Instagram

Follow @Maytoday on Instagram

View

11월 29

📍국립아시아문화전당 민주평화기념관 3관
광주시민미술학교를 중심으로, 광주를 연구, 학습 또 탈학습하는 장인 독일전 《광주레슨》과 한국전쟁기 민간인 학살 생존자의 저항과 발화에 주목한 임민욱 작가의 2020년 GB커미션 ‹채의진과 천 개의 지팡이›가 전시되었습니다.

📍ACC Memorial Hall 3
With Gwangju People’s Art School at the kernel, Gwangju Lessons, exhibited in Cologne, Germany and now restaged in Gwangju as part of MaytoDay studies, learns, and unlearns the experiences of Gwangju. Together, Minouk Lim presents her site-specific work as part of GB Commission 2020, which is based on a perennial oeuvre of a survivor of a massacre committed against unarmed civilians during the Korean War.

View

11월 29

📍구 국군광주벼

📍구 국군광주병원
기능을 상실하고 남겨진 구국군병원의 장소성과 수많은 이야기들이 작가들의 연구나 상상을 통해 작업으로 재해석된다. 2020 GB커미션의 일환으로 시오타 치하루 ‹신의 언어›, 마이크 넬슨 ‹거울의 울림 (장소의 맹점, 다른 이를 위한 표식)›, 카데르 아티아 ‹이동하는 경계들›, 3점의 작품이 전시되어 있습니다.

•••••
📍Former Armed Forces’ Gwangju Hospital
The former Armed Forces’ Gwangju Hospital which has long remained vacant is used by artists as an unusual source of inspiration and imagination. GB Commission 2020 presents Chiharu Shiota’s The Language of God, Mike Nelson’s Mirror reverbs (the blinding of a building, a notation for another) and Kader Attia’s Shifting Borders as part of MaytoDay.

View

11월 29

🕓MaytoDay 광주전시의 마지막 날입니다.
(재)광주비엔날레는 정부의 방역수칙을 준수하며 전시를 운영하고 있습니다.

📍ACC 문화창조원 복합5관(사전예약)
MaytoDay 대만, 서울, 아르헨티나의 전시와, GB커미션 참여작가 호 추 니엔의 작품을 관람하실 수 있습니다.
(광주광역시 동구 문화전당로 38)

📍ACC 민주평화기념관 3관
MaytoDay 쾰른 전시와, GB커미션 참여작가 임민욱의 작품이 전시되어 있습니다.
(광주광역시 동구 문화전당로 38)

📍구 국군 광주병원(사전예약)
GB커미션을 관람하실 수 있으며, 시오타 치하루, 마이크 넬슨, 카데르 아티아의 작품이 전시되어 있습니다.
(광주광역시 서구 상무대로 1028, 도시철도 화정역 하차)

📍무각사 로터스갤러리
목판화 전시 《1980년대 목판화: 항쟁의 증언, 운동의 기억》이 열리고 있습니다.
(광주광역시 서구 운천로 230)

전시에 대한 세부 내용은 MaytoDay의 공식 웹사이트(www.maytoday.org)에서 확인하실 수 있습니다.

View

11월 22

📍해당 작품은 ACC 5관에서 관람하실 수 있습니다.
This artwork is exhibited at ACC Creation space 5.

✔️‹이중 만남›, 2009, 자수, 280 x 800 cm
이번 전시에서 함께 소개되는 그의 자수 작품 ‹이중 만남›은 작가가 도시의 기념물에서 흔히 볼 수 있는 역사적 인물들의 얼굴과 다른 매체나 거리 등에서 만나볼 수 있는 수많은 일반 시민들의 얼굴을 모아 만든 작품이다. 한편 이 형체들의 그림자는 벽에 비춰져 관람객들의 몸과 겹쳐지게 된다. 이 작품을 통해 작가는 역사적 기념물로 표현되는 권력 구조를 해체하고 한국의 사회질서와 표현 방식에 의문을 제기하면서 서로 다른 시간의 중첩을 시도한다. 작가는 또한 봉제와 자수를 통해 핵심적이지만 종종 간과되는 한국의 경제 활동을 반추한다.

