Sculpture Contemporary Art [2] Sculpture Contemporary Artist, Choi Chul-joo Curator Modern Art Sculpture Plan: Former Seoul Museum of Art, Busan Museum of Art, Hansae Museum, Minoo Media Art Museum Curator Choi Chul-joo's Contemporary Art & Contemporary A

Sculpture Contemporary Art [2] Sculpture Contemporary Artist, Choi Chul-joo Curator Modern Art Sculpture Plan: Former Seoul Museum of Art, Busan Museum of Art, Hansae Museum, Minoo Media Art Museum Curator Choi Chul-joo's Contemporary Art & Contemporary Art Sculpture Criticism: 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 Sculpturel Sculpture Design & Planning. Former curator of the Busan Museum of Art Louis Choi Chul-joo (abstract design artist & contemporary artist)

 

 

■ Choi Chul-joo's Concept of Desire Formul: In the concept of Choi Chul-joo's desire,  

mathematical desire as an axiom of logic in the concept of desire results in reality as a concrete phenomenon rather than based on the external structure of the linguistic meaning through abstract design. Therefore, the rendering of the desire structure revealed by abstract encounter with reality at the intersection of desire outside the window applies the mathematical desire concept abstract design, or the image of the desire concept, to the Choi Chul-joo desire formula, and on March 1, 2022, morning glory appears as a flat real image as the subject of desire as a reversible shade of light in the Flushing Town Hall (New York) exhibition./ Choi Chul-joo's Desire Formula is a multiplication formula that uses I/I (image) and D/d (design) as symbols to generate a polynomial desire image by connecting the number of design images with event and performance images. The linguistic meaning of an image as a symbol is an image (I/i) of the concept of desire to identify the abstract concept of desire./ The image of desire, which applies Choi Chul-joo's desire formula D(I...I')d=I(D...D')i to 'morning glory', connects the concept of desire with the background of 'morning glory' as an image to create a landscape by floating morning glory in the sky. In addition, in <morning glory>, the desire formula "D(I...I')d=I(D...D')i" is substituted, the connection effect between the concept of desire and the "morning glory" as desire image shades the concept of desire in the reversible shadow structure by setting the object as the concept of desire image of women by the "morning glory". In other words, the image of desire (I) is the structure of desire (D) because desire (D) is repeated (I...I') in several images (D...D'), and the image of art behavior or desire image(I) appears as the concept of desire(i). ■ Choi Chul-joo's Desire The design process of abstract concepts: 1. The concept of desire is abstracted from the perspective of an image to the outside of reality, and the image of reality as an object of abstraction is designed as the correlation between reality and reality. This is the design process 1 of Choi Chul-joo's concept of abstraction of desire. This does not presuppose a causal relationship with the real world, but rather results in an abstract concept of desire as a correlation with reality to escape the misunderstanding that transfers from an abstract concept to a real structure. 2. The scope of showing the concept of desire is created and located by omitting the actual size of the abstract concept as a shade of the concept of desire originating from the actual image. In addition, Choi Chul-joo's conceptual process 2 follows the process of decorating an object with a color of universal reality suitable for custom in order to have aesthetic value suitable for its position as a single image. This creates an abstraction that contrasts with the past and desire, in which the aesthetic structure hidden by realistic colors is divided by clouds and obscured by shaded light, obscuring the abstract concept in the actual image. 3. The subject who painted abstraction realizes the reality that symbolizes the concept of desire, and the unconscious realizes abstract desire as a conscious phenomenon of image. Desire is an abstract image realized as a conscious phenomenon of an image, and the unconscious structure is process 3 of designing an abstract art concept of desire that repeatedly designs desire that combines line and color in thoughts but is not conscious of unconscious behavior. 4. The unconsciously abstracted concept of desire is a piece of reality in which the object of reality is not seen as a reversible shade of light, concealing reality as a shadow and showing another real image as a video. This is the process 4 of designing an abstract concept of desire formed by combining the space of desire into a reversible light structure through the conscious movement of planar monochromatic painting carved into reality.  ■ The Design Results of Choi Chul-joo's Desire Abstract Concept: Choi Chul-joo Desire Abstract Concept Design's Linguistic Meaning Results: Although the object that is obsessed with the desire for others is passive, it is possible to actively practice one's desires through the sympathizer as the subject of desire, and the sympathizer who sympathizes with the desires of others as the subject can practice with the same desire. As a subject, a person who sympathizes with or accepts the desires of others becomes the same desire and becomes another subject of execution. Here, the sympathizer who sympathizes with the subject of the other's desire tries to generalize it as another object of desire that acts like a victor of war. However, when desire as an act overshadowed by reversible light is not generalized as a public act, the subject of inappropriate desire and the sympathizer antagonize the subject who practiced it according to the other's general desire. ■ Effect of Abstract Design with the concept of Choi Chul-joo's Desire as a Linguistic Meaning: The beneficiary who experienced reality as a desire for the other party is passive, but the person in power who can actively execute it from the perspective of the perpetrator puts it into practice with the same desire as the sympathizer. The sympathizer becomes the same desire and becomes the subject of actual action when a powerful person provides the benefit of power or a sympathizer receives it. The other's desire, which is hidden here, generalizes the actual actions of inappropriate powerful people and sympathizers as another object of desire and acts like a victor of war. However, when the actual effect as an act overshadowed by reversible light is not generalized as a public act, the subject of inappropriate desire is antagonized by the other's desire, away from the other's general desire for inappropriate power and sympathizers. ■ Object rendering of the concept of desire is 1. a pop art image that renders unconscious desire as an existential reality by dividing the same concept of desire as the event image into unconscious and real images as an object. Therefore, the subject who speaks linguistic meaning actually represents abstraction, the truth value of the concept of desire, which is an expressive aesthetic structure that specifies the viewing effect of colloquial language and event video broadcasting as an act of speech enunciation that depends on the news. 2. As the truth value of  the concept of desire in visual images is an open system, and numerous visual images are transmitted to others through a pluralistic visual system. Abstract images, which are the true values of the concept of desire, attract attention because they have universality as real images expressed by the desires of others. In other words, the object exposed to the abstract desires of others functions as a desire to exchange the same aesthetic image as the concept of desire of others through the diachronic function of pop art applied as a work of art. 3. The truth value of the concept of desire in a linguistic sense in which the abstract image of the concept of desire and reality are the same, represents the structure of desire, and the reality of the abstract concept of desire is a real image, which is the causal structure of desire, and creates a structure of desire by forming a semantic relationship with contradictory desire. Like Kant, this is a dual structure up to modern art, and it encompasses mythical objects in the same structure as humans, and the antinomic desire structure as a single structure.  4. an object of the concept of desire rendered in abstraction: The object rendering of the concept of desire renders the object as an event image, which is the same rational object as the linguistic meaning of the desire structure through the gaze of the rational subject, is recognized as a real image that the subject cannot see.  Additionally, other objects of desire are continuously represented by real images that attempt to fill the deficiency of desire. The pond, which reflects present desire as an object to abstract desire, presents a desire structure as a reality, which is an object to abstract desire, but it returns the cause of desire as a real image to an object as an event image, free from the imperfect abstraction that lacks desire that is subjugated to social visibility that has been concealed and deviated from lack through real images. In other words, the structure of deficiency and divided desire is hidden through real images of abstract desires, and contradictory desires subordinate to deviated social visibility become the cause of desire and become the objects of real images. In addition, object rendering of other desires is continuously expressed as a real image trying to fill the deficiency of desire. The rendering of an object that reflects the present desire as an object of abstract desire presents the structure of desire as reality, which is the object of abstract desire, but it returns the cause of desire as a real image to an object as an event image, away from the imperfect abstract lacking desire. In other words, the structure of deficiency and divided desire is hidden through the real image of abstract desire, and contradictory desires subordinate to deviated social visibility become the cause of desire, resulting in abstraction as a real image.  

