Koo Jeong-a
12 Dec 2008 - 24 Jan 2009
KOO JEONG-A
"New Song, O"
Following the installations of drawings ʻRʼ presented in the Centre Pompidouʼs anniversaryexhibition (2007) and ʻOussgoodʼ presented at the Aspen Art Museum and at the CentreInternational dʼArt et du Paysage de lʼïle de Vassivière (2007), Koo Jeong-A presents a set of200 watercolors. These works on paper, scattered about the large room of the gallery,describe diverse aspects of the imaginary world of Ousss, created by the artist. Ousss is adream-like universe with its own recurring characters, geography (ʻLand of Ousssʼ) anddefinition in the ʻFlammariousssʼ dictionary published by Yvon Lambert.
Koo Jeong-Aʼs work is an “archeology” of diverse materials, images and landscapes,excluded and forgotten in the present-day cultural domain, that we often consider nonartistic.Her work, always carried out in situ, is ephemeral. For each intervention, she seeksto assemble all sorts of objects, videos and drawings that she (re)exposes, sometimeshidden from the spectatorsʼ view. She accentuates and stages the infinitely small, even theinvisible. She reveals the beauty and the poetry of the most common objects and moments.
"New Song, O"
Following the installations of drawings ʻRʼ presented in the Centre Pompidouʼs anniversaryexhibition (2007) and ʻOussgoodʼ presented at the Aspen Art Museum and at the CentreInternational dʼArt et du Paysage de lʼïle de Vassivière (2007), Koo Jeong-A presents a set of200 watercolors. These works on paper, scattered about the large room of the gallery,describe diverse aspects of the imaginary world of Ousss, created by the artist. Ousss is adream-like universe with its own recurring characters, geography (ʻLand of Ousssʼ) anddefinition in the ʻFlammariousssʼ dictionary published by Yvon Lambert.
Koo Jeong-Aʼs work is an “archeology” of diverse materials, images and landscapes,excluded and forgotten in the present-day cultural domain, that we often consider nonartistic.Her work, always carried out in situ, is ephemeral. For each intervention, she seeksto assemble all sorts of objects, videos and drawings that she (re)exposes, sometimeshidden from the spectatorsʼ view. She accentuates and stages the infinitely small, even theinvisible. She reveals the beauty and the poetry of the most common objects and moments.