ARTccc ±¹Á¦ ¸®»çÀÌŬ¸µ ½ºÅ丮 2024

International The 8th
Recycling story2024- unitÀ¯´Ö ±¹Á¦ ¸®»çÀÌŬ¸µ ½ºÅ丮

2024.07-17~08.25 / ºÀÆòÄàµîÀÛÀº¹Ì¼ú°ü
º» ÇÁ·Î±×·¥ÀÇ Ç÷§Æû µðÀÚÀÎ ÄÚÆÃÀº °­¿øµµ °­¿ø¹®È­Àç´ÜÀÇ , ÀϺΠÈÄ¿øÀ¸·Î Á¦À۵Ǿú½À´Ï´Ù.


Recycling story´Â Àç»ý, ÀçÇö¿¡ ´ëÇÑ ¿¹¼ú°¡µéÀÇ ÀçÇؼ®À» ÅëÇØ Çö´ë¹Ì¼úÀÇ »õ·Î¿î ´ã·ÐÀ» Á¦½ÃÇÏ¿© ½Ã°¢¿¹¼ú Ç¥ÇöÀ¸·Î Àü½Ã °ü¶÷ÀÚ¿¡°Ô Á» ´õ Çö´ë¹Ì¼úÀ» ÀÌÇØÇÏ´Â ¹æÇâÀ¸·Î ´Ù°¡°¡°íÀÚ ±âȹÇÏ°í ÀÖ½À´Ï´Ù. 8³â¿¡ °ÉÃÄ ½ÇÇàÇÏ´Â Recycling story Àü½Ãȸ´Â ¹°ÁúÀÇ ÀçÈ°¿ëÀÌ ¾Æ´Ñ ¿¹¼úÇ¥Çö¿¡¼­ °¢ÀÚÀÇ ÀÛ¾÷À» ÅëÇØ µ¿½Ã´ë°¡ Ãß±¸ÇØ¾ß ÇÒ °Í°ú ¾ÕÀ¸·Î ´Ù°¡¿Ã ¿¹¼úÀÇ ¹æÇâÀ» ½Ã°¢¿¹¼ú·Î ³ªÅ¸³» º¸°íÀÚ ÇÕ´Ï´Ù. Recycling story Àü½ÃÀÇ Âü¿©ÀÛ°¡µéÀº ¿©·¯ ¹®È­±Ç¿¡¼­ È°µ¿ÇÏ´Â ÀÛ°¡µé·Î ¹°¼ºÀÇ ÀçÈ°¿ëÀ» Æ÷ÇÔÇÑ »çÀ¯ÀÇ Àç»ý, »ç°íÀÇ ÀçÇö, º»ÁúÀÇ Å½±¸, °¡Ä¡ÀÇ ¿¬¼Ó °¡´É¼º µî ¿¹¼ú°¡µéÀÇ Á¤½Å¼¼°è¸¦ ³ªÅ¸³¾ ¼ö ÀÖ´Â ¿¹¼ú Àü¹ÝÀûÀΠǥÇö Çü½ÄÀ» ¸ðµÎ Æ÷ÇÔÇϸç Àü½ÃÇÏ°í ÀÖ½À´Ï´Ù. 2024³âÀÇ Å׸¶ - ¡®unitÀ¯´Ö¡¯ ÀÇ »çÀüÀû Àǹ̴ ÇϳªÀÇ ´ÜÀ§, ¿¬°á, °áÇÕÇÏ¿© ÇÕÄ¡´Ù. ÅëÇÕÇÏ´Ù. À¶ÇÕÇÏ´Ù. µîÀÇ Àǹ̸¦ °®°í ÀÖ½À´Ï´Ù. ÇϳªÀÇ ´ÜÀÏü·Î µÈ ±¸¼º¿ä¼Ò°¡ ÇÑ point°¡ µÇ´Â Á¡À» Ç¥ÇöÇϱ⵵ ÇÕ´Ï´Ù. ¿¹¼ú°¡µé¿¡°Ô Æ÷ÀÎÆ®´Â ¿¹¼ú°¡ º»Àθ¸ÀÇ ½Ã±×´Ïó¿Í °°Àº ÀǹÌÀÔ´Ï´Ù. ¿¹¼ú°¡µé¸¸ÀÇ Æ¯º°ÇÑ À¯´ÖÀÌ Á¸ÀçÇÏ´Â °ÍÀÔ´Ï´Ù. ±¹Á¦ ¸®»çÀÌŬ¸µ ½ºÅ丮 ¡®Recycling story 2024 - unitÀ¯´Ö¡¯ Àº ¿¹¼ú°¡¸¶´Ù Á¸ÀçÇϴ Ưº°ÇÑ ÀÛ°¡Àû Æ÷ÀÎÆ®µéÀÇ ½Ã°¢È­ÇÏ¿© Çö´ë¹Ì¼ú¿¡ ´ëÇÑ ÀÌÇصµ¸¦ ³ôÀ̱â À§ÇÑ ÇϳªÀÇ ¸ð¸àÅÒ(momentum)À» Á¦°øÇÏ°íÀÚ ÇÕ´Ï´Ù.

Recycling story is planning to present a new discourse in contemporary art through artists' reinterpretation of regeneration and reproduction, and to approach exhibition visitors in a way that allows them to better understand contemporary art through visual art expression. The Recycling Story exhibition, which runs for 8 years, seeks to express through visual art what contemporary art should pursue and the future direction of art through each individual's work in terms of artistic expression rather than recycling of materials. The participating artists in the Recycling story exhibition are artists active in various cultures, and they are working on an overall form of artistic expression that can express the artists' mental world, including the recycling of material properties, the regeneration of thoughts, the reproduction of thoughts, the exploration of essence, and the possibility of continuity of value. Everything is included and displayed. Theme of 2024 - The dictionary meaning of ¡®unit¡¯ means one unit, connection, combination, integration, fusion, etc. It also expresses the point where a single component becomes a point. For artists, a point has the same meaning as the artist's own signature. There is a special unit unique to artists. ¡®International Recycling story 2024 - Unit¡¯ aims to provide a momentum to increase understanding of contemporary art by visualizing the special artistic points that exist for each artist.