■ The Design Results of Choi Chul-joo's Desire Abstract Concept: Choi Chul-joo Desire Abstract Concept Design's Linguistic Meaning Results: Although the object that is obsessed with the desire for others is passive, it is possible to actively practice one's desires through the sympathizer as the subject of desire, and the sympathizer who sympathizes with the desires of others as the subject can practice with the same desire. As a subject, a person who sympathizes with or accepts the desires of others becomes the same desire and becomes another subject of execution. Here, the sympathizer who sympathizes with the subject of the other's desire tries to generalize it as another object of desire that acts like a victor of war. However, when desire as an act overshadowed by reversible light is not generalized as a public act, the subject of inappropriate desire and the sympathizer antagonize the subject who practiced it according to the other's general desire.

 

Choi Chul-joo's Sketch of the Image of a Sculpture Installation at Busan National University of Education from a Desire Perspective

 

 

Desire Sculpture Design: The search for artistic sculptures is based on the design environment of the sculpture and is directed at the desire of others.

Busan National University of Education Budget Execution, Planning, and Design on the Installation of Hansae Museum Sculptures: Choi Chul-joo, a Curator (2016) 

Installation artist Choi Chul-joo's autographed sculpture of Hansae Museum according to the production sketch created by the unconscious desire effect image of the sign sculpture.

