Starlight : Relics of Time  , Uartspace 2020. 9.9 – 10.17

μœ μ•„νŠΈμŠ€νŽ˜μ΄μŠ€μ—μ„œλŠ” 2020λ…„ 9μ›” 9일뢀터 10μ›” 17μΌκΉŒμ§€ κΉ€νƒœλ™ μž‘κ°€μ˜ <Starlight : Relics of Time> 이 μ „μ‹œλœλ‹€.
κΉ€νƒœλ™ μž‘κ°€λŠ” λ‚―μ„€κ³  λΉ„κ»΄μ§„ μ‹œμ„ μœΌλ‘œ λ„μ‹œμ˜ 경계듀을 λ‹΄λ‹΄ν•˜κ²Œ ν‘œν˜„ν•΄μ™”λ‹€. 이번 μ „μ‹œμ—μ„œλŠ” 2019λ…„ μ•„λ§ˆλ„ 사진상 μˆ˜μƒμ „ μ „μ‹œ <PLANETES>μ—μ„œ μ‹œμž‘λœ 별과 ν”λ“€λ¦¬λŠ” λŒ€μƒμ— λŒ€ν•œ 고찰을 λ³΄μ—¬μ£ΌλŠ” μž‘ν’ˆ 14점을 선보인닀. κΉ€νƒœλ™μ˜ 별 사진이 νŠΉλ³„ν•œ μ΄μœ λŠ” 별이 주인곡이 μ•„λ‹ˆλΌλŠ” 점이닀.   

<PLANETES> μ‹œλ¦¬μ¦ˆλŠ” 2015λ…„ 리얼 λ””μ— μ§€ ν”„λ‘œμ νŠΈλ₯Ό κ³„κΈ°λ‘œ μ‹œμž‘λœ μž‘μ—…μ΄λ‹€. 2010λ…„ <Day break>μ‹œλ¦¬μ¦ˆλΆ€ν„° μ§€μ†μ μœΌλ‘œ 밀을 λ³΄μ—¬μ£ΌλŠ” μž‘μ—…μ„ ν•΄μ™”μ§€λ§Œ μž‘κ°€μ—κ²Œλ„ μ „μŸμ˜ 상흔을 κ°„μ§ν•œ μž₯μ†Œμ—μ„œμ˜ λ°€ μ΄¬μ˜μ€ 쉽지 μ•Šμ•˜λ‹€. 어둠이 κΉŠμ–΄ κ°€λ©΄ 갈수둝 μ•„μ΄λŸ¬λ‹ˆ ν•˜κ²Œλ„ ν•˜λŠ˜μ˜ 별은 λ”μš± μ•„λ¦„λ‹΅κ²Œ λ°˜μ§μ˜€κ³  μž‘κ°€λŠ” μžμ—°μŠ€λŸ½κ²Œ 별듀을 μž‘μ—…μ— λ‹΄μ•„ λ‚΄κΈ° μ‹œμž‘ν–ˆλ‹€. λ„μ‹œμ™Έκ³½μ— κ΄€ν•œ μž‘μ—…μœΌλ‘œ μΆœλ°œν•˜μ—¬ λ˜λ‹€λ₯Έ κ²½κ³„μ˜ 의미λ₯Ό κ°€μ§„ DMZ 인근의 λ§ˆμ„λ“€κ³Ό μ „κ΅­μ˜ μ „μŸ μœ μ μ§€μ—μ„œ μž‘μ—…μ„ μ§„ν–‰ν•˜μ˜€μœΌλ©° 더 λ‚˜μ•„κ°€ 호주의 캔버라(호주 μ „μŸ κΈ°λ…κ΄€κ³Όμ˜ ν˜‘μ—…μž‘μ—…), μ„œμšΈκΉŒμ§€ 이어진 μž‘ν’ˆ μ•ˆμ— κ·Έλ ‡κ²Œ μ‹œλ‚˜λΈŒλ‘œ 별이 μžλ¦¬ν•˜κ²Œ λ˜μ—ˆλ‹€. λΉ›λ‚˜λŠ” 별듀이 μžλ¦¬μž‘μ€ μž‘ν’ˆ μ•ˆμ— μž‘κ°€κ°€ λ§ν•˜λŠ” 주인곡은 별이 μ•„λ‹Œ ν”λ“€λ¦¬λŠ” 피사체듀이닀. 이번 μ „μ‹œμ— β€œκ°•μ„  037”을 μ œμ™Έν•œ λͺ¨λ“  μž‘ν’ˆμ—λŠ” λͺ¨λ‰΄λ¨ΌνŠΈ, 건좕물, λ„μ‹œμ˜ 풍경 등이 ν•¨κ»˜ν•œλ‹€.그리고 μˆ˜λ§Žμ€ μ‹œκ°„λ“€μ„ ν•˜λ‚˜μ˜ μž₯면으둜 λ‹΄μ•„λ‚΄λŠ” μ‚¬μ§„λ§Œμ΄ κ°€μ§„ 기술인 μž₯λ…ΈμΆœ 촬영(μ…”ν„°μŠ€ν”Όλ“œλ₯Ό 길게 ν•˜μ—¬ λŒ€μƒμ˜ μ›€μ§μž„μ˜ 흔적을 μ •μ§€λœ μ΄λ―Έμ§€λ‘œ λ‚¨κΈ°λŠ” μ‚¬μ§„μ˜ 기법)κ³Ό μ λ„μ˜λΌλŠ” 천문 μž₯λΉ„λ₯Ό μ‚¬μš©ν•˜μ—¬ λ³„μ˜ μ›€μ§μž„μ„ 였랜 μ‹œκ°„ μΆ”μ ν•˜μ—¬ μ΄¬μ˜ν•˜μ˜€λ‹€. λ³„λ“€μ˜ μ‹œκ°„μ„ κ³ μ •ν• μˆ˜λ‘ 지상에 μžˆλŠ” ν”Όμ‚¬μ²΄λŠ” 였히렀 λ”μš± 흔듀렸고 이λ₯Ό 톡해 μž‘κ°€λŠ” κΈ΄μž₯감을 λŠλΌκΈ°λ„ ν•˜κ³  μ‚΄μ•„μžˆλŠ” λŠλ‚Œμ΄ λ“€μ—ˆλ‹€κ³ λ„ ν•œλ‹€. ν”Όμ‚¬μ²΄λŠ” κ·Έλ ‡κ²Œ μ‹œκ°„μ˜ 유물이 되고 ν•œ μž₯의 사진 속에 λ‹€μ–‘ν•œ μ‹œκ°„μ„ λ‹΄μ•„λ‚Ό 수 μžˆμ—ˆλ‹€.

