Installation view of 《POST ARCHIVE FACTION (PAF): FINAL CUT》 © ARARIO Gallery
Arario
Gallery Seoul is delighted to announce 《FINAL CUT》, an exhibition by POST ARCHIVE
FACTION (PAF). This exhibition adopts an unprecedented state of coexistence,
which manifests between the final decision leading to completion and the
inception of what is to come. “FINAL CUT” represents the simultaneous embodiment
of anxiety and excitement that exists within the interlocking of endings and
beginnings, reflecting its infinite nature, much like that of the Mobius strip.
POST
ARCHIVE FACTION (PAF), or ‘PAF’, attempts to introduce its artistic and
experimental attitude in the context of art. Founded in 2018, the menswear
brand ‘PAF’ is characterized by its avant-garde experiments that form the basis
for its bold and drastic deconstruction of patterns. The artistic
experimentation of ‘PAF’ stems from its philosophy, which is rooted in the idea
that strict boundaries between art, fashion, furniture, and design are no
longer meaningful in the contemporary era. In the exhibition, ‘PAF’ takes the
spirit of experimentation further by confronting the challenges and questions
surrounding the notion of boundaries through visualization.
Installation view of 《POST ARCHIVE FACTION (PAF): FINAL CUT》 © ARARIO Gallery
《FINAL CUT》 is comprised of two main
sections. In the basement, ‘PAF’ focuses on conceptualizing the ’pattern’. A
pattern is a simple template that finalizes the design and determines the basis
of a garment before it is assembled. Erika COX, Artistic Director of ‘PAF’,
translates two-dimensional patterns derived from garments into
three-dimensional objects. This presentation of patterns, which have deviated
from the existing perception of the concept, generates a sense of uncertain
tension. The simultaneous appearance of construction and deconstruction
reflects the ethos of PAF, in that a pattern is “most beautiful before its
imminent realization.” In terms of architectural cognizance, rather than
following the conventional method of having light fall from top to bottom and
intensively illuminating each work, the light rises from the floor and the
works are spread out across the horizon. Visitors float through the space where
the light flows in reverse, discovering the pleasure that can only be possible
when the dominant perceptual pattern is broken.
Unlike the
basement, which approaches the concept of ‘pattern’ through visualization,
‘pattern’ is addressed through action and behavior on the second floor. In this
regard, a ’pattern’ refers to a specific behavioral style that triggers a
rethinking of the viewer-participator’s behavioral pattern through the cohesion
of art and fashion as a physical space. In the exhibition space, artworks and
garments are hung from structural installations. The performative act of
opening and closing the structures is induced by the natural transition from
passive appreciation to active participation.
The
artistic experimentation presented by ‘PAF’ becomes more elaborate with the
intervention of artists—original inhabitants of the gallery space—such as KIM
Byoungho, GWON Osang, KIM Inbai, LEE Jihyun, NOH Sangho, DON Sunpil, SIM
Raejung, and JANG Jongwan. As though they are revealing their hand, each of the
artists reveals their ‘pattern’ in the exhibition, which adapts the structure
implemented by ‘PAF’ and seemingly deviates the execution of the works.
Offering an unexpected and pleasant stimulus to both the artists and the
audience, 《FINAL CUT》 is intended to maximize the anomalies that can occur in the moment
of coexistence.
