学生作品ガイド
著作権 この作品は、現在も著作権の保護対象です。Yang Jung-Uk は 1982 に生まれ、没年は記録されていません。著作権は、作者の死後 70 年間存続します。この画像は教育目的の参照用として掲載されており、権利は権利者に帰属します。
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Standing Workers — Yang Jung-Uk
原寸は 150 × 150 cm (高さ × 幅) で、ここでは平均的な身長の成人と並べて表示しています。
上の行：年。下の行：各期間の開始時と終了時の年齢（誕生時を0歳として計算）。
このレコードには正確な制作年が記録されていません。アーティストの生涯と作品のスタイルから、何年代のものだと推測されますか？
画像から抽出したパレット
主要色
Espresso #55595a
カタログ済みパレット
アーティストのパレット全体に含まれるこれらの色彩 色から他の絵画を探す
この作品について
Standing Workers — Yang Jung-Uk
Yang Jung Uk’s work typically moves in a regular cycle. It closely observes and records the various layers of emotions and social contexts of an individual’s gestures. In the exhibition, Yang presents a work which captures the rhythm of the small and trivial movements of repetitive work of those who have to do their job standing. Their gestures—such as taking turns transferring the body weight from one leg to the other to relieve muscle aches in leg, churning their arm explaining the way to those who ask for directions, and absent-mindedly standing with their arms swinging— are reborn as kinetic sculptures powered with a small electric motor, which refers to a narrative of our common but valuable everyday life.
アーティストと美術館
生誕地 Seoul, South Korea
Born in Seoul, South Korea, in 1982, Yang Jung-uk’s artistic journey is one of profound observation and a deliberate exploration of the human condition. His work transcends mere sculpture; it's an immersive experience that invites viewers to confront their own internal landscapes – the “void” within, as he himself describes it. Initially drawn to the mechanical and structural aspects of art, Yang has evolved into a master of lyrical synthesis, seamlessly blending kinetic elements with narrative depth, sound, light, and movement to create pieces that resonate long after initial encounter.
Yang’s artistic philosophy is rooted in a fascination with everyday life. He doesn't seek grand pronouncements or overt statements; instead, he meticulously dissects the seemingly mundane – a forgotten garden, a solitary figure on a street corner, the rhythmic movements of daily routines – and transforms them into intricate, evocative installations. These aren’t simply representations of reality but rather distillations of memory, emotion, and the subtle narratives that shape our individual experiences. His work is deeply personal, yet universally relatable, tapping into shared human sentiments and prompting introspection about time, loss, and connection.
Yang’s formal training provided a crucial foundation for his distinctive style. He holds a Bachelor's degree in Sculpture from the University of Science and Technology of China, an institution known for its rigorous technical approach to artmaking. This early exposure instilled in him a deep understanding of materials – primarily wood, thread, and motors – and their potential for creating dynamic, mechanical forms. However, Yang quickly moved beyond purely technical execution, recognizing that true artistic expression lies in imbuing these elements with narrative weight.
His initial explorations within the realm of kinetic sculpture led to a series of increasingly complex works characterized by intricate knotting, precise assembly, and subtle movements. These early pieces established his signature style – a delicate balance between mechanical precision and organic fluidity. Crucially, Yang’s artistic trajectory shifted towards storytelling; he began to see his sculptures not as static objects but as vessels for conveying personal narratives gleaned from observing the world around him. This shift is evident in works like “Standing Works” (2015-2016) and “Signboard for Some of Store” (2017- ), which delve into the lives of ordinary individuals, imbuing them with imagined histories and emotional depth.
A defining characteristic of Yang Jung-uk’s art is its masterful integration of movement. His sculptures aren't merely static forms; they are imbued with a subtle, almost imperceptible animation that draws the viewer into their world. This kinetic element isn’t simply decorative; it serves to amplify the narrative core of each piece, suggesting a continuous flow of time and experience. The rustling of simulated leaves in “Someone I Know, in His Garden I’ve Never Seen” (2024), for example, evokes memories and feelings associated with nature and nostalgia – mirroring the artist's own recollections of his late father.
Yang often describes his process as akin to composing a one-act play. He meticulously crafts each element—the wood, the thread, the motors—to contribute to a larger, unfolding narrative. These stories aren’t grand epics but rather intimate vignettes that capture fleeting moments of human experience. He seeks to reveal the “mechanism” behind everyday life – the subtle rhythms and patterns that govern our actions and shape our perceptions – while simultaneously acknowledging the precariousness and vulnerability inherent in the human condition.
