Translation
Jaeyeon Chung, Independent Curator(NYC-SEOUL)
PLATFORM
Cheon Park, Curator, Cian Museum of Art
The foundational background for the Exhibition of Art College in Daegu, which involves six art colleges, has its roots in the achievements of the seniors who built Daegu's art scene. Numerous events have attracted many artists to Daegu, where they have created rich narratives. This has led to the establishment of many art colleges in Daegu, which continue to produce many artists. Our activities may be a stop along the railway tracks laid by our seniors.
Whatever the reason, interaction between universities can be challenging. The fact that this project (the collaborative exhibition) is the only one in the country proves that many complex issues are involved, including various interests and administrative processes. Therefore, there may have been representatives where we had to overlook the minor problems, such as exhibitions that were merely a collection of works without a theme or the lack of substantial interaction among students. Acknowledging these parts, this issue of "PLATFORM" seeks to renovate the "collaborative exhibition" project. In today's art world, where the demands placed on artists (theme/idea selection, collaboration, division of labor, installation, administration, etc.) are becoming increasingly diverse, it was necessary to renovate the old tracks and stations.
As known, this project includes 18 exhibitions. However, behind the scenes, a system has been established to enable participants to perform the various roles demanded by the art world. While only experiencing a fraction of these roles, it provides a minimal arrangement for situations they will encounter in their future activities. These experiences catalyze the participating artists to continue their artistic pursuits or to move into planning, administration, or other areas. Therefore, the 18 'stations' (exhibitions) that make up this project are not merely displays of their works, but exhibitions composed through performing various roles. We hope the stations built by the emerging artists on the tracks laid by their seniors will be interpreted from various perspectives and angles.
Munching Mushrooms? It’s-a Me, Super Mario!
Younggi Kim, Deputy Director, OCI Museum of Art
The exhibition title "PLATFORM" not only represents a place of expectation for the artists' next step, like a station platform, but it also indicates the intention to support local art, performing as a literal platform solidly. It is an ambitious large-scale art project hosted by the Metropolitan city of Daegu. It takes place in the main exhibition space of the Daegu Art Factory, which has guaranteed a nationwide reputation for its unique space and diverse, challenging content. Furthermore, it is an annual event held every year, except during the COVID. Artists need no explanation to agree that consistency and diligence have a stronger, more shining (and more challenging to clinch) value in the art scene than novelty.
I entered to underestimate and pay the price of the exhibition, only to be astonished by the scale and the response. The concept became real: a detailed selection of upcoming graduates (future artists) from six leading art colleges in Daegu united to plan an exhibition in one of the region's most notable exhibition places. It is a large-scale exhibition surrounding triple-digit numbers of artists, aiming to break away from the conventional format of graduation exhibitions and instead present a space-specific exhibition planning exhibition.
Seemingly unrelated, but; before the artwork explanation, one notices the structure completely different from a typical gallery and the weak staging facilities. There's a reason. Whether it was a twist of weird fate, plans got tangled up multiple times. Normally, the main exhibition spaces on the 1st and 2nd floors of the Daegu Art Factory were used, but this time, they were pushed out to the nearby Suchang Mansion of Youth. And as if that wasn't enough, an unexpected unfit-for-use decision led to its cancellation. After being held up for months and drifting, it wasn't until October that things finally started to come together. The 4th and 5th floors of the Daegu Art Factory are the residency studio spaces for the artists. After much deliberation, the vacancies during the year-end were transformed into exhibition spaces. The director who brought about the dramatic solution, director Park Cheon, carried equipment with students to make up the space. They cleaned up, drilling into the concrete slabs of each room's ceiling to install lighting rails. Hurriedly cut and painted wooden boards resembling the wall colors were used to block windows and standing walls. It took three full days of construction, with only six days left for the rest of the time to open the exhibition. They say the installation was completed by pulling all-nighters. It is a hands-on, action-oriented exhibition that a full-time planner at an institution has advanced by pouring himself into. To sum it up, it's closer to the 'feats' of the planner. From start to finish, it's a battle of momentum.
It says, ‘every cloud has a silver lining’, and the unfavorable conditions surrounding the exhibition have only deepened and clarified. A place-specific planning style has emerged, showing the venue's omnibus features. Like dicotyledons springing up along a massive aisle, 18 vibrant sub-themed exhibitions have composed the main exhibition.
