G.MAP 뉴미디어아트특화전 <사변적 물질들>, 양숙현 개인전 > 전시 Exhibition

G.MAP 뉴미디어아트특화전 <사변적 물질들>, 양숙현 개인전

전시기간필수 2025-03-13 ~ 2025-06-15

장소필수 광주미디어아트플랫폼(G.MAP) 전시실 1, 1층 로비, 미디어 파사드 월

문의전화필수 0626136143

관람료필수 무료

참여작가필수 양숙현 Yang Sookyun

작품수필수 9

기획의도필수 G.MAP 뉴미디어아트특화전은 디지털 기술과 미디어를 통해 다중 감각의 통합, 새로운 매체의 실험 등의 관람객에게 동시대적 예술 시각을 소개하는 전시다. 올해는 Art&Technolohy 분야에서 활발히 작업하고 있는 양숙현 (Yang Sookyun) 작가(1982~) 개인전을 개최한다.

본문

G.MAP 뉴미디어아트특화전

<사변적 물질들>, 양숙현 개인전

G.MAP 뉴미디어아트특화전은 디지털 기술과 미디어를 통해 다중 감각의 통합, 새로운 매체의 실험 등의 관람객에게 동시대적 예술 시각을 소개하는 전시다. 올해는 기술과 예술의 경계를 탐구하며, 현대 기술환경에 대한 감각과 경험, 데이터와 물질의 상호작용, 기술적 오류의 창의적 활용 등을 주제로 Art&Technolohy 분야에서 활발히 작업하고 있는 양숙현 작가(1982~)를 조명한다.

《사변적 물질들》에서는 3D스캐닝, VR모델링, 생성형 인공지능 등을 기반으로 하는 9가지의 작품을 통해 동시대의 기술적 환경 속에서 물질성과 현실을 탐구하며, 가상과 현실, 인간과 비인간, 우연성과 규칙성 사이에서 형성되는 새로운 시각적 모델을 관람객들에게 제시하고자 한다.

더불어, 인간 스스로 인지하지 못한 물질성에 주목하여 인간 또한 생태계의 일부이자, ‘물질’이라는 인식에서 비롯하여, 비인간존재, 인공지능 등의 인간 외부 대상을 전과는 다른 관점, 즉 사변적 관점으로 이해하려 한다. 이로 인해 물질은 단순히 정적인 실체가 아니라 필연적 우연성과 변형 가능성을 통해 스스로 진화하고 생성하는 동적 존재로 자리매김한다.

《사변적 물질들》은 기술과 물질, 그리고 인간 존재의 경계를 넘어서는 여정이다. 이 전시를 통해 기술이 열어가는 다층적 현실과 물질성의 가능성을 다양한 감각을 통해 경험하고, 우리가 살아가는 세계를 또 다른 측면에서 바라보는 데에서 나아가 다가올 미래를 다각적으로 상상할 수 있기를 바란다.

작가소개

양숙현(b.1982)은 기술 환경이 촉발하는 생태계 내에서의 물질과 경험을 주제로 활동하는 예술가이다. 홍익대학교에서 회화를 전공하고 동 대학원에서 인터랙션 디자인으로 석사학위를, 영상학 박사과정을 수료하였다. 2010년 서울문화재단 금천예술공장 다빈치 아이디어를 통해 데뷔한 이후 신체성을 토대로 발생하는 기술 체화의 감각을 시각화한 웨어러블 장치에서부터 규모의 물리적 오브젝트가 신호 체계에 의해 좌표를 변환시켜 공간의 실시간성을 경험하게 만드는 아티스트 콜렉티브 활동(전파상 2010-2016), 나아가 알고리즘이 만들어내는 오류와 빅데이터에 반하는 마이너데이터, 어플리케이션의 비보편적 활용 속에서 발견한 물질과 정보의 유연한 지점을 다양한 매체로 표현하고 있다. 서울문화재단 금천예술공장(2011), 국립아시아문화전당 크리에이터스 인 랩(2015-16), 국립현대미술관 창동 프로젝트팀(2017)에서 레지던시 프로그램을 서울문화재단, 한국과학창의재단, 현대자동차그룹 제로원에서 등에서 작가 지원을 받았다. 작품은 아르스일렉트로니카센터, C-LAB 타이페이, 백남준아트센터, ACC 문화창조원, 창원조각비엔날레, 서울시립미술관, 부산현대미술관, 제주도립미술관, GAS 2017, 다빈치크리에이티브 등에서 전시하였으며 개인전으로 <물질, 감각, 생성 (2018)>, <소멸하는 물질 감각: 헤비타트 데이터(2023)>가 있다.

2025 G.MAP New Media Art Special Exhibition

Speculative Matters, Yang Sookyun’s Solo Exhibition

The G.MAP New Media Art Special Exhibition showcases contemporary artistic perspectives by integrating multiple senses and experimenting with new media, all through the innovative use of digital technologies. This year, it features artist Yang Sookyun (born 1982), who is actively engaged in the Art & Technology field. She explores the boundaries between technology and art, focusing on the sensory and experiential aspects of modern technology, the interaction between data and matter, and the creative use of technological errors. The Speculative Matters, Yang Sookyun’s Solo Exhibition features nine works that are based on 3D scanning, VR modeling, and generative artificial intelligence. These pieces delve into materiality and reality within the contemporary technological environment, presenting audiences with new visual models that bridge virtuality and reality, human and non-human elements, as well as chance and regularity.

