L: III. Remaining lists, sustaining manifestos
1.
I have made the lists of objects and manifestos of lists until now. The objects in the lists are the possibilities of the act as the metaphor for themes of my works, and the manifestos are the attempts to prove the validities of the chosen objects as subjects. Thus, my job was to cultivate the possibility and validity of making an object become an artwork.
2.
In 2017 when I decided to make a manifesto of model-kiwi, there was difficulty in carrying out the practice of Yeonsinnae. At that time, it seemed impossible to find the material from Yeonsinnae seemed significantly lacked the possibility and validity to be an artwork. So, I dealt with the model-kiwi first as the replacement or derivative object of Yeonsinnae, and the after objects, metal objects, etc., also did for the same reason. Nonetheless, the potential for Yeonsinnae to be an artwork or a subject for work could not be still caught. While completing several lists and manifestos, making the plan related to the practice of Yeonsinnae turned into obsessive homework. But, it helped Yeonsinnae to be part of my identity, and my Instagram ID changed to Yeonsinnae. Then again, my lists and manifestos naturally acquired their own theme over time, and the distance between Yeonsinnae and my practices gradually widened.
3.
There are diverse difficulties in dealing with the Yeonsinnae as the object. Once, I considered why Yeonsinnae is challenging to be a source of art in 'Yeonsinnae', one of the chapters of Deer, Nowhere Figure. And I thought the reason was there were only "common remorse" and "trifling cuteness" among the citizens. Since Yeonsinnae had just trifling-ness, I have been practising in search of objects containing the trifling senses ever since. It is still hard to find an attractive point in Yeonsinnae. Although I drew some conclusions in my own way from objects having weak senses I dealt with, it is still hesitant to start the practice of Yeonsinnae.
4.
In Yeonsinnae, too many people live, and many facilities and relationships exist. Almost everyone here grew up sharing their childhoods, seeing how the shops went out of business every morning and experiencing their regular shops disappearing. But the people here, where 60,000 people come and go every day, have been not seeing the same space. So, it seems impossible for Yeonsinnae to be regarded as one object.
5.
Even as the years go by, there is less contact with childhood friends and fewer and fewer friends to meet in Yeonsinnae. So the memories of this place are becoming nostalgic for the people who live here, and I am also in the same. Since adulthood, the number of eating in Yeonsinnae has decreased exponentially every year, and now there are few times. Perhaps that is why the gap between Yeonsinnae and my work has gradually widened, even though I have constantly been thinking about working on Yeonsinnae.
6.
In 2017 and 2019, I made a "Rusty Object List". It was a list that literally wrote down objects that were difficult to use as material. From this list that I could write down endlessly, I concluded that no object in the world has the possibility to be a work. But now that I think about it again, every object seems to be able to acquire the feasibility of becoming art when the artist and the audience put in a lot of effort to say that an object is a work.
7.
The lists that have been made since 2020 are always awkward. These seem to be able to include any object and do not feel like complete works. However, about three months of effort were given to each list to persuade it to be a work, and as a result, the lists were given possibilities of about three months' amount of worth of the art and helped me make three months' worth of manifestos. Although the three-month lists are awkward and challenging to declare as works, they are faithfully fulfilling their role as lists through the three-month manifestos.
8.
A method like this may work again. My lists and manifestos were 'the rehearsal to produce the practices related to Yeonsinnae'. No matter how irrelevant the results of the list and manifestos seem to Yeonsinnae, and the relationship between Yeonsinnae and me seems to be gradually weak, that proposition still remains. It is still alive and well that the objects having the trivial sense, which I saw when I decided to deal with Yeonisnnae, became the subjects of my lists and manifestos and that these subjects are derived from the source of Yeonsinnae. Thus, looking again at the lists while tying them up, at this point, I can give the name "the rehearsal to produce the practices related to Yeonsinnae" to these lists. The reason why rusty objects, which cannot become art, can be artworks is there was the artist and audiences' agreement that 'this is art'. Perhaps, the new name, "the rehearsal to make the works related to Yeonsinnae", given to the lists can give the possibility to be an art to Yeonsinnae.
