# data[].attributes.body
John Neff, Describing the Icon for the Application, 1995 (Part 1).

# data[].attributes.attachment_link.title
International Art English | Triple Canopy

# data[].attributes.attachment_link.description
On the rise-and the space -of the art-world press release....

# data[].attributes.body
REDCAT presents a solo exhibition by Kim Beom. In his drawings, sculptures, videos and books he plays with deadpan humor and absurdism to subvert expectations of reality.

# data[].attributes.body
Organized around the theme and title Animalia, Kim’s exhibition explores nature and the animal kingdom, often inverting its laws and destroying the boundaries of living beings and inanimate objects. Refusing to accept the clear distinctions that separate existences, Kim employs animism, illusion and empathy in his works to reflect upon and challenge the social institutions that define natural order.

# data[].attributes.body
For this exhibition at REDCAT, Kim presents a recent series of sculptural works entitled “The Educated Objects” (2010) which includes four installations of objects and video. They explore social education and developmental psychology. The four works are entitled:

A Rock That Was Taught It Was a Bird

A Ship That Was Taught There Is No Sea

A Rock That Learned the Poetry of JUNG Jiyong

Objects Being Taught They Are Nothing But Tools

They ironically subvert the ideas of teaching and learning. In addition, a selection of drawings from the artist’s “Perspectives and Blueprints” series will be on view. Made since the early 2000s, these drawings parody tools of social and political order such as incarceration and surveillance. The suite of drawings will be shown with two recent videos Horse Riding Horse (After Eadweard Muybridge) and Spectacle.

# data[].attributes.body
Go to menti.com and key in the code 32 40 05 5.

# data[].attributes.body
Mladen Stilinović
An Artist Who Cannot Speak English Is No Artist, 1992
acrylic on artificial silk
140 x 246 cm

# data[].attributes.attachment_link.readable_text
New York artist Andrea Fraser is best known for her series of "gallery talks"-enactments that highlight gender and class relations inherent in the structures and histories of art organizations. In 1989, the Philadelphia Museum of Art invited Fraser to perform Museum Highlights: A Gallery Talk, a tour in which she adopted the fictional persona of a docent named Jane Castleton. Visitors gathered in the Museum's West Entrance on five designated days, waiting for the scheduled "Contemporary Viewpoints Artist Lecture by Andrea Fraser" or for one of the Museum's numerous docent-led tours. Castleton arrived instead, ready to talk to anyone who would listen. She led these unsuspecting visitors on tours of not only the galleries, but also the restrooms, Museum Store, and cafeteria. In addition to talking about art, she discussed topics such as corporate and private sponsorship.

While Fraser's gallery talk appears improvisational at times, it was thoroughly researched and entirely scripted. The factual components of the tour were taken from municipal reports, Museum pamphlets, Daniel Patrick Moynihan's On Understanding Poverty, and other sources. Critical of the official voice of the museum, Fraser strives to further our awareness of what large art establishments expect from their visitors. Humorous and subversive, Museum Highlights brings to light the subtle, yet intrinsic, preconceptions that shape our relationship to these institutions.

# data[].attributes.attachment_link.title
UbuWeb Film & Video: Andrea Fraser - Museum Highlights: A Gallery Talk (1989)

# data[].attributes.attachment_link.description
New York artist Andrea Fraser is best known for her series of "gallery talks"-enactments that highlight gender and class relations inherent in the structures and histories of art organizations. In 1989, the Philadelphia Museum of Art invited Fraser to perform Museum Highlights: A Gallery Talk, a tour in which she adopted the fictional persona of a docent named Jane Castleton.

# data[].attributes.headline
Pablo Helguera, selections from Art Scenes: The Social Scripts of the ArtWorld [Link]

# data[].attributes.subject
Pablo Helguera, selections from Art Scenes: The Social Scripts of the ArtWorld [Link]

# data[].attributes.attachment_link.description
Get access to files anywhere through secure cloud storage and file backup for your photos, videos, files and more with Google Drive.

