KIM Yunchul 金倫徹 (KOREA|韓國)

Triaxial Pillars II (2017)

Fluid kinetic installation
Photonic crystals, neodymium magnet, motor, electronic micro controller, electromagnetic field generator, air pump, glass, PU tubes
Body: acrylic, magnetic part, aluminum, motor, stainless steel pipes, brass pipe
Top and bottom: aluminum, motor
Magnetic part: acrylic, neodymium, aluminum
Fluid (Safety Certification of Magnetized Material issued): oil with pigment
Holder: aluminum, stainless steel pipes
Air pump box: solenoid valves, air pump, wood, aluminum
Control box: circuit, wood, aluminum, arduino
Floor space: 4m diameter
流體動力裝置 (2017)
光子晶體,釹磁鐵,馬達,電子微控制器,電磁場產生器,氣泵,玻璃,PU管
主體:亞加力,磁性零件,鋁合金,馬達,不銹鋼管,黃銅管
頂部及底部:鋁,馬達
磁性部分:丙烯酸,釹,鋁
流體(獲得磁化材料安全認證):油 (含顏料)
支架:鋁,不銹鋼管
氣泵箱:電磁閥,氣泵,木,鋁
控制箱:電路,木,鋁,arduino
佔地面積:4米直徑

04_YCK_TRXII_3.jpg

Synopsis

The work Triaxial Pillars II constantly fluctuates in space. The metallic particles in the fluid repeat an ascending and descending motion, and, simultaneously, dynamic patterns of filaments and hollows emerge. This fluidic motion makes us experience an ambivalent materiality of matter which is entangled between technical objects and aesthetics.

簡介

Triaxial Pillars II 持續在空間裡變幻。流體中的金屬粒子重複著上升和下降的運動,不斷變化的細絲和中空的形態亦與此同時浮現。這種流體性的動態讓我們體驗到糾纏在科技與美學之間的物質的矛盾性。

Concept

In Triaxial Pillars II, Kim is mainly concerned with the artistic potential of fluid dynamics, metamaterials (photonic crystals) and is especially focused on magneto-hydrodynamics.

A work on kinetic movement, Triaxial Pillars II, consists of multiple planetary and helical structures with twenty-three axes. The double acrylic cylinder is filled with nano-sized photonic crystals. These photonic crystals, dispersed in a colloidal state, react to the magnetic field generated by the kinetic devices, and attract the aluminum and bronze particles in the fluid. At that time, the photonic crystal changes the fluid to a metallic surface along the filament of the magnetic field, acting as an agent that transmits or reflects light where the magnetic field is applied or not, as if it were the gate of light. It cannot reveal itself as dark matter, but indirectly reveals its invisible nature through other particles. In addition, four air diffusers in the cylinder, controlled by solenoids, spout out air under varied pressures in helical patterns, which lifts the metal particles sunk by gravity to the top and records their movements on the surface of the fluid.

To Kim, Triaxial Pillars II is the subject of an event in which matter itself is being interwoven into the world. Material imaginations through matter, or into matter, enable an affective material poésie that allows us to move beyond the image as restricted by language. In his work, we enter the world of materials from the material world bounded by values, uses and symbols, where materials are entangled and intra-acted and become events every moment. It is becoming the reality through its materiality; realization of the real.

概念

Triaxial Pillars II 中,金允哲主要關注流體動力學、超材料(光子晶體)的藝術潛力,並尤其集中於磁流體動力學。

作為一個關於動能運動的作品,Triaxial Pillars II 由多個行星型和螺旋結構連同二十三個軸構成。 雙亞加力圓缸充滿著納米大小的光子晶體,這些分散成膠狀狀態的光子晶體對動力裝置產生的磁場產生反應,並吸引流體中的鋁和青銅粒子。此時,光子晶體沿著磁場的細絲將流體轉化成金屬表面,在磁場生效或不生效的時候充當媒介發射或反射光,如同光源的大閘一樣。 它並不能顯示自己為暗物質,而是透過其他粒子間接揭示其無形的本質。 此外,由螺線管所控制的圓缸中的四個空氣擴散器在不同氣壓下噴出螺旋形空氣,將因為萬有引力而沉降的金屬粒子提升到頂部並記錄它們在流體表面的動態。

對金來說,Triaxial Pillars II 是一個物質本身正在與世界交織的事件的中心議題。透過物質、或對於物質的物質想像驅使一種情感上的物質詩意讓我們超越被語言所限制的意象。在他的作品中,我們由一個被價值、用途和符號所規限的物質世界,進入物質互相交織、內部產生反應並每時每刻成為事件本身的物質世界。它正在透過它的物質成為現實; 實現真實。

partial source 部分資料來源: http://www.new.kontejner.org/en/project/touch-me-festival-2017-invisible-around-us/exhibitions/yunchul-kim-kr-triaxial-pillars-ii

Bio

KIM Yunchul is a Berlin/Seoul-based artist and electroacoustic music composer. His latest artworks focus on the artistic potential of fluid dynamics, meta-materials (e.g. photonic crystals and synthetic materials that exhibit properties not commonly found in natural materials), especially in the context of magneto-hydrodynamics. The objects and installations he has created transfer cosmic radiation, acoustic, and often vibrating impulses into ever-changing yet puzzling images. For him, exploring the nature and disposition of matter is an important factor, and through material turn, his works reveal potential dispositions of matter and constantly intra-act with the world. Spectators are invited to a glimpse of a world of strange and captivating phenomena of technologies, at once alchemy, astrophysics and new sciences.

