August, 2024. In response to Lipika Bhargava and Naho Taruishi


Nathalie Boseul Shin is chief curator of Total Museum of Contemporary Art, Seoul. She studied philosophy at Ewha Womanโ€™s University and aesthetics at Hongik University (M.A). Currently, she is a Ph.D candidate in Hongik University. Since 1997, she started her curatorial career in Korea, engaging various exhibition planning and art projects. In 2000, she started to work as a curator with an expertise of media art after working for art center nabi. Further, she developed her experience at Seoul International Media Art Biennale 2004 (media_city Seoul 2004), leading exhibition team as manager. She has been working at Total Museum of Contemporary Art since 2007. She curated Muntadas: Asian Protocols (Antoni Muntadas), News after the News (Dan Perjovschi), Postcapical Archive: 1989-2001 (Daniel G. Andujar), Danish Video Art Exhibition Subtle Whispering, Gary Hillโ€™s solo exhibition Why do things get in a muddle? etc. Since 2010, she has been organizing various annual international projects such as Roadshow, Playground in island (Kota Kinabalu, Malaysia), the show must go on. Currently, she started to organize several long-term outreach programs: Batik Story (Surabaya/Kriyan, Indonesia), Dream Blossom Academy (Seoul, Korea, rehabilitation center for the disabled).ย 

Instagram @boseul_shin


#1. ๊ทธ๋Š” 5.18์˜ ์ƒ์กด์ž์˜€๋‹ค.

๊ทธ๋Š” ๊ด‘์ฃผ์—์„œ ํƒ์‹œ์šด์ „์„ ํ•˜๊ณ  ์žˆ๋‹ค.

๊ทธ ๋‚ ์˜ ๊ด‘์ฃผ์— ๋Œ€ํ•ด ๋ฌผ์–ด๋ณด๋‹ˆ ๊ทธ๋Š” ์ฃผ์ €ํ–ˆ๋‹ค.

๊ทธ ๋‚ ์˜ ๊ด‘์ฃผ์—์„œ ์‚ด์•„๋‚จ์€ ๊ฒƒ์— ๋Œ€ํ•œ ์ฃ„์ฑ…๊ฐ์„ ํ‰์ƒ์„ ์•ˆ๊ณ  ์‚ด์•˜๋˜ ๋“ฏ ๋ณด์˜€๋‹ค.

๊ทธ๋Š” ์ง€๊ธˆ๋„ ์ƒ์ƒํ•˜๊ฒŒ 5์›” 18์ผ์˜ ๊ด‘์ฃผ๋ฅผ ๊ทธ๋Š” ์‰ฝ๊ฒŒ ์ž…์— ์˜ฌ๋ฆฌ์ง€ ๋ชปํ–ˆ๋‹ค.


#2. ์„œ์šธ์€ ํ”„๋ฆฌ์ฆˆ์™€ ํ‚ค์•„ํ”„ ๊ทธ๋ฆฌ๊ณ  ์˜จ๊ฐ– ํ–‰์‚ฌ์™€ ์ด๋ฒคํŠธ๋“ค๋กœ ๋“ค๋“์—ˆ๋‹ค.

๋‚˜๋Š” ์šด์ข‹๊ฒŒ ์•„ํŠธํ”ผ๋ฒ„์—์„œ ๋ฒ—์–ด๋‚˜ ๊ด‘์ฃผ์— ์žˆ์—ˆ๋‹ค.

ํ•˜์ง€๋งŒ, ๊ด‘์ฃผ์—๋Š” ์„œ์šธ์•„ํŠธ ํˆฌ์–ด๋ฅผ ๋งˆ์น˜๊ณ  ๋น„์—”๋‚ ๋ ˆ๋ฅผ ๋ณด๊ธฐ ์œ„ํ•ด ๋ฐฉ๋ฌธํ•œ ์˜ˆ์ˆ ๊ด€๊ณ„์ž์™€ ์˜ˆ์ˆ ๊ด€๊ด‘๋“ค์ด ํ•˜๋‚˜ ๋‘˜ ๋ชจ์—ฌ๋“ค์—ˆ๋‹ค. ์ „์‹œ์—์„œ ์ „์‹œ๋กœ, ํผํฌ๋จผ์Šค์—์„œ ์‹ฌํฌ์ง€์—„์œผ๋กœ ์ด์–ด์ง€๋Š” ํ”ผ๊ณคํ•œ ์ผ๋ จ์„ ํ–‰์‚ฌ๋ฅผ ๋Œ๋ฉฐ, ๋ฌธ๋“ ์ฃผ์ €ํ•˜๋˜ ํƒ์‹œ๊ธฐ์‚ฌ์˜ ์–ผ๊ตด์ด ๋– ์˜ฌ๋ž๋‹ค. ์šฐ๋ฆฌ๋Š” ๋„ˆ๋ฌด ์‰ฝ๊ฒŒ ๋งํ•˜๊ณ  ์žˆ๋Š” ๊ฒƒ์€ ์•„๋‹๊นŒ.


