Chang Kyun Kim, Gate
This series is a documentation about freight entrances of major art institutions in New York City where artists struggle to go through with their artworks. Most art institutions such as galleries and museums are open to public and no one is discriminated when appreciating artworks in the spaces. As an art student, visiting those institutions was one of the routines in my school life and I truly appreciated being inspired by the great art scenes. However, I also started to realize how hard it was to make my work seen and distinguished in the art world. Approaching reality more and more closely during graduation year, it was painful to realize how many great artists were stopping creating art. In this series, I wanted to describe the contrary and the naive feeling that I had while in school , when I saw them as a kind of unbreakable gates to the art world.
Andrés Lejona, MUDAM Installations
The work consists in a personal project assigned by the Museum of Modern Art of Luxembourg (MUDAM) in 2010 to promote the local food products served in the museum restaurant. I chose regional products and I disposed them in different places showing the design of the building realized by the architect Ming Pei.
Fernando Maquieira, Night guide Museum
Museums have become the Cathedrals of the 20th Century.
“Night guide Museum” offers a new interpretation of works of art observed in different light settings or in the absence of light. I have also set out to represent the accumulation of the different and numerous emotions with which the empty spaces of museums are charged after a long day of visits from the public, with the aim of capturing an invisible but strong and profound emotion. My intention has been to question the existing but artificial link between the work and the space (given that none of the works were created to be there), the museum’s capacity for communication and that same capacity within the works of art themselves. Photographing the silence, solitude and atmosphere that envelops these museum spaces when they are closed to the public is a unique and moving experience. It represents an assault on the works’ privacy and anonymity, now devoid of their glow of prestige, when the name of the artist is irrelevant and no longer transcends or dilutes the promise of the work itself.
