VDK Generic Images                                                                                                                                                                                                              

based in Seoul.

info@vakdongkyun.com
type-fd.tumblr.com



VDK - Info

VDK observes the visual manifestations that occur in the connection between different materials and images, and is experimenting with the possibility of the advent of generic images through producing a series of photographic-images. He posits technology, science and commercial as a result and extension of material-induced behavior, and explores the equal but weak link between materiality and image derived from objects. Recently he has been working on classifying and processing material possibilities of objects into units of different types through a pseudo-industrialized manufacturing process called ‘VDK Generic Images’, which consists of industrial protocols of observation-recording-production-simulation. He pays attention to the thindown or loss of links that arise when materials that are synchronized with reality land on the surface of the image.



Weak Link

The forms and functions acquired by objects based on technological mechanism from a long ago have exceeded the properties of matter while in the process of invading the real world with its own logic. It is now rarely recognized as material in everyday practice. In that case, what should we see when the results of the image-producing process based in visible matter no longer support subjects? LED light bulbs, caffeine shampoo, and withered flowers in the vase before my eyes, it is clear that these are substances with different attributes, but the image of the ‘pseudo-material’ temporarily or arbitrarily removes the objects from the surface rather than showing its existence when objects ‘land’ on the surface of the image. Through these numerous links, the original material properties are left off and the objects formed on the surface are placed under the logic of the image and functionally shift through exaptation.

The temporarily named “Generic Images” are in line with the possibility of the advent of universality that is acquired when we reduce the contemporary technology, science and commerical to images. Generic images are sets of Image Classification Protocol that functionally extends the link between objects and individual images named as “Weak Link.” It seeks for an image that contains generality that can be formed in the connections among numerous nodes of photography-image, which is quantitatively retained and consisting of the production process of observation-recording-production-simulation. Here, what I note is the point at which alternative image-products are located. This point can be obtained when the distributional range of images that occur in a chain of each process, by gradually narrowing(or impeding the speed). Thus, I adopted the industrialization of the image making process with the premise that the generality could arrive from the straying out of here, from the irreversible signs permeating the individual images. This work is to present the product of this process as a scene consisting of a(weak but robust) connection between object and image.

The following is the process of image production that constitutes a “Weak Link”. Each consists of 1) the observed and recorded images of objects that are omnipresent in our surrounding, 2) the whimsically staged and documented images of a few objects that are let in the studio, and 3) the represented and generated images of objects in a digital virtual space. A series of factures such as recording, staging and simulation that are functionally and simultaneously occurring from continuous observation helps keeping a loose connection between objects and their images, pushing viewers into this chasm. This approach enables us to concentrate on the aesthetic state of an object incarnated through the system of images, implicitly revealing the material possibilities of objects that can be fathomed through a work process.



Photography has been associated with our real world or an unreal world in its diverse manners of working.

The situation is far more complicated in a contemporary society where digital technology is the primary means of image production. Images not based on the material world are repetitively created and extinguished in an infinitely expandable mathematical algorithm. Our entering into relations with these images is often derived from our familiar realistic aspects and representational habits. Discovering or realizing a completely new image seems as difficult as finding life in the universe. Probably so, a main producer of images in our time is perhaps a skeptic who raises a doubt in re-using photography as a source or the properties of photography as a medium, rather than a photographer. Such a producer results in unmasking the underlying structure of this world by seeking the physical, existential relations with reality and intentionally weakening this conjunction.

On the surface, Vak Dongkyun’s photographic images seem to be concerned with society-based industries forged after modernization and the territories they are rooted in. He pays more attention to the part than the whole, crossbreeding than pure breeding, and non-material creation than material creation. Automobiles, robots and escalators in his works applied with cutting edge technology and exquisite design are more closely bound up with an ideal wish than functionality. As all these factors are treated as virtual images in his world, they can be considered the formless signifiers floating on a weak semantic network. An apparent reality discovered in his work refers to a strange world he seeks and a formal similarity offsetting the non-homogeneity between objects becomes a device to intensify the confusion.

Vak has employed two contrasting processes in producing images. Those images look like photography but are different from what we are familiar with. They vest themselves with the power of eternity by taking into their roots some newly found gaps or borders between reality and another reality. Thus, these images are interesting and perilously attractive. Meanwhile, I was curious about a few portraits and photographs featuring unique objects that arouse some odd mood. That’s why I caught a glimpse of emotion and intuition in those works that seem quite abstruse.

Park Hyunggeun, Photographer, 2018



Education

2018.
BFA, Korea National University of Arts, Department of Fine Art, Seoul, KR.
      
2016.
École Nationale Supérieure des Beaux-Arts de Paris, Paris, FR.

2013.
Gachon University, Department of Painting, Seongnam, KR.

Solo Exhibitions

2019.
UU: Universal Universe, Archive Bomm, Seoul, KR.

Group Exhibitions

2019.
Flâneur(s) de Nantes, Korea National University of Arts, Seoul, KR.
Open Your Storage: History, Circulation, Discourse, Seoul Museum of Art, Seoul, KR.
Closer When Apart, Korean Cultural Centre Canada, Ottawa, CA.
The 6th Amado Annualnale: Now in progress, Amado Art Space, Seoul, KR.
Aspheric Surface, Korea National University of Arts, Gallery B104, Seoul, KR.
ACC Youth Club, Asia Culture Center, Gwangju, KR.
Take Me Home, Platform-L Contemporary Art Center, Seoul, KR.

2018.
R.I.P. - Serene Remembrance, This Weekend Room, Seoul, KR.
PACK 2018 - TinkerBell’s Journey, Space 413, Seoul, KR.
The Material Montage, Gallery 175, Seoul, KR.
The Scrap 2018, Culture Station Seoul 284, Seoul, KR.
2017 Mirae Artist Award, Canon gallery, Seoul, KR.

2017.
The Catching Sphere, Korea National University of Arts, Seoul, KR.

2016.
Portes Ouvertes, Atelier Tosani, École Nationale Supérieure des Beaux-Arts de Paris, Paris, FR.
“Relational Aesthetics Of Some Sweet Strangers”, École Nationale Supérieure des Beaux-Arts de Paris, Paris, FR.
Salut, la planète, École Nationale Supérieure des Beaux-Arts de Paris, Paris, FR.

2015.
Print: Unity in Diversity, Seoul Museum of Art, Seoul, KR.

2014.
BokBulBok: Like You Know It All, Gallery 175, Seoul, KR.


Curatorial Projects

2018.
R.I.P. - Serene Remembrance, Team In and Out, Sponsored by Seoul Foundation for Arts and Culture, Seoul, KR.

2015.
Hauteur Party, Atelier Paris / Brown, École Nationale Supérieure des Beaux-Arts de Paris, Paris, FR.
In the Doorway: Finding Korea in Baltimore, Fox Gallery, Baltimore, MD, United States.

2014.
Welcome To The Quiet Room, Jaewoo Building, Seoul, KR.

Awards & Programs

2018.
Seoul Young Art Support Program: Seoul Young Artists Company, Seoul Foundation for Arts and Culture, Seoul, KR.

2017.
2017 Mirae Artist Awards, Canon Korea Consumer Imaging + Parkgeonhi Foundation, Seoul, KR.

2015.
Annual Competition, Korean Contemporary Printmakers Association, Seoul, KR.

Publications & Articles


2018.
Vostok Magazine, May - June, #9, New Player List II Issue
Photoart, May, Vol. 349
K'arts Magazine, #25



Mark