Bare Stage


- 2022 ~ 2023 -
From December 2nd to January 8th

Bare Stage


์•„ํŠธ์ŠคํŽ˜์ด์Šค ํ˜ธํ™”๋Š” 12์›” 2์ผ๋ถ€ํ„ฐ 1์›” 8์ผ๊นŒ์ง€ ์ „๋ณ‘์‚ผ์˜ ๊ฐœ์ธ์ „ ใ€ŠBare Stageใ€‹๋ฅผ ์„ ๋ณด์ธ๋‹ค. ์ „๋ณ‘์‚ผ์€ ๊ธฐ์กด์˜ ๋Œ€์ƒ์„ ์‚ฌ๋ผ์ง€๊ฒŒ ๋งŒ๋“ค์–ด ์ž…์ฒด ๋ฐ ํ‰๋ฉด, ์˜์ƒ ๋“ฑ ๋‹ค์–‘ํ•œ ๋งค์ฒด๋กœ ์ด๋ฏธ์ง€๋ฅผ ์žฌ์ฐฝ์กฐํ•˜๋Š” ์ž‘์—…์„ ์ด์–ด์˜ค๊ณ  ์žˆ๋‹ค. ์ด๋Ÿฌํ•œ ์ž‘๊ฐ€์˜ ์ž‘์—…์€ ์ธ๊ฐ„์˜ ์ œํ•œ๋œ ์œก์ฒด๋กœ ๋„๋‹ฌํ•  ์ˆ˜ ์—†๋Š” ๋ถˆ๊ฐ€๋Šฅ์˜ ์˜์—ญ์— ๋Œ€ํ•œ ํ˜ธ๊ธฐ์‹ฌ์—์„œ ์‹œ์ž‘๋˜๋ฉฐ, ํฌ๊ฒŒ '์ ‘๊ธฐ(Folding)๊ณผ 'ํŽผ์น˜๊ธฐ(Unfolding)'๋ผ๋Š” ๋‘ ๊ฐ€์ง€ ๋ฐฉ๋ฒ•๋ก  ํ•˜์— ์ž์œ ๋กญ๊ฒŒ ์ „๊ฐœ๋œ๋‹ค. ์ด๋ฒˆ ์ „์‹œ ใ€ŠBare Stageใ€‹์—์„œ๋Š” ์ ‘๊ฑฐ๋‚˜ ํŽผ์ณ์„œ ์šฐ๋ฆฌ๋ฅผ ๋ฏธ์ง€์˜ ์„ธ๊ณ„๋กœ ์ดˆ๋Œ€ํ•˜๋Š” ์ „๋ณ‘์‚ผ์˜ ์ž‘์—…์„ ์ „์ฒด์ ์œผ๋กœ ์กฐ๋งํ•˜๊ณ ์ž ํ•œ๋‹ค.


