photoview 2013.4(april)-b

PhotoView ISSUE 14 APRIL 2013

2013. 4-b

PhotoViewIssue.14

Photography exhibitions eMagazine

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Archival Pigment Print

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Jo Choon-Man , Pigment Print 110x200cm

PhotoView Contents

2013.4-bJo Choon-Man

Park Nohae (Eng, Kor)

Sean Se Hwan Roh (Eng, Kor)

(Eng, Kor)

Georges Rousse (Eng, Kor)

Kim Jeeyoun

Jinhwon Hong

Rocky Schenck (Eng, Kor)

Lee Seungjae (Eng, Kor)

Jang Deok Yoon

Tracing Light (Eng, Kor)

Lim Sang Sub

Park Seyeon (Eng, Kor)

Choung Jin-Gu

KYUNGWOO CHUN

Lee Young Seop

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. -, , Eye to I, Desire, Conceptual Form

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New York, Kid Nostalgia

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/(Grigo)

PhotoBook

DSLR !

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100

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130174mm, 256, 16,000,

2013 4 15

ISBN 978-89-93818-52-9 13660

PhotoBook

Jo Choon-Man

INDUSTRY KOREA

2013. 4. 17 ~ 4. 30Gallery K

3 1463-10 B1, 02-2055-1410

www.galleryk.org


Jo Choon-Man , Pigment Print 110x165.5cm

Jo Choon-man,

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Park Nohae

Q'EROTCA

2013. 3. 1 ~ 7. 10Ra Cafe Gallery

44-5, 02-379-1975

www.racafe. kr

Chalmachinpana, Cusco, Peru, 2010.

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Morning scenery of Q'eros

Chalmachinpana, Cusco, Peru, 2010.

The Q'ero live in the highest place--clean and chilling,

5,000 meters above sea level--of the Andes Mountain

Range, the spine of the earth. It's a land with neither

electricity nor roads: it's a land where the innocence of

genesis had rooted in. The Q'ero, descendants of the

Inca, have been sustaining their indigenous lifestyle in

isolation from outer world almost for last 500 years.

The Q'ero village with small stone buildings which are

humbly settled stores a sacred energy within it.

On the way to Cochamuco, Cusco, Peru, 2010.

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Vanguard stpesOn the way to Cochamuco, Cusco, Peru, 2010.

From the Q'ero village embraced by icecaps, people

stumble along the road chewing coca leaves in its thin

air suffocating to walk even ten steps. They are the

vanguard of the mankind's zenith, strong enough to

have survived the severity at the highest and deepest

place of world. The young Q'ero man, with his wild

life wrapped in his alpaca garment, climbs the icecap,

stepping like vanguard in solitude.

Park Nohae

Big gratitude for small potatoesChua Chua, Cusco, peru, 2010.

Q'eros is too high for other crops to grow: only potato

is strong enough to survive the condition. Once you

harvest potato, you must let the land lie unplowed for as

many as six years in a row. The potatoes are the smallest

among world, yet hard and tearful. "The potatoes

from Q'eros are small but we are really grateful.' In the

severe land sterile of a tree, the Q'ero people are boldly

continuing their self-relying lives.

Chua Chua, Cusco, Peru, 2010.

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Park Nohae

When the sun rises

Cochamuco, Cusco, Peru, 2010.

When the sun rises through fog of icecaps it's time to do

washing with melted ice and dry them in the sun. They

do not let their lifestyle harm anything, yet they produce

what's necessary for the mankind. They willingly accept

their limitations like material deficiency, yet they bloom

their lives with their utmost efforts. The Q'eros remain

as the mankind's last offspring of hope. Are they not

omega and alpha of the mankind?


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Park Nohae


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Spinning aroundCochamuco, Cusco, Peru, 2010.

Students of remote villages have to come over the steep

alps for two or three hours in dawn. In their wrapping

cloths fastened in their backs, there are baked potatoes

and homemade cheese to be shared with friends. During

the breaks, everyone starts dancing in a circle singing

their traditional songs with their hands held together.

Park Nohae

On the way to Pirqui, Cusco, Peru, 2010.

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A boy and his sister raising alpacasOn the way to Pirqui, Cusco, Peru, 2010.

A boy and his little sister who raise alpacas are staring

beyond the alps. The girl has not seen electric light or

an automobile yet. Q'ero village is always submerged in

deep darkness but there is never any dispirited darkness

found in hearts of Q'eros people. Along with the strong

hearts the children have innocent flames in their eyes.

Park Nohae


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Going over alps playing the quenaCochamuco, Cusco, Peru, 2010.

Quena is Inca's traditional instrument said to have

history of being made with a lover's bone after his/

her death. Daddy plays Q'ero traditional songs to his

daughter as he walks over the mountains. The sound of

quena, sorrowful as if it resounds in heart of a grudged

land, continues indefinitely and the old lifestyles parade

too continues, yet seeming to end today. Woe is me!

What should I sing for my fellow child?

Park Nohae

Huallpacunca, Cusco, Peru, 2010.

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Cairn of Coca CeremonyHuallpacunca, Cusco, Peru, 2010.

Q'eros people on their way back home across

mountaintops would put three coca leaves and one

stone on a cairn as an offering for Pachamama, the

Earth Goddess and Apus, Mountain Gods as they pray

for safe trip back home with thanks for the day. The

spot where an icecap melted away decades ago now has

become a barren land where a clump of grass cannot

even survive. The truth never changes: 'When the best

falls, the worst comes.'

Park Nohae


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Girl raising alpacas of Q'erosCochamuco, Cusco, Peru, 2010.

When the sun rises upon Q'eros frozen overnight, dew

on grass glows with a dazzling light. Stone houses

from every village are puffing out smokes from baking

potatoes, and alpacas who have been enduring the

chilling temperature by sharing their warmth now move

back and forth with desire for the mountaintop full of

sunshine. Celestina with a strong heart seasoned by

the icecaps runs to the morning mountain faster than

alpacas

Park Nohae


3 .

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Direct Democracy of long standingcochamuco, Cusco, Peru, 2010.