- PyeongChang ARTccc director. SoonYoung Yang


01. Binoy Varghese ºñ³ëÀÌ ¹Ù¸£°Ô¼¼. INDIA


Àΰ£Àº ¿¡³ÊÁö¸¦ ºñÃàÇÒ ¼ö ÀÖÀ» »Ó¸¸ ¾Æ´Ï¶ó Áñ°Å¿î ÇüÅÂÀÇ Çູµµ ³»Á¦µÇ¾ú½À´Ï´Ù. ¸¶À½ÀÌ ¿ì¿ïÇÒ ¶§ ¿ì¸®¸¦ ÁöÅÊÇÒ ¼ö ÀÖ´Â Ãß¾ï, ³ªÀÇ Ã¢ÀÇ·Â, »ó»ó·ÂÀº ÀÚ¿¬°ú °¡±õ½À´Ï´Ù. ÀÚ¿¬Àº ÇູÀÇ ¿øõÀÔ´Ï´Ù. ¶¥À» ¹ß°ßÇÏ°í ´ë±âÀÇ ¼ø°£µéÀ» °üÂûÇÏ°í, ¾Õ¿¡ ¹«¾ùÀÌ ³õ¿© ÀÖÀ¸¸ç, ¿µ¿øÇÑ Á¸Àç¿¡ µµ´ÞÇϱâ À§ÇÑ ¿ì¸®ÀÇ Èñ¸ÁÀº ¹«¾ùÀÎÁö?
Not only are humans capable of storing energy, but they are also endowed with pleasurable forms of happiness. Memories, my creativity, and my imagination, which can sustain us when we are feeling down, are close to nature. Nature is a source of happiness. Discovering the land and observing the atmospheric moments, what lies ahead and what is our hope for reaching eternal existence?


02. Bonggi Park ¹ÚºÀ±â . KOREA


¹ÚºÀ±â ÀÛ°¡ÀÇ ÀÛ¾÷ÀÇ ÁÖÁ¦´Â ¡®È£Èí¡¯ÀÔ´Ï´Ù. ÀÚ¿¬À» Àç·á·Î ´ëÀÚ¿¬ÀÇ ¼øȯ°ú È£ÈíÀ» º¸¿©ÁÖ´Â ÀÛ¾÷À» ÇÕ´Ï´Ù. ³ª¹«, µ¹, Èë, ³ª¹«²®Áú, ±×¸®°í ¹®¸í¿¡ ÀÇÇØ ¹ö·ÁÁø °Íµé¿¡ °ü½ÉÀ» °¡Áö°í °¢°¢ÀÇ ¹°¼º°ú ±×°ÍÀÌ °¡Áø ½Ã°£¼ºÀ» Ž»öÇØ Àç·á¸¦ °í¸¨´Ï´Ù. ÀÛ¾÷ÇöÀå¿¡¼­ ´À³¢´Â ÀÚ¿¬°úÀÇ Á÷Á¢ÀûÀÎ ¸¸³², Áï Àç·á¸¦ ¸¸Áö°í ´Ùµë°í ½×°í ¿«À¸¸ç ÀÚ¿¬°ú ¿À·¡ ±³°¨Çϸ鼭 ±× °¡Ä¡¸¦ Á¶Çü¿¡ ´ã¾Æ³À´Ï´Ù.
The theme of artist Bonggi Park¡¯s work is ¡®breath.¡¯ He uses natural materials to create works that show the circulation and breathing of Mother Nature. He is interested in trees, stones, soil, bark, and other things abandoned by civilization, and selects materials by exploring the materiality and temporality of each material. The direct encounter with nature felt at the work site, that is, touching, polishing, stacking, and weaving materials, communicating with nature for a long time, captures that value in sculpture.


03. Don R Mckinney µ· ·¹ÀÌ ¸ÞÄÉ´Ï . USA


³ªÀÇ ¸ðµç ÀÛ¾÷Àº ÀÚµ¿ µå·ÎÀ×À¸·Î ½ÃÀ۵˴ϴÙ. ÀÌ ÀÚµ¿ µå·ÎÀ×Àº ´õ Å« ´Ù¸¥ ÀÛÇ°ÀÌ ¿Ï¼ºµÇ¾î ´Ù¸¥ »ý°¢À» ´ã¾Æ ³¾ ¼ö ÀÖ½À´Ï´Ù. »çÀ¯ÀÇ Ãß»óÈ­·Î ÀçÇöµË´Ï´Ù. À̹ø ÀÛ¾÷Àº Æò¸é¿¡¼­ 3DÈ¿°ú¸¦ ³ªÅ¸³»´Â ÀÛ¾÷À¸·Î ½Ã°¢È­ÀÇ È®ÀåµÊÀ» Ç¥ÇöÇÕ´Ï´Ù.
All my work begins with automatic drawing. This automatic drawing can be completed to produce other, larger pieces containing different ideas. It is reproduced as an abstraction of thought. This work expresses the expansion of visualization by creating a 3D effect on a flat surface.


04. Helen Bala Brahma Çï·» ¹ß¶ó ºê¶ó¸¶ . INDIA


Àú´Â 2005³â¿¡ ÀÌ ÇÁ·ÎÁ§Æ®¸¦ ½ÃÀÛÇÏ¿´´Ù. ¾ÆÀ̵ð¾î¿¡ ¸®µëÀ» ºÎ¿©ÇßÀ» »Ó¸¸ ¾Æ´Ï¶ó Odissi ´í¼­¿Í Çù·ÂÇß½À´Ï´Ù. ³ªÀÇ ÀÛÇ°°ú ¼³Ä¡ ÀÛ¾÷Àº ÁÖ·Î Æä¹Ì´ÏÁò À̳ä°ú »çȸ¿¡¼­ ¿©¼ºÀ¸·Î¼­ °Þ¾ú´ø °øÅëµÈ °æÇèÀ» ¹ÙÅÁÀ¸·Î ÀÌ·ç¾îÁ³½À´Ï´Ù.
I started this project back on 2005, where I did a collaboration with a Odissi dancer who not only gave a rhythm to the idea but also convinced people by her narrative expressions. My works and installations were mostly based on active feminist ideologies and the common experience I had gone through as being a female in the society. One of them which not only I, but most of us had seen is Lajjya which means shame or to be exact the shame which every woman fears from bearing it.


