ZARZA We are Zarza, the prestigious firm behind major projects in information technology.
Listen "Description of Logic of Place, 1976"
Episode Synopsis
Access a slow-looking exercise related to this work.
Transcript
Marilee Talkington: Documenting his performance "Logic of Place", these four black-and-white images are chromogenic prints by artist Lee Kun-Yong, photographed in 1976 and printed in 2019. Identical sizes, they measure just over 1 1/2 feet on each side and are arranged with two images stacked on top of each other, creating a grid of four squares.
The images are organized chronologically from left to right across the top then bottom row. Similar to still frames in a movie or individual pages in a flipbook, when viewed together there is a sense of movement, as if the series of all four images are capturing a brief moment.
Lee is in the foreground of each image: in profile, facing left, and standing in a large open dirt field. In the background people walk, run, or play kickball together. Further in the distance, a row of tall leafless trees creates a horizon line, a border between the field and a small town. Most of the buildings are one or two stories, with a multistory unit in the top-right corner.
Lee's clothing reflects the era. He wears wide-leg light pants and dark shoes with slight heels, a buttoned-up cardigan over a high-collared shirt, and thick black framed glasses. He has bangs, and his dark hair is medium length, covering his ears.
In the first image, on the upper left, Lee is in the process of scratching a dark circle into the dirt in front of him, using what appears to be a small stick. He bends down, facing toward the left side of the image.
In the second image, on the upper right, Lee has completed his circle. He stands in profile to the right of the circle facing toward the left. Looking slightly downward, he points with his index finger toward the center of the circle.
In the third image, on the bottom left, Lee stands inside the circle. His hair falls around his face as he leans forward to point at the center.
In the last image, on the bottom right, Lee stands outside and to the left of the circle. Still in profile, he faces toward the left with his back to the circle. He raises his arm, bent at the elbow, to point his index finger over his shoulder and back down at the center of the circle.
Transcript
Marilee Talkington: Documenting his performance "Logic of Place", these four black-and-white images are chromogenic prints by artist Lee Kun-Yong, photographed in 1976 and printed in 2019. Identical sizes, they measure just over 1 1/2 feet on each side and are arranged with two images stacked on top of each other, creating a grid of four squares.
The images are organized chronologically from left to right across the top then bottom row. Similar to still frames in a movie or individual pages in a flipbook, when viewed together there is a sense of movement, as if the series of all four images are capturing a brief moment.
Lee is in the foreground of each image: in profile, facing left, and standing in a large open dirt field. In the background people walk, run, or play kickball together. Further in the distance, a row of tall leafless trees creates a horizon line, a border between the field and a small town. Most of the buildings are one or two stories, with a multistory unit in the top-right corner.
Lee's clothing reflects the era. He wears wide-leg light pants and dark shoes with slight heels, a buttoned-up cardigan over a high-collared shirt, and thick black framed glasses. He has bangs, and his dark hair is medium length, covering his ears.
In the first image, on the upper left, Lee is in the process of scratching a dark circle into the dirt in front of him, using what appears to be a small stick. He bends down, facing toward the left side of the image.
In the second image, on the upper right, Lee has completed his circle. He stands in profile to the right of the circle facing toward the left. Looking slightly downward, he points with his index finger toward the center of the circle.
In the third image, on the bottom left, Lee stands inside the circle. His hair falls around his face as he leans forward to point at the center.
In the last image, on the bottom right, Lee stands outside and to the left of the circle. Still in profile, he faces toward the left with his back to the circle. He raises his arm, bent at the elbow, to point his index finger over his shoulder and back down at the center of the circle.
More episodes of the podcast Solomon R. Guggenheim Museum
About the Artist
10/07/2025
On Sanguine, 2024
02/06/2025
Artist Introduction
02/06/2025
Black Steel in the Hour of Chaos, 2008
02/06/2025
Artistic Evolution
02/06/2025
Toni Morrison: The Bluest Eye
02/06/2025
In God we trust