✔️Double Encounter, 2009, embroidery, 280 x 800 cm
The exhibition features her embroidery piece Double Encounter, in which the artist has fused together a multitude of faces: those of historical characters usually represented in monuments around the city, as well as those of individuals found on the streets and a range of social and prinㅛㅛ₩ㅁ4t media. In the space of the exhibition, these figures reflect their shadows on the walls, overlapping with the bodies of the visitors. In this work, Hong plays with the overlay of times, undoing the construction of hierarchies represented by historical monuments, and questioning the mechanisms of representation and social order of Korean society. In addition, Hong draws on sewing and embroidery as a way to reflect on this central but often overlooked activity of South Korea’s economy.

View

11월 22

📍해당 작품은 AC

📍해당 작품은 ACC 5관에서 관람하실 수 있습니다.
This artwork is exhibited at ACC Creation space 5.

✔️‹망각기계›, 2006~2020, 아카이브 피그먼트 프린트, 가변 크기
제9회 광주비엔날레 «라운드테이블»(2012)에서 소개된 바 있는 ‹망각기계›는 5·18민주화운동 당시 사망한 이들이 묻힌 광주 옛 묘역에 놓인 영정사진을 작가가 다시 촬영한 이미지들이다. 이 묘역은 본래 5·18민주화운동 중에 계엄군에 목숨을 잃은 희생자들을 임시로 매장한 곳이었다. 1987년 군부독재가 끝나고 나서야 민간인 학살이 인정됐고 그로부터 또 10년이 지나서야 5·18민주화운동이 국가 기념일로 지정됐다. 작가는 지난 15년간 눈에 띄게 색이 바랜 사진들을 선별해 기억에 대한 이미지들과 함께 배치했다. ‹망각기계›는 작가의 글과 함께 이미지의 조합을 통해 기억하고 기념하는 과정에서 무엇이 잊혀지고 무엇이 기억되는지 묻는다.

✔️Forgetting Machines, 2006–20, archival pigment prints, variable dimensions
Originally shown at Roundtable, 9th Gwangju Biennale, in 2012, Forgetting Machines presents re-photographed funerary portraits found on the tombs of those who died during the May 18 Movement, in Gwangju’s old cemetery. Such portraits are often kept outdoors in glass boxes, and have been damaged by the weather over time. The tombs are those of victims killed by soldiers during the uprising, whose remains were temporarily buried while the uprising was still unfolding. Forgetting Machines functions as an assemblage of imagery that questions what is forgotten and remembered in the processes of memorialization and commemoration.

View

11월 19

📍해당 작품은 AC

📍해당 작품은 ACC 5관에서 관람하실 수 있습니다. This artwork is exhibited at ACC Creation space 5.

✔️GB 커미션 2020, <49번째 괘>, 2020, 2채널 영상과 5채널 사운드, 2개 스크린, 작가&에드워드 멀랭 갤러리 제공, (재)광주비엔날레재단 커미션

이 작품에서 작가는 20세기 한국사 전반에서 거듭 발생한 수많은 항쟁을 비롯하여 광주에서 일어난 5·18민주화운동(1980)의 의미를 고찰한다. 작가는 이러한 항쟁들을 그려낸 다양한 한국 영화의 스틸컷들로 애니메이션 영화의 스토리보드(사전 시각화 작업을 위한 일러스트레이션 시퀀스)를 만들었다. 백현진과 박민희 등 한국 작가와 뮤지션들이 ‹49번째 괘›의 두 가지 보컬 곡을 제작하며 지정학적 장벽을 넘어 이와 같은 (초현실주의적) ‘우아한 시신’ 게임을 이어간다.