์ „์‹œ์žฅ์— ๋“ค์–ด์„œ๋ฉด ์ ‘๊ธฐ(Folding)๋ฅผ ๋Œ€ํ‘œํ•˜๋Š” ์ž‘์—…์ธ MOMENT ์‹œ๋ฆฌ์ฆˆ๋“ค์„ ๋งˆ์ฃผํ•˜๊ฒŒ ๋œ๋‹ค. ์ด ์‹œ๋ฆฌ์ฆˆ๋Š” ๋ฐ˜์œผ๋กœ ์ ‘์€ ์ธ์‡„ํ•œ ์‚ฌ์ง„์„ ๋ชจ์„œ๋ฆฌ ์˜†๋ฉด์ด ๋ณด์ด๊ฒŒ๋” ์‚ฌ๊ฐ ํ”„๋ ˆ์ž„ ์•ˆ์— ์ฐจ๊ณก์ฐจ๊ณก ์Œ“์•„ ์˜ฌ๋ ค, ์ŠคํŠธ๋ผ์ดํ”„ ๋ฌด๋Šฌ์˜ ์ถ”์ƒ์  ์‚ฌ์ง„ ์กฐ๊ฐ์œผ๋กœ ์ „ํ™˜ํ•œ ์ž‘ํ’ˆ์ด๋‹ค. ์ˆœ๊ฐ„์˜ ๊ธฐ์–ต์„ ๋‹ด์€ ์‚ฌ์ง„์€ ๋ณธ๋ž˜์˜ ์ด์•ผ๊ธฐ๊ฐ€ ์‚ฌ๋ผ์ง„ ์ฑ„, ์ผ๋ฅ ์ ์ธ ๋ฉด๊ณผ ์„ ์œผ๋กœ๋งŒ ์ด๋ค„์ง„ ํ‰๋ฉดํ™”๋œ ์กฐํ˜•์œผ๋กœ ๋ฐ”๋€Œ๋ฉฐ ๋‹จ์ •ํ•˜๋ฉด์„œ๋„ ์ด์งˆ์ ์ธ ๋ฏธ๊ฐ์„ ์„ ์‚ฌํ•œ๋‹ค. ํ•œํŽธ, ๋ณ€์ด๋œ ์ ‘๊ธฐ(Folding) ํ–‰์œ„๋กœ ๊ธฐ์กด ์ด๋ฏธ์ง€๋ฅผ ์žฌ๊ตฌ์„ฑํ•œ ์‹œ๋ฆฌ์ฆˆ๋„ ๋งŒ๋‚˜๋ณผ ์ˆ˜ ์žˆ๋‹ค. ์ธ์‡„๋ฌผ์„ ์ ‘์–ด ์ •์ค‘์•™๋ถ€ํ„ฐ ๋‘ฅ๊ธ€๊ฒŒ ๊ฐ์•„์„œ ์›ํ˜•์˜ ์‚ฌ์ง„ ์กฐ๊ฐ์œผ๋กœ ์™„์„ฑํ•œ COSMOS ์‹œ๋ฆฌ์ฆˆ๋Š” ์ ‘ํžŒ ์ด๋ฏธ์ง€์˜ ์–‡์€ ๋‹จ๋ฉด๋„ ํ•จ๊ป˜ ํœ˜์–ด์ง€๋ฉฐ ๊ทธ ํฌ๊ธฐ๋ฅผ ๊ฑฐ๋Œ€ํ•˜๊ฒŒ ๋„“ํ˜€๊ฐ€๊ธฐ์—, ๋งˆ์น˜ ๋์—†์ด ํŒฝ์ฐฝํ•˜๋Š” ์šฐ์ฃผ์™€ ๋‹ฎ์•„ ์žˆ๋‹ค. ์ž‘๊ฐ€์˜ ์ž‘์—…์€ ์–ธ๋œป ๋ณด๊ธฐ์— ์ ‘๋Š” ํ–‰์œ„๋กœ ๋ง๋ฏธ์•”์•„ ๋ณธ๋ž˜์˜ ์กด์žฌ๋ฅผ ์ง€์›Œ๋ฒ„๋ฆฌ๋Š” ๋“ฏํ•˜๋‹ค. ๊ทธ๋Ÿฌ๋‚˜ ์‚ฌ๋ผ์ ธ๋ฒ„๋ฆฐ ๋“ฏํ•œ ์ด๋ฏธ์ง€๋Š” ์™„์ „ํžˆ ์†Œ๋ฉธ๋˜์ง€ ์•Š๊ณ , ๋ชจ์–‘์„ ๋ฐ”๊ฟ” ์‹ ๋น„๋กœ์šด ์ง€์ธต์˜ ๋‹จ๋ฉด๊ณผ๋„ ๊ฐ™์€ ๋ชจ์Šต์œผ๋กœ ๋‹ค์‹œ๊ธˆ ๋“ฑ์žฅํ•œ๋‹ค. ์–ด๋–ป๊ฒŒ ๋ณด๋ฉด ๋‚ด์žฌํ–ˆ๋˜ ์งˆ์„œ๋ฅผ ํŒŒ์—ดํ•˜์—ฌ ์ƒˆ๋กœ์šด ํ˜•์ƒ์„ ์„ธ์šฐ๋Š” ์ „๋ณ‘์‚ผ์˜ Folding ํ–‰์œ„๋Š” ์˜ˆ์ˆ ์˜ ๋ชฉ์ ์ด์ž ์กด์žฌ ์ด์œ  ๊ทธ ์ž์ฒด๋ผ๊ณ  ํ•  ์ˆ˜๋„ ์žˆ๊ฒ ๋‹ค.