 

 

 Desire concept image design 2, which forms the sculpture as a desire concept object as a contemporary art sculpture.

 

To reveal the meaning of the exhibition theme in the exhibition sculpture design process of the desire concept image is to reveal the desire as an object of the desire image by facing reality from the oppressed unconsciousness in the exhibition sculpture design through Choi Chul-joo's desire concept abstract design theory. In other words, in order to compose a new subject as the existing perspective sculpture image, the desire object is revealed as the object of other people's desires, including symbolic image and sculptures, and the symbolic meaning is revealed by combining the desire of others for the subject of the exhibition with the new subject. Reality as symbols and sculptures installed here is an image of a sign sculpture of the museum's surrounding environment. The object of the hidden desire image is another gaze that began with desire, and is the perspective image of a sculpture viewed from a gaze that is as distant as a gaze from the object.   

 

 

 Forming a sculpture object of the image of desire as a signature and sculpture of a museum as being  

As a representative exhibition facility, sign and sculptures representing the museum exist in reality as objects with the desires of others, and have a dual meaning with the concept of objects of desire as an exhibition theme symbolizing the museum. As a distorted perspective sculptures image, sculptures hide the existence of desire. However, in the exhibition sculpture design process based on Choi Chul-joo's concept of desire abstract design theory, the actual sculpture is transferred to the object as a lost desire image concealed from the sculpture image and as a sign and sculpture installed by identifying the object of desire that lacks symbolism as an exhibition theme and the object of the desire image separated from the perspective sculpture image  

By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. 

 

This is because the image of desire suppressed by the other's unconsciousness has a symbolism that contains social meaning as a modern art museum sign sculpture because the concept of desire as an object of desire exists in the sculpture. Here, the sketch of the distorted sculpture image is another desire sign sculpture image formed in opposition to modern museun desire through the process of alienation from the existing perspective signage image. 

Because the image reveals the symbol of desire in the sculpture as being, other Sign sculpture images as the subject of the exhibition are sketched as meaningful images that express the concept of desire in language as a symbol of desire. / Written by Choi Chul-joo, Contemporary Art Critic (Installation Artist & Doctor of Cultural Design)

 

 

Choi Chul-joo, a desire perspective image that appeared momentarily by repeating the sketch of the sculpture installed at Pusan National University of Education from a desire perspective

 

Work 사인보드 라캉적 디자인 2. 교육박물관 사인․조형물의 기표언어(평면계획/side-view)와 기표이미지

                                                                                                     (사인․조형물 이미지/sketch)

 

Work 사인보드 욕망 이미지 디자인 2.는 욕망 개념 디자인에서 왜상적 이미지가 실재의 이미지로 보이는 원근법적 시점에서 타자의 욕망적 사유를 통해 타자의 무의식에서 존재로서 드러난 이미지이다. 왜상적 이미지로 드러난 사인․조형물의 질료가 실재라고 한다면 사인․조형물의 이미지는 욕망 개념을 전시디자인으로 생성된 전시공간의 상징적 이미지이다 즉 최철주의 욕망 개념 추상미술이론을 전시디자인 프로세스로 통과하여 타자의 욕망에서 드러난 왜상적 이미지가 무의식에서 존재로서 드러난 실재의 재료를 질료이다. 이것은 욕망 개념 디자인으로 형성된 전시공간으로서 뮤지엄을 상징하는 퍼스펙티브 이미지이다. 이 퍼스펙티브 이미지는 욕망 공식 <D(I...I')d=I(D...D'i)i> 에 따라 타자의 욕망으로한 왜상적 이미지로서 평면계획이 전시공간의 새로운 퍼스펙티브 욕망 기표 이미지(I')의 실재로한 사인․조형물로 치환하는(D/D') 의미작용의 효과(ID')이다.

 

주변 환경과 동일시하려는 욕망 개념 디자인에서 조형물은 주변 환경에서 인지적 변화가 일어나고 그 변화된 퍼스펙티브 이미지가 주변 환경에 포함된 표상적 이미지로 재인식하게 되는 것이다. 이는 욕망 개념 이미지의 오브제가 순간적으로 욕망 개념 전시공간을 상징하는 조형물에 드러내면서 타자의 무의식적 욕망에서 존재되었음을 말한다.

