Mapping in a flexible era has become a creative and critical intervention within broader discourses of space and the ways that it may be inhabited.
-Denis Cosgrove (Cultural geographer)
The 2017 NANJI ART SHOW IV, entitled is the 4th group exhibition of recent video, photography and installation works by four domestic resident artists in the 11th term of the SeMA NANJI RESIDENCY run by the Seoul Museum of Art, Sejin Kim, Mo Kim, Joseub and Euyoung Hong, and by an external artist, Hye Joo Jun.
This exhibition focuses on the expanded relationship between mapping and space, particularly in the city. Compared with natural spaces or rural areas, which are mostly located outside cities, the city is a contested zone, in and through which new modes of production, socio-political actions and relations are competitively generated, to seize a dominant position in exercising decisive force. In other words, the city can be a proper place to provide more chances to perceive and experience the transformation and conflicts of existing relations and systems in an encounter with new spatial rule and perception. In some countries, particularly South Korea, people tend to use the spaces of the city more actively than those of other countries, not only because over 50% of total population in South Korea are concentrated in the cities, but also because, in many cases, spaces are used simply as an essential means for earning more profits, such as competitive development, investment of residential and commercial places and the occupation and transformation of public spaces. Considering the complex spatiality and spatialization of the cities in South Korea, mapping cannot be understood from a single unitary perspective, as a space is not a fixed entity, but constantly produced and changed in its interrelationship with different forces, movements, relations and perceptions.
concerns ways in which mapping can act as new form of collecting, producing, coding, decoding, recording, (re)ordering and visualizing existing spatial knowledge and relations in and through the space of art; and how contemporary changes in perceiving and understanding the world alter the meaning and practice of mapping. The exhibition is structured in four different spaces, perspectives and methods of mapping the city. By developing the idea of mapping, these four artworks visualize specific aspects, moments or places, which have been forgotten, overlooked or invisible, covered with dominant powers and systems of urban space in South Korea.