¿©±â¶ó´Â ½ÅÈ£
Floating and Sinking
Àü½Ã Àå¼Ò
°¶·¯¸®ÆÑÅ丮 (¼¿ï½Ã Á¾·Î±¸ ÀÚÇϹ®·Î 10±æ 15)
Àü½Ã ÀÏÁ¤
2015³â 11¿ù 6ÀÏ (±Ý) ~ 12¿ù 13ÀÏ (ÀÏ)
¿ÀÇÁ´× 2015³â 11¿ù 6ÀÏ (±Ý) Àú³á 6½Ã
±âȹ
Á¶Àººñ Curated by Jo Eunbi
Âü¿© ¾ÆÆ¼½ºÆ®
ÀÌÀ±ÀÌ Yi Yunyi
ÀÌÁ¦ Leeje
¿ÀÁ¾Çö Oh, Jong
2015 ÆÀÆÑÅ丮
°¶·¯¸® ÆÑÅ丮´Â 2015³âºÎÅÍ ½Éµµ ÀÖ´Â Çù¾÷À» ½ÃµµÇϱâ À§ÇØ °ÇÃà, ¿µÈ, ¹®È ±âȹ, µðÀÚÀÎ µîÀÇ ºÐ¾ß¿¡¼ Ȱµ¿ÇÏ´Â µ¿·áµé°ú ÇÔ²² ÄÚ¿öÅ· ½ºÆäÀ̽º·Î¼ µµ¾àÀ» ½ÃÀÛÇÕ´Ï´Ù. ¶ÇÇÑ 2015³âÀÇ ÆÑÅ丮 Àü¹ÝÀûÀΠȰµ¿ÀÇ ÁÖÁ¦¾îÀÎ ¡®ÄÝ·ºÆ¼ºê ¼Ò¿ï_Collective Soul¡¯ÀÇ ÀǹÌó·³ °³ÀÎÀü Áß½ÉÀÇ Àü½Ã ÇÁ·Î±×·¥¿¡¼ ÇÑ °ÉÀ½ ³ª¾Æ°¡ ¸ðµç Àü½Ã ÇÁ·ÎÁ§Æ®¸¦ ÃâÆÇ, ¿öÅ©¼ó, µîÀÇ º¹ÇÕµÈ ÇÁ·Î±×·¥À¸·Î ±¸¼ºÇϰíÀÚ ÇÕ´Ï´Ù. ¿Ã ÇÑÇØ ¾à 4Â÷·Ê ÁøÇàµÉ Àü½Ã ÇÁ·ÎÁ§Æ®´Â °¢±â ´Ù¸¥ ¹æÇ⼺¿¡ ¸ÂÃç ´Ù¾çÇÑ Àü¹®ÀÎÀ¸·Î ±¸¼ºµÈ¡®ÆÀ ÆÑÅ丮¡¯¿Í ÇÔ²² °øµ¿À¸·Î ±âȹ/ÁøÇàµÉ ¿¹Á¤ÀÔ´Ï´Ù.
