OH Yongseok 리스트보기 슬라이드보기

  • Cross still
  • Cross still
  • Cross still
  • Siamesemontage no.1
  • Siamesemontage no.1
  • Siamesemontage no.1
  • Siamesemontage no.1
  • Siamesemontage no.1
  • Siamesemontage no.1
  • Siamesemontage no.1
  • Love letter (Siamese montage)
  • Memory of the Future (still image)

Yongseok OH(b.1976)’s photo-videos stand on the basis of the very problematic likeness. Basically, he cobbles several photos and video clips together so as to make them look like a coarse continuum. Here likeness works as an effective glue to associate images, all of which are photographed in different space-times for different purposes. But the intention of these works is not to present a clear truth or a perfect illusion, both of which might have their roots in a sharp dividing line between reality and its fake. In a sense, the artist just finds some images that attract each other and combines them together; then he observes what happens in the combination and attaches some more to them until they look finished. And yet, this is not an exact description, for the images could attract each other only in the eye of the beholder who perceives some links between them. The resulted configuration of images is highly arbitrary, but their apparent connection conjures up several possibilities of a meaningful order. They are never fixed on a certain point—neither as one reality nor as one fiction. They are staged as nothing but a sight of synthesis that are not yet and never could be determined. It is an image that does not command the audience to look at it in this way. Each photo and video clip competes with each other to attract the audience’s attention without the usual hierarchy of foreground and background; they are not only parts of one scene or one sequence but also parts of all the individual and completed images. Thus, the audience cannot apply the conventional way to interpret a photo or a video to the Frankenstein image. We generally assume that everything within a frame of photograph is located on the simultaneous plane, and that everything within a sequence of video is on the same axis of continuous time. But the fragmented images given to the audience allow no such convenient measure. They show many clues for interpretation but none of them is convincing. They leave to the audience neither a clear scene nor a sure narrative but a vague impression. From [Sight of Synthesis], by Wonhwa Yoon (Art and design researcher/translator)

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