93600 ISBN 퀀텀점프 2019 릴레이 2 인전 Quantum Jump Artists Relay Show QUANTUM JUMP Artists Relay Show 퀀텀점프 2019 릴레이 2 인전

Transcription

1 93600 ISBN 퀀텀점프 2019 릴레이 2 인전 Quantum Jump Artists Relay Show QUANTUM JUMP Artists Relay Show 퀀텀점프 2019 릴레이 2 인전

2 정재희 이상한계절 경기도미술관과경기창작센터는청년작가들의창작을지원하고그결과를공개하는협력전시 퀀텀점프 를 2015년부터이어왔습니다. ' 퀀텀점프 ' 는비약적도약을뜻하는물리학용어로, 선정된예술가들의응축된에너지와가능성을나타내는프로젝트명입니다. 두기관은경기창작센터입주작가중선정된작가의릴레이전시를경기도미술관에서개최함으로써젊은예술가들의새로운시도를응원하고지원합니다. 박미라밤물결 작가약력평론가이력 퀀텀점프 2019 릴레이 2인전목차 Quantum Jump Artists Relay Show Contents 4 5 Gyeonggi Museum of Modern Art and Gyeonggi Creation Center have been holding the exhibition Quantum Jump since 2015 to support young artists and showcase their creative results. Quantum Jump means the condensed energy and possibilities of selected artists, as a physics term for a leap forward. The two organizations support new attempts of the artists, selected in Gyeonggi Creation Center, by holding relay exhibitions at Gyeonggi Museum of Modern Art. Jaehee Jung Strange Season Sep. 17, 2019 Nov. 10, 2019 Mira Park The Waves at Night Nov. 19, 2019 Jan. 19, Artists CV Critic's Bio 58 62

3 경기도미술관프로젝트갤러리 퀀텀점프 2019 릴레이 2 인전 정재희이상한계절 6 Jaehee Jung QUANTUM JUMP Artists Relay Show Strange Season Sep. 17, 2019 Nov. 10, 2019 Project Gallery, Gyeonggi Museum of Modern Art

4 이상한계절 (2019) 에어컨, 공기청정기, 히터, 선풍기, 가습기, 제습기, 에어컨실외기, 진짜와가짜식물, 인조잔디, 화분, 선반, 벤치, 콘크리트, 좌대가변크기사진정재희 Strange Season (2019) Air Conditioner, Air Purifier, Heaters, Fans, Humidifiers, Dehumidifier, Outdoor AC Unit, Real and Artificial Plants, Artificial Grass, Plant Pots, Bench, Concrete Pedestal Dimensions Variable Photo by Jaehee Jung

5 나는다양한사물중전자제품을주재료로삼아창작활동을하고있다. 내게전자제품은손쉽게접근할수있는가용기술이자우리가살아가는환경이나구조를반영하는중요한사물이다. 나는이런전자제품의형태와질감, 물리적기능, 탑재한서비스와콘텐츠를기존의효용성이아닌다른관점으로해석한다. 이번전시에서는날씨와관련된전자제품들을새롭게맥락화해모든존재가공유하는환경에대한성찰을유도해보고자한다. 이상한계절 은각기다른날씨에작동하는전자제품들을활용해낯선환경을제시하는하나의설치작품이자전시이다. 나는자연의고유한법칙에의해서든인간의무관심때문이든날씨의변화가어떤인과관계에의해일어난다고생각한다. 그래서변덕스럽거나가혹한날씨가내겐이상하지않고오히려합리적으로보인다. 되레이상한건외부의사태와는별개로늘일정한온도와습도, 그리고깨끗한공기질을유지하는내부의환경이다. 이런착상을바탕으로나는전시공간에모순적인메커니즘을구현한다. 결과적으로나는관객들이인간만을위해조성된이상한계절을마주하며더넓은세계에서발생하는사태를상상하고사유하길기대한다. 정재희 I mainly use electronic products, along with various other objects, as the materials for my artistic creations. I see electronic products as a readily available technology and important objects which reflect on the environment and the system in which we live. Moreover, I attempt to interpret these forms, textures, physical functions, services, or contents, not from utilitarian value, but from different perspectives. In this exhibition, I contextualize electronic products related to the weather in a new way to induce contemplation of the environment shared by all beings. Strange Season is simultaneously an installation and an exhibition which presents an unfamiliar environment using electronic products that work in various weather conditions. I think that changes in the weather originate from some causal relationships such as the inherent laws of nature or human apathy. Therefore, variable and extreme weather doesn t seem strange to me, but rather, reasonable. What is bizarre is the internal environment that maintains a constant temperature, humidity, and clean air quality, independent of external events. Based on this idea, I realize a paradoxical mechanism in the exhibition space. As a result, I expect the audience to imagine and think about what happens in the wider world, facing the strange season created only for humans. Jaehee Jung

6 최재원 사물들 Things Jaewon Chey

7 네비게이터 자동차의네비게이터가나온지그리오래되지 않았던어느겨울날, 나는귀가후에한메모를 남겼던적이있다. 한밤중에차에는총세명이타고있었다. 오늘차에서가장많은말을한사람은 네비게이터였다. 인공지능스피커 내방에있는인공지능스피커 (artificial intelligence speaker, AI speaker) 에한밤중에 갑자기불이들어올때가있다. 또는아무런 말도하지않았는데스피커가갑자기 잘안 들려요. 라고말을할때가있다. 처음에는잘 안들린다는말자체를너무나급작스러워 제대로알아듣지조차못할때가많았다. 또는 샤우슈필에서공연되었다. 음악가이자퍼포먼스 아티스트인하이너괴벨스는 배우가부재한 연극, 해석이부재하는음악 이라는표현이 말해주듯물과안개, 자연의풍광, 피아노그리고 몇개의만들어지다만듯한타악기등만으로 공연을구성했다. 여기서드러나는자연은 자아를발견하게하는전범 ( ) 으로서인간과 소통하고있는것이다. 녹취당시의음성으로 파푸아뉴기니원주민의주문과콜롬비아 인디언의노래, 그리스민요가주문처럼 등장하기도한다. 자연현상을구현하는모습은 연금술적의식을떠오르게하기도하고, 그레이엄하먼 (Graham Harman) 의말처럼 인간이라는주체, 인간이구성한사회와문화는 이미객체화된자연속의수많은객체들과 다르지않다는것을깨닫게하기도한다. 중요한 것은괴벨스가이러한인간없는연극과그러한 부재를통해이러한 관계 들을재맥락화하여 바라볼수있게해주었다는것이다. 정재희 작가의사물들은대상화된설치미술로서의 주어진 자리를탈피하고자하는것같다. 뒤샹이레디메이드를통해창조자로서의 예술가의권위를해체시키고자의도했듯이 창작자가아니라특정한오브제, 나의취향이 개입하여그것을부르주아적으로포획하지 않도록공산품은마치하나의대상에서 사물들로비춰진다. 익명화된사용자를 위해고안된가전제품들은생활과일상에서 특정한기능과용도를수행하는역할을 벗어나작가의특정한전치적 (displaced) 맥락을위해에이전시 (agency) 로수행된다. 정재희작가에게는이러한개입이예술적 수행에있어서가장결정적인실천이 아닐까? 작가는대상 (object) 의착시로부터 Navigator One winter s day, not long after the car navigator system was invented, I wrote down the following after returning home. There were three passengers in the car tonight. Yet, it was the navigator who spoke the most. AI Speaker The artificial intelligence (AI) speaker in my room sometimes lights up suddenly in the middle of the night. There are also times when it says, I can t hear you well, despite the fact that I did not say anything. At first, confused to hear it speak all of a sudden, I even failed to understand what it meant. It also frightened me to the point of goose bumps, as the speaker seemed to sense the reaction of an object that was not me, though there was no one besides me in the room. Someone gave me a professional explanation, saying that it was because the speaker lacked sensitivity. Still, I freaked out every time I heard it saying something unexpected. Through this process of deleveling 방에아무도없음에도어떠한객체의반응을 센서링한것인지놀라소름돋듯이기겁할 때가있다. 아직감도가좋지않아그렇다는 전문적인설명을듣고나서도그렇다. 인공지능 스피커는그렇게주체처럼작동하는객체가 되기도하고, 나는익숙하지않게도주체가아닌 객체가되는디레벨링 (deleveling) 과정을통해 객체지향존재론으로 OOO(object-oriented ontology) 를체화해가는지도모른다. 인간없는연극 독일작가아달베르트슈티프터 (Adalbert Stifter, ) 의풍경소설 고조할아버지의가방 (Die Mappe meines Urgroßvaters) (1864) 에서영감을받아 제목이붙여진 < 슈티프터의물건들 (Stifters Dinge)> 은 2007 년 10 월독일프랑크푸르트 in which the AI speaker becomes an object that acts like a subject, and in which I become an object instead of a subject, in a quite unfamiliar way, I seem to experience object-oriented ontology (OOO). A Humanless Play The play entitled Stifter s Things (Stifters Dinge), whose title was inspired by a German landscape novel, My Great Grandfather s Portfolio (Die Mappe meines Urgroßvaters, 1864) by Adalbert Stifter ( ), premiered at the Schauspiel Frankfurt in Germany in October Heiner Goebbels, a musician and performance artist, produced the performance with only water and fog, natural sceneries, a piano, and a few percussion instruments, which even took the stage in a half-built form, and it was described by critics as a play without actors and music without interpretation. The nature featured in the piece communicates with humans as the epitome of a guide to self-discovery. The sounds created during the performance, which were collected from locals Jaewon Chey 최재원 사물들 Things of different parts of the world, include incantations of the indigenous people of Papua New Guinea, songs of the indigenous people of Colombia, and folk songs of the Greeks. The way natural phenomena are represented in the work reminds the audience of an alchemist ritual and leads them to understand that, as Graham Harman said, the human subject and the society and culture that humans have constructed are no different from the many already-objectified objects in nature. What is important is that Goebbels has invited us humans to recontextualize these relationships through this humanless play and absence. Nature-Culture Continuum Against this background, in today s world, the art of reasoning about human culture and nature as a continuum is naturally emerging as a leading thought. A reflective idea that believes dominant and oppressive cultures should come to an end has led to the discussion and practice of the creation of a nature-culture continuum by establishing a third nature, that is a naturefriendly culture of sustainable life. Bruno Latour's actor-network theory is at the antipode of the modern, dichotomous way of thinking, which originated from Cartesian dualism of mind and body (spirit and matter) and then developed into Kant's subject-object distinction. Later, Durkheim's sociological theories assumed that the essence of modern man lies in the proliferation of hybrids instead of the fixed dichotomy of nature and society. In other words, it was thought that, through hybrids, human beings would be able to better understand society and nature, politics and science, and cope with the duality of current political and social crises and environmental and technological crises. However, what if humans totally give up the mattering, which assumes that the production of hybrids can be furthered through networking, with the evolution of humans and nonhumans, subjects and objects, and technologies, or the viewpoint that associates society with subjects and nature with objects? If everything can be deleveled and redefined from the point of view that sees all beings as objects and the world

