The air around them presses on them. Albane Duvillier (Semaine n° 159. 2008)
A very light autonomous structure made of white cotton threads floats in space.
a network of horizontal and vertical lines draws at first glance a geometric set which seems to want to take the measure of space. But the more the eye tries to grasp the structure as a whole, the more it loses the thread.
From one point to another, from one node to another, the straight lines are concealed, the horizontal bend slightly, the vertical oscillate at the slightest breath, entanglements generate unpredictable accidents, shapes in volume stand out in suspension . Counterbalancing these uncertain frames, a constellation of simple and tiny fishing pellets ensures stability to the structure while creating a moving landscape.
The ensemble develops in an almost vegetal organic way, fruit of a geometrical fantasy where intuition more than reason seems to guide the artist's gesture. Encompassing the exhibition space as a whole, playing on the distinctions between interior and exterior, this fragile network of threads is similar to a spider's web, whose presence is intermittently revealed according to the daylight. the intensity of the few luminous points scattered in space. The shadows that appear on the walls and the surrounding ground, comparable to ephemeral caresses (to those infra-thin caresses dear to Marcel Duchamp), suggest infinite possibilities of expansion or contradiction.
The visitor is invited to slip into an interstice, to graze a few threads, to obstruct with his own body the light, to participate in these shadows produced by the structure. Like the invisible cities of Italo Calvino, which can only be glimpsed in a dream, the environment designed by Heesook Yu contains a multitude of expanding spaces and entangled events revealed for a moment .
Refusing any spectacular dimension, Heesook Yu's approach focuses on the details, the interstices, the reflection and the shadow of things, the volatile moments felt as poetic. As for the loafer, for whom the place of departure and arrival do not count, it is the walk, the attention to ordinary incidents that are the source of this fragile art, this art of almost nothing developed by Heesook Yu.
midway incidents. Seungduk Kim (Press Releas. 2008)
"The shaping of an impression, of a feeling left under the intimacy of an exchange ... An exchange with a space, a place; the place as a field of observation. Starting with the image of a mulberry fruit whose fruits are connected to each other by a network of ramifications, my current thinking is about geometric randomness. The multiplication of possibilities to go from one point to another, leading to the creation of a drawing or a space. "
These are the words of this young Korean artist from the Ecole des Beaux-Arts in Paris where she studied with Christian Boltanski.
More than objects, she builds small situations, ephemeral and poetic even derisory, where are mingled videos, sculptures of nothing, pieces of everything.
For the Korean Cultural Center, she will present her latest research, which is always closely linked to the characteristics of the places offered to her. Often annotated with discrete descriptive commentaries, her interventions leave much room for improvisation, for inspiration that comes and pushes it towards a form. A little magic.
"The shaping of an impression, of a feeling left under the intimacy of an exchange ... An exchange with a space, a place; the place as a field of observation. Starting with the image of a mulberry fruit whose fruits are connected to each other by a network of ramifications, my current thinking is about geometric randomness. The multiplication of possibilities to go from one point to another, leading to the creation of a drawing or a space. "
These are the words of this young Korean artist from the Ecole des Beaux-Arts in Paris where she studied with Christian Boltanski.
More than objects, she builds small situations, ephemeral and poetic even derisory, where are mingled videos, sculptures of nothing, pieces of everything.
For the Korean Cultural Center, she will present her latest research, which is always closely linked to the characteristics of the places offered to her. Often annotated with discrete descriptive commentaries, her interventions leave much room for improvisation, for inspiration that comes and pushes it towards a form. A little magic.
midway incidents. Interview with Franck Gauterot (exhibition catalog. January 2008)
It seems that your work depends on circumstances. Related to projects, exhibitions that give shape to some of your concerns. How does this work?
My approach stems from the maintenance of a delicate balance between perceived and felt. A meticulous observation of what surrounds me, leading to the widening of the possible, to the truth of a chosen moment. Reveal this moment, make it exist beyond its properties through various mediums while remaining as close to what it is; here is what constitutes my artistic gesture.
You collect images, which are composed with objects that you make or organize for shooting. This directory of images traces a territory. How would you describe this personal territory?
I will describe it as multiple since it is the exact reflection of a daily life taken through the prism of my sensitivity and of infinity to the extent that the images that compose it are what are the words for others ... taking notes, impressions, the beginning of a thought.
Assembled, recomposed, they end up giving a coherent whole, a territory organized by chance.
Is this aesthetic of hesitation, uncertainty, nothing, pieces of everything, based on a daily workshop practice?
