E-mail conversation between Power and Soo Jung

Dear Soo Jung,

Ah, yes, we were talking about the project maybe too briefly at the talk and I completely comprehend if the outline of the project is a bit blurred, in fact - I'm not altogether certain about every part of the project as it is very much a "work in process" and also "in progress" too. It is an evolving project that seems to mutate as every day unfolds with new ideas and new artists. Yesterday, in fact, Jan Christensen was indeed using your own work process as a structure of reference for the whole show which makes it maybe more understandable for you. You see - the way you use random artifacts and situations from your own environment and then later place them together in one of your paintings is very much like this process for the show/work-shop evolves.

The work-process is ongoing and there is an inherent wish for artists participating in it from all over and there is also an inherent wish to maybe break down the structure of the ordinary exhibition where you have works, curators and straight and square definitions of the roles and hierarchies. It is an experiment.

If you have a look at Jan Christensen's (the artist who invited the Norwegian artists/curators) web page at www.janchristensen.org you will find his work for reference too, which I feel is important as a reference too for the process. He, much like you, appropriate stuff from his everyday-life and use it for his projects and wall paintings. In a way this process could be used as a way of "curating" too - although "curating" is maybe a word to be used with precaution in this project. There is a wish that the artists will collaborate and also INTERFERE with each other, and the show is not going to be a show with different singled out masterpieces displayed separately and in "piece" - on the contrary there is a wish for a situation more like "chaos" here where artists and work are intertwined with each other.

What we are talking about now is maybe if we could use one excerpt of your paintings, like the circus tent, the floating cone or the birthday cake for instance - to separate one of the represented things/situations/objects and perhaps make a new painting of it - but enlarged or a little bit distorted, perhaps on the floor or on the wall. We were also yesterday discussing if you in fact also would consider to additionally contribute with one of the paintings you have at INSA too, since the show there ends on July 1st and we have the first "pre-opening" of the project on July 3rd. If so you would have a piece in the group show too, in addition to the "excerpt" that will be somewhere else in the space, made by someone else.

The best thing would of course be if you came by the project space when we are working and we could talk together about it and explain more thoroughly, I am sorry if I took for granted that you would somehow understand the process even though I myself sometimes have much trouble understanding it :).

Would it be possible for you to come by some time soon so that we could meet and maybe explain more at length? But do bear in mind that this is an evolving process that has many twists and turns, but in general it should be very simple and also very easy to change the process. Makes more sense now?

You can also check out the blog that we have created for the process - here you will find the flyer for the project too: 195seoul.blogspot.com. In conjunction with this I was wondering if I would have your permission to post this e-mail in the blog? Hopefully this would be alright with you, it might help others to comprehend this process too, you know...?

All my best
power




soojung wrote:
>
> Hi,
>
> I carefully read your email and I am corious about several things.
>
> My questions are as follows.
>
>
>
> Firstly, in actual fact, I didn't fully understand what kind of your project is.
>
> ( I think, we don't have enough time for talking about your project in Yeonhee-dong) Could you explain more about it?
>
> Secondly, who will use the images, which images will he or she use and what is the context?
>
> Lastly, Do I participate in the project as a member in a group work or Is my name just mentioned as a reference?
>
> Sincerely,
>
> Choi, Soo Jung
>
>
> ---------[ 받은 메일 내용 ]----------
> 제목 : Re: [RE]Images
> 날짜 : Tue, 26 Jun 2007 09:52:25 +0200
> 보낸이 : Power Ekroth
> 받는이 : soojung
>
> Thanx a lot!
>
> Actually I/we have one question for you, and that is if you would find
> it ok if we use some of your elements and maybe blow them up and paint
> them on a wall in the gallery for the project? You would be credited as
> being a part of the show of course. Let us know!
> All best,
> power
>

Progress in networking for the work in progress

Portfolio browsing

Erlend (with the biggest smile he has ever had on a photograph) and myself at INSA art space going through portfolios at this very instant. We had a great introduction and we are looking on some really great young and emerging artists! This is FUN!

And HELLO INSTITUTIONS: IF YOU NEED A SHOW WITH LIKE "YOUNG KOREAN ARTISTS" - ERLEND AND I WILL COME CURATE IT FOR YOU!! JUST GIVE US A CALL/E-MAIL/COMMENT HERE!

Flyer ready!