8 사물성 (thingness) 을이끌어내며이상한 계절에불어닥치는불안한계절풍의 알레르기를자극하는것이다. 그사물들은 바로우리의생활의사용에인습화된 것으로서친근 (heimlich) 하지만동시에 낯설고 (unheimlich), 매뉴얼화된기능으로 투명해지지만주어진매뉴얼을거부하면서 불투명하거나장애의징후를드러낸다. 자연 문화연속체 (Nature-Culture Continuum) 정재희작가의작업의배경들을살펴보자. 더 이상소위 미디어아트 란회자되지않는것같다. 또한지극히인간중심주의적관점의폐해로부터 반성하기위해근대적이분법에서벗어나, 문화와자연을연속체로생각하는사유들이 자연스럽게이루어지고있다. 지배적이고 통해더많은하이브리드가생성된다는 매터링 (mattering), 즉사회를주체와연결하고 자연을객체와연결하는관점자체를 포기한다면어떨까? 만일모든것이객체라는 관점으로, 세계를객체와객체들의관계로 수평적인지형학으로디레벨링 (deleveling) 하며 재정립할수있다면, 세계를새롭게이해하는 윤리적, 미학적, 정치적실천들이생겨날수있지 않을까? 이러한질문은정재희작가의 이상한 계절 전시에있어중요한철학적배경들이다. 매터링 (Mattering) 정재희작가는뒤샹이말한망막적인것으로서 예술작품을만든다는것보다는예술가의 세계관이나태도를보여주는것이중요하다고 말했다. 작가는모국어의중력을떠나독일에 가서거리두기가가능해졌고혼자있는시간도 as a set of relationships between objects, can there be ethical, aesthetic, and political practices that lead to a new understanding of the world? These questions are important philosophical backgrounds for the Strange Season exhibition. Mattering Jaehee Jung says that it is more important to show the artist's world view or attitude than to create purely retinal art, as Duchamp put it. Jung, while studying in Germany away from the gravity of his native language, experienced a sort of detachment, and as the time he spent alone increased, he perceived the world from the perspective of the other. As he discovered that working in such a profound time was not an act of creating something, but rather an act of noticing, his work methods changed. As he observed everyday life in the city, he found that it contained many aesthetically beautiful elements and that, like ready-made products, once these objects are placed in an exhibition format, people perceive them in an aesthetic way. The artist said it was 억압적인문화가청산되어야한다는반성적 성찰로인해제 3 의자연, 즉자연친화적이고 지속가능한생명문화를구축함으로써자연 - 문화연속체 (nature-culture continuum) 를 형성해야한다는것이다. 이러한맥락에서 회자되는브뤼노라투르의행위자 - 네트워크 이론 (actor-network theory) 도근대적이분법을 반대한다. 데카르트의물질과정신에서 이원론에서비롯되어칸트의객체주체로 전개되었고뒤르켐의사회학에와서는자연과 사회의이분법으로고정된것을근대인의 본질로서이분법이아닌 하이브리드 의 증식으로사회와자연, 정치와과학을더잘 이해하고, 현재의정치와사회적위기, 환경과 기술의위기라는이중의위기에대처할수 있다고보았다. 하지만인간과비인간, 주체와 객체와테크놀로지의진보속에서네트워킹을 important for him to create aesthetic points by slightly changing the existential mode of the object instead of artificially manipulating it. I contemplate how I could let go of the idea about the object that I had, as if the existence of myself is excluded as much as possible. When I think of something from the standpoint of that thing, not object, putting aside myself, I can discover different aspects of it. Yet the creator confesses that he keeps falling into a paradox. Does it mean that he cannot break away from the frame of language which brings about the constantly changing arrangements and displacements, though he pursues horizontal ontology with objects. If that is the case, Lautréamont s chance meeting on a dissectingtable of a sewing-machine and an umbrella also becomes a displacement of linguistic elements, though it is actually an act. In the end, the artist ends up practically mattering things and experimenting with them. Before the process Jaewon Chey 최재원 사물들 Things of mattering, assuming that things would have certain values is only about making premises. What becomes clear the moment they are represented in space and matter is that, in most cases, the artist himself did not fully understand them. So, I feel like creating an exhibition is about exploring what I do not know. He began to create works that use electronic devices as media as he could take an easy approach when he studied in Germany. I understood the history of electronic products through the vacuum cleaner. Once an electric device and an electronic one, the vacuum cleaner has now turned into an autonomous robot. He is also interested in the smartphone, which plays an important role in IoT. When you turn on a smartphone, human beings become the object of measurement in the IoT environment, which means the objectification of humans. Humans can indeed still take control by planning the UX design and software of machinery. He added why he did not pursue today s high-tech as he observes 많고타인으로서세상을보게되었다고한다. 그러한깊은시간속에서작업을한다는것이 만드는것이아니고알아차리는행위라는것을 발견하면서그의작업방식도바뀌게되었다. 일상을보면서충분히미적으로아름다운 것이많다는것을알게되었고레디메이드처럼 미술관의포맷에들어가면그것을사람들이 미적으로수용한다는것도알게되었다. 작가는 작업을인위적으로조작하기보다는그대상이 가지고있는존재양식을살짝바꿔미적인 지점을만들어내는것이자신에게중요한 부분이라고말했다. 저는어떻게하면나라는존재자체가최대한 배제된것처럼, 내가가졌던사물에대한관념을 내려놓을수있을지고민합니다. 저를내려놓고, 어떠한것 ( object 가아닌 thing ) 으로 humans that can be objectified in the development of technology. It was his strategy to use low-tech to respect the possibilities and roles of devices. He explained why technology becomes rather more compelling when it turns into products for mass consumption. As a commoner, we can only use technology in the form of products. I think I m interested in universality. For high-tech may only be the monopoly of the minority. Duchamp and SATURN Jahee Jung realized that a form of art can be established based on new ideas created by the artist himself. From then on, he became interested in everyday life and objects. Isn t it ironic, how constant levels of temperature, humidity, and air quality are supplied to the interior by technology, regardless of the weather outside? People hear news about tornadoes, earthquakes, and tsunamis through mass media and try to analyze their patterns; however, the artist thinks that they are changing due to the causal relationships between different objects on the premise that

