Contemporary Artworks Review27
Art Critique & Contemporary Art Review27
Contemporary artwork review [27] Contemporary Art Critic Louis Choi Chul-joo's Art Critique of Contemporary conceptual painting Artwork & Modern abstract artwork criticism / Contemporary Art Today Choi Chul-joo's Art Criticism and Example of contemporary art: Contemporary Art Critic Louis Choi Chul-joo's Art Review of installation artist artwork & Modern and Contemporary Artwork Criticism: Contemporary installation artist artwork [2] Contemporary Art Sculpture Symbolic Sculpture : Contemporary Artist Louis Choi Chul-joo Installation Art Review & Abstract Artist Louis Choi Chul-joo Design Review of Painting and Sculpture Design: Famous Installation Artist, Contemporary Artist, Abstract Artist, Conceptual Artist Installation Art Painting and Sculpture / Contemporary installation art work : Installation of Sculptures in Hansae Museum: Graphic Image Sculptures with Realistic Meaning Structure by Installation Artist Louis Choi Chul-joo
Choi Chul-joo, Desire sketch Image = An image of the installation sculpture of Busan National University of Education revealed by repeating sketches from a desire perspective
Design of Others Desireable Sculptures: The search for artistic sculptures aims at human desire based on the design environment of the sculpture.
Planning and Design for the Installation of Sculptures at Hansae Museum, Pusan National University of Education: Curator Choi Chul-joo (2016)
Installation artist Choi Chul-joo, autographed sculpture of Hansae Museum installed according to the production drawing created by the unconscious/unconsistent semantic effect (fS) of images
Desireful Design 2, which forms the sculpture as a desire object 'ɑ' into modern concept installation art
To reveal the meaning of the exhibition theme as a being in the process of desire exhibition design is to reveal the desire of others as an object ɑ from the inadequacy of the subject to meet reality as a gaze in the repressed unconsciousness of desire in exhibition design. In other words, in order to form a new subject as an existing perceptive image, it reveals the ɑ of the object as an object, including symbolic signs and sculptures, by combining it with the other's desire for exhibition themes and a new subject to reveal symbolic meaning.
As a sign and sculpture installed here, the reality is a perceptive image of the environment around the museum. The hidden object ɑ is another gaze that started from the eye and is a perceptive image that shows the meaning of the exhibition theme as an object ɑ as a hidden being.
Forming an object ɑ as a museum's signature and sculpture as a being
The signature and sculpture, which symbolizes the museum as a representative exhibition facility, exist in reality as an object with the desire of others, and it has a double meaning with the object ɑ as an exhibition theme symbolizing the museum. As the desire of others to watch the exhibition, the ɑ of the perceptive image object conceals the existence of reality.
However, in the process of exhibition design that derives the desires of others, a topic lacking symbolism is used as an exhibition theme symbol, a cover and sculpture installed by identifying the target ɑ separated from the perceptual image, and the target ɑ is encountered as a lost other's desire hidden in the perceptual image of the surrounding environment of the museum.
This is because the object ɑ, which is the other's desire subject, exists in the subject, and the desire perceptive image suppressed by the other's unconsciousness has a symbol of social meaning as a contemporary museum. Here, before the sign and sculpture are installed, the sketch of the other's desire perceptive image is another image formed by being replaced by the contemporary desire through the process of alienation of meaning from the existing perceptive sign image as the desire of the other.
Since it reveals a desire image as a being, it sketches the meaning of other desire images as the subject of exhibition in the language of the image.
Work/ Sign Desire Design 2. Language of images of educational museum signs and sculptures (plane plan/side-view) and images (sign and sculpture images/sketch)
The work/ Sign Desire Design 2. is an image that reveals the desire of the other as a being in the other's unconsciousness through the other's desire thinking from the perspective of the desire design. If the subject matter of the sign and sculpture revealed by the desire image is real, the image of the sign and sculpture is a symbolic image of the exhibition space created by the exhibition design that derives the desire of the other.
In other words, it is the subject of reality in which the image of desire revealed in the desires of others is revealed as an unconscious being through the exhibition design process that expresses desire. This is an exhibition space formed by desire design and is a perceptual image that symbolizes the museum. According to the Choi Chuljoo’s desire formula of the metaphor <D(I...I')d=I(D...D'i)i> that hides meaning, this perceptual image is a desire image used by others as a real symbol and sculpture of a new perceptual image in the exhibition space (I...I').
In the design of the desire to identify with the surrounding environment, the sculpture undergoes cognitive changes in the surrounding environment and re-recognizes the changed perceptive image as a representative image included in the surrounding environment. This means that the object ɑ of desire existed in the unconscious desire of others as it was momentarily revealed in a sculpture that symbolized a desireful exhibition space. Its formation is a desire formula <D(I...I')d=I(D...D'i)i> that leaks images...According to <D(I...I')d=I(D...D'i)i>, an existing perceptive image is generated by connecting with another perceptive image. According to the Choi Chuljoo’s metaphor formula <D(I...I')d=IS(D...D'i)is> that conceals the meaning of the subject as an exhibition theme that has disappeared unconsciously, the process of alienation in meaning transforms the object into an object ɑ as a desireful perceptive image sketch(is).
