THE 4TH ANYANG PUBLIC ART PROJECT

Public Story
Artistic Director Jee-sook Beck
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The 4th Anyang Public Art Project (APAP) is at once a review and a comment, a comma and an exclamation point to the APAP that has grown rapidly since its inauguration in 2005. The 4th APAP highlights the key episodes of the previous APAP editions in which Korean civil society and history, public art and contemporary art, or contemporary art and the public, intersected. We will weave a “fabric of stories” with these episodes from a variety of perspectives. The APAP Public Story proposes the following: for a knowledge commons, stories from each of you listening through the mind. It is a story about public stories; it reconsiders the capacity to tell stories, and it resonates with the re-storytelling that seeks to listen. The distinctive feature of the APAP Public Story is that it takes place in space rather than in time. The space, in this case, is at once a concrete site, a cyberspace, and a u-topia. In fact, Public Story, which relies entirely on the relationship between the narrator and the listener, is a story that could be found anywhere. The backdrops of Public Story are the historical site of Anyang-sa, a Buddhist temple, where the city of Anyang is presumed to have originated, and Anyang Art Park, the site where APAP was launched. There, we find the Anyang Pavilion, the “brain” of APAP, and the Kim Chung Up Museum, Anyang’s “DNA.” On the one hand, it could be said that the three previous APAPs, or the history of Anyang, or the state of contemporary politics, ethics, or aesthetics is the backdrop of the 4th APAP. However, it is the fate of APAP to constantly evolve and to transform itself in that it is also the hearts and minds of the people living today that is its backdrop.

The 4th APAP takes the media for communicating Public Story as one of its themes. It began as a means to address the difficult problems of maintaining public installation works, but the issue demanded more attention as public media are not merely a technology or a material but an active relationship or activity that transforms media. Public media shares a common thread with modern media in that they overcome the social and physical limitations of identity and distance and mediate the event of the other and the action of the viewer. Unless we are telepathic, the only way we can respond to and sympathize with the thoughts of the other is through media. Or these thoughts become amplified and transformed within ourselves and are extended into the world in the form of an action. Therefore, what is transmitted through public media is not the story itself but the body that changes in the process of telling the story or the experience thereof. Affect, or the ability to influence or be influenced, may be viewed as the final result of Public Story in that it creates a passage for a certain state of bodily experience to go toward yet another kind of experience. In that sense, affect is purely transitive; it is not commanding or vicarious. Moreover, it is implementational rather than merely communicational.* There lies the reason why Public Story continues to thrive.

* The relation between media and affect is cited from Sangmin Kim's “Body, Affect, and New Media”,
Korean Studies Vol. 36 (2011.3.30), pp. 5-31, Center for Korean Studies, Korea University


October 26th, 2013

Anyang Pavilion Opening

The 4th APAP re-programs Anyang Pavilion to a space where visitors meet public art on a more intimate level. Anyang Pavilion houses the main initiatives of the 4th APAP, including Park Library, a library specializing in public art, Making Lab, a makerspace hosting participatory workshops combining arts and technology, and Project Archive, APAP’s off-line archive containing over 100 artworks, tangible and intangible, from previous editions. The new space design of Anyang Pavilion is chosen by public voting among three invited designs.

Anyang Pavilion

180 Yesulgongwon-ro, Manan-gu,
Anyang-si, Gyeonggi-do

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March 28th, 2014

4th APAP Exhibition Opening

The 4th APAP commissions artists from home and abroad to produce new works that explore the social and cultural context of Anyang. Various forms of contemporary art, including video, installation and performance, are being produced within Anyang, aiming to rediscover the public value of art and Anyang’s inner assets. Completed artworks will be showcased in March of 2014 at Kim Chung Up Museum, a former pharmaceutical factory renovated into culture complex.

