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contents
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place
COVERNAT
cover
EUN ME AHN
art
Dirk Fleischmann
brand
HYUNGSEOK YUN
music
Robb Harker
art
KATO AI
media
CHANG SUK JONG
fashion
FASHION DESIGNERS IN SEOUL
collection FACE EXPRESSIONS drawing
POJANGMACHA in Seoul
art
JUNK HOUSE
project
BADABIE NEVER DIE
creators
4 Swedish Artists
web
SOCIAL FUNDING PLATFORMS
photo
SHIN HYE RIM
fashion
BEIJING REVELATION by Vincent Sung
fashion
November Night by freaks
project
NON:TEMPORARY SOLUTIONS
Cover. EUN ME AHN Photographer. CHOE YOUNG MO
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staff Editor in Chief Jeon WooChi / jeonwoochi0625@gmail.com Art Director Yom Snil / yomsnil@gmail.com Editor Jean Choi / younjean.choi@gmail.com Anna Choi / egoidealism@gmail.com IDA Gr์ฑnd์ฑ s-Rhee / idaateloquence@gmail.com UNA SeungEun Lee / unalee2180@gmail.com South East Asia Editor Vincent Sung / vsbangkok@gmail.com London Editor Suk Kyung Yun / yurusi@gmail.com Tokyo Editor Yuta Sugihara / yuta.sugihara@gmail.com Amsterdam Editor EunKyung Hwang / ikben.ekh@hotmail.com Writer / Contributor Andy St. Louis / andy@concreteexperience.org Tae Ho Kim / t4eho@hotmail.com Hyo Bong Chong / ggg6999@naver.com Head Designer Yoon Jeong Lee / ggong1110@naver.com Assistant Designer Mi Kyung Kwon / ggmmgg@naver.com Hae Ran Jeong / rinhol86@naver.com Ji Eun Kwon / kwonje0508@nate.com Su Rim Nam / s2sr1003s2@naver.com Photographer Jun O Hwang / raphip@gmail.com Max Eeow / max.zhihong@gmail.com Translator Esther Hwang / soyoonie87@gmail.com Web Designer Yong Hoon Kwon / kwonyh@teentimes.org Ji Young Kang / 357@hanmail.net Advertising Kyu Soo Bang / giftbang@naver.com
Chairman Deog Soo Lee / president@teentimes.org President Jung Sik Lee / core@timescore.co.kr Chief Manager Kevin Tak / starbiggy@gmail.com Julia Baik / cutejuliabaik@gmail.com IT General Manager Kang-il Kim / kang_il@teentimes.org IT Management Team Jung Hun Kim / kjh@teentimes.org Yo Han Kim / tolerance@teentimes.org Distribution Sung Sook Choi / choi740710@teentimes.org
ELO QU ENCE international creators magazine
Times Core Co. E&C Tower 8th Fl., 46 Yangpyung dong 3ga, Yeongdeungpo gu, Seoul, Korea 150-103 Phone. 02.392.3800 / Fax. 02.392.1800
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contributors
Natali Jacobsen
Vincent Sung
Jeong Ho Kim
Natali, who modeled for the <November Night by Freaks> pictorial, is actually a creator who majored in video documentary in London. She was willing to become a wonderful model for us as soon as I sent her an SOS for the pictorial shooting. She must have been very tired due to the RUFXXX performance she attended every weekend, but she did her best during the shooting. Eloquence has prepared special fashion pictorial sections to show her free, lively energy. So please keep your eyes wide open!
I was so lucky to came across with Vincent at the gallery party. We started a conversation and talked about the fashion trends and Asian trends. We ended up agreeing to work together for the November issue with his Beijing pictorial. Vincent is playing an active part in Asia, including Seoul, Bangkok, Beijing, and Cambodia. He is the real International Creator we have been looking for! You can expect to see more of his creative work as he promised to keep working with us! www.wix.com/vsbangkok/loft16
Eloquence conducted its first ambitious collaboration project, <POJANGMACHA PROJECT>, with photographer Jeong Ho Kim. His angles are warm and considerate. He made street stalls at Gwangjang Market, Namdaemun, and Jongno shine with his angels. Jeong Ho Kimโs active direction and nice attitude helped make the shooting pleasant. We wouldnโt have been able to complete the details of the project if it wasnโt for him. We will keep doing our <POJANGMACHA PROJECT> next month with Jeong Ho Kim. Please show us your magic again!
Jae Min Son
Ozak
Jangsoo Rho
Photographer Jae Min Son showed up in front of me like savior when I was nervous about interviewing Ahn Eun Me, who is known as a sensitive celebrity. He is a talented photographer who is running a studio 915 Gallery in Garosugil. His magical, sensible skills that made the shooting go smoothly even made Ahn Eun Me, who could spare only a short time for the interview due to her tight schedules, say โThank you.โ We were extremely lucky to have a chance to work with such a wonderful photographer. www.jaeminson.com
So many people have helped make the November issue, but if I have to choose only one person who contributed the most, I would pick Ozak without any hesitation. He helped Eloquence have its own unique color by conducting the fashion shooting artfully. He created cubic visual effects by using the hidden spaces inside the studio and produced smooth but strong mood with the combination color lightings. I hope to see his photos in Eloquence in the next issue, too. www.studiodummy.com
It wasnโt easy to find a quiet and nice place for an interview with Shin Hye Rim on Saturday morning. When we were panicking about the location, Jangsoo Rho suddenly appeared from nowhere and invited us to Grafolio Cafe before its grand opening. Grafolio Cafe is now open to the public in Hongdae. It is the creatorsโ playground, so youโd better stop by and show your creativeness there. Or check out the famous website. www.grafolio.net
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place
COVERNAT
Eloquence visited the first showroom of the famous COVERNAT. It is nestled in a sequestered residential area in Seoul, free from the throb of the center of the city. It looked like a quaint mountain cabin.
Editor. Jean Choi Photographer. Jun O Hwang
I had to check the navigation on my smartphone so many times to find COVERNAT. As I walked along the quiet alley in the residential area, I doubted whether the showroom really was here. But then, when I found the entrance of COVERNAT, I smiled. โThe concept of COVERNATโs showroom is a โmountain cabinโ. Previously, a mountain cabin used to mean a space where we could be protected by, as well as communicate with, nature. I wanted to provide the visitors with a quiet, peaceful place, staying away from the noisy, hectic world.โ Yun Hyungseok, the CEO of COVERNAT, chose Nonhyund-dong instead of boisterous Hongdae and Garosu-gil as the base for the company. Another reason was that popular areas with a lot of circulating population may not able to show the identity of COVERNAT. He remodeled a house into the first showroom which holds the misshape and warmth of a mountain cabin.
When you enter the place, with its wooden floors and brick walls, the first thing that you probably will notice will be the imported stuffed deer and the wooden chandelier. However, you should take a close look at the iron hanger, cabinet, and counter. These interior items were created by Shin Hyung-soo, the vocalist of the punk band Johnny Royal and a metal craft designer for Sheen TripleSix. While taking a look at the metal plaques on hand-made items at the COVERNATโs showroom yard, you will notice that the showroom itself is a work of art just like a piece of clothes. โI hope many people come here even if they donโt actually purchase my clothes. I would be happy if they feel the spirit of COVERNAT. I also hope my showroom can offer them a little leeway to forget about the hectic life for a moment.โ COVERNATโs showroom in Nonhyun-dong may be the first one and the last. However, one thing is for sure. It is one of the must-go places in November.
covernat 23-12 Nonhyeon-dong, Gangnam-gu, Seoul 82-2-388-3316 www.covernat.net
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exhibition review
2011 HAEIN ART PROJECT : TONG Defining a new paradigm in contemporary art exhibition praxis at Haeinsa Temple.
Editor. Anna Choi Writer. Andy St. Louis
Atta Kim, Ice Buddha (2011)
Buddhism and contemporary art donโt often go hand in hand; the formerโs tradition, discipline and uniformity presenting a seemingly impossible obstacle to any sort of conciliation with the latter. And yet, in keeping with the Buddhaโs tenet of non-duality, a temple in rural South Korea is attempting to do just that. The theme for this, the first exhibition of its kind in Korea, derives from the Eastern concept tong, or โlink.โ Inaugurated at Haeinsa Temple to commemorate the millennial anniversary of its prized treasureโa UNESCO-designated collection of hand-carved woodblocks containing the Buddhaโs teachings called the Tripitaka Koreanaโthe exhibition brings together works by 34 artists in a platform for exchange between different ideologies, cultures, traditions and genres of art. The common ground revealed to exist among these disparate elements, combined with the dialogues that emerge through the interactions between contemporary art, exhibition visitors, the templeโs monastic community and even the physical temple itself, renders the 2011 Haein Art Project a landmark exhibition, not just for the Buddhist community here, but indeed for the entire nation. The exhibitionโs conceptual framework, which also nurtures notions of passage, opening or deep understanding, encourages visitors to explore their own personal interpretations of tong via the works installed throughout the temple complex. Yu Araki foregrounds magnitude and materiality in his site-specific outdoor installation Big Numbers (2011), in which a veritable field of 80,000 hand-numbered river stones stands in for the Tripitaka Koreana itself; its enormity, its longevity, and its existential significance as the concrete form of an ideology and worldview. Three Women (2008), Bill Violaโs single-channel video
installation from the 2007 Venice Biennale, explores the human condition vis-ร -vis the lenses of spectatorship, introspection, and meditation. Nonverbal communication of a relational variety finds resonance in Meeting of Beings (2011) by Tammy Kim, the exhibitionโs most accessible installation, drawing its artistic power via its absolute aesthetic simplicity, ergo beauty. Shades of meaning are excavated and re-evaluated throughout the exhibition, each work contributing to an ongoing discursive exchange with visitors on an individual level. Given the location and occasion for this yearโs Haein Art Project exhibition, references to Buddhist imagery were inevitable, yet curators Yu Yeon Kim and Jiwoong Yoon made the right decision to avoid overtly religious work. Atta Kimโs temporary installation Ice Buddha (2011) was the only exception to this policy, but its effortless coupling of sacred and secular lent it a transcendence beyond classification. Installed at the head of one of the templeโs largest dharma halls, Kimโs 5 foot-tall ice sculpture of a seated Buddha slowly melted away into nothingness over the course of the exhibitionโs opening week. Visitorsโ reactions to the piece reflected its potency to engage all manner of audiences within the framework of the exhibitionโs theme; children stood in awe, dumbstruck by the translucent refractive properties of the ice, while adults performed ritual prostrations in its presence, a show of respect conventionally offered only to official Buddha images enshrined on altars. These participatoryโnot performativeโinteractions with Kimโs work were testament to the pre-cognitive responses to art that represent the essence of tong, and the unique strength of the exhibition at-large.
2011 Haein Art Project : ้ | ํต | Tong September 23 โ November 6, 2011 Haeinsa Temple Gyeongsangnam-do, South Korea
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music
SAYCET
Young French musical project group โSaycetโ is coming to Seoul in November. It is the perfect time to enjoy dreamlike music live.
Editor. Jean Choi
Saycet is the brainchild of Pierre Lefeuvre, a French composer hailing from Paris who cut his teeth listening to Boards of Canada and Mรบm. His first solo album entitled <One Day at Home> was warmly acclaimed by the national critics including TRAX and Les Inrockuptibles. The nine atmospherical tracks evoke abstract landscapes and fairly tales for adults from song to song. Now joined by vocalist Phoene Somsavath who brought her delicate signature voice, Saycet embraces vivid arrangements and crafts a unique brand of experimental pop. The year long collaboration has given birth to a second album <Through the Window> to be released this year. With waltzing melodies, layered keyboards, detailed electronics
and discrete vocal samples that breeze in and vanish, Saycet takes the listener on a timeless journey. Some people say that Saycetโs music is completed by VJ Zita Cochet, with her video projections emphasizing the cinematic aspect of their music. The images are colorful shapes and shades, bright lights fading out, playing hide-and-seek with the melodies, and underlining the poetry of their universe. These amazing musicians are now preparing for a concert in Seoul on November 4th. It would be a great opportunity for music lovers to experience the French daydreaming emotion live.
Saycet โ 1st live in Seoul
opening band : Sogyumo Acacia Band November 4, 2011 (FRI) Rolling Hall, Hongdae Presale : 25,000 won / At door : 30,000 won (+ ONE FREE DRINK) Ticket info and reservation : Mint Shop / shop.mintpaper.com (KR) English/French booking: send an email to info@brokenteeth.kr Presented by Brokenteeth - Panda Media Supported by Sky Music, Table Sound www.brokenteeth.kr
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issue
COLLABORATION NEWS Editor. Jean Choi
Versace for H&M
Versace for H&M will finally go on sale worldwide on November 17. Perfectly prepared collections for women from leather decorated with studs, dresses with colorful prints, high heels, and jewelry as well as collections for men including bold-colored tuxedoes, belts, and jewelry are appealing enough to catch fashionable peopleโs attention. Donโt be sad if faster fashion leaders take them all. In this collaboration, homewear items have been included for the first time and you can buy items from the spring collections designed by Versace online in January next year. www.hm.com
Rhodia X Bob Foundation
The French brand Rhodia, which has been loved by artists and creators, recently invited a design group called Bob Foundation to newly create the cover design for the RHODIA No.11 Notepad. Bob Foundations produced three kinds of covers with a bi-folding rubber construction to protect the orange signature of Rhodia. The covers are called โButtonโ, โZipperโ, and โNecktieโ and they are not available in Korea. But you can get them on a Japanese website QUO VADIS for ยฅ945. www.quovadis.co.jp
Maison Martin Margiela X Cutler & Gross
Maison Martin Margiela and the London-based eyewear brand Cutler & Gross will introduce their sunglass lines for the second time, after last yearโs successful collaboration. The sunglasses feature details inspired by four different themes. The collaboration sunglasses, which are handmade in Italy, will go on sale this month at Maison Martin Margiela boutiques and selec shops for glasses.
Daft Punk X Coca-Cola
Daft Punk has been continuously collaborating with Coca-Cola and the soda company recently introduced a new edition. Daft Punk attracted the fanaticsโ attention once again by covering the Coca-Cola logos with 925 silver and 18k gold and by designing caps inspired by their helmets. Although you may want to drink Coca-Cola while listening to their funky music, they produced and sold only 20 of them. So, we will have to enjoy them only in the picture.
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cover
EUN ME AHN
Dressed in a red outfit, Eun Me Ahn moves her florid body as her voice emits an impressive amount of energy. A person had warned me about her scary personality, but throughout the interview, I only felt the air of pleasantry. In fact, I was able to leave the place charged with a load of Eun Me Ahnรข&#x20AC;&#x2122;s energy.
Editor. Anna Choi Photographer. Jae Min Son
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Q. How were you able to strive and live your life out as an artist and choreographer? Itโs because I love it more than anything else. Body language is less complicated than speech. Thatโs why itโs very fun and limitless. People can reach satisfaction with their work, lose interest, and then stop doing what theyโve been doing. But that satisfaction is never-ending for a creator. Thatโs why I can always challenge myself and strive for more as a composer. Q. Iโve heard that you studied Korean Dance since a young age. What was it that got you started? As a child, Iโd barely sleep and just run around and play. Since I wasnโt learning any language at that age, I didnโt know what that kind of energy signified. One day I saw a bunch of performers on the street and remember liking their costumes a lot. I thought, โIf I learned to dance, I could be wearing these kinds of clothes too.โ I was five at that time. Q. What were you parentโs opinions then? Those were difficult times, and my parents would not let me study dance. So, I just fooled around by myself imagining what dancing would be like. If I think about it now, I think it was probably better that things worked out that way. If I started dance in a classroom, I probably wouldโve ran away right from the start. I donโt really sit well with commands and directions. Q. I can feel the strength behind your words. Do you ever get frustrated with only using motions to express yourself on the stage? Not really. Only dancers know the taste of dancing. I sometimes view speech as an act of diminished accuracy. Sometimes speech just flies away. Speech is only a reciting of letters based on what we know in our system of meanings. But movement is another type of language. Expressions of the body can be frightening and dark, but once a movement is completed, it feels as if youโre coming out from a dark cave after an expedition; a feeling of being born again, as if youโve re-entered your motherโs womb, and are coming out again. Every time you come out, you gain a new life. This is possible because we donโt use speech.
Q. What kind of merits does dancing have for you? At the very least, body language is a superior way for me to be more detailed in my communication. I like people, and dancing is tool I use to use to communicate with them. Dance does not include words, but it helps the communication with another to develop faster. The language from the body is a lot more honest than the language of words. It even has the advantage of transcending international borders. Q. I guess thatโs why youโve turned classic Korean tales into a dance and introduced them to the international world. Iโve worked on <The Chunhyang Story> and <Symphoca Princess Bari>. I started working on <Symphoca Princess Bari> since 2002. When people who donโt know much about Korea watch these performances, they get to think about Korean culture and sentiments, or they get the desire to find out more about Korean culture. Q. Why did you want to do traditional Korean topics? Itโs because Iโm Korean. Isnโt it proper for a daughter to know about her family? Fundamentally, itโs easier for people to understand things better once they have a good grasp of the spatial and chronological aspects of their roots. Because Iโm Korean, I have a certain uniqueness, and I believe itโs very important for us to be curious about that originality. Q. I donโt think itโd be easy job to get audiences of different cultures to sympathize with Korean folk culture. Thatโs the same for any situation. Being Korean is not the only difficult thing, because touching others and getting people to sympathize are difficult for any countryโs culture. The real difficult job is communicating a subject with sophistication and purpose. That is why it is my job as well as a job for many other creators to figure out how to recreate a traditional subject into something that would fit a modernized world. A lot of effort is needed for this. Q. For what reasons did you recreate <The Chunhyang Story> and <Bari> in a modern point of view? I just really like the original stories. I believe these kinds of stories are like a cultural heirloom. Even as much time passes by, such wit and literary skill surpasses those of the people today. And thereโs just so much to learn from a language, including its humor, view on life, ways of solving
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problems, and more. Especially, the main characters in <The Chunhyang Story> and <Bari> are first and foremost female. These courageous female characters can be representing mothers and just feministic power in general. We cannot allow ourselves to forget such stories. We need to make it so that future generations could meditate on such tales. It also may be that the birth of classics like <Chunghyang> and <Bari> has become more difficult to achieve in this generation. Even if one was achieved, it wouldnโt be able to have the same kind of impact. That is why we keep the classics as they are, re-analyze them, and use the aspects that will work with this day and age. Q. What were the reactions of foreigners like after watching a Goot[traditional exorcism] and other Korean folk culture in <Symphoca Princess Bari>? The main purpose of a Goot is to deliver good energy. Since this is the fundamental mindset of the play, foreigners really like it. Developed countries that have been culturally educated well have a positive attitude towards โdifferencesโ and consider them as things to be thankful for. Things like Goot and other traditional Korean customs have the great significance of being passed down for thousands of years, so one canโt describe the awe a foreigner may feel when experiencing such a play. People are also really grateful to have their pent up emotions released through my intense costumes and choreography. All people have a kind of lukewarm strength. When I dress up in an outfit that only exists in peopleโs dreams and start dancing, people canโt help but get excited. Actually, even the colors and decorations that the Korean shamans wore were not normal at that time either. Getting in touch with spirits wonโt happen easily dressed in ordinary clothing. The spirits wonโt be able to recognize you. I believe the spirits will come and find you faster if youโre dressed and dancing like an oddball.
language that delivers those images and that strength. Every sea cannot be blue. [In fact] My sea can be red. Depending on the performance and what needs to be expressed, any color, or language, can be chosen. Q. Your shaved hairstyle has become somewhat of a trademark. What made you want to go with such a style? All women try to look for a hairstyle that matches them the best. When I was 29, I had cut off my hair and found a style that would be mine. It suited me really well and was very appropriate for dancing. Once I shaved my head that way, any other style became too much of a hassle. Instead of taking years to grow out and carry around a heavy mane, I prefer to buy wigs. I probably have a couple hundred of wigs. Q. <The Bee> is currently playing at the Myeongdong Theatre. Whatโs the story about? This play points out the problems of life and current society through โbeeโ. Iโve participated as a choreographer, so I directed the actorโs movements in the play. Q. Please give us your knowhow on how to live on as an artist. Iโm sure itโll be a big encouragement for our readers. The first thing is to be strong. Second is immense love. The third thing you need is a lot of selfishness. Fourth would be beauty. (Thatโs sort of embarrassing coming from my own mouth.) The fifth and last thing you need is friends. I probably would have quit almost immediately if not for my friends who gave me help and became my mentors.
Q. You use striking colors in a bold way. What kind of meaning does color have for you? Color is energy. Since I donโt use words, I use colors instead. Even when making a sign, people take a lot of time to think about the individually colored images that will go on it. Colors help us think of images, and they have the strength to influence a personโs mentality. To me, โcolorsโ is the
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art
Dirk Fleischmann
A conceptual artist by definition, German-born Dirk Fleischmann fits this title to perfection. Which is to say he completely refuses to adhere to any one subject matter, medium or mode of presentation in his work. Acting as both a businessman and a business, as an artist as well as art itself, he unifies the distinct worlds of commerce and creativity through his perceptive insight into contemporary culture and capitalist structures.