✔️<The 49th Hexagram, 2020, 2-channel video on 2 screens, 5-channel sound, Commissioned by Gwangju Biennale Foundation

In this work, the artist considers the significance of the Democratic Movement in Gwangju against the backdrop of the numerous uprisings that recurred throughout the last century of Korean history. Using film stills from the many South Korean movies that depicted these uprisings, Ho assembled a set of storyboards—a sequence of illustrations for the purpose of pre-visualizing an animation film. In the meantime, South Korean artists and musicians Bek Hyunjin and Park Minhee produced two vocal renditions of the forty-ninth Hexagram.

View

11월 18

📍MaytoDay의 공식 도로

📍MaytoDay의 공식 도록은 국립아시아전당 문화창조원 매표소 앞에서 판매중입니다. (15,000원)
The official catalogue of MaytoDay has been released and is on sale near the ticket office of ACC Creation Space.(15,000 KRW)

#repost @hello_ep
・・・
5·18민주화운동 40주년 특별전 ‘메이투데이’ 도록
⠀
1980년 5월 18일로부터 40년이 흐른 2020년의 오늘, ‘메이투데이’는 ‘광주정신’이 쌓아온 지난 시간의 궤적을 살펴보고 동시대 예술의 언어로 다시 한번 민주화운동을 조명하고자 하는 프로젝트입니다. MaytoDay라는 이름으로 타이베이, 서울, 부에노스아이레스, 쾰른, 광주, 그리고 베니스까지 민주주의를 위한 운동의 역사를 간직한 국가에서 순차적으로 진행되는 이번 프로젝트는 광주가 남긴 기억들과 지금도 유효한 민주주의 정신을 다양한 프로젝트를 통해 펼쳐 보이고 있습니다. 일상의실천은 1980년 광주민주화운동 당시 촬영된 기록사진과 전시에 출품된 작품을 콜라주 방식으로 재구성하여 5.18광주민주화운동의 숨겨진 의미와 가치를 현재의 급변하는 사회∙문화적 관점으로 시각화하기 위해 노력했습니다.
⠀
디자인. 권준호
한글제호 레터링. 양장점 @yangjang.type
사진. 이소정 @sojnglee

View

11월 17

📍해당 작품은 AC

📍해당 작품은 ACC 복합 5관에서 관람하실 수 있습니다. (This artwork is exhibited at ACC creation space 5)

✔️‹비영웅 극장(극회 광대, 놀이패 신명, 극단 토박이의 등장인물 연구)›, 2014/2020, 복합매체 설치, 가변 크기, 작가 제공
에이 아라카아와 임인자의 협업으로 제작된 ‹비영웅 극장(극회 광대, 놀이패 신명, 극단 토박이, 가상극단 아스팔트의 극중인물연구)›은 1980년 5·18민주화운동 전후 광주 지역 연극의 변천사에 주목하며, 사회운동과 문화적 재현의 상관 관계를 새롭게 해석한다. 제10회 광주비엔날레에서 선보인 ‹비영웅 극장›에서 에이 아라카와와 임인자는 1980년대에 발족된 제3의 가상 극단 아스팔트를 추가했다. 극단 신명과 토박이의 서사와 극중 인물들의 영향을 받은 가상 극단은 대안적 서사를 통해 사회정치적 상황이 어떻게 예술 활동에 개입되고 확장되는지 질문한다.