The exhibition title, Speculative Matters, draws inspiration from the philosophical movement of 'speculative realism,' which challenges human-centric views and explores the world and objects as independent entities. By highlighting the often-overlooked materiality of humans and recognizing them as integral parts of the ecosystem —and thus as matter themselves—the exhibition seeks to offer a new, speculative perspective on non-human entities and artificial intelligence. Here, matter is no longer seen merely as a static entity but rather as a dynamic existence that evolves and regenerates through its inherent randomness and capacity for transformation.

Furthermore, the artist consistently explores the concept of 'Speculative Matter' through her artistic practice, illustrating how matter and objects, humans and technology intersect, change, and shape each other. In addition, she imbues her works with both practical and sensory qualities by incorporating a ‘cosmotechnics’ perspective, which does not view technology merely as a tool, but instead redefines it as a mediator that harmonizes humans, nature, and the cosmos. The artist seeks to demonstrate that art is more than just a form of aesthetic expression; it can open up various ontological possibilities through the combination of philosophical thought and technological imagination.

The artworks featured in the exhibition—OOX 2.0_Application for Earthly-Matter-Human Ontography, Exotic Species in the Robot Ecosystem, and Sensory, Crystallized- help the audience to discover previously overlooked aspects of matter based on innovative technological approaches to matter and data. OOX 2.0_Application for Earthly-Matter-Human Ontography employs generative artificial intelligence to explore Eastern philosophy, which has often been overshadowed by Westernized technological advancements. Exotic Species in the Robot Ecosystem transcends anthropocentric perspectives to prompt reflections on objects and non-human entities. Lastly, Sensory, Crystallized portrays VR spaces as productive areas immune to the physical constraints of gravity, and brings related data to life through 3D printing, shedding light on the potential for errors.

The key themes of this exhibition are captured in the concept of chance—transcending causality and probability—evident in works like In the Forest of Speculation, which seeks to uncover the logic of non-existent perceptions by constructing a series of worlds from incomplete data, and From the OOX, which questions human visual bias through visually imperfect elements. Specifically, these works illustrate how matter is reconfigured through accidentally generated data, technical glitches, and other non-deterministic elements. The uncertainty and unpredictability arising from these technological processes allow for a new experience of materiality, challenging the established frameworks of the world as we have defined it.

The Speculative Matters is a journey beyond the boundaries of technology, matter, and human existence. We hope this exhibition will provide visitors with a multi-sensory experience of the multilayered realities and the potentialities of materiality created by technology. This should enable them to view the world differently and to imagine future possibilities from diverse perspectives.

About the Artist

Yang Sookyun (b. 1982) is an artist who delves into the themes of matter and experience within ecosystems shaped by technological developments. She majored in painting at Hongik University, where she also earned a master's degree in interaction design and completed a Ph.D. course in video studies. Since her debut with Seoul Art Space Geumcheon’s DAVINCI Idea in 2010, Yang Sookyun has explored various artistic mediums. Her artistic career spans from creating wearable devices that visualize the physical sensations of technological embodiment, to her involvement with the media artist collective Jonpasang (2010-2016), where she helped audiences experience the real-time nature of space through large-scale physical objects whose coordinates changed via signalling systems. She is also interested in expressing the flexible aspect of matter and information found in algorithm-generated errors, minor data as opposed to big data, and the nonconventional use of applications. She has participated in residency programs at Seoul Art Space Geumcheon (2011), Asia Culture Center Creators in LAB (2015-16), and the Changdong Project Team at the National Museum of Modern and Contemporary Art (2017). She has also received artist support from the Seoul Foundation for Arts and Culture, the Korea Foundation for Science and Creativity, and Hyundai Motor Group’s ZER01NE. Her works have been exhibited at the ARS Electronica Center, C-LAB Taipei, Nam June Paik Art Center, ACC Creation, Changwon Sculpture Biennale, Seoul Museum of Art, Busan Museum of Contemporary Art, Jeju Museum of Art, GAS 2017, and DA VINCI Creative, with solo exhibitions including Material Sensory Formation (2018) and A Vanishing Sense of Physicality: Habitat Data (2023).

