Alvin Lee, Bung Lyol /  Director, I A C O Agency

'The modern philosopher ‘Deluze’ defines philosophy's logic as the" experimental entertainment by thought" of private reasons, comparing the aesthetic value of which all artists must constantly experiment with new reasons for private ways and transfer from the past. The artist should always have the obligation to experiment and analyze based on his strong self-denial toward novelty with the spirit of the artist's age. All of these artists' actions and their attitudes are causing a tragic tendency to go down the road to becoming a low-level artist, which is classified on the side of inertia and sublimity that cannot be approached to the extremes of aesthetics. Therefore, if one neglects to think about contemporary culture, art and philosophy, they cannot become a productive and creative artist. The meaningless way of doing things all day in the studio with a brush is to be an anachronistic way of working.'

'What is the artist's style? This is a philosophy, art and world view 'acquired from instinct through spontaneous emotion flowing through the artist's unconscious.' Without this, an artist is bound to be a death-like beings. They are mental, psychological, and physiological factors that support life that exists and breathe. The "flow of consciousness" is the standard for evaluating modern literature. This is the most fundamental criterion for distinguishing the historical context of literature from the perspective of the times when analyzing and evaluating linguistic expressions and investigations in the works of fiction. Refers to the inner and characteristic language content of the artist, while clearly distinguishing the author's period consciousness and background from ancient, modern and modern works. This is in the same vein for art. Of the pictorial elements of a work, it refers to the material, technique, expression style, and concept of work at the center of the concept of the work, the madness and the intangible implied expression in which the writer's consciousness of creative spirit, which incorporates all of it, should be embedded. For example, modernity, which is the basis point for the above literature, is more like a paradoxical expression of "Paradox" or irony than a metaphorical expression of "metaphore" in "the stream of consciousness."'

"현대 철학자 들뢰즈(Deleuze)는 철학의 논리를 "사유의 실험적 유희”라고 정의하는데 모든 작가들의 사유방식에 대한 새로운 사유를 끊임없이 실험하고 지난 것으로부터 이전해야 할 미학적 가치를 비유해본다. 작가는 늘 새로움을 향한 강한 자기부정을 기초하여 실험하고 분석해야 할 의무를 작가적 시대정신으로 지녀야 한다. 이러한 작가들의 모든 행위와 작품태도는 미학의 극치에 접근 할 수 없는 관성과 아류의 편에 분류되는 낮은 수준의 작가가 되는 길로 가는 비극적 경향을 만드는 요인이 되고 있다. 따라서 늘 동시대 문화, 예술, 철학에 관련한 고민을 게을리 해서는 생산적이고 창의적인 작가가 될 수 없다고 생각한다. 작업실에서 붓을 들고 하루 종일 버티는 무의미한 과거 방식은 시대착오적인 작업방식이 되는 것이다. "

"작가에게 의식의 흐름이란 곧 살아 숨 쉬는 ‘아방가르드 정신’이며 작가의 새로운 극한 미학의 작품세계를 향한 탐구적인 도전정신을 말하고 있다. 작가의식은 그가 표방하는 전부이자 작품의 고귀한 가치성인 것이다. 작가는 과거와 인습으로부터 늘 깨어 있어야 한다. 과학자와 같은 자세의 실험을 언제나 작가의 정신적 도구라고 생각해야 하며 결과적으로 그 실험장에서 창조라는 사유와 의식의 덩어리를 원심분리기에서 추출하는 고농축 우라늄처럼 예술의 거대한 신종 에너지의 결정체를 발견해야 하는 것이다. 동시에 늘 의식과 정신은 머물러 있어서는 않된다. 예술가로써 작가의식이 고여 있다면 그것은 곧 죽음의 병에 이르는 것이다. 작가의 움직임은 항상 의식의 허구와 다차원의 세계에서 부유하고 방황하지만 초월적 사유, 직관과 광기의 자유로운 싸움을 두려워하지 않고 때로는 황량하고 죽음에 이르는 고독한 실험자가 되기를 자청해야 위대한 예술품을 창조하는 진정한 작가가 되는 것이다."

'In conclusion, the flow of consciousness to the artist is the living and breathing avant-garde spirit, and the inquiring spirit of challenge to the work world of the artist's new extreme aesthetics. The artist's sense is all he represents and the high quality value of his work. A artist should always be awake from the past and conventionalities. An experiment in the same posture as a scientist should always be considered an artist's mental tool, and consequently find in the laboratory a huge new energy crystal of art, such as highly enriched uranium, which extracts a lump of creation and consciousness from a centrifuge. At the same time, consciousness and spirit should not always remain. As an artist, if you have the artist's sense, it will soon lead to the disease of death. The artist's movement is always to be a lonely experimenter, who creates great works of art, without fear of rich and wandering but transcendent reasons, without fear of free fighting of intuition and madness.'

Among the article by
Independent curator Lee Bung-yeol, I A C O Agency

Story of JeMA Museum alley

Around the museum are Hanok Village, Pungnammun Gate, and Nambu Market, which have lived together with the Joseon Dynasty's history since 500 years ago. Although it is now the most backward part of the city, it was once crowded with many merchants from all over the country, including 1.869 million in 1937. It is an old traditional market, following the history of Southern Gate located outside Jeonju Castle from the mid-Joseon Dynasty. 

Along with the Hanok Village, the market is popular to the visitors over the weekend, and the old province hall building will be demolished nearby and the Jeonla Gamyoung building will be restored in 2019. The museum was actually print shops and Chowan medicine production factory filled with sweat from 40 workers, where had have been used only as warehouses for the past 10 years without managing at all as if abandon site, making it was a difficult place for people to visit. 

Based on successful domestic and foreign cultural arts, the JeMA MUSEUM will serve as a landmark for cultural and arts as a companion medium to move from an industrial era of production to an era of art and culture.