Oasis Project Provocation and Challenge of Changes in Art Concept,
but How?
Ph. D. Kim, Seung-Ho( Prof of Esthetic in HongIK)
I met Oasis Project through artist Kim Kang, and as of
presentation and discussion in last session of last semester, I've got to know that trace of what
they went through carries great deal. Even though space they work and reside is in Korea, to
come in contact with Oasis Project from the international language which is art, follows many
debates. What is sure is that there is a part that doesn't need to be explained of changes in art
concept in order to understand, that is, Oasis is not one-time project neither a strategy to be
absorbed by mechanism of art market. Moreover Oasis does not aim for ambiguity between art
and politics. Oasis is about making their opinion into public opinion, build place for artists and
artists in action. With these points, I will give couple of examples to find out what kind of
relationship can be developed between the artist and the location.
There have been discussions on artist and location before.
Examples are Marcel Duchamp's <Fountain>, Yves Klein's sale performance at Seine river, and
Pierre Manzzoni's <Excrement of the Artist>. Now we are saying we meet them in museums.
And we take for their end product of one-time performances changed exist form of art work.
The reason for their one time performances make an object of criticism in the theories of avant-
garde and neo avant-garde is because the existent form of art work meets how the art concept
should be provisioned. It's not trying of disparaging works of Duchamp, Kelin and Manzzoni, it's
about with what kind of method and medium they became in the context of art, and what we
suppose to make of it as the main keyword. Just because many denied art topics of avant-
garde was confirmed and accepted in neo avant-garde, it's not upright attitude for Oasis Project.
Argument is that art's end product always leave behind as
materials, and these materials are placed in museums therefore art has history, but the truth is
these artists abandoned manufactured goods and lump of gold, burned the sales receipt, and
moreover by putting the person's excrement in a tin can they revolted against commercialization
of art work. Of course because the museums can't keep the artists, they keep the end product
of the performance of artists. Tell it differently there are no artists only the end product of the
artists' live and we accept them as the work. Therefore the subject of the performance which is
the artist, vanishes into the documents, and only the art concept becomes the progressive form.
Some might criticise this kind of art concept as elitism, but there is no doubt that Duchamp,
Kelin and Manzzoni formalized their reality through performances. Even though art work and
artist is the subject of provision in art concept, location and the end product are the keyword for
the discussion.
Not long ago I happened to watch the 'incident' of Oasis artists
occupying building from TV. Of course occupied building is location, people who occupied are
artists and was one-time thing. And their end-product of performances can be found in pictures
or in documents. Only the pictures, documents and memories are remained of Duchamp's
<Fountain> and Joseph Beuys' <7000 Oaks>. 9 dollars and <Fountain>, 500 mark and planting
tree was performed in the location of exhibition. One thing was to satisfy the condition of the
exhibition, the other was for the cost for moving the rock to the Kassel and to buy the tree.
Condition of participation is alike, but the fact that share of the expenses was on the artists and
the audience is the difference. It was not easy to move the factory made object to the exhibition
place, and object placed in the exhibition to the living space. This systematized theory in one
way, and in the other way it can be explained with the terminology, participated project.
1
Obviously the power is gained with the press here, but the one that choose the urinal and also
the subject of the project is the artists. Non the less we analyze with pictures and documents
and verifying changes in art concept. Some might say 'shocking' or 'participation', but
Duchamp's shock or Beuys' participation was new. Say it in hurry, the reason for 'shock'
and 'participation' include in context of art is that context of art have the history by adding
history concept to the art concept, and the essence of the art concept is in the change of work's
form of existence. This might be the reason for the existence of Duchamp and Beuys place on
the transition history of art concept. However argument of artists who managed and practiced
Oasis project should be considered from the history of art concept will be an insult. Because
their field of activity which is Korea, has different modern compare to Europe and North
America, and more so because they squatted unfinished art organization building rather than
exhibition place.
The issue of community became the topic in early 1990.
From our point of view, public art relies on how it dresses the place and activism in art concept.
Probably Joseph Beuys' tree planting project needed an agreement between the participator
and collaborator in order to "forest city rather than administrative." The citizens, the artist and
the economy joined together and an agreement between the Kassel Documenta and the city
space where citizens reside was made. The reason for Suzanne lacy's <Crystal Quit> (1985-87)
and <Street Level Video> (1993-) make discussions in art concept might be of in its location
and action. Undoubtedly there is difference in them because Beuys conservation of nature gave
definite influence to the government's political measure, and public project of Lacy provided
right to a voice to women and the minority. But the action and the location are the foundation in
definition of art concept can also be found in Oasis project. Kassel, Chicago, California and
Seoul, all different locations but the actions are same. Reason for Beuys' subject is discussed in
international stage is that his location diversity was collected with the action. Seoul joined just
as Chicago and California overcame the distance with the action. Therefore the message they
try to convey differs depends on the locations, their action embodies at the location, and the
location collects the action gathering the subjects. Some might see the activities of Oasis as an
intention of dealing the matter like Beuys and Lacy, but the fact that artists' residency, work and
art space are the work's compensation, therefore artists' action includes in the concept rather
than in art work can't be denied. Thus art work includes both materiality and formlessness, and
here Beuys' role can be found, Lacy's message is empowered, and the Oasis project continues.