Ronda Conferencia is Q'ero tribe's general meeting

held quarterly. It's an important meeting, where the

entire population of seven Q'eros villages gathers in one

place to decide all sorts of matters. With consents of

the villagers, I had a privilege to become the first visitor

to attend the meeting. The meeting lasted six hours in

snow and rain with over 130 people--men and women-

-of all ages sitting in a circle. It was an amazing site,

realizing direct democracy, where unanimity--rather

than majority--was reached on ideas and women and

children were all deeply involved in the meeting.

Park Nohae

Yanacancha, Cusco, Peru, 2010.

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The path I am onYanacancha, Cusco, Peru, 2010.

We are still walking knowing neither where we came

from nor where we are heading toward. Our laborious

footsteps are scattered by wind as a fistful of dew is. But

there's no need to fear. Here we are walking the solitary

path with you.

Park Nohae

So, dont vanish away Therefore, dont make yourself disappear!

Park Nohae

On our way of climbing up to

The highest and remotest

Of To the snow-capped peaks of the Andes Mountains,

Where the Qero tribe nestles to,

We climb up in search of the Qero community.

Appears ebony plateau in complete silence,

Only bothered by the sound of stones in darkness

Rolling down the giddy precipice from a narrow path

Of our ascending forward while losing our breath in rare air

The rare air makes us short of breath even in a few footsteps,

while the kicked stones tumble down over the giddy precipice,

breaking the everlasting stillness on the plateau in the pitch-dark night.

Has ever Has the darkness ever been such a heavy, thick, and dreadful thing?

Utterly exhausted and trembling with in the coldness,

We kneel down scared by the horror of approaching death.

possessing me.

Oh! Is it truly a mirage?

There, far away from between the snow-capped peaks,

Gleams a dim light in the darkness.

We are saved.

A small kerosene lamp of a Qero youth

Calling us from afar at a loss at darkness,

a Qero youth stands with a small kerosene lamp.

Just a dim gleam of light glimmering afar

Is enough for the people now losing their path.

Even in such a great and deep darkness of the night on the snow-capped peaks,

the light of the small and dim kerosene lamp was enough.

Though world Todays world is dark as night pitch,

And hope goes away in straying hopes being breathless horror,

A blink of light, as long as it lights there, while even the mere existence of an accidental light

Can save us and keep us to walk forward. yet prevents our failure.

I know there still shines a light

That darkness can never know, incomprehensible by the darkness,

Goodness that evil can never understand,

Human spirit that barbarism can never break,

And hope that defeat and despair can never destroy.

They are still glimmering in the darkness.

there is incomprehensible light such a light, I know.

The goodness incomprehensible by the monstrous evil,

the human spirit incomprehensible by the barbarity,

and the hope incomprehensible by the defeat and despair are glimmering on, I know.

Though where there is no hope to find

Because evil dominates all overwhelmingly,

What if one man stands there holding his lamp and soul like him

As the last person to surrender, however powerless he is?

Although such a strong and insistent spirit of evil seems dominant,

There is a person who stands with a dim light, without losing ones own soul,

in the age when it is impossible to find hope anywhere,

as the last one who is powerless but not daunted at all.

Because the last person becomes the first one, person,

One person will be enough to make a hope.

Only if he is alive there with such an invincible spirit,

That no evils over the world can threaten,

Evil should be lost and defeated in the end.

so that just one person is enough for our hope.

Even though all the dark and evil powers of the whole world are mobilized,

if a person, who is never defeated, is alive,

they are totally failed and defeated.

Life is a miracle,

Hu Man is a mystery,

Hope is an everlasting one. immortal.

So, thou, only if You, if just a dim light is still there alive,

Dont vanish away from us.

therefore, dont make yourself disappear!

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Sean Se Hwan Roh

Meltdown, Concrete Reapearance of Delusio

2013. 4. 10 ~ 5. 2GALLERY MANO

1451-95 4, 02-741-6030

www.manogallery.com

Sean Se hwan ROH , Is a lemon yellow_001 50x50cm 2013

Sean Se hwan ROH , Is an Apple green_001 100x120cm 2013

Sean Se hwan ROH , Is an Apple red_001 70x90cm 2013

Sean Se hwan ROH , 001 175x250cm 2013

Meltdown, Concrete Reapearance of Delusion

Written by Seah ROH

I would like to show that people see read the point of view between manipulation and reality after looking at the

photos without any manipulation but which seem to be manipulated. There are events that people donot feel at

all even though they always happen in the world, and on the contrary, there are the ones they think happen due

to several collected evidences even though they don't actually happen. These two phenomena are very opposite,

but they look very similar to people. And, whatever the truth is about this, it is difficult for people to feel the event

because it is so unrealistic or their behaviour is more than necessary because they know it based on intelligence.

Anyhow, these two have something in common which feels unrealistic even though they are real.

Such things are felt as trivial even though they are really great like the air that performs thankful works enabling us

to breathe and live, and on the contrary, they are felt as great if they learn from the knowledge, though it is very

natural if following the origin of life on earth.

Such things are shown to the people who are experiencing the global warming, however, its influence on the

ecosystem of earth, as a lot of the media has already insisted on the phenomena of global warming and its risk and

it is a scaring phenomenon that seriously puts the existence of human beings at risk as well as other animals on

earth if it lasts for long time. On the other hand, there are people who say that it is not a big problem realistically

because the time of measuring data so far is much shorter than the whole life of the earth, but how do the ordinary

people who accept such phenomenon recognize that assuming this is all true? If they are not some sort of scientist

or people who are interested in the ecosystem of nature, it is difficult for people to feel it directly because this

phenomenon is so abstract and unrealistic and it is also hard to find people who are really concerned and afraid

of it because there are many more realistic and serious prior tasks to be resolved. All the more the people who are

extremely concerned about it are rather often called paranoid. Of course, it is true that household waste is separated

and collected owing to frequent promotion of national policy or peoples interest is raised a lot, but it is difficult for

them to get to the basis of the insistence saying that peoples concern over the global warming is not abstract.

Like this, though certain issues are sometimes so abstract that people cannot feel them as they are, it is hard to

disregard with them because they are so realistic. The Meltdown project was begun to show the gap between such

reality, which is difficult to forecast or accept as it is because it is so abstract, by showing the unrealistic shape where

there is nothing to be melted down. Liquid paint flows down the surface of the object, in reality the paint becomes

hardened.

