{"id":786,"date":"2024-03-10T12:35:10","date_gmt":"2024-03-10T03:35:10","guid":{"rendered":"http:\/\/nnanna.com\/?p=786"},"modified":"2024-03-13T13:19:35","modified_gmt":"2024-03-13T04:19:35","slug":"%ec%98%a4%eb%9e%98%eb%90%9c-%ec%a7%91-%eb%82%af%ec%84%a0-%ed%92%8d%ea%b2%bd-%ea%b7%b8%eb%a6%ac%ea%b3%a0-%eb%8f%8c%eb%a6%bc%eb%85%b8%eb%9e%98%ec%97%90-%ea%b4%80%ed%95%9c-%eb%ac%bc%ec%9d%8c%eb%93%a4","status":"publish","type":"post","link":"https:\/\/nnanna.com\/?p=786","title":{"rendered":"\uc624\ub798\ub41c \uc9d1, \ub0af\uc120 \ud48d\uacbd, \uadf8\ub9ac\uace0 \ub3cc\ub9bc\ub178\ub798\uc5d0 \uad00\ud55c \ubb3c\uc74c\ub4e4"},"content":{"rendered":"\n

\ube44\ud3c9 \uc774\uc9c4\uc2e4<\/strong><\/p>\n\n\n\n

\uc624\ub798\ub41c \uc9d1, \ub0af\uc120 \ud48d\uacbd, \uadf8\ub9ac\uace0 \ub3cc\ub9bc\ub178\ub798\uc5d0 \uad00\ud55c \ubb3c\uc74c\ub4e4<\/strong>
\uc815\ud76c\uc815 \uc791\uac00\ub294 \ud68c\ud654, \uc0ac\uc9c4, \uc601\uc0c1 \ub4f1\uc758 \ub9e4\uccb4\ub97c \ud1b5\ud574 \uaf64 \uc624\ub7ab\ub3d9\uc548 \uc5b4\ub5a4 \ud48d\uacbd\uc744 \uc774\uc57c\uae30\ud574\uc654\ub2e4.
\uadf8 \ud48d\uacbd\uc744 \uad73\uc774 \uaddc\uc815\ud558\uc790\uba74 \u2018\ub3c4\uc2dc\uc758 \ud48d\uacbd\u2019\uc774\ub77c \ud560 \uc218 \uc788\uc744 \uac83\uc774\ub2e4.
\uc774 \ud48d\uacbd\uc5d0\uc11c \ub4f1\uc7a5\ud558\ub294 \uac74\ubb3c, \ucc3d\ubb38,\uacf5\ud130, \uc232\uc758 \ubaa8\uc2b5\uc740 \uaf64 \uc778\uc704\uc801\uc774\ub2e4.
\uc5ec\uae30\uc11c \u2018\uc778\uc704\uc801\u2019\uc774\ub77c\ub294 \ud568\uc740 \ub2e8\uc21c\ud788 \uc790\uc5f0\uc5d0 \ub300\ube44\ub418\ub294 \uc778\uacf5\ubb3c, \uc8fc\ud0dd, \uac74\uc124\uc774\ub098 \uc7ac\uac1c\ubc1c \ud604\uc7a5\uc744 \ucc0d\uac70\ub098 \ubcf4\uc5ec\uc900\ub2e4\ub294 \uc810\uc5d0\uc11c\ub77c\uae30\ubcf4\ub2e4, \uc5b4\ub5a4 \uc778\uc0c1\uc774 \uc758\ub3c4\uc801\uc73c\ub85c \uac15\uc870\ub41c\ub2e4\ub294 \uc810\uc5d0\uc11c \uadf8\ub7ec\ud558\ub2e4.
\uc815\ud76c\uc815\uc758 \uc0ac\uc9c4, \uc601\uc0c1\ub4e4\uc5d0\uc11c \ud48d\uacbd\uc740 \uc18c\uc2e4\uc810\uc774 \ubd84\uba85\ud55c \uc6d0\uadfc\ubc95\uc774\uac70\ub098 \uc2dc\uc120\uc758 \ucd08\uc810\uc774 \uba85\ud655\ud788 \ub4dc\ub7ec\ub098\ub294 \uad6c\ub3c4 \uc18d \uc7a5\uba74\ub4e4\uc778\ub370, \ubb34\uc5c7\ubcf4\ub2e4 \ub208\uc5d0 \ub744\ub294 \uac83\uc740 \uad49\uc7a5\ud788 \uac15\ub82c\ud55c \uc0ac\uc9c4\uc758 \ud558\uc774\ub77c\uc774\ud2b8\uc640 \uc0c9\uc870\ub2e4.
\uc774 \ud1a4\uacfc \uc0c9\uc870 \ub54c\ubb38\uc5d0 \ud48d\uacbd\ub4e4\uc774 \ubabd\ud658\uc801\uc73c\ub85c \ub290\uaef4\uc9c0\uae30\ub3c4 \ud558\ub294 \ud55c\ud3b8, \uc774\uc81c \ub9c9\uc774 \uc624\ub974\ub294 \uc5f0\uadf9 \ubb34\ub300\uc640 \uac19\uc740 \ubd84\uc704\uae30\ub97c \ubc1c\uc0b0\ud55c\ub2e4.
\ub180\uc774\ud130\uc5d0 \ubc84\ub824\uc9c4 \ucee4\ub2e4\ub780 \ubd84\ud64d\uc0c9 \ud1a0\ub07c \uc778\ud615, \uc7ac\uac1c\ubc1c\ub85c \ubca0\uc5b4\ub098\uac00 \ub3c4\ub85c\uc758 \uc911\uc559\ubd84\ub9ac\ub300\ucc98\ub7fc \ub110\ube0c\ub7ec\uc9c4 \ub098\ubb34\ub4e4\uc740 \ubd84\uba85 \uc791\uac00\uac00 \uc758\ub3c4\ud55c \uac83\ub3c4, \ucca8\uac00\ud55c \uac83\ub3c4 \uc544\ub2cc \ubc1c\uacac\ub41c \uc0ac\ubb3c\ub4e4\uc774\uc9c0\ub9cc,
\uadf8\uac83\uc744 \ud3ec\ucc29\ud55c \uc0ac\uc9c4\uc5d0\ub294 \uc5b4\ub5a4 \uc778\uc0c1\uc744 \uac15\uc870\ud558\uace0\uc790 \ud558\ub294 \uc758\uc9c0\ub4e4\uc774 \ub178\uace8\uc801\uc73c\ub85c \ub4dc\ub7ec\ub09c\ub2e4.
\ud558\uc9c0\ub9cc, \uc774\ub97c \uc123\ubd88\ub9ac \u2018\uc791\uc704\uc801\u2019\uc774\ub77c \ubd80\ub97c \uc218\ub294 \uc5c6\uc744 \uac83\uc774\ub2e4.
\ub9c8\ucc2c\uac00\uc9c0\ub85c, \uc774\ub97c \uc791\uac00\uc758 \uac10\uc815\uc801\/\uc758\uc2dd\uc801 \ud22c\uc0ac(projection)\ub77c\uace0 \uac04\ub2e8\ud788 \uce58\ubd80\ud560 \uc218\ub3c4 \uc5c6\ub2e4.<\/p>\n\n\n\n

