claimed to be agents of the avant-garde, proclaiming the need for change and innovation, they were, in fact, only on the margins of Korea’s unique modernity, in which Western-centric idealism, transcendental nationalism and political conservatism had been compromised. The modernity of Korea's modern art in the 1950s should be clarified in the context of the characteristics of the type of modernity intrinsic to the political, social and economic mainstream in Korea which have now been recognized in terms of a multiple modernity.
This study aims to seek a sustainable form of Public Art in the political space. It considers the process of highlighting the central place of ideology connected with public art as method of communicating and harmonizing in a historical sanctuary closed with a single ideology. For this purpose, I analyze the relation between space and object and the purpose of site-specific art, new genre public art, and works of relational aesthetics.
The alternative form of new public art derived from the analysis can be evaluated by four constituents: preemption of symbolic place, site-specificity with de-site-specificity, non-exhibited reproducibility, and reclaiming visibility. The new direction of public art will be able to overcome the division between art and society through the prevention of institutionalization with the function of authority in the place. The negative public view of public art projects; may also be solved from the cultural administration’s indiscreet city planning.
This paper examines the sustainable direction and frame of public art by occupying the symbolic place: regulating the geographical relationship between sculpture and place to restore the vitality of the public. The establishment of a system in which the visual sculpture and standardized place drawing a dialectical consensus should be sought from this theoretical process.
This paper aims to examine the cultural hybridity of the Koryoin and the position of the current generation through Ugay Alexander, a Koryoin artist, and to understand the 'Eurasia Cosmopolitanism' in his work. Here, 'Eurasia Cosmopolitanism' refers to a paradoxical situation that transcends nations and peoples and in which Ugay recognizes himself as a global citizen while living in the post Soviet Union and possessing a sophisticated Eurasian culture. Ugay, who is often concerned with time, mainly explores how the past and the future interact with each other. On the other hand, for the artist who indirectly experienced the Soviet era through the life of his grandmother and father it was essential to show the multilayered identity of the modern Koryoin through his work. Moreover, the ‘nomadic past,’ which was not engrossed in ethnicity, and ‘Eurasian culture’ appeared a cosmopolitan atmosphere on his work.
Ultimately, Ugay gets rid of the situation of Koryoin, who have stayed as objects of Central Asia, positioning himself as cosmopolitan through his work. This paper understands the environment surrounding the modern Koryoin through Ugay's work and examines their inherently multilayered identity.
What is the role of traditional apparatuses such as war memorials and museums in commemorating war victims, an act that constitutes the ultimate means of paying tributes to the patriotic spirit of fallen South Korean soldiers? How have particular diplomatic conditions and historical findings influenced the representation of war victims in postwar South Korea, a country that continues to experience polarized historical and political circumstances after the Korean War? This paper examines Heungsoon Im’s exhibition Homecoming Box (2008) including “Homecoming Box—Monument of the Unknown Soldier” (2008) and “Short Dream” (2008), in light of James E. Young’s and Erika Doss’s theories on war victims and war memorials. By concentrating on the theme of loss and absence as the central tenet of Im’s exhibition and his “Monument of the Unknown Soldier”, this paper aims to shed light upon the contradictory role that traditional memorials play in remembering and representing war victims and veterans. Simultaneously, I propose that “Monument of the Unknown Soldier” is a significant example of what James Young has called “counter-monuments” related to mass murder and war in South Korea. Comprising indexical photographic signs, the image of a disabled soldier, and a vacant homecoming box, Im’s work and exhibition question traditional war memorials of grandiose and sturdy forms and monolithic themes of patriotism and victory.