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White Cube
  This work focuses on the motif of space in a museum or art gallery, the so-called “white cube”. I collected photographs of different exhibition views in many museums and galleries, erased artworks from these photographs, and then reproduced models of the empty exhibition spaces. The artworks were erased from the photographs to focus on the space of the white cube itself. A space following the white cube ideology is a special place for the observation of a work of art, and could be considered to be a fictional place, separated from ordinary everyday space. Everything in the space of the white cube was removed apart from its size and proportion, in order to guarantee the observational purity of an artwork. This shows the inorganic nature and neutrality of the space, in which all the meanings are bleached. In other words, it is “the space where nothing exists”.
  When a painting depicting a white cube is exhibited inside the space of a white cube, it creates an illusion of continuation of the space beyond the wall of the exhibition. It is a state of loop-like self-repetition of the white cube, and this endless development structure of a white cube can also be named the labyrinth of the white cube. The white cube, a space with no entrance and no exit, endlessly multiplies beyond the horizon. What is presented here is the close connection between the exhibition space (wall) and a painting, linking to the theme of the relationship between architecture and painting. As well as the approach of using the photographs of existing white cube exhibition spaces, I also conceived the concept of making a “labyrinth of the white cube” into “architecture”. Mutually supplementing their meanings, both White Cube and Labyrinth of the White Cube have their origins in the field of architecture. While this may be the case, it is my thought that these terms have now grown and spread to other areas of thinking.
  An ironical self-reference of the repetition of the white cube inside a white cube, was born from the impossibility of an attempt to create an image in the present age. There are countless numbers of paintings created in this world, and in the contemporary information environment where even more astronomical numbers of images are being consumed, we are haunted by a feeling of vain efforts while creating another single image. This could be compared to adding another single grain of sand to a desert. In other words, at the point of asking the serious and urgent question “what is an image worth to paint”, there is reality answering, “nothing has to be painted”. However, if we do not renounce the will of expression, even if there is nothing to paint, we will probably have to paint the situation itself when there is nothing to paint.
Perhaps the very thing I have to do while roaming the labyrinth of the white cube is to look constantly for an image that I have to paint, as well as the words I have to speak. Lingering in the void where no picture is hung, I am gazing at a white wall without any work. Obviously nothing exists, but what we discover from there is not only despair. Yes – I am sure that at the same time, there is also hope to be discovered.
(2013. Aug.)

English translation by Elena Tutatchikova
English proofreading by David Clark, Shaun O’Brien and Yuma Tomiyasu

 

 

 

Taking the photograph of the model for White Cube -07

 

 

 

Plan for White Cube – 08

2012-2013
21.0㎝ × 29.7㎝
Inkjet print, pen on Paper

 

 

 

Plan for White Cube – 07

2012-2013
21.0㎝ × 29.7㎝
Inkjet print, pen on Paper

 

 

 

Plan for White Cube – 03

2012-2013
21.0㎝ × 29.7㎝
Inkjet print, pen on Paper

 

 

 

Plan for White Cube – 03

2012-2013
21.0㎝ × 29.7㎝
Inkjet print, pen on Paper

 

 

 

Plan for White Cube – 02

2012-2013
21.0㎝ × 29.7㎝
Inkjet print, pen on Paper