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Now, The Korean Artist (Áö±Ý, Çѱ¹ÀÇ ¾ÆƼ½ºÆ®)1
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¡¸Now, The Korean Artist¡¹Á¦3±Ç¡ºÁ¶¸í½Ä(Myung-Shik Cho)¡». ÀÌ Ã¥Àº ¾ÆƼ½ºÆ® Á¶¸í½ÄÀÇ ÀÛÇ°µéÀ» µû¶ó°¡º¸¸ç ±×ÀÇ Á¤½Å¼¼°è¸¦ º¸¿©ÁØ´Ù. ÀÛ°¡ Á¶¸í½ÄÀÇ ÇØü´Â ÀÌÁßÀûÀÌ´Ù. ±×´Â ³»Æ÷¿Í ¿Ü¿¬¿¡¼ ¸ðµÎ ÇØüÇÏ°í Àֱ⠶§¹®ÀÌ´Ù. »çÀ¯¸¦ À̹ÌÁö·Î ÇØüÇÏ¸ç ´Ù¿ø°ú ´Ù¾çÀ» ³»Æ÷ÇÏ¸é¼ Àü½Ã¹ÌÇÐÀ» ÅëÇØ ±× ¿Ü¿¬À» ¶Ç ´Ù½Ã ÇØüÇÑ´Ù.
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Field µé
Wild field Ȳ¾ß
From Á¸Àç·ÎºÎÅÍ
Relationship »óÁ¸ÀÇ °ü°è
From today 1987 ¿À´Ã·ÎºÎÅÍ 1897
The times are hurled ´øÁ®Áø ½Ã°£
Review 960404 ³íÆò 960404
Field-good place ÃູÀÇ ¶¥
The Route Åë·Î
Moon 9ea ¾ÆÈ© °³ÀÇ ´Þ
Blessing field ÃູÀÇ ¶¥
New_Jersey ´ºÀúÁö
Memory in field µéÀÇ ±â¾ï
Digiscape 2012 µðÁöÅÐdz°æ 2012
Diverse memory ´Ù¸¥ ±â¾ï
Draw a map of field ÁöÇüµµ
For the Duet of Deconstruction and Incommensurability _ Kwang-rae Lee ¡¤ 004
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In pieces of life, I listen to the whispers of numerous beings _ Myung-shik Cho ¡¤ 044
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Biography Myung-Shik Cho's Life ¡¤ 103
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I seek for an image found in pieces of life or the feeling; the feeling which exists at a distance, which came from objects. From cracked cement walls I imagine deserts, performances, and also alchemy. These dreams of "Trips in daily life" are reflected in studies of techniques for print making and tests for physical characteristics of painting. For an artist cannot run away from frozen routines of daily life, I suppose being absorbed to objects which do not identify the artist could be a pleasant trip, too.
³ª´Â ÀÏ»óÀÇ Æ´¿¡¼ ¸¸³ À̹ÌÁö³ª »ç¹°ÀÇ ´À³¦¿¡¼ Áö½ÃÇÏ´Â Á» ´õ ¸Ö¸® ÀÖ´Â ¾î¶² ´À³¦À» Ãß±¸ÇÑ´Ù. ±Ý °£ ½Ã¸àÆ®º®¸éÀÇ ³«¼¸¦ º¸´Ù°¡ »ç¸·°ú ÆÛÆ÷¸Õ½º ±×¸®°í ¿¬±Ý¼úÀ» »ó»óÇÑ´Ù. ÀÌ·¯ÇÑ ÀÏ»ó¿©ÇàÀÇ ²ÞÀº ÆÇÈÀÇ ±â¹ý¿¬±¸¿Í ȸÈÀÇ ¹°¸®Àû ¼Ó¼º µîÀÇ ½ÇÇè¿¡ ¹Ý¿µµÇ±âµµ ÇÑ´Ù. ´ä´äÇÑ Àϻ󿡼 ¸Ö¸® ¹þ¾î³¯ ¼ö ¾ø´Â °í´ÜÇÑ ÀÛ°¡ÀÇ Ã³Áö¿¡¼ ¾Æ¹«µµ ÀÚ½ÅÀ» ¾Ë¾Æº¸Áö ¸øÇÏ´Â »ç¹° ¼ÓÀ¸·ÎÀÇ ¸ôÀÔÀº ¾î¼¸é ¶Ç ÇϳªÀÇ ¿©ÇàÀÌ µÉ ¼öµµ ÀÖ°Ú´Ù ½Í´Ù.
