{"id":24753,"date":"2020-06-10T07:27:34","date_gmt":"2020-06-10T07:27:34","guid":{"rendered":"https:\/\/cahierdeseoul.com\/?p=24753"},"modified":"2025-10-31T09:12:24","modified_gmt":"2025-10-31T08:12:24","slug":"%ec%84%a0%ea%b3%bc-%ec%84%a0%eb%b6%84","status":"publish","type":"post","link":"https:\/\/cahierdeseoul.com\/ko\/%ec%84%a0%ea%b3%bc-%ec%84%a0%eb%b6%84\/","title":{"rendered":"\uc120\uacfc \uc120\ubd84"},"content":{"rendered":" \n

Patrimoine culturel important en Cor\u00e9e du Sud, la c\u00e9ramique contemporaine se r\u00e9invente avec l\u2019arriv\u00e9e d\u2019une nouvelle g\u00e9n\u00e9ration de cr\u00e9ateurs qui s\u2019\u00e9mancipent des codes traditionnels. Nourris d\u2019influences diverses, ces jeunes designers red\u00e9finissent le m\u00e9dium selon l\u2019esth\u00e9tique et les pr\u00e9occupations actuelles.<\/p> \n

Si on associe souvent la c\u00e9ramique \u00e0 la sculpture et \u00e0 la peinture, les c\u00e9ramiques de Minseon Kim se rapprochent davantage du graphisme et de l\u2019image num\u00e9rique. A contrepied de la plupart des c\u00e9ramistes, Minseon Kim privil\u00e9gie l’\u00e9vocation \u00e0 l’expressionnisme. En exp\u00e9rimentant les techniques de fabrication, elle supprime de ses objets aux formes lisses et aux aplats color\u00e9s\u00a0 toute mat\u00e9rialit\u00e9 et volume pourtant inh\u00e9rents au travail de la terre.\u00a0Les objets de Minseon Kim sont des fragments po\u00e9tiques qui viennent s\u2019imbriquer dans les sc\u00e8nes du quotidien.<\/p> \n

Minseon Kim a cr\u00e9\u00e9 son studio de c\u00e9ramique Line and Segment en 2017.<\/p> \n

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Polu and melemele \u00a9 Lilia Luganskaia<\/figcaption><\/figure> \n
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Polu and melemele \u00a9 Lilia Luganskaia<\/figcaption><\/figure> \n
\u00a0<\/div> \n
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Polu and melemele \u00a9 Lilia Luganskaia<\/figcaption><\/figure> \n


‘Polu and Melemele’ <\/strong>
La s\u00e9rie Polu and Melemele<\/em> est une collection de c\u00e9ramiques bleues et jaunes qui joue sur l\u2019opposition entre l\u2019aspect ext\u00e9rieur lisse et mate – due \u00e0 l\u2019absence de glacis – et celui de la surface int\u00e9rieure constell\u00e9e de taches qui \u00e9voque, au choix, une plage de sable ou un ciel \u00e9toil\u00e9.\u00a0



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01. <\/strong>Comment avez-vous commenc\u00e9 Line and segment<\/em>\u2009?<\/strong><\/p> \n \n

J\u2019ai \u00e9tudi\u00e9 la c\u00e9ramique \u00e0 l\u2019universit\u00e9 puis juste apr\u00e8s mon dipl\u00f4me, en 2017, j\u2019ai cr\u00e9\u00e9 Line and Segment<\/em> car je voulais lancer ma marque de produits. Avec le temps, j\u2019ai commenc\u00e9 \u00e0 d\u00e9velopper en parall\u00e8le un travail plus personnel et artistique.<\/p> \n

Aujourd\u2019hui, ma pr\u00e9occupation est de concilier ces deux aspects.<\/p> \n

02. <\/strong>D’o\u00f9 vient le nom Line and segment<\/em>\u2009\u2009?<\/strong><\/p> \n

Line<\/em> vient de mon pr\u00e9nom Seon qui signifie la ligne en cor\u00e9en. Segment<\/em> est un mot que j’aime bien. Je trouvais que la combinaison de ces deux noms correspondait bien \u00e0 mon travail.<\/p> \n \n

03. <\/strong>O\u00f9 est situ\u00e9 votre atelier\u2009?<\/strong><\/p> \n

Mon atelier est install\u00e9 \u00e0 Haebangchon \u00e0 S\u00e9oul, non loin du quartier d\u2019Itaewon. J\u2019\u00e9tais d\u00e9j\u00e0 venu ici plusieurs fois auparavant, mais \u00e0 l\u2019\u00e9poque, l\u2019atmosph\u00e8re \u00e9tait diff\u00e9rente. C\u2019\u00e9tait plus brut, mais le lieu me plaisait. Ce b\u00e2timent a \u00e9t\u00e9 construit \u00e0 la fin des ann\u00e9es 60 pour accueillir un march\u00e9 de nourriture. Aujourd\u2019hui, les boutiques de design et les ateliers ont remplac\u00e9 les \u00e9choppes de nourriture, mais l\u2019ambiance de march\u00e9 est rest\u00e9e.<\/p> \n

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\u00a9 Line and Segment<\/figcaption><\/figure> \n \n
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\u00a9 Jhee Soo Im<\/figcaption><\/figure> \n

04. <\/strong>Comment d\u00e9finiriez-vous le style de Line and segment\u2009?<\/strong><\/p> \n \n

Je m\u2019int\u00e9resse \u00e0 l\u2019art visuel en g\u00e9n\u00e9ral, que ce soit le graphisme, le cin\u00e9ma et la photographie. Je pense que cette tendance se refl\u00e8te dans mon travail.<\/p> \n

