Art criticism : Contemporary art review & artist artwork criticism / Contemporary Art Critic Louis Choi Chul-joo's Art Review of Contemporary painting Artwork & Modern Art criticism [9] Contemporary Art Critic Louis Choi's Desire Art Theory Review : Fam..

Art criticism : Contemporary art review & artist artwork criticism / Contemporary Art Critic Louis Choi Chul-joo's Art Review of Contemporary painting Artwork & Modern Art criticism [9] Contemporary Art Critic Louis Choi's Desire Art Theory Review : Famous Contemporary Artist Contemporary Painter Abstract Artist Pop Artist & Abstract Design = Contemporary Art Review with Visual Art of the Story of Contemporary Art [21] A modern art review that examines the aesthetic value, process, and artistry of photography, cartoons, art, and design, and approaches the meaning of the work with the theory of visual art :  Contemporary Artworks Review & contemporary art sculpture [26] Example of contemporary artwork: Contemporary Art Critic Louis Choi Chul-joo's Art Review of installation artist artwork & Modern Art Review : Contemporary installation artist artwork [1] Contemporary Art Sculpture Symbolic Sculpture : 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 art work : Design of sculpture at Busan Museum of Art by Louis Choi Chul-joo

 

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)

 

Louis Choi Chul-joo's cartoon criticism: The sign structure, which was first recognized as a sculpture, should be maintained. 

 

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.

This is an image revealed by desire in the process of repeating Lacan's 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 Lacan's formula "f(S...S')S=˜ S (-)s". The connection structure(S...S') of the image and the image according to "f(S...S')S=˜ S (-)s" 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 (fS).  

 

According to the Lacan's metaphorical formula "f(S/S')S = ˜S(+s), rendering as an original image is replaced by an object (S/S') as another image, and meaning (s) 'object ɑ' is converted into an image through rendering as an original image.  

This is to convert the modified image from 'Work. 5.4' to 'Fig. 5.3' rendering to 'Object ɑ'.  

 

Work. Symbol type desire design: Rendering of drawing images revealed from a desire perspective

 

 As a curator at the Busan Museum of Art at the time, Choi Chul-joo wanted to reveal the reality of the sculpted autographs and sculptures through the desire design process, assuming that the actual perspective of the painting was applied to the design. 

Signs and sculptures that are intended to identify with the natural environment are to cause cognitive changes to occur in the natural environment and re-recognize the changed image as a representative image included in the natural environment. 

     

The image of surreal painting out of reality is an image revealed from the unconscious. Language is an image as a subject through a chain of signs and constructed unconsciousness. This form of desire design is the cognitive form revealed in the sign. The symbolic meaning of the linguistic structure system contained in this sign is meaning of image. This is the result of external design and is a symbolic sign and sculpture.

     

 Signs and sculptures as symbolic signs communicate with viewers as design intentions. Designers create a concept of design intentions, and as symbolic signs, signatures and sculptures communicate cognitively at the place where they are installed. Here, signs and sculptures are symbolic designs in image forms and letters as signs.  

 

This is an image language used as a symbol on a business card as a symbol of the Busan Museum of Art.

 

The Busan Museum of Art's desire design was symbolized as an image of a symbol and a facade. This is a sign and sculpture that reveals the meaningful concept of the Busan Museum of Art as a reality. Although 10 years have passed since the opening of the Busan Museum of Art, there are no autographs or sculptures around the museum from a gaze perspective. In this case, in order to raise the museum's awareness by examining, symbols and logo types that symbolize the art museum's building shape or art museum image that have become familiar to visitors' eyes are used rather than new autographs and sculptures.

 

Therefore, the designs of the Busan Museum of Art's autographs and sculptures were designed as sculptures that harmonize with the ext

erior shape of the building and the surrounding environment. The façade of the building illustrates the characteristics of the structural form, but it is flat. In order to produce this into autographs and sculptures, it was designed in harmony with the surrounding environment to reveal the shape of the building in three dimensions and attach new symbols and logo types. The location of the autographs and sculptures is suitable for being visible from the entrance where the user's movement begins or from the parking space on the ground. It is a place where the inner outer side of the ground parking lot faces the road at the entrance on the first floor of the Busan Museum of Art, and is suitable for the location of the Busan Museum of Art's autographs and sculptures.

  

In addition, the design of the Busan Museum of Art's signboards and sculptures simplified the exterior shape of the museum and considered harmony that matches the surrounding environment. As a desire design in the form of symbols, work 5.3 excludes the left and right forms based on four repeating units (M) in front of the Busan Museum of Art. Considering that the area around the museum is a beach, the existing pine trees behind the installation site were maintained. And it is designed so that the pine trees in the back can be seen well and the wind can flow by giving a gap. The symbol and logo type were attached to the second bar (M) from the center to the right access road.