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10 사물의입장에서생각하면그것의다른면이 나타나거든요. 그러면서도작가는끊임없는역설에빠진다. 인간없는전시또는대상과그의수평적인 온톨로지 (ontology) 를지향하지만사실 그것은다른 언어적 배치이자전치라는 끝끝내언어적인것을탈피하지못하게된다는 뜻일까? 그렇다면로트레아몽의수술대위의 재봉틀도실은액팅인데언어적인것으로 전치 (displacement) 하고끝나버리게되는 것이다. 이상한계절 전시에서주어진 실내온도를가열시키는난로와이온도를 매터링하여낮추려는에어컨의역설에서 보이듯이, 결국작가는사물들을실질적으로 물질화 (mattering) 하며실험을하게된다. 매터링하기전에단지사물들이어떠한 측정대상이되는데이는인간의객체화를 의미한다. 물론기계장치들의 UX 디자인이나 소프트웨어를기획하는입장에서는컨트롤할 수있지만말이다. 작가는테크놀로지의발전 속에객체화될수있는인간을바라보며현재 하이테크를추구하지않는이유도부연했다. 오히려로우테크로주어진장치적가능성과 역할들을더욱존중하는전략으로서말이다. 작가는기술이대량소비재로서상품이되었을 때오히려더관심이가게되는이유에대해 다음과같이설명했다. 일반인으로서우리가 테크놀로지를활용할수있는것이상품의형태 밖에는없습니다. 저는보편성에관심이있는것 같습니다. 오히려하이테크는소수의전유물에 불과할수도있기때문입니다 nature exists as individual objects. Then, it is normal that the weather is unpredictable and that constant humidity and temperature created and maintained just for humans is an abnormal environment. From this perception, his inquiry begins. He produces wasteful situations that take place when electronics devised for different seasons and conditions, such as a humidifier and a dehumidifier, work all at once. Real plants and fake ones will be mixed together to create an indoor garden, and electronic devices corresponding to different weathers will be operated at the same time in the exhibition space. That means the audience will absorb various senses in a single space. Looking into it, the audience might discover contradictions. I m allowed to use the deck outside as well, so I will lay artificial grass and run an outdoor unit of the air-conditioner. This will then give you the feeling that the strange season in the exhibition space is summarized in the outdoor unit of the airconditioner. 가치가있을거라고하는것은전제에불과할 뿐이다. 그것을공간과물질에실현하는순간에 확인하게되는것은대부분의경우그건작가 자신이스스로몰랐다는것을스스로알게될 때라고한다. 그래서모른다는사실을확인하는 것이전시가아닌가하는그런느낌이저에게 있어요. 작가가전자제품을매체로하는작업은 독일에서학교를다니던시절에접근을쉽게 할수있다는이유로시작하게되었다고 한다. 전자제품의역사를청소기를통해 이해했습니다. 청소기는전기제품에서 전자제품, 그리고현재자율성을가진로봇으로 바뀌었잖아요. 작가는 IoT 에서중요한 역할을하는스마트폰에도관심을두었다. 스마트폰을 on 하면 IoT 환경에서인간존재는 This was what he said about his plan for the upcoming exhibition. I prefer utmost simplicity in my works. The audience can attach various meanings or just simply accept them when they see them. When I use something as a material, that means I found some implications in its own existence. When it comes to a smartphone, it can be reducible to light and sound. The same goes for cameras. He told me about an experience over the display stand at a SATURN store where they sell electronic devices in Germany, when he tested a camera without a memory card in it. When I visited SATURN, the camera worked without a memory card. The manufacturer altered its settings such that it takes only one picture for demonstration. That was the point when I thought about a different role of a camera apart from its original role. In the process of working, my point of view Jaewon Chey 최재원 사물들 Things on it has been changed. When I first touched the camera at SATURN, I only focused on its immediate clicks. I visualized cameras unequipped with a memory card shooting the audience with lights and sounds in the darkness. As I put it into shape, the abrupt sounds and lights of cameras felt, not aggressive, but somewhat different. It began to be interpreted as the present, the moment everything becomes blank in front of your eyes with an instant click sound. Strange Season It s quite an old idea for me to phenomenalize the simultaneous operation of intermixed electronic devices related to seasons. I was lucky to see a good moment to actualize the idea as the government passed a bill that regards particulate matter not as a natural disaster anymore but a man-made one. The artist says he intentionally read books related to media aesthetics out of interest while in the university. Though not necessarily related, he was fond of skeptics, like Adorno. I found it amusing when I concentrate 뒤샹 (Duchamp) 과자툰 (SATURN) 작가는생각의발견을통해서예술이라는 것이성립될수있다는것을깨닫고그때부터 일상성이나사물들에관심을가졌다. 사실은 외부의기후와상관없이내부에특정한온도와 습도, 공기의질등을기술을통해특정하고도 일정한조건으로공급해주는것이야말로 아이러니한것이아닐까? 대중매체를통해 토네이도와지진, 쓰나미등을접하고거기에 대한분석들을하지만작가는자연이가지고 있는객체로서의존재와객체들사이의인과 관계등에의해움직이고있다고생각한다. 사실은예측할수없는날씨가자연스러운 것이고인간만을위해조성된이상한일정한 습도와온도가이상한환경이라는것이다. 거기서문제의식이시작되었다. 서로다른 계절과조건에작동하는전자제품을작동시켰을 on existence itself in my work. If my works are only constituted with ideas, and I just think about how I could make them better ideologically, I get exhausted; when the cycle is repeated, it leads me to nihilism. I should touch. I like things as they are, and when they function in real time. Maybe that s because the video doesn t appeal that much to me. I like encountering real things in front of my eyes. You know, the feeling of sculpture. Sculptures are tactile. I m talking about the presence you can touch before your eyes. And spending time together. The interview with the artist took several hours at a cafe. As the air inside felt stuffy, I suggested we take a walk for a while. The village I walked through with him had once been called Hyeonjeo-dong before it was incorporated into Muak-dong, and then it was called Okbaraji Alley before it finally became home to Gyeonghuigung Lotte Castle. As I looked around the urban landscape where darkness already fell as we walked up the steep slope, I thought about my own criticism of Strange

11 때거기서벌어지는소모적인가습기와제습기를 틀어놓는사건들을전시에서연출하기로한 것이다. 전시공간에실제식물과가짜식물들이섞여 실내정원으로연출되고서로다른날씨에 대응하는전자제품들이동시에작동할겁니다. 즉하나의공간안에서관객들은다양한감각을 체험합니다. 찬찬히들여다보면관객들은 그안에서모순들을발견할수도있습니다. 밖으로나가면야외데크를쓸수있어 부분적으로인조잔디를깔고에어컨실외기를 둘예정입니다. 그러면전시공간안에펼쳐진 이상한계절이실외기하나로환원되는듯한 느낌이들겁니다. 정재희작가는다가올전시의구성에대한 작업을진행하다보면그것을바라보는시선도 계속바뀌더라고요. 자툰 (SATURN) 에서 카메라를처음만졌을땐카메라의즉각적인 타격에만초점이갔어요. 어둠속에서메모리 카드없이카메라들이빛과소리로관객들을 슈팅하는그림이었죠. 이를실제로만들면서 카메라들의급작스러운소리와빛이이전처럼 공격적이지않고다르게읽히더라고요. 찰칵 하는짧은소리와함께눈앞이순간백지가 되는현재 (present) 로요. 이상한계절 (Strange Season) 현상적으로계절과관련된전자제품들을 뒤섞어동시에작동시키려한아이디어는꽤 오래됐습니다. 올해미세먼지를자연재해에서 인재 ( ) 로여기는법안이통과된것처럼 아이디어를구현하기에좋은때를만난 것이죠. 작가는대학시절당시의관심사 때문에매체미학과관련된책들을의식적으로 읽었다고한다. 상관은없지만아도르노처럼 회의주의자들을좋아했다고한다. 작업을, 실존하는것자체에집중하니즐겁더라고요. 관념으로만제작업이이루어지고그안에서 어떻게더좋게할수있을지고민하면 힘들고그게쌓이면허무주의에빠집니다. 만져야돼요. 저는있는그대로의것, 그리고 그것이리얼타임으로작동할때가좋습니다. 그래서인지잡히지않는영상엔손이잘안가요. 실제사물을가져와눈앞에서조우하는걸 좋아합니다. 조각적인느낌있잖아요. 조각은 촉각적이잖아요. 눈앞에서만질수있는현존감 같은겁니다. 거기에시간을같이보내는 Season -- that is, my expectations and skepticism about the directing of the exhibition, which was strange and not ideal enough. The tense conflict between cold air-conditioners and the excessive operation of heaters staged as ruins and antianthropocentrism was the idea that should exactly be pinpointed to be doubted and withdrawn. Crossing over the Hanyangdoseong City Wall lit with orange street lamps standing closely in a row, we went down an alley that led us to Seochon. 계획을그렇게밝혔다. 저는작업을할때 가능한담백하게표현하려고합니다. 그것을 보는관객들은여러의미를붙이려하거나 반대로단순하게받아들일수있습니다. 제가 재료로사용할때는그사물자체에서함의를 느낀경우입니다. 다양한기능을가진스마트폰도빛과소리로 환원될수있습니다. 카메라도마찬가지고요." 그는독일의전자제품매장인자툰 (SATURN) 의 매대위에서직접메모리카드가들어있지않은 카메라를만져보았던경험을얘기해주었다. 자툰 (SATURN) 에가보니메모리카드없이 카메라가작동하더라고요. 제조사가시연용으로 한장만찍을수있도록해놓은거죠. 그때 카메라의원래역할이아닌다른역할에대해 생각해보았습니다. Jaewon Chey 최재원 사물들 Things 것이죠.