¹ø¿ª
±è¼ÖÇÏ Kim Solha
¿µ»ó±â·Ï
±èÁö¿ø Kim Jiwon
ÈÄ¿ø
Çѱ¹¹®È¿¹¼úÀ§¿øÈ¸, ¼¿ï¹®ÈÀç´Ü
¹®ÀÇ
°¶·¯¸®ÆÑÅ丮 / 02 733 4883 / www.factory483.org / galleryfactory@gmail.com
°ü¶÷½Ã°£
È - ÀÏ, ¿ÀÀü11½Ã - Àú³á7½Ã
Àü½Ã ³»¿ë
¡°ÀÚ, ¾Ëº£¸£°¡ ÀÇÀÚ¿¡¼ °í²Ù¶óÁú ¶§Ã³·³ ¸ö¿¡¼ ÈûÀ» ÂÓ »©ºÁ. ±×·³ ¸öÀÌ ÄÚ¸£Å© ¸¶°³Ã³·³ ¹° À§·Î ¶°¿À¸¦ °Å¾ß. ¾ÆÁܸ¶¿¡ ´ëÇÑ Àý´ëÀû ½Å·Ú ¼Ó¿¡ ³ ¸öÀÇ ÈûÀ» ´Ù »©°í ¼ö¸éÀ¸·Î ´Ù½Ã ¿Ã¶ó¿Ô´Ù. (...) ³»ÀÏÀº ±íÀº ¿õµ¢ÀÌ¿¡´Ù ´øÁ®ÁÖ¼¼¿ä. ³Ê È¥ÀÚ¼± ¿Ö ¸øµé¾î°¡´Âµ¥? ¹«¼¿ì´Ï±î ±×·¸ÁÒ! °øÆ÷°¡ Èñ¿·Î ¹Ù²î´Â ¹¦ÇÑ °æÇè. ´õ ¸Ö¸® ´øÁ®ÁÖ¼¼¿ä. ´õ ³ôÀº µ¥¼ ´øÁ®ÁÖ¼¼¿ä, ¶Ç¿ä! ¶Ç¿ä! ¸Å¹ø ºÒ¾È°¨Àº ¿ë±â·Î, ¿ë±â´Â Áñ°Å¿òÀ¸·Î, Áñ°Å¿òÀº ÀںνÉÀ¸·Î, ÀںνÉÀº ÇູÀ¸·Î ¹Ù²î¾ú´Ù.¡±
- ´Ù´Ï¿¤ Æä³ªÅ©, <¸öÀÇ Àϱâ>, ¹®Çаú Áö¼º»ç, 352p.
ÀÌ Àü½Ã´Â ºñÀ¯ÄÁ´ë, ¶°¿À¸§(floating)¿¡ °üÇÑ °ÍÀÌ´Ù. ¶° ÀÖ´Ù´Â °ÍÀº °¡¶ó¾ÉÀ¸·Á´Â ¹«°Ô¿¡ ´ëÇÑ ¹ÝÀÛ¿ëÀ¸·Î, ¿Ã¶ó°¡·Á´Â Èû¿¡ ÀÇÇØ ÁöÅʵȴÙ. ÀÌ ÈûÀº, »ó½Â°ú Çϰ, À¯¿µ°ú ħ¸ô, µ¹¾Æº½°ú Á÷ÁøÀ» ¸ñÀü¿¡ µÐ, ¾ÆÁ÷ ¡®¾î¿ ÁÙ ¸ð¸£´Â¡¯ °Íµé »çÀÌ¿¡ Á¸ÀçÇÑ´Ù. ´Ù½Ã ¸»ÇØ, ¶° ÀÖ´Ù´Â °ÍÀº ¹ÝÂë Àá°Ü ÀÖ´Ù´Â ¶æÀ̱⵵ ÇÏ´Ù. ±×·¸°Ô À§¾Æ·¡·Î ÆØÆØÇÏ°Ô Àâ¾Æ ´ç°ÜÁø ¡®¶° ÀÖ´Â °Í¡¯Àº, ´Ü´ÜÇÑ Åä´ë¸¦ ÀÒ°í ³Ê¿ïó·³ ¿äµ¿Ä¡´Â, Áö±Ý ÀÌ ¼¼°è ¼Ó °³ÀεéÀÇ ¾Æ½½¾Æ½½ÇÑ ¸ð½À°ú ´à¾ÆÀÖ´Ù. Çѱ¹ »çȸ¸¦ ¿Ï°ÇÏ°Ô Áö¹èÇÏ´ø Á¦µµ³ª °ü½À, ȤÀº »ý¾ÖÁÖ±â¿Í °°Àº ±Ô¹üµéÀÌ ¾àȵǸé¼, °³ÀεéÀº 'ºÎÀ¯ÇÏ´Â ´À³¦'À» ¹Þ´Â´Ù. ±âÁ¸ Æ®·¢¿¡ ´ÚÄ£ À§±â´Â ¿ÀÈ÷·Á À̸¦ ¼öÈ£Çϱâ À§ÇÑ ¿òÁ÷ÀÓÀ» Ãßµ¿½ÃŰÁö¸¸, µ¿½Ã¿¡ °Å±â¼ ÀÌÅ»ÇÑ °³ÀεéÀº (Ç¥·ùÇÏÁö ¾ÊÀ¸·Á´Â) ÁÖ°üÀûÀÎ »î¿¡ ´ëÇÑ ÀÇÁö¸¦ °®±âµµ ÇÑ´Ù.
