*μ½”μΈμ‹œλ˜μŠ€(Coincidence), 2018

KT&G μƒμƒλ§ˆλ‹Ή SKOPF ν”„λ‘œκ·Έλž¨ μ„ μ •
Support fund for the project, KT&G SKOPF


μž‘μ—…λ…ΈνŠΈ <μ½”μΈμ‹œλ˜μŠ€>

λ‚˜μ˜ ν• μ•„λ²„μ§€λŠ” μ „μŸ λ…Έλ¬΄μžμ˜€λ‹€. κ΅­κ°€μ˜ 뢀름에 응닡해 총도 없이 μ§€κ²Œλ₯Ό λ©”κ³  μ „μŸ λ¬Όν’ˆμ„ 날라야 ν–ˆλ˜, 민간인도 ꡰ인도 μ•„λ‹ˆμ—ˆλ˜ μ‚¬λžŒ. 미ꡰ듀은 그듀을 κ°€λ¦¬μΌœ μ§€κ²ŒλΆ€λŒ€(A Frame Army)라고 λΆˆλ €λ‹€. μ•„λ²„μ§€λŠ” ν• μ•„λ²„μ§€μ˜ μ£½μŒμ„ β€˜μ „μ‚¬β€™λΌκ³  ν‘œν˜„ν•˜μ…¨μ§€λ§Œ 사싀 κ·ΈλŠ” μ „μŸ 톡에 μ£½μ—ˆμœΌλ‚˜ μ‹Έμš°λ‹€ λŒμ•„κ°€μ‹  것은 μ•„λ‹ˆμ—ˆλ‹€.

λ‚˜λŠ” ν• μ•„λ²„μ§€μ˜ μ£½μŒμ— κ΄€ν•œ λ¦¬μ„œμΉ˜λ₯Ό μœ„ν•΄ λ°©λ¬Έν•œ ν•œ μ„¬μ—μ„œ κ°―λ²Œμ— κ°‡νžˆλŠ” 일을 κ²ͺμ—ˆκ³ , μž‘μ—…μ€ κ·Έ κ²½ν—˜μ—μ„œ μΆœλ°œν–ˆλ‹€. μ‚Άκ³Ό 죽음의 κ²½κ³„μ—μ„œ λŠλ‚€ 감정을 ν• μ•„λ²„μ§€μ˜ 상황에 λŒ€μž…ν–ˆκ³  이λ₯Ό μ‚¬μ§„μœΌλ‘œ μ΄¬μ˜ν–ˆλ‹€.

ν• μ•„λ²„μ§€λŠ” β€˜μ² μ˜ μ‚Όκ°μ§€λŒ€β€™λΌκ³  λΆˆλ¦¬λŠ” κΈˆν™”μ§€κ΅¬μ—μ„œ λŒμ•„κ°€μ…¨λ‹€. λˆˆμ•žμ— μžˆμ§€λ§Œ ν†΅μ œκ΅¬μ—­μΈ 탓에 발 λ””λ”œ 수 μ—†λŠ” 곳이닀. ν• μ•„λ²„μ§€λΌλŠ” μ‘΄μž¬λ„ 마치 닿을 수 μ—†λŠ” λΉ„λ°€ κ°™μ•˜λ‹€. μ–΄λ Έλ˜ μ•„λ²„μ§€μ˜ λͺ‡λͺ‡ κΈ°μ–΅ μ™Έμ—λŠ” 할아버지 개인의 삢을 μž¬κ΅¬μ„±ν•  정보가 거의 μ—†μ—ˆλ‹€. κ΄€λ ¨ 기관에 λ¬Έμ˜ν•΄λ΄€μ§€λ§Œ, ν• μ•„λ²„μ§€λŠ” μ „μŸ 톡에 λŒμ•„κ°€μ‹  μˆ˜λ§Žμ€ μ‚¬λžŒ 쀑 ν•œ 뢄에 λΆˆκ³Όν–ˆκ³  λ‹€λ₯Έ 기둝을 찾을 수 μ—†μ—ˆλ‹€. κ΅­λ°©λΆ€μ—μ„œ νŽΈμ°¬ν•œ λ…Έλ¬΄μžμ™€ κ΄€λ ¨λœ λ…Όλ¬Έκ³Ό μ „μŸ λ‹Ήμ‹œ 미ꡭ의 κΈ°λ°€λ¬Έμ„œ, 미ꡰ이 μ΄¬μ˜ν•΄ 기둝으둜 남긴 내셔널 μ•„μΉ΄μ΄λΈŒμ˜ 사진 등을 톡해 κ·Έλ•Œ λ²Œμ–΄μ§„ 상황을 κ°€λŠ ν•΄λ³΄κ³ μž ν–ˆλ‹€. 할아버지 개인이 μ•„λ‹Œ λ…Έλ¬΄μžλΌλŠ” μ‚¬νšŒμ  μ‘΄μž¬μ— κ΄€ν•œ μ•„μ£Ό λ―Έμ•½ν•œ μ •λ³΄λ‘œλ‚˜λ§ˆ ν•œ 개인의 삢을 μž¬κ΅¬μ„±ν•΄ λ‚˜κ°”λ‹€.

