전시
-
이윤이 개인전_두 번 반 매어진- 전시기간
- 2014.06.20~2014.07.27
- 관람료
- 오프닝
- 장소
- 작가
- 부대행사
- 주관
- 주최
- 문의
전시가 7월 27일까지로 연장되었습니다.
이윤이 개인전 < 두 번 반 매어진/ A Round Turn and Two Half-Hitches>
opening: 2014.6.20 6PM
정박하지도,
흩어지지도 않는 기억
전시의 서막, 전체이자 혹은 떨어져 나온 일부로써의 악기(하모니움)는 인미공 벽돌건물 모두를 하나의 진동상자로 확장한다. 이것은 이번 전시의 첫 번째이자 동시에 마지막 장치, 안과 밖을 나누는 막이며 끊임없이 회전하면서 현실과 허구의 경계를 지우는 역할을 한다. 선원들이 항구에 배를 정박시키기 위해 흔히 쓰는 매듭의 이름(A round turn and two half hitches)에서 가져온 제목 <두 번 반 매어진>은 시적인 호흡, 말로 표현되고 소리 내어 읽을 때, 연상되는 수행적 재현을 유발한다. 회전하는 하모니움은 누군가가 연주하기를 기다리는 악기로 놓여있음으로써 잠재적인 진동과 욕망을 드러내고 보는 이로 하여금 직관적이고 물리적인 참여를 제안한다. 설치된 사물들과 비디오의 사이, 극과 극의 중간을 넘나들며 관객은 더 이상 수동적인 목격자가 아닌 상황의 출발자, 주체적인 참여자로 포함된다.
본 전시는 사운드와 이미지, 텍스트가 혼합된 ‘이야기하기(Story-telling)’에 대한 실험이며 출판, 영상, 설치를 통해 그것을 구현한다. 스스로의 내면적인 고백을 다른 인물의 몸과 언어를 통해 다시 허구로 만드는 영상작업은 공공의 기억을 개인화 하고 개인의 기억을 공유하는 실험이다. 작가는 그것의 가장 적절한 장치로 공간적, 시간적 상황을 극적으로 호출하는 무대의 방식을 선택한다. 세계에서 가장 큰 파이프오르간이 연주되는 필라델피아의 메이시 백화점(Macy’s Department Store)에서 촬영한 <독수리에서 만나요>, 개발에 실패한 뉴저지의 한인타운(Paliside park)에서 제작된 <습지, 영주권,트리오/Wetland, Green card, Trio>에서의 자전적인 나래이션은 일시적인 기억을 여러 관계 속에 위치시키고자 하는 의도를 효과적으로 이끌고 있다. 영상 속의 인물들은 주로 작가가 일상적인 상황에서 만난 친구, 친밀한 작업동료, 작가 자신, 혹은 상상의 영역에서 호출된 배우(또는 우리가 뉴스를 통해 익히 아는 ‘실제’ 배우_<날개 없이 나는 빨간 새를 보았다 다가갔을 때 그것은 총알이었다 (2014)>)이다. 다양한 감정적, 문화적, 사회적 관계를 지닌 인물(배우)들의 등장은 각자의 '이야기하기' 방식을 공유하고, 서로 함께 매여 있지만 작가의 사적인 해석과 부분적인 은폐 또는 과장들을 통해 서로의 결속을 픽션의 알레고리로 만들기도 한다. 영상이라는 시간적인 극의 장치 안에서 그들은 일종의 허구이자 환영이기도 하지만 여전히 자신의 기억과 경험, 습득된 언어(language)로 말을 하는 존재로 우리 앞에 다가온다. 무대의 안과 밖, 나타났다 사라지는 기억은 기록과 기념, 무화(無化)를 반복한다. 상이한 환영의 층위는 오히려 현실을 반추하고 재구성한다. 표면과 이면의 내밀한 얼개 속에서 작가와 관객은 서로 매어진 존재가 되기도 하고 배반하여 떨어진 존재가 되기도 하면서 독립적인 발화를 펼친다.
●인사미술공간 1층
▲
(인사미술공간 설치 전경)
▲
(인사미술공간 설치 전경)
전시는 실제 하모니움 회전문으로 바뀐 출입문의 밖에서부터 작동하여 관람객이 문을 밀고 전시장으로 들어오는 순간, 악기의 진동상자 안 혹은 연극적 무대에 진입하는 공감각적 경험을 하게 한다. 하모니움은 전시를 알리는 서곡의 역할을 하기도 하고, 수행을 기다리는 오브제가 되기도 하며 바닥에 깔린 붉은 카펫은 전시장 안으로 들어서기 위한 안내지 역할을 한다. 관객은 영상물과 설치물 사이를 유영하며 수동적인 관람자가 아닌 극과 극 사이를 수행자로써 참여하게 된다.