Needless to say art concept is regulated with work, however it differs in where action substitute
for work and one-time work become possible. This kind of activism is the characteristic of public
art project, and this characteristic is the shortcut to understand the Oasis.
As getting closer to Oasis Project what gets clear is a provision
of condition, where the action and the location becomes the factor in art concept, is needed in
Korea. We should think out problems Oasis presents. The work substitute with the action where
getting out of modern and post-modernism meets the location, and art concept should be
confirmed in history concept is the discussion here. Rather choice between the location and the
action should be the first priority is left to individuals' share. However if the common feature and
differance embodies in the history context rather than in regulation method of art concept, the
fact that Oasis project also embodies in the common feature, differance of history and action
must be true. It is time for Seoul, Kassel and Chicago to come together.
2
Art Squat, FIRST ever in Korea Meaning and prospect of Dongsung-dong 720
KIM Youn Hoan(artists, co-director of OASIS)
Oasis Project materializes the fundamental moral of squat and reflects the Korean
characteristics. Besides showing activities of breathing new life into dead space with art Oasis
Project raises a question about failed culture administration such as Construction enterprise of
Center for Artist, meaning and significance of artists' studio in modern society, and discussion
revitalization of cultural production-distribution-consumption. Not only artists but evenly among
classes of society joins the project therefore it doesn't stop as a problem within artistic circles
only but it expenses to social realm. Oasis Project companies effect of arousing preexisted
notion of space by transplanting certain kinds of context to preexist social system, therefore
induces self-proliferation process such as conflict, mix, division, interpenetration and etc.
The core of Oasis Project is to provide a marketplace which will pull the concrete changes by
direct intervention of reality.
'Marketplace' mentioned here is a marketplace of consensus where society and art unites which
doesn't limits to the material space. For example squat practice on prearranged tear down on
Cafe Si-wal for reconstruction, Center for Artist lotting-out on June 18th, raising scandal by
presenting commercial context, performance of bringing bulldozer in the construction site of
Mok-dong Center for Artist in order to attempt squat on July 17th, notifying this incident to the
citizens with the guerilla performance are the ones. Especially squat of August 15th of 2004
publicized the problem of failure and corruption of art authority to induce the certain reaction of
the Federation of Artistic and Cultural Organizations of Korea (FACOK), the police, the press
and the artistic circles. End of December same year one-man performance demonstration
started at the front gate of the Ministry of Culture and Tourism who has the overall responsibility
of the construction enterprise of Center for Artist, and Nationwide Measures Committee
launched in March of 2005. Following September even the chairman of the board of Audit and
Inspection of government was on the run to influence the politicians.
Legally if can, illegally if must!"
After the inspection of the National Assembly, Oasis Project squat the affiliated space of Art
Council Korea (ACK) next to the Federation of Artistic and Cultural Organizations of Korea
(FACOK) 3 o'clock in the morning of November 3rd. This squat was special opportunity
preparation for long drifting construction enterprise of Mok-dong Center for Artist to do the 720
hour (1 month) non stop resistance artistic activities. Before squat began, artists of the Oasis
Project submitted application for use of empty space to ACK on 22nd of August. A month later,
September 22nd, ACK replied "after the inspection of our lot 1-119 which you asked for the
space use is planed to tear down because of it's illegal extension work on the building and will
be reconstructed after the tear down which we plan to use for support center for visitors.
Because of the construction progress reason we are letting you know that your submitted
application for using affiliated space is disapproval for your information." The next day
September 23rd, Oasis project called again to request for space use for the exhibition and
performance even if the space will tear down in few days but was denied. When every trial of
legal and administrative formalities came to nothing the only choice left was to squat.
On 3rd, works of artists were installed followed by general
3
cleaning performance. Works of <Meat Market> and <Pretty Scrubber> by An Heon-sook,
<Fried Dish> by Yi Ho-seok, <Transition History of My Studio : 1986-2005> by Jeong Jeong-
yeop, <Please Wipe Clean>, <Sewed Up Eating Table> by Yong Hae-sook, <Oasis Project
8.15> by No Soon-Taek, <Tteok-ppok-yi System> by Yi Jung-jae, <Oasis Project : Berlin> by
Kim Yoon-hwan & Kim Gang and others were exhibited. Performance (Yong Hae-sook, Yi Jung-
jae), dance performance (Chum-sae) and Guitar performance (So-hui) took place on the 4th
opening event, and interview with Kim Byeong-ik chairman of ACK was followed at 3:30 of that
afternoon. Participated artists proposed to arrange discussion meeting for sensible solution of
Mok-dong Center for Artist which saves the meaning of committee converted civil, and to
provide space use for a month. Kim Byeong-ik chairman started with "squatting is clearly illegal.