Kim Chung Up Museum

4, Yesulgongwon-ro 103beon-gil,
Manan-gu, Anyang-si, Gyeonggi-do,
430-850 Rep. of Korea


Artistic Director

Beck Jee-sook

Artistic Director

Artistic Director of Atelier Hermès since 2011, Beck Jee-sook was Director of the Arts Council Korea (ARKO) Art Center and Project Director of Insa Art Space from 2005 to 2008. She served as Curator of the Insa Art Space and Chief Curator of the Marronnier Art Center from 2000 to 2004. She co-curated Activating Korea: Tides of Collective Action (Govett-Brewster Art Gallery, New Plymouth, 2007), The Last Chapter—Trace Route: Remapping Global Cities (The 6th Gwangju Biennale, Gwangju, 2006) and The Battle of Visions (Kunsthalle Darmstadt, Darmstadt, 2005). Her other curatorial projects include A New Past: Contemporary Art of the Former Yugoslavian Regions (ARKO Art Center, 2004), Parking (ARKO Art Center, 2003), and Shin Hak-chul—The History of Modern Korea (ARKO Art Center, 2003). In 2002, she organized the international symposium on alternative spaces titled Memory of Cities, History of Spaces. She also participated in the organization of East Asian Women and History (Seoul Women’s Plaza, 2002) and Women’s Art Festival: Patjis on Parade (Seoul Arts Center, 1999). She is the author of Talking to Images (Munyei Madang, 1995) and Jjamppong: Beck Jee-sook’s Culture Reading (Pureun Media, 1997).

Staff

So-young Goo, Tour Coordinator

So-young Goo studied Dramatic Space Creation at Kaywon School of Art and Design(2010-2013). After volunteering at Supplement Space Stone & Water (2010), she participated in a group exhibition at the Prague Quadrennial of Performance Design and Space. She is currently coordinating APAP Tours.

Jongchul Kwon, Conservator

Jongchul Kwon received his BA and MA in art conservation in the UK where he studied sculpture restoration using rocks and trees and metal-based sculpture. He participated in conserving and restoring the works of such contemporary artists as Donald Judd, Arman, Henry Moore, Antony Gormley, and Rachel Whiteread. He worked for the Victoria and Albert Museum (2009); Tate Britain (2010); Hall Conservation Ltd. (2012); the Sculpture Conservation Team of the National Museum of Modern and Contemporary Art, Gwacheon; the 1st APAP (2005); and Daelim Museum (2006-2007).

Jin Kwon, Curatorial Director

Jin Kwon majored in art history in college and obtained her MA in digital culture. She was at ARKO Art Center from 2007 to 2009 following which she has been working as a freelance curator. Some of the exhibitions she has curated include Community Community (ARKO Art Center, 2008), Incheon Elephant (Another Way of Seeing, 2009), and Urban Regeneration (UNEP, 2011). She co-authored Man from New York, Woman from Tokyo (Cine 21 Books, 2009) and translated Priceless: How I Went Undercover to Rescue the World’s Stolen Treasures (Korean edition, Cine 21 Books, 2011).

Yeonsu Kim, Chief Manager of Public Art Department

Yeonsu Kim majored in design and crafts. He has participated in numerous design projects involving 3D mapping, corporate identities and display design while also organizing various exhibitions. He participated in the opening of the National Museum of Korea in 2005, and worked as a designer and product manager there until 2010. He has been in charge of the exhibitions and public art part of the APAP since 2011.

Gyung-su Kim, Manager of Public Art Department

Since starting his career at the Anyang Foundation for Culture & Arts in 1998, Gyung-su Kim has continued to work in the field of culture and arts. As the person in charge of venue rental and performance production at the Anyang Foundation for Culture & Arts, he was in charge of organizing such shows as the Concert with Singer Lee Eun-mi, Cult Two Show, and the C’est Si Bon concert (2009-2011). He also participated in the production of the 2011 musical Sherlock Holmes. He is currently responsible for administrative affairs and external relations of the 4th APAP.

Hyojeong Kim, Production Coordinator

Hyojeong Kim started drawing oriental paintings in high school, and expanded her interest to Third World art in college and graduate school. She received her MA with her thesis on the Brazilian artist Lygia Clark and carnivalism. She contributed to the book on public art titled Issues in Art after Modernism 4 (compiled by Nan Ji Yun, Noonbit, 2014 (upcoming)). She was an intern at Brain Factory (2006) and ARKO Art Center (2008), and worked as an archivist at the online archive site Akive.org (2011) and as a curator at the Art Lounge Dabang in Pyeongchang-dong, Seoul (2012).

