<놀이적 방식으로 실체화된 ‘집’이라는 가상현실>
김민정의 <집>은 영상매체에 대한 가장 익숙한 비판인 자연적/합성적, 진품/모조, 진실된/꾸민, 주어진/구성된 등의 불일치를 작가 자신의 존재 조건과 결부시킴으로써 <집>이라는 가상현실은 본질적으로 정신/육체의 이원론적인 분리와 팝옵티콘적인 조망체계를 놀이적 방식으로 실체화하게 된다. 즉 행위 영역 외부에서 객관적인 관찰자의 가능성에 간하게 묶여있던 관람자는 모순어법으로 쓰여진 <집>속에서 상호작용을 벌이면서 급진적인 재구성을 요구받게 된다.
영상설치 작업들이 들어선 전시장의 실재공간은 이제 벼과 천정, 바닥과 문으로 이루어져 채워지길 기다리는 빈칸, 단일하거나 동질적인 공간이 결코 아니다. 전시장의 물리적 공간을 생활세계와 밀착시킴으로써 작가의 실존이 실현되는 이 공간, <집>은 작가를 둘러싸고 있는 장소나 경관들에 대한 기억이 위협적이거나 불안한 어떤 것으로 고양되고 확장되면서 직접 경험되기에 이른다. 가상현실에 대한 작가의 실존적 개입은 전시장이 가지는 의미와 정체성의 범위를 합의된 가치로 확대시키고 있는 것이다.
이러한 의미와 정체성의 확대노력은 시각의 불완전성에 기초한 설치 방식을 통해 확연히 드러난다. : 전시장의 문, 벽면, 천장이라는 건축적 요소는 작품이 설치된 방이라는 실제 공간의 일부이다. 작품이 속한 현실 공간이 창문, 책장, 거실 가구들로 이루어진 영상의 가상적 세계와 연장선상에 놓여 짐으로써 작가는 실제 공간을 초월하는 어떤 공간도 부정하면서 작품의 의미도 그 연장 공간에 의해 주어지는 것임을 강조한다. 이 연장에 의해 실제 공간은 장식적 요소로 분리되지 않고 의미화 하는 활력을 얻고 있다.
임정희 (미학, 미술평론)
Visual Reality of 'House' substantiated by means of leisure way
'House' is the basic space where allows each individual and community member to identify his or her own identity. As an 'Existing Habitation Space', 'house' exhibits its inherent self-image which has attachment for certain situations or environments. Compared with the relations of 'attachment' that 'house' space has in essence, any other relation of attachment that any other space has takes the forms and meanings, to a limited extent. As the start point of courses and ways for exterior world we determine, 'house' does not exist anywhere, by chance. On the one hand, 'house' plays a central role not to be substituted with anything in the world. On the other hand, 'house' is dubbed as the element to help have universal and daily experiences for anyone, wherever he or she goes.
The first private exhibition held by Min-jeong Kim Artist displays the abovestated double characteristics of 'house', in a profound and ambiguous relations with the space where the artist dwells in. There is not separated but rather the mutually combined elements among the two artist group: one artist, who seeks to pursue somewhere else, in other words, 'there', losing a sense of attachment for 'house' space and disregarding the meaning of 'house', and, another artist, who perceives 'house' as 'here and now', where offers his or her own self-identity and value and the most meaningful experiences or events:. To put it in another way, 'house' space causes us to feel a desire to avoid the monotonous and repetitive everyday routine, and, at the same times, such space induces us to have a desire to settle the sharp severance and inconsistent deviation.
< House> exhibited by Min-jeong Kim Artist combines contradictory elements( the target of the greatest criticism for visual image media), such as natural/ synthetic, genuine/ faked, original/artificial, real/ composed elements, with the artist's self-existence conditions, so that the visual reality of <house> can substantiate 'dualistic separation' of body and mind' and 'panopticonistic' view systems, as 'leisure way'. When viewers are entirely focused out of behavior sphere by the objective visual points by observers, they're asked to establish interaction with 'house' and make the radical recomposition of <house> conceptualized as oxymoron.
The real space of exhibition hall dotted with visual image art works of wall, ceiling, floor and door is far from the single and identical space. This is not associated with 'empty space', which requires some objects to be filled. As the physical space of exhibition hall in a close contact with life world, 'house' makes it possible for the artist to materialize her self-existence. And, 'house' space leads the artist to experience and remind fearful or awful memories of spots or landscapes surrounding 'house'. The artist' existential intervention on visual reality means to expand the meaning and scope of exhibition hall and its identity as value values established.
The bid to establish such meaning and identity is conspicuously shown through the installment method based on imperfect visual elements. Architectural elements, such as door, wall and ceiling of exhibition hall, are a part of the real space equal to room where art works are installed. The real space of art works dotted with visual image world of window, bookshelf, and living room furniture conjure the artist to accept nothing but any space beyond real space, and highlight the meaning of visual image world-based art works. By doing so, the real space in the mutual connection with visual world is not separated as ornament elements but is combined with more profound and meaningful elements.
People usually say that fictitious imagination creates the image of house in complex of multiple meanings. By contrast, the identity of 'house' space is, finally, developed on the basis of observations and experiences, to the various extents. Of course, it goes without saying that the identify of < house> space can not be simply determined by observations of shape, appearance or standards of subject but by a set of combination factors. Thus, the first private exhibition of visual video image installation held by Min-jeong Kim Artist shows direct experiences and complex and gradual anticipatory awareness and combination processes, based on the exploration of identity of 'house', in a very pleasant, delicate and profound way.
Jung-hee Rim ( Aesthetics and Art Critics)
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