ÃÖ°í°ü¸®ÀÚ | February 17, 2014 | view 4,900
2011 l Yeowoon Lee l I Cofess l Review 
Review by Yeowoon Lee

In the course of history, torture, which creates physical pain on others¡¯ bodies, was silently allowed under the name of keeping social order and security system or for religious reasons. Professor Idelber Avelar in his article ¡°Five Theses on Torture¡±(Journal of Latin American Cultural Studies) criticized the dichotomy of barbaric and social order as fantasy, and he insisted a close relationship of cruel action and civilization. According to him, the action of torture only exists with societal connivance. Eventually, the action of a person who tortures others is justified in various ways and is visualized as a sadistic aggression through a variety of torture tools that aid violence. In other words, these can be seen as that the impossibility of sharing pain or failure of verbalization is visualized with torture tools; and yet this is shown as the sublime at Jang Jia¡¯s 6th solo-exhibition I Confess.
Based on historical research, Jang looks at various torture tools or methods as a spontaneous activity rather than a compulsory pain by others. As a result, the action of violent torture sublimates in artistic and aesthetic ways and provides the experience of the sublime. Here, the sublime is not a pleasure created when we look at beautiful artworks but it is rather an individual¡¯s strong emotion towards the subject. This is shown in the notion of pain, as Edmund Burke defined. He persisted that the concept of pain and danger is a type of the sublime and yet is the strongest emotion that humans can experience. Thus, he believed that this emotion is beyond the line of pleasure and that our physical or mental pain affects on our bodies or spirits the most.
This exhibition is organized to look into the inner side of our lives through the process of finding our existences and experiences of the sublime. With an expression of an individual¡¯s desire rather than pain, we look for the aesthetic in the way of delivering anxiety and pain. As Kant refers, this is an extremely personal experience that is developed to the sublime by an emotionally negative experience. As the individual¡¯s threshold pain is different, the physical and psychological responses of viewers vary in their degrees and their kinds but they ultimately concluded as the sublime. The viewers will feel an artistic impression through beautifully designed torture tools and aesthetical torture methods.
The pieces on display include 4 photographs, 6 paintings, 2 installations, and single-channel videos that bring together entire work. They will reproduce the sublime that Jang wants to show through diverse torture methods as well as diverse media. Her work, which interprets banned stereotype in our society in aesthetic way, will feature as another story of taboo, torture.

ÀåÁö¾Æ I confess-ÀÌ¿©¿î

¿ª»çÀûÀ¸·Î ŸÀÎÀÇ ½Åü¿¡ ¹°¸®Àû °íÅëÀ» °¡ÇÏ´Â °í¹®À̶ó´Â Á¦µµ´Â »çȸÁú¼­ À¯Áö, º¸¾È ½Ã½ºÅÛ À¯Áö¶ó´Â ¹Ì¸íÇÏ¿¡ ȤÀº Á¾±³Àû ÀÌÀ¯¿¡¼­ ¾Ï¹¬ÀûÀ¸·Î ¿ëÀÎµÇ¾î ¿Ô´Ù. Idelber Avelar ±³¼ö´Â ¶óƾ¾Æ¸Þ¸®Ä« ¹®Çבּ¸ ÀâÁö¿¡ ±â°íÇÑ ¡®°í¹®ÀÇ 5°¡Áö ³íÁ¦¡¯¶ó´Â ±â°í¹®¿¡¼­ ¾ß¸¸°ú »çȸÀû Áú¼­ÀÇ ¸íÈ®ÇÑ À̺йýÀ» ȯ¿µÀ¸·Î ºñÆÇÇÏ°í ÀÜȤÇàÀ§¿Í ¹®¸íÀÇ ¹ÐÁ¢ÇÑ °ü°è¸¦ ÁÖÀåÇß´Ù.[i] ±×¿¡ ÀÇÇÏ¸é °í¹®°ú °°Àº ÇàÀ§´Â ¿ÀÁ÷ »çȸÀû ¹¬ÀÎ ÇÏ¿¡ Á¸ÀçÇÑ´Ù. °á±¹ °í¹®ÇÏ´Â ÀÚÀÇ ÇàÀ§´Â ´Ù¾çÇÑ ¹æ½ÄÀ¸·Î Á¤´çÈ­ µÇ¸ç ÀÌ´Â Æø·ÂÇàÀ§¸¦ µµ¿ÍÁÖ´Â ´Ù¾çÇÑ °í¹® ±â±¸¿¡ ÀÇÇØ ±× °¡ÇÐÀû °ø°Ý¼ºÀÌ ½Ã°¢È­ µÈ´Ù. ´Ù½Ã ¸»ÇØ Elaine Scarry°¡ ¾ð±ÞÇÑ ½ÅüÀû °íÅëÀÇ °øÀ¯ ºÒ°¡´É¼º ȤÀº ±×°ÍÀÇ ¾ð¾îÈ­ÀÇ ½ÇÆÐÈ­°¡[ii] °í¹®ÀåÄ¡¸¦ ÅëÇØ ½Ã°¢È­ µÈ´Ù°í º¼ ¼ö Àִµ¥ ÀÌ´Â ÀåÁö¾ÆÀÇ ¿©¼¸ ¹ø° °³ÀÎÀü I Confess¿¡¼­ ¼þ°íÇÔÀ¸·Î º¯ÇüµÇ¾î Á¦½ÃµÈ´Ù. 