Bongu Bark, Director of Programs

Bongu Bark started gaining hands-on experience on performance production when he started working at Polymedia while he was still a high school student. He developed the IAS Variety (2007-2008) public program while he was at Insa Art Space. Later, he focused on local art projects including the Potato Flower Studio’s school band program at Pyeongchang’s middle and high schools in Gangwon-do Province and the village festival Spring Picnic at the Branch School (2011). He worked at the culture and arts organization Art and Villages Network until he joined APAP in August 2012. Some of his independent projects include the Really, You’ve Been up to Nothing? concert (2009) with the rock band Chang Kiha and the Faces and the talk concert Between Science and SF (2012) at the planetarium of the Gwacheon National Science Museum.

Hyehwa Shim, Director of Communications

Hyehwa Shim majored in three-dimensional art and new forms. She started her career as an intern at Savina Museum of Contemporary Art (2002), then was assistant curator at Total Museum of Contemporary Art (2004) before she joined APAP in 2005 where she has contined to work since the inaugural edition. She also worked briefly as a receptionist at Gallery Plant (2011).

Jehyung Yoo, Collections Manager

After studying architecture in college, Jehyung Yoo went on to work in a construction company from 2008 to 2011 where he gained hands-on experience in the field. He joined the Anyang Foundation for Culture & Arts in 2011 where he has been managing the APAP collections.

Yunhee Lee, Education Coordinator

Yunhee Lee studied French literature and culture and arts management. She worked as a docent for ARKO Art Center and the Seongnam Arts Center before she joined the Anyang Foundation for Culture & Arts in 2012 where she has been working as a coordinator in charge of its educational and docent programs.

Jiwon Lee, Assistant Curator

Jiwon Lee studied French literature and aesthetics, and received her MA on the Decadence movement in 19th century French literature. She worked as an intern for the visual arts Journal Bol and IASmedia of the Insa Art Space (2008) and as an international coordinator at Mediacity Seoul 2012 (2012).

Jina Lee, Production Coordinator

Jina Lee majored in exhibition design, folklore, and curating. Some of the exhibitions she has curated include Flower Letters, Depicting Today (Gallery Cott, 2006), the two shows Born as Tree, Live as Man and Trees with Expressions (Mokin Museum, 2007), and Cartoon World (Seoul Olympic Museum of Art, 2012). She was also in charge of the Cheolsan-dong Project of Art in City 2006; the Mokin Museum’s Craft: Form on Life exhibition at the 2007 Cheongju International Craft Biennale; the Korean Cultural Center UK’s Media Landscape, Zone East exhibition at the 2010 Liverpool Biennale; and the 2011 Seoul Photo Festival.

Jin Kyung Cho, Production Coordinator

Currently a student in architecture, Jin Kyung Cho participated in the development of the architectural manual of the National Museum of Modern and Contemporary Art, Seoul (2011) and worked as an intern at the New York-based Kohn Pedersen Fox Associates (2012). She is interested in cities, architecture, and public art.


Past Editions



The 3rd APAP, 2010
New Community, in the Open City

Artistic Director: Kyong Park

This edition focused the temporary and volatile condition of city life and space of contemporary Anyang alongside a wide range of artistic experiments and communal studies. While celebrating process-based community art, newly established architectural spaces—“New Community”—in Hakwoon Park consequently hosted its exhibitions and programs.

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The 2nd APAP, 2007
Appropriate, Regenerate, Transform

Artistic Director: Kim Sung Won

Series of commissioned art sculptures were introduced into the vicinity of the city’s new downtown and public spaces. This 2nd edition provided encounters with internationally known artists’ works in urban settings to the local audience and visitors, and proposed a new horizon of city design by generating points of familiar engagement of art and civic life.

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The 1st APAP, 2005
Tipping the Balance

Artistic Director: Young Chul Lee

The inaugural edition of APAP was the first occasion to offer contemporary art installations and architectural commissions in public places of Anyang. Re-approaching the city infrastructure as an open museum of site-specific art, it initiated the concept of urban planning through artistic, cultural and creative resources.

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