● 인사미술공간 지층
▲ <세속적인 삼위일체/ Secular Trinity>, 투채널 흑백영상, 드럼, 회전판, 유리, 혼합재료_가변설치_2014
▲ <세속적인 삼위일체/Secular Trinity>,투채널 흑백영상_2014
어두운 공간과 흑백 영상 작품의 희미한 불빛에 의해 유리는 페퍼스 고스트(19세기에 발명된 시각 무대 효과)를 이용한 착시 현상을 만들고 괜객은 마치 누군가 드럼을 매고 회전하는 듯한 존재하지 않는 실체에 대한 환영적 경험을 하게 된다. 세속적인 삼위일체 투 채널 영상은 '남자는 배' , '여자는 항구'라는 통속적 메타포에 착안하여 남녀 두 배우를 두 개의 흑백 프레임으로 나누어 배치한다. 영상은 슬랩스틱 코미디 인물들처럼 엄숙한 몸짓과 표정으로 앞으로 전진하는 듯하지만 닻에 걸린 부표처럼 제자리를 머무는 남성과 여성의 모습을 진지하고 엄숙한 구도로 보여준다.
● 인사미술공간 2층
▲<나이프, 스푼, 포크/Knife, Spoon, Fork>, 단채널 영상_7분 38초_2013
▲습지, 영주권, 트리오/Wetland, Greencard, Trio>, 단채널 영상_4분 7초_2012
▲
(인사미술공간 설치 전경)
<습지, 영주권, 트리오/Wetland, Greencard, Trio>,
A harmonium sat where there used to be a wall by next to the front gate. It resembles the pump organ that every elementary school classrooms used to have. Its keyboard faces the street; the flat back is seen from inside the exhibition hall. It looks as if the instrument is merged with the wall, penetrating the inside out. The instrument was played once each for the opening and the closing of the exhibition. However, during most of the time while not being played, one could still imagine. If the performer seated at the organ has his/her back toward the street, would the sound reverberate only into the hall? The organ, placed both inside and outside, just like a revolving door, could perhaps shoot its sounds in random directions. If someone pumps the pedal on a night when all doors are closed, would the sound be heard beyond the wall of the neighboring Changdeokgung? This instrument, which arouses our curiosity, is a prologue to the exhibition and also a part of Meet me at the Eagle, a piece displayed on the ground floor. Single-channel video, translucent trophy-like installation configured to an eagle, layout of the organ, and red carpet on the floor are composed into a single piece of work. The organ and the figure of an eagle have to do with Macy's Department Store in Philadelphia, which also appears in the video. It is an upscale department store with an eagle figure, known for its pipe organ, touted as the largest in the world among the functioning ones, and its meeting place. Installing a large organ, which is normally seen in a cathedral, at a luxurious and fancy department store is itself an already odd combination. With the songs and motions of the two persons in paper crown and cape, the department store, a temple of modernity, turns into a temporary stage. The video flows like a single performance composed of various phrases. From the prologue that begins with a three-four clap sound to a song that cheerfully invites people to 'a trip following a story', from intermissions with soundless singing mouths to a story about childhood experience of learning how to play the piano, unrestricted associations and confessions continue throughout the music.
The title of the exhibition, A Round Turn and Two Half-Hitches will stay in your thoughts, like some kind of code or cipher. My feelers are up by just looking for something that is tied in 'A Round Turn and Two Half-Hitches'. Two half-hitches amount to three acts, that is, incomplete three tries. It is not hard to find the motive of three here and there, but none of them are perfectly balanced on the center of gravity. Like a tripod standing on uneven ground, one of the three points is short-legged. The work titled The Secular Trinity explicitly presents the figure of 3, while the 40-sheet paper work printed like newspaper, I saw a red bird flying without wings when I looked closer it was a bullet. shows a repetitious composition of text, a photo of a female entertainment celebrity who committed suicide, and a photo of neckties knotted in various methods and types. Here, once again, the photos of neckties knotted in various methods and types, revolving doors, and ports where military vessels berth meet with the link of association in the name of 'knot'. Come to think of it, the exhibition hall itself has three floors. With the basement structured like an isosceles, are the works on 1F regular triangles? Groundless inferences go on.
