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2017 08
2017.06.12 18:54

노순택 NOH Suntag

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Extra Form
전시제목 비상국가 Ⅱ– 제 4의 벽 The 4th Wall: The State of Emergency II
전시기간 2017. 6. 2 ~ 8. 6
전시장소 아트선재센터 Art Sonje Center, Seoul
갤러리 주소 서울시 종로구 율곡로3길 87 T. 02.733.8949
작가 홈페이지 http://suntag.net
갤러리 홈페이지 http://www.artsonje.org
관람시간 오후 12시 – 오후 7시 매주 월요일 휴관 * 신정(2017.1.1), 설날 연휴(2017.1.27~30) 휴관
관람요금 * 일반: 5,000원 일반 단체(20인 이상): 3,000원
* 학생(초•중•고등학교 해당, 대학생은 학생증 지참시): 3,000원 학생 단체(20인 이상): 2,000원
* 8세 미만 어린이, 경로우대증 소지자, 장애인: 무료
Art Sonje Center, an institution headed by director Sunjung Kim that has worked to spotlight the current state of experimental contemporary art, announced on April 19 that it will be holding The 4th Wall: The State of Emergency II, an exhibition of the work of artist NOH Suntag, from June 2 to August 6, 2017. NOH Suntag’s previous The State of Emergency I solo exhibition, held in 2008 at the Kunstverein in Stuttgart, used the language of photograhy to show the skewed environment of tension and conflict generated by the division between South and North Korea. He followed this with another solo exhibition the following year at the municipal art center in Virreina Palace, Barcelona, which adopted the same critical approach as The State of Emergency I in its new work spotlighting the darkness of additional incidents that had taken place in the past ten years. Consisting of around 200 works of photography, The 4th Wall: The State of Emergency II will be shown on the second and third floors of Art Sonje Center. An exhibition catalog of the same title is to be published alongside the event, while a curator’s talk, artist’s talk, and other programs will offer opportunities to approach NOH’s artistic vision in a multifaceted way. The “state of emergency” concept referenced in the exhibition title is taken from the German constitutional law expert Carl Schmitt. Schmitt was the figure who established the judicial trappings for the Nazi administration in Germany, furnishing a crucial theoretical foundation for the Enabling Act, or the so-called “state of emergency law.” His creation has had an influence on many intellectuals on both the left and right in their efforts to understand and analyze the functioning of the modern state. NOH Suntag has viewed the “state of emergency” concept as key to understanding South Korean society, which has existed in a never-ending state of emergency through war and division since its liberation from colonial rule. Schmitt’s famous argument that a sovereign “must be he who is capable of making decisions in exceptional circumstances, while he who seeks to protect constitutional government must be able to do so outside the Constitution” is, according to NOH, one that compels a re-examination of modern South Korean history and the black marks of its Yushin Constitution, Emergency Measures, and military coup d’état. What about the proposition that “the essence of politics lies in distinguishing enemies from comrades”? Does this not recall the politics of betrayal and the monopoly on constitutional government that have generated such heated passions in South Korean society over the past several years? The 4th Wall: The State of Emergency II, which is being staged in South Korea, goes deeper than the European-staged The State of Emergency I in spotlighting the society’s inner workings. The fact that the period in between the two exhibitions saw Lee Myung-bak and Park Geun-hye governing as Presidents of South Korea has significant implications. New work in the State of Emergency series, which shows the landscape of police authority enlisted by the modern state to achieve its will to power, will be joined by such new series as Namildang Design