μ „μ‹œμ˜ 동선은 μž‘κ°€μ˜ 심경 변화와 μ‹œκ°„μˆœμ„ 따라간닀. μ „μŸμœΌλ‘œλΆ€ν„° μΆœλ°œν•œ μž‘μ—…μ€‘ ν•˜λ‚˜μΈ β€œκ°•μ„ 040”을 μ‹œμž‘μœΌλ‘œ μ „λ°˜λΆ€μ—λŠ” κΈ΄μž₯감을 λ³΄μ—¬μ£ΌλŠ” κ³΅κ°„μ€‘μ‹¬μ˜ 사진듀을, ν›„λ°˜λΆ€μ—λŠ” 별을 μ€‘μ‹¬μœΌλ‘œ ν•œ 사진듀을 λ°°μΉ˜ν•˜μ˜€κ³ , λ§ˆμ§€λ§‰μœΌλ‘œ 별을 따라 μžμ—°μŠ€λŸ½κ²Œ λ„μ‹œλ‘œ λŒμ•„μ˜¨λ‹€. 이번 μ „μ‹œλ₯Ό 톡해 μž‘κ°€λŠ” λ¬΄ν•œν•œ λ³„μ˜ μ‹œκ°„μ— λΉ—λŒ„ νŒŒκ΄΄ν•˜κ³  λ‹€μ‹œ μ„Έμš°κΈ°λ₯Ό λ°˜λ³΅ν•˜λŠ” λ¬Έλͺ…μ˜ μ‹œκ°„λ“€μ„ λ˜λŒμ•„λ³΄κ³ μž ν•œλ‹€. μΈλ¬Όμ‚¬μ§„이 μ—†λŠ” μ „μ‹œλ₯Ό ν•˜λŠ” 것이 μ–΄μƒ‰ν•˜λ‹€λŠ” μž‘κ°€μ˜ 이번 μž‘ν’ˆμ—μ„œ 였히렀 λ”μš± 인간적인 λͺ¨μŠ΅μ„ λŠλ‚„ 수 μžˆλŠ” 것은 ν”λ“€λ¦¬λŠ” 피사체 λ•Œλ¬Έμ΄ μ•„λ‹κΉŒ.μ²œμ²΄λ¬Όλ¦¬ν•™μž μΉΌ μ„Έμ΄κ±΄μ˜ β€œμš°λ¦¬λŠ” λΆ€μœ ν•˜λŠ” λ¨Όμ§€μ˜ ν‹°λŒ μœ„μ— μ‚°λ‹€.” λŠ” 말처럼 인간은 우주의 κ΄€μ μ—μ„œ 보면 λ³΄μž˜κ²ƒμ—†λŠ” μ‘΄μž¬μΌμ§€ λͺ¨λ₯Έλ‹€. κ·ΈλŸ¬λ‚˜ κΉ€νƒœλ™μ˜ μ‚¬μ§„μ—μ„œ μ–Έμ œλ‚˜ λŠλ‚„ 수 μžˆμ—ˆλ˜ μ‚¬λžŒμ— λŒ€ν•œ μ΄μ•ΌκΈ°λŠ” κ²°κ΅­ κ΄‘ν™œν•œ 우주의 별빛 μ•„λž˜ ν”λ“€λ¦¬λŠ” ν”Όμ‚¬μ²΄λ‘œ 우리의 λͺ¨μŠ΅μ„ λŒ€λ³€ν•˜λ©° κ·Έ μ‘΄μž¬κ°μ„ λ“œλŸ¬λ‚΄κ³  μžˆλ‹€.