2009 U.C.L., Slade School of Art,

2005

Selected Solo Exhibitions

2013 , ,

2012 Meltdown, ,

2012 Meltdown, Adirondack lakes Center for the Art, ,

2010 , ,

2008 08, , ,

2007 Little Long Moment, ,

Selected Group Exhibitions

2013 Unordinary Sight, ,

2012 , ,

Still Lives, Sarah Myerscough Fine Art, ,

Healing Camp, ,

My Muse, ,

High Times, Hard Times, ,

Sasapari, Barge house at Oxo tower,

Art and Cook, ,

2011 My Muse, My London, , ,

Art and Cook, ,

Korean Art Show, ,

Virtual Mapping on the body, Sun contemporary,

Cross the threshold, the Medium,

Awards

2013 ,

2011 Maburea award

2009

2008 ASYAAF prize,

2008 -,

2008 ,

Public Collections

, ,

Sean Se hwan ROH

2012 MFA Fine art Media, Slade School of Art UCL, London, UK

2005 BA Fine art Painting, School of Fine art Kyunghee Unversity , Seoul, Korea

Solo Exhibitions

2013 Meltdown-Concrete Reappearance of Delusion, Gallery MANO South, Seoul, Korea

2012 Meltdown-Concrete Reappearance of Delusion, Pyo Gallery South, Seoul, Korea

2012 Meltdown-Concrete Reappearance of Delusion, Adirondack Lakes Center for the Arts, New York, US

2010 Making apple jam on the Christmas day, PYO Gallery South, Seoul, Korea

2008 One second for each, Gallery Joong ang , Dea ku, Korea

2008 a Point of view for New world 2008, Gallery Kobayashi, Tokyo, Japan

2008 One second for each, Moonshin Museum, Seoul, Korea

2007 Little Long Moment, Gallery MANO, Seoul, Korea

2006 Roh, sean Photography, Gallery Jung, Seoul, Korea

2006 the One-eyed Green Traffic Signal, In-sa Art Center, Seoul, Korea

Group Exhibitions

2013 Unordinary Sight, Hong Kong Harbourcity, Hong Kong, China

Seoul Digital University Art Award, Se Jong Art Center, Seoul, Korea

2012 Christmas in Korea, Lotte Gallery, Seoul-Pusan, Korea

Print bakery, Horim Art Center- Seoul Auction, Seoul, Korea

A Fantastic White Paper, Dream Forest Art Center, Seoul, Korea

Still Live, Sarah Myerscough Fine Art, London, UK

Healing Camp, Gana Art Center, Seoul, Korea

My muse, My London, Sun-jea Art Centre, Seoul, Korea

High Times, Hard Times, Gallery Inter-alia, Seoul, Korea

Sasapali, Oxo Tower, London, UK

the Collection, Galley Maburea, Cheshire, UK

Hong Kong in My Mind, Kuem San Gallery, Seoul, Korea

Art and Cook, Sang sang talk talk Museum, Seoul, Korea

2011 Art and Cook, Sejong Art Center, Seoul, Korea

My muse, My London, Korean Cultural Center, London, UK

Korea Art Show, New york. U.S.A

Virtual Mapping on the body, Sun contemporary, Seoul, Korea

Cross the threshold, The Medium, Seoul.Korea

2010 Lifescape in Art, Pohang Museum of Steel Art, Pohang

2009 Song Eun Art prize, Insa Art Center, Seoul, Korea

Aim High, Special exhibition from Joongang Fine arts Prize, Seoul Art Center, Seoul, Korea

Body Speaks, Touch Art Gallery, Heyri, Korea

Dissipation and Return- Kyung bok metro Museum, Seoul, Korea

Roh, Sean- Jun, young ki 2men Show, Mano Gallery, Seoul Korea

Artists of the Future, Gallery Rho, Korea

Heropia, SEO Gallery, Seoul, Korea

2008 In the Moment, Gallery Cha, Seoul, Korea

Nature from Factory, the Gallery, Seoul, Korea

The bridge, Gana Art Center, Seoul, Korea

Before the Blooming Season, the Kang-Nam wards office building, Seoul, Korea

ASYAAF(Asia Young Artists Art Festival), the old Seoul station-Cho sun Newspaper daily, Seoul, Korea

