인천문화재단
2012-2013 문화예술 역량강화 기획지원
나는 어떻게 될 것인가
Looking at my future
기획 | Mok Chiu Yu | Lee Tal | Andrew LAM
인천전 | 참여작가 | Kim So-cheol | Oh Jin-sun | Ok Gyeong-rae | Yae-mi
Cho Yo-sook | daDa | LIU Siu Jane | Man LI | yuenjie MARU | Veron SUNG
인천아트플랫폼
INCHEON ART PLATFORM
2013. 10. 10(목) ▶2013. 10. 19(토)
초대일시 | 2013. 10. 10(목) 04:00pm
관람시간 | 일~목 10:00am~06:00pm | 금,토 10:00am~08:00pm
월요일 휴관 | 관람시간 30분 전 입장마감
인천시 중구 제물량로 218번길 3 | T. 032-760-1000
Cho Yo-sook_Space for thinking_97×162.2cm_2011
Looking at my future
Recently, as the demand of the local government for the culture is increased, the cultural foundations of each region expand the scale by securing lots of financial resources and attempt the diversification of the project for the purpose of improve the quality of life of the local residents. In this situation, they are promoting diverse non-profit projects to fit the current situation according to exact desire for enjoying the culture and increase of the demand in the local residents. If we point out the project having sustainability and the great possibility of development not the one-time project, it will be the fostering and support project focusing on the rising artists.
The program focusing on the these artists called as rising author, rising artist, young artist, or young author already has been carried out as short-, medium- and long-term programs by the profit and non-profit entities in our country. Although the classification and the concept of ‘rising’ is generally vague, it has common special characteristics in the fact that it grants the value for the new era as the modifiers such as young, youth, next generation, etc are placed at the front. The innovative and noble value-orientation of the term itself refers to the artists of the young generation and the artists whose tendency for arts is noble.
Currently, the programs for the competent artists of young generation are found a lot through the simple internet search. We can find mainly the support projects by the public institutions, the profit institution, the private entities or the authorities under the name of the ‘rising artists support program’. For the support project of the public institutions, etc in case of Arts Council Korea or Korean Artists Welfare Foundation, the support for the diverse areas have been made such as overseas training, exhibition supports, financial supports, and lot of ‘rising artists support projects’ have been made by the regional arts councils. For the support by the profit institutions, there are programs managed by lots of commercial galleries or corporations and they tend to expand gradually..
In the overseas countries, there are lots of programs for the rising artists. In case of Japan, the Agency for Cultural Affairs has implemented the overseas training system, which sends out the young artists to overseas countries, from 1967, which provided the opportunity to expand the ground for the activities of the Japanese artists. In addition, from 2000s, it has carried out the overseas study and training supports, providing the opportunity of announcing the works, invitation of overseas young artists, talent fostering project of the arts institutions, etc.
Kim So-cheol_Merrily Yet Calmly_video_93 minutes
In case of England, the rising author fostering program is being managed under the name of [Ambitions for Arts] and ‘British Arts Council’ often buys the works of young artists or manages the tour exhibitions by planning the exhibition during their early times of the artists. Particularly, they make lots of opportunity to exhibit the works in the overseas countries and support the artists’ studio, too. In addition, they help to allocate the greater funding to the artists beside of the public funds by attracting the corporation which can utilize with arts marketing, from the public institutions and perform not only the direct support but also the role to link with the corporations.
In the background of Korean policies for the rising artists project, which is prioritized in the world such as England, Japan, United States, Canada, etc. as the Culture and Art Promotion Act, the law related to the culture and art, was enacted in 1972, based on which Korean Culture and Arts Foundation was established in 1973. According to that, the system to promote the expertise and artistic value of the fields of culture and arts and the artists and to support creative activities was modified. In addition, the foundation, which improved the social conditions for the cultural artists, was prepared. And later, with the diverse political basis for the culture and arts, the Civilian Administration realized the task of securing 1% budget for culture and arts, with which, the reinforcement of institutional supports for the cultural industry has been made. Based on such institutional foundation, the Participatory Administration diversified the cultural policy around the consumers and aimed to decentralization of regional culture, for which the infrastructure building policy related to the culture and arts education and the culture and arts was implemented and introduced the mandatory system to install the artifacts in the buildings, Art Bank system, arts management internship system, etc in 2005.
