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a travelling exhibition in a shipping container
solo exhibition sponsored by Seoul Metropolitan Government / 12/24 – 12/31/2008 /
a galley size / h 2.3 x w 6.5x h 2.5 m
a cargo container, interior materials, an electricity generator
each work size / refer to the description
mixed media 

《首尔人的小想法》展览作为我的个人展,旨在安慰IMF经济危机后韩国社会中的孤独和被边缘化的一面。由于贫困,韩国公民经历了由于外部力量的强制性断绝,例如家庭等亲密人际关系而导致的痛苦。我在这场经济低谷期间遇到的人们渴望的不是经济困难,而是爱和激情。这次展览的艺术作品旨在通过理想化地描绘他们应该拥有的日常幸福来安慰他们。我创建了一个移动展览大厅,与尽可能多的人交流,在那里展示作品并将它们移动到首尔人流量最大的地区。一周的展览期间,有超过4,500名参观者聚集,成功举办。通过这次展览,我从他们那里得到了慰藉。这次展览由首尔艺术文化基金会赞助,并计划在首尔市政厅前、弘益大学站、汝矣岛国会大厦以及大型超市前展出。

 

exhibition container front view

Exhibition locations
12/24 – 25 in front of Hongik University
12/26 – 28 in front of Yeongdeungpo Lotte Mart
12/29 – 30 at the City Hall Squareexhibition locations
12/26 – 28 in front of Yeongdeungpo Lotte Mart 

[ Works Exhibited ]

 

 

 

 

1. Pieta

2007 / h 600 x 300 x 300 mm / marble
“Pooh Pieta”通过母亲或耶稣以圣母怜子图的形式给予我们的巨大爱,表达了被家人拥抱的童年中最幸福的回忆。小熊维尼和彼得强调了作品中描绘的爱的情感,表现了我小时候看小熊维尼卡通时所想象的彼得给予维尼的充满爱的关系。

 
 

2. 梦想晚餐

2008 / h 300 x 400 x 150 mm / mixed media
这件作品描绘了经济危机后遍布韩国的无数离异家庭。作为‘小熊维尼’出现的角色正在以第一人称视角观察这一情况。我们曾经视为理所当然的家庭晚餐,对于一些人来说,已经变成了不可能的事情,一顿梦想的晚餐。

3. 韩国普通的路边摊酒吧

2008 / h 300 x 550 x 300 mm / mixed media
这家由小熊维尼经营的路边摊酒吧与韩国其他路边摊酒吧一样,是一个可以与日常生活中不再见面的朋友叙旧的地方。然而,在这个特别的路边摊酒吧里,一位白领朋友似乎太累了,无法倾听他那有很多话要说的蓝领朋友,尽管蓝领朋友的冷漠。他们试图在酒中找到安慰,但他们似乎仍然被社会所疲惫。

 

 

 

4-1.小熊维尼的受难

2008 / h 400 x 600 x 180 mm / 硬质聚氨酯,木材,三颗钉子
小熊维尼的受难是基于这样一个想法而制作的——那些通过牺牲自己或他人来克服逆境的人,最终会剩下什么。

 

 

 

 

4-2. 小熊维尼的受难

2006 / h 2750 x 1350 x 4500 mm / fiber reinforced plastic, wood, three large nails

 

 

 

5. 蓝爸爸

2008 / h 380 x 450 x 550 mm / urethane, mixed media
这件作品表现了我们的父亲的形象,他们曾是家庭的绝对领导者,但现在正在失去他们的权威,每天工作后总是坐在电视前。

 

 

 

 

 

6. 石膏

2003 / h 800 x 600 x 450 mm / plaster
小熊维尼佛像是基于对一个人变得慷慨时能给许多人带来什么利益的思考而制作的。

 

 

 

7. Don’t Cry Father

2003 / h 800 x 600 x 450 mm / transparent resin, luminous pigment
beings that appease the grief of fathers who had to erase their children due to economic and other circumstantial difficulties.

 
 
 

8. A Middle-aged Man in a Sauna

2006 / h 3000 x 3200 x 2000 mm / fiber reinforced plastic, oil paint
A smaller figure of a man with these sons in a sauna was exhibited facing the larger solitary middle-aged man figure. This work provided a space where the visitor could take pictures, sitting next to this large man, while the figure overlooked the vision of his dream.

9. The French Revolution

2006 / h 3000 x 3200 x 2000 mm / rigid urethane, lacquer
I told a story of men commonly found in construction sites in a 4-panel cartoon style. They are always talking about societal issues but uninterested in the stories of others, daily life is more important to them. Asides from the single figure who discusses the societal issues, all of the other figures are eating American food and drinking beer. In their hearts, they have an instinctive passion for their society, but they are incapable of expressing this. The figures are named Danton, Pierre, Benoit, Antoine, Frederic. Their names are like those of the French revolutionaries that lead the French Revolution.

10. A Resurrected Pooh

2008 / h 2200 x 1100 x 750 mm / performance
Through this work, the visitors met a resurrected Pooh. This work gave them a chance to meet a martyr, a provider of a place of rest in real life.

In Retrospect…

I faced a lot of administrative difficulties trying to put together this exhibition; spaces were booked and cancelled a week before the show, the truck transporting the shipping container could not move during weekdays, and certain places did not allow trucks to enter in the first place – al of this in 15 degrees subzero weather. Despite this, I successfully moved the exhibition around to different spots with the largest floating population. Over 4,500 visitors came to the exhibition, and I received a lot of helping hands. I could not spend the holiday season with my family from having to guard the exhibition, but seeing the families enjoy my works and couples warming themselves in the exhibition space gave me solace. I was met with warmth from a lot of people, but I remember one particular encounter with a grandmother who came to the exhibition in Yeongdeungpo. She held my hands tightly and asked me to ‘keep making exhibitions for the working class,’ and it made me want to continue making work that brings itself to the public.

 

 

Sponsored by :

 

 

 

 

SUBART ™ by Bear Lee.  2006.

105-87-21524

Bear Lee

T.  +82) 10-4216-3225

E.  subart28@gmail.com

W. https://subart.co.kr/