我心灵的银河系/The Milky Way of My Mind

发表时间:2019-11-08 00:00

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刘飞虎/RYU Biho


Born in Seoul, South Korea in 1970, working and living in Seoul, South Korea and Berlin, Germany, new media artist

放映时间/Screening Time

2019.11.8 - 2019.11.30

每周三、五、六   15:00 - 17:00pm

开幕式:2019.11.8 15:00pm

Milky Way on the Earth

一 关于《The Milky Way of My Mind》(我心灵的银河系) 的感想



The real mission of an artist is todiscover the most essential truth in life through the mediocre daily life ofhuman beings and to draw the distance between human beings and truth closer andcloser in the cocoon-peeling-like process of truth-seeking.


Yes, we live in an era that has been thefurthest from the truth since the beginning of human civilization. While we areconstantly challenging the rules of the universe, we are also constantly movingaway from the rules of it. We think that we are the sole ruler of the earth. Sothat we have lost the basic fear of truth, and we foolishly believe that, man,with his little ingenuity, is in control of all the secrets of nature. Theartist Ryu Biho's work is a warning of such falsehood and absurd ignorance ofhuman beings.

韩国艺术家刘飞虎先生的此次作品展览被命名为《The Milky Way of My Mind》(我心灵的银河系),但作品中所呈现的一切却恍如大地上的星空,以其对当代现实的敏锐而独特的捕促,在大地之上构成了他作品的一个银河系般的世界。

Titled "The Milky Way of MyMind," everything presented in the exhibition of Mr. Ryu the Korean artist’s workis like the stars above the earth. Forms the Milky Way of his works with theartist's keen perspective and unique grasp of contemporary reality.


In this romantic and poetic image, itcarries a cruel and forbearing realist’s trauma. This is exactly the value andsignificance of Ryu Biho, as a serious contemporary artist. Under his long anduninterrupted thinking, he always takes the intervention of reality as thedirection of his creation, thus completed a huge holographic embrace betweenthe concrete earth and the abstract Milky Way, from which we can see morepossibilities after the completion of life.   And all this is the root basis of what makesan artist immerse himself in it and can not extricate himself from it.


The present social life is making acomplete departure from the old world of the past, faster than any moment inthe history of human development. Everything that we have experienced atpresent, under the form that is similar to warm water boiling frogs, presentedin Du Fu's poems, as "the spring breeze sneaks into the night, moistensall things quietly and without their awareness," makes all the places andenvironments of daily life that we were getting used to in the past mutate intostrange world and makes the pace of life we've all been familiar with becomingseemingly useless, which leads to a fact that "change" becoming theonly "unchanged" thing in this era. The imagination of science and technologyhas surpassed the imagination of art at an unprecedented rate, graduallycontrolled the dominant power of the most important fundamental issues of thisera, resulted in the loss of the possibility of being pioneer for many artists,so they are seen the dullness and numbness in their faces at this ever-changingera. The inability to express themselves in face of the most cutting-edgescientific and technological revolution, made themselves being marginalized inthe presence of the forefront of the time. Some artists are still clinging totraditional taste and decaying aesthetics. In this material atmosphere in whichthe spirit is completely technicalized, only death seems to be their onlyinspiration worthy of trust and expectation.


This is the fatal predicament faced by mostartists in this era, and it is also a great tragedy under the mercilessdestruction of spiritual civilization. How to reshape or rebuild a new world offreedom from the harsh reality and complete a seemingly impossibleself-redemption before the spiritual nature of human beings being completelydestroyed, is the ultimate significance that worth questioning for all artistswhose conscience has not yet been destroyed.


Standing in such a realistic background, wecan see what the artists represented by Mr. Ryu Biho is struggling to pursue.In the dark moment when totalitarianism and technology are colluded with eachother, the artistic feeling of the present obtained from such sober insight isitself a severe and stern evaluation of the artist's own qualification.


In the pursuit of constantly changing corevalues, we have seen the deterioration of public morality and declining valuesof human society. Due to the high expansion of the virtual space, the diaphragmand the alienation between people in the real world made the relationship betweenthe human body and the soul like as remote as the earth and the heaven, whichis no longer within reach of each other but it depends on each other like lifeand death.


In this situation, at this moment, if sucha terrible picture can not remind us and warn us, we are doomed to be falleninto the abyss. Under such a dangerous situation of crisis, It is the callmoment of the most essential mission of the art on solving issues that how toclarify the endless demanding desire and the chaotic value expression and howto directly face the acute and realistic social contradictions and problems.


