GoEun Museum of Photography Busan Project 2019

ChoonMan JO_INDUSTRY BUSAN

ChoonMan JO

2019-05-18 - 2019-08-07

ⓒ ChoonManJO,  IK110116 _ Seongbuk-dong
ⓒ ChoonManJO, IK110116 _ Seongbuk-dong


 

GoEun Museum of Photography’s annual project has exhibited various sides of Busan, captured by the leading Korean photographers for the last 7 years. Now it welcomes a new title, Busan Project, with a wider and more flexible meaning. The Project is an attempt to observe Busan from a new point of view and it presents its first outcome, INDUSTRY BUSAN by ChoonMan Jo. Jo is a great artist known for photographing those major industrial facilities in Korea including the shipyards and other massive manufactural structures. What did he see in Busan’s industrial facilities, in Busan Project 2019?

 

 

 

The city we live in is in its entirety a massive machine and a factory. The cellphone we constantly carry with us is another piece of machine and although we may not often think of them in this way, the houses we live in including the apartments are a type of housing machine as described by Le Corbusier. When the power supplied to those machines are stopped or their parts are broken, our entire lives may shatter. Perhaps the world that we live in is an organism, information and capital smoothly flowing through it, aiming to be a large, singular machine and factory.

 

Busan’s manufacturing industry is quite diverse and includes rubber, shoes, steel, shipbuilding, chemical, automobile, and ready-to-wear to name just a few. Its history goes back a long way but the manufacturing industry was never captured in the form of photographic images. ChoonMan Jo turned the lens to this side of Busan. The Camera too is a machine for capturing images, meaning a machine is photographing another machine, and maybe Jo too is a photographic machine of the sort. Jo is probably the first to take note and capture Busan’s industrial facilities in such a manner.

 

  

Busan’s manufacturing facilities photographed by Jo show full scenery of the factories while other images show products or tools and logistic facilities where the products are made. He photographed big cranes, rubber belts wrapped around the rollers, big and small pipes entangled like an undecipherable language, containers stacked in cubes, colorful barrels containing who knows what, metal gears exposing their cold teeth, vessels and control devices lined up neatly, iron rods glowing red and massive forge presses.

 

The giant machine called Busan is composed of factories that produce things, the products which are the outcome, and the logistics system that transport them. These systems then form an ecosystem and until now Jo had mostly photographed the factory exteriors from a far distance. It was of course because his subjects were massive heavy industry facilities and the full features can be appreciated only from far. Also, there are many nocturnal images because only when everything is submerged in darkness, lights from the factories would well reveal the presence of those objects.

 

 

 

The most notable part about this exhibition is that ChoonMan Jo has stepped into the factories. His point of view, his subjects and the distance from them have all changed. Having worked as a welder himself, Jo is familiar with the insides of a factory yet he was at times awed by different looks from the scene, and fascinated by the details of the factories as he captured the industrial features of Busan that are different from any other city. He photographed the interiors of the factories, their size varying from small to massive. As a result, the exhibition is divided into 4 categories to highlight the ins and outs of Busan’s industries: inside and outside of the industry, the details, and the ports and the vessels.

 

When Jo’s camera stepped inside the factories, two things have changed. First, as the distance from the subject became closer the details of the factories began to be apparent. They show everything, from the small elements like bolts and iron dust to the scenes of forging massive ironware and rubber production facilities. The other is how the laborers started to stand out from the small factories producing goods. This is of course because he started to include small scaled factories as his subject. Although the use, purpose, or mechanism of the things filled in the factories Jo has photographed are unknown, a kind of artificial grandeur can be sensed. The feeling penetrates through the body rather than the mind. This is the power of image and photography, and the power held by the subject.

 

  

Although the factories Jo has photographed are all different from one another, they are equal in the sense that they newly transform and produce materials for a certain purpose. Even with the arrival of the fourth industrial revolution and 5G era, secondary industry or the manufacturing industry still matters. Even if production and consumption of information have become an industrial mainstream, due to our physical conditions humans will need things and they will continue to be produced.