# data[].attributes.body
Let's test our "complicity" and see how far we have internalised IAE! Refer to Kim Beom's Press Release on the left panel.

In three groups, pick 1 paragraph (Para 1, 2 or 3) and rewrite the paragraph in "simple" English (on this Padlet). Do you find this difficult?

Please feel free to raise questions if certain terms are confusing or vague. This quick exercise hopes to reveal how we may have (i.e. self reflexivity!) inherited IAE one way or another.

We will discuss after.

[15 mins]

# data[].attributes.body
3 things you learned today.
2 things you found interesting.
1 question you have.

# data[].attributes.body
Quickly look through the reading by Helguera (linked on the bottom-left) and pull out a quote that resonates with you.

It can be something you agree/disagree/are curious about/etc.

Discuss based on the two artworks.

[10 mins]

# data[].attributes.body
"Artists in the socially engaged realm present their proposals with an exasperation that comes of not being able to break character without breaking with art altogether, andwith a desire to take performativity to a level of interactionthat is not merely symbolic but actual." (p. 89)

# data[].attributes.body
Kim Beom
Animalia
April 22–June 19, 2011

Opening:
Thursday, April 21 | 6-8pm631 West 2nd Street
Los Angeles, CA 90012
www.redcat.org

REDCAT is pleased to present the first solo exhibition in Los Angeles by Seoul-based artist Kim Beom.

Through an expansive practice that spans drawing, sculpture, video, and artist books, Kim contemplates a world in which perception is radically questioned. His visual language is characterized by deadpan humor and absurdist propositions that playfully and subversively invert expectations. By suggesting that what you see may not be what you see, Kim reveals the tension between internal psychology and external reality, and relates observation and knowledge as states of mind.

Organized around the theme and title Animalia, Kim’s exhibition explores the vast sphere of nature and the animal kingdom, often inverting its laws and collapsing the boundaries of living beings and inanimate objects. Refusing to accept the clear distinctions that separate realms of existence, Kim deftly employs animism, illusion and a deep sense of empathy in his works to reflect upon and transgress the social institutions that delineate natural order.

For the exhibition at REDCAT, Kim presents a recent series of sculptural tableaux titled “The Educated Objects” (2010)—four discrete installations of objects and video—which explore social education and developmental psychology. The works—A Rock That Was Taught It Was a Bird, A Ship That Was Taught There Is No Sea, A Rock That Learned the Poetry of JUNG Jiyong and Objects Being Taught They Are Nothing But Tools—employ the techniques of pedagogy to alter and invert socialization processes that give way to knowledge and learning. In addition, a selection of drawings from the artist’s “Perspectives and Blueprints” series will be on view. Made since the early 2000s, these drawings imagine, with great detail, structures and instruments of control for criminals, tyrants and spies, while operating as parodies on social and political order. The suite of drawings will be shown with two recent videos Horse Riding Horse (After Eadweard Muybridge) and Spectacle.

In conjunction with the exhibition, REDCAT will publish a catalogue on the artist’s extensive body of drawings from the mid-1990s to the present. The book will include color and black-and-white illustrations of the artist’s works and textual contributions by Clara Kim, Paola Morsiani and Park Chan-Kyong.

# data[].attributes.attachment_link.readable_text
Opening:
Thursday, April 21 | 6-8pm631 West 2nd Street
Los Angeles, CA 90012
www.redcat.org

REDCAT is pleased to present the first solo exhibition in Los Angeles by Seoul-based artist Kim Beom.

Through an expansive practice that spans drawing, sculpture, video, and artist books, Kim contemplates a world in which perception is radically questioned. His visual language is characterized by deadpan humor and absurdist propositions that playfully and subversively invert expectations. By suggesting that what you see may not be what you see, Kim reveals the tension between internal psychology and external reality, and relates observation and knowledge as states of mind.

