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Ghost Shotgun 도록

  • Ghost Shotgun Book


    SPECIFICATION

    Participating authors: Siwon Hyun, Haeju Kim, Sunwoo Nam, Hanbeom Lee, Haneul Choi, Seulah Cha, Ji-Don Jeong, Hayne Park, Jihea Han
    Design: byul.org
    Size: 210 x 297 mm X about 100P
    Nazi: Rendezvous Ultra White 130g
    120 g of art paper
    Publisher: Snowman books



    The Ghost Shotgun Story

    Me and Ram Han met at the exhibition from Space413 last September. We knew each other's work well before that, but it was the first time that we met each other in person and talked face to face. As I started talking with her, we knew that there was a 'thin line' through our work, which could be more interesting to explore because our mediums of work are so vastly diffrent. I vaguely defined it as 'transparency' which is the inevitable characteristic of the medium of glass that I dealt with, and at the same time it was found in the line of Ram Han’s work: undo-redo, where she worked with digital tools. Ram Han defined it as "I can touch the tools, but I can't touch its finished files." If this is called a dimension (difference in physical space), we need an arbitrator between them, so we decided to place a Ghost between each other's work.

    "Illusiveness is a condition for the existence of a ghost, but it is a ghost's skill that he exists in another dimension or that he can cross it."

    Our story starts with this sentence. Introducing the ghost and borrowing his skills to open the way for the ghost to move between the dimensions through the transparency of each of our works, making a journey to find his way. The reason why it is called a "skill" in this point is that ghosts are not captured in virtual(afterlife) and reality(life). This dimensional difference arises from the fact that the tools we use are, perhaps one of them, the oldest and the other one the most advanced human tools. The mediums of glass and digital painting are created through tools that we called "fire" and "bitmap". It seemed to us as if it were a story about the visual dimension of human beings pioneering, starting with fire. The story of the continually expanding sense of human vision is also a contemporary sentiment shared by both me and Ram Han. We set the exhibition's opening hours from 6 pm, which is the time when the sun goes down, until 11 pm, which is close to midnight. Night is said to be a good time for ghosts to haunt.

    The condition of the works was not only to participate as different medium, but also to create a state in which all works were indistinguishable from one another. The final form of work was an installation, where I dealt with glass, and Ram Han dealt with planar images. The images were used on digital devices such as light panels, monitors, iPads, iPhones. All works consisted of three elements: glass, digital painting and eventually light as a medium coupling both previous mediums. In this exhibition, light as the main agent who made the way of the ghost became the medium connecting material and non-material things.

    Although we did not make an emphasis on it, we intended to present this exhibition as a game. We gave a leaflet to the audience with a passage informing that the exhibition space was a hunting ground, and there was a way that the ghost passed by through the artworks. A hint to solve this game should be obtained when they followed the highlights on the glass and realize that they combined with the bitmap image viewed in a single dimension. We thought that if the visitors wanted to get the hints they needed to solve the game, they must have not only followed the instant drawing made by the shapes of the artwork, but also developed a thought to fill up the gap between the glassworks and the bitmap images.

    In order to get Ram Han’s and my medium entangled with each other, we had to make something go absent at the same time. I removed the light source from my glass lamps, which represented the essence of the lamps, and instead replaced it with the light panel from Ram Han. Ram Han's digital painting’s light, which was projected on a screen, transferred into my glass and so my glass became one additional display medium of her work. Because of the transparent properties of glass, when the glass became a screen, electronic devices could still be identified. However, the bitmap-data was continuously distorted and changed by the irregular shape of the glass acting as a screen. This distortion makes us think about the experience of something shining under the transparency of glass. A phenomenon is created when these highlight lines shine through the irregular glass, but at some point some of these lights start distinguishing themselves from the ordinary phenomenon and suddenly begin to tell a story. Somehow like the first movie projector did. All this process of the digital - surface of glass - phantom work requires light. We wanted the two different mediums to be merged into the same realm of thinking as the visitors moved across the two dimensions and found an invisible path. Hoping the ghost path could be the drawings that followed themselves.

    Our team name "Ghost Shotgun", which was at the same time the title of our exhibition, came from the name that I found in one diary of mine written in the past. ‘Shotgun’ means a gun whose single shot can be split into dozens of bullets. If you can imagine this shot as light, you might imagine a myriad of split lights spreading from one gunfire. This landscape reminded me of the myriad of starlights pouring into the earth's sky, and I used to imagine how these lights finally reach each person’s eyes.

