Minouk Lim: Jump Cut
August 23 – October 28, 2008
Art Sonje Center
Minouk Lim: Jump Cut
Art Sonje Center presents “Jump Cut” the solo show of MinoukLim, who has striven to push the boundary of art not as completion of artistic work but as disclosure and sharing of artistic process.
The exhibition “Jump Cut” begins with imaging what is lack in the gaps between jump cuts through the sensational stimuli and accidental encounters generated by irregular movements, searching for what will genuinely make possible the freedom and liberation in the ultimate sense given to artists as well as the viewers by exhibitions.
Then, what is a jump cut? It is a film-editing technique in which actors or actresses’ actions abruptly ‘jump’ time within the identical setting of a scene. As is known to all, Korean society had been a predominantly agricultural state until only 60 years ago, and accordingly, the common memories and sensibilities of the people of the country had (or has) been in relation with nature for an age. However, the ideology of growth and development enforced upon them a history of sacrifices, of ‘tears and sweats’, resulting in the so-called ‘Miracle of Han River’ The development civilization dashing at a tremendous speed is still under way to create and leave behind new countless patterns of the relations between adaptation and maladaptation, just like the now-changing climate of Korea from that of the temperate zone to that of the subtropical one. Turning its eyes on the creative process peculiar to or attributed to this kind of space and time, and starting with the stories that the artist ‘heard, witnessed, and learned from others’ while jump cutting the memories and observations of the various lives of various generations, the exhibition shows the viewers over the ‘open devices’ with which they can build up their own narrative.
In this solo exhibition, the extraordinary preoccupations with water, speed, rainy days, or the textures of the documents ―which is, on the other hand, following the changing relations between gathering and dispersing, or throwing off weight, or uncovering surfaces― will show another kind of movement: what is not the tragedy of time difference, what is neither too early nor too late, and what is occurring in instant and accidental encounters and temporary relations. Significantly, in the case of the artist, the working processes themselves are embedded in as well as the memories (as the motive power) of the lives of different generations, which were compressed and omitted during the Korean modernization process, finally being appropriated as a methodology to produce new possibilities.
Now, the globalized economic structure appears as the national goal and desire which should be accomplished through growth and development, while Korea is switching over to a multi-cultural society. In this situation, the exhibition attempts to examine and ask about the forgotten relations and observations buried between the numerous jump cuts, or in the crevices, before the advent of ‘Miracle of Han River.’
Ultimately, this is all for recalling that we are belong to the shared collective fate, we are all have the archetype of the forgotten Carnival, missed between the jump cuts in modernization process.