Mini Room, Gallery Park Ryu Sook, Seoul, Korea

Practical Art, Gallery Seo, Seoul Korea

30th Joongang Finearts Prize, Seoul Art Center, Seoul, Korea

Korean Contemporary Art, Cite International Des Arts, Paris, France

memory is the taste., In-sa Art Center, Seoul, Korea

Atelier Artists, In-sa Art Center, Seoul, Korea

Big and Hip_Korean Photography now, Gallery Rho, Seoul, Korea

2007 Light scape(Duet Exhibition), Gallery William Morris ,Heyri, Korea

the Blur, Mook Gallery of Contemporary Art, Beijing, China

Jang Heung Art Park Open Studio, Jang Heung Studio, Jang heung, Korea

Heyri Young Artist Project, Gallery Keum san, Paju, Korea

Imagination, Gallery Jung, Seoul, Korea

The Extra Time, The Gallery, Seoul, Korea

Some Place Some Time, Decoya (Seo Gallery), Seoul, Korea

2006 Jang Heung Art Park Open Studio, Jang Heung Studio, Jang heung, Korea

Drawing Love Letter, TTL Zone, Seoul, Korea

Digital Analog Nostalgia, Mun Hwa Il Bo Gallery, Seoul, Korea

2005 the Voice of Young Artist, Shiji Hanmohualang, Beijing, China

2003 Photography/Installation, Gallery Han gang, Seoul, Korea

Projects

2012 New Caledonia Project, New Caledonia, France

2011 Hong Kong In My Mind, Hong Kong, China

2007 Pubic Photo Project, Dongdaemun stadium Station (City Gallery Project - Seoul City Council)

2006 the 4th Project for patients , Lee, Hong chul Hospital, Bu-chun, Korea

Art fair

2013 Asia Hotel Art Fair, Hong Kong, China

LA Art Show, LA Convention Center/South Hall, LA, US

London Art Fair, Sarah Myerscough Fine Art, London, UK

2012 Art Asia, Co-ex, Seoul, Korea

KIAF- Seoul

Asia Hotel Art Fair, Seoul, Western Chosun Hotel, Seoul, Korea

Asia Hotel Art Fair, New Caledonia, France

Korea Galleries Art Fair - Seoul

Asia Hotel Art Fair, Hong Kong, China

Art Edition- Seoul

2011 Art Edition- Seoul

KIAF - Seoul

Asia Hotel Art Fair, Seoul

Seoul Photo Fair- Seoul

Korean Art Show- New York

2010 KIAF - Seoul

Art Edition - Seoul

2009 KIAF - Seoul

Salon des Art Seoul - Seoul

Korea Galleries Art Fair - Seoul

2008 SIPPA - Seoul

Awards

2013 Art Support Program, Seoul Foundation for Art and Culture

2013 Seoul Digital University Art Award

2009 Song Eun Art Prize

2008 ASYAAF Prize, Cho Sun Newspaper daily

2008 30th Joongang Finearts Prize, Chung Ang Newspaper daily

2008 Korea Culture & Arts Foundation, Selected Artist for New start Program

Public collection

2012 Seoul Museum of Art

2009 Koreana Museum

_Bewitched #1_C _150120cm2_2001

_Bewitched #10_C _150120cm2_2003

_Afternoon Nap _C _203168cm_2004

_I Want to be a Singer _C _8096cm_2004

_ms sparcle

_Painter

_Rabbit Family

_Snow white

_The Hip Hop Project(1)_ _75101cm_2011

_Hispanic Project (20)_ _7154.1cm_1998

_The Tourist Project(13)_ _101.575cm_1997

_The Yuppie Project (4)_ _5471.5cm_1998

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Georges Rousse

Space, Fiction and Photography

2013. 4. 15 ~ 5. 25Hangaram Art Museum, Seoul Arts Center

5-6

2406 , 02-580-1300

www.sac.or.kr

Georges Rousse

Georges Rousse

Explore the Exhibition

Seoul Art Center(SAC) is very pleased to invite Georges Rousse who is one of the most prominent installation artists

in the world from France to commemorate 25th foundation day of SAC. The exhibition will be held from 15th

April 2013 to 25th May 2013 under the title ofSpace, fiction and photography. It consists of three parts; a new

memorial work of the 25th anniversary of SAC, several existing works created in the beautiful spots of the world

and some of photographs and videos shooting every process of making the works.

First, for this fantastic project, Georges Rousse will design and install his works in SAC from the middle of March

to April 2013. During the installation, the process is supposed to be recorded as photographs, which will be mainly

put on display in Hangaram Art Museum. Some of the installation pieces including the commemorative work will

remain in SAC during the exhibition. Pre-applied volunteers are going to involve the whole installation process. It is

expected that this exhibition will provide our audience with unconventional and innovative experience of modern

art.

Secondly, his established photographs which he possesses in Paris will be on the exhibition. In his photographs,

Georges Rousse compels us to read architecture as static, images as immobile, then gradually transforms our

perception of Space and Reality. The final photographic image perturbs our visual habits and convictions by

presenting three kinds of space: the real space, where he makes his installations; an imaginary utopian space, which

the artist invents and then carefully builds at his chosen site; and a new space that is visible from only one spot when

he clicks the camera shutter, and exists only in the photo.

A kind of new experience therefore occurs in the image, a spiritual dimension--a dimension more powerful than

reality that comes from appropriating, using and transforming a place before its destruction. This is the experience

that comes from Georges Rousse's work.

At last, there will be a various drawings, pictures and videos catching the creative process on. Audience will be able

to understand the way how he works with dimensions and lines. The convergence of spaces goes beyond a visual

game: Like a hall of mirrors, enigmatic and dizzying, it questions the role of photography as a faithful reproduction

of reality; it probes the distances between perception and reality, between imaginary and concrete.

About Georges Rousse

When he was 9 years old, Georges Rousse got the legendary Kodak Brownie camera as a Christmas gift. Since

then, the camera has never left his side. Attending medical school in Nice, he opened his own studio dedicated to

architectural photography. Soon, with passion he devoted himself entirely to photography.

After he discovered Land Art and Malevich's Black Square against a white field, Georges Rousse invented a unique

approach that shifted the relationship of painting to space. He began making installations in the types of abandoned

buildings, creating ephemeral artworks by transforming these sites into pictorial spaces that are visible only in his

photographs.

Crossing the border between artistic mediums, his unique body of work quickly made its mark on the contemporary

art world. Since 1981, Georges Rousse has continued creating his installations and showing his photographs around

the world, in Europe, in Asia (Japan, Korea, China, Nepal.), in the United States, in Quebec and in Latin America.

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Georges Rousse is an amazing photographer. His subject is Space: the space of deserted buildings. Taking his

inspiration from a site's architectonic quality and the light he finds there, he chooses a "fragment" and creates a

mise-en-scne, creating a photographic image. His creation both expresses his artistic intentions and reflects his

feelings of the site, its history and its culture. At last, this results in a final photograph, a flat plane, so the shapes

he paints and draws, and the volumes and architectural constructions he creates in those massive spaces seem

fractured or split on different levels. His photographs gather painting, architecture, and drawing altogether in

them. While they evoke the memory of a place and its poetic metamorphosis, his photographs also deal with

humanity in industrialized society, and the traces he leaves behind on the environment. Forgotten in ruins or

slated for destruction, the sites where his installations are act as a metaphor for Time as it hurtles toward death. By

transforming this idea into works of art, Georges Rousse gives them a new life, even though it is fleeting.

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Temporary landscapes

2013. 4. 16 ~ 4. 25SPACE99

99-1, 02-735-5811

www.space99.net

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Rocky Schenck

Illusion of memory

2013. 4. 16 ~ 5. 30gallerydooin

728-40 B1, 02-567-1212

www.gallerydooin.com

Rocky Schenck, 9th and Lake, 16.5X24inches, hand tinted silver archival photographic, Los Angeles, 1980

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Rocky Schenck, 27Points, 16.5X24inches, hand tinted silver archival photographic, Mexico, 2002

Rocky Schenck, Elephant 16.5X24inches hand tinted silver archival photographic Los Angeles 2011

Rocky Schenck, Gazing Ball, 16.5X24inches, hand tinted silver archival photographic, Paris, 2004

Rocky Schenck, Odyssey, 16.5X24inches, hand tinted silver archival photographic, Cape cod, 2000

Rocky Schenck, TheRecurringDream 34.5X52inches hand tinted UV print Los Angeles 2011

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Edelman Gallery(Chicago), Jackson Fine Art(Atlanta), Stephen L. Clark Gallery Wittliff

.

