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2017, installation view @Art Sonje Center 1F(photo: Hong Cheolki)


ํ•˜๋‚˜์ฝ”, ์œค์œค์ตœ, ์ตœ์œค ๊ฐœ์ธ์ „


โ€˜์•„ํŠธ์„ ์žฌ ํ”„๋กœ์ ํŠธ ์ŠคํŽ˜์ด์Šคโ€™์—์„œ๋Š” 2017๋…„๋„ ์—ฌ์„ฏ ๋ฒˆ์งธ ํ”„๋กœ์ ํŠธ๋กœ ์„œ์šธ์‹œ๋ฆฝ๋ฏธ์ˆ ๊ด€์—์„œ ์ง„ํ–‰ ์ค‘์ธ โ€น์‹ ์ง„๋ฏธ์ˆ ์ธ ์ง€์› ํ”„๋กœ๊ทธ๋žจโ€บ์˜ ์˜ฌํ•ด ์„ ์ •์ž‘๊ฐ€ ์ตœ์œค์˜ ๋‘ ๋ฒˆ์งธ ๊ฐœ์ธ์ „ ยซํ•˜๋‚˜์ฝ”, ์œค์œค์ตœ, ์ตœ์œค ๊ฐœ์ธ์ „ยป์„ ๊ฐœ์ตœํ•œ๋‹ค.


์ตœ์œค์€ (๊ณต๊ณต) ํ™˜๊ฒฝ๋ฏธํ™”, ์‹ค๋‚ด์žฅ์‹, ์ทจ๋ฏธ์‚ฌ์ง„, ์ „ํ†ต๋ฌธํ™”, ํ•œ๋ฅ˜๋ฌธํ™” ๋“ฑ ์†Œ์œ„ ํ†ต์†์ ์ด๋ผ ์นญํ•ด์ง€๋Š” ๊ฒƒ๋“ค์— ์ฃผ๋กœ ๊ด€์‹ฌ์„ ๊ฐ€์ ธ์™”๋‹ค. ์ด๋Ÿฌํ•œ ์ด๋ฏธ์ง€๋“ค์€ ๊ณผ๊ฑฐ๋‚˜ ๋ฏธ๋ž˜์—์„œ ์˜จ ๊ฒƒ ๊ฐ™์ง€๋งŒ ๋™์‹œ๋Œ€์˜ ๋ถ€์‚ฐ๋ฌผ์ด๋ฉฐ, ์šฐ๋ฆฌ์˜ ์ผ์ƒ์—์„œ ์‰ฝ๊ฒŒ ๋ฐœ๊ฒฌํ•  ์ˆ˜ ์žˆ์ง€๋งŒ ์ฃผ๋ชฉํ•˜์ง€ ์•Š์œผ๋ฉด ๋ณด์ด์ง€ ์•Š๋Š” ๊ฒƒ๋“ค๋กœ ์–ด๋”˜์ง€ ์ƒ๊ฒฝํ•จ์„ ์ž์•„๋‚ธ๋‹ค. ์ตœ์œค์€ ์ด๋Ÿฌํ•œ ์ด๋ฏธ์ง€๋“ค์„ โ€˜์ฐŒ๊บผ๊ธฐโ€™๋ผ ๋ถ€๋ฅด๋ฉฐ, ์ด๋“ค์„ ํฌ์ฐฉํ•˜๊ณ  ์ด์ ‘, ์žฌ๋ฐฐ์น˜ํ•˜๋ฉด์„œ ๋ณธ๋ž˜ ์ด๋ฏธ์ง€๊ฐ€ ์‚ฌ์šฉ๋˜๋Š” ๋ฐฉ์‹๊ณผ ์ด๊ฒƒ์— ํˆฌ์˜๋œ ์‚ฌ์šฉ์ž ๊ฐœ์ธ ํ˜น์€ ์ง‘๋‹จ์˜ ์‹ฌ๋ฆฌ์™€ ๋ฏฟ์Œ์ด ๋ฌด์—‡์ธ์ง€ ์งˆ๋ฌธํ•ด ์™”๋‹ค. ์ด๋ฒˆ ์ „์‹œ ยซํ•˜๋‚˜์ฝ”, ์œค์œค์ตœ, ์ตœ์œค ๊ฐœ์ธ์ „ยป ์—ญ์‹œ๋„ ์ด๋Ÿฌํ•œ ์งˆ๋ฌธ์˜ ์—ฐ์žฅ์„ ์—์„œ ๊ทธ๊ฐ€ ์žฌ์ƒ์‚ฐํ•ด๋‚ธ ์ด๋ฏธ์ง€๋“ค์ด ๋ฌด์—‡์„ ๊ทธ๋ฆฌ๋ฉฐ ์–ด๋””๋ฅผ ํ–ฅํ•˜๊ณ  ์žˆ๋Š”์ง€๋ฅผ ์ž‘์—…์— ๋“ฑ์žฅํ•˜๋Š” ์„ธ ์ธ๋ฌผ โ€˜ํ•˜๋‚˜์ฝ”โ€™, โ€˜์œค์œค์ตœโ€™, โ€˜์ตœ์œคโ€™์„ ํ†ตํ•ด ์‚ดํŽด๋ณด๊ณ ์ž ํ•œ๋‹ค.


์ž‘๊ฐ€๋Š” ์ด๋ฏธ์ง€ ์ƒ์‚ฐ์ž โ€˜์œค์œค์ตœโ€™๋ผ๋Š” ์ด๋ฆ„์œผ๋กœ ์ž์‹ ์˜ ํ™ˆํŽ˜์ด์ง€์— ์ž‘์—…์˜ ํŒŒํŽธ๋“ค(๋™์˜์ƒ, ๊ธ€, ์‚ฌ์ง„ ๋“ฑ)์„ ์—…๋ฐ์ดํŠธํ•ด์™”๋‹ค. ์ด๋“ค์€ ๋ชจ๋‘ ์ด๋ฏธ์ง€๋กœ ์น˜ํ™˜๋˜์–ด ํ™ˆํŽ˜์ด์ง€์˜ ํ•˜์–€ ๋ฐฐ๊ฒฝ ์œ„์— ๊ฒน๊ฒน์ด ์Œ“์ด๊ณ  ๋ˆŒ์–ด๋ถ™์–ด ์„œ๋กœ ์—‰์ผœ์žˆ๋Š” ๊ฒƒ์ฒ˜๋Ÿผ ๋ณด์ธ๋‹ค. ๋”ฐ๋ผ์„œ ๊ฐœ๋ณ„ ์ž‘์—…์˜ ๊ฒฝ๊ณ„๋‚˜ ์ž‘์—…๊ณผ ์ž‘์—…์„ ์œ„ํ•œ ์žฌ๋ฃŒ์˜ ๊ตฌ๋ถ„์„ ํŒŒ์•…ํ•˜๊ธฐ๊ฐ€ ์‰ฝ์ง€๋Š” ์•Š๋‹ค. ์ด์ฒ˜๋Ÿผ ์‹ค์ƒ ๋‹ค๋ฅธ ์‹œ์ œ๋ฅผ ๊ฐ€์ง„ ๊ฐœ๋ณ„์ ์ธ ์š”์†Œ๋“ค์ด ๋งŒ๋‚˜ ํ™ˆํŽ˜์ด์ง€ ์•ˆ์— ํ•˜๋‚˜์˜ ํ’๊ฒฝ์„ ๋งŒ๋“œ๋Š”๋ฐ ์ด๋Ÿฌํ•œ ๋ฐฉ์‹์€ ์ตœ์œค์˜ ์ž‘์—…์—์„œ๋„ ๋“œ๋Ÿฌ๋‚œ๋‹ค. ์ด๋ฒˆ ์ „์‹œ์—์„œ โ€˜์œค์œค์ตœโ€™๋Š” ์ด๋ฏธ์ง€์˜ ์ƒ์‚ฐ ๋ฐ ์ž‘๋™ ๋ฐฉ์‹์„ ๋‹ด๋‹นํ•˜๋ฉฐ, ํ™ˆํŽ˜์ด์ง€์— ํŒŒ์ผ๋“ค์„ ์—…๋กœ๋“œํ•˜๋“ฏ ์ „์‹œ์žฅ์— ํŒŒํŽธ๋“ค์„ ๋˜์ ธ ๋†“๋Š”๋‹ค. ์ด์ „ ์ž‘ํ’ˆ์— ๋“ฑ์žฅํ•˜๋Š” ๊ตฌ์„ฑ๋ฌผ๋“ค์„ ์ถ”์ถœํ•˜์—ฌ ์žฌ๊ฐ€๊ณตํ•˜๊ณ  ์ด๋“ค์ด ์„œ๋กœ ์–ธ์ œ๋“  ์ ‘์ฐฉ ๊ฐ€๋Šฅํ•˜๊ฒŒ ๋†“์•„๋‘”๋‹ค.
ํ•œํŽธ โ€˜ํ•˜๋‚˜์ฝ”โ€™๋Š” 2015๋…„๋ถ€ํ„ฐ ์ตœ์œค์˜ ์ž‘์—…์— ๋“ฑ์žฅํ•˜๋Š” โ€˜์ง„์งœ ์ด๋ฆ„์œผ๋กœ ๋ถˆ๋ฆฌ์ง€ ์•Š๋Š”โ€™ ์ต๋ช…์˜ ์ธ๋ฌผ์ด๋‹ค. ์—ฌ๋Ÿฌ ํŽธ์˜ ์˜์ƒ์ด ํ•˜๋‚˜์˜ ์žฌ์ƒ ๋ฆฌ์ŠคํŠธ๋กœ ์—ฎ์ธ โ€นํ•˜๋‚˜์ฝ”์™€ ๊น€์น˜์˜ค๋น  ์™ธ ์—ฐ์†์žฌ์ƒ(์ดํ•˜ โ€˜ํ•˜๋‚˜์ฝ” ์—ฐ์†์žฌ์ƒโ€™)โ€บ(2016 โ€“)์—์„œ๋Š” ํ•˜๋‚˜์ฝ”๋กœ ์ถ”์ •๋˜๋Š” ์ธ๋ฌผ์ด ์‹œ๊ณต๊ฐ„์„ ๋„˜๋‚˜๋“ค๋ฉฐ ๋ฌด๋ชจํ•˜๊ณ  ์•Œ ์ˆ˜ ์—†๋Š” ํ–‰๋™์„ ์ง€์†ํ•œ๋‹ค. ์˜ˆ๋ฅผ ๋“ค๋ฉด ์ง๋ฆฝ์„ ๊ฑฐ๋ถ€ํ•˜๊ณ  ๊ธฐ์–ด ๋‹ค๋‹ˆ๊ฑฐ๋‚˜, ๋ฑ…๊ธ€๋ฑ…๊ธ€ ๋Œ๋ฉฐ ์‚ฌ์ง„์„ ์ฐ์œผ๋ฉด์„œ ๋ฐฉ์œ„๋ฅผ ํฉํŠธ๋ฆฌ๊ณ , ๊บผ๋‚ด๋ฉด ๋ถˆํŽธํ•œ ๊ฒƒ๋“ค์„ ๋“ค์ถฐ๋‚ด๊ณ , ๋ฐ”๋‹ฅ์— ๋ชธ์„ ๋˜์ง€๊ณ , ๋ฒฝ์—๊ฒŒ ๋ง์„ ๊ฑด๋‹ค. ์ž‘๊ฐ€๋Š” ์ด๋Ÿฌํ•œ ํ–‰์œ„๋ฅผ โ€œ๊ธฐ์กด์˜ ์ง€๋„๊ฐ€ ์ง€๋‹ˆ๊ณ  ์žˆ๋Š” ๋ฌผ๋ฆฌ์ ์ธ ๋”ฑ๋”ฑํ•จ์„ ์–ด๋–ป๊ฒŒ๋“  ๊ฑฐ์Šฌ๋Ÿฌ ๋ณด๋ ค๋Š” ์›€์ง์ž„โ€์ด๋ผ๊ณ  ์„ค๋ช…ํ•œ๋‹ค. ์ด๋Š” ์ง€๋„๋กœ ๋น„์œ ๋˜๋Š” ๊ณ ์ •๋˜๊ณ  ๋‹จ๋‹จํ•œ ๊ด€๋…๊ณผ ๊ทœ๋ฒ”์ด ์ž์‹ ์˜ ๋ฌด๋ชจํ•œ ํ–‰๋™์œผ๋กœ ๊นจ์ง€์ง€ ์•Š์„์ง€๋ผ๋„ ๊ณ„์†ํ•ด์„œ ๋ถ€๋”ชํ˜€ ๋ณด๊ณ ์ž ํ•˜๋Š” ์ž‘๊ฐ€์˜ ์˜์ง€์™€ ๋ฏฟ์Œ์ฒ˜๋Ÿผ ๋“ค๋ฆฐ๋‹ค.
โ€นํ•˜๋‚˜์ฝ” ์—ฐ์†์žฌ์ƒโ€บ์€ ๋ฒฝ ๋„ˆ๋จธ ํ•˜์–€ ์ „์‹œ์žฅ์—์„œ ์ˆ˜๋งŽ์€ ํ•˜๋‚˜์ฝ”์™€ ๋„๊ตฌ๋“ค๋กœ ๋ถ„ํ• , ๋ณ€ํ™˜๋˜์–ด ํŽผ์ณ์ง„๋‹ค. ์˜์ƒ ์†์˜ ์–ผ๊ตด ์—†๋Š” ๋ชธ์ธ โ€˜ํ•˜๋‚˜์ฝ”โ€™๋Š” ์ „์‹œ์žฅ์—์„œ โ€˜์œค์œค์ตœโ€™๋ฅผ ๋งŒ๋‚˜ ํ˜„์‹ค์˜ ์—ฌ๋Ÿฌ ์ด๋ฏธ์ง€๋กœ ์‹ค์ฒดํ™”๋œ๋‹ค. ์˜์ƒ์—์„œ โ€˜ํ•˜๋‚˜์ฝ”โ€™์™€ ํ•จ๊ป˜ ๋“ฑ์žฅํ–ˆ๋˜ ์˜ค๋ธŒ์ œ๋“ค์€ โ€นํผํฌ๋จผ์Šค ๋„๊ตฌ์™€ ์ฐŒ๊บผ๊ธฐโ€บ(2017)๋ผ๋Š” ์ œ๋ชฉ์œผ๋กœ ์ „์‹œ์žฅ์— ๋‚˜์—ด๋˜๊ณ , ๊ธฐ์กด์˜ โ€นํ•˜๋‚˜์ฝ”50โ€บ(2015)์€ 100 ๋ช…์œผ๋กœ ๋Š˜์–ด๋‚˜ ๊ฐ๊ฐ 100 ์žฅ์”ฉ ์ธ์‡„๋˜์–ด ๋ฒฝ์— ์ง„์—ด๋œ๋‹ค. ์ด๋“ค์€ ์„œ๋กœ๋ฅผ ์ง€์‹œํ•˜๋ฉฐ ์ „์‹œ์žฅ์—์„œ ์šธ๋ ค ํผ์ง€๋Š” ๋ชฉ์†Œ๋ฆฌ๋ฅผ ๋”ฐ๋ผ ์–ธ์ œ๋“  ์˜์ƒ ์† ํ•˜๋‚˜์ฝ”์ฒ˜๋Ÿผ ํ’๊ฒฝ์— ์ ‘์†ํ•  ์ˆ˜ ์žˆ๋Š” ์ƒํƒœ๋กœ ๋†“์—ฌ์žˆ๋‹ค.