#3. ์•„ํŠธํŽ˜์–ด๋กœ ์‹œ์ž‘ํ•ด์„œ ๋น„์—”๋‚ ๋ ˆ๋กœ ์ด์–ด์ง„ 9์›”์˜ ์‹œ์ž‘ ํ•œ ์ผ ์— โ€˜๊ตญ์ œํ๋ ˆ์ดํ„ฐ ์ฝ”์Šค'๋ผ๋Š” ์ด๋ฆ„์•„๋ž˜ ์ „์„ธ๊ณ„์—์„œ ์˜จ ํ๋ ˆ์ดํ„ฐ 20์—ฌ๋ช…์ด ํ•œ์ž๋ฆฌ์— ๋ชจ์˜€๋‹ค. ์˜ˆ์ˆ ํ”ผ๋กœ๋„๊ฐ€ ๋†’์•„์ง„ ์ง€์ ์—์„œ ์šฐ๋ฆฌ๋Š” ๋งค์šฐ ๋น„๊ด€์ ์œผ๋กœ ย ๋น„์—”๋‚ ๋ ˆ์˜ ๋ฏธ๋ž˜์— ๋Œ€ํ•ด, ๋Œ€ํ˜•์ด๋ฒคํŠธ๋กœ ๋ณ€์งˆ๋œ ๋น„์—”๋‚ ๋ ˆ์— ๋Œ€ํ•ด ์ด์•ผ๊ธฐํ–ˆ๋‹ค. ํ•˜์ง€๋งŒ, ๊ทธ๋Ÿผ์—๋„ ๋ถˆ๊ตฌํ•˜๊ณ  ์˜ˆ์ˆ ์ด ๊ฐ€์ง€๋Š” ๊ธ์ •์ ์ธ ์—ญํ• ์— ๋Œ€ํ•ด, ์˜ˆ์ˆ ์ด ์„ธ์ƒ๊ณผ ์ด์•ผ๊ธฐํ•˜๋Š” ๋ฐฉ์‹์ด ๊ฐ€์ง€๋Š” ํž˜์„ ์•Œ๊ณ  ์žˆ๋‹ค. ๊ทธ๋ ‡๊ธฐ ๋•Œ๋ฌธ์— ์‰ฝ๊ฒŒ ์ด ๊ธธ์„ ๋– ๋‚  ์ˆ˜๊ฐ€ ์—†๋‹ค. ์˜ˆ์ˆ ์ด ์„ธ์ƒ์„ ๋ฐ”๊ฟ€์ˆ˜ ์žˆ์„๊ฒƒ์ด๋ผ๊ณ  ๋ฏฟ๋Š”๋‹ค๋Š” ๊ทธ ์ง„๋ถ€ํ•œ ๋ฏฟ์Œ์„ ๋˜๋ฐ•๋˜๋ฐ• ๋งํ–ˆ๋˜ ๊ทธ ์ Š์€ ํ๋ ˆ์ดํ„ฐ๋Š” ์šธ๋จน์˜€๋‹ค. ์™œ์˜€์„๊นŒ?