그리고 할아버지λ₯Ό κΈ°λ¦¬λŠ” λ‚˜λ§Œμ˜ μ˜μ‹μ„ μΉ˜λ €λ‹€. 할아버지, ν˜Ήμ€ λ…Έλ¬΄μžμ˜ 흔적을 μ«“μœΌλ©° 찾은 μž¬λ£Œλ“€μ„ λͺ¨μ•˜λ‹€. 미ꡰ의 폭격μž₯으둜 쓰인 κ³³μ—μ„œ μˆ˜μ§‘λœ 탄피, κ·Έ λ‹Ήμ‹œλΆ€ν„° μ§€κΈˆκΉŒμ§€ λͺ¨λ“  것을 λͺ©κ²©ν•œ 채 묡묡히 μΉ¨μ‹ν•΄κ°€λŠ” λ°”μœ„ 쑰각, μ™Έλ”΄κ³³μ—μ„œ 썩고 μžˆλŠ” λ‚˜λ­‡κ°€μ§€, 총 λŒ€μ‹  등에 멘 λ…Έλ¬΄μžμ˜ μ§€κ²Œ λ“± 할아버지λ₯Ό κΈ°μ–΅ν•  λ§Œν•œ 물건을 쀍고 였브제λ₯Ό λ§Œλ“€μ—ˆλ‹€. 그것을 쀍고 μŒ“κ³  λ§Œλ“€κ³  μ°λŠ” 과정은 잊힌 쑴재인 할아버지λ₯Ό λ‹€μ‹œ ν˜„μ‹€λ‘œ 호λͺ…ν•΄λ‚΄κ³  μ „μŸμ΄λž€ 큰 역사에 묻힌 개인의 μž‘μ€ 역사λ₯Ό λ‹€μ‹œ μ‚΄λ €λ‚΄λŠ” μΌμ΄μ—ˆλ‹€.

이 μž‘μ—…μ€ λ‚΄ κ°€μ‘±κ³Ό λ‚˜μ˜ 삢에 λ‚΄λ‚΄ λΆ€μž¬ν–ˆλ˜ 할아버지λ₯Ό, 기껏 슀물 남짓에 μ΄μœ λ„ λͺ¨λ₯Έ 채 μ£½μ–΄κ°„ ν•œ μ‚¬λžŒμ˜ 삢을 κΈ°λ¦¬λŠ” μž‘μ€ μΆ”λͺ¨μ΄μž ν–‰μœ„μ΄λ‹€.



Artist Statement

My grandfather was a war worker. He was neither a civilian nor a soldier, but he had to carry war materials with an A-frame carrier instead of a gun, answering the call to defend the nation. The US Army called the unit made up of such people the β€œA-frame Army.” My father defined my grandfather’s death as β€œkilled in action.” In fact, he did indeed die during the war but he was not killed in combat.

I was trapped by a mudflat while on an island I visited to research the death of my grandfather. My work has derived from this experience.

My grandfather passed away in a district of Geumhwa called the β€œIron Triangle.” As it is a restricted area, nobody is allowed to set foot there even though we can see it with our eyes. His existence is like a mystery waiting to be unlocked. There is little information to reconstruct his personal life save for some of my father’s memories. Although I contacted the relevant institution to enquire about my grandfather, there were no records on him: he was one of countless others who were killed in the war. I tried to gauge the situation of that time through theses concerning war workers compiled by the Ministry of Defense, confidential documents from the United States, and photographs taken by the US army and housed in the National Archive. I have managed to reconstruct an individual’s life despite the dearth of information on the social being of war workers, not just individuals.

I created a ritual to pay tribute to my grandfather. I collected materials and objects pertaining to his life as a war worker. I collected any articles that were available to remember him by (such as empty shells gleaned at a bombing training range, shards of a rock that had been eroded in silence while witnessing everything from that time to the present, rotten boughs at a secluded site, and a Korean A-frame that a worker once carried on his back instead of a gun) and made objects with them. The process of gleaning, stacking, making, and photographing these articles helps to call to mind my grandfather who was forgotten in reality and breathe new life into an individual’s short history that was buried beneath the grave history of war.

This work can act as either a remembrance or an action to pay tribute to my grandfather who has been absent in my family and my life, or as someone who died around the age of 20 without knowing why he had to die.


μ•ˆμ†Œν˜„, μ•„νŠΈμŠ€νŽ˜μ΄μŠ€ ν’€ λ””λ ‰ν„°

μ •μ •ν˜Έ μž‘κ°€μ˜ μž‘μ—…μ—λŠ” 이야기가 κ°•ν•˜λ‹€. μ΄μ•ΌκΈ°λŠ” λ¬Όλ‘  μž‘μ—…μ˜ λŒ€μƒμ—μ„œ ν˜λŸ¬λ‚˜μ˜€κ³ , κ·Έ λŒ€μƒλ“€μ€ ν•˜λ‚˜κ°™μ΄ 였래된 것듀(ν˜Ήμ€ μ˜€λž˜λ˜μ–΄ 보이게 λ§Œλ“  것듀)이라 μ΄μ•ΌκΈ°λŠ” 끝이 μ—†λ‹€. λ‚™μ›μ•…κΈ°μƒκ°€μ—μ„œ κΈ΄ μ„Έμ›” μΌν•œ 상인듀도, μ΅μ„ λ™μ˜ 흔적듀도, 호주 μ–΄λŠ λŒλ„, μ„œμšΈμ—­ 고가도 그리고 졜근 μž‘μ—…μ—μ„œ 닀룬 μ „μŸ λ…Έλ¬΄μžμΈ μž‘κ°€μ˜ 할아버지도 λŒμ–΄λ‚Ό 이야기λ₯Ό ν•œμ—†μ΄ ν’ˆκ³  μžˆλ‹€.

