Dysfunctional Obsession 机能失调的执念 TaeGyeong Yoon

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TaeGyeong Yoon
(South Korea 韩国)

London and Hong Kong-based South Korean artist TaeGyeong Yoon, specialises in painting and printmaking. He was awarded his MA in Contemporary Art Practice at the Royal College of Art and has been since facilitating between mediums adept to communicating contemporary debates.

尹邰劲是生活和工作中伦敦和香港的韩国艺术家,专攻绘画和版画。毕业于英国皇家艺术学院,当代艺术专业硕士,并致力于促进不同媒介间在当代讨论语境下的交流。

On Dysfunctional Obsession: 

Passion, fascination, infatuation, craze, and preoccupation are primarily the ways we describe these acts of, occurrences of, the directions of, the perspectives of, that best depicts the state of the captive individual and the incessant modes that are in question. This individual is an enthusiast at the conduct of pursuit, and in the state of reiteration regarding their subjects. They resemble their multi-faceted observations in uniquely personalised ways. The artist wants to bring your attention to; To circumscribe the emphasis of this text onto the methodological relationship in which the enthusiast and their subjects are constantly at tension with; To enquire about the functions and the modes that comprises of our laborious practices, at the same time the mode which is the repetition of questioning, recording, thus collecting that does not necessarily result in an accumulation of bettered artefacts or advanced enquiries or enhanced outcomes.

The next hypothesis then would be that this act of litany that is executed, must demonstrate a direction of progress towards even the vaguest aim, however broad the enquired might be, whatever the nearing results show to be. On the contrary, what if there were no such pivotal movements towards the direction of their obsession despite the duration spent with or in or on it? That the state, the act itself was merely an accumulation, and that her or his satisfaction of state, mode and virtue came perhaps from the variations of accumulation in itself. How must we comprehend this as context, as application, as material, as an extended body of the practitioner or of the researcher? There are no given guidelines; there is no given law concerning the reasons behind this gravitational pull towards gathering items of knowledge, or of our attachments, or of our enquiries. The artist is constantly at the battle of attempting to understanding why it is, and, how it is that one given person may be so intrinsically focused on one given entity, thing or field, and on the contrary, how one might be about countless fields.

This exhibition echoes notions of the artist’s essay, ‘Dysfunctional Obsession’, 2018, referencing a variety of personal encounters that Yoon had attempted to analytically categorize into mathematical equations according to the artist’s indexicalities. Art as an extension of the artist’s hand at the site and the physical labour as an extension of the artist’s body at the mode of production. Works created at the Untitled Space Residency gather Yoon’s various notions regarding enquiries relative to decision making and learning, operating between the lines of production vs. exploitation, order vs. disorder, as well as a luxury vs. pseudo-gratifications. Questioning the modes of enquiring encounters in daily lives as well as the personification of contradicting principles, through ‘Dysfunctional Obsession’, the artist is attempting to create a visual reference point of personal scales of importance and mass through utilizing various modes of physical labour in search for alternative states to maximize connections tied to understanding.

关于机能失调的执念

激情,迷恋,痴迷,狂热和全神贯注,这些词汇是我们常常用来描述正在发生的,有方向性的,具有观点的方式,和“执念”这种值得被推敲的,且无休无止的模式一样,这些词能最贴切的描绘出着迷的个体状态。面对这样一群从事着“疯狂追逐”的狂热者们,这些词也许最能贴切地解释出,着迷个体的状态,并且对他们充满执念的主题,所能保持着不停重复的状态。这种独特且个性化的执着方式,于多视角的观察法其实有异曲同工之妙。尹邰劲在这里想引起你的注意;将本文的重点限制在与方法论的关系上,狂热者们及其迷恋的主题经常处于某种紧张状态;去调查由我们辛勤的劳动实践组成的不同功能和模式,同时是重复思考,不停记录和收集的模式,其结果并不一定是制作更精美的产品,更高级的思考,甚至升级后的产出,所产生的积累。

那么下一个假设是,不停被重复执行的这种行为,无论调查的维度有多大,最接近真相的结果是什么,一定是为了示范出朝着最模糊的目标所发展的方向。反而言之,如果尽管在这其中或上面花费了大量的时间与精力,也没有朝着其迷恋的方向,发展出某种质变怎么办?这种状态,这些行为,本身仅仅是一种积累,而个人对状态,方式和品德的满足感也许就来自这些积累内在的变化。我们如何才能将其理解为背景、应用、材料,实践者或学者的延展体?在引力般被吸引的知识,我们依恋或我们探究的背后,没有标准的答案和的既定法律。尹邰劲作为艺术家一直在努力去理解其中的所以然,以及为何一个被规定的人,会可能如此的专注于一个被规定的实体,事物或领域,而反之,它如何可涉及到不同的领域中去。

该展览与艺术家的论文《机能失调的执念》(2018年)的概念遥相呼应,联系到尹邰劲试图根据其作为艺术家来用索引、分析、整理数学方程式的种种个人经历。艺术作为艺术家手在现场的某种延伸,而体力劳动作为艺术家身体在生产模式下的某种延伸。在无题空间驻地期间创作的作品集成了尹邰劲创作上的的各种不同观念:关于决策和学习有关的调查,生产线的操作与剥削劳力之间的对抗,秩序与混乱,以及奢侈与虚荣心。通过“机能失调的执念”,对日常生活中相遇模式的思考,以及矛盾原则的人格化提出质疑,艺术家试图创作一个以自身重要性为体量的视觉参考点,利用不同模式的体力劳动,来探索某种与理解相关且高度连接的另类状态。