작업 소개

57STUDIO는 국립현대미술관의 전시 프로그램인 ‘젊은모색2019’ 전시의 미디어 콘텐츠로 아티스트 인터뷰 시리즈를 기획 및 제작하였습니다. 이번 전시의 부제인 ‘액체 유리 바다’는 서로 다른 주제와 매체를 각자의 개성으로 다루는 참여 작가 9명에게서 발견한 공통의 키워드에서 출발하였습니다. 인터뷰 시리즈는 각 작가의 작품 세계와 전시 취지를 효과적으로 전달하기 위해 제작되었으며, 작가들의 창작 과정, 작업에 대한 생각, 그리고 전시에 대한 개인적인 관점을 담아 관람객들이 전시에 대한 이해와 몰입도를 높일 수 있도록 구성되었습니다.

송민정 작가는 현재라는 시점을 가장 잘 보여주는 작가입니다. 송민정 작가는 특히 SNS 나 광고의 이미지 혹은 브랜드의 이미지와 같이 우리가 예술인지 혹은 예술이 아닌지 구분할 수 없는 것들을 적극적으로 작품 속에 가져와서 가장 큰 현재의 흐름, 사람들의 선호도 이런 것 들을 자신의 작품 속에서 보여주고 있습니다.

– 최희승 큐레이터

57STUDIO planned and produced an artist interview series as part of the media content for the Young Korean Artists2019, a program by the National Museum of Modern and Contemporary Art. The exhibition’s subtitle, Liquid, Glass, Sea, was inspired by a common keyword discovered across the nine participating artists, who each approach different themes and media with their own unique perspectives. The interview series was created to effectively communicate each artist’s artistic world and the exhibition’s intent. It captures the artists’ creative processes, their thoughts on their work, and their personal views on the exhibition, helping viewers deepen their understanding and engagement with the exhibition.

Song Min-jeong is an artist who most effectively captures the present moment. She actively incorporates elements like images from social media, advertisements, and brand imagery—things that blur the lines between art and non-art—into her work. Through this, she reflects the current trends and people’s preferences, showcasing them prominently in her art.

– Choi Heeseung (Curator)

Hello, my name is Song Min Jung. My work is titled Talker. My work deals with the dualism of the audience. When I first began my work, I created a fake brand online, and kept marketing it as if it was a real brand. I wasn’t really selling anything, but I made ads for products as if they’re real. However, what I was actually selling through those advertisements were myself.

I applied this work as the means of continuing on with my practice when I wasn’t working with a particular exhibition space. My works from 2016 to 2017 were activated as a type of online gimmick. Pieces that followed involved placing such gimmicks on certain, actual locations. This is also a question of opportunity for ensuring exposure for my works.

I might seem like a ghost waiting for a chance online when I don’t have a physical space for my work, but that’s all part of the work as well. And when I do get an actual physical space, I meditate on how I can utilize my gimmicks within such space. That’s how I use a specific physical location.

The gimmick effect in my work can get more elaborate when the work is not being shown in an exhibition space. My artwork is not business but merely appropriates the façade of commercialism, So for me, working for an exhibition space is actually an extra difficult proposal to accommodate.

When my work takes a certain body, or when it’s assigned a particular physical space, I always think about the context of the space and the context of my ghost-like work to figure out how to best integrate them all. That’s my mission with every work, which makes it fascinating.

I think about how I can fill the gap between the psychological location of the story I want to tell and the physical location of the space, and as to how I can validate that difference. I’m not afraid to use the language of latest trends and in fact, I use them directly. As I utilize such images in my work, I always highly value the perspective of the present. In fact, my previous works were created nearly at the same speed as the app updates.

My work obviously somewhat reflects my personal taste, but my taste is readjusted with my sensibility as an artist. As for material, I use materials closest to the present moment. That’s why my works which address the present rapidly takes on a past tense when they appropriate images of the present tense.

That itself is a medium of my work. Therefore, although it may not be directly stated, the key medium I use in my work is “time.” I press reality and my work very closely together, or deliberately widen the gap between them.