\ud22c\uc0ac\ub41c \uc548\ud30e<\/strong>
\uc791\uac00 \uc2a4\uc2a4\ub85c \uac15\uc870\ud588\ub4ef\uc774, \ubd84\uba85 \uc815\ud76c\uc815\uc5d0\uac8c \u2018\ud48d\uacbd\u2019\uc774\ub780 \uad00\uc870\uc758 \ub300\uc0c1\uc774 \uc544\ub2c8\ub77c \ub9de\ub2e5\ub728\ub9ac\ub294 \uadf8 \ubb34\uc5c7\uc77c\ud14c\ub2e4.
\ub0af\uc120 \ub3c4\uc2dc\ub97c \uac78\uc744 \ub54c, \uc775\uc219\ud55c \uace8\ubaa9\uae38\uc744 \uac78\uc744 \ub54c, \uae30\uc2dc\uac10\uc774 \ub4dc\ub294 \uc5b4\ub290 \uc9d1 \uc548\uc744 \ub4e4\uc5b4\uc124 \ub54c \ub3cc\uc5f0 \ubab0\ub824\uc624\uace0, \uc5c4\uc2b5\ud558\ub294 \ud48d\uacbd.
\uadf8 \ud48d\uacbd\uc774 \uc5b4\ub5a4 \uc0ac\uc801 \uae30\uc5b5\uc774\ub098 \uacbd\ud5d8\uc5d0\uc11c \ube44\ub86f\ud588\ub294\uc9c0 \uc6b0\ub9ac\ub294 \uc54c \uc218 \uc5c6\uc9c0\ub9cc, \uac70\uae30\uc5d0\ub294 \ub300\uac1c \ubd88\ucf8c\ud558\uac70\ub098 \uc18c\ub984\ub07c\uce58\ub294 \ubb34\uc5b8\uac00 \uc2a4\uba70\ub4e4\uc5b4\uc788\ub2e4.
2013\ub144 \uac1c\uc778\uc804 \ubb34\ub835\ubd80\ud130 \uc815\ud76c\uc815\uc740 \ud669\ud63c\ub158\uc758 \ubd89\uc740 \ube5b, \ud639\uc740 \ud478\ub974\uc2a4\ub984\ud55c \ubc24\uc758 \uae30\uc6b4 \uac00\uc6b4\ub370 \ub0a1\uc740 \uc544\ud30c\ud2b8 \ub180\uc774\ud130\ub098 \uacf5\ud130, \uc720\ud734\uc9c0, \uc7ac\uac1c\ubc1c\uc758 \ud48d\uacbd \ub4f1\uc744 \uc0ac\uc9c4\uc73c\ub85c \ubcf4\uc5ec\uc92c\ub2e4.
\uadf8 \uc0ac\uc9c4\ub4e4\uc740 \uc720\ud615\ud559\uc801\uc778 \ud0d0\uad6c\ub3c4, \uc5ed\uc0ac\ub97c \uae30\ub85d\ud558\ub294 \uc544\uce74\uc774\ube0c\ub3c4 \uc544\ub2cc\ub370, \uc624\ud788\ub824 \uc5b4\ub5a4 \uc0ac\uac74\uc744 \uc608\uac10\ud558\ub294 \ubd84\uc704\uae30\ub97c \ucc3d\ucd9c\ud558\ub294 \uc120\uc5f0\ud55c \uad6c\ub3c4\ub098 \uba85\uc554 \ub54c\ubb38\uc5d0 \ub9c8\uce58 \uc601\ud654\uc758 \uc2a4\ud2f8 \uc0ac\uc9c4\uc774\ub098 \uc5f0\uadf9 \ubb34\ub300\ucc98\ub7fc \ubcf4\uc778\ub2e4.
\uc774\ub7ec\ud55c \ubb34\ub4dc\uc758 \uc791\uc704\uc131\uc740 \uc27d\uac8c \u2018\ud0a4\uce58\uc801\u2019\uc778 \uc2dc\ub3c4\ub85c \uc77d\ud790 \uc218 \uc788\ub2e4.
\ud558\uc9c0\ub9cc \ubc18\ub300\ub85c, \uadf8 \uc5f0\ucd9c \ubc29\uc2dd\uc774 \ud0a4\uce58\uc801\uc774\ub77c\ub294 \uac83\uc744 \ubed4\ud788 \uc54c\uba74\uc11c\ub3c4 \uadf8 \ud6a8\uacfc\ub97c \ud1b5\ud574 \ub610 \ub2e4\ub978 \uc758\ubbf8\ub97c \ub178\ub9b0 \uc791\uac00\uc758 \uc804\uc220\uc774\ub77c\uace0 \ud0c0\uc9c4\ud574\ubcfc \uc218\ub3c4 \uc788\uc744 \uac83\uc774\ub2e4.
\ubaa8\ub4e0 \uc774\ubbf8\uc9c0\ub4e4\uc740 \uadf8\uac83\uc744 \uc81c\uc791\ud55c \uc791\uac00\uc758 \uac10\uc815\uc801 \ud22c\uc0ac\ubb3c\uc778 \ub3d9\uc2dc\uc5d0 \uc138\uacc4\uc758 \ud76c\ubbf8\ud55c \uc9c4\uc2e4\uc744 \ub2f4\uace0 \uc788\uc73c\uba70, \uc815\ud76c\uc815\uc758 \uc791\uc5c5 \ub610\ud55c \uadf8\ub7ec\ud560 \uac83\uc774\ub2e4.
\uadf8\ub7f0\ub370 \uc774 \uc0ac\uc9c4\ub4e4\uc740 \uc774 \ub458\uc744 \ub178\uace8\uc801\uc73c\ub85c \ub4dc\ub7ec\ub0b4\ub294 \ub3d9\uc2dc\uc5d0 \ub458 \uc0ac\uc774\uc5d0\uc11c \uc904\ud0c0\uae30\ub97c \ud55c\ub2e4.
\ub9d0\ud558\uc790\uba74, \uadf8\ub140\uc758 \uc774\ubbf8\uc9c0\uac00 \ubcf4\uc5ec\uc8fc\ub294 \uc791\uc704\uc131\uc740 \uc138\uacc4 \uadf8 \uc790\uccb4\uac00 \u2018\uc791\uc704\uc801\u2019\uc774\ub77c\ub294 \uac83\uc744 \ubc1c\uacac\ucf00 \ud558\ub294 \uae30\uc774\ud55c \ub9ac\uc5bc\ub9ac\uc998\uc774\ub77c\uace0 \ud560\uae4c.
\ud558\uc9c0\ub9cc, \uc21c\uac04 \ubc1c\uc744 \ud5db\ub514\ub514\uba74 \ud0a4\uce58\ub85c \uc804\ub77d\ud560 \uc218\ub3c4 \uc788\ub294 \uc704\ud5d8\uc744 \uc548\uace0 \ub9d0\uc774\ub2e4.<\/p>\n\n\n\n

