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03.03.2020| Mezikus | 8 Comments

모란봉의 노래 = Song Of Moran-bong Hill - Various - Untitled

In a sense, the mobility of this cabinet style box was perfect for the moving nomadic exhibition. Conference by artists In the opening ceremony held before the project began on August 10th , the artists who participated in the project announced their goal for this project through their drawings and writings. After the trip, there was a conference by the artists, where they presented "how their goal was achieved" with simple drawings.

Most of all, by expressing their ideas and aspirations this way, we could see the evolution of each artist's mindset towards nature, the project, and themselves. Closing comment The Global Nomadic Art Project aims to realize the universality of Nature Art and share with people around the world its value as an artform where true human nature reveals itself.

Under the theme "Nature has no borders. Moving in nature, the project aims to reveal the movement of the artists, who produce art which opens slowly and organically, like a flower blossom. This is a new cultural movement that tries to overcome the clashes and conflicts derived from excessive nationalism and attempts to create a cultural and artistic space where nature and human civilization can coexist.

Through the Global Nomadic Art Project Korea, the Yatoo group is meeting with new partners that it hasn't met with before. Over its 34 year journey, this fellowship of creative and environmentally-conscious individuals has created while traveling and working together. So far, we all believe that there is a great opportunity here to expand these activities to other artists from different countries the world over. Nature consists of limitless order within disorder, and has geometry of every measure and scale.

Humans are part of nature. In every moment, we are inspired and influenced by it. Please write down what are the objects or material you felt inside the boxes. It is simple and complex at the same time. This box has a reflection of the objects found from nature. The artwork reflects many memorable moments and understandings perceived during the ten day Nature Art Workshop.

Most of the time our understandings are only limited to visual, verbal and textual vocabulary. Here, I tried to check how much do we know "Nature" by its touch. It is a story of the Nomadic Art Residency, not seen from the point of view of an artist, but from a box who in fact should receive the final exhibition.

A storyboard follows the Cabinet from its birth through its own experimentation and expectations. The residency was a chance to produce in different conditions, but also to exchange with others on our use of, and approach to art. The Cabinet journey is approaching some of these questions. Below the surface of language, culture, and individuality, are we not all the same? And when we dig even deeper, into our skin, muscles, bones, and blood, are we not the same as the other living creatures sharing the land with us?

And when we go even deeper, to our cells, membranes, and atoms, are we not the same as the plants, soil, and the stones of the Earth? All things are formed from a collection of different parts. A mountain is made up of stones, boulders, soil and trees, while each stone of the mountain is made up from different minerals, particles and microscopic organisms, each of which is composed of different cells and elements. In a similar way, our days and journeys are made up of different moments and experiences.

Each of us is a small part that forms part of a larger whole. We are part of our own respective culture, country, and species, but also part of the ecosystem and the web of life. People always struggle to live with combat. Do it Yourself While making a stone tower, The experience I captured during this process is I was fully there in that moment, open to search for the balance within, available to respond in that very quiet moment.

Once the stone tower was completed I felt accomplishment and joy. I come out from this experience. And I realized that the balance achieved was transient, not permanent. It set my journey on the path of searching for a new balance, to explore infinite possibilities of balance that have yet to be realized. How about doing it yourself and experiencing it. The work presented here looks at both the 'natural' and 'unnatural' worlds, and attempts to blur the oft concrete distinctions between the two.

If truth lies both in the materials, and in the process within which the work was created, then this work can be described as successfully modern. Whether using found objects, or conventional objects in unexpected ways, these images help the viewer to experience their own surroundings in unconventional ways, while not taking the process too seriously. For example, an underwater message carved as a memorial to dead fish found along the riverbank, or the imaged fruit of a local shrub could both serve to destroy and rebuild current conceptions of 'nature'.

Additionally, a wall of fish, found objects, and earth could symbolize the current troubles around the DMZ and all the lives lost as a result, or even show an analogy between layers of memory, and layers of earth.

On the other hand, the truth of the work could lie purely in the visual, in the material; a wall of fish and earth, complete in its omega-infused glory. To adequately respond to global-local environmental problems in the 21st century, our conception of what 'nature' is should evolve to suit this shared situation. If this work can become a single drop in that communal bucket of inquiry, then it can be deemed successful.

You have never had to do anything but keep your hands open and you can receive the whole world. On the contrary, closed fists have nothing inside. I installed mirrors in the box. When people open the box, they could see the space is full of themselves with a view from outside the enclosed space. My world changed because of your curiousness. The moment when you opened the door is the junction between the two. I would love to keep my curiousness forever to open other boxes in the world; and you?

I selected two to three artworks that I can represent, and downsized and re-installed them in a 60 x cm box, using materials that I found from the field. The Dong River is a 65 kilometer-long beautiful river, which starts from Gasoo-ri, in the southern part of Jeongseon, and flows eastwards into Yeongwol-eup, before continuing southward to the Han River. In the Dong River, along the sides of which tower numerous beautiful cliffs and landscapes, mandarin ducks, black woodpeckers, and owls sing, and various trout and otters still live.

I wonder how people used to live long, long ago. Even now, mountain roads with high and twisting corners are still difficult to maneuver by car. Some would take a raft and drift down the Dong River. This Nature Art excursion moved my heart from beginning to end. The natural objects excited my senses, and it was an opportunity for me to realize that the natural objects are already the perfect works of God, which humans cannot even alter.