Rocky SchenckBy Elisabetta Piatti

He recently photographed Frances Bean Cobain, who had

contacted him for a portrait session and ended up becoming

his inspirational muse. She will be appearing in his new

series of color photographs - a yearlong project which will be

exhibited at M + B Gallery in Los Angeles when completed.

As we go to press, he just photographed the legendary Eli

Wallach, who will be receiving a Lifetime Achievement Oscar

at the upcoming Academy Awards. He is currently working

on his second photography book, and is in discussion with

interested publishers.

As a commercial photographer and a filmmaker, he is

requested by actors, writers, artists and musicians, as well

as leading international publications. His portraits reflect a

meticulous expertise that leaves nothing to chance, exhibiting

a passion for the vintage ambience of the films of yesteryear.

Here, we present Rocky Schencks fine art work, part of his

ongoing and personal experimentation with photography.

At first glance, this work appears to be drawings dipped in

dark ink, cut through here and there by blades of light. Fruit

of a solitary and vagabond imagination, they are scenes of

life stolen from anonymity to become part of a tale for which

each viewer can make up his own plot.

His work is included in major art collections around the world,

including the Wittliff Collections at Texas State University. The

Wittliff owns the largest collection of Schencks work, and

sponsored the publication of his first book, Rocky Schenck:

Photographs, published by UT Press in 2004 (now sold out).

Schenck lives and works in Los Angeles, and is represented

by the following galleries: M + B Gallery in Los Angeles,

Catherine Edelman Gallery in Chicago, Jackson Fine Art in

Atlanta; and Stephen L. Clark Gallery in Austin.

INTERVIEW

Z.: You are a tremendous lover of film, especially old films in black-and-white (which it seems to me have also inspired

many of your recent commercial photographs).

R.S.: I grew up rather isolated on a ranch outside a small town in Texas, where I spent much of my childhood watching

old films on TV before and after school. I became obsessed.

I decided I wanted to be a filmmaker, and I started writing,

directing, and photographing little movies. My Dad bought

me a twin lens Yashica still camera, and I

learned photography while shooting stills on the sets of my

little epics. My early films and photographs were all in black-

and-white as I attempted to duplicate the look of the vintage

films I saw on TV.

I moved to Hollywood because, at the time, I had dreams

of being a filmmaker and I wanted to experience this

incredible factory town first-hand where the cinematic

artists I so admired had lived and worked. I have a deep

respect for filmmakers, past and present. I will get in my

car alone at night and drive around the city to explore the

great old studiosMGM, Paramount, Fox, Warner Brothers,

Columbiaappreciating the incredible magic that was created

inside these massive sound stages. It probably sounds crazy,

but I look at these old studios as temples of creativity, where

wildly talented visionaries collaborated on movies that have

enhanced my life.

So to answer your question, yes, I am a tremendous lover of

film. One of my favorite films is currently playing on TV as I

type thisthe newly restored version of Metropolis.

Z.: Your photographs seem to rotate around two basic themes. The first being nature with its majesty and mystery

forests, lakes, rivers. The other the individual, often alone, in

closed interiors. How are these works created? What

is it that intrigues you about a woman alone, seated at a caf

table under soft lighting (Savannah), or the man taking a

break (Coffee Break)?

R.S.: Regarding the solitary figures inhabiting some of my

photographs, perhaps I look upon them as kindred spirits,

and I see myself in some of them. In many ways, I consider

myself a loner, and I relate to this quality in other people. In

the two photographs you mentioned, Savannah and Coffee

Break, these people were total strangers to me and unaware

that I was taking their photograph. I try not to call attention

to myself when Im out on my photographic journeys, so I can

shoot people in their environments without them noticing

me. I suppose Im guilty of blurring the line between reality

and cinema, meaning I sometimes look at life as if it were

a scene in a film and Im taking stills as the story unfolds in

front of me. Im a photographic eavesdropper, documenting

what I observe as I wander around with my camera.I look for

existing tableaus in life that tell a story, and I try to capture

it on film before I am discovered. When I am found out, it

s not always a pleasant situation, but I shoot first, then deal

with the possible repercussions later. When Im shooting my

art photographs, it tends to be a solitary existence in many

ways. This process allows me to escape into my imagination

and my thoughts, as I wander around with my camera

looking for subject matter that appeals to me. So many of my

photographs are spontaneous and unpremeditatedIll be

walking somewhere and Ill see something that intrigues me

and begin shooting. Or Ill find a location that is

interesting to me, and Ill patiently waitsometimes for

hoursfor someone to cross through my frame.

Z.: Another of your themes is the world of entertainment (Burlesque, Curtain Call, etc.).

What is your relationship to the theater?

R.S.: Wherever I happen to be in the world, I try to seek out interesting diversions and entertainmenttheater,

opera, variety shows, amateur talent shows, high school

productions, marionette theaters, burlesque, drag revues,

magic showsthe more unusual the better!

And of course I always take my camera with me. Curtain

Call was shot at a dress rehearsal of Bart ks Duke Blubeard

s Castle directed by William Friedkin. Mr .Friedkin, a collector

of my work, had incorporated several of my art photographs

as massive sets in this production, and had invited me down

to the rehearsal. He allowed me to roam around through the

theater and shoot whatever interested me, and this was my

favorite shot from that experience.

Z.: Something that is evident looking at your work is the contrast between the visual clarity of your commercial

photos and attention to every detail, and the more indistinct

approach which characterizes your fine art photographs. They

almost seem to be drawings rather than actual photographs,

drawings in which deep blacks and indeterminate greys

predominate. Can you explain your double soul to us? And

also, briefly, how you create your fine art photographs?

