설치미술가 최철주｜Image Install Artist
설치미술가 최철주｜현대설치미술평론 현대설치미술가평론 이미지설치작품평론 2
이미지 설치미술가 최철주｜현대설치미술평론 현대설치미술가평론 이미지설치작품평론 Contemporary artwork criticism : Contemporary Art Installation Criticism [2] Contemporary installation artist artwork [1] Contemporary Art Sculpture Symbolic Sculpture & contemporary art formation image artwork: 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 : Choi Chul-joo Desire Installation Artist's Conceptual Sculpture Design & Planning. Former curator of the Busan Museum of Art Louis Choi Chul-joo (abstract design artist & contemporary artist)
부산시립미술관 조형물 설치 관련 부산광역시 예산 편성, 기획 및 디자인: 최철주 학예연구사(2009년)
작품. 조각 욕망 개념 디자인. 1. 욕망 개념 디자인으로 형성된 부산시립미술관의 조형물 도면
부산시립미술관 조형물 디자인 프로세스
부산시립미술관을 출퇴근하면서 타자의 무의식에서 존재로서 드러난 이미지는 부산시립미술관을 측면에서 순간적으로 볼 수 있었던 외관의 이미지이었다. 이것은 원근법적 시각체계에서 보이는 왜상적 이미지이다. 즉 부산시립미술관 파사드 형태의 정면에 있는 철재의 바(bar) 사이에 뚫린 공간이 보이지 않는 왜상적 이미지로서 부산시립미술관의 가상적 이미지이며 철을 질료로 한 실재이다. 이것은 최철주의 욕망 개념 추상미술이론에서 욕망으로 드러난 기표 이미지이며, 은유공식에 따라 다른 기표이미지(평면계획)로 치환되면서 의미작용의 효과로써 상징적 조형물로 형성된 것이다. 예술작품으로 한 조형물에서 오브제ɑ의 왜상적 이미지는 원근법적 차원에서 시각적 인지는 정량화한 형태로 인지됨으로 욕망적 접근에 한계가 있다. 이것은 타자의 소외과정을 통해 만나는 주체적 의미로서의 오브제ɑ는 순간적으로 존재되었다가 무의식 영역으로 사라지기 때문이다. 이렇게 사라진 욕망 개념 이미지의 오브제를 욕망 개념 디자인으로 형성하는 것은 최철주의 욕망 공식 <D(I...I')d=I(D...D'i)i>에 따라 기표이미지와 기표이미지의 연결구조(D...D')에서 연쇄화 후 드러난 디자인적 결핍(-) 즉 무의식으로 사라진 욕망을 디자인 의미작용의 효과(D'I)로써 타자의 무의식에서 욕망적 이미지를 렌더링 하여 기표이미지로 생성한다.
이것을 욕망 공식 <D(I...I')d=I(D...D'i)i>에 따라 원래 기표로 한 렌더링이 다른 기표이미지로서 욕망 오브제로 대치되면서(D/D') 원래의 기표이미지(DI)로써 렌더링이 욕망 개념 이미지로써 왜상적 이미지 즉 욕망 오브제가 된다.
Work. 조형물 욕망 개념디자인: 욕망적 관점에서 드러낸 왜상적 이미지의 렌더링
타자의 무의식에서 존재로서 드러난 이미지는 부산시립미술관을 측면에서 순간적으로 볼 수 있었던 외관의 이미지이었다.
Fig.조형물 욕망개념디자인.1 왜상적 이미지(렌더링)를 욕망 개념 디자인으로 욕망 오브제를 형성하는 것
상징성을 지닌 라캉적 조형물은 타자의 욕망으로 한 오브제ɑ로서 실재에 존재하게 되면서 왜상적 이미지로서 오브제ɑ는 존재의 의미를 남기고 은폐된다. 여기서 오브제ɑ를 드러내는 소외과정은 환상공식＄◇a에 따라 결여된 주체와 '오브제ɑ'와의 관계를 통해 타자의 무의식에 은폐되었던 상실된 존재를 찾게 된다. 이 소외과정은 존재 안에 있는 욕망적 주체를 드러낸다.
