展覽免費常設

Invisible Actors

Name: Invisible Actors
Start: 2025-12-09
End: 2026-12-10
Location: 八鳥畫廊（Gallery Palzo）

免費 · 常設 · Suseong-gu 八鳥畫廊（Gallery Palzo）

日期: 2025年12月9日 ~ 12月10日
場地: 八鳥畫廊（Gallery Palzo）
地區: Daegu Suseong-gu
費用: 免費
查詢: 053-781-6802-054-373-6802

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活動介紹

趙景宰作家畢業於明斯特藝術學院大師班（Meisterschüler），長期活躍於歐洲與韓國。他在攝影機受限的畫角內，將真實空間布置得宛如抽象畫，並以攝影記錄下來。趙景宰的作品聚焦於對空間、物件、光線與時間的細致探索。他以攝影為中心，運用裝置、表演等多種媒介實驗，重新排列並演繹日常物件與空間，從而捕捉我們常常忽略的瞬間與存在的行動性。特別是他的作品在受限畫角內以抽象方式重構並記錄空間與物件，展現了物件、空間與時間之間微妙的相互作用及內在變化。他亦細心觀察空間、物件與時間的相互作用，這些探索成果原原本本反映在攝影作品中。他的照片未使用拼貼或數位編輯，而是透過在真實空間中設置實體物件，並以底片相機拍攝的純攝影。在此過程中，物件失去原有的功能與形態，轉化為物質固有的色彩與形體，創造出全新的視覺語言。本次展覽「Invisible Actors（隱形的演員）」中，這些探索透過在攝影機內展開的「隱形演員之戲劇」呈現，彰顯存在本身即為一種行為。觀眾能透過作品直接體驗物件、空間與時間微妙的相互作用。趙景宰透過展覽，嘗試不將攝影作品停留在其單一完成形式，而是將其延伸至裝置、聲音等多種實體媒介。如他過往展覽所示，本次展覽中亦能看到將攝影作品的構造特性轉化與解構為其他形式的過程。趙景宰「Invisible Actors」趙景宰的照片宛如舞台，而那座舞台上沒有演員。取而代之的是物件、光線以及時間的流逝被賦予各自的角色，靜靜地營造出畫面。作家順應一日之中光線的變化，細心觀察光線附著於物件上的景象。他所捕捉的瞬間並非完整的戲劇，而是持續進行的排練時間，或是光線向物件搭話的微小對話瞬間。凝視他的照片良久，物件之間彷彿意識到彼此而擺放的微妙群舞性便會浮現。既有精準對齊線條與角度的有序排列，亦存在著不打亂各物件固有性質、相互回應並建立關係的間接群舞性。這兩種動態表面上看似靜態，內部卻如調和景致的神號般引發緩慢的波動。在趙景宰的視角下，物件並非單純反射光線的標的。它們在有光存在的空間裡拉扯著景致，如舞台上感知對手的表演者般靜靜地調整自身位置。作家透過這些畫面，揭示物件「存在」的事實本身即為一種行為。在那一刻，攝影機不再只是單純的記錄裝置，而是作為隱形的觀察者、觀眾，以及介於光與物件之間微小緊張感的媒介存在。因此，他的照片雖令人聯想到空無一人的舞台，卻又留下隱形演員在其中不斷對彼此作出回應、創造專屬於自身畫面的印象。畫面並非固定的影像，而是光線、物件、距離與角度共同呼吸所生成的微型排練。正因如此，自然能夠理解趙景宰的照片何以宛如舞台——這並非對戲劇裝置的模仿，而是因為物件之間早已流淌的秩序、緊張感與關係的總和，構成了一座獨特的舞台。 Cho Kyungjae is a photographer who completed the Meisterschuler program at Kunstakademie Munster and has been active in both Europe and Korea. His work revolves around constructing actual spaces within the limited frame of the camera, often transforming them into abstract compositions, which he captures through photography. His work focuses on a subtle exploration of the intricate interactions between space, objects, light, and time. Using photography as his primary medium, along with installations and performances, he experiments with various forms to rearrange and reinterpret everyday objects and spaces. Through this, he captures the inner transformations and subtle interactions of fleeting moments that are often overlooked. His work reconstructs and records space and objects within the limited frame of the camera in an abstract manner, revealing the delicate interplay and inherent changes between objects, space, and time. He also observes these interactions with great care, and these explorations are clearly reflected in his photographic work. His photographs are pure images captured with an analog camera, where physical objects are installed in real spaces without the use of collage or digital manipulation. In this process, objects lose their original function and form, transforming into their intrinsic colors and shapes, thereby creating a new visual language. This exhibition, Invisible Actors , presents these explorations as a 'theater of invisible actors' unfolding within the frame of the camera, demonstrating that existence itself is already an act. Through this exhibition, the audience can directly experience the subtle interactions between objects, space, and time. Cho KyungJae expands his photographic work beyond its finished form by incorporating various physical media, such as installation and sound. As in his previous exhibitions, this exhibition continues to transform and deconstruct the structural characteristics of photography into other formats. Cho Kyoungjae ‘Invisible Actors’ Cho’s photographs resemble a stage―one in which no actors appear. Instead, objects, light, and the passage of time are each assigned quiet roles, composing scenes in their own restrained manner. The artist follows the shifting light throughout the day, observing with care the landscapes it leaves upon objects. What he captures is not a completed performance but an ongoing rehearsal, or the brief moment in which light attempts a small chat with the things it touches. When one lingers on his images, a subtle ensemble choreography among the objects begins to surface. There is a deliberate alignment―a direct, ordered kind of group movement―yet alongside it exists another, more indirect choreography, where each object preserves its own distinct character while gently responding to others. These dual movements, though visually still, generate slow internal waves, as if signaling the continuous negotiation of a scene. Under his gaze, objects are never mere surfaces that reflect light. They become responsive presences that push and pull the surrounding landscape, adjusting their positions like performers aware of their partners onstage. Through these scenes, the artist reveals that the simple act of an object existing is already a form of action. In such moments, the camera ceases to be a recording device; it becomes an unseen observer, a spectator, and a mediator of the faint tension between light and matter. Thus his photographs evoke a stage stripped of actors yet filled with invisible performers quietly responding to one another, each revealing their own fleeting scene within every-changing natural light. The image is not a fixed tableau but a small rehearsal shaped by breath, distance, angle, and illumination. In this sense, it becomes clear why his work feels theatrical―not because it imitates drama, but because the order, tension, and relationships already flowing between things compose a stage of their own.