2012년 8월 24일 금요일

미켈란젤로 피스똘레또 밴드의 뉴질랜드 8월 전국 순회공연! /NZ Nation Wide Tour!

Nationwide tour
The tour Waikato Museum on Thursday 9 August, St Paul Street Gallery, Auckland, Friday 10 August and the Dunedin Public Art Gallery on Saturday 11 August.

As Dr Stephen Epstein writes: “Although a New Zealand audience may initially find it a trifle odd that artists Bona Park and Eunji Cho, South Korean women born in the 1970s, pay homage to a septuagenarian Italian pai...
nter in titling a performance project that blends music, video and more,” seeing the Michelangelo Pistoletto Band perform live when they visit Wellington will make the influence of their namesake and his "total art" apparent.

Drawing on a Korean tradition of “edgy, subversive humour that runs back to the pre-modern period, when itinerant troupes would entertain villagers with masked drama and other forms of comedy that satirised the aristocrats in power,” the artist duo attracted the attention of New Zealand curators

씨티 갤러리 웰링턴, 미켈란젤로 피스똘레또 밴드 동영상


Open Late at the City Gallery Wellington with Michelangelo Pistoletto Band and Fiends. Sponsored by Radio Active and the Asia Foundation.
Filmed by Marty Lang.

2012년 8월 19일 일요일

our second performance in Waikato Museum, Hamilton, New Zealand

We were invited to Hamilton, New Zealand by SPARK, International Festival of Media, Arts & Design. 

We performed at the Waikato Museum on Thursday 9th August and gave a Masterclass on the same day at Wintec college.  We also had work on display until the 10th August at the Calder & Lawson Gallery, University of Waikato in the group exhibition, Raised Voices.

Our performance went well with a big support of Hamilton band BUSHWIG, another great band in Hamilton, which performed together with us. 
We really appreciate to people who came to see our performance and lecture! 

the University of Waikato and City Gallery Wellington have teamed up to produce our tour a series of performances and events. Many thanks! 

SPARK, International Festival of Media, Arts & Design 

our voice!

 recording 'Red Elephant', our special voice and composer :) 

Jia Yu and our composer recording  sound 

Jia Yu, our rock voice! she works as a special education teacher

our first performance in City Gallery, Wellington, NZ

Our first performance in City gallery, Wellington,  New Zealand
great place and great people! we had such a great time! thanks Wellington;) 

CIty gallery, Wellington where we had a solo show and performance with Fiends
our posters on the street in Wellington ;) 

our performance photo

guitar, of course
our performance view, outside gallery. sunscreen rolling up

our single exhibition view in City gallery

many people came to see our performance. we really appreciated it

Fiends, brilliant artist duo, who performed together with us. thanks Fiends! 

About a band preparing to get retired when it becomes top

About the band preparing to retire at their glory days

Eun-young Jung (artist)

Michelangelo Pistoletto Band(hereinafter as Michey Band) was organized by two female artists,  Bona Park and Eunji Cho,  when they participated in a Residency Program at Gyeonggi Creation Center located in Seongam- island, Ansan, Korea. From its start, the band was not called as such. The band used to be called 123 Band, which was named after the only Bus No. 123 conneting a little remote island, Seongam-island, to a city, Ansan. After performing two songs ‘To Let’ and ‘Owner of Another Island’ in an empty box building in the island, it changed its name into Michelangelo Pistoletto Band. Michelangelo Pistoletto is an artist and a founder of a residency program in Italy, where both artists of the band participated in different years. However the band turns authority, dignity, seriousness or complexity of art associated with the powerful male’s name into abruptness, heterogeneity, lightness, flatness or easiness. Michey Band seems to take an opposite direction that performativity of the grand name has, and its strategy appears to be successful.

However, why should it be a band? For Bona Park and Eunji Cho, doing a band (or art) is a fantasy that they never reach but still dream, and a band performance (or artistic performativity) is a lip-synced music, which is never matched with real sound. It is as ‘Guns and Roses’ to Bona Park or ‘Prince’ to Eunji Cho. Their commanding stage presence and overwhelming performances enrapture and drive Michey Band but frustrate them at the same time. They present themselves in a form of non-fine art, band music, and reveal the process that such shameless and unsophisticated trials fail.
Without aim and desire, the fantasy is repeatedly led to fiasco, which is an ingrained characteristic of their works. However it surprisingly plays a role to unveil political and social structure implied in landscapes where they intervene. The band makes strange surroundings - empty buildings in a remote island, land for sale, flats lined up in a form of unrefined American-style bed towns, a global city where post-modern skyscrapers rise up, also, desolate ruins in an old collapsing town which has been simultaneously inhaled into a whirl of redevelopment project, and a rustic resort which became an abandoned community or a ruin - much more unfamiliar, The band just appears in music videos against such backdrop, but such landscapes get more pushed to a frontline and to a political arena.

They are a band but neither musicians nor singer- songwriters. They write lyrics but ask a composer to make music, and then they just try to imitate a band by synchronizing the songs recorded with others’ voices. Their performance copies ‘cool band like looking’, but it comes somewhat awkward bit by bit sliding far from integrity. Their performance, which seems nothing, veils something but unveils others. Lyrics are not clearly heard at the first time and yet get more prominent in a series of repetition, while their body movement, which do not specifically express, ridiculously steps backward behind the lyrics and landscapes. Michey Band chooses landscapes with careful intentions. It is needless to say how intentionally they choose places for performance or frame music videos. Obviously, Mickey Band’s humorous performance abandoned or breached customs of institutional arts. However, because the landscapes and place they choose are familiar issues in contemporary art, their performance seems to go back to representation of landscapes, which is an institutional art. It represents their chaotic conditions or intended twists leading to spectators’ laughter and confusion. The band will retire just when the public look at them with a surfeit of yearnings as well as confusion concurrently. Since then, the band will remain as a myth. Michey Band is waiting for their retirement. It means that they are waiting for the peak when their dramatic disappearing becomes possible. It is for fading into an eternal fantasy and staying as cacophony of an aimlessly expended place and history. 

