๋ณธ๋ฌธ ๋ฐ”๋กœ๊ฐ€๊ธฐ

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2025 ์—ฌ๋ฆ„ ๊ธ€๋กœ๋ฒŒ ์ „์‹œ ์ด์ •๋ฆฌ (feat. ๋ฏธ์ˆ ๊ด€๊ณผ ๋น„์—”๋‚ ๋ ˆ)

Suzanne Duchamp, Factory of My Thoughts, 1920. Photo  :  Courtesy Galerie Natalie Seroussi/©Suzanne Duchamp/2025, ProLitteris, Zurich

2025 ์—ฌ๋ฆ„ ๊ธ€๋กœ๋ฒŒ ์ „์‹œ ์ด์ •๋ฆฌ (feat. ๋ฏธ์ˆ ๊ด€๊ณผ ๋น„์—”๋‚ ๋ ˆ)

๋‹ค๊ฐ€์˜ค๋Š” ์—ฌ๋ฆ„, ์ „ ์„ธ๊ณ„ ๋ฏธ์ˆ ๊ด€๊ณผ ๋„์‹œ๋“ค์ด ์—ด๊ธฐ๋กœ ๊ฐ€๋“ํ•ฉ๋‹ˆ๋‹ค. ๋œจ๊ฑฐ์šด ํƒœ์–‘ ์•„๋ž˜๋กœ ์Ÿ์•„์ง€๋Š” ๊ด€๊ด‘๊ฐ์˜ ๋ฐœ๊ฑธ์Œ ์‚ฌ์ด, ์กฐ์šฉํžˆ ๊ทธ๋Ÿฌ๋‚˜ ๊ฐ•๋ ฌํ•˜๊ฒŒ ์‹œ์„ ์„ ๋ถ™์žก๋Š” ์ „์‹œ๋“ค์ด ์„ธ๊ณ„ ๊ณณ๊ณณ์—์„œ ๊ฐœ๋ง‰ํ•˜๊ณ  ์žˆ์ฃ . ๊ทธ๋ฆฌ๊ณ  ์˜ฌ์—ฌ๋ฆ„์—๋Š” ๋ฒ ๋ฅผ๋ฆฐ๊ณผ ๋ฆฌ๋ฒ„ํ’€์—์„œ ์—ด๋ฆฌ๋Š” ๋น„์—”๋‚ ๋ ˆ๋„ ์žˆ๋‹ต๋‹ˆ๋‹ค. ์˜ฌ์—ฌ๋ฆ„ ๋‹ค์–‘ํ•œ ๋„์‹œ์—์„œ ๋ฏธ์ˆ  ์• ํ˜ธ๊ฐ€๋ผ๋ฉด ๋†“์น  ์ˆ˜ ์—†๋Š” ์ „์‹œ๋“ค์ด ๊ธฐ๋‹ค๋ฆฌ๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค. ์—ฌ๋ฆ„ํœด๊ฐ€๋ฅผ ๊ณ„ํšํ•˜๊ณ  ๊ณ„์‹œ๋‹ค๋ฉด, ๊ทธ ์—ฌ์ •์— ํ•œ ๋ฐœ์ž๊ตญ ๋” ๋‚˜์•„๊ฐ€ ์ด ์‹œ๋Œ€ ์˜ˆ์ˆ ์˜ ํ๋ฆ„์„ ๊ฒฝํ—˜ํ•ด๋ณด๋Š” ๊ฑด ์–ด๋–จ๊นŒ์š”? 