\uac70\ub4ed \ucd9c\ubab0\ud558\ub294 \uacf5\uac04<\/strong>
\uc815\ud76c\uc815\uc740 <\uc0b4\uacfc \uac70\uc6b8>(2020)\uc774\ub77c\ub294 \uc601\uc0c1 \uc791\uc5c5\uc5d0\uc11c \uc790\uc2e0\uc774 \uacbd\ud5d8\ud558\ub294 \uacf5\uac04\uc744 \u2018\uc0b4\u2019\uacfc \u2018\uac70\uc6b8\u2019\uc774\ub77c\ub294 \ubaa8\ud2f0\ud504\ub85c \uc124\uba85\ud55c \ubc14 \uc788\ub2e4.
\uac70\uc6b8\uc740 \ud3c9\ud3c9\ud558\uace0, \ubb34\uad00\uc2ec\ud558\uace0 \ubb34\ucc28\ubcc4\uc801\uc774\uace0 \ub9d0\ub054\ud558\ub2e4.
\uc774\uac83\uc774 \ub3c4\uc2dc\uc758 \uac89\ubaa8\uc2b5\uc774\uc790 \uc81c\ub3c4\uc801 \uacf5\uac04\uc5d0 \ub300\ud55c \uc740\uc720\ub77c\uba74, \uc791\uac00\ub294 \uc6b0\ub9ac\ub97c \uc5d0\uc6cc\uc2f8\ub294 \uadf8 \uac70\uc6b8\uacfc \uac19\uc740 \uacf5\uac04\uc774 \uc0ac\uc2e4\uc740 \uc9c8\ucc99\uc774\ub294 \uc811\ucd09\ub4e4\uc774 \ubc1c\uc0dd\ud558\ub294 \u2018\uc2e0\uccb4\uacf5\uac04\u2019\uc784\uc744 \uc774\uc57c\uae30\ud55c\ub2e4.
\ubc29\ud574\ubc1b\uc9c0 \uc54a\uace0\uc790 \ud558\ub294 \uc695\ub9dd\uc73c\ub85c \ub118\uce58\ub294 \ub3d9\uc2dc\uc5d0 \ub04a\uc784\uc5c6\uc774 \uce68\ud22c\ud574\uc624\ub294 \uc790\uadf9\uc758 \ub3c4\uac00\ub2c8\ub85c\uc11c \ub3c4\uc2dc.
\uc791\uac00\ub294 \ub3c4\uc2dc\ub77c\ub294 \ub9e4\ub048\ud55c \uacf5\uac04\uc758 \uc5ed\uc124\uc801\uc778 \uc774\uba74\uc744 \ubcf4\uc5ec\uc8fc\uace0\uc790 \uc720\ub839 \uac19\uc740 \uc778\ubb3c\ub4e4\uc744 \ucd9c\ubab0\uc2dc\ud0a4\uace0, \ubb54\uac00 \uc218\uc0c9 \uc911\uc778 \uac83 \ub9c8\ub0e5 \uce74\uba54\ub77c\ub97c \ub3cc\ub824\ub304\ub2e4.
\uc90c\uc778\uacfc \uc90c\uc544\uc6c3\uc744 \uac70\ub4ed\ud558\uace0, \uc57c\ubc24\uc5d0 \uccb4\uc870\ud558\ub294 \uac00\uba74 \uc4f4 \uc778\uac04\ub4e4\uc774 \ub4f1\uc7a5\ud558\ub294 \uae30\ubb18\ud55c \uc601\uc0c1 \uc791\uc5c5\uc740 \uadf8 \uc2e4\uccb4\ub97c \uc54c \uc218 \uc5c6\ub294 \ubd88\uc548\uacfc \uac15\ubc15\uc744 \uc804\ub2ec\ud55c\ub2e4.<\/p>\n\n\n\n

