Finding it or the gazes
Charles Matson Lume, Song-yun Kim
06/02 - 06/30/2018
FOGSTAND is happy to announce the inaugural exhibition at its new U.S.A. location, Finding It or the Gazes, an exhibition that can be characterized as a simple unity of appearing, a hopeful non-thing-like variety. The selected artists—Charles Matson Lume (U.S.A.) and Song-yun Kim (South Korea)—embody, rather differently, creative methods that strive toward a non-conceptual, non-narrativized and, for some involved, non-relational vision of the sensual.
Charles Matson Lume and Song-yun Kim both seem to seek, simultaneously, dis-enclosure from the ever-refining formality of aesthetic description and the indescribable faith bound to their own affinities. A tension that theologian Jean-Luc Marion highlights when analyzing idolatry as an exhaustion of a gaze to withstand resting within designation, namely that of the divine brought into being. An inevitable rest that marks—idolic—a moment of an exhausted wonderment, thought or vision no longer capable of pushing through any particular given toward the pure givenness of the world.
No longer transpiercing itself, the gaze no longer pierces things, no longer sees them in transparency; at a certain point, it no longer experiences things as transparent—insufficiently weighted down by light and glory—and a last one finally presents itself as visible, splendid, and luminous enough to be the first to attract, capture, and fill it. This first visible will offer, for each gaze and in the measure of its scope, its idol. Idol—or the gaze’s landing place.
Charles Matson Lume’s material outcomes are something akin to a materialized form of a gerund, the process of adding -ing to a noun, making it a verb. Lume’s approach to light as a medium jostles two sets of interrelated conditionals: light & the lit and subject & the subjected. In most cases, due in no small part to all his work being done in dedication, the subject inevitably rises to the top. However, like oil sitting atop water, we still catch a glimpse of the suspension, made possible by ordinary objects subjected into becoming subjects by way of being lit in a manner that wonders about light, itself.
Song-yun Kim’s photographic images approach an intersection between two modulating instruments —the eye and the aperture—and the inherent, yet ordinary discomposing of each onto the other. Song-yun Kim’s photographic images appear merely to occupy various spaces incidentally, yet an unreachable attentiveness undermines the disparity. This stateliness or restraint is the result of a laborious shooting process. A process which—no matter how arbitrary the subject of the image could seem—is articulated through hundreds of successive refinements made possible by the technical abilities of the camera. Within the passing of time and the successive permeations of a single image relayed via the near instantaneity of the digital display, Song-yun Kim’s images revive, diaphanously, a reified occupation of merely directing sight.
Photo by Song-yun Kim
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2018 project support provided by the Visual Arts Fund, administered by Midway Contemporary Art with generous funding from The Andy Warhol Foundation for the Visual Arts, New York.