YoungJeong Oh
 
   

12:12 _ 2015

±Û¾´ÀÌ : YoungJeong Oh ³¯Â¥ : 2016-03-19 (Åä) 09:45 Á¶È¸ : 135



12-12.jpg

'Something from Nothing'_8 international artist's video art _ Yangon _ Burma(Myanma) _ 2016
Bangkok Underground Film Festival _ Bangkok _ Thailand_2017
[12 : 12 _ edition 1/3] is Collected at National Museum of Modern and Contemporary Art in Korea.



12 : 12

Running Time _  4 min  07 sec

Single Channel / 2015

 

     The work 12:12 is the question about time, which was made with images shot in Germany, France, Australia and Korea. At each moment when we repeat meeting and separating over and over again like ceaseless wind, I ask how awake we live.

     The work ¡¯12:12¡¯ expresses various kinds of time that humans divided implicitly, which can mean that each divided portion time is opposing each other selectively. Each portion of time named all differently in daily lives moves in the regular patterns while they hold their own standards. However, when we face time, as if we stood in front of the mirror, we only focus on the objects shown selectively by the focal point that moves with each being¡¯s free will, on the part of the object, or on the objects that we chose to see rather than each moment that we encounter. 

     In other words, being awake at each moment is possible according to individual¡¯s choice or even impossible. Therefore, we are able to stay in different past, future or present in the same time, and we can move around different time and space very voluntarily. That is, we, when we live the present, experience different time in the same time frame.

     The combination of ¡®month¡¯ and ¡®day¡¯ that is displayed as ¡®hour¡¯ and ¡®minute¡¯ is written symbolically like time in the clock, and expresses small units of time through big units implicitly. Certain marks of time that appear constantly in the work which seems like 12 hour long story might be either missed easily or focused more intensely through the flow of the images while the work is watched.

     While audiences watch the works, I intentionally make the audience miss the symbol and sound of time, and recommend them to follow the time I decided arbitrarily or let it go, so that they can stay at the moment for a while. Through the works, I let audiences think about the selective time that they miss or focus on, so that they can ask themselves how much they can feel the present that they face at each moment. 





12 : 12

Running Time _  4 min  07 sec

Single Channel / 2015

 

     µ¶ÀÏ, ÇÁ¶û½º, È£ÁÖ, Çѱ¹¿¡¼­ ÃÔ¿µµÈ ¿µ»óµé·Î Á¦ÀÛµÈ 12 : 12´Â ½Ã°£¿¡ °üÇÑ ¹°À½ÀÌ´Ù. ¸¶Ä¡ ¸ØÃßÁö ¾Ê´Â ¹Ù¶÷ó·³, ¸¸³²°ú Çì¾îÁüÀ» ¹Ýº¹Çϸç ÇöÀç »ì°í ÀÖ´Â ¡®Áö±Ý¡¯À̶ó´Â ¸Å¼ø°£¿¡ ¿ì¸®´Â ¾ó¸¶³ª ¿ÂÀüÈ÷ ±ú¾î »ì°í Àִ°¡¿¡ ´ëÇØ Áú¹®ÇÑ´Ù.

     ÀÛÇ°¸í 12 : 12´Â Àΰ£ÀÌ ³ª´©¾î ³õÀº ´Ù¾çÇÑ Á¾·ùÀÇ ½Ã°£À» ÇÔÃàÀûÀ¸·Î Ç¥ÇöÇÏ°í ÀÖÀ¸¸ç, ÀÌ´Â ¶ÇÇÑ °¢°¢ÀÇ ½Ã°£ÀÌ ¼±ÅÃÀûÀ¸·Î ÆØÆØÈ÷ ´ë¸³ÇÏ°í ÀÖÀ½À» ³ªÅ¸³»±âµµ ÇÑ´Ù. ÀÏ»ó ¾È¿¡¼­ °¢°¢ÀÇ ´Ù¸¥ À̸§µé·Î ¸í¸íµÇ¾îÁø ½Ã°£µéÀº Àú¸¶´ÙÀÇ ÃàÀ» °¡Áö°í ÀÏÁ¤ÇÑ ÆÐÅÏÀ¸·Î ¿òÁ÷ÀδÙ. ±×·¯³ª ¿ì¸®°¡ ½Ã°£À» ´ëÇÒ¶§¿¡´Â, ¸¶Ä¡ °Å¿ï¾Õ¿¡ ¼± »ý¸íüó·³, °¢ÀÚÀÇ ÀÚÀ¯ÀÇÁö·Î ¿òÁ÷ÀÌ´Â ÃÊÁ¡¿¡ µû¶ó ¼±ÅÃÀûÀ¸·Î º¸¿©Áö´Â ´ë»ó ¶Ç´Â ±× ´ë»óÀÇ ÀϺκÐ, ȤÀº º¸ÀÌ´Â ´ë»óÀÌ ¾Æ´Ñ ³»°¡ ÁýÁßÇÏ°í ÀÖ´Â ±× ÀÌ¿ÜÀÇ °Íµé¿¡ ´ëÇØ, ¸¸³ª°Ô µÇ´Â ¸Å ¼ø°£º¸´Ù ³»°¡ º¸·Á°í ¼±ÅÃÇÑ°Í¿¡ ÇÑÇؼ­¸¸ ÁýÁßÀûÀ¸·Î º¸°í ´À³¢°Ô µÈ´Ù.