Ever since, my artworks remind me of windows. It may be due to an imperative conception for communicating, of the cold workplace. The windows; which are placed between the interior and outside, and which serves as a tool for communicating, keys; which are used to open the doors, or even buttons; which are used to tighten or loosen-are popular guests in my artworks. I think that the hidden order of field and energy can be found only by an open heart. I believe that an artwork can link memories and experiences. Nan Ji Do, which I had lived from ten to twenty four, was literally a ¡°trash heap¡±. But it have turned into a forest as the time went by. I face the deconstruction of prejudice against them. That even among the forest of the discarded exists the order of life and energy makes me dream of painting similar to the energy of life. The energy which have spread itself from autonomy to power to regenerate.
¾ðÁ¦ºÎÅÏ°¡ ³» ±×¸²¿¡´Â â¹® ´À³¦ÀÌ °¡µæÇÏ´Ù. ¼ÒÅë¿¡ ´ëÇÑ °¹ÚÀÎÁö ⠳оî À¯³È÷ Ãß¿î ÀÛ¾÷½Ç Å¿ÀÎÁö ±×·¯ÇÏ´Ù. ³»ºÎ¿Í ¿ÜºÎÀÇ Áß°£¿¡ ÀÖÀ¸¸é¼ ¼·Î¸¦ ¼ÒÅëÇÏ´Â ¿ªÇÒÀ» Çϴ â°ú ´õºÒ¾î ¹®À» µû°í ¿©´Â ¿¼è³ª ¿ÊÀ» ¿©¹Ì´Â ´ÜÃß ¿ª½Ã ¹«¾ð°¡¸¦ ¿°í ´Ý´Â ¸Å°³Ã¼·Î ³» ±×¸²ÀÇ ´Ü°ñÀÌ´Ù. ³ª´Â ¿¸° ¸¶À½À¸·Î¸¸ ´ëÁöÀÇ ¼ûÀº Áú¼¿Í ¿¡³ÊÁö¸¦ ´À³¥ ¼ö ÀÖ´Ù´Â »ý°¢À» ÇÑ´Ù. ³ª´Â ±×¸²ÀÌ ±â¾ï°ú °æÇèÀ» ³ª´©´Â âÀÌ µÉ ¼ö ÀÖ´Ù°í º»´Ù. ÃʵîÇб³ 3ÇгâºÎÅÍ ´ëÇÐ Á¹¾÷ÇÒ ¶§±îÁö »ì¾Ò´ø ³Áöµµ´Â ¸» ±×´ë·Î ¾²·¹±â »êÀ̾ú´Ù. ´ÜÁö ½Ã°£ÀÌ Áö³µÀ» »ÓÀε¥ ±×°÷Àº ½£À¸·Î º¯ÇØ°¬´Ù. ¹ö·ÁÁø °Í¿¡ ´ëÇÑ °íÁ¤°ü³äÀÇ ÇØü¸¦ ¹Ù¶óº¸°Ô µÈ´Ù. ¹ö·ÁÁø °ÍµéÀÇ ½£¿¡µµ »ý¸íÀÇ Áú¼¿Í ¿¡³ÊÁö°¡ ¼û ½¬°í ÀÖ´Ù´Â °æÇèÀº ÀÚÀ²¼º¿¡¼ ÀÚ»ý·ÂÀ¸·Î °ü½ÉÀÌ È®ÀåµÇ°í ³»ÀçµÈ »ý¸íÀÇ ¿¡³ÊÁö¸¦ ´àÀº ȸȸ¦ ²Þ²Ù°Ô ÇÑ´Ù.
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1963 1¿ù 15ÀÏ ÃæûºÏµµ À½¼º±º ¼ÒÀÌ¸é ±Ý°í¸® 603¹øÁö¿¡¼ ³ó»ç¸¦ ÁöÀ¸½Ã´Â ºÎ¸ð´Ô ½½ÇÏ 5³² 1³à Áß 4³²À¸·Î ž´Ù.