\uc815\ud76c\uc815\uc758 \uc791\uc5c5\uc5d0\uc11c\ub294 \uac00\uba74\uc774\ub098 \uc778\ud615\uc774 \uacc4\uc18d \ub4f1\uc7a5\ud55c\ub2e4.
<\ubd89\uc740 \ubc29>(2017), <\uac80\uc740 \uc9d1>(2021), <\uc990\uac70\uc6b4 \ub098\uc758 \uc9d1>(2021)\uc5d0\uc11c \ubc18\ubcf5\uc801\uc73c\ub85c \ub4f1\uc7a5\ud558\ub294 \uad6c\uc2dd \uc778\ud14c\ub9ac\uc5b4\uc758 \uc9d1\uc548, \uc5ec\uc790 \uc544\uc774 \uc778\ud615, \uc774\ubd88\uc744 \ub4a4\uc9d1\uc5b4\uc4f4 \uc5ec\uc790(?),
\uac70\uc6b8\uc5d0 \ube44\uce5c \uac01\uc2dc\ud0c8 \ub4f1\uc740 \ub2e4\uc18c \ubaa8\ud638\ud558\uc9c0\ub9cc \ud55c\uacb0\uac19\uc774 \uacfc\uac70 \uc2dc\uac04\uc758 \uc560\ucc29\uacfc \uacf5\ud3ec\ub97c \ud45c\ucd9c\ud558\ub294 \ub4ef\ud558\ub2e4.
\uadf8\uac83\ub4e4\uc774 \uc6b0\uae00\uac70\ub9ac\ub294 \uc9d1\uc740 \uc560\ucc29\uc758 \ub300\uc0c1\uc774\uc790 \uacf5\ud3ec\uc758 \ub300\uc0c1\uc73c\ub85c\uc11c \uc815\ud76c\uc815\uc758 \uc791\uc5c5\ub4e4\uc5d0\uc11c \uac70\ub4ed \uadc0\ud658\ud55c\ub2e4.
\uc9d1\uc740 \uac00\uc7a5 \uce5c\uc219\ud558\uace0 \ud3b8\uc548\ud55c \uc7a5\uc18c\uc9c0\ub9cc \uc5b8\uc81c\uace0 \uc228\ub9c9\ud788\ub294 \uacf3\uc73c\ub85c \ubcc0\ubaa8\ud560 \uc218 \uc788\ub2e4.
\uc774\ub294 \ubcf4\ud3b8\uc801 \uc9c4\uc2e4\uc774\uae30\ub3c4 \ud558\uc9c0\ub9cc, \uc9c0\uae08 \u2018\uc9d1\u2019\uc5d0 \ub300\ud55c \uc5ec\uc131\uc791\uac00\uc758 \uc774\uc57c\uae30\ub77c\uba74 \ud55c\uad6d\uc758 30-40\ub300 \uc5ec\uc131\ub4e4\uc774 \uc9c0\ub2cc \uacbd\ud5d8\uc758 \ud2b9\uc774\uc131\uc774 \uc788\uc744 \uac83\uc774\ub2e4\uff0d\uc544\ub2c8, \uc788\uc5b4\uc57c \ud55c\ub2e4.
\ud55c\ud3b8, \uc740\uc2e0\ucc98\uc774\uc790 \uc548\uc2dd\ucc98\uc778 \uc9d1\uc774 \uc8fd\uc74c\uc774\ub098 \uc545\ubabd\uc774 \uae43\ub4e0 \uacf3\uc774 \ub420 \uc218 \uc788\ub2e4\ub294 \uc591\uac00\uc131\uc740 \uc0c1\uc5c5\uc801\uc778 \uacf5\ud3ec \uc601\ud654\uc758 \ucf54\ub4dc\uc5d0\uc11c\ub3c4 \ud754\ud788 \ubc1c\uacac\ub418\ub294 \ud074\ub9ac\uc170\ub2e4.
\uacb0\uad6d \uc774\ub7ec\ud55c \ubaa8\ud2f0\ud504\ub4e4\uc744 \uc0ac\uc6a9\ud55c\ub2e4\uba74, \uacb0\uad6d \uc5b4\ub5a4 \uc774\uc57c\uae30\uc778\uac00, \uc5b4\ub5a4 \ud2b9\uc774\uc131\uc778\uac00\uac00 \uad00\uac74\uc774 \ub420 \uac83\uc774\ub2e4.
\uc791\uac00\ub294 \uc9c0\ub09c \ud574 9\uc6d4 \uc120\ubbf8\ucd0c\uc5d0\uc11c \uc5f4\ub9b0 \u2018\ud398\ubbf8\ub2c8\uc998 \uc608\uc220\uc81c\u2019\uc5d0\uc11c \uc601\uc0c1 \uc791\uc5c5 <\uafc8\uc758 \uc54c\ub808\uace0\ub9ac>(2022)\ub97c \uc120\ubcf4\uc600\ub294\ub370, \uc774 \ub610\ud55c \uacfc\uac70 \uc791\uc5c5\ub4e4\uc744 \uc7ac\ubc30\uce58\ud558\uace0 \uc885\ud569\ud55c \uc131\uaca9\uc774 \uc9d9\ub2e4.
\uc131\ub9e4\ub9e4 \uc5c5\uc18c \uc790\ub9ac\uc600\ub358 \uac74\ubb3c\uc758 \ud55c \ubc29\uc5d0\uc11c \uc774\ub7ec\ud55c \u2018\uc9d1\u2019\uc758 \uc7ac\ud604\uc740 \uc5ec\uc131\uc801 \ub9e5\ub77d\uc5d0\uc11c \ubd84\uba85 \uc740\ubc00\ud558\uace0\ub3c4 \ud3ed\ub825\uc801\uc778 \uc815\ub3d9\uacfc \ub9de\ubb3c\ub9b4 \ub9cc\ud55c \uac83\uc774\uae34 \ud558\ub2e4.
\ud558\uc9c0\ub9cc \ud3d0\ud5c8\uac00 \ub41c \uc131\ub9e4\ub9e4 \uc9d1\uacb0\uc9c0\ub294 \uc9c0\uadf9\ud788 \u2018\ub9d0\ud560 \uc218 \uc5c6\ub294\u2019, \u2018\uce68\ubb35\ud558\ub294\u2019 \uacf5\uac04\uc774\uace0, \uac00\uc7a5 \ubaa8\uc21c\uc801\uc778 \uc0b6\uc758 \ud3b8\ub9b0\ub4e4\uc774 \ub9d0\ub054\ud788 \uc138\ud0c1\ub418\uace0 \uce58\uc548\ud654\ub41c \uadf8 \uc790\ub9ac\uc5d0\uc11c \u2018\uc9d1\u2019\uacfc\u2018\uc545\ubabd\u2019\uc758 \uc0ac\uc801 \ubaa8\ud2f0\ud504\ub4e4\uc740 \uac89\ub3cc \uc218\ubc16\uc5d0 \uc5c6\ub2e4.<\/p>\n\n\n\n