Opening September 9, 2020. UARTSPACE is pleased to present β€œStarlight: Relics of Time” an exhibition of recent work by Kim Tae-dong, who has calmly expressed the city’s boundaries with unfamiliar and slanted eyes. The exhibition will showcase 14 works that show consideration of the stars and shaky targets, which began with the 2019 Amado Artspace photo award exhibition β€œPLANETES.”
The reason why Kim Tae-dong’s picture of the star is special is that the shining star is not the focal point.
The β€œPLANETES” series is a work that began in 2015 with the Real DMZ Project. Since the 2010 β€œDay Break” series, he has been working on showing the night continuously; however it was not easy for the artist to shoot the night in a place that retained the scars of war. As the darkness deepened, ironically, the stars in the sky sparkled more beautifully, and the author naturally began to capture the stars in his work. Starting with work on the outskirts of the city, work was carried out in villages near the DMZ and war sites across the country, as well as in Canberra, Australia (cooperation with the Australian War Memorial), and Seoul, where the star was placed little by little.
The main characters that the artist talks about in the works of shining stars are not stars, but shaky subjects. In this exhibition, all works except for β€œGangseon 047” will be accompanied by a variety, architecture, and urban landscape.
Besides, long-term exposure (a photo technique that prolongs shutter speed and leaves traces of an object’s movement as a stationary image) and astronomical equipment called the equator were used to track and take pictures of star movements for a long time. As the time of the star was fixed, subjects on the ground are shown shaking in the picture. Through this, the artist felt a sense of tension and liveliness. The subject became such a relic of time and was able to capture various times in a simple photograph.
The movements of the exhibition follow the changes in the artist’s mind and the order of time. Starting with β€œGangseon 040,” one of the war-related works, the photos centered on space for tension were placed in the first half, star-centered pictures were placed in the second half, and finally, the pictures naturally returning to the city along with the stars. Through this exhibition, the artist hopes to look back on the times of civilization, which are repeatedly destroyed and rebuilt against the infinite time of the stars.
The artist says that an exhibition without portraits feels awkward because there have always been portraits of people in exhibitions. However, the reason why we can feel more humanity in these works is probably because of the shaky subjects.
As astrophysicist Carl Sagan said, β€œEvery human being who ever was, lived out their lives on a mote of dust suspended in a sunbeam.” Humans may be insignificant from the perspective of the universe, but the story of people who have always been felt in Kim Tae-dong’s photographs reveal his presence by representing us with subjects swaying under the starlight of the vast universe.


λ‚―μ„ μ „μŸ<Unflattening> 2020.06.25-2020.11.08 , κ΅­λ¦½ν˜„λŒ€λ―Έμˆ κ΄€ μ„œμšΈκ΄€(MMCA Museum of Modern and contemporary Art), Seoul, 2020

제6회 μ•„λ§ˆλ„ 사진상 μˆ˜μƒμ „ <PLANETES>, the 6th Amado Photography Award <PLANETES>, μ•„λ§ˆλ„ μ˜ˆμˆ κ³΅κ°„(Amado art Space/Lab)


μ „μŸμ˜ μž”ν”μ΄ 남은 μž₯μ†Œμ—μ„œ λ§Œλ‚œ 우리 μ„Έκ³„μ˜ λΉ›

κΉ€νƒœλ™μ˜ κ°œμΈμ „ γ€Šν”ŒλΌλ„€ν…ŒμŠ€γ€‹λŠ” 제6회 μ•„λ§ˆλ„μ‚¬μ§„μƒμ— μ„ μ •λœ μ „μ‹œμ΄λ‹€. 이 μ „μ‹œμ—μ„œ μž‘κ°€λŠ” <κ°•μ„ > μ—°μž‘κ³Ό <ν”ŒλΌλ„€ν…ŒμŠ€> μ‹ μž‘λ“€μ„ 선보인닀. 두 μ—°μž‘ λͺ¨λ‘ 2015λ…„ μ‹œμž‘ν•œ 리얼 λ””μ— μ§€ ν”„λ‘œμ νŠΈκ°€ 계기가 된 것이닀. λ‹€λ₯Έ λ“― μ΄μ–΄μ§€λŠ” 두 μ—°μž‘μ—μ„œ μž‘κ°€λŠ” μ „μŸμ˜ 흔적이 남긴 역사와 μΌμƒμ˜ 자리, 그리고 그것 λ„˜μ–΄ λ³΄μ΄λŠ” λ¨Ό μ„Έκ³„μ˜ 빛을 μƒκ²½ν•˜λ©΄μ„œλ„ μ•„λ¦„λ‹΅κ²Œ 포착해낸닀.