05. HyuneHe Fischer ÇöÈñ ÇǼŠGERMANY


³ª´Â ´«¿¡ º¸ÀÌÁö ¾ÊÁö¸¸ ´«¿¡ º¸ÀÌ´Â ¹°Áú-¿¡³ÊÁöÀÇ ÈçÀûÀ» Ç¥ÇöÇÏ·Á°í ³ë·ÂÇß½À´Ï´Ù. ÀÛ¾÷ÇÒ ¶§ Á¾À̸¦ ±Ü°í ±ÜÀ¸¸é ¿ï¸²°ú ¼Ò¸®°¡ ³³´Ï´Ù. ½Ã°£ÀÌ Áö³²¿¡ µû¶ó ÀÌ´Â Á¾ÀÌ Ç¥¸é¿¡ ´Ù¸¥ Æĵµ·Î Ç¥½ÃµË´Ï´Ù. ±×¸®°í ±×¸²ÀÇ Á¦ÇÑµÈ Ç¥¸éÀ» ³Ñ¾î ¹«ÇÑ´ë·Î È®ÀåµÇ´Â ¿ìÁÖ ¼ÓÀ¸·Î µé¾î°¡ º¸¼¼¿ä. Æĵµ´Â ¿¡³ÊÁö ´ã¿äó·³ Áö±¸·Î µÇµ¹¾Æ¿É´Ï´Ù. Æĵµ´Â Áö±¸¿Í ¿ìÁÖ¸¦ ¹«ÇÑÈ÷ Çϳª·Î ¹­½À´Ï´Ù....
I tried to express the invisible but tangible traces of matter-energy. Whe I work, I scratch and scroke the paper, which creater ribration and sounds. Over time, these become visible as different waves on the surface of the paper. And enter the cosmos, which extends beyond the limited surface of the picture into infinity. The waves are returned to the earth as a blanket of energy. The waves unite the earth and the cosmos in infinity....


06. HyungRae Cho Á¶Çü·¡ . KOREA


³ª´Â ¾ÆÄ«À̺êAI¸¦ ÅëÇØ Ã¢ÀÛÀÚ´Â ÀÛ¾÷°úÁ¤À» ´ãÀº ¾ÆÄ«À̺긦 âÀÛÀÚÀÇ ¿©Á¤Áöµµ¿Í ±× °¢°¢¿¡ ÇØ´çÇÏ´Â ¸ÖƼ¸ð´Þ µ¥ÀÌÅ͸¦ ¼öÁý ¹× º¸°üÇÕ´Ï´Ù. âÀÛÀÚÀÇ °ú°Å·ÎºÎÅÍ ÇöÀç¿¡ À̸£´Â ÀÛ¾÷°úÁ¤À» ÀúÀåÇÏ°í ÀΰøÁö´É¿¡°Ô ÇнÀ½ÃÅ´À¸·Î½á ¸ðµ¨Àº âÀÛÀÚÀÇ »ý°¢°ú ÀÛ¾÷À» ÀÌÇØÇÒ ¼ö ÀÖ°Ô µË´Ï´Ù. âÀÛÀÚ¸¦ ÇнÀÇÑ ÀÌ·¯ÇÑ "¾ÆÄ«À̺ê AI"´Â âÀÛÀÚÀÇ Áú¹®¿¡ ´äÀ» ÇÏ´Â ´ëÈ­¿Í Çǵå¹éÀÌ °¡´ÉÇÕ´Ï´Ù. âÀÛÀÚ´Â ¸ÖƼ¸ð´Þ µ¥ÀÌÅÍ ÀÔ·ÂÀ¸·Î ´ëÈ­¸¦ ÅëÇØ ÀÚ½ÅÀÇ ÀÛ¾÷¿¡ µµ¿òÀÌ µÇ´Â ¸®¼Ò½º¸¦ ¾òÀ» ¼ö ÀÖ½À´Ï´Ù. ÀÌ·¯ÇÑ ¾ÆÄ«À̺ê AI¿ÍÀÇ ´ëÈ­¸¦ ÅëÇÑ ¸®¼Ò½º´Â »õ·Î¿î âÀÛÀ» À§ÇÑ ¿µ°¨À¸·Î ¹ßÀü½ÃÅ°´Â °è±â°¡ µË´Ï´Ù.
Through Archive AI, the creator collects and stores the creator's journey map and multimodal data corresponding to each of the archives containing the work process. By storing the work process from the creator's past to the present and learning it from artificial intelligence, the model can understand the creator's thoughts and work. This "archive AI" that has learned the creator allows conversations and feedback to answer the creator's questions. Creators can obtain resources that are helpful for their work through conversations by inputting multimodal data. Resources through such conversations with archival AI serve as an opportunity to develop into inspiration for new creation.


07. JaeKwon Kim ±èÀç±Ç . KOREA


³ªÀÇ ¿¹¼ú¼¼°è´Â <È¥ÇÕÀû ½Åȣü°è>¿¡ ±âÃÊÇÏ°í ÀÖ½À´Ï´Ù. ¿©±â¼­ È¥¼ºÁÖÀÇ´Â ¹«¾ùÀ» Ç¥ÇöÇÏ´À³Ä¿Í °ü·ÃÀÌ ÀÖ½À´Ï´Ù. ÀÌ´Â ÁÖÁ¦¿Í ´ë»óÀ» °áÁ¤ÇÏ´Â µ¿±âÀÌÀÚ °³³äÀÌ´Ù. Á¤½ÅÀû, À̳äÀû Àǹ̸¦ ´ã°í ÀÖ½À´Ï´Ù.
My world of art is founded on . Here, hybridism is related with what to be expressed. This is motive determining themes and objects as well as a concept. containing spiritual or ideological implications.