Design by Bjørn-Kowalski Hansen

"Weed is probably the last thing this project need right now"

Day six or whatever

[Written last night]

I am writing this from a bed. And not just any bed: a bed designed by Donald Judd! Okay, not true. But there is a desk by Judd in a room almost directly below me. I am at the previously mentioned new diggs awarded to Power and myself for being classy curators and not dirty artist scum like Jan and Bjørn. Our locale is the Paik Hae Young Gallery in one of the posh areas above Seoul’s tourist-trap Itaewon. It’s a lovely architect-designed building from the 60s, a typical modernist white concrete house in the style of a Mediterrenean villa. I’m in a bed. I guess I must’ve spent more than six nights in a row without sleeping in a bed before, but these last six nights and days feel like a very long time. Not in a bad way, simply in a jam-packed holy shit what the hell is going on here-way. It’s good. Also feeling like a bit of a klasseforræder for being here when Jan and Bjørn are still jimjilbanging.

Today was one of the strangest days so far. First we had the meeting with Ms. Paik, then Jooyoung, Jan, Power and I went to see the new Samsung museum, which was closed, because it was Monday (Hey! How should we know, right? It’s not like any of us are particularly hip to this whole “artworld” business…with its weird rules and regulations). So then we ended up at Ali Baba, an Egyptian restaurant where we had nice falafels, and just okay hummus, and something which was certainly not the tabouleh we ordered but which was still perfectly okay.

Afterwards the others went on various errands. Jan to buy paint and Jooyoung and Power back to the gallery. I decided that it was about time I get down to what I normally spend most of my time doing when I’m in a city that I don’t know, so I took the subway randomly and walked the streets. That is perhaps not entirely true either. I took the subway to Apgujeon, which is the final stop before the fashion district, with several big department stores and many designer shops along a busy street that goes for maybe a couple of kilometres. No trip yet to Hermés, but I might go there tomorrow as I will be slightly better dressed because we’re starting the day with a meet and greet at the Norwegian embassy to thank them for very generously supporting us with money for the airfare for Bjørn, Jan and myself. (Hey, Nikko: thanks for the comment. Great to hear that the Leif Inge-thing should be happening, it’s going to be great!) Anyway, initial impressions, everything a little boring. Mostly just the Europeans labels you would expect. Raf Simons, Costume National, Viktor & Rolf etc. And the big ones of course. One store had a small, but also disappointing Marc Jacobs section. Of the big houses, Prada, Gucci and Louis Vuitton had the most impressive buildings. Prada in a league of its own with a super-sleek, big modernist building that seemed perfect for them. Also been wondering a bit about the fate of Louis Vuitton on account of all the knockoff bags I keep seeing. For some reason they seem to be the main target of fakes, I seem to remember this from Oslo as well, and I would guess that the people who can actually afford the real ones would soon be put off by seeing all these lowlife nobodies everywhere sporting their at one time probably beloved LV. And as a result I would imagine that no one can be interested in buying real ones anymore. I mean, these are people who know how to appreciate a good distinction, so they shouldn’t put up with this crap. Any info here would be great.

I feel like my new, if temporary, living arrangements might result in actually having some kind of surplus of mindpower to actually start writing some serious reflections on just what the hell we’re doing over here. For one thing, I’ve been looking through Per Gunnar Tverbakk’s PROJECT DESCRIPTION for his Ph.D. project at the Art Academy in Oslo and there are definitely certain similarities between his ideas and what we’re doing here. Maybe. But to be honest, reading about his project kind of makes me want to be involved in the production of tangible, sellable product-art. So far my only, not so serious reflectiony, response has been to commission t-shirts for all of us saying “I Went To Korea and All I Did was This Processbased Art Project.”

Princess diva's sleep and unease

Princess divapower finally got a good night's sleep in a queen size bed in a room of her own. Not that she minded staying at Jooyoung's, not at all - she actually really miss the nightly talks - but she really enjoys to sleep in a real bed with a mattress. Now that she has slept well and feel really good, she also experience another feeling: mega guilt.

I'm beginning to see the "strategies" of Jan over here even more clearly. Yesterday I was joking with him that he should have started the "breaking down of my diva princess attitude" and sense of individuality more lightly instead of pushing me into the completely, totally, democratic bath-house-sleep-arrangement from day one; I meant that if he had arranged a slow downfall in arrangements from the early beginning with a "five class hotel day one, a four star hotel day two, three star day three" etc towards the Jimjilbang which of course is not a hotel at all I would have had a smoother transition and maybe had more time to adjust which would have made things easier to handle. He, on the other side, laughingly replied that he thought it was so much better to change from the Jinjilbang to a five class arrangement so that I really would appreciate the luxury so much more.