\uc815\ud76c\uc815\uc740 \ud314\ubcf5\uc608\uc220\uacf5\uc7a5\uc5d0\uc11c \uba38\ubb34\ub974\uba70 \uc8fc\ubcc0\uc758 \ud48d\uacbd\uc744 \ub2f4\uc544\ub0b8 \uc0ac\uc9c4 \uc2dc\ub9ac\uc988 <\ud314\ubcf5>(2023)\uacfc <\ubc14\ub78c\uc758 \uc9d1>(2023), <\ub9ac\ub4ec \ud48d\uacbd>(2023)\uc774\ub77c\ub294 \ub450 \ud3b8\uc758 \uc601\uc0c1 \uc791\uc5c5\uc744 \uc81c\uc791\ud588\ub2e4.
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\uc601\uc0c1\uc740 \ub2e4\uc74c\uacfc \uac19\uc740 \ub0b4\ub808\uc774\uc158\uc73c\ub85c \uc2dc\uc791\ud55c\ub2e4. \u201c\uc591\ud0c4\uc790\ub97c\ud0c0\uace0 \ud558\ub298\uc744 \ub0a0\uc558\ub2e4. \ubc14\ub78c\uc744 \ud0c0\uace0 \uc8fc\ub9c8\ub4f1\ucc98\ub7fc \ud48d\uacbd\uc774 \uc9c0\ub098\uac14\ub2e4.
\ud55c\ucc38\uc744\uc9c0\ub098 \ub3c4\ucc29\ud574\uc11c \ubcf4\ub2c8 \uc9d1\uc774\ub2e4. \ub0b4\uac00 \ucc98\uc74c \ucd9c\ubc1c\ud588\ub358 \uadf8\uacf3. \uc18c\ub984\uc774 \ub3cb\uc740 \ucc44 \ub208\uc744 \ub5b4\ub2e4. \uafc8\uc774\uc5c8\ub2e4.\u201d
3\ubd84 \ucbe4 \uc9c0\ub098\uba74, \ud1a4\uc774 \ud655 \ubc14\ub00c\uba74\uc11c \ucf5c\ub77c\uc8fc \uc560\ub2c8\uba54\uc774\uc158\uc774 \ub2e4\uc2dc \ub4f1\uc7a5\ud55c\ub2e4.
\uc5ec\uae30\uc11c\ub3c4 \uacfc\uac70 \u2018\uc9d1\u2019 \uc774\ubbf8\uc9c0\ub4e4\uc774 \ub3cc\uc544\uc628\ub2e4.
\uac19\uc740 \uc774\ubbf8\uc9c0\uc758 \uc911\ubcf5\uc801\uc778 \uc0ac\uc6a9\uc740 \uac01\uac01 \uc791\ud488\ub4e4\uc774 \ub3c5\uc790\uc801\uc73c\ub85c \ubcf4\uc774\uc9c0 \uc54a\uac8c \ub9cc\ub4e4\uace0, \ub54c\ub85c\ub294 \ubd88\uc131\uc2e4\ud558\uac8c \ube44\uce60 \uc218 \uc788\ub294 \uc694\uc778\uc774\ub2e4.
\uc804\uc791\ub4e4\uacfc\uc758 \uc5f0\uc18d\uc131\uc744 \ud655\ubcf4\ud558\ub294 \uac83\uc740 \uac19\uc740 \uc774\ubbf8\uc9c0\uc758 \uc0ac\uc6a9\uc774 \uc544\ub2c8\ub77c, \uc8fc\uc81c\uc640 \uc774\uc57c\uae30\uac00 \ubcc0\uc8fc\ub418\uace0 \ud655\uc7a5\ub418\ub294 \ub370\uc5d0 \uc788\ub2e4.
\uc9d1\uc5d0 \ub300\ud55c \ud14c\ub9c8\uc5d0\uc11c \u2018\uc720\ub144\uc758\uc9d1\u2019 (\uc791\uac00 \uc790\uc2e0\uc774 \uc9c4\uc9dc \uc720\ub144\uc2dc\uc808\uc744 \ubcf4\ub0b8 \uc9d1\uc740 \uc544\ub2c8\uc9c0\ub9cc \uc9c0\uc18d\uc801\uc73c\ub85c \ub4f1\uc7a5\ud558\ub294 \uc624\ub798\ub41c \uc9d1)\uc774 \ub610\ub2e4\uc2dc \ub4f1\uc7a5\ud558\ub294 \uac83, \uc774 \ub3cc\ub9bc\ub178\ub798\ub294 \uc65c \uacc4\uc18d\ub418\ub294 \uac83\uc77c\uae4c?<\/p>\n\n\n\n

\uc720\ub839\uc740 \ub204\uad6c\uc778\uac00<\/strong>
6\ubd84 \uc9dc\ub9ac \uc601\uc0c1 \uc791\uc5c5 <\ub9ac\ub4ec \ud48d\uacbd>(2023)\uc740 \ud314\ubcf5\uc608\uc220\uacf5\uc7a5\uc758 \uc804\uc2e0\uc778 \ud314\ubcf5\ub3d9 \uc0b0\uc5c5\ub2e8\uc9c0\uc5d0\uc11c \uc77c\ud588\ub358 \ud64d\uba85\ud76c\uc528\uc758 \ubaa9\uc18c\ub9ac\ub85c \uc2dc\uc791\ub41c\ub2e4.
\uc791\uac00\ub294 \uc774 \ubaa9\uc18c\ub9ac\ub97c \ud314\ubcf5\uc608\uc220\uacf5\uc7a5 \uc544\uce74\uc774\ube0c\uc5d0\uc11c \ubc1c\uacac\ud588\ub2e4\uace0 \ud55c\ub2e4.
1979\ub144 \ud314\ubcf5\ub3d9 \uc0b0\uc5c5\ub2e8\uc9c0 \ub0b4 \uc774 \uc790\ub9ac\uc5d0\ub294 \uce74\uc138\ud2b8\ud14c\uc774\ud504\ub97c \uc81c\uc791\ud558\ub294 \u2018\uc36c\uc804\uc790\u2019\uac00 \uc788\uc5c8\ub2e4.
80\ub144\ub300 \ub9d0 \uc36c\uc804\uc790\ub294 CD\uc640 MP3\uc5d0 \ubc00\ub824 \uc704\uae30\ub97c \ub9de\uc774\ud558\uace0 \uacf5\uc7a5\uc8fc\ub294 \uacf5\uc7a5\ud3d0\uc1c4\ub97c \ub2e8\ud589\ud588\ub2e4.
1987\ub144 \uc804\uc8fc \uc0b0\uc5c5\ub2e8\uc9c0\uc758 \ub178\ub3d9 \ud22c\uc7c1\uc744 \uc774\ub048 \ub300\ud45c\uc801\uc778 \ub178\uc870 \uac00\uc6b4\ub370 \ud558\ub098\uac00 \u2018\uc36c\uc804\uc790\u2019 \ub178\uc870\uc600\uc73c\uba70, \uacb0\uad6d \uacf5\uc7a5\uc740 \uc3d8\ub809\uc2a4\ub85c \uc0ac\uba85\uc744 \uac1c\uba85\ud588\uc9c0\ub9cc, 1992\ub144 \ubb38\uc744 \ub2eb\uc558\ub2e4\uace0 \ud55c\ub2e4.
\ud314\ubcf5\uc608\uc220\uacf5\uc7a5 \uad74\ub69d\uc5d0\ub294 \uc5ec\uc804\ud788 \ud76c\ubbf8\ud558\uac8c \uc3d8\ub809\uc2a4\ub77c\ub294 \uae00\uc528\uac00 \ubcf4\uc778\ub2e4.
\uce74\uc138\ud2b8 \ud14c\uc774\ud504\ub77c\ub294 \ub9e4\uccb4\uac00 \ub2f4\uc558\ub358 \uc2dc\uac04\uc131\uacfc \uc720\ud29c\ube0c \uc20f\ud3fc\uc774 \ud558\ub8e8\uc885\uc77c \uc7ac\uc0dd\ub418\ub294 \uc2dc\uac04\uc758 \uc774\uaca9\uc774 \ubb34\uc0c9\ud558\ub2e4.
\uc544\uce74\uc774\ube0c\uc5d0 \uae30\ub85d\ub41c \ud64d\uba85\ud76c\uc528\uc758 \ubaa9\uc18c\ub9ac\uc5d0\ub294 \uc5b4\ub9b0 \uc5ec\uacf5\uc774 \uc5b8\ub2c8\ub4e4\uacfc \ud568\uaed8 \uc2f8\uc6b0\uba70 \ub178\ub3d9\uc6b4\ub3d9\uc5d0 \ub208\uc744 \ub728\uac8c \ub418\ub294 \uacc4\uae30, \ud22c\uc7c1\uc5d0 \ub300\ud55c \uae30\uc5b5, \uc218\uc2ed \ub144 \ud6c4 \ub3cc\uc544\uc640 \ubcf8 \ud314\ubcf5\ub3d9\uc5d0 \ub300\ud55c \uc560\ud2cb\ud55c \uc18c\ud68c\uac00 \ub2f4\uaca8 \uc788\ub2e4.
\ubaa9\uc18c\ub9ac\ub294 \ub0a1\uc740 \ucca0\ub3c4 \uc2e0\ud638\uae30, \ud654\ubb3c\uc5f4\ucc28\uac00 \uc11c\uc11c\ud788 \uc9c0\ub098\ub294 \ubd81\uc804\uc8fc\uc120 \ucca0\uae38, \uc5b4\uc2a4\ub984\ud55c \uc0b0\uc5c5\ub2e8\uc9c0\uc758 \ubaa8\uc2b5 \uc704\ub85c \ud750\ub978\ub2e4.<\/p>\n\n\n\n

