||Ggooll, meaning honey in English, is an art space(representative Choi Jung-hwa) and newly opens with the pool season opening exhibition. Following up his trial for practical engagement with art and social system, the artist Choi Jung-hwa, once again organizes his perspective for restoring the relationship between arts and everyday life.
Ggooll is a kind of organic space where bare, cafe, studio, 'Ccuull Pool'(꿀풀 means honey grass, pool's experimental art project space) and Gaeum Lounge interconnects each other for co-existing. Ggooll intersects visual arts, architecture, design and performance, just like proliferous bacteria. This 'living collective activity', which comes beyond the boundary between art, creation and everyday life scene, triggers the productive meaning between process, encounters, sharing and coexistence, rather than focusing on the result only. Ggooll is going to embrace the experiments of cultural producers who search for alternative from the disconnected structure between art activities, livelihoods, everyday life's citizen and artists.
Ccuull pool is not an arts residence, a gallery, a showroom, a curatorial office, a studio nor an art shop, but only a hybrid space combining all of above characteristics. Allowing the cultural producers to be gathered together, their working process, works, livelihood collaborative activities and all of their encounters will be unfolded here. Ccuull pool attepmts to problematize the gap between the labor as arts production and the labor as livelihood, which cannot postpone or disguise any more for cultural producers from the art production scenes. How can we then connect both a labor as livelihood and a labor as arts production, to create another form of art production? Or, how can the ordinary labor be creative without being labeled as 'creation' and also, how can they imagine their own creative curatorship? Alternatively suggesting so-called 'informal' kinds of labor by cultural producers whom frequently deals both kinds of labors, ccuull pool project is going to unite the realistic question about their reality between art, everyday life and art production. This attempt must be an urgent question toward the reality where we are living now: for changing the cultural producer's concept about the labor as livelihood, how can we encourage the labor to flow into a kind of creative production or another potential work, and what labors as livelihood can be reproduced as a potential art work.