A light rock
100 × 55 × 53(H) cm
Cardboard box and glue with painting

The view #1

The protection walls I-The wall with a square hole

220 × 91.5 × 10.5 cm

Cardboard boxes with painting and four PVC pipes (105.5 × 7.2 (diameter) cm per a piece

Objects suffering an identity crisis II - My cutting board and pipe laggings
Installation in less than 150 × 60 × 90 (H) cm
A black board, pipe laggings

My personal clock
Putting up mobile phone (13.5 × 6.8 × 0.8 cm) on the wall and ringing a cathedral bell every 30 minutes
Mobile Phone - Samsung Galaxy S4

The protection walls III - The wall with two small holes
220 × 91.5 × 10.5 cm
Cardboard boxes with painting and two PVC pipes (21.5 × 7.2 (diameter) cm per a piece

My wish
61.5 × 38 × 4.5 cm
Cardboard boxes with painting

The view #2

A clean jumper the artist has
Installation on the table 120 × 80 × 74(H) cm
A black jumper

The view #3

The artists (8 images)
21 × 29.7 cm per each piece
Printed images

This turns into my private trashcan from now.
37 × 37 × 67(H) cm
Cardboard box, printed images and glue with painting

The protection walls II - The wall with a circular hole
233 × 117 × 20 cm
Cardboard boxes with painting and two PVC pipes (105.5 × 7.2 (diameter) cm per a piece

The view #4

Objects suffering an identity crisis I - My bed and shelf
170 × 120 × 230 (H) cm
A bed, a shelf and everyday objects with painting

An insurmountable door
160 × 90 × 7 cm
Cardboard boxes with painting

Jung Collection

The artist studio

Review by Alice Stokes
Exhibition Dates: 18th-30th April 2015
Location: Kunstraum Okapi, Kopenhagener Strasse 31b, 10437 Berlin
Takt Kunstprojektraum

It is assumed art has an inherent purpose and value. Is this a delusional self-assurance supporting the confidence in today’s capitalist system? Yunsun Jung raises this awkward question with a smile. Reflecting on the Boros Collection's display of prestige, high art and culture, the Jung Collection presents a surprising and absorbing experience.

Walking into a residential apartment, the Jung Collection occupies a studio in the Takt Artist in Residency Kunstprojektraum situated on the ground floor. The identity and validity of place is questioned through the transformation of this live-in studio into a gallery. Jung concentrates on removing the functions imbued in objects and spaces, to introduce new possibilities of purpose and identity. The reinterpretation of the Boros Collection ultimately analyses the role art operates within its situated context.

The site of the Boros Collection has historically served a medley of purposes. Built as a Nazi bunker (1942); Occupied by the Red Army and holding prisoners of war (1945); A textile warehouse (1949); An infamous techno club with fetish parties (1992); A theatre stage (1994); Host to an erotic fair (1995); A temporary art exhibition (1996); Converted to home and collection gallery of Christian Boros (2003); Opened with the first Boros Collection exhibition (2008).

This pattern of shifting inhabitants is also apparent in the site of the Jung Collection. As a residential building, the studio is subject to a consistent change of occupants. A space responding and adapting to the various needs and activities brought with each persons temporarily migrating to the space.

Before the establishment of the museum institution, collections originally resided in the town houses of collectors. Accessed by private social invitations, the host would celebrate their possessions of wealth and world knowledge. Museums have since promoted public access to educate and engage a greater audience. The Jung Collection integrates both approaches with a public exhibition in a residential context. The wealth of the referenced Boros Collection becomes a parody of how Contemporary Art is valuated today. Jung’s cardboard door (mimicking the Boros’ bunker door) has a higher value to the novelty of an anonymous cardboard door.

A commercial system underpins both sites. The Boros Collection, a ticketed privilege into an exhibited private collection. The Jung Collection, a rented space within a real estate context. Both businesses generate their own revenue without public sponsorship.

The framing of 'collections' reinforces this monetary momentum behind art. Collectors invest into the commodity of art and contribute influence on the value and reception of the work. Collections are capable of directly affecting the art market trends and the record of art history, by their published catalogues and acquisitions/permanent-loans to public museums. The physical uniqueness of each artwork is compromised or strengthened by the context the collection represents as a whole. Creating suggestions of selected pieces from the Boros Collection with cardboard and cheap materials, Jung plays with the value we project onto art objects. Collectors won’t make the world a better place, but they can collect a rather nice one.

Jung’s analysis of identity and role ‘place’ attributes to artworks is not wholly detached from her own sense of identity. Subtle notes point towards the artist’s personal identity affected by: place. My Wish combines the German and Korean flags. Originating from Korean, Jung has travelled extensively and identifies within a combination of cultures. In today's globalisation borders are blended and countries fold impressions onto themselves, creating a fusion of place and identity. Another piece, Objects suffering an identity crisis, is imbued with the anxiety of dual identities. An unstable fusion of juxtaposed purposes. The cutting board becomes an art piece, but simultaneously could still function as a cutting board.

Jung looks with a sharp eye at the contemporary condition of the art world.
The Jung Collection teases our perception of place and it’s influence on the role of art and it’s attributed value. A scrutiny of the capitalist system, which dictates our reception of objects so completely, that a conscious reminder is necessary to avoid the stupidity of the emperor's new clothes. This exhibition could be a guilty expose of our greedy consumerism. Instead, the scale and clever wit employed generates a humorous and absorbing experience, encouraging reflection on the familiar into new possibilities.

Jung Collection

The Jung Collection is a work that has converted its place from a studio and living space during the period of the takt Residency Program in Berlin into a kind of collection and bunker. The concepts of ‘collection’ and ‘bunker’ in this work derived from the Boros Collection positioned at a central district of Berlin. This place, which was born again as a personal gallery by Christian Boros in 2003, had been used as a bunker to shelter evacuees during the days of Hitler in 1914, as a storage of tropical fruit, vegetable, etc. – particularly banana – during the Cold War Era, and as a hardcore techno club until Berlin City ordered its closure in 1996. In this way, the Boros Collection is a place that has been transformed along with the history of Nazi, Cold War, etc., and therefore, connotes the functional meanings of bunker, banana storage, and techno club. Today it has been born again as a new landmark in the Berlin Art Market in the form of personal gallery revealing downright the commercial tone of the personal collector.

What is notable here is the concept of the place changed along with the flow of time. It is the Jung Collection that applied the situation to a place of ‘now this moment’ at which the residency program is taking place. Strictly speaking, the studio and living space provided in the residency program is an old apartment, and it is positioned on a floor of an apartment building without exposing any artistic element. (This is a kind of commercial system borrowing a specific space of an apartment and paying a fee for the use.) The artist also, though for a short while, stays with the local residents living there. With today’s globalization of economy and culture, the borders between countries “do not appear” OR “are not” important. What is more, the establishment of the artistic system of the residency program has made artists’ migration unavoidable, and in this trend, the living space as a residence and the studio as the artist’s private space are maintained only for a short period. I concentrate on this. What is the most crucial element in acquiring the justness of this place and an artist’s residence and migration as the value and role of art? Isn’t it the artist’s graphic practice (I want to call this ‘artistic labour’) and a place born as an organic space by the practice?

Of course, the meaning connoted by a place may vary significantly depending on the nature of the residency program, and an artist’s practice can take diverse forms. As I have prepared a residence here in Berlin through my migration as an artist, I focus on the studio in the residency program – a place where acts of art are performed. In a sense, the studio and living space is a nest and protected shelter for an artist wandering around the world, but it is also an unstable quarter because the artist has to prepare another move and is arrested by obsession and anxiety to generate works within a short period. In this sense, it is similar to a bunker. (Besides, isn’t our art world a kind of war?)

Furthermore, the outcome of artistic labour is evaluated after all by art works, and in order to reveal the reality of the labour more broadly, I borrowed the images of works in the Boros Collection to show an artist staying at a specific place for a little while and their artistic labor itself in the form of collection and with works filling the collection. Meaning, the space of private studio can be converted functionally to a public collection. Finally, I take note of momentary ‘evacuation’ of this site to be vacated again and be reused by another artist. It can be said that the artist’s migration and the identity of the place are maintained through the situation of vacation. Recorded in this context, the video watches the cleaner who “clears out” OR “takes” all the works from the studio when the residency program is finished; capturing her daily life, and her labour, and tracks her responses on encountering the space in the Jung Collection. / Yunsun Jung

정 컬렉션

정 컬렉션 - Jung Collection - 은 베를린의 takt 레지던시 프로그램 기간동안 제공받은 스튜디오 겸 숙소의 장소가 일종의 컬렉션과 벙커로 전환된 작업이다. 이 작업의 ‘컬렉션’과 ‘벙커’의 개념은 베를린 중심 지구에 자리잡은 보로스 컬렉션 - Boros Collection - 에서 가져왔는데, 2003년 크리스티안 보로스에 의해 개인 미술관으로 거듭난 이 장소는 1914년 히틀러 통치시대에는 일종의 대피시설인 벙커로, 냉전시대에는 열대과일, 채소, 특히 바나나를 저장하던 보관소로, 1996년 베를린 시의 금지 명령이 있기 전까지는 하드코어 테크노 클럽 장소로 사용되어왔다. 이렇듯 보로스 컬렉션은 나치, 냉전시대 등의 역사와 그 시대에 맞게 전환 된 장소 - 벙커, 바나나 저장소, 테크노 클럽의 기능을 의미상 모두 내포한 채로 동시대에서는 개인 컬렉터의 상업적 색깔을 노골적으로 드러내는 개인미술관의 형태로 베를린 미술시장에 새로운 랜드 마크로 거듭난 것이다.