Problem has to be solved most legitimate way" and "I am very aware of the situations of the
current artistic circles including the Mok-dong Center for Artist. And this should be solved
urgently I think." Also he said "the Ministry of Culture and tourism, the FACOK, the budget
planning office and others are involved in this subject, where Korean Culture Art Committee
can't take the initiative in the debate but will try."
Kim Byeong-ik chairman also said about using squatted space,
"while traveling Germany, I notice that the city buys the empty space and use it as studio space
for artists, and we need that sort of thing here", "for the moment withdraw the squat and summit
the one month event plan, then through the official channels you can use the space." If the
event plan gets submitted by noon of the 6th, Kim Byeong-ik chairman said, personally himself
will give approval at least by the 10th. However under one condition, artists of Oasis Project will
not directly criticize the FACOK. Artists reply was "artists will show more various imaginative
works." Artists voluntary withdraw 7pm evening of same day, and started work on application of
space use and second opening on October 11th.
Success of the negotiation gave a few suggestive points. First the negotiation success between
ACK and Oasis Project provided an important case for future art squat activity of Korea. Oasis
Project gave the precedence of elaborated preparation and clear justification. Secondly the
problems of art administration have not changed. Although negotiation concluded with Kim
Byeong-ik chairman's decision, ACK preconditioned on no irritation act on FACOK whatsoever
and written promise of artists was required. ACK showed how it is not free from cultural
authorities such as FACOK. Third is the issue of cultural authority. When the ACK gave
permission to Oasis for space use FACOK's Yi Sung-lim president and 10 of its staff members
visited the ACK for file complain. They complained about permission given to 'offenders' and
gave utter empty threat of stopping Oasis from using the space with their aggregate power. And
then, they submitted 'application for space use' so they can also use the space. Dark side of
these actions, the art administration of Korea contains stained history of lobbying activities and
trickery, and proves the 'yakuza' like authority exercise of cultural organizations is retained. This
also emphasizes on ACK's need of independence from cultural authorities. Prominent example
is ever since 1995 ACK provided their affiliated building in Dongsung-dong to the FACOK for
free of charge but ACK itself rented office for \30,000,000 (about $30.000) for their lack of office
space.
720 Hours of Dongsung-dong Project
Oasis Dongsung-dong Project Reopened on October 10th had a great 720 hours till November
9th. Room of Dongsung-dong Project was non-stop exhibition hall, place for seminars, place for
performances and place to sleep. While staying here we heard the news of account section
chief of FACOK was arrested and the core executive officers of FACOK were under
investigations. Anti Samsung cultural foundation, Gu Bon-ju measure committee was with us,
and also discussed the incident of director Kim Yong-dae of Busan Museum of Modern Art
relate to the artist An Chang-hong. Additionally on the glass wall of the Project room, a banner
4
written 'Busan Museum of Modern Art on exhibition strike!!' was put on.
‘Exhibition of Creation' started with 9 artists, over 30 visual
artists end up participating from October 3rd to November 9th. Exhibition of Samsuni PD,
Canadian artist William Canon Hunter's instant painting work, performance of Taiwan artist
Chang Shin cheunng and Ye Yie Lie, Okus Ayaka, Ryan Sigan, Ikeda Kouko, SP 38 and others
join the show and encouragements from Ju Je-hwan, Yoon Seok-nam, Park Young-sook were
there. In spots of Marronnier Park, performance of Street Peace Conduct Band, street concert
of youth hip-hop club NB crew, one-man show of Jang So-ik, performance of Park Hyun-hee,
dance performance of Chum-sae, and guitar concert of So-hui was followed. Three debates
were joined by artists of 720, Culture Regiment, Park Sin-ui, La Do-sam, Kim Gyu-won, Kim
Jun-gi, national assembly office of Gang Hye-sook, national assembly office of Yi Goeng-cheol,
national assembly office of Cheon Young-se, Yim Byung-dae administrative official of Ministry
of culture and Tourism, Jang Byung-tae of ACK, lawyer Jeong Jeong-hun, Yu Byung-jin, Yi Gyu-
seok and others. The topics of the political measures discussion were meaning and perspective
on art squat, talk to studio, and finding a solution of construction enterprise of Mok-dong Center
for Artist. There were seminars as well as presentations about Oasis 720 Project for the
students who visited in between, and discussion about space with a real estate project
preparation group. Also remodeling work of Mok-dong Center for Artist was planed with Chung-
ang University students.