 

ChoonMan Jo’s photographs show a certain typological trait but they do not stop there. His curiosity reaches out to factories that are still very active, as well as those that have stopped operation long ago. Through the overwhelming sceneries of the industry, he presents machines and factories living and breathing with humans. From the images of closed steel mill in Völklingen, Germany, he exposes that everything, and not only the factories run by humans, will collapse and disappear someday and grass and tree will cover them. This is a prophecy and reality of the factory’s future, and a device showing how broad the apocalyptic spectrum of his photographs are. His previous works are included in this exhibition book precisely for this reason. In this publication we can access the past, present and the future of ChoonMan Jo’s photography.

 

 

 

Jo’s images are not a praise for the factories nor are they mere admiration. They are unemotional documentations in some ways and on the other hand, are a gaze towards the unknown giant monster living in the foundation of the life we are living. In fact, we consume a great many products produced from the factories and dispose them without thinking about their origin. We sometimes even look the other way. Factories move here and there around the world seeking profits and as a result, a city is destroyed in a blink of an eye. This is because a factory is not just a cluster of machines but a structure fused with capital, manpower, technology, and everything humans boast of creating. No matter how big this structure is, in truth its base is weak which can be collapsed by productivity and capital profit. Perhaps what we can see from Jo’s photographs is a revelation that the strong images of factories and machines stand on sand dunescapital and finance, which are the fundamental foundation established by humans who produced and constructed them.

 

Jo’s images question the objects and at the same time the humans who control and have put them in order. Industrial knowledge has long become part of the professional territory and we barely understand the secrets of those products. We see the secret but we cannot decipher them. In that sense, ChoonMan Jo’s photographs are not a simple guidebook for a secret we can’t read, but visual evidence in constant movement which we can read through for a long time.  

 

 

 

Busan is a city that has lived through the turmoil of Korean history. It is also the first location to accept photography and a gateway open to the world, a city full of energy and various cultures. Through Busan Project, an annual program by GoEun Museum of Photography, diverse faces of Busan are discovered by notable Korean photographers. They are more than documentation and will become an accomplishment of Korean photography scene, contributing to expanding the historical and cultural spectrum of the region, Busan.  

 

 

 

GoEun Museum of Photography

 

  • ⓒ ChoonManJO,  IK181774 _ Dadae-dong

    ⓒ ChoonManJO, IK181774 _ Dadae-dong

  • ⓒ ChoonManJO,  IK167790 _ Gupyeong-dong

    ⓒ ChoonManJO, IK167790 _ Gupyeong-dong

  • ⓒ ChoonManJO, IK167338 _ Gupyeong-dong

    ⓒ ChoonManJO, IK167338 _ Gupyeong-dong

  • ⓒ ChoonManJO, IK167322 _ Gupyeong-dong

    ⓒ ChoonManJO, IK167322 _ Gupyeong-dong

  • ⓒ ChoonManJO, IK197587 _ Hwajeon-dong

    ⓒ ChoonManJO, IK197587 _ Hwajeon-dong

  • ⓒ ChoonManJO, IK186819 _ Sinpyeong-dong

    ⓒ ChoonManJO, IK186819 _ Sinpyeong-dong

  • ⓒ ChoonManJO, IK184775 _ Mora-dong

    ⓒ ChoonManJO, IK184775 _ Mora-dong

  • ⓒ ChoonManJO, IK197801 _ Songjeong-dong

    ⓒ ChoonManJO, IK197801 _ Songjeong-dong

  • ⓒ ChoonManJO,  IK183798 _ Gupyeong-dong

    ⓒ ChoonManJO, IK183798 _ Gupyeong-dong

  • ⓒ ChoonManJO,  IK110116 _ Seongbuk-dong

    ⓒ ChoonManJO, IK110116 _ Seongbuk-dong

  • ⓒ ChoonManJO,  IK181774 _ Dadae-dong
  • ⓒ ChoonManJO,  IK167790 _ Gupyeong-dong
  • ⓒ ChoonManJO, IK167338 _ Gupyeong-dong
  • ⓒ ChoonManJO, IK167322 _ Gupyeong-dong
  • ⓒ ChoonManJO, IK197587 _ Hwajeon-dong
  • ⓒ ChoonManJO, IK186819 _ Sinpyeong-dong
  • ⓒ ChoonManJO, IK184775 _ Mora-dong
  • ⓒ ChoonManJO, IK197801 _ Songjeong-dong
  • ⓒ ChoonManJO,  IK183798 _ Gupyeong-dong
  • ⓒ ChoonManJO,  IK110116 _ Seongbuk-dong