1969 ³ª¿Í ¹Ù·Î À§ÀÇ ÇüÀ» Á¦¿ÜÇÑ ¿©¼¸ ½Ä±¸°¡ ¼¿ï·Î ÀÌÁÖ¸¦ ÇÏ¿´´Ù. 1973³â±îÁö Ź¾Æ¼Ò¿Í ¼ÒÀÌÃʵîÇб³¸¦ ´Ù´Ï¸ç °íÇâ Á¶ºÎ¸ð´Ô ¹Ø¿¡¼ ÀÚ¶ú´Ù. 1973³â 4ÇгâÀÌ µÇ¸é¼ ºÎ¸ð´ÔÀÌ °è½Ã´Â ¼¿ï ¼ö»öÃʵîÇб³·Î ÀüÇÐÇÏ¿´°í À̵ëÇØ ´Ù½Ã »ó¾ÏÃʵîÇб³·Î ¿Å±â°Ô µÈ´Ù.
1974 »ó¾ÏÃʵîÇб³ 5Çг⠶§ ±×¸° '´« µ¤ÀΠdz°æ'À̶õ Á¦¸ñÀÇ Å©·¹ÆĽºÈ¸¦ ±è½ÅÀÏ ´ãÀÓ±³»ç·ÎºÎÅÍ ÄªÂù¹Þ°í ¹Ì¼ú¿¡ °ü½ÉÀ» °®°Ô µÈ´Ù.
1976 ¿¬¼ÁßÇб³ 1³â ÀçÇÐ Áß ÀÌ¿µÁÖ ¹Ì¼ú ¼±»ý´ÔÀÌ °úÁ¦·Î ÁֽŠ¼ö¹¬È ³À» Á¦ÃâÇߴµ¥ ºÎ¸ð´ÔÀÌ ±×·ÁÁֽŠÀÛÇ°À¸·Î ¿ÀÇظ¦ ¹Þ¾Ò°í, ÀÌ ÀÛÀº ¼Òµ¿À¸·Î ³»°¡ ¹Ì¼ú¿¡ ¼ÒÁúÀÌ ÀÖÀ½À» ¾Ë°Ô µÇ¾ú´Ù.
1981 ¸íÁö°íµîÇб³ 3Çгâ ÀçÇÐ Áß Á¦1ȸ µ¿¹æ»ý¸í »ç»ý½Ç±â´ëȸ(Çö »ï¼º»ý¸í û¼Ò³â ½Ç±â´ëȸÀÇ Àü½Å)¿¡¼ ¿¹¼±°ú º»¼± ¸ðµÎ 1µî»óÀ» ¼ö»óÇÏ¸é¼ Àå·¡ Èñ¸ÁÀ» ¹®Çа¡³ª ½ÅÇÐÀÚ¿¡¼ È°¡°¡ µÇ±â·Î °á½ÉÇÏ¿´´Ù.
1982 ¼¿ï´ëÇб³ ¹Ì¼ú´ëÇРȸȰú¿¡ ÀåÇлýÀ¸·Î ÀÔÇÐÇÏ´Ù.
1984-5 ¼¿ïÀÇ Ã»³â¹Ì¼ú°ü°ú ÀÌÈ°¶·¯¸®¿¡¼ ¿¸° ´ÜüÀü 'Á¾È¾'¿¡ ÃâÇ°ÇÏ´Ù. Çѿ ±³¼öÀÇ ¼ö¾÷¿¡¼ µà¼§À» ¿¬±¸¹ßÇ¥ÇÏ¸é¼ µ¿ÀϼºÀÇ ÇØü¿Í ȸÈÀÇ ÀÚÀ²¼º¿¡ °ü½ÉÀ» °®°Ô µÇ¾ú´Ù. ´ë°ü¹Ì¼úÇпø¿¡¼ ½Ç±â °»ç¸¦ ÇÏ´Ù. ±èÁ¾±¸, ÀÌÅñÙ, ÀÌÀÍ·Ä, À¯Áø»ó, ±è±âÀÏ, °û´ëö, °ø±âÆò µîÀ» ¸¸³ª´Ù.