Olympic, Arrest, Vertigo, Drought, Deadpan of Cheonanham, GangjeongGangjeom, Wrong Island, A chignon mountain raised by lies. The term “fourth wall” refers to the invisible wall separating actors from the audience, where the stage is conceived as being analogous to a room. Perhaps the boundary between South and North Korea is its own fourth wall, showing the extreme theater on either side. It is also a wall that points inward toward South Korea’s own society. The reality of South Korea today, while undoubtedly real, is also so incredibly theatrical that it becomes surrealistic or unrealistic. Where do you stand on this unrealistic stage – inside or out? NOH Suntag has worked as a writer while using photographs to capture the landscapes of the functioning/malfunctioning contemporary South Korean society spawned by national division. He is a recipient of the Donggang Photography Award (2012), the National Museum of Modern and Contemporary Art’s Artist of the Year Award (2014), and the Gu Bon-ju Art Prize (2016). This exhibition was a cooperative effort by Sunjung Kim, director of Art Sonje Center; Hans D. Christ, director of the WürttembergischeKunstverein in Stuttgart; and Natalie Boseul Shin, a curator in chief at Total Museum of Contemporary Art. Christ, who as a curator planned NOH’s touring exhibitions in Germany (2008) and Spain (2009), is also co-author of the HatjeCantz publication State of Emergency. Art Sonje Center endeavors to present the contemporary context and critical discourse through an open perspective, and is devoted to experimental and multidisciplinary practices with the exhibition as our central focus. Established in 1998 as a private museum, Art Sonje Center is located in the Jongno district of Seoul, in Sogyeok-dong.
  • ⓒ노순택 NOH Suntag
  • ⓒ노순택 NOH Suntag
    가뭄 Drought #CFF0102, Inkjet pigment print, Dimensional variable, 2015
  • ⓒ노순택 NOH Suntag
    가뭄 Drought #CFF0121, Inkjet pigment print, Dimensional variable, 2015
  • ⓒ노순택 NOH Suntag
    가뭄 Drought #CFL1401, Inkjet pigment print, Dimensional variable, 2015
  • ⓒ노순택 NOH Suntag
    강정강점 Gangjeong Gangjeom #CBJ0301, Inkjet pigment print, Dimensional variable, 2011
  • ⓒ노순택 NOH Suntag
    강정강점 Gangjeong Gangjeom #CCD1401, Inkjet pigment print, Dimensional variable, 2012
  • ⓒ노순택 NOH Suntag
    고장난 섬 Wrong Island #BAH0601, Inkjet pigment print, Dimensional variable, 2000
  • ⓒ노순택 NOH Suntag
    고장난 섬 Wrong Island #BBD2002, Inkjet pigment print, Dimensional variable, 2001
  • ⓒ노순택 NOH Suntag
    남일당디자인올림픽 Namildang Design Olympic I #B072414, Inkjet pigment print, Dimensional variable, 2009
  • ⓒ노순택 NOH Suntag
    남일당디자인올림픽 Namildang Design Olympic III #BJG0501, Inkjet pigment print, Dimensional variable, 2009
  • ⓒ노순택 NOH Suntag
    비상국가 State of Emergency #CDM2802, Inkjet pigment print, Dimensional variable, 2013
  • ⓒ노순택 NOH Suntag
    비상국가 State of Emergency #CGG0801, Inkjet pigment print, Dimensional variable, 2016
  • ⓒ노순택 NOH Suntag
    잃어버린 보온병을 찾아서 In Search of Lost Thermos Bottles #CAL2601, Inkjet pigment print, Dimensional variable, 2010
  • ⓒ노순택 NOH Suntag
    잃어버린보온병을찾아서 In Search of Lost Thermos Bottles#CAL2701, Inkjet pigment print, Dimensional variable, 2010
  • ⓒ노순택 NOH Suntag
    현기증 Vertigo I #CFC0601, Inkjet pigment print, Dimensional variable, 2015
  • ⓒ노순택 NOH Suntag
    현기증 Vertigo I #CFJ1301, Inkjet pigment print, Dimensional variable, 2015
  • ⓒ노순택 NOH Suntag
    NOH Suntag, The 4th Wall-The state of emergency II, Installation view 2F
  • ⓒ노순택 NOH Suntag
    NOH Suntag, The 4th Wall-The state of emergency II, Installation view 2F
  • ⓒ노순택 NOH Suntag
    NOH Suntag, The 4th Wall-The state of emergency II, Installation view 3F
  • ⓒ노순택 NOH Suntag
    NOH Suntag, The 4th Wall-The state of emergency II, Installation view 3F

