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  • 실키 네이비 스킨_SILKY NAVY SKIN
    실키 네이비 스킨_SILKY NAVY SKIN
    전시기간
    2016.04.15~2016.05.14
    관람료
    무료
    오프닝
    11am - 7pm
    장소
    인사미술공간
    작가
    박보마, 신현정, 최고은 (협력 윤율리)
    부대행사
    4.30(토) 오후 2시 작가와의 대화
    주관
    한국문화예술위원회
    주최
    인사미술공간
    문의
    02-790-4722
실키 네이비 스킨/SILKY NAVY SKIN
아티스트: 박보마, 신현정, 최고은 (협력 윤율리)
2016.04.15 - 2016.05.14
11am - 7pm
*매주 일요일, 월요일 휴관
*5/5 어린이날, 5/6 임시공휴일 정상운영
 
Opening: 2016.4.15 6pm

작가와의 대화
2016. 4. 30 2pm
진행: 윤율리
초대: 홍보라

 
박보마, 신현정, 최고은은 2015 아르코 시각예술 분야 워크숍에서 만났다. 매년 이름과 커리큘럼이 조금씩 바뀌는 와중에도 이프로그램은 2005년부터 무려 10년 여 간 유망한 신진작가/기획자들을 발굴해 왔다. 9월 8일부터 12월 24일까지 진행된 작년 워크숍에는 총 22명의 작가(그리고 8명의 큐레이터)가 참여했다. 각각 다른 팀에 속했던 세 작가는 10월 5일 즈음 함께 전시를 만들기로 합의한다. 프레젠테이션 준비 과정에서 미술가 정서영, 비평가 안소연의 도움을 받았고, 12월 22일 최종심사를 통과해 인사미술공간에서의 전시가 확정되었다. 일주일에 한 번 꼴로 삼청동 아티제에서 미팅이 이루어졌는데 높은 천장과 가성비 괜찮은베이커리가 마음에 들었다. 총 15번의 미팅에 더해 연구를 빙자한 술자리가 4번 정도 있었고, 모임이 끝나면 으레 의식처럼—또는 당분을 보충하기 위한 합리적 방안의 하나로 케잌을 먹곤 했다. 한 번은 두오모에서 와인을 진탕 마셨으며, 한 번은 원서동에서 옷을 구경하고 같이 구두를 골랐다.
해가 바뀐 2월 4일, 나는 박보마로부터 전시기획에 참여해 달라는 메일을 받았다. 처음 만난 자리에서 그는 이번 전시를 준비하며 영감을 받아 만든 ‘질-도너츠’ 이미지를 보여주며 웃었다. 세작가는 깊은 신뢰를 형성하고 있었지만 그것에 비례해 서로의작업을 정면으로 응시하는 것엔 큰 관심이 없는 듯 했다. 더러 그들의 관계는 정서적인 유대에 기대는 것처럼 보였고 나는 그것을 분류하거나 구분하는데 자주 어려움을 겪었다. 아니, 어쩌면원숭이 엉덩이는 빨갛고, 빨간 것은 사과인데, 사과는 바나나처럼 맛있어서 좋은, 환유의 긴장이야말로 예술가가 다른 예술가의세계를 온전히 예우하는 방식이었을지도 모른다. 어쨌거나 그들은 서로를 연대자라 칭했다. 뭐, 전혀 불가해한 주장은 아니다.
 
