Special interview on the field of reviving public art and local culture 04

The Gwanak MOVE is a small-scale arts community formed in May 2012 and consists of four Western paintings and alumni. Representative projects include <Massage Project> and <Badari Paintings>, which are currently working as space-beam resident artists.

● What was your interest in public art projects? Shin Hee Jung: We first met and made a community called “Gwanak MOVE” because we wanted to be more active and interactive with a light heart. Actually the wind music movement itself is not a public art group. It seems that I have recently engaged in related activities. Perhaps I have a common keyword of public art in the <Massage Project> I had in October last year. Lee Eun-jae: <Massage Project> can be expressed briefly as ‘time to recover the feeling of the body that was forgotten’. It is to make each member’s definition about massage and communicate with the audience in the form of performance.

To be honest, I was approaching as much as I wanted to share my playing with other people. In fact, from the end of my undergraduate course, I began to think a lot about the social role of art, so I studied various examples of the social role of art. But at the time, it seemed like there was no ‘smell’ to me. In such a state, I made a “gwanak move”, but once I put my judgment on the anxieties and thought, ‘Let’s have fun with the people next to it.’ I looked that beautiful. It might be dangerous to hold it, but I thought it was not always right to think without thinking. Then I heard about the space beam entering by the suggestion of the neighborhood, and I was just trying to do it. As I moved into the residency, I became more concerned about the public art and art.

● Please tell us about the ongoing project or work. Kim Yun – jung: The most recent activity is planning a project to gather together and share pictures and paintings called “Baedari Picture Dure” on November 3rd. In other words, all-over painting is done by putting a canvas cloth of about 6 m in length on the floor, and after the process of spraying or painting by the ordinary citizen, it is divided into the shape and size desired by each person I am thinking about taking it. However, it is difficult to understand the meaning of this and the allegory. So, I will just ask the residents to ask ‘How do you want to share the picture frame in different sizes?’

● Did you have any difficulties in your work? Lee Eun-jae: In the <Massage Project> or group activities, the direction we wanted to do was to bite ourselves. It seems that it took a little time to accept the situation of Incheon at first while entering the residency. There were times when we had to think about how we should intervene in the arts about the issues in this area as we were doing Space Beam activities, which is very difficult. Participating in the local community as an outsider seems really difficult. So in the end, it seems that we went to such a feeling that we met and played together as we did.

Kim In – sun: In the case of me, I did not know about the area so I needed to get familiar with the area. I was thinking about how to know about the area in a short period of time and it was through people that I fit in with them, so I am trying to communicate with local residents a lot. For example, there was a chance to get to know some residents luckily during the village festival. I was drinking with them and I heard their personal stories through conversation. So now I just write things I talked to people. At first I was going to shoot with a camera, but the writing is the most vivid and it seems that it is not dignified. And it seemed that the residents gradually became more familiar with my face and gradually thought of me as their own. The area really felt like there was an inside-outsider wall, and as a person of art, there was a dark and skeptical mind about what to do here, but it seems to be gradually adapting.

● What do you think is the role of the artist in the region? Lee Eun-jae: My expectations in public art and community art are that the residents who are beneficiaries of the arts will be able to live their lives artificially with their own positions. I think this is a fantasy, but I think whether it is public art or community art to present such possibility or to help it administratively. I think whether it is the public art such as reminding the will to directly enjoy the culture or providing the education necessary for it. Kim In-seon: I think community art is making a ‘proposal’ for the area. Of course, there is also conflict with it. If you make a suggestion, you can hear other voices in the beginning. Communal arts create exchanges and conflicts, and it seems to be true that voices, both benevolent and not, rise above the surface of the water. So it means that inconsistency between residents is surfaced. There is inconsistency because it is everywhere. I think that the program of community art should be a way to create a chapter where people can gather together and talk about their thoughts about life together.

Interview: Yoon Sang-lin (13)