Zeitgeist: 非-Psychedelic; Blue is the first exhibition of Zeitgeist series, which investigates how zeitgeist is embodied phenomenally these days based on media theory and generation theory. As the most recent version, this exhibition deals with 'art after the internet' and the generation born in 1980s and 1990s.
Since 1989, the year when 486 computers firstly with OS and World Wide Web were introduced, art has adopted computer and network technologies along with the society's stream. Now, every process accompanies with the technologies from idea to publication.
This art stream what has been filed as 'art after the internet' or 'postinternet art' nowadays in international art field, seizes the internet as the driving force changing the social structure, not just as a tool or a medium. Internet is no more staying in digital space, coming out to the physical world, and enthusiastically changing social framework in both world, online and offline. Thus, 'postinternet art' comprises not only art produced on the internet but also art reflecting influence of the internet, differing from net. art.
This exhibition is especially focusing on the artists born in 1980s and 1990s, the generation experienced popularization of computer and internet in the early 1990s, when they were in babyhood or childhood so grown within the internet circumstance doing internet-based-games or searching the data related to their homework on portal web sites. They did embody those cultures in themselves and have reflected and produced their own special zeitgeist. This generation doesn't take animations, games, and television shows just as tools but see and experience the world within those frames. They manipulate the world and themselves using computers and smart phones.
In their works, data, sound, and images are changed and circulated. Data, sound, and images are endlessly appropriating and juxtaposing each other. In both format and content, narratives, rationality, continuity, and causality are collapsed, and even dichotomy of format and content is attacked. Super high-resolution to be met people's expectation and low-resolution to be shared easily are co-existed. Social media becomes the venue itself artwork is realized at.
The works on view take all the natures mentioned above in parts, however, on a macro level, they could be classified in three parts. Jungsuck KANG, Sungseok AHN, and Meme Miu experiment potentiality of two-way communication and experience borrowing the format of games or media. Hyang LEE and LU Yang intentionally disorganize identities and narratives producing their own characters and pose audiences neither in real nor in virtual world that is, in real also in virtual world. Focusing on physical properties of paintings and sculptures as media, Jeongtae GIM+Team Progressive, Kyungho BAEK, and Jinseok CHOI inquire into collisions between on-line and off-line or 2D and 3D.
Works on view are in line with 'Psychedelic Art' which was started with the counterculture in 1960s from London and settled as young generation's new movement since both are located on the boundary between the reality and virtuality. Also, both have strong and juxtaposed images. However, new generation in recent days, is not intoxicated that much. They expect the others behind monitors and self-objectification occurs all the time. The 'blue' mood based on becoming the other is universal wherever sharing web system not only in Korea.
We can't make the exact definition of zeitgeist the artists born in 1980s and 1990s reflect and make, but just can analogize with negation. This exhibition carries their non-psychedelic, but blue zeitgeist.
Meanwhile, aside of exhibition hall, there is GIF room as a new form of archive room. Nowadays walls of social media often act as archives reflecting personal tastes or contemporary tastes since all people share same source transversely. As a metaphor for that, the room shows edited moving images sourced from animations, games, tv shows, and home videos in format of GIF. Juxtaposed with the works of the exhibition, they reveal influences on the contemporary works and changing scheme of things after the internet.