λ„μ‹œλ₯Ό ν¬μ°©ν•˜μ§€λ§Œ 쀑심뢀λ₯Ό λ²—μ–΄λ‚˜ μžˆλŠ” μž₯μ†Œμ™€ 그곳을 μ‚΄μ•„λ‚΄λŠ” μ‚¬λžŒλ“€μ˜ νŠΉμ§•μ„ λ“œλŸ¬λ‚Έ (2010~), (2013~) μ—°μž‘μ—μ„œλΆ€ν„° λ„μ‹œμ˜ 밀거리 풍경과 읡λͺ…μ˜ μ‚¬λžŒμ΄ κ³΅μ‘΄ν•˜λ„λ‘ ν•œ (2013~) μ—°μž‘ λ“± μž‘κ°€λŠ” 쀄곧 κ·Έκ°€ λ§ˆμ£Όν•œ λ„μ‹œμ˜ ν’κ²½μ΄λ‚˜ λ™μ‹œλŒ€ μ‚¬λžŒλ“€μ˜ λͺ¨μŠ΅μ„ λ‹΄κ³ μž ν–ˆλ‹€. 이 μž‘μ—…λ“€μ΄ λͺ¨μ’…μ˜ μƒκ²½ν•¨μ΄λ‚˜ λ‚―μ„€μŒμ„ κ°„μ§ν•œ μ΄μœ λŠ” κ·Έκ°€ μ˜λ„μ μœΌλ‘œ μ£Όλ³€λΆ€ ν˜Ήμ€ 비일상적 μƒν™œ λͺ¨μŠ΅μ— μ£Όλͺ©ν–ˆκΈ° λ•Œλ¬Έμ΄λ‹€. 이후 μž‘κ°€κ°€ λ‹€λ‹€λ₯Έ 곳은 6.25μ „μŸκ³Ό λΆ„λ‹¨μ²΄μ œλ₯Ό κ°„μ§ν•œ μ§€μ—­μ΄μ—ˆλ‹€. λ„μ‹œμ˜ μ£Όλ³€λΆ€λΌλŠ” 지정학적 μœ„μΉ˜λ‚˜ κ²½κ³„μ—μ„œ λ°œμƒν•˜λŠ” μ–΄λ–€ μΆ©λŒμ„ ν¬μ°©ν•˜κ³ μž ν–ˆλ˜ μž‘κ°€μ—κ²Œ 남뢁 뢄단이 κ·Ήλͺ…ν•œ μž₯μ†ŒμΈ DMZ둜 λ– λ‚œ 여정은 μ–΄λ–€ λ©΄μ—μ„œλŠ” μžμ—°μŠ€λŸ¬μšΈ 수 μžˆμ§€λ§Œ, λ‹€λ₯Έ ν•œνŽΈμœΌλ‘œλŠ” 역사적이고 ꡰ사적인 의미λ₯Ό μ§€λ‹Œ 곳이기에 μƒˆλ‘œμš΄ λ„μ „μ΄μž λͺ¨ν—˜μ΄μ—ˆλ‹€.

