Modern Art and Cultural Design
Choi Chul-joo's Culture Design Review 11
Modern Art and Cultural Design [11] Contemporary Artist Louis Choi Chul-joo's Contemporary Artwork Review & Contemporary Artist Art Exhibition Art Review / Culture Column: Art critic, contemporary concept installation artist, abstract artist, current affairs critic, cultural critic, cultural columnist Choi Chul-joo's art and culture design criticism / (1) Young voters want to watch Black Pink's The Show on YouTube rather than campaigning
Choi Chul-joo, morning glory p48-3, a hand-painted picture on a computer
Culture Column: Culture critic Choi Chul-joo Contemporary Art Culture Column: Young voters want to watch Black Pink's "The Show" rather than campaign broadcast on YouTube
[1] Culture Column: Young voters want to watch Black Pink's "The Show" rather than campaign broadcast on YouTube
Choi Chul-joo's Culture Column: Choi Chul-joo's Cultural Column is a cultural review of contemporary art with a visual medium centered on contemporary art is a visual medium. This realistically abstracts desire as a medium for events and performance images by transferring painting with a conceptual structure to the concept of desire.
The visualization of the concept of desire: Visualizing the concept of desire is a cartoon depicting events and performances manually, expressing the background of the cartoon as a landscape of desire with "morning glory" and "Bamboo Forest," and the cartoon image reconstructs desire into an abstract and realistic picture.
Desire Design Methodology in Abstract Art Theory on Painting Design, Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <morning glory 2022-h> As an Abstract Korean painting of Modern Art, Desire Formula <D(I...I')d=I(D...D'i)i> is applied to overlap the painting <Corona mutant viruses 6> created by reversible light. In addition, by re-applying the desire formula by linking verbal metaphor images, a phenomenal conceptual place is set in another place in one space as a shade of reversible light and abstracted.
This translates to the first non-realistic abstraction poster at Louis Choi Chul-joo's 2022 New York Exhibition to actualize the Desire Object. The image <morning glory 45-03> becomes a non-real abstraction of reality.
By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.
■ Choi Chul-joo's Concept of Desire Formul: The image of desire, which applies Choi Chul-joo's desire formula D(I...I')d=I(D...D')i to 'morning glory', connects the concept of desire with the background of 'morning glory ' as an image to create a landscape by floating morning glory in the sky. In addition, in <morning glory>, the desire formula "D(I...I')d=I(D...D')i" is substituted, the connection effect between the concept of desire and the "morning glory" as desire image shades the concept of desire in the reversible shadow structure by setting the object as the concept of desire image of women by the "morning glory". In other words, the image of desire (I) is the structure of desire (D) because desire (D) is repeated (I...I') in several images (D...D'), and the image of art behavior or desire image(I) appears as the concept of desire(i)
Chul-joo Choi, <BLACKPINK creates a new image in the mirror like the picture "Las Meninas· The Maids 7>, a hand-painted picture on a computer/ 최철주 문화디자인박사의 시사만평 (Dr. Chul-joo Choi’s an editorial cartoon) Chul-joo Choi’s an editorial cartoon©blog.naver.com cartoon©blog.naver. com/c7manwha All rights reserved
[1] Young voters want to watch Black Pink's "The Show" rather than campaign broadcast on YouTube
Choi Chul-joo Culture Column [1] "Young voters would rather watch Black Pink's The Show than do election broadcasts on YouTube. The Culture Column interprets Velazquez's "maids" as a double image.
Diego Rodríguez de Silva y Velázquez painted The Handmaids<Las Meninas> of 1656 with an ideological and stereotyped image of the 17th century Baroque absolute monarchy.
Visualize characters from gaze point of view to screen composition, reducing time to exclude symbolism from space and highlighting the realistic presence of objects as objects.
In other words, it's identified so that you can look at the king and the queen from a different perspective on the screen.
In Choi Chul-joo's cartoon review No. 12, the space is identified from a different perspective as candidates for the mayor of Seoul in 2021 on behalf of the king and queen. It shows contemporary phenomena and human presence in the same way as the maids in <Las Meninas>. In addition, it emphasizes its presence as a real subject that young voters stare at by gazing at its position in the space with candidates for Seoul mayor who replaced the king and queen,
In <Las Meninas>, the object reflected in the mirror is an illusion, but in Sisa Manpyeong No. 12, the object of fantasy in the mirror shows actual candidates for Seoul mayor.
