[project team] Part Time Suite

Part-time Suite started its project in 2009, first by looking for places in the city.
We go through places actually affordable to us, and then rent for a short period the place we have found. Not owning the place, we have physical and practical restrictions which we amplify and convert into lyrical features of our work. In order to escape from the restriction, for the three past projects – at a basement, a vacant lot and a roof top – we simply accepted all the restrictions (in Under Interior), let them be as we took a loophole (in off-off-stage) or stood on them, threw a question pointed toward the destiny of the collective itself (in Loop the Loop). Through those kinds of processes we turn the spatiality of the place into something sensuous and tangible, stimulating the place to reveal by itself its identity which has been neglected. The audience who has decided to enter – by taking off his/her shoes, by blocking outside sounds to make his/her hearing acute – will witness by senses, rather than speculate, the place’s raison d’être and remember he/she can come across the place once and again, anytime in the city.

Part-time Suite, collaboration group of Miyeon Lee, Byungjae Lee and Jaeyoung Park who graduated Art school in February. 2009, was founded on April 2009 and based in Seoul, Korea. It undertook three projects, “Under Interior” in a basement at Chungjeongro in June, “off-off-stage” at an unoccupied lot in the center of the city, Shinmunro, in September and “Loop the Loop” at a roof-top at Yeonjidong in December, all under the sponsorship of Art Council Korea, issued 2009. The last project was a part of the exhibition “Perspective Strikes Back” presented by Hyunjin Kim at Doosan Art Center. The group is bound together on mutual trust between the members while accepting each other’s singularity and individuality. Our works develop during and from frequent meeting and talk session. Each member is also working on his/her own projects.

Updated in Mar/2010

text frrom http://www.parttimesuite.org

[text in Korean] 상징과 소통 – 지금 한국에서 공공미술은 어디에 위치하고 있는가? (김장언)

상징과 소통 – 지금 한국에서 공공미술은 어디에 위치하고 있는가?

김장언

국문요약 

이 논문은 2천년대 이후 정부 주도로 진행된 공공미술 프로젝트가 신자유주의적 문화전략의 하나로 기획된 문화 이벤트임을 가정하고, 그 기원과 흐름을 파악하기 위해서 해방 이후 한국의 공공 미술 프로젝트의 맥락과 역사를 비판적으로 분석한다. 공공 미술은 시간과 공간을 떠나서 언제나 논쟁적인 이슈를 생산해 왔다. 한국에서 역시 공공 미술은 미술계 뿐만 아니라 사회적으로 다양한 논쟁과 이슈를 생산해 왔다. 그러나 이러한 논쟁들은 개별 공공 미술 프로젝트의 미학적 예술적 성취를 정당화하는데 집중함으로써 공공미술 프로젝트가 가능하게 되는 정치 사회 문화적 맥락을 간과하게 하는 상황에 놓여졌다. 따라서 이 논문은 한국의 정치 사회적 변화 속에서 공공미술 개념이 어떻게 발명되며 전유되는지를 추적하고자 했다. 이러한 과정에서 이 논문이 가장 주목하는 지점은 1987년 6월 항쟁 이후 야기된 한국 사회의 민주주의 확대와 1997년 IMF 구제 금융 이후 급속이 도입된 신자유주의 체제 속에서 공공 미술이 어떻게 한국 사회 속에 인식되고 작동되었는지에 관한 것이다. 1987년과 1997년을 주목하는 것은 이 두 사건이 한국 사회의 변동과 성격을 규정한 상징적 사건으로 인식하기 때문이다. 국가 만들기 과정에서 민주주의 확대 그리고 신자유주의 도입과 확대라는 큰 틀에서 공공 미술이 어떻게 정부에 의해서 초대되며, 미술계에 의해서 전유되고, 한 사회 속에서 작동되었는지를 이 논문은 비판적으로 분석한다. 그리고 2천년대 이후 정부 주도로 진행된 그리고 현재 진행되고 있는 공공미술 프로젝트가 신자유주의적 문화전략으로 어떻게 우리의 일상에서 작동되고 우리를 통제하고 있는지를 ‘상징(symbols)’과 ‘소통(communication)’이라는 개념으로 논의한다. 

 

주요어

공공미술, 공공성, 신자유주의, 문화전략, 광화문 광장, 생정치

———————————-

ABSTRACT

Symbol and Communication: Where is the public art located in S. Korea?