โ€˜์ตœ์œคโ€™์€ ์ด์— ๊ทธ์น˜์ง€ ์•Š๊ณ  ์ „์‹œ์žฅ ์•ˆ์— ์—ฌ๋Ÿฌ ์š”์†Œ๋“ค์„ ์ถ”๊ฐ€ํ•œ๋‹ค. โ€นํ•˜๋‚˜์ฝ” ์—ฐ์†์žฌ์ƒโ€บ์— ๋“ฑ์žฅํ•˜์ง€ ์•Š์•˜๋˜ ํ”ผ์นด์ธ„ ์ธํ˜•์ด๋‚˜ ์Œ์‹ ๋ชจํ˜•๋“ค๊ณผ ๊ฐ™์ด ์กฐ์•…ํ•œ ๋ฌผ๊ฑด๋“ค์ด ์•ฝ๊ฐ„ ๋ณ€ํ˜•๋œ ์ฑ„ ์ด๊ณณ์ €๊ณณ ๋ฐฐ์น˜๋˜์–ด ์ „์‹œ์˜ โ€˜์ฐŒ๊บผ๊ธฐโ€™ ์—ญํ• ์„ ํ•œ๋‹ค. ์ด๋“ค ์ฃผ๋ณ€์—๋Š” ๋งˆ์น˜ ๋ฐ์ดํ„ฐ์˜ ์ž”์—ฌ๋ฌผ์ธ ์บ์‹œ ํŒŒ์ผ๊ณผ ๊ฐ™์ด ๋๊นŒ์ง€ ์ง€์›Œ๋„ ๋‚จ๊ฒจ์ง„ ์ฐŒ๊บผ๊ธฐ์˜ ์ฐŒ๊บผ๊ธฐ๋“ค์ด ์ธํ„ฐ๋„ท ๋™์˜์ƒ์„ ํ‰๋‚ด ๋‚ด๋Š” โ€นSS ์‹œ๋ฆฌ์ฆˆโ€บ(2009 โ€“ 2017)์— ๋‹ฌ๋ผ๋ถ™์–ด ๊ณ๋‹ค๋ฆฌ ์žฅ์‹์œผ๋กœ ๋“ฑ์žฅํ•œ๋‹ค. ๋งˆ์ฐฌ๊ฐ€์ง€๋กœ ์–ด๋””์„ ๊ฐ€ ๋ณธ ์  ์žˆ๋Š” ์ธ์‚ฌํ•˜๋Š” ๋งˆ๋„คํ‚น โ€น์ธ์‚ฌ๋ด‡โ€บ(2017)์ด ๋น ๋ฅธ ํ†ต์‹  ์†๋„๋ฅผ ํ™๋ณดํ•˜๋ฉฐ ์ „์‹œ์žฅ ์ž…๊ตฌ์— ์„œ ์žˆ๊ณ , ์ธํ…Œ๋ฆฌ์–ด๋กœ ์• ์šฉ๋˜๋Š” ์™„์ œํ’ˆ ์ด๋ฏธ์ง€ โ€น์ฐฝ๋ฌธ๊ทธ๋ฆผ์•ก์žโ€บ(2017)์™€ โ€นํ•ด๋ฐ”๋ผ๊ธฐ ๋ฐ”ํƒ•ํ™”๋ฉดโ€บ(2017)์€ ์ „์‹œ์žฅ ๋ฒฝ๋ฉด์— ๋ถ™์–ด์žˆ๋‹ค. ์ด๋Ÿฌํ•œ ์š”์†Œ๋“ค์€ ํƒˆ์ฐฉ์„ ๋ฐ˜๋ณตํ•˜๋ฉฐ ๋ฒฝ ์‚ฌ์ด๋ฅผ ์˜ค๊ฐ€๊ณ , ์œ ๋ฆฌ์ฐฝ ๋„ˆ๋จธ ๋ณ€ํ˜•๋œ ํ•œ๋ณต์„ ์ž…์€ ์‚ฌ๋žŒ๋“ค๋กœ ๋ถ์ ์ด๋Š” ๊ฑฐ๋ฆฌ์˜ ํ’๊ฒฝ๊ณผ, ๊ทธ๋ฆฌ๊ณ  ๋˜ ๋‹ค๋ฅธ ํ’๊ฒฝ์œผ๋กœ ๋งํฌ๋œ๋‹ค.


