홈 > 뉴미디어대안영화제 > 뉴미디어대안영화제

전시관 아트스페이스 오(2017.08.17-25)

뉴장르공공미술, 여성미술, 비디오퍼포먼스를꾸준히오랫동안작업해온홍이현숙의작품들을살펴볼수있는<수행의간격>은 ‘수행’이라는공통된주제를가지고있는 7점의작품이전시된다. 홍이현숙은직접 ‘수행’을하며대상또는주제와긴밀한관계맺음을하며창작자와대상의타협의접점들을 ‘간격’이라는단어로제시한다. 이전시에서소개되는 7점의작품들은몇가지의공통된특징을가지고있다. 첫째는창작자가수행자가되어직접작품에노출되고몸짓언어를통해자신의메시지를전달한다는점이다. 대사와자막도없이오로지작품에는홍이현숙이거처하는배경(환경)과수행자인그만이제시된다. 둘째는홍이현숙은모든작품에아줌마의옷으로표상되는파란색꽃무늬원피스를입고몸짓을한다. 이원피스는아줌마를표상하며그동안읽혀지지않았던, 또는소외되었던아줌마를다양한배경에소환시킨다. 아줌마는 ‘나이든여자를가볍게부르는말’, ‘결혼한여자를일반적으로부르는말’이다. 홍이현숙은이원피스로 ‘나이든여자’를표상하지만사회적으로활용되는 ‘아줌마’의의미를너머탐색하고, 모험하고참여하고, 능동적으로자신의몸짓언어를구사하는 ‘아줌마’로재생산한다. 셋째, 일상생활의실천의가능성을단순한행위를통해보여준다는점이다. 미셀드세르토는 ‘아주일상적인차원’에서재전유, 왜곡, 변형, 재가공을하면서자신의삶을만드는것‘에대한필요성을논하며거대담론의훈육성을비판하였다. 홍이현숙은 ’일상생활에서의창조적실천성‘을어떻게실현시킬수있는가에대한실천들을사회적약자, 위안부할머니, 재개발, 폐경등다양한주제로풀어낸다. 약 10여년간진행된홍이현숙의비디오퍼포먼스의독창적인미학은대중에게소구하는방식이아닌스스로수행을통해언어를발생시키고있다는점일것이다. 묵묵히자신이가진의제를수행해나가며간격의너비를성찰해나가는홍이현숙의<광화문풍경Gwanghwamun Still Life>(2017), <조촐한추모A Small Memorial>(2016), <폐경폐경 1,2 Menopause Menopause 1.2>(2012), <사라지다Away>(2011), <북가좌엘레지Bookgajwa Elegy>(2009), <구르기Body Rolling>(2006), <날개wings>(2005)를통해일상생활의몸짓이가진창조성의가능성을고찰할수있는시간이될수있기를바란다.(김장연호)

New Genre The works of Hyun Sook Hong, who has been working for public art, female art and video performance for a long time, shows seven works with a common theme of 'performance'. She directly performs 'performance' and establishes a close relationship with the subject or subject, and presents the contact points of the compromise between the creator and the subject with the word 'interval'. The seven pieces presented in this exhibition have some common features. The first is that the creator becomes the performer and is directly exposed to the work and delivers his message through the body language. Without the dialogue and the subtitles, only the background (environment) in which Hyun-sook Hong resides and the performer are presented. The second is that Hyun Sook Hong wears a blue floral dress dressed in the aunt's clothes on all works. This one piece represents a woman and summons a woman who has not been read or marginalized in various backgrounds. Auntie is a "the word that calls old woman lightly" and "married woman a married woman.” She represents 'old woman' in this dress, but she reproduces it as an aunt who explores, engages, and actively speaks the language of her body language. Third, it demonstrates the possibility of practicing everyday life through simple acts. Michel de Certo has criticized the need for the creation of his own life in re-appropriation, distortion, transformation, and reprocessing in a "very ordinary dimension" and criticized the training of grand discourse. She works on various subjects such as social weak, comfort women grandmother, redevelopment, and menopause on how to realize the "creative practicability in daily life". The creative aesthetics of her video performance, which has been going on for about 10 years is not a way to appeal to the public but rather to generate language through practice. Hyun-sook Hong's Gwanghwamun Still Life (2017), which reflects on the width of the gap while performing his own agenda silently, <A Small Memorial> (2016), <1,2Menopause Menopause 1.2> (2012), <Away> (2011), <Bookgajwa Elegy> (2009), <Body Rolling> (2006) and <wings> (2005) will considered for creative possibilities. (KIMJANG Jen Yeunho)



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