여기서 주목되는 점은 시대의 변화와 그 흐름에 따라 전환되는 장소의 개념이다. 이러한 상황을 레지던시 프로그램이 일어나고 있는 ‘지금 이 순간’의 장소에 적용시킨 작업이 정 컬렉션이다. 엄밀히 말해서, 여기 레지던시 프로그램에서 제공 받은 스튜디오 겸 숙소는 오래된 아파트이고, 결국 이 장소는 예술적인 그 어떤 것도 드러내지 않고서 아파트의 어느 한 층에 위치하고 있다. (아파트의 특정 공간을 빌리고 그 사용료를 지불하는 일종의 상업적 시스템과 함께하는 것이라 볼 수 있다.) 예술가 또한 그저 이곳에 거주하는 지역 주민들과 더불어 짧게나마 머무는 셈이된다. 오늘날, 경제와 문화의 글로벌화 속에서 더이상 국경의 존재같은 경계는 중요하지 않게 보이며, 이러한 시대 흐름속에서 레지던시 프로그램이라는 예술적 시스템이 구축 된 이래로 이동은 예술가들에게 불가피하며 그 흐름 속에서 숙소라는 거주의 장소, 스튜디오라는 예술가의 사적 공간은 짧게 유지되고 있다. 여기서 나는 생각해본다. 이 장소를, 그리고 예술가의 거주와 이동의 당위성을 예술의 가치와 역할로 획득되게 하는 가장 중요한 요소는 무엇일까? 생생한 예술가의 실천 (나는 이것을 ‘예술적 노동’이라고 부르고 싶다.) 과 그것에 의해서 유기적인 공간으로 거듭나는 장소가 아닐까? 물론 레지던시 프로그램의 성격에 따라 장소가 내포하고 있는 의미는 상당히 달라지며 예술가의 실천적 형태 또한 다양하게 생산될 수 있겠다. 현재, 내가 예술가로써 이동을 통해 여기, 베를린에 거주를 마련한 만큼, 나는 이 레지던시 프로그램 속 스튜디오 - 예술 행위가 이뤄지는 ‘이 장소’에 주목한다. 어떤 의미에서 스튜디오와 숙소는 세계를 떠돌아 다니는 예술가에게는 일종의 보금자리, 보호 받는 장소 그러나 머무는 동안, 다시 이동을 준비해야하고 짧은 기간 안에 작품을 생산해내야한다는 일종의 강박과 불안에 사로잡히는 불안정한 공간이기도하다. 이러한 점에서 벙커와 비슷하다. (또한 우리의 예술세계도 일종의 전쟁같지 않은가.) 또한, 예술적 노동의 결과물은 결국 예술 작품으로 그것을 증명하는데, 이러한 노동의 실체를 좀더 노골적으로 들어내기 위해 작품이 수집되는 콜렉션의 형태로, 그러나 이 곳에 채워지는 작품들은 그저 특정장소에 잠시 머문 예술가와 그 예술적 노동, 그 자체만을 보여주기 위해 보로스 컬렉션의 작품 이미지들을 차용하여 제작된 것들이다. 의미상, 사적인 스튜디오라는 장소가 공적인 컬렉션으로 그 장소의 기능도 전환된다. 그리고 다시 비워질 장소, 다른 예술에 의해 재 사용될 이 장소의 순간적인 ‘제거’에 주목했는데 왜냐하면 이 제거되는 상황을 통해서, 예술가의 이동과 그 흐름, 이 장소의 정체성은 (상징적으로 말해서) 유지되어왔기 때문이다. 이러한 맥락에서 진행된 비디오 작업은 레지던시 프로그램이 끝날때마다 스튜디오 정리 업무를 도맡아 하는 크리너, 그녀 일상 자체, 그녀의 노동에 집중하고 ‘정 컬렉션’ 이라는 장소를 조우한 그녀의 반응을 시나리오를 바탕으로 기록한 것이다. / 정윤선