     ´Ù½Ã ¸»ÇØ ¸Å ¼ø°£¿¡ ¿ÂÀüÈ÷ ±ú¾îÀÖÀ½Àº °¢ÀÚÀÇ ¼±Åÿ¡ µû¶ó °¡´ÉÇϰųª ºÒ°¡´ÉÇÏ´Ù. ±×·¸±â¿¡ ¿ì¸®´Â µ¿½Ã¿¡ ÁÖ¾îÁö´Â ¸Å ¼ø°£ÀÇ °°Àº ½Ã°£¾È¿¡¼­ °¢ÀÚ ´Ù¸¥ °ú°Å³ª ¹Ì·¡ ȤÀº ÇöÀç¿¡ ¸Ó¹«¸£´Â °ÍÀÌ °¡´ÉÇϸç, ¸Å¿ì ÀÚÀ¯·Î¿î ÀÚÀÇÀû ½Ã°ø°£Àû À̵¿ÀÌ °¡´ÉÇÏ´Ù. À̸¦ ´Þ¸® ¸»Çϸé, ÇöÀ縦 »ì¾Æ°¡´Â ¿ì¸®°¡ ¸Å ¼ø°£ °°Áö¸¸ °°Áö ¾ÊÀº °¢ÀÚÀÇ ´Ù¸¥ ½Ã°£À§¿¡¼­ ´Ù¸¥ ½Ã°£À» °æÇèÇÏ¸ç »ì°í ÀÖ´Ù°í ¸»ÇÒ ¼ö ÀÖÀ»°ÍÀÌ´Ù.

     ÀÛÇ° ¾È¿¡¼­ ¡®½Ã¡¯¿Í ¡®ºÐ¡¯À¸·Î º¸¿©Áö´Â ¡®´Þ¡¯°ú ¡®ÀÏ¡¯ÀÇ Á¶ÇÕÀº ¸¶Ä¡ ½Ã°è¼ÓÀÇ ½Ã°£Ã³·³ »ó¡ÀûÀ¸·Î Ç¥±âµÇ¾î ½Ã°£ÀÇ ÀÛÀº ´ÜÀ§ºÎÅÍ Å« ´ÜÀ§¸¦ ÇÔÃàÀûÀ¸·Î Ç¥ÇöÇÏ°í ÀÖ´Ù.¸¶Ä¡ 12½Ã°£µ¿¾ÈÀÇ À̾߱âó·³ ´À²¸Áö´Â ÀÛÇ°¿¡ °è¼Ó µîÀåÇÏ´Â ¾î¶² ½Ã°£ÀÇ Ç¥½ÃµéÀº, ÀÛÇ°À» °¨»óÇÏ´Â µ¿¾È ¿µ»óÀÇ È帧¿¡ µû¶ó ½±°Ô ³õÄ¡°Ô µÇ°Å³ª ´õ¿í ÁýÁßÇÏ°Ô µÈ´Ù.

     ³ª´Â ÀǵµÀûÀ¸·Î °ü°´ÀÌ ÀÛÇ°À» °ü¶÷ÇÏ´Â µ¿¾È ½Ã°£ÀÇ »ó¡°ú »ç¿îµå°¡ Àß ´À²¸Áö°Ô ¶§·Ð ³õÄ¡±â ½±°Ô ÀåÄ¡ÇÏ°í, °ü°´µé·Î ÇÏ¿©±Ý ³»°¡ ÀÓÀÇ·Î Á¤ÇÑ ½Ã°£À» µû¶ó¿À°Å³ª Èê·Áº¸³»°Ô ÇÏ¸ç ¶§·Î´Â Àá½Ã ¸Ó¹«¸£°Ô ±ÇÀ¯ÇÑ´Ù.

     ÀÛÇ°À» ÅëÇØ ³ª´Â °ü°´µé¿¡°Ô ÀÚ½ÅÀÌ ½º½º·Î ³õÄ¡°Å³ª ÁýÁßÇÏ´Â ¼±ÅÃÀû ½Ã°£µé¿¡ °üÇØ »ý°¢ÇÏ°Ô ÇÏ¿©, ¸Å ¼ø°£ ¸ÂÀÌÇÏ´Â ÇöÀ縦 ¾ó¸¶¸¸Å­ dz¿ä·Ó°Ô ´À³¢¸ç »ì°í ÀÖ´ÂÁö¿¡ °üÇØ ÀÚ¹®ÇÏ°Ô ÇÑ´Ù.