파라노이아 파라다이스 Paranoia Paradise / Strawberry fields whatever, 2024

종이에 먹, 병풍 Ink on paper, folding screen

 282 × 139 × 3cm, 가변크기

팔림프테스트는 무슨 뜻인가요?
파라노이아 파라다이스> 우리는 죽은 물건, 자동차, 애완동물, 돈 등을 소중히 여기는 사회에 살고 있습니다. 우리는 죽음 숭배에 살고 있으며, 이는 편집증/강박관념에

매우 비옥한 환경을 조성합니다. 파라노이아는 모든 것을 포괄하는 틀입니다. 

이 틀은 우리가 종종 우리에게만 보이는 악의적인 힘의 중심이라는 것을 알려줍니다. 이는 우리를 파괴하기 위해 우리가 존재하지 않기 때문입니다. 

이러한 두려움을 보상하는 한 가지 방법은 사회적 관계나 치유가 아닌 죽은 물건을 획득하는 것입니다.

Palimpsest what does it mean?

Paranoia Paradise> we live in a society which cherishes dead objects, cars, pets, money and so on. We live in a death cult, which produces a environment highly fertile to paranoia, which is an all encompassing framework, which tells us that we are the center of attention of malevolent forces, often only visible to us, as they don’t exist, out to get us, out to destroy us, one way of compensating for this fear is acquisition of goods, which again are dead objects, not social relations, or any kind of healing.

뒷면 전경

엑스 해부(X-Autopsy), 2024

collage on paper, frame, mixed-media 종이에 콜라주, 액자, 혼합 매체, 104×90×10cm

Why Organs, You are mindbody or let us say brainbody, you think with your knees, with your gut lining, we all are, though thought and body are not connected in a common sense, they coincide, you are always 2, when you say I, you actually regard yourself, so it is two, and there is three, like this here, the meta-thought, you think about yourself seeing you as a mindbody, and there is maybe even a fourth instance or, let us say a third, yet mysterious but highly likely to exist instance, which is the mechanism involving the mindbody to coincidence.

기관, 당신은 마음의 몸입니다. 또는 뇌의 몸이라고 합시다. 무릎으로 생각하고 내장의 안감으로 생각하지만, 생각과 몸은 공통된 의미로 연결되어 있지 않고 일치합니다. 당신은 항상 2이고, 내가 말할 때는 실제로 자신을 생각하기 때문에 2입니다. 

여기에는 이렇게 세 가지 메타 생각이 있습니다. 여기에는 당신을 마음의 몸으로 보는 자신을 생각하고, 어쩌면 네 번째 사례가 있을 수도 있고, 세 번째 사례라고 말할 수도 있지만 신비롭지만 존재할 가능성이 높은 사례가 있는데, 이는 마음의 몸을 우연에 연결하는 메커니즘입니다.

계속 웃어라 Keep Smiling, 2024

유리, 금속, 혼합매체, 109×30×30cm

Why Organs, You are mindbody or let us say brainbody, you think with your knees, with your gut lining, we all are, though thought and body are not connected in a common sense, they coincide, you are always 2, when you say I, you actually regard yourself, so it is two, and there is three, like this here, the meta-thought, you think about yourself seeing you as a mindbody, and there is maybe even a fourth instance or, let us say a third, yet mysterious but highly likely to exist instance, which is the mechanism involving the mindbody to coincidence.

기관, 당신은 마음의 몸입니다. 또는 뇌의 몸이라고 합시다. 무릎으로 생각하고 내장의 안감으로 생각하지만, 생각과 몸은 공통된 의미로 연결되어 있지 않고 일치합니다. 당신은 항상 2이고, 내가 말할 때는 실제로 자신을 생각하기 때문에 2입니다. 여기에는 이렇게 세 가지 메타 생각이 있습니다. 여기에는 당신을 마음의 몸으로 보는 자신을 생각하고, 어쩌면 네 번째 사례가 있을 수도 있고, 세 번째 사례라고 말할 수도 있지만 신비롭지만 존재할 가능성이 높은 사례가 있는데, 이는 마음의 몸을 우연에 연결하는 메커니즘입니다.