12 나는그렇게오랜시간작가와카페에서인터뷰를했다. 실내공기가갑갑해잠시걷자고했다. 그렇게작가와걷게된동네는 현저동 으로불리다 무악동 으로편입되고, 옥바라지골목 으로불리우다결국 경희궁롯데캐슬 이된곳이었다. 높은경사를오르다보니어느새밤이된도시정경을바라보면서 이상한계절 전시에가졌던나의크리틱즉충분히이상 ( ) 적이지못하게이상 ( ) 한전시연출, 폐허같이또는반인간중심주의로연출되며극단적인온열기의가동과차가운에어컨의팽팽한대립등에대한내기대와회의야말로회의되고철회되어야할관념의포획이아닌가생각했다. 주황빛가로등사이로촘촘히밝힌한양도성을넘어우리는서촌으로향하는어느골목으로내려갔다. 최재원 사물들 24 25

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16 경기도미술관프로젝트갤러리 퀀텀점프 2019 릴레이 2 인전 박미라밤물결 32 Mira Park QUANTUM JUMP Artists Relay Show The Waves at Night Nov. 19, 2019 Jan. 19, 2020 Project Gallery, Gyeonggi Museum of Modern Art

17 사진 조영하 Photo by Youngha Cho

18 나는도시의산책자가되어주변을산책하며, 그이면에숨겨진검은그림자들을들추어기록하는작업을하고있다. 타인들과다른목적의산책 ( 빈둥거린다 는표현이더적합한 ) 을통해내가살고있는도시의작은틈새의변화를감지하고조사한다. 이러한태도는범죄현장에서수사요원들이단서를수집하는것과흡사하다. 도시의이면을찾아다니던나는, 어느날사람들의이해가얽히고설킨흥미로운공간 싱크홀 에관심을갖는다. 도시에서벌어지는지반침식현상인싱크홀과 이상한나라의앨리스 에등장하는래빗홀 ( 토끼굴 ) 을연결해가상의이야기를만든다. 다수의이해가얽힌욕망의무게로내려앉은구멍, 미지의세계로이어지는통로로서의구멍, 욕망의대상들이모여사건을만들어내는장소로서의구멍을상징하는래빗홀을통해동시대에첨예하게갈등중인재난과불안을말한다. < 검은산책 > 시리즈에서는도시를산책하던중발견하게된구멍이가진다양한의미들, 예를들어상실감, 욕망, 슬픔, 공포, 의구심, 우울, 관음등의감정들을표현할수있는가상의이야기를만들어그린다. 동시대를살아가는우리가느끼는보편적인감정들을구멍이라는상징과은유로표현한다. 각각의이미지들은느슨하지만연결된서사를가진다. < 언더더스킨 > 에서는 < 검은산책 > 과연속하여도시의풍경과그안에서느껴지는개인의소외된감정에주목하지만사회안에서정해진역할들과관계속에서노출되는 취약성 과예민함에조금더집중해작업을이어나간다. 또한지속적인관심을가지고진행중인물질적표면제작과함께취약성으로상징되는표면에대한이야기를잇대어작업한다. 밤물결 은감정의취약성과예민함이가장고조되는 밤 이라는시간성에주목한다. 밤이라는시간에증폭되는공포, 불면증, 빛의부재, 어둠, 암흑, 검은색이라는키워드를가지고이야기를만들어나간다. 세편의드로잉애니메이션으로구성된이번전시에서는기존작업과연결된서사를가진채 빛의투사를통해생겨나는벽 에대해말해보고자한다. 빔프로젝터를통해투사된움직이는이미지로생겨나는형태를최근연구하고있는움직이는벽화개념과링크시켜보았다. 주로검은색의재료를사용해평면이나드로잉애니메이션으로재구성하는데겹겹이쌓인여러층위의이야기를관찰자의시선으로파헤친다. 검은색풍경은빈공간이기도하지만반대로많은의미와이야기들이꽉채워진공간을상징한다. 따라서색을뺀다는것은비워놓는것임과동시에공간을채우는것이기도하다. 확고한극단을내포하고있는검은색으로일상의이면에숨겨진틈을그려내고채워나가며도시의산책자가된다. 박미라 I walk around the city as an urban flâneur and create works that trace and document the dark shadows behind it. My walk may have a different purpose from that of others idle ambling would better explain it and through it, I sense and explore the changes in the little breaks in the city in which I live. This attitude is not unlike those of investigators who search for evidence at a crime scene. One day as I looked into the darker aspects of the city, I became interested in sinkholes, fascinating spaces where people s interests are entangled. I created an imaginary story by linking sinkholes, the collapsing ground of city, to the rabbit hole from Alice in Wonderland. The story presents disaster and anxiety in harsh conflicts from the present through the rabbit hole, which represents a hole that collapsed through the weight of desires of many different interests, a hole as a path to an unknown world, and a hole as a place where objects of desire gather to cause incidents. The Walk in the Dark series imparts various significations of holes such as emotions of loss, desire, sorrow, terror, doubt, depression, and voyeurism found while strolling the city through imaginary stories. The hole is a symbol and metaphor for universal emotions we feel while living in this age. Each image is given a loose yet connected narrative. Continuing from Walk in the Dark and Under the Skin focuses on the cityscape and the alienated emotions of individuals within it, but it pays more attention to forms of vulnerability and sensitivity that are revealed in fixed roles and relations in that society. Furthermore, along with my continuing practice of creating material surfaces, I add narratives about the surfaces which I symbolize as vulnerability. The Waves at Night highlights the temporality of night, a time when emotional vulnerability and sensitivity are most heightened. The work creates a story through themes of terror, insomnia, absence of light, darkness, and blackness which are intensified at night. Composed of three pieces of hand-drawn animation, the exhibition talks about walls created by the projection of light while maintaining narratives that are connected with previous works. Here, I link the forms created by the moving images from a beam projector with the concept of moving murals that I have recently been researching. I compose the mostly employing black materials, I compose them into picture planes or handdrawn animation. The work investigates many layers of stories through the eyes of an observer. A black landscape is an empty space, but on the other hand, it also symbolizes a space full of many meanings and stories. Therefore, eliminating color is the emptying of and the filling of space at the same time. I become an urban flâneur in drawing and filling the hidden gaps of daily life with black, connoting the extremities. Mira Park

19 최재원 얼지마, 죽지마, 부활할거야 Don't Move, Die And Rise Again! 사진 조영하 Photo by Youngha Cho Jaewon Chey