As such, the cultural policy fit to the age attempts to diversification continuously, and during the Lee Myung-Pak administration, diverse policies appeared to close the gap between large city and the province. This influences the culture and welfare policies of current Park Geun-Hye administration, too focusing that the arts itself secure the competitiveness.
Particularly, it is observed that it specialized the policy for the visual arts area in the improvement direction of the art support policy in 2010. It supported extensively to 3 areas such as rising artists incubating support, international in-bound and out-bound exchange support, and regional cultural and artistic activities
Such reinforcement of project aims to foster the Korean arts area by seeking out the young artists having talents and supporting them intensively for many years around the Arts Council Korea, not by one-time project.
The fostering project carries out the role to enjoy the culture and arts for the local residents, to expand the arts market domestically and to overseas and the base of the artists through the local cultural and artistic activities supports
Oh Jin-sun_leader's cane A
After consecutive establishment of Gyoenggi Cultural Foundation, Seoul Cultural Foundation, and Incheon Cultural Foundation in early 2000s, each local government currently formed the cultural and artistic foundation by itself. However, the most of cultural projects are developed around Seoul and the large cities. In case of provincial city, the support and investment in the culture and arts are considerably insufficient compared to the large cities. Therefore, since the demand for the culture and the welfare is continuously regarded as important, it is expected that the investment would be made continuously in above projects. In addition, in the area of international exchange, the support scale is being expanded around the project which enables the artists- and foundation-based network infrastructure building, not to the one-time project for the Korean culture and overseas cultures.
‘The support program mainly around the rising artists’ based on the political base like above becomes the good instrument for artists to obtain good opportunity of exhibition, and provides for applicants to seek out the fresh talents and to expand the public cultural domain. As the cultural policy is decentralized around the regional cultural foundation, each province offers the fostering policy and performs the programs. This phenomenon aims to develop and maintain the regional culture and arts through the much intensive investment to the region-based artists.
Of course, it should be considered that for the revival of the culture and arts, the full support of the state or local government may affect the quality of the work. However, if it takes the form of much planned and multi-directional approach, it will help the rising artists to settle down much easily, to live a life as artist, and to become a big axis for the regional culture development.
For the multi0directional approach mentioned above, the personal creative environment building of the artist is essential. Also, in the institutional aspect, the environment to dedicate the creative activities and to live a life continuously should be prepared and together with the creative base building, the system for the consumers to enjoy the creative works should be built.
In case of overseas project, it is observed that above three areas are divided and managed very well. In our country, the various projects are carried out to meet the fostering, continuity, exchange and consulting areas. To build the personal creative environment, Korea Foundation, Ministry of Education, ARKO, etc, are managing the domestic and overseas training program and the program to report the results accompanied with it will follow. In addition, in the institutional aspect, the consulting and mentoring project and the cooperation program among the planning institution, local artistic institution and public institution are carried out. Particularly, according to the Focus of KOCCA by Korea Creative Contents Agency in 2011, there found the research data with a theme of Welfare Status of Cultural and Artistic Manpower and Tasks to Improve Them, in which it is observed that the welfare policy for the artists is being improved such as introducing the bills gradually through the lots of discussions and researches, etc..
According to that, to prepare the creative foundation and for the continuity of the creation, it is necessary to research continuously the measures for the creation and its vitalization not the one-time exhibition support project.
daDa_LED 4M (details 5)_複製
Among the projects currently carried out in the various institutions, this project hosted by Incheon Cultural Foundation, and managed by the UNESCOA.poRT, the non-profit exhibition space focuses on the rising artists to discover their regionality and creativity and to find the direction of artist.
Selecting the regional artists in the regional culture foundations is to invest in building the continuous foundation of regional cultural and artistic development. The intensive support for the artists to build the foundation to work and to the rising artists will become important assets for the regional culture, in future. In here, Non-profit culture space can expect the work to expand the parts for the basic cultural experience of the local residents in the public domain and the parts for the cultural recognition with the fresh works of the rising artists rather than unconditional listing of famous programs. In the artist’s personal aspects, it is judged that by the exchange with the experimental cultural spaces called OCAT of China and JCCAC of Hong Kong, it provided the opportunity to verify the artists’ own competence in the international stage and the artistic functions of establishing the cultural relationship among the regions.
The close cooperation between the artists and the competent authorities will occupy great portion in the future development of cultural and artistic policy. If the support projects required for creative foundation started from the artists is carried out as discussed above, rather than the unilateral support policy, much systematic and long-term project will be possible. If this project also carried out by reinforcing the post-support measures in the various areas including visual arts area, it will promote the completeness of the project and the diversification of the support program and this project will be turn over as an advanced program.