2F of the exhibition hall is shared by the newspaper-like work and the three video works. While the content of the video is based on personal episodes involving the characters in them, the inner confessions keep an appropriate emotional distance, as they are told in the loss of a subject, or borrow someone else’s body or voice. The objects or events in the videos escape interlocking meanings by being related to drawings, descriptions, or acts which do not explicitly refer to or explain them. Composed of three passages, Knife, Spoon, Fork (2013) originates from Susan Sontag's essay, In Memory of Their Feeling. The essay was contributed to the catalogue of an exhibition by John Cage, Merce Cunningham, and Jasper Johns, in which the writer compares the three artists as knife, spoon, and fork, respectively, before she asks, "If they are together on a plane (or a flat surface), what would they talk about?" Taking a cue from this, artist Yi Yunyi contrives a method in which she makes sure that the three persons with different languages, nationalities, and expression modes blend into each other's area by relating their own stories while writing the script together. Thus, she has let them perform as characters in each other's story by temporarily dwelling as fictitious characters in the others' reality. Therefore, it is impossible to clearly determine the heroine who acts as a motif for the recurring blue dress. While narration with 'I' as its subject sometimes appears, it is followed by a description of the emotional status of 'you'. And the voices are often replaced with letters. Just like a piece of cloth that is strained and then loosened, and like an array of fruits that gather in three and then disperse, the story is a continuous motion of finding and then missing its owner. Creating "Fantasy of Symmetry" through dispersing body, moving objects, and swaying stories, the video turns into a rock-paper-scissors game, which could only work with both characters present.
Wetland, Greencard, Trio is a video that highlights a personal narrative based on the character's situation and psychology. Separation with a lover who is leaving America due to greencard issues, moving from Brooklyn to an underdeveloped Korea Town in New Jersey, and the process of transplanting a shrub from a flower pot into a wetland while wearing deer antler are accompanied with a somewhat sentimental gospel (beginning with "As the thirsty deer pants for water"). Immigrants, women, immigration, and deer all represent frail and vulnerable entities or conditions, and the video depicts the slow decomposition of emotions and places that transpired around the speaker's inside and surroundings. The images presumably a young woman’s sight and action, meet the voice of a somewhat older woman to create a strange and ambiguous identity, which in turn neutralizes the sentimental aspect of a personal story.
The structure that mixes reality and fiction to ambiguate the identity of a story and create a mélange out of a person's identity is repeated in another video, Maya (not that), the name of a woman with multicultural background reminds the Mayan civilization and means 'not there' at the same time. Here, Kim Chun-su's poem cuts in, suggesting that an object could turn into a meaning when called by name. The all too Korean poem, which suddenly infiltrates the background image that reflects the name of the person and her cultural identity, and the reality based fragments that are added to another space-time through free association of meanings eventually create a fantastic reality. The simple and purposeless acts and the musical pieces, which, having lost connection points, progress like stepping stones, also contribute to such a fantasy. In spite of the heroine's image and background, however, it is far from stimulating the exotic taste, and is left with only the mythic scenes that have descended to the quotidian level.
The Secular Trinity, taking place in a dark underground space, is an installation composed of a black-and-white 2-channel video, a drum placed in the back of a corner, and a mirror that reflects the drum. As is with the installation on 1F, here, several elements and the space itself are combined to create a single piece. The two videos, each showing a man and a woman, are conducting the space. In the video, the two persons play the drum, with the man at the revolving door and the woman with the ship berthed at the port at the backdrop. Like the man who remains swiveling on the same spot, the woman, who switches to all directions of North, South, East, and West, can't get out of her position. The man and the woman, as they stay where they are, deliver the demanding and repetitious psychology of their relationship. Meantime, the sound of rhythm transmitted from the two channels of each video is synthesized into a new performance in the exhibition space, while the reflection of objects in the mirror implies an incessantly occurring memory, like marching in place and the motion of the revolving door.
Just as music has been mentioned several times in each work, the entire exhibition is constructed like a single piece of performance. A counterpoint is created between a faithful relationship and betrayal of glances, between balance and slippage, and between fact and dull fantasy. Serving as the theme and form for respective works, these are also symbols on sheet music for a single performance of exhibition. The performance freshly defies the expectation of harmonics, like awkward sentences with inappropriate correspondence between subject and predicate, or like the native language of a long-time immigrant. In Meet me at the Eagle, it is unclear whether 'I' in the narration, "I am a musical instrument, perhaps a broken accordion ..." refers to the speaker who performs in the video, the organ in Macy's, or the very video that encapsulates the entire situation. Maybe, it refers to all of the three. The harmonium, which one encounters even before stepping into the exhibition hall, has perhaps already explained the function of the exhibition. Attached to the entrance and serving also as a thoroughfare connecting the inside and the outside, the instrument is the pedal that pumps air into the venue of exhibition. As one passes by and enters the space, the exhibition hall as a resonance device turns into a musical instrument, and meaning and its variations are played.
Kim Haeju (curator)
첨부파일