2016 Landed Ocean - Oyster Land - The Space 72, Incheon 인천아트플랫폼

2016-08-26 00:00:00

땅이 된 바다_ 굴 땅 Landed Ocean _ Oyster Land

H12mx W7m x D6m 공간에 가변설치, 만석동 굴껍질, 무명실, 와이어, Led 미광, 모션센서, 2016

variable installation on H12mx W7m x D6m space, Oyster shells from Mansukdong Incheon, cotton threads, wire, Led Light, motion sensor, 2016

2016땅이된바다01.jpg

About My show, Landed Ocean, it's made by Oysters from this aria.

From History, People stay this place, are because of war or to get the job etc.

People came here with empty hands but The see give see food and Oyster. When they take Oyster to sale to take care of their family, after then Oyster shells are pile up. They build land to live by oyster shells. So that reason, the see-side become the land to available place to built their house.

I try to show 'This place use to be Ocean and This people use to be nomad, And The Ocean become a land for Human and The People become a settler for their family.'

Those who had come into the sea empty-handed and saved their family by hardening the ground and setting up their dwellings
The sea that has willingly allowed them to settle

The town that was a sea

The houses that were a sea

The streets that were a sea

People that were a sea

The sea’s dream hidden behind an invisible land while settling for a while

The tale of the sea that has allowed people to occupy it

And, their stories

Migrants without their own land who lived by the seaside while surviving and feeding their families with oysters offered by the sea. A huge pile of oyster shells that are abandoned and stacked like a mountain ------ An oyster shell, which was a dwelling for one creature, is used by another creature (humans). Humans built their dwellings on the land reclaimed with oyster shells. The land reclaimed with oyster shells was gradually widened, and many do not know this land was originally part of the sea. This work suggests there is the sea, which allowed men or oysters to live here, an invisible site. This installation work is a representation of labor and survival blossoming like a dream and growing like a vine.

When on a field trip to Manseok-dong, Incheon in the winter of 2015 for our art museum’s inaugural exhibition (Between House and House, Space ADO), I had an opportunity to look into the facets of this area and those living there. Residents in Manseok-dong, Incheon are living a very simple, frugal lifestyle. Only oyster shells and briquette ashes are abandoned here. The abandoned oyster shells are used to reclaim the land. Those shells were used to fill the land on which we are standing now. Oyster Land takes note of stories of the land springing from the harsh lives of those living on the seaside of Incheon as well as stories of oysters used as a means of living, residents who live in the land reclaimed with those oyster shells, and the sea that allowed people to survive.

빈손으로 바다에게 와

땅을 짓고 집을 세워 가족을 지킨 사람들

그들을 위해 기꺼이 정착해준 바다.

바다였던 도시

바다였던 집들

바다였던 길

바다였던 사람들

잠시 정주하지만, 보이지 않는 땅 속에 숨은 바다의 꿈

사람에게 자신을 내 준 바다 이야기

그리고 그런 사람의 이야기

/20160801 KimSoonim

2016땅이된바다02.jpg

바닷가에 이주한 땅 없는 사람들은 바다가 공짜로 내어준 굴을 캐어 팔아 가족과 자신을 생존케 하면서 오랜 시간 이 곳에서 살았습니다. 팔고 버려지는 것은 산처럼 쌓이는 굴 껍질들... 한 생명체의 집이었지만, 또 다른 생명(사람)을 위해 내어주고, 그 껍질들로 다시 해변을 메우고 땅을 개간하여 이 사람들은 집을 짓고 살았습니다. 굴로 된 개간된 땅들은 점점 넓어져 이제는 이곳이 원래 바다였다는 것조차 알 수 없지만, 이곳엔 사람이든 굴이든, 생명을 담았고, 살게 했던 것들이 보이지 않는 곳에 있습니다. 노동과 생존이 꿈처럼 피어나고 넝쿨처럼 자란 형상을 풍요의 이미지로 표현하는 설치작업입니다

