"Nature, Art & Architecture"

 

 

Yangho Lee

Director

Gallery MOA

 

 

헤이리 갤러리 MOA 에서는 개관을 기념하여 ,

 

Nature, Art and Architecture라는 주제를 가지고, 노르웨이의 세계적인 예술가(판화가) Terje Risberg와 한국의 건축가 우 경 국 님을 초청하여 전시한다.

 

테르예 리스버그는 북극과 사막등을 여행하며 촬영한 조형적, 건축적 풍경사진을 메조틴트 기법을 통해 인간존재의 본질에 대한 성찰을 절제되고 미니멀하게 표현하는 매우 독특한 장르의 예술가이며, 건축가 우경국은 한국성과 자연을 바탕으로 한 관계이론과 인간행위의 근원성을 근간으로 건축화 하는 건축가이다. 특히 자연과 건축, 사회와 건축, 이종결합과의 소통문제를 헤이리 프로젝트를 위주로 펼쳐 보일 것이다.

 

이번 전시는 서로 다른 장르의 작가가 하나의 주제를 놓고 전시하는 매우 이례적인 일이며 세미나를 통해 자연에 대한 관점을 논할 예정이다.

 

 

 

 

 

KyungKook Woo_Architect

2004 

 

 

Aesthetics of the Relational Phenomenon.

 

 

I have been engaged in architecture for 30 years, the reason why I raise the question

"What is the authenticity in architecture?" is that I have actually had a doubt about social aspect of architecture , while living in urban community.  In order to approach such a fundamental issue as relationship between human existence and architecture, we need to review every phenomenon again.  It must be only an 'altered state' changing incessantly in the social structure and culture of the era.  While the 20th century architecture was dominated by the paradigm of supreme reason and humanism sticking to the language based texts, our new century sure will witness quite a different world requiring a critical distance from such a paradigm.  Then, how should we set the relationship between our life styles and architecture in the 21st century?

 

 

As for me, I feel that our traditional architecture would find a new possibility in this digital age, and that it could exist as the text with differentiated clues.  For structures of life, life styles and value of earth may be reinterpreted in different ways.  Sometimes, we see a logic of paradoxical relations as described in Buddha's or Laotzu's thought, while struggling to reach on origin through self-allusion or self-instruction.

 

 

Looking back, I seemed to have struggled to see both temporal and human aspects of architecture realized, while being concerned more about de-humanism than humanism, cyclic and total thoughts than straight forward ones, being slow than fast, indeterminacy than determinacy, occupation of behaviors over time than setting of physical functions, useful inconveniences than physical conveniences, void of utility than filling, expansion of outside behaviors than inside ones, and natural mechanism than human ones.

 

 

In other words, I seem to have attempted , within the net of total relationship, to recognize

the objects and understand 'the being' in view of the relations between architecture and men, architecture and nature, human and nature, men and men, and architecture and architecture.  For so a long period of time, I have pursued an 'Aesthetics of relational Phenomenon' wherein they are related with each other to be revealed.  Such a struggle, or a minimum value for a healthy architecture in this era, must be a precious lesson for me.

 

 

 

 

 

TERJE RISBERG

2004 

 

 

The artist and his work

 

Terje Risberg is a Norwegian artist and printmaker educated at the Academy of Fine Arts in Oslo, Norway. He has been working mainly with intaglio prints in the mezzotint technique, and is well known in the Nordic countries for his prints with nature themes. In recent years, Risberg has developed a new intaglio print technique based on both traditional and electronic methods.

 

The series "Arctic Forms" and "Desert Forms" are the results of several journeys to the Arctic archipelago of Svalbard and to the desert of Sahara. These areas are borderline places, where natural conditions presses organic life to its limits. They are also arid deserts, where the annual bioproduction is on the same low level.

 

The artists' ambition has been to decode some of the hidden aspects of these landscapes. In his own words:

 

"When nature shows its strength, the relationship between nature and human culture changes.Human beings are then forced to reconsider the importance of the different elements in their daily existence. Activities that used to be considered as neccessary, may suddenly loose their significance.

 

Encounering a strong external nature can therefore be compared with the experience of decisive moments concerning our inner nature, such as birth, suffering and death. Then also many of our daily doings may seem unimportant.

 

Letting my own being reflect itself in the avertedness and inhospitability in these surroundings has allowed me not only to work with the identity of the landscape, but also with my own identity.