My practice depends on a subject as fragile as it is elusive. "In a society of the superlative, this taste of the infinitesimal, an almost invisible and antiproductivist practice addresses essential questions. The place of man in the world, his wanderings and his aspirations. An art where the performance of micro-actions with a ridiculous aspect would reveal more deeply a poetic and existential commitment to the world. "*
Capturing this matter, listing it is an everyday job.
As for fitness, it meets the requirements of all plastic and artistic practices.
You have recently built a sort of almost intangible architecture, made of threads that draw in space. Explain to us this process. And how did you define the shape?
This installation is part of a proposal of Albane Duvillier who confidently offered me the opportunity to occupy the space of Immanence. Taking into account the potential of the place, its ceiling height, its dimension, its luminosity and its direct environment, it seemed obvious that indoor / outdoor games, visible / invisible would be the basis of my reflection in close relation with my research current on geometric randomness.
You are Korean, having studied in Paris. How do you envisage your career? In Korea, here in Paris? What is your artistic strategy, and more generally, how do you appreciate the Korean art scene? Do you want to participate, and how?
It is in a concern of opening that I decided to continue to study in France. This allowed me to confront my eyes, my thoughts to a different culture but above all I discovered a huge exchange that made me evolved in my practice as well as in my personal life.
Living in France for a few years, I have only a small glimpse of the Korean art scene. It seems to me more and more rich but for now I take advantage of my close environment.
*Alexandra Fau, "L’art fragile, un art du presque rien", 2005
Limit. Albane Duvillier (Hors d'oeuvre n ° 15. disappearance. newspaper. Dijion 2004)
Giving life and shape to the invisible ... Density + or - zero: Ecole Nationale Superieure des Beaux-Arts of Paris, 2004
(...) On the occasion of this exhibition, the two curators also asked the students of Fine Arts and designed with them an event program, including a series of performances, which was attended by a young talented Korean artist: Heesook Yu. With a simple, poetic gesture (lifting a transparent plastic sheet near a wind tunnel), Heesook Yu was able to give form and life to the void, to the air, to the elusive.
"In terms of Density + or - Zero exposure, the difficulty lay in doing a performance I had never done before, reconciling space and time with my personal work. Looking carefully at the place, I realized that there was a vent which gave off a warm air. I then wanted to make this presence air visible and palpable. From where came the idea of a tarpaulin sufficiently light to react to the hot air. Once the tarp unfolds, it comes to life, becomes autonomous. Actress of an accident provoked, I passed in position of witness. "
Also present at an exhibition titled Première vue conceived by Michel Nuridsany at Passage de Retz last September, Heesook Yu's work attracted attention with their poetic dimension, their apparent abstraction, their apparent lack of subject. This was a videoAzilang-yi that proposed
an image here again very simple: the shadow of a radiator lit by the sunrise, a shadow that draws a kind of abstract landscape and reveals these tiny daily moments, those precisely that remain elusive because we do not grant them attention.
"Azilang-yi gives an account, as you say of these small ordinary moments but above all he posits the poetic postulate that there exist in the same place different time spaces where are organized lives with their own rules. I try to integrate these worlds, to show them as they appear to me. "
Heesook Yu's work is based on his notions of visible and invisible, disappearances and appearances: "my approach is very simple: to widen the field of the look and the sensitive by showing ordinary incidents, to accentuate the relation non-visible on the visible "
Azilang-yi. Michel Nuridsany (Première Vue. 3rd edition. 2004)
Her art leads her to interest herself in tiny events, to reality no doubt, but by reflection, by rebound.
Nature is an important part of her art but not always recognizable at first sight. Heesook Yu often speaks of "intermittences". She also talks about her childhood, hidden things, abandoned. Tiny incidents.
Her videos, one of which is presented "dressed" in her own words, in relation to the place, with the space, better represent what she is, deep inside herself, seems to me he, as with that very simple, dreamy, where the shadow of a radiator turns into a hill, in landscape, on the wall that Heesook Yu filmed. As one
of those images that enchants childhood in the solitude of the room.
Her art leads her to interest herself in tiny events, to reality no doubt, but by reflection, by rebound.
Nature is an important part of her art but not always recognizable at first sight. Heesook Yu often speaks of "intermittences". She also talks about her childhood, hidden things, abandoned. Tiny incidents.
Her videos, one of which is presented "dressed" in her own words, in relation to the place, with the space, better represent what she is, deep inside herself, seems to me he, as with that very simple, dreamy, where the shadow of a radiator turns into a hill, in landscape, on the wall that Heesook Yu filmed. As one
of those images that enchants childhood in the solitude of the room.