μž‘κ°€κ°€ 이야기λ₯Ό ν’ˆμ€ λŒ€μƒμ— μ£Όλͺ©ν•˜κ³  그것을 ν”„λ ˆμ΄λ° ν•˜λŠ” 것은 μ΅μˆ™ν•œ 방식이닀. κ²Œλ‹€κ°€ μ£Όμš” 맀체가 사진인 경우, μš°λ¦¬λŠ” κ·Έ λŒ€μƒμ΄ 무엇인지 묻고 κ·Έ λŒ€μƒμ΄ ν’ˆμ€ 이야기 μ•ˆμœΌλ‘œ λŒλ €λ“€μ–΄ κ°€λŠ” 것에 μ΅μˆ™ν•˜λ‹€. ν•˜μ§€λ§Œ λ¬Έμ œλŠ” λŒ€κ°œ κ·Έ μ΅μˆ™ν•¨μ—μ„œ λΉ„λ‘―λœλ‹€. ν₯미둜운 이야기λ₯Ό ν’ˆμ€ λŒ€μƒλ“€μ€ λ„ˆλ¬΄ 많고 λ„μ²˜μ—μ„œ μ†ŒλΉ„λ˜λ©° κ·Έλ ‡κ²Œ μ‰½κ²Œ λ§κ°λœλ‹€. λ¬Όλ‘  묻힌 이야기λ₯Ό λ„μ§‘μ–΄λ‚΄λŠ” κ²ƒλ§ŒμœΌλ‘œλ„ 망각에 μ €ν•­ν•˜λŠ” 일이라고 λ―Ώκ³  μ‹Άμ§€λ§Œ, 이어짐을 λ³Έμ„±μœΌλ‘œ ν•˜λŠ” μ΄μ•ΌκΈ°λŠ” ν₯미둜운 만큼 또 κ·Έλ ‡κ²Œ ν˜λŸ¬κ°€λ²„λ¦°λ‹€. κ·Έλž˜μ„œ μ •μ •ν˜Έ μž‘κ°€κ°€ 이야기λ₯Ό κ·Έλƒ₯ ν˜λŸ¬κ°€μ§€ μ•Šκ²Œ ν•˜κΈ° μœ„ν•΄ μ–΄λ–€ μž₯μΉ˜λ“€μ„ λ§Œλ“€μ—ˆλŠ”μ§€ κ΄€μ°°ν–ˆλ‹€.

μ •μ •ν˜Έ μž‘κ°€κ°€ μ΅œκ·Όμž‘ μ—μ„œ 닀룬 μ „μŸ λ…Έλ¬΄μž ν• μ•„λ²„μ§€μ˜ μ΄μ•ΌκΈ°λŠ” 사싀 β€˜ν™•μΈν•  수 μ—†μŒβ€™μ—μ„œ μ‹œμž‘λœλ‹€. ν• μ•„λ²„μ§€λŠ” μ „μŸμ— μ°Έμ—¬ν–ˆμ§€λ§Œ 곡식적인 ꡰ인이 μ•„λ‹Œ 민간인인 탓에 기둝은 거의 μ°Ύμ•„λ³Ό 수 μ—†μ—ˆκΈ° λ•Œλ¬Έμ—, μž‘κ°€λŠ” μ•„λ²„μ§€μ˜ μž…μ„ 톡해 듀은 λͺ‡ 가지 μ΄μ•ΌκΈ°μ—μ„œλΆ€ν„° μ‹œμž‘ν•˜μ—¬ 여백을 μ±„μ›Œ λ‚˜κ°μœΌλ‘œμ¨ ν• μ•„λ²„μ§€μ˜ μœ€κ³½μ„ 찾으렀고 ν•œλ‹€. μ‹€νŒ¨λŠ” μ˜ˆκ²¬λ˜μ–΄ μžˆμ—ˆμ§€λ§Œ μž‘κ°€λŠ” μΆ”μ μ˜ ν–‰μœ„λ₯Ό λ°˜λ³΅ν•˜κ³  κ·Έ κ³Όμ •μ—μ„œ μžμ‹ μ˜ 손에 닿은 할아버지λ₯Ό μ—°μƒμ‹œν‚€λŠ” 사물듀을 μ‚¬μ§„μœΌλ‘œ μ°μ—ˆλ‹€. μ„œμšΈμ—­ κ³ κ°€μ˜ 개발 과정을 찍어 땅에 νŒŒλ¬»μ–΄ κ°€μ§œ 였랜 μ‹œκ°„μ˜ 이미지λ₯Ό λ§Œλ“€μ—ˆλ˜ κ²ƒμ²˜λŸΌ(<μ•„ν‚€νƒ€μž… 7017>) 이 μ‚¬μ§„λ“€μ—μ„œλ„ 버렀진 κΈˆμ†κ³Ό 진흙이 묻은 μ‚¬λ¬Όλ“€μ—μ„œ β€˜μ˜€λž˜λœ κ²ƒμ²˜λŸΌ λ³΄μ΄λ‚˜ κ·Έ μ˜€λž˜λ¨μ€ μ•„λ‹Œβ€™ 이미지λ₯Ό λ§Œλ“€μ–΄λ‚Έλ‹€. 사라짐을 λ§‰κ±°λ‚˜ 볡원해낼 수 μ—†μŒ, 즉 μ‹€νŒ¨λ₯Ό λ”μš± λ„λ“œλΌμ§€κ²Œ ν•˜λŠ” μž‘κ°€μ˜ 이런 ν–‰μœ„λŠ” μ •μ„œλ₯Ό λ§Œλ“ λ‹€. μš°λ¦¬λŠ” λͺ…λ°±νžˆ, μ˜λ„μ μœΌλ‘œ μ‹€νš¨μ„±μ΄ μ—†λŠ” ν–‰μœ„μ—μ„œ 제의적 μ˜λ―Έλ‚˜ ν—ˆλ¬΄μ˜ μ •μ„œλ₯Ό 읽곀 ν•œλ‹€. μ •μ •ν˜Έ μž‘κ°€κ°€ 사물을 묻고 μ‹œκ°„μ„ 뭍히고 사건을 λ¬Όμ–΄ μ°ΎλŠ” 반볡적 ν–‰μœ„λ“€μ€ 사라짐과 λΆ€μž¬μ— λŒ€ν•œ μ• λ„μ˜ λˆμ ν•œ μ •μ„œλ“€μ„ λΆˆλŸ¬λ‚Έλ‹€.

