TV Moore has developed a singular artistic practice that critically engages with the expressive potentials of the moving image including video and animation. Bizarre facts, distorted fictions outsiders, mavericks, magic and loners all occupy Moore’s gaze. Using psychological space, performance, narrative and non-narrative structures, Moore operates in a myriad of worlds and is interested in the space between the real and the unreal.
TV Moore’s work has been nationally and internationally recognized with exhibitions including With Love & Squalor, Australian Centre for Contemporary Art (ACCA), 2015; TV Moore’s Rum Jungle, Campbelltown Arts Centre, 2014; the 16th and 19th Biennale of Sydney, 2008 and 2014; Tell me tell me: Australian and Korean Contemporary Art 1976-2011, National Museum of Modern and Contemporary Art, Seoul and Museum of Contemporary Art Australia (MCA), Sydney, 2011-12; Busan Biennale, 2008; and T1: The Pantagruel Syndrome, Turin Triennale, 2005. He is a recipient of an Australia Council Fellowship, 2013-14 and the Anna Landa Award for Video and New Media Arts, Art Gallery of New South Wales, 2009.
Residents from Australia
Youngmin Kang transforms images and objects captured from digital media, architecture or cultural phenomenon into different contexts by expanding the limits of a particular media through changing the format of the information contained within. When modified into a different space, dimension, scale, and media, his provides a moment of clarity about the original medium and references. Specific meaning in each work emerges through the detailed process of manipulation and can be associated with cultural, socio-political, and identity issues.
Youngmin Kang (born 1969 in Seoul, South Korea) studied painting (BFA/MFA) at Seoul National University and studio art (MFA) at the University of Texas at Austin. He has shown his work in solo shows at Gana Contemporary, Space CAN, Youngeun Museum of Contemporary Art, Project Space Sarubia, all South Korea and O’Kane Gallery, Houston. Group exhibitions include National Museum of Modern and Contemporary Art, Seoul Museum of Art, Reverscape, Jeju Museum of Art, Seoul International Photography Festival, and Gyeonggido Museum of Art, all South Korea.
Residents from South Korea
Much of Aleksander Komarov’s film work are edited as essays concerning the economic, political, and social conditions that have enabled his nomadic lifestyle- a hallmark of globalized artist-hood. Through film Komarov explores the recording and production of imagery as a political activity, were images therefore appear as co-producers of social conditions. In each work, the spectator is situated within a timeline, on the premise of deconstructing a conclusive documentary statement and instead offering up multiple possible routes towards meaning. As a person entangled in multiple political systems, he exposes the contemporary identity politics as a regulation mechanism of post-industrial exploitation and question whether the art itself now takes over the old assignment of rationalization and standardization.
Aleksander Komarov was born and raised in Belarus, trained as an artist in Glebov Art Leceum in Minsk, Belarus; the University of Fine Arts Poznan, Poland; and Rijksakademie, The Netherlands. He published filmic and written essays concerning questions of migrating identity’s, (cultural) globalization, the condition of contemporary art and its relation to broader economic contexts. His films include Estate (2008); Capital (2009), Glosy/Voices (2011), Palipaduazennje (2012), Language Lessons (2013). Komarov is also co-founder of Air Berlin Alexanderplatz, a research-related residency program in Berlin. His films were exhibited most recently at the Moscow Biennial (2015); Arsenal Gallery, Poland (2014) and The Way of the Shovel, curated by Dieter Roelstraete at the Museum of Contemporary Art, Chicago, 2013.