The director researched a hundred artists' portfolios and significant works and embarked on a kind of tagging. He assigned several points or keywords that seemed fitting or related. Based on this, the director created groups, assigned primary themes, selected leaders to guide each group, and encouraged the incorporation of keywords into statements. The purpose was to refine the definition more and to ensure a close connection with the theme of the work.
Each group explored the space, analyzed the blueprints, and experimented with various layouts. They invited external experts to present the exhibition plans and their installation proposals in a seminar format. Feedback was taken into account to adjust the exhibited works and to incorporate and apply various suggestions through hands-on experience. On-site, the team collaborated to consider the effects of the presentation actively.
Through this process, artists gradually understand the skill of sharing ideas, the significance of communication skills, and compromise and like-mindedness. They also got advice on which contents are useful for various practical settings such as exhibitions, art fairs, and competitions and passed on that sense.
Each group's artists were combined so that their college of names would only stand out a little. Although there are sections where artists are grouped due to the size differences among colleges, this consequence was blurred. Even such an experience will likely be a first for the aspiring artists.
Managing unpredictable subjects and irregular in terms of quality exhibitions was challenging for the director, Park. Variability and change are not easy to handle even among ten artists, but with a hundred, it's common for mid-career artists to appear disorganized. More than a hundred artists into an exhibition within three months is an extremely tight schedule. A lack of resources and time forces compromises. After assigning roles, there's no choice but to rely on each group's independence to a certain ability. The showing leads to encounters with a lack of responsibility among some members and the limits of quality control. To harmonize the view, delicate direction, and perfect finishing were never on the cards from the start. As a result, various groups have several 'outstanding' works. Some works have an awkward selection and visual dissonance, of course, and occasionally, one finds works that seem far removed from the theme. Some artists must redefine whether they are conveying the intended story and if the narrative has been created correctly. At the same time, some are brilliant and fun to watch, mixing thinking of their intersection with established mid-career artists.
On the one hand, there are the warped and wavy canvases, somewhat inferior finish, rough ideas, unexpected proposals, inexperienced direction, otherworldly compositions, and difficult-to-rectify. However, interestingly, it is also the privilege of emerging artists. This privilege hints at the key to their solutions to step up from under the shadow of established artists. Indeed, noticing and finding its rhythm is an enjoyable point of this exhibition. Positive contrasts are another encouraging aspect (I still need to reach synergy). In a way, sacrificial works that lack refinement push forward like a steppingstone, followed by high-quality works that make one feel the reward right next to the wall. In major exhibitions, too, something must often 'die or become a scapegoat' to highlight something else. The somewhat uncomfortable feeling may be because the artists of the two works has different styles.
This year's exhibition is a marked improvement from last years. Unlike previous art club, association, and graduation exhibitions, this exhibition is well-curated and carefully arranged under the director's leadership—a frank and 'proper' first exhibition. What does 'proper' mean? The plan presents an example of 'what an ideal first experience as an artist should be.' Students on the point of graduating from their undergraduate studies receive an infusion of artist's blood, title of 'artist,' take on external responsibility for their work, and dip their toes into an exhibition that officially joins the records of the art scene. This exhibition serves as a real-world test for emerging artists, as they are responsible for all aspects of planning, including directing, writing, insurance, handling, installation, and promotion.
Regardless of age, artists require immediate and critical support to navigate the bumps, backstabs, and failures that are often only realized through intense societal experience. Without such support for artists, the situation is like a comedy scene: "Something is worthless only after doing it with no one stepping forward to prevent the misstep." How extensive are the administrative and budgetary issues involved in curating and generating good ideas? Artists are often unprepared to deal with the institutional framework, accidents, welfare, copyright, labeling, sales, income sharing, and tax matters, not to mention various contracts. In situations where issues arise, there may not be anyone available to discuss potential solutions, let alone know how to address them. Additionally, there may not be a clear way to identify whether a problem has occurred or where to seek appropriate solutions.
In this regard, Director Park's exhibition is an essential motivation for emerging artists, much like allowing for significant growth even in the shortest moments. It's like the mushroom power-up in the video game "Super Mario." Conversely, it is a sharp criticism of the previous mention. However, due to the institutions' schedules and the public domain's internal matters, it's disappointing that next year's exhibition opportunities do not look optimistic. It's clearly gold, why miss out on such a treasure? General Choi Young would never handle it that way himself.