《비상국가 Ⅱ– 제 4의 벽》 2017. 06. 02 - 08. 06 개최
2008-2009년 독일, 스페인을 순회했던 《비상국가 I》의 두 번째 버전
우리는 어떻게 항구적인 비상사태의 희비극 속에 살게 되었나
법 밖에 존재하는 법이라는 역설


실험적인 동시대 미술의 현주소를 조명해 오고 있는 아트선재센터(관장 김선정)는 2017년 6월 2일부터 8월 6일까지 노순택의 개인전 《비상국가 II – 제4의 벽》을 개최할 예정이라고1일 밝혔다.

노순택은 2008년 독일 슈투트가르트 쿤스트페어라인에서 열린 개인전 《비상국가 I》을 통해 분단 체제가 만든 남북한의 비틀린 긴장과 갈등 상태를 사진언어로 펼쳐낸 바 있으며, 이는 이듬해 스페인 바르셀로나 시립아트센터 라비레이나 개인전으로 이어졌다. 이번 전시는《비상국가 I》의 문제의식을 따르되 지난 10년 사이 새롭게 벌어진 사태들의 그늘을 비추는 신작 위주로 구성되었다.

《비상국가 II – 제4의 벽》은아트선재센터 2-3층에 200여 점의 사진작업으로 전시된다. 전시에 맞춰 동명의 도록을 출간하며, 큐레이터 토크와 아티스트 토크 등의 프로그램을 통해 노순택의 작업 세계에 다각적으로 접근하는 기회를 마련할 계획이다.

전시제목 ‘비상국가’는 독일의 법철학자 칼 슈미트에게서 빌려온 개념이다. 슈미트는 나치 집권에 사법적 외관을 씌워준 인물로, ‘수권법’ 이른바 비상사태법 제정에 중요한 이론적 기초를 제공했다. 그의 저작물은 좌우를 막론하고 근대국가의 작동방식을 이해하고 분석하려는 수많은 지식인들에게 영향을 끼쳤다. 노순택은 ‘비상국가’라는 개념이 식민지 해방 이후 전쟁과 분단을 겪으며 항구적 비상사태에 놓인 한국 사회를 이해하는 데도 중요한 단서를 제공해준다고 생각해 왔다. “주권자란 예외적 상태에서 결단할 수 있는 자며, 헌정을 수호하려는 자는 헌정 밖에서 헌정을 수호할 수 있어야 한다”는 슈미트의 유명한 명제는 유신헌법과 긴급조치, 군사쿠데타로 얼룩진 우리의 현대사를 돌아보게 한다는 것이다. “정치의 본질은 적과 동지를 구분하는 것”이라는 명제는 어떠한가. 지난 몇 년간 한국사회를 뜨겁게 달군 배신의 정치와 헌정농단 사태를 떠올리게 하지 않는가.

한국에서 열리는 《비상국가 II – 제4의 벽》은 유럽에서 열렸던 《비상국가 I》보다 더 깊게 사회 내부를 비춘다. 두 전시의 시간적 간격 사이에 이명박, 박근혜 정부의 통치기가 자리잡고 있다는 사실이 시사하는 바는 적지 않다. 근대국가가 자신의 권력의지를 관철하기 위해 동원해 온 경찰력의 풍경을 담은 <비상국가> 시리즈의 새 작업과 더불어 <남일당디자인올림픽>, <검거>, <현기증>, <가뭄>, <가면의 천안함>, <강정-강점>, <고장난 섬>, <거짓으로 쌓아 올린 산> 등의 새 시리즈를 선보인다. ‘제4의 벽’은 연극 무대를 하나의 방으로 상정했을 때 배우와 관객 사이의 보이지 않는 벽을 뜻한다. 어쩌면 남북한의 경계선은 서로의 극단적 연극 상황을 보여주는 제4의 벽은 아닌가. 그리고 이 벽은 한국 사회 내부로도 향해 있다. 오늘의 한국사회 현실은, 분명코 현실이되 믿기 어려울 만큼 연극적이어서 초/비현실적이다. 이 비현실적 무대와 벽의안팎, 당신이 선 곳은 어디인가.

노순택은 분단이 파생시킨 오늘날 한국 사회의 작동/오작동의 풍경을 사진으로 수집하며 글쓰기를 병행해 왔다. 동강사진상(2012), 국립현대미술관 올해의 작가상(2014), 구본주예술상(2016) 등을 받았다.

이번 전시는 아트선재센터 김선정 관장, 독일 슈투트가르트 뷔르템베르기셔쿤스트페어라인(WürttembergischeKunstverein) 디렉터 한스 D. 크리스트(Hans D. Christ), 토탈미술관큐레이터신보슬의 협력 속에서 마련되었다. 한스 D. 크리스트는 노순택의 독일(2008년), 스페인(2009년)순회전을 기획했던 큐레이터로핫제칸츠에서 출간된 『State of Emergency(비상국가)』의 공동저자이기도 하다.

종로구 소격동에 위치한 아트선재센터는 1998년 설립된 사립미술관으로 개방된 시각으로 동시대의 맥락과 비평적 담론을 제시하고자 기획전을 중심으로 실험적이고 다학제적인 시도에 주력하고 있다.