Editor. Anna Choi Writer. Andy St. Louis Photographer. Max Eeow
Q. In your own words, what is conceptual art? I donโt have a unique definition of conceptual art. I think most art nowadays, even if itโs not called โconceptual,โ always has a conceptual element. As Sol LeWitt said, it starts with an idea, or an idea can even be enough. But I donโt see this in a dogmatic way. Itโs just something that makes it easier for an artist like me to operate since other artists have already opened up this field. Artwork doesnโt necessarily have to have a physical form, or you can develop other formsโthe forms that you are working with can be more immaterial or ephemeral, for example. This is an important condition that was not created by me. I just refer to what already existed in art history. Q. As a conceptual artist, your work largely exists independently of the commercial art world. How would you describe your artistic practice with regard to the market economy? From the days when I was an art student, I simply did not believe in selling art. It has always been a complete miracle to me how that transaction works and what the motivation is to buy art. It goes beyond my imagination, but Iโm not against it. I think itโs totally fine if people sell art, but I simply could not imagine it. I can only achieve things that Iโm able to imagine. So I imagined a way that I could keep my work goingโeven without selling artโand this is what I developed over the past decade or so: a modus operandi that allows me to continue my work both financially and also motivation-wise.
Q. So your goal was to be an artist without actually selling any artwork? Yes, but I was already in my second year of art school when I made a work of art that made money. Not by selling art; just by selling regular chocolate bars [mykiosk]. I sold them in the studio and I made profit from them, and these profits were the funds used to maintain the project, to make it bigger and eventually to start up a new enterprise. This is how I built up a kind of business conglomerate with eight different businesses so far that are all financed through this same process. Q. With eight projects, you must be constantly involved in several different enterprises at the same time. Do you like this way of working? I like it because itโs schizophrenic, and itโs as schizophrenic as what goes on in the business world around us. Itโs totally beyond my expertiseโ every project is a challenge for me. Iโm a total dilettante on all these things that Iโm doing. Q. In addition to being financially connected, are all these businesses conceptually linked as well? I think there is one big project that I am working on and it comes in different chapters. Every business is a different chapter and all these different chapters have different paragraphs, represented by exhibitions or other kinds of forms. This is what you do as an artist: maybe you have a conceptual idea, but it can never have a definite form. I mean, what
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is a business conglomerate? What kind of shape does that have? So at different points you have a concept store, for example, or you sell carbon credits, or thereโs a clothing collection. These are the forms that these ideas take on and this is what Iโve put into the world. You have to put all these different pieces together to get the big idea and that is what is now represented with myconceptstore [at the 2011 Gwangju Design Biennale]. Q. When you start a new project, where does the spark come from? How does each project begin? There are aversions and fascinations I have towards certain things that go on in the world and this is how it always starts. I begin with a personal interest, and through each projectโin the literal sense of โinterestโโI try to go into it, into the problem. My art is a means for me to enter places and situations that exist in the world that Iโm interested in and that I want to explore. Q. These interests have evolved over the years, beginning with chocolate bars in art school, where you were working on a very local level, to your current work, which is much more global. How do you measure this change? Of course, all my projects have a place. My works are not like clouds that circle around the worldโthey are very much located in specific places. This is why I got interested, for example, in the Kaesong Industrial Complex as a place. The production of the Made in North Korea collection made me enter this very specific location in between North and South Korea. In one sense, this is only โglobalโ from an outside perspective, since Iโm a German artist in Korea. But from a Korean perspective, this is super-local; itโs just around the corner. Meanwhile, the Kaesong Industrial Complex itself has no global business dimension because there are no foreign investors involved in it โ they are not attracted to its business environment, which is a bit unstable from a global perspective. But locally it works very well. Q. You left Germany in 2006 for Singapore and now you are living and working in Seoul. What were the reasons for this move and how has your work changed as a result? One reason why I was interested in Singapore was that its image is so strongly branded as โglobalโ. I simply wanted to see how a place like that functions and what sort of role art has in such a place. At that moment, another dimension was achieved in my art because I left my home country where I lived for 20 years and where all my early art projects started. After coming to Korea, one of the first things I learned was that LG and Samsung and Hyundai and Kumho are Korean brands. I had no idea; I thought they were Japanese. And then I realized that Hyundai is not only producing cars. In Germany, Hyundai produces cars and Samsung produces electronics. But when you come to Korea, you realize everything else they are producing. The second thing I learned about Korea is that these Korean brands perfectly embody this structure that I have a problem with. These highly diversified conglomerates that are operating in this totally schizophrenic way are able to build ships, houses, electronics, and so on at the same time. This is something that I donโt understand, and so building up my own conglomerate was my
myconceptstore, Dirk Fleischmann / 2011
personal confrontation or polemic towards this problem that is beyond my imagination. I feel attracted to it in my urge to better understand and relate to such structures. Q. Your work has always shown a strong concern for the environment as well. How did that start, and how did you come to incorporate that in your art? I grew up beside a nuclear power plant. It was 5 km from my parentsโ house and there was constant fear of nuclear power. I was twelve years old in 1986 when Chernobyl happened. For us [in Germany], Ukraine and eastern Europe represented a totally separate world from where we were living in West, and then suddenly this cloud comes with all this radioactivity and it reaches you. You cannot run away from it and itโs raining down on you. So I had to stay at home for several weeks and I could not play outside. I could not forget what was going on outside, especially not the nuclear power plant in front of our house - I could see it from the window of my room in my parentsโ house. This fear is deep and itโs still there. When I was fourteen, I was really interested in science and physics and I read about solar power. I thought, wow, this is beautiful idea, that you can create electricity out of sunlight. For me, this alluded to peacefulness and safeness and it was the total opposite of what was happening outside our house. That was a dream for me. Then when I was graduating from art school, I built a solar power plant on the roof of the art school in Frankfurt, and I called it mysolarpowerplant. This was maybe the most important moment of my art career. Q. And does that power the art building? I am selling the electricity. Since 2000, they created a special law in Germany that says if you produce solar electricity privately, the local energy provider has to buy the electricity from you for a higher price so that you can re-finance your solar power plant. So overnight, Germany got the biggest solar power market in the world because so many private investments were generated. I was one of these private investors, among maybe 100,000 other Germans who took the initiative to build solar power plants on their rooftops. This was my response to the nuclear power plant. I mean, all of us can make demonstrations, and we all have different ways to psychologically relate to such problems and fears. What Iโm doing is not activism, but I find it interesting that in my art I can make statements and realize the processes that confront these things that I either love or hate. Q. Would you say that most of your projects have been financially successful? So far, yes, except the forest farm [myforestfarm, a reforestation project and carbon credit program begun in 2008], but Iโm sure it will be successful in the future. They all make profits, more or less. But nothingโs ever completely successful, when you see how much time and effort I spend - it is totally inefficient. My success is not based on efficiency or profit maximization; I define success in a different way. Q. So what is your definition of success? Creating meanings.
mysolarpowerplant, Dirk Fleischmann / 2004
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brand
HYUNGSEOK YUN From now on, Eloquence will take a closer look at competitive local brands that can go global. COVERNAT, a local brand that was launched in 2008, is our first subject. Hereรข&#x20AC;&#x2122;s what the director of the brand, Hyungseok Yun, has to say about his brand.
Editor. Jean Choi Photographer. Jun O Hwang
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Q. Please tell us about COVERNAT. COVERNAT is an American-style casual clothing for men. We try to modernize the style of physically active men in the 19th and 20th centuries, such as minders, carpenters, and cowboys. We develop corresponding patterns, high quality cloths, and other details while keep our clothing durable. Since our debut in fall, 2008, we are doing well. Q. Why did you pick American casual for your brand concept? When I was in my early 20s, I was into hip-hop culture and I used to enjoy wearing American brands such as Sean John and Polo. I learned that these American brands were originated from work wear and cowboys. At first, I was disappointed because I thought the brandsโ designs and spirits were just the cloning of the old culture. However, as I studied more about clothing, I learned that the cultural, historical roots have been renovated by modern designersโ perspective. The films and pictures of the 19th century also had influence on the designs. I keep collecting vintage clothes for reference. Whenever I visit Japan, I always make sure to stop by secondhand bookstores and bookstores for imported books to get more information on clothing. Iโm still learning. Q. A local brand for American casual style seems a little unfamiliar. Did you think that this concept would work in the domestic market? I really hoped so, but I was nervous because I didnโt want to fail. In the first season, I made some clothes that would appeal to the public and prepared for the next seasons. Of course there was a time when I had a doubt about my brand and sometimes I didnโt feel attached to it. I didnโt even wear some clothes Iโve made however, I learned how to compromise with myself because I was aware of the difference between the clothes I have to make and the ones the public need. COVERNAT wouldnโt be here today if it were not for the clothes. As the time passes, Iโm working in a better environment where I can try more things. Out of 10, I can score my brand 7 or 8 these days, in terms of satisfaction. If you take a look at my look books, you will be able to learn how my brand is changing and what I want to do more. Q. What makes you launch the brand? I was into clothing when I was in college. At the time, I could get a T-shirt for 80,000 won at a multi-shop in Korea, which costs 20 dollars in the U.S. Then, I came up with an idea of buying clothes directly. So I saved money for three months and send 1.5 million won to my friend who was in Canada. He bought 100 T-shirts with the money and sent them me. Although I loved clothes so much, I couldnโt wear them all. So, I chose 30 T-shirts for myself and sold the rest online. I didnโt have digital camera 11 years ago, so I took pictures of the T-shirts with my old camera. After developing the photos, I scanned them to upload on the Internet. My T-shirts were popular because they were cheaper than the open market price. As a result, I ended up earning a lot of money โ more than the money I invested in. I thought this was it. Then, I started doing it professionally. I sent money to my friend and increased the number of items. Two years later, I was a young CEO of the number one online shopping mall. I was still a college student but I was making a lot of money. At the time, I checked everything myself when the boxes of clothes and shoes arrived โ I smelled them, tried them, and even slept with them. I was really into clothes and shoes, but I lost my interest in clothes as the number of imported items increased to 50-60. After a while, I fed up with the domestic circulation market system because cheap imported clothes are sold for high prices. So I wanted to make clothes myself. Everyone disagreed with me, but I quit my business and went to London and Japan to learn more about clothes and markets for four years. As soon as I came back to Korea, I launched my brand. Q. Your brand is growing very quickly since its launch in 2008. What are your secrets? Iโm fearless. Iโm also a wonderful planner. However, I never make a plan B. I think focusing on my initial goal without considering other options helped me grow quickly in a short period of time. My past experiences also helped me run my new business successfully. Q. Then, what makes COVERNAT competitive? When COVERNAT was launched, there were many independent brands made by individuals with genuine passion. These brands produced T-shirts and hats with messages and graphics in project formats to appeal to the public. However, not many brands introduced new styles consistently every season. COVERNAT was the first independent brand that produced total items from accessories to clothes. My brand highlights three concepts โ details, high quality, and fit โ and they make COVERNAT competitive until now.
brands made by individuals with genuine passion. These brands produced T-shirts and hats with messages and graphics in project formats to appeal to the public. However, not many brands introduced new styles consistently every season. COVERNAT was the first independent brand that produced total items from accessories to clothes. My brand highlights three concepts โ details, high quality, and fit โ and they make COVERNAT competitive until now. Q. Have any brands inspired you when you launched COVERNAT? I got inspired by American vintage clothes such as RRL, Ralph Lauren. RRL shows what Ralph Lauren really wants. RRL sells their bags after dipping them into corrosion liquid to add vintage hue and as for hats, they puncture their hats and make them worn out through washing. Since those items involve much labor, jeans and bags are sold for about 400,000 to 500,000 won, 2 to 3 times higher than Polo. I admire the interior of the shops, delivering system as well as marketing system because they work harmoniously. I wish they had shops in Korea, too. Q. What makes COVERNATโs designs unique? I guess you donโt create new designs due to the concept of your brand. COVERNAT is making clothes that people wanted to wear, but were not available. Many people are not satisfied with the fit, colors, and textures of vintage wear. I like to add necessary parts and remove unnecessary details in order to create upgraded clothes. Some customers even fulfilled their needs from COVERNAT that they couldnโt fulfill with the American casual brand Polo. I hope more of these customers would fulfill their needs with COVERNAT. I guess creating original designs is other designersโ job. I donโt want to make everyone my customers. Q. What are the main items of COVERNAT? We are focusing on producing denim clothes, clothing made from functional cloths, and bags. American vintage wears donโt use functional cloths. Currently, COVERNAT is making windbreakers and mountain parkas using functional cloths. Iโd like to make various clothes using functional cloths. Iโll keep working on them. Q. COVERNAT has been doing a variety of collaborations with other brands. Starting with Italyโs Bike Vespa, weโve done collaboration works with Silver Artist Sheen TripleSix, the local house brand Leata, Dickies, and the French outdoor brand Millet. Except for the first season, weโve done collaboration projects every season. Q. How did you make them happen? I was introduced to some brand managers and we exchanged ideas with each other while having conversations over a cup of coffee. Then, we came to an agreement to work together while having dinner together or drinking. Fortunately, these collaboration projects proceeded without any business plans or presentations. Q. What are some good and bad things about collaboration? The good part is that we can supplement each otherโs weaknesses through collaboration. For instance, when making wind breakers, Vespa didnโt have to find new workers by using my workforce and COVERNAT, which was only one-year-old, could promote itself. It was the same when we collaborated with Millet recently. We wanted to use functional fabrics, but Gore Korea, a Goretex fabrics brand, wasnโt favorable to us. Outdoor brand Millet wanted to appeal to the younger generation, but they couldnโt forsake their previous designs and customers. COVERNAT, which wanted to make functional wear and Millet, which wanted to add some fashionable elements held hands together and created clothes that have advantages of the two brands. I think 1 + 1 should be three, not two. So far, our collaboration projects derived more than two results. Sometimes, one brand might think it is working harder than their partner. Many people see it was the setback of collaboration projects, but I think differently. I just donโt think about that. Q. Is there any collaboration project you would like to challenge? I really want to do shoes. I donโt want to produce shoes under the name COVERNAT. I want to collaborate with American shoes brands such as Redwing and Alden or with Vans sneakers. Since I need to know the
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basics about shoes to proceed collaboration projects with shoes brands, Iโm studying hard to learn more about shoes. Q. I heard that you would visit the U.S. at the end of October for market research. Are you planning to extend your business abroad? Yes. I will learn the silhouettes and patterns of their clothes while staying in the U.S. and make plans for trade shows. In Korea, department stores are playing major roles in circulating clothes at 80 percent. In order to be successful in Korea, I have to have a stronger voice than the circulation dinosaurs and I think the only way to do it is to secure circulation networks overseas. I decided to extend my business abroad in order to survive in Korea.
Q. Where are your overseas target markets ? My target market is Japan. Since COVERNAT is made for Asians, its patterns donโt go well with Americans. Although I love American brands and I make American style clothing, I donโt want to become famous in the U.S. The reason why Iโm going to the American trade shows is to meet buyers from Japan, Hong Kong, and Europe, not to extend my business in the country. Japan has a lot of successful selec shops that have the best items from all over the globe. I hope COVERNAT will be able to survive in the fierce world of competition.
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Q. What would you like to be remembered by? I want COVERNAT to be remembered as the brand that tried to break the walls. Although it didnรข&#x20AC;&#x2122;t made its debut in the Seoul Fashion Week, I hope it could be remembered as a brand that succeeded in making a debut in overseas markets, surviving in the domestic market, and always trying new things. I also want to surprise the overseas market as an outstanding Asian brand. Personally, I want my brand to go well for the people around me. Younger designers around me get motivation
from COVERNAT. They hope to launch a brand like COVERNAT and have showrooms and staff. I also did my collaboration projects in hopes of inspiring them. Our generation grew up with the collaboration of Nike and Supreme and awed by it. Now COVERNAT is ready to cooperate with the world-famous brands Vespa and Millet as a partner. I want to let the younger designers know that we can do it and give hope to them. Also, Iรข&#x20AC;&#x2122;d like to let show them that we have an independent brand with a production system and philosophy about design here in Korea.
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music
Robb Harker
Robb Harker was the head of legendary production company รข&#x20AC;&#x2DC;Sickboyรข&#x20AC;&#x2122; which started the Seoul club culture. Now the person who invited international super DJs to Seoul for 17 years plans new party.
Editor. Jean Choi Interview. Woochi Jeon Photographer. Jun O Hwang
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Q. Please introduce yourself. I am the owner and director of Supermodified Agency. Originally from Canada, Iโve been living in Asia for the past 14 years. Iโve spent most of that time based in Seoul but have traveled extensively in Asia and throughout the rest of the world. Q. How long have you been in Korea? I first came to Korea in early 1997. Iโve come and gone over the years but in total have spent about 10 years here. Q. What kind of team was โSickboyโ (the first party promoter in Korea)? And what kind of projects did Sickboy work on? I created Sickboy and ran it with my partner, Morgan Wilbur. We launched our first event in March, 1998 at a club in Hongdae called Nbinb which is where NB is now located. We started with small club nights featuring local DJs with an international headliner. As these events continued to grow, we moved to larger venues. Q. We all know you were the first one to hold club parties and produced the first outdoor party in Korea. What were the names of these parties, and which DJs performed? Our first club event was called โInfinity,โ and featured a DJ friend of mine from Vancouver, Canada called Troy Wolf. We put the event together on a shoestring budget. He came out and played for the cost of the airline ticket. He slept on the sofa in my living room and I picked him up from the airport on the bus. We didnโt really know what to expect from the event, as it was the first time this had happened in Korea, but we had a strong turn out and it was a great night. Our first outdoor event was a beach party on the East Coast at Kyung Po Dae. We had a DJ duo from the UK called Hybrid headlining and although it didnโt draw too many people from Seoul there were a lot of vacationers on the beach and it was an amazing night. Q. The party you worked on at Marriott Hotel during 2002 World Cup games became legendary. You invited Fatboy Slim that time. Can you tell us a little more about that? These days an event driven by electronic music that attracts 5,000 people is not unusual. There are a few production companies in Seoul now that really stand out and put on amazing events for 10-15,000 people. But back in 2002, no one expected to draw in 5,000 people to an event based around EDM (electronic dance music). The process was the same as any party process really. Book the talent, secure a venue, sort out production and promote the hell out of it. We managed to catch the attention of FIFA who got involved and the event became the Official Opening Party of the 2002 World Cup. This was probably the first event in Seoul, which crossed over beyond the usual party crowd and reached some of the mainstream market. Q. Sickboy disbanded in 2003 with its last solo party. What was the reason for that? Mostly it was just time to move on. Weโd been running the company for 6 years and my partner and I both wanted a change. Morgan moved back to the US and got involved in a different industry. I did a few more events as the solo director of Sickboy but was becoming disillusioned by the lack of big venues in Korea. Events were either held in small Hongdae clubs or big soulless hotel ballrooms. I needed a break so took off to Bali to organize events there. Q. After the break up, you stayed in Bali for 6 months and came back as an executive director at M2, which is a legend among the major clubs in Korea. How did you help to make that a success? I canโt take sole responsibility for the success of M2, but I definitely played a major role. M2 was special because it was the first โbigโ club in Korea to take on the format of an international club (as opposed to a Korean Style โbooking clubโ) and it followed a 100% electronic music policy. M2 was a purpose built venue dedicated to parties and EDM. In many ways M2 became a template for all the big clubs that have since followed. It didnโt exactly follow the vision I personally had for the club, but itโs still going strong to this day.
Q. After the success of M2, you went back to Bali and established a new agency called โSupermodifiedโ. What kind of company is Supermodified? What kind of work does it do? Supermodified is a talent-booking agency. Our roster mainly focuses on the top international DJs but we also have clients who play live. Supermodified brings them out to Asia and arranges their tours. Our promoter/venue clients now range from the Middle East through to Japan and everywhere in between. Q. Who were the some of the major DJs on your roster when you started? And who is the most memorable DJ? Why? Supermodified started as the Asian representation for a major UK based agency called Excession. Excession was Sashaโs agency and had a strong roster including Sasha himself, Nick Warren, Steve Lawler, Lee Burridge, James Zabiela and many more. This was our base and from this base we established relationships with other major international agencies to look after their artists in Asia. In 2004, China was a major market and we had DJs playing 7 to 8 city tours throughout the country. We also booked acts into Singapore, Kuala Lumpur, Jakarta, Tokyo, Hong Kong, Taipei and of course, Seoul. Since the conception of the agency, Iโve expanded the roster to cover more genres of music. We work with some great techno acts like MANDY, Fergie, and recently signed an amazing Italian producer called Dusty Kid. On the more commercial side we work with the likes of the Swedish House Mafia members, Fedde Le Grand, Afrojack etc. Q. What did European and American DJs think about the Asian market? DJs have mixed feelings about Asia, I think because of the wide range of experience they can have here. Some markets in Asia are more advanced than others. Party-goers are more educated in some places, less in others. In some markets the people just stand around trying to look good where others they really go for it. Seoul is actually one of the more favored places to play. Even if people here donโt really understand the music, they like to party and theyโll react to good music. Tokyo and Singapore are also great places to play. Q. You successfully ran the agency in Bali and had a family there, too. Why did you come back to Korea in 2009? The advantage of my agency is I can run it from anywhere in Asia as long as I have an internet connection. My wife wanted to pursue a career in film so we decided to move back to Korea whereโd she be in a position to do so (sheโs Korean). Also our son was learning to speak and we wanted him to learn Korean properly as well as English. Q. We now know that you link most of the major DJs to big clubs in Korea. Which clubs do you work with now, and who are the major DJs? Music styles have changed a lot of the past couple of years. While I still represent many of the DJs who were on my roster from the beginning, Iโve also developed the roster to reflect the changes in the Industry. Two of Supermodifiedโs biggest โnewโ acts are Afrojack and Avicii. Weโve been working with them for the past couple of years now and their profiles just continue to grow. In the past year Afrojack not only had a Billboard #1 hit but also took home a Grammy for a remix he did. In terms of venues in Seoul, Supermodified is an independent agency so we are not aligned with any one specific venue. Over the years our acts have played at M2, Answer, Mass, Volume, Heaven, Rococo, and most recently Ellui. We also book acts to some of the festivals and other one off events. Q. You have retired from being a party promoter and now only work as a booking agent. But we heard that you are preparing a party on November 19 by yourself. What is this party? Yeah, I said Iโd never do it but I have decided to start promoting my own night again. Iโm launching a small underground night called โMineโ. Basically I just want to strip things down and create an intimate night that is purely focused on the music. Iโm bringing in a sound system to the venue as good sound is integral to the event, but apart from that there will be no big production or visuals to distract people, no dress codes, just quality underground music.
