Profile
* E-mail : 421661@gmail.com
* Website : www.uselessgoods.co.kr/
www.boochoolaamaa.kr
www.dailycodi.com
Group show
2010 "Mate by myside" Publication, 175 gallery, Seoul
Nuit de la video Festival "White Noise", Glerie Lillebonne, Nancy, France
2009 SOUND ART 201, Ssamzie Space, Seoul
Performance
2011 "Urban Play" UNEP-Gwnagju Summit on Urban Environmental Accords UNEP Exhibiton,
Kimdaejung Convention Center, Gwangju
Global Artist Relay Art "GUSHIGI", Kunsthalle, Gwangju
Crazy Friday, Chuncheon MimeFestival, Chuncheon
Dillycodi night, Ccul-pool Open Seoson Program, Ccul, Seoul
2010 "Dressing is the easiest thing to me", Day of Confidence, Pool, Seoul
2009 "Hwigyeong, Disappearing landscape", Motel Boan
"Museum Story; Daehakno 100", Arko Art Center, Arts Council Korea, Seoul
Installation design
2011 Potato Village Festival, Potato Studio, Peongchang
2010 Children's Environmental Painting Competition Presentation, Gallery Sinsegye, Seoul
2009 Ssamzie Sound Festival, Olimpic Park 88 Green Yard
Outreaching Dailycodi
2011 "C,LOCK", SIDance, Platoon Kunsthalle, Seoul
2010 "Please Move Out of the Way", SIDance, Seoul Arts Center, Seoul
"Metamorphosis", Marginal Theater Festival, Arko Arts Theater, Daehangro, Seoul
"Ambiguous Ending" Bulnabang Star Sossage Club, Sang Sang Madang, Seoul
Works
Andeath
Boochoolaamaa – Boochoolaamaa sings a collection of traditional folk songs or a recombination of everyday sounds. It started off as a two-person band who played cheap musical instruments for tourism, but the songs it sang since 2011 were arranged in the form of a chorus version and the group is performing them in the form of a choir. The main songs include < Medley of Songs which Does Not Want to Listen>, <A Song Dedicated to Snacking>, and so on. In 2012, it collected its most often performed songs into a lyrics book for sale. (www.boochoolaamaa.kr)
Andeath’s Low-Speed Project
Sung Wan-kyung (Artist and Professor Emeritus at Inha University)
Andeath had once held a Daily Coordination Night show combining with a party at Ggooll in Hannam-dong in 2011. The show had turned a fashion show into a performance and the party was one in which the guests played a game of changing clothes. While normally in fashion shows, there are models wearing clothes and the audience watching them, this show was different. The particular attraction of this party is that while the audience members change they get a taste of excitement, of feeling like wearing another's soul. In May of the following year, and at the invitation of the multi-cultural- exchange-oriented project group Mungmau in Argentina, she took used articles of clothing weighing 100kg in five luggage bags to Buenos Aires and held another show-party similar in concept to this one.
Apparel holds special significance to Andeath. Putting on clothes was her main expression of a life’s importance. At first he frequented the Dongdaemun market and later she usually went to used clothing markets. She was particularly interested in articles of clothing discarded by middle-aged men and women and in the latter’s culture. It was not merely with clothing. She was also interested in the objects they used, objects they used that are still surviving or objects which are disappearing these days.
That in the origins of the special significance she assigns to clothing there was attention to garbage and garbage bins should particularly be recorded. Her interest in used clothing and her habit of acquiring inspiration from the discarded and valueless, like advertisement audio, began when she lived in Dongkyo-dong in 2004-5 while eying the garbage in front of her house and in the streets. She says that the articles of garbage disheveled or knocked over by a drunken passerby or a cat were all too attractive. A little while later the artist began to turn into art the clothes she had worn as daily attire. The Daily Coordination piece, in which the artist changes into a different set of street clothes everyday and uploads photographs online, was thus begun and is still in progress. The exhibition “Dressing Myself was the Easiest,” held at Pool in the spring of 2010 was an offline exhibition commemorating the 1,000th time of Daily Coordination. The artist published this in as a book as well in 2009. That was Daily Coordination the book. Andeath feels a zest when a project is transformed to another medium. She works in video as well, and not just with books, and also appropriates the form of shows and parties as in Daily Coordination Night. The Blue Trash Bin he created at Ssamjzie just after graduating with a bachelor’s degree in design from Hongik University or the artist’s design projects for recycling like Decent Recycling of 2011 are an extension of that.