This illusion is that the subject of the object reflected in the mirror is the object of illusion, and the subject is cut by the linguistic meaning (signifiant).
Reality as an illusion forms an image reflected into a circular structure through an optical illusion object of a mirror and black pink in which candidates are inserted in the mirror's non-real objects, where the semantic action takes on a meaningful symbol by accepting the virtual image as a new subject of linguistic meaning (signifiant).
Choi Chul-joo, <BLACKPINK creates a new image in the mirror like the picture "Las Meninas· The Maids 6-1>, a hand-painted picture on a computer
In this way, the linguistic meaning (signifiant) is a reality in which the space reflected in the mirror in the cartoon is cut to accept the new subject as an image of a picture frame, showing the upper bodies of candidates that cannot be seen at the time of viewing the entire scene of the cartoon in another physical space revealed in the scene of <Las Meninas>.
In order to insert the reality seen as such a gaze, the artist's brush is put in to stare at the material reflected in the mirror.
Like <Las Meninas>, cartoon review No. 12 is a real representation of the time and space of Black Pink and candidates in the contemporary space that Velazquez saw through the mirror.
The image reflected in the mirror is an invisible space and is a shape in the time that Velázquez saw in <Las Meninas>. Just as his gaze and the other's gaze are identified and shown again in the mirror as king, queen, and princess, it shows the reproducibility and gaze that symbolically reveals the situation of Black Pink and candidates.
In <Las Meninas>, Velázquez looked at himself as an object reflected in a mirror and drew it. Another mirror in the painting shows King Felipe IV (Philip IV) and his wife, Maria Anna. This mirror reflects Velazquez, the king and queen outside the painting, but only the king and queen are reflected in the mirror in the painting. What the maids existing in between are invisible is an image that cannot be interpreted with a perspective visual system.
Choi Chul-joo, <BLACKPINK creates a new image in the mirror like the picture "Las Meninas· The Maids 9>, a hand-painted picture on a computer
The images of candidates and the faces of the two maids are drawn on images that do not exist in <Las Meninas> to represent the fantastic image that Velázquez revealed as the unconscious desire of the other.
This is because it is an image that is not revealed in <Las Meninas> and is shown as a non-realistic image in the perspective visual system. It reveals the reality of Velázquez by contrasting Princess Margarita, who is the subject as the other, and the king and queen, who are the subject as an absence. And the figure reflected in the mirror is not a figure of the king and queen as an invisible 'appreciation' that deviates from the entire point of view, but a metaphorical image as an inner entity looking at Princess Margarita.
Therefore, the rest of the characters are virtual images as non-realists. Revealing the neutral image seen by this gaze is the real situation of the conceptual image, which means eliminating the area of space and the form of a mannerist society that "The Show" and the Seoul mayoral candidate election have. In other words, "Young voters try to watch Black Pink's The Show rather than election broadcasts on YouTube."
In <Las Meninas>, Velázquez appears as an object as a painter and reproduces images of reality and non-realism in the same space. But Picasso interprets Cubist images that cannot be represented in the same plane. This was trying to find a connection to Velázquez's hypothetical visionary image, but Picasso combines multiple images from the same screen gaze.
Therefore, in <Las Meninas>, the place revealed by Lacan's gaze is the position of a man standing at the door that appears at the point where it disappears from the entire virtual image, so the man is the object that Velázquez revealed from the perspective of the other's desire, that is, from the perspective of reality. Velázquez reveals himself as a painter in <Las Meninas> and the subject cannot be a cognitive subject, but Picasso, who reproduces real and non-real images in the same space, superimposes non-real images that do not look like mirror images on one screen.
Object, the conceptual image of desire to reveal reality is an aesthetic result of a distorted image. / Writing. Choi Chul-joo, cultural columnist (cultural critic and Ph.D. in cultural design)
Choi Chul-joo, cultural columnist