                         

์ „์‹œ์žฅ์˜ ์•ˆ ์ชฝ์—๋Š” ์„ ๋ช…ํ•œ ํŒŒ๋ž€์ƒ‰ ๋ฐฐ๊ฒฝ ์œ„์— ์„ฌ๊ด‘์ด ๋ฒˆ์ฉ์ด๋Š” ๊ฒƒ ๊ฐ™์€ ์‚ฌ์ง„ ์ด๋ฏธ์ง€์™€ ๋ฌด์ง€๊ฐœ ์ƒ‰ ๊ทธ๋ผ๋ฐ์ด์…˜ ํ™”๋ฉด์ด ์„ค์น˜๋˜์–ด ์žˆ๋‹ค. ์ด ๋‘ ์ ์˜ ์ž‘ํ’ˆ์€ ์ž‘๊ฐ€์˜ ๋˜ ๋‹ค๋ฅธ ๋ฐฉ๋ฒ•๋ก ์ธ ํŽผ์น˜๊ธฐ(Unfolding)๋กœ ์ œ์ž‘๋œ ๊ฒƒ๋“ค์ด๋‹ค. ์ž์„ธํžˆ ๋“ค์—ฌ๋‹ค๋ณด๋ฉด ๋ฏธ๋ˆํ•œ ๋‘ ํ‰๋ฉด ์œ„์—๋Š” ๋นผ๊ณกํ•œ ๊ธ€์ž์™€ ์ˆซ์ž๋“ค์ด ํ”„๋ฆฐํŠธ๋˜์–ด ์žˆ๋Š” ๊ฒƒ์„ ๋ณผ ์ˆ˜ ์žˆ๋‹ค. ์ „์ž์˜ ์ž‘ํ’ˆ์€ ๊ตฌ์•ฝ๊ณผ ์‹ ์•ฝ ์„ฑ๊ฒฝ์— ์žˆ๋Š” ๋ชจ๋“  ํ™œ์ž๋ฅผ ํŽผ์น˜๊ณ  ๊ทธ ์ค‘ ๋ณผ๋  ‘๋ณต็ฆ’์„ ํฐ์ƒ‰์œผ๋กœ ๊ฐ•์กฐํ•˜์—ฌ ๊ฐ๊ฐ์˜ ๋ณต็ฆ์ž๊ฐ€ ์œ„์น˜ํ•œ ๊ณณ์—์„œ ์ •์ค‘์•™์œผ๋กœ ๋…ธ๋ž€์ƒ‰ ์„ ์„ ๊ทธ์–ด ์ง‘ํ•ฉํ•œ ์ด๋ฏธ์ง€์ด๋ฉฐ, ํ›„์ž๋Š” ์›์ฃผ์œจ์„ ๋œปํ•˜๋Š” ๊ธฐํ˜ธ ํŒŒ์ด(π)๋ฅผ ์†Œ์ˆ˜์  ๋ฐฑ๋งŒ ์ž๋ฆฌ๊นŒ์ง€ ํ’€์–ด๋‚ด ์กฐํ˜•ํ™”ํ•œ ์ž‘ํ’ˆ์ด๋‹ค. ์ž‘๊ฐ€๋Š” ์ด์™€ ๊ฐ™์ด ์••์ถ•๋˜์–ด ์žˆ๋Š” ๋ฌด์–ธ๊ฐ€๋ฅผ ๊ทนํ•œ์œผ๋กœ ํŽผ์ณ์„œ, ๋ณด๋Š” ์ด๊ฐ€ ์„ ํ—˜์  ์‹œ๊ฐ„ ๊ฐœ๋…์„ ์ดˆ์›”ํ•œ ์˜๋ฏธ์™€ ๊ฐ€์น˜์— ๋Œ€ํ•ด์„œ ์‚ฌ์ƒ‰ํ•˜๊ฒŒ ๋งŒ๋“ ๋‹ค. ํ•œํŽธ, ์ ‘๊ธฐ์™€ ํŽผ์น˜๊ธฐ๋ฅผ ํ˜ผ์žฌํ•œ ์‹œ๋ฆฌ์ฆˆ๋„ ์žˆ๋‹ค. ์ด๋Ÿฌํ•œ ๋ฐฉ๋ฒ•๋ก ์œผ๋กœ ์ œ์ž‘๋œ ์ž‘์—… LOST๋Š” ๊ธฐ์กด์˜ ํ˜•์ƒ์„ ๋””์ง€ํ„ธ ์ด๋ฏธ์ง€๋กœ ์ƒ์„ฑํ•œ ํ›„ ๋ถ„ํ•ด, ์žฌ์กฐํ•ฉํ•˜์—ฌ ์˜์ƒ ํ˜น์€ ์˜์ƒ์˜ ํ•œ ํ™”๋ฉด์„ ํ‰๋ฉด์œผ๋กœ ์ธํ™”ํ•œ ์‹œ๋ฆฌ์ฆˆ๋‹ค. ์ „๋ณ‘์‚ผ์€ ์ด๋Ÿฐ ์‹์œผ๋กœ ์ด๋ฏธ์ง€๋ฅผ ์ƒ…์ƒ…์ด ํ•ด์ฒดํ•˜๊ฑฐ๋‚˜ ๋‹ค์‹œ ๋ฐฐ์—ดํ•˜๋Š” ํŽผ์น˜๊ธฐ(Unfolding)์˜ ๋ณ€์ฃผ๋ฅผ ํ†ตํ•ด ๋‹ค์ค‘์˜ ์ƒ์ง•์„ ์ง‘์•ฝํ•˜๊ณ ์ž ํ•˜๋ฉฐ, ๊ด€๋žŒ๊ฐ์€ ํ•„์—ฐ์ ์œผ๋กœ ํ–‰๊ฐ„ ์ฝ๊ธฐ๋ฅผ ํ†ตํ•œ ์‚ฌ๊ณ ์˜ ํ™•์žฅ์„ ๊ฒฝํ—˜ํ•˜๊ฒŒ ๋œ๋‹ค.


