Law of the good neighbor

Citing without Quotation Marks — Agnes Martin, Aspiration, 1960
from the series Law of the good neighbor

(1 / 48)

Citing without Quotation Marks — Francis Bacon, Three Studies of Lucian Freud, 1969
from the series Law of the good neighbor

(2 / 48)

Citing without Quotation Marks — 밀란 쿤데라, [소설의 기술]
from the series Law of the good neighbor

(3 / 48)

Citing without Quotation Marks — Victor Man, Certain Way To Fade Away (detail), 2006
from the series Law of the good neighbor

(4 / 48)

Citing without Quotation Marks — Jason Dodge, Shoes made for someone with three feet by a master shoemaker in Berlin, 2015
from the series Law of the good neighbor

(5 / 48)

Citing without Quotation Marks — Charlotte Posenenske, Fold, 1966
from the series Law of the good neighbor

(6 / 48)

Citing without Quotation Marks — Mark Manders, Drawing with Vanishing Point, 2007
from the series Law of the good neighbor

(7 / 48)

Citing without Quotation Marks — Daan Van Golden, “Study Dürer,” 1987/2007
from the series Law of the good neighbor

(8 / 48)

Citing without Quotation Marks — Roni Horn, aka, 2008–2009
from the series Law of the good neighbor

(9 / 48)

Citing without Quotation Marks — Agnes Martin, On a Clear Day, 1973
from the series Law of the good neighbor

(10 / 48)

Citing without Quotation Marks — Daan Van Golden, “Artist’s studio, Tokyo”,1964
from the series Law of the good neighbor

(11 / 48)

Citing without Quotation Marks — Borremans Michaël, Man Holding his Nose, 2007
from the series Law of the good neighbor

(12 / 48)

Citing without Quotation Marks — Lucian Freud, Girl with a Kitten, 1947
from the series Law of the good neighbor

(13 / 48)

Citing without Quotation Marks — Wilhelm Sasnal, Untitled, 2012
from the series Law of the good neighbor

(14 / 48)

Citing without Quotation Marks — Victor Man, Untitled, 2012
from the series Law of the good neighbor

(15 / 48)

Citing without Quotation Marks — T.S. Eliot, [The Naming of Cats]
from the series Law of the good neighbor

(16 / 48)

Citing without Quotation Marks — Charlotte Posenenske, Series E. Small Revolving Vane, 1967–68.
from the series Law of the good neighbor

(17 / 48)

Citing without Quotation Marks — 밀란 쿤데라, [소설의 기술]
from the series Law of the good neighbor

(18 / 48)

Citing without Quotation Marks — 롤랑바르트, [마지막 강의]
from the series Law of the good neighbor

(19 / 48)

Citing without Quotation Marks — 가스통 바슐라르, [공간의 시학]
from the series Law of the good neighbor

(20 / 48)

Citing without Quotation Marks — 존 버거, [사진의 이해]
from the series Law of the good neighbor

(21 / 48)

Citing without Quotation Marks — 밀란 쿤데라, [소설의 기술]
from the series Law of the good neighbor

(22 / 48)

Citing without Quotation Marks — Wilhelm Sasnal, Kodak Black, 2012
from the series Law of the good neighbor

(23 / 48)

Citing without Quotation Marks — From Vivre sa Vie, Jean-Luc Godard
from the series Law of the good neighbor

(24 / 48)

Citing without Quotation Marks — 롤랑 바르트, [마지막 강의]
from the series Law of the good neighbor

(25 / 48)

Citing without Quotation Marks — 나탈리 레제, [말없는 삶]
from the series Law of the good neighbor

(26 / 48)

Citing without Quotation Marks — 헤르만 헤세
from the series Law of the good neighbor

(27 / 48)

Citing without Quotation Marks — 질 들뢰즈, [소진된 인간]
from the series Law of the good neighbor

(28 / 48)

Citing without Quotation Marks — 존 버거, [사진의 이해]
from the series Law of the good neighbor

(29 / 48)

Citing without Quotation Marks — 가스통 바슐라르, [공간의 시학]
from the series Law of the good neighbor

(30 / 48)

Citing without Quotation Marks — 가스통 바슐라르, [공간의 시학]
from the series Law of the good neighbor

(31 / 48)

Citing without Quotation Marks — 질 들뢰즈
from the series Law of the good neighbor

(32 / 48)

Citing without Quotation Marks — 롤랑바르트, [마지막 강의]
from the series Law of the good neighbor

(33 / 48)

Citing without Quotation Marks — 모리스 블랑쇼, [도래할 책]
from the series Law of the good neighbor

(34 / 48)

Citing without Quotation Marks — 밀란 쿤데라, [생은 다른곳에]
from the series Law of the good neighbor

(35 / 48)

Citing without Quotation Marks — Samuell beckett, [Marlone Dies]
from the series Law of the good neighbor

(36 / 48)

Citing without Quotation Marks — 질 들뢰즈, [소진된 인간]
from the series Law of the good neighbor

(37 / 48)

Citing without Quotation Marks — 나탈리 레제, [말없는 삶]
from the series Law of the good neighbor

(38 / 48)

Citing without Quotation Marks — Samuel Beckett, [Waiting for Godot]
from the series Law of the good neighbor

(39 / 48)

Citing without Quotation Marks — 마세도니오 페르난데스, [계속되는 무]
from the series Law of the good neighbor

(40 / 48)

Citing without Quotation Marks — Giorgio de Chirico, The Double Dream of Spring, 1915
from the series Law of the good neighbor

(41 / 48)

Citing without Quotation Marks — Raoul De Keyser, Closerie VIII (Berliner Ensemble), 1998
from the series Law of the good neighbor