Kim Hui-soon of KICAC (Korea Independent Commission
Against Corruption), Yi Eung-chan came by for investigation on Center for Artist issue, Choi
Gang-moon of publishing company Ol-byeo and it's staffs, homeless community House of
Together, members of ACK Kim Jeong-hyeon, Park Sin-ui, Park Jong-gwan, Jeon Hyo-gwan,
encouragement visit of Dahak-ro theatrical troupe 'Alley', and encouragement words from
Korean theater union president Jeong Jae-jin. Press involved in this project were Sisa Press,
Media Khan, KBS Sisa Tonight, Chung-Ang University Press, Internet Korea Focus, Joongang
Daily, Traffic Broadcast 'Oh Dong-jin's Culture Response‘, CBS Radio 'Kim Jong-hwi's Culture
Response’, architecture magazine Monthly Plus, Yonhap News, Hankyore, Hankyore 21, Cine
21, Chungbuk Art Organization, News Cham, Internet Kuki News, Culture News, Monthly Join
Public, SBS News, and Korea Herald Media. Also many people gave out donations and bought
us food and drinks to last 720 hours. Not only the artists who were involved in 720 hours of
event, but all the people who visited love the space, shared each others experiences and
memories. We all made one live installation work during the 720 hours. To keep the space
alive, with the opinions of people who visited, we applied application of space use to Arts
Council Korea at the end of the event. But the council said it's only possible with monthly
payment of 1,000,000 won ($1000) therefore we decided to clean up the space. Council also
said the building will be teardown and will be reconstructed for support center for visitors.
Things we get from Oasis Dongsung-dong Project 720
Significance of art squat Oasis Dongsung-dong 720 is that it was first time in Korean society to
change specific unused public building to the art space. Meanwhile nobody questioned or
thought about utilizing unused buildings owned by government or corporations. But now it got to
the point where it is possible to criticise neglecting public buildings without reason and space
around authority power. This gave important case of cultural use of unused public buildings in
city later on. Also experience of Dongsung-dong Project gave new standpoint of looking into city
space. It gave people cognition that there are many empty spaces exist in the city and it is
possible to use them even if person is not an artist. It doesn't stop at securing physical space,
but made us thought about the various way of using empty space and attitude toward the
space. Dongsung-dong 720 squat fits with the characteristic of art squat where artists in various
field reside and create works which aim overall art site activating interchange between genres.
5
Third, Oasis Project prefers location deep in city. This begins
from the attitude of looking into space of Oasis Project, starting from criticising complain of
ownership of space to rights of using empty space in city. Therefore we try to get main sphere
of activity for art in the city and same goes to getting studio space. On the other hand by
infiltrating into the city to make studio space creates intimate relationship with the area and the
general public which helps the creators to get the sense of the public, and this raises self-
confidence of creation which will influence the activation of art communication.
Forth goes to the point where it gave the case of solving budget
problems of development plan and space development of cultural art space. It is important to
focus on regional character rather than scale or formality when it comes to development of
cultural art space. The core of the cultural art space plan is looking into the space in flux not
definitely. Most artists prefer open and floating space than exact divided and ceased space like
officetel. Because they are half architects, they will create never ending floating space. When
that happens quite a bit of contents of building plan by natural architect will be fall into the
hands of artists, and that directly connects to the less building which cost of equipments and
maintenance is lessened. Architects participating in space development plan will develop a
strategy of building most used space with least work with spending least of money by simply
reflecting artists. These are what Oasis Project 720 provides to us.
There are many studies about spaces in human life, art space
should be tested and verified first. When everyone's priority goal is living creative life, the model
for creative life is art, and it's possible with the experience of "environment fulfilled with artistic
life." Therefore art space like Dongsung-dong squat should be tried and built more often. The
essence of art concept is in change, the subject of the change is artist. A duty of artist is to
change the concept, and like other artistic tasks "space about life and art" is no exception. But
art concept about life and art space is not prescript, art concept changes through never-ending
test.
Art context of Oasis Project can be found from many
conversations. These many conversations are 'memories.' These memories are filled with
stories of processes and episodes about working on specific location, Mok-dong Center for
Artist. Oasis Dongsung-dong Project 720 amplified Center for Artist by being part of its
category, on the other hand by being model for artistic recycle, it has the 'memory' as
independent project. By choosing specific building, it also carries site specific element. The
Dongsung-dong seaweed roll house was chosen as a method for delivering the meaning of
creativity, through the art activity of Oasis, the building became art and compensates for
perception. Also Mok-dong Project of Oasis carries continuous concept rather than one-time
means of creativity. Studio work of Oasis Project includes continuities of art activity, art activity
location, and change in art concept. This Oasis Project is working on international squat activity,
art creative environment, government's cultural policy and esthetical test of art space.
but How?
