전시 프로젝트 계획-인식 주체의 바탕을 교란하는 감각적 신체 만들기(회동) ● 본작업의구성조건은일방적으로작가에의해서만만들어지는것이아니다. 내창작을구성하는여러요인들은이미,또는사후적으로내창작의내/외부조건들과더불어서로 넘나들며 역동적으로 반응하며 생성될것이기때문이다. 그것은모든고정되고견고하게질서지워진범주/의미들을넘어서고자하는,전제없는새로운짝짓기, 새로운제휴를꿈꾼다. 그것은명확한것들과는거리가먼소음과같은것들이충돌하는불편함(불화)의경험일수도있다. 말하자면그것은일종의감각적저항-마찰일수있기 때문이다. ● 예술작업은인식론을넘어서는,존재방식이문제가되는존재론적사건이며존재방식의정치학이다. 이질감, 예측불가능성과의싸움과 기대, 내몸을만지면서동시에내가만져짐과만짐을느끼는, 동시에대상이고주체가되는감각현상, 자신의 안과 밖을 뒤집어서 어느덧 대상을 자기 인식의 일부로 끌어들이고 넘나드는 위상적 재구성을 오간다. 이것은 인식론적효과가아니라존재론적인효과, 즉직접적인신체의변화와감응, 삶을변화시키고확장하게하는힘으로서인식의틀을벗어나는, 신체와결부된운동감각을촉발한다.생성과변화를근원적실재로보는베르그손의역동적형이상학은,우리가 지각작용을순수한사유작용으로만간주하기 때문에,지각이본래외부세계와관계맺는신체적운동성에기초한다는사실을보지못한다고비판한 바 있다. 또한이 작업은 개념의바깥을지각케하는감각적각성의사회적분배행위와연관되어있기때문에 여기에는항상불화와긴장이작용한다. 그러나작크랑시에르가말하듯, 불화야말로민주주의정치의조건일수밖에없다.민주주의란불화의지점이며, 그러한불일치들이발현되는순간을가리킨다는 것이다. ● 이 작업은주/객, 너/나, 지각/대상과의상호의존적(상호 내재화)인사유방식을 꿈꾸며,작품이더이상미적대상물이아닌,타자의장력안에서작용하면서그속에서서로의 일부로서 새롭게부활하는주체의실험이다.이는미적가치나예술적가치와같은의미나가치개념의내부에안주하는것이아니라, 인간지각과감각에관련되는여러개념너머의 조건들에노출되고부디치는저항의운동과같은, 신체적조건을바꾸어보려는일종의삶의모험이기때문이다.

홍명섭_ringwandeung(링반데롱/원상방황)_렌티큘러_가변크기_2012

구경에서생성 조건으로 ● 관람(감상)이라는말자체가, 미술품이그것자체로완결된예술성을"가지고있는것"으로믿을때에따라붙는말이다. 예술성의본질이작품 안 어딘가에있는것으로이해(간주)되었기때문에일방적으로"구경"이라는행위가창작과는 다른차원으로설정된것이다. 따라서"구경"에대해어떤관점을가질것인가하는미학적노선은역사적으로이리저리굴절되어왔다. 그러나나의작업이란이분법으로관객과는다른쪽차원으로설정될무엇(대상)이아니다. 나는 관객을구경하는객체로놓아두는데서나아가작업을생성케하는상호 간여 조건으로작동하고이행되길바란다. 가령도가에서말하길, 뜰앞의오동잎 하나가지는것을보고"천하에가을이왔다"는것을안다고했을때, 얼핏보면낙엽현상을두고 가을이라는함의로읽고있다고볼수도있지만한편, 좁은뜨락의한낙엽이천하의가을을구성하는데필연적으로참여하는생성태로서가을을체험한다는입장에서는, 천하의가을도내집안의낙엽한잎과의 동조 현상을 나누지 않을 수 없다는이치를목격한다. ● 이미 권력이 되어버린 우리들의 시선에 항거하는 불경스러움이 만들어낼 균열과 혼돈, 우리의감각과몸을불화로이끌소음 자체가 도리어 우리를 창의적 삶을 살게 할 육체로 "해방" 시키는계기가 될 것을 믿는다. 그래서적어도관객이이작업의필드를빠져나가게되었을때는그가지금까지자신을느끼는몸의감각이전과는얼마간은달라진배치(이질성; para-logy)를느끼게되면서, 그가다시되돌아갈세상에대한지각방식도자신의감각의변모를통해달리 느끼게되길바라면서...

