기계의 논리로 예측되지 않는 가장 인간적인 감정의 풍경으로서 파주
참여작가ㅣ애나한, 이우준

2018년 4월 남북정상회담시 마이크로소프트사의 애저(Azure)라는 빅데이터는 군사분계선에 선  문재인 대통령과 김정은 국무위원장의 얼굴에서 ‘행복’지수 100%을 읽어내며 역사적인 날의 인간감정을 기록하였다. 긴장과 경계의 장소에서 기쁨과 평안이라는 극적 감정의 변화가 일어난 것처럼 접적지역이면서 동시에 일상 여가의 장소이기도 한 파주라는 지역은 매우 다양한 감정들이 흐르는 곳이다. 이곳에 위치한 블루메미술관은 기계의 논리로 예측되지 않는 가장 인간적인
감정의 풍경으로서 파주를 해석하고자 한다. 현재로서의 역사를 이해하기 위해서 뿐 아니라 로봇이 인간의 영역을 대체하게 될 미래시대를 바라보며 인간만이 가지고 있는, 가장 인간적인 것은 무엇인가라는 질문으로 올해 블루메미술관은 인간 감정의 의미와 가치에 주목하였다. 상반기 전시 <Play Music, Play Emotion>전이 인지되고 분석가능한 감정이 아닌 다양한 음악적 요소를 통해 일으켜지고 펼쳐져 함께 느끼고 노는 가운데 공감의 경험으로 응집되는 감정을 다루었다면, 2부 전시 <Emotionscape>에서는 소요하듯 천천히 걸어 들어가거나 바라만 볼 수도 있는, 하나의 풍경으로 흐르는 감정을 텍스트로 제시한다. 역사속에 쌓이거나 흩어져 결코 한 단어로 요약할 수 없는 ‘흐름’ 으로서의 감정을 부유하는 듯한 소리의 흐름과 실재하지 않는 듯 하나 분명 눈앞에 광대하게 펼쳐진 시각적 풍경 그리고 손으로 만져지는 빛바랜 사물로 붙들어놓은 kayip(이우준)의 작업과 색이 만들어내는 기억과 감정의 순간을 빛 그리고 여러 질감의 표면으로 섬세하게 이끌어내는 애나한의 작품을 통해 그 형체를 알 수 없는, 그러나 분명히 누구나가 느끼고 함께 그 파동을 공유할 때 증폭되는 공감의 경험을 이야기하고자 한다. 교감으로 읽혀지는 텍스트 안에 접적지역이자 DMZ로부터 이어지는 자연의 평화가 병존하는 파주라는 지역, 그 안에 흐르고 있는 일상적이며 비일상적인 감정들을 해석의 소재로 제시하며 공감각적으로 펼쳐낸 감정의 풍경 앞에서 관객은 함께 몸담을 수도 있고 타인의 풍경으로 스쳐 지나갈 수도 있을 것이다. 풍경으로 만들어진 감정은 그 소통의 형태와 깊이도 가늠해 볼 수 있게 한다. 파주라는 지역에 얽혀있는 여러 감정들이 이 전시를 통해 특정 장소에 한정된 것이 아닌 이 지역과 무관한 그 어떤 한 사람의 일상안에서도 무수히 교차되는 역설적이고 모순되며 그렇기에 풍성하고 아름다운 것임을 한 공간 안에 서로 풍경의 일부가 되는 공감의 경험 안에서 나누고자 한다.

후원ㅣ한국문화예술위원회
기획ㅣ김은영, 김소영
진행 및 교육ㅣ김민지, 이회남, 김보윤
디자인ㅣ엄진아
사진ㅣ박현욱

Interpret Paju, a most human and emotional scene
Participating artistsㅣAnna Han, Kayip