사싀 이런 사라짐에 λŒ€ν•œ μ •μ„œλŠ” κ½€λ‚˜ λ³΄νŽΈμ μ΄μ–΄μ„œ 그리 κ°•λ ¬ν•œ 것은 μ•„λ‹ˆλ‹€. κ°„ν˜Ή 별것 μ•„λ‹Œ 낑은 물건의 흠집도 그런 μ •μ„œλ₯Ό λΆˆλŸ¬λ‚΄κ³€ ν•œλ‹€. ν•˜μ§€λ§Œ μ •μ •ν˜Έμ˜ 사진듀은 κ±°κΈ°μ„œ 그런 μ •μ„œλ₯Ό λ‹€μ‹œ μ‚­μ œν•˜λŠ” ν–‰μœ„λ₯Ό μˆ˜λ°˜ν•œλ‹€. 예λ₯Ό λ“€λ©΄ 흙에 νŒŒλ¬»μ–΄ ꡬ겨진 였래된 κ²ƒμ²˜λŸΌ λ³΄μ΄λŠ” 사진을 κ·ΈλŒ€λ‘œ μ „μ‹œν•˜λŠ” 것이 μ•„λ‹ˆλΌ 그것을 μŠ€μΊ”ν•΄μ„œ λ‹€μ‹œ μ‚¬μ§„μœΌλ‘œ λ§Œλ“€μ—ˆλ‹€. 사진을 찍은 μ‚¬μ§„μ˜ λ°°κ²½μ—λŠ” μ’…μ΄μ²˜λŸΌ μ•½κ°„μ˜ 흔적듀이 μžˆλŠ”λ°, κ°„ν˜Ή νλ¦Ών•œ λ„λ©΄μ˜ 이미지가 λ“œλŸ¬λ‚˜ μžˆκΈ°λ„ ν•˜λ‹€. 이것은 νŒŒλ¬»μ€ 사진을 이미지가 μ•„λ‹ˆλΌ 물성을 가진 μž…μ²΄λ‘œ 보이게 ν•˜λŠ” νš¨κ³Όλ„ μžˆμ§€λ§Œ, 막 νŒŒλ‚΄μ–΄ 쒅이 μœ„μ— μ˜¬λ €λ†“μ€ 유물의 이미지λ₯Ό μ€€λ‹€. μ΄λ•Œ μœ λ¬Όμ€ 사적 좔얡이 μ•„λ‹ˆλΌ 객관화할 λŒ€μƒ, 역사적 기둝으둜 남겨놓을 λŒ€μƒμœΌλ‘œ μΈμ‹λœλ‹€. μƒμ‹€μ—μ„œ λΉ„λ‘―λœ μΆ•μΆ•ν•œ μ •μ„œλŠ” 이내 κ±΄μ‘°ν•œ μ—°κ΅¬μ˜ λŒ€μƒμ΄ λœλ‹€. 할아버지에 λŒ€ν•œ (μ•„λ²„μ§€μ˜) 사적인 κΈ°μ–΅μ—μ„œ μΆœλ°œν•˜μ—¬ μ°Ύμ•„λ‚Έ 사진듀과 μ˜€λΈŒμ œλ“€μ€ μž‘κ°€μ˜ ν—ˆλ¬΄ν•œ 반볡적 ν–‰μœ„λ₯Ό 톡해 μΆ”λ„μ˜ μ •μ„œλ‘œ μ –μ–΄ μžˆμ§€λ§Œ, 그것듀을 찍은 사진은 μ „ν˜•μ μΈ λ°•λ¬Όκ΄€μ˜ 유물 μ‚¬μ§„μ²˜λŸΌ ν•˜μ–—κ²Œ 배경을 μ—†μ•€ (속칭 β€˜λˆ„λΌλ₯Ό 딴’) κ²ƒμ²˜λŸΌ 보이게 λ§Œλ“€μ—ˆλ‹€. κ·Έλ ‡κ²Œ μž‘κ°€μ˜ μ• λ„λŠ” μˆ˜λΆ„μ„ μžƒκ³  λ°•μ œκ°€ λœλ‹€.

