the 2nd Gwangju Biennale International Curator Course Day2 Before Noon

The second day is always better than the first day? Oh, well, not really. We are quite exhausted by too many presentations today. It was just TMI-too much information. I just wish it was better lay-out than just this continnuity of presentation without thinking about each one's project, because each one was quite interesting to me!
     The presentation about our one previous work and one future work started at 10am finished at 4:30pm, but we kept discussing more about many things after this as well. Even though the visiting professor Dan Cameron told us that he would like to hear more about artists and artwork which we worked with before, because of lack of time and concentration after too many presentations, I cannot remember neither all the aritsts names we mentioned in our presentations nor all the works. However, I still would like to write about each curator's presentation a little bit at least before I go to bed.

     Leah Turner was the first presenter. He previous work reminded me of my previous work, because of the characteristics of the venue she curated in. I have been loving this kind of public space where random people can come in as a lobby or reception space to do their own business, yet they have to encounter an exhibition whether they want or not. And I think this is one of the best ways of exposing our ideas in terms of independent curating. And Leah's future curatorial practice was about abstract paintings' possibility. Of course, I remember that moment when I told my professor at KNUA that I really didn't understand about Ellsworth Kelly's paintings even though I really love minimalism, I might try to understand more about the background of Renaissance art. The reason why I remember this moment is because my professor got super upset about how lack of I am in terms of intuition to see any painting especially abstract paintings. I also remember the time when my high school art teacher chose one of my classmates' to put her work on the front page of our school magazine. Of course, it was abstract painting she did because she didn't want to paint it all, but she thought she failed to paint. (She was covering half of her painting with black because she told she will start over after she finished covering all). This means I still need very long way to go to understand abstract paintings even though I love pattern design or repetitive artwork such as Seobo Park's work. And perhaps, my poetry is very much like a abstract painting because I let out words from me on a sheet of paper but looks or sounds very abstract. Perhaps, my piano playing is very abstract as well. I just press the keys and I do not really care what I press, but I like the feeling of pressing those keys without thinking about any harmony or melody, but pressing and making sound out of it. Perhaps, I am not the best one who can help developing Leah's proposal for the next project, but I would love to get inspired by this kind of abstract paintings she suggested during her presentation to connect with musical communication or sound art performance.
     The second presentation was by Jeanne Gerrity. Her previous work was inspired by a sentence from John Cage; “Beauty is now underfoot wherever we take the trouble to look.” She showed us a lot of installation shots, but one artwork captured me and it was by Yumi Janario Roth. This work was fantastic, because it really does make me have one for my bathroom, but it must be super luxurious bathroom to have this artwork in. I remember some collector who bought an artwork because she wanted to put this in her bathroom just because she wants to enjoy when wants to have a bath. This will be totally something you want to be comfortable with and you want to own for your own comfort but also because the artwork itself has so much power to give you as a comfort object, therefore, this almost makes some sort of punctum in a nice way connected to this artwork. Now you wonder how much to buy one piece of this work?
     Jeanne's future work was about media art. She told us that it was not the completed list yet, but more or less, it can be ready to submit soon to any possible venues. I told her she might want to visit some media art festivals in Korea next month (Media City Seoul 2010) or contact with a media art center, Nabi, since she seemed to focused on several media artwork. However, we did not have much discussion about our projects after each presentation because we had to sqeeze too many presentations into such a short time. I wish I could discuss more about this project, since I started being interested in media art or video art as well. Sure, some works might be including some installations which I like very much about the flexibility of media art, too.
     Anyways, we had to 'move on' the next presenter, Rita Kalman. She talked about Transitland which I already knew about before. It is quite interesting and nice to meet someone I already knew about their project or some familiar institution I already visited before like Ludwig Museum. Perhaps, I shouldn't write too much about Hungarian since I already wrote about Zsolt's curator talk before, but I am sure I will have another chance to explain how I know about Hungarian people in art scene later on.
     Emma Braso works for the ministry of culture in Spain, but she talked about her previous curating work . I like the idea of challenging the rules. I love this ideas of tricking people with changing rules by ourselves and not letting people know what was going on then, but later on we realize this in some funny way. Mihye Ahn, a Korean artist who got the travel grant with me also said she was very interested in tricking people. I thought about her video work which she pretends that she is blind, but at the end she got sick of pretending as a blind person.
     Clarissa Chikiamco talked about her project, End Frame Video Art Project. You can check out more on YouTube as well, if you go

     I was actually interested in her future work. Her idea of sounds like very reflecting the situation she explained when she had to paint all these scaffoldings because of low budget situation. Moreover, this is sometimes how I feel when I see too many paintings as well, because I just imagine artists who paint everyday, wouldn't they be sick of painting sometime? I think this future project seems very much based on everyday's thought of aritsts or curators, but also it might be able to touch some edge of other sense of humors, perhaps.
     Nancy Meyer's future work was fascinating to me because of her idea about McAthur Park's polaroid photographer in Los Angeles, U.S.A. I love the power of this kind of photographer can get in the situation of taking a picture. Even these days, there are several photographers you can always see at your graduations in Korea, who you might want to hire to take such a professional picture for your whole family who come to your commencement ceremony. And the faith you have in these photographers is also something amazing which inspires me so much that I can keep researching on this power play plus faith in many different points of view.
     Well, these six curators were those who presented before noon. I still want to talk more about each project because it just inspires me so much with artists I have not known before or ideas which I thought but did not know who else might be interested in, etc. I guess you can also email or talk to these curators if you have any comment on their work as well. I am sure all of them are glad to hear anything from Mary Art Project readers.
     I might have to write about six more curators who did their presentations afternoon perhaps, tommorrow, since I am super sleepy now. Coming soon!