Recycling is beyond doubt an important concept in Andeath’s art work. It appears this can be viewed as reviving what is disappearing, making them disappear slowly or re-appreciating them as well. Sound is included as an important component here as well. He has been collecting children’s songs from various regions of the country since long ago and has been creating works of returning those sounds in the performative form of sound performance. However, now the objects of her collecting have come to include the bad and even the inelegant (i.e. the kitsch). It is that she has collected various noises of business promotion we have become tired of hearing such as the megaphones of truck merchants in local alleyways or television advertisements, etc. to present a combined form of choir and performance using “a medley of unpleasant sounds.” This is the Boochoolaamaa Chorus project of which plates are included in this book. The artist did a performance at the Seocho Elementary School last summer.
The artist is currently planning to establish “Useless Object, Inc.” Andeath’s projects apply brakes to the speed of a ruthless and chilling modernization while allowing us to reconstitute our lives’ various traces in our emotions. With a vigor. Those may be called beautiful low-speed projects.
Hometown of Intuition
Kwon Jin(Independent Curator)
Andeath makes objects by mingling micro,
infancy, trivial, playful and very ordinary materials. Her recent work is the
industrial doll wearing shoes made of sculpted lubber and ‘Mombbae(a type of
Korean loose trouser for women’s domestic activity)’ cut and stitched from the
artist’s own cloth. Including her recent object series, Andeath’s works usually
initiates from the choice of very specific subject and results for expressing
the nature of time, rather than conceptualizing material or space. On the other
word, the focus of her expression is not about an art work for appreciating
form and shape or a conceptual piece, but about the process of transformation
of specific subjects based on the nature of time. Her aesthetic activity stays
within a sphere of very basic life actions such as cut, paste, meet, separate,
move and pause. However, as passing through the aesthetic language of accumulation,
repetition, expanding and hyperbole, these basic actions become a form of
visual phenomenon.
Andeath’s creative activity takes a part in
destructivity, and this character reminds us of the ‘Auto-destructive Art’ in
1960s. In the past, those artists gathered in series of happenings to reveal
the radical voice throughout the violent actions in a form of vanishing things
out. However, the destructivity that Andeath brings here is rather closer to a
kind of biological transformation born in the violence of modern history(to be
specific, being 1990s adolescents in South Korea). Over the past 6 years,
Andeath has been managing her own Blog and posting her daily clothing. Frequent
visitors are teenagers or youngsters in 20s. In the offline world, these youths
are occasionally called for the fashion shows as sticking their heads out of
the hole on a blanket and show off some ostentatious body movements. On the
beat, Andeath finds out unique sounds as paying her attention to the memory of
her body. Sometimes, she picks some lyrics while walking down streets and
almost excavates materials from public markets and street stalls. An assortment
of things are appropriately used for performance on a stage and genetically modified
in design. And all of these routine acts do not cease to repeat like refrains
sung incessantly in music.
Her gifted talents are not directly
oriented from academic educations but from her self-learning and social
experiences in varied fields like fashion, music, dance and design. At first
glance, her visionary might looks chaotic in a disorderly manner, but with an
in-depth insight, her artistry represents the reality that gears toward public
senses, and these acutely channel analogue values to the infinity of digital
world. Over the artistic embracement, there are numbers of capacities that
Andeath keeps carrying on; flexible and mobile attitude moving in and out of
online and offline, an excellent craftsmanship, proficiency in managing colors
or shapes in either space or plane, penetrated sense of expression, intuitive
choice of specific subjects and spearing eyes. The artist selects appropriate
elements, relocates them in her own order, pulls out a kind of chemical
reactions between and transforms them into something like Andeath Style in the
sensual world. This is like drawing an internal visionary world. In the
process, each element gets further from the conventional notion of
understanding and at the same time, achieves a new kind of social meaning.
Andeath’s works and aesthetic activities
are very much linked in her daily routine, suggestive of her obsession and genuineness.
This way of creation becomes a personal communicational route with others. In
this, there is the sentimental attraction that might be a token of disrespect
against extraordinary social growth and any other external changes that are
both inevitably comes and forcibly driven in the world. However, is that so
vulgar, crude, out-of-fashion, dull and weird? Although there isn’t yet a
precise term to call her world, it would be too simple to modify it as
‘subculture’ or ‘kitsch’. Because it does not measure any social class nor
represent any specific collective culture. Without an intention to be vulgar
and crudeness, it rather expresses an authentic and individual nature. So,
while reposing in this world, we should take a time to experience the ironic
and humorous moments when she unwillingly mirrors the genuine images of this
region where class-specific cultures and respect of sophistication are not
(yet) distinctively ramificated.