이것은 환유공식 f(S...S')S=˜ S (-)s 에 따라 기표이미지와 기표이미지의 연결구조(S...S')에서 연쇄화 후 드러난 디자인적 결핍(-) 즉 무의식으로 사라진 욕망을 디자인 의미작용의 효과(fS)로써 타자의 무의식에서 욕망적 주체의 이미지를 렌더링 하여 욕망적 이미지를 생성한다.
이것을 은유공식 f(S/S')S=˜ S (+) s 에 따라 원래 기표로 한 욕망적 주체의 렌더링이 다른 기표이미지로서 오브제ɑ로 대치되면서(S/S') 원래의 기표이미지(S)로써 렌더링이 기의(s)로써 왜상적 이미지의 렌더링에서 전이된 오브제ɑ로서 조형물이 형성된다.
최철주의 욕망 개념 추상미술이론에 따라 전시 조형물 디자인에 적용은 최철주의 욕망 공식 <D(I...I')d=I(D...D'i)i>에 따라 기표 이미지와 기표 이미지의 연결구조(D...D')에서 연쇄화 후 이것을 원래 기표로 한 하나의 기표 이미지로서 렌더링이 다른 기표 이미지로서 조형물로 대치되면서(I/I') 원래의 기표이미지(I'-렌더링)가 기의(I'D-사인물)가 된다. *D:욕망개념, I: 욕망개념이미지
이것은 최철주의 욕망 공식 <D(I...I')d=I(D...D'i)i>에 따라 한 기표 이미지로서 렌더링이 다른 기표로서 조형물로 치환하는(D/D') 의미작용의 효과는 사인․조형물을 형성하는 욕망개념이미지(D'I)를 출현한다.
Work.조형물 욕망개념디자인 4, 욕망 개념 이미지 디자인으로 형성된 부산시립미술관 조형물
Work 5.는 왜상적 이미지가 실재의 이미지로 보이는 원근법적 시점에서 타자의 욕망적 사유를 통해 타자의 무의식에서 존재로서 드러난 이미지이다. 사인․조형물의 질료가 실재라고 한다면 사인․조형물의 이미지는 상징적 이미지이다 즉 타자의 욕망에서 드러난 왜상적 이미지가 무의식에서 존재로서 드러난 실재의 철을 질료로한 부산시립미술관의 상징적 이미지이다.
자연환경과 동일시하려는 욕망 개념 디자인 조형물은 자연환경에서 인지적 변화가 일어나고 그 변화된 이미지가 자연환경에 포함된 표상적 이미지로 재인식하게 되는 것이다. 이는 욕망 개념 이미지의 오브제가 순간적으로 라캉적 디자인 조형물에 드러내면서 무의식적 욕망에서 존재되었음을 말해준다.
Work 5.조형물 욕망 개념 이미지 디자인: 욕망 이미지 디자인으로 형성된 조형물
Work5.에서 왜상적 이미지로서 욕망 이미지 오브제는 타자의 무의식 안에 은폐된다. 그것은 전시공간에서 이동요소의 자리(장소)에서 보이는 퍼스펙티브 이미지에서 전시구성요소 즉 조형물이 형성되면서 무의식의 욕망 안에 은폐되어 사라진다. 이것은 그 오브제가 원근법적 시각체계에서 보이지 않기 때문이다.
욕망 이미지는 응시영역은 언어적 구조체계이다. 언어로써 반복은 무의식적 습관에 의한 동일성과 반복된 이미지에서의 차이성을 형성한다. 따라서 부산시립미술관 사인․조형물을 반복적으로 빈공간과 수직적 메탈(metal)의 바(bar)가 연속되게 하였다.
이것은 전체적으로 부산시립미술관 파사드의 형상으로 보이는 복합적 시각효과가 나타난다. 각각의 수직의 바는 전체 파사드에서의 부분으로써 이미지의 연속성과 차이성을 가진다.