1985 °£¿°À¸·Î Çб³¸¦ ÈÞÇÐÇÏ°í ¡º´½Åü°Ë»ç¸¦ ¹Þ¾Æ ´Ü±â»çº´À¸·Î 3¹ø ÀÔ¼ÒÇÏ¿´À¸³ª °£¿°ÀÌ °³¼±µÇÁö ¾Ê¾Æ Àå±â´ë±âÀÇ »çÀ¯·Î º´¿ª¼ÒÁýÀÌ ¸éÁ¦µÇ´Ù.
1986 Á¹¾÷¹ÌÀü¿¡ ÇØüÁÖÀÇ °æÇâÀÇ [FROM](123x170cm)À̶õ ÀÛÇ°À» ³ª¹« Ædzڿ¡ ±¤¸ñ, ÄݶóÁÖ, ¾ÆÅ©¸±¸¯, ¿ÀºêÁ¦, ÀεΠµå·ÎÀ×À¸·Î ÃâÇ°ÇÏ´Ù. ÀüÁöÅ©±âÀÇ ¼®ÆÇÈ ÀÛÇ°À» ÇÔ²² ÃâÇ°ÇÏ´Ù. ¿¬³²µ¿¿¡ ÀÛ¾÷½ÇÀ» ¸¶·ÃÇÏ°í ¿¬Èñµ¿¿¡ ȽÇÀ» ¿¾î ÇлýÀ» °¡¸£Ä¡´Ù.
1987 ¼¿ï´ëÇб³ ¹Ì¼ú´ëÇРȸȰú¿¡¼ ·ù°æä, Á¤Ã¢¼·, À±¸í·Î, Çѿ, Çϵ¿Ã¶ ±³¼öÀÇ ÁöµµÇÏ¿¡ ¼¾çȸ¦ Àü°øÇÏ¿© Á¹¾÷ÇÏ´Ù. 80³â´ëÀÇ ½Ã´ë»óÀ» ¹Ý¿µÇÑ ÇØüÀû ¿ÀºêÁ¦¿Í Àεεå·ÎÀ× ÀÛ¾÷À¸·Î [Á¶¸í½Ä, ÀÌÀÍ·Ä 2ÀÎÀü]À» ¼¿ïÀÇ ¹ÙÅÁ°ñ¹Ì¼ú°ü¿¡¼ °³ÃÖÇÏ´Ù. Á¦6ȸ ´ëÇѹα¹¹Ì¼ú´ëÀü(±¹¸³Çö´ë¹Ì¼ú°ü, °úõ) ¼¾çÈ ºÎ¹®¿¡¼ Ư¼±À» ¼ö»óÇÏ¿´´Ù. Á߾ӹ̼ú´ë»óÀü(È£¾Ï°¶·¯¸®, ¼¿ï)¿¡¼ Ư¼±À» ¼ö»óÇÏ´Ù. ¼ö»óÀÛÀÌ »ï¼º¹®ÈÀç´Ü¿¡ ¼ÒÀåµÇ¾ú´Ù. ´ÜüÀü [Á¦13ȸ ¾Óµ¥ÆδçÀü]À» ±¹¸³Çö´ë¹Ì¼ú°ü¿¡¼, [¼¿ï-82Àü]À» °üÈƹ̼ú°ü¿¡¼, [Æò¸é, ÀÔüÀü]À» ±×·Î¸®Ä¡È¶û¿¡¼ ¸ñÀç¿Í ö ¿ÀºêÁ¦, ±¤¸ñÀ§¿¡ ÀεηΠµå·ÎÀ× ÇÑ ¼³Ä¡ÀÛ¾÷À» ¼±º¸ÀÌ´Ù. ÀÌ ÀÛ¾÷ÀÌÈÄ È¸ÈÀÇ È®Àå¿¡ °ü½ÉÀ» µÎ°Ô µÇ¾ú´Ù. ¿¬³²µ¿¿¡ ÀÛ¾÷½Ç°ú ¿¬Èñµ¿ ȽÇÀÌ ¼öÀ縦 ÀÔ¾î ÀÛÇ°ÀÌ ÀϺΠ¼Ò½ÇµÇ¾ú´Ù. ¿¬³²µ¿¿¡ »õ·Î ÀÛ¾÷½ÇÀ» ¾ò¾úÀ¸³ª ÀεΠÀÛ¾÷ Áß ÈÀç·Î ÀÎÇÏ¿© »ó¾Ïµ¿ ³× Æò ÀÛ¾÷½Ç·Î ¿Å±â°Ô µÈ´Ù. Å« ±×¸²Àº »ó¾Ïµ¿ ÁýÀÇ ¹æ õÁ¤¿¡ ¼±¹ÝÀ» ¸¸µé¾î ¼ö³³ÇÏ¿´´Ù.
