작업 소개

57STUDIO는 2019년 11월 27일부터 2020년 3월 8일까지 서울시립미술관에서 개최된 전시 <고향>의 아티스트 인터뷰 및 홍보 영상을 기획, 제작하였습니다. 본 전시는 중동 지역에서 이루어진 다양한 미술적 활동을 조명하며, 한국이라는 지역에서 상상 가능한 교감을 탐색하고, 서로의 관계성을 새롭게 구성하는 시도를 담고 있습니다. 미술이 약속되거나 예측할 수 없는 시간을 의미 있게 연결하는 방식을 모색하는 가운데, 57STUDIO는 전시의 취지를 효과적으로 전달할 수 있도록 아티스트들의 인터뷰 영상을 제작하여, 작가들의 시선과 작품의 맥락을 깊이 있게 조명하였습니다. 또한, 전시 홍보 영상을 통해 관람객들이 전시에 대한 흥미를 가질 수 있도록 구성하였습니다.

57STUDIO planned and produced artist interviews and promotional videos for the exhibition Go-Hyang :Home held at the Seoul Museum of Art from November 27, 2019, to March 8, 2020. This exhibition focuses on various artistic activities in the Middle East, exploring potential connections that can be imagined from the perspective of Korea and attempting to reconfigure relationships. While seeking ways in which art meaningfully connects predetermined or unpredictable times, 57STUDIO created interview videos with the artists to effectively convey the purpose of the exhibition, deeply exploring the artists’ perspectives and the context of their works. Additionally, promotional videos for the exhibition were created to spark the audience’s interest and engagement with the exhibition.

Curator | Kwon jin

The title of this exhibition is Go-Hyang: Home. Since 2015, the Seoul Museum of Art has been organizing a series of exhibitions under the name Non-Western, which introduces contemporary art from Africa and Latin America. This third series introduces contemporary artists and works from the Middle East. Rather than simply inviting these artists and showcasing their works, the exhibition sought to find common themes that could be shared. As a result, both the title and theme of the exhibition became Go-Hyang: Home.

Artist | Khadim Ali

Hi my name is Khadim Ali and I am a visual artist, I was born at the border of Pakistan and Afghanistan, in a little town called Quetta.

Since I am belonging to a family of storyteller, my great grandparents were storytellers, they sang the book called Shanameh, in the context of modern Pakistan and Afghanistan political scenario.

And how the hazaras are going through ongoing persecution in afghanistan and what was the picture of my great grandparents when they were talking about their golden period of Afghanistan.

I am tracing back the history and connecting or bridging with the present history of Afghanistan. The top image is the image when my great grandfathers were talking about afghanistan and the epic stories happening in Kabul.

But when I heard about the political turmoil in Afghanistan, I saw there’s lot of protests in the city where I was growing up, then I went to Afghanistan and I saw how the internationals were involved in war against terror in Afghanistan and also there’s existence of Talleban there, also they’re standing in the field of opium which is the main source of their income.

The project is basically related to the book. and in the math book the problems were ‘if you kill 5 communists our of 10 communists, how many communists are left?’
and in the video I interviewed one of the best teachers of afghanistan who were nominated in the top 10 teachers of the world, and he started the refugee school in Pakistan.

he was also asked us to introduce that book into his school when he was teaching in pakistan. but he refused to teach in that book and now he is leading one of the best school in afghanistan and he is talking about the impact of the book on the young generation who actually went to those school and studied the jihad books.

Artist | Raed Ibrahim

My name is Raed Ibrahim, I am from Jordan, There I stayed for some time and I did this street signs on the streets of that area, talking to people and trying not to force myself into this society There I stayed for some time and I did this street signs on the streets of that area. So it’s the separation of the non-separated (usually) powers or combines. It talks about left and right, but men and women that was the main topic, and of course I mean the east has yin and yang was very insisted idea. and , specifically these two, I lived in this area for some time.

Of course I interacted with the people, and the hope of those young people were very clear, like the ability to live life and to have this great expectations was clear, in this very poor, limited area and life, they were really able to fly in their minds. There’s this, the back home sign, this is a new sign but it was always in my mind, as if, we’re always looking for a going back to where we should be, to home. And it’s not important to be a physical home, sometimes to where we belong.