μž‘κ°€λŠ” 이 μ§€μ—­λ“€λ‘œ μ§„μž…ν•˜κΈ° μœ„ν•΄ μ‚¬λ£Œμ™€ 사진 자료λ₯Ό μ°Ύμ•„λ³΄λŠ” λ“± 일련의 곡뢀 과정을 κ±°μΉœλ‹€. κ·Έλ ‡μ§€λ§Œ 이 μž₯μ†Œλ₯Ό μ‚¬μ§„μœΌλ‘œ λ‹΄μ•„λ‚Ό λ•Œμ—λŠ” 기둝 사진 같은 ν˜•νƒœμ˜ 사싀적인 방법은 ν”Όν•œλ‹€. κ·ΈλŸ¬λ―€λ‘œ <κ°•μ„ > μ—°μž‘μ—μ„œ λ°€ μ‹œκ°„μ„ μž‘μ—… λ¬΄λŒ€λ‘œ 삼은 것은 κΈ°μ‘΄ μžμ‹ μ΄ ν•΄μ™”λ˜ 방식을 λ”°λ₯Έ 것이기도 ν•˜λ‹€. 경원선 라인(λ™λ‘μ²œ-μ†Œμš”μ‚°-μ΄ˆμ„±λ¦¬-ν•œνƒ„κ°•-전곑-μ—°μ²œ-신망리-λŒ€κ΄‘λ¦¬-신탄리-λ°±λ§ˆκ³ μ§€)μ—μ„œ κ·Έκ°€ λ§Œλ‚œ 것은 μ „μŸμ˜ 격렬함이 μ•„λ‹Œ μ‹œκ³¨λ§ˆμ„μ˜ ν’κ²½μ΄μ—ˆλ‹€. κ·Έλ ‡μ§€λ§Œ 이 지역듀은 일제 식민 μ§€λ°°μ˜ μˆ˜νƒˆ 경둜이며 6.25 μ „μŸμ˜ 상흔을 ν’ˆμ€ 곳이자 λ‚¨λΆν†΅μΌμ΄λΌλŠ” λͺ¨μ’…μ˜ 희망을 κ°„μ§ν•œ 역사성이 κΉƒλ“  μž₯μ†Œμ˜€λ‹€. μž‘κ°€λŠ” 이런 μž₯μ†Œλ“€μ˜ νŠΉμˆ˜μ„±μ„ κ°„κ³Όν•  수 μ—†μ—ˆκΈ°μ— 일상적 풍경 뒀에 μˆ¨μ–΄ μžˆλŠ” κΈ΄μž₯감을 λ°€ μ‹œκ°„μ˜ μ λ§‰ν•¨μœΌλ‘œ 포착해낸닀. 특히 λ°€ν•˜λŠ˜ 별듀에 μ§‘μ€‘ν•˜μ§€ μ•Šμ€ <κ°•μ„ > μž‘μ—…μ€ 역사와 일상이 κ³΅μ‘΄ν•˜λŠ” ν˜„μž¬ λͺ¨μŠ΅μ„ μ‘°κΈˆμ€ 극적으둜 찍은 것이닀. μƒˆλ²½λ…˜ μ•ˆκ°œμ™€ 뢉은 λΉ›μ˜ κ°€λ‘œμˆ˜ μ‘°λͺ…이 λ§Œλ“€μ–΄λ‚Έ λ„λ‘œ 풍경을 담은 <κ°•μ„ -017>은 λ―Έμ§€μ˜ μ„Έκ³„λ‘œ 관객듀을 μ•ˆλ‚΄ν•˜λŠ” λ“―ν•˜λ©°, ꡰ인 κ΄€μ‚¬λ‚˜ μ΄ˆμ†Œ λ“± κΈΈ μœ„μ—μ„œ κ·Έκ°€ λ§Œλ‚œ ν˜„μ‹€ 풍경도 λ§ˆμ°¬κ°€μ§€λ‘œ μ–΄λ–€ μ‹ λΉ„λ‘œμš΄ 여정을 λ‹΄λ³΄ν•œλ‹€. μˆ˜λ„κ΅­μ§€ 유적 μ²œμ •μ— 남은 총흔, λ™λ‘μ²œ κ΅¬μƒκΆŒ 건물의 λ¬΄λ„ˆμ§€λŠ” 담벼락, μ‹ λ§λ¦¬μ—μ„œ λ§Œλ‚œ λ§ˆμ„ μ•„μ €μ”¨μ˜ λͺ¨μŠ΅λ„ λͺ¨λ‘ ν˜„μ‹€μ΄μ§€λ§Œ λΉ„ν˜„μ‹€μ μΈ λΆ„μœ„κΈ°λ₯Ό μžμ•„λ‚Έλ‹€. μž‘κ°€λŠ” 잊힌 역사λ₯Ό ν™˜κΈ°ν•˜κΈ°λ³΄λ‹€λŠ” κ·Έ μž₯μ†Œλ“€μ— μ‹ λΉ„ν•œ νž˜μ„ λΆ€μ—¬ν•˜λ“― 였늘의 μ‹œκ°„μ„ μƒκ²½ν•˜κ²Œ 끄집어낸닀.