20 첫만남, 작가와의만남 박미라작가의작업들을본것은오후였다. 한 낮인데도밤의사각거리는소리와불편하고도 불길하다고도할수있는불협 ( ) 의노이즈가 들리는듯했다. 손을뻗어잡지않으면놓쳐지는 공기가있다. 훅 - 하고사라져버리고마는, 체념하듯무심한듯그렇게걸어가버리는 사람이있다. 내가부르고손길을보내지않으면 다시만나지못할사람, 나에게정말중요한데 떠나버릴사람, 내것의울음인데그것마저 망각해버리는오후, 어쩌면그런잔인한망각된 오후에우리가살아가고있다는것을알려주는 비밀은불현듯이던져지거나찾아오기도한다. 조화롭고안온하며모든것이정돈되어배열된 일상을살아가기를욕망하는데그렇지만나는 기후와습도와변화들로부터끊임없이동요하고 있으며빛의퇴각으로부터밤의사물들도 My First Meeting with the Artist It was afternoon when I encountered the works of Mira Park. Even in broad daylight, the crisp sounds of the night and the noise of uncomfortable and ominous cacophony seemed to fall on my ears. Some air escapes us unless we reach out to grasp it. Some persons just disappear, walking away as if resigned and indifferent. A person whom I will never be able to see again if I don t call and stretch out my hand, a person who is so important to me but will soon leave, the afternoon when I even forget about the cry that is my own. Secrets like what manifested that one cruel, oblivious afternoon, letting us know that we are alive, come suddenly at us or are sometimes thrown at us. While desiring to live a harmonious and peaceful life with everything in place and order, I am constantly being agitated by climate, humidity and changes, as well as unsettled objects from the retreat of light at night. The illusion of anthropocentrism in epistemology may have persistently refused the confrontation 동요하고있다. 철저히인간이중심에있는인식론의환상은 비인간의사물들로부터평평한지형학 (flat ontology) 으로의대질을끊임없이거부하고, 그 세계로의연루를 ( 인식적으로 ) 추방해왔는지도 모른다. 박미라작가는 밤물결 은감정의 취약성과예민함이가장고조되는 밤 이라는 시간성에주목한다. 고말한다. 밤이라는시간은 공간을전유한다. 밤의시제가동요시키고 전복하고있는것은한낮의광선이라는 거룩한표상과관념이라는 빛이있으라 로 비춰진대상화된것 (object) 들이다. 그것이 사물들 (things) 로점차창백해지고자신의 주어진표상으로부터벗어나고비틀어지면서 신음들과소음들과시끄러운출렁임으로 동요되기시작하는징후들이다. 붙잡지않으면 of flat ontology suggested by non-human things and expelled (consciously) the involvement into such a realm. The Waves at Night illuminates the temporality of night, when the weakness and sensitivity of emotions rise to the highest peak, Mira Park said. The time of night appropriates space. What the temporality of night disturbs and subverts is the holy representation of the ray of light in midday and the objectified objects lit up by the idea of Let there be light. Gradually, objects turn into pale things, unshackled from assigned representations and twisted, showing symptoms of disturbance with moans, noises and tumultuous waves. If not caught, they might be flickering in the evening, disappearing like a shadow that takes after night. Groping, borderless, and perhaps oneday-will-be-diluted shadow, darkness, dream and sleep. Drawing From a Blank Slate At this point, I want to talk about the pen drawing of the artist. The saying draw from a blank slate( in Chinese) is a traditional Jaewon Chey 최재원 얼지마, 죽지마, 부활할거야 Don't Move, Die And Rise Again! 저녁이라서명멸하고, 밤처럼사라져버리는 그림자같이더듬거리며경계없듯, 희석되어 버릴지도모를밤과그림자와어둠과꿈과잠 회사후소 ( ) 나는지금작가의펜드로잉에대한 이야기를하려한다. 먼저바탕을 손질한후에채색한다 는의미로쓰이는 회사후소 ( ) 는드로잉 (drawing) 에 대한전통적비유로인용되기도하지만실은 그림뿐만아니라삶에대한경구이기도하다. 박미라작가는가장 날것 으로서의스크래치 처럼, 색채와면적보다는펜드로잉에서 세부들로의밀도를추구한다. 특히박미라 작가에게시간과노동, 밀도가가진의도는 무엇일까? 작가의필법에서내게보이는것은 텍스트로씌여지는관념과상상으로의영역을 metaphor for drawing, but it can be an aphorism not only for art but for life. Mira Park delves into intensity as details in her pen drawings, rather than colors and surfaces, like scratching at the most raw thing. What intentions do time, labor and intensity have especially for Mira Park? What I see in her strokes is the tension in which the ceaseless time of intensity and agitation assuages the realm of idea and imagination written in text. Otherwise, it might be an encounter with a world she gropes for with intention, but in the oblivion of the intention through withdrawal from it. Things at night are given to us by breaking away from day in different entanglement and waves, not by the hierarchy or order of time. Releasing oneself from the restraint and capture of one s mind and reason. That might mean she wants to investigate the symptoms, delicate signs of events and alibis, but not complete stories or messages, trying not to be entrammelled. The artist tracks down the clues of the events that turn upside down and fragmentize the Poltergeist but gives up on the investigation of the existences that are escaping and sliding 끊임없는밀도와소요의실천적시간으로 잠재우는긴장감이다. 아니의도속에서 의도자체를침잠하여그것마저잊고더듬어 찾아내려는세계로의조우일수도있다. 밤의 사물들은한낮의위계나질서가아닌다른 얽힘과출렁임으로주어져있다. 정신과 이성의결박과포획으로부터벗어나기. 완결된 이야기나메시지가아닌징후들이나사건의 낌새, 알리바이는추궁되지만인과론에는 결박당하지않으려는것인가? 작가는이 < 시끄러운유령들 > 이전복시키고파편화시키는 사건 (events) 의단서들을추적하지만, 용의선상에서도피하고미끄러지는존재들을 심문하기를포기한다. 수사는미궁에빠진다. 공모에연루된용의자의범위는좁혀지지 않고도리어갈수록범위는넓어진다. 작가는 검은색풍경은빈공간이기도하지만반대로 from the list of suspects. The investigation is going nowhere. The range of suspects implicated in the conspiracy isn t narrowed down but broadens. The black landscape is empty space yet at the same time a space filled with lots of meanings and stories. Therefore, working without colors means making room as well as filling the void, the artist said. Then, is this forensic science that handles urban crime scenes different from that for other cities in daylight? Hamlet The ghost of Hamlet s father asks his son to avenge his death and get his country in order. When Hamlet learns that his father was killed by his uncle, he becomes revengeful. He does not know what to do. He must commit murder. With the tremendous burdens of revenge and the restoration of the country on his shoulders, Hamlet exclaims: The time is out of joint!...that ever I was born to set it right!