The result?

I'm most likely turning into a full blown Marxist-communist.

Erlend is in the same boat as myself since he is in the other room in this resort. He's talking about time-share of his room unlike me. I'm far more egoistical and would like to keep the bed the few nights I have it for my disposal (so I'm not yet full blown communist) but I am however more than willing to share the huge bed with Jan or Bjørn, or hell, even both if they would wish (for the record, I am now talking about sharing the bed, not anything else). I'm afraid that the guys are too tactful and won't take up on the offer though, so here I am, in a beautiful house and a wonderful big bed, alone in a room, wirelessly connected and with a magnificent view plus a huge balcony facing the view - this is something I would have loved normally and would have enjoyed totally and felt like it was completely something I "deserved" (think L'oreal) but - now, all I can feel is guilt.














But like I told you, I am not yet able to deal with the consequences of being a convinced commy all the way and therefore not yet ready to move back into the pink uniform shorts-jinjilbang, but I cannot but to be amazed about the smartness of Jan's strategy. He is in a way building a "powerless structure" (no pun intended with myself, pun intended about Elmdrags') in this project. Who has the power in the project? Not the artists participating. Not the curators. There is no gallery owner wanting to sell works, no inherent structure in the space in itself, no curator's strategy or concept, no money involved... I'm always advocating that there are no powerless structures and trying to invent such a situation has a power hierarchy inherent in itself (why I am digesting Lefebvre at the moment) etc, but by placing me and Erlend in this beautiful home while staying himself together with the other artist in this project in the white uniform-shorts at the jinjilbang Jan has made somewhat a decision about the two of us being in another position to be able to go into this residency, why we are not in a "higher rank" or anything of course, but it is a clear decision and choice of distribution of means and funds. I guess the booming economy of Seoul's with its history and closeness to North Korea is a great spot to be considering these things. Especially since I have the Swedish passport representing the land of "lagom" or "witheld sufficiency" which could translate to flat (in both aspects) social democratic boringness.

I am partly exaggerating and am deliberately pushing things to its limit here of course, bear that in mind while reading my qualms. But still. I'm chewing on this, but not yet ready to swallow. I'm not easy about things, not at all, not even when I'm rewarded a bed of my own. A bitchy princess on peas.















The project space's wall behind Bjørn's desk















Excerpt from the wall with Jan's preliminary poster for the project to the right, and another poster about the so called "middle way" of Sweden to the left

I want your Aura
I want your Aura
I want your Aura
I want your Aura
I want your Aura

Paik Hae Young Gallery

Power and Erlend will stay for some days at this excellent residency courtesy of Paik Hae Young Gallery in Itaewon. The house is a beautiful building that holds gallery, offices, guest rooms and an apartment.

Jooyoung, Jan, Erlend, Ms Paik Hae Young and Power.

Gallery view/cityscape

Garden

John Tremblay exhibition

Random photos

We are cutting corners... from now on only one dish of food for the entire group per day.

Haejun Park is the landlord of the gallery and runs the Sum Bar in Hongdae.

Bjørn's mind speaks for itself...

.olleH

Maybe I should think about sh.., um, theory now?

I should most probably be full of thoughts and theory about all this that we are doing in Seoul. That's most likely why I was invited in the first place. I think I am thinking about all of this, and I may only have a grand constipation, or something? Coz my shit is not coming out loose and lightly. Thoughts about Henri Lefebvre's oeuvre simmer together with thoughts on political standpoints about Venezuela and have to become a soup pretty soon. I need not only to chew on it but also to digest after which I can finally, hopefully if I'm lucky enough, take a dump and create one of those fuming bear shits that Charles Bukowski is talking about HERE. By the way - not in any way would I be comparing myself with Bukowski or any other poet/writer, I'm shitting a different sort of texts, but I would never the less be comparing the processes of writing any kind of texts with each other.

PS. Experiencing constipation while on a deadline is nothing new. Ask any kind of writer.

Jan Christensen

Jan Christensen is an artist from Norway, based in Berlin, and doing a residency in Norway at the moment also. So he travels a bit and he's doing painting, video, music. He left art school in 2000. He has a very clear understanding of the artworld and thinks the market is overheated.