์ด๋ ‡๊ฒŒ ์ „์‹œ์žฅ์— ํฉ๋ฟŒ๋ ค์ ธ ์žˆ๋Š” ์š”์†Œ๋“ค์€ ๋งˆ์น˜ โ€˜ํ•˜๋‚˜์ฝ”โ€™, โ€˜์œค์œค์ตœโ€™, โ€˜์ตœ์œคโ€™์ด ์„œ๋กœ ์„ž์ด์ง€ ์•Š๋Š” ๋“ฏํ•˜๋ฉด์„œ ์ด์–ด์ง€๋Š” ๊ฒƒ์ฒ˜๋Ÿผ ํ’๊ฒฝ๋“ค ์‚ฌ์ด์—์„œ ์ ํ”„์— ์ ํ”„๋ฅผ ๊ฑฐ๋“ญํ•˜๋ฉฐ ์—ฐ๊ฒฐ์„ ์‹œ๋„ํ•œ๋‹ค. ๊ฒฐ๊ตญ ์ž‘๊ฐ€๋Š” ์—ฌ๋Ÿฌ ๋Œ€๋ฆฌ์ธ์„ ์˜ค๊ฐ€๋ฉฐ ์ค‘๊ณ„ํ•˜๋Š” ์ธ๋ฌผ๋กœ์„œ โ€˜์œค์œค์ตœโ€™์ด๊ณ , โ€˜ํ•˜๋‚˜์ฝ”โ€™์ด๋ฉด์„œ โ€˜์ตœ์œคโ€™์ธ, ๋‹ค์ค‘์˜ ํ˜น์€ ์ต๋ช…์˜ ๋ชฉ์†Œ๋ฆฌ๋ฅผ ์ •์ œ๋˜์ง€ ์•Š์€ ์ƒํƒœ๋กœ ๋‚ด์งˆ๋Ÿฌ ๋ฒ„๋ฆฐ๋‹ค. ๊ทธ๋Š” ์™œ ์ด๋Ÿฐ ํ–‰๋™์„ ํ•˜๋Š” ๊ฑธ๊นŒ? โ€˜ํ•˜๋‚˜์ฝ”โ€™ ํ•˜๋ฉด ์ œ์ผ ๋จผ์ € ์ผ๋ณธ์˜ ํ”ํ•œ ์ด๋ฆ„ ์ค‘ ํ•˜๋‚˜๋ผ๊ณ  ์ƒ๊ฐํ•˜์ง€๋งŒ, ์–ผ๊ตด์—์„œ โ€˜์ฝ”โ€™ โ€˜ํ•˜๋‚˜โ€™ ๋งŒ ๊ธฐ์–ต์— ๋‚จ์•„ ๋ถ™์€ ๋ณ„๋ช…์ด๊ฑฐ๋‚˜, ์‹๋ฏผ์ง€ ์‹œ์ ˆ์— ๋ถˆ๋ฆฐ ์ด๋ฆ„์ด๊ธฐ๋„ ํ•˜๋‹ค. ๋งŽ์€ ์‚ฌ๋žŒ(๋‹ค์ค‘)์˜ ์ด๋ฆ„์ด ์ˆจ๊ฒจ์ง„ ์ด๋ฆ„(์ต๋ช…)์ด ๋˜๊ณ , ๋ง์”Œ์›Œ์ง„ ์ด๋ฆ„(๊ฐ€๋ช…)์ด ๋œ๋‹ค. โ€˜์ตœ์œคโ€™์ด โ€˜์œค์œค์ตœโ€™๋ฅผ ๋ถˆ๋Ÿฌ์™€ โ€˜ํ•˜๋‚˜์ฝ”โ€™์™€ ํ•จ๊ป˜ ์ œ์‹œํ•œ ์ฐŒ๊บผ๊ธฐ์™€ ์ด๋ฌผ์งˆ์€ ์ฃผ๋ณ€์— ํŽธ์žฌํ•˜์—ฌ ๋‹น์—ฐํ•˜๊ฒŒ ์—ฌ๊ฒจ์ง€๊ฑฐ๋‚˜ ๊ฐ์ถฐ์ง€๊ณ  ์žŠํžŒ ๊ฒƒ๋“ค์ด๋‹ค. ๊ทธ๋ ‡๋‹ค๋ฉด ์ด ์„ธ์ƒ์— ๋ชจ๋“  ํ•˜๋‚˜์ฝ”๋Š” ์ฃฝ์—ˆ๋‚˜ ์‚ด์•˜๋‚˜? ๋ถ„์—ด์ ์œผ๋กœ ์กด์žฌํ•˜๋Š” ์ˆ˜๋งŽ์€ ํ•˜๋‚˜์ฝ”๋Š” ์ˆœ๊ฐ„์ˆœ๊ฐ„ ๋์—†์ด ๋ณ€์ดํ•˜๋ฉด์„œ ํ’๊ฒฝ์˜ ๊ฒฝ๊ณ„๋ฅผ ํ—ค์ง‘๊ณ  ๋‹ค๋‹Œ๋‹ค.


์ฃผ์ตœ ์•„ํŠธ์„ ์žฌ์„ผํ„ฐ
ํ›„์› ์„œ์šธ์‹œ๋ฆฝ๋ฏธ์ˆ ๊ด€




Hanaco, Yunyunchoi, Choi Yun Solo Exhibition


Art Sonje Project Space presents Choi Yunโ€™s second solo show Hanaco, Yunyunchoi, Choi Yun Solo Exhibition as its sixth project of this year. This show is supported by Seoul Museum of Art as part of Emerging Artists & Curators Supporting Program.


