Choi Chul-joo Curator Modern Art Exhibition Plan [1] Former Seoul Museum of Art, Busan Museum of Art, Hansae Museum, Minoo Media Art Museum Curator Choi Chul-joo's Contemporary Art Exhibition & Contemporary Art Performance Works Explained: Contemporary in

Choi Chul-joo Curator Modern Art Exhibition Plan [1] Former Seoul Museum of Art, Busan Museum of Art, Hansae Museum, Minoo Media Art Museum Curator Choi Chul-joo's Contemporary Art Exhibition & Contemporary Art Performance Works Explained: Contemporary installation artist artwork [1] Contemporary Art Sculpture Symbolic Sculpture & contemporary art formation image artwork: Contemporary Artist Louis Choi Chul-joo Installation Art Review & Abstract Artist Louis Choi Chul-joo Design Review of Painting and Sculpture Design: Famous Installation Artist, Contemporary Artist, Abstract Artist, Conceptual Artist Installation Art Painting and Sculpture / Contemporary installation artwork : Choi Chul-joo Desire Installation Artist's Conceptual Sculpture Design & Planning. Former curator of the Busan Museum of Art Louis Choi Chul-joo (abstract design artist & contemporary artist)

 

 2009 Busan Museum of Art Sign Sculpture Design Drawing

 

Concept of Sculpture Design by Louis Choi Chul-joo The exploration of artistic sculpture is based on the design environment of the sculpture and is a flat plan that aims for human desire

Busan Metropolitan City a flat Plan for the Installation of Sculptures at the Busan Museum of Art (2009)

 

Louis Choi Chul-joo's concept of sculpture design: The search for artistic sculpture is based on the design environment of the sculpture and aims at human desire.  

Busan Metropolitan City Budget Plan and Installation for the Installation of Sculptures at the Busan Museum of Art: Choi Chul-joo (2009)

 

Choi Chul-joo (design), Haegeum Advertising (installation/construction), "Busan Museum of Art  sculptures", 2009. 2 

 

 

Sculptures of the Busan Museum of Art 

The image that was revealed to be in the unconsciousness of others while commuting to and from the Busan Museum of Art was an image that allowed the Busan Museum to be viewed from the side for a moment. This is a modified and reduced image seen in the perspective visual system. In other words, it is a virtual image of the Busan Museum of Art and a real image as a simplified image without seeing the space between the bars in front of the Busan Museum of Art.

2009 View of the Busan Museum of Art

 

This is an image revealed by desire in the process of repeating Choi Chul-joo' desire visual theory, and is formed as a symbolic sculpture as an effect of semantic action as it is replaced by other images according to metaphors. In the sculpture as a work of art, the simplified image of the object is recognized as a quantified visual perception form at the perspective level, so there is a limit to the approach of desire. This is an object in a subjective sense that meets through the alienation process of others. It is because it exists momentarily and disappears into the realm of unconsciousness.

 

The formation of a missing object with a lacanic design is Choi Chul-joo's desire formula  <D(I...I')d=I(D...D'i)i>. The connection structure(D...D') of the image and the image according to "<D(I...I')d=I(D...D'i)i>" is a design deficiency, that is, the desire that has disappeared unconsciously after repetition, is rendered from the unconsciousness of others by the effect of design semantic action (D'I).  

 

According to the Choi Chul-joo's metaphorical desire formula  <D(I...I')d=I(D...D'i)i>, rendering as an original image is replaced by an object (D/D') as another image, and meaning (I'D') object ɑ' is converted into an image through rendering as an original image. Choi Chul-joo's desire formula to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light.

The meaning of the shape hidden by the instantaneous movement of the actual changed shape results in verbal abstraction. In other words, the realistic shape of the other person's desire in an instantaneous event is a linguistic abstraction with the same meaning. Conceptual art as a cultural background is linguistic abstraction. After language fosters, abstraction creates a conceptual structure based on the shape of reality and hides the desires of others in instantaneous events.

Desire in Abstract Art Theory on Design of Sculptures The abstract design methodology of contemporary artist Choi Cheol-joo's concept of desire overlaps with the image created by reversible light by applying the abstract desire formula of contemporary art <D(I...I')d=I(D...D'i)i>. In addition, abstract sculptures are realized by applying the desire formula again in connection with verbal metaphor images and setting it as a shade of reversible light in another place in one space.

 

Repeating the design sketch, Choi Chul-joo's desire formula "D(I...I')d=I(D'D'I)i" is applied to the conceptual image of desire to acquire aesthetic value instantaneously and to reveal the meaning of abstract desire by realizing realistic formality in the shadow of reversible light at that moment. The abstract meaning of the shape in which the shape of the instantaneous desire that has been actually changed by the reversible movement of light is hidden results in a verbal abstract sculpture. In other words, it is a linguistic structure with the same meaning as a realistic image of the other person's desire in a momentary event or performance scene. Choi Chul-joo's conceptual art, which is set as the background of cultural abstraction, is a linguistic abstract sculpture of an image. After the meaning of language cultivated, the sculpture creates a conceptual structure based on the shape of reality and hides the abstract desires of others in the momentary event or exhibition space.

 

Work. Sculpture Lacan design. 3 Rendering of drawing images revealed from a desire perspective

 

The image revealed as a being in the others unconsciousness was the image of the exterior that allowed a momentary view of the Busan Museum of Art from the side.