When Exhibition Become Platform
Heera Jung, Chief Curator, Mimesis Art Museum
The exhibition is titled 'PLATFORM,' which is the name of a train station. It consists of 18 exhibition spaces within the Daegu Art Factory's residency space, each representing a 'station.' The exhibition highlights the various meanings of 'platform' as a center for network-based exchange and connection, emphasizing the special role of this particular event. The "PLATFORM" exhibition, a collective site built by concentrated efforts of emerging and early-career artists, exhibits over 300 works by 100 art college graduates from Daegu and the Yeongnam region. In addition to its role as a curator/artist, this exhibition also fulfills an educational purpose by allowing these emerging artists to experience the art world. The colloquium titled 'Now, This is What Clicks' was held in conjunction with the exhibition. Established artists who are actively building their careers were invited to discuss the continuity of their work and life as artists. This discussion helped the participants paint a real-life future rather than an uncertain one. The world of contemporary art demands a lot from artists, requiring a range of skills from promotional savvy to flexibility for collaboration and planning, testing their various abilities.
Positioned as an extension of education, this exhibition allowed emerging artists of diverse capabilities and different artistic movements to engage in 'group exhibition participation,' a concrete and practical activity for an artist. An exhibition created by multiple contributors involved in planning and arrangement undergoes a different process than a solo exhibition. Within the 18 themes conceived by the director Park after reviewing the works of over 100 artists, the participating artists collaborated to define detailed sub-themes, write exhibition texts, and discuss the layout. These steps are part of the process for artists or curators, which anyone involved in or planning an exhibition will experience. It includes individual work, as well as collaboration and division of labor. The universities participating in the exhibition include Kyungpook National University, Keimyung University, Daegu Catholic University, Daegu University, Daegu Arts University, and Yeungnam University. The artworks submitted by graduates of the six art colleges in the Daegu and Yeongnam regions did not indicate their university affiliation. This approach allowed for independent evaluation of the artists, focusing solely on their work rather than being limited by their educational background or artistic style.
The exhibition's works can be analyzed through four keywords: This approach provides a platform for reinterpretation and discussion—Object, Space, Time, and Person.
Object (Object) - "Emotional Puzzle: Expanding Pieces," "About judgment," "Where the Gaze Rests," "Blu-ray," "Invisible Coexistence," "Whispers of the Dreaming Mind." Time (Time) - "Configuration," "From memory," "The Conditions of Break Away," "Beyond." Person (Person) - "Coexistence," "Hidden Flâneur," "Do We Exist? And If So, Are We Thinking?" "Here and Now," "When Ordinary Narrative Become Myth." Space (Space) - "Invitation : Visit," "The Laboratory." The participating artists written texts offer a detailed concept of their work and their intended interpretation of the world. The subjects of their work are always the values found in our world. Within a society structured by systems, values and emotions are gained and lost over time. We set aside our perspectives and thoughts to ensure our values are not forgotten. Presenting ways to consider our existence is the artist's mission and desire. The participating artists express themselves in various genres, such as hyperrealist painting, abstract painting, installation, conceptual art, pop art, and kitsch. The works that align with these diverse forms lend legitimacy and depth to the form. The concepts that artists present to the world are derived from the thoughts they capture from life. Thus, the artists renew the everyday life of the audience. Through the exhibition, the participating artists aim to propose to the audience the various ways they sense the world. The work, accumulated over time (Time) as the artist views the Object (Object), is conveyed to us (Person) through the exhibition space (Space) that has become a platform.
The works presented in this exhibition show the current situation of Korea's art colleges students beyond the local. The works on display, representing various genres and techniques taught in art education and aligned with the exhibition's theme, clearly reflect our current. The exhibition's Director Park Cheon, transformed 18 residency rooms into exhibition spaces by installing spotlights. This design approach breaks away from simplistic exhibition layouts that merely align artworks in rows. Director Park started this unique regional university group exhibition, which can be considered the beginning of these exhibitions, back in 2010. At that time, Park, a student at an art college, collaborated with fellow students to establish the foundation and identity for this extensive exhibition. The exhibition's goals are supported by the phenomenon of an art student who was both an emerging artist and curator who later became an active art director leading the art scene 10 years later. It is the result of intergenerational and regional exchanges and alliances. This exhibition features the work of upcoming graduates from art universities in the Daegu region. It aims to refresh the history of this alliance exhibition and provide insight into the current state of the participating artists. The exhibition also raises expectations for the future.
2024.2. ACK 발행. ACK (artcritickorea) 글의 저작권은 필자에게 있습니다. February. 2024, Published by ACK. The copyright of the article published by ACK is owned by its author.