Ph. D. Kim, Seung-Ho( Prof of Esthetic in HongIK)
I met Oasis Project through artist Kim Kang, and as of
presentation and discussion in last session of last semester, I've got to know that trace of what
they went through carries great deal. Even though space they work and reside is in Korea, to
come in contact with Oasis Project from the international language which is art, follows many
debates. What is sure is that there is a part that doesn't need to be explained of changes in art
concept in order to understand, that is, Oasis is not one-time project neither a strategy to be
absorbed by mechanism of art market. Moreover Oasis does not aim for ambiguity between art
and politics. Oasis is about making their opinion into public opinion, build place for artists and
artists in action. With these points, I will give couple of examples to find out what kind of
relationship can be developed between the artist and the location.
There have been discussions on artist and location before.
Examples are Marcel Duchamp's <Fountain>, Yves Klein's sale performance at Seine river, and
Pierre Manzzoni's <Excrement of the Artist>. Now we are saying we meet them in museums.
And we take for their end product of one-time performances changed exist form of art work.
The reason for their one time performances make an object of criticism in the theories of avant-
garde and neo avant-garde is because the existent form of art work meets how the art concept
should be provisioned. It's not trying of disparaging works of Duchamp, Kelin and Manzzoni, it's
about with what kind of method and medium they became in the context of art, and what we
suppose to make of it as the main keyword. Just because many denied art topics of avant-
garde was confirmed and accepted in neo avant-garde, it's not upright attitude for Oasis Project.
Argument is that art's end product always leave behind as
materials, and these materials are placed in museums therefore art has history, but the truth is
these artists abandoned manufactured goods and lump of gold, burned the sales receipt, and
moreover by putting the person's excrement in a tin can they revolted against commercialization
of art work. Of course because the museums can't keep the artists, they keep the end product
of the performance of artists. Tell it differently there are no artists only the end product of the
artists' live and we accept them as the work. Therefore the subject of the performance which is
the artist, vanishes into the documents, and only the art concept becomes the progressive form.
Some might criticise this kind of art concept as elitism, but there is no doubt that Duchamp,
Kelin and Manzzoni formalized their reality through performances. Even though art work and
artist is the subject of provision in art concept, location and the end product are the keyword for
the discussion.
Not long ago I happened to watch the 'incident' of Oasis artists
occupying building from TV. Of course occupied building is location, people who occupied are
artists and was one-time thing. And their end-product of performances can be found in pictures
or in documents. Only the pictures, documents and memories are remained of Duchamp's
<Fountain> and Joseph Beuys' <7000 Oaks>. 9 dollars and <Fountain>, 500 mark and planting
tree was performed in the location of exhibition. One thing was to satisfy the condition of the
exhibition, the other was for the cost for moving the rock to the Kassel and to buy the tree.
Condition of participation is alike, but the fact that share of the expenses was on the artists and
the audience is the difference. It was not easy to move the factory made object to the exhibition
place, and object placed in the exhibition to the living space. This systematized theory in one
way, and in the other way it can be explained with the terminology, participated project.
1
Obviously the power is gained with the press here, but the one that choose the urinal and also
the subject of the project is the artists. Non the less we analyze with pictures and documents
and verifying changes in art concept. Some might say 'shocking' or 'participation', but
Duchamp's shock or Beuys' participation was new. Say it in hurry, the reason for 'shock'
and 'participation' include in context of art is that context of art have the history by adding
history concept to the art concept, and the essence of the art concept is in the change of work's
form of existence. This might be the reason for the existence of Duchamp and Beuys place on
the transition history of art concept. However argument of artists who managed and practiced
Oasis project should be considered from the history of art concept will be an insult. Because
their field of activity which is Korea, has different modern compare to Europe and North
America, and more so because they squatted unfinished art organization building rather than
exhibition place.
The issue of community became the topic in early 1990.
From our point of view, public art relies on how it dresses the place and activism in art concept.
Probably Joseph Beuys' tree planting project needed an agreement between the participator
and collaborator in order to "forest city rather than administrative." The citizens, the artist and
the economy joined together and an agreement between the Kassel Documenta and the city
space where citizens reside was made. The reason for Suzanne lacy's <Crystal Quit> (1985-87)
and <Street Level Video> (1993-) make discussions in art concept might be of in its location
and action. Undoubtedly there is difference in them because Beuys conservation of nature gave
definite influence to the government's political measure, and public project of Lacy provided
right to a voice to women and the minority. But the action and the location are the foundation in
definition of art concept can also be found in Oasis project. Kassel, Chicago, California and
Seoul, all different locations but the actions are same. Reason for Beuys' subject is discussed in
international stage is that his location diversity was collected with the action. Seoul joined just
as Chicago and California overcame the distance with the action. Therefore the message they
try to convey differs depends on the locations, their action embodies at the location, and the
location collects the action gathering the subjects. Some might see the activities of Oasis as an
intention of dealing the matter like Beuys and Lacy, but the fact that artists' residency, work and
art space are the work's compensation, therefore artists' action includes in the concept rather
than in art work can't be denied. Thus art work includes both materiality and formlessness, and
here Beuys' role can be found, Lacy's message is empowered, and the Oasis project continues.