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Q. We also heard that you are inviting a DJ who is coming to Korea for the first time. Who is this DJ, and how popular is he? Iโm bringing Ernesto Ferreyra who originally comes from Argentina but is now based in Berlin. Heโs associated with a major record label called CADENZA. In certain international circles heโs very well known and highly respected but I doubt there will be many people in Korea who have heard of him before. Thatโs part of the concept of the night though, to introduce new acts to Korea, artists who are amazing DJs and who will create a really special atmosphere, even though people here donโt know who they are. There has been a massive shift to playing music in a digital format the past few years. Ernesto still plays on vinyl, which is rare but itโs also going back to the roots of things and thatโs what โMineโ is all about. Q. It seems like this is a smaller party than the kind you are normally associated with. Is there a reason for this? โMineโ is going to launch in a small venue in Sinsadong called โMoney Loungeโ. I like the venue because it has a very minimal feel to it so there are no distractions. โMineโ will be pushing a deeper style of music that isnโt really conducive to a big room. I want to keep things intimate so thereโs a tighter vibe at the events. Big events can be fun to attend but thereโs a certain vibe you can create in a small, dark underground space, which canโt be matched in a big room. While I believe that there is a core group of people out there looking for quality underground music, I think the core is small. Itโs ironic that I left Seoul a few years back due to the lack of big venues and now that Seoul has plenty of big clubs, I want to take things back to small rooms. Start small and build from there. Q. What is the difference between this party and major club party? Please tell us about the new project you are planning. There are a lot of big clubs in Seoul these days and new ones planning to open soon. There are also some major event companies organizing big one off events and festivals with amazing production and a big attendance. This is all great as itโs a sign that the scene is healthy, still growing and finally reaching the mainstream. Seoul needs this but it also needs a solid underground scene to balance things out. But no one seems to be trying to develop this. With some of the big clubs, the music and the crowd are disconnected in a way. Music isnโt their priority. Their main focus is to meet a girl or a guy. With โMineโ my goal is to bring quality people together, take out the meat market factor and focus purely on the music. Q. You are the expert of club culture that introduced a number of foreign DJs to Korea and Asia. What are the essential items Korean club culture needs to be more mature? I think people involved in the scene here need to be more forward
thinking. Instead of just focusing on where they are now, I think they really need to question where they want to be 5 years from now and how they are going to get there. Most cities around the world have major clubs that have been around for 10, 15, or even 20 years. Korea is big on โfadsโ so there doesnโt seem to be a lot of customer loyalty, As such, clubs donโt have staying power. People just move around to the next โnew placeโ and itโs hot for a while until somewhere new comes along and people then shift over there. There has yet to be a venue in Seoul that has built itself around a music policy and I think if someone took a chance with this theyโd be surprised to find it could actually work. Q. You introduced a number of foreign DJs to Korea. Did you introduce Korean DJs to other countries? If so, who are these DJs? Iโm working with a local act called East Collective and these guys really have something. In October we had them play Ministry of Sound in London and theyโve also performed at SONAR in Spain, as well as venues in Germany and cities around Asia (although SONAR and the gigs in Germany were not booked by Supermodified). Iโm attending the Amsterdam Dance event with them in October also so hopefully weโll be making some connections there that will help them further in Europe. Q. Do you think these Korean DJs can become a success in a foreign market? If so, what is the reason for this? Yeah I definitely think they have a chance to break internationally. They own and operate their own label called ECI, which is putting out quality tracks on a regular basis. They have the drive and they have the skills so for now itโs all about getting them as much exposure as possible. Q. Besides these DJs you mentioned, are there any other DJs that you think are good enough to introduce to the foreign markets? If so, who are they? The level of skill with the DJs here in Korea is overall very high. The problem is there are so many DJs out there that itโs difficult to stand out. Production is really the key. If a DJ produces a major track, this can launch their career immediately. So yeah skill-wise there are plenty of Korean DJs that can hold their own on international dance-floors. Will they be given an opportunity to do so though? Iโm not sure about that. Q. We hope your new attempt start another revolution in Korean club culture is successful. Lastly, as a pioneer, do you want to give any advice to clubbers in Korea? If youโre bored of the same old thing, and willing to open your mind musically, take a chance and come to โMineโ.
www.supermodifiedagency.com
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art
KATO AI
Modern artist Kato Aiรข&#x20AC;&#x2122;s main theme is beautiful girls. Ai, who was highly praised by TOKYO AKIHABARA CULTURE, came into the spotlight after she received an extreme evaluation from critics. Eloquence sat down with her to take a peep at her artwork.
Editor. Yuta Sugihara
<MADONNA> Model Year 2011-12, Collaborated with GILAFEE (snow-board brand), Photo/Kazufumi Mitsutome
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Zetsumetsu no wake - / 2010 Mizuma Aciton
Q. Please tell us about the main theme of your artwork. My name โAiโ means โlove.โIn an attempt to live up to my name, I usually work under the theme of โlove.โ My motif is โ2D beautiful girlsโ. I chose the theme because a beautiful girl is an ultimate being that you can never come into contact with, no matter how lovely she is. I guess the subtly tantalized being shares a certain similarity with my twisted expression of affection and habits. And I am very fond of the phrase in Japanese. I feel the real, fascinating twist of time and space when the nonsensical, sarcastic expressions peculiar to Japan is combined with girls. I hope I can deliver this feeling to the audience as well. I want to keep working on expressing twisted love. Q. Why did you choose beautiful girls as your motif? I became interested in girlsโ body lines, visually, during my adolescence. Naturally, I was drawn to beautiful girls. You could call it a
Zetsumetsu no wake - / 2010 Mizuma Aciton
simple fetishism. Then, I went on to become interested in two dimensional girls. The unrealistic girls, who can only exist in a twisted world, are the real inspiration to me. Q. Which quality of beautiful girls inspires you to keep working? They are just cute! In my case, my body secretes adrenalin whenever I think my own painting is cute. This keeps me going. Q. There can also be beautiful boys and beautiful middle-aged lady. Are there male or aged figures in your artwork? I have never been interested in boys or other men as my motif. Adding the world โbeautifulโ in front of a boy or lady doesnโt inspire me. Sometimes I need a man for my cartoon stories, but I donโt really want to draw males.
wall paint / 2011 Shibuya Tokyo
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โ COLINYOUNG-WOLFF.COM
mutonchaku-kun house - / 2008 โTokyo Nonsenseโ in Los Angeles, Photo/Documentation
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Q. Your paintings are sexy and somewhat slutty. What do these elements mean to you? My paintings are not about just eroticism.I strictly calculate nudity. Itโs not naked. The point is that how much I can fuel and evoke peopleโs imagination. Naked is just perfect and closed to imagination. So I donโt draw naked so that people can continue making stories in their minds. Q. Can you tell us about your current work? Iโm working on cartoons. Iโm especially putting my effort into the Dong-inji โUsagicco club(means Bunny club).โ This is the year of the Rabbit, so Iโm planning to hold an exhibition at the end of the year at the club. The world of cartoons is an exciting field to me. It requires a lot of physical and mental energy, endurance, and flexibility. Drawing cartoons is like an ascetic exercises for me. Q. What does Dong-in-ji club do and how many team members does it have? Dong-in-ji is the opposite of a commercial magazine. In other words, they are not professional cartoonists, but Indie cartoonists. The field of Dongin-ji has expanded and deepened already. I organized the โBunny Clubโ with Ootsuka Satoru and Sakurai Takashi. Our goal is to publish each of our cartoons as a collective book. Q. What is your cartoon like? I draw original cartoons. Of course my main character is a cute little girl. The story is a little similar to an erotic gag from the 1980s. Q. What has been changed and what has stayed ever present throughout your drawing career? I think the โlinesโ have changed. Previously, I liked sketched lines and I thought that they were the coolest lines. However, as I started drawing illustrators and cartoons, I realized that the completed lines are also beautiful. Well, it is like saying that being sexy is cool, but being slutty is not. I guess it is a miraculous feeling that not everyone understands.
Q. You are neither a designer, nor an illustrator. What do you think is attractive about drawing as modern art? Drawing doesnโt feel like work to me as it doesnโt affect my daily life. Just like designers and illustrators, modern artist also draw pictures, but I think the nature of my work is totally different. Designers and illustrators are very closely related to our daily lives and they need customers or clients in order to do their work. They are working for people and working with the world. On the other hand, the world could work perfectly well without modern art. Therefore, modern artists create artwork to comfort themselves and others. But, modern art is fun and it can deliver the creatorโs characteristics. It is a field where creators can express their feelings freely without limitations. This is why modern art is so attractive. Q. Is it like enjoying non-realistic things in our daily life? Yes, maybe. But it does not mean at all. Q. Where would you choose to go for your creative work other than Japan? Taiwan or Amsterdam. Iโve been to both places in the past for exhibitions and performances. I liked Taiwanโs streets and hotels right off the bat because of the countryโs minimal interior, kind people, and delicious food. Now Iโm even thinking about marrying a Taiwanese guy to stay in Taiwan for good! I feel like I can draw pictures as much as I want in that country. Amsterdam was sensational because the whole city was artistic. I could feel the spirit of the artists on the streets. So many talented artists reside there. There were plans for me to have my own exhibition there, but it didnโt happen. I would love to spend some more time there and I hope to go to Amsterdam again one day to get some fresh inspiration. Q. What are your goals in your drawing career? Iโm thinking about quitting live painting. I will tell you the reasons once I have quit. I canโt explain it to you right now. If I am lucky enough to have an interview with Eloquence again in the future, I will certainly tell you!
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media
CHANG SUK JONG Street fashion magazine <Cracker Your Wardrobe> has reached its 4th anniversary. Creator Suk Jong Chang talks about Crackerรข&#x20AC;&#x2122;s beginnings and the magazineรข&#x20AC;&#x2122;s first step into Japan.
Editor. Jean Choi Interview. Woochi Jeon Photographer. Jun O Hwang
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Q. How did <Cracker Your Wardrobe> first start off? I began <Cracker Your Wardrobe> with my college friends Ji Hyuck Shin and Hee Seok Rhee. Ji Hyuck and Hee Seok were in charge of advertisements and management while I took on the role of editor-inchief. We also had another friend who became an employee, but he left to study abroad in Japan. So it just became the three of us. Q. What the ownership structure? Ji Hyuck Shin, Hee Seok Rhee, and I have divided company shares in equal amounts. Q. Crackerโs well known for having a family-like working environment. What are the pros and cons of that? We naturally became like a family because of the small number of employees we have. A good thing about a family-like working environment is that the employees donโt get stressed about coming to work. (This is actually a pro for employees but a con for managers like me). Also if you do get stressed because of a co-worker, you can easily work it out through a friendly conversation. Like a real family, even if a conflict arises, that doesnโt mean youโll start loathing them, right? A con I have to deal with is that my employees think of me as a brother more than an editor-in-chief. There are times when some of my journalists pick articles by themselves without my approval. I guess they donโt want to bother with things like asking for permission. We need to work under a system of regulations to create a unified concept, but that sort of thing is kind of hard to do in a family-like working environment. Q. Crackerโs capital during its first publication was only three million won, and I heard that the executive team and employees did not receive salaries for two years. Please tell us what it was like during that time. Our situation during the first publication was very bad. Ji Hyuck, Hee Seok, and I all had to get part-time jobs at a PC station to make up for the printing and management fees. We lucked out by leasing a place in a printing shop owned by one of our friendโs parents in Sanwangshimni for 30 thousand won and no security deposit. We just used all the furniture such as chairs and desks that the previous leaser had left behind. One of our top editors even worked part time at a cafรฉ in Insadong for a time. In order to save on the printing fees, we only started off with two thousand copies of the first publication. Even though we were working in tough conditions, our passion for the magazine was indisputable. After we had raised profits a bit, we were able to give our top editor her first salary which was about 40 thousand won. Then we were able to raise her monthly salary little by little, and she was finally able to quit her part time job at the cafรฉ. Although we were able to pay our top editor, we still were not able to pay the salaries of our design team. Q. Whatโs the situation like now? Now we publish about 23,000 to 25,000 magazines a month. The companyโs increased to 16 employees, all of which are getting paid, and weโve relocated the office at least twice. All this happened in a time span of four years. Q. Did you have any operational risks? Honestly I donโt pay much attention to the operational aspects of the company. As an editor-in-chief, all my focus goes into making the book. But Iโm sure the other two board members felt operational risks more, because they were in charge of operation. Hee Seok, whoโs the oldest among us three, was in charge of the funds during the first publication. He mustโve received a lot stress trying to fix the deficits that came up every month. I even remember hiding out in the basement, because we didnโt have the 70 thousand won needed to pay the delivery service. Weโve also been chased because we couldnโt pay for the 200 thousand won printing expense. These debts of course have fully been paid off as we relocated our office from Wangshimni to Hongdae. Looking back now, we couldnโt acknowledge the serious extent of our situation at the time because of our lack of business experience. We just continued to work in ignorance assuming that all publishing companies struggled like that. That has become the case for our editors now. I guess if we had even the smallest bit of business experience, we probably wouldโve gotten sick of our pitiful situation and most likely quit in the middle. Q. I hear you successfully celebrated Crackerโs 4th year publication anniversary in September.
Personally I was hoping that we wouldnโt have to do an anniversary event or party in general. But the other board members thought differently. They wanted to show that weโve matured and wanted to receive approval from our readers and advertising companies. So we came up with an idea for an exhibition-like party. Our magazine has a very strong propensity for minor things. โTake something minor and turn it into something majorโ has always been our mentality, so we wanted to create a unique birthday party. The concept for a โvideo storeโ also came from that mentality. Through this 4th Anniversary Party, internally we were able to organize all of Crackerโs various materials, and externally, we were able to leave with the thought, โAs expected, Cracker gave us something specialโ imprinted in the minds of others. Q. What has changed the most since Crackerโs beginning? The biggest change is that our situationโs gotten a lot better financially. In the past, due to financial difficulties, even if there was some project we were interested in we didnโt have the liberty to do whatever we wanted. We all felt drained out because of the limitations of our funds. Now that weโre better off monetarily, our writers and editing department can work with more freedom than before. Q. You become an editor-in-chief right away even though you had no experience. There must have been some difficult moments for you. There were a lot. There are still a lot. The most difficult thing was dealing with my inferiority complex. For example, Iโd have a meeting with my editors, and when there was a clash in opinions, I would think that my editors werenโt listening to me and ignoring my directions. I would feel bad for myself and think, โIโd probably be more respected if I had more experience...โ One day, all my pent up emotions just came out as I truthfully told my editors, โI would like you all to show me some respect as your editor-in-chief.โ My editors responded, โWe do respect you. But we want to do what we want.โ As you can see, my editors are not only young but also stubborn as mules. Another problem is my uncertainty regarding the proper structure of Crackerโs production system. Since Iโve never worked at another publishing company, I donโt really know if our system is the proper system or not. I actually had a lot of help from a previous editor-in-chief for <NYLON Korea> named Jung Hyun Bae. Iโd visit her whenever I had time to ask about how normal publishing companies operated. However sheโd repeatedly say to me, โIf Cracker already has a system thatโs working without problems, keep it that way.โ I didnโt know those words meant then, but now I think I do. But I still worry about my editors who might switch jobs and get ridiculed for not knowing about the normal system. Q. Thereโs a rumor that you donโt make any compromises regarding the capital or the concept of the magazine. Thatโs true. But thatโs not always the case now. In the past, Iโd only think about the things that I wanted. I would only focus on the things that I wanted and not consider the feelings of others; I didnโt even try to think about them. Whatโs even worse is that when the other board members came to me with ideas for profitable projects, Iโd reject them without a hesitation if they went against my editing directions. Now I try to put more effort into going along with the thoughts of others. I donโt see the good in hurting anotherโs feeling just for the sake of forcing out my wishes. Now, I try to think more about โweโ and less about โmeโ. In some aspect, I guess Iโve matured into a stronger person. Q. The majority of the first publication was pictures of street fashion, but now you include more feature articles. Is there any reason for that? Truthfully speaking, we just didnโt have the capacity to make feature article with our lack of experience and manpower. Now we can continuously increase the amount of features. Actually, in the past during our beginning times, when someone would ask me this similar question, Iโd just respond stating that street fashion was our main focus. I guess I didnโt want to lose face. Q. During your first publication, which magazine did you hold as a role-model? I didnโt have any role-model, but I did get inspired by the Japanese magazine <TUNE>. As much as I wouldโve liked to create something way
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cooler than <TUNE>, at the time it was impossible. Not only was I lacking in the experienced department for editing, but I also lacked the materials to fill my pages of with. Korea is not overflowing with fashionable people like Japan is. So, I tried in my own way to collect pictures of cool street fashion and publish them in the magazine, but we still couldnโt get any positive reactions from advertising companies. At that time, the only notion advertising companies had of โour conceptโ was of being a kind of magazine appendix. Q. Whatโs one concept unique to Cracker? Ordinary people appear on our magazine. Stars are not featured in our magazines. Actually, if a star comes out in the magazine, itโs probably because I didnโt know that person was a star or I personally like the person. Iโm just not interested in stars and just never had the desire to work with them. Lots of other magazines focus on celebrities already anyways, right? Q. Whatโs something an ordinary person wants to see in your magazine? Everyday fashion. They want to see realistic fashion that looks good. We donโt make fashion pictorials. Those things are visuals that have been nit-picked by professionals to show off unreality. Itโs the same thing as stars being dressed by stylists. Fashion should be self-constructed. I consider the fashion of ordinary people to be genuine fashion. When Cracker was first being published, there wasnโt any other domestic magazine that gave light to the fashion of ordinary people. I wanted to introduce realistic fashion, an attainable fashion, and a fashion that existed within our midst. Q. As an editor-in-chief, whatโs the most important thing youโd like to instill upon editors? Three things. First, be tidy. Second, be courteous during interviews. Third, be fashionable. Since we are a magazine that strives on interviews, our interviewees are our lifeline. Also, many of our editors are required to go out a lot; and so as a face representing Cracker, I believe they should be looking their best. When Iโm interviewing candidates for a job, I always look for these three things, but itโs quite hard to find someone whoโs got all three. Q. How were the sections of the magazine planned out? What do you prioritize? I freely plan out materials related to everyday fashion. Among all the contents, I like to prioritize details. We are meticulous in dealing with topics that are completely different or unexpected. Our readers like that preciseness that Cracker has to offer. For example, even if weโre doing a project about a shoe, we will focus on the sole of the shoe more than its appearance. We would then write about the differences between shoe soles and how to take care of them. Letโs take a look at โThe Lunchbox Seriesโ. We are extremely thorough with our materials as we consider things, such as who prepared this lunch, whereโd they get the ingredients, howโd they package it, how do you eat it, etc. We sometimes get reviews from readers stating, โI donโt think I need to know this many details about this person...โ
Thereโs another section where we dig through the closets of ordinary people called โAttack Your Wardrobeโ. Normally, eight or nine shots are chosen for this section, but I suddenly had the thought that this wasnโt a true โattackโ. So, during the next photo shoot, I told them to try on everything in the closet and get at least eighty different shots! The editor in charge worked for twelve hours and brought back fifty shots. The images werenโt as fun as Iโd expected them to be, so I just decided to go back to using ten shots. This was something I found out later on, but during the photo shoot, I heard that the interviewee got quite annoyed after the fifteenth shot. Q. Is there any specific section that youโre especially fond of? Attack Your Wardrobe. I actually came up with this section, and it continues to receive a lot of interest by readers even now. I think Crackerโs probably the only media outlet thatโs been digging through the closets of ordinary people for four years. Iโm very proud of the work from this section, and weโve been able to develop a great archive because of it. Even though there are a variety of brand contents, Iโm also attached to the contents that have been styled in the Cracker way. Cracker has three principles in dealing with brand contents. We donโt use press releases; we donโt make advertorials; we donโt list prices on products. Itโs just that I donโt think these things fit with our book or pictorials, so we deal with paid pages in a contents format. Fortunately, we have some advertising companies that like our planning ability. Q. I heard youโre going on a business trip to Japan. Can you tell us what thatโs about? Thereโs a company in Tokyo called HP France. Every year, this company introduces Korean brands in an event called โSeoul Planetโ at the multishop โWallโ in the Laforet Mall in Harajuku. Last year, I was invited by the company and introduced a couple of unique Korean brands which they ended up really liking. Somehow, not only did Cracker end up getting formally invited to โSeoul Planetโ, but it also will be imported temporarily by the multi-shop until next February. Although itโs only a short-term contract, Cracker is the first magazine to be imported into this multi-shop. My main purpose during this business trip is to use this great opportunity to develop a sales route for Cracker in Tokyo. One of my goals is for Cracker to be sold abroad. I guess you can call it a long cherished ambition. Korea imports and reads tons of foreign magazines, but the amount that we export is relatively small. Even though Cracker has a slight disadvantage because itโs written in Korean, itโs a magazine that is highly focused on visual aspects. Thatโs why I believe it has the potential to have a lot of appeal to foreigners. Q. How would like Cracker to develop from now on? My employees, who I call my family, are my number one priority. I want the vibrant colors of Cracker to persist on so that my family does not have to worry about the magazineโs transformation or their individually unclear futures. I hope that this family of mine believes that it is their magazine theyโre working to create. www.thecracker.co.kr
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fashion
FASHION DESIGNERS IN SEOUL Eloquence meets with four of their favorite fashion designers. What will they be bringing to the 2012 Spring/Summer Seoul Fashion Week?