Translation
Jaeyeon Chung, Independent Curator(NYC-SEOUL)
PLATFORM
Cheon Park, Curator, Cian Museum of Art
The foundational background for the Exhibition of Art College in Daegu, which involves six art colleges, has its roots in the achievements of the seniors who built Daegu's art scene. Numerous events have attracted many artists to Daegu, where they have created rich narratives. This has led to the establishment of many art colleges in Daegu, which continue to produce many artists. Our activities may be a stop along the railway tracks laid by our seniors.
Whatever the reason, interaction between universities can be challenging. The fact that this project (the collaborative exhibition) is the only one in the country proves that many complex issues are involved, including various interests and administrative processes. Therefore, there may have been representatives where we had to overlook the minor problems, such as exhibitions that were merely a collection of works without a theme or the lack of substantial interaction among students. Acknowledging these parts, this issue of "PLATFORM" seeks to renovate the "collaborative exhibition" project. In today's art world, where the demands placed on artists (theme/idea selection, collaboration, division of labor, installation, administration, etc.) are becoming increasingly diverse, it was necessary to renovate the old tracks and stations.
As known, this project includes 18 exhibitions. However, behind the scenes, a system has been established to enable participants to perform the various roles demanded by the art world. While only experiencing a fraction of these roles, it provides a minimal arrangement for situations they will encounter in their future activities. These experiences catalyze the participating artists to continue their artistic pursuits or to move into planning, administration, or other areas. Therefore, the 18 'stations' (exhibitions) that make up this project are not merely displays of their works, but exhibitions composed through performing various roles. We hope the stations built by the emerging artists on the tracks laid by their seniors will be interpreted from various perspectives and angles.
Munching Mushrooms? It’s-a Me, Super Mario!
Younggi Kim, Deputy Director, OCI Museum of Art
The exhibition title "PLATFORM" not only represents a place of expectation for the artists' next step, like a station platform, but it also indicates the intention to support local art, performing as a literal platform solidly. It is an ambitious large-scale art project hosted by the Metropolitan city of Daegu. It takes place in the main exhibition space of the Daegu Art Factory, which has guaranteed a nationwide reputation for its unique space and diverse, challenging content. Furthermore, it is an annual event held every year, except during the COVID. Artists need no explanation to agree that consistency and diligence have a stronger, more shining (and more challenging to clinch) value in the art scene than novelty.
I entered to underestimate and pay the price of the exhibition, only to be astonished by the scale and the response. The concept became real: a detailed selection of upcoming graduates (future artists) from six leading art colleges in Daegu united to plan an exhibition in one of the region's most notable exhibition places. It is a large-scale exhibition surrounding triple-digit numbers of artists, aiming to break away from the conventional format of graduation exhibitions and instead present a space-specific exhibition planning exhibition.
Seemingly unrelated, but; before the artwork explanation, one notices the structure completely different from a typical gallery and the weak staging facilities. There's a reason. Whether it was a twist of weird fate, plans got tangled up multiple times. Normally, the main exhibition spaces on the 1st and 2nd floors of the Daegu Art Factory were used, but this time, they were pushed out to the nearby Suchang Mansion of Youth. And as if that wasn't enough, an unexpected unfit-for-use decision led to its cancellation. After being held up for months and drifting, it wasn't until October that things finally started to come together. The 4th and 5th floors of the Daegu Art Factory are the residency studio spaces for the artists. After much deliberation, the vacancies during the year-end were transformed into exhibition spaces. The director who brought about the dramatic solution, director Park Cheon, carried equipment with students to make up the space. They cleaned up, drilling into the concrete slabs of each room's ceiling to install lighting rails. Hurriedly cut and painted wooden boards resembling the wall colors were used to block windows and standing walls. It took three full days of construction, with only six days left for the rest of the time to open the exhibition. They say the installation was completed by pulling all-nighters. It is a hands-on, action-oriented exhibition that a full-time planner at an institution has advanced by pouring himself into. To sum it up, it's closer to the 'feats' of the planner. From start to finish, it's a battle of momentum.
It says, ‘every cloud has a silver lining’, and the unfavorable conditions surrounding the exhibition have only deepened and clarified. A place-specific planning style has emerged, showing the venue's omnibus features. Like dicotyledons springing up along a massive aisle, 18 vibrant sub-themed exhibitions have composed the main exhibition.