홍명섭_ringwandeung(링반데롱/원상방황)_렌티큘러_가변크기_2012

러닝레일로드-러닝사운드로드(테이프드로잉/사운드드로잉) ● 본다는것은시지각만의문제가아니라신체적행위이다. 공간에노출되거나포획된우리몸이느끼는감각이고몸의경험이다. 이렇게우리의신체를처단하는드로잉속을배회한다는것은우리의식의환각적이고몽상적인곡예이기도하다. ("러닝레일로드" 작가노트, 2004)

홍명섭_ringwandeung(링반데롱/원상방황)_렌티큘러_가변크기_2012

형성 ● 본 작업은 1982년도 이후로 진행해 온 topological 한 공간운영 개념을 기반으로 한 작업, 「러닝레일로드」와 1997년의 철-슬리퍼 보행작업에 사운드 설치를 통한 crossover적인 접근을 시도 하고자 했다. 이작업은관객의시선뿐만아니라, 관객의몸자체 ; 걸음걸이의감각과 청각, 호흡과속도, 중력에의저항등을 필요로 하며, 이러한 외부적 요소들이 작업의 효과를 창출하는 중요한 조건이 된다. 관객의준비되지않은몸의리듬과의식을필요로한다. 그래서몸이예측하지못했던감지력이촉발-발생하게끔,능동적으로경험해본적이없는상황에의노출을 통해비자발적인감각적각성을도모한다. 낯설고껄끄러움으로유발되는, 예기치못했던불화의감성이활성화되기를바라면서, 그래서우리의몸이바뀌어지는경험을통해달라진생명환경을사유해낼수있도록한다. 일상적이지않은신발의무게에의한보행을 통해운동의의지와의욕에변화가일어난다. 마치거동이불편한환자처럼, 익숙하지않은몸씀의이질적흐름들에맏겨지는비자발적감성. 저항, 일상화되었던몸의리듬과감각들의반란, 신체를포획하는빠르거나느린여러속도들의소리,수평으로휘감는회오리들의리듬. 일상적인식의틀과걷도는시지각과몸감각의충돌들, 몸의일상적인식에저항하는중력의반란, 내몸의감각이새로운보철을체험하듯낯선변종의감각으로이끈다.

홍명섭_ringwandeung(링반데롱/원상방황)_렌티큘러_가변크기_2012

작업설치계획 ● 1.테이프설치; 전시장4벽을따라눈높이를수평으로달리는레일로드형국의라인을테이핑한다. (사진 1 - 2 참조 ) 2.무쇠슬리퍼설치; 전시장입구쪽에무쇠슬리퍼를20여컬레배치한다. 두가지타입의무게 (슬리퍼); 성인용(7킬로그램), 아동용-여성용(5킬로그램) (사진 3 참조); 관객입장시기존신발위에수월하게덛신을수있도록유도한다. ■ 홍명섭