JANG UN KIM independent curator / art critic

 

This paper is intended to criticize the history and context of the public art projects at South Korea since 1945 in order to analyze the birth and the changes of Korean public art on the assumption that the most of the public art projects organized and hosted by the national and local governments after 2000 are the one of the cultural events structured as the cultural strategies and policies in the Neoliberal era. Public art is always aroused controversy beyond time and space; likewise, public art in the Korean context has been provoking argument and discussion socially and culturally. But the most of the arguments and issues only deal with the aesthetic and artistic achievements of the individual projects, and therefore could not explain the socio-political context related with the public art projects. So, this paper is intended to analyze how the meaning of the public art has been invented and articulated under the socio-economic and political changes of South Korea. In the process of the research, this paper concentrates attention on two points in time of the Korean contemporary history; one is the year 1987 and the other is the year 1997. The 1987 Democratization Movement brought about the changes of the political system and the 1997 financial crisis imposed Neo-liberalism on Korean society. These symbolic events changed and transformed its characters. So this paper critically analyzes how public art is invited by the government, articulated by the Korean contemporary art scene and activated in the communities under tree historical moments; Nation-state building, the spread of democracy and the imposition of neo-liberalism. And this paper will argue that public art has been effectively abused as one of the cultural strategies of government in the Neo-liberal Era and activated to control our everyday-lives under the concept of ‘symbols’ and ‘communication’ by the government.

See the 김장언-비주얼원고(e-seoul용) text only in Korean

Nam June Paik Art Center

The architect for Nam June Paik Art Center was selected among 430 participants in an international competition endorsed by the International Union of Artists (UIA) in 2003. The prize winning entry by Kirsten Schemel, a young German architect, who was commissioned together with Marina Stankovic in KSMS Schemel Stankovic Architects (Berlin) to design the building shown below. Characteristic of the museum is its screen facade consisting of several layers of reflective and partly printed glass. The building contains exhibition halls, video archive, multi-purpose hall, etc. The Nam June Paik Art Center has a total area of 5,600sqm (60,300sft) of which three stories are above ground and two stories underground. It was presented to the public at the completion ceremony on April 30, 2008

Text from http://www.njpartcenter.kr/

National Museum of Korea

Architectural Concept

National Museum of Contemporary Art

The museum building was constructed in a manner that harmonizes with both the natural and the artificial beauty of its surroundings, through a traditional form that invokes contemporary tastes.

The design of the museum reflects Korea’s traditional architectural style of fortress walls and a beacon mound. The museum features a sculpture gallery in the form of fortress walls, a painting gallery the shape of a semi-oval hall, and the Ramp Core in the style of a beacon mound that connects the two sections.

With the aim of providing a more consistent and convenient exhibition space, the Ramp Core is located at the center of the museum, and the sculpture exhibitions and painting exhibitions are positioned to the left and right of the Ramp Core. Visitors can reach each gallery by following the slanted slope of the Core.

The exterior space of the museum is designed to reflect a traditional Korean garden, enabling gradual access through a passage that gives the visual effect of a steady ascent. The sculpture garden is formed naturally by the shape of the surrounding land and the trees and shrubs.

The passageway, which starts from the south wall of the museum and navigates separately from the main road around the ravine, gives a sense of mysticism and calmness through the change in scenery and the hidden traditional houses.

The main exterior material is a light pink Korean granite, which is well-harmonized with the characteristics of the wooden material and the calm and stable form of the building. The museum has a traditional image that blends in well with the surrounding landscape. Fully equipped with modern facilities, scientific equipment and various installations, the museum is more than equal to the task of being the only national contemporary art museum in Korea.

Text from  http://www.moca.go.kr/

Leeum Museum by Mario Botta, Jaen Nouvel, Rem Koolhaas

Leeum, Cultural Complex Designed by Three Architects of the World

MUSEUM 1 for Korean Traditional Art and MUSEUM 2 for Contemporary Art collectively occupy a site of some 4,000 with a total floor area of 15,000. The Samsung Child Education & Culture Center, located at the entrance of Leeum, is sited in an area of 4,000 with a total floor area of 13,000. This Center will house educational facilities in the arts for children. Each of the three buildings will use a diverse material palette and innovative approaches to architectural design, reflecting the individuality of each of its designers. Their specific design contributions have created a unique cultural complex that will be an international architectural destination. Mario Bottas solid forms of terracotta, symbolizing earth and fire, bring together traditional and contemporary sensibilities. Jean Nouvels innovative use of glass and steel reflect a highly contemporary attitude and Rem Koolhaas black concrete structure, creates an abstract space and makes a bold statement about his future of architecture.

