Emotionscape
Emotionscape
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Emotiongscape
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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
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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.