Nov 2017

μš°λ¦¬λŠ” νŠΉλ³„ν•˜μ§€ μ•Šλ‹€. μš°λ¦¬λŠ” ν•œμ‹¬ν•˜λ‹€.
We are not special. We are pathetic.

2017.11. 24~12. 17 <ν•΄μ„λœ 풍경>_코리아 투λͺ¨λ‘œμš°_μ„±κ³‘λ―Έμˆ κ΄€_μœ€λ²”λͺ¨ 기획
2017.11. 28~12. 17 <μ˜€λ”/λ””μŠ€μ˜€λ”(Order/Disorder)>_μš°μ •κ΅­_μ‹¬μ†Œλ―Έ 기획


<μ˜€λ”/λ””μŠ€μ˜€λ”>, 12/17μΌκΉŒμ§€, νƒˆμ˜μ—­μš°μ •κ΅­

[μ°Έμ—¬μž‘κ°€] μ•ˆμ„±μ„ Sungseok Ahn_κΈ€ μ‹¬μ†Œλ―Έ νλ ˆμ΄ν„°_Text_ Curator_Somi SIM

μ•ˆμ„±μ„μ€ <κ΅°μ€‘μ˜ μ§€ν˜œ>μ—μ„œ 가상 ν˜„μ‹€κ³Ό κ²Œμž„μ˜ ν”½μ…˜ ꡬ쑰λ₯Ό 극적으둜 λ„μž…ν•˜μ—¬, μ’…λ£Œλ˜μ§€ μ•ŠλŠ” μ—­μ‚¬μ˜ 파ꡭ적 μ‹œκ°„μ„ λ“œλŸ¬λ‚Έλ‹€. 이 λΉ„κ·Ήμ—μ„œ κΈ°μŠΉμ „κ²°μ˜ μ„œμ‚¬λŠ” μ—†λ‹€. μ‹œμž‘λ„ 끝도 없이 λ°˜λ³΅λ˜λŠ” νšŒμ „κ³Ό μΆ”λ½μ˜ μ‚¬λžŒλ“€. μ—­μ‚¬λŠ” 사지가 λ’€ν‹€λ¦° ꡰ쀑이 λ‹€ ν•¨κ»˜ νœ©μ“Έλ¦° μ±„λ‘œ μ—°λ™λ˜λŠ” ꡬ쑰와 닀름없을 것이닀. 두 개의 μ˜μƒμ€ 각각 λŸ¬λ‹νƒ€μž„μ΄ λλ‚˜λ„ λ²—μ–΄λ‚  수 μ—†λŠ” ꡬ쑰λ₯Ό μƒκΈ°μ‹œν‚€λ©°, λ‹€λ₯Έ μΆ•μ—μ„œμ˜ 파ꡭ적 상황을 κ°€λ™μ‹œν‚¨λ‹€. μ „μ‹œμž₯μ—μ„œ 일본식 μ½”λ‹€μΈ κ°€ ν•œκ°€μš΄λ° μžλ¦¬ν•œ 곡간 ꡬ성은 일상 속 무방비적 ν™˜κ²½μ΄λΌλŠ” 역섀적 상황을 κ΅¬ν˜„ν•œλ‹€.
In Wisdom of the Crowd, he touches on the catastrophic time of unfinished history by dramatically introducing the fictional structure of virtual reality and game. This tragedy does not have a well-organized narrative. The rotation continuously repeated and the people endlessly falling. History is nothing but a structure interlocked with the crowd whose bodies are twisted. The two videos evoke the structure in which one cannot escape from even after its running time and get the catastrophic situation into operation.