Azure, a cloud computing service created by Microsoft, chronicled human emotion on a historical day. It measured a 100% rating on the happiness index on the faces of South Korean president Moon Jae-in and North Korean leader Kim Jong-un who stood on the military demarcation line in April 2018. As this dramatic change occurred in Paju from a place of tension and vigilance to one of joy and peace, it is a border area as well as a site for casual leisure that is laden with a wide variety of feelings and emotions. The Blume Museum of Contemporary Art (BMOCA) hopes to interpret Paju as a very human and emotional site that is unpredicted by any mechanical logic. This year the museum paid heed to the meaning and value of human emotion so as to figure out human history and make predictions about the future concerning when human labor will be replaced with that of robots. This was done while posing the question, “What is the most human thing that only humanity possesses?” Play Music, Play Emotion in Part 1 dealt with emotions deriving from our experiences with feeling and playing with a variety of musical elements that are not perceptible, analyzable emotions. Emotionscape in Part 2 presents emotions flowing into a landscape we leisurely walk into or just look at as text. Kayip captures and presents a stream of emotions that cannot be summarized in a single word as the flow of sound: these emotions are accumulated in or scattered throughout history. In a way similar to how sound placed in the order of time portrays a momentarily still image like our mental imagery, he lends sound to visual landscapes that seem inexistent yet manage to unfurl before our eyes. Just as sound is tactile by nature, stimulating a vestibular organ, the sound he has created aggressively enwraps around our bodies as it is combined with images. Everything in his landscapes seems to unfold but continues to alter and remains uncaught despite it seemingly like it will be caught. Both air and light go in and out, as in any place of living, but his works either feature a vast wasteland with no traces of life or dimly spreading mountains that rise one above another. In contrast, his video images of an old stone wall among a heap of real weighty stones imbued with the fishy smell of moss bear the marks of history. The present time in which green shoots are growing upwards is overlapped with a ferocious battle scene that results in ruin. Loudspeakers conveying ideologies remain confined to a solid black frame as if in silence, but contain the sounds of insects, shooting drills, and tanks at the site where they are standing. Kayip uses the word “border” to describe Paju. His interpretation of this region demonstrates aspects of intrusion, passage, accumulation, and overlapping, as does time, sound, and emotion. Just as a verse Yulgok Yi I, one of the two most prominent Korean Confucian scholars of the Chosun dynasty, wrote at the age of eight in the 16th century, looking the sunset over the Imjin River, filters into the venue while making the tinkling sound of a wind chime by swaying in the breeze, this atmosphere of peace and transience overlaps with quotidian happiness and boredom in capitalism laden with rage and horror a half-century ago. The emotionscape Kayip portrayed like the passage of time seem to overlap and stay in some moment, but bear a resemblance to the nature of sound that gradually proceeds, disperses, and ultimately vanishes in others. Contrary to his works, Anna Han’s pieces are much more spatial in nature. Unlike sound which possesses a beginning and end, space is relatively unclear in terms of where our experiences start and end. Although space is a physical entity with height and width measurable in objective figures, these figures are subject to change and arouse completely different feelings and interpretations according to the individual who enters into or interacts with it. Anna Han presents spatial experiences couched in elements such as color, light, geometrical shapes, and at times sound and brief text, addressing a neutral space before it became a place laden with meaning. Visible in three spaces consisting of blue, yellow, and green by blending blue and yellow are diagonal lines, straight lines, circles, and rectangles as well as absorbed, collected light and reflected, glittering light. The yellow she renders in space feels tactilely warm as if to enwrap the whole body like a sunset, rather than the sunlight brightly shining in our eyes. The sentence written on a perfectly circular plate, “Turning in a circle, you become me and I become you” rotates endlessly. These are devices to present the temperature approximating the body temperature of the chest, rather than the head. Blue has its own motif in Anna Han’s work. The blue bridge on which the two chiefs of South and North Korea walked at the summit last spring has its color called “United Nations Blue” symbolic of the subject which made this name. Han gives account of this color in a form of abstraction when using this color with historical symbolism. This rectangle painted in blue on a white wall is for someone symbolic of either freedom that is open like the sky or coldness and depth stuck in a framework. Like this, she shows that neither color nor light are confined by any one symbol or experienced subjectively like sound. They are related to a variety of variables in a physical space that unfurls in all directions. Her work delicately represents the moment in which memories and emotions are aroused by specific colors with light and various surface textures. It also unmasks the feeling of affinity that is amplified when everyone feels and shares in such a moment together. She displays synesthetically unfolded emotional scenes, employing everyday and non-everyday emotions as a vehicle for interpretation in Paju, a border area linked to the DMZ where military tension and nature’s peace coexist. Viewers can assimilate into these scenes or they might pass by as those meant for others. The emotions triggered and presented by a landscape enable viewers to gauge the form and depth of communication. The slew of emotions tangled up in Paju is not limited to any specific site; it crosses paths with one’s everyday life, even if it has nothing to do with the region. We would like to share this paradoxical, contradictory, quite abundant, and beautiful aspect of emotions flowing in Paju within an experience of sympathy in which we become part of the scenes of others.