\ud6c4\ubc18\ubd80\uc5d0\ub294 \ubd89\uc740 \uc791\uc5c5\ubcf5\uc744 \uc785\uace0 \ud558\uc580 \uac00\uba74\uc744 \uc4f4 \ud37c\ud3ec\uba38\uac00 \uc801\ub9c9\ud55c \ubc24\uac70\ub9ac\uc5d0\uc11c \ucda4\uc744 \ucd98\ub2e4.
\uc791\uac00\ub294 \ud314\ubcf5\uc608\uc220\uacf5\uc7a5 \uc8fc\ubcc0\uc744 \uac70\ub2d0\uba70 \ub290\ub080 \ubb18\ud55c \uc774\uc9c8\uac10, \uc2dc\ub300\ucc29\uc624\uc801\uc774\uba74\uc11c\ub3c4 \uae30\uc774\ud55c \ubd80\uc870\ud654\ub97c \uc8fc\ubaa9\ud588\uace0 \uc774\ub97c \uc5b4\ub5a4 \ub9ac\ub4ec\uc73c\ub85c \ud45c\ud604\ud558\uace0\uc790 \ud588\ub2e4.
\ub0ae\uacfc \ubc24\uc758 \ub2e4\ub978 \ud48d\uacbd, 30\ub144 \uc0c8 \ubc14\ub010 \ub178\ub3d9\uc790\ub4e4\uacfc \uc8fc\ubbfc\ub4e4\uc758 \ubaa8\uc2b5, \uc774 \ubaa8\ub4e0 \uac83\uc744 \uc9c0\uae08 \uc774 \uacf5\uac04\uc758 \uc815\uccb4\uc131\uc774\ub77c\uace0 \ud55c\ub2e4\uba74, \uc815\ud76c\uc815\uc740 \uc774\ub7ec\ud55c \uacf5\uac04\uc801 \uc815\uccb4\uc131\uc744 \u201c\uc2dc\uac04\uc801 \ud30c\uc5f4\ub85c \uadf8\ub824\ubcf4\uace0 \uc2f6\uc5c8\ub2e4\u201d\uace0 \ub9d0\ud55c\ub2e4.
\uadf8\ub7f0\ub370 \uc774 \ud30c\uc5f4\uc740 \ud68c\uace0\uc640 \ubd88\uc548 \uc0ac\uc774\ub97c \uc624\uac04\ub2e4.
\ud2b9\ud788, \ud37c\ud3ec\uba38\uc758 \ubb34\uc791\uc704\uc801\uc778 \uc6c0\uc9c1\uc784, \ud0c8\ucda4\uacfc \ube44\uc2b7\ud55c \ubab8\uc9d3, \ubd88\uc548\ud55c \uac83\ucc98\ub7fc \ub450\ub9ac\ubc88\uac70\ub9ac\uba70 \ub2e4\ub9ac\ub97c \ub5a0\ub294 \ub3d9\uc791 \ub4f1\uc740 \ud30c\uc5f4\ubcf4\ub2e4\ub294 \ubd88\uc548\uacfc \uc18c\uc678\ub77c\ub294 \uac10\uac01\uc73c\ub85c \uc27d\uac8c \uc218\ub834\ub418\uc5b4 \ubc84\ub9b0\ub2e4.
\uc5ec\ub7ec \uc9c8\ubb38\ub4e4\uc774 \ub5a0\uc624\ub978\ub2e4.
\uc5ec\uae30\uc5d0 \ub4f1\uc7a5\ud558\ub294 \ubd88\uc548\uc758 \ubab8\uc9d3\uc740 \ubb34\uc5c7\uc5d0 \ub300\ud55c \ubd88\uc548\uc774\uba70, \ub204\uac00 \ub290\ub07c\ub294\/\uc0dd\uc131\ud558\ub294 \ub9ac\ub4ec\uc778\uac00.
\uc801\ub9c9\ud55c \ubc24\uac70\ub9ac\ub97c \ud640\ub85c \uac77\ub294 \uc5ec\uc790\ub4e4\uc5d0\uac8c \ubd88\uc548\uc740 \uc5b4\uca4c\uba74 \uc77c\uc0c1\uc801\uc778 \uac83\uc774\uc9c0 \uc54a\uc740\uac00,
\uadf8\ub807\ub2e4\uba74 \ud314\ubcf5\ub3d9\uc758 \ubc24\uac70\ub9ac\ub294 \ubb34\uc5c7\uc774 \ub2e4\ub978\uac00.
\uc5ec\uae30\uc11c \uc678\ubd80\/\ubc14\uae65\uc740 \uc791\uac00 \uc790\uc2e0\uc778\uac00 \uc544\ub2c8\uba74 \uadf8\uacf3\uc5d0\uc11c \uc0b4\uace0 \uc77c\ud558\ub294 \uc790\ub4e4\uc778\uac00.
\uc65c \uc791\uac00\ub294 \uc9c0\ub098\uce58\ub294 (\uc774\uc8fc\ubbfc)\ub178\ub3d9\uc790\ub4e4\uacfc \uc8fc\ud30c\uc218\uc758 \ub300\uc5ed\ud3ed\uc774 \ub2e4\ub974\ub2e4\uace0 \uc5ec\uae34 \uac83\uc77c\uae4c.
\uc5ec\uae30 \ubc30\ud68c\ud558\ub294 \uc720\ub839\uc758 \uc815\uccb4\ub780 \uacfc\uc5f0 \ubb34\uc5c7\uc77c\uae4c.
\uc9c4\uc9dc \ubc30\ud68c\ud558\ub294 \uc774\ub294 \ub204\uad6c\uc778\uac00.<\/p>\n\n\n\n