Born to parents who made a fortune in shipping in the late 60s, Jan is the one-man party, author function-umbrella under which we all try to hide. When he is not conducting experiments on the nature and practice of various forms of value he enjoys dragging people off to join weird cults from which no individualized personality ever escapes, drinking Jinro and flyfishing. He has a remarkable ability to make the flies feel that they are important, if disposable, actors in a creative game in which process is what matters, not the final display of fish on the table.

He is currently in the market for a videocamera, a JVC GZ-HD7EX, and his next project will be to direct the movie "Jim Jil Bangers 17" starring his old friend, and longtime adult-actor, Leif Magne Tangen (who is joining us in Seoul for the 195-project next week.)

His most recent exhibitions include Tempo Skien, Initialraum (Münster) "Believers and Illusionists at R.T. Hansen (Berlin). He is the main artistic supervisor of Kunstverein Privaten Zimmer.

Jan is also dyslexic but has managed to overcome this obstacle to make great sucess as a textbased artist.

Interference

The key word here in the process has to be: interference. To make all the artists involved and the art works should be cut'n'pasted into the show and the artists "should" interfere with one and another.

Update on our Seoul-life in progress

Back in Fort Banga Banga after a visit to Paik Hae Young Gallery where Jan, Jooyoung, Erlend and myself saw Paik Hae Young herself and managed to somehow convince her that we were honest and wonderful people that deserved to stay in her supernice modernistic building (built only 35 years ago) where she lives, has a gallery and also have some spare rooms for art people like our self for a week at least. Me very happy. We'll sleep in real beds tonight - at least Erlend and myself!

Jan is still super enthusiastic about the Jjimjingbang however so he'll stay on a while longer together with Bjørn.

Erlend took off to explore the city's fashion district by himself, Jooyoung went to do some errands just like Jan, and I came back to the project space to find Bjørn surfing some pages about Seoul's more shady districts. I'm looking forward to that excursion.

Last night we spent working until late and then we went to the bar SUM that is owned by the sweet lady who owns the building of the gallery. SUM is by the way a great place with four cats, a homely environment and a giant record collection with some mean Korean disco from the 70-ies. We had a few drinks, spoke about the importance of a good pick-up line and had quite an early night due to the early morning meeting this morning at the gallery. A slight confusion about the date of the opening occurred but I believe that everything is settled now, but I suspect I'll find out later tonight when we had our meeting. I am happy that we now have a lay-out for the invitation card (below) signed Bjørn-Kowalski Hansen. Me thinks it looks much like "I dream of Jeannie".

I'm assigned by the INSA Art Space to write a text on the exhibition we had a talk about the other day, so I'd better get on with it immediately!

One of Erlend's other projects

I am sitting in the Jimjilbang reading my emails properly here at night and realize that our companion Erlend Hammer has written the following press release for a show opening at Lautom Contemporary in Oslo now June 28th. Nice little text, it's just a press release, he did not curate the show (my other friend Raimar Stange did,) but he wrote this text for it. I wanted to link directly to the website HERE, but for some reason it is not online there nor is he credited. But here it is for all the our dedicated friends who follow our work in Seoul:

So there I was in Berlin generally minding my own business and then Randi flew down so that I could meet Raimar. ”I think you two will really get along” she said. ”What the hell?” I thought. ”You could be brothers” she said when we were sitting in Raimar’s kitchen. ”What? Nooo...” Raimar and I both said with exactly the same look on our faces.

”Historyteller.” There’s something just slightly off with that word. It’s very close to what we are used to, but that little prefix suddenly makes all the difference and adds a tension that transgresses the cosiness of just telling stories. It’s like in that great episode in season 7 of Buffy where Andrew the reformed geek is telling the story of “Buffy- slayer of the vampires.” Immediately your ears prick up.

Raimar tells us that the exhibition is structured in sections: history of pop culture, history of politics, history of science, history of architecture, history of art. So then it’s a history of the Project of Enlightenment, I think. But now that all that is over and done with, should we still understand it as a collection of different histories developing in parallel alongside each other? Of course not. In reality they’re all branches of the same thing, the human storytelling that makes up the entirety of our shared histories and cultures. Not so much autonomous units within a framework, and more like different genres within a shared social practice. Science, for example, is the genre where we tell the story of how to master nature. Art is the genre where, depending on certain preferences, we tell stories amuse and delight, or shock and raise awareness. A huge part of modernity was about defining how these genres differed, and a large part of postmodernity has been about describing how they are similar. So we’ve become more interested in how they don’t differ. There is difference, of course, but it is usually of focus, not kind.