홈페이지: www.maumchine.net

인스타그램: @sookyun_yang

작품소개

작가명

양숙현 Yang Sookyun

작품명

OOX 2.0 – 지구물질인간존재도를 위한 어플리케이션 (OOX 2.0 - Application for Earthly-Matter-Human Ontography)

제작년도

2024

규격

가변크기

재료

실시간 생성 인공지능 영상, 한국천문연구원 API, 인터랙션 하드웨어, 디스플레이, 1채널 비디오, 06:05

작품설명

동양의 세계관에서 영감을 받아 인간을 물질적 존재로 재해석하는 작품 <OOX 2.0 – 지구인간물질 존재도를 위한 어플리케이션>은 인공지능을 페르소나로 위치시켜 AI의 시각을 통해 관객의 데이터를 활용하는 참여형 작품이다. 관객에 의해 입력한 생년, 월, 일 숫자에 가려진 하루의 물질적 의미의 관계를 적어낸 인공지능의 시(時)를 바탕으로 생성된 물질의 이미지를 실시간으로 보여준다. 서양 분석적 학문과 기계학적 시각의 영향으로 사라져 온 동양의 세계관과 그 감각의 부재에 대한 질문을 시작으로 작가는 동양 철학의 순환적 달력 체계와 인간 존재와 물질성 간의 불가피한 관계를 상상하며 전작 <인간 물질론과 합성의 존재도, 2023>을 통해 &인간 물질론&이라는 추측적 가설을 만들고 거대 언어 모델(LLM)이 필연적으로 누락할 수밖에 없는 데이터와 비인간의 상상력을 논하였다.
작가는 서양의 분석적 학문에 의해 사라져간 동양의 세계관을 재조명하며, 우주에서 생성되어 지구에 존재하는 물질로서 인간을 은유적으로 상상한다. 인간의 연산 능력을 초과하는 데이터 학습을 기반으로 인공지능이 생성해낸 이미지와 합성의 감각을 작가는 &사변적 물질&로 정의하며, 비인간(Non-Human)과 인간(Human), 물질(Matter)과 데이터, 그리고 세계(Cosmos)에 대한 새로운 인식과 인공지능의 사변적 시선을 통해 인간을 바라볼 수 있는 방식을 제시하며, 다양한 관점에서 인간이라는 존재가 무엇을 의미하는지에 대한 새로운 통찰을 촉구한다.

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Drawing inspiration from Eastern worldviews, OOX 2.0-Application for Earthly-Matter-Human Ontography reinterprets humans as material beings. This interactive piece positions artificial intelligence as a persona, engaging with audience data from the AI's perspective. It displays real-time images of matter generated from a poem by AI that reflects on the material significance of each day hidden behind the birth year, month, and day entered by the audience. Inspired by Eastern worldviews and sensibilities that are giving way to Western analytical and mechanistic influences, the artist developed the speculative hypothesis of 'Human Materialism.' This concept, which draws on her interpretation of the cyclical calendar system of Eastern philosophy and the inherent relationship between human existence and materiality, was explored in her previous work The Human Materialism and Synthetic Ontography (2023), where she discussed data inevitably omitted by Large Language Models (LLM) and the imagination of non-human entities. The artist revisits the Eastern worldview, which has been overshadowed by Western analytical thought, and metaphorically portrays humans as matter originating from the universe and existing on Earth. She defines the sensibility of images generated by AI based on data learning that surpasses human computational capabilities as ‘Speculative Matter’. In doing so, she offers new insights into non-humans, humans, matter, data, and the cosmos, and prompts us to view humanity through AI's speculative lens while encouraging deeper reflection on what it means to be human from multiple perspectives.

Drawing inspiration from Eastern worldviews, OOX 2.0-Application for Earthly-Matter-Human Ontography reinterprets humans as material beings. This interactive piece positions artificial intelligence as a persona, engaging with audience data from the AI's perspective. It displays real-time images of matter generated from a poem by AI that reflects on the material significance of each day hidden behind the birth year, month, and day entered by the audience. Inspired by Eastern worldviews and sensibilities that are giving way to Western analytical and mechanistic influences, the artist developed the speculative hypothesis of 'Human Materialism.' This concept, which draws on her interpretation of the cyclical calendar system of Eastern philosophy and the inherent relationship between human existence and materiality, was explored in her previous work The Human Materialism and Synthetic Ontography (2023), where she discussed data inevitably omitted by Large Language Models (LLM) and the imagination of non-human entities.        The artist revisits the Eastern worldview, which has been overshadowed by Western analytical thought, and metaphorically portrays humans as matter originating from the universe and existing on Earth. She defines the sensibility of images generated by AI based on data learning that surpasses human computational capabilities as ‘Speculative Matter’. In doing so, she offers new insights into non-humans, humans, matter, data, and the cosmos, and prompts us to view humanity through AI's speculative lens while encouraging deeper reflection on what it means to be human from multiple perspectives.

작가명

양숙현 Yang Sookyun

작품명

로봇 생태계의 외래종 (Exotic Species in the Robot Ecosystem)