 


박보마

 
모든 작가들에겐 다 각자의 이상함이 있는 법이지만 특히 박보마는 좀 더 이상한 사람이다. 예를 들어 굿-즈에서 무척 수상한분장을 하고 드레스를 입은채 정말 마셔도 되는지 의뭉스러운‘검은(빛) 음료’를 제조하던 그의 모습을 아직 나는 생생히 기억한다. 박보마는 하늘이 가진 순간적인 인상에 매료되어 그것을 박제하고자 자신에게 동기를 부여했다는데, 이 이상 간촐하고 완벽하게 그를 설명할 수 있는 문장은 없을 것이다. 연장선에서 박보마는 이벤트를 주관하는 ‘댄서 qhak’이 되거나 빛을 광고하는 회사 ‘fldjf studio’가 되거나 아예 스스로를 ‘반사체’라 믿어버린다. 영화가 연속처럼 보이는 불연속의 시간을 구현하듯 이 기발한 형식은 한 프레임에 담길 수 없는 표면의 질곡을 유사-영화적인 방식으로 늘어뜨린다. 밀림의 보물사냥꾼들은 왕의 재보를 찾기 위해 반짝이는 것을 모으는 습성이 있는 수컷 정원사새(bowerbird)의 도움을 받았다고 한다. 평행우주 어딘가의 박보마 역시 그런존재일 것이다. 그는 이 전시에 깔린 분위기—마치 그가 지향하는 하늘의 감각 같다. 박보마는 일시적인 것으로서의 표면을 채집하고 저장하는 신현정의 방식이 자신과 유사하다고 느꼈다.
 
 

신현정


신현정은 노련한 선장처럼 선수에 올라 예민한 후각으로 바람의냄새를 맡았다. 배의 돛을 펴거나 접는 것을 결정하는 것이 그의몫이었다. 지난 개인전의 타이틀이 ≪점선면과 날씨 Points, Lines, Planes and Weather≫(2015)였던 것은 결코 우연이 아니다. 평문을 적은 비평가 정현은 그의 작업을 “자신과 외부 환경 사이에서발생하는 (…) 예측할 수 없는 ‘의식의 흐름’을 담는 시공간의 표면”이라 읽었다 (「균형을 위한 불협화음」, 정현).—“짐짓 낭만적으로 보이”는 “환경과의 대화”는 “격렬하고 합의를 이끌어낼 수없”으며 “과잉과 결핍 사이에서 끊임없이 흔들려 불협화음을 확인”시킨다(「균형을 위한 불협화음」, 정현). 나는 뱃사람의 징크스를 믿지 않는 쪽이기에 관용적인 무어인의 배에 올라탄 예민한스페인 선교사처럼 굴곤 했다. 요컨대 그가 믿는 점성술의 장엄함보다는 암초에 대한 의심이 나의 공포였던 셈인데, 그럼에도바다에 대한 근원적인 충동이 이 항해의 가장 큰 원동력이었음을 부인할 수 없다. 신현정은 캔버스 그 자체에 대한 관심을 전제로 자신의 회화와 최고은의 조각/오브제가 비슷한 입장에 놓일수 있으리라 생각했다.
 



최고은
 
최고은은 유일한 설계자였다. 그는 참여작가이면서 이따금 유능한 건축가로 분해 전시의 구조를 조율했다. 셋 사이에 흐르는 에너지를 발견하고 그들을 한데 그러모은 것도 그다. 최고은은 가구나 대형 생활가전을 모아 그것을 해체하고 다른 용도를 제시하는 작업을 진행해 왔는데, 나는 이문동에 위치한 지하 작업실의 계단을 오르내릴 때마다 아주 커다란 정육점에 온 듯한 착각을 느꼈다. 육중한 냉장고를 반으로 잘라 ‘냉둥이’라 부르며 애정하는 최고은 식의 유머는 그의 목적이 단지 사물의 낯섦을 해방하는 것에 머무르지 않음을 암시한다. 이를테면 그는 예술가의육신을 통해 사물과 대면하고 기어이 아주 작고 미세한 틈을 파고들어 길게 쭉 찢어 놓는다. 그가 헤집는 것은 사물의 외피지만벌어진 외피의 상처에서 발견되는 것은 육체에 각인되어 있던서사의 절단면이라 불러도 좋을 것이다. 두터운 털가죽을 덜어낸매머드처럼 온전히 사냥꾼의 소유가 된 장롱은 화이트큐브 위에올려져 제법 그럴 듯한 회화로 기능하기도 한다. 반복되는 작용과 반작용 속에서 최고은이 매혹되는 지점은 박보마와 크게 다르지 않다.
 
