2020 News
2020 [Video Art Program: A Window to the World, Hiroshima City Museum of Contemporary Art]

Hiroshima city museum of Contemporary Art
Wisdom of the Crowd, 2018ใ€€color, sound, 8min. 46sec.

Who Is the Player? -Kana Uo-

In an abstract, virtual space, soldiers fall atop one another, folded in a heap along with their national flag. The image is somehow reminiscent of tableaux such as Liberty Leading the People, Eugene Delacroixโ€™s depiction of the July Revolution in France. However, one cannot immediately identify the nationality or era of the soldiersโ€™ uniforms, and the scene evokes different historical tragedies depending on the viewer.
This work is a simulation of a first-person video game. Ahn describes a game as โ€œa virtual space where all eras of history blend together,โ€ and says that โ€œplaying a game is a process of creating a new or fictional history.โ€ The game Garryโ€™s Mod, which Ahn utilized to produce this work, does not have a fixed mission, and the player can freely alter characters, objects, and even the gameโ€™s content. Thus Ahn could modify the character settings and physics engine so as to render the characters completely helpless, and raise them aloft, drop them, or duplicate them, exercising a degree of control that verges on the violent. Who is operating the system? The answer is, of course, the artist ?Ahn? but we can also say the protagonist of this work is the unseen person playing the game. The โ€œRECโ€ that keeps flashing in the upper right corner of the screen, and the images that shudder as if shot with a hand-held camera, strongly convey the presence of the player as if we were seeing through their eyes. But this is a video piece and not actually a video game, and there is no player in front of the screen. In front of the screen there is only the viewer. Completely without their knowledge, the viewer becomes the gameโ€™s player and is incorporated into the work. However, despite adopting the perspective of the player, the viewer is not authorized to manipulate the catastrophic scenes unfolding before them. The viewer sees the exact same scene as the player, but lacks all control and can only watch the player mercilessly toying with the virtual worldโ€™s inhabitants, who make no attempt to resist. By generating an inferred player who wields tyrannical power within the chaotic and non-temporal space of the game, Ahn expresses the absurdity of history, throughout which an unidentifiable โ€œsomeoneโ€ has always pulled the strings behind the scenes, and the inexorable powers that continue to propel the real world today.

Ahn Sungseok:
Born and lives in Suwon, Korea in 1985. He graduated from the Sangmyung Univeristy with a degree in Photography and Visual Media in 2010. Major solo exhibitions include Stinging at OneandJ+1 (Seoul, South Korea, 2018), and group exhibitions include Young Portfolio Acquisitions 2014 at Kiyosato Museum of Photographic Arts (Yamanashi, Japan, 2014), Exhibition of Exhibition of Exhibition at Cecil Theater (Seoul, South Korea, 2018), and Liquid Glass Sea: Young Korean Artists 2019 at National Museum of Modern and Contemporary Art (Gwangcheon, South Korea, 2019)

2020 News
2020, March [SB1 open] / is delaied by COVID-19
2020, May [Video Art Program: A Window to the World, Hiroshima City Museum of Contemporary Art]

์šฐ๋ฆฌ๋Š” ํŠน๋ณ„ํ•˜์ง€ ์•Š๋‹ค. ์šฐ๋ฆฌ๋Š” ํ•œ์‹ฌํ•˜๋‹ค.
We are not special. We are pathetic.

<์ Š์€ ๋ชจ์ƒ‰ 2019: ์•ก์ฒด ์œ ๋ฆฌ๋ฐ”๋‹คใ€‰์—์„œ โ€˜์šฐ๋ฆฌ๋Š” ์šธ๋ฉด์„œ ํƒœ์–ด๋‚ฌ๊ณ , ๋งŽ์€ ์‚ฌ๋žŒ๋“ค์€ ๊ธฐ๋ปํ–ˆ๋‹ค.โ€™๋ฅผ ์ถœํ’ˆํ–ˆ๋‹ค. ์ œ๋ชฉ์—์„œ ์ง์ž‘ํ•  ์ˆ˜ ์žˆ๋“ฏ์ด ์ด ์ž‘์—…์€ ๋ฏธ๋ž˜์— ๊ด€ํ•œ ์ด์•ผ๊ธฐ๊ฐ€ ์•„๋‹ˆ๋ผ ๋‚ด๊ฐ€ ์ง€๋‚˜์˜จ
๊ณผ๊ฑฐ๋ฅผ ํšŒ๊ณ ํ•˜๋Š” ๋ฐœ์ž๊ตญ์œผ๋กœ ์ฑ„์›Œ์ ธ ์žˆ๋‹ค. ๋ฏธ๋ž˜๊ฐ€ ํฌ๋ง์ด๋ผ๋ฉด ๊ณผ๊ฑฐ๋Š” ์•„์‰ฌ์›€์ด๋‹ค. ๊ณผ๊ฑฐ๋ฅผ ์•„์‰ฌ์›Œํ•˜๊ธฐ์—” ์•„์ง ์ Š์ง€๋งŒ, ๊ทธ๋ ‡๊ธฐ ๋•Œ๋ฌธ์— ๊ทธ ํ›„ํšŒ๋Š” ์˜คํžˆ๋ ค ๋” ๋ช…์ง•ํ•˜๊ณ , ํ˜„์žฌ์ง„ํ–‰ํ˜•์ด๋ฉฐ, ๋ณ€ํ™”์˜ ์˜์ง€๊ฐ€ ์žˆ๋Š” ์„ฑ์ฐฐ์ด๋‹ค. ์ž‘์—…์„ ํ•˜๋ฉฐ ์‚ด์•„๊ฐ€๋Š” ์ง€๋‚œํ•จ์†์—์„œ ์‹นํ…„์„ ์˜ˆ์ˆ ์— ๋Œ€ํ•œ ์ง™์€ ์˜์‹ฌ๊ณผ ํšŒ์˜๋ฅผ ๊ตญ๋ฆฝ ๋ฏธ์ˆ ๊ด€์˜ ๊ณต๊ฐ„ ์ •์ค‘์•™์—์„œ ํŽผ์ณ๋ณด์•˜๋‹ค. ๋งŒ์กฑ์Šค๋Ÿฌ์šด ํ™•๋‹ต์ด ๋‚˜ ์†Œํ†ต, ๋ฏฟ์Œ์ด ๋ถ€์žฌํ–ˆ์Œ์„ ์ž๊ฐํ•œ ์˜ˆ์ˆ ๊ฐ€๋กœ์„œ ํ† ๋กœํ–ˆ๋‹ค.