따라서 외형적으로 동일한 형상이지만 응시적 시점에서 순간적으로 보이는 왜상적 형상을 타자의 무의식에 담고 있다. 따라서 라캉적 디자인을 통한 조형물은 타자의 욕망에서 형성된 실재가 된다. 여기서의 실재는 조형물의 질료로서의 실재이다. 이렇게 실재에서 분리된 왜상적 이미지의 기표언어로부터 표출된 렌더링을 통해 조형물을 설치한 것이 욕망 이미지 디자인이다.
인지적 커뮤니케이션 체계에서 라캉 이론을 통한 전시 조형물에 디자인 적용의 결과에 따라 욕망 이미지 오브제가 형성되었다. 환경예술로써 그 오브제는 새로운 디자인으로 형성된 것이다. 기성 제품에 대한 새로운 의미를 부여시킨 레디메이드(ready-made)의 오브제와 함께 환경 조형물의 대표적인 질료는 철조(Steel art)이다.
따라서 욕망 이미지 디자인에서 드러난 조형물을 형태적으로 형성을 구체화한 도면을 통해서 조형물을 구성하기 적합하다. 조형물의 질료로서의 철조는 전시공간을 자연환경으로 변화시키는 계기가 된다. 이것은 자연환경의 공간에서 입체적 형태로 부각되면서 장소성을 인지시켜주는 조형물이다. 이것은 그 자리(장소)에서 환경의 시각적 형상으로 새롭게 드러내며 자연환경을 변화시키는 예술 작품으로서 라캉적 디자인의 조형물이다. / 글. 미술평론가 최철주 (설치미술가 & 문화디자인박사)
Louis Choi Chul-joo's concept of sculpture design: The search for artistic sculpture is based on the design environment of the sculpture and aims at human desire.
Busan Metropolitan City Budget Plan and Installation for the Installation of Sculptures at the Busan Museum of Art: Choi Chul-joo (2009)
Choi Chul-joo (design), Haegeum Advertising (installation/construction), "Busan Museum of Art sculptures", 2009. 2
Sculptures of the Busan Museum of Art
The image that was revealed to be in the unconsciousness of others while commuting to and from the Busan Museum of Art was an image that allowed the Busan Museum to be viewed from the side for a moment. This is a modified and reduced image seen in the perspective visual system. In other words, it is a virtual image of the Busan Museum of Art and a real image as a simplified image without seeing the space between the bars in front of the Busan Museum of Art.
This is an image revealed by desire in the process of repeating Choi Chul-joo' desire visual theory, and is formed as a symbolic sculpture as an effect of semantic action as it is replaced by other images according to metaphors. In the sculpture as a work of art, the simplified image of the object is recognized as a quantified visual perception form at the perspective level, so there is a limit to the approach of desire. This is an object in a subjective sense that meets through the alienation process of others. It is because it exists momentarily and disappears into the realm of unconsciousness.
The formation of a missing object with a lacanic design is Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i>. The connection structure(D...D') of the image and the image according to "<D(I...I')d=I(D...D'i)i>" is a design deficiency, that is, the desire that has disappeared unconsciously after repetition, is rendered from the unconsciousness of others by the effect of design semantic action (D'I).
According to the Choi Chul-joo's metaphorical desire formula <D(I...I')d=I(D...D'i)i>, rendering as an original image is replaced by an object (D/D') as another image, and meaning (I'D') object ɑ' is converted into an image through rendering as an original image.
Work. Sculpture Lacan design. 3 Rendering of drawing images revealed from a desire perspective
■ Choi Chul-joo's Concept of Desire Formul: In the concept of Choi Chul-joo's desire,
mathematical desire as an axiom of logic in the concept of desire results in reality as a concrete phenomenon rather than based on the external structure of the linguistic meaning through abstract design. Therefore, the rendering of the desire structure revealed by abstract encounter with reality at the intersection of desire outside the window applies the mathematical desire concept abstract design, or the image of the desire concept, to the Choi Chul-joo desire formula, and on March 1, 2022, morning glory appears as a flat real image as the subject of desire as a reversible shade of light in the Flushing Town Hall (New York) exhibition./ Choi Chul-joo's Desire Formula is a multiplication formula that uses I/I (image) and D/d (design) as symbols to generate a polynomial desire image by connecting the number of design images with event and performance images. The linguistic meaning of an image as a symbol is an image (I/i) of the concept of desire to identify the abstract concept of desire./ 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).