(UNESCO A.poRT Curator Hanbyul Kim)
Jane LIU._Dancing in Water-animation.a
Incheon Foundation for Arts and Culture‘s
<Planned Support for the Arts and Culture Skill-up> project
Incheon Foundation for Arts and Culture‘s <Planned Support for the Arts and Culture Skill-up> project was started in the field of visual art, since it is a project that got started since 2012 by factoring in the opinion that was raised steadily in the region, which is on the need to discover new artists and to cultivate them. Five new artists were selected after receiving their application, and carrying out two step process (document review and interview); Kim Yae-mi(name used as an artist: Yae-mi), Kim Chang-jae(name used as an artist: Kim So-cheol), Oh Jin-sun, Ok Gyeong-rae, and Cho Yo-sook.
<Planned Support for the Arts and Culture Skill-up> project supports ‘human beings.’ This signifies that this project has to be different from the projects of existing foundations that support ‘projects’ in terms of the method, form and contents to plan and execute accordingly. Thus, we met many professionals from various areas. In the end, we developed customized program to upgrade the capability of the new artists during two years, instead of providing them with one time, temporary support. This type of support is in line with our foundation's objectives as it tries to diversify methods and contents of the support by expanding planned projects and by offering indirect support.
In 2012, our objective is to upgrade the capability of the selected new artists. Programs such as focused critique by matched theorists, one to one meeting with them, seminars, and work theory seminars were carried out, and we also provided PR support and stipend to the selected new artists.
For the year 2013, we plan to strengthen their specialty level as well as form network with related areas. Towards this end, we cooperated with the <UNESCO A.poRT> of the region to host exhibitions in Hong Kong and Shēnzhèn, China on August, and carried out programs to increase international interchanges such as participation in seminars-artist talks and making visits to related institutions.
Moreover, we will carry out the programs in Korea starting with the exhibition at the Incheon Art Platform on October. This exhibition will serve as an opportunity to confirm the capability and potential of the new artists including those from Incheon.
<Planned Support for the Arts and Culture Skill-up> carried out from 2012 to 2013 based on the will of the Incheon Foundation for Arts and Culture, region's artists/groups and five new artists will be concluded with the programs to be held in Korea this year. We hope that the program that was carried out during the last two years would have helped <increase their capability> of the new artists like the project's name.
(Lee Hye-jin, Arts supporting team / Art Manager, Incheon Foundation for Arts and Culture)
Man Li_Performance in 1999
INTER-CULTURING NETWORKING
－THE THOUGHT-FORMS OF HONG KONG-SHENZHEN-INCHEON / CHANGE
Exhibition tends to be object-and material-based. The strategy of inter-culturing networking opens up the process of cultural production, interpretation and reception. As a form of process-based exhibition, intercultural networking is now taken as an ideated curatorial platform to generate new layers in terms of visual ideas, concept-forms and territories of unknown. The exhibition does not endorse the conventional view, which perceives cultural exchange as a net function to present visual form, exhibition value, or cultural difference… Inter-culturing networking enriches the concepts of “exhibition” and encodes “a new layer” of aesthetic and thought-form, helping to view/ re-view the visual-form or artwork presented and approaching/ re-approaching the city under-discussion. In the course of development, the formative process of exhibition forges discursive communication and interrogates how ‘the local’ meets up with ‘the visiting global’, or how ‘the visiting global’ and ‘the local’ concepts unify to become a thought-form of ‘oneness’, or broader. The project explores the psyche, and the interchange of the ‘subjectivity’ and the ‘objectivity’ in the fleeting era of globalization. It decodes the aspect of mind or memory: the shift of identity in-between disordered city spaces, reinvigorated public spheres or realms in diaspora in the course of x/ change-cum-exhibition.
(Andrew LAM, Curator of MOST)
Ok Gyeong-rae_Incheon Series_variable size_UV ink on aluminium_2011
Reproduction Series-kaleidoscopic Me 2_Video via kaleidoscope_Veron Sung
YEMI - human society appears in the eyes of animals_64x96cm_2012
yuenjie MARU_Virtual Drawing for Yuen Jie (Performer)_Proposal for VB-HK 2007
vol.20131010-나는 어떻게 될 것인가展