Archiv Peace

Archiv Peace

Year : 2013
Name(Member) : Archiv Peace(Jin Dallae, Park Woohyuk)
Genre : visual arts, installation, etc
Website : www.typepage.com
Email : id9@chol.com
            woo@typepage.com




 Profile  

Education
Jin Dallae
BA, Hongik University, Sculpture
MFA, Hongik University, Visual Communication
Director of Design Studio TypePage, Project Planner & Publisher of Archiv Peace
Park Woohyuk
BA, Hongik University, Visual Communication
MFA, Hongik University, Visual Communication
Ph.D Hongik University, Visual Communication
Advanced Certificated, Hochschule fuer Gestaltung und Kunst Basel Switzerland, Visuelle Kommunikation, Typography
Assistant Professor, Seoul National University of Science & Technology

Solo exhibition
2013 TYPOGRAPHY STUDY: PART, RESEARCH, Archiv Peace, Seoul
2010 The Drawing by park woo hyuk, Takeout Drawing, Seoul
2004 A Diary: Typographic Days, Gallery Factory, Seoul

Group exhibition
2013 Concrete Poem Workroom, Seoul National University, Seoul
         Serious Live Show, Club Venus, Seoul
         The 2nd Shanghai Biennial of Asia Graphic Design 2013, Shanghai Library, Shanghai
         Artist’s Portfolio, Savina, Museum of Contemporary Art, Seoul
         Now Here Independent Publishing, Coex, Seoul
2012 28 letters of Hanguel, Baejae University, Seoul
         Paper Road, Hangaram Design Museum, Seoul
2011 Principle of healing, Archiv Peace, Seoul
         Seoul International Typography Biennale, Seoul Art Center, Seoul
2010 언어놀이, Seongguk Gallery, Seoul
2009 Public Art Project Gohan, Sabuk
         Typography, Unity with New Life, bt’09 Beijing Typography Exhibition 2009, Beijing
         Olleh Art, Geumho Gallery, Seoul
         Design Street Week & T, Jamsil Olympic Stadium, Seoul
         Hangeul Design, Jeonbuk Museum
2008 19 Book Designers, Paju Book City, Paju
         De:Place*Re:Place, Jamsil Olympic Stadium, Seoul
         BBR, The Gallery, Seoul
2007 Design Show Show Show, Hangaram Design Museum, Seoul
         Heiri Typography, Soso Gallery, Paju
         Asia Typography, Hangaram Design Museum, Seoul
2006 Anew City, Arco Art Center
2005 Anyang Public Art Project, Anyang
         Seoul Design Festival, SETEC, Seoul
         Vidak Hanguel T-shirts Design, Artreon Gallery, Seoul
2004 Hanguel Dada, Ssamzie Space, Seoul
2003 Buffering, Art Sonjae, Seoul



 Works  


Archiv Peace Newspaper_offset print_390x530_2011_2013


Across the Universe_Installation_Various Size_2013


Antigone_Installation_Various Size_2013


Dark Hole_installation_Various Size_2010


Across the Universe_Installation_Various Size_2012


Discovery_digital print_594x841_2013


Various graphics_offset print_various sizes_2011-2013

The Space Probe by Jin Dallae & Park Woo Hyuk

Ahn Kyu Chul, Artist (Professor of Korea National University of Art)

Explorers of borders are found all over the world. Some risk their life on a polar exploration or climbing the Himalayas. There are athletes who attempt new world records. There are also those devoting their lives to exploring the unknown realms of a virus or particle. There are also some who have traced the path of Voyager space probe launched 37 years ago, which left the solar system a few years ago. These are all descendants of adventurers who explored unknown lands nobody trod – be it for gold, paradise, salvation, or truth. Things worth pursuing were all found in the farthest and roughest places. Courage to face fear and solitude and self-sacrifice is required for such exploration. This is why their adventures are credited as great challenges of humankind. How about work by artists? Artists are, so to speak, explorers. They also bet their lives on exploring the farthest places in their fields, which also demands courage and sacrifice. It is hard to say that they are equally treated as athletes, climbers, or scientists. As artists mostly work in their studios, people do not know what and where the artists explore. There are no immediate dangers or high dramas in their adventures. That is to say, they rarely meet with disaster due to bad weather while painting. Strictly speaking, their explorations can be appreciated only when the worth of what they discovered is interpreted and becomes known – the result can be converted into worldly value such as money and reputation. What Jin Dallae and Park Woohyuk, a designer and artist group, do is after all an exploration of strange lands. The realm of their exploration is an ambiguous, flexible middle zone beyond the apparent, effective industrial world where designers usually work. They state that their work is “to design and document an in-between space between the visible and the invisible, inner and outer space, beginning and end.” The objects they take notice of on this blurred border are the universe, the moon, clouds, fish, doors, balls, erasers, cubes, signals, communication, black light, part and whole, interstice, and passages. As nobody pays for their exploration of such objects, they are in the typical domain of art, and if what they explore is a passage, what does it link and who is it for? “I am between the inside and outside of this door. I just stay there, not belonging to any side.” The above is a sentence quoted from a fable titled <The Door> which Jindallae and Park Woo Hyuk conceived. In this fable, printed in the book <Bed Time Translating>, a collection of writing by eight persons giving accounts of their sleeping experience, the speaker narrates an encounter of two worlds through fish images. It seems impossible for “me” and fish living in completely different worlds to meet each other. It is difficult for fish to breathe air out of the water and for man to breathe air in the water. Whether someone made them meet each other or they did it on their own, they become acquainted with each other. They resolve to do their best to play their part through the encounter made when “the moon pulls and pushes water on the earth”. As such, this writing is an allegory on an encounter of two worlds. This book is the result of the “art writing workshop” by the Seoul Art Space_Geumcheon resident artists, exploring the contact point between art and literature, criticism and art work through writing. The two worlds here are supposedly image and text, design and art, humanistic thought and visual perception. Considering that the fable shows a process of experimental collaborative creation, where two different stories are interwoven into one, it may be about a story of an encounter of the two artists, who majored in visual design but have different perspectives and voices. Since November 2011 the two artists have published the Archive Peace Newspaper, printing artistic, typographic design reports. In the first issue they announced that Archive Peace is a project of “collecting, arranging, analyzing, preserving, and accumulating actions of peaceful persons, spirit, heart, and time”, to maintain “comfort with no trouble”, “peace” and “self-healing”. In the fourth issue, published in 2013, they addressed the event of NASA beaming the song “Across the Universe” by the Beatles directly into deep space. I consider their publication work similar to the work of NASA. Their publications are something approximating signals with different waves transmitted toward the world, for exploring “black fog” between image and text; an unmanned space probe whose destination is undetermined. Vilem Flusser argues that image and text are the tools for humans to understand the world and to take their course in the world. They are mediums to introduce the world to us, but have a risk of turning into a barrier separating us from the world. Worshipping image and text as idols, oblivious to their instrumental function, we will lose contact with a concrete world we have intended to gain through image and text, and the world will be governed by madness. Jin Dallae and Park Woohyuk’s work can be seen as an active practice to explore a passage between image and text as a reaction to such risk. We all realize that we face a plethora of images over-produced by mass media, and that humanistic thought faces a serious crisis, but realizing this fact cannot reduce the risk. While we have long experienced text-idol worship, we currently witness imageidol worship. It is thus urgent and imperative for us to recover image and text’s instrumental function and a contact point with the concrete world. As an artist involving writing in my art work, I will keep my close eye on their intriguing exploration.