μ •μ •ν˜Έμ˜ 이런 μƒλ°˜λœ ν–‰μœ„μ˜ 쑰합은 κ΄€κ°μœΌλ‘œ ν•˜μ—¬κΈˆ 기둝 μ•ˆμœΌλ‘œ λ“€μ–΄κ°€ 이야기와 μ •μ„œμ— λͺ°μž…ν•œ λ‹€μŒ μ‰½κ²Œ ν˜„μ‹€λ‘œ λŒμ•„μ™€ λ§κ°ν•˜λŠ” 것을 λ°©ν•΄ν•œλ‹€. 그것은 망각에 λŒ€ν•œ 저항일 뿐만 μ•„λ‹ˆλΌ μΌνšŒμ„±μ˜ 기얡에 λŒ€ν•΄ λ‹€μ‹œ ν•œλ²ˆ μ €ν•­ν•˜λŠ” 것이닀. 그런 μ μ—μ„œ 졜근 μ‹œλ„ν•œ 이λ₯Έλ°” β€˜ν¬ν†  λͺ½νƒ€μ£Όβ€™ 기법 μ—­μ‹œ λ‹€λ₯Έ λ°©μ‹μ˜ μ‹œκ°„ κ²½ν—˜μ„ κΈ°λŒ€ν•˜κ²Œ ν•œλ‹€. 20μ„ΈκΈ° 초 ν”„λ‘œνΌκ°„λ‹€ μ‚¬μ§„μ—μ„œ μ’…μ’… μ‚¬μš©λ˜μ—ˆλ˜ 이 기법은 λŒ€μƒμ„ λ°°κ²½μœΌλ‘œλΆ€ν„° μž˜λΌλ‚΄μ„œ 켜켜이 μŒ“μ•„μ„œ 이미지λ₯Ό μ¦ν­μ‹œν‚€λŠ” 역할을 ν–ˆμœΌλ©°, ν™”κ°€ 신학철이 μ‚¬μš©ν–ˆλ˜ 기법이기도 ν•˜λ‹€. ν•œλ§ˆλ””λ‘œ 그것은 μ‚¬μ§„μ—μ„œ β€˜μ™ΈμΉ¨β€™μ˜ 기법이닀. κ·ΈλŸ¬λ‚˜ ν˜„μž¬μ˜ 외침이라기 λ³΄λ‹€λŠ” μ§€λ‚˜κ°€κ³  ν•œ λ¬Ό κ°„ 방식, μ–΄μ©Œλ©΄ λŒ€λΆ€λΆ„μ€ μ‹€νŒ¨λ‘œ λλ‚œ μ™ΈμΉ¨μ˜ 방식이닀. μ •μ •ν˜Έ μž‘κ°€κ°€ κ·Έ 였래된 μ™ΈμΉ¨μ˜ 기법을 λ§Œμ§€κΈ° μ‹œμž‘ν–ˆλ‹€. 그것은 어쩐지 λ‹¨μˆœνžˆ κ°•ν•œ λͺ©μ†Œλ¦¬λ₯Ό λ”°λΌν•΄λ³΄λŠ” ν–‰μœ„λŠ” 아닐 것 κ°™λ‹€λŠ” κΈ°λŒ€λ₯Ό ν•˜κ²Œ λœλ‹€. μ‹œκ°„μ˜ μ˜¨μŠ΅λ„λ₯Ό λ°”κΎΈκ³  λͺ©μ†Œλ¦¬μ˜ μ‹œκ°„μ„ λ³΅μž‘ν•˜κ²Œ λ§Œλ“œλŠ” 이런 μž‘μ—…λ“€μ˜ 증식을 κΈ°λ‹€λ¦¬κ²Œ λœλ‹€.