Artist | Hazem Harb

My name is Hazem Harb, I’m a palestinian artist, I was born in Gaza city in palestine. Now, I’m using archival photography as a tool into my art, not only archival photography, I also use videos, I do installations, sometimes, it depend always on the concept, so I have different tools to use depending always on the concept on what needs to be (done). My work,

Especially in this work I’m using 4 photographies of Jerusalem, especially from the olives mounts, where this place has been completely changed due to the colonization or the Israeli Occupation to Palestine in general and especially to Jerusalem. In this work I’ve asked some of my friends to do a photography of the olives tree that has been demolished or cut from the israel occupation in Jerusalem, and then I did a copy-paste of that image, as the age-memory of the place. because some of the places have been completely demolished – they don’t exist anymore, so I’m just covering the space with this kind of iconic shapes of the modernism.

Curator | Kwon jin

Go-Hyang: Home can be understood as the hometown in a geographical sense, symbolizing the loss or absence of one’s actual hometown. However, it can also evoke a sense of longing or an idealized vision of a hometown, reflecting emotions or sensations associated with it. This exhibition, therefore, is composed of works that explore these feelings, incorporating concrete themes and subjects to share this sense of longing and offer a perspective on what the concept of “hometown” might mean in Korea.

When I visited the Middle East for research in preparation for this exhibition, I was struck by a surprising realization. The Middle East we had known through news, media, or films was vastly different from what I encountered; I discovered a much more diverse reality. This led me to question whether we had been harboring prejudices based on our limited knowledge. I hope that this exhibition provides an opportunity for everyone—art experts, general visitors, children, and adults of all ages—to shed any preconceived notions about the Middle East and embrace the rich and varied stories from this vast region.

전시 소개 글
Exhibition introduction text

이번 전시는 지역미술의 정체성을 다루는 서울시립미술관 비서구권 미술전시 세 번째 시리즈로 2015년 아프리카, 2017년 라틴에 이어 중동 지역의 현대미술을 살펴봅니다. 1970년대 부터 원전을 비롯한 대규모 건설 사업을 위해 중동으로 진출 했던 한국의 여러 기업들에 대한 기억, 각종 뉴스를 통해서만 접하는 중동의 복잡한 문제들, 최근 난민으로 건너온 중동의 사람들에 대한 사회적 편견과 두려움 등 우선적으로 떠오르는 인상들을 생각해보면, 사실 우리는 중동을 잘 알지 못하면서 단편적인 정보를 통해 만들어놓은 선입견만으로 중동을 잘 알고 있다고 착각하고 있을지 모릅니다. 이번 전시는 서울에서는 여전히 낯설게 여겨지는 지리적 의미에서 중동과 아랍이라는 이름의 문화권에 속하는 미술에 대해 생각해보고, 우리도 모르는 사이에 추상적으로만 인식되어버린 중동과 아랍의 세계가 가진 특정성을 다시 주목하여, 존재하기도 전에 잃어버린 장소감을 복구하는 것을 목표로 합니다.

gohyang: home is the third edition of Seoul Museum of Art’s exhibition series Approaching the Non-West. The inaugural exhibition in 2015 focused on Africa, followed in 2017 by a focus on Latin America; in 2019, gohyang: home presents contemporary art from the Middle East. Considering initial impressions, such as memories of several Korean corporations that developed nuclear power plant and other large-scale construction projects in the Middle East since the 1970s, the complicated sociopolitical conditions of the region viewed through the perspective of news media, and social prejudices and fears toward recent refugees arriving in Korea from the Middle East, we may have mistakenly assumed that stereotypes formed through biased information were tantamount to actual knowledge about the Middle East region. The proposed practical tasks of this exhibition are reflecting on Arabic culture and the art it inspires both of which are still seemingly unfamiliar in Seoul, and restoring a sense of place to a region that had already been lost before even existing, by observing the specificity of the Arab world, which has been lost before even existing, by observing the specificity of the Arab world, which has been abstractly expanded and perceived without any authentic knowledge.

– 서울시립미술관 홈페이지 <고향> 전시소개글 중에서