OKIN APARTMENT PROJECT: 2010

Thursday 22 July 2010

Okin, Artist-in-residence Program at Takeout Drawing

Drawing 22 – 테이크아웃 드로잉 카페레지던시

옥인 콜렉티브

레지던시 기간 Residency Period_ 2010.7.20-9.30

‘제주인권회의’ 워크샵 참여
Human Rights Foundation Conference: 2010.8.25-27
전시 기간 Exhibition Period_ 2010.9.1.-9.30

테이크아웃드로잉 한남동 Takeout Drawing, Hannam Dong
http://www.takeoutdrawing.com/

옥인콜렉티브는 레지던시를 기점으로 '옥인아파트 프로젝트' 블로그를 '옥인(Okin)'으로 전환하고 다양한 공간으로의 개입을 시도하려 합니다.

NEW BLOG COMING SOON!

Thursday 8 July 2010

okin news

이미지가 아닌 글로 옥인의 요즘 소식을 써 봅니다.

하나.
알림사항입니다.

블로그스팟이 약간 문제가 있는건지 저희 옥인의 블로그 예전 포스팅이 잘 보이지 않습니다.
가능하시면 "Firefox"브라우저로 접속해 주세요. 문제없이 보실 수 있습니다.
구글크롬이나 익스플로러의 경우 첫번째 포스팅 글 타이틀을 클릭하시면 오른쪽에 Blog Archive와 labels 등이 활성화 됩니다.
* Please click the title if you cannot see the labels on the right side.
구글 크롬도 최신 업데이트가 모두 되어있는 것은 제대로 보이는 것 같습니다.

둘.
좋은 소식 부터.

지난 소송에서 세입자에게 주거 이전비를 지급하라는 법원의 결정에 서울시는 그렇다면 임대아파트 임대권을 취소시키겠다고 으름장을 놓았더랬습니다. 이에 반박하는 소송을 주민들이 다시 넣었었는데 두번째 소송에서도 법원은 주민의 손을 들어주었습니다. 오늘 오전에 있었던 판결 내용입니다.
저는 이 소송에 해당되지 못하고 한차례 더 싸움을 진행해야 하는 상황이지만 어쨌든 1년 6개월에 걸친 싸움이 이제 마무리에 조금씩 들어가고 있나봅니다.

셋.
안 좋은 소식.

사실 좋은 소식이 있기 한 주 전. 갑작스럽게 전기가 끊기는 상황이 발생했었습니다.
알아보니 계량기와 전기 메인 선을 모두 다 뜯어가 버린 것이었습니다.
단순히 전기 고장이 아니라 한전 측에서도 난감해 했고 해결방법이 몇일은 없는 듯 보였죠.

남아있는 집 모두 그렇게 된 것도 아니고 오직 제가 지내고 있는 2동만 그런 상황이 벌어졌습니다.
윗쪽 부터 철거해서 내려와야 하는데 가장 장애물이 되고 있는 2동이 껄끄러웠겠죠.

근데 재밌는건 상황은 일어났는데 한 사람은 없는거죠.
종로구청도 지시하지 않았다고 하고 철거시공업체도 절대 손을 대지 않았다고 하고.
계량기는 떼어 간다고 돈이 되는 물건도 아니고 그렇다해도 전기 전문가가 아니면 위험해서 쉽게 손을 댈 수 있는 것도 아니구요.
그리고 한전이외에 임의로 철거하는 건 불법이라고 하더군요.
그러니 했다고 나설수는 없는 거죠, 제가 한전에 요청한게 아니니까요.

뭐 어쨌든 그런 상황이었고 몇일 불이 들어오지 않는 어두컴컴한 산속에서 힘겹게 지내고 피난가고 그랬습니다.

다행히도 우여곡절 끝에 오늘 불은 다시 들어오게 되었어요.