Editor. Jean Choi Photographer. Jun O Hwang
INSTANTOLOGY / JI IL KEUN Q. Whatโs the theme of this collection? Contemporary New York. But itโs not the title of the collection. Q. Where did you get your inspiration for the theme and the concept for this collection? I have made this collection with the American market in mind. I want to make clothes for those young, fashionable New York men who are making a positive impact on current menswear. I really like the word โcontemporaryโ. Q. In your last collection, you had a very eye-catching, uniquely designed hat. Can we expect another interesting point in this collection too? Iโm in the process of creating a pair of signature sunglasses. Sunglasses are going to be in the show, but they wonโt be used like a clichรฉ. Honestly, things like hats and sunglasses are created as extras to add to the show, like hair and makeup. Personally, I like to put more of an emphasis on practicality. Q. Is there any part of the fashion show you would recommend viewers pay attention to particularly? The focus on suits has definitely been lessened in this collection in comparison to the last one. I hope the audience will be able to notice and feel that this show is a turning point for INSTANTOLOGY, and I hope that they focus on the overall look of the collection. After the show ends, I hope to hear people say, โThis brand has broadened. The designer must be working hard...โ www.thisisinstant.com
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Doii / Doii LEE Q. What are your keywords for this collection? Orientalism and Art Deco. Q. Where did you get your inspiration for the theme and the concept for this collection? Orientalism and Art Deco have always been my greatest interests. Bringing the geometry of Art Deco jewelry to my motive, I created my own printed fabric and flavored Orientalism with a kind of intense romanticism. Itโs my first time using balanced lines, shape combinations, and geometric patterns, but I think theyโre going to match well with the bold and popping look of today. Q. Itโs been said that the looks in a Doii Collection portray perfection from head to toe. Thatโs true. But the focal point of every collection is different. If in the last collection the focal point was shoes, this time itโs the hairstyles and accessories. Iโm pretty much finished with the organization already. Confirmed items include a hat with a wide brim, almost like a traditional Korean Gache, a dramatic looking veil, and more. Iโm still in the process of planning the makeup, which will include sequins and glitter. Q. I canโt wait to experience the atmosphere at the show! I believe it will be a kind of ethnic style show; something that reflects orientalism. Personally, Iโm a fan of Arabic music, and I have feeling this kind of music will make the show seem unique and fulfilling. www.doiiparis.com
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SOFTCORE / Sena Yoon Q. Whatโs the theme of this collection? In full bloom. Q. Where did you get your inspiration for the theme and the concept for this collection? I got my inspiration from nature and the changing of the seasons this year. After experiencing a much shortened spring then an intense monsoon season, I got the idea that summer was the demolisher of seasons. I started picturing girls dressed in lovely clothes going out to play in flower fields despite the cold snap and bitter spring rain. I also got similarly inspired through a concert that I randomly got to see in Hongdae by a band called โYimohaโ. Listening to their music made me feel like I was strolling in a garden. It [the music] matches the theme, so Iโm planning to use it as the background music for the fashion show. Q. Is there any part of the fashion show that you recommend viewers pay attention to I particular? I would like the SOFTCORE Fashion Show to be more about creativity and fantasy instead of what the 2012 spring/summer trend will be. Designers, both local and foreign, will make more suggestions about the fashion yet to come and at the same time, try to show off new looks. But I would like to be a leader on the other side. Q. What stands out as the most โSOFTCOREโ element of this collection? There are actually a lot of uniquely styled pieces in this collection. Thereโs a vest with a bag attached to it! You can expect to see individual materials that have been matched with others to bring out a kind of twofold yet gentle style. www.senayoon.com
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RIETTA / Rietta Youn Q. Whatโs the theme of this collection? Warm Hearted. Q. Where did you get your inspiration for the theme and the concept for this collection? I got my inspiration from my mother who is actually a sculptress. Her work portraying every aspect of life and my developing awareness of all the thoughts of mankind becoming a potential masterpiece made me want to interpret that freedom and peace of mind into a RIETTA collection. Q. Is there any part of the fashion show you recommend viewers especially pay attention to? I guess I would like people to notice that this collection is a bit more โyoungโ and โactiveโ compared to the last one. Q. The last collection had a lot of black and gave off a chic Parisian look. Instead of the usual monotone colors used during previous collections, Iโve tried out some new things with this collection. While the main colors are white and beige, the collection also has some point colors such as mint, blue, and red. Black, which has always been chosen as the main color for my collections, will most likely make an appearance during the finale. www.riettayoun.com
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Editor. Anna Choi
You can express your feelings without a word by moving your eyes and mouth. Facial expressions are an international language. Hereรข&#x20AC;&#x2122;s what the photographers from all over the world who use facial expressions in their pictures have to say about this special communication tool.
FACE EXPRESSIONS
collection
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Dirty Portrait
by F. Scott Schafer
by Kim Suk Jun _ vivast
The Original Face
5 Sec Faces
by FLEECIRCUS & DANNY SANTOS
Chaos Face
by Yasuhiro Tominaga
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www.fscottschafer.com
Q. Tell us your personal considerations about facial expression and emotion after crying. I love the human face as a canvas for light! As a photographer itโs part of my job to bring out all kinds of expressions for my subjects. Expressing emotion, whether itโs through tears, elation or rage, is healthy. When you crack these emotions open and experience them you become closer to understanding the truth about yourself. It takes courage to really look at yourself, to face your demons. More than that, it takes tremendous courage to share these emotions with others as we can feel unsafe and exposed. These images are brave, intimate expressions of strength, trust and spirituality.
Q. Who are models? The models are a mix of friends and actors. As a portrait photographer I am drawn like a magnet to the face. I love the way light wraps around the human face and reflects off the various tones and subtleties of the skin. I wanted ordinary people with incredible visual impact for the portraits, faces that you might not notice if you passed them walking down the street. That to me is the magic of photography and light!!
Q. Did you shoot the models after they cried or is this a technique using make-up? The idea was to capture the models stripped away from the mask of makeup. Unlike the typical โbeautyโ portraits that I shoot, these women were groomed and posed to look โundone.โ Full make up was applied on each model, then the models washed their faces with soap and water and immediately sat for their portrait. I have a make-up artist on set to aid the girls in creating the desired effect, but the participation of the models was vital. I needed energy from each model while the make-up ran down their faces. Much effort was needed to keep their eyes open and maintaining focus was quite difficult. On my commercial shoots, I have a full crew of assistants, stylists, etc, but the process for these portraits was very intimate and simple. I only used my model, one assistant and a make-up artist on set. The experience was stripped down and raw, which allowed a more intimate environment, enabling them to present their true selves, without the aid and safety of makeup and styling. What first appears as pain or sadness is actually revealed to be strength, pride, and acceptance.
Q. Why did you make this series? It was actually a fortunate accident. I was shooting a test of my girlfriend and wanted to try out a couple of lighting ideas. When we finished she washed off her makeup and it looked amazing, there was a raw quality to her skin and a beautiful texture due to the contrast of the makeup running down her cheeks. When she sat and faced the camera, there was a pride and strength she exhibited without any direction from me. It was uncomfortable, but it was honest and powerful.
F. Scott Schafer / US
Dirty Portraits
www.vivast.net
Q. What do you think is the most important part of making facial expressions? And why do you think that is? Eyes. I open the iris of the camera lens as wide as possible and focus on the modelโs eyes. I also use illuminators to draw peopleโs attention to the eyes. I think we deliver our emotions through our eyes first. If you canโt suppress your feelings, you cannot make a stony face.
Q. When do you think people can make their most The Original Face? I guess the moment comes when we are looking into the mirror and talking to ourselves. I try my best to capture the image in the mirror in my photos.
Q. Who are the models? Iโve worked with about 150 models and Iโm still working with more. In the beginning, I chose familiar people, such as my parents and friends, as models. Sometimes, I chose people who have unique life stories in their faces.
Q. What did you to do bring out the modelโs The Original Face? I asked them to have an expressionless face in front of the 4x5 inch camera. Then, I asked them to make different expressions. When the right moment comes, I capture the facial expression using my intuition.
Q. What made you produce <The Original Face>? Please tell us why you planned it. Most of my works are based on a familiar ontological view. I started taking pictures with the question: โIs an expressionless face the result of an absence of expression or emotion?โ It is meaningless to distinguish the gender of the people in the pictures, which seem like portraits. Each person radiates a different aura and these pictures make you think about each personโs natural facial expressions.
Kim Suk Jun _ vivast / South Korea
The Original Face
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www.flickr.com/photos/fleecircus www.dannyst.com
Q. What did you discover through this project? We both agree that people are nice in general. We were honest and upfront with our intentions, and our subjects were obliging to our request. Of course, we learned how to pay attention to our subjects, treat people with the respect they deserve. Looking at the different personal styles of each subject and how they reacted in the same situation, you can clearly see how each one is unique, yet they perfectly balance and complement each other, showcasing a portrait of Singaporeโs beauty and variety, as well as its cool attitude towards something as spontaneously unusual and fun as having their pictures taken by complete strangers in the street.
Q. At the moment you shot the photos of street people, what were their expressions like? We had no idea how the people would react to us. But after shooting a few subjects, we realized this wasnโt going to be that hard at all. A lot of people we approached were actually open to the idea of being photographed โ some were hesitant and needed a little more convincing, some were just confused but said yes anyway, some were pretty happy to be asked, and heck, some even just shouted โyes!โ before we could finish our sentence. However, the best reaction for us came after a few weeks of shooting โ some would say โoh, I heard about you guys!โ Hearing this just made us smile from ear to ear.
Q. Why did you start this project? And whatโs the purpose of it? It all started when Fleecircus saw this YouTube video of Clay Enos, a celebrity photographer from New York who set up a street studio composed simply of a white wall, camped on a street corner, and asked random passers-by if he could take a portrait of them. We loved the results, and even more so, we loved the idea of taking portraits of different people in the streets. We immediately got inspired and knew we had to do the same here in Singapore. We worked on this project every weekend while the people are in โfun & restโ mode. We were hoping to capture as many faces as we could to effectively create an overall picture of the beauty and variety of todayโs Singapore.
Q. Please explain <5 Sec Faces> project simply. This is a street portraits project between Fleecircus and Danny St to capture the different personalities that make up the face of Singapore. We roam around the streets of Singapore with an illustration board for a makeshift background, look for strangers with distinct faces, then ask โCan I take your picture? Itโll just take 5 seconds...โ If they agree, we quickly click away.
FLEECIRCUS & DANNY SANTOS / Singapore
5 Sec Faces
www.tominagayasuhiro.com
Q. The strange facial expressions of <Chaos Face> are very strong and attractive. What is the reason for this? I think this is because the subjects for photography are alive. Interestingly, the models usually make victimized faces during the shooting. But as they aim for higher goals, they become more enthusiastic. Iโd like to put their passion into my photos.
Q. What were some of the difficulties you experience when asking your models to make certain facial expressions? Any interesting anecdotes? I usually ask them abstract things such as, imagine a pyramid that comes out of your nose or make the facial expression of the most famous alien model in the universe. People donโt know what these abstract images look like, but they try their best. It is very fun to see their faces. I donโt know what these images look like, but it is not very difficult to take a wild guess.
Q. Who are the models? Most of them are my friends or my friendsโ friends. I also approach total strangers and ask them to become my models.
Q. Do you actually pull chaotic faces yourself? If so, when do you do pull them? Well, I think I make chaotic facial expressions in my daily life. I pull them when Iโm eating, laughing, and putting contact lens into my eyes. But then, my face goes back to normal immediately and it doesnโt really create chaos! I think the vestiges on each personโs face, such as lengthened cheeks and wrinkles, show a true โChaos Faceโ as they grow older.
Q. What does the title <Chaos Face> mean? It doesnโt have a specific meaning. I just wanted the title to have an impact so I used the word โchaosโ instead of โstrangeโ or โfunny.โ
Yasuhiro Tominaga / Japan
Chaos Face
drawing
POJANGMACHA in Seoul
In the November issue, Illustrator Choi Seung-guk will take you to the world of street stalls in Seoul for the โPojangmacha Projectโ in his line drawing.
Illustrator. Sngoog Choi
Ahyun-dong Pojangmacha
Ahyun-dong Pojangmacha is also known as the โHenhouse Macha.โ The stall cooks food and sells drinks inside a metal box-shaped place, not a tent. It once gained huge popularity among office workers in Ahyun-dong area. However, now only a few of them are left to keep the Henhouse Macha alive.
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Jamsil Station Pojangmacha
In the 1970s, Jamsil area was filled with factories. Jamsil Station Pojangmacha was a place for the factory workers to share joys and sorrows with each other. Several dozens of street stalls were thriving around Jamsil Station area, creating a great sight when factory workers started gathering after work. Today, some of the street stalls are still in business.
Yeomri-dong Pojangmacha
The street stall near the market place in Yeomri-dong used to be a rest place for the residents of the hillside slums. There used to be such street stalls in every town in Seoul. Citizens used to relieve their stress while drinking at the street stalls on their way home after work. Today, many of the street stalls around towns disappeared, but some of them are still thriving, comforting the exhausted common people.
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Yeonsinnae Handmade Knife-cut Noodles Pojangmacha
Handmade knife-cut noodles are Korean traditional food. People used to spread the dough and cut it straight with a knife and then boil the noodles in anchovy or beef soup. Handmade knife-cut noodles were instant food in the past and now it is still loved by many people because it makes a quick meal. Yeonsinnae Handmade Knife-cut Noodles Pojangmacha is a popular place among office workers who love drinking.
Jongno Pojangmacha
Jongno has the most modern scenes in Seoul, but Pojangmachas are still thriving in the district. Street stalls are important places for Koreans, who like to drink at many different places. Pojangmacha is the last spot for the drinkers to wrap up their pleasure before going home.
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Hoddeok Pojangmacha at Seobu Station
Hoddeok (Chinese stuffed pancake) originated from Chinese emigrants who settled down in Korea. At first, they baked the dough inside a brazier, but as traditional braziers disappeared, Koreans started baking it on a frying pan with oil. You can cherish the memory of past at the Hoddeok Pojangmacha at Seobu Station.
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art
JUNK HOUSE
Street artists co-exist with the buildings in the city. Eloquence met with Junk House, a rising star in the world of street art, to listen to what she has to say about the way she co-exists with the skyscrapers.
Editor. Anna Choi Photographer. Jun O Hwnag
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Q. The way Junk House looks at objects is different from other
my workspace. Their lifespan may not be long because they disappear
people. How do you have such a different point of view?
with the buildings, but I think it is still meaningful for them.
I studied design in Melbourne, Australia from 2001 to 2003. At the time, my goal was to have a different point of view when looking at objects.
Q. It is interesting that you donโt sign on your paintings to let the
I grew up in an apartment and the city always looked dull. However, in
world know that they โbelongโ to you.
Australia, residential houses were everywhere and everything looked
Sometimes parents let their children enjoy their freedom. They think their
different and new โ from sidewalks to telegraph poles. I changed the
children will find their own ways to live their lives. The same goes for
way I looked at the world, all the while I was observing, taking pictures,
my paintings. This is why I donโt usually sign my artwork. I just want my
and making my own database. I also loved reading sci-fi books since
children to enjoy their lives individually.
I was a child. When other children were reading biographies of famous people or teen novels, I was into the world of science fiction and my
Q. Donโt you get complaints from the residents about your
own imagination. I often think about the existence of robots and other
drawings?
futuristic objects. I think that lifeless beings have dignity and they grow
Iโm luckier than other graffiti artists and I donโt really get complaints about
older with time just like human beings. Iโm working on the process of
my artwork. This may be because Iโm a woman. Sometimes people
putting life into these lifeless objects.
say they want to keep their walls clean. So, these days, I draw in public places. Then, people donโt really say anything because I donโt draw on
Q. What made you start street art and when did you start it?
their private walls. If someone complains about my work, I just say, โIt
After coming back to Korea from Australia, I worked for a design firm
can be erased easily with water. I will erase it soonโ and then I run away!
for about a year. However, I wanted to create my own artwork with my
On the other hand, many people often ask me to draw on their walls. In
own spirit, so I quit. It was 10 days before January 1st 2004. I wanted to
the process, I meet many different people, from workers in village offices
make something over those 10 days. I came up with an idea of drawing
to residents of big towns.
my characters on 100 pieces of paper, every 10 minutes during that period! My brother was working for a paper manufacturer, so he brought
Q. How did the monster, Junk Houseโs signature character, come
a variety of paper for me so that I could complete 100 pages. I held a
about?
self-exhibition with my 100 characters in front of my house. Since then, I
While staying in Australia, I started looking at inanimate objects and
started working on the junk art concept. I practiced scribbling on boxes or
personifying them. I can always feel the existence of inanimate objects.
used paper. Then, I displayed them on the streets.
Then, I came up with the idea of creating the โMonster Houseโ in order to put all of my ideas together in a simple format. I called myself the
Q. Then, what made you start drawing on the walls of the streets,
โJunk Houseโ and I tried to create a house-shaped object with a feeling
instead of on paper?
of liveliness because I could feel the lively characters in their house.
Drawing on the walls suit my drawings better than white paper. Also, the
Since then, Iโve been using the word โmonster.โ Iโm not the only artist who
walls โ the second canvas โ are everywhere and I can draw anytime
is obsessed with monsterism โ many other street artists are also into
without having to be in a studio. In addition, I can put them into action
monsters. We express our own stories by creating monsters or other new
right away whenever I feel like drawing.
beings, as opposed to human characters. Monsters help me to visualize my imagination easily.
Q. Youโve been working in various locations. What do you take into consideration when picking a location for your artwork?
Q. In comparison to the past, your monsters are becoming simpler.
First, I choose a wall that is suitable to draw on. If the wall is covered with
What are the reasons for this?
dirt or dust, or if it has a rough surface, it is not suitable to draw on. The
As the buildings in the city become more modern and as the urban
second most important thing is the texture the wall has. The combination
structure becomes simpler, the city is moving continuously as if it is alive.
of the wallโs texture and my painting is important. Selecting a wall with a
Through construction and the progressions of the natural environment,
beautiful texture is like picking a canvas with a half-complete artwork on
many lifeless beings are moving like organisms. Like this, my monsters
it. Thirdly, I take safety into consideration. The location has to allow me to
mingle and combine together, depending on the environment. As the
work without any troubles. Sometimes places with a floating population
scattered small organisms combine together as one, their forms are
can be safe, and other times, secluded places can provide me with the
becoming more abstract.
safety I need. Q. Do you think that other people see inanimate objects as Q. But I have found that you have drawn paintings on old, weary
characters? Do you think that this is something that the average
walls in small alleys. Why did you choose such places?
person could understand?
Old relics are disappearing as the city is developing. I wanted to leave
No, they donโt. All of us already recognize it. Most people can see
my footprint on the old walls to record our time. My paintings are
characters when they look at a car, they say โthat car looks like a catโ
disappearing as the old buildings and walls are disappearing. This is why
or โit looks mad.โ Everyone sees things that way, but not many people
I always take pictures of my artwork. I want to record the disappearing
actually express how they feel. Iโm just trying to feel the characters more
time. I feel sympathy for the old, disappearing relics and this is how I
sensitively.
became interested in junk art. I think it is another form of documentation to record humanism. Just like human beings grow older as time passes,
Q. You are primarily a painter, but you also do a lot of tapings. What
inanimate objects grow older in the rain and wind. I capture these
are some of the good things about tapings?
moments with biological visions in my paintings.
Iโm changing the materials of my artwork as I study the techniques of using colors, textures, and expressions. I choose fun, strong materials
Q. Donโt you feel sad about your artwork disappearing?
that can stay longer on the streets, and are less affected by the
The reason why I display my paintings outside is that my ideas and
environment. Then, I came across tape. I draw to make myself happy. I
inspirations are from the streets. I feel like Iโm returning my children (the
donโt make things difficult. Instead, I like to go out to the streets and work
paintings of monsters I drew on the streets) back to the streets, where
in easy, fun ways using tape. It costs a lot of money to paint and the tools
they came from. I think it is more meaningful to have them outside and
are heavy. Whereas, tape is light and simple โ I just need tape and a
allow them to be enjoyed by many people rather than putting them inside
knife in my bag. Taping doesnโt make my hands dirty, either.
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Q. Do you make outlines for your paintings in advance or do you create the forms as you go along? I use automated techniques for drawing. I donโt make any plans for the concepts or layouts of my paintings, I just sort of release my imagination. My brain and hands feel images of objects even when I donโt realize it. So my paintings are drawn based on the things I see. Q. How do you think the monsters and mutants will be changed as time goes on? Iโm not sure how they will evolve. Iโm studying configurations these days. I didnโt know that these monsters would change just like the city and its environment has changed. Currently, Iโm studying harder to add a subtext and psychological meaning of existence to this evolution. Some people ask me why I donโt draw pictures about my own life. But what Iโm drawing is based on my life. I just donโt talk about relationships and love like other people. This is the kind of sentiment I have. I will continue to study expression and technique. Iโm in search of the materials, scales, ways to make my paintings last longer, and how to create interesting artwork.