제작년도

2023

규격

가변크기

재료

3D 프린팅, 전자 회로, 생성 인공지능 비디오, 02:30

작품설명

기술 환경의 가속화와 함께 드러난 비인간 존재는 인간에게 이전과 다른 차원의 공존과 생태적 논의를 요청한다. 근 미래에 대한 상상을 보여주는 <로봇 생태계의 외래종>은 “기술 생태계 내에서 비인간종(Species)의 다양성은 확보될 수 있는가?”라는 질문에서 시작한다. 양숙현은 20세기 이후 기계론을 통해 생산된 인간의 상상력이 인간 중심적 관점에서 벗어나지 못하며 이에 로봇이 주로 의인화된 형태로 고착된다는 사실을 자각하고, 예술가가 상상하는 다양한 형태와 모습의 로봇 존재를 외래종으로 정의한다.
작가는 인공지능이 합성한 로봇 생태계의 다양성을 영상으로 보여줌과 동시에 이러한 상상력이 인간의 신체를 공유할 수 있음으로 확장되는 웨어러블 모듈을 제안한다. 리어 스크린에 투사되는 영상은 3개의 시퀀스로 나누어져 인간의 신체성을 전제로 하는 근 미래에 존재 가능할 법한 외래종의 영상과 생성 인공지능을 통해 상상하여 만든 외래종, 그리고 인간의 신체성에 기대어 외피와 내피가 동시에 존재 가능한 로봇을 상상하고 그 프로토타입을 3개의 설치물로 보여준다. 기술 생태계가 발생시키는 외래종을 인지하는 감각적 행위를 통해 인간이 기술, 기계, 환경과 같은 비인간 행위자들 사이에 놓여있음을 보여주고자 한다.

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The emergence of non-human entities in rapidly advancing technological environments calls for humans to engage in a new level of coexistence and ecological discussion. Exotic Species in the Robot Ecosystem, which offers a vision of the near future, explores the following question: 'Can the diversity of non-human species be secured within the technological ecosystem?' Yang Sook-yun believes that human imagination, shaped by the mechanistic theory of the 20th century, remains trapped in a human-centric perspective, resulting in entrenched depictions of robots as anthropomorphized beings. In response, she defines these robots—in their diverse forms and appearances as envisioned by artists—as exotic species.
The artist presents a video illustrating the diversity of a robot ecosystem created by artificial intelligence, while proposing wearable modules that can be integrated with the human body to expand the imaginative concept introduced in the video. The video projected on the rear screen is divided into three sequences: one shows exotic species inspired by human physicality that could exist in the near future, another features exotic species created by generative AI, and the third envisions a robot with both an outer and inner layer based on human physicality. Prototypes of these concepts are presented in three separate installations. The work aims to show humanity’s place among non-human entities like technology, machines, and the natural environment through the sensory act of recognizing exotic species generated within the technological ecosystem.

The emergence of non-human entities in rapidly advancing technological environments calls for humans to engage in a new level of coexistence and ecological discussion. Exotic Species in the Robot Ecosystem, which offers a vision of the near future, explores the following question: 'Can the diversity of non-human species be secured within the technological ecosystem?' Yang Sook-yun believes that human imagination, shaped by the mechanistic theory of the 20th century, remains trapped in a human-centric perspective, resulting in entrenched depictions of robots as anthropomorphized beings. In response, she defines these robots—in their diverse forms and appearances as envisioned by artists—as exotic species.
The artist presents a video illustrating the diversity of a robot ecosystem created by artificial intelligence, while proposing wearable modules that can be integrated with the human body to expand the imaginative concept introduced in the video. The video projected on the rear screen is divided into three sequences: one shows exotic species inspired by human physicality that could exist in the near future, another features exotic species created by generative AI, and the third envisions a robot with both an outer and inner layer based on human physicality. Prototypes of these concepts are presented in three separate installations. The work aims to show humanity’s place among non-human entities like technology, machines, and the natural environment through the sensory act of recognizing exotic species generated within the technological ecosystem.

작가명

양숙현 Yang Sookyun

작품명

감각, 결정화 (Sensory, Crystallized)

제작년도

2018

규격

가변크기

재료

3D 프린팅 오브젝트, VR 모델링, 아카이브 영상

작품설명

<감각, 결정화>는 기술 공간과 현실 공간을 연결시키는 매개로서 물리적 몸과 그 감각을 탐구하는 작품이다. 가상은 현실의 이미지를 재현한다고 여겨져 왔지만, 작가는 이런 생각에서 벗어나 가상 공간과 현실 공간이 가진 애초에 완벽하게 다른 차원의 생산성에 흥미를 느낀다. 두 개의 상이한 물리적 환경과 구조로 인해 결정되는 서로 다른 생산 방식과 이에 따라 생기는 파열을 보여주기 위해 작가는 두 개의 공간에 개입이 가능한 공통적인 매체를 찾는데, ‘신체’가 그 역할을 한다. 번역될 수 없는 가상 공간과 현실 공간의 괴리는 VR 디바이스를 활용한 신체의 움직임을 통해 기록되고 이 기록된 감각은 데이터화 된다. 현실 공간의 물리적 제약에서 벗어나 가상 공간에서 신체의 운동성을 통해 생성된 데이터는 3D 프린팅 기술로 결정화 되어 다시 현실 공간에 놓이게 되고 이 일련의 과정을 통해 데이터와 물질의 관계성, 그리고 그 사이 신체라는 공간의 가능성에 대한 질문을 던진다.