작가와의 대화 – 김나영 & 그레고리 마스 <킴킴 갤러리와 비정규 마케팅 전략>

장소 백남준아트센터 2층 세미나실

일시 2013. 9. 28. 토요일 오후 3시

작가와의 대화; 진행 이유진 큐레이터

백남준아트센터의 기획전 《러닝 머신》은 플럭서스 작가들이 주창하였던 ‘경험으로서의 예술’이 갖는 교육적 의미에 주목하고, 현대예술가들의 작품을 통해 다양한 배움 및 창조의 유형을 선보이고자 기획되었습니다. 백남준아트센터에서는 전시와 함께 기획전 《러닝 머신》의 대중적 이해와 참여를 넓히기 위해 다양한 연령층 및 일반인, 미술전공자를 대상으로 작가와의 대화 시간을 마련하였습니다.

<킴킴 갤러리와 비정규 마케팅 전략>은 이번 전시의 참여 작가인 김나영 & 그레고리 마스 듀오가 2008년 창립한 갤러리이자 미술작업인 ‘킴킴 갤러리’가 대안적인 미술 기관으로서 기거해온 전략에 대해 논의하는 자리가 될 것입니다. ‘킴킴 갤러리’는 따로 운영되는 갤러리 공간이 없으며, 기획에 따라 매회 다른 장소와 다른 전시 형식을 취하면서 기존의 전시 방법에 대한 의문을 제기하고 미술의 경제 구조에 질문을 던지는 일련의 전시들을 기획하였습니다.

작가와의 대화 시간은 9월 28일 토요일 오후 3시부터 백남준아트센터 2층 세미나실에서 열리며, 많은 관심과 참여 부탁드립니다.

 

작가소개

김나영과 그레고리 마스는 최근 《하와이에는 맥주가 없다》, 아트클럽 1563(2012), 《파워 마스터즈》 라운지 프로젝트, 아트선재센터(2011), 《일찍 일어나는 새가 벌레를 잡는다》, 공간 해밀톤(2010) 등 다수의 개인전을 선보였으며, 2012년에는 국립극단에서 과학 퍼포먼스인 《라면 앙상블》을 공동 연출하였다. 킴킴 갤러리 프로젝트로는 《로버트 에스터만 : 유일무이》, 코너아트스페이스(2013), 《Stuffs! 성낙영, 성낙희 2인전》, (2012), 《정서영 개인전: 사과 vs 바나나》, 현대문화센터(2011) 등을 기획하였다.

https://njp.ggcf.kr/events/297

Image Credit: Nam June Paik Art Center

Future Lies Ahead: Cloud Messenger

 

If you want to imagine the future that science and art will bring, check out the 3050 Collaboration Special Exhibition, FUTURE LIES AHEAD: CLOUD MESSENGER, currently taking place at the Daejeon Museum of Art (DMA).

In celebration of the 30th anniversary of the Daejeon Expo in 1993, the DMA, in collaboration with the Asia Cultural Center (ACC), is holding the special exhibition FUTURE LIES AHEAD: CLOUD MESSENGER. This exhibition is associated with FUTURE LIES AHEAD: Daejeon 1993/2023, which restores the show held during the Daejeon Expo 30 years ago. Both exhibitions embody the spirit of the expo, presenting the art of a sustainable future under the fusion values of ‘science and art.’

FUTURE LIES AHEAD: Daejeon 1993/2023 is an exhibition that revisits the past from the present, considering the societal situations, changes, conflicts, and reconciliations experienced over the past 30 years. On the other hand, FUTURE LIES AHEAD: CLOUD MESSENGER is an exhibition that contemplates the ‘tomorrow’ that humanity will face.