✔️𝙏𝙝𝙚 𝙐𝙣𝙝𝙚𝙧𝙤𝙚𝙙 𝙏𝙝𝙚𝙖𝙩𝙚𝙧 (𝘾𝙝𝙖𝙧𝙖𝙘𝙩𝙚𝙧 𝙎𝙩𝙪𝙙𝙞𝙚𝙨 𝙬𝙞𝙩𝙝 𝙂𝙬𝙖𝙣𝙜𝙙𝙖𝙚, 𝙎𝙝𝙞𝙣𝙢𝙮𝙤𝙪𝙣𝙜, 𝙏𝙤𝙗𝙖𝙠𝙞, 𝙩𝙝𝙚 𝙁𝙞𝙘𝙩𝙞𝙩𝙞𝙤𝙪𝙨 𝘼𝙨𝙚𝙪𝙥𝙖𝙡𝙩𝙚𝙪), 2014/2020, mixed media installation, variable dimensions, Courtesy of the artists

The Unheroed Theater (Character Studies with Gwangdae, Shinmyoung, Tobaki, the Fictitious Aseupalteu) is a collaboration between Ei Arakawa and Inza Lim. The work focuses on the history of theater in Gwangju in the 1980s, when artistic activities were suppressed by the grand sweep of sociopolitical history. When first conceived for the tenth Gwangju Biennale, Arakawa and Lim’s work included an imaginary theater group, the Fictitious Aseupalteu, which also dates from the 1980s. Inspired by both the stories and the female protagonists created by Shinmyoung and Tobaki the artists conjure an alternative narrative.

View

11월 16

📍작품 제목 ‘좋은 빛, 좋은 공기’의 뜻을 아시나요? ‘좋은 빛’은 빛의 도시 광주를, ‘좋은 공기’는 부에노스 아이레스를 의미합니다. 작품은 광주와 부에노스 아이레스를 경유하는 비극의 역사를 오늘의 시점에서 연결합니다.
(해당 작품은 ACC 복합5관에 전시되어 있습니다. This artwork is exhibited at ACC Creation Space 5.)

✔️‹좋은 빛 좋은 공기›, 2018, 2채널 비디오, 4채널 사운드, 42분
영화감독이자 작가인 임흥순의 영상 설치 작업 ‹좋은 빛 좋은 공기›는 아르헨티나와 광주를, 그리고 두 국가의 비극적 사건에 대한 기억을 살려내고 있는 인권단체인 5·18 희생자 어머니회와 5월 광장 어머니회—아르헨티나 마지막 군부독재의 희생자 어머니들—를 역사적으로, 또 정서적으로 잇는다.

✔️𝙂𝙤𝙤𝙙 𝙇𝙞𝙜𝙝𝙩, 𝙂𝙤𝙤𝙙 𝘼𝙞𝙧, 2018, 2-channel video and 4-channel sound, 42 min
Korean filmmaker and artist IM Heung-soon’s two-channel film Good Light, Good Air weaves a historical and affective thread between Buenos Aires and Gwangju: between May Mothers’ House—the mothers of the victims of May 18 in Gwangju—and the Madres de Plaza de Mayo—mothers of the victims of the last military dictatorship in Argentina. The two human rights organizations keep the memory of these tragic events alive.

View

11월 15

🕓내일 전시장으

🕓내일 전시장은 쉬지만, 관람 예약은 하실 수 있습니다.
(ACC 복합 5관과 구 국군광주병원은 사전예약을 통해 관람이 가능합니다.)
The exhibition is closed on Mondays. For visiting, pre-registration is reqired via MaytoDay’s official website.

#repost @gwangjubiennale
・・・
#GB커미션 #GBCommission⁠
⁠
Visit us to see what’s beyond the threshold ⁠
2007년 국군병원 이전 이후 사람들의 발길이 끊겼던 구 국군광주병원은 현재 어떤 모습일까요?⁠
⁠
⁠예약하기 Book now to find out more⁠
⁠
📅 2020. 10. 14 .- 2020. 11. 29⁠.⁠
📍 구 국군광주병원 전시 예약 BOOKING- Former Armed Forces’ Gwangju Hospital⁠
🕕 오후 6시 - 오후 8시 (매주 월요일 휴관) ⁠
👉 http://maytoday.org/exhibition/maytoday/⁠
⁠
예약하신 시간 이외에는 입장이 제한될 수 있으며, 당일 방문을 통한 현장예약은 선착순으로 마감합니다.⁠
⁠
#메이투데이 #MaytoDay⁠ ⁠#광주비엔날레 #GwangjuBiennale