Needless to say art concept is regulated with work, however it differs in where action substitute
for work and one-time work become possible. This kind of activism is the characteristic of public
art project, and this characteristic is the shortcut to understand the Oasis.
As getting closer to Oasis Project what gets clear is a provision
of condition, where the action and the location becomes the factor in art concept, is needed in
Korea. We should think out problems Oasis presents. The work substitute with the action where
getting out of modern and post-modernism meets the location, and art concept should be
confirmed in history concept is the discussion here. Rather choice between the location and the
action should be the first priority is left to individuals' share. However if the common feature and
differance embodies in the history context rather than in regulation method of art concept, the
fact that Oasis project also embodies in the common feature, differance of history and action
must be true. It is time for Seoul, Kassel and Chicago to come together.
2
Art Squat, FIRST ever in Korea Meaning and prospect of Dongsung-dong 720
KIM Youn Hoan(artists, co-director of OASIS)
Oasis Project materializes the fundamental moral of squat and reflects the Korean
characteristics. Besides showing activities of breathing new life into dead space with art Oasis
Project raises a question about failed culture administration such as Construction enterprise of
Center for Artist, meaning and significance of artists' studio in modern society, and discussion
revitalization of cultural production-distribution-consumption. Not only artists but evenly among
classes of society joins the project therefore it doesn't stop as a problem within artistic circles
only but it expenses to social realm. Oasis Project companies effect of arousing preexisted
notion of space by transplanting certain kinds of context to preexist social system, therefore
induces self-proliferation process such as conflict, mix, division, interpenetration and etc.
The core of Oasis Project is to provide a marketplace which will pull the concrete changes by
direct intervention of reality.
'Marketplace' mentioned here is a marketplace of consensus where society and art unites which
doesn't limits to the material space. For example squat practice on prearranged tear down on
Cafe Si-wal for reconstruction, Center for Artist lotting-out on June 18th, raising scandal by
presenting commercial context, performance of bringing bulldozer in the construction site of
Mok-dong Center for Artist in order to attempt squat on July 17th, notifying this incident to the
citizens with the guerilla performance are the ones. Especially squat of August 15th of 2004
publicized the problem of failure and corruption of art authority to induce the certain reaction of
the Federation of Artistic and Cultural Organizations of Korea (FACOK), the police, the press
and the artistic circles. End of December same year one-man performance demonstration
started at the front gate of the Ministry of Culture and Tourism who has the overall responsibility
of the construction enterprise of Center for Artist, and Nationwide Measures Committee
launched in March of 2005. Following September even the chairman of the board of Audit and
Inspection of government was on the run to influence the politicians.
Legally if can, illegally if must!"
After the inspection of the National Assembly, Oasis Project squat the affiliated space of Art
Council Korea (ACK) next to the Federation of Artistic and Cultural Organizations of Korea
(FACOK) 3 o'clock in the morning of November 3rd. This squat was special opportunity
preparation for long drifting construction enterprise of Mok-dong Center for Artist to do the 720
hour (1 month) non stop resistance artistic activities. Before squat began, artists of the Oasis
Project submitted application for use of empty space to ACK on 22nd of August. A month later,
September 22nd, ACK replied "after the inspection of our lot 1-119 which you asked for the
space use is planed to tear down because of it's illegal extension work on the building and will
be reconstructed after the tear down which we plan to use for support center for visitors.
Because of the construction progress reason we are letting you know that your submitted
application for using affiliated space is disapproval for your information." The next day
September 23rd, Oasis project called again to request for space use for the exhibition and
performance even if the space will tear down in few days but was denied. When every trial of
legal and administrative formalities came to nothing the only choice left was to squat.
On 3rd, works of artists were installed followed by general
3
cleaning performance. Works of <Meat Market> and <Pretty Scrubber> by An Heon-sook,
<Fried Dish> by Yi Ho-seok, <Transition History of My Studio : 1986-2005> by Jeong Jeong-
yeop, <Please Wipe Clean>, <Sewed Up Eating Table> by Yong Hae-sook, <Oasis Project
8.15> by No Soon-Taek, <Tteok-ppok-yi System> by Yi Jung-jae, <Oasis Project : Berlin> by
Kim Yoon-hwan & Kim Gang and others were exhibited. Performance (Yong Hae-sook, Yi Jung-
jae), dance performance (Chum-sae) and Guitar performance (So-hui) took place on the 4th
opening event, and interview with Kim Byeong-ik chairman of ACK was followed at 3:30 of that
afternoon. Participated artists proposed to arrange discussion meeting for sensible solution of
Mok-dong Center for Artist which saves the meaning of committee converted civil, and to
provide space use for a month. Kim Byeong-ik chairman started with "squatting is clearly illegal.