포스팅을 하고 싶어도 집안에 전기가 되어야 하지요. ㅠㅜ
곧 요즘의 옥인의 모습을 업데이트 하도록 하겠습니다. 전기가 돌아왔으니.

넷.
옥인 콜렉티브의 볼링장 9동이 철거 중에 있습니다.
건물 뒤 기린교는 어떤 보호장치도 되어있지 않은 채 철거가 진행되고 있는데 문제는 없을라나.

다섯.
다시 올 것 같지 않았던 옥인의 여름이 왔습니다.
바캉스의 계절이 다시 돌아온 거죠.

올 여름 바캉스 다시 콜? ^^

Saturday 1 May 2010

Workshop and Performance - Nam June Paik Art Center (update)

Okin Manifesto
5 Minute Revolution

Installation of material and documentation of the April 25, 2010 workshop performance

Okin is a group of artists concerned with issues of spatial regeneration, intervention and collaboration named after the deconstruction process of the famous Okin-Dong site’s redevelopment. As a continuation of their ongoing negotiation with space, transformation, presence and intervention the group presented and negotiated a manifesto with the public of the Nam June Paik Art Center.

The group produced a limited edition print that they provided to the public for free. During the workshop the group worked to construct improvised loudspeakers from the print, while holding an open discussion with the public that addressed the conceptual background for their practice as Okin, their investigations into urban and institutional interventions including the group’s collaboration with Tammy Kim’s 5 Interloc(k)utors, and reflections on the history and critique of manifestos. Through this discussion the public was invited to inscribe their own ideas onto the Okin Manifesto and then use the loudspeaker to voice their thoughts.

Once the loudspeakers were constructed the group and the public marched through the exhibition spaces and out to the Art Center terrace where Okin staged a performance of the 5 Minute Revolution Manifesto. These two actions operated as a disruption of the Conjunctures within Breach logic that spread throughout the other spaces of the Nam June Paik Art Center and fed the voices of the public back into the institution.

In this sense this makeshift loudspeaker works as a physical actualization of being in-between boundaries by simultaneously existing as both a record of an event, an interrogation device, an embodiment of a manifesto, the announcement of a revolution and a conceptual declaration of intent.

As a continuation of the Okin intervention please feel free to take a print of the manifesto at Nam June Paik Center, write your own thoughts on it, and make it into a loudspeaker that you can take away with you.
Okin - Hwayong Kim, Jooyoung Lee, Shiu Jin, Joungmin Yi, Yuk King Tan

Friday 30 April 2010

5 Minute Revolution Manifesto-Workshop and Performance

'5 Minute Revolution' is Okin Manifesto in two parts: a writing workshop, and performance.

Thursday 22 April 2010

5 Minute Revolution Manifesto - 4pm Workshop and Performance

Sunday April 25, 2010

Nam June Paik Arts Centre 2F

4pm Workshop, 4.30pm Performance

Okin is a group of artists concerned with issues of spatial regeneration, intervention and collaboration. The name Okin references the famous Okin-Dong site redevelopment and the associated process of tearing down the existing buildings. Through their activities, the group excavates the complexities associated to conflicting temporalities, topologies and agendas. Okin’s first public event, Okin OPEN SITE precariously held at the demolition site itself, functioned to highlight the situation and the discrepancies between individual and corporate power. In addition, it had the added functionality of performing as a ‘conceptual wake’: the ability to recognize the importance of something, celebrate its existence, lament its disappearance and, in doing so, enact the ability to move on, not as an act of leaving behind, but of carrying forward.

Given the state many of the apartments were left in (several seeming to have been abandoned without a chance of salvaging possible objects of sentimental value) the Okin collective seems to have taken on this ritual that those displaced were unable to perform. This ‘operating in the absence of the other ‘(which is neither for nor on behalf of the other) raises relevant questions regarding notions of memory, interference and engagement, archiving, and interchangeability of experience while testing the value of artistic activity.