This exhibition showcases works created through the study of technological media. It includes the works of artist duo Nayoungim (b. 1966) & Gregory Maass (b. 1967), who who use everyday materials to wittily express the desires of our time; Lee In Kang (b. 1986), who uses technology to create devices that recreate the movement patterns of artists to reflect on physical activity; Jung Jong Wan (b. 1983), who paints paradises emitting a strange and uncomfortable atmosphere; Shailesh BR (b. 1986) from India, inducing philosophical reflection through the movement of machines; the project team ().(:) consisting of media artist Oliver Grimm (b. 1964, Germany) and illustrator Dahan (b. 1999, Russia); and Ingo Baumgartner (b. 1964), who depicts the geometric composition of urban buildings. The exhibition examines the relevance and offers alternatives to the issues we should pay attention to now through their works, anticipating future life through art. Furthermore, it sheds light on the rapidly changing art environment due to technological advancements.

2023. 11. 7 – 2024. 2. 25
Daejeon Museum of Art

https://k-artist.com/Artist_Posts.php?tab_num=tab5&co_id=1753094079

성층권에서 온 싫증난 좀비 + 헨리 무어풍 수석; 오리피싱 1, 2025

이 작품은 2006, 2011, 2025년의 3단계로 발전한 작품 <성층권에서 온 싫증난 좀비> 와 2025년 작인 <헨리 무어풍 수석; 오리피싱 1>가 결합된 작품이다. 전작은 20세기 초 러시아 절대주의자인 카지미르 말레비치의 아키텍톤에서 받은 영감과 2006년 노르웨이의 산맥, 굽이치는 해안선, 깊은 피오르드 등, 자연을 시간적 언어로 재해석한 작품은 2011년 아트선재라운지의 공간에 맞게 재구성, 재구조화된 이후 2025년에 다시 재해석

〈성층권에서 온 싫증난 좀비〉, 2006-2025, 나무, 플라스틱, 페인트, 140×140×55cm. 

Jaded Zombies from the Stratosphere, 2006-2025, wood, plastic, paint, 140×140×55cm.

〈헨리 무어풍 수석; 오리피싱 1〉, 2025, 금, 돌, 나무, 7×6×4cm.

Henry Moorish Dream Stone; Orificing 1, 2025, gold, stone, wood, 7×6×4cm.

Uncanny V-effekt, 2025

photos by Jang Chang

 

portable bakery

 

Nov. 2022

Jogja

paranoia paradise, 2022

stamp on paper, a4

 installation view <Paranoia Paradise>, 2024 @ Atelier Hermes, Seoul

Chiba City Arts Triennale 2025 catalogue draft

 

Feb. 2026

PSYCHOBUILDING®

ひらいたところ 塚本千葉第三ビル 旧美容室

塚本大千葉ビル

ひらく期間 2025年9月19日(金)~11月24日(月・祝)

ひらく準備 2025年6月/千葉で調査を行いながら作品制作

2025年7月~8月/作品制作、調整

2025年9月/パフォーマンス、展示準備

2025年9月7日/千葉港にてパフォーマンス実施

2025年9月19日/元美容室にて展覧会オープニング実施

市民参加のかたち 展示鑑賞

Venues; Tsukamoto Chiba No. 3 Building, Tsukamoto Dai-Chiba Building

Sogo Chiba Store, Basement Level – Sencity Garden

Schedule Sep. 19 (Fri) – Nov. 24 (Mon, substitute holiday), 2025

Preparation phase Jun. 2025 / Artwork production with on-site research in Chiba

Jul. – Aug. 2025 / Artwork production and adjustments

Sep. 2025 / Performance and exhibition preparation

Sep. 7, 2025 / Performance at Chiba Port

Sep. 19, 2025 / Exhibition opening at a former hair salon

Types of citizen involvement; Exhibition viewing

-------------------------------------------------------------------------------------------------