View

11월 15

내일, 월요일 쉬고 11월 17에 다시 뵙겠

내일, 월요일 쉬고 11월 17에 다시 뵙겠습니다. 🤗
#repost @seoulartfriend
・・・
[Exhibition Diary] MaytoDay: Gwangju, 14 October - 29 November 2020
-
May 18, 1980: a date etched into the South Korean consciousness that serves as a reminder of the Gwangju Uprising, which sparked the country’s democratization movement. “MaytoDay” is a year-long project that mounts exhibitions in Seoul, Gwangju, Taipei, Buenos Aires, Cologne and Venice, each reflecting on the legacy of pro-democracy movements and the role of civil resistance in effecting political change, forging a sense of solidarity between distinct cultures and histories in tribute to the ‘spirit of Gwangju.’
-
The current “MaytoDay” exhibition in Gwangju brings together works from the Seoul, Taipei, Buenos Aires and Cologne exhibitions under a single roof at the Asia Culture Center (ACC). The exhibition also utilizes the former Armed Forces’ Gwangju Hospital, a site imbued with painful memories from the Gwangju Uprising. Newly commissioned works by Chiharu Shiota and Ho Tzu Nyen activate spaces within this abandoned and historical site, where they appear alongside extant installations by Kader Attia and Mike Nelson.
-
The exhibition also presents “Woodcut Prints in the 1980s: A Testimony of Resistance, A Memory of Movement,” which introduces a rich collection of woodcut prints by over forty artists and collectives across Korea since 1980. Installed at Mugak Temple, these works highlight the important role of artists in resisting the military dictatorship and promoting the democratization movement under the government’s oppressive control.
-
1 Chiharu Shiota, The Language of God, 2020
2 Ho Tzu Nyen, The 49th Hexagram, 2020
3 Mike Nelson, Mirror reverb, 2018
4 Kader Attia, Shifting Borders, 2018
5 Minouk Lim, Mr. Eul Jin Chai and 1,000 Canes, 2014-2020
6-7 installation view, woodcut prints at Mugak Temple
8 Young In Hong, Double Encounter, 2009
9 Ei Arakawa & Inza Lim, The Unheroed Theater, 2014/2020
10 installation view, ‘Gwangju Lessons’ at ACC
-
#exhibitiondiary #maytoday #메이투데이 #gwangjubiennalefoundation #광주비엔날레 #spiritofgwangju #518정신

View

11월 13

💡《메이투데이》의 서울전시, 《민주주의의 봄》은 지난 6월 3일부터 7월 5일까지 아트선재센터에서 열렸습니다. 지난 전시의 영상을 공개합니다.
🕐《메이투데이》는 제목이 시사하듯 5월(May)의 일상성(day)을 이야기하고 그 시점을 현재(today)로 되돌린다. 지난 25년 동안 축적되어온 광주비엔날레의 역사와 기록을 현재의 시점에서 재맥락화하고, 이를 전시를 통해 다른 지역, 다른 나라의 민주화 운동과 연결 짓고자 합니다.

•••••
💡𝙎𝙥𝙧𝙞𝙣𝙜 𝙤𝙛 𝘿𝙚𝙢𝙤𝙘𝙧𝙖𝙘𝙮, the Seoul edition of 𝙈𝙖𝙮𝙩𝙤𝘿𝙖𝙮 was held from June 3 to July 5 at Art Sonje Center. We hope you enjoy this video clip.
🕐As the project title implies, 𝙈𝙖𝙮𝙩𝙤𝘿𝙖𝙮 aims to draw attention to the lasting effects, everydayness, and micro-histories of the May 18 spirit, and seeks to situate the discourse amid us living today. Examining the 25 years of Gwangju Biennale’s history and archives in current perspective, 𝙈𝙖𝙮𝙩𝙤𝘿𝙖𝙮 attempts to connect other region and other countries’ democratization movements through exhibitions.

