DAVID O'KANE - Lapse of Time
Rxh7, 2013, HD animated video, 3 minutes 26 seconds
DAVID O'KANE - Lapse of Time
2017. 6 29 - 7. 29
A
Opening Reception : 6. 29 (THU), 6 - 8 PM
옵저베이션 덱은 데이비드 오케인의 <Lapse of time>전을 6월 29일부터 7월 29일까지 압구정동 전시공간 (지하 1층)에서 개최한다.
사실적인 기법으로 그려낸 서사적이고 몽환적인 회화로 대표되는 데이비드 오케인은 이번 전시에서 '시간의 흐름'이라는 주제 아래 초창기 비디오 작품 두편 [Der Spieler (5분 55초, HD 애니메이션), Rxh7 (3분 26초, HD 애니메이션)]을 선보이게 된다.
사실적인 기법으로 그려낸 서사적이고 몽환적인 회화로 대표되는 데이비드 오케인은 이번 전시에서 '시간의 흐름'이라는 주제 아래 초창기 비디오 작품 두편 [Der Spieler (5분 55초, HD 애니메이션), Rxh7 (3분 26초, HD 애니메이션)]을 선보이게 된다.
두 작품 모두 데이비드가 네오 라우흐 (Neo Rauch, German, b. 1960)로 부터 사사받던 시점이었던 2012년경에 독일에서 제작되었다. 요한 하위징아 (1872 - 1945, Dutch)가 호모루덴스 (Homo Ludens, 1938)에서 주창하였던 '문화와 문명의 발전에서의 유희 (Play)의 중요성'에 사상적 기반을 둔 일련의 비디오 작품들은, 다양한 장르를 통해 전방위적으로 자신의 미술 세계를 펼쳐온 데이비드의 초창기 작품 세계를 엿볼 수 있는 좋은 기회를 선사할 것이다.
‘Lapse of Time’ at Gallery Baton’s ‘Observation Deck’
The title of the exhibition 'Lapse of Time', refers to the time-lapse technique used
throughout these animated films, but also plays poetically with the words to indicate that
the artworks exist in an imaginary or fantastical space out of real time. Time is
manipulated and distended; moulded into a psychologically charged form.
O’Kane works in a variety of media with a particular focus on animation and painting. Frequently his artworks question and explore diverse philosophical, psychological and linguistic concepts through a subjective spectrum of imagery. Images are deployed in a manner similar to scientific thought experiments, probing for a reaction from the artist and the viewer.
‘Der Spieler’ was produced in 2012 at the Villa Schomburgk in Leipzig. Together with paintings made during and prior to 2012 this animation represents the culmination of this Meisterschüler studies in Leipzig under professor Rauch. ‘Rxh7’ was shot the following year at the Stiftung Starke residency in Berlin. These two short animated films are primarily informed by various engagements with concepts of play as discussed by Dutch cultural historian Johan Huizinga (1872 – 1945) in his seminal work, ‘Homo Ludens – A Study of the Play-Element of Culture’ (1938).
Huizinga defines play in the following terms: ‘play is a voluntary activity or occupation executed within certain fixed limits of time and place, according to rules freely accepted but absolutely binding, having its aim in itself and accompanied by a feeling of tension, joy and the consciousness that it is “different” from “ordinary life”’. Huizinga even goes so far as to say that ‘play may rise to heights of beauty and sublimity that leave seriousness far beneath.’ Ludwig Wittgenstein refers to language as a game and Huizinga also identifies the play element in construction of speech and language, where ‘the spirit is continually “sparking” between matter and mind, as it were, playing with this wondrous nominative faculty. Behind every abstract expression there lies the boldest of metaphors, and every metaphor is a play on words.’
