'Ajeossi,' K-pop and media art

Jung Yeon-doo’s “Crayon Pop Special” will be on display at Plateau, Samsung Museum of Art, in downtown Seoul through June 8. / Courtesy of Plateau

Artist Jung Yeon-doo

By Kwon Mee-yoo

For his latest work, media artist Jung Yeon-doo found inspiration in a subject some might feel is cringe-worthy: middle-aged men obsessed with girl pop bands.

If you’re not familiar with this demographic, you need look no further than the centerpiece of Jung’s "Spectacle in Perspective’’ exhibition at Plateau, Samsung Museum of Art in downtown Seoul.

The piece comprises of an empty stage, bereft of any of the gyrating that’s become K-pop’s calling card. But there are plenty of blinding lighting effects, blaring music and a screen that shows overjoyed men ― many of them looking to be on the wrong side of 40 ― screaming in support of Crayon Pop, the goofy girl group.

The work, titled "Crayon Pop Special,’’ is less about the five youthful singers than their older male fans who call themselves "popjeossi,’’ Jung said.

"As a middle-aged, Korean male, I immediately sympathized with popjeossi when I first saw them cheering for Crayon Pop at an outdoor performance. The energy of these fans also felt unique.

“Contemporary art is a reflection of our time and space and a large part of the expression is an attempt at communicating with the people living now. This is what I think I did with Crayon Pop Special,’’ Jung said.

Before opening the exhibition, Jung invited about 50 of Crayon Pop’s middle-aged male fans to the gallery and asked them to shout for the singers as if they were on the vacant stage. Jung filmed them for the display.

Jung’s “Vigil’s Path” recreates Auguste Rodin’s “The Gates of Hell” in three-dimensional imagery.

"These men come from the generation of people who were on the streets protesting for democratization in the 1980s. Now they are grouped in a fan club for singers who are much closer in age to their daughters. They are seriously devoted, showing up at performances with their own costumes and props,’’ Jung said.

"I find it interesting that these men find a sense of freedom while being knee-deep in fandom. I think this provides a new perspective with which we can interpret our society.’’

Crayon Pop Special offers a stark contrast to Jung’s other works at the exhibition, which are rather poignant.

"Vigil’s Path’’ is Jung’s attempt at the Rodin masterpiece ``The Gates of Hell’’ in three-dimensional imagery. Visitors need to wear a virtual reality headset, similar to the ones used in the latest game machines, to Jung’s ``sculptures,’’ which float like holograms.

Jung did not base his images on the original work and instead had models pose like Rodin’s figures to convey a sense of energy and movement in his stereoscopic images.

"This gallery has two of Auguste Rodin's works on permanent display, so I felt the pressure to impress. I majored in sculpture in college and I also wanted to prove I can be good in this,’’ Jung said.

The exhibition also chronicles Jung's earlier works where the artist tried to capture moments of vibrancy in the most mundane of daily experiences.

"Hero’’ (1998), one of Jung’s first photographic works, shows a young man blazing across a town in a motorcycle. Upon closer look, the viewers will notice that he is just one of the many Chinese food deliverymen that people can see every day.

“Evergreen Tower” (2001) shows 32 typical Korean families living at a rental apartment complex in eastern Seoul. The structure of each house is exactly the same, but each family has different dreams.

“Six Points” (2010), straddles the line between still photography and video, in order to tell the story of six immigrant communities. The background slowly changes and the people are illuminated, making each one surreal, but a protagonist.

Spectacle in Perspective runs through June 8. Admission is 3,000 won. For more information, visit www.plateau.or.kr or call 1577-7595.