Kim’s works have been shown at Ars Electronica, Transmediale, ISEA, New York Digital Salon and VIDA in Madrid, among others. Kim has been awarded grants at various institutions and festivals such as Collide International Award 2016 (CERN & FACT), VIDA 15.0, Ernst Schering Foundation, Arts Council Korea, Edith-Russ Haus for Media Art, Künstlerhaus Bethanien, Ars Electronica, Transmediale, Künstlerhaus Schloss Balmoral, NRW and more. Kim has taught and given workshops in diverse institutions, international festivals and academic centers. He is the founder of Studio Locus Solus in Seoul. He is currently a fellow of the research group, MATTEREALITY, one of the Transdisciplinary Programs in the South Korean Institute for Advanced Study. He is also a member of the art and science project group FLUID SKIES and a researcher in the artistic research project LIQUID THINGS in the Art & Science Department of the University of Applied Arts Vienna in Austria.

One prominent recent artwork is Cascade, a fluid kinetic installation resulting from Kim’s two-month residency at CERN and one-month at FACT as part of the Collide International Residency Award. The work is suspended in the gallery space like a chandelier, consisting of 18 meter-long interconnecting transparent tubes with fluid continually circulating within them. Exploring the artistic potential of fluid dynamics (the science of liquids and gases in motion), the work investigates the possibility of controlling the propagation of light through suspended photonic crystals.

As well as utilizing new material science, Kim has also created artworks referencing the work of Raymond Roussel, a pioneer of experimental writing. In the artwork shown in Dawns, Mine, Crystal, Kim establishes an intersection of a ‘world of materials’ with complex layers of metaphors and symbols. For Kim, material is not merely a basis for creating forms and images, but a protagonist of creation itself. In installation works such as Triaxial Pillars II (2017), particles and fluids undergo multiple transition states – sometimes as part of a fixed process and sometimes intuitively – transforming their own materiality. Describing his mode of practice as “psychological, sensual and symptomatic”, Kim seeks to materialise the realm of the imaginary. In Amorphic Scape (2012), Kim explores the idea of matter as the basis for artistic creation, the work reveals an intricate, linear composition. Almost invisible at first glance, the subtle drawing compels the viewer to closely inspect the surface of the paper. Referencing engravings from early modern science, Amorphic Scape illustrates an artistic response to the principles of fluid dynamics, as both creative experience and a form of experimentation.

簡歷

金允哲是駐留柏林/首爾的藝術家和電聲音樂作曲家。他近期的作品主要關注流體動力學、超材料(如光子晶體和合成材料等具有天然材料中不常見的特質)的藝術潛力,尤其在磁流體動力學研究的前提下。他創作的物件和裝置藝術將宇宙射線、聲音性和頻繁振動的衝力移轉到如謎一樣並不斷變化的景象。 對他而言,探索物質的本質和配置是一個重要元素。透過物質轉化,他的作品揭示了物質的潛在傾向,並不斷地與世界產生內部反應。 觀眾被邀請一瞥這個充滿怪異而迷人科技現象的世界-從煉金術、天體物理學以至新科學。

金的作品曾在Ars Electronica、Transmediale、ISEA、New York Digital Salon 和馬德里VIDA等等展出。他曾獲得多個機構與藝術節資助,包括Collide International Award 2016 (CERN & FACT), VIDA 15.0, Ernst Schering Foundation, Arts Council Korea, Edith-Russ Haus for Media Art, Künstlerhaus Bethanien, 林茲電子藝術 (Ars Electronica), Transmediale, Künstlerhaus Schloss Balmoral, NRW 等。 他曾在多個機構、國際藝術節和學術中心授教和舉辦研討會。 他是首爾 Studio Locus Solus 的創辦人。 他目前是South Korean Institute for Advanced Study 跨學科項目之一 ,MATTEREALITY 研究組的成員。他亦是藝術和科學研究組 FLUID SKIES 的成員,以及奧地利維也納應用藝術大學藝術與科學系藝術研究項目 LIQUID THINGS 的研究員。

近期優秀作品包括 Cascade,一個流體動力裝置,由金在CERN駐村兩個月以及在FACT一個月(作為Collide International Residency Award的一部分)時所創作。 此作品由18米長的相連的透明管組成,流體在透明管循環流動,如吊燈般懸掛在畫廊空間。作品研究通過懸浮光子晶體控制光的傳播的可能性,以探索流體動力學(運動中的液體和氣體科學)的藝術潛力。

除了利用新材料科學,金亦參考了實驗文學先驅 Raymond Roussel 的作品引入他的藝術創作。在 Dawns,Mine,Crystal 展示的作品中,金建立了一個「材料世界」與復雜的隱喻和符號層的交集。對於他,材料不僅是創造形式和圖像的基礎,而是創作本身的主角。在諸如 Triaxial Pillars II(2017)等的裝置作品中,粒子和流體經歷多種演變狀態 – 有時作為固定過程的一部分,有時直觀地 – 轉變它們自身的物質性。 金將他的創作模式形容為「心理上的、感觀的和有症狀性的」,並試圖把他的想像領域物質化。在 Amorphic Sc​​ape(2012)中,他探討物質作為藝術創作基礎的想法,該作品揭示了一種錯綜複雜的線性結構。乍看之下幾乎看不見,微妙的繪圖迫使觀眾仔細留意紙張表面。 引用了早期現代科學的雕刻,Amorphic Sc​​ape 展現了對流體動力學原理的藝術回應,同時作為創作體驗以至實驗的一種。