 

 Fig. Desire Design of Sculptures.1 Forming an object ɑ by designing a desire image (rendering)

 

 

 The desire sculpture with symbolism exists in reality as an object ɑ due to the desire of others, and the object ɑ is concealed by leaving the meaning of existence as an image of desire. Here, the repetition process of revealing the object ɑ finds a lost existence that was concealed in the unconsciousness of others through the relationship between the subject and the "object ɑ" that is lacking according to the formula (＄◇a) that emerges an illusion. This repetition process derives an image of a sculpture that reveals a desireful subject within existence.

 

This is the formula < f(S...S')S=˜ S (-)s> that regenerates the image...The connection structure between the image and another image according to < f(S...S')S=˜ S (-)s> Design deficiency (-), that is, the desire that has disappeared into the unconscious during repetition in S'), is the effect of design meaning action (fS), which renders the image of the desire subject in the other's unconscious to create a desire image.

As this is replaced with an object of another symbolic image as a rendering of a desired subject, a sculpture as an object transferred from the rendering of a skewed image is formed. It is the cencept image installation artist Choi Chul-joo's theory of abstract art that connects the sculpture with a design of a desire structure and replaces the symbolic image abstracted as a desire concept with a sculpture.

 

According to the ChoiChuljoo's desire formula <D(I...I')d=I(D...D'i)i> that adds this meaning, the rendering of the desire subject as the original image is replaced by the object ɑ as another image (D/D') and the sculpture is formed as the object ɑ changed from the rendering of the desire image as the meaning (I'D') of the image.

 

According to the repeated process of deriving the image of desire and adding the meaning of the image, the application to the exhibition sculpture design reveals the image of desire  . The <D(I...I')d=I(D...D'i)i> connection structure between the image and another image according to <f(S...S')S=˜ S (-)s> Repeating it in <D(I...I')d=I(D...D'i)i>, rendering is replaced by a sculpture as an image in a different sense (D/D'), and the original image (D'-rendering) becomes an imaginary meaning (I'-desire image).  

 

 

According to the formula <D(I...I')d=I(D...D'i)i> that reveals meaning, the effect (I'D') of semantic action in which rendering changes to a sculpture as another image (D/D') is said to be combined with crossing the rod forming the sine sculpture.

 

 

 Work. Sculpture Desire Design. 4. Signed sculpture of Busan Museum of Art formed by Desire Design 2

 

Work 5.5 is an image revealed as a being in the unconsciousness of the other through the other's desire thinking at a perspective point in which the desire image appears to be a real image. If the material of the sign and sculpture is real, the image of the sign and sculpture is a symbolic image. In other words, the image of desire revealed in the desire of others becomes a symbolic image of the Busan Museum of Art based on the iron of reality revealed as an existence in the unconscious. 

 

The desire to identify with the natural environment image is that cognitive changes occur in the natural environment and the changed image is re-recognized as a symbolic image included in the natural environment. This suggests that the object ɑ of desire existed in the unconscious desire of others as it was momentarily revealed in the desire design sculpture.

 

 

 Work. Sculpture Desire Design. 5. The moment when the object ɑ is concealed and disappears in the unconsciousness of the other as an image of desire in the sculpture formed by Desire Design 2

 

 

Work. Sculpture Desire Design. The object ɑ as an image of desire in 5. is concealed in the unconsciousness of the other. It disappears in the unconscious desire as the exhibition component, or sculpture, is formed in the perceptive image seen in the place (place) of the moving element in the exhibition space. This is because the object ɑ is not visible in the perspective visual system. 

 

Photo. Sculpture Desire Design. 1 Busan Museum of Art Signs and Sculptures

 

 

Photo. Sculpture Desire Design 1. The autograph and sculpture of the Busan Museum of Art are photos of three-dimensional sculptures made of real materials. Sculpture always in the same place (located) as installed in Desire Design 1.  

As the sculpture disappears, it gets another meaning of the sculpture created by installation.

     Since the gaze area of desire is a linguistic structure system, repetition is a language that forms identity by the difference between unconscious habits and repeated images, the signs and sculptures of the Busan Museum of Art were repeatedly installed with empty spaces and vertical bars.

 

Overall, this has a complex visual effect that appears to be the shape of the Busan Museum of Art facade. Each vertical bar is a part of the entire façade and is a symbolic installation with the continuity and difference of the image. 

This is the same shape outwardly, but it makes the shape of the other's desire that is momentarily visible from the gaze point of view be contained in the other's unconsciousness. Therefore, the sculpture through desire design becomes a reality formed by the desire of others. The reality here is the reality as the material of the sculpture. Louis Choi Chul-joo's Desire Design 2 installed the sculpture through rendering expressed from the language of desire images separated from reality.

 

In the cognitive communication system, object ɑs were formed according to the results of design application to exhibition sculptures through Lacan theory. As an environmental art, the desire design sculpture was formed by a new design. Along with ready-made objects that give new meaning to ready-made products, the representative material of environmental sculptures is steel art.  

 

It is a sculpture suitable for the morphological form of the sculpture revealed in the desire design. Steel, the material of the sculpture, is an opportunity to change the exhibition space into the natural environment, is a ɑ object of the desire to recognize locality while appearing in a three-dimensional form in the space of the natural environment, and is a sculpture of Desire Design, a work of art that newly reveals the visual shape of the place environment and changes the natural environment.

 

Nevertheless, the Busan Museum of Art has eliminated a representative sculpture that lasted more than a decade, just like a white cube exhibition space that repeats a new form of exhibition. / Writing. Choi Chul-joo, former curator of the Busan Museum of Art (Doctor of Cultural Design)

 

 Curator Choi Chul-joo