2011 street art / Sangwangsipli
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2011 street art / Busan Songdo area
2011 street art / plastic tape on container / Platoon Kusnthalle, Seoul
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2011 street art / krink ink / Busan Songdo area
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2011 Mutants / Acryris on Canvas
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project
BADABIE NEVER DIE
137 Korean indie musician groups arranged the biggest indie music festival in Korea for 11 days. The reason was novel. They organized the festival to raise money for โSalon Badabieโ which was about to close down, and to pay for WooJoongDokBoHaeng(้จไธญ็จๆญฅ่ก)โs brain surgery. What is โSalon Badabieโ, and who is โWooJoongDokBoHaengโ? Eloquence speaks to the musicians behind Badabie Never Die.
Editor. Anna Choi Photographer. Jun O Hwang
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1. What kind of place is โSalon Badabieโ? 2. Who is โWooJoongDokBoHaengโ? 3. Tell us about the โBadabie Never Dieโ festival.
Dringe Augh
1. Salon Badabie doesnโt have a good sound system, or a professional engineer. But it is the only place I can play without rehearsing. I can enjoy a little nap before or after the show there. It is the venue where audiences and musicians can come together in a humble atmosphere.
Becks & Josh
2. โWooJoongDokBoHaengโ makes the unique atmosphere of โSalon Badabieโ. He is the โSalon Badabieโ. He is also a poet. His words are full of wit. He has a great love of indie culture, and loves smoking and drinking. When this festival started, Project Bureau was organized in an instant and a lot of musicians came forward to volunteer. This festival explains what kind of person โWooJoongDokBoHaengโ is to many people.
Guten Birds
1. The meaning of โWooJoongDokBoHaengโ(้จไธญ็จๆญฅ่ก) is โwalking in the rain alone.โ Just like the name, I got impression that โSalon Badabieโ never got carried away by the flow, but kept walking. The Salon had hard time operating, but it overcame its difficulties with strong bond.
Galaxy Express
1. Around 2005, I started a band called โMowgliโ. We were a Ramones cover band at โBadabie.โ After that, I started a solo project called โGuitar Mowgliโ. Now I perform there as โGalaxy Expressโ. This venue is a playground and real stage for me. โBadabieโ have wide a range of performances, too. I once remember watching modern dance and Pansori.
Baek-ja
1. The best part of โBadabieโ is that there is no audition for the โThursday Concertโ. Any musicians can apply and get up on the stage. It is a good opportunity for people who just started playing music. Thatโs why โBadabieโ is recognized as an incubator for new bands. Second best part is the strong social party vibe. A lot of musicians socialize there. โWooJoongDokBoHaengโ always organize the parties.
Sogyumo Acacia Band
1. We played our very first concert at โBadabie.โ A lot of our friends played their first concerts at the venue. โBadabieโ is a precious memory to Sogyumo Acacia Band, and is so valuable to musicians. There will be a โBadabie Homecoming Dayโ concert soon. It is a celebration for the musicians who have come through the place over the years. It is a great opportunity for them to gather together again. The concert will be on November 30th. I think it will be a great night.
Victor View
2. โWooJoongDokBoHaengโ is a unique person. He lives life by his own rules. He gives fair opportunities to all artists. He can make people feel like they are very special, because in his mind, they are.
Cosmos Hippie
1. It is the place where you can meet a lot more artists than anywhere else. It is the home of amateur musicians who struggle to find places to perform. I was one of them. When I think about the first time I visited โBadabieโ, I remember it being a bit depressing and messy for a concert hall. The sketchy interior often makes people leave the place. I am only one name in a long list of musicians that had my first concert at โBadabie.โ
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Chang Keun Yang
1. Every Thursday, there is a โThursday Concertโ. It is a completely open stage. Open to any performers, regardless of their experience. One Sunday a month they have the โPoem Theaterโ, giving local poets the chance to come on stage and read their work. โBadabieโ is open to experimental performances and tries to combine diverse genres including music, plays, exhibitions, screenings, poetry readings and more.
Hi Mr. Memory
2. โWooJoongDokBoHaengโ is like a child near a riverside. We have a tough relationship. Sometimes I donโt know why I have such a hard time with him, but it is hard to hate this wonderful man.
The Quip
1. It is a comfortable place that feels like home. Since the venue covers all different genres including music, art, and literature, you can meet various different people and find lots of opportunities to work together. The frequent drinking parties are obviously another good feature!
Apollo 18
1. To Apollo 18, โBadabieโ is a warm home that reminds us of our identity. โWooJoongDokBoHaengโ is like an older brother who we love and respect. There is no musician in the Hongdae indie musician scene that didnโt go through โWooJoongDokBoHaengโ. Sometimes he is a sea and a ship. The drinks โWooJoongDokBoHaengโ bought us after our first concert were stronger and sweeter than any other drinks.
Scarfish
1. โBadabieโ is the place where Scarfish went through their adolescence. We had a lot to learn when we first visited โBadabie.โ The people we met there were making something we never thought was possible. That vibe helped us find our identity organically. โWooJoongDokBoHaengโ gave us a nickname โThe Married Couple Cooperation, Scarfishโ. I think that is probably the best way to describe us.
The Daydream
2. โWooJoongDokBoHaengโ directs performances and write poetry. He brings people together, has dinner and jokes around. โBadabieโ is one of only a few clubs that introduces rookies and indie poets to audiences constantly. Thatโs how it keeps itโs reputation in the music and poetry scene here.
Sai
1. In the beginning, โBadabieโ gave a lot of people headaches because of their frequent after-parties. At one time, it was a place for good-looking men and women to meet. Now, it is a place where a number of musicians can get together in aid of WooJoongDokBoHaengโs sickness. โBadabieโ is building a revolutionary energy. โBadabieโ was very dirty. But after โBadabie Never Dieโ, they are going to clean the space. It makes me really upset. I hope โWooJoongDokBoHaengโ gets back to full health and has a drink with me. I want to talk dirty with him again!
Midnight Smokinโ Drive
1. We can go crazy because the venue is comfortable and relaxed. We can perform the craziest concert we like, as if we were in our own room. It wouldnโt be wrong to say that it is where I started my rock โnโ roll career. Sometimes I almost fall down because my high heels get stuck into the wooden stage. But it is so much fun!
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1. What kind of place is โSalon Badabieโ? 2. Who is โWooJoongDokBoHaengโ? 3. Tell us about the โBadabie Never Dieโ festival.
Juck Juck Grunzie
2. He is an optimist who loves humor. He breaks the ice in serious moments with his wackiness. He is an artist who is free from formality. He wants โBadabieโ to be a circus floor where borderless arts can be played out. We needed a place for recording, and โWooJoongDokBoHaengโ allowed us to use โBadabie.โ We recorded our first EP album with only one take. We released the album in May, and completed showcase at โBadabie.โ
Vidulgi Ooyoo
2. I learned not to drink too much from him! A long time ago, before I started playing concerts, I went in to โBadabieโ by chance. โWooJoongDokBoHaengโ warmly welcomed us, then complete strangers, with boiled chicken. He is a warm-hearted man.
The Mu:n
3. I performed in the beginning of the โSalon Badabie.โ And it is a place of good memories. I joined the first โSave the Badabieโ in 2007. Naturally I joined this project when I heard that โSalon Badabieโ was having a hard time and the owner was sick.
Solsol Spring Wind
3. Musicians from โBadabieโ and musicians who donโt even know about it bound together with one mind. Itโs not only or โBadabieโ and โWooJoongDokBoHaengโ. This festival gave the voice of musicians to an indie culture which is now getting louder and louder.
Zo Carlos
3. I made the poster for โBadabie Never Die.โ I did a talent donation because I couldnโt help it materially. I started to worry as the festival got bigger. However, it was a big success with the help from a lot of people. All the local clubs, including โBadabieโ, are having a hard time, and we already raised money before. I think this will probably be the last fundraiser. Itโs like putting a respirator to a dying indie music scene for a moment. In my opinion, the future of the scene is pretty bleak.
Tenderign
3. โBadabieโ is the Korean DGBD, and sometimes, the Korean Royal Albert Hall. It is a sacred place and a base for Korean pop music. โTenderignโ is walking a tightrope between indie and jazz music and โBadabieโ is the right place for that odd brand of music. Losing that kind of place is like taking organ out of the body. I joined this festival without a second thought.
Mina Jung
3. There is no threshold and no prejudice. A number of musicians want their friends to feel the same thing. These minds came together and made a miracle. In my point of view, this festival not only saved โBadabie.โ It gave hope to the musicians and audience members who came through โBadabieโ, and also to the other clubs which are having a hard time like โBadabie.โ
Kimmaster
3. I think music is the most personal genre amongst pop culture. People can make a kinship in music through this festival. The profit of 130 teams was used to save โWooJoongDokBoHaengโ and โSalon Badabie.โ This also became another turning point to artists in Hongdae. It was a chance to bring attention to a Korean sub-culture that has numerical and qualitative inferiority.
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Please give us the attention we need. I would like to greatly thank the creators from various genres and forms, who work to develop the youth culture in Korea. I would like to give a very special mention to the indie musicians of Hongdae who donated their talents. Letโs go to DangIn thermal power plant and have a culture circus!!! Nov. 2011 โWooJoongDokBoHaengโ
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creators
4 Swedish Artists
STEFAN STORM
MIKA MODIGGร RD
EMELI THEANDER
HANS BERG
They are all Swedish. They all live by their art. And they all left Sweden.
Editor. IDA Grรคndรฅs-Rhee
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STEFAN STORM MUSIC LARGER-THAN-LIFE โWidescreen popโ is what songwriter and producer Stefan Storm usually calls his music. Itโs not only wide in sounds, but also wide in visuals during performances on stage. In November, Storm and his long-time companion Oskar Gullstrangd are releasing their first album Voyager under their alias The Sound of Arrows. Storm recently moved from Stockholm to London. The decision came from his hope that he would get more songwriting gigs in England. So far, the results have been fruitful. โThere is so much music in the air,โ said Storm, explaining the completely different atmosphere he feels in London than in Stockholm. โMusic is appreciated in a different way here than in Sweden.โ Storm grew up in Gรคvle, a small town located 170 kilometers north of Stockholm. In high school, he and his group of friends used to hang out at a coffee shop called The Mirror. Oskar Gullstrangd was one of those friends. โWithout that place, The Sound of Arrows would probably never have existed,โ said Storm. โThat place was like an oasis in an otherwise pretty dead city.โ Storm started to write music when he was 15. He played in a number of different cover bands, but felt that he wanted to create his own music. At the age of 17, he started to write his own songs, dabbling in many different genres. In 2008 he and Oskar founded The Sound of Arrows. They finally found the direction they wanted to take. Voyager contains song with lyrics that reminisce about their personal experiences of growing up in Gรคvle. โItโs a lot about wanting to leave, to do something better. We want those who listen to understand that the feeling of safety and home actually should come from the inside,โ explained Storm. In the days of loitering at The Mirror, Storm wanted to leave Gรคvle as soon as possible. He wanted to be somewhere else and do something different. โBut, after leaving and experiencing the things I have, Iโve realized that even if you are affected by your surroundings you are always the same person.โ Storm plays with a lot diverse of ideas, concept and images. When he writes and produces he sees images as he makes melodies. โA song is dead for me if it doesnโt produce images in my head,โ said Storm. โThe Sound of Arrows is lot about mixing these sounds with big, grandiose synchronizations and the music builds up a landscape that you step into when you hear it.โ Storm has a passion for pop, but with a twisted, warped sound and a melody that sticks out. A lot of inspiration comes from films. Steven Spielberg is a director that Storm admires. Growing up, Storm religiously watched movies like The Last Starfighter, A Boy and His Dog, Poltergeist, The Andromeda Strain, Star Wars and The Never Ending Story. โThese films all are, just as our music, larger than life, with a lot of dense colors and big landscapes.โ The thought behind Voyager was that it should be like a larger-than-life movie dressed up as a pop album. โWe call our music widescreen-pop,โ added Storm. On stage, The Sound of Arrows usually work with projections, which Oskar controls. On their last tour, they were carrying around a cinema screen that weighted 30 kilograms to project images. The Sound of Arrows has been a roller coaster ride for both Storm and his band mate. Long before even starting to record Voyager they had shows all over the world and got a lot of attention from media. In 2010, their song โM.A.G.I.Cโ was also used for a Mitsubishi Outlander TV commercial.
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MIKA MODIGGร RD THE SUSTAINABLE ROLLERCOASTER Rollercoaster. Thatโs how the Berlin-based designer Mika Modiggรฅrdโs life has been for the last year. So much so that it is the name of her latest collection that was launched on Berlin Fashion Week. The collection is all made from sustainable produce, as everything else she does under her motto Fashion - but not at any price. Last year, Mikaโs work has really been taking off. She was ranked as one of the best up-and-coming designers by the Swedish Fashion Council, showed her work during the Berlin Fashion Week, and was chosen to take part in the NICE Design Challenge. โItโs about creating construction where things work,โ Mika explains, โbut at the same time, everything goes up and down constantly.โ Thatโs where the rollercoaster comes in. The physics make it really slow in getting to the first point, but then, when the cart is released, it goes by itself. It doesnโt need any more energy. In her โRollercoasterโ collection Mika has recreated this with a mix of leather for stability and silk for movement and flow. Mika grew up in Stockholm, Sweden, and started making clothes and fashion shows already in the after-school centre. Using her pocket money, she would buy clothes in the local second hand stores only take them apart to learn about how they were made. After a lot of trial and errors, a clothing store in Stockholm where she was doing an internship decided to display her work. Not much happened, and she started to forget that she even had the things on display in the store, until one day she saw a girl using one of her wallets. โThatโs when I thought โyes, this will workโ,โ Mika says. Four years ago, Mika moved to Berlin with the goal to work as a designer. What attracted her to Berlin was the amount of studio space available for creative work. She didnโt know anyone, she couldnโt speak German, but with the attitude that it things would work themselves out, she packed her bags and left. Mika ended up in the Neukรถlln, a neighborhood with a completely different culture to where she grew up. Inspired by what fit into the new surroundings, she came to use military and other elements of protection, such as sea shells. โI needed another type of look, thatโs why I did it,โ Mika explains. The result was her first collection, called โSecond in Command - inspired by Berlin.โ It was not only the look that Mika found in Berlin. Since she was new in the city, she was always searching for something and found a group that worked with sustainability within fashion. โI got very inspired and I embraced it,โ she says. Back then, Mika made her collections by herself. She was working like a factory, sewing around six-hundred pieces a year, and even though stores bought her things, she had not yet got started with her own production. โWhenever Iโd get a back ache from sewing twelve pieces a day, I thought about how bad it could be for people working in factories.โ Through research on the production cycle, from cotton fields to the final carrier, Mika found her motto: Fashion - but not at any price. For a long time, sustainable thinking around cloths has been seen as a hippie ideology within the fashion industry, and Mika has been getting comments on that her clothes do not look โECOโ. Mikaโs style simply did not fit in with her fair production and nice material. But things are changing. Lately, sustainability has become a hot topic. Big companies such as H&M have started to produce clothes using organic materials, putting a higher demand on the producers. That gives many more opportunities to smaller designers. Mika is also involved in several other projects, all in line with her philosophy of fashion. In 2010, she designed the kids street wear collection โKings and Queensโ for the green open-source label Pamoyo. Almost all the clothes were made from recycled fabrics. Mikaโs next collection will be presented in January 2012.
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EMELI THEANDER EMELIโS GHOSTS In Emeli Thelanderโs studio in Berlin ghosts, spirits and freaks are explored, invented and reinvented in drawings, oil and acrylic. But they donโt stay there. In Seoul and in Berlin, they can be found on the streets, in exhibitions, installations and zines. Emelie grew up in Gothenburg, Sweden. But when high school came to an end, she wanted to get out of there. โIt didnโt matter where, I just counted the days until I graduated high school,โ she explains. One week after graduation she went to visit a friend in Berlin. And stayed. That was in 2003, and in Berlin the street art movement was big. Emeli soon joined in and started to make cut-outs under the name โChin Chinโ. She painted on old wallpaper or made copies of her drawings that she then painted. She used to sell her drawings as silk sheet print on cloths to pay her rent. In 2006 she started at the Berlin University of Arts, but continued working under her pseudonym Chin Chin. In 2010, Chin Chin artwork started to appear in Seoul. Emeli spent six months as artist in residence in Platoon Kunsthalle and met people like junkhouse (junkhouse.net) and LNY (lnylnylny.com). โIt was great to do street art in Seoul. It still felt new and exciting,โ she explains. During her first stay in Seoul, Emeli focused on researching Korean myths and stories that she could use in her painting. The result was her final exhibition โQwisin Birds Sanctuary,โ held in Platoon Kunsthalle. She explained that โQwishinโ are two Korean ghosts, birds have always symbolized the travel between the living and the dead, and that โsanctuaryโ refers to either the area in the front of the church, a holy place or a refuge, or simply animal sanctuary. It was not a coincidence that the exhibition in Seoul came to have this theme. Reading about Emeli, words like โghost,โ โspirits,โ โin-between,โ โdreamy,โ and โcollectorโ keep on reoccurring. โIโm interested in what doesnโt fit in, what is hard to define,โ she says. Alienation, confusion, cross-border, death, the grotesque and the ugly combined with the extremely cute are things that are in her highest interest. Mainly, she finds this kind of inspiration in folk tales and myth, just as she did in Seoul. Emeli often starts her work out of photos. Sometimes she makes a drawing of them but transforms the image or puts different images together. Then, as the work proceeds, the image develops spontaneously after mistakes, risks, mood and associations come together. โThe finished image never looks like the original,โ Emeli explains. Emeli has no desire to paint something exactly as it is. Instead she wants the viewer to able to get the feeling in the lines or the color, to discover something new, or to simply feed an ambivalent feeling. Emeli has started an artist-duo with her friend Thomas Mader under the name V.I.P (Very Important Punks/Very International Product/ Very Insightful Poisoning). Together they combine images and text in different shapes, along the lines of zines or installations. Most recently, one of their installations was shown as a part of the exhibition โVeilchenโ in Berlin. This year Emeli also had two solo exhibitions in Germany. First โGastkramadโ in Gallerie Adler in Frankfurt, and then โBelirachโ in Parrotta Contemporary Art in Stuttgart. Both exhibitions were based on Scandinavian mythology and religious rites. On the question of why she is doing what she does, Emeli replies: โBecause I have to. Itโs the best way for me to express myself.โ
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www.myspace.com/hansberg
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HANS BERG THE ECLECTIC SOUND In front of his computer in his home in Berlin, the music producer Hans Berg is creating electronic dance music, house and techno. He is also crafting music to the Swedish artist Nathalie Djurbergโs installations and animated films. He doesnโt let the different direction of the styles limit him, rather he lets them influence each other and mixes them into something new. Hans grew up in a very small town in the middle of a forest, in the middle of Sweden. There, you could either play sports or drive cars. But Hans liked music. And not just any music, but electronic music, which was basically impossible to find there. So he had to do it by himself. When Hans was 11, he got his first synth. He loved it from the start and immediately started to making his own songs. When he was 12, he made a song called Michael Jackson is Plastic. โIt sang in really bad English,โ Hugo says. โI think I still have it on a cassette tape somewhere.โ The experiences in the small town affected Hansโ sound a lot. Due to the lack of electronic music, he found inspiration from anything in his surroundings. He quickly started to develop his own sound. Hugo has a studio in his apartment with a computer, synths and effects. When he makes music, he usually starts from a sound that he likes, or a rhythm he wants and then tries it with different sounds, melodies and drums. โOften itโs a about sound design, to choose the right sound in the right place, rather than have some advanced melodies and arrangements,โ Hans explains. When he makes music for Nathalieโs films, he puts them straight into his music program and composes directly to the film. โThat sort of music can become anything, from Bulgarian folk music to string quartets to electronica,โ Hans says. The diversity of the music Hans has produced is huge. โOf course, itโs completely different trying to make a whole dance floor groove than to follow the narrative of a film,โ he says. But Hans loves it, and lets the differences feed each other. He has done remixes of the film music and used it in his live techno sets. โI like having Swedish folk music mixed with classical and electronic elements. Even with dance music I try to mix it up with many different influences, so the core of my sound is not at all stylish, but eclectic, with many different styles mixed together,โ he says. Hans releases his dance music as mp3s and on vinyl on the British label Fullbarr. He does live shows in clubs, and the work with Nathalie takes him to many different art institutions around the world, such as the Venice Biennale in 2009, the Tate London, and the Prada Transformer in Seoul.
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web
SOCIAL FUNDING PLATFORMS
Even though they have novel, meaningful intentions for their projects, most creators donโt have enough funds to actually follow them through. But no need to worry anymore. Now we have an all-around platform that can solve the financial issues and promote the project, as well as help communication with customers.
Editor. Anna Choi Photographer. Jun O Hwang
What is โThe Social Funding Platform for Creators Projectโ? โThe Social Funding Platform for Creators Projectโ is a system for independent creators to produce creative projects. A great number of people promise financial support for creative projects of different genres such as music, film, technology, design, publishing, and food. Creators will open their project pages through this website. They will explain the specifics of their projects using videos and visual data in their pages and decide the amount of money, time, and compensation they require to achieve their goals. Supporters will reserve money if they like the projects. If the required amount of money is reserved in the required time, the money will be transferred to the creatorsโ account from the supportersโ account. However, the supporters donโt support the creators alone. They also choose the personal, valuable compensation they will get in advance when the money is collected. The compensation can be a completed product or exclusive experience or service. In other words, it is not a โsupportโ but a โreservationโ of the compensation.