그것의 형성은 욕망 공식 <D(I...I')d=I(D...D'i)i> 에 따라 기존의 퍼스펙티브 이미지가 다른 퍼스펙티브 이미지와 연결하면서 생성된다. 여기서 소외과정은 타자의 욕망을 어떻게 퍼스펙티브 이미지로 생성할 것인가를 스케치로 구상하고 무의식으로 사라진 전시테마로서 주체를 욕망 공식 <D(I...I')d=I(D...D'i)i>에 반복적으로 적용함에 따라 사인․조형물로서 오브제를 왜상적 퍼스펙티브 욕망 이미지로서의 오브제로 치환한다.

욕망 개념 전시디자인의 오브제를 주체로 한 전시디자인의 프로세스에서 소외과정을 거쳐서 타자의 무의식의 욕망적 관점에서 기표언어인 평면계획에서 기표 이미지로서 스케치를 통해서 욕망 개념 전시디자인의 사인․조형물을 설치한다. 이것은 결과로한 욕망 개념 전시디자인의 오브제는 실재로서의 질료와 존재로서의 실재에서 분리된 왜상적 욕망 이미지가 사인․조형물의 퍼스펙티브 이미지로서 동일시된 것이다. 

 

Work 사인보드 욕망 개념 디자인 3:  최철주, 욕망 개념 이미지의 스케치로 형성된 전시공간에서 왜상적 욕망 이미지로서 오브제가 타자의 무의식 안에 은폐되어 사라지는 순간  

   

욕망 개념 디자인3에서 조형물 이미지는 실재에서 분리된 왜상적 이미지는 무의식에 존재한다. 이것은 사인․조형물의 상상계적 전시디자인 구조에서 분리되어 존재로서의 욕망 개념 오브제를 드러내기 위해서 최철주의 욕망 개념 추상미술이론을 적용한 전시디자인 프로세스를 통과하여 사인․조형물을 디자인한다. 이것의 결과로서 한새뮤지엄 주변 환경에서 사인 기능에 국한된 상징성을 탈출하기 위해서 타자의 무의식에서 드러난 욕망적 응시를 통해 존재로서 욕망 개념 오브제의 퍼스펙티브 이미지를 만나기 위한 전시공간 디자인이 욕망 개념 디자인3이다.      

욕망 개념 디자인3는 주체로서의 전시테마를 타자의 응시로 한 퍼스펙티브의 기표 이미지를 드러내는 것이다. 전시공간에서 기존에 드러난 퍼스펙티브의 기표 이미지는 타자의 욕망에서 드러난 실재로서의 '오브제'이다. 이 오브제의 형상은 또 다른 실재로서의 퍼스펙티브 이미지에서 존재적 의미를 생성한다. 이렇게 타자의 욕망적 응시에 기반을 둔 전시테마로서의 왜상적 이미지는 타자의 무의식적 억압에서 표출된 퍼스펙티브 이미지를 스케치로 한 실재를 생성한다. 여기서 기존의 퍼스펙티브 이미지로 한 타자의 무의식적 욕망은 욕망 개념 디자인3에서 대중적 요구의 선택적 의미로써 수용이 전제됨으로써 디자이너가 환유를 통한 기존의 퍼스펙티브 이미지에 대한 고착에서 벗어남으로써 새로운 퍼스펙티브의 기표 이미지를 응시하게 된다.      

욕망 개념 디자인3의 조형물은 전시공간을 배경으로 한 퍼스펙티브 이미지의 실재이다. 전시공간의 주변 환경으로 인하여 조형물이 감춤과 드러남의 순환적 이미지로서 존재성을 형성한다. 이것은 인접한 대나무 숲을 배경으로 한 실재로서 퍼스펙티브 이미지는 응시적 시점에서 대나무에 간격사이로 보이는 존재로서 욕망 개념 오브제의 퍼스펙티브 이미지로 전이한다. 마치 실재계에서 환유가 이어지면서 퍼스펙티브의 왜상적 이미지를 순간적으로 만들어낸다. 이것은 한새뮤지엄의 파사드에서 경사진 면을 감추면서 사인물의 기표언어로서 상징성을 말한다. 즉 조형물의 상징적 의미를 기표언어로서 실재를 만나기 위해서 심벌서체(한새뮤지엄)의 의미를 강조한다. 이것은 주변 환경과 동일시 되면서 퍼스펙티브 이미지로서 조형물과 주변 환경을 동일한 퍼스펙티브 이미지로 형성하는 환유적 의미이다. 

평면적 재현 이미지는 오브제를 복재적 이미지를 만들어냄으로써 예술 작품으로서의 원본성은 사라진다. 이것은 평면적 디자인의 원본이 존재하지 않는 것을 말한다. 따라서 욕망 개념 디자인3은 공간적 개념으로 한 욕망 개념 이미지의 전시 과정과 그 결과로서 형성된 조형물이기 때문에 존재로서의 원본성을 갖는다. 

