{"id":4498,"date":"2021-03-16T10:05:20","date_gmt":"2021-03-16T01:05:20","guid":{"rendered":"https:\/\/kiaf.org\/?post_type=insights&p=4498"},"modified":"2021-03-16T14:03:52","modified_gmt":"2021-03-16T05:03:52","slug":"final-cut","status":"publish","type":"insights","link":"https:\/\/kiaf.org\/en\/insights\/4498","title":{"rendered":"FINAL CUT"},"content":{"rendered":"

2021.3.18 – 5.16
\nKIM Byoungho, GWON Osang, KIM Inbai, LEE Jihyun, NOH
\nSangho, DON Sunpil, SIM Raejung, and JANG Jongwan<\/p>\n

\"\"<\/p>\n

Arario Gallery Seoul is delighted to announce \u201cFINAL CUT\u201d, an exhibition by POST ARCHIVE FACTION (PAF).<\/p>\n

This exhibition adapts an unprecedented state of coexistence, which manifests between the final decision leading to completion and the inception of what is to come. \u201cFINAL CUT\u201d represents the simultaneous embodiment of anxiety and excitement that exists within the interlocking of endings and beginnings, reflecting its infinite nature, much like that of the Mobius strip.<\/p>\n

POST ARCHIVE FACTION (PAF), or \u2018PAF\u2019, attempts to introduce its artistic and experimental attitude in the context of art. Founded in 2018, the menswear brand \u2018PAF\u2019 is characterized by its avant-garde experiments that form the basis for its bold and drastic deconstruction of patterns. The artistic experimentation of \u2018PAF\u2019 stems from its philosophy, which is rooted in the idea that strict boundaries between art, fashion, furniture, and design are no longer meaningful in the contemporary era. In the exhibition, \u2018PAF\u2019 takes the spirit of experimentation further by confronting the challenges and questions surrounding the notion of boundaries through visualization.<\/p>\n

\u201cFINAL CUT\u201d is comprised of two main sections. In the basement, \u2018PAF\u2019 focuses on conceptualizing the \u2019pattern\u2019. A pattern is a simple template that finalizes the design and determines the basis of a garment before it is assembled. Erika Cox, Artistic Director of \u2018PAF\u2019, translates two-dimensional patterns derived from garments into three-dimensional objects. This presentation of patterns, which have deviated from the existing perception of the concept, generates a sense of uncertain tension. The simultaneous appearance of construction and deconstruction reflects the ethos of PAF, in that a pattern is \u201cmost beautiful before its imminent realization.\u201d In terms of architectural cognizance, rather than following the conventional method of having light fall from top to bottom and intensively illuminating each work, the light rises from the floor and the works are spread out across the horizon. Visitors float through the space where the light flows in reverse, discovering the pleasure that can only be possible when the dominant perceptual pattern is broken.<\/p>\n

Unlike the basement, which approaches the concept of \u2018pattern\u2019 through visualization, \u2018pattern\u2019 is addressed through action and behavior on the second floor. In this regard, a \u2019pattern\u2019 refers to a specific behavioral style that triggers a rethinking of the viewer-participator\u2019s behavioral pattern through the cohesion of art and fashion as a physical space. In the exhibition space, artworks and garments are hung from structural installations. The performative act of opening and closing the structures is induced by the natural transition from passive appreciation to active participation.<\/p>\n

The artistic experimentation presented by \u2018PAF\u2019 becomes more elaborate with the intervention of artists\u2014original inhabitants of the gallery space\u2014such as KIM Byoungho, GWON Osang, KIM Inbai, LEE Jihyun, NOH Sangho, DON Sunpil, SIM Raejung, and JANG Jongwan. As though they are revealing their hand, each of the artists reveal their \u2018pattern\u2019 in the exhibition, which adapts the structure implemented by \u2018PAF\u2019 and seemingly deviates the execution of the works. Offering an unexpected and pleasant stimulus to both the artists and the audience, \u201cFINAL CUT\u201d is intended to maximize the anomalies that can occur in the moment of coexistence.<\/p>\n

\"\"<\/p>\n

Arario Gallery Seoul
\n84, Bukchon-ro 5-gil, Jongno-gu, Seoul, Korea
\n+82 2 541 5701<\/p>\n

WEB<\/a>\u00a0 \u00a0 \u00a0INSTAGRAM<\/a>\u00a0 \u00a0 \u00a0Artsy<\/a><\/p>\n","protected":false},"featured_media":0,"template":"","categories":[50,51],"class_list":["post-4498","insights","type-insights","status-publish","hentry","category-insight","category-stories"],"translation":{"provider":"WPGlobus","version":"3.0.0","language":"en","enabled_languages":["ko","en"],"languages":{"ko":{"title":true,"content":true,"excerpt":false},"en":{"title":false,"content":true,"excerpt":false}}},"acf":[],"_links":{"self":[{"href":"https:\/\/kiaf.org\/en\/wp-json\/wp\/v2\/insights\/4498","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/kiaf.org\/en\/wp-json\/wp\/v2\/insights"}],"about":[{"href":"https:\/\/kiaf.org\/en\/wp-json\/wp\/v2\/types\/insights"}],"wp:attachment":[{"href":"https:\/\/kiaf.org\/en\/wp-json\/wp\/v2\/media?parent=4498"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kiaf.org\/en\/wp-json\/wp\/v2\/categories?post=4498"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}