グレゴリー・マース & ナヨンキム

Gregory Maass & Nayoungim

グレゴリー・マース(1967年4月29日ドイツ、ハーゲ

ン生まれ)とナヨンキム(韓国名:キム・ナヨン、1966

年3月13日韓国、ソウル生まれ)のデュオ。彼らが注

目するのは、哲学、心理学、SF、イギリスのアート

&クラフト運動、音楽、コミック、アウトサイダー・

アート、サブカルチャー、そして食など、多岐に

わたる。また、韓国のキム・キム・ギャラリーの創

設者でありながら、一般的なアートギャラリーの

形式はとらず、非営利で運営。マルチに活動する

アーティストデュオである。

Gregory Maass (born April 29, 1967 in Hagen, Germany) and Nayoungim (Korean name: Kim Nayoung, born March 13, 1966 in Seoul, South Korea) are a duo of artists who work together as Gregory Maass & Nayoungim.

Gregory Maass & Nayoungim focus on a wide range of subjects for their creative work, including philosophy, psychology, science "ction, the British Arts & Crafts movement, music, comics, outsider art, subculture, and food. 

They are the founders of the Kim Kim Gallery in South Korea, which operates as a non-profit organization instead of following the conventional art gallery format. In addition to their own artistic practice, they engage in curation, exhibition design, and the

editing of rare art books, making them a multifaceted artist duo.

《PSYCHOBUILDING®》は、成功、動機、野心、意味といった概念

を問い直すプロジェクトである。グレゴリー・マース & ナヨンキムは、成

功とは個体や人格に寄生するように共生的な関係を築くものであり、経

済的視点から見れば労働力を搾取する装置だと指摘する。生産性や才

能、美しさといった個人の特性を取り込みながら機能する、偽装された

搾取の仕組みであると。

動機は他者の評価や物質的報酬に依存せず、自身の関心や達成感か

ら内側に湧き起こるものである一方、野心は現実に根拠のない仮定に基

づく幻想にすぎないことが多い。人の選択は状況に影響されながら「意

味」の感覚を形づくるが、選択と意味の関係は自己回帰的で終わりのな

いループを描く。香を焚くこと、コーヒーを飲むこと、髪を切ること。こう

した日常的な行為にも意味は宿り得る。

展示場所のひとつとして選ばれたのは、JR千葉駅近くの1974(昭和49)

年竣工の複合ビル地下1階にある元美容室である。竣工当時の空気を閉

じ込めたような空間を使い、空間全体をアッサンブラージュし、鑑賞の意

味を考えさせるものとなっていた。

(いわさわ たかし/プロジェクトディレクター)

さまざま存在の状態

――グレゴリー・マース & ナヨンキム

おもしろい事実(Fun Fact):人は、自分がひとりの人間だと理解しな

ければならない。しかし実際には、「自己」というものは見かけにすぎな

い。正確に言えば、私たちは自己を持っておらず、事実、このいわゆる「自

己」は神話であり、空虚な性質をもつ無意味なものである。自己とは真空

(空洞)、空(くう)、あるいは㵼ūnyatā(シューニャター、空性)から分離したも

のを意味し、それは見かけほど良い状態を示すわけではない。

自己、個人、パーソナリティ―これら3つの概念は、何もないところ

からつくり出されたものである。どの研究や調査によっても実証されてい

ない。

しかし、どうしてあなたは「あなた」を感じることができるのか?