<μ±„μš°κ³ , κΈ°λ‘ν•˜κ³ , μ—°κ²°ν•˜λ‹€> μ‹ μŠΉμ˜€, νŽ˜λ¦¬μ§€κ°€λŸ¬λ¦¬ λ””λ ‰ν„°

μ •μ •ν˜ΈλŠ” 졜근 μ‹œλ¦¬μ¦ˆλ₯Ό μ œμž‘ν•˜κ³  μžˆλ‹€. μ΄λŠ” 기본적으둜 μžμ‹ μ΄ λ§Œλ“  였브제λ₯Ό μ‚¬μ§„μœΌλ‘œ λ‹΄μ•„λ‚΄λŠ” λ°©μ‹μœΌλ‘œ λ‚˜νƒ€λ‚œλ‹€. κ·Έλ ‡λ‹€λ©΄ μž‘κ°€κ°€ λ§Œλ“€μ–΄ λ‚΄λŠ” μ˜€λΈŒμ œλŠ” 무엇이며, κ·ΈλŠ” μ‚¬μ§„μž‘μ—…μ„ 톡해 μ–΄λ–€ 이야기λ₯Ό μ „λ‹¬ν•˜λ € ν•˜λŠ”κ°€? μž‘κ°€μ™€μ˜ λŒ€ν™”λŠ” μ΄λŸ¬ν•œ μ§ˆλ¬Έμ„ 톡해 이λ₯Ό νŒŒμ•…ν•˜λŠ” 것에 μ§‘μ€‘λ˜μ—ˆλ‹€. μž‘μ—…μ˜ μΆœλ°œμ μ€ ν• μ•„λ²„μ§€μ˜ μ—­μ‚¬μ—μ„œ μ‹œμž‘λœλ‹€. ν•œκ΅­μ „μŸμ—μ„œ ꡰ인이 μ•„λ‹Œ λ…Έλ¬΄μžλ‘œ κ°•μ œλ‘œ λ™μ›λ˜μ–΄ μ „μ„ μ—μ„œ μ‚¬λ§ν•œ ν• μ•„λ²„μ§€λŠ” μž‘κ°€μ˜ κ°€μ‘± μ—­μ‚¬μ—μ„œ λΉ„μ›Œμ Έ 버린 κ·ΈλŠ˜μ§„ μ‹œκ°„μ΄λ‹€. μž‘κ°€λŠ” μžμ‹ μ˜ ν˜„μž¬λΌλŠ” μ‹œκ°„ μ†μ—μ„œλ„ μ΄λŸ¬ν•œ ν• μ•„λ²„μ§€λ‘œλΆ€ν„° μ‹œμž‘λœ 역사가 μ§€μ†μ μœΌλ‘œ 영ν–₯을 미치고 μžˆλ‹€κ³  λ§ν•œλ‹€. λ”°λΌμ„œ ν˜„μž¬μ˜ μžμ‹ μ„ μ˜¨μ „νžˆ λ“œλŸ¬λ‚΄κΈ° μœ„ν•œ ν–‰μœ„λ‘œμ¨ ν• μ•„λ²„μ§€μ˜ 역사λ₯Ό λ˜μ§šμ–΄ μ˜¬λΌκ°€κ³ μž ν•˜μ˜€λ‹€. κ·ΈλŸ¬λ‚˜ μ „μŸ 쀑 λ…Έλ¬΄μžλ“€μ— κ΄€ν•œ 자료λ₯Ό μˆ˜μ§‘ν•˜κΈ° μœ„ν•΄ μ‘°μ‚¬ν•˜κ³ , 할아버지가 λŒμ•„κ°€μ‹  ν˜„μž₯을 λ‹΅μ‚¬ν•˜κ³ μž ν•˜λŠ” κ³Όμ •μ—μ„œ 턱없이 λΆ€μ‘±ν•œ μžλ£Œλ“€κ³Ό μž₯μ†Œμ˜ 접근이 μš©μ΄ν•˜μ§€ μ•Šμ€ λ¬Έμ œμ λ“€μ„ λ°œκ²¬ν•˜κ²Œ λ˜μ—ˆλ‹€. λ”°λΌμ„œ 이미 μ‘΄μž¬ν•˜λŠ” ν…μŠ€νŠΈμ™€ μ΄λ―Έμ§€λ“€λ‘œλŠ” ν•œ 개인의 μ§€μ›Œμ§„ 역사λ₯Ό λ‹€μ‹œ μž¬κ΅¬μ„±ν•˜κΈ°κ°€ ν˜„μ‹€μ μœΌλ‘œ μ–΄λ ΅λ‹€λŠ” 것을 μΈμ§€ν•˜κ²Œ 된 κ²ƒμœΌλ‘œ 보인닀. 이런 ν˜„μ‹€μ μΈ λ¬Έμ œλ“€λ‘œ μΈν•˜μ—¬ κ·ΈλŠ” 이미 사라져버린 역사λ₯Ό μ΄λŸ¬ν•œ μ™ΈλΆ€μ˜ 정보λ₯Ό 톡해 바라보기 λ³΄λ‹€λŠ” ν˜„μž¬μ˜ μžμ‹ λ§Œμ˜ μ‹œμ„ μœΌλ‘œ μž¬κ΅¬μ„±ν•˜λŠ” 방식을 νƒν•œλ‹€.