The settlement is not made immediately. It will be transferred automatically in a lump-sum on the reserved date when the required amount of money for the project is collected. It will reduce the risk to the supporters and create credibility between the purchasers and creators. Also, this payment system will provide the opportunity for the creators to test their projectsโ batting average. โThe Social Funding Platform for Creative Projectsโ doesnโt just help creators collect money for their projects. It also helps creators communicate with their customers. It plays an important role in activating the art industry. The project helps build solid customer basis, depending on the projects, too. Even if they fail to raise funds, creators still can promote their projects and each site can even act as project archives. Eloquence had a chance to talk with such service providers; Koreaโs Tumblbug, Japanโs Campfire, and Americaโs Kickstarter.
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Tumblbug / Korea Q. What does โTumblbugโ mean? It literally means the insect, tumblebug. The process of fund raising is similar to the act of a tumblebugโs dung gathering. We may think that loose change is practically worthless, but even a small amount of money helps creators produce their artwork. Q. When did you start it and why? When I entered a film school, โdigitalโ was the hottest topic. Youtube had launched in Korea and expensive digital devices had started popping up everywhere. So I could easily produce high quality films with my friends. However, some money was needed to create movies. One day, students from art colleges formed a community where they could help each otherโs projects and support each other with a small amount of money. Then I came across the American social funding site Kickstarter. However, it wasnโt easy to get support from Kickstarter because I needed to have an American bank account. So my friends and I decided to create our own website, Tumblbug. Q. What kind of projects do you usually receive? We mostly receive publishing projects because we are well-known in the local independent publishing industry. Q. How do you take into consideration when selecting projects to support? We donโt choose vague projects that have no specific goals. We also reject supporting restaurants, travel agencies, as well as the projects that suggest future returns through stock sharing or lottery. Q. What is the most impressive project that has won the funding? I still remember Stretching Journeyโs unpublished EP album project.
It wasnโt easy to convince the members of Tumblbug because the community had just launched. However, a great number of people participated in the Stretching Journey project. As a result, a wonderful album was released about three months later. The groupโs reward performance was also moving. The guitarist, Jae-jung, sent many โThank youโ emails and left messages on Twitter to the supporters. I think the personal communication was the key to its success. Q. What is it like to operate a social funding site in Korea? We are experiencing many difficulties in funding creators in Korea. The unstable cultural basis, the indifference towards independent creation, and the lack of excess purchasing power are to be blamed. In comparison to the U.S., we have a feeble number of Indie culture and independent creators. On the other hand, the projectโs speed of proceeding is very fast thanks to the diffusion rates of the Internet and widespread use of Smartphones. Therefore, it is easy to promote certain projects through social networking and they spread very quickly, drawing many people. Q. Which efforts are you making to make the projects more lucrative? Basically, I let the creators create everything by themselves. Even if their plans for their projects are insufficient, the sincerity from the raw materials can appeal to people. If the projects look like they have been designed by professional organizations or agencies, people donโt expect to be able to communicate with the creators. We are trying our best to eliminate the wall between the creators and customers in terms of general page layout, video, and the nuances of their writings.
www.tumblbug.com
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Campfire / Japan Q. What is the meaning of the name โCampfireโ? A fire. People get together around the fire and dance, chat and spread their circle. Fire is the idea from artists and creators. Q. When was โCampfireโ founded and what made you to start it? 2nd, June. 2011. I started it with our co-founder Kazuma Ieiri in order to support people that make things. Also he manages a cafe to provide the space to connect people together. By the nature of things, he wanted to make platform service to support creators and artists. We feel that the price of art in the frame is different from the people who pay for it. Anybody can participate on our platform for a low price. The enthusiasm of the people makes a better environment and a better relationship with the artists and creators. Q. What kind of projects are applied mostly? Performance, cinema and general contributions to society. Out with specific genres, entertainment projects work nicely for us. Q. When you choose a project, what sort of standard do you have? We donโt have a standard. We strive to make โCampfireโ a platform. It should be a platform on which artists and creators can showcase their projects efficiently. We determine which projects to choose based on the enthusiasm of the artists and creators. We do our best to try to nurture the talent and ideas that are presented to us.
Q. What kind of people are the fundraisers? They are generally internet users aged from 20 to 40. Q. What is the most important aspect of a successful presentation? Their PR video needs to be easy to understand. It is key to helping investors and supporters fully understand the project, its aims and its goals. Q. How have the projects and the applicants changed over time? Art students with the lack of funds to make products happen and people actively involved in sub-cultural projects have started to come forward. They are very unique and interesting but they seriously need help. We are also planning to make a crowd sourcing platform to connect the creators and enterprising companies. We feel that this would bring huge benefits to both sides. Q. What do you want to develop through โCampfireโ and what is your ultimate goal for the project? We would like artists and creators to have stronger motivation to create and not have to worry about the financial burdens of starting a project. We also want to build a wholesome online community of artists and supporters where they can interact with one another and develop projects together.
www.camp-fire.jp
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Kickstarter / US Q. What does the name โKickstarterโ mean? โKickstarterโ is the pedal that starts a motorcycle. It can also mean the beginning of a crowd shouting. I believe that we can be the kickstarters for the creatorโs project. With reference to our company, Kickstarter has come to mean a place for the creative community to bring their ideas to life. Q. When was โKickstarterโ founded and what made you start it? Kickstarter launched on April 28, 2009. In 2002, I was living in New Orleans and wanted to throw a late-night concert to coincide with the Jazz Festival. I thought the show would do well, but ultimately decided that it was too great a financial risk to take. The show never happened, but I couldnโt shake the feeling that there was a better way to get people financially involved in helping bring projects to life. That was the impetus for Kickstarter I suppose. Q. When you choose the project, what standard that you have? Kickstarter is for the funding of projects โ albums, films, and other specific works โ that have clearly defined goals and expectations. We currently support projects from categories like art, comics, dance, design, fashion, film, food, games, music, photography, publishing, technology, and theater. Q. What kind of people are the fundraisers? Artists from all across the creative spectrum are funding projects on Kickstarter, from the worlds of film, music and photography to food, technology and comics.
Q. What kind of projects are successful? And what is the reason for their success? The successful projects articulate the story of what theyโre trying to accomplish in a compelling and personable way. Offering one of a kind experiences and rewards is an important step towards a successful project on Kickstarter. Inspiring your friends, family and fans to get the word out about your project is another important step. Q. Is there any project that you take a personal pride in helping to get started? Thereโs no project in particular. Various people around the world are funding the projects so it difficult to assess your own importance in it. Q. How do you expect to see โKickstarterโ grow in the future? We are very focused on the present and always working to improve the experience for the people who are using Kickstarter every day. The future will take care of itself if we keep that attitude. Q. What do you want to develop through โKickstarterโ and what is your ultimate goal? We are all just focused on ensuring that project creators and backers alike have a good experience when they visit Kickstarter. Our goal is to continue to help bring their ideas to life. We are also working on better technology and system so that more people in the world can join.
www.kickstarter.com
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GIRLS PHOTO COLLECTION BY SHIN HYE RIM
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Model. Doyo 2009
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Model. Kim Inhye 2009
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Model. Kim Inhye 2009 / 2008
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Model. Jung Jiyoung 2010
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Model. Jung Jiyoung 2010
Model. Doyo 2008
Model. Lee Bowon 2010
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SHIN HYE RIM Iโve just met with Hae-rim Shin, photographer of the โGIRLSโ. The girls in the photos looked gentle yet peculiar which made the pictures seem even more loveable.
Editor. Jean Choi Photographer. Jun O Hwang
Q. Is your major photography? Nope. Iโm majoring in textile art. Iโm currently in my last semester of college. Q. Then how did you start in photography? I didnโt start photography at some specific moment. I grew with it naturally. When I was young, there used to be a small Canon camera in my house which I often played with like a toy. Q. Since your first encounter with a camera was at a really young age, Iโm guessing you probably donโt remember the time you printed your first film roll... Yeah. But I do have a picture that I consider to be from my first roll. I was able to find a manual camera in my fatherโs drawer. I took my fatherโs camera and went to my elementary school with a friend and took a picture. That film and shoot remains to be most unforgettable memory that I have. Even though it wasnโt my first film roll, it was the first picture Iโd taken using a manual camera. During high school, there was a time when I briefly used a digital camera. However, when I saw the results, I realized that I preferred film. Q. How did you learn to use a manual camera? I had gone to buy film at a store, and the man from the store taught me how to use the camera. โPlace the aperture at 11, and since the skies are clear today, set the shutter speed at 125. You know how to use the focus right?โ was all he said. This was pretty much all the formal learning Iโve had, and the rest I learned through constantly taking pictures. Q. What got you started with the โGirlโ photo series? Honestly, I didnโt have many male friends, so I just started taking pictures of my girl friends. Pretty girls arenโt that camera shy, so I didnโt have too hard of a time making progress. Personally, Iโm also rather fond of girlish images myself. During adolescence, my favorite characters from movies and novels were those of young girls such as Emmeline, from the movie <The Blue Lagoon> and Lolita, from Vladimir Nabokovโs novel <Lolita>. I really enjoyed both the novel and movie for <Lolita>. Q. Does it take a lot of effort for you to capture that kind of image and emotion in a picture? I think Iโve accumulated lots of pretty images in my mind and somehow mesh them into my pictures. I donโt force interest or purpose on myself to capture a picture. Q. How do you cast your models? At first, I took pictures of pretty friends that I would meet at school. Then, I used the internet and directly searched for models. After finding an interesting model, I would do a thorough study on her with whatever resource I had, usually the internet, and then contact her requesting a photo shoot. In 2007, I had contacted and met In-jeong Kim, a model who appears frequently in my photos.
Q. Do you request specific poses or expressions from the models during photo shoots? I usually request for natural looks. When I first meet a potential model, before the photo shoot, I begin by having a long conversation with her and try to become more or less well acquainted. Normal people get quite nervous when you put a camera right in front of their face. The girls I shoot are generally fairly comfortable being in front of the camera. However, because they arenโt professional models they do get nervous at times as well. I try my best to help ease their nervousness and encourage them to focus not on the camera but on the person behind it. Q. The โGirlโ photos have been going on for about five years now. What are some differences between the first photos and those taken now? I donโt know if Iโm the only one who thinks this way, but I think Iโve changed a bit in the technical aspect. Another change is that both the pictures and models are maturing together. I think becoming friends with the models and developing a deeper relationship with them influenced the picturesโ progression as well. Q. What do you believe is the element that allows people to think โthis is Hae-rimโs workโ when theyโre looking at your photos? The light in the modelโs eyes in a photo. I like the mysterious image of naturally flowing light from the eyes of an expressionless face. I like a picture where one would spare a few seconds to look at it longer instead of passing it by. That is why I try to create that kind of light in the eyes. Q. Please introduce any project youโre doing at the moment. I am currently in the process of doing a travelling project with In-jeong Kim. We are travelling the country as I take pictures and she writes about the experience. We want to take the contents of the trip and publish a travel essay book under our names. Recently weโve visited Tong Yeong and Yang Yang and had a wonderful time. I know that In-jeong is a person I would like to continue to be friends even as we become grandmothers. Q. Whoโs your favorite photographer? Even though thereโs too many to count, I donโt think I have one specifically as a role-model. Q. What are your plans for the future? I want to meet a lot of people and try out different things. I want to take snapshots and create objet dโart. Iโm also planning on making my own photography masterpiece. www.cyworld.com/adricia
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Vincent Sung, who works and plays in Asia, organized a team in Beijing to make amazing pictorials. Eloquence received the hottest photos from him.
BEIJING REVELATION by Vincent Sung
Photographer. Vincent Sung Stylist. Wei Qiao Models. Fu Zheng Gang & Sui Shuang Yang Make up. Jay Lee Hair. Laurent Falcon @ Le Salon Location. LANGHAM PLACE BEIJING CAPITAL hotel
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Zheng Gang wears All look by RALFE BY RALF. Belts DAVID-UBL.
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Zheng Gang wears top by MUNDI BY TRIPLE-MAJOR. Pants Stylistโs own. Boots DAVID-UBL. Shuang Yang wears Look by SWAN BY YUCHEN. Shoes TANYA. Bracelets D-Sata BY CuR.
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Shuang Yang wears dress DIANE von FURSTENBERG. False collar ANNE FONTAINE. Shoes TANYA. Bracelet by D-Sata BY CuR. (left) Zheng Gang wears top IANWANG. Vest DAVID-UBL. Shoes RALFE BY RALF. Necklace D-Sata BY CuR. Shuang Yang wears dress IAN-WANG. Shoes TANYA. Necklace D-Sata BY CuR. (right)
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Zheng Gang wears jacket and shoes RALFE BY RALF. Pants PATH. Shirt IAN-WANG. Shuang Yang wears coat ELYSEEYANG. Belt DAVID-UBL. Boots TANYA. Earrings HOUSE OF WILLOW. Tights WOLFORD.
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Photographer
VINCENT SUNG Q. Please introduce yourself. My name is Vincent Sung and I am Korean born (in Busan) and adopted by a Belgian-French family in 1972. I grew up in a very cosmopolitan family and was exposed to a lot of contemporary art & culture in Brussels; a city with a strong avant-garde scene and plenty of visiting international artists. Later on, I moved and lived in Paris for four years before returning to Korea for the first time in June 1995. My Korean roots were calling and numerous jobs offers from emerging magazines made me decide to move back to Korea in 1996 where I collaborated with prestigious magazines including ELLE, MARIE CLAIRE, VOGUE, SHEโS, HAUTE, and NOBLESSE. During the economic crisis, I moved to New York for two years to fine-tune my artistic approach and style, then settled down again in Seoul. Since then, I have been working for major Korean fashion brands; reshaping the esthetic of Korean fashion with a fresh look and style. Friends often describe me as a cosmopolitan, bohemian-traveler with extensive knowledge of multi-cultural megapolis (cities such as Seoul, Shanghai or Bangkok). Q. What kinds of works do you usually do? I started my career in 1992 working in Belgium for international publications like Marie Claire bis / Marie Claire and European advertising campaigns, then moved to Paris in 1994 to working for some top modeling agencies. I have shot fashion and advertising campaigns for 15 years, but I have been doing more travel/lifestyle oriented photographs (for Korean publications) since 2001 when I started to discover the world as well as explored fine art photography/installations. These days it seems, you have to be multitalented and my company (Visual Sponge Project) does productions (advertising, TV and movie) and I can work as creative director, photographer, editor and also as a PR/Media consultant. You have to be able to wear โseveral hatsโ and be able to multi-tasks if you want to survive these days. Q. How did you make this pictorial in Beijing? What was the motive? The pictorial happened in a very spontaneous way. I got in touch with Jay Lee; a Korean make-up artist based in Beijing. I explained what I was trying to do (a fashion spread that we could shoot with total creative freedom and submit later to a magazine of our choice, like VISION or SURFACE in China) and she introduced me to Wei Qiao, the stylist we used. I did not want to have boundaries or any obligations to brands and for us to be able to express ourselves as we wanted. Everyone was happy to be given the chance to create something new and unique!
Q. What is the concept of the pictorial? The concept was to combine art and fashion in a contemporary setting (design style hotel) and to feature local designers living in China, not the international luxury brands typically expected in glossy fashion magazines to please advertisers. I wanted something edgy with my trademark use of strong colors. Q. Who were the models? Fu Zhenggang and Sui Shuangyang are top Chinese models and had careers on the international catwalks scene in Paris, Milan and New York. I chose them for their strong, contemporary โChineseโ looks which they encompass into their modern Asian looks. They were very good professionals and never complained about working long hours. I would like to thank them for their great attitude. Q. Please introduce other staff, too. How did they get involved? I was joined by a whole group of talented creative staff; Laurent - a French hair stylist from Franck Provost/Le Salon, Janine Grosche from PATH who helped to style the shoot, Jay Lee who created the looks (make-up) and stylist Wei Qiao who selected the amazing fashion designerโs brands. Q. Tell us about the clothes. Who are the fashion designers, and why did you decide to work with them? Ralf and Janine are German. They design very โBauhaus-influencedโ clothes with excellent material and cutting. Q. Where is the location? How did you find the hotel? Actually I was in Beijing thanks to Langham hotels HQ who graciously invited a small group of the international media to visit their โartโ hotel located near Beijing Capital airport. I stayed in Langham Place for four days and was very impressed by the overall design and the harmony between contemporary design and art installations scattered around the hotel. Langham Place is their stylish chic brand infused with art work. They helped out to arrange the location for the fashion shoot. Q. What did you want to tell us by these photos? I wished to express a new style/direction in which my work is going; itโs very influenced by magazines like Wallpaper (fashion combined with daily living environment) and Surfaceโs graphically structured poses. The modern Asian men and women of future generations. www.wix.com/vsbangkok/loft16
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Zheng Gang wears coat and pants by PATH. Body RALFE BY RALF. Shoes DAVID-UBL. Belt ANNE FONTAINE. Necklace HOUSE OF WILLOW.
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! k c i P
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November Night by Freaks
This monthรข&#x20AC;&#x2122;s Pick is Freaks. Designer Tae-hoon Kim exclusively showed us his latest collection.
Photographer. Ozak Hair & Makeup Artist. Park Seul Ki Model. Natali Jacobsen Design by Freaks Editor. Jean Choi 100
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Brand Director & Designer at Freaks
TAE-HOON KIM Q. Can you please explain Freaks to us? A freak is defined in the dictionary as an abnormality, perversion, eccentricity, oddball, a person obsessed with something, etc. Instead of complying with the wordโs grotesque and gloomy definition, I try to portray things from a personally aesthetic point of view. I want to get inspired by interpreting everything in the world in an aesthetic way just like an aesthetician or esthete would. In that sense, I decided to name my brand Freaks to portray this desire and passion. Freaks is about digging deep into everything, even things that people hate, and sublimating them towards an aesthetic appeal. Q. What is something unique about Freaks? I try to incorporate a line that is masculine yet feminine at the same time. When looking at the clothes, youโll notice asymmetry, aesthetic 3D patterns, a mathematical usage of space, a kind of structural hardness and more. Thereโs only one living person in this world with my genes, and thatโs me. Since the clothes I create are based on things from my perspective, my clothes canโt help but have a different feel from other brands. Q. Please describe your three individual lines within Freaks. The Casual line portrays a funky, vintage and global-mixed-culture kind of image with a handicraft feel to it. The Dress line has more of a modern and funky image with a romantic feel that is complimentary for women with chic confidence as well as those with soft femininity. Last but not least, the Only One line portrays the artistic deformations of freakish distortions and dismantling of shapes. A few years after launching my brand, I had expanded it by developing three separate lines. However, Iโm currently focusing on expanding the dress and formal line. Actually, the women who buy clothes from Freaks are mostly the independent corporate types. Although I conservatively try to cater towards their preferences, I also focus on designing and creating one-point items. Items in the Only One line are made mostly for magazine pictorials or sample concepts. Iโm free to do whateverโs in my mind with this line, and thatโs why Iโm quite attached to it. I plan on developing the Casual line after the Dress line becomes more successfully established. Q. What is the concept for this season? The concept for this 2011-12 F/W season is a combination of a casual and formal look with a bit of military feel to create a European style. You can see the unique style of Freaks through the funky detailing incorporated on the high quality materials. Youโll also be able to get a sense of Freaksโ asymmetrical design, mathematical usage of space, and structural hardness. Q. Which is your favorite outfit from this season? My favorite item is a coat called PLUTOโS DANTE. The double-breasted coat has a uniform yet hard feel to it, as its collar and lapels show off an asymmetrical design. Q. If you have the opportunity to mix up the fashion genre of Freaks with something else and begin a new challenge, what would you like to try out? Fashion alone takes up all my time right now. I donโt have the time to ponder about something else I could do. Of course, I get to enjoy things like music, fine art, culture, philosophy, movies, and other things as hobbies because they all can be connected with fashion in some aspect. However, I donโt think itโs the right time for me to give myself a new challenge right now. Q. What are your plans for the future? Iโm not sure. Iโm always thinking about what I should do with a limited budget. In order to do various things, such as having long term fashion shows or entering the foreign market, there needs to be some kind of organized system that I currently do not have. But, I still plan to be more action-driven than now. All I want and need now is to meet a practical partner or investor. www.freaks.co.kr
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project
NON:TEMPORARY SOLUTIONS
โItโs getting cold,โ says Aram Lee, drawing her jacket closer to her as we get closer to a small stream. People in colorful clothes of functional materials are everywhere around us, power-walking, running, and cycling. Along the stream, foreign cars in dark colors are passing-by. Further away, Tower Palace, a huge high rise complex is shining brightly towards the darkening sky. As we cross a bridge, Aram points at container tower sticking up over the trees. Flags, banner and drawings are suspended onto it. โThere it is,โ she says, โPoi-dong.โ
Editor. IDA Grรคndรฅs-Rhee
The streets of Poi-dong are small and narrow. Along the house walls kimchi pots are lined up. Some walls are covered with colorful paintings. A door opens, and a woman dressed in that same colorful, functional material comes out. She smiles at Aram and asks if we have had dinner yet. โThey are all my friends here,โ she says. Aram came for the first time in 2006, to work as a voluntary teacher. While working in Poi-dong, she became close to the people and their lives. In the 80s people were forced to move to Poi-dong, and since them, they have been confined to a patch of land by the government. This confinement has kept them from leaving, trapped and branded poor and inferior to the outside world. During the 1988 Olympics, the villagers were not heavily restricted on where they could go. The government feared that the foreign visitors would see them and the poverty that existed in the burgeoning capitalist nation. The village was, for a long time, a forgotten part of the city. โFor a long time, people didnโt even know this neighborhood existed,โ Aram explains. โPeople living in those high rise buildings on the other side of the stream found out about the neighborhood in the news.โ A truck has parked on something that looks like a large parking lot.