 

A 2024 show by Barbara Kruger at the ARoS Aarhus Art Museum in Denmark. Photo  :  Anders Sune Berg/Courtesy the artist,ARoS Aarhus Kunstmuseum and, Sprüth Magers

๋ฎค์ง€์—„ ์ „์‹œ

  • ์ˆ˜์ž” ๋’ค์ƒน(Suzanne Duchamp)
    ์Šค์œ„์Šค ์ทจ๋ฆฌํžˆ, Kunsthaus Zürich, Zurich, 6์›” 6์ผ – 9์›” 7์ผ
    ๋‹ค๋‹ค์ด์ฆ˜ ์—ฌ์„ฑ ์ž‘๊ฐ€์˜ ์ฒซ ํšŒ๊ณ ์ „. ๊ธฐ๊ณ„์™€ ์–ธ์–ด์˜ ์ถฉ๋Œ์„ ๊ทธ๋ฆฐ ์ž‘ํ’ˆ์„ ์žฌ์กฐ๋ช…ํ•ฉ๋‹ˆ๋‹ค.
  • ๋ณผํ”„๊ฐ• ํ‹ธ๋งŒ์Šค(Wolfgang Tillmans): Nothing could have prepared us – Everything could have prepared us
    ํ”„๋ž‘์Šค ํŒŒ๋ฆฌ, Centre Pompidou, Paris, 6์›” 13์ผ – 9์›” 22์ผ
    ํํ”ผ๋‘ ๋„์„œ๊ด€์—์„œ ํŽผ์ณ์ง€๋Š” ํ‹ธ๋งŒ์Šค์˜ ์ž์œ ๋กœ์šด ์‚ฌ์ง„ ์‹คํ—˜. ๋ฏธ์ˆ ๊ด€๋‹ค์šด ์ „์‹œ๋ฅผ ๋„˜์–ด์„œ.
  • ์ƒ˜ ๊ธธ๋ฆฌ์—„(Sam Gilliam): Sewing Fields
    ์•„์ผ๋žœ๋“œ ๋”๋ธ”๋ฆฐ, Irish Museum of Modern Art, Dublin, 6์›” 13์ผ – 2025๋…„ 1์›” 25์ผ
    ๋Œ€์„œ์–‘์˜ ๋ฌผ๊ฒฐ๊ณผ ์ค‘์ฒฉ๋˜๋Š” ์ƒ‰์ฑ„. ๊ธฐ์šธ๊ณ  ํ˜๋Ÿฌ๋‚ด๋ฆฌ๋Š” ํšŒํ™”์˜ ์ง„ํ™”.
  • ๋ฃจ๋ฐ”์ด๋‚˜ ํžˆ๋ฏธ๋“œ(Lubaina Himid): Connecting Thin Black Lines 1985–2025
    ์˜๊ตญ ๋Ÿฐ๋˜, ICA, London, 6์›” 24์ผ – 9์›” 7์ผ
    ํ‘์ธ ์—ฌ์„ฑ ์˜ˆ์ˆ ์‚ฌ์˜ ๋ฐœ๊ตด์ž ํžˆ๋ฏธ๋“œ, ๊ทธ๋…€์˜ ํ๋ ˆ์ดํŒ… ์ž‘์—…์„ ํ†ตํ•ด ๋ณธ ๋™์‹œ๋Œ€ ๋ฏธ์ˆ ์˜ ์ง€ํ˜•.
  • ๋ฐ”๋ฒ„๋ผ ํฌ๋ฃจ๊ฑฐ(Barbara Kruger)
    ์ŠคํŽ˜์ธ ๋นŒ๋ฐ”์˜ค, Guggenheim Bilbao, Spain, 6์›” 24์ผ – 11์›” 9์ผ
    ์ด๋ฏธ์ง€์™€ ํ…์ŠคํŠธ๋กœ ์ด๋ฃจ์–ด์ง„ ๋‚ ์นด๋กœ์šด ๋ฉ”์‹œ์ง€. ๋ฐ”๋€ ์ž‘์—…๋„ ๋†“์น˜์ง€ ๋งˆ์„ธ์š”.
  • ๋”ฉ์˜Œ์œต(Ding Yanyong) ์™ธ: Canton Modern: Art and Visual Culture, 1900s–1970s
    ์ค‘๊ตญ ํ™์ฝฉ, M+, Hong Kong, 6์›” 28์ผ – 10์›” 5์ผ
    ๊ด‘์ €์šฐ·ํ™์ฝฉ ์ค‘์‹ฌ์˜ 20์„ธ๊ธฐ ๋ฏธ์ˆ ์‚ฌ ์žฌ๊ตฌ์„ฑ. ์‹คํ—˜์˜ ์—ฌ์ง„์ด ์ง€๊ธˆ๋„ ๋А๊ปด์ง„๋‹ค.
  • ์ด์‹ ์ž(Lee ShinJa): Drawing with Thread
    ๋ฏธ๊ตญ ์บ˜๋ฆฌํฌ๋‹ˆ์•„ ๋ฒ„ํด๋ฆฌ, Berkeley Art Museum, California, 8์›” 6์ผ – 2025๋…„ 2์›” 1์ผ
    ์‹ค๋กœ ๊ทธ๋ฆฐ ํ’๊ฒฝ๊ณผ ๊ฐ์ •์˜ ๊ฒฐ. ๋ฒ„๋ ค์ง„ ์ฒœ์ด ๋งŒ๋“  ์ถ”์ƒํ™”์˜ ์˜จ๊ธฐ.
  • ๊น€์ฐฝ์—ด(Kim Tschang-Yeul)
    ํ•œ๊ตญ ์„œ์šธ, ๊ตญ๋ฆฝํ˜„๋Œ€๋ฏธ์ˆ ๊ด€, ์„œ์šธ, 8์›” 22์ผ – 2025๋…„ 1์›” 4์ผ
    ๋ฌผ๋ฐฉ์šธ๋กœ ์™„์„ฑํ•œ ‘๋ฌด’์˜ ํšŒํ™”. ๊น€์ฐฝ์—ด์˜ ๊ถค์ ์„ ๋”ฐ๋ผ๊ฐ€๋Š” ๋Œ€๊ทœ๋ชจ ํšŒ๊ณ ์ „.