(42 / 48)

Citing without Quotation Marks — Raoul De Keyser, Dalton, 1990
from the series Law of the good neighbor

(43 / 48)

Citing without Quotation Marks — Benoît Maire, Holes in Philosophy #1, 2008
from the series Law of the good neighbor

(44 / 48)

Citing without Quotation Marks — Samuel Beckett, choreography for [Quad]
from the series Law of the good neighbor

(45 / 48)

Citing without Quotation Marks — Agnes Martin, Untitled, 1990
from the series Law of the good neighbor

(46 / 48)

Citing without Quotation Marks — Geert Goiris
from the series Law of the good neighbor

(47 / 48)

Citing without Quotation Marks — Daan Van Golden, Study H.M., 2001
from the series Law of the good neighbor

(48 / 48)

좋은 이웃의 법칙은 영감(Inspiration)에 관한 작은 프로젝트라고 해두자.
제목은 Warburg Library의 다분히 연상적이고 주관적인 책의 배열방식을 지칭하는 Aby Warburg의 “The law of the good neighbor”에서 빌려왔다. Warburg의 시스템 안에서 도서관을 찾은 이들은 공식적으로 규정된 분류체계에서 벗어난 책의 배열방식에 당혹감을 느낄수도 있었지만 뜻밖의 의미들을 발견하는 기쁨을 누릴 수도 있었다. Warburg의 도서관은 거대한 생각들의 미로에서 자발적으로 길을 잃고 끝없이 배회하는 연상과 사유의 끝없는 고리를 상상하게 한다. 그리고, 이 작업은 Warburg의 예술과 비평에 대한 신념을 반영하는 독창적인 도서분류 시스템에서 영감을 받아 급조한 아주 작은 전시에 불과하다.
이번 전시에 포함된 54권의 책은 내가 모종의 친밀감을 느끼는 책들이다. 작업을 할때 읽었던 책들, 개인적으로 깊은 관심과 애정을 갖고 있는 작가의 소설이나 화집들, 내게 영감을 준 책들. 이들은 내게 지식으로서가 아닌 즐겨 방문하는 이웃으로서의 의미가 더 크다. 나는 작가로서 분명히 이들에게 조금씩 빚지고 있는 부분이 있다고 생각한다. 그러나 작업을 할 때 내가 이들을 직접 참조하는 일은 거의 없다. 그래서 이 전시는 참조(reference)가 아닌 영감(Inspiration)에, 작가의 정체성(identity) 보다는 인접성(adjacency)—누구와 친한가에 관해 관심의 무게를 두고 있다.
54권의 책은 새로 제작한 더스트 자켓을 입고 있다. 더스트 자켓이 19세기에 처음 등장했을 때 그것은 순수하게 책을 보호하려는 목적으로 만들어졌으나 점차 프로모션과 장식의 기능이 강화되었다. 여기 전시에 포함된 54개의 더스트 자켓은 본래의 책을 보호하고자 하는 목적에 충실하다. 다만 여기서 보호란 때가 타는것에 대한 보호라기 보다는 공적 장소에 노출되는 것에 대한 보호를 의미한다. 그러면 노출을 꺼려하는 책들을 왜 전시하는가?
몇몇 책의 안쪽에는 전시된 다른 책들에서 발췌한 인용구나 이미지들이 인용부호와 출처의 명시없이 삽지의 형태로 들어있다. 이것은 저자의 이름에 부여된 권위를 감추고 목소리에 집중하기 위해서이고, 감상자들이 책을 들추다 삽지를 발견했을 때 펼쳐진 페이지와 삽지 사이에서 좀 더 순수한 읽기의 즐거움을 누리시길 바라는 마음에서이다. 서지목록과 인용문의 출처는 전시장 안에 다른 방식으로 놓여질 것이다.

2016, 정희승

Let’s say “The law of the good neighbor” is a small project about ‘inspiration’.
The title was borrowed from “The law of the good neighbor” of Aby Warburg, which refers to the method of arranging books in associative order at Warburg Library. Those who visited the library in the Warburg system may have been perplexed at the arrangement of books, which is totally different from the official classification system but they must have felt the joy of discovering unexpected meanings as well. The Warburg Library allows us to imagine the endless loop of reason and associations that wander around voluntarily and endlessly in a huge maze of thoughts. This is only a tiny exhibition inspired by the unique book classification system which reflects Warburg’s belief in art and critic, cobbled together in a rush.
The 54 books included in this exhibition are the books I feel a sense of intimacy with. Books I read while engaging in works, novels or artist books that I personally have deep connection with and interest in, and books that inspired me… They are significant to me, less as knowledge but more as neighbors that I frequently visit. I believe that as an artist, I am indebted to them in certain aspects. But I seldom refer to them directly when creating my works. Hence, this exhibition puts more emphasis on inspiration rather than reference, and adjacency-who the artist is closest to rather than the artist’s identity.
The 54 books are wearing a newly produced dust jacket. When the dust jacket was first introduced in the 19th century, its purpose was purely to protect books. But over time, its promotional and decorative functionality was enhanced. The 54 dust jackets included in the exhibition remain faithful to their original purpose of protecting a book. Yet the subject they are protecting the book against is not stains but exposure to public spaces. Why then, should you exhibit books that don’t want to be exposed?
Some of the books contain insert papers of quotes or images extracted from other books on display without any quotation marks or indication of the source. This was deliberately done in order to hide the authority given to the name of authors and direct focus to their voice, and help the readers fully enjoy the pure pleasure of reading between the insert paper and the page that was opened the moment they found the insert paper. The list of the authors, titles and the sources of the quotes will be placed in the exhibition hall in a different way.

2016, Heeseung Chung