 

 Photographs: View of the Busan Museum of Art

 

 

Symbol Type Desire Design: Work 5.3 View of the Busan Museum of Art, Sign Language (Plan), and Symbol Type of the Busan Museum of Art

 

In Work 5.3, as sign image (signature language=plane plan) is replaced by another sign image (symbol type=S/S'), the original sign image (S-signature language=plane plan) becomes significant (s=symbol). This states that according to the metaphorical formula f(S/S')S = ˜ S(+) s, the effect (fS) of semantic action in which one sign is replaced by another sign is congruent with crossing the stick (+) (=). 

As a reality, by constructing an object ɑ with the desire of the other in the sign and sculpture, the object ɑ captures the spirit of the sign and sculpture as a new sign according to the desire of the other in the relationship between the sign and the sign of the visual system. The object ɑ revealed in the desire of the other is another sign that creates the meaning of the Busan Museum of Art's autographs and sculptures, and combines the symbolic typeface to make the meaning of the Busan Museum of Art a desire for the other.

      

In addition, the perceptual images of signs and sculptures are symbolic spaces of meaning. Signs and sculptures that symbolize the meaning of the Busan Museum of Art are structural systems that convey the meaning of the museum by repeating the front-shaped image of the Busan Museum of Art. This is the intention of the design contained in the signature and sculpture of the Busan Museum of Art, and is revealed in the connection of the organizational system of image and meaning. Here, the signature and sculpture as images convey the meaning of the exhibition to the user as an art museum image.   

As the exhibition is installed, the meaning of space is formed, and a new understanding that is revealed in that meaning is created. Therefore, the external shape of the building in the repeated new exhibition, that is, the exterior of the building, is not directly related. However, the exterior of the building is fixed and is always located in the same place. This is an image of space and is a symbolic meaning that reveals the exterior of the building.

  

Signs and sculptures depict the exhibition meaning of the Busan Museum of Art as a cognitive element to viewers. Here, the concept, sociality, and artistry of the desire design are contained as meaningful contents. This is because the desire design is a linguistic structural system and has similar signatures, sculptures, and building structural systems, such as the relationship between image and meaning. Therefore, the unconscious has given aesthetic value by exploiting Choi Chul-joo's theory of abstracting desire art so that language can reach the subject.

 

 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. 

The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, it is linguistic abstraction of the same meaning that realistically embodies the other person's desires in a momentary event. 

Verbal abstraction is a conceptual art with a sign sculpture as a cultural background. Abstraction creates a conceptual structure based on concepts created by rendering the shape of subsequent reality fostered by language, hiding the desires of others in momentary events and exhibitions.

 

The concept in rendering is a symbolic language created by a chain of signs in the unconscious. In other words, it captures what is invisible in the repeated reality of images. This is a linguistic concept in the design process that influences cognitive themes and is created as a subject. This is the effect of applying Choi Chul-joo's theory of abstracting desire art to the structure of desire to have a linguistic symbolic system.  

 The image revealed by unconscious memory due to a chain of notation in language, that is, a concept, as a subject is an object ɑ. The structuralist image of such a symbolic system is revealed through the process of alienation and division. It acts as a process in the design of the desire structure.

 

Alienation is a choice that is subordinate to the subject along with the entry into the language that belongs to the regulation of life, the other who chose the symbolic image. This is an image of the subject. Therefore, the design choice of the desire structure has the symbolism of design as a subject while replacing the meaning with another image. This is to select the symbolism of the design from the meaning of the image created by the desire structure to be the subject, that is, the image revealed as an existence in the unconsciousness of the other.   

 

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.

 

According to the formula <f(S/S')S = ˜ S (+) s> that adds this meaning, the rendering of the desire subject as the original image is replaced by the object ɑ as another image (S/S') and the sculpture is formed as the object ɑ changed from the rendering of the desire image as the meaning (s) 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 <f(S...S')S=˜ S (-)s>. The connection structure between the image and another image according to <f(S...S')S=˜ S (-)s> Repeating it in <f(S...S')S=˜ S (-)s>, rendering is replaced by a sculpture as an image in a different sense (S/S'), and the original image (S-rendering) becomes an imaginary meaning (s-sign).  

  

 

According to the formula <f(S/S')S = ˜ S (+) s> that reveals meaning, the effect (fS) of semantic action in which rendering changes to a sculpture as another image (S/S') 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. a former Curator Choi Chul-joo at the Busan Museum of Art

 

Contemporary Art Critic Louis Choi Chul-joo