전시의 출발선에서 나는 몇 가지 가이드라인을 제안했다. 가령다음과 같은 것들이다. “(다소 무모해 보일지라도) 작업의 형식을전시의 형식으로 확장한다”, “차이를 통해 공통감을 드러낸다”, “각 층에서는 가급적 다른 파트너와 번갈아 만난다”. 물론 어떤것은 흔쾌히 받아들여졌고 어떤 것은 진통 끝에 새로운 단서조항 밑으로 옮겨졌다. 더 강한 위력을 가지는 것은 아무래도 그들사이에 자연스레 형성된 불문법 쪽이다. 예컨대 “(특별한 유대를바탕으로) 서로의 작업 뒤에 숨거나 숨긴다는 것”, “감정적인 판단을 회피하거나 주저하지 않는다는 것”, “그로 인한 불확실성의저울질에 기꺼이 응한다는 것”과 같은. 동시에 나는 다분히 주관적인 기록자가 되어 그들을 면밀히 관찰하고, 감시하며, 무대 뒤에 흘려 둔 사소한 증거들을 수거해 테이블 위에 펼쳐놓기로 결정한다. 인사미술공간은 이를 더하고 덜며 각자가 가진 다른 깊이의 감각들을 혼란스레 뒤섞을 것이다. 그것은 결국 젊은-여성-예술가로서 내재된 자기정체감이 미술형식 속에 이입/작동하는 방식이라는 점에서 나는 신선한 흥미를 느낀다. ≪실키 네이비 스킨 SILKY NAVY SKIN≫은 형용사이자 부사이며 명사다. 그것은 감각의 범주에 속해 있지만 쉽게 조립될 수 없는 몽상의 언어다. 하나의 단서가 이곳에 주어졌다. ■윤율리


Boma Pak, Fay Shin and Go-eun Choi met at the 2015 Arko Workshop. Although the workshop changes its title and curriculum slightly every year, this program has discovered promising new artists and curators for 10 years since 2005. A total of 22 artists (and 8 curators) participated at the workshop last year which was held from September 8th to December 24th, 2015. The three artists, each in a different team, met on October 5th and talked about having a group show together. They received help from curators Seo-young Jung and So-yeon Ahn in their planning stage, and their exhibition at Insa Art Space was accepted through the final screening on December 22nd. They met once a week at the Artisee in Samcheong-dong, as they liked the high ceiling and the comparatively affordable baked goods. They had 15 meetings and also met to drink 4times under the excuse of research, and after their meetings, they had cake as if it was a ritual, or a reasonable way to maintain their sugar level. Once they met at Duomo and drank wine to their heart’s content, and once they went shopping for clothes and shoes at Wonseo-dong.
On February 4th, I received an email from Boma Pak to take part in the organization of the exhibition. I met her for the first time, and she showed me, with laughter, a few images of her work Vagina-Donutswhich she produced for the exhibition. While the three artists seemed to have formed a tight and intimate connection with each other, they didn’t seem all that interested in close reading of each others’ art. Their relationship seemed to rely on emotional connection like children, and I often had a hard time differentiating or distinguishing them. Or, just as the monkey’s ass is as red as apple, which is as delicious as banana, perhaps the art of metonymy is reflected in an artist fully and completely respecting the world of another artist. At any rate, they called each other comrades of solidarity, which wasn’t completely incomprehensible.
 