21 많은의미와이야기들이꽉채워진공간 이라고 말한다. 따라서색을뺀다는것은비워놓는 것임과동시에공간을채우는것이기도하다. 고 말한다. 그렇다면이도시범죄현장에대한수사 기법은다른한낮의도시들과다른것일까? 햄릿 (Hamlet) 아버지의혼령은햄릿에게자신의억울한 죽음에대해복수하고나라의질서를바로잡을 것을요구한다. 아버지가숙부에의해살해당한 사실을알게된햄릿은복수심으로가득차 어찌할바를모른다. 그는살인을해야한다. 복수와질서의회복이라는엄청난짐을어깨에 짊어진채햄릿은다음과같이외친다. The time is out of joint! 아! 이런뒤틀린세상이라니! ( 시간이이음매에서 Hamlet decides to pretend to be mad in the head to conceal his intention of revenge. However, he himself, the one who made the decision, gets so confused to the point that he does not know whether he is really mad or is just pretending to be mad. This pattern continues on after he meets the ghost. We live with the illusion that we are rational just because we are slightly far away from or exempt from the mad situations causing us to say, I'm going crazy, or This is crazy, for now. Park s piece, A Black Walk, talks about not the holy daytime light, but rather fear, insomnia, absence of light, darkness, abyss, and blackness in the night of the city. If we assume that, as Michel de Certeau said, walking is a space of enunciation, to Park, a walk is the process in which the walker appropriates a given topological system. Walking at night is the process of spatial realization of a place that creates relationships between distinct locations, that is, other possibilities than those of a given system. The act of walking 어긋나있다.) That ever I was born to set it right! 아, 저주스러운낭패로다. 그걸바로잡으려고 내가태어난것이라니! 햄릿은복수의의도가들키지않도록미친 척하기로한다. 그러나미친척하기로한그 자신조차도자신이미친척하는건지정말로 미쳐버렸는지모를정도로혼란스러워하게된다. 이러한그의행동양태는그가유령을만난 이후부터쭉계속된다. 단지우리스스로가잠시그러한 미치겠어 정말돌아버리겠네 의광증에서잠시 이탈되거나면제되어이성적이라는착각에 빠져들고는한다. 박미라작가의 < 검은 산책 > 은그런도시의밤속에서거룩한 involves traversing, drifting back and forth, other spontaneous acts, possibilities fixed by established movements, and even increases the numbers of possibilities of prohibitions. In this way, the artist faces Hamlet s lamentation and things at night castrated off light. Poltergeists are revenant beings. Of course, the tenseness of poltergeists is not always limited. Hamlet is not the only one who sees poltergeists. Poltergeists are alluded to as common beings, Anyone can face ghosts, but not everyone can hear them. We hide ourselves behind certain words and representations or conceal ourselves within fixed signs. But ghosts have something to say to our community because they have been sacrificed from the events of daytime in which we are involved. The poltergeists urge us to take responsibility for our involvement. The polarity of night and day reminds us of Ouroboros ( ουροβóρος in Greek), a serpent swallows its own tail. Only one snake, or one attribute, cannot represent both night and day. It takes two snakes: one symbolizing day and Jaewon Chey 최재원 얼지마, 죽지마, 부활할거야 Don't Move, Die And Rise Again! 한낮의빛이아닌, 공포, 불면증, 빛의부재, 어둠, 암흑, 검은색 에대해발화한다. 미셀 드세르토 (Michel de Certeau) 의말처럼 걷기를공간에서의언술행위 (enunication) 라고 한다면, 박미라작가의산책이란걷는사람이 주어진공간배치 (topological) 체계를 전유 (appropriate) 하는과정이다. 밤의걷기란, 구분된위치들간의관계로서, 즉주어진체계의 가능성으로가아닌다른가능성들을만들어 가는장소의공간적실현의과정이다. 걷기에는 가로지르기, 이리저리표류하기, 즉흥적인행위, 구축된동선으로고정시킨가능성들이있기도 하고가능성들의수와금지의수가증대되기도 한다. 박미라작가는그렇게햄릿의탄식과빛이 거세된밤의사물들과마주하게되는것이다. 유령은 되돌아오는 (revenant) 존재들이다. 물론유령들의시제는제한적이지만은않다. the other night. The planets facing each other always have polarity between them and exist in opposing positions of certain characteristics while maintaining a mysterious relationship where they are conditioned to the existence of one another. The ancient Egyptian civilization flourished based on agriculture, so the sun had decisive and keen associations with the lives and goings-on of the people. Therefore, the ancient Egyptians praised the sun in the sky as the supreme god. The path of the sun led to the other mysterious side of the world the sun that is the highest in the sky, rises above the horizon and traverses the sky during the day until it sets below the horizon in the evening to rest in the other underworld at night. Even at night, the sun keeps going around the world in a half-circle on the other world. In other words, the sun travels across the sky during the day and across the underworld during the night. The Waves at Night assumes a world that cannot exist only with the sun under the law of polarity; as the world cannot exist only with the moon, either. It switches on the fundamental motif of two as one 햄릿왕자만이유령을보는것은아니다. 유령은 공동존재 들로암시된다. 누구나유령과마주할 수는있을지라도모두가유령의말을알아들을 수는없다. 우리는특정한언술과표상뒤에 숨거나고정된기표로자신을은폐시키고는 한다. 그런데유령은무언가 공동체 에할 말이있다. 우리들이공모되어있는한낮의 사건들로부터희생당한그유령들이기 때문이다. 유령은그공동체에게죄의연루를 묻고있다. 나는처음부터박미라작가가말하지 않지만말하고있는한낮의꿈, 오후에드려진 밤의그림자, 기괴하지만우리자신이기도한 정체들의악몽들을식은땀흘리듯이쫓게 되었고그것들에빠져들게되었다. 이성이나 제도또는갖가지이름으로추방되는그모든 시제와좌표들이박미라작가의작업으로 인해수면위로떠올라버린느낌을받았기 and one as two under the condition of each other's existence, causing the agitation of the night. Poltergeist I asked Park about the background of this work. The artist studied light as she continued to work on black. Before the invention of light fixtures, people greatly feared of the night. These hours of horror came back every night. The artist thought about the people of those times who had to face the darkness on a regular basis, not even understanding why it would suddenly become dark. She was interested in such a state of horror and began her work to create stories about the nighttime, when light disappears and darkness falls. The artist herself also often felt scared at night, suffering from insomnia, the absence of light, feelings that seemed insignificant during the day but escalated at night to heighten her anxiety. During the interview, Park presents an interesting answer as to why the night comes back on a regular basis. Now we believe we know why

22 때문이었다. 국가주의와법률, 도덕과이성과 규율과모든명령들로부터소환되기이전에 마음속에나를괴롭히고시끄럽게하는모든 가이스트 (Geist) 들의존재란? 그렇게나는자연스럽게연금술서적과 검색결과를조우하게된다. 밤과낮의 양극성은 꼬리를삼키는자 라는뜻의 우로보로스 (ouroboros, 그리스어 : ουροβóρος) 를연상시켰기때문이다. 마찬가지로종교와믿음과거룩한표상들로 억압받았던숨겨진약속. 우로보로스. 한마리의뱀, 한가지의속성으로는밤과 낮을표현할수없다. 하지만두마리의뱀이면 가능하다. 한마리의뱀은낮을, 남은한마리의 뱀은밤을뜻한다. 서로마주보는행성은항상 쌍수로서의양극성표현이있고일정한특성의 night always returns, thanks to the so-called modern sciences. However, the artist explains the phenomenon in a different way, explaining that night falls as the earth passes behind the moon. She focuses on the principles of the lunar eclipse, where the moon is covered by the shadow of the earth, rather than the scientific view seeing that night occurs because of the rotation of the earth. For me, it was meaningful to sense the artist s profoundly astrological perspective and her cosmic point of view that was based on her own imagination. Horror Movies Psychic, slasher, and zombie movies. As I said to her that her work reminds me of Borges as it whirls together time and space and portrays the extension of events as tree branches, she told me that she likes horror films, especially psychic, slasher, and zombie movies. Horror films always take place at night, and she, interested in the nighttime, began to create works in the form of animated drawings to document the stories of the 대립적인위치에서존재하며, 서로가상대의 존재에조건하는신비한관계라고한다. 고대 이집트인들은농업사회를이루며번성하였기 때문에태양은자신들의생업과생명을 유지하는데결정적이고민감한관계를형성하고 있어그렇다. 때문에하늘에떠있는태양을 최고의신으로찬양한다. 신기한비의적측면도 태양의길로부터시작되는데, 가장높이떠있는 태양은지평선에서시작해서낮동안천공의 길을따라가다가, 밤이되면지평선밑으로저 쪽의다른세계로넘어가는것이었다고한다. 밤이오면해는저쪽세계에서반원을그리며 계속해서돌고있는것이라는것이다. 즉태양이 낮동안은천공을, 밤동안은지하를돌고있는 것이다. 박미라작가의 밤물결 은양극성의 법칙으로서태양만으로는존재할수없는 세계를간주하지만, 달만으로는존재할수없는 night. Switch on expresses things like my feelings and emotions changing over time during the night with floating or excited images. Poltergeist features images that descend, fall down, and sink incessantly, she explained. She titled this work, Poltergeist, focusing on the meaning of the term referring to ghosts making noise or causing things to move. The artist has not yet experienced the phenomenon herself, but she believes in it. Her animated drawing Switch on seems to refer to the ambiguity of the word switch-on, which implies both the projection of things agitated and moving in the darkness of night and the act of turning on the switch of a light or something else. If a brightly lit room is the landscape of reality to the artist, then the alibi of its absence at the scene is established, while that reality looks rather lacklustre and even pale. However, it is the darkness of the night that causes cracks in the solid reality, which consists of things that hold their breath and wait for the darkness to come. The nocturnal beings that begin their activities as darkness falls are those that are not noticed or are rejected in reality. Jaewon Chey 최재원 얼지마, 죽지마, 부활할거야 Don't Move, Die And Rise Again! 것과같이서로의존재조건하에서둘이면서도 하나이고, 하나이면서도둘인근원적인 모티브에서 < 스위치온 (Switch on)> 하며 출렁이기시작한다. 시끄러운유령들 (Poltergeist) 박미라작가에게이작업을구상하게된배경에 대해서물었다. 작가는검은색으로만작업을 하다보니빛에대해서공부를하게되었다고 한다. 예전에조명기구들이없었을때, 사람들은 밤에공포를굉장히많이느꼈는데, 그무서운 공포의시간이매일밤그들에게찾아왔던 것에대해서말해주었다. 그래서왜주기적으로 갑자기어두워지는건지그런이유도알수 없던시대의사람들에대해서말이다. 작가는 그렇게공포에사로잡히는것이흥미롭다고 생각했고빛이사라지고어두워지는그밤에 Moving Images Switch on, which the artist describes as a mural, is a series of drawings created on the wall. I ve used this technique for a long time, since I thought I could convey more messages by overlapping layers of images, rather than by simply projecting a single layer of images directly onto a white wall, she explains. The objects drawn on the wall reveal themselves when the projector is turned off. To list them in detail, they include a dry bouquet, an apple, a small puddle of water, a perhaps-broken stand that is sprawled on the floor. Switch on has fewer vertical or horizontal movements or changes in the backgrounds compared to the other two works, Poltergeist and Speechless, featured in The Waves at Night exhibition. Thus, the artist thought it would be more effective to present Switch on together with murals, resulting in the addition of murals to this piece. The murals, drawn as if projecting original drawings on paper with a pen, seem to float in the air whenever the projector is turned off, shyly revealing their flesh in unexpected coordinates. The artist humbly said that she chose 대해서이야기를만들어보자생각해서시작을 했다고한다. 박미라작가스스로에게도여전히 밤이가끔그런무서운느낌을줄때가있다고 한다. 불면증이라든가빛의부재라든가낮에는 아무렇지도않은감정들, 밤이되면불안해지고 하는것들이작가가스스로경험했던 것들이라서말이다. 인터뷰중에작가는밤이주기적으로 찾아오는이유에대해흥미로운대답을했다. 지금우리들은소위근대화된과학에의해 주기적으로그밤이찾아오는이유에대해 알고있다고믿고있다. 하지만작가는그렇게 이유도알수없이, 밤이찾아오는까닭은 지구가달의뒤편으로가기때문이라고말했다. 작가는지구의자전때문에밤이온다는과학적 관점보다지구의그림자에달이가려지는 the medium of animated drawing because she wanted to show multiple layers in her drawings. However, what was interesting to me was the signs of animism in her work that deliberately mixes her spiritual and physical worlds, as if infusing a soul together with objects. The artist may want to say that reality can sometimes be quite unrealistic, implying entrance into the dark obscura rather than into a bright room to search for a space other than the world, leading to the divine light and human-centered rationalism. The artist may also want to show a world in which things and humans compose a horizontal, flat topography. An image is inverted on the focal point of the screen, but only because it is reflected light from the object, which clearly proves that the object existed in front of the camera lens. In this way, the methodology is borrowed in a more imaginative, poetic way than in fantasy literature. It seems rather like an attempt to uncover the imagination of the world of non-human objects without humans, and the propensities that may be a bit rebellious and horrifying, but have remained latent within them. At that moment, the

