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Opening September 9, 2020. UARTSPACE is pleased to present βStarlight: Relics of Timeβ an exhibition of recent work by Kim Tae-dong, who has calmly expressed the cityβs boundaries with unfamiliar and slanted eyes. The exhibition will showcase 14 works that show consideration of the stars and shaky targets, which began with the 2019 Amado Artspace photo award exhibition βPLANETES.β
The reason why Kim Tae-dongβs picture of the star is special is that the shining star is not the focal point.
The βPLANETESβ series is a work that began in 2015 with the Real DMZ Project. Since the 2010 βDay Breakβ series, he has been working on showing the night continuously; however it was not easy for the artist to shoot the night in a place that retained the scars of war. As the darkness deepened, ironically, the stars in the sky sparkled more beautifully, and the author naturally began to capture the stars in his work. Starting with work on the outskirts of the city, work was carried out in villages near the DMZ and war sites across the country, as well as in Canberra, Australia (cooperation with the Australian War Memorial), and Seoul, where the star was placed little by little.
The main characters that the artist talks about in the works of shining stars are not stars, but shaky subjects. In this exhibition, all works except for βGangseon 047β will be accompanied by a variety, architecture, and urban landscape.
Besides, long-term exposure (a photo technique that prolongs shutter speed and leaves traces of an objectβs movement as a stationary image) and astronomical equipment called the equator were used to track and take pictures of star movements for a long time. As the time of the star was fixed, subjects on the ground are shown shaking in the picture. Through this, the artist felt a sense of tension and liveliness. The subject became such a relic of time and was able to capture various times in a simple photograph.
The movements of the exhibition follow the changes in the artistβs mind and the order of time. Starting with βGangseon 040,β one of the war-related works, the photos centered on space for tension were placed in the first half, star-centered pictures were placed in the second half, and finally, the pictures naturally returning to the city along with the stars. Through this exhibition, the artist hopes to look back on the times of civilization, which are repeatedly destroyed and rebuilt against the infinite time of the stars.
The artist says that an exhibition without portraits feels awkward because there have always been portraits of people in exhibitions. However, the reason why we can feel more humanity in these works is probably because of the shaky subjects.
As astrophysicist Carl Sagan said, βEvery human being who ever was, lived out their lives on a mote of dust suspended in a sunbeam.β Humans may be insignificant from the perspective of the universe, but the story of people who have always been felt in Kim Tae-dongβs photographs reveal his presence by representing us with subjects swaying under the starlight of the vast universe.
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Kim Taedong's solo exhibition, γPlanetesγ is an exhibition selected for the 6th Amado Photography Award.In this exhibition, the artist presents a series of <Rifling> and newworks of <Planetes>. Both series were inspired by the Real DMZ project,which was launched in 2015. In these two series that seem to be different butsomehow connected, the artist captures the history which the war has leftbehind, the place of daily life, and the light of the distant world beyond itin a strange yet beautiful way.
From the series of <Symmetrical>(2010~) and < BreakDay>(2013~), which reveals the characteristics of the places that capturethe city but away from the center and people who survives in there, to theseries of <Day Break>, which allows anonymous people to coexist with thecity's night-site, the artist continued to describe the cityscape he faced orcontemporary people. The reason these works preserved some novelty orunfamiliarity is that the artist intentionally paid attention to the surroundingsor unusual lifestyles. Since then, the artist has arrived in the area where theKorean War and the division system have been preserved. The journey to the DMZ,a place where the division of the South and the North is starkly divided, maybe natural for the artist, who wanted to capture some conflict arising at thegeopolitical position of the city surrounding or the boundary, but on the otherhand, it was a new challenge and adventure because it has historical andmilitary significance.
The artist goes through a series of the study process,including searching for historical documents and photographic materials toenter the sites. However, when capturing the sites with photos, the artistavoids practical methods such as documentary photography. Therefore, the use ofnight time as a stage for <Rifling> series follows the way the artist hasbeen done before. What the artist met on the Gyeongwon Line(Dongducheon-Soyosan-Choshengli-HantangRiver-Jeongok-Yeoncheon-Shinkwangri-Sintan-Baekmago) was not the intensity ofthe war, but the scenery of the rural village. However, these areas were theexploitation paths during the Japanese colonial and the places where bear thescars of the Korean War and some hope of the unification which containshistoricity. The artist could not overlook the particularity of these places,so he captures the tension behind the everyday scenery with the silence of thenight. Notably, the work <Rifling>, which did not focus on the stars inthe night sky, is a bit dramatic in the present, where history and everydaylife coexist. The <Rifling> which features scenery of a road created bydawning fog and red-lighted street lights, seems to guide audiences to theunknown world, and the real-life scenes he met on the road, such as military officialresidence(Rifling-017) and guard post (Rifling-026), also capture somemysterious journeys. The bullet trace left on the ceiling of the historicalsite of the Waterworks Bureau site(Rifling-005), the crumbling wall of Donducheon old commercial building(Rifling-019), and the village man who met in Shinmang-Ri (Rifling-039), theyare the reality but create unrealistic atmosphere. Rather than evokingforgotten history, the artist brings up today's time in a strange way, as if togive mysterious powers to those places.
The early works of the series, <Rifling-011>, is thestarting point where the artist has become interested in the night sky stars.He became aware of the contradictory beauty of the night sky stars, unlike theatmosphere of the wet and cold site at the time. That is how the < Planetes> series began. Now there is a curious encounter between the war site andthe remaining monument and the night sky stars. The camera's focus will be onthe stars in the sky, and astronomical photography will be studied to fix thestars. As a result, war-related places, which were limited to the DMZ, will beexpanded to various parts of the country. Monument and veterans' weapons suchas the Incheon Landing Operation Memorial (Planetes-003), the Jangsa CoastGuard Memorial (Planetes-018), the Dongducheon Peace Museum, the GanghwadoIsland Korean War Veterans Memorial Park (Planetes-030) will be the subject ofthe photos. Furthermore, the < Planetes Project, AU> which photographedCanberra, Sydney, the Korean War Memorial, will be followed. After a longprocess, the more stable the positions of the stars, the more blurred and shakythe building or monument on the ground becomes. The Waterworks bureau site(Planetes-001), Seungilgyo (Planetes-014), the Workers' Party (Planetes-004),Daemari Minbuk Village houses (Planetes-005), and various Monumentaries arealso in contrast to the bright and vivid stars of the night sky. They showsigns of shaking while maintaining some of their original statues, which situnder the twinkling night sky as if they were trying to escape withoutdiscerning their historical nature.
For the past five years, the artist has visited historicsites related to the Korean War. How to look at the present of those historieshas been a question for a long period of time, and it has not defined yet.Through this process, the artist undergoes an emotional change and goes througha process of development. The history and daily lives of those sites, whichwere the starting point, move to a different level by exposing a staging scenebeyond a documentary photograph and then being distracted by the night sky starat one point. Are the night sky stars and war sites inevitable? Maybe it bringsback the scars of the past to the aesthetic level. Despite these concerns, the artistreminds us that the Earth is constantly fluctuating by trying to catch thestars in the night sky. He might have seen the simple fact that even a terriblewar was created by those who lived in that era and that our lives now continueon that scar. The world which the artist has been captures may be so beautifulto tell the simple truth.
Therefore, even though the artist has been visited the warsites, he did not abandon the attitude to capture the city and the people whichhe has met. The artist neither wants to expose the scars or wounds of historynor intends to reveal any value judgment on historical facts. Instead, heintends to capture the unique scenery he saw at the place he met not as anevent or story, but as a strange or conflicting image in the medium ofphotography, and meet the imagination of the viewer.