08. Jayantha Pushpakumara Àھ០Ǫ½ÃÆÄÄí¸¶¶ó . SRI LANKA


³» °üÁ¡Àº °í³­À» Á¤»óÈ­ÇÏ´Â °ÍÀÌ ¾Æ´Ï¶ó ÀúÇ×Çϸé Å« À§±â°¡ ¹ß»ýÇÕ´Ï´Ù. À̹ø Àü½ÃȸÀÇ ¸ñÀûÀº ½º¸®¶ûÄ« Çö´ëÁß»êÃþÀÇ Áö¿ª»ýÈ°ÀÇ ºñ±ØÀ» ¿¹¼úÀû Á¢±ÙÀ» ÅëÇØ Ç¥ÇöÇÕ´Ï´Ù.
My point of view, normalizing the hardships instead of resisting, creates major crisis. The objective of this Exhibition is to manifest the tragedy of Sri Lankan contemporary local life of Sri Lankan lower middle class, through an Artistic approach.


09. JinGil Kim ±èÁø±æ . KOREA


±èÁø±æÀÇ ÀÛÇ°Àº ½ºÅ丮ÅÚ¸µÀûÀΠȸȭ¼¼°è´Â ¹Ì½ÃÀûÀÔ´Ï´Ù. ±×´Â °Å´ë¼­»çº¸´Ù ¹Ì½Ã¼­»ç¸¦ ¼±È£Çϱ⠶§¹®ÀÔ´Ï´Ù. ÀÚ¿¬¿¡¼­ ÈçÇÏ°Ô ¸¶ÁÖÇÏ´Â ¹°»óÀÇ Áú¼­ÀÏÁö¶óµµ ±× À̹ÌÁö¸¦ Çü°ú »öÀ¸·Î ÀçÇöÇÏ´Â ±×ÀÇ Á¶Çü¼¼°è´Â °ÅâÇÏÁöµµ ¾ÊÀ»»Ó´õ·¯ °Å¸¸ÇÏÁöµµ ¾Ê½À´Ï´Ù. ±×´Â ¾ðÁ¦³ª ĵ¹ö½º¿Í äÆÃÇÏ°í ÀÖ´Â È­°¡ ÀÚ½ÅÀÇ À̾߱⸦ µé·ÁÁÖ·Á ÇÕ´Ï´Ù.(Æò·Ð±Û Áß ¹ßÃé)
Beyond the visible world an endless question of substance ...... kaleidoscope. That's because, above all, he tries to tell various stories. To this end, he mainly paints stories of life. So there are many stories in his canvas. He tries to talk rather than explain the water order. His comics are based on epic interpretations of the order of existence.


10. JongKook Yoo À¯Á¾±¹ . KOREA


³ªÀÇ ÀÛ¾÷Àº ½ÅüÀûÀÎ ÇàÀ§ÀÇ ¹Ýº¹À» ÅëÇÑ ¼öÇàÀû ÀÚ¼¼¸¦ ¹ÙÅÁÀ¸·Î ¹®ÀÚ¸¦ ½×¾Æ ¿Ã·Á À̹ÌÁö¸¦ ¸¸µé¾î ³À´Ï´Ù. Ä¥ÇÏ°í Áö¿òÀ» ¹Ýº¹, ÁßøµÈ »õ·Î¿î ÀåÀº ¿¾ °í¼­ÀÇ ³»¿ëÀ¸·Î ±â·ÏµÇ¾î Á¤½ÅÀû ¼ÒÅëÀÇ Ã¢±¸¸¦ ¸¸µé¾î °©´Ï´Ù.
My work creates an image by stacking letters based on performative posture through repetition of physical actions. Repeating painting and erasing, overlapping new chapters are recorded as the contents of old books, creating a window for mental communication.


11.Kidong Kim ±è±âµ¿ . KOREA


³ª´Â ÀÚÀü°Å¸¦ ÅëÇØ ¼¼»óÀ» º¾´Ï´Ù. ÀÚÀü°Å¸¦ Ÿ´Â °ÍÀº ±ÕÇü °¨°¢ÀÌ Áß¿äÇÕ´Ï´Ù.?³Ñ¾îÁöÁö ¾Êµµ·Ï ÇÚµéÀ» Á¶ÀýÇÏ°í,?Æä´ÞÀ» ¹â¾Æ ¼Óµµ¸¦ ³»¸é¼­ ±ÕÇüÀ» À¯ÁöÇØ¾ß ÇÕ´Ï´Ù.?¸¶Ä¡ ¼¼»óÀ» »ì¾Æ°¡´Â °Í°ú °°Áö ¾ÊÀº°¡? ¼¼»óÀ» ¹è¿ì´Â °úÁ¤¿¡¼­ °Þ´Â ¾î·Á¿ò°ú ÀǾÆÇÔÀ» »ç¶ûÀ¸·Î ÇØ°áÇÏ°í ±ÕÇüÀ» ã¾Æ°¡´Â °ÍÀÌ Áß¿äÇÑ °Íó·³ ¸»ÀÔ´Ï´Ù.
I see the world through a bicycle. Balance is important when riding a bicycle.You must adjust the steering wheel to avoid falling over and maintain your balance by pedaling to accelerate. Isn't it like living in the world? Just as it is important to resolve the difficulties and doubts encountered in the process of learning about the world with love and to find balance.


