POST ARCHIVE FACTION (PAF): FINAL CUT
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.
“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.