Choi Yunโ€™s consistent interest lies mainly in the things that have been deemed banal which include (public) beautification projects, interior decorations, avocational photography, and Hallyu (the Korean wave). Although these images seem to come from the past or the future, but they are in fact contemporary by-products. They are easily spotted in our daily life but at the same time are invisible if you donโ€™t pay attention, accordingly it produces a sensation of alienation somehow. Choi calls these images โ€˜media cache.โ€™ The artist has captured, relocated, and rearranged them to delve into how images are originally employed and what the mentality and belief of individual and group users embedded in them. Hanaco, Yunyunchoi, Choi Yun Solo Exhibition continues on with these questions; it looks into the images reproduced by the artist what these images picture and where these head for through three characters from the worksโ€”โ€œHanaco,โ€ โ€œYunyunchoi,โ€ and โ€œChoi Yun.โ€


The artist, under the name of Image Producer โ€˜Yunyunchoi,โ€™ has updated fragments of the works (videos, texts, photographs, etc.) on her website. The fragments are all converted into images, stacked on top of a white background of the webpage, scorched and tangled up together. So it is not easy to determine the boundaries of the individual works as well as their respective material. Accordingly, individual elements with separate tenses come together at the website to make up a single scene. Such an approach prevails in Choi Yunโ€™s works. In this exhibition, โ€˜Yunyunchoiโ€™ is in charge of production and operation of images, throwing fragments at the gallery space as if uploading files to the webpage. Extracting components from the previous works, she has reproduced in another forms and exposes them attachable to one another at any given moment.