23 월식 ( ) 에대해설명한것이었지만, 오히려 점성술에가까운관점과상상력을취하고있는 작가의우주를감각하는것이나에게는더 중요하게느껴졌다. 공포영화 심령 ( ), 슬래셔 (slasher), 좀비 (zombie). 시간과공간이굽이치며사건들이흐름의 가지를벌려나간다는점에서내가보르헤스가 생각난다고하자, 작가는공포영화를 좋아한다고했다. 특히심령, 슬래셔, 좀비물을 좋아한다고말했다. 공포영화는그배경이항상 밤이고, 그런밤에대해서흥미를갖게되어밤의 이야기를기록하는작업들을애니메이션으로 만들게되었다는것이다. 작가는 < 스위치 온 > 은밤의시간이지남에따라나의기분 상태같은것들을부유하거나기분이붕뜬 light, the movements, and the blackouts work closely together. It is the relationship between the human subject and the object that is to be dismantled, together with the scenarios of light interpreted by the dictatorial human subject. Technically speaking, the background parts and the objects to which motions are given were drawn separately. The background drawn in a 16:9 Full HD format, the images moving like ants, and the layers of images drawn on the walls of the exhibition hall were originally created in separate ways. The layers of such drawings acquire temporality as they move, and the resulting optical illusions lead the audiences to wonder and imagine which part was drawn to create such movements. The original properties of each object are converted to other sensory properties through technical intervention and the animation effects. About Being Weird The Metamorphosis, a novel written by Franz Kafka begins as follows. One morning, when 상태의이미지들로표현을했고, < 시끄러운 유령들 > 은아래로내려가는, 하강하며 한없이가라앉는그런이미지들을표현한 작업입니다. 라고말했다. 시끄러운유령들이나 사물들이움직이며소리를내는현상이라서 폴터가이스트 라는제목을붙였다는작가는 밤에그런것들을직접경험했던것은아니지만 충분히경험가능하다고생각한다고했다. 박미라작가의드로잉애니메이션작업인 < 스위치온 > 은마치밤의어둠속에서동요하듯 움직이기시작하는것들이프로젝션된다는 의미에서의 switch-on 과전등따위의스위치를 켜다라는의미의 switch-off/on 이가진중의성을 의도하고있는것같다. 작가에게현실의풍경이 전등따위가켜진밝은방의모습이라한다면 현장부재증명의알리바이는성립되지만그 현실은오히려윤기가없고창백해보이기까지 Gregor Samsa woke from troubled dreams, he found himself transformed in his bed into a horrible vermin. The oldest Asian compilation of oddities and mysteries Shan Hai Jing( ) The Classic of Mountains and Seas was annotated by Guo Pu from the Eastern Jin dynasty who wrote as follows in the preface: Things that are considered weird in the world do not know they are weird, and things that are deemed strange in the world do not know they are not strange either. Why is it? Things are weird not because of themselves, but become weird when they meet us. The weirdness lies in ourselves, and not in them. Therefore, the barbarians of the north, seeing cloth, doubt if it is truly made from hemp, and the people from Yue are surprised to see how fuzzy blankets are. It is because we usually only believe in what we have seen and find strange what is unfamiliar to us. In German, the word poltergeist is a combination of poltern (to produce loud noises; to knock Jaewon Chey 최재원 얼지마, 죽지마, 부활할거야 Don't Move, Die And Rise Again! 하다. 그러나숨을죽이고어둠이오기를 기다리는사물들로구성된고체적현실이 균열을일으키게되는사건은밤의어두움이다. 그틈을타활동을시작하는야행성존재들은 현실에서는주목되지않거나배척되고있는 사물들인것이다. 무빙이미지 벽화작업 이라고작가가표현하는 < 스위치 온 > 은벽에따로드로잉을한작업이다. 영상이 하얀벽면에프로젝션되는것보다레이어가 겹쳐지면더많은얘기를할수있다고생각해서 이전부터사용해온방법 이라고작가는 말한다. 프로젝션이꺼졌을때벽에그려진 사물들이드러났는데굳이그사물들을말로 옮기자면마른꽃다발, 사과하나, 작은물 웅덩이, 나뒹구는망가진스탠드등이었다는 on something; to rattle or to make unknown sounds) and Leben (breath or virility). It refers to phenomena wherein strange sounds and screams catch the ears out of nowhere and things move and get destroyed on their own. Park s moving images are not used only to achieve the ritualistic effects on the audience through such eerie phenomena of poltergeists. Hiding inside, holding your breath, unconscious but greater than conscious senses sent to daytime, unuttered but pre-uttered words, agitation from motionless but ceaselessly clattering and fracturing anxiety, secrets of the day when you are extremely unstable but not one recognizes or deems it negligible. To wrap up, I would like to share a quote from Frankenstein by Mary Shelley and Mira Park's Note. Accursed creator! Why did you form a monster so hideous that even you turned from me in disgust? God, in pity, made man beautiful and alluring, after his own image; but my form is a filthy type of yours, more horrid even from the very resemblance. Satan had his companions, fellow devils, to admire 것이다. 이번 밤물결 전시에서보여준총세 개의작업중 < 시끄러운유령들 > 과 < 삼키는 마음 > 보다좌우나상하로움직임과배경의화면 전환이없는작업인 < 스위치온 > 이벽화랑같이 들어갔을때효과적일것같아이작업에벽화를 그리게되었다고한다. 종이에펜으로그려진 원화가프로젝션되며그려진벽화는프로젝션이 꺼질때마다전혀예기치않은좌표로그려진 부끄러운속살이드러나듯공중에부유하는 듯보였다. 작가는자신의그림안에서다양한 레이어를보여주고싶어서애니메이션이라는 매체를선택했던것이라고겸손하게말했다. 하지만내게흥미로운것은사물들에마치 정령의기운을불어넣듯, 자기의심적세계와 물리적세계를고의적으로혼동시키고있는 애니미즘 (animism) 적징후들이었다. 작가는 어쩌면현실이더욱비현실적일수있다고 and encourage him, but I am alone and abhorred. Quotations from the Artist s Note Hollow holes of fog Black and blunt trees Long darkness A transmission tower Embankments Glass walls Brick walls Frozen in black Dim lights of indoor lamps A black bird/ a raven Human-faced Black leaves Black and skinny trees A black coat A dog that has lost its strength and fur Clouds A dead heart Space where things are turned upside down Folded shadows The back side of a person standing alone