Based on the present special realisticpicture of East Asia, the artist Ryu Biho places himself in the panoramicperspective of great history, just like driving a flat boat in the long riverof time, flowing in the memory of the present era of pain, touching theentanglement between the alienation tradition and the modern in the fusion ofmultiple values, combing the regression wounds of rationality under thisunprecedented changeable era that have not occurred in the past millenniums, ina most perceptual way. Through all the social chaos and ills during timechanging and people migrating process, his work makes us wake up from the endof dusk and reconsider this dark moment that is filled with both love and hate.


With a pluralisticand overlapping value structure, Ryu Biho has formed a mirror space ofobedience, resistance, struggle and compromise, thus entering the neuronrecovered by the viewer, arousing the public memory of the past life, which haslong been marginalized and even almost lost, and triggered all the individualswho have been affected and deeply hurt by the unprecedented great socialsuffering to re-recognize themselves and return to human love and freedomrestoration.


Under the present condition ofunprecedented material abundance, technology progress and improvement, lifestyle diversity and social networks expansion, human beings inner spirit worldtoday have become unprecedented lonely, even more fearful and empty than everbefore. Art, like the hand of the sky, is supposed to use its warmth and powerto comfort those people who are especially lonely, sad and miserable under theworld image of carnival.

Those Utopianpatients who are far from reality have a pure blue city deep in their heart,watching for the heart door that never opens. Just like the past "Koreanfuneral" and the current "urban landscape" overlapping eachother, a crippled man carrying a white-haired old man, leaving the desolatespace with sadness, as if the fragrance of flowers is permeating in the earthlyspace. Although the place they finally arrived was nothing but another ruinthey had lived in, and the end of their arrival was that the old man became theruin of another kind of life. In this soulless era, people are nothing morethan each other's abandons and abandoned ones.


In this way,"ruin" and "abandonment" constitute another proposition ofthe times, causing our contemplation and resonance. "Fragmentation"is the basic feature of daily life at present. Short videos and all kinds ofdaily consumer goods, everything in the theme of "ruined andabandoned" consumerism carnival, are deconstructing all the completevalues and methodology. Materialism is everywhere, like a crazy unicorn,devouring all the aesthetic treasures created in the classical times. Spirit isbought and acquired by material as a cheap and enslaved thing. Seeing intoreality is more difficult and precious than seeing into anything else.


These light and shadow images taken in manydifferent cities around the world, as well as looking in mirrors in differentplaces, are all attempts to reflect different feelings of people from the samelight and shadow in different parts of the world. Through differentforms of image, such as videos and devices, to showcase the people who wereforced to leave their original place and the inner joys and sorrows of thosehave to be drifting and wandering. When I saw the video recording the behaviorof everyone reflecting the sunshine in the mirror to the audience, my heart wasdeeply touched and shocked. The ordinary people who were displaced in thecourse of these historical changes were transformed into sound-light waves inthe display space. Through the broken sound and light, they are overlapped witheach other, give us the core question: which direction should the valueorientation of this era be going toward?


As a result, theway of expression of the artists needs to be calmer and more tenacious. Thetopic of "the life of the artist" looks more serious and urgent than"the death of the artist". When an artist transcends the imprisonmentof life and death, it means more possibility of his rebirth and reconciliation.And that’s the reason we need more artists such as Ryu Biho who createsartworks with great compassion, to express and reflect the sense ofpowerlessness of modern people in the face of frustration, anxiety, loneliness,and loss in their social interactions and interpersonal relations, and to givethe comfort and warmth in it to give to people .


Kkwaeng Geulang Kkwaeng

Kkwaeng Kkaeng in Beijing


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这部作品的标题是韩国传统乐器的敲锣打鼓声。视频记录了参与者用镜子反射太阳,将把光射向观众的行为。 该作品在展览开幕前一周提前抵达北京, 并邀请北京市民参与互动。

Inner View


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采访那些经历过社会灾难的家庭, 通过他们现在的样子和内心的故事, 提问“这个时代的价值到底在何处”这个问题。

The Wanderer's Song


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一个背着白发老人的瘸子男人, 从荒凉的空间里走出, 像空气一样在现世空间里流淌。表现出对因城市规划政策而被迫离开生活住所而流浪的人们。这部作品将首次在北京展览。