The director researched a hundred artists' portfolios and significant works and embarked on a kind of tagging. He assigned several points or keywords that seemed fitting or related. Based on this, the director created groups, assigned primary themes, selected leaders to guide each group, and encouraged the incorporation of keywords into statements. The purpose was to refine the definition more and to ensure a close connection with the theme of the work.
Each group explored the space, analyzed the blueprints, and experimented with various layouts. They invited external experts to present the exhibition plans and their installation proposals in a seminar format. Feedback was taken into account to adjust the exhibited works and to incorporate and apply various suggestions through hands-on experience. On-site, the team collaborated to consider the effects of the presentation actively.
Through this process, artists gradually understand the skill of sharing ideas, the significance of communication skills, and compromise and like-mindedness. They also got advice on which contents are useful for various practical settings such as exhibitions, art fairs, and competitions and passed on that sense.
Each group's artists were combined so that their college of names would only stand out a little. Although there are sections where artists are grouped due to the size differences among colleges, this consequence was blurred. Even such an experience will likely be a first for the aspiring artists.
Managing unpredictable subjects and irregular in terms of quality exhibitions was challenging for the director, Park. Variability and change are not easy to handle even among ten artists, but with a hundred, it's common for mid-career artists to appear disorganized. More than a hundred artists into an exhibition within three months is an extremely tight schedule. A lack of resources and time forces compromises. After assigning roles, there's no choice but to rely on each group's independence to a certain ability. The showing leads to encounters with a lack of responsibility among some members and the limits of quality control. To harmonize the view, delicate direction, and perfect finishing were never on the cards from the start. As a result, various groups have several 'outstanding' works. Some works have an awkward selection and visual dissonance, of course, and occasionally, one finds works that seem far removed from the theme. Some artists must redefine whether they are conveying the intended story and if the narrative has been created correctly. At the same time, some are brilliant and fun to watch, mixing thinking of their intersection with established mid-career artists.
On the one hand, there are the warped and wavy canvases, somewhat inferior finish, rough ideas, unexpected proposals, inexperienced direction, otherworldly compositions, and difficult-to-rectify. However, interestingly, it is also the privilege of emerging artists. This privilege hints at the key to their solutions to step up from under the shadow of established artists. Indeed, noticing and finding its rhythm is an enjoyable point of this exhibition. Positive contrasts are another encouraging aspect (I still need to reach synergy). In a way, sacrificial works that lack refinement push forward like a steppingstone, followed by high-quality works that make one feel the reward right next to the wall. In major exhibitions, too, something must often 'die or become a scapegoat' to highlight something else. The somewhat uncomfortable feeling may be because the artists of the two works has different styles.
This year's exhibition is a marked improvement from last years. Unlike previous art club, association, and graduation exhibitions, this exhibition is well-curated and carefully arranged under the director's leadership—a frank and 'proper' first exhibition. What does 'proper' mean? The plan presents an example of 'what an ideal first experience as an artist should be.' Students on the point of graduating from their undergraduate studies receive an infusion of artist's blood, title of 'artist,' take on external responsibility for their work, and dip their toes into an exhibition that officially joins the records of the art scene. This exhibition serves as a real-world test for emerging artists, as they are responsible for all aspects of planning, including directing, writing, insurance, handling, installation, and promotion.
Regardless of age, artists require immediate and critical support to navigate the bumps, backstabs, and failures that are often only realized through intense societal experience. Without such support for artists, the situation is like a comedy scene: "Something is worthless only after doing it with no one stepping forward to prevent the misstep." How extensive are the administrative and budgetary issues involved in curating and generating good ideas? Artists are often unprepared to deal with the institutional framework, accidents, welfare, copyright, labeling, sales, income sharing, and tax matters, not to mention various contracts. In situations where issues arise, there may not be anyone available to discuss potential solutions, let alone know how to address them. Additionally, there may not be a clear way to identify whether a problem has occurred or where to seek appropriate solutions.
In this regard, Director Park's exhibition is an essential motivation for emerging artists, much like allowing for significant growth even in the shortest moments. It's like the mushroom power-up in the video game "Super Mario." Conversely, it is a sharp criticism of the previous mention. However, due to the institutions' schedules and the public domain's internal matters, it's disappointing that next year's exhibition opportunities do not look optimistic. It's clearly gold, why miss out on such a treasure? General Choi Young would never handle it that way himself.
