Tote Vuitton MUN-GI YANG

By working on the luxury logo as a crystallization of contemporary desire at the heart of a capitalist consumer society and a phenomenon of globalization, I was mainly interested in the following question: how is a sign understood and communicated, a symbol that replaces language? Luxury brands reinforce the bourgeois populations in their desire to display their wealth and to distinguish themselves from others.

By observing the differences in the recognition obtained by the valuation of the possession of luxury brand objects in France, the country of origin of the luxury product, and in Korea, where they were gradually imported, I was led to rethink the source of desire and consumption. By focusing on Korean society, my field, I raised new questions. What role does the luxury bag play here? How does the luxury brand logo work visually and how do I integrate it into my lithic work?

ARTIST

Mun-Gi Yang was born in 1970 in Gwangju, South Korea. He graduated from Fine Arts at Chosun University.

In 2012, the artist-sculptor presented Story of LUXURY STONE at the Okgwa Museum of Art, South Korea. This exhibition revealed the particular attention he pays to the meaning and symbolism of the luxury bag by exploiting the aesthetic potential of stone. In this exhibition, 45 works proposed to question the nature of the object and the human being and the structure of social mechanisms in the elaboration of contemporary desires. These Luxury stones, although initially appearing as parodic works on Chinese counterfeit bags from major brands such as Louis Vuitton or Chanel, go far beyond a simple imitation or representation of these objects. By the very characteristics of these stone objects, the useful function of the bag disappears. Losing all functionality, the object is now transformed into a symbol-object, an icon.

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