이 μ—°μž‘ 초반 μ΄¬μ˜ν•œ <κ°•μ„ -011>은 κ·Έκ°€ λ°€ν•˜λŠ˜ 별에 관심을 κ°€μ§„ 계기가 λœλ‹€. κ·ΈλŠ” λ‹Ήμ‹œ μŠ΅ν•˜κ³  μ‹ΈλŠ˜ν•œ ν˜„μž₯의 λΆ„μœ„κΈ°μ™€ 달리 λ°€ν•˜λŠ˜ 별듀이 μŸμ•„λ‚΄λŠ” λͺ¨μˆœμ μΈ 아름닀움을 μΈμ§€ν•˜κ²Œ λœλ‹€. κ·Έλ ‡κ²Œ <ν”ŒλΌλ„€ν…ŒμŠ€> μ—°μž‘μ΄ μ‹œμž‘λœ 것이닀. 이제 μ „μŸ μœ μ μ§€μ™€ κ·Έ μœ μ μ§€μ— 남은 λͺ¨λ‰΄λ¨ΌνŠΈμ™€ λ°€ν•˜λŠ˜ λ³„μ˜ κΈ°μ΄ν•œ μ‘°μš°κ°€ 이뀄진닀. μΉ΄λ©”λΌμ˜ μ΄ˆμ μ€ ν•˜λŠ˜μ˜ 별듀에 λ§žμΆ°μ§€κ²Œ 되고, 별을 κ³ μ •ν•˜κΈ° μœ„ν•œ 천문 촬영이 μ—°κ΅¬λœλ‹€. κ·ΈλŸ¬λ©΄μ„œ DMZ에 ν•œμ •λ˜μ—ˆλ˜ μ „μŸ κ΄€λ ¨ μž₯μ†ŒλŠ” μ „κ΅­μ˜ μ—¬λŸ¬ μ§€μ—­μœΌλ‘œ ν™•μž₯λœλ‹€. μΈμ²œμƒλ₯™μž‘전기념비, μž₯μ‚¬ν•΄λ³€μ˜ μž₯사상λ₯™μž‘μ „ 기념관, λ™λ‘μ²œν‰ν™”λ°•λ¬Όκ΄€, 강화도 625 μ°Έμ „μš©μ‚¬ 기념곡원 등에 놓인 기념물, ꡰ인상 λ“±μ˜ λͺ¨λ‰΄λ¨ΌνŠΈμ™€ 퇴역 무기가 μ‚¬μ§„μ˜ μ†Œμž¬κ°€ λœλ‹€. 였랜 과정을 거친 ν›„ λ³„λ“€μ˜ μžλ¦¬κ°€ μ•ˆμ •λ μˆ˜λ‘ μ§€μƒμ˜ μœ μ μ§€ κ±΄λ¬Όμ΄λ‚˜ λͺ¨λ‰΄λ¨ΌνŠΈλŠ” 흐릿해지고 ν”λ“€λ¦¬λŠ” λͺ¨μŠ΅μ„ λ“œλŸ¬λ‚Έλ‹€. μˆ˜λ„κ΅­μ§€, 승일ꡐ, 노동당사, λ―ΌλΆλ§ˆμ„ μ§‘λ“€, 각쒅 λͺ¨λ‰΄λ¨ΌνŠΈλ„ μ°¬λž€ν•˜κ³  μ„ λͺ…ν•œ λ°€ν•˜λŠ˜μ˜ 별듀과 λŒ€μ‘°λ₯Ό 이룬닀. 그것듀은 λ³Έμ—°μ˜ 상을 μ–΄λŠ 정도 μœ μ§€ν•˜λ©΄μ„œλ„ ν”λ“€λ¦¬λŠ” λͺ¨μŠ΅μœΌλ‘œ λ“œλŸ¬λ‚˜λŠ”λ°, 이듀은 κ·Έ 역사성을 νƒˆκ°ν•˜μ§€ μ•ŠμœΌλ©΄μ„œλ„ λ²—μ–΄λ‚˜κ³ μž ν•˜λŠ” μ• λ§€ν•œ μƒνƒœλ§ˆλƒ₯ λΉ›λ‚˜λŠ” λ°€ν•˜λŠ˜ μ•„λž˜ μžλ¦¬ν•œλ‹€.

