In the meantime, if you demand on the one hand, in defiance of their opinion— the raw material of poetry in all its rawness, and that which is on the other hand, genuine, then you are interested in poetry. Thus the exhibition never stays still, not because of the content in the painting, but of subtlety of the garden with the real toads. 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She considered the act of moving images onto the screen as a kind of adapting, so she expressed this idea through the title of the work. 혹여 보여준다고 하더라도, 정원 안에 두려고 하기보다는 ‘아카이브 섹션’으로 따로 만든다. By collecting printed folding screens in antique shops throughout the processes, (that were particularly intrigued by the back of folding screen grafted with Japanese newspapers and Joseon Onoda sacks of the 1930s), the artist traces back to the journey of the folding screen painting that could have voyaged across Japan, Seoul, Hamgyeong-namdo and Shineui-ju. One of the most striking moments in the poem is the phrase "imaginary gardens with real toads in them," a formulation Moore sets off with quotation marks even though, as far as I … Haeni Park/Laurence Geoffrey's, Ltd. This is one of the fullest (as it is one of the most persuasive) accounts of the necessities of poetry, as these May this piece be a small guide to her ‘imaginary gardens.’if you demand on the one hand, in defiance of their opinion-      genuine, then you are in interested in poetry.

The correct answer is option C. In her poem "Poetry", Marianne Moore suggests that poetry involves literal and imaginative elements.
떠나는 배의 뒷모습을 담은 <상상의 정원에 진짜 두꺼비들을>(2019)에서는 배에서 마주했던 실제 사건들과 유람 중에 각 도시에서 우연히 발견한 사물, 건물 등에서 찾은 도상을 동일 선상에 펼쳐내며, 여기에 본인이 직접 경험한 이 곳의 풍경을 더해 과거와 현재를 연결한다. For this exhibition Imaginary Gardens with Real Toads, the artist writes a fictional narrative based on the historical and cultural archives of stories and events on specific places or surrounding objects. Something seemed to give way inside me while looking at it. The blue wall lying aslant the seat holds seemingly the works of the artist and the documents collected from somewhere. 삶의 실상은 어쩌면 병풍의 뒷모습 같은 것이 아닐까. …same thing may be said for all of us—that we do not admire what we cannot understand. Driven by her interest in old places, photos, objects or things that have kept the traces of days past which have become purposeless, thus extinct or quasi-extinct, Rhaomi has used collected materials to assume the former times they once inhabited and adds her own imaginary stories to create a new thought-provoking narrative. 1923년 관동대지진 때 요코하마 초등학생의 작문과 가토 기요마사의 호랑이 사냥 전설을 이야기하는 목소리. Like Marianne Moore, we like to think of poems as "imaginary gardens with real toads in them." Interestingly, the "literalists of the imagination," as Miss Moore's "Note" to the poem tells us, comes from Yeats's Ideas of Good and Evil, where Yeats speaks of Blake. I too, dislike it: there are things that are important beyond   Reading it, however, with a perfect contempt for it, one         if it must, these things are important not because ahigh-sounding interpretation can be put upon them but because   useful; when they become so derivative as to become         holding on upside down or in quest of something toeat, elephants pushing, a wild horse taking a roll, a tireless   a tree, the immovable critic twinkling his skin like a horse         to discriminate against “business documents andschool-books”; all these phenomena are important. 과하지 않게, 적당하게 보여지고 감춰지면서 공간에 자리하고, 그 안에서 다시 그림과 소통하면서 또 다른 이야기를 파생시키는 흐름을 만들어낸다.


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