そこには「適応的な仕組み」が存在するようであり、それがセルフ・ステー

ト(self-state/自己状態)と呼ばれるもので、分析家フィリップ・M・ブロン

バーグによって提唱・広められた概念である。このセルフ・ステートは心

理学における新しい説明モデルである。すべての新生児はセルフ・ステー

トをつくり出す。

セルフ・ステートは、光が散乱するプリズムの面のようなものだ。私たち

(=私たちのアイデンティティ)は、セルフ・ステートの集合体である。セルフ・

ステートは内部対象である。セルフ・ステート、関係性、自己、そしてパー

ソナリティは時間の経過とともに同じままではいない。あなたの特性領

域のほとんどは不安定であり、長い人生を通して残るものはほとんどない

(たとえば、私のいつもの好色さや怠惰のように)。

それらは関係性を中心に構築され、文脈的である。セルフ・ステート

は表象であり、つまり「幻の幻」である。関係があ

なたを定義する。他者があなたを定義する。では、

なぜあなたは自分が同じだと思うのか? なぜ一

貫していると感じるのか? なぜ連続していると

感じるのか? 朝起きて「私は今日同じ人間では

ない。今日は別の誰かになる/なっている」とはな

らない。たとえばビル・ゲイツとか、ジョン・ウォー

ターズ(ごめん、どちらももう使用中)とか。

健康な人は、どのセルフ・ステートが機能する

かをどうやって決めているのか? 私たちは物

語的な文脈を伴った自己陳述(self-statements)

を必要とする。だから、これらすべてのセルフ・ス

テートは、作家サム・ヴァクニンを自由に引用す

ると「セルフ・ステート、エゴ機能、そして探索子

(probes)、刺激、環境から情報を抽出し、それら

を互いの内部で枠づけることを含む、擬似的なア

イデンティティを形成しうる」のである。

PSYCHOBUILDING® is a project that reexamines concepts such as success,

motivation, ambition, and meaning. The artist argues that success forms a

symbiotic relationship by attaching itself to individuals and personalities,

which, from an economic perspective, functions as a mechanism for extracting

labor. It operates as a disguised system of exploitation, incorporating personal

attributes such as productivity, talent, and beauty in order to function.

Motivation, by contrast, does not rely on external evaluation or material

reward; it arises internally from one’s own interests and sense of fulfillment.

Ambition, however, is often nothing more than a fantasy grounded in

assumptions with no basis in reality. While human choices are shaped by

circumstances and give form to a sense of “meaning,” the relationship between

choice and meaning is self-referential, tracing an endless loop.

Burning incense, drinking coffee, cutting one’s hair—meaning can reside even in such everyday acts. One of the exhibition venues selected for this project was a former hair salon located in the basement of a mixed-use building built in 1974 near JR Chiba Station. By utilizing a space that seems to have preserved the atmosphere of the day it was built, the artist assembled the entire environment as an assemblage, prompting viewers to reflect on the meaning of viewing itself.

(Takashi Iwasawa / Project Director)

Different States of Being

―Gregory Maass & Nayoungim

Fun Fact: One has to understand that one is not one person. There is only the appearance of a self. To be quite precise, we don’t have a self and, in fact,

the so-called ‘self’ is a myth, an unmeaning of vacuous character. Self means

divided from vacuum (hollow), emptiness, or also known as Śūnyat&, which may

describe a state not as great as it "rst seems.

Self, individual, and personality: These are three concepts that are conjured out of thin air. They are not validated by any research or study.

But how can you feel you?

There seems to be an adaptive scheme, which is called a self-state, a concept

invented and popularized by Philip Bromberg. This “self-state” is a new explanation model in psychology. Every newborn creates self-states.

Self-states are facets of a prism through which light scatters. We (our identities) are collections of self-states. Self-states are internal objects. Self-states, relationships, self and thus personality do not stay the same over time.

Most of your trait-domains are unstable, and very few of them, if any, survive life

on. (Like for example my wonted lewd- and laziness.) They are constructed around relationships, they are contextual. Self-states are representations, that is they are illusions of an illusion. The relationship de"nes you. Other people de"ne you. So why do you think that you

are the same? Why do you feel coherent? How come you feel continuous? You

don't get up in the morning and be like, I am not the same person today. I will be/

am somebody else today. Let's say Bill Gates, or how about John Waters (sorry

both are already taken).

How do healthy people decide which self-state will function? We need

self-statements with narrative context. So, these self-states altogether could

form a pseudo-identity, freely quoting Sam Vaknin, “which includes the self-states, ego-functions, and probes, stimulation, extracting information from the environment and framing it inside one another.”

work in progress_Sharon is Karen

 

Seojong

Aug. 2025