Yang Jung-uk’s work has garnered significant recognition within the Korean art scene, culminating in his prestigious award as the Korea Artist Prize 2024. This accolade underscores his growing influence and demonstrates a broader appreciation for his unique artistic vision. His pieces have been exhibited at notable galleries such as Gallery Hyundai, Baik Art Gallery, and the 18th Street Arts Center, solidifying his position as a leading contemporary sculptor in South Korea.
Yang Jung-uk’s art speaks to a growing desire for authenticity and emotional resonance in an increasingly standardized world. His ability to transform the ordinary into the extraordinary, to imbue inanimate objects with narrative depth and evocative movement, positions him as a vital voice within the contemporary art landscape. His work invites viewers not just to observe but to feel, prompting reflection on their own lives and experiences – a testament to the enduring power of art to connect us to our shared humanity.
展示中： Ansan, South Korea
Nestled in the vibrant city of Ansan, South Korea, the Gyeonggi Museum of Modern Art (GMOMA) stands as a compelling testament to the nation’s dynamic artistic evolution. Established in 2006 by Gyeonggi Province, GMOMA isn't merely a repository for artworks; it is a living, breathing cultural hub dedicated to the collection, preservation, research, and vibrant exhibition of modern Korean art. More than just a display space, it functions as an active center for intellectual exploration, fostering dialogue around Korea’s unique cultural identity within the broader context of global artistic trends.
Origins & Vision:
GMOMA emerged from a profound desire to enrich Gyeonggi Province's cultural landscape—a region brimming with over 13 million residents—providing them with access to exceptional art experiences. Recognizing the importance of fostering creativity and understanding, provincial officials envisioned an institution that would champion both established masters and emerging voices within Korean contemporary art.
A Diverse Collection Reflecting Korean Identity:
The museum’s impressive collection spans a remarkable breadth of artistic mediums—captivating paintings rendered in bold hues, thought-provoking sculptures exploring form and materiality, immersive installations challenging perceptions, compelling video art delving into narrative storytelling, and striking photography capturing fleeting moments. However, the unifying element across these diverse pieces is their unwavering focus on articulating what it signifies to be Korean in the 21st century.
Exhibitions at GMOMA consistently grapple with complex themes—cultural heritage juxtaposed against contemporary perspectives, historical influences shaping artistic expression, and explorations of identity both individual and collective. Unlike many international museums prioritizing breadth over depth, GMOMA distinguishes itself through its singular dedication to understanding and promoting Korea’s distinctive artistic legacy.
While precise architectural specifications remain somewhat elusive to the public eye, GMOMA's building design deliberately complements its mission as a modern art institution. The architects prioritized creating spaces that enhance visitor engagement and contemplation—flexible areas accommodating exhibitions and educational programs—incorporating elements intended to foster intellectual curiosity and artistic appreciation. It’s more than just structural support; it’s an active participant in the sensory experience of encountering artwork.
Spatial Considerations:
The building's layout encourages visitors to move seamlessly between spaces, fostering a contemplative atmosphere ideal for immersing oneself in the artworks on display. Natural light is skillfully utilized throughout the museum, illuminating pieces and creating an environment conducive to artistic reflection.
GMOMA has consistently spearheaded groundbreaking exhibitions that propel dialogue around Korean art history and contemporary trends. Recent initiatives have explored connections between Korean art and global movements—highlighting influences from Impressionism, Cubism, Surrealism, and beyond—demonstrating GMOMA’s commitment to fostering intercultural understanding.
What truly elevates GMOMA above comparable institutions is its unwavering focus on Korean modern art. Unlike broader international museums prioritizing universal themes, GMOMA champions Korea's singular artistic heritage—a dedication reinforced by robust research programs and collaborative partnerships with artists and scholars worldwide. It serves not only as a showcase for exceptional artworks but also as a catalyst for intellectual exchange and cultural enrichment – cementing its role as a cornerstone of Korean art scholarship and artistic innovation.
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Standing Workers — Yang Jung-Uk
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「Standing Workers」の色彩の調和は、Discordant Paletteと表現されます。
Yang Jung-Uk作「Standing Workers」はContemporary Minimalismに属しています。このムーブメントは、本作の様式的な背景を形作るものです。
「Standing Workers」の形式はLandscapeです。これは、複製画を飾る場所を検討する際に役立ちます。