For the event they are conducting as part of the Inhabiting the Breach program activated by Tammy Kim’s 5 Interloc(k)utors, Okin continue their negotiation with space, transformation, presence and intervention by presenting themselves and their ongoing process as they publicly negotiate a manifesto. The ground for the 5 Minute Revolution Manifesto is to engage with artistic activity and spatial dynamics in a manner that becomes an interrogation of their own process as a group and rallies a cry that breaches the status quo. For their intervention, the group has produced a limited edition print to be transformed into a loudspeaker. The public would be given these for free to openly voice their opinion. The loudspeaker works as a physical boundary rider: it is both a record of an event, an interrogation device, a physical embodiment of a manifesto, the announcement of a revolution and a conceptual declaration of intent.

The construction of the loudspeaker with the public is to be accompanied by an open roundtable discussion about the history and critique of manifestos, the conceptual background of the Okin project, and an investigation into urban and institutional interventions that also addresses the group’s interaction with Tammy Kim’s installation in Conjunctures within the Breach. In parallel, a writing workshop will encourage the public to inscribe their own thoughts for a manifesto onto the loudspeakers they construct.

The entire process will culminate with the performance of the manifesto, to be staged outdoors on the top of the container structure adjacent to the art center’s cafeteria terrace.

Okin – Hwayong Kim, Shiu Jin, Jooyoung Lee, Yuk King Tan, Joungmin Yi

Flyer, Address, Map and Directions -
http://njp.kr/root/html_eng/event.asp?idx=66&gotopage=1

Wednesday 21 April 2010

옥인선언문 ' 5분간의 혁명'

랜덤 액세스展
틈새에 기거하기: ‘결합의 틈새’ 섹션 프로그램

옥인 선언문 ‘5분간의 혁명’

2010년 4월 25일 (일요일) 4시 워크샵 및 퍼포먼스

‘옥인’은 옥인동의 재개발 철거 작업 이후에 결성된 작가그룹으로서, 공간적인 재생, 개입 및 공동 작업에 관한 문제들을 다룬다. 그들이 시도해 온 공간과의 교섭, 그것의변형, 공간적 존재와 이에 대한 개입을 지속화하기 위하여, ‘옥인’은백남준아트센터 기획전 ‘랜덤 액세스’의 한공간, ‘결합의 틈새 Conjunctures with Breach’에서 그들의선언문을 관객에게선보였다. ‘옥인’은 지난 4월 25일 워크샵과 퍼포먼스를 통하여 예술적 참여와 공간적 에너지에 관한 논의를 하였다. 또한이번 워크샵과 퍼포먼스는 이그룹의 작업 과정에 대한 질문, 그리고 현 상황에 대한재고를 위한 일종의 집회로서도 기능하였다.

이번 이벤트를 위하여 ‘옥인’은 한정판 인쇄물을 제작하여 관객에게 무료로 증정하였다. 관객은 이것을 이용하여 확성기를 만들고, 이 확성기로 자신의 의견을 목소리 높여발언의 도구로 활용하였다. 이 확성기는 본 이벤트의 흔적, 질문에 쓰이는 도구, 선언문의 매체, 혁명과선언에 대한 증언으로 존재하며, 이를 통해 개념적 경계들 사이의 존재를 물질적으로 실재화한다. 워크샵에서 확성기를 제작하고 선언문을 작성하는 동안, ‘옥인’은 여러 논점에 대한토론을 진행하였다. 이 토론은 선언문 혹은 옥인 그룹의 개념적배경의 역사와 비판적 시각에서부터, 그들이 타미 킴Tammy Kim의 작품 ‘5 인터-락트-큐터스(5 Interloc(k)utors)’에 개입하여 작업한 것과 같은 제도적 개입 및 도시환경적 연구까지 여러 논점을 다루었다. ‘5분 혁명’ 선언문의 퍼포먼스는 확성기를 들고 ‘결합의 틈새’ 공간을 부수고 뛰쳐나가 백남준아트센터내의 개개의 공간들을 결합시켰다.