View

11월 9

《1980년대 목판화: 항쟁의 증언, 운동의 기억》
🕓 목판화전시는 무각사 로터스갤러리에서 관람하실 수 있습니다.

《민주주의의 봄》에서 공개되었던 목판화 전은, 《1980년대 목판화: 항쟁의 증언, 운동의 기억》을 주제로 무각사 로터스갤러리에서 확장되어 대규모로 선보입니다. 특히 이번 목판화 전은 1980년 이래로 광주와 서울을 비롯하여 부분적인 교류만 있었을 뿐, 한자리에서 대규모로 공개되는 전시로는 최초라는 점에서 주목할만 하며, 1980년 5월 18일부터 90년대 초반까지 이어진 목판화 운동의 궤적과 흐름을 통찰하여 목판화의 맥락을 종합적으로 펼쳐냅니다.

•••••
In addition to restaging these four exhibitions from four different cities, the Gwangju edition of the 𝙈𝙖𝙮𝙩𝙤𝘿𝙖𝙮 presents woodcuts and printed materials from the 1980s. Curated by Jinha Kim, 𝙒𝙤𝙤𝙙𝙘𝙪𝙩 𝙋𝙧𝙞𝙣𝙩𝙨 𝙞𝙣 𝙩𝙝𝙚 1980𝙨: 𝘼 𝙏𝙚𝙨𝙩𝙞𝙢𝙤𝙣𝙮 𝙤𝙛 𝙍𝙚𝙨𝙞𝙨𝙩𝙖𝙣𝙘𝙚, 𝘼 𝙈𝙚𝙢𝙤𝙧𝙮 𝙤𝙛 𝙈𝙤𝙫𝙚𝙢𝙚𝙣𝙩 introduces, for the first time, a rich collection of woodcut prints by over 40 artists and collectives across Korea. It highlights how the medium played an important role in resisting the military dictatorship and promoting the democratization movement under the government’s oppressive control.

View

11월 9

《메이투데이》 in 아르헨티나🇦🇷
🕓코로나로 인해, 내년 개최예정인 《미래의 신화》는 타이베이, 서울, 쾰른의 전시와 함께 광주에서 공개되었으며, 국립아시아문화전당 문화창조원 5관에서 관람하실 수 있습니다.

✔️curated by 소피아 듀런(@sofia.dourron), 하비에르 빌라(@__javiervilla__)
✔️key words: 광장, 공통의 이야기, 역사와 픽션

아르헨티나의 《미래의 신화》는 과거의 사건을 폭로하는 것을 초월하여 더 나은 미래로 나아가기 위한 예술적 실천들을 다룹니다. 전시는 아르헨티나와 한국 두 나라의 폭력과 비극을 목격한 증인들, 저항의 역사, 5월 어머니회의 활동과 역할 등 공감하고 나눌 수 있는 이야기들에 주목합니다.

•••••
In Buenos Aires, Sofía Dourron and Javier Villa’s co-curated exhibition 𝙈𝙮𝙩𝙝𝙨 𝙤𝙛 𝙩𝙝𝙚 𝙉𝙚𝙖𝙧 𝙁𝙪𝙩𝙪𝙧𝙚 focuses on what Argentinian and South Korean histories share: traumas caused by state violence and resistance strategies by women. The exhibition will be shown at ESMA Remembrance and Human Rights Center, a site that used to be a detention and torture center, during Argentina’s last military dictatorship. While the Buenos Aires exhibition has been postponed and will open in 2021 due to COVID 19, parts of it are premiered in Gwangju this year.

View

11월 2

《메이투데이》 in 쾰른🇩🇪
🕓 올해 7월 3일부터 9월 27일까지 쾰른의 세계예술아카데(@akademiederkuenstederwelt)에서 열렸던 해당 전시는 이번 광주 전시에 함께 선보이며, 국립아시아문화전당 민주평화기념관 3관에서 만날 수 있습니다.)