12. Lee Kuei-Chih ¸® Äí¿¤ Ä¡ . TAIWAN


Lee, Kuei-ChihÀÇ ¿¹¼úÀû ½ÇõÀº ºñÀΰ£Àû ÀÚ¿¬°úÀÇ ²÷ÀÓ¾ø´Â Á¤½ÅÀû, ¹ÌÀû ±³·ùÀÌ´Ù. °ÇÃàµÈ dz°æÀ» ±¼Àý½ÃÅ°´Â ´ë±Ô¸ð »ýÅ ±¸Á¶¹°À» Á¶°¢ÇÏ°í Ã˸ÅÇÕ´Ï´Ù. ¹°ÁúÁÖÀÇ¿Í ÀÚ¿¬ »çÀÌÀÇ º¯Áõ¹ýÀ» âÁ¶ÇÏ´Â LeeÀÇ ÀÛÇ°Àº ÇüÀÌ»óÇÐÀûÀΠƯ¼º°ú Ž±¸ Á¤½ÅÀ» ´ã°í ÀÖ½À´Ï´Ù.
Lee, Kuei-Chih¡¯s artistic practice is one that is constant spiritual and aesthetic exchange with non-human nature. Sculpting and catalyzing his large-scale ecological structures that refract the landscapes in which they are built. Creating a dialectic between materialism and nature, LEE¡¯s works take on a metaphysical quality and spirit of enquiry.


13. Omali Radhika ¿À¸»¸® ·¹µåÈ÷Ä« . SRI LANKA


À̶§±îÁö Àΰ£ÀÇ »îÀº »ê»êÁ¶°¢ÀÌ ³µ½À´Ï´Ù. Àü ¼¼°è ÀηùÀÇ »îÀº ÀÌ·¯ÇÑ À§±â¿¡ Á÷¸éÇØ ÀÖ½À´Ï´Ù. ½º¸®¶ûÄ«ÀÎÀ¸·Î¼­ ÀÌ Áö±¸»óÀÇ ¿ì¸® ¸ðµÎ´Â ÀÌ ºñ±ØÀ» ¸Å¿ì °­ÇÏ°Ô °æÇèÇÏ°í ÀÖ½À´Ï´Ù. ¿¹¼ú°¡·Î¼­, ¿©¼ºÀ¸·Î¼­ ³ªÀÇ »îµµ ¸¶Âù°¡Áö·Î ¹«³ÊÁ³½À´Ï´Ù. ³ª´Â ÀÌ ÀÛÇ°ÀÇ °³³äÀû ¹è°æÀ¸·Î ºÎ¼­Áö°í Èð¾îÁø »îÀÇ Á¶°¢µéÀ» »ç¿ëÇÕ´Ï´Ù. ³ª´Â °Å¿ïó·³ Èð¾îÁø ³» »îÀÇ Á¶°¢µéÀ» ¸ð¾Æ »õ·Î¿î Àǹ̸¦ ±¸ÃàÇϱâ À§ÇØ °í±ººÐÅõÇÏ°í ÀÖ½À´Ï´Ù. ³ª´Â ÀÌ ±×¸²µé °¢°¢¿¡ ´ç½Å°ú ´ç½ÅÀÇ »îÀ» À§ÇÑ °ø°£ÀÌ ÀÖ´Ù°í »ý°¢ÇÏ°í ½Í½À´Ï´Ù. µðÀÚÀÎÀº ŸÀÎÀ» À§ÇÑ °ø°£À̶ó°í »ý°¢Çϱ⠶§¹®ÀÌÁÒ.
By this time, human life has fallen to pieces. Human life in the whole world is facing this crisis. As Sri Lankans, all of us on this earth are experiencing this tragedy very strongly. My life as an artist and a woman is similarly broken. I use broken and scattered pieces of life as the conceptual background for these works. I am struggling to collect the pieces of my life that are scattered like a mirror and build a new meaning. I like to think that there is space for you and your life in each of these paintings. Because I think design is a space for others.


14. Parul Bouvart ÆÄ·ê º¸ºÁÆ® . FRANCE


2024³â "Sin-de-Rella"(Rella´Â ¾Æ¸§´Ù¿òÀ» ÀǹÌ)´Â ¿©¼ºÀÇ ÁöÀ§¿Í ½ÅüÀû ¸Å·Â¿¡ ´ëÇÑ ÀϹÝÀûÀÎ °ü³ä¿¡ µµÀüÇÏ°íÀÚ ÇÕ´Ï´Ù. ÀüÅëÀûÀÎ ´ÙÀ̾Ƹóµå ´ë½Å ½¡À¸·Î Àå½ÄµÈ ÀÌ ¼¼½ÉÇÏ°Ô ¼ÕÀ¸·Î Á¦ÀÛµÈ ¿ÍÀ̾î Å©¶ó¿îÀº Çö´ë »çȸ¿¡¼­ ¿©¼ºÀÌ Á÷¸éÇÑ ÅõÀïÀ» ´ëÇ¥ÇÏ´Â °­·ÂÇÑ »ó¡ÀÔ´Ï´Ù.
¡°Sin-de-Rella¡± 2024, (Rella means beauty) seeks to challenge prevailing notions of women¡¯s position and physical attractiveness. This meticulously handcrafted wire crown, embellished with charcoal in lieu of traditional diamonds, serves as a potent symbol representing the struggles faced by women in our contemporary society.

°ÅÇ°, âÁ¶ 2023: ³ªÀÇ ¿¹¼úÀû Ž±¸¿¡¼­ ³ª´Â âÁ¶ÀÇ ±â¿øÀ» Ž±¸ÇÕ´Ï´Ù. âÁ¶ÀÇ ±â¿øÀº °ÅÇ°ÀÇ ¼¶¼¼ÇÑ °æ°è ¾È¿¡ Á¸ÀçÇÕ´Ï´Ù. ¾¾¾Ñ, Àڱà ¼ÓÀÇ ¾Ë, ¾ÆÀ̵ð¾î¿Í ¸¶Âù°¡Áö·Î ¸ðµç °ÍÀº ÀÌ ÀϽÃÀûÀÎ °¡´É¼ºÀÇ ¿µ¿ª¿¡¼­ ½ÃÀ۵˴ϴÙ. °ÅÇ°Àº ¹«ÇüÀÇ °ÍÀÌ ÇüŸ¦ ÃëÇÏ°í ÀáÀç·ÂÀÌ ±â´Ù¸®´Â ¿µ¿ªÀΠâÀǼºÀÇ ½ÃÀÛÀ» ¿ä¾àÇÕ´Ï´Ù.
Bubble, the Creation 2023: In my artistic exploration, I delve into the genesis of creation, where the primordial essence resides within the delicate confines of a bubble. Much like a seed, an egg in a womb, or an idea, all starts with this ephemeral sphere of possibility. The bubble encapsulates the inception of creativity, a realm where the intangible takes form and potentiality awaits


