There will be no two ways about the fact that media is the most appropriate mean reflect the passages of contemporary image. Media is independent at once and characterized to represent its own particular meaning to individual images. The image is arrangement of sequence, segmented memory without consecutive place and cliché. The artwork we normally mean is integration of ‘too much things’ which are pass over the notion of survey by the sense. Regardless of what the medium, that is applied all the time in the context of arthistory. How the ‘too much things’ are revealed with image pattern in media art? “VISIOLOGY2010: Non/symptomatic Scenery” is an exhibition which displays the circumstances being described media artists’ personal images to scenery through the projection of image. The exhibition started asking question regarding the fact images with disorder, instabilityand diversity of media characterized to uncertain social change and acceleration of temporary on-off have symptomatic circumstances. That will be a sort of image pattern arising out of between communication potential of interactive text and the limitation of media genre ruled out narrative. The pattern implies image does not have object, namely image is subject itself or presence itself. That is connected to non-narrative and non-subjective of images.

‘Non/symptomatic Scenery’ intended in the exhibition is described situation artists’ inside stories as slight image of being. That connotes narrative structure before making into a work of art. The ‘narrative’ in the circumstances means the previous step cannot but be made into artwork before composing the piece of work, not the image combination making up artwork. The numerous interpretations regarding images coming about in the process of communication with the both/either artists and/ or audience have nothing to do with narrative. The artists are commonly susceptible to throw up their own stories through segmented images. All the subjects organizing circumstance are chaotic confusion itself, whereas artists exteriorize and come to the surface the subjects through creating work of art. Life in the chaos itself is precisely to live in zones of indetermination and it is just us who bear the living. We got to pay attention to the fact the five artists participating in the exhibition accidently have the identical agony however the point is described with different scenery by generation for each. That is to say, artists’ concern in twenties, thirties and forties is represented with scenery (internally and externally). The artists in twenties focus on the particular time and place when they are involved in a certain scene and event.

The circumstances occupying in themselves already formed the circumstances involuntarily and they brought the matter regarding the reason I could not but belong to this boundary up against the scene of event. On the other hand, the thirties return only just ‘oneself’. The representation of the scenery is clear and gentle as they are above making oneself in unavoidable situation to oneself in real. The structure organizing oneself concentrates on the matter of original and existence, question about my origin and ‘something that’ which I engrossed in. Forties let us know the truth that there were brilliantly shiny moments in the chaotic scenery. In this way, the artists’ eyes are very personal and also made up of intrinsic description nevertheless what this is finally represented as an image was interpreted as a composition of scenery and images. There will be well-structured flame composition in the work but the exhibition focuses on the facts that the personal story creating the segmented image is ‘the something that’ being before the segmented images, that the substance artists want to express was the ‘artists’ circumstances’ whether we already recognize it or not, and lastly the most enormous conceptional expansion comes out with different composition and methodology depending to the each generation in the previous step of ‘the something that’ and the ‘artists’ circumstances’ already have been mentioned. The exhibition aims at presenting that artists’ inside, symptomatic stories signify slight non-symptomatic images of existence. We refer to this as Non/symptomatic Scenery and then will discover the ways segmented images presented in the each work and aesthetic implication is accomplished.

"Our living in zones of indetermination"
- Youngkyu Yoon (Curator, KT&G Sangsangmadang Gallery)