essai II / 2013(installation view at Kunstmuseum Bonn- Germany)
Spectacleless Complex, mixed media, variable size, 2011
‘유유자적(悠悠自適)’이란 뜻을 지닌 인형의 한 종류인 ‘노호혼’ 2000여개를 아레나와 유사한 구조물에 촘촘히 앉힌 이 작품은 인형이 머리를 흔들 때마다 발생하는 미동에 의해 하나둘 바닥으로 추락하도록 설계되었다. 검투사들이 고대 로마의 투기장이었던 암피테아트룸 같은 곳에서 혈투를 벌이다 하나둘 희생된 역사를 끝없이 경쟁해야만 살아남을 수 있는 현재와 견줘 표현했다.
이 작업은 자본주의가 지배하는 대량생산체계가 인간과 대상 간의 관계에 어떤 영향을 일으키는지 주목하는 작품이기도 한데, 현대 도시사회의 시스템, 그 안에서 벌어지는 인간의 소외와 무력감을 화두로 삼은 채 익명의 구조가 유지, 확대, 재생산되는 데 대한 고찰의 필요성을 환기시킨다. 또한 부조리한 동시대를 비추는 거울이면서 사회 이면에 소품처럼 놓여 있는 개개인의 대리물로 작동하는 오브제들의 특질도 그대로 녹아 있다.
(미술평론가 홍경한)
essaie I
Idea Of Complex part II
By Yoo, Jin-Sang (Kaywon School of Art & Design a professor)
Spectacleless Complex
It is told that many people died as many as about 5,000 during the fight at the amphitheatres of Rome, 2,000 years ago. The thick sand put on the ground to absorb the massive amount of blood was called ‘arena(sand)’. There is a huge memory of entwirklichung carved in this word which means ‘Stadium’. The demand on slaughter people were shouting would have made abstract sound being amplified by the structure of the huge amphitheatres. This spectacle which is a combination of the nature of time and politics, according to G. Debord, starts from the intention of creating time consumption of this crowd, namely, it starts from the intention of creating time pseudocyclism. The idea of making huge rotational time simulacre and replace the reality with it forms the basis of the capitalism today. Time is consumed and created endlessly. According to B. Grancian, because the only thing we have is time (even because the beggars have it), making the pseudocyclism of producing and consuming it is the most important thing. The time is replaced into pseudocyclism through ads, soap operas, world cups and Olympics, New years and thanksgivings, returning seasons of bonus and sales in time, and pop up news and accidents and incidents.
by Jung,Seung is composed of about 2,000 ‘Nohohon’ dolls. Nohohon is a kind of a doll driven by a solar battery, produced at some toy company in Japan. The characteristic is that it just makes sound or moves its head by nodding. Jung,Seung has continued his work by using products which are wholesale priced at factories because they are out of season or products easily purchased through the internet with cheap price. The reason he is using this product is because they are the same industrial processed goods of a lot of amount. He has installed about 200 cycler automatic dolls without their necks on a circular track which made them hover the same spot endlessly at , 2009. The noise from these dolls, driven by motors reminded the sound of all the bugs crying out in the summer or thousands of Lama monks chanting sutras. also has a lot of dolls making sound by nodding their heads on the pedestals of half circled stairs, and the sound they make sounds like the noise of cities or lots of second hands of clocks. Pedestals of stairs look like the amphitheatres of Rome, or ancestral tables of thousands of Buddhist Saints. Some of them tumbling down to its pedestals by the mechanical movement inside look alike tragic individuals falling from the huge circulation.
by Jung,Seung is ironic itself. This work is something that the minor part (fallen Nohohons) should be paid more attention than whole work (2,000 Nohohons) and is also made to leave a strong impression to the audiences of the first appreciation about the spectacle made by the whole work at the same time. The trouble that can occur from showing the work with a lot of manufactured products used by Jung,Seung, the author of , can easily fall into a visual monument which derives interest of the audiences by its numerical repetition. Nevertheless, Jung,Seung is succeeding in making the structure of independence movement in both visual and criticism of his work. The author says that deals with the reality that drags more attention to the huge phenomenal flow than the interest of some specific individual reality. Even the contemporary art, instead of dealing more about the individual creative soul of the artist, consideration of the artist and his/her work as an individual example of a comprehensive theme which changes all the time as like a biennale is mentioned in this reference. So, the complex from the nervousness starts from thinking what if it is not able to be one of many of those who draw whole, or what if it is not able to be spectacle. On the other hand, the chaos the individuals feel through living in this system can be connected to the denial of their existence when the contents are counted only for teleological results or when the others are considered as nothing in the reality that respects more of the development or the growth of the system. The spectacle made by a huge frame of identity makes individuals, who form it, the part of its patterns. The meaningless sound they make sounds like ‘om’ ‘옴’(唵, The very first sound of Buddhism) of new time circulation made by cold enthusiasm of capitalistic spectacle. The irony is that the vibration of capitalistic spectacle seems like it makes bigger wave than the melody of religious nirvana. Individuals being obsessed to an unknown passion of being a part of the huge vibration, this is the mighty effect that capitalism creates. Instead of a relationship of a communication based on visibility and legibility, it creates small space of endless repetition and passion. ‘A body without organs’ where new things are created and consumed, and new things replace the existing things and extinguishes fast endlessly keeps the space time at the imaginary boiling point. So the title of this work must be understood at the aspect of deviated individuals out of their places, excluded from ‘Spectacle’. The individuals fallen from spectacle are the subjects represented as artists. The complex they are supposed to feel derives from their own capitalism or the failure of the flow of their passion equivalent to it.
Nohohon, using solar battery, as if the whole space surrounding is meaningless and is the reason of its repeated movements, gets its power from intangible light which exists around. Even if it’s a very small amount of energy, it’ll be just enough to move Nohohon’s head. It’ll nod its head like a command of an intolerable being until the light exists. The fixed smile especially on its flat head shows the fateful forms more dramatically. The reality that it exists actually exaggerates every existing being like lights and air. The huge circulation of the nature which puffs life in spring, and puts it out in winter inspires the existence to every individual which can’t be denied. The interesting fact about Nohohon is that it gets energy from the same natural element. It might be the reason for the author to choose Nohohon. It must nod its head as long as it exists. As like us…
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