Photo by Seulki KI
Tracing Sites @Nanji-do
Nanji 11th Season1 Group Exhibition, SeMA Nanji Residency, Seoul Museum of Art, Seoul, Korea, 2017
Photo by Seulki KI
When we were working on this Tracing Sites project, our residence was located at Nanji (Nanji Hangang Park) in Seoul. Nanji is a place of intense transition: before 1978 it was a paradise of waterfowl, flowers, and reeds; from the 1980s to 1996 it was a huge trash heap dotted with slums; and now it is a natural park.
The current state of this transition is also very strange. Despite being in the heart of Seoul, several huge garbage mountains with fake nature pasted on them stand shoulder to shoulder. Tracing Sites@Nanji-do is an attempt to replicate the garbage mountains themselves in order to find out what these strange sights are. The installation is a linear panoramic sequence of pointillized moving images set on a gently curved surface.
私たちがこのTracing Sitesプロジェクトを行なっているとき、私たちのレジデンスはソウル市内の蘭芝島(ナンジド)にあった。蘭芝島は、1978年以前は水鳥と草花と葦の楽園であり、1980年代から96年にかけてはスラムが点在する超巨大なゴミ山であり、そして現在では自然公園という激しい変遷をもつ場所である。
この変遷の果ての現在の姿もまた、とても奇妙なものである。ソウル市の中心部であるにも関わらず、偽りの自然が貼り付けられた巨大なゴミ山が幾つも肩を並べている。Tracing Sites@Nanji-do は、それらの奇妙な光景が何であるのかを知るために、ゴミの山々そのものを写し取る試みである。インスタレーションは、点描化された動像をリニアに連続させ、緩やかな曲面に展開する。
One of the themes of this project is “mimicry.” When we look at the garbage mountains from a distance, we see an awkward nature, such as trees arranged in an unnaturally even row. Covering the garbage mountain with a protective sheet and soil and pasting nature on top of it is mimicry by humans, and appears to be the same as the way various organisms mimic to adapt to their environment. Furthermore, the ecosystem that is growing on the soil of the garbage mountains appears to be a metaphor for the kinetics of human society.
How can we describe this strange feeling because of staying at the center of garbage mountains for 3 months? In order to understand the feeling, we trace the surface of the sites by following the light, by learning the Impressionist's technique—as many artists have persistently depicted the object to know the target.
Can we reach the stacked time continued from the past to the future, or can we overlay the time of individuals who came from outside and spend the time at the site, and the time of social history, by tracing the surface layer of the site? Tracing Sites is a project to pursue better way of keeping reality close in between the traces of human hands and computing.The garbage mountains (fake nature) of Nanji-do depicted by this project are exhibited in contrast with Bukhansan (real nature), one of Korean famous mountains.
蘭芝島で 3ヶ月間日々を送りつつ感じる奇妙な感覚、これは一体何だろうか?それを知るために、場の表層を、新印象派の技法に倣って光を追うことによって、ひたすらなぞる。幾多のアーティストが、対象を知るために執拗に対象を描き尽くしたように。
場の表層をひたすらなぞることによって、それらと並行して存在する時間、過去から未来へと連なる時間の積層にたどり着くことができないだろうか?あるいは、外から来た自分がその場で過ごす個人的な時間と、歴史という社会的な時間を重ね合わせることができないだろうか?Tracing Sitesは、人間の手の痕跡とコンピューティングの間で、現実をより良く繋ぎ止める方法を追求するプロジェクトとなる。このプロジェクトによって写し取られた蘭芝島のゴミ山(偽りの自然)は、韓国の名山の一つである北漢山(本物の自然)と対比して展開される。
Photo by Seulki KI
Photo by Seulki KI
couch, Tracing Sites @Nanji-do, 2017
Nanji 11th Season1 Group Exhibition, SeMA Nanji Residency, Seoul Museum of Art, Seoul, Korea, 2017
Video Installation (Loop), Dimension Variable

With support from SeMA Nanji Residency, Seoul Museum of Art, Seoul, Korea
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