Keep your distance
A SOLO EXHIBITION
di Siu Kim
11.04.2018 – 05.05.2018
Nothing is forever!
Reflection on social issues is not a new topic for Siu Kim, several years ago he had dealt with them in another exhibition; with the use and pictorial representation of used clothing have become the company's waste, emphasizing the expressive potential and highlighting the aging process.
In this exhibition in Milan, the artist offers us a group of works on his latest production: I have pictures and paintings of sculptures made unwittingly by some residents of the city in which he lives. It is indeed difficult to see on the streets of Changwong these "works", unusual installations become common. These hairpieces units are used as visual signaling tools and they indicate the possession of a property - ground, Or anything else - strict private use. These reports, sometimes accompanied by text, that emphasize the exercise of a right, allowing those who have made the greatest freedom of action and avoiding at the same time the stop unauthorized individuals;. For the artist, naturally, beyond the parking problem, there is much more. Siu Kim has chosen for this exhibition a title that sounds like a warning: induces the visitor to maintain a certain degree of caution, the utmost vigilance in any type of action, not only physical but also mental. “Keep your distance”, It seems to suggest the artist, "Escapes infringing space of others"! This requirement must be respected not only in the vicinity of a park or near a gate, where it says in large letters in Korean "No parking", but always and especially in human relationships. Random structures from her shots seem real sculptures of a vanguard among the finest. In Italy and in Milan we have seen too many in recent years of such trials, now canonized, whose constructive dynamic as their implementation is wearily repetitive, as well as the presence of a real thickness. The same dynamic creative, in Korea as in Italy: It attaches a small shelf, there is added a half brick, as a recipe or in tribute poor all'Arte, then half a table leg, if necessary we will also sprinkle on a bit 'of perfume with the final item on the list - it is very fashionable - fits a vegetable, a skim coat and sometimes an entire plant. So Siu, unknowingly in line with these trends, "renewing", He decides to paint this still life, This still life that puts the case under the eyes, because the interesting considers or perhaps because it has an anthropological or symbolic value. Beyond this, he just wanted to paint, but then you find a reason. I am reminded of some paintings dell'Arcimboldo, in addition to the most well-known compositions of fruit, where dissimilar materials such as pots, clips from branches and whatnot, They are associated with an anthropomorphic representation. Or why, very much in vogue at Pergamum in the second century BC, the "unswept floor", whose inventor was a certain Sosos, as recalled by Pliny. To Siu it is different and very simple, She is random assemblages that someone else has made, deformed compositions of scrap used as reporting elements. This kind of pictures could be absurdly considered the reference example of a kind of pictorial representation not yet codified that game can be named "Distance life painting".
The man, like the beast, is a being territorial and defended from any meddling that owns and won; is careful not to be blocked the gate of the house, so as to have it pass from an intruder. On its parking lot we do not want anyone or anything! So what to do? We place a hack made of useless objects and patched, mo ' "scarecrow" for humans, in hopes of limiting the approach of his fellow. And Home? It takes an alarm, cameras and so relieves the fear of intrusion.
If that was not enough, it also puts a big, bad dog in the yard and in plain sight, so that will discourage the unwanted showing canines. The artist painting these images makes their, giving them a new meaning.
These paintings are made with a technique that was developed by sliding on the canvas the color material using only hands. This is empirically understood that the mixing of colors, generated by this procedure, also creates an interesting chromatic variety. Involuntarily and claims anything but impressionistic, Siu Kim is linked to the pleasure of chromatic vibration, also eliminating the romance of the brushstroke and pedantic color consistency - that does so much "picture" - to flood its representations with a black man who is everywhere. This sort of disharmony, generated by the presence of this color in the dough - once shunned by the "good painters" like the devil holy water - now has become the rule and conscious of what has become an "international style", it exasperates, rightly, i modi. This relationship with the black does not at all follow, as you might suspect, expressionism or from an inability to see the color variations of the dark areas or in the shade, but from a cultural factor: Korean tradition, like that of the whole of Asia, is based on models of representation that, in most cases, They are executed in a single color: il “black ink”. The dark ink, tends to be used on paper, is the character, the text, the print, but also the invisible track we call design, and we use to give shape to the existing. The gradation of light and shade, on which these cultures of the other half of the planet have given their expressive choices since ancient times, It has a very narrow range. For them the figurative description, as well as that of the verb, It occurs without mediation between white and black, avoiding as much as possible half-tones. For this reason, paintings Siu Kim appear brutally; images taken without much technical or expressive mediations which are the subject only for what you need and the way it is still worthwhile to paint. With this medium, that could be called archaic, that is painting, Siu would, as far as it is granted, know the world and in this case the individual reasons that lead to social distances. From his vantage point, note it is not difficult, each physical location must be protected from intrusion and every thinking space should be preserved by unwelcome meddling. The parking, home, work and every other "immaterial territory" must be defended and kept under control, for a law or by virtue of the exercise of a force.
The invisible hierarchy of "mental places", where almost no one dares to propose a sudden and unwelcome surprise, we are all in agreement with the dominant power, lawful or unless it is, provided that we will come up with a credible authority. Other times we can not escape or under the hand of an invisible ostracism, inexplicably that blocks the passage in a metaphorical way, or signals of a society that emphasizes the property through all sorts of artifice. Despite appearances, the violence of the silent message is the same and everything that happens before our eyes. We are not so dissimilar from the beasts, ready to attack with and without warning, when they shorten the distances. For this Siu Kim points out that the distances exist everywhere and that if there is a space where they can be removed, what it is in thought. She herself says: "It should be first and foremost to have more space in the mind to tolerate external distances". The artist questions the contemporary reality - of its nature obvious and predictable - looking for a weak spot in which to put the lever of the reasoning expressed in the visual language, his crowbar, and press in an attempt to undermine the ways of a tired and collective thought that recurs cyclically. His reflection stems from internal and external observation to herself - each artist does it his way to learn about the world and be able to live it - his experience was an existentialist cutting rather than political and in its realization leads to a contestation of 'existing. Through this criticism of the newspaper, Siu Kim wants groped to establish a harmonious balance with the existence and feel free from the slavery generated by capitalism. For this reason the question of possession s'interrogasulla, the properties and how these aspects could limit individual freedom. That condition in some ways closer to the animal: the being who exists without conditions. For this we ask, you can own without violating, without feeling violated, in their individuality? And how we might be able to feel free? But the constraints of an organized society discourages the individual aspirations for individual freedom. Without wanting to express with this political sympathies but critically resorting to the words of Marx, we say that the artist is the one, that sensitive to the nature, It tends to develop a hypothesis "scientific" for a company no longer divided. And with his works, Siu Kim highlights the social and urban structure of the city is more than ever an organization that divides rather than unites.
What more? With this unconventional reflection, presented to us through the means, Siu Kim, which certainly observes the existing from a different cutting, not only to the shape of his eyes, we once again, probably without realizing it, the theme of vanitas, that we Europeans know very well.
In his works, to remind us who we are and where we're going, Non stands the baroque skull but rejects an evolution paid dearly. Although not of the same bone substance, His paintings represent something that has been and is no longer: nothing is forever.
Piero 1 / 2Botta