Salt & Body "We support Healthy and Slow LifeStyle"

유네스코 세계자연유산으로 지정된 갯벌과 슬로시티의 문화가 살아 있는 태평염전은 국가등록문화제로 지정된 옛소금창고 건물에 소금박물관과 기획전시실을 운영하고 있습니다

Taepyeong Salt Farm, where the mudflats designated as UNESCO World Natural Heritage Sites and the culture of Slow City are alive, operates a salt museum and special exhibition room in an old salt warehouse building designated as a nationally registered cultural property.

유네스코 세계자연유산으로 지정된 갯벌과 슬로시티의 문화가 살아 있는 태평염전은 국가등록문화제로 지정된 옛소금창고 건물에 소금박물관과 기획전시실을 운영하고 있습니다Taepyeong Salt Farm, where the mudflats designated as UNESCO World Natural Heritage Sites and the culture of Slow City are alive, operates a salt museum and special exhibition room in an old salt warehouse building designated as a nationally registered cultural property.

'소금 같은 예술' 2024 레지던시 작가 공모

['Art Like Salt' 2024 Open Call for Residency Artists] Taepyung Salt Farm X ROWILAB seeks artists to submit entries for the juried exhibition, ‘Art Like Salt.’ The winners will be chosen to participate in a residency program in Shinan, designated a ‘Slow City’, in South Jeolla Province, South Korea, with the opportunity to create work in any of the following formats; photography, video, installation, sculpture, or sound with the theme of ‘Human, All Too Human'.

'소금 같은 예술' 2024 레지던시 작가 공모['Art Like Salt' 2024 Open Call for Residency Artists] Taepyung Salt Farm X ROWILAB seeks artists to submit entries for the juried exhibition, ‘Art Like Salt.’ The winners will be chosen to participate in a residency program in Shinan, designated a ‘Slow City’, in South Jeolla Province, South Korea, with the opportunity to create work in any of the following formats; photography, video, installation, sculpture, or sound with the theme of ‘Human, All Too Human'.

more about 'Art like Salt'

<우실 U-shil> 고사리 Sari Go

공기주머니, 가변크기, 2020
air cushion, dimensions variable , 2020

<우실 U-shil> 고사리 Sari Go공기주머니, 가변크기, 2020
air cushion, dimensions variable , 2020

<서쪽과 동쪽, 남쪽과 북쪽 West and East, South and North> 최선 Sun Choi

공중에 철제 구조물, 주머니, 끈, 국내 여러 곳의 바닷물로 만든 소금, 가변적 크기, 2020
「West and East, South and North」 Steel structure on the ceiling, cloth pouch, string, salt made from the seawater of various coastal sites in South Korea, variable size, 2020

<서쪽과 동쪽, 남쪽과 북쪽 West and East, South and North> 최선 Sun Choi공중에 철제 구조물, 주머니, 끈, 국내 여러 곳의 바닷물로 만든 소금, 가변적 크기, 2020
「West and East, South and North」 Steel structure on the ceiling, cloth pouch, string, salt made from the seawater of various coastal sites in South Korea, variable size, 2020

<되기 Becoming> Ah-Bin SHIM 심아빈

나무상자에 연필과 아크릴, 가변크기, 2021
pencil and acrylic on wooden box, dimensions variable

<되기 Becoming> Ah-Bin SHIM 심아빈나무상자에 연필과 아크릴, 가변크기, 2021
pencil and acrylic on wooden box, dimensions variable

<안녕, 친구 Hey, Buddy> 윤정민 Jeongmin Yoon

이번 전시에 선보이는 윤정민의 조각 작품은 작가 자신의 초상이자 일상의 기록이고 살아있음에 대한 존재 증명이다. 그의 작품이 지니는 매력은 특유의 유머 감각이 자아내는 정서적 호소력과 드로잉을 그대로 공간으로 일으켜 세운 것 같은 납작한 조각의 차별성에 있다. 윤정민의 작품은 어린 시절 친구와 낄낄거리며 나누는 수다 속에 어느덧 녹아 스미는 고해성사를 떠올리게 한다. 그 안에는 아직 세상으로 나가기 두려운 자들의 고뇌와 더 넓은 세상을 열망하는 자들의 기대가 오롯이 담겨 있기 때문이다. 설명하지 않아도 알 것 같은 지루한 일상의 의무와 흥미로운 도전의 재미가 뒤섞인 이야기를 상상하게 만드는 작품들은 신기하게도 작가의 모습을 꼭 닮았다. 일상의 나른함과 도전의 설렘을 모두 나눌 수 있는 친구와도 같은 인물이 그의 작품 속에 그대로 녹아 들었다.

