MMCA Hyundai Motor Series 2015:
AHN KYUCHUL

The second exhibition of the Hyundai Motor Series at the National Museum of Modern and Contemporary Art, Korea(MMCA), presented Ahn Kyuchul. He is an artist best known for his architectural constructions of conceptual works that embody philosophical and aesthetic introspections. He studied sculpture at Seoul National University and worked as a journalist at Quarterly Art Magazine for seven years before going on to complete his B.F.A. at Staatliche Akademie der Bildende Künste Stuttgart in Germany. Ahn is currently a professor in the visual arts department at the Korea National University of Arts. Since the mid-1980s, the artist has expressed his own unique concepts and philosophies built on profound examinations of life and art by closing the gap between sculpture and installation.

Since the 2000s, Ahn has embraced a variety of form and content by creating works in diverse media, including text, installation, sculpture, performance and drawing. Ahn often uses writing and text as significant elements in his work, and often together with objects and installation. A major theme of the works by Ahn is the investigation of the role of artists in a social context. “Invisible Land of Love,” part of the MMCA Hyundai Motor Series began by exploring spiritual values and artistic possibility. The exhibition questioned conventional thoughts we have on art and our time and challenged the audience to respond through their participation.

<64 Rooms>

In this work, a large space is divided into 64 smaller rooms by thick velvet curtains. One draws back the deep blue curtain to walk in and stand in a dark, silent space alone, before moving on to the next room. The maze of 64 spaces brings out different responses. One may feel fear or be curious about the next room, or perhaps enjoy the peace of having a moment alone. By providing such isolation and seclusion, the artist was able to allow visitors to reflect on their thoughts and memories.

<Wall of Memories>

<Wall of Memories> recalls and recorded those that we have lost. Visitors were encouraged to write a word that encapsulates what one misses on an index card, which was then hung on the wall. Once the wall was covered with 8,600 cards, new words, cards were placed on top, revealing parts of a poem. As a kind of slow animation, with time and participation the wall slowly transformed. Through this work, the artist collected vast amount data that indicated what people lost and what it is they miss.