๋‚˜์˜ ์ž‘์—…์€ ๋‹จ์ง€ ๊ฐœ์ธ์ ์ธ ๊ณ ๋ฏผ์—์„œ ๊ทธ์น˜์ง€ ์•Š๊ณ  ์—ญ์‚ฌ์  ์‚ฌ๊ฑด๋“ค์— ๋Œ€ํ•œ ๊ธฐ์–ต์„ ๋‹ด๋ณดํ•˜๊ณ  ์žˆ๋‹ค. ์ง€๋‚œ 2013๋…„ ์›Œํฌ์˜จ์›Œํฌ์—์„œ ์—ด๋ฆฐ ๊ฐœ์ธ์ „ใ€ˆ Open Path- ๊ด€ํ•  ์•„๋‹Œ ๊ด€ํ• ใ€‰ ์—์„œ๋„ ์†ก์ „ํƒ‘, ์ „ํˆฌ๊ฒฝ์ฐฐ, ๋ฏธ๋Œ€์‚ฌ๊ด€ ๋“ฑ ์—ญ์‚ฌ์  ์‚ฌ๊ฑด์— ๊ด€ํ•œ ์˜์‹์„ ๊ฐ€์ƒ๊ณต๊ฐ„์˜ ๋ฌธ๋ฒ•์œผ๋กœ ๋ณด์—ฌ์ค€ ๋ฐ” ์žˆ๋‹ค. ใ€ˆ๋‚˜๋Š” ์šธ๋ฉด์„œ ํƒœ์–ด๋‚ฌ์ง€๋งŒ, ๋งŽ์€ ์‚ฌ๋žŒ๋“ค์€ ๊ธฐ๋ปํ–ˆ๋‹คใ€‰(2019) ์—ญ์‹œ ๊ฐœ์ธ์ ์ธ ๊ฒฝํ—˜์ด ์‚ฌํšŒ์  ์‚ฌ๊ฑด์— ๋Œ€ํ•œ ์ƒ์ง•์œผ๋กœ ์น˜ํ™˜๋˜๋Š” ์ง€์ ์„ ๋ณด์—ฌ์ฃผ๋Š”๋ฐ, ์˜์ƒ ๋ง๋ฏธ์—์„œ ์ฃฝ์–ด๊ฐ€๋Š” ๊ตฐ์ธ๋“ค์„ ๋ฌด์‹ฌํ•˜๊ฒŒ ์ดฌ์˜ํ•˜๋˜ ์—ฌ๊ณ ์ƒ์€ ๋‹ค์Œ ์žฅ๋ฉด์—์„œ ํœด๋Œ€์ „ํ™”์™€ ํ•จ๊ป˜ ๋ฐ”๋‹ท๋ฌผ์— ์ž ๊ธด๋‹ค. ์ผ๊ฒฌ ํญ๋ ฅ์ ์œผ๋กœ ๋ณด์ด๋Š” ์ด๋ฏธ์ง€๋Š” ๊ธฐ์ˆ  ๋งค์ฒด์˜ ํ™•์žฅ๊ณผ ํ•จ๊ป˜ ๋ฌด์ž๋น„ํ•˜๊ฒŒ ๋ชธ์ง‘์„ ๋ถˆ๋ ค๊ฐ€๋Š” ๋ฌด๊ด€์‹ฌ๊ณผ ์ฆ์˜ค๋ฅผ ๋œปํ•œ๋‹ค. ๊ทธ๋Ÿฌ๋‚˜ ๋งˆ์ง€๋ง‰์— ์ด๋ฅด๋ฉด, ์ฐจ๊ฐ‘๊ฒŒ ์ถœ๋ ์ด๋˜ ๋ฐ”๋‹ค๋Š” ๋‹ค์‹œ ๋– ์˜ค๋ฅด๋Š” ์ƒˆ๋ฒฝ์˜ ํ•ด๋ฅผ ๋งž์ดํ•˜๋ฉฐ ๋ถ‰์€๋น›์„
๋ค๋‹ค. ๋งˆ์น˜ ๊ณผ๊ฑฐ๋งŒํผ ๋ถˆ์•ˆํ•˜์ง€๋Š” ์•Š์„, ์กฐ๊ธˆ์€ ๋” ๋‚˜์„ ๋ฏธ๋ž˜๋ฅผ ์กฐ์‹ฌ์Šค๋Ÿฝ๊ฒŒ ์กฐ๋งํ•œ๋‹ค.

๊ธฐ๋…์ดฌ์˜ 1997๋…„
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