 

MUSEUM 1 Conveying Sublime Visual Capacity of Leeum

MUSEUM 1 is a minimal but massive hexahedron & inverted cone on the slope of Namsan Mountain set against the backdrop of the Hangang River. This intersection of these powerful geometric volumes has symbolic value. The reverse cone mass marks a powerful threshold allowing people to enter underground crossing the southern road. The rooftop of the building evokes the battlements of old fortifications, taking us back to an image of ancient Seoul. Bottas building sits in stark contrast to the robust horizontal platform by Rem Koolhaas, which is also different from heavy mass by Jean Nouvel.

His proposal for stark and simple rectangular forms and reverse conical shapes produce a fortress-like quality, protecting the traditions that the museum houses. The exterior terracotta walls are a metaphor for Korean porcelain since both materials are created from earth and fire. The use of this material recalls traditional Korean earthenware, which constitutes many of the exhibition items. The respect for tradition is expressed by Botta distinctively with the geometrical symbolic volumes and stylized exterior wall at Leeum.

 

Sensuous Architecture Employing Progressive Technology and Materials

MoA (Museum of Art, Seoul National University

ARCHITECTURE

MoA(Museum of Art , Seoul National University), located beside the university’s main gate, serves as a contact point for the university and the local community. With U-glass exteriors and steel-framed trusses, the architecture of the MoA features a unique design that resembles a gigantic sculptural work floating in the air.
The interior of the MoA, with the floor area of 4,486.47 m2, consists of three stories and three underground levels. The dynamic spiral passage in the center connects the wings on two sides making the museum an open cultural space. The Museum’s entire structural design, the likes of which are rarely seen in Korea, organically connects exhibition spaces, educational spaces, and various other amenities like an archive room and a lounge.

â–ª Building Area: 2,775.56 m2
â–ª Gross Floor Area: 4,486.47 m2
â–ª Height: 17.575 m
â–ª Structure: Steel-framed trusses, ferroconcrete
â–ª Exterior finishing: U-Glass System
â–ª Designer: Rem Koolhaas
â–ª Supervisor: Office for Metropolitan Architecture (OMA), Samoo Architects & Engineers, Co., Ltd.
â–ª Builder: Architecture Division, Samsung Corporation

Rem Koolhaas & OMA : .
Creators of a new paradigm in urban structural design and architecture

Rem Koolhaas, the designer of the MoA, is an internationally renowned and influential architect not only in the field of modern architectural design but also in architectural theory. He took up architecture at the Architectural Association School of Architecture in London and worked for the Institute for Architecture and Urban Studies in New York. In addition, he wrote several seminal books on architectural theory, including Delirious New York (1978), which is considered a classic volume on modern and contemporary architecture and society. He was the recipient of the Pritzker Architecture Prize in 2000, often called the “Nobel Prize in Architecture.” The Office for Metropolitan Architecture (OMA), which he established in London in 1975, has its offices in Rotterdam, New York, and Beijing and is expanding its business not only in Europe but also in USA and Asia.
Some of his major designs include buildings such as the Netherlands Dance Theatre in the Hague, Kunsthal in Rotterdam, Los Angeles Museum, and Educatorium in Utrecht, as well as housing designs like the Nexus Housing in Fukuoka, Japan, Maison à Bordeaux in France, and The Dutch House in the Netherlands. His recent works are the Netherlands Embassy in Berlin and the Seattle Central Library in the USA. He also took charge of the expansion and the interior design for Prada stores in Manhattan, New York, and Los Angeles. He also participated in the design of Leeum, Samsung Museum of Art.
Professor in Practice of Architecture and Urban Design at Harvard University’s Graduate School of Design, Rem Koolhaas has been researching various issues that influence urban environments. His architectural design neither depends on any one trend nor advocates an identical style. In every design, his use of space is notably free, variable, and divided into various pieces depending on functions.

Text from  http://www.snumoa.org/

Namsan Art Center

Seoul Art Space_MULLAE

 

Seoul Art Space_YEONHI