12th Berlin Biennale, 11.6.–18.9.2022, Postering Workshop as part of Nil Yalter’s artwork  Exile Is a Hard Job , 1983/2022, with Nagham Hammoush and Ruฬˆzgaฬ‚r Busฬงki; installation view. Photo: Silke Briel

๋น„์—”๋‚ ๋ ˆ ์†Œ์‹

  • ๋ฒ ๋ฅผ๋ฆฐ ๋น„์—”๋‚ ๋ ˆ(Berlin Biennale)
    ๋…์ผ ๋ฒ ๋ฅผ๋ฆฐ, Berlin, Germany, 6์›” 14์ผ – 9์›” 14์ผ
    ํ๋ ˆ์ดํ„ฐ ์ž์ƒค ์ฝœ๋ผ(Zasha Colah)๋Š” ๋„์‹œ์˜ ์—ฌ์šฐ์—์„œ ์˜๊ฐ ๋ฐ›์•„ ‘์™ธ๋ถ€์ž’์˜ ์ •์˜๋ฅผ ํƒ๊ตฌํ•ฉ๋‹ˆ๋‹ค.
  • ๋ฆฌ๋ฒ„ํ’€ ๋น„์—”๋‚ ๋ ˆ(Liverpool Biennial)
    ์˜๊ตญ ๋ฆฌ๋ฒ„ํ’€, Liverpool, UK, 6์›” 7์ผ – 9์›” 14์ผ
    ๋งˆ๋ฆฌ์•ˆ ๋งฅํ€˜์ด(Marie-Anne McQuay) ๊ธฐํš, ์ง€์—ญ์„ฑ๊ณผ ์—ญ์‚ฌ์  ์ง€์ธต์— ๊ธฐ๋ฐ˜ํ•œ 30์—ฌ ์ž‘๊ฐ€์˜ ์ฐธ์—ฌ ์ „์‹œ. ์ฐธ๊ณ  ๊ธฐ์‚ฌ

 

์˜ˆ์ˆ  ์• ํ˜ธ๊ฐ€๋“ค์€ ๊ผญ ์ฑ™๊ฒจ๋ณด๋Š” ๋‰ด์Šค๋ ˆํ„ฐ

๐Ÿ‹๋น„๋กฏ ์•„ํŠธ ๋‰ด์Šค๋ ˆํ„ฐ ๊ตฌ๋…ํ•˜๊ธฐ