์ด๋ฒˆ ์ „์‹œ์˜ ์ œ๋ชฉ “Bare Stage”๋Š” ์•„๋ฌด ์žฅ์น˜๋„ ์—†๋Š” ๋นˆ ์—ฐ๊ทน ๋ฌด๋Œ€๋ฅผ ์ผ์ปซ๋Š” ๋ง์ด๋‹ค. ์ •ํ™•ํžˆ ๋งํ•˜๋ฉด ์•„๋ฌด๊ฒƒ๋„ ์—†๋Š” ํ…… ๋นˆ ๊ณต๊ฐ„์ด ์•„๋‹ˆ๋ผ, ๋ฌด๋Œ€ ์žฅ์น˜๋‚˜ ์„ธํŠธ๋ฅผ ์ตœ์†Œ๋กœ ํ•˜์—ฌ ๊ด€๊ฐ ๊ฐ์ž์˜ ์‚ฌ๊ณ ์˜ ๊ณผ์ •์ด ๊ตฌ์†๋˜์ง€ ์•Š๊ฒŒ ํ•˜๋Š” ์žฅ์†Œ๋ฅผ ์˜๋ฏธํ•œ๋‹ค. ๊ทธ๋ž˜์„œ ๊ด€๊ฐ์€ ์Šค์Šค๋กœ์˜ ์ƒ์ƒ๋ ฅ์„ ํ™œ์šฉํ•ด ๊ทน์„ ์ ๊ทน์ ์œผ๋กœ ์ดํ•ดํ•˜๊ณ , ๋” ๋‚˜์•„๊ฐ€ ์ž์‹ ์˜ ์‚ถ์„ ํˆฌ์˜ํ•˜์—ฌ ์กด์žฌ์™€ ์„ธ๊ณ„์— ๋Œ€ํ•œ ์„ฑ์ฐฐ๋กœ ๊ท€๊ฒฐํ•˜๊ฒŒ ๋œ๋‹ค. ์ „๋ณ‘์‚ผ ๋˜ํ•œ ์ผ๋ จ์˜ ์ž‘์—… ๊ณผ์ •์„ ํ†ตํ•ด ๊ธฐ์กด์˜ ๋งฅ๋ฝ์„ ๋น„์šฐ๊ณ , ์ด๋ฏธ์ง€์˜ ๊ตฌ์ƒ์„ฑ์„ ๋ฐฐ์ œํ•˜์—ฌ ๋‹ค๋ฅธ ๊ฐ๊ฐ๊ณผ ๋ณ€ํ™” ๊ฐ€๋Šฅ์„ฑ์„ ์—ด์–ด๋‘”๋‹ค. ๊ทธ๋ฆฌ๊ณ  ์ด๋ ‡๊ฒŒ ‘๋น„์–ด์ง„’ ํ™”๋ฉด(ํ˜น์€ ์กฐ๊ฐ)์€ ๋ณด๋Š” ์ด๋กœ ํ•˜์—ฌ๊ธˆ ์€๋‹‰๋˜์–ด ์žˆ๋Š” ์˜๋ฏธ๋ฅผ ์ฐฝ์˜์ ์œผ๋กœ ํ•ด๋…ํ•˜๊ฒŒ ๋งŒ๋“ ๋‹ค. ์œ„๋Œ€ํ•œ ํ˜„๋Œ€ ์—ฐ๊ทน ์—ฐ์ถœ๊ฐ€ ํ”ผํ„ฐ ๋ธŒ๋ฃฉ(Peter Brook)์€ ์•„๋ฌด๊ฒƒ๋„ ๊ฐ•์š”ํ•˜์ง€ ์•Š์€ ์ฑ„, ๋‹ค๋งŒ ‘์งˆ๋ฌธ’์ด๋ž€ ๊ฒƒ์„ ์ƒ๊ธฐ์‹œํ‚ค๋Š” ๊ฒƒ์ด ์‚ด์•„์žˆ๋Š” ์—ฐ๊ทน์ด์ž ์˜ˆ์ˆ ์ด๋ผ๊ณ  ํ•˜์˜€๋‹ค. ํ•œ ํ•ด๊ฐ€ ์ €๋ฌผ์–ด์ ธ ๊ฐ€๋Š” ํ˜„ ์‹œ์ , ์ „์‹œ ใ€ŠBare Stageใ€‹๋ฅผ ๊ด€๋žŒํ•˜๋Š” ๋ชจ๋“  ์ด๋“ค์ด ์ž‘๊ฐ€ ์ „๋ณ‘์‚ผ์ด ์ ‘๊ณ  ํŽผ์ณ ์ด๋ฃฉํ•œ ‘๋นˆ ๋ฌด๋Œ€’๋“ค์„ ํ†ตํ•ด ์šฐ๋ฆฌ๊ฐ€ ์ตํžˆ ์•Œ๊ณ  ์žˆ๋Š” ๋Œ€์ƒ ์ด๋ฉด์˜ ๋ฌด์ˆ˜ํ•œ ๊ฐ€๋Šฅ์„ฑ๊ณผ ์กด์žฌ์— ๋Œ€ํ•ด ์งˆ๋ฌธํ•ด ๋ณด๊ธธ ๋ฐ”๋ž€๋‹ค.  




