2017.11. 28~12. 17 <μ˜€λ”/λ””μŠ€μ˜€λ”(Order/Disorder)>_νƒˆμ˜μ—­ μš°μ •κ΅­_μ‹¬μ†Œλ―Έ 기획

ν•œ 곳에 λͺ¨μΈ λ§Žμ€ μ‚¬λžŒλ“€.
ꡰ쀑에 λŒ€ν•΄μ„œ, λ˜ν•œ ꡰ쀑 속에 μžˆλŠ” κ°œμΈμ— λŒ€ν•΄μ„œ 생각해본닀. μ˜μƒμ— λ“±μž₯ν•˜λŠ” 풍경은 μ§€κΈˆκΉŒμ§€ 보고 λ“£κ³  κ²½ν—˜ν–ˆλ˜ ν˜„μ‹€ 속 ν˜„μƒλ“€μ„ μ••μΆ• μš”μ•½ν•œ μ—¬λŸ¬ 가지 μž₯면듀이닀.
본인의 μ˜μ§€μ™€λŠ” 상관없이 λ§ˆμ£Όν•œ 상황 μ†μ—μ„œ μš°λ¦¬κ°€ μ–΄λ–€ μ‹μœΌλ‘œ μ‚΄μ•„κ°€λ©°, λ•Œλ‘œλŠ” μ–΄λ–€ μ‹μœΌλ‘œ 무기λ ₯ν•˜κ²Œ κ±°λŒ€ν•œ νž˜μœΌλ‘œλΆ€ν„° 도ꡬ가 λ˜μ–΄ κ°€λŠ”μ§€ κ·Έ 과정을 λ‚˜νƒ€λ‚΄κ³  μžˆλ‹€.

쀑심을 작기 νž˜λ“€λ§ŒνΌ 우리λ₯Ό νšŒμ „μ‹œν‚€λŠ” κ³΅κ°„μ†μ—μ„œ λͺΈμ„ κ°€λˆ„μ§€ λͺ»ν•˜λŠ” 신체듀.
폭발둜 인해 ν•œ μˆœκ°„μ— μ†Œλ©Έν•΄λ²„λ¦° 우리, 적으둜 λ§Œλ‚œ λ„ˆμ™€ λ‚˜.
반볡적으둜 λ°”λ‹₯으둜 λ‚΄λ™λŒ•μ΄μ³μ§€κ³ , λ‹€μ‹œ λΆ€μ–‘ν•˜κ³  λ‹€μ‹œ λ°”λ‹₯으둜 내리 λ–¨μ–΄μ§€λŠ” 상황.
μš°λ¦¬κ°€ ν–₯ν•˜κ³  μžˆλŠ” 곳이 어디인지 무엇을 μœ„ν•œ 것인지도 λͺ¨λ₯΄λŠ” μƒνƒœμ—μ„œ λΉ λ₯΄κ²Œλ§Œ μ›€μ§μ΄λŠ”λ°λ§Œ 집쀑 ν•˜λŠ” 우리.
”xxx와 ν•¨κ»˜ κ°€μ•Όν• κ±°μ•Όβ€œ λˆ„κ΅°κ°€μ™€ ν•¨κ»˜ κ°€μ•Όν•  κ²ƒμ΄λ‹€λŠ” 말을 반볡적으둜 ν•œλ‹€. 그것도 수 λ§Žμ€ ν™˜μ˜λ“€μ²˜λŸΌ λ³΄μ΄λŠ” μ‚¬λžŒμ΄..μ§ˆμ„œμ μœΌλ‘œ ν˜Ήμ€ μ§ˆμ„œλ₯Ό 지킀지 μ•ŠλŠ” κ²ƒμ²˜λŸΌ ν•œλ§ˆλ”” μ”© λ˜μ§„λ‹€. 이 ν™˜μ˜μ˜ 말듀이 λ‚΄κ°€ 정말 ν˜Όμžκ°€ 아닐 수 μžˆμ„ κΉŒλΌλŠ” 생각을 ν’ˆκ²Œ λ§Œλ“ λ‹€. μ•„λ‹ˆλ©΄ κ·Έ μžμ²΄κ°€ ν™˜μ˜μΌ μˆ˜λ„ μžˆλ‹€.