ÀÌ Àü½ÃÀÇ Âü¿© ÀÛǰµé ¿ª½Ã °íÁ¤µÈ ÇüŸ¦ Áö´ÏÁö ¾Ê°í À¯µ¿ÀûÀÎ °æ°è¸¦ ÀÌ·ç¸é¼ ¸¶ÁÖÇÑ´Ù. ±×·¸°Ô Àü½Ã´Â ÇÑ °ø°£¿¡ ³õÀÎ ¼·Î ´Ù¸¥ ¹°¼ºµé(È¸È¿Í ¼³Ä¡, ¹«ºùÀ̹ÌÁö¿Í »ç¿îµå)ÀÇ »óÈ£ÀÛ¿ë¿¡¼ ºñ·ÔÇÑ, Âû³ªÀÇ °¨°¢À» ¼¶¼¼ÇÏ°Ô µå·¯³»°íÀÚ ÇÑ´Ù. ÀÌ À¯µ¿ÀûÀÎ »óÅ´Â, ¿À´Ã³¯ ¹Ì¼ú°¡¿Í ÀÛǰÀÇ Á¸Àç ¹æ½Ä¸¸ÀÌ ¾Æ´Ï¶ó, ´ëºÎºÐÀÇ °³ÀÎÀÌ Ã³ÇÑ º¸ÆíÀûÀÎ Çö½ÇÀ» Áö½ÃÇϸç, Àü½ÃÀÇ Áú¹®À» ²ø¾î³½´Ù. ³Ê(³ª)ÀÇ ºÎ·ÂÀ» ¾î¶»°Ô À¯ÁöÇÒ ¼ö ÀÖÀ»±î. µî´ë°¡ º¸ÀÌÁö ¾Ê´Â ¸Á¸Á´ëÇØ À§¸¦ ¶°´Ù´Ï¸ç ¼·Î¿¡°Ô º¸³»´Â ¡®¿©±â¶ó´Â ½ÅÈ£¡¯´Â, ¸¸³²¿¡ ´ëÇÑ ºÒÈ®½Ç¼º ±×¸®°í ±× ¼Ó¿¡¼ ³¡³¡³» °ÇÁ® ¿Ã¸®°í ½ÍÀº, ¾î¶² ÀÇÁöÀÇ Ç¥Â¡ÀÌ´Ù. ¡®´êÀ» µí ¸»µí¡¯, ¡®º¸ÀÏ µí ¸»µí¡¯, ¡®µ¹¾Æ¼³ µí ¸»µí¡¯ ÇÑ ±× Âû³ªÀÇ °¡´É¼ºÀº, Áö±Ý ÀÌ ¼ø°£¿¡µµ ¾îµð¿¡¼±°¡ ½î¾Æ ¿Ã¸° ºÒºÐ¸íÇÑ ½Åȣó·³ »óÁ¸Çϰí ÀÖÀ» °ÍÀÌ´Ù. ±×°ÍÀº ¿©±â ½º¸¶Æ®Æù ȸé À§·Î ºÎǥó·³ ¶°¿À¸¥ Á¢¼Ó (ºÒ)°¡´ÉÇÑ ¿©·¯ ³×Æ®¿öÅ©ÀÇ ½ÅÈ£ÀÏÁöµµ, ȤÀº Á¤¹ÚÁö¸¦ ÀÒÀº ´©±º°¡ÀÇ ±ä±ÞÇÑ Á¶³ ½ÅÈ£ÀÏÁöµµ ¸ð¸¥´Ù.