Boma Pak
 
All artists are strange in their own ways, but Boma Pak is especially odd. For example, in her work blackwaters, I still vividly remember Boma dressed in something bizarre and making a ‘blackish drink’ which I highly doubted was potable. Boma claims that she motivated herself as an artist because she was mesmerized by the momentary impression of the sky and wished to preserve it.  There is probably no other such concise and perfect expression that can explain Boma than that. In addition, Boma becomes a dancer (qhak) or an advertising company of light (fldjf studio), or even believes that she is a ‘reflector’. As if to realize the discontinuous time of continuous film, this brilliant form suspends, through a quasi-cinematic way, the visible ordeals which cannot be captured in one frame. In a story, treasure hunters in a jungle seek help from male bowerbirds, which like to collect sparkly things, in order to find the king’s riches. Boma Pak is probably like the birds in a parallel universe somewhere. Boma is an artist with the sensibility of the sky, which is a quality she pursues, and also is the ambience of this exhibition. She thinks that she is similar to Fay Shin in the way that Shin collects and preserves facades of things that are temporary.
 

Fay Shin

Shin got on the boat like a veteran skipper and smelled the wind with her highly sensitive olfactory sense. It was her duty to furl and unfurl the sail. There is no coincidence that the title of her last solo exhibition was Points, Lines, Planes and Weather(2015). Art critic Hyun Jung read Shin’s work as “an expression of unpredictable time and space which captures the ‘flow of consciousness’…which occurs between the self and external environment(「Dissonance for Balance」, Hyun Jung.)” The ‘seemingly romantic conversation with environment’ is ‘powerful and cannot arrive at agreement’, and ‘endlessly bounce between excess and lack, affirming dissonance(「Dissonance for Balance」, Hyun Jung.)’ Because I don’t believe in the jinx of a sailor, I behaved like a sensitive Spanish missionary on the boat of the tolerant Moors. In short, reefs and rocks in the sea scared me more than the majestic astrology which Shin believes; despite so, I can’t deny that the primal impulse for the sea is the biggest impetus for this voyage. In terms of the significance of the canvas for Shin, she believes that her painting and Go-eun Choi’s sculpture stand on a similar stance.
 
 

Go-eun Choi
 
 Go-eun Choi was the only planner in this exhibition. On top of being a participating artist, she would sometimes turn into a competent architect and fine tune the structure of the exhibition. It was Choi who found a commonality among the three and put them together. Choi’s work involves bringing together large household electronics or furniture, disassembling them and putting them in different use.  Going in and out of her studio in the basement in Imun-dong, I felt like I was going in and out of a large butcher shop. Her sense of humor, as exemplified in the work where she cut a large refrigerator in half and affectionately name it ‘Fridgie’, suggests that her purpose doesn’t just lie on emancipating an object from its familiarity. For example, she confronts objects through the body of the artist, and finally finds a tiny gap through which she can dissect it. She digs up into the shell of the object, and what is discovered in the wound of the ruptured shell is the cross-section of the description imbued onto the body. The wardrobe, like a mammoth taken off of its thick leather and fur and now a possession of the hunter, is placed in the white cube and functions as a decent painting. What fascinates Choi in such action and reaction is not largely different from what enchants Boma Pak.
 
I suggested a few guidelines at the onset of the exhibition, such as the following: Expand the form of work into that of the exhibition (even if it seems more or less thoughtless); Approach commonality through difference, and; Meet different partners if possible in each different floor. While some suggestions were accepted without trouble, some were taken as a new provisory clause after a struggle. What is more powerful are unwritten laws formed naturally among them, such as “hiding behind each others’ work (based on special fellowship)”, “not evading or hesitating emotional criticism”, and “willingly responding to the comparing of uncertainty as a consequence.” In the mean time, I decided to become a quiet subjective recorder, closely observing and keeping watch on them, and collecting and laying out on the table the trivial evidences they have left out behind the stage. Insa Art Space will contribute to jumbling up to confusion the artists’senses of different depths. The exhibition is refreshingly delightful in that it signifies the ways in which the self-identity in young-female-artists is introduced and operates in the art form. Silky Navy Skin is an adjective, noun and adverb. Although the term lies within the range of the senses, it’s something that’s oneiric which cannot easily be assembled. Now, a clue has been given.  ■ Juli Yoon
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