Organized around the theme and title Animalia, Kim's exhibition explores the vast sphere of nature and the animal kingdom, often inverting its laws and collapsing the boundaries of living beings and inanimate objects. Refusing to accept the clear distinctions that separate realms of existence, Kim deftly employs animism, illusion and a deep sense of empathy in his works to reflect upon and transgress the social institutions that delineate natural order.

For the exhibition at REDCAT, Kim presents a recent series of sculptural tableaux titled "The Educated Objects" (2010)-four discrete installations of objects and video-which explore social education and developmental psychology. The works- A Rock That Was Taught It Was a Bird, A Ship That Was Taught There Is No Sea, A Rock That Learned the Poetry of JUNG Jiyong and Objects Being Taught They Are Nothing But Tools-employ the techniques of pedagogy to alter and invert socialization processes that give way to knowledge and learning. In addition, a selection of drawings from the artist's "Perspectives and Blueprints" series will be on view. Made since the early 2000s, these drawings imagine, with great detail, structures and instruments of control for criminals, tyrants and spies, while operating as parodies on social and political order. The suite of drawings will be shown with two recent videos Horse Riding Horse (After Eadweard Muybridge) and Spectacle.

In conjunction with the exhibition, REDCAT will publish a catalogue on the artist's extensive body of drawings from the mid-1990s to the present. The book will include color and black-and-white illustrations of the artist's works and textual contributions by Clara Kim, Paola Morsiani and Park Chan-Kyong.

Kim Beom (b. 1963, Seoul) currently lives and works in Seoul, where he received his BFA and MFA from Seoul National University in 1986 and 1988, respectively. In 1991, Kim received a second MFA from the School of Visual Arts, New York, where he continued to live and work throughout the 1990s. He has since had numerous solo exhibitions in such venues as the Artsonje Center, Seoul and, most recently, at the Cleveland Museum of Art. In addition to being featured prominently in recent surveys of contemporary art from Korea at such venues as the Museo Tamayo Arte Contemporáneo in Mexico City, the Los Angeles County Museum of Art, and the Museum of Fine Arts in Houston, his work has been included in such notable international exhibitions as the 2003 Istanbul Biennial, the 2005 Venice Biennale and Media City Seoul 2010.
The exhibition is made possible through collaboration with the Cleveland Museum of Art.
Major funding for the exhibition and publication provided by the Korea Foundation with generous support from Stacy and John Rubeli. Additional support provided by the Kwon Family Foundation.
Gallery at REDCAT aims to support, present, commission and nurture new creative insights through dynamic projects and challenging ideas. The Gallery presents five exhibitions every year, often of newly commissioned work that represents the artist's first major presentation in the U.S. or Los Angeles. The Gallery also maintains an active publishing program producing as many as two major monographs per year. Proceeding from the geographic and cultural specificities of Los Angeles, its program emphasizes artistic production of the Pacific Rim-namely Mexico, Central and South America and Asia-as regions that are of vital significance to California. The Gallery aims to facilitate dialogue between local and international artists contributing to a greater understanding of the social, political and cultural contexts that inform contemporary artistic practice.

Gallery at REDCAT is open Tuesdays through Sundays from noon to 6:00pm or until intermission. It is closed Mondays and major holidays. Admission to the Gallery at REDCAT is always free.

REDCAT is located at the corner of W. 2nd and Hope Streets, inside the Walt Disney Concert Hall complex in downtown Los Angeles (631 West 2nd Street, Los Angeles, CA 90012).

# data[].attributes.attachment_link.title
Kim Beom's Animalia - Announcements - e-flux

# data[].attributes.attachment_link.description
Opening: Thursday, April 21 | 6-8pm631 West 2nd Street Los Angeles, CA 90012 www.redcat.org REDCAT is pleased to present the first solo exhibition in Los Angeles by Seoul-based artist Kim Beom. Through an expansive practice that spans drawing, sculpture, video, and artist books, Kim contemplates a world in which perception is radically questioned.