ÀÌÁ¦(1979)´Â »î¿¡ ´ëÇÑ ¼ºÂûÀÌ Åë°úÇÏ´Â ¼öÇàÀûÀÎ ¡®±×¸®±â¡¯¸¦ ÅëÇØ¼ È¸é ¼Ó¿¡ ¡®¿Â±â¡¯¸¦ ºÒ·¯³» ¿Ô´Ù. ÀÌ Àü½Ã¿¡¼ ÀÛ°¡´Â Àι°ÀÇ ¼ø°£ÀûÀÎ µ¿ÀÛÀ» ¿©·¯ Àå¸éÀ¸·Î ³ª´©¾î ¿¬¼ÓÀûÀΠȸéÀ» ±¸¼ºÇÑ´Ù. °³º° È¸é ¼ÓÀÇ Àι°Àº ÇÑ ¸íÀÌ¸é¼ µ¿½Ã¿¡ ¿©·µÀ¸·Î, Çѱ¹ »çȸ ¼Ó¿¡¼ ¿©±âÀú±â·Î ¡®¶°¹Ð¸®´Â¡¯ ¾ÆÁÖ º¸ÅëÀÇ ¿©¼ºÀ» Ç¥»óÇÑ´Ù. ¿©±â¼ ±×³à(µé)ÀÇ ¹ÝÂë ºñư ÀÚ¼¼´Â ¿ÜºÎ(ȤÀº ŸÀڷμ ¡®°ü°´¡¯)ÀÇ ½ÅÈ£¿¡ ´ëÇÑ ¾ç°¡ÀûÀÎ ÇØ¼®À» ²ø¾î³½´Ù. ÀÌ´Â ´©±º°¡ÀÇ ºÎ¸§¿¡ ´ëÇÑ ÀÀ´äÀÏ ¼öµµ ÀÖ°í, ¿ÀÈ÷·Á µÚ¸¦ µ¹¾Æº¸Áö ¾Ê°í ¾ÕÀ» ÇâÇØ ÀüÁøÇÏ·Á´Â ÀÇÁöÀÏÁöµµ ¸ð¸¥´Ù. ¾ÆÁ÷ È®Á¤µÇÁö ¾ÊÀº »óȲ ¼Ó¿¡¼ Àι°ÀÇ ³»Àû °¥µî°ú ±×³àÀÇ °í°³ ¾ÕµÚ¿¡ Á¸ÀçÇÏ´Â ¡®Çö½Ç¡¯Àº °ü°´ÀÇ À§Ä¡¿Í ½ÃÁ¡¿¡ µû¶ó ´Ù¾çÇÏ°Ô ÇØ¼®µÉ ¼ö ÀÖ´Ù.
ÀÌÀ±ÀÌ(1979)´Â ÀÚ½ÅÀÇ »ç/°øÀûÀÎ ±â¾ï°ú À̾߱âµéÀ» ÀÛ¾÷ÀÇ ¸ðƼºê·Î »ï¾Æ, »ç¿îµå¿Í À̹ÌÁö, ÅØ½ºÆ®¸¦ È¥ÇÕÇÑ ¿µ»óÀ¸·Î ±¸ÇöÇØ¿Ô´Ù. À̹ø Àü½Ã¿¡¼ ÀÛ°¡´Â ¿µ»ó¿¡¼ ³ªÅ¸³ª´Â »ó½Â°ú ÇϰÀÇ ¿òÁ÷ÀÓ°ú Á¤¼ÀûÀÎ »óÅ¿¡ ´ëÇÑ Ç¥Çö °¡´É¼ºÀ» °í¹ÎÇÑ ¿µ»ó ¼³Ä¡¸¦ ¼±º¸ÀδÙ. ´©±º°¡¸¦ ÇâÇØ ¼ÕÀ» »¸´Â ÇàÀ§°¡ ¹Ýº¹µÇ´Â ¡®¹«ºù À̹ÌÁö¡¯´Â (¾îµò°¡¿¡) ¡°´êÀ» µí ¸» µí¡±ÇÑ Àý¹ÚÇÔÀ» µå·¯³»¸ç, ±×·³¿¡µµ ºÒ±¸ÇÏ°í ¡®³Ê¡¯¸¦ ³õÁö ¾Ê°í, ±×°Í¿¡ °¡´ê°Ú´Ù´Â ÀÇÁöÀûÀΠŵµ¸¦ ³²°ÜµÐ´Ù. ƯÈ÷, Àü½Ã °ø°£¿¡¼ °íÁ¶¿Í ÀúÁ¶¸¦ ¹Ýº¹ÇÏ¸ç ¿ï·Á ÆÛÁö´Â ¾ç°¢ ³ªÆÈ ¼Ò¸®´Â, ¡®º¸ÀÌÁö ¾Ê´Â °Í¡¯À» ÇâÇÑ ¿øÃÊÀûÀÎ ½ÅÈ£·Î½á ÀÛǰÀÇ °ø°¨°¢ÀûÀÎ ½É»óÀ» °Çµå¸°´Ù.