✔️curated by 최빛나(@choi.binna)
✔️key words: 시민미술학교, 행동하는 기념비, 협업

쾰른에서 열렸던 《광주 레슨》은 1983년 첫 회를 시작으로 전국적으로 퍼져나간 비제도권 예술학교인 광주의 시민미술학교를 소환했습니다. 광주에서 다시 선보이는 《광주 레슨》은 시민미술학교 당시 제작되었던 판화의 복원과 재제작, 그리고 광주 기반의 협동조합단체와 전남대학교 학생들(@gj_peoples_art_school)과의 협업으로 구성됩니다.

•••••

In the exhibition 𝙂𝙬𝙖𝙣𝙜𝙟𝙪 𝙇𝙚𝙨𝙨𝙤𝙣𝙨 in Cologne, the Dutch-Rwandan artist Christian Nyampeta(@christiannyampeta) presented works inspired by the activities of the People’s Art School (1983-92) in Gwangju, which is credited with instigating a woodcut printmaking movement in the 1980s. In the Gwangju edition of the exhibition, Nyampeta’s works will be exhibited in the Memorial Hall 3 (former Conference Hall), which will also host a conversation between the artist and citizens that participated in People’s Art School, speaking about their memories and experiences.

View

10월 26

🕓《MaytoDay》는 5·18민주화운동 40주년을 맞는 2020년 개최를 위하여 작년부터 1년여 간 추진해온 다국적 프로젝트입니다. 올해 5월 타이베이를 시작으로 서울, 쾰른에서 각기 다른 주제의 전시들을 선보여 왔습니다. (부에노스 아이레스는 코로나 상황으로 인해 내년 개최 예정)

🕑이번 광주전시는, 지난 여정의 기록이자 광주정신의 새로운 전환점을 제시하고, 5월이라는 이름으로 호명되어온 지난 40년의 나날들을 한데모아 현재의 시점에서 다시 보기를 제안합니다.

🕝오늘날 ‘민주주의’는 과연 어떤 의미를 가지는지, 이번 전시를 통해 함께 생각해볼 수 있기를 바랍니다.🙋🏻‍♀️

🏷커미셔너: 김선정 광주비엔날레 대표이사
🏷큐레이터: 소피아듀런 & 하비에르 빌라, 우테 메타 바우어 & 캐슬린 딧지그, 최빛나, 황치엔훙

View

10월 23

💡전시장을 찾ᄋ

💡전시장을 찾은 관람객들에게 작품 설명을 하고 있는 임흥순 작가님

•••••
영화감독이자 작가로 활동하고 있는 임흥순 작가님(@im_heungsoon_69)은 이번 《메이투데이》의 아르헨티나 전시, 《미래의 신화》에 ‹좋은 빛 좋은 공기›(2018)로 참여하였습니다. 작품은 아르헨티나와 광주를, 그리고 두 국가의 비극적 사건에 대한 기억을 살려내고 있는 인권단체인 5·18 희생자 어머니회와 5월 광장 어머니회—아르헨티나 마지막 군부독재의 희생자 어머니들—를 역사적으로, 또 정서적으로 연결합니다.

View

10월 23

🔔MaytoDay in media

“광주를 넘어 국제적 맥락 속에서 5·18정신을 조명하기 위해 서울과 대만 타이베이, 독일 쾰른 등지에서 진행된 전시가 1년여 순항 끝에 광주로 다시 모였다. 사적23호인 옛 국군광주병원, 국립아시아문화전당 내 문화창조원 복합5관, 민주평화기념관 3관 등지에서 오는 11월 29일까지 전시한다. 지난 5월 개막할 예정이던 베니스 비엔날레 특별전과 아르헨티나 부에노스아이레서에서의 전시가 코로나 여파로 내년으로 미뤄졌으니 ‘미리 보는’ 자리이기도 하다. 비엔날레는 연기됐지만 특별전 만으로도 비엔날레 못지않은 볼거리와 생각거리가 넘쳐난다.”