R.S.: I loved to draw when I was a child, and at around age 12 my parents enrolled me in an oil painting class. My

ancestors were classically trained artists who moved from

Europe to Texas in the 1850s, and I was a big admirer of

their work. I suppose I wanted to learn how to paint in the

rather romantic style of their paintings. I started selling my

little landscapes around age 13. At this same time, I became

interested in filmmaking and photography. I continued with

my art as I began my cinematic and photographic journey. I

ve continued with all three passions ever

since.

Im a self-taught photographer, so I didnt realize that the

protocol was to have only one particular style in photography.

I was too curious to settle for that, so I tried many different

approaches in my early years. I began experimenting with

portraiture and gradually people started seeing my work

and requesting sessions. Art directors saw my personal

art photography and began hiring me for commercial

assignments. I had never assisted another photographer so

I didnt really know how the business side of this process

worked, but I learned fast. While I was learning the ins and

outs of commercial photography, I continued working on

my personal art photography. I became fascinated with

the great pictorialist photographers who utilized a painterly

approach in their work. This was an important discovery for

me because I would finally be able to merge my knowledge

of painting with my photography. I had found a style of

photography that illustrated visually what I was feeling in

my heart and in my soul. I never reveal too much technical

information on how I physically create my work, but I still

shoot on film, and I use a lot of elements over the camera

s lens to create most of the effects you see in my prints. The

look is created on

the actual negative, not in a darkroom. I utilize the same

photographic tricks I learned when I first started making my

little movies when I was very young.

2011.01 zoom magazine

Lee Seungjae

Familiar Difference

2013. 4. 17 ~ 4. 23The K Gallery

192-6, 02-764-1389

www.the-k-gallery.com

Lee Seungjae _01_7days-Wall1, 100X137cm, inkjet print, 2012

Lee Seungjae _02_Wall1-201210041500, 60X50cm, inkjet print, 2012

Lee Seungjae _03_7days-Floor2, 100X135cm, inkjet print, 2013

Lee Seungjae _04_Floor2-201302021100, 60X50cm, inkjet print, 2013

Lee Seungjae _07_7days-Wall2, 80X135cm, inkjet print, 2013

Lee Seungjae _08_Wall2-201301021040, 50X60cm, inkjet print, 2013

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Familiar Difference

My every day is nothing more than ordinary. My visual

life is dull and numb. I encounter every day with only

trivial stuffs of my room like walls, ceilings, floors,

windows and a bed of my space.

However, regarding endless repetition of daily life, it is

powerful. Because we encounter them too often, we

seem forget how important these scenes are. Yet we

will live and die with these corny boring daily lives. There

is no escape from infinite repetition even revolution

occurs.

Repetition has the biggest role to make our lives

ordinary and nothing special. Meanwhile, how to make

difference from repetition is the only way to make

difference. From a step behind, identical things are not

identical anymore.

My work reveals repeated the seeing through

photographical process. I seek my daily life with it. Every

scene is a corner of my house and studio. I repeat seeing

it with the camera, it breeds differences through the

repetition of seeing and finally, I create new scenery by

collecting the differences.

Lee Seungjae

[]

2006

2010

2013. 3

[]

2013. 4. ,

2012. 12. BE MY SANTA CLAUS (charity party),

2012. 11. In-sight,

2011. 8. ASYAFF2011,

2011. 11. Post-Photo,

Education

B.A., Psychology, Korea Univ., 2006

M.A., Clinical and Counseling Psychology, Korea Univ..

2010

Photography, Hong-ik Univ., Current

Exhibition

BE MY SANTA CLAUS(Charity Party), Beyond Museum,

Seoul, Korea, 2012

In-Sight, HOMA, Seoul, Korea, 2012

Post-Photo, Gallery Gong Art Space, Seoul, Korea

ASYAAF, Hong-ik Univ., Seoul, Korea, 2011

How are you? Where are you?

When burdens squeeze on me and razor sharp winds make me kneel, I drily whisper myself, Why is the life so harsh

on me? Why cannot I live like other people? Live like other people... Sounds modest and simple but I declare no

one can live like other. Other seems ordinary, standard and universal but in fact, other is just another name of

infectious desire with ever changing.

If I cant live like other people, then I live as who I am. It seems easy and doable but unfortunately, I dont know who

I am. There isnt any chance to gain an insight about myself at the proper moment and hardly discovered I is just

complex desire which reflection of others.

We are anxiously missing I but the other hand, continuously other-oriented. We have been living such antinomical

life. They are apart each other too far away to hold both sides. Unfortunately, we only have one chance for a life to

let go both sides. It is a journey to seek a vague answer by hanging on boundary between them. Confusing journey

but obvious conclusion may mean the life

It is just a mumbling which Lee Seungjae brings it to me.

Sunrise& Sunset

Sun and moon share the sky. Warmness of day light encourages a production and silence of night serves a rest.

Brightness shines materials to lead a knowledge and darkness embrace minds to wake up a spirit. From the

beginning, harmony of Yin and Yang supply a vital to this land. It is a rule of nature and all creation comply the

rule. However, selfishness of shallow human tackles the rule of nature. Human divides the world and names them

good and evil with their own benefits. Awareness from knowledge cut out the world under the name of rationality.

Unconsciousness from the spirit gets accused as superstition and error. Logic of standardized group gets harder like

rocks and infinite possibility of individual fades away like a candle.

After human makes Yin and Yang as antipode by using shallow knowledge, human forgets the harmony of

conscious and unconscious.

7days

A day is a spin of the earth. The moon circles around the earth. When the moon circles around the earth once, the

earth spins about 30 times. It is a month. Just like the moon did it for the earth, the earth circles around the sun.

When the earth came back after full circle of the sun, the earth spins 365 times and the moon circles around the

earth 12 times. It is a year. A year, month and day are all made by Mother Nature. However, a week is not same as

7 days. It is entirely artificial concept by human.

The week repeats without change of the nature. The week is a time concept from faith of ancient nomadic

Jewish who less sensitive about changing of the nature. They took physical labor and copied work pattern of their

god because they believe they are descendant of Adam and Eve with original sin

Catholic, child of Judaism, dominates idea of Europe through Roman Empire to industrial revolution that conquers

the world. Therefore, the week, artificial time concept, plants everywhere beyond dry land of Middle East.

