The 4th APAP invites contemporary artists to Anyang and commissions a series of new artist productions. These productions aim to create a more active, verbal form of art making, where the invited artists react to and interact with the specific place that is Anyang, forming a relationship of mutual transfiguration. The artists reflect on the issues of integrating and reconfiguring their artistic style and message into the socio-cultural context of local communities. These activities are jointly organized or coordinated by artists and the public who participate in the project. As such, the productions also provide an occasion to recover the public value of art, or, as it were, its true appeal.
In search for the right temperature and rhythm for each production, we stack up three maps on top of each other, and search for a certain light that filters through the stack. The first map outlines the particularities of local area, identified based on the positive and negative data that APAP accumulated in the process of producing public art for the past years. The second map gives form to the invisible concept of “public” through observing, researching, and sometimes simply sensing to register the city of Anyang as we know it in the present. The third map studies the contemporary cultural landscape of Anyang that includes ordinary activities and customs such as the walking, drinking, and merry-making culture of the hikers who gather in Anyang Art Park.
The transfigurative relationships that will be created through the interaction of the artists and the particularities of the local will take on a more concrete form in Kimchungup Museum. Located at the entrance of Anyang Art Park, this former Yuyu Industry factory building designed by architect Kim Chung Up will be renovated and made into a cultural complex under the new name, Kimchungup Museum. A relic was found on the site five years ago proving that the current name of the city originated from Anyang Temple, a Buddhist temple from the Goryeo Dynasty period. With the discovery, the site became a marker that links the times and spaces of the past to those of the present. This place will be used as a main exhibition space for the 4th APAP exhibition. However, it will not be a “white cube” that excludes the reality outside gallery walls. Rather, the site, full of historical codes that are at the same time accumulated on top of and interrupted by each other, will act as yet another medium of the works, which will be dissected, reviewed and newly applied by each artist. For the 4th APAP production, we requested that the participating artists not to create works only for the sake of showing in an exhibition space, but to engage themselves in a new experience that will ultimately lead the artists themselves and the audience alike to a circle of participation and creation. We hope that such attempts gathered at Kimchungup Museum can acquire the status of public art, which in fact is a rare and markedly mature position that art can achieve.
The three maps that guide us will also be closely connected to Anyang Pavilion. Knowledge, documents, stories, technologies and sounds coming together at Anyang Pavilion will serve as the raw material that provides the contents for art production, and also a reference for the public to understand artists and their work. However Anyang Pavilion will not be limited as a strategic gesture for realizing the missions of an art institution. The narrative of the 4th APAP, starting at Anyang Pavilion and expanding into Kimchungup Museum will help us configurate another practice of public art.