Jung Seung

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Solo Exhibition
2011    Idea Of Complex part II, b’ONE gallery, Seoul, Korea
2009    Idea Of Complex part I, Cheonggae art studio gallery, Seoul, Korea
          Evolution Of Machine, Brainfactory gallery, Seoul, Korea
2008    The Everyday Broken Into Pieces, Kunstdoc gallery, Seoul, Korea

Selected Participation
2011    Up And Comers, Total Art Museum, Seoul, Korea
2010    Pusan Biennale, Pusan, Seoul, Korea
2009    Against the Sculptural, Seoul Museum of Art, Seoul, Korea
          Variety, National Museum of Contemporary Art of Korea, Seoul, Korea
2008 The Bridge –Gana Art 25th Anniversary Exhibition, Insa Art Center, Seoul, Korea
          Changwon Asian Art Festival, Changwon, Korea
          Hongjecheon Project organized by Kunstdoc gallery, Seoul, Korea
          A Piece Of A Piece, IASK gallery, Seoul,, Korea
2007    Mutual Induction, KTF gallery, Seoul, Korea
          Shinsegae gallery, Kwangju, Korea
2006    L’APOSTROPH, organized by ENSAPC, Pontoise, France

2008    Cross Nation Ensemble (sculpture project), Gwalior, India
2008    Selected as a ‘New Artist’ by the National Cultural Council
2007    Shinsegae Art Award, Kwangju, Korea

2011    ArtOMI residency program, NY, USA
2010-2011    Seoul Art Space GEUMCHEON 2nd-term residency artist, Seoul, Korea
2009    Cheonggae Art Studio, Seoul, Korea
2007    IASK Changdong National Art Studio, Korea

Spectacleless Complex, Mixed media, variable size, 2011

Circling Complex, Mixed media, 3.2x3.2x0.2m, 2010

Creation and Depiction

Yun Chea-gab(Independent Curator)

Long time ago, I once read a passage on “creation” and ‘depiction’ while reading a book of a teacher, Shin Young-bok(1941-). It was a compilation book of Eastern classics lectured in his classes, and the passage was about how he was embarrassed to be called a writer or author because his book was nothing more than a “depiction” of what the ancient sages such as Confucius(BC 551-478) and Mencius(BC 372-289) wrote. It was a passage that displayed humility towards ready-made meta criticism. Since then, these two words, ‘creation’ and ‘depiction’, became an important epigram in contemplating my critiques.

It was these two words that flashed across my mind when I was looking at Jung Seung’s work. This is true even though the objects in his work aren’t precious subjects that deserve our hommage, but rather common and nameless industrial products. Just as a six year old child assembling a house or car from a pile of Legos, the child would not give homage to the Lego itself. Judging from the critiques of a person like me, this is closer to practical criticism than meta criticism.

The hunting and gathering of images and meanings have become a methodology for many artists after Duchamp. Just looking from the aspect of art, there is that much more contemplation of “creation” and “depiction” since Duchamp up until post-structuralism. The objectifying process of making a symbolic art work by creating a new network of meaning from
‘indifferent’ and ‘nameless’ ready-made art has already crossed over the area of ‘depiction’ into ‘creation’ a long time ago.

However, the post-structuralism and post-modernism that replaced “depiction” and “creation”, or the wishes for a fundamental reversal of modern criticism through “author’s death and dissolution” are the paradoxes that inevitably become the result of a single artist, and in turn come back as the responsibility of the artist. The process of ready-made, artist, and objectifying seems like the existential fate of the artists living in these modern times. The works of Jung Seung shows a compressed version of the changing processes in this kind of discourse since the modern era.