# data[].attributes.body
"We hardly need to point out what was exclusionary about the kind of writing that Anglo art criticism cultivated. Such language asked more than to be understood, it demanded to be recognized."

# data[].attributes.body
The art world script would not be
rewritten, but a crucial distinction would be made: art is
concrete knowledge, not abstract value. Under this scenario,
there would be no need to tear down museums; in the
script, connoisseurship of the object would make room
for connoisseurship of experience. The question remains
as to what this (truly) alternative art scene, or alternative
to the art scene, would look like. (p. 94)

# data[].attributes.body
Priyanto Sunarto, Seniman, 1976, reconstructed 2015, Line drawing on wall, Collection of National Gallery Singapore.

"Seniman embodies the various aims of Gerakan Seni Rupa Baru (GSRB), or New Art Movement, which Priyanto Sunarto was exposed to while studying at Institut Teknologi Bandung.

The movement called for a wider perspective on what constituted Indonesian art, noting that it should draw directly from ordinary people, and include traditional crafts and daily aesthetics.

Here, both medium and text explore and comment on the tensions between art, the role of artists, and society's expectations of both."

# data[].attributes.attachment_link.readable_text
Medium: Found object mixed media assemblage

Credit Line: Purchase: William Rockhill Nelson Trust through the George H. and Elizabeth O. Davis Fund

Description Poly glitter, foam, vintage French beaded flowers, card stock letters, vintage machete, beaded sequin snakes, acrylic rhinestones, threaded rhinestones, glass beads, glitter foam pages, beaded sequin stars, beaded sequin butterfly, red foam & feather birds, old French francs, beaded crown, beaded watermelon appliqué, large egg, cowrie shell, mirror, concrete worker's brush, Austrian Crystal Buttons, Old Doll head from the bombed out German doll factories, beaded sequin dragon fly, plastic Valentine's Day souvenir, black ceramic german doll, gold beaded sequin leaves, ceramic flowers, made in japan figurine of small black child eating watermelon, vintage party noise maker with applied enslaved person possession photo, Mardi Gras Coins, small ceramic ship, virgin of Guadeloupe pendant, old, glass bottle, glitter foam stars, metal bird salt n pepper shaker, 2 vintage beaded African bracelets, lid from quality hot coco tin.

Gallery Label

Glitter, elephant board, wood, glue, prayer for deep & effervescent holiness up from the bones & into the body, beads, sequin trim, wood devil doll, old porcelain black figure (from back in the day, but...you know, timeless), feathered red birds flying out from the heart, jazzed up sequin paper, coins from the flea market in Paris-cuz money iz in the head, wealth iz of the hand & heart, blue stars-the cosmos is the body-the body is the cosmos, snake rising up outta the grass, butterflies, flowers, grasses, crown above the spirit eye, mirror to call back on the soul, brush to sweep off the static & the loose crumbs of uselessness-brush to clean out the voice, machete for the cutting presence, old tin noise maker for making noise, y'all hear?, quality taboo tin lead-lest we forget, really forget. Porcelain doll baby head from the old German doll-factory, holy sign to state the obvious & the invisible obvious, the submerged obviousness. Watermelon appliqué, Star appliqué, love & rage & rhinestone trim, & sorrow & alla those arms cuz there's so much to carry.

Vanessa German's Glory is the physical representation of the resilient glory of the black woman in America. She uses found objects, reflected in the expressive prose of her comprehensive materials list that alludes to the layered meanings of the ingredients that make up Glory. For example, the watermelon located on the figure's pelvis is a loaded symbol most often associated with negative racial stereotypes of African Americans. It was originally a symbol of freedom and economic independence, as growing watermelons was one of the most common ways for African Americans to support themselves after the Civil War.

# data[].attributes.attachment_link.description
Poly glitter, foam, vintage French beaded flowers, card stock letters, vintage machete, beaded sequin snakes, acrylic rhinestones, threaded rhinestones, glass beads, g ...