Pour la s\u00e9rie Polu and Melemele<\/em>, je voulais cr\u00e9er des c\u00e9ramiques qui aient une surface lisse et mate. Cet aspect homog\u00e8ne n\u2019est pas possible avec le glacis qui donne des r\u00e9sultats trop irr\u00e9guliers d’une c\u00e9ramique \u00e0 l’autre. Donc, pour obtenir une telle texture, j\u2019ai m\u00e9lang\u00e9 les pigments de couleur \u00e0 la terre sans utiliser de glacis. C\u2019est cet aspect qui diff\u00e9rencie ma c\u00e9ramique de la c\u00e9ramique traditionnelle.<\/p> \n \n

\u00a0
04. Qu\u2019est-ce qui vous inspire\u2009?<\/strong><\/p> \n \n

Toute sorte d\u2019images que j\u2019aime bien. En 2018, j\u2019ai fait une exposition dans la galerie de Twoffice \u00e0 S\u00e9oul. L\u2019artiste qui exposait apr\u00e8s moi \u00e9tait une photographe hollandaise du nom de Lilia Luganskaia. Comme elle aimait bien mes c\u00e9ramiques, elle m\u2019a propos\u00e9 que l\u2019on s\u2019\u00e9change une de nos \u0153uvres respectives. Je lui ai ensuite demand\u00e9 de photographier mes c\u00e9ramiques. Ce qu\u2019elle a accept\u00e9. Le but n\u2019\u00e9tait pas de faire de simples photos de produits, mais de faire une collaboration artistique. J\u2019ai donc envoy\u00e9 mes c\u00e9ramiques en Hollande. L\u2019une de nos inspirations \u00e9tait le film \u00ab\u2009les plages d\u2019Agnes\u2009\u00bb dans lequel la r\u00e9alisatrice Agnes Varda a plac\u00e9 plusieurs miroirs sur la plage. J\u2019aime bien m\u00e9langer mes c\u00e9ramiques avec d\u2019autres objets pour changer la lecture de mon travail.<\/p> \n

\"\"
Polu and melemele \u00a9 Lilia Luganskaia<\/figcaption><\/figure> \n
\"ceramique
\u00a9 Line and Segment<\/figcaption><\/figure> \n
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\u00a9 Line and Segment<\/figcaption><\/figure> \n \n


05. <\/strong>Quelles formes aimez-vous\u2009?<\/strong><\/p> \n \n

Je trouve les formes anciennes belles et subtiles, mais je trouve compliqu\u00e9 de les fabriquer. J\u2019aime bien l\u2019artiste anglaise Lucie Rie qui s\u2019inspire de la c\u00e9ramique traditionnelle japonaise.<\/p> \n

\"minseon<\/p> \n \n

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06. <\/strong>Y a-t-il des projets que vous aimeriez faire\u2009?<\/strong><\/p> \n \n

Je voudrais faire des projets plus conceptuels. Plus jeune, j\u2019avais r\u00e9alis\u00e9 une vid\u00e9o dans laquelle je m\u00e9langeais de mani\u00e8re al\u00e9atoire textes personnels, dessins et photos. Je l\u2019ai ensuite publi\u00e9 en livre. J\u2019ai bien aim\u00e9 ce travail, car contrairement \u00e0 la c\u00e9ramique qui a un processus de fabrication tr\u00e8s contraignant, j\u2019ai pu laisser libre cours \u00e0 mon imagination. J\u2019aimerais collaborer avec un artiste multim\u00e9dia pour refaire ce genre de projet. Par exemple utiliser l’impression 3D et la m\u00e9langer avec des techniques de fabrication traditionnelles.<\/p> \n \n


07. <\/strong>Quel aspect de la c\u00e9ramique pr\u00e9f\u00e9rez-vous\u2009?<\/strong><\/p> \n \n

J\u2019aime particuli\u00e8rement l\u2019aspect de la c\u00e9ramique apr\u00e8s la premi\u00e8re cuisson, quand la terre est encore humide. Elle a une beaut\u00e9 \u00e9trange et fragile. Les gens ne peuvent pas voir cet aspect de la c\u00e9ramique, car elle est \u00e9ph\u00e9m\u00e8re. Ensuite, la terre s\u00e8che compl\u00e8tement et se solidifie.<\/p> \n \n


08. Quel est votre lieu pr\u00e9f\u00e9r\u00e9 \u00e0 S\u00e9oul\u2009?<\/strong><\/p> \n \n

J\u2019aime bien le quartier Haebangchon o\u00f9 mon atelier est situ\u00e9, mais je pr\u00e9f\u00e8re Seongsu-dong o\u00f9 je vis depuis l\u2019\u00e2ge de 5\u00a0ans. J\u2019ai beaucoup d\u2019attachement pour ce quartier.<\/p> \n

Quand j\u2019\u00e9tais petite, c\u2019\u00e9tait un quartier industriel o\u00f9 l\u2019on pouvait voir les gens travailler dans la rue, devant leur boutique. Je me souviens que j\u2019\u00e9tais impressionn\u00e9 par les \u00e9tincelles projet\u00e9es par les soudeurs.<\/p> \n

Beaucoup de designers emm\u00e9nagent dans ce quartier, car comme c\u2019est un ancien quartier industriel, on y trouve beaucoup d\u2019espaces grands et hauts de plafond.<\/p> \n

\u00a0<\/p> \n \n

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<\/a>https:\/\/lineandsegment.com\/<\/a><\/strong><\/p> \n","protected":false},"excerpt":{"rendered":"

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