전성기에 은퇴하는 밴드에 대하여

전성기에 은퇴하는 밴드에 대하여.

미켈란젤로피스똘레또 밴드 (이하 미키밴드) 선감도에 자리한 경기창작센터의 예술가 거주 프로그램에 참여 중이던 작가 박보나와 조은지에 의해 2010 결성되었다. 처음부터 그들이 으스대는 이름으로 밴드를 시작했던 것은 아니었다. 다소 오지에 속하는 선감도를 가로지르는 유일한 버스인 123 버스의 번호를 123밴드가 미키밴드의 전신이다. 123밴드라는 이름으로 선감도의 상가에서임대 주인 노래한 이후, 밴드는 오래 머물렀던 이탈리아의 예술가 거주 프로그램을 제공한 예술가이자 재단의 이름이기도 미켈란젤로 피스똘레또 떠올렸다. 그들은 얼마간의 명성이 담보된 영향력 있는 남성예술가의 이름으로 스스로를 호명해도 괜찮으리라고 생각한다. 지금의 밴드명은 그렇게 유래했다. 그들은미켈란젤로 피스똘레또라는 이름이 주는 위엄과 예술의 권위와 심각성, 복잡성 같은 것들을 한없이 거슬러 오히려 느닷없고 이질적인 , 가볍고 평평하고 쉬운 것을 향한다. 대게 호명은 수행을 결정하지만, 미키밴드의 수행은 번번히 호명을 배반한다. (전략 따윈 없을 같은) 미키밴드의 이러한 전략은 비교적 성공적으로 보인다.

그런데 하필이면 밴드란 말인가? 그들에게 밴드는(혹은 예술은) 한번도 닿은 없는 판타지이며, 밴드의 공연은(혹은 예술행위는) 결코 일치하지 않는 립씽크와 같다. 박보나에게는건즈 로지스, 조은지에게는프린스 그렇다. 그들의 무대장악력과 나는 퍼포먼스는 미키밴드를 열광하게 하고 추동 하지만, 동시에 좌절시킨다. 미키밴드의 예술 행위는 가장 미술이 아니어야 같은 형식을 취하면서, 뻔뻔스럽게 유치한 도전들이 적나라하게 실패하는 과정을 드러낸다. 목적 없고 욕망 없는, 자꾸만 실패하는 판타지는 그들의 작업이 가진 태생적 속성이기도 하지만, 의외로 그들의 행위가 개입하는 풍경이 함의한 정치적이고 사회적인 구조를 폭로한다.외딴 섬의 점포, 매매를 기다리는 , 조악하게 흉내 미국식 주택으로 지어 팬션 타운이나, 초현대적 건축물이 솟구치는 국제도시, 그와 동시간적으로 개발의 속도에 무차별하게 빨려들어간 허물어져가는 구시가지의 쓸쓸한 폐허들과 버려진 공동체나 퇴물이 되어버린 촌스러운 유원지 같은 이상한 풍경들은 미키밴드의 개입으로 점점 기이해진다. 밴드는 이러한 풍경을 단지 배경 삼아 뮤직비디오를 찍을 뿐이지만, 풍경은 점점 전면화 되고 정치화된다.

그들은 밴드이지만 뮤지션이거나 싱어송 라이터는 아니다. 모든 곡의 가사를 쓰지만 작곡을 의뢰하고 타인의 목소리로 녹음된 노래에 입을 뻥긋뻥긋거린다. 그들의 퍼포먼스는 밴드의 부리는look’ 흉내내지만, 어쩐지 조금씩 조금씩 빗겨나며 어색해진다. 이러한 일련의 행위들, 혹은 아무것도 아닌 행위들은 어떤 것은 밝혀내고, 어떤 것은 은폐한다. 들리지 않는 가사는 반복을 통해 점점 선명해지면서 의미화의 과정을 드러내지만, 무엇도 표현하지 않는 신체는 노랫말과 풍경의 뒤로 우스꽝스럽게 뒷걸음질 한다. 풍경은 또한 정교하게 선택된다. 공연장으로 선택된 장소며 뮤직비디오의 프레이밍은 말할 것도 없다. 제도미술의 관습을 포기했거나 위반하는 것이 분명한 미키밴드의 농담 같은 행동들은 그들이 선택한 논쟁적인 장소와 풍경으로 인해 가장 제도화된 미술의 관습 하나인 풍경의 재현처럼 보이기도 한다. 그러므로 모든 것은 그들이 처해있는 혼란이자 의도적인 비틈, 더불어 그들을 지켜보는 관객의 혼돈과 웃음이다. 밴드를 욕망하는 대중의 눈에 말할 없이 과잉 동경과 혼돈이 동시에 비칠 , 비로소 밴드는 은퇴한다. 그리고 밴드는 은퇴함으로써 신화가 된다. 미키밴드는 은퇴를 기다린다. 그것은 가장 드라마틱한 사라짐을 위한 전성기를 기다린다는 뜻이다. 영원한 판타지로 미끄러지기 위해, 목적 없이 소비되는 장소와 역사의 불협으로 남기 위해.

our performance tour in New Zealand!

sorry for late posting! we had very busy schedule in New Zealand! it was great though!