μ•ˆμ„±μ„_κΈ€ μ‹¬μ†Œλ―Έ νλ ˆμ΄ν„°

μ•ˆμ„±μ„μ€ κ΅°μ€‘μ˜ 행동 양식과 μ—­μ‚¬μ˜ 비극적 좔동λ ₯을 κ²Œμž„ ν˜•μ‹μ˜ μ˜μƒμœΌλ‘œ μž¬μƒν•΄ 보인닀. <κ΅°μ€‘μ˜ μ§€ν˜œ>λŠ” 가상 ν˜„μ‹€κ³Ό κ²Œμž„μ˜ ν”½μ…˜ ꡬ쑰λ₯Ό 극적으둜 λ„μž…ν•˜μ—¬, μ’…λ£Œλ˜μ§€ μ•ŠλŠ” μ—­μ‚¬μ˜ 파ꡭ적 μ‹œκ°„μ„ 닀룬 μž‘μ—…μ΄λ‹€. μ €ν•­ν•  μƒˆ 없이 끝없이 μΆ”λ½ν•˜κ³ , 휘λͺ°λ¦¬κ³ , λ‹€μ‹œ ν—ˆκ³΅μ„ λ– λ„λŠ” κ΅°μ€‘μ˜ λͺ¨μŠ΅μ€ μ„Έκ³„μ˜ λΆˆκ°€ν•­λ ₯인 힘과 μ΄λ‘œλΆ€ν„° μž‘λ™ν•˜λŠ” μ—­μ‚¬μ˜ 역섀적 ꡬ쑰λ₯Ό λ‚΄λΉ„μΉœλ‹€. 쀑λ ₯을 λ¬΄μ‹œν•œ κ³΅κ°„μ˜ λ¬΄μžλΉ„ν•œ νšŒμ „κ³Ό 끝없이 μΆ”λ½ν•˜λŠ” μ‚¬λžŒλ“€, μ’…λ£Œκ°€ μ—†λŠ” 이 κ²Œμž„μœΌλ‘œλΆ€ν„° ν­νƒ„μ΄μž 폭죽을 μžμ²­ν•˜λŠ” ꡰ쀑, 그리고 이 λͺ¨λ“  과정을 샅샅이 μ‘μ‹œν•˜λŠ” κ°€μƒμ˜ μŠ€ν¬λ¦°μ€ μš°λ¦¬μ—κ²Œ μž”μΈν•˜κ²Œ 세계λ₯Ό ν­λ‘œν•΄ 보인닀.

이 λΉ„κ·Ήμ—μ„œ κΈ°μŠΉμ „κ²°μ˜ μ„œμ‚¬λŠ” μ—†λ‹€. μ‹œμž‘λ„ 끝도 없이 λ°˜λ³΅λ˜λŠ” νšŒμ „κ³Ό μΆ”λ½μ˜ μ‚¬λžŒλ“€. μ—­μ‚¬λŠ” 사지가 λ’€ν‹€λ¦° ꡰ쀑이 λ‹€ ν•¨κ»˜ νœ©μ“Έλ¦° μ±„λ‘œ μ—°λ™λ˜λŠ” ꡬ쑰와 닀름없을 것이닀. 두 개의 μ˜μƒμ€ 각각 λŸ¬λ‹νƒ€μž„μ΄ λλ‚˜λ„ λ²—μ–΄λ‚  수 μ—†λŠ” ꡬ쑰λ₯Ό μƒκΈ°μ‹œν‚€λ©°, λ‹€λ₯Έ μΆ•μ—μ„œμ˜ 파ꡭ적 상황을 κ°€λ™μ‹œν‚¨λ‹€. μ „μ‹œμž₯μ—μ„œ 일본식 μ½”λ‹€μΈ κ°€ ν•œκ°€μš΄λ° μžλ¦¬ν•œ 곡간 ꡬ성은 일상 속 무방비적 ν™˜κ²½μ΄λΌλŠ” 역섀적 상황을 κ΅¬ν˜„ν•΄ 보인닀.

Sungseok Ahn
Sungseok Ahn has investigated the relationship between history, the crowd, and the individual. He represents the crowd’s behavioral pattern and the tragic impulse of history in videos in a form of game. In Wisdom of the Crowd, he touches on the catastrophic time of unfinished history by dramat-ically introducing the fictional structure of virtual reality and game. The crowd endlessly falls down, is drifted, and floats in the air without any chance of resistance and this reflects the irresistible force of the world and the paradoxical structure of history that operates on that force. The ruthless rota-tion in a zero gravity space, the people endlessly falling down, the crowd willing to be a bomb or a firecracker in this endless game, and the virtual screen gazing at these whole process, all of them cruelly discloses the world to us. This tragedy does not have a well-organized narrative. The rotation continuously repeated and the people endlessly falling. History is nothing but a structure interlocked with the crowd whose bodies are twisted. The two videos evoke the structure in which one cannot escape from even after its running time and get the catastrophic situation into operation.