Critic Lee JinSil<\/strong><\/p>\n\n\n\n

Exploring the Past: Unraveling the Mysteries of Old Houses, Enigmatic Landscapes, and Circular Canons<\/strong>
Artist Jeong Hee\uff0djung has long been engaging in a visual conversation about particular landscapes through various mediums, such as paintings, photographs, and videos.
If one were to define these landscapes, it could be aptly described as the \u2018urban cityscape\u2019.
The scenes depicted in her work often feature elements such as buildings, windows, empty lots, and patches of forest, all of which carry a distinct air of the artificial. In Jeong\u2019s works,
the term \u2018artificial\u2019 transcends the simple notion of capturing or displaying man\uff0dmade structures like houses, construction sites, or redevelopment areas in contrast to the natural environment.
Rather, it refers to her intentional emphasis on a specific impression or atmosphere that pervades her cityscapes.
In Jeong\u2019s photographs and videos, the landscapes often feature clear vanishing points or compositions with distinct focal points. However, what stands out most prominently
in her work are the striking highlights and hues that imbue her art. These tones and colors lend a dreamlike quality to the scenes while simultaneously evoking an atmosphere reminiscent of a theater stage just before the curtain rises.
Notable objects captured in her work, such as an abandoned oversized pink rabbit in a playground or trees sprawled across the median of a road exposed by redevelopment, are neither intentionally placed nor artificially added by the artist.
Instead, they are discovered and captured in her photographs, revealing a deliberate emphasis on certain impressions.
Despite this, one cannot hastily label her work as \u2018contrived\u2019.
Similarly, it would be an oversimplification to dismiss her art as merely a projection of the artist\u2019s emotional or conscious thoughts. Hee\uff0djung\u2019s compelling compositions showcase an intricate interplay between the tangible and the ethereal,
inviting viewers to delve deeper into the complexities of urban landscapes. Her mastery of color and tone adds an enigmatic layer to her work, blurring the line between the real and the imagined.
This artistic approach resists easy categorization, as it transcends the boundaries of mere contrivance or projection, offering a thought\uff0dprovoking exploration of the multifaceted nature of cityscapes and the human experience within them.<\/p>\n\n\n\n

The projected inside and outside<\/strong>
As the artist herself emphasizes, it is evident that for Jeong Hee\uff0djung, \u2018landscape\u2019 is not merely an object of contemplation but rather something she encounters and confronts head\uff0don.
This sudden onslaught of scenery arises when walking through unfamiliar cities, strolling down familiar alleyways, or stepping into a house that evokes a sense of unease.
Although we cannot pinpoint the exact personal memories or experiences that may have influenced her perception of these landscapes, there is often an underlying sense of discomfort or eeriness that permeates her work. Since her solo exhibition in 2013,
Jeong has been presenting photographs of landscapes featuring old apartment playgrounds, empty lots, idle lands, and redevelopment sites, all bathed in the reddish hues of twilight or the bluish tinges of nightfall.
These images are neither typological explorations nor historical archives; instead, they evoke a sense of anticipation for an impending event, thanks to their carefully composed framing and dramatic interplay of light and shadow.
This results in a visual aesthetic that resembles stills from films or theatrical stages.
The artifice of such a moody atmosphere could easily be perceived as a \u2018kitschy\u2019 attempt.
However, one could also argue that the artist, fully aware of the kitsch\uff0dlike quality of her approach, employs this method as a tactic to convey an entirely different meaning.
All images inherently contain both the emotional projections of the artist who created them and faint glimpses of the world\u2019s truths, and Jeong\u2019s work is no exception.
Yet, her photographs explicitly reveal both aspects while delicately balancing between the two, as if walking a tightrope.
In essence, the artifice presented in her images uncovers a peculiar realism that suggests the world itself is \u2018contrived.\u2019
Nonetheless, this approach carries an inherent risk, as a single misstep could result in her work being dismissed as mere kitsch. By navigating this fine line,
Jeong Hee\uff0djung\u2019s art compels us to examine the constructed nature of the world around us, offering a thought\uff0dprovoking exploration of the interplay between perception, memory, and the urban landscapes that both captivate and unsettle us.<\/p>\n\n\n\n

In recent works, Jeong Hee\uff0djung\u2019s art has evolved from capturing spontaneous moments to employing more assertive compositional techniques.
Notably, she actively utilizes digital screens and collage formats to evoke a surreal atmosphere reminiscent of subconscious imagery, while also incorporating performance and narration, experimenting with formats akin to essay films.
In collage films like \u201cThe Red Room\u201d (2017) and works such as \u201cPhantasmagoria\u201d (2019), \u201cMy Joyful Home\u201d (2020), and \u201cThe Black House\u201d (2021),
Hee\uff0djung\u2019s landscapes seem to have shifted their focus from the broader urban spaces of the \u2018city\u2019 to the private and intimate realms of \u2018home.\u2019
However, the spatial imagery of the \u2018interior\u2019 and \u2018exterior\u2019 in these scenes does not appear to have changed significantly.
Whether it\u2019s the interiors of living rooms, kitchens, and bedrooms, or the exteriors of hillsides and streets, all are imbued with distinct chiaroscuro and cast in eerie shadows.
These spaces resemble places where something could happen or where an event has already transpired.
They evoke scenes-whether trivial or critical-that might linger in the memories of any Korean woman who grew up experiencing puberty rites, filled with a bitter and violent energy, from familial violence toencounters with threatening figures in the neighborhood.
Hee\uff0djung\u2019s landscapes seem to gradually transform from witnessing the \u2018artificiality\u2019 inherent in urban spaces into screens of memory laden with suffocating nightmares and anxiety.
The term \u201cphantasmagoria,\u201d as an old illusory screen, refers to the enchanting power of images that captivated people in the 19th century with the emergence of capitalism. However, in Hee\uff0djung\u2019s \u201cphantasmagoria,\u201d
there is an indication of submerged anxiety and memories of the female subject operating beneath the sweet spatial illusions of \u2018city\u2019 and \u2018home\u2019 in contemporary society, summoning the uncanny reality and spatial nightmares. In essence,
Jeong Hee\uff0djung\u2019s landscapes are not a world observed from a distance, whether indoors or outdoors. Instead, they manifest as the internal visuality submerged in memory\uff0da projection of the \u2018gaze\u2019 that surrounds the subject and intertwines with memory.
Her works explore the interplay between the physical and the psychological, challenging our perception of the spaces we inhabit and the memories that define our experiences.<\/p>\n\n\n\n

