28 Apr 2011 — 29 May 2011

 Byunghoon Kim's page
Byunghoon Kim
Calendar Photo

Gallery 2 is delighted to present an exhibition of new works by Byunghoon Kim, a photographer capturing ordinary objects from a unique perspective. Kim has kept black-and-white photographing for the last ten years to take inconspicuous landscapes. The sentimental atmosphere of those photos gives a new light and power to the reality we face. These theme and style are more developed in the new works to be presented in this show.

The term calendar photo implies dual meanings: a praising expression, on the one hand, that a scene is so beautiful as to make you want to have and see it at all times; and on the other hand, a despising expression that it is not a real artwork but merely a cheesy, decorative picture. In this exhibition, Kim attempts to examine the correlation of landscapes in the so-called calendar photo and in the Korean traditional painting so as to reconsider the essential meaning of Korean landscape.

Kim took pictures of beautiful nature in Korea in its true light. He found that previous nature photos had been shot from a specific point to grasp merely a partial aspect of the whole landscape in an exaggerating way. To reinterpret the landscape photo, Kim attempted to make a photographic Jinkyung[眞景, real view] through applying and developing the traditional method of Jinkyung landscape paintings. As the old landscape painters had climbed a mountain from ground to peak and created the whole scenery through recollection, Kim photographed a given landscape from various perspectives to express the scene as we saw it.

Because the physical limit of photographic medium, i.e. the distortion effect of optical lens, prevents from exact representation, it is not easy to photographically represent the sublime and magnificent view of nature as it is. To solve the problem, the artist combined an organized gaze and multiple perspectives to create an image closer to the reality we saw and felt. Kim observed and experienced a landscape for a long time and photographed it from different views and assembled those images according to his mental image of the scene in order to complete the real view of Korean landscape.

The result is not a landscape looked up or down to from a specific perspective but a sort of place where our eyes can stay around. The audience could have a visual experience as if we really walk into the landscape, appreciating its real beauty. This exhibition would be an important opportunity to visualize the value and essence of landscape through the act of seeing.
Installation view