David O’Kane studied from 2007 until 2012 in Leipzig under professor Neo Rauch at the Hochschule für Grafik Buchkunst (Academy of Visual Arts, Leipzig). In 2009 he received a Diplom (with distinction) and a Meisterschüler Degree in 2012. He also holds a 1st Class Joint-Honours Degree in Fine Art from NCAD (2006). In 2008 he received an ‘e v+ a open’ award from Hou Hanru. He was awarded the Derek Hill Foundation Scholarship and Residency at the British school at Rome in 2009. Tom Morton awarded him joint first prize at the Claremorris Open exhibition. In 2014 he won ‘The Golden Fleece Award in Dublin, Ireland. He is currently artist in residence at the Fire Station Artists’ Studios in Dublin, Ireland.
‘Rxh7' , 2013
HD animated video
Duration: 3 minutes 26 seconds
The now infamous first game in the 1996 chess match between Garry Kasparov and IBM’s computer, Deep Blue, is replayed in the animated short film ‘Rxh7’. Kasparov resigned the game, although he won the overall match. This game was the first to be won by a chess-playing computer against a reigning world champion under normal chess tournament conditions and normal time controls. The title of the artwork represents the last move made by Kasparov before he resigned. It combines the ancient game of chess and the games we play with technology to probe at the endgame of both to reveal limits of what a game can be. Humanity is conspicuously absent from the the animated sequence. The project was filmed at the Stiftung Starke while O’kane was on a residency at the Löwenpalais in Grunewald, Berlin. The animation was shot with the ‘Der Spieler – Homo Ludens’ exhibition as a backdrop and the film was first shown along with the chessboard as a central installation in the exhibition.
Der Spieler, 2012
HD animated video
Duration: 5 minutes 55 seconds
‘Der Spieler’ is an animated film, which utilises the Schomburgk Villa in Leipzig as a metaphor for the human mind, loosely referring to Freudian and Jungian psychoanalysis. The Villa has been divided into three distinct areas/sequences, which occupy different levels/floors of the building. These sequences play with notions of time, memory and consciousness to visualise thought- and creative-processes. The film is composed of approximately 6000 images.
The films backdrop, the Schomburgk Villa, is cast as a romantic ruin, characterised by the traces of its history, much like the individual’s mind may be by their own experiences. The film opens with the letter ‘U’ and gradually pulls back to reveal one of the biblical quotations found on the wall of the building. The quotation from Luke, chapter 8, verse 50 in the King James Version of the Bible is ‘Be not afraid, just believe’. However, in this context the meaning is transformed: it becomes associated with the mental process necessary for viewing artwork, namely what Samuel Taylor Coleridge described as the ‘willing suspension of disbelief’. In light of this, the ‘U’ of the opening shot may then be thought of as a reference to the viewer themselves and the burden of imagination thrust upon them.
The villa becomes a labyrinth of thoughts encompassing paintings and drawings of imagined sequences of action that are looped and charged an unknown but palpable significance within the space. There are myriad references to disparate ideas and figures throughout the short animation, such as John Locke’s notion of the ‘Tabula Rasa’ or blank slate, samplings from Flann O’Brien’s novel ‘At Swim Two Birds’ in the German translation; ‘Der Spieler’ (The Gambler) by Fyodor Dostoyevsky; Plato’s allegory of the cave; Jungian conceptions of the collective unconscious and psychological archetypes and the abstract spiral markings on the entrance stone to the 5,200 year old prehistoric monument of Newgrange in Ireland.
O’Kane works in a variety of media with a particular focus on animation and painting. Frequently his artworks question and explore diverse philosophical, psychological and linguistic concepts through a subjective spectrum of imagery. Images are deployed in a manner similar to scientific thought experiments, probing for a reaction from the artist and the viewer.
‘Der Spieler’ was produced in 2012 at the Villa Schomburgk in Leipzig. Together with paintings made during and prior to 2012 this animation represents the culmination of this Meisterschüler studies in Leipzig under professor Rauch. ‘Rxh7’ was shot the following year at the Stiftung Starke residency in Berlin. These two short animated films are primarily informed by various engagements with concepts of play as discussed by Dutch cultural historian Johan Huizinga (1872 – 1945) in his seminal work, ‘Homo Ludens – A Study of the Play-Element of Culture’ (1938).