The repeatedly appearing spaces<\/strong>
In her video work titled \u201cFlesh and Mirrors\u201d (2020), Jeong Hee\uff0djung employs the motifs of \u2018flesh\u2019 and \u2018mirrors\u2019 to describe the spaces she experiences. Mirrors are flat, indifferent, indiscriminate, and pristine.
If this represents the surface appearance of urban spaces and serves as a metaphor for institutional spaces, the artist suggests that the mirror\uff0dlike spaces surrounding us are, in fact, \u2018bodily spaces\u2019 where sticky interactions occur.
The city, brimming with desires for undisturbed privacy, is a crucible of incessant, penetrating stimuli.
To reveal the paradoxical underbelly of these smooth urban spaces, Hee\uff0djung introduces ghostly figures and maneuvers her camera as if searching for something.
Through repeated zooming in and out, her enigmatic video work features masked individuals performing exercises in the dead of night, conveying an unsettling sense of anxiety and compulsion with an elusive essence.<\/p>\n\n\n\n

In Jeong Hee\uff0djung\u2019s work, masks and dolls frequently make an appearance. In pieces such as \u201cThe Red Room\u201d (2017), \u201cThe Black House\u201d (2021), and \u201cMy Joyful Home\u201d (2021), the recurring elements of vintage interior spaces, female child dolls, a woman(?) covered with a blanket,
and reflections of traditional Korean masks in mirrors seem to ambiguously yet consistently express attachments and fears of the past.
These spaces, teeming with such objects, serve as both objects of attachment and fear, repeatedly returning in Hee\uff0djung\u2019s works.
A home is often the most familiar and comfortable space, yet it can transform into a suffocating place at any moment. While this is a universal truth, if the story being told is about a \u2018home\u2019 from the perspective of a female artist,
it is likely to carry the unique experiences of South Korean women in their 30s and 40s\u2014indeed, it should.
On the other hand, the dual nature of a home as both a refuge and a resting place and a space haunted by death or nightmares is a clich\u00e9 commonly found in commercial horror films.
Ultimately, the use of such motifs raises the question of what story is being told and what uniqueness it possesses.
Hee\uff0djung showcased her video work, \u201cAllegory of Dreams\u201d (2022), at the Feminism Art Festival held in Seonmi Village last September, which strongly reflects a reorganization and synthesis of her past works.
The reenactment o such a \u2018home\u2019 in a room of a building that once housed a prostitution establishment certainly intertwines with the subtle and violent dynamics in a feminine context. However,
the ruined gathering place for prostitution is an extremely \u2018unspeakable\u2019 and \u2018silent\u2019 space, and the private motifs of \u2018home\u2019 and \u2018nightmares\u2019 can\u2019t help but merely skim the surface of the most paradoxical comforts of life,
which have been neatly laundered and sanitized in that very location.<\/p>\n\n\n\n

Jeong Hee\uff0djung created a photo series titled \u201cPalbok\u201d (2023) and two video works, \u201cHouse of Wind\u201d (2023) and\u201cRhythm Scenery\u201d (2023), while staying at Palbok Art Factory, capturing the surrounding landscape.
Confronting the modestly painted and decorated alley houses in Jeonju and the nearby factories where migrant workers labor, the artist expresses quite different dynamics from her previousworks.
\u201cHouse of Wind\u201d (2023) reveals a somewhat lyrical yet ironic reflection on \u2018return.\u2019 The video begins with the following narration: \u201cI flew in the sky on a carpet.
Riding the wind, the scenery passed by like a carousel. After a while, I arrived at a house.
The place where I first started. I opened my eyes, shivering. It was a dream.
\u201dAbout three minutes in, the tone changes abruptly, and collage animation reappears.
Images of past \u2018home\u2019 also return here. The repetitive use of the same images can make each piece seem less independent and, at times, give off an insincere impression.
Securing continuity with previous works lies not in using the same images but in the variation and expansion of themes and stories.
In the theme of \u2018home,\u2019 the recurring appearance of the \u2018childhood home\u2019 (not the actual house where the artist spent her childhood but an old house that continually appears) raises the question: why does this cycle continue?<\/p>\n\n\n\n

The question of who the ghost is<\/strong>
The 6\uff0dminute video work \u201cRhythm Scenery\u201d (2023) begins with the voice of Hong Myung\uff0dhee, who once worked at the Palbok Industrial Complex, the predecessor of Palbok Art Factory. The artist found this voice in the archives of Palbok Art Factory.
In 1979, at this location within the Palbok Industrial Complex, there was a cassette tape manufacturer called \u2018Sun Electronics.\u2019 By the late 1980s, Sun Electronics faced a crisis as CDs and MP3s became dominant,
and the factory owner eventually decided to close it down. One of the prominent unions that led the labor struggle at the Jeonju Industrial Complex in 1987 was the \u2018Sun Electronics\u2019 union.
The factory changed its name to Solrex but eventually closed its doors in 1992. The word Solrex canstill faintly be seen on the chimney of Palbok Art Factory.
The temporality captured by cassette tapes and the disparity of time, where YouTube short\uff0dform videos play all day long, become insignificant.
The voice of Hong Myung\uff0dhee, recorded in the archive, contains the experience of a young female worker who becomes involved in the labor movement while fighting alongside her older colleagues, memories of the struggle,
and her heartfelt reflections on returning to Palbok after several decades. Her voice flows over the old railway signal, the slow\uff0dmoving freight train on the north\uff0djeonju line, and the twilight landscape of the industrial complex.<\/p>\n\n\n\n

In the latter part of the video, a performer wearing a red jumpsuit and a white mask dances in the eerily silent streets at night.
The artist noticed a strange sense of alienation, anachronism, and bizarre disharmony while walking around the Palbok Art Factory and wanted to express this through a certain rhythm.
The different scenery between day and night, the changing faces of the workers and residents over 30 years\uff0dif all of this is considered the identity of this space, Jeong Hee\uff0djung says she \u201cwanted to depict it as a temporal rupture.
\u201dHowever, this rupture oscillates between retrospection and anxiety. In particular, the performer\u2019s random movements, gestures resembling a mask dance, and actions like nervously pacing around and shaking their legs,
converge easily into a sense of anxiety and alienation rather than a rupture. Several questions arise.
What is the source of anxiety in these movements, and who is experiencing\/creating this rhythm?
For women walking alone on desolate streets at night, isn\u2019t anxiety a part of their daily lives, and if so, what\u2019s different about the streets of Palbok\uff0ddong? Is the external world referring to the artist herself or the people living and working in that place?
Why did the artist consider the (migrant) workers and the bandwidth of the frequency to be different? What is the true identity of the wandering ghost here? Who truly is the wanderer?<\/p>\n\n\n\n

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