κ·Έκ°€ 였브제 μ œμž‘μ— μ‚¬μš©ν•œ μž¬λ£ŒλŠ” 버렀진 λΆ€ν‘œ, λ…ΉμŠ¨ 철사, 철쑰망, 끈, 죽은 μƒˆ, 탄피, 돌, 낑은 사진을 ν¬ν•¨ν•˜μ—¬ μžμ‹ μ΄ μ‚Άκ³Ό 죽음의 κ²½κ³„μ—μ„œ κ΅¬μ‘°λ˜μ—ˆμ„ λ•Œ μž…μ—ˆλ˜ 옷과 μ†Œμ§€ν’ˆ λ“± λ‹€μ–‘ν•˜λ‹€. μ΄λŠ” μ‹œκ°„μ΄ ν˜λŸ¬κ°€λ©΄μ„œ 남겨진 ν”μ λ“€μ΄μž, μ™œ 여기에 μ‘΄μž¬ν•˜κ²Œ λ˜μ—ˆλŠ”μ§€ 근원을 νŒŒμ•… ν•  수 μ—†λŠ” κ²ƒλ“€λ‘œ μ΄λŸ¬ν•œ μ„±ν–₯듀이 ν• μ•„λ²„μ§€μ˜ 역사와 λ§žλ¬Όλ¦°λ‹€. μ΄λŸ¬ν•œ 것을 ν™œμš©ν•˜μ—¬ μž‘κ°€λŠ” μ—­μ‚¬μ—μ„œ μžŠν˜€μ§„ 할아버지λ₯Ό μœ„ν•œ 기념비 ν˜Ήμ€ μœ„λ ΉλΉ„ 같은 상징적인 μž‘μ—…μœΌλ‘œ μž¬μ‘°ν•©ν•˜κ³  μ‚¬μ§„μœΌλ‘œ λ‹΄μ•„λ‚Έλ‹€. κ·ΈλŸ¬λ‚˜ μž‘μ—…μ΄ 점차 μ§„ν–‰λ˜μ–΄ λ‚˜κ°€λŠ” κ³Όμ •μ—μ„œ μžμ—°μŠ€λŸ½κ²Œ μ‚¬μ§„μ΄λΌλŠ” κ²°κ³Όλ¬Ό λ³΄λ‹€λŠ” 반볡적으둜 였브제λ₯Ό λ§Œλ“€μ–΄κ°€λŠ” μ‹œκ°„ (재료λ₯Ό μ°ΎκΈ° μœ„ν•œ 탐색, 재료의 μˆ˜μ§‘ν•˜λŠ” 사이에 λ°œμƒν•œ 사건듀, μ°Ύμ•„λ‚Έ 물건듀을 νŽΌμ³λ†“κ³  μƒˆλ‘­κ²Œ κ΅¬μ„±ν•˜κΈ°)μ†μ—μ„œ λ“œλŸ¬λ‚˜λŠ” 것듀이 μ€‘μš”ν•œ 의미둜 μž‘μš©ν•˜κΈ° μ‹œμž‘ν•œλ‹€. μ΄λ ‡κ²Œ μƒˆλ‘­κ²Œ λ‚˜νƒ€λ‚˜λŠ” μ˜λ―Έλ“€μ€ κ·Έκ°€ λ§Œλ“œλŠ” μ˜€λΈŒμ œκ°€ ν• μ•„λ²„μ§€λΌλŠ” λŒ€μƒμ΄ λΆ€μž¬ν•˜κ²Œ 된 역사적 μ‚¬κ±΄λ§Œμ„ λΆ€κ°μ‹œμΌœ μ§μ ‘μ μœΌλ‘œ λ‹΄μ•„λ‚΄λŠ” 것이 μ•„λ‹ˆλΌ 할아버지, 아버지와 κ΄€λ ¨λœ λͺ¨λ“  것을 ν¬ν•¨ν•˜λ©° 거기에 ν˜„μž¬μ˜ μž‘κ°€μ— κ΄€λ ¨λœ κ²ƒκΉŒμ§€ ν˜Όμž¬λ˜λ©΄μ„œ μ—¬λŸ¬ 접점듀을 λ°œμƒμ‹œν‚€κ³  μžˆλ‹€. λ”°λΌμ„œ μ΄λŠ” κ³Όκ±°λ₯Ό ν˜„μž¬λ‘œ λŒμ–΄μ™€ λ‹¨μˆœν•˜κ²Œ μ‘΄μž¬μ‹œμΌœ ν•œ λ°©ν–₯으둜만 읽히기 λ³΄λ‹€λŠ” 과거와 ν˜„μž¬κ°€ λ™μ‹œμ— μ‘΄μž¬ν•˜λ©° 이둜 인해 μ˜λ―Έλ“€μ„ λ‹€μ–‘ν•˜κ²Œ 읽어낼 수 있게 λ˜μ—ˆλ‹€.

κ·Έ 쀑에 ν•„μžκ°€ 관심 있게 λ³΄μ•˜λ˜ 것은 그의 사진이 결과물이 λ“œλŸ¬λ‚΄λŠ” μ˜λ―Έλ³΄λ‹€λŠ” 이미지에 담겨 μžˆλŠ” 였브제λ₯Ό λ§Œλ“œλŠ” μž‘κ°€μ˜ λ…Έλ™μœΌλ‘œμ„œμ˜ 예술과 삢이 κ³ μŠ€λž€νžˆ λ…Ήμ•„ λ“€μ–΄μžˆλŠ” λͺ¨μŠ΅μœΌλ‘œ μ½νžˆλŠ” 점이닀. κ·Έκ°€ 가쑱사λ₯Ό 톡해 μ—°κ²°ν•˜κ³ μž ν•˜λŠ” 할아버지, 아버지, β€˜λ‚˜β€™κ°€ κ³΅ν†΅μœΌλ‘œ ν•΄μ™”λ˜ 것, 이둜 인해 μ„œλ‘œ λ§žλ‹Ώμ•„ μžˆλŠ” 것을 ν•„μžλŠ” 일상적인 λ…Έλ™μœΌλ‘œ λ°”λΌλ³΄κ²Œ λ˜μ—ˆλ‹€. ν•œ 가쑱을 μ±…μž„μ§€κΈ° μœ„ν•΄μ„œ ν•˜κ³  μžˆλŠ” λ…Έλ™μœΌλ‘œ μ±„μ›Œμ§„ μ‚Ά, μ•„λ§ˆλ„ μ‚΄μ•„κ°€κΈ° μœ„ν•œ 일을 ν•œλ‹€λŠ” 것은 아무도 μ£Όλͺ©ν•˜μ§€ μ•ŠλŠ” 개인의 μ‚ΆμœΌλ‘œ νŠΉλ³„ν•˜κ²Œ κΈ°λ‘λ˜μ§€ λͺ»ν•˜κ³  λΉ„λ¬Όμ§ˆμ μΈ κΈ°μ–΅μœΌλ‘œ μ‘΄μž¬ν•˜λ‹€ 사라진닀. κ·ΈλŸ¬λ‚˜ μž‘κ°€λŠ” ν˜„μž¬μ˜ 였브제λ₯Ό λ§Œλ“€κ³  μ‚¬μ§„μœΌλ‘œ λ‹΄μ•„λ‚΄λŠ” μ˜ˆμˆ μ΄λΌλŠ” ν–‰μœ„λ‘œ λ‹€μ‹œ 이λ₯Ό μ—°κ²°μ‹œμΌœ λ˜μ‚΄λ¦¬κ³ μž ν•œλ‹€. ν•˜μ§€λ§Œ μ΄λŠ” 사싀상 λΆˆκ°€λŠ₯ν•œ μΌμž„μ„ μž‘κ°€λŠ” μ•Œκ³  μžˆλ‹€. κ·ΈλŸ¬λ‚˜ κ·ΈλŠ” μ˜ˆμ •λœ μ‹€νŒ¨μ™€ 상관없이 무엇인가 λ§Œλ“€κ³  κ·Έ κ³Όμ •μ—μ„œ λ°œμƒν•˜λŠ” 것듀을 μ‚¬μ§„μœΌλ‘œ λ‹΄μ•„λ‚΄λŠ” 것을 λ©ˆμΆ”μ§€ μ•ŠλŠ”λ‹€. 그렇기에 μ—¬κΈ°μ„œ 그의 사진은 μ΄λŸ¬ν•œ μžμ‹ μ˜ ν–‰μœ„λ‘œ 인해 λ‚˜νƒ€λ‚˜λŠ” 것듀을 κΈ°λ‘ν•˜λŠ” 것에 μΆ©μ‹€ν•˜λ‹€.