- The 4th Wall: The State of Emergency II, June 2-August 6, 2017
- Second version of The State of Emergency Iexhibition, which toured Germany and Spain in 2008-2009
- How did we end up living in the tragicomedy of a permanent state of emergency?
- The paradox of law existing outside the law


Art Sonje Center, an institution headed by director Sunjung Kim that has worked to spotlight the current state of experimental contemporary art, announced on April 19 that it will be holding The 4th Wall: The State of Emergency II, an exhibition of the work of artist NOH Suntag, from June 2 to August 6, 2017.

NOH Suntag’s previous The State of Emergency I solo exhibition, held in 2008 at the Kunstverein in Stuttgart, used the language of photograhy to show the skewed environment of tension and conflict generated by the division between South and North Korea. He followed this with another solo exhibition the following year at the municipal art center in Virreina Palace, Barcelona, which adopted the same critical approach as The State of Emergency I in its new work spotlighting the darkness of additional incidents that had taken place in the past ten years.

Consisting of around 200 works of photography, The 4th Wall: The State of Emergency II will be shown on the second and third floors of Art Sonje Center. An exhibition catalog of the same title is to be published alongside the event, while a curator’s talk, artist’s talk, and other programs will offer opportunities to approach NOH’s artistic vision in a multifaceted way.

The “state of emergency” concept referenced in the exhibition title is taken from the German constitutional law expert Carl Schmitt. Schmitt was the figure who established the judicial trappings for the Nazi administration in Germany, furnishing a crucial theoretical foundation for the Enabling Act, or the so-called “state of emergency law.” His creation has had an influence on many intellectuals on both the left and right in their efforts to understand and analyze the functioning of the modern state. NOH Suntag has viewed the “state of emergency” concept as key to understanding South Korean society, which has existed in a never-ending state of emergency through war and division since its liberation from colonial rule. Schmitt’s famous argument that a sovereign “must be he who is capable of making decisions in exceptional circumstances, while he who seeks to protect constitutional government must be able to do so outside the Constitution” is, according to NOH, one that compels a re-examination of modern South Korean history and the black marks of its Yushin Constitution, Emergency Measures, and military coup d’état. What about the proposition that “the essence of politics lies in distinguishing enemies from comrades”? Does this not recall the politics of betrayal and the monopoly on constitutional government that have generated such heated passions in South Korean society over the past several years?

The 4th Wall: The State of Emergency II, which is being staged in South Korea, goes deeper than the European-staged The State of Emergency I in spotlighting the society’s inner workings. The fact that the period in between the two exhibitions saw Lee Myung-bak and Park Geun-hye governing as Presidents of South Korea has significant implications. New work in the State of Emergency series, which shows the landscape of police authority enlisted by the modern state to achieve its will to power, will be joined by such new series as Namildang Design Olympic, Arrest, Vertigo, Drought, Deadpan of Cheonanham, GangjeongGangjeom, Wrong Island, A chignon mountain raised by lies. The term “fourth wall” refers to the invisible wall separating actors from the audience, where the stage is conceived as being analogous to a room. Perhaps the boundary between South and North Korea is its own fourth wall, showing the extreme theater on either side. It is also a wall that points inward toward South Korea’s own society. The reality of South Korea today, while undoubtedly real, is also so incredibly theatrical that it becomes surrealistic or unrealistic. Where do you stand on this unrealistic stage – inside or out?

NOH Suntag has worked as a writer while using photographs to capture the landscapes of the functioning/malfunctioning contemporary South Korean society spawned by national division. He is a recipient of the Donggang Photography Award (2012), the National Museum of Modern and Contemporary Art’s Artist of the Year Award (2014), and the Gu Bon-ju Art Prize (2016).

This exhibition was a cooperative effort by Sunjung Kim, director of Art Sonje Center; Hans D. Christ, director of the WürttembergischeKunstverein in Stuttgart; and Natalie Boseul Shin, a curator in chief at Total Museum of Contemporary Art. Christ, who as a curator planned NOH’s touring exhibitions in Germany (2008) and Spain (2009), is also co-author of the HatjeCantz publication State of Emergency.

Art Sonje Center endeavors to present the contemporary context and critical discourse through an open perspective, and is devoted to experimental and multidisciplinary practices with the exhibition as our central focus. Established in 1998 as a private museum, Art Sonje Center is located in the Jongno district of Seoul, in Sogyeok-dong.



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