    Depending on what time each visitor arrived and began to contemplate the installation, the positions from where each one was standing, each different angle of view, and the movement, the illusion of the glass and the digital images reflected on it were constantly changing and will be remembered as slightly different scenes. This book is a collection of stories about each person's memory as seen in or on Ghost shotgun. We expect that these stories will go further on from our work and make the reader’s new memories and thoughts into one unity.

    Gloryhole Light Sales (Hayne Park)
  • Ghost Shotgun 도록



    SPECIFICATION

    참여필자 : 현시원, 김해주, 남선우, 이한범, 최하늘, 차슬아, 정지돈, 박혜인, 한지혜 

    디자인 : 모임별 byul.org

    사이즈 : 210 x 297 mm X 약 100P

    내지 : 랑데뷰 울트라 화이트 130g

            아트지 120g

    출판사 : Snowman books




    전시 서문

     유령 사냥 게임(Ghost Shotgun) 빛이 투명한 유리에 닿아 맺힐 때 빛은 임시적으로 유리에 머무른다. 여기서 임시적이라는 말을 사용하는 까닭은 빛은 그 투명함에 영구히 자신을 남기지 못하기 때문이다. 하지만 머무른다는 말은 ‘있음’을 생각하게 하는 동시에 있음의 전 후로서 어떤 없음을 상상하게 한다. 빛이 유리에 '대신' 머무르기 전, 부재하는/사라진 것이 있다면 우리는 이 사라진 존재를 유령이라 부르기로 했다. '실체없음'은 유령의 존재에 관한 조건이지만, 다른 차원에 존재하는 것. 혹은 그가 차원을 넘나들 수 있다는 것은 유령의 기술이다. 이 기술을 빌려 우리는 각자의 작업이 가지는 투명함에 유령이 차원을 이동할 수 있는 길을 열어놓았다. 유리와 빛이 만나는 현상이 기반하는 현실, 그리고 디지털 페인팅이라는 매체가 필연적으로 기반하는 가상 사이에서 종착지가 없는 유령의 길들을 좇아 그려보고자 한다. 관객이 스스로 쫓아가는 ‘유령의 길’이란 결국, 전시가 최종적으로 그려내는 드로잉이 될 것이다.

     


    참여 필자 소개 및 글 단락

     


    현시원

    큐레이터, 시청각 공동 운영자


    "’Ghost Shotgun(글로리홀x람한)’은 여러 개의 눈을 달고 있는 사물들과 사물이 잠시 기거하는 공간을 만든다. 이 사물들이 만들어내고 서로 비춰내는 눈은, 다른 눈을 갖게 하는 순간을 선사한다. 둘이 만든 사물들의 이동은 그 어떤 것들보다도 자유롭게 느껴진다. 그것은 서로를 반사하고 서로의 위에 올라가거나 곡선으로 휘감아지기도 하기 때문 아닐까? 누군가 들고도 이동해갈수 있는 스케일의 가뿐함도 가지고 있기 때문일 것이다. 각자를 타고 넘으면서 각자가 서로의 “매체-테이터”(Ghost Shotgun의 표현)으로 트랜스포밍하기도 하면서 말이다. 따라서 나는 글로리홀이 만든 작업과 람한이 구성한 시공간의 체계는 둘 다다른 방식의 입체감을 갖고 있다고 쓴다."

     

     

    김해주

    큐레이터, 아트선재센터 부관장


    유리, 빛, 이미지의 서로 다른 매체 사이를 투과하는 여정에 대해, 다른 시선과 생각이 서로 맺혀 물리적 실체를 구축하고 전시라는 고전적인 모험으로 마감하는 과정에 대해 본 것으로 유추하고 상상으로 뒤따라가본다.

     


     

    남선우

    큐레이터. 예술학과 미학을 공부했고, 월간미술, Curatorial Lab Seoul, 일민미술관 등에서 일했다. ≪Nora Noh≫(2013, 신문박물관, 공동기획), ≪막후극≫(2015, 인사미술공간, 공동기획), ≪마무리: 별 일 없이 산다≫(2018, 연남장) 등의 전시를 기획했고, 『게이트웨이미술사』 (2018, 이봄출판사) 를 공동 번역했다.


    " 넓게 펼쳐진 액정의 표면은 액체처럼 파도 치듯 솟고 꺼지고 일렁이는 유리 결정이다. 이 때문에 이미지는 불룩 튀어나오거나 찌그러지고(<Diorama>, 2019), 생각지 않은 지점에 생긴 하이라이트가 마치 흰 선으로 그림을 그린 듯 이미지 위에 겹쳐진다(<Gloryhole Light Drawing>, 2019). 왜곡의 과정을 거쳐 완성된 이미지가 전시에서 보아야 할 두 작가의 협업의 결과물이라면, 이미지 위를 지나가는 하이라이트가 만들어낸 반짝이는 자취와 어두운 전시장에 갇힌 뿌연 빛들은 흡사 유령이 만들어 낸 작업처럼 보인다.  "

     


     


    정지돈 

    소설가. 