창작 계기

2015 겨울 인천 만석동 우리미술관 개관전(집과 집 사이_정상희 기획)을 위해 만석동 지역리서치를 하면서 이 지역과 이곳 사람들의 삶의 단편을 들여다 볼 수 있게 되었습니다. 인천 만석동은 매우 검소한 사람들이 사는 곳입니다. 이곳에서 버려지는 것은, 내다팔고 남은 굴 껍질과 연탄재 뿐 일 정도입니다. 이 검소한 곳에서 조차 버려지는 굴 껍질은 사실 오랫동안 이 지역에 쌓여 땅으로 개간되는데 쓰였다고 합니다. 우리가 지금 밟고 있는 땅 아래를 채운 것이죠. <땅이 된 바다_굴땅>은 인천 해안가 사람들의 고된 삶의 역사가 만들어낸 땅의 이야기를, 그 지역의 생계수단인 굴, 그 껍질로 덥혀 개간된 땅 위에 사는 사람들, 그리고 자신을 내어준 바다의 이야기에 주목한 작업입니다.

제작 과정

2015. 11월 4일 만석동의 딱구네에서 굴껍질 4포대를 기증받았다. 그 해 겨우내 씻고, 말리고를 반복하며 손질하고, 2016 삼사월을 작품의 형태를 구상하였다. 굴껍질을 천공작업을 하였으며, 오월에는 인천 아트플렛폼에서 설치할 장소를 확정하였다. 육칠월을 무명실로 넝쿨과 줄기를 감고 야외에서 내구성을 실험하였다. 조명의 배치와 전기배선디자인을 하고, 최종 설치 모형과 설치플랜을 계획하였다. 팔월, 열흘간 야외의 현장규모에 맞게 현장에서, 8월 22일에 설치를 마무리하고, 2016. 8월26일에 개인전을 통해 발표하였다. 66일간의 전시후, 11월 7일 철수, 모든 설치과정과 철수과정이 영상으로 기록되었다.

Landed Ocean

People who migrated to the coast, but did not own land, survived by collecting oysters from the sea, which they sold for their families and themselves so that they could continue living there for a long time. Empty oyster shells collect into a huge pile after they have been sold. Although they may have once served as shelters for sea creatures, in the end they are simply discarded by other organisms (humans). People fill up the entire beach with these shells, reclaim land from the sea, and build houses on top of the infill. The reclaimed land covered with oyster shells gradually expands, making it impossible to discern its original state as a ea containing these creatures that made it possible to live, and which now can only be found in hidden places. I sought to express the shape wherein labor and survival merge to bloom like dreams and grow like vines in an image of abundance.

When I conducted research for the opening exhibition at Woori Art Museum in Manseok-dong, Incheon (Space Between House and House, curated by Jung Sanghee) in Winter 2015, I took a close look into this area and the fragments of people’s lives here. Residents of Manseok-dong are very frugal. It can be said that the only things thrown away in this village are empty oyster shells and bouquet ashes. For a long time, oyster shells that were discarded even in this frugal neighborhood were piled up and used for land reclamation. They accumulated under the ground that we stand on today. Landed Ocean focuses on the story of land, following the history of human settlement on the shores of Incheon, the oysters that provide a means of living, the residents who live on reclaimed land covered with oyster shells, and the sea that offers itself to people.

On November 4, 2015, I was given four sacks of oyster shells by Ddakgu’s family in Manseok-dong. I cleaned them through a repetitive process of washing and drying, before planning the work’s form in March and April 2016. I perforated the oyster shells and finalized an installation site at Incheon Art Platform in May. From June to July, I tested the materials’ durability outside by winding vines and stems with cotton thread. Then, I designed placement lighting and electric wiring, before finally formulating an installation model and installation plan. After working for ten days at the outdoor site, I finished installing the work on August 22, and on August 26, 2016 I opened my solo exhibition. The work was on display for 66 days until November 7, during which time I recorded every step of the production and removal process on video.