¿ÀÁ¾Çö(1981)Àº ¼±, ¸é°ú °°Àº ´Ü¼øÇÑ ±¸¼º¿¡ ÀÇÇÑ ÃÖ¼ÒÇÑÀÇ °³ÀÔÀ» ÅëÇØ °ø°£ÀûÀÎ °æÇèÀÌ À¯¹ßÇÏ´Â ±äÀåÀ» µå·¯³»´Â Àå¼Ò ƯÁ¤ÀûÀÎ ¼³Ä¡ ÀÛ¾÷À» ÇØ¿Ô´Ù. ¡®½Ç, ³ª¹« ¸·´ë, ¼è¸·´ë, Åõ¸íÇÑ ³¬½ËÁÙ, ¿¬Çʼ±¡¯ µî ¸Å¿ì ´Ü¼øÇÑ ¼±ÀûÀÎ Àç·áµéÀ» ÀÌ¿ëÇØ¼ °ø°£¿¡ ÁïÈïÀûÀ¸·Î ¹ÝÀÀÇϴµ¥, ƯÈ÷ Àü½Ã °ø°£¿¡ Á¸ÀçÇÏ´Â Áß·Â, ºû°ú Á¶¸í, ±×¸²ÀÚ¿Í °°Àº ¿ä¼Ò¸¦ ÀÛǰ¿¡ Àû±ØÀûÀ¸·Î ÀÌ¿ëÇÑ´Ù. ÀÚ¼¼È÷ º¸Áö ¾ÊÀ¸¸é Áö³ªÄ¥ ¼ö ÀÖ´Â, °ø°£À» °¡·ÎÁö¸£´Â ¡°º¸ÀÏ µí ¸» µí¡±ÇÑ ¹Ì¼¼ÇÑ ½Ç¼±ÀÇ ¡®Àå·Â¡¯Àº °ø°£¿¡ ±äÀå°ú ¶³¸²À» Á¶¼ºÇÑ´Ù. ÀÌ·¸°Ô °ø°£°ú ÀÛ¾÷ÀÇ ¾Æ½½¾Æ½½ÇÑ ±ÕÇü À§¿¡¼ µÑ »çÀÌÀÇ °æ°è´Â ¸ðÈ£ÇØÁö°í, ÀÛ°¡´Â °ø°£°ú ÀÛǰ »çÀÌ¿¡¼ ¼¶¼¼ÇÑ ±ÕÇüÀ» ¸ÂÃá´Ù. ÀÛ°¡¿¡ ÀÖ¾î À̶§ÀÇ ¡®±ÕÇü¡¯Àº, ¾çÂÊÀÇ ÈûÀÌ ¸Â´ê¾Æ °øÁ¸ÇÏ´Â »óÅÂÀ̸ç, ÀÌ´Â ÀÛǰ°ú °ü°´ÀÌ ´ë¸éÇÏ´Â ¼ø°£À» ÀºÀ¯ÇÑ´Ù.
Floating and Sinking
¡°Look, try to relax your body like when Albert falls off the chair. Then your body will float on the water's surface like a cork. Having absolute trust on the lady, I relaxed my whole body and resurfaced out of the water. (...) Please throw me into a deep hole tomorrow. Why can't you go in by yourself? It's because I'm scared, of course! Strange experience of fear transforming into bliss. Throw me farther. From a higher spot. Again! Again! Every time, anxiety changed to courage, courage to joy, joy to pride, pride to happiness.¡±? -? Translated from the Korean translated version, Daniel Pennac, <Journal d'un corps>, Moonji Publishing, 352p
This exhibition as a metaphor, is about floating. Floating is the counteraction against drowning weight, maintained by the soaring power. This power exists between things which are still 'not aware of what to do' right at the brink of rise and fall, swimming and sinking, turning back and going ahead. In other words, floating also means half-submerged. As such, 'floating' in the sense of being tightly stretched upward and downward, resembles the individuals in this current world who have lost their solid ground, their risky fate thrashing about like a heaving sea. This feeling of floating springs from the weakening of the norms that had been strongly ruling the Korean society, such as the nation, people, system or custom, life cycle. As the existing tracks become unstable, the norms designed to guard these tracks strengthen themselves and simultaneously, we can find the urge growing for (anti-drift) subjective life of individuals who have broken away from such tracks.