Nowadays, the week links with capitalism and force 5 days of work to everyone that against individual rhythm.

In and Out

There is no creature out there more sensitive than human about boundary between in and out. Human raises a floor

from the bottom to press humidity, builds a wall to block the wind and lifts ceiling to cover the sky. Human draws

artificial borders from the nature and creates boundaries in the middle of in and out.

In and out. Come in and go out. When something is inside which means contains or lock up and outside is thrown

or be free. On the other hands, spirit is more free and painful at inside and imprisonment and fresh at outside. Inside

urges isolation but guarantee the safety. Outside allows communication but brings danger.

There is crystal clear fence between inside and outside. However, ironies lie scattered on the sharp boundary like

almost brain stop. We worship the outside and hide bottom of inside with all kinds of ironies.

Bracketing

I guess majority of camera users knows the concept of bracketing. I add unnecessary explanation of bracketing for

non-camera users. Bracketing is not hard. Photography is a painting with a light. In order to draw proper painting, it

needs to control proper amount of light. Bracketing is a bundle of results which variety exposure of lights and also,

discovering process of proper amount light.

Normal exposure means the most proper amount of light. Over exposure is too much light and under exposure

is too dark. Standard to decide over or under is 18% of reflection rate of the subject by an exposure meter.

However, this mathematical number does not guaranteed perfect normal exposure. True normal exposure is up to

only the photographer. This is why bracketing for. Photographer chooses what normal exposure is out of different

shots of variety exposures by an exposure meter.

It is never easy work. Especially, it is torturing process for passionate photographer. Looking for very subtle

difference requires patience and effort.

Lee Sung Jae focuses on Yin & Yang and consciousness & unconsciousness using dawn and twilight. 7 days,

humans attach with cycle of the week that frame themselves. They use ceilings, walls, floors, and windows to gaze

something right on the edge as caged man. Lee applies the bracketing here as photographic language.

Bleaching subjects wonder around brightness and darkness with 7 days of dawn and twilight. Take a guess what Lee

whispering about. Somebodys interpretation of Yin & Yang and tedious circle of daily life, between forced desire

and infinite identity.Journey of nobody to find blur image of equipoisein the endit is a life of you and I.

On the way back home, I shall make a call for someone I almost forget. How are you? Where are you?

Kim Taejung(NUDA Gallery)

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Tracing Light

2013. 4. 19 ~ 5. 31 (Ben Nixon), (Chris McCaw),

(Klea McKenna), (Linda Connor)

Art at the Asan Institute for Policy Studies

2 1-176, 02-730-5842

asaninst.org

Ben Nixon, Yosemite, Homage to Carleton 18"x15" Gelatin Silver Print 2009

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Seeing the light with our eyes is a beautiful thing. Do you remember the light that first greeted you at the time

of your birth? With the very first breath, there is life's first light that divides existence from non-eistence. Death

probably isour way back to the darkness as light exits our body.

A photograph is a trace of blessing where light touches one's life. I think it is very important to remember the

true essence of photography, because it makes us re-think about the meaning of light that is captured in our lives.

Moreover, a photograph is our desire to put significant meaning to life's ordinary moments. The moment that light

touches the world's beauty, life turns into a poem.

Photographers are magicians, holding a black box and standing right between the light and the darkness. They

speak to the world using the secret language of light. To them life is where light and shadow meet and intertwine

together. And an ordinary moment is reborn and given a name when captured by the eyes of a photographer.

The 4th issue of Gitz introduces four photographers from the American West. In a world that seeks fast and

convenience, here we present four photographers who are going back in time to capture the true essence of

photography. The light that enters their window somewhat resembles the light that we first encountered at birth.

The light and the darkness being alive wonderful and yet mysterious. Being able to see the light's drama captured

by these four photographers is truly an amazing thing.

Joo Sangyon

Ben Nixon, Giant Ponderosa, Modoc 15"x18" Gelatin Silver Print 2008_2009

Ben Nixon, Volcanic Ash along the Crooked River, Oregon18"x15" Gelatin Silver Print 2008

Ben Nixon, Crack in the Ground, Oregon18"x15" Gelatin Silver Print 2008

Ben Nixon, Granite Dome, City of Rocks 18"x15" Gelatin Silver Print 2009

Ben Nixon, Mono Craters 45"x37" Archival Inkjet Print

Ben Nixon, Mono Craters 18"x15" Gelatin Silver Print 2009

Ben Nixon, Sierra Landscape 45"x37" Archival Inkjet Print

Ben Nixon, Volcanic Ash 45"x37" Archival Inkjet Print

Chris McCaw, Sunburned / GSP#28 (Manteca), 20"x16", unique gelatin silver paper negative, 2006

Chris McCaw, Sunburned / GSP#112 (Manteca), 10"x8", unique gelatin silver paper negative, 2008

Chris McCaw, Sunburned / GSP#604 (Manteca), 20"x24", unique gelatin silver paper, 2012

Chris McCaw, Klea McKenna, Slow Burn / East River From the series Slow Burn, 14"x11", Chromogenic contact print of a folded 4x5 negative, 2010

Chris McCaw, Klea McKenna, Slow Burn / Interstate5 From the series Slow Burn, 14"x11", Chromogenic contact print of a folded 4x5 negative, 2010

Chris McCaw, Klea McKenna, Slow Burn / Lagunitas Creek#3 From the series Slow Burn, 14"x11", Chromogenic contact print of a folded 4x5 negative, 2010

Chris McCaw, Klea McKenna, Slow Burn / Interstate5 From the series Slow Burn, 14"x11", Chromogenic contact print of a folded 4x5 negative, 2010

Chris McCaw, Klea McKenna, Slow Burn / Old Camp Meeker Road From the series Slow Burn, 14"x11", Chromogenic contact print of a folded 4x5 negative, 2010

Chris McCaw, Klea McKenna, Slow Burn / Lagunitas Creek From the series Slow Burn, 30"x38", Chromogenic contact print of a folded 4x5 negative, 2010

Linda Connor, Eclipse / June 8, 1918, 20"x24", contact printed in sunlight on printing our paper with the original glass plate nagative

Linda Connor, Eclipse / April 16, 1893, Chile, 20"x24", contact printed in sunlight on printing our paper with the original glass plate nagative

Linda Connor, Eclipse / December 1 1948, 20"x24", contact printed in sunlight on printing our paper with the original glass plate nagative

Linda Connor, Eclipse / September 12, 1922, Austrailia, 24"x20", contact printed in sunlight on printing our paper with the original glass plate nagative

Linda Connor, Eclipse / January 22 1898, Austrailia, 24"x20", contact printed in sunlight on printing our paper with the original glass plate nagative

Linda Connor1944 SFAI(San

Francisco Art Institute) 40 .

