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노영훈

작가 작품

Hommage for all the discriminated people

Hommage for all the discriminated people, Mixed media, 2020

Lost shose

Lost shose, Mixted media, 2020

Angel

Angel, Stainless Steel, Plaster, 2020

Angel and Hiroshima

Angel and Hiroshima, Inkjet printing on paper, 2020

Voyage on a dump heap

Voyage on a dump heap, Inkjet printing on paper, 2020

A Debate on Capitalism

A Debate on Capitalism, Objets and wood, 2020

Fiction

Fiction objet_Crown, Stainless steel, 2019

The silence of Angel

The silence of Angel FRP, 스테인리스 스틸, Car paint 2019

Mickey

FRP, 스테인리스 스틸, 은경, Car paint, 2019

Fiction

Fiction_objets, 2013

Dandelion spores

Bronze, Stainless Steel, 세종정부청사, 2014

Contemporary man

Contemporary man, Bronze, 세종정부청사, 2014

Hangul tree

Hangul tree, Bronze, Stainless Steel, 세종정부청사, 2014

작가 프로필

개인전
2020 초대개인전 BLANK | 포네티브 스페이스 (경기도, 한국)
2020 초대개인전 Pouvoir et signature | 갤러리89 (파리, 프랑스)
2019 박사학위청구전 The silence of Angel | 홍익대학교 현대미술관 (서울, 한국)
2017 작가지원전 Fiction-Objets : Reappropriabion of Habitus | 김세중미술관 (서울, 한국)
2015 초대 개인전 Fiction-Objets : Person | 장옥미술관 (충청도, 한국)
2013 초대 개인전 Fiction-Objet | 포네티브 스페이스 (경기도, 한국)
개인전 Fiction-Objet | 조각페스타, 예술의전당 (서울, 한국)
2009 초대 개인전 | Mac Paris (파리, 프랑스)
2008 초대 개인전 | Galerie Guislain Etats d’Art (파리, 프랑스)

그룹전
2019 이미지_역사와 인간사이 다섯 가지 해석들 | 토탈미술관 (서울, 한국)
2019 거꾸로 바로되기 | 포테티브 스페이스 (파주, 한국)
2019 한조각의 평화 | 아트벙커 (파주, 한국)
2019 통일기원 현대조각전 | 오두산 통일전망대 (파주, 한국)
2019 며칠간의 실험실 | 서교예술실험센터 (서울, 한국)
2018 서울 아트쇼 | Coex (서울, 한국)
2018 집의 함수 |헤이리로 133번길91 (파주, 한국)
2018 파주조각가협회 창립전 |The Chai (파주, 한국)
2018 한국현대조각회 50주년 기념전 | HOMA (서울, 한국)
2018 Seize+1 | HOMA (서울, 한국)
2017 Archiving the day | 김세중미술관 (서울, 한국)
2017 Wall Flower | 갤러리오 (서울, 한국)
2016 미디어+아트 패러다임, 세계미학자대회 특별전 | 아트센터 화이트블럭 (파주, 한국)
외 다수

작가 노트

				Artist Statement  │  Written by Yanghoun NO

The concept of creating art -renewed by each exhibition- is conceived within the social atmosphere in which an individual or group belongs and generates a new habitus, putting artists into various singularities. In particular, with a shared collective unconsciousness concerning contemporary art, artists tend to reside in the existing habits in morality, ethics, economy, and ideology. No Yanghoun’s works are an analysis and introspection of this situation. Furthermore, with the layout of the exhibition and recomposition of his works, No deals with independent stories created by objet d’art and the potential narrative structure of variations that occur between his works.
As shown in the exhibition, No criticizes the artist and art’s cultural authority with the strategic method of appropriating and re-appropriating the reality. The artist also attempts to express the psychological pain and anxiety experienced by modern subjects in the form of sculpture. For this purpose, No uses weapons as the primary material and uses angels as they are a symbol of religion. For example, by juxtaposing Mickey Mouse gas masks designed during World War II with the sculpture of an angel in the exhibition space, No questions the brutality of religion and people’s trust in its perceived morality and rationality. In addition, No adds weapons that are hardly seen in our daily lives, such as mines, into sculptures to reveal the myth of ‘the invisible, yet existing concept.’ In this respect, No explores the tension that can be created by a simple event by re-situating it within another context.
The artist sees the modern subject as a drifting, fictional one, and in order to introduce it as the main protagonist in his work, No uses distorted and melting shapes as well as blurred images reflected on the metal mirrored surfaces. With these strategic choices, No dramatically depicts the modern subject which changes and transforms according to the relationship of forces: sometimes as the protagonist who creates and pursues an action; and sometimes as the subject who faithfully plays the role of the opponent. The movement of the viewers, therefore, creates a new form within the works and continuously generates a variety of narrative structures. The exhibition space, in the end, becomes a place for visual and perceptual experience that exposes the world we live in.
By overlapping the inherent meaning of each piece of work with the layers of different meanings created in the exhibition space, the artist hopes our consciousness will progress towards that of the ‘non-dispositif.’ This will be achieved gradually and continuously with a series of No’s sculptural projects. 2019. 4.

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