2007, Korean Modern Photography Spectrum
Five Projects: Body, Space, Still Life, Landscape, Social
From the February 1st to July 23rd 2007, Trunk Gallery exhibited 2007, Korean Modern Photography Spectrum. Five projectstitled Body, Space, Still Life, Landscape, and Social showed a spectrum of works by contemporary Korean photographers. To counteract narrow-mindedness in galleries only showing prominent artists, a display of representative work by new faces was the primary focus of our exhibition.
A gallery specializing in photography must be trustworthy in its management of work; and it must have an abundance of content. The gallery should also, help in informing society about artists who speak for the aesthetics of this time; select and properly exhibit important works by these artists; provide interpretation of these artists’ work and estimate a work’s quality and worth for the benefit of art collectors. To properly exhibit this abundance, Spectrum was classified by its objects rather than a theme, as we believe contexts surrounding each object could be pointed out, and thus each artist’s disposition could also be revealed.
2007, Korean Modern Photography Spectrum show-cased six artists, including one new artist, in each exhibition, so 30 photographers displayed a wide variety of work. We sincerely thank all the artists who participated.
3. Still Life
Objects and their energy; things related to all things in human life, present in still life photographs. They let us feel time when their objects and things existed, and help us remember cultural trends. They are historic, and therefore can be fashionable, like symbols of class. Touched by time and covered with memory, the craziness of things, requiring Freudian interpretation – mirror views the illusion of reflecting and overlapping: warm, endearing, secretive, sentimental; the implication of a thing that cannot be seen or said – its symbolization. Allegories created by connections built through the arrangement of everyday objects not to be seen,but to be read. Only visible when you listen. In stories we must communicate now. Like thefolk story of our culture.
The still life has evolved since the golden days of 17th century Netherlands. Its messages are still moral, but indirect. 21st century still life photography must express implied messages in condensed imagery its secrets must be deciphered through the visual grammar of today.