Artspace Hohwa presents Jeon Byeong-sam's solo exhibition ใ€ŠBare Stageใ€‹, from December 2nd to January 8th. Jeon has been working on re-creating images in various media such as three-dimensional, flat, and video by making existing objects disappear. His work begins with curiosity about the impossible realm that cannot be reached by the human body, and is developed freely under two methodologies, 'folding' and 'unfolding'. In this exhibition ใ€ŠBare Stageใ€‹, we would like to take a look at the work of Jeon Byeong-sam, who invites us to an unknown world by folding or unfolding.


Upon entering the exhibition hall, viewers can see the MOMENT, a series of artworks that represents the method of ‘folding’. In this series, printed photographs folded in half are stacked one by one in a square frame so that their sides are visible, turning them into abstract photographic sculptures with stripes. Photographs containing the memories of the moment disappear, and the original story is changed to a flat shape made of uniform surfaces and lines, providing a neat yet heterogeneous aesthetic. On the other hand, we can also meet a series that reconstructs the existing image through the mutated ‘folding’. It is the COSMOS, which is completed as a circular piece by rolling up the printed matter in a circle from the center. The thin section of the folded image bends and gradually grows, resembling an endlessly expanding universe. At first glance, the artist's work seems to erase its original existence through the act of folding. However, the image that was thought to have disappeared does not completely disappear, but changes its shape and is reborn as a cross-section of a mysterious stratum. Jeon's act of 'folding', which ruptures the inherent order and creates a new form, can be said to be the purpose of art and the very reason for its existence.


Inside the exhibition hall, there are photographs that look like flashes of light on a vivid blue background and a rainbow-colored screen by gradation. These two works were produced by the artist using another methodology, ‘unfolding’. If we look closely at these two flat surfaces, we can see densely packed letters and numbers printed on them. The former is an image assembled by unfolding all the typefaces in the Old and New Testaments, emphasizing ‘blessing’ in white, and drawing a yellow line from each letter to the center. The latter is a formative work made by using pi (π) to one million decimal places. The artist unfolds something compressed like this to the limit, making the viewer contemplate the meaning and value that transcends the metempirical concept of time. On the other hand, there is also a series made by using ‘folding’ and ‘unfolding’ together: the LOST. This work is a series in which an existing shape is recreated as a digital image, then disassembled and recombined, and a video or a scene of the video is printed on a flat surface. Jeon tries to integrate multiple symbols through a variation of ‘unfolding’, which thoroughly dismantles or rearranges images in this way, and the viewer inevitably experiences an expansion of thinking through reading between the lines.


The title of this exhibition, “Bare Stage,” refers to an empty theatrical stage without any equipment. To be precise, it means a place where the thought of each viewer is not restricted by minimizing stage equipment or sets. Therefore, the audiences actively use their own imagination to understand the play, and furthermore, reflect on their existence and the world by projecting their own lives. Jeon also leaves open the possibility of other senses and changes by emptying the existing context and excluding the figurative nature of images, through a series of work processes. And this ‘empty’ screen (or three-dimensional) makes the viewer creatively decipher the hidden meaning. A great contemporary theater director Peter Brook said, “The living play and art remind us of ‘questions’ without forcing anything." Now, as the year draws to a close, we hope that all viewers of the exhibition ใ€ŠBare Stageใ€‹ will ask questions about the myriad possibilities and existence behind the objects they are familiar with through the ‘empty stages’ created by Jeon Byeong-sam.



© Art Space Hohwa All rights reserved.
©Art Space Hohwa All rights reserved.