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The piece Sensory, Crystallized explores the physical body and its senses as a bridge between technological and real-world spaces. Moving beyond the traditional view that the virtual world is merely a reproduction of reality, the artist is intrigued by the vastly different dimensions of productivity inherent in both virtual and real spaces. The artist looks for a common medium capable of intervening in both the virtual and real worlds to demonstrate the different modes of production and the resulting disruptions that arise from two distinct physical environments and structures. In her work, the physical body serves this purpose. The untranslatable gap between virtual and real spaces is recorded through body movements using VR devices, and these recorded sensations are then converted into a digital format. Data generated in the virtual space through the body’s mobility, free from the physical constraints of real space, is crystallized using 3D printing technology, to be reintroduced into the real world. This series of processes raises questions about the relationship between data and physical matter, and highlights the potential of the body as a bridge between them.

The piece Sensory, Crystallized explores the physical body and its senses as a bridge between technological and real-world spaces. Moving beyond the traditional view that the virtual world is merely a reproduction of reality, the artist is intrigued by the vastly different dimensions of productivity inherent in both virtual and real spaces. The artist looks for a common medium capable of intervening in both the virtual and real worlds to demonstrate the different modes of production and the resulting disruptions that arise from two distinct physical environments and structures. In her work, the physical body serves this purpose. The untranslatable gap between virtual and real spaces is recorded through body movements using VR devices, and these recorded sensations are then converted into a digital format. Data generated in the virtual space through the body’s mobility, free from the physical constraints of real space, is crystallized using 3D printing technology, to be reintroduced into the real world. This series of processes raises questions about the relationship between data and physical matter, and highlights the potential of the body as a bridge between them.

작가명

양숙현 Yang Sookyun

작품명

사변의 숲에서 (In the Forest of Speculation)

제작년도

2022

규격

가변 크기

재료

오디오 리엑티브 비디오 설치, 2채널 사운드, 05:46

작품설명

5개의 시퀀스로 구성된 영상 작품은 작가에 의해 물리적 공간으로부터 추출된 메타 데이터를 사운드와 공진(Resonance)시킴으로써 차원의 해체를 보여준다. 2차원 픽셀이 아닌 3차원 데이터가 가진 메타 데이터의 다양한 차원을 다룸과 동시에 물리적 공간의 입자와 가상의 모델이 교차하는 5개의 차원의 시뮬레이션을 통해 인과적 개연성에 대한 질문을 던진다.
작가는 세계는 우리가 인식하는 인과적 개연성보다는 물질이 만들어낸 시뮬레이션의 사례 중 하나라고 상상한다. 그렇기 때문에 어쩌면 가장 객관적일지도 모르는 디지털 장치로 물리적 세계를 기록하고 포착된 가상의 물질을 통해 일련의 세계를 구성하였다. 3D 스캐너와 2D 이미지에서 생성된 숲의 공간과 작가 자신의 형상은 일반적 재현의 기준에서 벗어나 있지만 물리적 공간으로부터 추출된 기이한 이미지이자 정보를 갖는 물질이다. 기술 장치와 알고리즘에 의해 구축된 불완전한 데이터-물질은 가상 공간에 배치되고 사운드 주파수와 랜덤 함수, 노이즈 데이터가 만들어낸 운동성은 시뮬레이션을 일으킨다. 가상에 적용된 수數의 환경에 따라 변화하는 이 사변적 물질들이 시각화된 공간에서 우리는 여전히 존재하지 않는 인식의 논리를 찾는다.

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This video piece, composed of five sequences, demonstrates the dismantling of dimensions through the resonance of sound with metadata that the artist has extracted from physical spaces. By exploring the rich dimensions of metadata inherent in three-dimensional data, as opposed to simple two-dimensional pixels, the piece offers a simulation of five dimensions where particles of physical space intersect with virtual models, thus challenging our understanding of causal plausibility.
The artist sees the world as one of many possible simulations governed by matter, rather than by what we perceive as causal plausibility. Therefore, she employed digital devices—perhaps the most objective tools available—to record the physical world and construct a series of worlds using the virtual matter derived therefrom. While the forest scenes and reproductions of the artist herself, generated using 3D scanners and 2D imaging techniques, deviate from conventional standards of representation, they are peculiar images and matter containing information extracted from physical spaces. The imperfect data-matter, created by technological devices and algorithms, is integrated into the virtual space, where different simulations are activated based on the dynamics generated from sound frequencies, random functions, and noise data triggering. We continue to search for the nonexistent logic of perception in a space where this speculative matter—varying with different numerical conditions applied to the virtual space—is visualized.

This video piece, composed of five sequences, demonstrates the dismantling of dimensions through the resonance of sound with metadata that the artist has extracted from physical spaces. By exploring the rich dimensions of metadata inherent in three-dimensional data, as opposed to simple two-dimensional pixels, the piece offers a simulation of five dimensions where particles of physical space intersect with virtual models, thus challenging our understanding of causal plausibility.
The artist sees the world as one of many possible simulations governed by matter, rather than by what we perceive as causal plausibility. Therefore, she employed digital devices—perhaps the most objective tools available—to record the physical world and construct a series of worlds using the virtual matter derived therefrom. While the forest scenes and reproductions of the artist herself, generated using 3D scanners and 2D imaging techniques, deviate from conventional standards of representation, they are peculiar images and matter containing information extracted from physical spaces. The imperfect data-matter, created by technological devices and algorithms, is integrated into the virtual space, where different simulations are activated based on the dynamics generated from sound frequencies, random functions, and noise data triggering. We continue to search for the nonexistent logic of perception in a space where this speculative matter—varying with different numerical conditions applied to the virtual space—is visualized.

