설치 작가 우희서가 포착한 상황은 시공간을 특정하기 어렵다. 각 상황은 사건이 이뤄지는 과정과 그 형상을 담고 있는데, 작가는 전시 기간 동안 관람객이 상황을 직접목격할 수 없도록 함으로써 추측과 의심이 우선할 수 있도록 유도한다.

 

360도 실사 촬영하여 전시 공간에 이원 중계되는 세 개 작품은 관람객이 상황을 간접 목격하도록 한다. 

 

<밝은 천장> 아래 설치된 작품의 실존 여부와 상황 간 관계에 대해 2인 이상이 정확히 같은 감상을 도출하기는 쉽지 않을 수 있다. 이를 통해 작가는 전시 이후를 포함하여 관람객과 함께 활동 기간에 해결하지 못할 이해와 오해의 경계, 상식의 범위, 원인이 불분명한 결과를 추적하는 데 동력을 얻는다.

 

관람객은 전시 이후 실제 작품이 설치된 공간을 방문하여 직접 목격이 가능하다. 관람객에 의해 전시 공간은 사라지거나 확장된다.

 

이로써 설치 작가 우희서는 가변성을 유지하며 작업을 이어간다. 결국 가변성에 의해 작가와 관람객은 함께 시공간을 특정할 수 없으며, 그 공백에 배치(agencement)한 상황들로 각자 다른 <밝은 천장>을 자유롭게 생성해낼 것이다.

강지수

 

 

The situation captured by installation artist Heeseo Woo is difficult to specify its time and space. Each situation contains its own process and shape of the event, and the artist induces speculation and doubt to take precedence by preventing the audience from directly witnessing the situation during the exhibition.

 

The three works, which are taken by 360-degree camera and broadcast in the exhibition space, allow the audience to observe the situation indirectly.

 

It may not be easy for two or more people to elicit exactly the same impressions about the existence of the three works under <Bright Ceiling> and the relationship between situations. Through this, the artist gains momentum in tracing the boundary between understanding and misunderstanding, the scope of common sense, and the cause of which the cause is unclear, which cannot be resolved with the audiences during her working period, including after the exhibition.

 

After the exhibition, the audience can visit the space where the actual work is installed and witness it in person. The exhibition space disappears or expands by the audience.

 

With this, installation artist Hee-seo Woo continues her work while maintaining variability. Eventually, due to the variability, the artist and the audience cannot specify the time and space together, and they will freely appreciate different <Bright Ceiling> with their own situations.

 

Jisu Kang

 

                                       

로드킬  Road kill_투명비치볼, 검은 비닐봉지, 백미러, 모니터_가변설치_2020

 

⊙ 작품 <로드킬>(Road kill)은 모니터 영상 송출과 룸미러를 통한 모니터 영상 반사로 이뤄진 설치 작품이다. 영상 속에 돌아다니는 비치볼과 검은 비닐봉지는 사전에 의도 없이 자신의 방향에 따라 이동하다가 인간 교통수단에 치여 알 수 없는 방향으로 날아가 버릴 동물을 투영한다. 그리고 작가는 별도의 기기를 통해 현재 비치볼의 위치를나타내도록 했다. 그리고 함께 설치된 자동차의 룸미러를 통해서만 관람객은 영상 속 비치볼의 이동을 볼 수 있다. 룸미러를 통해 보이는 영상의 일부에서 의도 없이 이동 중인 비치볼과 그 안 내부를 확인할 수 없는 검은 비닐봉지를 포착하도록 하여 관람객이 사건의 주체인 운전자가 되도록 유도한다. 관람객은 예상치 못한 충돌로 사건의 일부를 바라보며 왜곡되어버리는 사후 시선을 경험할 수 있다.

 

 

  

 

 

⊙ ‘여력이 없다.’는 표현은 대화를 나누다가 상대로부터 자신의 에너지를 보호하기 위해 선제적으로 쓰기도 하고, 자신의 에너지를 보호하지 못한 사람이 고갈된 상태를 나타내는 말이기도 하다. <많은 것이 따듯함에 의해 질식사했다>(Many things have died of suffocation by the warmth)는 여러 순간과 상황에 여력이 없어져 가고 있는액체 상태의 물을 보여주는 설치 작품이다. 9개의 전기 포트 속 물은 각기 다른 양을 담고 있다. 작품은 확신할 수 없는 불규칙한 원인으로 물이 소멸하는 과정과 그 전개를이어간다. 전기 포트는 물을 증발시키기 위해 불시에 열을 올린다. 전기 포트는 물이 전부 증발하여도 작동을 멈추지 않거나 물이 끓지 않아도 작동을 멈추는 등, 물과 관계없이 작동한다. 이를 통해 여력이 품고 있던 바다, 빙하, 찻잔 속 물 등, 그것의 가능 세계들이 함께 변하고 있다. 이를 통해 작가는 많은 것이 소멸을 향해 가는 와중에 세상에내뱉는 표현과 그 상태가 여력을 보존하기 위한 표출인지, 여력이 고갈되어 외치는 표현인지 확신할 수 없음을 표현한다. 그리고 그만큼의 불확실성이 원인 모를 삶의 과정과 죽음을 만들고 있음을 보여준다.