24 말하고싶었는지도모르겠다. 르네상스는 들춰내려고하는것인지도모른다. 이때 다른감각속성으로전환된다. 후에괴상해진다. 괴상한것은과연자신에게 어쩌면인간문명의진보를통한거룩한 빛과움직임과암막들은긴밀하게공조된다. 있는것이요, 사물이괴상한것이아니다. 빛과이성주의를통한문명의인도가아닌 해체되는것은인간주체와객체의관계이자, 괴상하다는것 그러므로북방의오랑캐는옷짓는베를보고 흑사병이라는어두운방을통한지평이 인간이라는독점적주체가해석하는빛의 프란츠카프카는그의작업 변신 에서다음과 삼씨인가의심하고, 월 ( ) 나라사람들은담요를 아니었을까? 다른공간을찾기위해밝은방이 시나리오들일지도모른다. 같은첫문단으로시작하고있다. 어느날아침 보고솜털이라고놀란다. 대개그익히보아온 아닌어두운옵스큐라안으로들어가야할때가있다. 작가는사물들과인간들이수평적으로평평하고동등해지는지형학으로구성된세계를보여주고싶었는지도모른다. 옵스큐라를통해맺힌핀트글라스에이미지는거꾸로보이기는하지만, 그것은분명카메라렌즈앞의대상이존재했다는것을증거하는대상으로부터반사된빛이다. 그렇게방법론은환상문학보다 기술적으로말하자면배경이되는부분과움직임이주어지는사물들은따로그려졌다. 이렇게 16:9 풀HD화면포맷으로그려진배경과, 움직이는개미와도같은것들과, 실제전시장의벽면에그려진사물의레이어는원래분리되어작업된것이다. 그러한드로잉들의레이어가무빙으로시간성을가지게되며그것으로인한 최재원 얼지마, 죽지마, 부활할거야 불안한기분으로잠에서깨어난그레고르는잠자는자신이흉측스런벌레로변해버린것을깨달았다 고말이다. 동양최고의기서 ( ) 이자박물지 ( ) 로불리는 산해경( ) 동진 ( ) 의곽박 ( ) 이주석을달았고다음과같이서문에쓰고있다. 세상에서이른바이상하다고하는것은그 것을믿고그드물게듣는것을기이하게여기기때문이다. 독일어로 시끄러운소리를내다, 노크하다, 덜커덩소리를내다, 정체모를소리가나다 라는뜻의폴터른 (poltern) 과생명 (Leben), 호흡, 영기를뜻하는가이스트 (Geist, der Geist는 유령 의의미 ) 가결합된 상상적인시적방식으로차용된다. 차라리 착시는, 관객들에게어떤부분이움직임을 이상한것을알지못하며, 세상에서이른바 폴터가이스트 (poltergeist) 라는말이있다. 이유 인간을배제한비인간사물들의세계들로의 주기위해그려졌을지더호기심을자극하며 괴상하지않다고하는것도그괴상하지아니한 없이이상한소리나비명이들리거나사물이 상상력과, 약간은불온하고공포스러울수도 상상하게한다. 각각의개체들이가지는 것을알지못하는것이다. 무엇때문인가? 스스로움직이거나파괴되는현상을말한다. 있지만그사물들에잠재하고있던성향들을 실재속성은기술적개입과애니메이션을통해 사물은스스로괴상한것이아니라나를기다린 작가의무빙이미지는이러한폴터가이스트의 A fragmented body Black smoke from a chimney A person who is crouching down A person with a slumped upper body A bed Straightened legs People weeping and covering their faces A person with only muscles A grave covered with flowers Candle drippings Curtains Insects and jump rope Touch (the surface of) water waves A person with a hood on has no face A black-eyed rabbit A person or an animal with wires around their body A person sewing All shapes are melting Apples and all things are melting A goldfish in a fishbowl thrusts its mouth above the surface *A composition in the style of a theater stage/ 삼키는마음 (2019) 드로잉애니메이션 1 분 31 초 스틸컷 Speechless (2019) Drawing Animation 1min. 31sec. Still Cut

25 괴기스러운현상을통해관객들에게제의적 만들었건만, 내모습은추악한당신의모습을 검은잎 꽃으로된무덤 효과를거두기위해서만사용되고있는것은 빼닮았기에더욱소름끼친다. 사탄에게는 검고마른나무 촛농 아니다. 안으로숨고, 참고있는숨이지만, 칭찬해주고용기를줄친구, 동료악마들이라도 검은외투 커튼 낮으로보내는의식되지않았지만의식보다도 있지만, 나는외톨이고증오의대상이로다! 힘과털이빠진개 벌레줄넘기 더큰감각, 발화되지않았지만발화되기이전의 구름들 물에 ( 수면에 ) 손을댄다 파장 언어들, 움직이지않지만끊임없이덜컹거리고 작가의아이디어노트로부터인용 죽은심장 후드입은사람안에얼굴이없다 균열을일으키는불안으로부터의동요, 안개의빈구멍 사물들이뒤집어져있는공간 검은눈의토끼 지극히동요하고있지만아무도알아차리지 검고무뚝뚝한나무들 접혀진그림자 몸에철사가감긴사람이나동물 못하거나중요하지않다고간주되는그런 긴어둠 홀로서있는뒷모습 바느질하는사람 대낮의비밀들, 메리셸리 (Mary Shelley) 의 송전탑 조각난몸 모든형체들이녹아내림 프랑켄슈타인 (Frankenstein) 과작가의 방죽 굴뚝의검은연기 사과와모든물건들이녹아내림 노트를인용하며글을마친다. 유리담장 쭈구려앉은사람 어항속금붕어가수면위로입을내밀다 벽돌담장 상체를수구린사람 저주받은창조자여, 왜당신은스스로도 검게얼어붙은 침대 * 연극무대형식의구도, 모든사물이 역겨워고개를돌릴만큼소름끼치는괴물을 실내등의어두운불빛들 다리를쭉펴고 조형적으로만들어진설정 * 만들었는가? 신은인간을가엾게여겨, 인간을 검은한마리새 / 까마귀 얼굴을가린채우는사람들 * 점점흐려지는것, 점점진해지는것, 초점의 자신의형상을본떠아름답고매혹적으로 사람의얼굴을한 근육만있는사람 변화를가지는설정 * setting where all things have figurative forms* *Setting where things fade out and darken, and changes in focus* *Repetitive sounds* *Setting where things melt and disappear* *Setting where the screen vertically enlarges and reduces as an opening and closing eyelid* The Waves at Night Insomnia Light Sleepwalking Tickling feelings Feelings of bugs crawling (formication) Constant sound (ex. clock ticking) Movement of a pendulum Sheep Light twinkling from afar Noise between floors Night when colors fade away Rising moon and elevating emotions Blinking eyes Bugs crawling out of the eyes 삼키는마음 (2019) 드로잉애니메이션 1 분 31 초 스틸컷 Speechless (2019) Drawing Animation 1min. 31sec. Still Cut 삼키는마음 #2

26 *반복되는 소리들* 달이 차오르고 감정이 차고 *녹아내려서 다 사라져버리는 설정* *눈꺼풀의 여닫힘처럼 화면이 위아래로 눈을 깜빡거림 벌어지는 설정* 눈에서 벌레가 기어나옴 밤물결 물 떨어지는 소리 asmr 불안함 불면증 초조함 밤의 반복적인 빛 웽웽웽웽 반복적인 움직임 몽유병 원형 놀이기구 또는 날아다니는 벌의 간지러운 느낌 벌레가 기어다니는 느낌 8.8 일정한 소리 ex) 시계가 똑딱 옆구리가 터진사람 요가동작 시계추의 움직임 양 멀리서 빛이 깜빡거림 층간 소음 색이 사라지는 밤 52 삼키는 마음 (2019) 드로잉 애니메이션 1분 31초 스틸 컷 Speechless (2019) Drawing Animation 1min. 31sec. Still Cut 53 ASMR: sound of water dripping Anxiety Nervousness repeatedly felt at night Repetitive moves with a buzzing sound of a circular amusement park ride or a flying bee 8.8 A yoga pose a person with his/her side that has popped open 삼키는 마음 (2019) 드로잉 애니메이션 1분 31초 스틸 컷 Speechless (2019) Drawing Animation 1min. 31sec. Still Cut 삼키는 마음 #3 삼키는 마음 #6

27 시끄러운 유령들 (2019) 드로잉 애니메이션 2분 26초 스틸 컷 Poltergeist (2019) Drawing Animation 2min. 26sec. Still Cut 55

28 스위치 온 (2019) 종이에 펜 cm Switch on (2019) Pen on Paper cm