Returning the difference between story and history, the central issue here concerns how the word history writes a check that story knows won’t clear. History makes certain demands that story usually does not. History is what happened. A story is what I want to tell you. For this exhibition the phrase is adjusted, so that your attention is projected towards how it is a history that I want to tell you. Well maybe not I, but Matthew Antezzo, Isabell Heimerdinger, Christine & Irene Hohenbüchler, Elke Marhöfer, Karina Nimmerfall, Peter Pommerer, Julia Schulz, Veronika Schumacher, Christine Würmell. And Raimar Stange brought them together to do so at Lautom Contemporary, Randi Thommessen’s gallery in Oslo.

So then, back in Raimar’s kitchen, we talk about football, whether or not Bill Drummond is just a cynic and how Øystein Aasan had told Randi that Raimar probably shouldn’t hang the exhibition by himself. And then suddenly Randi says that the real reason we needed to meet was because I would be writing the press release for the exhibition. “Sometimes Erlend is kind of a gonzo writer” she said. “I don’t care” Raimar said.

Erlend Hammer

Eunji Cho

Here are Han Juyoun and Eunji Cho on the phone and online from banga-bange HQ, after our meeting today. Eunji is one of the first artists to come visit us in the Yeonhee-dong space, and she has a very interesting project which will be reworked for our exhibition. We are all looking forward to seeing (and hearing!) it soon...

I see grey camels in the horizon

Today, at fifteen hundred hours, Power and myself were sent to collect more food and supplies for the inhabitants of Fort Banga Banga, situated at the top of the hill with plenty of green buses and people too old to dance to the gymnastic song. As the two of us desended from the steap hills of Yeonhee-Dong in our chic urban explorer gear, the black pixels from Civilizations 3 revealed traces of Pizzas lost in translation a Peter Pan bakery and numerous Korean giant-miniature-dog-cats licking windows that we had to fight of with our bare hands.
Last nights fights at the front with Erlend and Jan was still lurking at the back of my head, but as I won the stone scissor paper battle at the break of dawn, I was rewarded a soft coach, a price that would later give me the sense of well-being ( best described as feeling of a hand scratching your chest, up and down. With the nails. Not hard. But firm and with confidence and compassion.)
A coach you say ? No tiles nor the floor ? Yes. A woman working in her wine bar with cats, not the MA GO - but the SUN took Jan, Erlend and myself to her quarters last night - a refreshing experience after having slept with white and pink people on brown madrases for several nights in a row. An experience that will probably subconsciously make me buy tri-color ice cream for the rest of my life.

It`s zero-dark-thirty, and I am checking out. Tomorrow I will continue looking for a future wife for Mr. Sudoku

More for the Invitaition card

초대장 관련 내용입니다.
Please includes follwing info on the invite
1. Title need to be both Korean and English:
연희동 195 레지던시 프로젝트: 100개의 아이디어와 10000개의 조화

The Yeonhee-Dong 195 Residency Project:A HUNDRED IDEAS AND TEN THOUSAND COMBINATIONS

2. Our blog http://195seoul.blogspot.com
and www.project195.com

3. When: dates of the whole project from 21th of june to 15th of july Opening dates 3rd of july @6pm??

4. Where: address of the gallery in KOREAN and English, other contact details.
195-12, Yeonhee-Dong, Seodaemoon-Gu, Seoul, 121-110 Tel: +82 2 338 7059 Fax: +82 2 338 7059

5. Name of the participants: With Erlend Hammer, Bjørn-Kowalski Hansen, Jan Christensen, Power Ekroth, Jooyoung Lee, Youngho Yoo, Eunji Cho, Jung-lim Han, Kyungah Ham, Jaejun Lee and others. (need to be alphbet order)

*DONT FORGET "THE PAID POST STAMP SYMBOL" need to be postioned on the coner of the top right.
*sponcer's logos

Are we missiing anythingelse? Please let Bjorn know ASAP as he is going to off to a bar in gangnam soon. dead line is by monday.