μ§€λ‚œ 5λ…„κ°„ μž‘κ°€λŠ” 6.25μ „μŸκ³Ό κ΄€κ³„λœ 역사적인 지역을 μ°Ύμ•„λ‹€λ…”λ‹€. κ·Έ μ—­μ‚¬λ“€μ˜ ν˜„μž¬λ₯Ό μ–΄λ–»κ²Œ 바라볼 것인가에 λŒ€ν•œ 고민은 κΈ΄ μ‹œκ°„ μ΄μ–΄μ‘ŒκΈ°μ— μ–΄λ–€ μ •μ˜κ°€ λ‚΄λ €μ§„ 것은 μ•„λ‹ˆλ‹€. 이 과정을 κ²ͺμœΌλ©΄μ„œ μž‘κ°€λŠ” 감정적인 λ³€ν™”λ₯Ό κ²ͺμ—ˆκ³ , 또 μ„±μž₯ν•˜λŠ” 과정을 거치게 λœλ‹€. 역사적 μž₯μ†Œλ₯Ό μƒκ²½ν•˜κ²Œ λ‹΄κ³ μž 기둝 사진을 λ„˜μ–΄ μ—°μΆœμ μΈ μž₯면을 λ“œλŸ¬λ‚΄λ‹€κ°€ μ–΄λŠ μˆœκ°„ λ°€ν•˜λŠ˜ 별에 μ‹œμ„ μ„ λΉΌμ•—κΉ€μœΌλ‘œμ¨ 졜초 μΆœλ°œμ μ΄μ—ˆλ˜ κ·Έ μž₯μ†Œλ“€μ˜ 역사와 일상은 λ‹€λ₯Έ μ°¨μ›μœΌλ‘œ μ΄λ™ν•˜κ²Œ λœλ‹€. λ°€ν•˜λŠ˜ 별과 μ „μŸ μœ μ μ§€λ“€μ€ κ³Όμ—° 필연적인 κ΄€κ³„μΌκΉŒ. 과거의 상흔을 미적 μ°¨μ›μœΌλ‘œ ν™˜μ›μ‹œν‚€λŠ” 것은 μ•„λ‹κΉŒ. 이런 μš°λ €μ—λ„ λΆˆκ΅¬ν•˜κ³  κ·ΈλŠ” λ°€ν•˜λŠ˜ 별을 애써 λΆ™μž‘μŒμœΌλ‘œμ¨ 우리 지ꡬ가 λŠμž„μ—†μ΄ μš”λ™μΉ˜κ³  μžˆμŒμ„ ν™˜κΈ°ν•œλ‹€. μ§€λ…ν–ˆλ˜ μ „μŸλ„ 싀은 κ·Έ μ‹œλŒ€λ₯Ό μ‚΄μ•˜λ˜ μ‚¬λžŒλ“€μ΄ λ§Œλ“  μ‚Άμ˜ λͺ¨μŠ΅μ΄κ³ , κ·Έ 상흔 μœ„μ—μ„œ ν˜„μž¬ 우리 삢도 μ§€μ†λœλ‹€λŠ” μ†Œλ°•ν•œ 사싀을 κ·Έκ°€ μ—Ώλ³Έ 것은 μ•„λ‹κΉŒ. κ·Έ μ†Œλ°•ν•œ 진싀을 μ•Œλ¦¬κΈ° μœ„ν•΄ κ·Έκ°€ 담은 μ„Έκ³„λŠ” κ·Έλ ‡κ²Œ μ•„λ¦„λ‹€μš΄ 것인지도 λͺ¨λ₯Έλ‹€.

κ·ΈλŸ¬λ―€λ‘œ κ·Έκ°€ μ „μŸ μœ μ μ§€λ₯Ό μ°Ύμ•˜μŒμ—λ„ κ·Έκ°„ μžμ‹ μ΄ λ§Œλ‚˜μ™”λ˜ λ„μ‹œμ˜ 풍경과 μ‚¬λžŒλ“€μ˜ λͺ¨μŠ΅μ„ λ‹΄μ•„μ™”λ˜ νƒœλ„λ₯Ό λ²—μ–΄λ‚œ 것이 μ•„λ‹ˆλ‹€. μž‘κ°€λŠ” μ—­μ‚¬μ˜ μƒν”μ΄λ‚˜ μƒμ²˜λ₯Ό λ„λ“œλΌμ§€κ²Œ λ“œλŸ¬λ‚΄κ³  μ‹Άλ‹€κ±°λ‚˜ 역사적 사싀에 λŒ€ν•œ μ–΄λ–€ κ°€μΉ˜ νŒλ‹¨μ„ λ“œλŸ¬λ‚΄λ €κ³  ν•œ 것도 μ•„λ‹ˆλ‹€. λŒ€μ‹  κ·Έκ°€ λ§Œλ‚œ μž₯μ†Œμ—μ„œ κ·Έ μžμ‹ μ΄ λ³΄μ•˜λ˜ 특유의 풍경을 μ‚¬κ±΄μ΄λ‚˜ μ΄μ•ΌκΈ°λ‘œμ„œκ°€ μ•„λ‹ˆλΌ μƒκ²½ν•œ ν˜Ήμ€ μΆ©λŒν•˜λŠ” μ΄λ―Έμ§€λ‘œμ¨ μ‚¬μ§„μ΄λΌλŠ” 맀체에 λ‹΄μ•„λ‚΄κ³ , 그것이 λ³΄λŠ” 이의 상상λ ₯에 λ§žλ‹ΏκΈ°λ₯Ό μ˜λ„ν•œλ‹€.(κΈ€. 신양희 μ•„λ§ˆλ„μ˜ˆμˆ κ³΅κ°„ νλ ˆμ΄ν„°)


Thelight of our world met at the place
where the vestiges of the war were left


Amado Photography Award Preface
Yanghee Shin Curator, Amado Art Space

Kim Taedong's solo exhibition, γ€ŠPlanetes》 is an exhibition selected for the 6th Amado Photography Award.In this exhibition, the artist presents a series of <Rifling> and newworks of <Planetes>. Both series were inspired by the Real DMZ project,which was launched in 2015. In these two series that seem to be different butsomehow connected, the artist captures the history which the war has leftbehind, the place of daily life, and the light of the distant world beyond itin a strange yet beautiful way.