    Vacuum(가제) 

    "스킵 앳워터는 자신이 신체의 형상을 한, 통과할 수 없지만 비어 있는 공간이라는 느낌을 받았다."

     


     


    이한범

    미술비평가. 『오큘로』의 편집자이며 나선프레스의 대표다. 《새벽질주》(2014), 《Using Your Real Life》(2016), 《픽션-툴: 아티스트 퍼블리싱과 능동적 아카이브》(2018) 등의 전시를 기획했으며, 스크리닝 플랫폼 《블라블라블라인드》를 운영하고 있다.


    "모든 이미지는 고유하다. 문제가 되는 것은 그것이 어떻게 고유한지이다. 오늘날의 이미지의 고유함을 사유하기 위해 유령론을 경유해본다. 혹은 유령을 통해 무엇을 볼수 있는지, 유령을 통해야만 볼 수 있는것은 무엇인지 질문해본다."

     


     


    최하늘, 차슬아

    서울을 기반으로 조각을 만들고 있다. 

    고스트 샷건의 전시를 감상한 뒤 공통된 의견을 취합해 하나의 글을 작성했다.

     

     

    "그래 문제는 바로 그것이었다. 생각보다 문제의 근원을 찾는 것은 어렵지 않았다. 서울의 전시장을 둘러보는 게 더 이상 재미 없어졌다는 거. 왜 여태껏 그걸 외면했을까. 그것은 땀을 뻘뻘 흘리며 서울 외곽의 전시장을 찾아갔지만 별 볼일 없는 작업만을 대면했을 때 받았던 어떤 실망감, 작은 분노와 같은 순간적인 감정들 때문만은 아니었다. 나는 에둘러 표면에서 그 원인을 찾고자 노력했을 뿐이었지만 사실은 그렇지 않다는 점을 잘 알고 있었다. 진짜 문제는 이제 미술이 싫어졌다는 점이었다."

     


     

    글로리홀

    Gloryhole Light Sales이라는 이름으로 조명과 유리를 만든다. Ghost Shotgun의 팀원.


    "나는 그때 직감적으로 우리의 작업을 통하는 가느다란 선이 있으며 그것은 오히려 서로의 매체가 너무나 다름으로서 더 흥미로워 질 수 있다는 것을 알았다. 나는 막연하게 그 선을 일종의 ‘투명함’이라고 명명 지었는데, 그것은 내가 다루는 유리라는 매체가 필연적으로 가지는 특성임과 동시에 람한의 작업 : 디지털 도구에서 작동하는 undo-redo의 선상에서 찾을 수 있었다. 람한은 그것을 '나는 도구를 만질 수 있지만 완성된 파일은 만질 수 없다.'라는 말로 그것을 정의했다. "

     

     

     

    람한 Ram Han

    일러스트레이터, Ghost Shotgun의 팀원.


    "람한(한지혜)은 작업 과정에서 느꼈던 상대와의 긴장과 스스로의 사용가치에 대한 자발적인 의문에 대해 부록 만화로 풀어낸다."


     


    도록 디자인  모임별 

     



기본 정보
상품명. Ghost Shotgun 도록
상품간략설명. Ghost Shotgun Book


SPECIFICATION

Participating authors: Siwon Hyun, Haeju Kim, Sunwoo Nam, Hanbeom Lee, Haneul Choi, Seulah Cha, Ji-Don Jeong, Hayne Park, Jihea Han
Design: byul.org
Size: 210 x 297 mm X about 100P
Nazi: Rendezvous Ultra White 130g
120 g of art paper
Publisher: Snowman books



The Ghost Shotgun Story

Me and Ram Han met at the exhibition from Space413 last September. We knew each other's work well before that, but it was the first time that we met each other in person and talked face to face. As I started talking with her, we knew that there was a 'thin line' through our work, which could be more interesting to explore because our mediums of work are so vastly diffrent. I vaguely defined it as 'transparency' which is the inevitable characteristic of the medium of glass that I dealt with, and at the same time it was found in the line of Ram Han’s work: undo-redo, where she worked with digital tools. Ram Han defined it as "I can touch the tools, but I can't touch its finished files." If this is called a dimension (difference in physical space), we need an arbitrator between them, so we decided to place a Ghost between each other's work.