<안녕, 친구 Hey, Buddy> 윤정민 Jeongmin Yoon이번 전시에 선보이는 윤정민의 조각 작품은 작가 자신의 초상이자 일상의 기록이고 살아있음에 대한 존재 증명이다. 그의 작품이 지니는 매력은 특유의 유머 감각이 자아내는 정서적 호소력과 드로잉을 그대로 공간으로 일으켜 세운 것 같은 납작한 조각의 차별성에 있다. 윤정민의 작품은 어린 시절 친구와 낄낄거리며 나누는 수다 속에 어느덧 녹아 스미는 고해성사를 떠올리게 한다. 그 안에는 아직 세상으로 나가기 두려운 자들의 고뇌와 더 넓은 세상을 열망하는 자들의 기대가 오롯이 담겨 있기 때문이다. 설명하지 않아도 알 것 같은 지루한 일상의 의무와 흥미로운 도전의 재미가 뒤섞인 이야기를 상상하게 만드는 작품들은 신기하게도 작가의 모습을 꼭 닮았다. 일상의 나른함과 도전의 설렘을 모두 나눌 수 있는 친구와도 같은 인물이 그의 작품 속에 그대로 녹아 들었다.

<이율배반 Antinomy> 바실리 수민 Vasiliy Sumin

설치, 혼합 재료, 비디오 CGI, 그리고 금속, 유리, 흙, 물, 파운드 오브제, 플라스틱, 직물, 석영 램프 등을 사용한 조형, 가변크기, 2023
Installation, Mixed Media, Video-CGI, A series of sculptures using materials such as metal, glass, earth, water, found objects, plastic, fabric and quartz lamps, Dimensions Variable, 2023

<이율배반 Antinomy> 바실리 수민 Vasiliy Sumin 설치, 혼합 재료, 비디오 CGI, 그리고 금속, 유리, 흙, 물, 파운드 오브제, 플라스틱, 직물, 석영 램프 등을 사용한 조형, 가변크기, 2023
Installation, Mixed Media, Video-CGI, A series of sculptures using materials such as metal, glass, earth, water, found objects, plastic, fabric and quartz lamps, Dimensions Variable, 2023

<우리는 영원으로 To Eternity> 권현아 Hyun Ah Kwon

-채널 비디오, 유리와 나무틀에 믹스 미디어, 5m x 5m, 2020
2-Channel video, Mixed media on window and wood frame, 5m X 5m, 2020

<우리는 영원으로 To Eternity> 권현아 Hyun Ah Kwon-채널 비디오, 유리와 나무틀에 믹스 미디어, 5m x 5m, 2020
2-Channel video, Mixed media on window and wood frame, 5m X 5m, 2020

<23일 23 Days> 몰리 앤더슨 고든 Molly Anderson Gordon

천, 소금, 90x800cm, 2019
「23 Days」 mounted fabric, fabric dyed with salt, 90x800cm, 2019

<23일 23 Days> 몰리 앤더슨 고든 Molly Anderson Gordon천, 소금, 90x800cm, 2019
「23 Days」 mounted fabric, fabric dyed with salt, 90x800cm, 2019

최수현 Choi, Soohyun

ʻFragments of a Place(Single HD video, 18’23”, 2021)’ is a video created while participating in a residency programme in Jeungdo, Sinan-gun for three months. The audience who watches the video does not necessarily have to know that it is the result of taking part in the residency, but the artist in the video begins the video by informing the audience that she has come to the new space, an ʻIsland’. The footage in the ﬁlm seems to consist of scenes that are seemingly fragmentary and fragile without a clear and linear narrative while narration provides an insight into the thoughts behind the screen. The artist in the video concerns about the problem of visual representation of reality, the labour of artists and non-artists, the boundary and legitimacy of making art by openly revealing the experiences and discoveries in the island—whether it is true or false. The video seems to describe what happened, however, through editing and narration it continues to slip away from reality and builds its alternative reality only exists in the video. The outdoor installation work ʻFragments of a Place(cement, 122x161x37cm(WDH), 2021)’ is one of the results of participating in the Taepyeong Salt Farm residency program for three months in 2021, created after the outline of the island, Jeungdo. This stage, installed in the rape ﬂower garden of the Taepyeong Salt Farm, was created for the performance event of a Taepyeng Salt Farm employee who sings Chang (Korean traditional narrative ballad) as a hobby on October 29, 2021. The work consists of three elements: actual installations, one-time performance, and video documentation. The stage can be used as a sitting spot for anyone who passes by and can watch the video documentation through the provided QR code. This stage, which may not be noticeable from a distance, is quietly keeping this place like art that occurs without a name around us.

