상산 上山 over there

Text: Juwon Choi

The shade in the mountains resembles the fervent prayers of souls in Purgatory, reaching out to Dante in their agony. It shields us from intense sunlight and casts darkness upon the earth. In Dante's Divine Comedy, the prayers of those in Purgatory symbolize mourning and remembrance for the deceased, similar to the comfort provided by the shade. As we reflect on the representation of trees throughout history, the shade becomes a sanctuary where people seek solace and confront their inner darkness. Similarly, unresolved incidents of past state violence remain trapped in Purgatory, enduring in the shadow of their unresolved pain. jang minseung reflects on the past through his artistic practice of portraying social responsibility as an individual. He captures a profound sense of mourning through a documentary-style approach to nature, depicting sites such as Towangseong Falls in Seoraksan and Hallasan on Jeju Island. In the series of works, he climbs Mount Geumgang and Seoraksan, connected by rocky mountain ranges, under the name of Goseong in Gangwon Province. The exhibition over there is a prequel to jang minseung’s earlier works over there (2018), Arcadia (2016), and Voiceless (2014), offering insights into his motivation for climbing mountains and clues about his silent videos and photography of nature earlier in his practice.

Released in 2018, over there chronicles jang's 1,000-day journey of ascending and descending the snowy peaks of Hallasan and filming across Jeju Island. jang's unique approach involves choosing the worst weather conditions, demonstrating his dedication and willingness to risk his own safety in the face of nature's extremes. The dramatic scenes he captures are not merely for visual effect. He states that filming landscapes while traversing mountains is integral to his nature, much like walking, and that he regards mountains as a place of enlightenment. jang’s depictions of night waves in Jeju, the winds of Hallasan, and the mists invite the audience to reflect on and cherish the past that has faded. Within the framework envisioned by the artist, viewers engage in moments of meditation through sensory and visual experiences. The extensive photographic series from over there, a continuation of his over there series, captures these ephemeral moments and transitions into perceptual abstraction.

Among jang minseung's works that relate to the ocean—the moments 6’ 49” (2012), Address Unknown (2023), and over there somewhere everywhere (2021)—viewers are guided towards appreciation in abstract sense, by deeply immersing in nature. In the Moments 6’ 49”, recording a period of being stranded on a beach under a storm warning of Typhoon Bolaven in 2012, the only striking elements are the majestic waves, seemingly on the verge of crashing in the contrasting fine white bubbles. This scene juxtaposes the spectacular natural landscape with a sense of sublimity. Address Unknown is a new series focusing on close-up shots of glass beads embedded in sand on the beach, emphasizing the process rather than focusing on the results of the surface wear of the material. Both Address Unknown and over there somewhere everywhere, are series that reflect the artist’s contemplation from minor human affairs to the vast spectrum of nature and time. By capturing segments of nature's chronology in his artistic practice, jang metaphorically addresses the constructed history of society. His approach navigates between political and personal experience, ultimately engaging ‘action without acting’.

The title of the exhibition in Korean, '상산 Sangsan', refers to "mountain over a mountain," evoking a utopian vision akin to a mountain that surpasses even the highest peaks in its sanctity and mystical allure. The exhibition, stemming from jang minseung's research and artistic practice encapsulating nature, begins with the divided states of Geumgangsan and Seoraksan, separated by the political and geographical issue between North and South Korea. This division has interrupted the continuous story that once stretched from Baekdu Mountain to Hallasan, leaving only Hallasan in South Korea. He investigated mountain-related literature and plant stories in natural science from both before and after the Korean division. Part of the narrative includes personal stories about mountaineers who experienced the division, as well as related books, which are displayed as part of an archive. During his research, jang minseung accidentally discovered a plant called Sangsan, which grows near Hallasan and in the southern regions of Korea. Sangsan has always been a plant that protects the mountains. In fact, Sangsan plays a role in protecting the decaying bodies of the deceased from pests during long funeral periods with its distinctive strong fragrance, maintaining the dignity of the deceased on their final journey. He investigated literature related to mountains and botanical studies in natural science from both before and after the Korean War. Some of the stories, including personal narratives of mountaineers who experienced the division of Korea, along with related books, are exhibited as part of an archive. During the process, jang minseung unexpectedly discovered a plant called ‘Sangsan’ (Orixa japonica), which grows in Hallasan and the surrounding southern regions. Sangsan has traditionally served as a guardian of the mountains.

[1] Its distinctive, strong fragrance is crucial for protecting decaying bodies from pests during prolonged funeral periods, thereby preserving the dignity of the deceased throughout their final journey. While preparing this project, the artist was deeply moved by the profound connection between the majesty of nature, the death of mountaineers, and the culture that continually honors the deceased. This insight naturally led to the connection between the concept of "mountain over a mountain" and the Sangsan. The exhibition presents a multifaceted narrative woven through archival practices, serving as a prequel to jang minseung's project of remembrance and extending infinitely into the depths of his reflections on the shadows of the mountains.

over there is presented across four locations—Sokcho, Seoul, Jeju, and Gyeonggi—each imbued with historical and personal significance. It begins at Factory2 in Seoul, where Jang Min-seung’s earlier work, Sanglim (2014), was first shown at Gallery Factory. Now renovated into Factory2, the venue will showcase Jang Min-seung's latest works. The exhibition continues in Sokcho, at Chilsung Boatyard, which relocated from Wonsan of North Korea to south due to the Korean War. It then moves to Jeju, featuring Daedong Hotel and viaart, key sites for mountaineers for over 50 years and the base camp for jang minseung's over there. Finally, it concludes in Gyeonggi at Suraksan Mountain Hut, the last remaining stone lodge from the Yushin era.

This extensive project transcends ideology to tell the story of everyone living on the Korean Peninsula. As visitors engage with the exhibition across various locations, there lies hope that these sites may become sanctuaries or safe havens for each individual. The experience is designed to be a spiritual journey, much like mountaineering, where the path and actions taken leave a lasting impression. It aspires to evoke universal empathy in today’s sense of urgency, hoping that the message of over there resonates deeply and reaches the heavens.

[1] The plant Sangsan (常山), meaning "always in the mountains," was introduced by Kim Byeong-wan, a curator at the Jeju Special Self-Governing Province Folklore and Natural History Museum. Kim’s interpretation aligns with both the plant’s name and its societal significance. This project adopts that interpretation to underscore the plant’s meaning and its cultural relevance.