스킵네비게이션

❑ artist bio

Song sungjin was born in 1974 in Busan, lives and works in Busan. He finished doctorate degree in 2014 and has MA in 2003, and BA in 2001 in Art from Busan University. The artist articulates problems and issues relevant to place of the contemporary society from the various perspectives through photography, video, and installation. He participated in Künstlerhaus Bethanienin 2016 and currently in Gyeonggi Creative Center as artist-in-resident.

❑ introduction

 The artist has continued to examine on ‘migration and habitat’ as theme for a long time and focused on the transformation of implication in the places according to the close relation between social, environmental phenomena and forms of habitation. Posture: Hang On Project presented at 2017 Pakistan Karachi Biennale, for example, he took motif from series of incidents in which Syrian refugees had suffered while they lost places to go and attempted to cross over the national borders. 1 pyeong House Between Tides (2018) is his most well known piece and also a piece he inspired from his visit to Rohingya refugees camp in Bangladesh. With this piece, he was nominated for Gyeonggi Culture Foundation’s ‘New Collective & New Change-Curatorial Art Project’ and awarded an exhibition at Daebu-do, Korea.. Recently, he showed video installation that traced Historic Downtown area’s historical and topological change through recent exhibition, Busan: It was Then and it is Now (2019) at Busan F1963 Sukdang Hall, he showed video inatallation that traced Historic Downtown area’s historical and topological change.

For the Sea Art Festival, he shows two works namely, 1Pyeong (2019) and a new work, Non-existent but Existent: Behind (2019). This 1 pyeong-size housing is a small space made with used timber and placed in a location where you can not access when high tide or have to take a long walk even when low tide. He re-interprets the matter of habitation in the environmental reality in which natural ecology, the very foundation for human survival, became over developed and polluted by the human selfishness. In Dadaepo, which means ‘huge and wide port,’ the piece 1 Pyeong seems somewhat sorrowful and gloomy located in far away from the sea shore. If we think about what habitation means for human and it came from nature, this small house on the surface of the foreshore is hard to dismiss. The artist asks us which direction we should take now when we are facing horrifying reality of migration and refugees against the grandeur of nature.