โ€˜Hanacoโ€™ is an anonymous character who is โ€˜not called by the real nameโ€™ and has appeared in Choi Yunโ€™s works since 2015. In Hanaco and Mr. Kimchi etc. Playback (2016โ€“), a single playlist which holds together various videos, a character, possibly Hanaco, keeps crossing over time and space as well as acting recklessly and beyond comprehension. For instance, Hanaco refuses to stand straight; instead she crawls, turns round and round while taking pictures, disorienting the point of the compass, exposes things that are better hidden, flings herself on the floor, and calls out to wall. The artist explains this behavior as โ€œan act to somehow reverse the physical rigidity of maps.โ€ The comment seems to indicate the will and confidence of the artist in carrying with the challenge even when the fixed ideas and firm norms likened to maps would not break from her reckless attempts.
Hanaco and Mr. Kimchi etc. Playback comes out to the gallery space and appears as being divided and converted into countless Hanacos and tools. โ€˜Hanaco,โ€™ a faceless body from the video, is realized in various images of the reality from the encounter with โ€˜Yunyunchoiโ€™ in the gallery space. The objects from the video are laid out under the title of Performance Tool and Media Cache (2017); the existing Hanaco 50 (2015) is amplified into 100 characters each with 100 printed sheets displayed on the wall. They are pointing to one another within a state where itโ€™s possible to access to the scene, like Hanaco from the video, by following the voices echoing in the gallery space.
Choi Yun does not stop there but adds several elements in the gallery space. Shoddy objects that never made it to the scenes of Hanaco and Mr. Kimchi etc. Playback such as a Pikachu doll and food models are transformed and arranged here and there as the โ€˜media cacheโ€™ of the show. Around them cache of the cache that is left behind as residue of data despite countless attempts of elimination, like cache files sticks and functions as the insignificant decoration of SS series (2009โ€“2017) that mimics online videos. Likewise, a greeting robot that awakes a vague dรฉjร -vuโ€”hi-bot (2017)โ€”is standing by the entrance to promote the speed of communication. Window Picture Frame (2017) and Sunflower Wallpaper (2017), as images of complete products often used as interior accessories, are attached on the walls. These elements across over the walls as repeatedly attached and detached to one another. And they are linked to the scenes beyond the glass window of the gallery, toward the streets crowded with people wearing modernized hanbok, and another scenes.


As โ€˜Hanaco,โ€™ โ€˜Yunyunchoi,โ€™ and โ€˜Choi Yunโ€™ do not blend in together yet connect with one another somehow, the elements scattered on the exhibition floor jump between the landscapes again and again in an attempt to bridge them. In the end, the artist as a mediator interveins among several substitutes, โ€˜Hanaco,โ€™ โ€˜Yunyunchoi,โ€™ and โ€˜Choi Yunโ€™, and yells out unrefined, multiple or anonymous voices. But why is she doing this? When it comes to โ€˜Hanaco,โ€™ it is one of the most common Japanese names. But it could also be a nickname from an impressive โ€˜one (hana)โ€™ โ€˜nose (co)โ€™ from the face, or a name from the colonial era. The name of the many (multiple) becomes that of the hidden (anonymous), and an imposed name (fake). โ€˜Choi Yunโ€™ calls upon โ€˜Yunyunchoiโ€™ and with โ€˜Hanaco,โ€™ presents media cache and debris that was taken for granted or forgotten. Then are all Hanacos of the world dead or alive? Countless Hanacos in fragments are endlessly transforming and tearing up the boundaries of the landscape.


Hosted by Art Sonje Center
Supported by Seoul Museum of Art