옥인 프로젝트에 참여하시고 싶으신 분은 선언문의 인쇄물에 여러분의 생각을 적으신후 인쇄물을 확성기로 만들어 가져가시기 바랍니다.

옥인: 김화용, 진시우, 이정민, 이주영, 육 킹 탄

자세한 정보는 아래의 백남준 미술관 http://njp.kr/root/html_eng/event.asp?idx=66&gotopage=1 에서 참고하실 수 있습니다.

Ghost Bar: Yuk King Tan and Jooyoung Lee (updated)

Ghost Bar

Yuk King Tan and Jooyoung Lee

The Ghost Bars perform as a ‘conceptual wake’: the ability to recognize the importance of something, celebrate its existence, lament its disappearance and, in doing so, enact the ability to move on, not as an act of leaving behind, but of carrying forward.

Given the state many of the apartments were left in (several seeming to have been abandoned without a chance of salvaging possible objects of sentimental value) the artwork seems to have taken on this ritual that those displaced were unable to perform. This ‘operating in the absence of the other ‘(which is neither for nor on behalf of the other) raises relevant questions regarding notions of memory, interference and engagement, archiving, and interchangeability of experience while testing the value of artistic activity.

The Ghost Bar ironically links the supernatural elements of Buddhist mysticism, framed by the symbolism of the mountain and the spirits of the past, with the psychological states of disavowal: the phases of intoxication, hallucination, stupor and transformation that occurs from either hard liquor or a more pervasive politically sanctioned obliteration of memory. The Ghost Bar is a free bar, offering snacks and winter’s ‘last shot’.

Built in an exposed window of an apartment in Okin, the functioning bar’s counter-top teeters over the edge of the building, inviting traffic to stop and linger in the dramatic stetting of a half destroyed home under a beautiful mountain landscape. Any drinking establishment is a repository of secrets and unfulfilled dreams. The watering hole, made from collected detritus and material, refers to the past life and memory of Okin’s former occupants and the political act of the area’s destruction.

One of the most interesting and voyeuristic parts of Okin OPEN SITE is the ability to see the remnants of peoples home and their belongings, furniture, and personal accoutrements left behind. Seven further ‘satellite’ Ghost Bars are placed throughout the Okin Apartments. These bars serve to punctuate the viewing of the deconstructed Okin area, and give pause for reflection and contemplation of abandoned homes and half-demolished apartments. The bars focus attention on the diverse categories of people living in the housing block and their style of living.

The memories of past occupation and the ghosts of the recent past concentrate the idea that art created inside Okin is also a ghosting: an ephemeral presence overlaid onto the physical drama of destruction. The Ghost Bars are artworks about disembodiment, the negative space of removal in spirit with the intoxication and separating tool of alcohol.

White porcelain cups and bowls are collected throughout the apartments as dishes for the bars. They refer to funeral rites in Buddhist and Taoist tradition, serving, like the wooden doors set up as elaborate dining tables, as devices of exorcism where one can drink a wintery ‘last shot’ to the many histories of Okin. Transgression and encroachment is an important element to the installation - the artwork and even the presence of the viewers has not been granted permission even though the area is a public walkway.

Okin’s destruction is still contested by the few remaining residents and local action groups and many homes are occupied even as the construction crews take apart homes. One of the most heated points of Okin’s residents protest is that settlements are done on an individual and not collective basis, leading to secret and greatly different rates of compensation.

The well-known apartments, built in as an ideal example of modernist style living in the seventies, have the advantage of a mountain view and stream weaving between the different apartment blocks. This prime location lead to a variety of people living in the apartments over the decades, from the working to middle class, elderly and nature lovers attracted to the mountain location and artists drawn to it’s cheap apartments and history.

The Ghost Bars, and all the Okin OPEN SITE works are activities engaging with the space in a variety of different strategies, but the primary focus of the event is to invite people to Okin in a gesture both playful and pointed.