1988 µ¿¾Æ¹Ì¼úÁ¦ ¼¾çÈ ºÎ¹®¿¡¼ Ư¼±À» ¼ö»óÇÏ´Ù. ³ª¹«ÆÇ À§¿¡ ±¤¸ñõÀ» ¾º¿ì°í ¿ÀºêÁ¦, ¾ÆÅ©¸±¸¯ À§¿¡ °ü°è¼ºÀ» ¾Ï½ÃÇÏ´Â Àεεå·ÎÀ×À» ÇÑ ÀÛÇ°ÀÌ´Ù. ¹é¼Ûȶû±âȹ [ÀǽÄ. Ç¥ÇöÀÇ È®ÀåÀü](¹é¼Ûȶû, ¼¿ï)¿¡¼ ¹Ý±¸Çü öÆÇ¿¡ ±¤¸ñÀ» ÀÔÈ÷°í µå·ÎÀ×ÇÑ ÈÄ ·¹ÁøÀ» ÀÔÈ÷´Â ÀÛ¾÷À» ¼±º¸¿´´Ù. ½º¸çµå´Â Ư¡ÀÇ ·¹Áø ½ÇÇèÀº ÀÌÈÄ È¸ÈÀÇ ÀÚÀ²¼ºÀ» °Á¶ÇÏ´Â ºÎºÐ¿¡¼ Áö¼ÓÀûÀ¸·Î ³ªÅ¸³ª°í ÀÖ´Ù. ´ÜüÀü [·¹¾Ë¸®¶¼ ¼¿ïÀü](±×·Î¸®Ä¡È¶û, ¼¿ï), [Çö´ëÁ¶ÇüÀü](±×·Î¸®Ä¡È¶û, ¼¿ï), [½ÊÀ̺ÐÀÇ ÀÏÀü](°¶·¯¸®Çö´ë, ¼¿ï), [·Î°í½º¿Í ÆÄÅ佺Àü](°üÈƹ̼ú°ü, ¼¿ï), ¼öȶû±âȹ [ÀÔü 6ÀÎÀÇ ½Ã°¢Àü](¼öȶû, ¼¿ï), [ÇÁ¸°Æ® 9Àü](Åä°¶·¯¸®, ¼¿ï)¿¡¼ ÆÇÈÀÇ °£Á¢¼º°ú º¹¼ö¼º¿¡ ´ëÇÑ ´Ù¾çÇÑ ½ÇÇèÀ» ÇÏ¿´´Ù. ¼¿ï Çö´ë¹Ì¼úÁ¦(¹Ì¼úȸ°ü, ¼¿ï), ½Å¼¼´ëÀü(°üÈƹ̼ú°ü, ¼¿ï)¿¡ Âü¿©ÇÏ´Ù.
1989 Á¦14ȸ âÀ۹̼úÇùȸ°ø¸ðÀü(¹Ì¼úȸ°ü, ¼¿ï)¿¡¼ ±Ý»óÀ» ¼ö»óÇÏ´Ù. ´ÜüÀü [¿À´ÃÀÇ Á¤Á÷¼ºÀü](¹ÙÅÁ°ñ¹Ì¼ú°ü±âȹ, ¼¿ï), [Çö´ëÁ¶ÇüÀü](°üÈƹ̼ú°ü, ¼¿ï), [µå·ÎÀ×ÀÇ ÁöÆòÀü](°üÈƹ̼ú°ü, ¼¿ï), [82ÀλçÀÌÆ® ÇÁ¸°Æ®Àü](°üÈƹ̼ú°ü, ¼¿ï), [ÇÁ¸°
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