15. Roger Rigorth ·ÎÀú ¸®°í½º . GERMANY


TAKKK ½ÉÆ÷Áö¿ò¿¡¼­ Rigorth´Â ȯ°æ ¿¹¼úÀº ´Ù½Ã Áýó·³ ´À²¸Áö°í ½ÍÀº ±íÀº °¥¸ÁÀ̶ó°í ÇÏ¿´´Ù. ¾î¶² ¸é¿¡¼­ ±×´Â ½£À» »ç¶÷µé¿¡°Ô ´Ù½Ã °¡Á®¿À´Â °ÍÀ» ÀǹÌÇÕ´Ï´Ù. ±×´Â È£ÁÖ, ¹Ì±¹, Áß±¹, µ¶ÀÏ, ÀÌÅ»¸®¾Æ, ´ë¸¸, Çѱ¹, µ§¸¶Å©, ¿¡¼­ ÁøÇàµÈ ¼ö¸¹Àº ±¹Á¦ ÇÁ·ÎÁ§Æ®´Â ±×°¡ ¼¶À¯, ¸ñÀç, ¼®À縦 ´É¼÷ÇÏ°Ô ´Ù·ç¾úÀ½À» ÀÔÁõ ÇÕ´Ï´Ù.
At the TAKKK Symposium, Rigorth said that environmental art is a deep longing to feel like home again. In a way, he brings the forest back to the people. Numerous international projects in Australia, the USA, China, Germany, Italy, Taiwan, Korea and Denmark testify to his virtuoso handling of fibre, wood and stone.


16. Sander Becker »êµå¶ó º£Ä¿ . GERMANY


Connection Point: ¾ÕÀ¸·Î´Â ¿¬°áÀÌ ´õ ¾î·Á¿öÁú °ÍÀÔ´Ï´Ù. ¿ì¸®´Â ±×°ÍÀ» À§ÇÑ ±¸Á¶¸¦ ã¾Æ¾ß ÇÕ´Ï´Ù. Red Unit: »¡°£»ö À¯´ÖÀº ¿ì¸®ÀÇ ºñ¹Ð°ú º¸¹°À» º¸°üÇÕ´Ï´Ù.
Connection Point: In future it will be more difficult to connect. We have to find structures for it. Red Unit: The red unit keeps our secrets and treasures


17. Seongmook Kim ±è¼º¹¬ . KOREA


¹Ù´Ù¸¦ ÁÁ¾ÆÇÏ°í ±×°÷¿¡¼­ÀÇ ¸î¸î Ãß¾ïµéÀ» °ÅÄ£ Àλý»ìÀÌ¿¡¼­ ÇϳªÀÇ À§¾ÈÀ¸·Î ±â¾ïÇÏ´Â »ç¶÷µé¿¡°Ô ³ª´Â ¸ÅÀÏ ¸ÅÀÏÀÇ ¿©¸íÀ» º¸¿©ÁÖ°í ½Í½À´Ï´Ù. ±× Àå¸éµé¿¡¼­ ¹ÌÃÄ º¸Áö ¸øÇÑ ºû°ú »öÀ» ´«¿©°Üº¸¶ó°í ¸»ÇÏ°í ½Í½À´Ï´Ù. ÀÚ¿¬ÀÌ º¸¿©ÁÖ´Â ÀÖ´Â ±×´ë·ÎÀÇ Á¶È­·Î¿òÀº ±× ¹«¾ùº¸´Ùµµ ¿ÂÀüÇÑ °ÍÀÔ´Ï´Ù. ±×°ÍÀº ´ÜÁö ¾Æ¸§´ä´Ù¶ó´Â ¸»·Î´Â Ç¥ÇöÇϱ⠺ÎÁ·ÇÑ ¿ÏÀü¼ºÀ» °¡Áø ±× ¹«¾ùÀÔ´Ï´Ù.
I want to show the dawn of each day to those who love the sea and remember some of the memories there as a solace in their rough life. I would like to tell you to pay attention to the light and color that you haven't seen in those scenes. The harmony that nature shows is more complete than anything else. It is something with a perfection that cannot be expressed simply by the word beautiful.


18. Sharker Nasrin Toontoon »þÄ¿ ³ª½º¸° Å÷Å÷ . BANGLADESH. PORTUGAL


Àηù´Â ³ª¿¡°Ô ¸Å¿ì ³î¶ó¿î âÁ¶¹°À̶ó´Â ÀλóÀ» ÁÝ´Ï´Ù. ÀÌ°ÍÀº âÁ¶ÀÇ °úÁ¤ ¶§¹®ÀÌ ¾Æ´Ï´Ù! ¿ÀÈ÷·Á º¯È­¿Í ±×µéÀÇ ¸¶À½ÀÇ È®ÀåÀº ºÒ°¡´ÉÇÒ Á¤µµ·Î ÀϽÃÀûÀÌ¸ç ¾î¶² °æ¿ì¿¡´Â ¿À·¡ Áö¼ÓµË´Ï´Ù. °æÁú¸·. ¹°ÁúÀûÀÎ ÀÏÀº ±×°Íº¸´Ù ½¬¿ö º¸À̴µ¥, Àû¾îµµ ³»°¡ º¸±â¿¡ ±× ±â°è´Â ²÷ÀÓ¾øÀÌ ¿òÁ÷ÀÌ°í ÀÖ´Â °Í °°´Ù. ³» Á¤¸®¿¡ À־ ¿ø ¾È¿¡ ¿å±¸°¡ ÀÖÀ¸¸é ³» °¨Á¤Àº ¿©·¯ »ç¶÷ÀÇ Àå¼Ò¸¦ Áß½ÉÀ¸·Î ¸Éµ¹°Ô µË´Ï´Ù. ³ª´Â °áÄÚ ³ª, ´©±¸µµ, ³ª´Â ³ª¿Í ¿ì¸®ÀÇ ¿å¸ÁÀÇ Ç¥ÇöÀÌ´Ù¡¦
Mankind give the impression of being to me a very wonderful creation. This is not because of the process of creation! Rather, the change and expansion of their minds is impossibly ephemeral and, in some cases long durational. Materials things seems easier than that, at least the action of the machine appear to me to be fairy constant action. In arranging my needs in a circle, my feelings revolve around several places of persons. I¡¯m never me, nobody, I¡¯m an expression of my and our desire¡¦


