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'Change and Convert' explores Korean media art of the 21st century

Published: 07 Feb. 2024, 15:51 Updated: 07 Feb. 2024, 17:43

SHIN MIN-HEE
[email protected]

“The Velocity of Hyperion” (2022) by Roh Jin-ah [OSAN MUSEUM OF ART]

OSAN, Gyeonggi — At the Osan Museum of Art, a large, white robot human head is the first thing visitors see as they enter the building.

“Hello,” this reporter said to the head.

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“Hi. Haven’t we met before?” the head replied back, in a low, uncanny voice, with its eyes following the reporter’s movement.

The reporter smirked, and said, “Yes, we have!”

“It’s been so long since we last saw each other,” the head said again.

This head, as grotesque as it looks, is multimedia artist Roh Jin-ah’s “The Velocity of Hyperion” (2022) installation: a robot that can interact with people using artificial intelligence.

″Cartoon-Folding Screen I″ (2018) by Lee Lee-nam [OSAN MUSEUM OF ART]

The head was like the star of any party, and other reporters scurried over to it, initiating conversation. Not every verbal exchange was perfect, with the head sometimes giving ridiculous responses, but just the fact that it was conversing with humans was baffling enough. It even would butt in during other peoples' conversations and answer for itself.

“Humans tend to feel somewhat anxious as AI continues to develop,” the artist’s note for the piece reads. “This is because the speed and scope continues to expand at a pace that’s difficult for humans to bear. Furthermore, AI seems to be capable of communicating their feelings now, an ability that was initially thought to be unique to humans. Is the speed and direction of these changes really okay?”

″Beyond the Space″ (2021) by Choi Chong-woon [OSAN MUSEUM OF ART]

The Osan Museum of Art’s latest exhibition “Change and Convert” kicked off last month. Filled with the works of seven local media artists, the exhibit explores how the genre is being portrayed in the 21st century through a variety of media, like the aforementioned AI robot, digital drawings and even seeming to travel back in time.

Artists Kim Hong-nyun, Song Chang-ae, Lee Lee-nam, Lee Jae-hyung, Choi Chong-woon, Han Ho and Roh are highlighted in the show.

The history of media art can be traced back to Nam June Paik (1932-2006), who is dubbed the pioneer of the genre. From the mid- to late-20th century, Nam actively used analog television monitors, through which he would make robot statues or even stack them on top of each other to make “TV cellos.” Considering the time period, it would not be an understatement to say that he was truly ahead of his time.

Subsequently, media art has continued to develop all over the world. Now, in the 21st century, media art can also be interactive, as shown in both the aforementioned robot head and in artist Lee Jae-hyung’s “70 Years of History in Republic of Korea and Osan, Calling Time” (2023), also on view at the Osan exhibit. Comprised of a phone booth and a large screen, visitors can enter the booth and dial a specific year between 1948 and 2023, and the screen in front will take them “back in time” to show a historical event that happened that year.

“70 Years of History in Republic of Korea and Osan, Calling Time” (2023) by Lee Jae-hyung [OSAN MUSEUM OF ART]

Artist Lee demonstrated it last month during a press tour by dialing 1948, which showed footage of lawmakers voting for Korea’s official name, which was ultimately decided as the Republic of Korea, as we know it.

Another interactive media artwork on display is Song’s “Water Odyssey: Mirror” (2023), an immersive experience in which visitors are surrounded by a moonlit ocean-like digital scenery. Visitors can draw their own “water flowers” onto a tablet screen, which will be projected onto a white full moon. Then the water flower will virtually drop from the ceiling, and visitors also feel like they’re descending onto the floor along with it.

“It’s not about the result of the art,” Song told reporters the same day. “It’s about feeling absorbed in the experience itself. It’s always my focus in bringing the audience closer to the artwork.”

“Water Odyssey: Mirror” (2023) by Song Chang-ae [OSAN MUSEUM OF ART]

“Eternal light - 21c Last supper” (2023) by Han Ho [OSAN MUSEUM OF ART]

Artists like Han and Kim raise awareness on contemporary issues today, like war and climate change in Korea.

Han’s “Eternal light – 21c Last supper” (2023) is a reinterpretation of the “The Last Supper” (1495-98) masterpiece by Leonardo da Vinci, lit up with LED bulbs that turn the piece different colors and elicit a dreamy vibe. The scenario of the 12 disciples having their final meal with Jesus was replaced with the pain of the division of the two Koreas.

“Despite coming from the same ethnic background, the Korean Peninsula has been divided into two, which is represented by the table depicted in the painting,” Han said. “And the crown of thorns on top of the table is similar to the barbed wire that separates the two nations. The clouds allude to the dangers of nuclear bombs and symbolizes an omen of a third World War, like the Last Judgement in the Bible.”

″Floral Butterfly 'Empathy and Interaction II'″ (2023) by Kim Hong-nyun [OSAN MUSEUM OF ART]

Kim opted to showcase a brighter outlook for the future with colorful butterflies, his signature work. The artist has been painting the flying insects for 25 years, which he says relates to issues the world is dealing with right now, especially in regards to the environment.

“It’s our task to make sure that these problems don’t affect the next generation,” Kim said. “We may think the Earth is fine right now, but, like how when you put a frog in a pot of room temperature water and slowly heat it up until it boils, the frog won’t notice that it’s about to die until it’s too late.

“But the silver lining is that even in desperate times, there is always hope. If we think once more about the Earth and the pretty butterflies, we will be able to bring back a healthier environment.”

“Change and Convert” continues until March 24. The Osan Museum of Art is open from 10 a.m. to 6 p.m. every day except Mondays and national holidays. Entrance is free.

BY SHIN MIN-HEE [[email protected]]