I saw beautiful and even mysterious cliffs, numerous rocks broken off from elsewhere, and round stones sleekly smoothed via the consistent flow of the Dong River in Jeongseon.

I focused on one little stone among others, and dared to take it. I then blindly and repeatedly ground a surface of the stone as if I was digging up the mystery of nature until it exposed the black and sleek bare skin beneath Many evening primroses were there in the Dong River. While I was strolling between many stones, a stone which looked like intertwining flowing rivers and mountains caught my eye. I planted an evening primrose which blossoms in the evening there.

When it blossoms, the scent embroiders the moonlit night along the Dong river. The woods that I put in the pictures are partial images of a particular place. It is impossible to put the entirety of the woods in the pictures.

Therefore, I cannot talk about the woods. Since I cannot know what lies within the entire woods, the desire that brought me to this place leads me ever deeper, into the woods.

As I journey onwards, I scour new and strange forested places. The woods that I put in the pictures might not be the panorama of the woods that you expected. The panorama of the woods that I put in the pictures also might not be that beautiful or even not be the forest which is shown in the other images. I meet with a box. I put and put again things which I met from the journey into the box, but the box always stays empty so that I can put you in.

The light outside the box and the threads of possibility inside the box dance so the world the box , weaved through this travel, could go to another world. Nature does not reveal itself. However, neither does it hide itself. It is just open, existing as it naturally is.

We have only known how to talk, but have not known how to listen within nature, which neither reveals nor hides itself. We have only known what we can see. A branch in a forest, and a stone by a brook that I happened to meet tells me that what is and is not at the same time, is still nature. The reason why nature is precious is that each entity certainly exists for other natural objects. I also certainly exist for certain natural objects.

Therefore, it is an exceedingly conceited action to destroy nature only because we think certain objects are not necessary desireable. When humans destroy nature, it is hard to visibly recognize the changes such action brings. However, such action eventually affects the ecosystem within which it is a part, and upon reaching a threshold of ill-concieved damage, will initiate a sequential collapse of all we originally held dear.

All nature is connected. I met mountains, rivers, and stones, traveling through nature. I moved pretty stones to a forest surrounding Yeonmi Mountain, and treasured that memory engulfed and protected within nature. What the Global Nomadic Art Project in left me with are two keywords: stone and water. The journey started in Danyang, then continued to mountainous regions in central and eastern parts of Korea.

These regions can be said to be the very heart of the Baekdudaegan Mountain Range, the backbone of Korea. The heights of most of the mountains were around 1, m; valleys were deep, water was clear, and each stream was full of stones. In Nature Art, stones and water are very attractive elements. In old Eastern paintings, stones and rocks were considered skeletons of the earth. Additionally, water has been compared to a blood vessel—starting from mountains, going through fields, and flowing onwards to the sea.

As such, this movement was considered analogous to blood which breathes life into the earth. I have used various natural objects and elements for a long time as a nature artist. However, among all materials, water and stones continue to speak to me. That is probably because these natural objects are elements which I have gotten extremely familiar with since childhood. As such, these materials and objects are now the ones which I personally prefer. I laid out MDF Medium Density Fiberboard as a wooden floor inside a cabinet, and made a hole in a ceiling to make water fall down drop by drop.

When the wooden floor made with MDF gets twisted or rotten over time, insects will gather. The cold interior inside of the cabinet will become a shelter for the insects, due to the unexpected gift of these falling drops. Leaves possess the symbolic shape of tress and also play an important role in the circulation of natural ecological processes. Through magnets, I presented a connection between plants, which grow with their roots on the ground.

I tried to utilize the material characteristics of a steel box which was given to me as the working space for the exhibition. Each leaf has its own shape, and connects with the others through magnetic fields. A blue background reveals characteristics of trees which grow ever skyward. From the Roots The mountains and streams I met in Gangwon Province were deep and green. An old tree that I met at a parking lot in Danyang during the travel lost a part of its roots because of an embankment.

It was now enduring the world in stony silence, revealing its bare, white skin. I put white pebbles on the ground to present another tree—invisible, but visible at the same time—and the roots which support the tree and protect the world.

Roots come into a geometric structure and transform into geometric shapes, and spread downwards, into the depths. Lines come from the structure of the box and sprout a new sculpture and occupy this space, enabling its own growth. This is a dedicated poem for the life-force within nature. The moon is an icon of serenity. It also sinks and rises. KiranVaghela, Director and founder member of Hunnarshala Foundation for Building Technology and Innovations is a civil engineer by education.

He has been extensively working in Bhuj post the massive earthquake for rehabilitation of rural areas, involving various crafts practitioners. He taps the skills of local artisans and builders who have deep knowledge of resilient building systems and through the team at Hunnarshala delivers high-quality, sustainable, and disaster-safe housing.

He uses traditional wisdom in contemporary architecture creating possibilities for architects to come forward and explore new methods of application that emphasizes on involving traditional community and its development.

He along with his artist friends has introduced a new concept of collaborative working called A3 A cube in which artists, architect and artisans work together to create architectural expressions. MP3 Jennifer Lopez feat. Fabolous - Get Right Remix.

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