ÀåÁö¾Æ´Â ´Ù¾çÇÑ ¸®¼­Ä¡¸¦ ÅëÇØ ¼öÁýÇÑ °í¹®±â±¸¿¡ ´ëÇÑ ÀڷḦ ¹ÙÅÁÀ¸·Î ´Ù¾çÇÑ °í¹® ±â±¸µé À̳ª °í¹® ¹æ¹ýÀ» ŸÀο¡ ÀÇÇÑ °­Á¦Àû °í¹® ÇàÀ§¿¡¼­ À¯¹ßµÈ °íÅëÀÌ ¾Æ´Ñ ÀÚ¹ßÀû °í¹®ÀÇ ½Ã¼±À¸·Î ºñƲ¾î ¹Ù¶óº»´Ù. ±× °á°ú Æø·ÂÀûÀÎ °í¹® ÇàÀ§´Â ¿¹¼úÀû, ¹ÌÀûÀ¸·Î ½ÂÈ­µÇ¾î ¼þ°íÇÔÀÇ Ã¼ÇèÀ» Á¦°øÇÑ´Ù. ¿©±â¼­ ¼þ°íÇÔÀ̶õ ¿ì¸®°¡ ¾Æ¸§´Ù¿î ¿¹¼úÀÛÇ°À» º¸¾ÒÀ» ¶§ ´À³¢´Â Áñ°Å¿òÀÌ ¾Æ´Ñ ´ë»ó ȤÀº ¿ÀºêÁ¦¿¡ ´ëÇÑ Áö±ØÈ÷ °³ÀÎÀûÀÎ ¸Å¿ì °­·ÂÇÑ °¨Á¤ÀÌ´Ù. ÀÌ´ÂEdmund Burke°¡ Á¤ÀÇÇÑ °íÅëÀÇ °³³ä¿¡ ÀÚ¼¼È÷ ³ª¿ÍÀÖ´Ù. ±×´Â °íÅë°ú À§ÇèÀÇ °³³äÀº ¼þ°íÇÔÀÇ ÇÑ Á¾·ù·Î Àΰ£ÀÌ ´À³¥ ¼ö ÀÖ´Â °¡Àå °­ÇÑ °¨Á¤À̶ó ÁÖÀåÇÑ´Ù. ¿©±â¼­ ±× °¨Á¤Àº Áñ°Å¿òÀÇ À§¿¡ ÀÖÀ¸¸ç ÀǽÉÇÒ ¿©Áö¾øÀÌ ¿ì¸®°¡ ¹Þ´Â ½ÅüÀû ȤÀº Á¤½ÅÀû °íÅëÀº ¿ì¸®ÀÇ ½Åü³ª Á¤½Å¿¡ °¡Àå Å©°Ô ¿µÇâÀ» ÁØ´Ù°í ¹Ï¾ú´Ù.[iii]
À̹ø Àü½Ã´Â ÀÌ·¯ÇÑ ¶Ç ´Ù¸¥ ¼þ°íÇÔÀÇ °æÇèÀ» ÅëÇØ ¿ì¸®ÀÇ ½ÇÁ¸À» È®ÀÎÇÏ´Â °úÁ¤, ±× ¾È¿¡¼­ µå·¯³ª´Â »îÀÇ À̸éÀ» ¹Ù¶óº¸°íÀÚ ±âȹµÇ¾ú´Ù. ÀÌ´Â °íÅëÀÌ ¾Æ´Ñ °³ÀÎÀû ¿å±¸ÀÇ ¹ß·Î·Î °øÆ÷¿Í °íÅëÀ» Àü´ÞÇÏ´Â ¹æ¹ý ¾È¿¡¼­ ½É¹Ì¼ºÀ» ã´Â´Ù. ÀÌ´Â Ä­Æ®°¡ ¾ð±ÞÇÑ ºÎÁ¤Àû °¨Á¤ÀÇ °æÇèÀ¸·Î ÀÎÇÑ ¼þ°íÇÔÀÇ ÀçÇöÀ¸·Î ¸Å¿ì °³ÀÎÀûÀÎ °æÇèÀÌ´Ù. ÀÛÇ°À» ¹Ù¶óº¸´Â °ü¶÷°´ÀÇ ½ÅüÀû, Á¤½ÅÀû ¹ÝÀÀÀº °³°³ÀÎÀÌ ´À³¢´Â °íÅë¿¡ ´ëÇÑ ¿ªÄ¡°¡ ´Ù¸£µí ±× Á¤µµ³ª Á¾·ùµµ ´Ù¸£Áö¸¸ °á±¹Àº ¼þ°íÇÔÀ¸·Î ±Í°áµÈ´Ù. °ü¶÷°´Àº ¾Æ¸§´ä°Ô µðÀÚÀÎµÈ °í¹® ±â±¸³ª ¹ÌÀûÀ¸·Î ½ÂÈ­½ÃŲ °í¹®¹æ½ÄÀ» ÅëÇØ ¿¹¼úÀû ÀüÀǸ¦ ´À³¢°Ô µÉ °ÍÀÌ´Ù.
Àü½Ã¿¡ ¼³Ä¡µÉ ÀÛ¾÷Àº 4°³ÀÇ »çÁøÀÛ¾÷, 6°³ÀÇ ¼ÒÇ°ÀÛ¾÷, 2°³ÀÇ ¼³Ä¡ÀÛ¾÷, ±×¸®°í ¸¶Áö¸·À¸·Î ÀÛ¾÷ Àüü¸¦ ¾Æ¿ì¸£´Â ½Ì±Ûä³Î ºñµð¿À°¡ Àü½ÃµÉ ¿¹Á¤ÀÌ´Ù. ´Ù¾çÇÑ °í¹® ¹æ¹ý»Ó¸¸ ¾Æ´Ï¶ó ´Ù¾çÇÑ ¹Ìµð¾î¸¦ ÅëÇØ ÀåÁö¾Æ°¡ ±×·Á³»°íÀÚ ÇÏ´Â ¼þ°íÇÔÀÌ ÀçÇöµÉ °ÍÀÌ´Ù. ´Ù¾çÇÑ ¹æ¹ýÀ¸·Î ¿ì¸® »çȸ¿¡¼­ ±Ý±â½ÃµÇ´Â °íÁ¤°ü³äÀ» ¹ÌÇÐÀûÀ¸·Î Ç®¾î³»´Â ÀåÁö¾ÆÀÇ ÀÛ¾÷ÀÌ À̹ø¿¡´Â °í¹®À̶ó´Â ¶Ç ´Ù¸¥ Åͺο¡ ´ëÇÑ À̾߱â·Î ±×·ÁÁú °ÍÀÌ´Ù.


[i] Avelar, Idelber. ¡°Five Thesis on Torture.¡± Journal of Latin American Cultural Studies 10.3(2001): 260
[ii] Scarry, Elaine. The Body in Pain. The Making and Unmaking of the Modern World. New York and Oxford: Oxford UniversityPress, 1985
[iii] Burke, Edmund. A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful. Notre Dame, IN:University of Notre Dame Press, 1958: 39