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Around the truck, pens, paper, cardboard and other recyclable materials are separated accordingly. โThe village is like a self-sustaining unit,โ Aram says. โWe collect these
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recyclable materials, and through various forms of construction work, people earn their money. There is also schooling and, in that container tower, a community center.โ In June this year, a fire drastically changed the living conditions in the village. Large parts of the community were completely burned down and those living in that part of the village lost everything. The community has worked tirelessly to come to a solution. Since people lost their homes and their kitchens, all cooking became communal. They have also started to make houses out of a styrofoam material covered by a thin layer of metal. After the fire, Aramโs relationship with the village also changed. She felt compelled to take action. She didnโt want to do something under the guise of charity. She didnโt want people to pity the residents of Poi-dong. She wanted to do something that would help to build a better future for the residents, not just a temporary solution to their problems. โThink about Toms shoes,โ she says โpeople started wearing them because they looked good, not because they wanted to do good.โ Aram explained that words like โpoorโ, โillegalโ, โcontrastโ and โpityโ are buzz words that are often used to draw attention to a project. โFor me, the village is real and has been there for 30 years. They are just normal peopleโ says Aram. While talking, Aram slowly walked me to a different site within the village, and she suddenly falls silent. I look up, and around us lie materials that were used for the new houses, twisted and bent into strange shapes. It looks like a bomb has been dropped. โOne night they came, at 4 am,โ Aram says, โthe gangsters hired by the
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government.โ Poi-dong is a controversial issue, and has been a big challenge for Aram. It seems to have made her think more about how actions are often just made for a limited period of time before petering out. Aram wanted to find another way to work. She wanted to do the same brand of action in Poi-dong as she had done in other places and situations. And so, the NON:TEMPOARY project was born. The idea was that Poi-dong is the start of a design initiative that can be moved to another setting, another place, for emergency solutions and then modified for everyday situations, and the work would not be borne out of pity, but out of the interest in the work itself. โI want the artists to get something out of the project,โ she says.
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So far, the artists involved in the NON:TEMPORARY project have been architect Jiho Howard Kim, and Jihyun Ko, the fashion designer behind the brand Amazine. Since the work has to be adapted to the site and the situation, they are learning to work in new ways. Jiho initially some had trouble finding a solution for how to use the materials that were given, so he looked for other ways.
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โI found a solution lying in fashioned source material, not from the architectural, mechanic market,โ he explains. A man greets Aram, and tells us to follow him. He walks fast through the narrow streets. He brings us to an open space where the fire was. There is a house constructed from metal pipes. This is start of a mobile Wondumak that the NON:TEMPORARY project has worked on. After the fire, the village had lost a lot of the private space where the children could study with their voluntary teachers. Due to the conflict over the land with the government and the lack of space in the village, they started to work with a mobile space. The man points and explains everything to Aram, and after a while she turns to me and says: โItโs really good to work with the people in the village because they have so much knowledge about construction and the production process.โ Together with Jihyun, Aram wanted to find a way that both people living in Poi-dong and the consumer of designer clothes could feel satisfied with the same product. Working together with the old women in the village, who have the sewing skills but are tired of working with the containers, they managed to cut production costs but at the same time give the old ladies a fair salary. I notice something colorful sticking out of the bag Aram is carrying. She catches me looking at it. She pulls it out and holds it up. Itโs a simple textile bag, but on one side there is a print, and the other side it is black. She holds it up to her shoulder and shows me how you can wear it in different ways. โIf you want to be stylish, you wear it like this, and if you want to be colorful, like this.โ I thought back to where we had been. I wondered which way I would wear that bag if I walked through the Poi-dong again.
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event
GOING BORDERLESS
In the Arko Arts Theatre in Seoul languages and places are redefined, violence and laughter are mixed up, and the line between life and death is explored. With 37 works from 8 different countries, Seoul Performing Arts Festival, SPAF, 2011 is leaving borders, nationalities and rules behind.
Editor. IDA Grรคndรฅs-Rhee
SPAF originates from the 1970โs when a performing arts festival and a theatre festival were held in parallel in Seoul. In 2001 these two were fused together, and SPAF was founded. For 10 years, theatre was the dominating the program, but last year the festival took a new direction when it incorporated the Hanguk Performing Arts Center and a new artistic director Ahn Aesoon, who herself has worked as a choreographer for 30 years, was employed. For the last year, Ahn has travelled around, especially in Europe, to find artists and learn about what is going on right now within the performance arts. And she found that there were no definitions, rules or concepts. There was only one thing that saturated everything: the borderless. โThey were saying that contemporary art is not about art forms, but itโs about art itself,โ Ahn says. At the same time observing this borderless thinking, Ahn could see how the Korean scene was not quite there yet. In Korea, the contemporary performances have been locked to history, culture and society, rather than focusing on themselves, and only recently the artists have started to focus on themselves. โIn Korea, things develop so fast, and we havenโt had time to fully develop. But in the new generation, we are on the way,โ says Ahn. With this, the first task for the SPAF was clear - to introduce the notion of borderless art to the Korean audience, and all performances shown this year clearly expressed this.
On September 28, the opening of SPAF was held with the performance โMegalopolisโ. Arkoโs main stage was transformed into a city, without a defined name, but with a clear representation of the eligibility of todayโs megacities. With movements, sounds, and images the stage was filled with the violence and anger of the cities where the office population and repetition are ruling, where architecture has made local variations impossible and people can only be in masses. There is no time for sleeping, eating or making love. The performersโ languages mixed into each other, as were their movements and bodies, while images from mega cities all over the world were projected onto big screens. Another performance, The Holy Innocents, also crossed the border between the stage and the audience. During theperformance, confetti was raining over the audience seats, and masks were landing in among the audience. In Holy Innocents, the ethnicity concept and violence were shown in the absurd combination of a party combined with violence on the streets of Bogota. โThis is a beginning, an introduction,โ says Ahn, hoping that the festival not only will be about the performances but be more of a platform for contemporary performing arts, where people and art can meet and find new channels and ways to work. โThrough this work, I can guide young artists, and work with the system,โ says Ahn.
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Even though all the tickets for the festival were sold out, the audience is still far from the typical Seoul citizens. There is a group of mania, to which the festival has a specially designed ticket package, that makes up the biggest part of the audience base. Few people in the audience are just random visitors. Ahn and other organizers of the festival is therefore trying to attract other types of audience, and especially, more foreigners. The hope is that a broader audience will make it possible for a conversation about art, from which ideas can be integrated into the festival and provide a base for selection of performances. รข&#x20AC;&#x153;I hope that the feedback and thoughts of the audience and professionals will be combined so that different performances can take place to create co-productions,รข&#x20AC;? says Ahn.
SPAF
The Seoul Performing Arts Festival is held at the major theatre venues inDaehangno, Seoulรข&#x20AC;&#x2122;s theatre district, Arko Arts Theatre and Daehangno Arts Theatre. The festival is hosting 13 dance, 12 theatre and 12 multidisciplinary works from Korea, Germany, France, Australia, Italy, Japan, Colombia and Armenia. The festival is on from September 28 through October 31.
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information
World Exhibitions Editor. Jean Choi
Seoul Maps Talk October 26 ~ November 13, 2011 Art+ Lounge DIBANG www.dibang.org Sound of the Earth November 9 ~ November 15, 2011 Mokin Museum www.mokinmuseum. com
imaginations. November 25 ~ November 27, 2011 Imperial Palace Hotel www.doorsartfair.com Show Me Your Hair October 6 ~ November 30, 2011 Coreana Museum of Art, space*c www.spacec.co.kr Seoul Photo Festival November 2 ~ November 30, 2011 Seoul Museum of Art www.seoulphotofestival.com Dan Perjovschi September 29 ~ December 4, 2011 Total Museum www.danperjovschi.kr
HIDE AND SEEK November 2 ~ November 17, 2011 CNB gallery art.cnbnews.com Sculptorsโ Drawing September 9 ~ November 20 SOMA Museum www.somamuseum.org Seoul Lantern Festival 2011 November 4 ~ November 20, 2011 Cheonggyecheon blog.naver.com/seoullantern Mass production of Differences November 11 ~ November 20, 2011 SEOUL ART SPACE SEOGYO www.seoulartspace.or.kr Random Access Black Box November 3 ~ November 22, 2011 Seoul Art Space geumcheon.seoulartspace.or.kr
Drawing for a while November 10 ~ December 6, 2011 Kukje Gallery Space 1 www.kukje.org Modern and Contemporary of Korea Materials of Art Education October 12 ~ December 23, 2011 Daljin Museum www.daljinmuseum.com WORK IN PROGRESS - Karl Lagerfeld Photography Exhibition October 13 ~ March 18, 2012 Daelim Museum www.daelimmuseum.org David La Chapelle in Seoul November 22 ~ February 26, 2012 Seoul Art Center www.dlcseoul.com
Weight and Thickness November 8 ~ November 24, 2011 Gallery Chosun www.gallerychosun.com David Hockney: Four Print Portfolio 1961 - 1977 October 6 ~ November 27 Seoul National University Museum of Art www.snumoa.org Choi Gene-uk, REALISM October 13 ~ November 27, 2011 Ilmin Museum of Art www.ilmin.org Doors Art Fair Doors Art Fair aims to be a passageway of diversifying the art market and embracing more artists to be valued in contemporary art. The fair aspires to set a new platform for promising artists who look to communicate to the world through their innate sensibilities and open
London Bardot October 10 ~ November 12, 2011 Gagosian Gallery www.gagosian.com
Cory Arcangel: Speakers Going Hammer The exhibition will mark a move away from video modifications and articulate the wide range of his practice. Arcangel will present works previously unseen in the UK, following
on from his large installation in February at The Barbican, London, and a solo show which opened in May at The Whitney Museum of American Art, New York. October 12 ~ November 12, 2011 Lisson Gallery www.lissongallery.com Sisters! Sisters! is not a film about the Southall Black Sisters, but is a two-way project between Bauer and the staff at the organization. Documenting one week in the life of the organization, the film takes their daily activities as a springboard for a visual discussion on feminism, politics and aesthetics in todayโs society. September 29 ~ November 19, 2011 The Showroom www.theshowroom.org Bettina Samson NETTIE HORN is pleased to present the first UK solo show by French artist Bettina Samson featuring an ensemble of glass pictures, sculptural works and a video piece. Exploring the identity of modern society, Samsonโs practice articulates around a number of phenomenons issued from cultural history, scientific discoveries and modernist utopias which the artist revives through multiple bridges of connection intertwining existent, potential and hidden fictions. October 7 ~ November 20, 2011 Nettie Horn www.nettiehorn.com Robert Notherwell: Works on Paper The exhibition, taking place twenty years after the artistโs death, will comprise some ninety works spanning most of his career. The exhibition will be accompanied by a scholarly, fully illustrated catalogue. October 11 ~ November 26, 2011 Bernard Jacobson Gallery, London www.jacobsongallery.com Second Nature: the photographs of Bill Wyman October 5 ~ November 30, 2011 Rove www.rovetv.net I AM THE WARRIOR Artists Ben Sadler and Phil Duckworth, who make up Juneau Projects, have long been interested in folk art in all its forms. They are interested in the ways in which people are motivated to make things by creative desire,
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and not by the thought of commercial gain. With this in mind they have conceived a plan for an open exhibition. October 22 ~ December 11, 2011 Pump House Gallery www.pumphousegallery.org.uk Rachel Howard: Folie ร Deux Folie ร Deux, French for โmadness of twoโ, is the clinical definition for a psychosis in which delusional beliefs are transmitted from one individual to another. For her first exhibition at Blain Southern, the acclaimed British artist Rachel Howard has created a series of intricately linked paintings, hung as triptychs, diptychs and stand-alone works, which subtly explore this disturbing malady. October 12 ~ December 22, 2011 Blain Southern Gallery www.blainsouthern.com Gerhard Richter: Panorama Since the 1960s, Gerhard Richter has immersed himself in a rich and varied exploration of painting. Gerhard Richter: Panorama highlights the full extent of the artistโs work, which has encompassed a diverse range of techniques and ideas. It includes realist paintings based on photographs, colorful gestural abstractions such as the squeegee paintings, portraits, subtle landscapes and history paintings. October 6 ~ January 8, 2012 Tate Modern www.tate.org.uk/modern George Condo โMetal Statesโ October 18 ~ January 8, 2012 Hayward Gallery www.southbankcentre.co.uk
Paris The Pledge September 10 ~ November 12, 2011 Art: CONCEPT www.galerieartconcept.com La Chรขsse de lโHomme On an ethereal background of white light Avella-Bagur shows us archetypal images of male and female bodies on which he paints a second layer of portraits in bright flesh tones that never sit easily in or on the modelโs outlines. Christophe Avella-Bagur gives us an uncompromisingly contemporary version of painting, which while remaining firmly figurative, gives us a fresh look at human identity as depicted by the virtual world. October 8 ~ November 19, 2011 Galerie Richard www.galerierichard.com Paris Photo Paris Photo will celebrate its 15th anniversary at the Grand Palais ? A major step ahead for
the renowned international event. 117 galleries from some 23 countries will present the best of 19th century, modern and contemporary photography in the heart of the French capital. To complete this panorama of worldwide photography, a selection of 18 publishers will have a dedicated space in the fair. November 17 ~ November 20, 2011 Grand Palais www.parisphoto.fr Stรฉphane Pichard & Roy Villevoye November 3 ~ November 30, 2011 Galerie Martine et Thibault de La Chรขtre www.lachatregalerie.com Blair Thurman October 20 ~ December 3, 2011 Triple V www.triple-v.fr Julian Schnabel Polaroรฏds Julian Schnabel is a multidisciplinary artist, a genius touche-ร tout, art is an integral part of his person. Photography has always been present in his works particularly in his paintings in which he often uses old pictures recovered by painting, as he continues to do in his Polaroรฏds. October 22 ~ December 3, 2011 Megda Gallery www.megda-gallery.com Mark Geffriaud October 29 ~ December 21, 2011 GB Agency www.gbagency.fr Analia Saban November 5 ~ December 23, 2011 Galerie Praz-Delavallade - Paris www.praz-delavallade.com Nobert Bisky November 5 ~ December 24, 2011 Galerie Daniel Templon www.danieltemplon.com Takashi Murakami: Homage to Yves Klein October 20 ~ January 7, 2012 Galerie Perrotin www.perrotin.com Rome + Klein, Photographs 1956~1960 1956, after the publication of his already famous visual diary of New York, painter, graphic artist and photographer William Klein arrived in Rome at the request of Federico Fellini, who hired him as his assistant for the film โNotte di Cabiriaโ. Filming was delayed and Klein took the opportunity to wander around the city, armed with his camera and guided by such famous personalities as Pier Paolo Pasolini, Ennio Flaiano, and Alberto Moravia: the new stars of the Italian literary and art world. In the enchanting context of the 1950s, the
photographer produced a new photographic series on Rome which was also to become a book, published in Italy in 1958 by Feltrinelli and in 1959 in France by Le Seuil. Fifty years on, this exhibition, along with the republication of the book, once more celebrates Kleinโs incredible visionary talent and his gesture of love for the Eternal City. October 5 ~ January 8, 2012 www.mep.fr.org Giacometti and the Etruscans Giacomettiโs interest for the primitive figure can be found very early in the artistโs work. Etruscan art caused a considerable upheaval for Giacometti. These strange and mysterious people created an outstanding art form, exceptional in its quality, richness and beauty, composed of sculpted sarcophagi and powerful warrior figures. September 16 ~ January 08, 2012 Pinacotheque De Paris www.pinacotheque.com Matisse, Cezanne, Picasso... Lโaventure des Stein October 5 ~ January 16, 2012 Grandpalais www.grandpalais.fr
New York Feather and Wax October 20 to November 19, 2011 Joshua Liner Gallery joshualinergallery.com Abominations McLennanโs acrylic and graphite on paper works depict the animal kingdom exclusively. Though the birds, snakes, rodents, and elk carry the authenticity of a dedicated naturalist and master draftsman, their actions are pure allegory for human motives and behavior, some of it of the worse sort. October 20 ~ November 19, 2011 Joshua Liner Gallery joshualinergallery.com Raw/Cooked: Krista Wickman September 16 ~ November 27, 2011 Brooklyn Museum of Art www. brooklynmuseum.org MODELO PARA ARMAR: REHEARSING THE CITY Modelo para Armar is the effect of the artistโs ongoing study regarding the subjectivity and apparent tensions of collectively engaged individuals, and the expression of these tensions through passions or psychic impulses. The exhibition features a series of video-
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recorded actions realized in Lima, Peru and New York City that demonstrate notions of the city-as-hub, internal migration, and everyday aggression. November 3 ~ December 3, 2011 AC Institute www.artcurrents.org IL LEE: Monoprints, Editions and Paintings These series of prints, with bright greens and blues and rich oranges and browns, have been created in discrete sets of themes which build on diverse explorations of mark-making. This recent focus on the etching process brings Lee back to a practice that was his initial course of study decades ago. Several paintings made concurrently with the prints also will be included in the exhibition. October 11 ~ December 22, 2011 Art Projects International (API) www.artprojects.com Eva Rothschild: The Heart of the Thousand Petalled Lotus This new body of work includes photography, formal sculpture and found objects. Rothschild brings together different ways of making to create an associative conversation in which object and format are repeated and varied guiding us towards the possibility of multiple but simultaneous meaning. November 4 ~ December 22, 2011 303 Gallery www.303gallery.com The Conceptual Prints of Sol LeWitt Sol LeWitt, a leading light in American Art, who died in 2007 at the age of 78, formulated in his early writings the idea of Conceptual Art, influencing a generation and giving birth to a new way of thinking about art. Famous for his wall drawings and sculptural โstructuresโ he also worked consistently and extensively in printmaking throughout his career. November 3 ~ December 31 Bernard Jacobson Gallery, New York www.jacobsongallery.com John Chiara November 17 ~ January 7, 2012 Von Lintel Gallery www.vonlintel.com Picassoโs Drawings The Frick Collection presents an exhibition of more than sixty drawings (works in pencil, ink, watercolor, gouache, pastel, and chalk) spanning the first thirty years of Picassoโs career, from his first signed drawing to works from the early 1920s. October 4 ~ January 8, 2012 The Frick Collection www.frick.org New Photography 2011 MoMAโs annual New Photography series expands to feature the work of six artists
including Mayra Davey, George Georgiou, Deana Lawson, Doug Rickard, Viviane Sassen, Zhang Dali with the aim of capturing the diversity and international scope of contemporary photographic work. September 28 ~ January 16, 2012 MoMA PS1 www.moma.org
www.mot-art-museum.jp
Beijing Slow the flap of wings October 16 ~ November 15, 2011 Gallery Mun www.gallerymun.com
Tokyo KONDOH Akino โKiyaKiyaโ In 2010, KONDOH Akino received a YouTube Play Award for her animation โLadybirdsโ Requiem (digest version)โ at the Guggenheim Museum and took part in Domain: The Art of Tomorrow at the National Art Center is widely active at home and abroad. The present exhibition includes Kondohโs new animation work โKiyaKiyaโ as well as drawings, oil paintings and sketches. Mizuma Art Gallery October 11 ~ November 12, 2011 mizuma-art.co.jp Guerrino Tramonti, the Magician of Color Raised in Faenza, Italy: A Retrospective September 10 ~ November 13, 2011 National Museum of Modern Art Tokyo (MOMAT) www.momat.go.jp Ricarda Roggan September 6 ~ November 26, 2011 Ando Gallery www.andogallery.co.jp TWS-Emerging 119: Jiao Murakami October 4 ~ November 28, 2011 TWS Shibuya www.tokyo-ws.org
Walead Beshty: Securities and Exchanges Walead Beshtyโs UCCA solo exhibition Securities and Exchanges marks the first time that this leading young Los Angeles-based artist has exhibited his work in China. Beshty began exploring the concept of โmaterial transformationโ after he inadvertently passed some undeveloped film through an airport x-ray machine. When he developed the film, he discovered striking colors and patterns that had nothing to do with his original intentions as a photographer. September 24 ~ November 20, 2011 www.ucca.org.cn
Sydney Fiona Hall: Shot Through November 3 ~ November 26, 2011 Roslyn Oxley9 Gallery www.roslynoxley9.com.au Riding with Death: Redux October 28 ~ December 10, 2011 Anna Schwartz Gallery www.annaschwartzgallery.com Euan Heng: New Paintings November 17 ~ December 17, 2011 Boutwell Draper Gallery www.boutwelldrapergallery.com.au
Marco Tirelli Marco Tirelli is known as a tempera painter, and he has been practicing the technique mainly on wood panel and canvas over the past decades. The subject matters have basically something to do with geometric forms, which are painted as if suspended in the air leaving a wide margin. November 1 ~ December 10, 2011 Base Gallery www.basegallery.com
Conor OโBrien: Photographs 20032011 ACP presents Conor OโBrienโs first major solo exhibition. Early works draw on an Australian youth generation anti-aesthetic whereas recent works signal a maturing beyond their hipster roots. there is a recognition of something lost which can be found as you reflect on the significance of the insignificant in the everyday. December 3 ~ December 23, 2011 Australian Centre for Photography www.acp.org.au
Aida Makoto: Be it Art or not Art November 5 ~ December 25, 2011 TWS Hongo www.tokyo-ws.org
Recorders December 12 ~ February 12, 2012 Museum of Contemporary Art Sydney (MCA) www.mca.com.au
Berlin 2000-2011: Playing among the Ruins September 23 ~ January 9, 2012 Museum of Contemporary Art Tokyo (MOT)
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Korean version ๊ตฟ์ด๋ ๊ฒ์ ์๋ ์ข์ ์๋์ง๋ฅผ ์ ๋ฌํด์ฃผ๋ ค๋ ๊ฒ์ด ์ฃผ๋ชฉ์ ์ด๋ค. ์ด๋ฅผ ๊ธฐ๋ณธ์ ์ ์ผ๋ก ์งํํ๊ธฐ ๋๋ฌธ์ ์ธ๊ตญ์ธ๋ค๋ ๋งค์ฐ ์ข์ํ๋ค. ๋ฌธํ์ ์ธ ๊ต์ก์ด ์ ๋์ด์๋ ์ ์ง๊ตญ์ ๊ฒฝ์ฐ โ๋ค๋ฆโ์ ๋ํด์ ๊น๊ฒ ํธ์๋ฅผ ํํ๊ณ ๊ฐ์ฌํด ํ๋ค. ํ๊ตญ์ ๊ตฟ์ด๋ ํ ์์ ๋ฌธํ๋ ๋ช ์ฒ ๋ ์ ๊ฑธ์ณ ๋ด๋ ค์จ ๊ฐ์น ์๋ ๊ฒ์ด๊ธฐ ๋๋ฌธ์ ๊ทธ๋ค์๊ฒ ์ด๋ฐ ๊ฒ์ ๋ฃ๊ณ ๋ณผ ์ ์๋ค๋ ๊ฒ์ ๋ํ ๊ฐ๋์ ์ด๋ฃจ ๋งํ ์๊ฐ ์๋ ๊ฒ์ด๋ค. ๋ฟ๋ง ์๋๋ผ ๋ด๊ฐ ๊ฐ๋ ฌํ ์ปค์คํฌ๊ณผ ๋์์ ํตํด ์ฌ๋๋ค์ ๊ฐ์ ์ ๋๋ฆฌ ๋ฐฐ์คํด์ฃผ๊ธฐ ๋๋ฌธ์ ๊ต์ฅํ ๊ณ ๋ง์ ํ๋ค. ์ธ๊ฐ์ ๋๊ตฌ๋ ๋ฏธ์ง์ ํ์ ๊ฐ์ง๊ณ ์๋ค. ์ธ์ ๊ฐ ํ ๋ฒ์ฏค ๊ฟ๊พธ์์ง๋ง ์๋ฌด๋ ์๋ํ์ง ๋ชปํ๋ ์์์ ๋ด๊ฐ ์ ๊ณ ์ถค์ ์ถ๋ฉด ๋ค๋ค ์ ๋๋ ๊ฒ์ด๋ค. ์ฌ์ค ๋ฌด๋น์ด ์ ์๋ ์๊น์ด๋ ๋ฐ์ฝ๋ ์ด์ ๋ ๊ทธ ๋น์์ ์ผ๋ฐ์ ์ธ ์ท๋ค์ด ์๋์๋ค. ์ผ๋ฐ์ ์ธ ์ท์ ์ ๊ณ ์ ๊ณผ ์ ์ดํ๊ธฐ๋ ํ๋ค๋ค. ์ ์ด ๋ชป ์์ ๋ณธ๋ค. ์ ๋ณ๋๊ฒ ์ท์ ์ ๊ณ ์ถค์ ์ถ๋ฉด ์ ๋ ๋นจ๋ฆฌ ์ฐพ์ ์จ๋ค๊ณ ์๊ฐํ๋ค. Q. ๋น์ ์ ํ๋ คํ ์์ ๊ณผ๊ฐํ๊ฒ ์ฌ์ฉํ๋ค. ์์ด๋ผ๋ ๊ฒ์ ๋น์ ์๊ฒ ์ด๋ค ์๋ฏธ๊ฐ ์๋? ์์ ์๋์ง๋ค. ๋๋ ๋ง์ ์ฌ์ฉํ์ง ์๊ธฐ ๋๋ฌธ์ ์์ด ๊ทธ ๋ง์ ๋๋ณํ๋ ์ธ์ด๊ฐ ๋๋ค. ์ฌ๋๋ค์ ๊ฐํ ํ๋๋ฅผ ๋ง๋ค๋๋ผ๋ ๊ฐ๊ฐ์ ์์ด ๊ฐ์ง ์ด๋ฏธ์ง๋ฅผ ๊ณ ๋ คํ๋ค. ์์ ์ด๋ฏธ์ง๋ฅผ ๋ ์ฌ๋ฆฌ๊ฒ ํ๊ณ , ๋ ์ฌ๋์ ์ฌ๋ฆฌ๋ฅผ ์์ง์ด๋ ํ์ ๊ฐ์ง๋ค. ๋์๊ฒ ์์ ๊ทธ ์ด๋ฏธ์ง์ ํ์ ์ ๋ฌํ๋ ์ธ์ด๋ค. ์ด๋ ๋ฐ๋ค๋ ๋ค ํ๋์์ผ ์๋ ์๋ค. ๋์ ๋ฐ๋ค๋ ๋นจ๊ฐ์ผ ์๋ ์๋ค. ์ํ์ ๋ฐ๋ผ์ ํํํ๊ณ ์ถ์ ๊ฒ์ ๋ฐ๋ผ์ ์๊น, ์ฆ ์ธ์ด๋ฅผ ์ ํํ๋ค.
