Dazed & Confused Korea magazine Interview

이상한 가역 반응

Apr. 2012

 Questions: You have been working separately or together in both ways.
From 2004, collaboration is more common.
What is the synergy of collaboration between Nayoungim and Maass?
 Traveling Korea and foreign countries, primary Residence is in Germany.
Is it affecting to you where you live or stay to work? I’ve heard you met in France at first.
Let me hear some romantic story.
As artists, there may have been some chemical feeling each other.
 You both are received a variety of art education across multiple areas such as sculpture, drawing, etc. for a long period of time in many different countries.
I guess those are kind of classical education, but the work is paradoxically very modern and amorphous.
What was the influence of education for you?
 We can see the reality is going on in your work. In this reason it seems that every day life and work lives very close. Is it true?
 I read on the press release, ‘there is no beer in Hawaii’ is an independent piece of work.
What does it mean? Does it exist piece or some phrase?
 Usually many artists tend to insist on one kind of styles or cling only to the specific object.
But here are no boundaries of your work.
Do you have a specific reason to do a lot different work?
 Where is the beginning of thinking when you create each art piece?
Is it inspiration or imagination or..?
 You use or deconstruct some props in daily life or some famous characters.
Is it alternative approach or destruction of the original meaning they had?
 You also have been working as a curator of Kim Kim gallery.
Why are you continuing curating?
 I also heard you did stage design as a director in Science Show in Progress.
So how is it possible to combine so many different things all together?
 You are prolific in many ways, and exhibition is quite frequent too.
Is there any difficulty when you create a work plan?
 There is no boundaries on so-called genre of conceptual art, the artist does not tell to audiences what it means or how it should be accepted.
Is there any feeling or hope to receive from audiences?
Unless you want at all,
What are you expecting the audience when they meet your work?

Mar. 2012
Artclub 1563, Seoul

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