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Klea McKenna UCLA UCSC Florence Art Institute

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Make(www.inthemake.net) .

Ben Nixon 1981 . 2002 (Maine)

Arthur Tress, Arno Rafael Minkkinen

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Chris McCaw 30x40 .

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Lim Sang Sub

The Earth

2013. 4. 23 ~ 4. 28Ryugaheon

7-10 / 3 4 , 02-720-2010

www.ryugaheon.com

Lim Sang Sub , , 60x60cm, digital c-print, 2012

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Lim Sang Sub , snowball, 120x120cm, digital c-print, 2013

Lim Sang Sub , ASPHALT Earth, 150x150cm, digital c-print, 2012

Lim Sang Sub , filrball, 100x100cm, digital c-print, 2012

Lim Sang Sub , #2, 60x60cm, digital c-print, 2012

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Park Seyeon

AS EVER

2013. 4. 24 ~ 4. 30THE K GALLERY

192-6, 02-764-1389

www.the-k-gallery.com

Park Seyeon _Untitled 28, AS EVER series, 75 x 60 cm, Inkjet Print, 2012

PARK SEYEON: AS EVER

Written by PARK TAE HEE (Photographer/President of ANMOC Publishing)

One Late Afternoon.

The house which has endured 15 years of time together with her. It is not a short time at all. Pictures of an old space

of life, however, need not always be great. Even no trace of us can be found there. Wall-papers torn here and

there. Stains of picture frames.

Small square dents marked here and there on the floor paper. What furniture would it be that was standing there?

The top of the round table looks elegant with the imprinted flowers on it. It looks even better when decorated with

the dried petals and pictures of children under the glass board.

Most people are all eager to take pictures in order to keep the memories of living in present tenaciously. However,

Seyeon Park is not. We only see in her pictures traces and stuff of life left lonely behind, and the sunlight soon to

disappear. A very strange thing arising from such pictures of hers is that the absence of living things actually lead

us to the stories pictures are implicitly trying to unfold. We can imagine a hand reaching towards the transparent

flower vase, to fill new water, or a woman who seemed just left out of the frame to answer the door. The food or

tea on the table is still warm. A piano tinkled gently through a door left wide open. Wet towels and socks hung out

on a clothesline to be dried up. The moisture from them vaporizes up into the air. Who could he be that is showing

us his back bent like the curved shell of a tortoise? I re-contextualize Parks place and her life with the minimalized

evidences as if I master a mosaic.

And one moment, finally I found her in the camera lens. Twilight slowly shimmers in the room. And that breathes

new life into inanimate objects. The objects dance as the sunshine gleaming through the room. When there is

sunlight, there is also a dark shadow. She takes her deep breath, and catches that brightness and the darkness on

her camera. Fragments of sunlight from a window inter-wind and mingle together on the wall, the table, the floor,

and the hung laundry. Soon after the sun sets down, there will be coming a twilight which is pursued by a rushing

night. All these routines shall be forgotten when a bright morning greets us, and they will do the same as they ever

did.

AS EVER

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( PARK SEYEON )

2013

2009 /

2013 AS EVER, The K Gallery,

2012 In-Sight, ,

2011 Post Photo 9th exhibition, ,

2010 Post Photo 8thexhibition, ,

2013 MFA, Photography, Hongik University

2009 BA, Philosophy/Korean Language and Literature,

Korea University

Solo Exhibition

2013 AS EVER, The K Gallery, Seoul, Korea

Group Exhibition

2012 In-Sight, HOMA at Hongik University,

Seoul, Korea

2011 Post Photo 9thexhibition, Gong Art Space,

Seoul, Korea

2012 Post Photo 8thexhibition, Gallery Illum,

Seoul, Korea

Choung Jin-Gu

2013. 4. 24 ~ 4. 30gallery NoW

192-13 3, 02-725-2930

www.gallery-now.com

Choung Jin-Gu , Ink-jet, 85x85 cm,2012

Choung Jin-Gu , Ink-jet, 85x55cm, 2012

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1992

2000

2013 4.24

2001 11Urban Life

2002 5 World Cup Festival

2003 11 City Color

2004 10 Korean Lyricism

2005 10 City Image

2006 11 Wild Flowers

2007 11 City Landscape

2008 12 Sea Image

2009 11 Image in my mind

2010 11 Multiple Image

2011 12 Personal Vision

Lee Young Seop

2013. 4. 24 ~ 4. 29gana art space 3

119, 02-734-1333

www.ganaartspace.com

, Gelatin Silver Print

2012

2012 In-Sight

2011 Post-Photo

2011

2008 USC MBA

2003

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KYUNGWOO CHUN

Interpreters

2013. 4. 25 ~ 5. 31 Interpreters(2011-2013), Sebastian(2011), Simultan(2010),

Seventeen Moments(2012)

2013. 4. 25() 5

2013. 5. 10() 5

2013. 5. 24() 3 (, )

Gaain Gallery

512-2, 02-394-3631

www.gaainart.com

KYUNGWOO CHUN , Seventeen Moments, 2-channel video, dimensions variable, 2012

KYUNGWOO CHUN , Interpreters(Antonio 1) , c-print, 80 x 65 cm, 2013

KYUNGWOO CHUN , Interpreters(Christian 1), c-print, 75 x 58 cm, 2011

KYUNGWOO CHUN , Interpreters(Marina 1), c-print, 70 x 58 cm, 2011

KYUNGWOO CHUN , Sebastian, c-print, dimensions variable, 2011

KYUNGWOO CHUN , Simultan#5, diptych, each 60x90cm, c-print, 2010

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photoview 2013.4(april)-b

Documents