μ΄λŸ¬ν•œ κ³Όμ • μ†μ—μ„œ μž‘κ°€λŠ” μžμ—°μŠ€λŸ½κ²Œ μ„œμˆ μž μ΄λ©΄μ„œ λ™μ‹œμ— μ„œμˆ μ˜ λŒ€μƒμ΄ λœλ‹€. 사진에 λ“œλŸ¬λ‚˜λŠ” λͺ…ν™•ν•œ 였브제의 μ œμž‘μ€ 할아버지λ₯Ό μœ„ν•œ 것이기도 ν•˜λ©΄μ„œ λ™μ‹œμ— β€˜λ‚˜β€™μ΄κΈ°λ„ ν•˜λ‹€. 그리고 μž‘μ—… μ „λ°˜μ— 걸친 그의 예술적 ν–‰μœ„λŠ” κ·Έλ“€μ˜ μ‹œκ°„μ„ μ΄μ–΄μ£ΌλŠ” 연결고리이닀. κ·ΈλŸ¬λ‚˜ 이 λ˜ν•œ μ˜¨μ „νžˆ λͺ¨λ“  것을 λ‚˜νƒ€λ‚Ό 수 μ—†κ³  μΌλΆ€λΆ„μœΌλ‘œ λ°–μ—λŠ” ν‘œν˜„λ  수 μ—†λ‹€. κ·ΈλŸΌμ—λ„ λΆˆκ΅¬ν•˜κ³  μ •μ •ν˜Έκ°€ μ΄λŸ¬ν•œ 지속적인 ν–‰μœ„λ₯Ό ν•˜κ³  μžˆλŠ” 것은 이것이 더 이상 생각할 μˆ˜λ„ μ—†κ³  말 ν•  수 μ—†λŠ” 것을 ν‘œν˜„ν•˜λŠ” κ²ƒμ˜ λΆˆκ°€λŠ₯함, 결ꡭ은 μ‹€νŒ¨ν•  수 밖에 μ—†λŠ” 것이 가진 ν•œκ³„μ— μ΅œλŒ€ν•œ λ§žμ„œλŠ” 방법이기 λ•Œλ¬Έμ΄λ‹€. κ²°κ΅­ μ΄λŸ¬ν•œ μ •μ •ν˜Έμ˜ μž‘μ—…μ€ μ§€κΈˆλ„ ν•˜λ£¨ ν•˜λ£¨λ₯Ό μ‚΄μ•„κ°€λ©° μžμ—°μŠ€λŸ½κ²Œ μ±„μ›Œμ§€κ³  λ‹€μ‹œ λΉ„μ›Œμ§€λŠ” μž‘κ°€ μžμ‹ , 그의 κ°€μ‘±λ“€ 더 λ‚˜μ•„κ°€ μš°λ¦¬λ“€μ˜ μ‚Άμ˜ 흔적듀이 μ„œλ‘œ μ΄μ–΄μ§€κ²Œ λ§Œλ“ λ‹€. λ”°λΌμ„œ 그의 사진 μž‘μ—…μ€ 이미 μ§€μ›Œμ Έ 버린 것듀을 λ‹€μ‹œ μ‚¬μœ ν•˜κΈ° μœ„ν•œ ν–‰μœ„ κ·Έ 자체이자 그것에 λŒ€ν•œ 기둝으둜 λ³Ό 수 μžˆμ„ 것이닀.

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Installation View_Goeun Museum of Photography, Busan, Korea,...
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Floating Body, 100x80cm, Archival Pigment Print, 2018

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Summertime in 1952, 138x110cm, Archival Pigment Print, 2018

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Dear my Father, 110x138cm, Archival Pigment Print, 2018

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Genetic Code, 50x40cm, Archival Pigment Print, 2018

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Phobia, 80x100cm, Archival Pigment Print, 2018

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Torso for my father, 138x110cm, Archival Pigment Print, 2018

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Torso for Soldier, 138x110cm, Archival Pigment Print, 2018

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Standing with 3 feet, 80x100cm, Archival Pigment Print, 2018

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hermaphrodite, 50x40cm, Archival Pigment Print, 2019

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Sincere Pagoda, 110x138cm, Archival Pigment Print, 2019

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Doom, 138x110cm, Archival Pigment Print

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Meaningless Tower, 138x110cm, Archival Pigment Print, 2018