■ Choi Chul-joo's Desire The design process of abstract concepts: 1. The concept of desire is abstracted from the perspective of an image to the outside of reality, and the image of reality as an object of abstraction is designed as the correlation between reality and reality. This is the design process 1 of Choi Chul-joo's concept of abstraction of desire. This does not presuppose a causal relationship with the real world, but rather results in an abstract concept of desire as a correlation with reality to escape the misunderstanding that transfers from an abstract concept to a real structure. 2. The scope of showing the concept of desire is created and located by omitting the actual size of the abstract concept as a shade of the concept of desire originating from the actual image. In addition, Choi Chul-joo's conceptual process 2 follows the process of decorating an object with a color of universal reality suitable for custom in order to have aesthetic value suitable for its position as a single image. This creates an abstraction that contrasts with the past and desire, in which the aesthetic structure hidden by realistic colors is divided by clouds and obscured by shaded light, obscuring the abstract concept in the actual image. 3. The subject who painted abstraction realizes the reality that symbolizes the concept of desire, and the unconscious realizes abstract desire as a conscious phenomenon of image. Desire is an abstract image realized as a conscious phenomenon of an image, and the unconscious structure is process 3 of designing an abstract art concept of desire that repeatedly designs desire that combines line and color in thoughts but is not conscious of unconscious behavior. 4. The unconsciously abstracted concept of desire is a piece of reality in which the object of reality is not seen as a reversible shade of light, concealing reality as a shadow and showing another real image as a video. This is the process 4 of designing an abstract concept of desire formed by combining the space of desire into a reversible light structure through the conscious movement of planar monochromatic painting carved into reality.
■ The Design Results of Choi Chul-joo's Desire Abstract Concept: Choi Chul-joo Desire Abstract Concept Design's Linguistic Meaning Results: Although the object that is obsessed with the desire for others is passive, it is possible to actively practice one's desires through the sympathizer as the subject of desire, and the sympathizer who sympathizes with the desires of others as the subject can practice with the same desire. As a subject, a person who sympathizes with or accepts the desires of others becomes the same desire and becomes another subject of execution. Here, the sympathizer who sympathizes with the subject of the other's desire tries to generalize it as another object of desire that acts like a victor of war. However, when desire as an act overshadowed by reversible light is not generalized as a public act, the subject of inappropriate desire and the sympathizer antagonize the subject who practiced it according to the other's general desire.
■ Effect of Abstract Design with the concept of Choi Chul-joo's Desire as a Linguistic Meaning: The beneficiary who experienced reality as a desire for the other party is passive, but the person in power who can actively execute it from the perspective of the perpetrator puts it into practice with the same desire as the sympathizer. The sympathizer becomes the same desire and becomes the subject of actual action when a powerful person provides the benefit of power or a sympathizer receives it. The other's desire, which is hidden here, generalizes the actual actions of inappropriate powerful people and sympathizers as another object of desire and acts like a victor of war. However, when the actual effect as an act overshadowed by reversible light is not generalized as a public act, the subject of inappropriate desire is antagonized by the other's desire, away from the other's general desire for inappropriate power and sympathizers.
The image revealed as a being in the others unconsciousness was the image of the exterior that allowed a momentary view of the Busan Museum of Art from the side.
Fig. Desire Design of Sculptures.1 Forming an object ɑ by designing a desire image (rendering)
The desire sculpture with symbolism exists in reality as an object ɑ due to the desire of others, and the object ɑ is concealed by leaving the meaning of existence as an image of desire. Here, the repetition process of revealing the object ɑ finds a lost existence that was concealed in the unconsciousness of others through the relationship between the subject and the "object ɑ" that is lacking according to the formula (＄◇a) that emerges an illusion. This repetition process derives an image of a sculpture that reveals a desireful subject within existence.
This is the formula < f(S...S')S=˜ S (-)s> that regenerates the image...The connection structure between the image and another image according to < f(S...S')S=˜ S (-)s> Design deficiency (-), that is, the desire that has disappeared into the unconscious during repetition in S'), is the effect of design meaning action (fS), which renders the image of the desire subject in the other's unconscious to create a desire image.