홍명섭_ringwandeung(링반데롱/원상방황)_렌티큘러_가변크기_2012

Plan of Exhibition Project-To createa sensorial body that confuses our cognitive foundations ● The compositional conditions for this project are not created by me alone.Various elements of the exhibition include my creative works, produced either prior to the event or retroactively. Such production is made possible by the works actively responding and interacting with themselves, as well as certain other internal and external conditions of my creation.The exhibition yearns to transcend any and all categories and meanings that are firmly fixed or established. As such,this project urgently craves new pairings and alliances apart from the standard requisites, so it might result inuncomfortable or discordant collisions between noises. A cacophony like this is far removed from clarity and precision, so the end result may be a kind of sensorial friction or resistance. ● These artworks extend wellbeyond epistemology; they are ontological events,and the politics of existence itself,which transform our mere existence into a matter of extreme significance. Theynaturally invoke heterogeneity by grappling with unpredictability while simultaneously attempting some form of topological reconstruction. In essence, the reconstruction is akin to the sensorial phenomenon that occurs when I touch my own body; I experience the touch from both sides, as both giver and recipient. Thus, I am simultaneously subject and object, inside out and outside in, as if I'm dangling over the object which is already incorporated as a part of myself. Inevitably, artworks unleash not epistemological effects, but ontological effects. In other words, they trigger a motor sensation that escapes the frame of cognition, which must remain biologically bound to the body. This motor sensation has the power to stretch and alter the primarily physical changes and responses of life, and ultimately to transform life itself. According to Henri Bergson's dynamic metaphysics, the fundamental basis of existence is creation and change. He criticized our tendency to regard cognitive function as purely mental and psychological, claiming that we consistently overlook the fact that cognition is inherently based on physical processes which we use to relate ourselves to the outside world. ● This project is also connected to the social distribution of sensory awakening, which enables us to perceive what lies beyond any given concept. Any such endeavor must employ a healthy dose of discord and tension. However, as Jacques Rancière said, discord is an inevitable condition for democracy. In fact, hesaid thatdemocracy is nothing but the point in space and the moment in time when discordsmanifest themselves. ● This project seeks to visualize thought processes that are mutually dependent or that internalize one another as they traverse binary oppositions, such as subject/object, you/I, and perception/perceived. The artworks are no longer simply aesthetic objects, as they begin to function within the tensile force of the "Other."So this project experiments with a subject that is renewed by being subsumed into its own antithesis. These works refuse to accept confinement within preexisting meanings or values, even aesthetic value or artistic meaning, because those concepts are inherently tied to human sense and perception.This project represents an uprising against those conditions, and which is aimed at the uncharted territory beyond those concepts. Therefore, it is an adventure in life that conspires to transform the physical nature of its own existence. ● From Detached Seeing to Conditions for Production The concept of "seeing" or "appreciating an artwork" is inherently based on the belief that an artwork "has" the complete artistic qualities ipso facto. In other words, it is immediately accepted that the essence of artistry exists somewhere in the work. Therefore, the act of detached seeing—i.e., one-sided, non-participatory observation—was established and placed within a different plane from that of production. As a result, the aesthetic choice of how to perceive the process of "detached seeing" has usually been refracted throughout history. ● Nonetheless, my works are not to be defined as the "Other" which sits across from the audience at either end of a binary opposition. I absolutely do not want the audience to be present simply as objects who detachedly see and appreciate the works. I want them to engage the works and serve as conditions for mutual participation, for it is through such function that the works are truly created. ● Seeing one leaf falling from a tree, a Taoist would say, "I know that it's time for the season to change. Fall has come." At first glance, this implicative anecdote seems to say that the Taoist read the falling leaf as a visual signifier of autumn. But actually, the Taoist anticipates the season by understanding that one falling leaf in a small yard is an inevitable component of the cosmic order of a seasonal change. From this perspective, we are suddenly susceptible to a profound insight: the momentous onset of autumn is ultimately aligned with a single falling leaf in my yard. ● There is power in our gaze, and the provocative resistance against the gaze eventually succumbs to rupture and chaos. In addition, noise leads our body and sense to discord. I believe that such rupture, chaos, and noise can liberate our body, and allow us to live a life of innovation, rather than the other way around. Thus, when the audience leaves the exhibition space, I hope they feel that their bodily sensation has been rearranged from its usual alignment and comfort zone. In other words, I hope they feel "paralogy," in Jean-François Lyotard's sense. I also hope that, when they return to their normal lives, they find that their renovated perception and sense irrevocably alters the world that they are constantly perceiving. ● Running Railroad-Running Sound Road(Tape drawing/ Sound drawing) Seeing does not belong only to the realm of visual perception-it is actually a physical act. Thus, seeing is what our body feels and experiences when it is exposed to and captured by a certain space. As such, seeing is the act of wandering through a drawing that demands a physical response from us, thus invoking a surreal, hallucinatory circus of our mind as well. (Running Railroad, from the artist's note, 2004) ● Formation This project is based on the concept oftopological space management, which I have been pursuing since 1982. The concept was well realized in two of my previous works, Level-Game (1997), Where Are You? (2003) andRunning Railroad (1982-2009). By utilizing those two works and adding a sound installation, I present a crossover approach. ● This work requires the audience to use more than just their eyes; it is a full-body experience which heightens their awareness of the bodily sensations involved with walking, breathing, and trying to resist forces of velocity and gravity. These physical and external elements are significant conditions that give the work its efficacy. ● This project is based on the audience's experience of bodily rhythms and physical consciousness which they are unprepared for. Thus, the work aims to arouse a type of perceptiveness which the body could not possibly foresee. Exposing the body to situations and sensations that it has never actively experienced before also causes an involuntary sensorial awakening. This work is designed to activate unforeseen disharmonious sentiments that emerge from unfamiliarity and discomfort. Therefore, by creating an environment which transforms our usual bodily experience, the work coaxes us to contemplate the myriad varieties and conditions of life. ● Unlike ordinary shoes, very heavy shoes enhance people's motivation to walk for exercise. Watching the unfamiliar and effortful bodily movements and activities of disabled people who cannot freely move their bodies initiates a heterogeneous flow that produces involuntary sensations: resistance; rebellion against those bodily rhythms and senses which have become automated by our daily routine; sounds of various speeds which capture our body; the rhythm of whirlwinds that enfold us. ● Visual perception and bodily sensation are alienated from the ordinary cognitive frame, and they collide with each other. Gravity rebels against the daily cognition of our body. Suddenly, our body is immersed in a new mutant sensation, as if we are trying out new prosthetic limbs. ● Installation Plan 1. Tape installation:Apply tape to the four walls of the exhibition room to create railroad-shaped lines running horizontally at eye level (Figs. 1 and 2.Soundinstallation:Following the horizontal tape lines on the walls, attach a few dozen micro-speakers at 1-2 meter intervals. *Sound tube: The sound aspect will deal with distorted sounds andneutral noises whichare not recognized as having any signified meaning, such as the sound of wind. The speakers should be controlled so that the sounds will be horizontally connected. The sounds must also have a unique tempo; they repeatedly play fast or slow, but at irregular intervals, they also make the listeners feel a frantic, uncontrollable speed. At times, the sounds seem to fade away, but they still persist. With a wide range, the sounds run along the walls, so they wrap and surround the audience. 3.Cast-iron Slipper Installation: Place about 20 pairs of cast-iron slippers at the entrance of the exhibition. There should be two sizes of sleepers for men (7 kg) and for women and children (5 kg) (Fig. 3). As the audience enters, someone must encourage and help them put the slippers on over their shoes. ■ HONGMYUNGSEOP

Vol.20140413c | 홍명섭展 / HONGMYUNGSEOP / 洪明燮 / mixed media