Similarly, the exhibits in the show face each other while creating fluid borders, without any fixed form. The exhibition attempts to reveal the delicate sense of the instant which springs from the reactions among different materialities(painting, installation, moving image, and sound) in a single space. This fluidness not only indicates the existential manner of the contemporary artist and artwork, but also the universal reality in which most individuals find themselves, and brings about the question cast by the exhibition. How can your(my) buoyancy be maintained? 'The signal I am here' sent to each other while floating around the open sea where not a single lighthouse is in sight, is a symbol of the uncertainty of encounter and of a certain will to fish something out of such uncertainty. The possibility of the instant which is 'almost palpable', 'nearly visible', and 'just about to turn away', must exist at this moment as some unclear signal launched from somewhere unknown. It might be the signals of various networks which can(not) be accessed which float on the smartphone screen like buoys, or the emergency signals sent from somebody who has lost anchorage.
Leeje has called upon the 'warmth' onto the screen by performative 'drawing' through which reflection on life passes. In the exhibition, the artist composes consecutive screens by dividing a figure's momentary movement into several images. The figure found in each screen is expressed as a single person and several people at the same time, representing an average woman who is 'shoved' around in the Korean society. Her half-twisted posture alludes to the ambivalent interpretation of the exterior signal(or the audience as the other's signal). This could be a response to somebody's calling, or else, the will to proceed without turning back. In the yet uncertain situation, the 'reality' existing in front of or at the back of the figure's interior conflict and her head shift, could be interpreted in diverse ways according to the location and viewpoint of the audience.
Yunyi Yi has realized videos mixing sound, image and text, based on her private/official memories and stories as her motifs for creation. In the exhibition, Yi presents the video installation work in which she has revealed the possibility of expressing the movements of rise and fall in the video and the emotional state. 'Moving Image' made of repeated movements of stretching one's arm toward somebody, portrays the desperateness of ¡°almost palpable yet not quite there¡± and despite this state, the willful attitude of not giving up on 'you' and trying to reach it remains. Especially, the sound of trumpets of ram¡¯s horns resonating in the exhibition space while repeating high and low tunes, stimulates the synesthetic image of the art work as the primitive signal sent toward 'something invisible.'
Jong Oh has been working on site-specific installation work revealing tension created by spatial experience with minimum intervention of simple compositions of lines and planes. The work reacts impromptu to the space by using very simple linear materials such as 'thread, wooden or metal stick, transparent fishing line, pencil mark' and actively applies the elements of gravity, light, shadow found in the venue. The 'pulling force' of ¡°almost invisible¡± fine lines which can be lost if not closely observed, cuts across the space while creating tension and tremor. Upon this risky balance between space and work, the border between the two becomes unclear and the artist strikes a delicate balance between them. The 'balance' for the artist is the state of coexistence of the space and the work with both powers in touch with each other, and this state is the metaphor of the moment the work and audience face each other.

ÀÌÁ¦, <°Å¿ï the mirror, oil on canvas, 80.3x53cm, 2015>

ÀÌÀ±ÀÌ, <³ªÆÈ ºÒ ¶§ ³ªÀÇ À̸§, ÀÌÀ±ÀÌ ¼³Ä¡, ´Üä³Î ºñµð¿À, Èæ¹é, »ç¿îµå, ¹Ýº¹Àç»ý, OHP Çʸ§, ½ãÆÃÁö, 747(W)mm x 1328(H)mm>

¿ÀÁ¾Çö, <µå·ÎÀ× ·ë(¸ð³ëÅ©·Ò), ¿ÀÁ¾Çö, ¾ÆÅ©¸±ÆÇ, ½Ç, ÆäÀÎÆ®, üÀÎ, ¿¬Çʼ±, ¼è¸·´ë, °¡º¯¼³Ä¡, 2014>
|