Jooyoung Lee

Jooyoung met Jan at the Chang-dong residency in Seoul back in 2004, and this is their first collaboration since then. She has been invited to initiate several projects at 195 Yeonhee-dong and found this opportunity to invite the Yeonhee-dong crew over to Seoul. Jooyoung's practice of work ranges from video to spraypainting - quite an unusual practice in Korea, but the common denominator seems to the the emphasis on words and statements. Her themes include the confusion of languages and a focus on gender politics. Her education and long stay in London has given her good insight in the European way of thinking and has made her a very good representative of Korean culture. Jooyoung has been busy with several projects and exhibtions in Seoul and recently held a residency in Melbourne. She likes to surf and fry in the sun on the beach when she is not gulfing down Australian barbeque, and plans to serve some good proper fat steak for the rest of the gang and any visitors one of these days.

[In her spare time, Jooyoung likes collecting Grateful Dead-bootlegs, watching Cheech & Chong-movies and staring into space saying "wow" and "dude" at odd intervals.]

Power Ekroth

Power is from Stockholm. Power probably knows Jan the best, almost everybody else in the crew are pretty much new to each other. They worked together occasionally on different things, from lectures that she arranged for Jan to shows she arranged for Jan to other things she takes care of for Jan. She is the aunt of Jan's son (2-year old Joar Alexander Pablo) in Stockholm and takes care of him for Jan when Jan is not in Stockholm. Power takes Pablo on walks after work every day as long as it is not raining and plays in the sandbox as often as possible. Pablo even learned to say "Power" even before he could say mummy and daddy.

Power has traveled extensively and writes regularly for publications like Flash Art, Contemporary, Artforum, Frieze and she is a contributing editor of the Stockholm-based paper SITE. She likes some good dancing. Though this is her first time to Seoul, she has already rocked the dancefloors at Via, Bar Nana and Cargo. She is going to take up a short residency at Paik Hae Young Gallery during the stay in Seoul and can be reached by email at powerekroth@gmail.com.

Eunhee Park

Eunhee is assisting us on our trips around the city. She is an aspiring young artist and attending art school in the US after the summer. Being a young Seoul-gangsterine, she knows the dark corners of this town and can help us with free entries to most clubs in Hongdae. Eunhee has a friend in US Army camp at the Sobingo compound and can get American cigarettes and Juicy Fruit at the backdoor anytime. Her art work consists of large-scale canvases with silk-screened images taken from Vogue and Playgirl on top of images of wrecked Black Hawk helicopters and burning tanks. One of Eunhee's first missions will be to guide Erlend and Power to the Hermes superstore (and the gallery) in Kangnam one of these days. We expect her to make them a good deal on a scarf.

Erlend Hammer

Erlend Hammer is the academic in the crew. He is currently doing his Ph.d at the University in Bergen, Norway. He has been attending a curator course at the Academy of Art in Bergen as well. For the last year he has been running a project space called... it is actually secret. You will have to ask him about it (his Skype name is "-----------", or call him on +82 108 33 82 561). Erlend likes good music and a good complex challenging thought. His special interest is doing sudoko blindfolded when he is not preparing art history lessons and researching contemporary artists.

Gallery view, June 24 (19:00)

Launching the project

Trying to figure out how this "Villa Medusa/Big Brother in the Gallery" will work out we kind of had a major meeting today. I'm a bit concerned about the structure of the project and try to stress the importance of clarity when approaching other artists from here to join in the collaboration. The discussion turned into more clear ideas and Jan suggested that mine and Jan's differences in approaches towards both art and artists will be the starting point in a "bad cop-curator v/s good cop-curator"-approach, where the discrepancy between our curatorial approaches can be the initiating point towards describing the project. Jan and I have had this "bad cop/good cop" for a long time. I remember once in a seminar I invited Jan to participate in, a lecture at Robert Meyer art school in Oslo many years ago, where we were talking about curatorial approaches. Already then he was advocating how artists should just let go of their work and not fuss about what the curator does with their work, while I was advocating that the artist is responsible for their work at the end of the day and that the curator has the role of the mediator between the artist and the spectator. Whatever. It is a complicated discussion and maybe I'll write a proper essay about it while here that can be published somewhere else.

What the project really aims at? It will maybe come as a revelation soon. I hope. It is a "work in process" and I need to process it a bit and will most likely turn into the "bad cop-critic" of the whole thing while in the project itself, hehee. I think that this is in the likings of Jan's anyway.

Bar Nana with Bjørn-Kowalski on the wheels

Street vendor in Seoul

We were all quite baffled how successful this street vendor in Seoul was...

Gallery view, June 24 (02:00)