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Brilliant�Ideas�Episode�#25:�Ahn�KyuchulFabricator�who�calls�and�rouses�memories
Ahn�Kyuchul�calls�himself�an�“uncompleted�artist.”�To�the�artist,�who
constantly�pursues�changes,�produces�concepts,�and�raises�unexpected
issues;�artworks�are�like�an�endless�story.�Ahn�brings�up�serious�topics�by
making�a�large�maze�fish�tank�at�the�museum�floor�to�release�goldfishes�in
Brilliant�Ideas�Episode�#25�features�Ahn�Kyuchul,�who�brings�out�events�from
mundane�life�with�his�capability�of�rousing�concepts�as�an�image,�provided
by�Bloomberg�and�Hyundai�Motor.
Addressing�the�essence�in�indirect�discourse
the�tank,�or�removing�piano�keys�one�by�one�after�music�is�played�by�the
piano�at�a�certain�time�everyday.
Applying�criticism�of�the�reality�on�the�formal�structure�of�artworks�in�the
1980s,�Ahn�Kyuchul�received�a�spotlight�early�on;�not�only�the�degree�of
completion�of�the�works�was�high,�but�also�the�concepts�he�established
gained�sympathy�of�people�who�admire�art.�His�constant�and�diligent�way�of
creating�has�always�drawn�attention.�While�his�early�works�were�descriptively
represented�as�in�a�satire�of�political�events,�his�recent�works�treat�same
subjects�in�a�different�manner.�The�works�presented�in�his�solo�exhibition�in
MMCA�reveal�the�changed�manner�of�the�artist,�which�are�quite�different
from�his�past�works�in�a�way�of�not�representing�anything�but�inducing�the
viewers�to�make�something�happen.�The�interest�of�the�artist�is�focused�not
on�performing�representation,�but�making�representation�become�an�event.
One�of�the�works�that�attracted�most�attention�in�the�exhibition�was�<1,000
Scribes>(2015),�a�project�of�1,000�people�transcribing�at�a�fixed�time�and�a
place,�as�the�title�indicates.�In�the�process�of�transcribing�a�certain�part�of�a
book,�all�the�participants�became�writers,�the�texts�became�images,�and�the
view�and�sound�of�people�writing�became�an�artwork.�This�piece�was�created
based�on�the�artist’s�thought�that�the�symbolic�act�of�writing�could�remind
the�value�of�humanistic�thinking�and�invisible�bonds�existing�between
fragmented�individuals.�
Another�artwork�in�the�exhibition,�<Wall�of�Memories>(2015),�was�a�wall�full
of�blank�notes,�which�were�filled�with�writings�of�the�audience.�The�wall�of
the�exhibition�place�was�lined�with�8,600�notes,�on�which�people�wrote
“what�was�lost,”�“what�is�missed,”�and�“what�is�absent.”�The�notes�were
1,000�Scribes�and�Wall�of�Memories
covered�with�other�notes,�changing�the�view�of�the�wall�during�the�exhibition
like�a�card�section�performance.
Ahn�Kyuchul�creates�hybrid�artworks�that�embrace�art,�literature,
architecture,�music,�video,�performance,�and�publication.�Asked�why�he�uses
such�various�genres�in�a�complex�way,�the�artist�answered,�“Contemporary
art�is�not�developed�by�exclusive�and�inherent�logics�anymore,�but�is�opened
to�other�things�and�changes�constantly�by�stimulation�and�influence�from�the
outside.�So,�art�meeting�other�things�is�not�special�but�natural.�The�important
thing�is�to�not�only�draw�other�genres�and�media�and�deconstruct�the
existing�forms,�but�also�to�create�a�new�formal�order�by�arranging�such
diversity.”
Aiming�to�more�actively�speak�to�the�society�through�the�exhibition,�the�artist
titled�his�exhibition�<Invisible�Land�of�Love>.�Considering�a�universal�subject
for�the�large-scaled�exhibition,�he�chose�“love”�as�the�keyword.�In�the�world
where�people�say�what�they�do�is�for�love,�where�love�is�the�only�reason�of
life,�and�where�there�is�deception�and�violence�at�the�same�time,�the�artist
wanted�to�ask�if�there�is�a�possibility�of�love�left�to�us�to�miss�someone,�or�if
there�is�“an�invisible�land�of�love”.�“Love�is�cliché�like�lyrics�of�a�pop�song,�but
it�is�also�a�very�lonely�word.�Revealing�the�outline�of�the�value�we�call�love�in
a�universal�sense,�and�rethinking�the�ultimate�meaning�of�love�was�my
interests.”�Attempting�to�communicate�in�a�different�manner�through
everyday�objects,�the�artist�completed�various�artworks.
Invisible�Land�of�Love
Compared�to�art�specialists�who�are�obsessed�with�philosophies�and
contemplation,�the�public�seem�to�actively�understand�and�participate�in�the
exhibition.�Regarding�this,�he�says�“The�viewers�who�come�to�the�museum
are�not�just�passive�bystanders�as�people�say.�They�want�to�participate�in�the
process,�and�to�be�part�of�the�value�being�created�there.”�Ahn�is�an�artist�who
is�interested�in�lightening�heavy�things�and�emptying�filled�things.�He�insists
also�“An�artist�is�who�says�the�same�story�differently”,�and�now,�the�world's
contemporary�art�scene�is�focusing�on�his�future.�■�with�ARTINPOST
<Twisted�Fate�of�the�Two>�2013Acrylic�on�bronze�casting,�cactus�vase�Dimensions�variable
Ahn�Kyuchul�drew�a�bar�of�chocolate�from�which�someone�took�a�bite,�and
wrote�letters�on�each�piece:�M,�O,�R,�G,�E,�N.�The�word,�Morgen,�which�means
tomorrow�in�German,�was�chosen�by�the�artist,�due�to�an�apparent�reason:
tomorrow�seems�always�sweet�like�chocolate.�The�drawing,�which�shows
how�the�leading�conceptual�artist�was�20�years�ago,�represents�his�theory
and�existence.�Ahn�Kyuchul�is�a�magician�who�enriches�feelings�with�solid
experiences�and�firm�philosophy.�
The�artist�majored�sculpture�at�the�College�of�Fine�Arts�of�Seoul�National
University,�and�worked�as�an�art�journalist�in�major�media�agencies�in�Korea
for�seven�years�after�graduating�college.�He�studied�at�the�Stuttgart�State
Academy�of�Art�and�Design�in�Germany�from�1988�to�1995.�In�1992,�while
studying�in�Germany,�Ahn�held�his�first�solo�exhibition,�Ahn�Kyuchul�1990-
1992,�at�Space�Saemteo�Gallery,�debuting�as�an�artist.�He�has�had�10�private
exhibitions�including�Forty-nine�Rooms�(2004)�at�the�Rodin�Gallery,�A�House
of�2.6�Square�Meters�(2009)�at�Gallery�Space.�Having�presented�artworks�that
reveal�other�sides�of�life�inherent�in�everyday�objects�and�spaces�through
various�exhibitions,�the�artist�wrote�<The�Man’s�Suitcase>,�in�which�he
recorded�his�experiences�of�Western�modern�art,�and�<43�Tables>,�a
compilation�of�his�thoughts�about�tables�and�drawings,�along�with�<Nine
Goldfish�and�Water�In�the�Distance>�published�by�Contemporary�Literature.
He�has�been�a�professor�at�the�School�of�Visual�Arts�of�the�Korea�National
University�of�Arts�since�1997.
Profile