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Naumachia, 2024
The video installation <Naumachia>(2023–2024), set within a stage structure, subverts the context of a conventional bathroom space both inside and outside the screen. The institutional area of the exhibition hall becomes a space perfectly meshing with the cinema when juxtaposed, creating an extraterritorial space. The surreal narrative unfolds where the distinction between dreams and reality is blurred, with a character compulsively cleaning a bathroom devoid of doors or vents. Despite losing agency and becoming weakened, the individual finds a semblance of comfort through labour. However, as time progresses, the protagonist becomes trapped in the eschatological situation of a flood. It is presumed that this woman represents an element of our own selves, wandering the metropolis of the marginalised. By constructing a world of water from which escape seems impossible, the artist re-enacts the harsh attitudes fostered by the collusion of urban masculine ideals.
Simultaneously, the cartoonish images throughout the work evoke 1950s America. In the context of the economic boom following World War II, every American household—though limited to the white middle class—adopted happiness and prosperity as their main goals, steeped in the ‘American Dream’. This nationwide trend was represented by smiling family photos in advertisements and TV programs, and the standardisation of desire gradually gained momentum, becoming part of visual culture. This past scene is
brought back into orbit through the existence behind the set, where fantasies and reality intermingle among crumbling walls, and joy and despair lean against disorderly bricks, leaving the audience in a daze. The cries of those wandering in an inescapable maze become a ringing in their ears.
세트장 구조 내에 구현된 비디오 설치 <Naumachia>(2023-2024)는 화장실이라는 기존 공간의 맥락을 스크린 안팎으로 유지하면서도 전복시킨다. 전시장이라는 제도적 영역은 영화와 병치되었을 때 완벽히 맞물리는 장외 공간이 된다. 초현실적인 내러티 브는 꿈과 현재의 구분이 모호한 상태로 전개되는데, 여기에서 등장인물은 문이나 환 풍기가 보이지 않는 화장실을 강박적으로 청소하기 시작한다. 비록 주체성을 잃어 나 약해진 인간이지만, 그는 목적 없는 노동을 통해 일말의 위안을 얻는다. 그러나 시간 이 흐르면서 주인공은 홍수 현장으로 환원되는 종말론적 상황에 갇히고 만다. 추측하 건대 이 여성은 소외된 이들이 떠도는 대도시의, 그리고 그곳에 사는 우리의 또 다른 자아다. 작가는 탈출이 불가능해 보이는 물의 세계를 구축함으로써 도시의 남성적 이 상이 서로 결탁해 온 가혹한 태도를 다시금 시연한다.
동시에, 작품의 곳곳에 거칠게 등장하는 만화적 이미지는 1950년대 미국을 상기시킨 다. 2차 세계대전 이후 폭발적으로 성장한 경제 상황과 더불어 ‘아메리칸 드림’에 젖은 모든 미국의 가정이 –그러나 실상은 백인 중산층에게만 국한되어 있던- 행복과 풍요 를 주된목표로 삼았다. 그 전국적 유행은 당시 광고, TV 프로그램 등에서 환히 웃고 있 는 가족사진 등으로 대변되었고, 욕망의 획일화는 점차 가속도를 얻어 시각문화의 한 부분으로 현상되었다. 이러한 과거의 장면은 이번 전시에서 전경화되는 세트장 뒷면 의 존재를 통해 재차 궤도에 오른다. 환상과 현실은 무너져가는 벽 사이에 혼재되고, 기쁨과 절망은 무질서하게 흐트러진 벽돌에 기대어 관객을 멍하니 응시한다. 출구가 보이지 않는 미로에서 배회하며 방황하는 이들의 외침은 이명이 되어 귓가를 맴돈다.
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