Problem has to be solved most legitimate way" and "I am very aware of the situations of the
current artistic circles including the Mok-dong Center for Artist. And this should be solved
urgently I think." Also he said "the Ministry of Culture and tourism, the FACOK, the budget
planning office and others are involved in this subject, where Korean Culture Art Committee
can't take the initiative in the debate but will try."
Kim Byeong-ik chairman also said about using squatted space,
"while traveling Germany, I notice that the city buys the empty space and use it as studio space
for artists, and we need that sort of thing here", "for the moment withdraw the squat and summit
the one month event plan, then through the official channels you can use the space." If the
event plan gets submitted by noon of the 6th, Kim Byeong-ik chairman said, personally himself
will give approval at least by the 10th. However under one condition, artists of Oasis Project will
not directly criticize the FACOK. Artists reply was "artists will show more various imaginative
works." Artists voluntary withdraw 7pm evening of same day, and started work on application of
space use and second opening on October 11th.
Success of the negotiation gave a few suggestive points. First the negotiation success between
ACK and Oasis Project provided an important case for future art squat activity of Korea. Oasis
Project gave the precedence of elaborated preparation and clear justification. Secondly the
problems of art administration have not changed. Although negotiation concluded with Kim
Byeong-ik chairman's decision, ACK preconditioned on no irritation act on FACOK whatsoever
and written promise of artists was required. ACK showed how it is not free from cultural
authorities such as FACOK. Third is the issue of cultural authority. When the ACK gave
permission to Oasis for space use FACOK's Yi Sung-lim president and 10 of its staff members
visited the ACK for file complain. They complained about permission given to 'offenders' and
gave utter empty threat of stopping Oasis from using the space with their aggregate power. And
then, they submitted 'application for space use' so they can also use the space. Dark side of
these actions, the art administration of Korea contains stained history of lobbying activities and
trickery, and proves the 'yakuza' like authority exercise of cultural organizations is retained. This
also emphasizes on ACK's need of independence from cultural authorities. Prominent example
is ever since 1995 ACK provided their affiliated building in Dongsung-dong to the FACOK for
free of charge but ACK itself rented office for \30,000,000 (about $30.000) for their lack of office
space.
720 Hours of Dongsung-dong Project
Oasis Dongsung-dong Project Reopened on October 10th had a great 720 hours till November
9th. Room of Dongsung-dong Project was non-stop exhibition hall, place for seminars, place for
performances and place to sleep. While staying here we heard the news of account section
chief of FACOK was arrested and the core executive officers of FACOK were under
investigations. Anti Samsung cultural foundation, Gu Bon-ju measure committee was with us,
and also discussed the incident of director Kim Yong-dae of Busan Museum of Modern Art
relate to the artist An Chang-hong. Additionally on the glass wall of the Project room, a banner
4
written 'Busan Museum of Modern Art on exhibition strike!!' was put on.
‘Exhibition of Creation' started with 9 artists, over 30 visual
artists end up participating from October 3rd to November 9th. Exhibition of Samsuni PD,
Canadian artist William Canon Hunter's instant painting work, performance of Taiwan artist
Chang Shin cheunng and Ye Yie Lie, Okus Ayaka, Ryan Sigan, Ikeda Kouko, SP 38 and others
join the show and encouragements from Ju Je-hwan, Yoon Seok-nam, Park Young-sook were
there. In spots of Marronnier Park, performance of Street Peace Conduct Band, street concert
of youth hip-hop club NB crew, one-man show of Jang So-ik, performance of Park Hyun-hee,
dance performance of Chum-sae, and guitar concert of So-hui was followed. Three debates
were joined by artists of 720, Culture Regiment, Park Sin-ui, La Do-sam, Kim Gyu-won, Kim
Jun-gi, national assembly office of Gang Hye-sook, national assembly office of Yi Goeng-cheol,
national assembly office of Cheon Young-se, Yim Byung-dae administrative official of Ministry
of culture and Tourism, Jang Byung-tae of ACK, lawyer Jeong Jeong-hun, Yu Byung-jin, Yi Gyu-
seok and others. The topics of the political measures discussion were meaning and perspective
on art squat, talk to studio, and finding a solution of construction enterprise of Mok-dong Center
for Artist. There were seminars as well as presentations about Oasis 720 Project for the
students who visited in between, and discussion about space with a real estate project
preparation group. Also remodeling work of Mok-dong Center for Artist was planed with Chung-
ang University students.