작가명

양숙현 Yang Sookyun

작품명

OOX에서 온 (From the OOX)

제작년도

2020

규격

가변 크기

재료

2 채널 비디오, 3D 그래픽스, 06:35

작품설명

브루노 라투르의 OOO(Object Oriented Ontology)를 차용하여 작가에 의해 정의된 OOX(Object Oriented X)는 다양한 X(Unknown, Error, not named)들의 세계를 뜻한다. 인공위성으로부터 얻은 지구의 지형 이미지, 포토 그래메트리(Photogrammetry) 모델, 웹에서 쉽게 구매할 수 있는 3D asset을 배치하여 만들어진 임의의 차원들이 배치된 월드(World), OOX에는 운동 함수와 게임, 애니메이션 산업에 자주 활용되는 오토-리깅(auto-rigging) 데이터를 기반으로 움직이는 비인간들이 있다.
작품 <OOX에서 온>은 산업용 목적으로 개발된 소프트웨어 알고리즘으로 구축된 우연한 데이터-존재들이 인과성 혹은 개연성 없이 작동하는 5개의 2채널 화면으로 구성된다. 작가의 물리적 데이터를 외피로 입은 이 세계의 종(Species)들은 파종, 전투, 절하기, 춤추기와 같은 인간의 오래된 행위를 반복한다. 관객은 소리 없이 재생되는 영상으로부터 어떤 인과성과 개연성을 찾으려 하지만 OOX는 기술이 만들어내는 데이터에 의해 비동기적으로 발생된 공간일 뿐이다. OOX 세계의 종들이 갖는 기이한 형상들은 기술의 완전함에 익숙해진 관객에게 불안한 요소로 작용하나 이 시각적 글리치는 데이터 전환 과정에서 발생되는, 기술 세계에서는 자연스럽고 흥미로운 현상이다. 이를 통해 작가는 기술에 의해 정의될 수 없는 가속된 시대에 동시대 기술이 만들어내는 비인과적 정보와 에러들이 일으키는 이미지 존재 그리고 이를 받아들이는 인간의 시각적 편향성에 대해 질문을 던진다.

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Inspired by Bruno Latour's OOO (Object Oriented Ontology), the artist defines OOX (Object Oriented X) as the world of various Xs (Unknown, Error, not named). In OOX—a world created by arranging arbitrary dimensions with Earth's topographic images from satellites, photogrammetry models, and 3D assets readily available on the web—non-human entities move according to motion functions and auto-rigging data commonly used in the gaming and animation industries.
The work From the OOX consists of five two-channel screens in which accidental data-entities, generated by software algorithms developed for industrial purposes, operate independently of causality or plausibility. Clad in the artist’s physical data, the species of this world engage in age-old human activities such as sowing, fighting, bowing, and dancing. Despite the audience’s attempts to find a semblance of causality and plausibility in the soundless video, OOX is merely an asynchronous space shaped by technology-generated data. The unearthly appearances of the species in the OOX world may be unsettling for viewers used to the perfection of technology, yet these visual glitches are natural and intriguing technological phenomena occurring during the data conversion process. Through this work, the artist questions the existence of images produced by non-causal information and errors created by contemporary technology in this accelerated age—undefinable by technolgy—as well as the human visual biases that cloud our perception of those images.

Inspired by Bruno Latour's OOO (Object Oriented Ontology), the artist defines OOX (Object Oriented X) as the world of various Xs (Unknown, Error, not named). In OOX—a world created by arranging arbitrary dimensions with Earth's topographic images from satellites, photogrammetry models, and 3D assets readily available on the web—non-human entities move according to motion functions and auto-rigging data commonly used in the gaming and animation industries.
The work From the OOX consists of five two-channel screens in which accidental data-entities, generated by software algorithms developed for industrial purposes, operate independently of causality or plausibility. Clad in the artist’s physical data, the species of this world engage in age-old human activities such as sowing, fighting, bowing, and dancing. Despite the audience’s attempts to find a semblance of causality and plausibility in the soundless video, OOX is merely an asynchronous space shaped by technology-generated data. The unearthly appearances of the species in the OOX world may be unsettling for viewers used to the perfection of technology, yet these visual glitches are natural and intriguing technological phenomena occurring during the data conversion process. Through this work, the artist questions the existence of images produced by non-causal information and errors created by contemporary technology in this accelerated age—undefinable by technolgy—as well as the human visual biases that cloud our perception of those images.