According to the desire formula <D(I...I')d=I(D...D'i)i> that adds this meaning, the rendering of the desire subject as the original image is replaced by the object ɑ as another image (D/D') and the sculpture is formed as the object ɑ changed from the rendering of the desire image as the meaning (I'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 . The <D(I...I')d=I(D...D'i)i> connection structure between the image and another image according to <f(S...S')S=˜ S (-)s> 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/D'), and the original image (D'-rendering) becomes an imaginary meaning (I'-desire image).
According to the formula <D(I...I')d=I(D...D'i)i> that reveals meaning, the effect (I'D') of semantic action in which rendering changes to a sculpture as another image (D/D') is said to be combined with crossing the rod forming the sine sculpture.
Work. Sculpture Desire Design. 4. Signed sculpture of Busan Museum of Art formed by Desire Design 2
Work 5.5 is an image revealed as a being in the unconsciousness of the other through the other's desire thinking at a perspective point in which the desire image appears to be a real image. If the material of the sign and sculpture is real, the image of the sign and sculpture is a symbolic image. In other words, the image of desire revealed in the desire of others becomes a symbolic image of the Busan Museum of Art based on the iron of reality revealed as an existence in the unconscious.
The desire to identify with the natural environment image is that cognitive changes occur in the natural environment and the changed image is re-recognized as a symbolic image included in the natural environment. This suggests that the object ɑ of desire existed in the unconscious desire of others as it was momentarily revealed in the desire design sculpture.
Work. Sculpture Desire Design. 5. The moment when the object ɑ is concealed and disappears in the unconsciousness of the other as an image of desire in the sculpture formed by Desire Design 2
Work. Sculpture Desire Design. The object ɑ as an image of desire in 5. is concealed in the unconsciousness of the other. It disappears in the unconscious desire as the exhibition component, or sculpture, is formed in the perceptive image seen in the place (place) of the moving element in the exhibition space. This is because the object ɑ is not visible in the perspective visual system.
Photo. Sculpture Desire Design. 1 Busan Museum of Art Signs and Sculptures
Photo. Sculpture Desire Design 1. The autograph and sculpture of the Busan Museum of Art are photos of three-dimensional sculptures made of real materials. Sculpture always in the same place (located) as installed in Desire Design 1.
As the sculpture disappears, it gets another meaning of the sculpture created by installation.
Since the gaze area of desire is a linguistic structure system, repetition is a language that forms identity by the difference between unconscious habits and repeated images, the signs and sculptures of the Busan Museum of Art were repeatedly installed with empty spaces and vertical bars.
Overall, this has a complex visual effect that appears to be the shape of the Busan Museum of Art facade. Each vertical bar is a part of the entire façade and is a symbolic installation with the continuity and difference of the image.
This is the same shape outwardly, but it makes the shape of the other's desire that is momentarily visible from the gaze point of view be contained in the other's unconsciousness. Therefore, the sculpture through desire design becomes a reality formed by the desire of others. The reality here is the reality as the material of the sculpture. Louis Choi Chul-joo's Desire Design 2 installed the sculpture through rendering expressed from the language of desire images separated from reality.
In the cognitive communication system, object ɑs were formed according to the results of design application to exhibition sculptures through Lacan theory. As an environmental art, the desire design sculpture was formed by a new design. Along with ready-made objects that give new meaning to ready-made products, the representative material of environmental sculptures is steel art.
It is a sculpture suitable for the morphological form of the sculpture revealed in the desire design. Steel, the material of the sculpture, is an opportunity to change the exhibition space into the natural environment, is a ɑ object of the desire to recognize locality while appearing in a three-dimensional form in the space of the natural environment, and is a sculpture of Desire Design, a work of art that newly reveals the visual shape of the place environment and changes the natural environment.
Nevertheless, the Busan Museum of Art has eliminated a representative sculpture that lasted more than a decade, just like a white cube exhibition space that repeats a new form of exhibition. / Writing. Curator Choi Chul-joo
Choi Chul-joo, an installation artist