19. ShinKyu Song ¼Û½Å±Ô . KOREA


Á¦Á¶¾÷ÀÚµéÀº Á¾Á¾´ë°Ç, »ï¸² ¹úä¿Í °ø±â, ¼öÁú ¿À¿°°ú °°Àº ¹®Á¦µé·Î ÀÚ¿¬ÀÇ ¼øȯÀ» Æı«ÇÏ°í ÀÖ°í »ýÅ°迡 ½É°¢ÇÑ ¿µÇâÀ» ÁÖ°í ÀÖ½À´Ï´Ù. »çȸ´Â ±Ç·Â, µ·, ±â¼ú¿¡ ÀÇÇØ ÅëÁ¦µÇ°í ÀÚº»ÁÖÀÇ ¾È¿¡ ¿ì¸®ÀÇ »îÀº ´Ã º¯È­¸¦ °Þ½À´Ï´Ù. ³ªÀÇ ÀÛÇ°µéÀº Á¾Á¾ ±×·¯ÇÑ ¹ßÀü¿¡ ´ëÇÑ ³Ã¼ÒÀûÀÎ ½Ã°¢À¸·Î ±¸¼ºµÇÁö¸¸ µ¿½Ã¿¡ »óȲÀ» ¼ö¿ëÇÏ°í ÀÌÇØÇÏ°íÀÚ ÇÏ´Â ¿å±¸¸¦ Ç¥ÇöÇÕ´Ï´Ù.
The manufacturers often destroy the cycle of nature leading to problems such as reconstruction, deforestation and air, water pollution and this is seriously affecting the ecosystem. The society is controlled by power, money and technology and we face enormous changes in our lives under capitalism. My works often consist of cynical views towards such developments but at the same time express the desire to embrace and understand the situation.


20. SoonBeom Kwon ±Ç¼ø¹ü . KOREA


½Ã°£ÀÇ È帧°ú °ø°£ÀÇ ¿¬¼Ó¼ºÀ» ÁÖÁ¦·Î °¢ Àç·áÀÇ ¹°¼º¿¡ ÁÖ¸ñÇÑ ÀÛ°¡´Â °Å¿ï ¼Ó¿¡ ºñÃß¾îÁö´Â ÀÚ½ÅÀÇ ¸ð½À°ú ´Ù¸¥ »ç¹°ÀÇ º»ÁúÀº ¾î´À °ÍÀÌ ÁøÂ¥Àΰ¡ ÇÏ´Â Àǹ®Á¡¿¡¼­ ÀÛ¾÷À» ½ÃÀÛÇß´Ù. »ç½Ç¼ºÀ¸·Î Ç¥ÇöµÇ´Â ´ë»ó¿¡ Ãæ½ÇÇÒ »Ó ¾Æ´Ï¶ó ´ë»óÀ» ¿¬±¸ÇÏ°í ºÐ¼®ÇÑ À̹ø ÀÛÇ°Àº °ø°£¼Ó¿¡¼­ »óÃæµÈ À̹ÌÁö¸¦ Ç¥ÇöÇÏ´Â ¹æ¹ýÀ¸·Î Â÷¿ëµÇ¸ç À¯¸®ÀÇ Åõ¸íÇÔ , ºûÀÇ ´Ù¾çÇÔ, °Å¿ïÀÇ ¹Ý»ç µî °¢ ¼ÒÀ縦 ÅëÇØ ¸Þ¼¼Áö¸¦ Àü´ÞÇϸç ȯ»óÀûÀÎ »õ·Î¿î °ø°£À¸·Î Àçź»ý µÈ´Ù.
The artist, who paid attention to the physical properties of each material under the theme of the passage of time and the continuity of space, began to work on the question of which object was different from his own reflection in the mirror This work, which is not only faithful to the object expressed by realism, but also studies and analyzes the object, is borrowed as a method of expressing conflicting images in space and is reborn as a fantastic new space by conveying messages through each material such as the transparency of glass, the diversity of light, and the reflection of mirrors.


21. SoonYoung Yang ¾ç¼ø¿µ . KOREA


¡®»ó³äÀÇ Ã¢ Look at window¡¯ ¸ðµç »ý°¢À» »öÀÇ ºí·ÏÀ¸·Î ´ã¾Æ³À´Ï´Ù. ¼ø°£ÀÇ °¨Á¤À» »öÀÇ ºí·ÏÀ¸·Î ä¿ö ³Ö´Â ÇàÀ§´Â ¼¼»óÀÇ ¸ðµç »ý°¢°ú ¸¶À½µéÀÌ ½º½º·Î ÇÁ·¹ÀÓÀ» ¸¸µé¾î ¹ö¸®´Â ÇàÀ§¿Í °°½À´Ï´Ù. ±×°ÍÀº Àΰ£»Ó ¾Æ´Ï¶ó ¸ðµç »ý¸íü¿¡°Ôµµ °°Àº ÀǹÌÀÔ´Ï´Ù. ½º½º·Î º¸È£ ¹Þ°í ½ÍÀº °¢ÀÚÀÇ ¿µ¿ªÀÔ´Ï´Ù. ³ª´Â ¹Ýº¹ÀûÀÎ ÀÛ¾÷ÀÇ ÃþÀ¸·Î ¼­·Î¸¦ ¿¬°á½Ãŵ´Ï´Ù. ¸¶À½°ú ¸¶À½, »ý°¢°ú »ý°¢À» ¿¬°áÇÏ´Â ÇàÀ§ÀÔ´Ï´Ù.
'Look at window' captures all thoughts as blocks of color. The act of filling momentary emotions with blocks of color is like creating a frame for all the thoughts and feelings in the world. It means the same thing not only to humans but also to all living things. This is each individual's area that they want to protect themselves. I connect them together with layers of repetitive tasks. It is the act of connecting heart to heart, mind to thought.