작가명

양숙현 Yang Sookyun

작품명

기술을 보는 방법 시리즈 2. 만날 수 있는 데이터: 서비스 센터 (Data we can meet: The old service center)

제작년도

2019

규격

가변 크기

재료

3D 컴퓨터 애니메이션, 04:16

작품설명

2017년부터 진행한 기술을 보는 방법 프로젝트의 두 번째 시리즈 <만날 수 있는 데이터>는 인공지능 시대에 도래할 빅데이터와 개인 소유의 데이터에 대한 질문에서 출발한다. 개인이 소유한 다양한 이미지 중 정작 생산성으로 연결될 수 있는 데이터는 무엇인가? 라는 물음에서 출발하는 본 프로젝트는 작가 개인이 조작 가능한 데이터를 만들기 위해 오픈 소스 프로그램을 활용한다. 작가 스스로를 촬영한 2D 이미지는 포토그래매트리 프로그램을 통해 3D 데이터로 재생산되고 이 데이터는 또 다시 오토 리깅(Auto-Rigging) 알고리즘의 움직임을 입는다. 산업에서 활용되는 보편 어플리케이션이 실제를 기반으로 추출된 메타 데이터를 연산하여 만든 가상의 세계는 스티칭 알고리즘에 의해 오류를 발생시키고 이러한 글리치(Glitch)가 만들어내는 기이함의 형식은 기술이 만들어내는 또 다른 언어이자 차원이 될 수 있다. 작가는 확장된 기술 환경을 활용하여 개인이 생산하는 의도된 데이터와 이것이 기술을 통과하며 생성된 의도되지 않은 형식이 발생될 때 생성되는 모델 그 특이점을 시각화하고 있다.

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Data we can meet, the second series of the How to See Technology project started in 2017, explores questions about big data and privately owned data in the age of artificial intelligence. Among the various images and data owned by an individual, which ones can actually be linked to productivity? Inspired by this question, the project utilizes open-source software to create data that the artist can manipulate at will. The artist captures 2D images of herself, which are converted into 3D data using photogrammetry software and then animated with an auto-rigging algorithm. A virtual world created from reality-based metadata using common industrial applications may generate errors due to stitching algorithms, and the uncanny images resulting from such glitches can be both a new language and dimension shaped by technology. The artist is thus visualizing the singularities that arise from the encounter between intended data produced by an individual within an extended technological environment and the unintended outcome that emerges when this data is processed by technology.

Data we can meet, the second series of the How to See Technology project started in 2017, explores questions about big data and privately owned data in the age of artificial intelligence. Among the various images and data owned by an individual, which ones can actually be linked to productivity? Inspired by this question, the project utilizes open-source software to create data that the artist can manipulate at will. The artist captures 2D images of herself, which are converted into 3D data using photogrammetry software and then animated with an auto-rigging algorithm. A virtual world created from reality-based metadata using common industrial applications may generate errors due to stitching algorithms, and the uncanny images resulting from such glitches can be both a new language and dimension shaped by technology. The artist is thus visualizing the singularities that arise from the encounter between intended data produced by an individual within an extended technological environment and the unintended outcome that emerges when this data is processed by technology.

작가명

양숙현 Yang Sookyun

작품명

메타-메터-리얼 (Meta-Matter-Real)

제작년도

2022

규격

5390×810

재료

오디오 리엑티브 영상, 사운드

작품설명

우리가 인지하는 가시적 세계를 넘어선 새로운 물질-현실을 포인트 클라우드 데이터와 오디오 비주얼을 통해 표현하고자 한다. 입자 사이로 동시대 가장 발전된 테크놀로지로 불리는 제임스 웹 우주망원경(JWST)이 등장하고 차원을 알 수 없는 임의의 공간을 유영하며 물질을 탐색한다. 3D 스캐닝으로 추출된 물리적 데이터는 시시각각 변화하는 사운드에 반응하며 해체, 생성, 응집, 폭발을 바탕으로 가변적 리얼리티를 만든다. 압축과 팽창을 거쳐 생성된 다채로운 공간을 시.청각적 경험을 보여줌으로써 기술을 통해 상상할 수 있는 새로운 현실에 대한 긍정적 메시지를 전한다.

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The artist seeks to capture a new matter-reality that transcends our visible world, utilizing point cloud data and audiovisual elements. The James Webb Space Telescope (JWST), known as the most advanced technology of our time, emerges among the particles and explores matter while navigating through arbitrary spaces of unknown dimensions. Physical data extracted through 3D scanning responds to constantly changing sounds, creating a variable reality based on disintegration, generation, cohesion, and explosion. By offering a multisensory experience of a vibrant space created through compression and expansion, the work conveys an optimistic message about the new realities that technology might open up for us.

The artist seeks to capture a new matter-reality that transcends our visible world, utilizing point cloud data and audiovisual elements. The James Webb Space Telescope (JWST), known as the most advanced technology of our time, emerges among the particles and explores matter while navigating through arbitrary spaces of unknown dimensions. Physical data extracted through 3D scanning responds to constantly changing sounds, creating a variable reality based on disintegration, generation, cohesion, and explosion. By offering a multisensory experience of a vibrant space created through compression and expansion, the work conveys an optimistic message about the new realities that technology might open up for us.