From the series of <Symmetrical>(2010~) and < BreakDay>(2013~), which reveals the characteristics of the places that capturethe city but away from the center and people who survives in there, to theseries of <Day Break>, which allows anonymous people to coexist with thecity's night-site, the artist continued to describe the cityscape he faced orcontemporary people. The reason these works preserved some novelty orunfamiliarity is that the artist intentionally paid attention to the surroundingsor unusual lifestyles. Since then, the artist has arrived in the area where theKorean War and the division system have been preserved. The journey to the DMZ,a place where the division of the South and the North is starkly divided, maybe natural for the artist, who wanted to capture some conflict arising at thegeopolitical position of the city surrounding or the boundary, but on the otherhand, it was a new challenge and adventure because it has historical andmilitary significance.

The artist goes through a series of the study process,including searching for historical documents and photographic materials toenter the sites. However, when capturing the sites with photos, the artistavoids practical methods such as documentary photography. Therefore, the use ofnight time as a stage for <Rifling> series follows the way the artist hasbeen done before. What the artist met on the Gyeongwon Line(Dongducheon-Soyosan-Choshengli-HantangRiver-Jeongok-Yeoncheon-Shinkwangri-Sintan-Baekmago) was not the intensity ofthe war, but the scenery of the rural village. However, these areas were theexploitation paths during the Japanese colonial and the places where bear thescars of the Korean War and some hope of the unification which containshistoricity. The artist could not overlook the particularity of these places,so he captures the tension behind the everyday scenery with the silence of thenight. Notably, the work <Rifling>, which did not focus on the stars inthe night sky, is a bit dramatic in the present, where history and everydaylife coexist. The <Rifling> which features scenery of a road created bydawning fog and red-lighted street lights, seems to guide audiences to theunknown world, and the real-life scenes he met on the road, such as military officialresidence(Rifling-017) and guard post (Rifling-026), also capture somemysterious journeys. The bullet trace left on the ceiling of the historicalsite of the Waterworks Bureau  site(Rifling-005), the crumbling wall of Donducheon old commercial building(Rifling-019), and the village man who met in Shinmang-Ri (Rifling-039), theyare the reality but create unrealistic atmosphere. Rather than evokingforgotten history, the artist brings up today's time in a strange way, as if togive mysterious powers to those places.

The early works of the series, <Rifling-011>, is thestarting point where the artist has become interested in the night sky stars.He became aware of the contradictory beauty of the night sky stars, unlike theatmosphere of the wet and cold site at the time. That is how the < Planetes> series began. Now there is a curious encounter between the war site andthe remaining monument and the night sky stars. The camera's focus will be onthe stars in the sky, and astronomical photography will be studied to fix thestars. As a result, war-related places, which were limited to the DMZ, will beexpanded to various parts of the country. Monument and veterans' weapons suchas the Incheon Landing Operation Memorial (Planetes-003), the Jangsa CoastGuard Memorial (Planetes-018), the Dongducheon Peace Museum, the GanghwadoIsland Korean War Veterans Memorial Park (Planetes-030) will be the subject ofthe photos. Furthermore, the < Planetes Project, AU> which photographedCanberra, Sydney, the Korean War Memorial, will be followed. After a longprocess, the more stable the positions of the stars, the more blurred and shakythe building or monument on the ground becomes. The Waterworks bureau site(Planetes-001), Seungilgyo (Planetes-014), the Workers' Party (Planetes-004),Daemari Minbuk Village houses (Planetes-005), and various Monumentaries arealso in contrast to the bright and vivid stars of the night sky. They showsigns of shaking while maintaining some of their original statues, which situnder the twinkling night sky as if they were trying to escape withoutdiscerning their historical nature.

For the past five years, the artist has visited historicsites related to the Korean War. How to look at the present of those historieshas been a question for a long period of time, and it has not defined yet.Through this process, the artist undergoes an emotional change and goes througha process of development. The history and daily lives of those sites, whichwere the starting point, move to a different level by exposing a staging scenebeyond a documentary photograph and then being distracted by the night sky starat one point. Are the night sky stars and war sites inevitable? Maybe it bringsback the scars of the past to the aesthetic level. Despite these concerns, the artistreminds us that the Earth is constantly fluctuating by trying to catch thestars in the night sky. He might have seen the simple fact that even a terriblewar was created by those who lived in that era and that our lives now continueon that scar. The world which the artist has been captures may be so beautifulto tell the simple truth.

Therefore, even though the artist has been visited the warsites, he did not abandon the attitude to capture the city and the people whichhe has met. The artist neither wants to expose the scars or wounds of historynor intends to reveal any value judgment on historical facts. Instead, heintends to capture the unique scenery he saw at the place he met not as anevent or story, but as a strange or conflicting image in the medium ofphotography, and meet the imagination of the viewer.


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