"Illusiveness is a condition for the existence of a ghost, but it is a ghost's skill that he exists in another dimension or that he can cross it."

Our story starts with this sentence. Introducing the ghost and borrowing his skills to open the way for the ghost to move between the dimensions through the transparency of each of our works, making a journey to find his way. The reason why it is called a "skill" in this point is that ghosts are not captured in virtual(afterlife) and reality(life). This dimensional difference arises from the fact that the tools we use are, perhaps one of them, the oldest and the other one the most advanced human tools. The mediums of glass and digital painting are created through tools that we called "fire" and "bitmap". It seemed to us as if it were a story about the visual dimension of human beings pioneering, starting with fire. The story of the continually expanding sense of human vision is also a contemporary sentiment shared by both me and Ram Han. We set the exhibition's opening hours from 6 pm, which is the time when the sun goes down, until 11 pm, which is close to midnight. Night is said to be a good time for ghosts to haunt.

The condition of the works was not only to participate as different medium, but also to create a state in which all works were indistinguishable from one another. The final form of work was an installation, where I dealt with glass, and Ram Han dealt with planar images. The images were used on digital devices such as light panels, monitors, iPads, iPhones. All works consisted of three elements: glass, digital painting and eventually light as a medium coupling both previous mediums. In this exhibition, light as the main agent who made the way of the ghost became the medium connecting material and non-material things.

Although we did not make an emphasis on it, we intended to present this exhibition as a game. We gave a leaflet to the audience with a passage informing that the exhibition space was a hunting ground, and there was a way that the ghost passed by through the artworks. A hint to solve this game should be obtained when they followed the highlights on the glass and realize that they combined with the bitmap image viewed in a single dimension. We thought that if the visitors wanted to get the hints they needed to solve the game, they must have not only followed the instant drawing made by the shapes of the artwork, but also developed a thought to fill up the gap between the glassworks and the bitmap images.

In order to get Ram Han’s and my medium entangled with each other, we had to make something go absent at the same time. I removed the light source from my glass lamps, which represented the essence of the lamps, and instead replaced it with the light panel from Ram Han. Ram Han's digital painting’s light, which was projected on a screen, transferred into my glass and so my glass became one additional display medium of her work. Because of the transparent properties of glass, when the glass became a screen, electronic devices could still be identified. However, the bitmap-data was continuously distorted and changed by the irregular shape of the glass acting as a screen. This distortion makes us think about the experience of something shining under the transparency of glass. A phenomenon is created when these highlight lines shine through the irregular glass, but at some point some of these lights start distinguishing themselves from the ordinary phenomenon and suddenly begin to tell a story. Somehow like the first movie projector did. All this process of the digital - surface of glass - phantom work requires light. We wanted the two different mediums to be merged into the same realm of thinking as the visitors moved across the two dimensions and found an invisible path. Hoping the ghost path could be the drawings that followed themselves.

Our team name "Ghost Shotgun", which was at the same time the title of our exhibition, came from the name that I found in one diary of mine written in the past. ‘Shotgun’ means a gun whose single shot can be split into dozens of bullets. If you can imagine this shot as light, you might imagine a myriad of split lights spreading from one gunfire. This landscape reminded me of the myriad of starlights pouring into the earth's sky, and I used to imagine how these lights finally reach each person’s eyes.

Depending on what time each visitor arrived and began to contemplate the installation, the positions from where each one was standing, each different angle of view, and the movement, the illusion of the glass and the digital images reflected on it were constantly changing and will be remembered as slightly different scenes. This book is a collection of stories about each person's memory as seen in or on Ghost shotgun. We expect that these stories will go further on from our work and make the reader’s new memories and thoughts into one unity.

Gloryhole Light Sales (Hayne Park)
Price. KRW 30,000
Spec. Book
Size. 210 x 297 mm
Material. Gloryhole, Ram Han
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    글로리홀(Gloryhole Light Sales)에선 택배를 통해 전국지역으로 3일 ~ 7일안에 배송비(KRW 4,000)를 포함해 배송하고있습니다.

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    ※ 고객님의 책임 있는 사유로 상품등이 멸실 또는 파손된 경우는 환불 및 교환이 어려우며, 받으신 작업에 중대한 문제가 있다고 판단될 경우 교환 및 반품이 7일 이내 가능합니다. 또한 고객님의 마음이 바뀌어 교환, 반품을 하실 경우 상품반송 비용은 고객님께서 부담하셔야 합니다.