- 서울경제(2020. 10. 20)
https://n.news.naver.com/article/011/0003813509

View

10월 23

《메이투데이》 in 서울🇰🇷

🕒 지난 6월 아트선재센터에서 열렸던 전시는 현재 국립아시아문화전당 복합 5관에서 대만, 부에노스아이레스의 전시와 함께 관람하실 수 있습니다.

역대 광주비엔날레 출품작, 아카이브, 그리고 ‘민주화운동’이라는 이름으로 숨겨져왔던 목소리를 조명하는 《민주주의의 봄》 또한 이번 광주 전시에 맞추어 재구성, 다시 만날 수 있습니다. 우테 메타 바우어는 “민주주의는 항상 만들어지는 과정에 있는 것이며, 주어지거나 멈춰져있는 것이 아니라 변화하는 것이다”고 말했습니다.

•••••
Ute Meta Bauer(@utemeta) and Kathleen Ditzig(@kditzig)curated 𝙎𝙥𝙧𝙞𝙣𝙜 𝙤𝙛 𝘿𝙚𝙢𝙤𝙘𝙧𝙖𝙘𝙮, an exhibition especially inspired by Jun-tae Kim’s poem about the May 18 Movement. By revisiting how participating artists at previous Gwangju Biennales have addressed the movement, and juxtaposing presentations of artworks and archival material, Spring of Democracy drew attention to how artists engage with facts and documents to create art.

View

10월 19

《메이투데이》 in 타이베이🇹🇼

✔️curated by 황치엔훙
✔️Key words: 공감, 물결, 아시아의 민주화운동

💡지난 5월 타이베이에서 열렸던 전시는 현재 국립아시아문화전당 문화창조원 복합5관에서 서울, 부에노스 아이레스의 전시와 함께 관람하실 수 있습니다.

대만의 《메이투데이: 민주중적중류》는 1970년대 후반 대만의 민주화운동에서 출발하여, 1980년의 광주, 그리고 오늘의 홍콩 민주화운동으로 연결하며 민주주의에서 출발한 ‘공감’과 ‘물결’을 키워드로 제시합니다. 대만의 미스터 워터+m#e^s는 세계를 뜨겁게 달군 홍콩의 민주화운동에서 하나의 전략이 된 ‘물이 되어라’(Be Water)를 시각화하여 제시합니다. 에이 아라카와(Ei Arakawa)와 임인자의 협업으로 제작된 <비영웅 극장>은 1980년 전후 광주 지역 연극의 변천사에 주목하며, 민주화운동에 참여한 다양한 군상들을 표현하고 있습니다. 광주지역 젊은 작가인 정유승의 작업도 만날 수 있다. 이 외에도 천샤오시융(Shaoxiong Chen) 등이 참여합니다.

•••••
Chien-hung Huang, curator of 𝙈𝙖𝙮𝙩𝙤𝘿𝙖𝙮’s Taipei edition was inspired by the operation of solidarities that characterized both Taiwan’s democratization movement in the 1970s and the 1980 Gwangju Movement, and curated 𝙈𝙖𝙮 𝘾𝙤-𝙨𝙚𝙣𝙨𝙪𝙨: 𝘿𝙚𝙢𝙤𝙎𝙩𝙧𝙚𝙖𝙢 𝙞𝙣 𝘿𝙚𝙢𝙤𝙘𝙧𝙖𝙘𝙮, an exhibition mounted at Taipei’s Kuandu Museum of Fine Art. The exhibition re-examined Korea and Taiwan’s democratization movements by connecting them to Hong Kong’s current situation. Restaged in Gwangju, Huang’s curation includes works by Asian artists that explore how fluid solidarities and multi-layered bonds of sympathy are produced in on- and offline spaces.