작가명

양숙현 Yang Sookyun

작품명

인형의 집 (Doll House)

제작년도

2020

규격

가변크기

재료

1 채널 영상, 3D 컴퓨터 그래픽 영상, 03:29

작품설명

작품 <인형의 집>은 제주문화예술재단 지원 기획전 <데이터포밍_제주>에서 보인 작품이다. 작가 양숙현과 기획자 강나경은 기술과 인간의 유기적인 협력 관계의 연장선에서 기술이 공간과 사물을 어떻게 읽어내고 기록할 수 있는가? 라는 물음에 답을 찾아가는 예술적 접근을 시각적으로 보여주고자 본 전시를 기획하였다.
도시재생사업은 일정 규모의 자본이 유입되는 까닭에 본래의 목적인 구 도심의 정비를 통한 구성원의 삶 증진과는 다른, 파괴적이고 정형화된 방식으로 재구성되곤 한다. 도시 기획이라는 관점이 주로 외부인의 시점에서 변화가 진행되기 때문에 내부인들의 공간은 그 시선의 표면에 의해 뒤틀린다. 3D 스캐닝으로 데이터가 된 작가는 변형되기 이전, 데이터 포밍(Forming)된 가상의 제주시 서사로 5길 5-2 내부로 작가 자신의 캐릭터를 침투시켜 그 공간을 점유해본다. 그리고 언제 변해도 이상하지 않을 분절된 공간에 대한 감상을 읊조리며 데이터 내부를 산책한다.
제주도라는 특별한 공간성을 데이터의 기록으로 남기는 것과 동시에 실제 사물과 공간, 그리고 이를 기록한 데이터의 시각적 경험의 관계성을 찾고자 함에 그 목적을 두어 현재 도시재생사업이 진행되고 있는 제주도 원도심 지역(남성마을)을 기준으로 취합된 3D 데이터를 5인의 참여 작가에게 제공하는 방식으로 데이터 딜리버리 시스템을 도입하였다. 작가들에게 배달된 데이터를 중심으로 제작된 작품은 다시 데이터가 발생된 지역에 위치한 전시공간 새탕라움에서 전시되었다. 흥미로운 지점은 전시를 기획하고 진행하는 시기에 공교롭게도 전세계에 퍼진 Covid-19로 인해 서울과 제주의 물리적 거리를 위한 데이터 포밍이 필수 불가결한 조건이 되었다는 점이다.

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The piece Doll House was featured in the exhibition Dataforming_Jeju, a project supported by Jeju Foundation for Arts and Culture. Artist Yang Sook-yun and curator Kang Na-kyung organized this exhibition to visually represent the artistic approach to the question “How can technology interpret and record spaces and objects as an extension of its organic collaboration with humans?”
Due to the influx of significant capital, urban regeneration projects—originally designed to enhance community life through the revitalization of old city centers—often end up being restructured in ways that are both destructive and standardized. Urban planning is primarily conducted from the perspective of outsiders, whose limited understanding of local needs often distorts the spaces of the actual residents. Transformed into data through 3D scanning, the artist places her own digitized character inside 5-2, Seosa-ro 5-gil, Jeju-si, a virtual city ‘data-formed’ prior to her transformation. Once she has taken over that space, she begins to walk through the data, murmuring her thoughts on the segmented spaces that could change at any moment.
The project aimed not only to document the unique spatial characteristics of Jeju Island through data records but also to explore the relationship between physical objects, spaces, and the visual experience of their data representations. To that end, a data delivery system was introduced to provide 3D data collected from Jeju’s old city center (Namseong Village), where urban regeneration projects are underway, to five participating artists. The artworks created from this data were then exhibited at Seetangraum, an exhibition space located in the area where the data was originally collected. Interestingly, with the spread of COVID-19 around the world during the planning and hosting of the exhibition, the data-forming process became an indispensable requirement for bridging the physical distance between Seoul and Jeju.

The piece Doll House was featured in the exhibition Dataforming_Jeju, a project supported by Jeju Foundation for Arts and Culture. Artist Yang Sook-yun and curator Kang Na-kyung organized this exhibition to visually represent the artistic approach to the question “How can technology interpret and record spaces and objects as an extension of its organic collaboration with humans?”
Due to the influx of significant capital, urban regeneration projects—originally designed to enhance community life through the revitalization of old city centers—often end up being restructured in ways that are both destructive and standardized. Urban planning is primarily conducted from the perspective of outsiders, whose limited understanding of local needs often distorts the spaces of the actual residents. Transformed into data through 3D scanning, the artist places her own digitized character inside 5-2, Seosa-ro 5-gil, Jeju-si, a virtual city ‘data-formed’ prior to her transformation. Once she has taken over that space, she begins to walk through the data, murmuring her thoughts on the segmented spaces that could change at any moment.
The project aimed not only to document the unique spatial characteristics of Jeju Island through data records but also to explore the relationship between physical objects, spaces, and the visual experience of their data representations. To that end, a data delivery system was introduced to provide 3D data collected from Jeju’s old city center (Namseong Village), where urban regeneration projects are underway, to five participating artists. The artworks created from this data were then exhibited at Seetangraum, an exhibition space located in the area where the data was originally collected. Interestingly, with the spread of COVID-19 around the world during the planning and hosting of the exhibition, the data-forming process became an indispensable requirement for bridging the physical distance between Seoul and Jeju.