 

이것은 타자의 욕망으로 한 기존의 조형물에 대한 소외과정을 통해 전시테마로서 퍼스펙티브 이미지를 보는 의미로서의 오브제는 순간적으로 존재되었다가 무의식 영역으로 사라진다. 이렇게 사라진 오브제를 최철주 욕망 개념 디자인3으로 전시공간을 형성하는 것은 욕망 공식 <D(I...I')d=I(D...D'i)i> 에 따라 기존의 퍼스펙티브 이미지와 새로운 퍼스펙티브 이미지 디자인의 연결구조(D...D')에서 연쇄화 후 드러난 욕망 개념 전시디자인의 결핍 즉 무의식으로 사라진 욕망을 욕망 개념 디자인3에서 의미작용의 효과(ID")로 한 타자의 무의식에서 욕망적 퍼스펙티브 욕망 이미지를 스케치 하여 새로운 퍼스펙티브 욕망 개념 이미지로 생성한다.

이것을 욕망 공식 <D(I...I')d=I(D...D'i)i>에 따라 원래 기표로 한 퍼스펙티브 이미지가 다른 퍼스펙티브 욕망 기표 이미지로서의 오브제로 대치되면서(D/D') 원래의 기표이미지(I)로써 퍼스펙티브 이미지가 기의(i)로써 새로운 퍼스펙티브 이미지로서의 왜상적 욕망 이미지 즉 욕망 개념 오브제가 된다. 이것은 Work. 5. 4에서 왜상적 퍼스펙티브 이미지가 Fig. 5.3 스케치에서 존재로서 욕망 개념 오브제로 전이하는 것이다.     

 

따라서 최철주 욕망 개념 추상미술이론을 전시디자인 프로세스에서 욕망 구조와 은유과정에 따라 전시공간의 조형물 설치에 따른 전시디자인은 욕망 공식 <D(I...I')d=I(D...D'i)i>에 따라 기존의 전시공간 퍼스펙티브 이미지와 타자의 욕망으로한 새로운 퍼스펙티브 욕망 이미지을 디자인한 연결구조(D...D')에서 연쇄화 후 이것을 기존의 퍼스펙티브 이미지에서 타자의 욕망으로한 하나의 기표 욕망 이미지로서 스케치가 새로운 퍼스펙티브 욕망 개념 이미지로서의 조형물로 대치되면서(D/D') 타자의 욕망으로한 퍼스펙티브 욕망 이미지(i-욕망 개념 스케치)가 전시공간의 새로운 기의(ID'-조형물)가 생성된다. 

이것은 기의로서 교육박물관에서 한새뮤지엄으로 전이 되면서 욕망 공식 <D(I...I')d=I(D...D'i)i>에 따라 타자의 욕망으로한 왜상적 이미지로서 욕망 개념 스케치가 전시공간의 새로운 퍼스펙티브 욕망 기표 이미지의 실재로한 조형물로 치환하는(D/D') 의미작용의 효과(i)이다. 이것은 전시공간에서 새로운 조형물을 형성하는 욕망 개념 스케치가 디자인을 통과해서 욕망 개념의 조형물과 통합한다.

 

 

Work 6.28  한새뮤지엄 파사드 기표 이미지의 의미작용 효과(i)로써 스케치로 생성된 사인 조형물로서 욕망 개념 스케치로 한 욕망 개념 조형물로서 욕망 기표 이미지의 오브제       

   

 

이것은 욕망 개념 디자인3에서의 파사드의 퍼스펙티브 스케치는 욕망 기표 이미지로서 정면도과 측면도(front-view, side-view)에서 기의로서 한새뮤지엄의 조형물로 전이된 또 다른 실재로서 사인․조형물의 생성은 욕망 이미지로서 스케치가 다른 욕망 기표 이미지로서 사인․조형물로 대치되면서(D/D') 원래의 기표이미지로서 스케치가 기의로서 사인․조형물이 치환된다. 여기서 퍼스펙티브 가표이미지가 다른 기표로서 사인․조형물로 치환하는(D/D')되면서 새로운 퍼스펙티브 이미지의 실재로서 사인․조형물을 형성하는 것처럼 실재로서 욕망 기표로서 개념이 입에서 입으로 전해지면서 욕망 공식을 통과하여서 두 개의 기표가 일치하면서 합동

(coïncidence)한다.  / 글. 현대 미술평론가 최철주 (설치미술가 & 문화디자인박사)

 

Choi Chul-joo, a Sculpture Contemporary Artist