 

ChoonMan JO

 

 

 

1956 Born in Dalseong, Gyeongbuk, Korea

 

 

2003 B.F.A Dep. of Photography, Major in Photo Journalism & Fine Art Photography Kyungil University, Korea

 

 

 

 

 

Solo Exhibitions

 

2019 INDUSTRY BUSAN, GoEun Museum of Photography, Busan, Korea

 

2018 Völklingen, Natural History of Industry, Gallery Wall, Ulsan, Korea

 

2016 INDUSTRY KOREA 2016, Gallery Now Here, Seoul, Korea

 

2015 INDUSTRY KOREA 2000~2015, Cosmos gallery, Ulsan, Art gallery Jeonju, Jeonju, Korea

 

2014 INDUSTRY KOREA 2014, Ulsan Culture & Art Center, Ulsan, Korea

 

2013 INDUSTRY KOREA, Gallery K, Seoul, Art gallery Jeonju, Jeonju, Korea

 

   INDUSTRY in the 90ʼs, Yeoungsang Art gallery, Ulsan, Korea

 

2002 Townscape, Goto gallery, Daegu, Korea / Ulsan Culture & Art Center, Ulsan, Korea

 

 

 

Selected Group Exhibitions

 

2018 Civilization: The Way We Live Now, National Museum of Modern and Contemporary Art, Gwacheon, Korea

 

2015 Uproarious, Heated, Inundated, National Museum of Modern and Contemporary Art, Seoul, Korea

 

2014 Space Life, Ilmin Museum of Art, Seoul, Korea

 

2014 Life after the Catastrophe, Seoul NPO center, Seoul, Korea

 

2014 Manufactured Landscape, Art Museum of Kyoungpook National University, Daegu, Korea

 

2013 Modernity and Technology, Culture Station Seoul 284, Seoul, Korea

 

2013 Industrial Landscape, May Theater Gallery (Suita City Culture Hall), Osaka. Japan

 

2013 Ulsan International Photography Festival, Ulsan Culture & Art Center, Ulsan, Korea

 

2011 Open Museum, Art Village Shinhwa, Ulsan, Korea

 

2010~2012 Gyeongnam International Modern Photography Festival, 3.15 Art Center, Changwon, Korea

 

2009 Jublee O’ Young Mind 2009, Kepco Art Center, Seoul, Korea

 

2007 A Laborer, Ulsan Culture & Art Center, Ulsan, Korea

 

2005 Construction, Ssamzie Space, Seoul, Korea

 

2005 A Trial and Forward Movement, The National Assembly building, Seoul, Korea

 

2004 Document: A Map of Photographic Archives, Seoul Museum of Art, Seoul, Korea

 

2001 Development, and another start, Goto gallery, Daegu, Korea

 

2000 Disadvantaged People, Kyungju Indoor Stadium, Kyungju, Korea

 

1997 The Things which are Breathing and Remaining in This Land, Ulsan Culture & Art Center, Ulsan, Korea

 

1995 Development, and Whereafter Ⅱ, Ulsan Culture & Art Center, Ulsan, Korea

 

1994 Development, and Whereafter, Ulsan Culture & Art Center, Ulsan, Korea

 

 

 

Performances

 

2016 À LA SUEUR DE MA TERRE, Invitation performance by 2015-2016 France-Korea Year, Saint-Pierre-des-coprs, France

 

2016 À LA SUEUR DE MA TERRE, Invitation performance by 2015-2016 France-Korea Year, I SEOUL YOU, Street Arts Creation factory performance, Seoul, Korea

 

2015 Cathedrale d'acier, Invitation performance, Pristina, Kosovo / Ansan

 

2014 Cathedrale d'acier, Invitation performance, Luxembourg city, Luxembourg

 

2014 Cathedrale d'acier, Invitation performance, Saarbrücken, Germany

 

2013 Cathedrale d'acier, Invitation performance, Chalon, France / Gwacheon, Korea

 

 

 

Publications

 

2018 Völklingen, Natural History of Industry, Snow of April

 

2014 Heavy Industry of Jo Choonman, Workroom

 

2002 Townscape, A private publishing

 

 

 

Collections

 

Asia Culture Research Institute, Ulsan Museum, Ulsan Whale Museum, Ulsan Court, Yeongnam Power Co., Ltd.