In the exhibition design process based on the object of desire exhibition design, through the alienation of meaning, signs and sculptures of desire exhibition design are installed through sketch as a flat image, the language of images viewed from the perspective of others' unconscious desires. Desire The target ɑ of exhibition design is to grasp the image of desire separated by reality and the subject matter as reality as the same perceptual image of signboards and sculptures.
Work/ Signboard Desire Design 3: Choi Chul-joo, the moment when the object ɑ is concealed and disappears in the unconsciousness of the other as a desire image in an exhibition space formed by a desire sketch.
In Desireable Design 3, the sculpture image is separated from reality, and the desire image exists in the unconscious. This is separated from the imaginary exhibition design structure of autographs and sculptures and designs autographs through a desire exhibition design process to reveal the ɑ of objects as beings. As a result of this, Desire Design 3 is an exhibition space design to meet the perceptive image of an object ɑ as a being through a desireful gaze revealed in the unconsciousness of others in order to escape the symbolism limited to the sign function in the environment around the Hansae Museum.
Desireful Design 3 reveals the image of Perspective with the exhibition theme as the subject as the gaze of others. The image of the perceptive previously revealed in the exhibition space is the "object ɑ" as a reality revealed in the desires of others. The shape of this object ɑ generates an existential meaning in a perceptive image as another reality. In this way, the desire image as an exhibition theme based on the other's desire gaze creates a reality based on the sketch of the perceptive image expressed in the unconscious oppression of the other. Here, the unconscious desire of one other with the existing perceptive image is premised on acceptance as a selective meaning of popular demand in Desire Design 3, and the designer looks at the new perceptive image by deviating from the fixed meaning of the existing perceptive image through conversion that reveals the desire image.
The sculpture of Desiring Design 3 is the reality of perceptual images set in the exhibition space. Due to the surrounding environment of the exhibition space, the sculpture forms a presence as a cyclical image of persimmon dance and exposure. This is a reality set in an adjacent bamboo forest, and the perceptual image is converted into the perceptual image of the object and the ɑ as a presence that appears through the bamboo gap from a gaze point of view. This is like creating a small image that is momentarily perceived as images reappear in the real world. This is the image language of the object that has become a symbol, meaning symbolism and concealing the tilted side of the Hansae Museum. In other words, the symbolic meaning of the sculpture was emphasized to meet reality as the language of the image. This is the desire meaning of others who identify with the surrounding environment and form the sculpture and the surrounding environment as a perceptual image.
The originality as a work of art disappears as the flat reproduction image creates a copy image of the object. This means that the original planar design does not exist. Therefore, Desire Design 3 is a spatial concept and has the originality of being because it is a sculpture formed as a result of the exhibition process and the desire of one other.
The object ɑ, which means viewing the perceptive image as an exhibition theme through the process of alienation of the meaning of the existing sculpture due to the desire of others, exists momentarily and disappears into the unconscious domain. Forming an exhibition space with this missing object ɑ into Desireful Design 3 is the Choi Chuljoo’s desire formula <D(I...I')d=I(D...D'i)i> that reveals desire.
The connection structure between the existing and new perceptive images according to <D(I...I')d=I(D...D'i)i>. The lack of desire exhibition design (D) revealed over and over again in (I...I'), that is, the desire that disappeared unconsciously, is sketched in the unconsciousness of one other with the effect of meaning action (D) in Desire Design 3, creating a new perceptive image.
According to the metaphor formula <D(I...I')d=I(D...D'i)i> that symbolizes this, the original landmark image is replaced by an object ɑ as another perceptive image (I), and the perceptive image becomes a desire image as a new perceptive image, that is, an object ɑ. This is the transition of the desire perceptive image to the object ɑ as being in the sketch in Figure 5.3 in Work.
Therefore, according to the metaphor process of revealing images in the process of desireful exhibition design,
This is the Choi Chuljoo’s desire formula <D(I...I')d=I(D...D'i)i> that
regenerates the image...The connection structure between the image and another image according to <D(I...I')d=I(D...D'i)i> Design deficiency, that is, the desire that has disappeared into the unconscious during repetition in (I...I'), is the effect of design meaning action D, which renders the image of the desire subject in the other's unconscious to create a desire image.
According to the formula <D(I...I')d=I(D...D'i)i> that adds this meaning, the rendering of the desire subject as the original image med as the object ɑ changed from the rendering of the desire image as the mis replaced by the object ɑ as another image (I/I') and the sculpture is foreaning (d) of the image.
According to the repeated process of deriving the image of desire and adding the meaning of the image, the application to the exhibition sculpture design reveals the image of desire <D(I...I')d=I(D...D'i)i>. The connection structure between the image and another image according to <D(I...I')d=I(D...D'i)i> Repeating it in <D(I...I')d=I(D...D'i)i>, rendering is replaced by a sculpture as an image in a different sense D(I...I')d, and the original image (D-rendering) becomes an imaginary meaning (d-obect image).
Work 6.28 / Signed sculpture created by sketch as the semantic effect (fS) of Hansae Museum facade image, the sign image of object ɑ
Desire Design 3's perceptual sketch on the front is another reality that has been moved from the front and side as an image to the Hansae Museum, and the creation of symbols and sculptures is replaced by the original image (I...I')). Just as the perceptual image is replaced by another image (D...D'i) to become a symbol and form as an entity of a new perceptual image, the words of the image are transmitted from mouth to mouth, and in the desire design, The two images go beyond design (D) and align with reality and abstract desire (=).