Huizinga defines play in the following terms: ‘play is a voluntary activity or occupation executed within certain fixed limits of time and place, according to rules freely accepted but absolutely binding, having its aim in itself and accompanied by a feeling of tension, joy and the consciousness that it is “different” from “ordinary life”’. Huizinga even goes so far as to say that ‘play may rise to heights of beauty and sublimity that leave seriousness far beneath.’ Ludwig Wittgenstein refers to language as a game and Huizinga also identifies the play element in construction of speech and language, where ‘the spirit is continually “sparking” between matter and mind, as it were, playing with this wondrous nominative faculty. Behind every abstract expression there lies the boldest of metaphors, and every metaphor is a play on words.’
David O’Kane studied from 2007 until 2012 in Leipzig under professor Neo Rauch at the Hochschule für Grafik Buchkunst (Academy of Visual Arts, Leipzig). In 2009 he received a Diplom (with distinction) and a Meisterschüler Degree in 2012. He also holds a 1st Class Joint-Honours Degree in Fine Art from NCAD (2006). In 2008 he received an ‘e v+ a open’ award from Hou Hanru. He was awarded the Derek Hill Foundation Scholarship and Residency at the British school at Rome in 2009. Tom Morton awarded him joint first prize at the Claremorris Open exhibition. In 2014 he won ‘The Golden Fleece Award in Dublin, Ireland. He is currently artist in residence at the Fire Station Artists’ Studios in Dublin, Ireland.
‘Rxh7' , 2013
HD animated video
Duration: 3 minutes 26 seconds
The now infamous first game in the 1996 chess match between Garry Kasparov and IBM’s computer, Deep Blue, is replayed in the animated short film ‘Rxh7’. Kasparov resigned the game, although he won the overall match. This game was the first to be won by a chess-playing computer against a reigning world champion under normal chess tournament conditions and normal time controls. The title of the artwork represents the last move made by Kasparov before he resigned. It combines the ancient game of chess and the games we play with technology to probe at the endgame of both to reveal limits of what a game can be. Humanity is conspicuously absent from the the animated sequence. The project was filmed at the Stiftung Starke while O’kane was on a residency at the Löwenpalais in Grunewald, Berlin. The animation was shot with the ‘Der Spieler – Homo Ludens’ exhibition as a backdrop and the film was first shown along with the chessboard as a central installation in the exhibition.
Der Spieler, 2012
HD animated video
Duration: 5 minutes 55 seconds
‘Der Spieler’ is an animated film, which utilises the Schomburgk Villa in Leipzig as a metaphor for the human mind, loosely referring to Freudian and Jungian psychoanalysis. The Villa has been divided into three distinct areas/sequences, which occupy different levels/floors of the building. These sequences play with notions of time, memory and consciousness to visualise thought- and creative-processes. The film is composed of approximately 6000 images.
The films backdrop, the Schomburgk Villa, is cast as a romantic ruin, characterised by the traces of its history, much like the individual’s mind may be by their own experiences. The film opens with the letter ‘U’ and gradually pulls back to reveal one of the biblical quotations found on the wall of the building. The quotation from Luke, chapter 8, verse 50 in the King James Version of the Bible is ‘Be not afraid, just believe’. However, in this context the meaning is transformed: it becomes associated with the mental process necessary for viewing artwork, namely what Samuel Taylor Coleridge described as the ‘willing suspension of disbelief’. In light of this, the ‘U’ of the opening shot may then be thought of as a reference to the viewer themselves and the burden of imagination thrust upon them.
The villa becomes a labyrinth of thoughts encompassing paintings and drawings of imagined sequences of action that are looped and charged an unknown but palpable significance within the space. There are myriad references to disparate ideas and figures throughout the short animation, such as John Locke’s notion of the ‘Tabula Rasa’ or blank slate, samplings from Flann O’Brien’s novel ‘At Swim Two Birds’ in the German translation; ‘Der Spieler’ (The Gambler) by Fyodor Dostoyevsky; Plato’s allegory of the cave; Jungian conceptions of the collective unconscious and psychological archetypes and the abstract spiral markings on the entrance stone to the 5,200 year old prehistoric monument of Newgrange in Ireland.
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