When Exhibition Become Platform
Heera Jung, Chief Curator, Mimesis Art Museum
The exhibition is titled 'PLATFORM,' which is the name of a train station. It consists of 18 exhibition spaces within the Daegu Art Factory's residency space, each representing a 'station.' The exhibition highlights the various meanings of 'platform' as a center for network-based exchange and connection, emphasizing the special role of this particular event. The "PLATFORM" exhibition, a collective site built by concentrated efforts of emerging and early-career artists, exhibits over 300 works by 100 art college graduates from Daegu and the Yeongnam region. In addition to its role as a curator/artist, this exhibition also fulfills an educational purpose by allowing these emerging artists to experience the art world. The colloquium titled 'Now, This is What Clicks' was held in conjunction with the exhibition. Established artists who are actively building their careers were invited to discuss the continuity of their work and life as artists. This discussion helped the participants paint a real-life future rather than an uncertain one. The world of contemporary art demands a lot from artists, requiring a range of skills from promotional savvy to flexibility for collaboration and planning, testing their various abilities.
Positioned as an extension of education, this exhibition allowed emerging artists of diverse capabilities and different artistic movements to engage in 'group exhibition participation,' a concrete and practical activity for an artist. An exhibition created by multiple contributors involved in planning and arrangement undergoes a different process than a solo exhibition. Within the 18 themes conceived by the director Park after reviewing the works of over 100 artists, the participating artists collaborated to define detailed sub-themes, write exhibition texts, and discuss the layout. These steps are part of the process for artists or curators, which anyone involved in or planning an exhibition will experience. It includes individual work, as well as collaboration and division of labor. The universities participating in the exhibition include Kyungpook National University, Keimyung University, Daegu Catholic University, Daegu University, Daegu Arts University, and Yeungnam University. The artworks submitted by graduates of the six art colleges in the Daegu and Yeongnam regions did not indicate their university affiliation. This approach allowed for independent evaluation of the artists, focusing solely on their work rather than being limited by their educational background or artistic style.
The exhibition's works can be analyzed through four keywords: This approach provides a platform for reinterpretation and discussion—Object, Space, Time, and Person.
Object (Object) - "Emotional Puzzle: Expanding Pieces," "About judgment," "Where the Gaze Rests," "Blu-ray," "Invisible Coexistence," "Whispers of the Dreaming Mind." Time (Time) - "Configuration," "From memory," "The Conditions of Break Away," "Beyond." Person (Person) - "Coexistence," "Hidden Flâneur," "Do We Exist? And If So, Are We Thinking?" "Here and Now," "When Ordinary Narrative Become Myth." Space (Space) - "Invitation : Visit," "The Laboratory." The participating artists written texts offer a detailed concept of their work and their intended interpretation of the world. The subjects of their work are always the values found in our world. Within a society structured by systems, values and emotions are gained and lost over time. We set aside our perspectives and thoughts to ensure our values are not forgotten. Presenting ways to consider our existence is the artist's mission and desire. The participating artists express themselves in various genres, such as hyperrealist painting, abstract painting, installation, conceptual art, pop art, and kitsch. The works that align with these diverse forms lend legitimacy and depth to the form. The concepts that artists present to the world are derived from the thoughts they capture from life. Thus, the artists renew the everyday life of the audience. Through the exhibition, the participating artists aim to propose to the audience the various ways they sense the world. The work, accumulated over time (Time) as the artist views the Object (Object), is conveyed to us (Person) through the exhibition space (Space) that has become a platform.
The works presented in this exhibition show the current situation of Korea's art colleges students beyond the local. The works on display, representing various genres and techniques taught in art education and aligned with the exhibition's theme, clearly reflect our current. The exhibition's Director Park Cheon, transformed 18 residency rooms into exhibition spaces by installing spotlights. This design approach breaks away from simplistic exhibition layouts that merely align artworks in rows. Director Park started this unique regional university group exhibition, which can be considered the beginning of these exhibitions, back in 2010. At that time, Park, a student at an art college, collaborated with fellow students to establish the foundation and identity for this extensive exhibition. The exhibition's goals are supported by the phenomenon of an art student who was both an emerging artist and curator who later became an active art director leading the art scene 10 years later. It is the result of intergenerational and regional exchanges and alliances. This exhibition features the work of upcoming graduates from art universities in the Daegu region. It aims to refresh the history of this alliance exhibition and provide insight into the current state of the participating artists. The exhibition also raises expectations for the future.
2024.2. ACK 발행. ACK (artcritickorea) 글의 저작권은 필자에게 있습니다. February. 2024, Published by ACK. The copyright of the article published by ACK is owned by its author.