최수현 Choi, SoohyunʻFragments of a Place(Single HD video, 18’23”, 2021)’ is a video created while participating in a residency programme in Jeungdo, Sinan-gun for three months. The audience who watches the video does not necessarily have to know that it is the result of taking part in the residency, but the artist in the video begins the video by informing the audience that she has come to the new space, an ʻIsland’. The footage in the ﬁlm seems to consist of scenes that are seemingly fragmentary and fragile without a clear and linear narrative while narration provides an insight into the thoughts behind the screen. The artist in the video concerns about the problem of visual representation of reality, the labour of artists and non-artists, the boundary and legitimacy of making art by openly revealing the experiences and discoveries in the island—whether it is true or false. The video seems to describe what happened, however, through editing and narration it continues to slip away from reality and builds its alternative reality only exists in the video. The outdoor installation work ʻFragments of a Place(cement, 122x161x37cm(WDH), 2021)’ is one of the results of participating in the Taepyeong Salt Farm residency program for three months in 2021, created after the outline of the island, Jeungdo. This stage, installed in the rape ﬂower garden of the Taepyeong Salt Farm, was created for the performance event of a Taepyeng Salt Farm employee who sings Chang (Korean traditional narrative ballad) as a hobby on October 29, 2021. The work consists of three elements: actual installations, one-time performance, and video documentation. The stage can be used as a sitting spot for anyone who passes by and can watch the video documentation through the provided QR code. This stage, which may not be noticeable from a distance, is quietly keeping this place like art that occurs without a name around us.

마루야마 준코 Junko Maruyama

When I left my country and lived in the U.S. in my youth, I began to see my creation process as the quest to find out “what” I am. For me, everyday life and art creation are the two sides of the same coin; in another words, they reflect and contain each other. With the point of view in mind, I use soap made from waste cooking oil as one of my main materials. Essentially, the soap is made of the oil and water, the two ingredients that do not bind each other naturally. The chemical reaction, the arduous process, to combine them connotates our fundamental yet everchanging view of life. I project myself to this material as a being that is constantly shifting. It has become my lifework to create the soap from waste cooking oil, which once was part of our source of life and form artworks in a given time and location, along with my own life forming in the place and time. The creation process begins with a fieldwork in a given location, correcting materials belong/belonged to the livelihood of the community. Having the key phrase “artificial and natural” in mind, I first observe and interact with the people there to see their background, and then I face the corrected materials. During the hands-on process, I communicate with my conscious self as well as unconscious self, searching for forms that speak out on their own. In addition to my inspiration and intuition, I actively incorporate uncontrollable factors such as weather and conditions given from locations. I, as an agent and part of material, create “unknown life forms” of the given time, layering and uniting what are un-manipulatable, such as weather, various conditions, materials, and my intuition.

마루야마 준코 Junko MaruyamaWhen I left my country and lived in the U.S. in my youth, I began to see my creation process as the quest to find out “what” I am. For me, everyday life and art creation are the two sides of the same coin; in another words, they reflect and contain each other. With the point of view in mind, I use soap made from waste cooking oil as one of my main materials. Essentially, the soap is made of the oil and water, the two ingredients that do not bind each other naturally. The chemical reaction, the arduous process, to combine them connotates our fundamental yet everchanging view of life. I project myself to this material as a being that is constantly shifting. It has become my lifework to create the soap from waste cooking oil, which once was part of our source of life and form artworks in a given time and location, along with my own life forming in the place and time. The creation process begins with a fieldwork in a given location, correcting materials belong/belonged to the livelihood of the community. Having the key phrase “artificial and natural” in mind, I first observe and interact with the people there to see their background, and then I face the corrected materials. During the hands-on process, I communicate with my conscious self as well as unconscious self, searching for forms that speak out on their own. In addition to my inspiration and intuition, I actively incorporate uncontrollable factors such as weather and conditions given from locations. I, as an agent and part of material, create “unknown life forms” of the given time, layering and uniting what are un-manipulatable, such as weather, various conditions, materials, and my intuition.