작업 소개

57STUDIO는 서울시립미술관에서 개최된 전시 <강박²>의 아티스트 인터뷰 및 홍보 영상을 기획, 제작하였습니다. 본 전시는 회화, 영상, 사진, 조각 등 다양한 매체를 활용하여 현실의 반복을 변주하는 아홉 명(팀)의 작가를 조명합니다. 작가들은 반복을 통해 강박을 드러내거나 저항하는 방식을 실험하며, 이를 통해 반복이 창조로 이어지는 가능성을 탐구합니다. 57STUDIO는 이러한 전시의 개념과 각 작가들의 작품 세계를 효과적으로 전달하기 위해 인터뷰 영상을 제작하였으며, 전시의 주제를 시각적으로 강조하는 홍보 영상을 통해 관람객들의 관심을 유도하고 몰입감을 높일 수 있도록 구성하였습니다.

57STUDIO planned and produced the artist interview and promotional videos for the exhibition Compulsion to Repeat held at the Seoul Museum of Art. This exhibition highlights nine artists (or teams) using various media, such as painting, video, photography, and sculpture, to explore the repetition of reality. The artists experiment with revealing or resisting compulsion through repetition, and in doing so, they explore the potential for repetition to lead to creation. To effectively convey the concept of the exhibition and the artists’ worlds, 57STUDIO produced interview videos and crafted promotional videos that visually emphasize the exhibition’s themes, aiming to attract viewers’ attention and enhance their immersion.

Curator | Song Kahyun

This exhibition focuses on the repetitive nature of compulsion itself while also exploring the possibility that repetition can be a means of overcoming it. Traditionally, the concept of repetition has often been interpreted in terms of replication or imitation, and has been regarded as inferior in a semantic sense. However, since the advent of postmodernism, repetition is no longer seen as a return to the same, but rather as a creative force that generates differences, offering a multifaceted reinterpretation. The exhibition seeks to address compulsion, typically viewed as an individual issue, within the context of our societal structure—specifically, the capitalist system that has encroached upon our lives.

Artist | Omer Fast

What I focus on in my work are the things that other people do. Through my work, I deal with what I find interesting about the work of others. I often look at people who break the rules or cross boundaries. I refer to these people as “boundary figures.” They exist between different “territories.” These can be private or public realms, or they can exist between geopolitical territories or borders, or even between peace and violence. They can be the areas that define what actions are appropriate for us. Above all, what I am most interested in in my work is our relationship with the past. It is a past that continually rises toward the present like a soap bubble, a past that refuses to remain buried underground.

The past that refuses to remain in the past, a zombie-like past. In the case of 5,000 Feet is the Best the character in the work is a drone pilot who served for six years and explains the events he experienced. The incidents and experiences he went through do not leave his mind and continue to haunt him. As a result, he is unable to lead a normal life. He cannot return to normal life because he cannot stop getting lost in thoughts or daydreams, being trapped in his experience as a soldier, specifically as a drone pilot.

Artist | Jeamin Cha

Sound Garden is a video that combines scenes of moving training logs with interviews of female psychological counselors in Korea. Sound Garden ambiguously interprets the act of psychological counseling, exploring how it is used in a capitalist society on one hand, and on the other, examining the various possibilities inherent in psychological counseling. The image of the training logs in my work is not used as a metaphor or symbol, but rather, in the moments when the interviews with counselors and the scenes of the logs being moved overlap, I hope the audience will engage with it and interpret it.

So, it’s a work that I hope viewers will take their time with and fully engage with until the end. The reason I titled it Sound Garden is because the theme I’ve been exploring for the past few years revolves around psychological landscapes or inner psychological states. These psychological elements are not physical spaces, so they can feel quite abstract. However, by giving it a name that imagines a space, I wanted to create a place where people can come, converse, and listen—an intangible yet explainable place. That’s why I chose this title.

Artist | Jaye Rhee

As the title suggests, it’s a story about a future that was once a dream in the past, a utopian future that was once hoped for. But it’s also about a failed future and, despite that, a love that can’t be abandoned, a continuing passion. Working with film or video media is essentially working with time, right? The projected image represents the image of a theater, and the theater, in turn, has its own time, separate from the outside world. The work is, quite literally, a reflection on time. In a way, time isn’t linear with past, present, and future, but rather, past, present, and future seem to collapse together into a single point, one whole. So, it’s a story about time that has many aspects depending on how people perceive it.

Artist | Inbai Kim

This work was inspired by the process of understanding the shape of a lotus root. Initially, I used Iso Pink boards to cut out the nubs and the outer edges of the first lotus root I encountered. Then, I gathered these individual pieces to create a larger mass of the lotus root, which had a somewhat flat shape. When assembling the lotus root pieces to form the entire root, there is an important point: the cross-sections where the successive pieces of the lotus root touch must have identical shapes, both top and bottom. This includes the holes and the outer edges, as they need to maintain the internal structure in order to create the overall mass. This process can be seen as becoming the whole through a tactile, almost microscopic perspective. To be more precise, the visual information cut for contact forms the structure of an empty space, and thus, the whole cannot be seen—it’s a blind state. This is not a process of seeing or making, but of becoming.

전시 홍보 영상
Exhibition Teaser

전시 소개 글
Exhibition introduction text

서울시립미술관의 기획전시 ≪강박²≫은 ‘반복’이라는 일상적 개념이 동시대 예술 속에 구현되는 양상을 살펴봄으로써, 우리를 구성하고 사로잡는 심리적 강박을 조명한다.
반복은 우리 삶 속에 다양한 형태로 녹아있으며, 가시적이든 그렇지 않든 우리 몸과 정신 활동의 많은 부분을 포함하여 세계가 구조화되는 방식 또한 반복에 기초하고 있다.
일반적으로 ‘같은 일을 되풀이하는 것’을 뜻하는 반복은 기원, 생성, 창조, 새로움 등의 관념보다는 복제, 모방 등과 연결되며 의미론적으로 열등하게 취급되어 왔다.
그러나 포스트모더니즘 이후 반복이 갖는 본질적 특성은 더 이상 같은 것의 회귀를 의미하는 동일성의 메커니즘으로 귀결되지 않고, 이른바 ‘차이는 반복의 결과’라는 동시대 사유 속에서 창조의 근원으로 부상하며 사회적, 정치적으로 재해석되고있다. 이 전시는 반복이 우리 삶의 안팎을 지배적으로 점유하는 정신병리학적 현상으로서 ‘강박’을 단지 개인의 문제가 아닌 동시대 사회구조의 문제 속에서 살펴보고자 한다.

Seoul Museum of Art’s curatorial project Compulsion to Repeat, or Compulsion2 explores how a simple concept of “repetition” takes shape in contemporary art, highlighting the psychological obsessions that make and possess us. Various aspects of life are imbued with repetition; visible or not, iteration has a stronghold over how a good portion of the world, as well as physical and mental activities within it is structured. In general, repetition indicates “doing the same thing over and over again.” Yet the term is subject to negative connotations, leaning more towards duplication or imitation than to the origin, creation, and newness. However, the essential aspect of repetition since postmodernism is not subsumed under the mechanism of identity, or the return to sameness. Instead, it has emerged as the source of creation, socially and politically reinterpreted based on the contemporary perspective that “difference is the result of iteration.” Based on this notion, this exhibition explores the “compulsion,” a psycho-pathological manifestation, not as a personal concern but in terms of the social and structural matter. The exhibition demonstrates individual works in temporal and spatial, thematic and structural repetition to experiment and explore how repetition leads to creation.

– 서울시립미술관 홈페이지 ≪강박²≫ 전시소개글 중에서