#4. Lipika Bhargava์™€ Naho Taruishi ์˜ ๋Œ€ํ™”๊ฐ€ ๋งŒ๋“ค์–ด ๋‚ธ <Movement of Water>๋Š” ๋งˆ์น˜ ์ง€๋‚œ ๋ช‡ ์ผ๊ฐ„ ์šฐ๋ฆฌ๊ฐ€ ์˜ˆ์ˆ ์— ๋Œ€ํ•ด์„œ ์ด์•ผ๊ธฐํ–ˆ๋˜ ๊ทธ ๋ชจ๋“  ๊ฒƒ๋“ค์„ ํ•œ๋ฒˆ์— ๋ณด์—ฌ์ฃผ๋Š” ๊ฒƒ ๊ฐ™์•˜๋‹ค. ๊ทธ๋“ค์ด ๋งํ–ˆ๋“ฏ์ด ๋ชจ๋“  ๊ฒƒ์€ ์—ฐ๊ฒฐ๋˜์–ด ์žˆ๊ณ , ๋Š์ž„์—†์ด ๋ณ€ํ™”ํ•˜๊ณ  ํ๋ฅธ๋‹ค. ํƒ์‹œ๊ธฐ์‚ฌ์™€ ๋งŒ๋‚˜๋ฉด์„œ, ์ „์‹œํ˜ธํ•‘์„ ํ•˜๋ฉฐ ๊ด‘์ฃผ๋ฅผ ๋Œ์•„๋‹ค๋‹ˆ๋ฉด์„œ ๋‚˜๋Š” ์ด๋ฏธ ์–ด์ œ์˜ ๋‚ด๊ฐ€ ์•„๋‹ˆ๊ฒŒ ๋˜์—ˆ๋‹ค. ๋ฌผ์ด ์œก์ง€๋ฅผ ์ •์˜ํ•˜๊ณ  ํ˜•์„ฑํ•˜๋“ฏ ๊ทธ๋ ‡๊ฒŒ ์šฐ๋ฆฌ๋Š” ๋‹ค๋ฅธ ์ด๋“ค์„ ๋งŒ๋‚˜์„œ ๋ณ€ํ–ˆ๋‹ค. ์˜ˆ์ˆ ์€ ๊ทธ๋ ‡๊ฒŒ ๋ฌผ์ฒ˜๋Ÿผ ๋ถ€๋“œ๋Ÿฝ๊ณ  ์œ ์—ฐํ•˜๊ฒŒ ๋ˆ„๊ตฐ๊ฐ€์˜ ์ธ์ƒ์„ ๋ณ€ํ™”์‹œํ‚ค๊ธฐ๋„ ํ•œ๋‹ค.


#1. He survived May 18.ย 
Now, he drifts through Gwangju, a taxi his only companion.ย 
When I asked him about that day, his silence spoke louder than words.ย 
It seemed as though the guilt of surviving had soaked into his soul,ย 
A shadow he could never shake. He carries the memory still, vivid as ever,
But his voice faltered, unwilling to summon the past.

#2. In Seoul, the streets pulsed with Frieze, KIAF,
And a fever of events.
But I, by some stroke of fortune, found refuge in Gwangju.
Even here, the travelers trickled inโ€”
Art-world wanderers, fresh from Seoulโ€™s frenzy,
Drawn to the Biennale like moths to a flame.
As I moved from one exhibition to another,
A familiar weariness settled in,
And in a quiet moment, I remembered the face of that taxi driver,
Hesitant, burdened.
Do we speak too easily, too carelessly,
Of things that demand silence?

#3. September opened with art fairs,
Leading us into the Biennale,
And under the banner of an โ€œInternational Curator Course,โ€
Twenty of us gathered from all corners of the earth.
At the height of our exhaustion,
We spoke bitterly of biennalesโ€”
How they had swelled into spectacle.
Yet even in our doubt,
We could not deny the quiet power of art,
Its way of reaching out to the world.
It holds us fast, this beliefโ€”
That art might still change things.
A young curator, voice trembling,
Spoke the old words with new tears,
And I wondered, why did it move her so?
#4. Lipika Bhargava and Naho Taruishiโ€™s conversation,
<Movement of Water>,
Seemed to mirror all we had said,
A reflection of the endless connections we had traced.
As they spoke, I felt itโ€”
Everything is connected, everything flows.
Meeting the taxi driver, weaving through Gwangju,
I found myself changing,
No longer the same as the day before.
Like water shaping the land,
We are shaped by those we meet.
Art, like water, flows gently,
But it transforms lives with a quiet force,
Unstoppable in its course.

(Poetical translation by chat GPT4.0)





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