22. Youseon Son ¼ÕÀ¯¼± . KOREA


³ª´Â ÀÚ¿¬ÀÇ ÀÌÁß¼ºÀ» »ö°ú ¿å¸ÁÀÇ »ó¡À¸·Î Ç¥ÇöÇϱâ À§ÇØ º×À» ¾´´Ù. ´ë»óÀ» ´«À¸·Î º¸°í, ±×°ÍÀ» ÀÚ¸£´Â ¹æ½ÄÀ¸·Î ³ú·Î º»´Ù. ±×·¡¼­ ¹ìÀÌ ÀÖ´Â ²É, ±¸¸§¼¼Æ÷°¡ ÀÖ´Â ²É, ¹Ð³³ ³¯°³°¡ ³ì´Â »õ, Ç÷°ü ¸ð¾çÀÇ ¼Ò¸® µîÀ» ±×·È½À´Ï´Ù.
I think of a world where things disappear and things that are created go hand and hand, as if morning and night are against each other. I brush to express the duality of nature in colors and symbols of desier I see the object as an eye and a brain as a way of cutting it. So I drew a fiower with snake, a fiower with cloud cells, a bird with melting wheat wings, a blood vessel-shaped sound, etc

Âü¿©ÀÛ°¡ÀÇ ±ÛÀº ÀÛÇ° °ü¶÷ÀÇ ÀÌÇظ¦ µ½±â À§ÇØ ÀÛ°¡µéÀÇ ÀÛ¾÷ ³ëÆ®¿Í Æò·Ð¿¡¼­ ¹ßÃéÇÑ ±ÛµéÀÔ´Ï´Ù.
ÀÌ¿Í °°ÀÌ 22¸íÀÇ Âü¿© ÀÛ°¡µéÀº¡®Recycling- unitÀ¯´Ö¡¯À̶ó´Â Ä«Å×°í¸® ¾È¿¡¼­ Àڽŵ鸸ÀÇ Á¶Çü¿ä¼Ò¸¦ ¹ßÃéÇÏ°í ½Ã°¢È­ ½ÃÄ×½À´Ï´Ù. ±×°ÍÀº »çȸ, °æÁ¦, Á¤Ä¡, ÀüÅë, öÇÐ, ¹°Áú, ±â¾ï, ȯ°æ, ±âÈ£, »ý¸í, Á¾±³ µî ÀÛ°¡µé¸¶´Ù Ãß±¸ÇÏ´Â ´Ù¾çÇÑ ¿µ¿ªµé·Î Ç¥ÇöµÇ¾ú½À´Ï´Ù. ¿¹¼ú°¡µéÀº ÀڽŸ¸ÀÇ ¹æ¹ýÀ¸·Î ȯ°æ¿¡ ÀûÀÀÇÏ¸ç »õ·Î¿òÀ» Ç¥ÇöÇØ ³ª°©´Ï´Ù. ÀÛ°¡µéÀº ÀÚ½ÅÀÌ Ç¥ÇöÇØ ¿Ô´ø ¹æ½Ä°ú º»ÀÎÀÌ Ãß±¸ÇÏ´Â ÀÛ°¡Àû ¸Þ¼¼Áö¸¦ ´Ù½Ã ÇÑ ¹ø ±Â°ÇÈ÷ ÀÚ¸®¸Å±èÇÏ°Ô µÇ¾ú´Ù°í º¾´Ï´Ù. ƯÈ÷ À̹ø¿¡´Â ¸î ³â µ¿¾ÈÀÇ Ææµ¥¹Í ½Ã´ë¸¦ Áö³ª¸ç ÀÚ¿¬È¯°æÀÇ ¼ÒÁßÇÔ°ú °¡Ä¡¿¡ ´ëÇØ ´õ ±íÈ÷ ¹Ý¼ºÇÏ°í »õ·Î¿î ½Ã´ëÀÇ ÀûÀÀÀ» ÇÊ¿ä·Î ÇÏ´Â ½Ã´ë¿¡ ¸ÂÃç ÀÚ¿¬È¯°æ»ýŹ̼ú°ú AIÀ¶Çչ̼úÀ» º¸¿©ÁÜÀ¸·Î ¿ø½ÃÀûÀΠǥÇö°ú ¹Ì·¡°úÇÐÀûÀΠǥÇöÀÌ ÇÔ²² ¾î¿ì·¯Áö´Â Àü½Ã°¡ µÊÀ» ÀǹÌÀÖ°Ô »ý°¢ÇØ º¼ ¼ö ÀÖ½À´Ï´Ù. ¿¹¼ú°¡µé ¶ÇÇÑ »õ·Î¿î º¯È­¿¡ ÀûÀÀÀ» Çϸç ÀڽŸ¸ÀÇ ¼¼°è¸¦ ÃàÀûÇØ ³ª°¥ °ÍÀ¸·Î º¾´Ï´Ù.
The writings of participating artists are excerpts from their work notes and reviews to help you understand the work.
In this way, the 22 participating artists extracted and visualized their own formative elements within the category of ¡®Recycling-unit¡¯. It is expressed in various areas pursued by each writer, such as society, economy, politics, tradition, philosophy, materials, memory, environment, symbols, life, and religion. Artists adapt to the environment and express new things in their own way. I think the writers have once again established themselves in good standing with the way they have expressed themselves and the writerly message they pursue. In particular, this time, after several years of pandemic era, we reflect more deeply on the preciousness and value of the natural environment and show natural environment ecological art and AI convergence art in line with the era that requires adaptation to a new era, expressing primitive expression and future. It can be meaningful to think that this is an exhibition where scientific expressions come together. I believe artists will also adapt to new changes and accumulate their own world.

PyeongChang ARTccc director. SoonYoung Yang
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