Kim Hui-soon of KICAC (Korea Independent Commission
Against Corruption), Yi Eung-chan came by for investigation on Center for Artist issue, Choi
Gang-moon of publishing company Ol-byeo and it's staffs, homeless community House of
Together, members of ACK Kim Jeong-hyeon, Park Sin-ui, Park Jong-gwan, Jeon Hyo-gwan,
encouragement visit of Dahak-ro theatrical troupe 'Alley', and encouragement words from
Korean theater union president Jeong Jae-jin. Press involved in this project were Sisa Press,
Media Khan, KBS Sisa Tonight, Chung-Ang University Press, Internet Korea Focus, Joongang
Daily, Traffic Broadcast 'Oh Dong-jin's Culture Response‘, CBS Radio 'Kim Jong-hwi's Culture
Response’, architecture magazine Monthly Plus, Yonhap News, Hankyore, Hankyore 21, Cine
21, Chungbuk Art Organization, News Cham, Internet Kuki News, Culture News, Monthly Join
Public, SBS News, and Korea Herald Media. Also many people gave out donations and bought
us food and drinks to last 720 hours. Not only the artists who were involved in 720 hours of
event, but all the people who visited love the space, shared each others experiences and
memories. We all made one live installation work during the 720 hours. To keep the space
alive, with the opinions of people who visited, we applied application of space use to Arts
Council Korea at the end of the event. But the council said it's only possible with monthly
payment of 1,000,000 won ($1000) therefore we decided to clean up the space. Council also
said the building will be teardown and will be reconstructed for support center for visitors.
Things we get from Oasis Dongsung-dong Project 720
Significance of art squat Oasis Dongsung-dong 720 is that it was first time in Korean society to
change specific unused public building to the art space. Meanwhile nobody questioned or
thought about utilizing unused buildings owned by government or corporations. But now it got to
the point where it is possible to criticise neglecting public buildings without reason and space
around authority power. This gave important case of cultural use of unused public buildings in
city later on. Also experience of Dongsung-dong Project gave new standpoint of looking into city
space. It gave people cognition that there are many empty spaces exist in the city and it is
possible to use them even if person is not an artist. It doesn't stop at securing physical space,
but made us thought about the various way of using empty space and attitude toward the
space. Dongsung-dong 720 squat fits with the characteristic of art squat where artists in various
field reside and create works which aim overall art site activating interchange between genres.
5
Third, Oasis Project prefers location deep in city. This begins
from the attitude of looking into space of Oasis Project, starting from criticising complain of
ownership of space to rights of using empty space in city. Therefore we try to get main sphere
of activity for art in the city and same goes to getting studio space. On the other hand by
infiltrating into the city to make studio space creates intimate relationship with the area and the
general public which helps the creators to get the sense of the public, and this raises self-
confidence of creation which will influence the activation of art communication.
Forth goes to the point where it gave the case of solving budget
problems of development plan and space development of cultural art space. It is important to
focus on regional character rather than scale or formality when it comes to development of
cultural art space. The core of the cultural art space plan is looking into the space in flux not
definitely. Most artists prefer open and floating space than exact divided and ceased space like
officetel. Because they are half architects, they will create never ending floating space. When
that happens quite a bit of contents of building plan by natural architect will be fall into the
hands of artists, and that directly connects to the less building which cost of equipments and
maintenance is lessened. Architects participating in space development plan will develop a
strategy of building most used space with least work with spending least of money by simply
reflecting artists. These are what Oasis Project 720 provides to us.
There are many studies about spaces in human life, art space
should be tested and verified first. When everyone's priority goal is living creative life, the model
for creative life is art, and it's possible with the experience of "environment fulfilled with artistic
life." Therefore art space like Dongsung-dong squat should be tried and built more often. The
essence of art concept is in change, the subject of the change is artist. A duty of artist is to
change the concept, and like other artistic tasks "space about life and art" is no exception. But
art concept about life and art space is not prescript, art concept changes through never-ending
test.
Art context of Oasis Project can be found from many
conversations. These many conversations are 'memories.' These memories are filled with
stories of processes and episodes about working on specific location, Mok-dong Center for
Artist. Oasis Dongsung-dong Project 720 amplified Center for Artist by being part of its
category, on the other hand by being model for artistic recycle, it has the 'memory' as
independent project. By choosing specific building, it also carries site specific element. The
Dongsung-dong seaweed roll house was chosen as a method for delivering the meaning of
creativity, through the art activity of Oasis, the building became art and compensates for
perception. Also Mok-dong Project of Oasis carries continuous concept rather than one-time
means of creativity. Studio work of Oasis Project includes continuities of art activity, art activity
location, and change in art concept. This Oasis Project is working on international squat activity,
art creative environment, government's cultural policy and esthetical test of art space.
沒有留言:
張貼留言