016-019p
Q. ์ญ๋ฐํ ํค์ด ์คํ์ผ์ ํธ๋ ์ด๋ ๋งํฌ๊ฐ ๋์๋ค. ์ด ์คํ์ผ์ ์ด๋ป๊ฒ ๋ง๋ค๊ฒ ๋์๋? ์ฌ์๋ผ๋ฉด ๋๊ตฌ๋ ์๊ธฐ์๊ฒ ์ด์ธ๋ฆฌ๋ ํค์ด ์คํ์ผ์ ์ฐพ์ผ๋ ค๊ณ ํ๋ค. 29์ด ๋ ์ฒ์ ๋จธ๋ฆฌ๋ฅผ ๊น์๋ค๊ฐ ๋ด ์คํ์ผ์ ์ฐพ๊ฒ ๋์๋ค. ๋๋ฌด ์ด์ธ๋ฆฌ๊ธฐ๋ ํ๊ณ , ์ถค๊ณผ๋ ๊ต์ฅํ ์ ๋ง์๋ค. ๊ทธ๋ ๊ฒ ํ ๋ฒ ๋ฐ๊ณ ๋ ๊ท์ฐฎ์์ ๋ค์ ๋ชป ๊ธฐ๋ฅด๊ณ ์๋ค. ๋ช ๋ ์ฉ ๊ธธ๋ฌ์ ๋ฌด๊ฑฐ์ด ๊ฒ์ ๋ฌ๊ณ ๋ค๋๋ ๊ฒ๋ณด๋ค๋ ํ์ํ ๋๋ง๋ค ๊ฐ๋ฐ์ ์ฐ๋ ๊ฒ ๋ซ๋ค. ๊ฐ๋ฐ์ด ๋ช ๋ฐฑ ๊ฐ๋ ์๋ค.
Q. ์ด๋ป๊ฒ ์ด๋ ๊ฒ ์ค๋ ์๊ฐ ๋์ ์๋ฌด๊ฐ๋ก ์ํฐ์คํธ์ ์ถ์ ์ง์ํ ์ ์๋๊ฐ? ๋ฌด์๋ณด๋ค ์ข์ํ๊ธฐ ๋๋ฌธ์ด๋ค. ๋ชธ์ ์ธ์ด๋ผ๋ ๊ฒ์ ๋ง๋ณด๋ค ๊ตฌ์ฒด์ ์ด์ง ์์ ๊ธฐํธ๋ค. ๊ทธ๋์ ์๋นํ ์ฌ๋ฏธ์๊ณ ๋ฌดํํ๋ค. ๋ ์ค์ค๋ก ์ํ์ ๋ง์กฑ์ ํ๋ฉด ์ซ์ฆ์ ๋ด๊ณ ๊ทธ๋ง๋ ์๋ ์์ง๋ง, ์ฐฝ์์ด๋ผ๋ ๊ฒ์ ๊ทธ ๋ง์กฑ๊ฐ์ด ๋์๋ค. ๊ทธ๋์ ๊ณ์ ๋์ ํ๊ฒ ๋๋ค. ์๊ฐ๋ก์ ์์ฌ์ ๋ด๋ ๊ฒ์ด๋ค.
Q. ์ง๊ธ ๋ช ๋ ์์ ๊ทน์ฅ์์ ๊ณต์ฐ ์ค์ธ <๋ฒ>์ ์ด๋ค ๋ด์ฉ์ธ๊ฐ? โ๋ฒโ์ด๋ผ๋ ๊ฒ์ ํตํด์ ์ธ๊ฐ์ ์๋ช ๊ณผ ํ ์ฌํ์ ๋ฌธ์ ์ ๋ค์ ๊ผฌ์ง๋ ์ํ์ด๋ค. ๋๋ ์๋ฌด๊ฐ๋ก ์ฐธ์ฌํด์ ๋ฐฐ์ฐ๋ค์ ์์ง์์ ์ง๋ํ๋ค.
EUN ME AHN (์์๋ฏธ)
Q. ์ด๋ ค์๋ถํฐ ํ๊ตญ ๋ฌด์ฉ์ ๋ฐฐ์ด ๊ฒ์ผ๋ก ์๊ณ ์๋ค. ๋ฌด์ฉ์ ๊ด์ฌ์ ๊ฐ๊ฒ ๋ ๊ณ๊ธฐ๋ ๋ฌด์์ธ๊ฐ? ์ด๋ฆด ๋๋ถํฐ ๊ฑฐ์ ์ ์ ์์๊ณ ๋ฐ์ด ๋์๋ค. ๊ทธ๋ฌ๋ ๊ทธ ๋๋ ์ธ์ด๋ฅผ ๋ฐฐ์ฐ๊ธฐ ์ ์ด์๊ธฐ ๋๋ฌธ์ ๊ทธ ์๋์ง๊ฐ ๋ฌด์์ธ์ง ์ ๋ชฐ๋๋ค. ์ด๋ ๋ ๊ธธ๊ฑฐ๋ฆฌ์์ ๋ฌด์ฉํ๋ ์ฌ๋๋ค์ ๋ณด์๋ค. ๊ทธ๋ค์ด ์ ๊ณ ์๋ ์์์ด ๋๋ฌด ๋ง์ ๋ค์๋ค. โ๋๋ ๋ฌด์ฉ์ ๋ฐฐ์ฐ๋ฉด ์ด๋ฐ ์ท์ ์ ๊ณ ์ถค์ ์ถ ์ ์๊ฒ ๊ตฌ๋โ๋ผ๋ ์๊ฐ์ ํ๋ค. ๊ทธ ๋๊ฐ ๋ค์ฏ ์ด ๋์๋ค.
Q. โ์ํฐ์คํธ๋ก ์ด์ ๊ฐ๋ ์์๋ฏธ ๋ง์ ๋ ธํ์ฐโ๋ฅผ ์๋ ค ๋ฌ๋ผ. ์ฐ๋ฆฌ์ ๋ ์๋ค์๊ฒ ํฐ ํ์ด ๋ ๊ฑฐ๋ค. ์ฒซ ์งธ๋ ํ์ด ์ธ์ผ ๋๋ค. ๋ ์งธ๋ ์์ฒญ๋ ์ฌ๋, ๊ทธ๋ฆฌ๊ณ ์ ์งธ๋ ์์ฒญ๋ ์ด๊ธฐ์ฌ์ด ํ์ํ๋ค. ๋ ๋ท ์งธ๋ ๋ฏธ๋ชจ. (๋ด๊ฐ ์ง์ ๋งํ๋ ค๋๊น ์ฅ์ค๋ฝ๋ค) ๋ง์ง๋ง์ผ๋ก ๋ค์ฏ ๋ฒ์งธ๋ ์น๊ตฌ๋ค์ด๋ค. ๋๋ฅผ ํญ์ ๋์์ฃผ๊ณ ๋ฉํ ๊ฐ ๋์ด์ฃผ๋ ์น๊ตฌ๋ค์ด ์์์ผ๋ฉด ๋๋ ์๋ง ์ง์์ ๋๋ ค ์ณค์์ง๋ ๋ชจ๋ฅธ๋ค.
Q. ๊ทธ ์์ ๋ถ๋ชจ๋์ ์๊ฒฌ์ ์ด๋ ๋? ๊ทธ ๋๋ ์ด๋ ค์ ๋ ์์ ์ด์๊ณ , ๋ถ๋ชจ๋์ ๋ฌด์ฉ์ ์ ๊ฐ๋ฅด์ณ์ฃผ์ จ๋ค. ๊ทธ๋์ ํผ์ ๋ฌด์ฉ์ ์์ํ๋ฉฐ ๋์๋ค. ์ง๊ธ ์๊ฐํด ๋ณด๋ฉด ๊ทธ๊ฒ ๋ ๋คํ์ด์๋ ๊ฒ ๊ฐ๋ค. ๋ง์ฝ ๋ฌด์ฉ์ ๋ฐ๋ก ๋ฐฐ์ ์ผ๋ฉด ๋๋ ๋ฌด์ฉ์ค์ ๋ฐ์ณ ๋๊ฐ์์ง๋ ๋ชจ๋ฅธ๋ค. ๋ ๋๊ฐ ์ํค๋ ๋๋ก ์ค๋ ๋ชปํ๋ ์ฑ๊ฒฉ์ด๋ค. Q. ๋ง์๋ ํ์ด ๋๊ปด์ง๋ค. ๋ฌด๋ ์์์ ๋ชธ์ผ๋ก๋ง ํํํ๋ ๊ฒ์ด ๋ต๋ตํ ๋๊ฐ ์์ง๋ ์์๊ฐ? ๊ทธ๋ ์ง๋ ์๋ค. ์ถค์ถ๋ ๋ง์ ํด๋ณธ ์ฌ๋๋ง์ด ์๋ค. ๋ง์ด๋ผ๋ ๊ฒ์ ์ด๋ป๊ฒ ๋ณด๋ฉด ์ ํ์ฑ์ด ๋จ์ด์ง๋ ํ์๋ผ๊ณ ์๊ฐํ๋ค. ์ด๋ค ๋ ๋ ์๊ฐ๊ธฐ๋ ํ๋ค. ๋ง์ ์ฐ๋ฆฌ๊ฐ ์๊ณ ์๋ ์๋ฏธ ์ฒด๊ณ์ ๊ธฐํธ๋ค์ ๋์ดํ๋ ๊ฒ์ ๋ถ๊ณผํ๋ค. ๊ทธ๋ฐ๋ฐ ์์ง์์ ๋ค๋ฅธ ์ธ์ด๋ค. ๋ชธ์ ํํ์ ๋ฌด์ญ๊ธฐ๋ ํ๊ณ ์ด๋ก๊ธฐ๋ ํ์ง๋ง, ํ๋์ ์์ง์์ ๋ง์น ๋ ๋ง๋ค ์ด๋์ด ๋๊ตด์ ํํํ๊ณ ๋์ค๋ ๋๋์ ์ค๋ค. ์๋กญ๊ฒ ํ์ด๋๋ ๋๋, ๋ง์น ์๋ง์ ์๊ถ์ ๋ค์ด๊ฐ๋ค ๋์ค๋ ๋๋์ด ์ด๋ ์ง ์์๊น. ํ๋ฒ์ฉ ๋์ฌ ๋๋ง๋ค ์๋ก์ด ์๋ช ์ ์ป๊ฒ ๋๋ ๊ธฐ๋ถ์ด๋ค. ๊ทธ๊ฒ์ ๋ง์ ์ฐ์ง ์๊ธฐ ๋๋ฌธ์ ๊ฐ๋ฅํ ๊ฒ ๊ฐ๋ค. Q. ๋น์ ์๊ฒ ๋ฌด์ฉ์ ์ด๋ค ์ฅ์ ์ด ์๋? ์ ์ด๋ ๋์๊ฒ ์์ด ๋ด ์๊ธฐ๋ฅผ ๋์ฑ ๊ตฌ์ฒด์ ์ผ๋ก ํ ์ ์๋ ๋ฐฉ๋ฒ์ ๋ง๋ณด๋ค๋ ๋ชธ์ ์ธ์ด๊ฐ ๋ ํ์ํ๋ค. ๋๋ ์ฌ๋์ ์ข์ํ๋๋ฐ, ์ด๋ฐ ์ ์์ ๋ฌด์ฉ์ ๋์๊ฒ ์ฌ๋๋ค๊ณผ ์ํตํ ์ ์๋ ๋๊ตฌ๊ฐ ๋๋ค. ๋ฌด์ฉ์ ๋ง์ด ์์ง๋ง, ์คํ๋ ค ๋๊ตฐ๊ฐ์ ๋นจ๋ฆฌ ์ํตํ๊ธฐ๊ฐ ํธํ๋ค. ๋ชธ์ด ๊ฐ์ง ์ธ์ด๋ ๋ง์ ์ธ์ด๋ณด๋ค ํจ์ฌ ๋ ์ง์ํ๊ณ , ๊ตญ๊ฒฝ์ ์ด์ํ ์ ์๋ค๋ ์ฅ์ ์ด ์๋ค. Q. ํ๊ตญ์ ๊ณ ์ ์ด์ผ๊ธฐ๋ฅผ ๋ฌด์ฉ์ ํตํด ๊ตญ๊ฒฝ ๋ฐ์ผ๋ก ์๊ฐํ๋ ๊ฒ์ ๊ทธ๋ฌํ ์ด์ ๋๋ฌธ์ธ๊ฐ ๋ณด๋ค . <์ ์ถํฅ>๊ณผ <์ฌํฌ์นด ๋ฐ๋ฆฌ>๋ฅผ ๋ง๋ค์๋ค. <์ฌํฌ์นด ๋ฐ๋ฆฌ>๋ ๊ทธ ๋์ ์ ํต์์ฌ๋ฅผ ๋ค๋ฃฌ ์ ์ด ์์ด์ ํ ๋ฒ ๋ง๋ค์ด๋ณด๊ณ ์ถ์๋ค. 2002๋ ๋ถํฐ ์์ํด์ ๋ช ๋ ๋์ ํด ์๋ค. ํ๊ตญ์ ๋ํด์ ์ ๋ชจ๋ฅด๋ ์ฌ๋๋ค์ ์ด ์ํ๋ค์ ๋ณด๋ฉฐ ํ๊ตญ์ ๋ฌธํ๋ ๊ธฐ๋ณธ์ ์ธ ์ ์๋ฅผ ์์ํ๊ฒ ๋๊ฑฐ๋, ํ๊ตญ๋ฌธํ์ ๋ํ์ฌ ๋ ์๊ณ ์ถ์ด ํ๋ค. Q. ํ๊ตญ์ ์ ํต์์ฌ๋ฅผ ๋ค๋ฃจ๊ณ ์ถ์๋ ์ด์ ๋ ๋ฌด์์ธ๊ฐ? ๋๋ ํ๊ตญ์ฌ๋์ด๊ธฐ ๋๋ฌธ์ด๋ค. ๋ด๊ฐ ๋๊ตฌ ์ง ๋ธ์ธ์ง๋ ์์์ผ ํ์ง ์๊ฒ ๋๊ฐ. ๊ธฐ๋ณธ์ ์ผ๋ก ์์ ์ ๋ฟ๋ฆฌ์ ๋ํ ๊ณต๊ฐ์ฑ๊ณผ ์๊ฐ์ฑ์ ์ ์์์ผ ๋ ๋ง์ ๊ฒ์ ์ดํดํ๊ธฐ๊ฐ ์ฝ๋ค. ํ๊ตญ์ธ์ด๊ธฐ ๋๋ฌธ์ ๊ฐ์ง๊ณ ์๋ ๋ ํน์ฑ์ด ์๊ณ , ๊ทธ๋ฐ ์ค๋ฆฌ์ง๋๋ฆฌํฐ์ ํธ๊ธฐ์ฌ์ ๊ฐ๋ ๊ฒ์ ์ฐ๋ฆฌ์๊ฒ ๊ต์ฅํ ์ค์ํ๋ค. Q. ํ๊ตญ ๊ณ ์ ์ ๋ฌธํ๋ฅผ ๊ฐ์ง๊ณ ๋ค๋ฅธ ๋ฌธํ๊ถ์ ์ฌ๋๋ค์๊ฒ ๊ณต๊ฐ๋๋ฅผ ํ์ฑํ๋ ๊ฒ์ด ์ฝ์ง๋ง์ ์์ ๋ณด์ธ๋ค. ๊ทธ๊ฑด ๋ค ๋ง์ฐฌ๊ฐ์ง๋ค. ํ๊ตญ์ ์ธ ๊ฒ๋ง ์ด๋ ค์ด ๊ฒ์ด ์๋๋ค. ๊ณต๊ฐ์ ๊ฐ๋์ ์ค๋ค๋ ๊ฒ์ ์ด๋ ๋๋ผ์ ๋ฌธํ๋ ๋ค ์ด๋ ต๋ค. ๊ทธ ์์ฌ๋ฅผ ๊ฐ์ง๊ณ , ์ด๋ค ๋ชฉ์ ์ผ๋ก, ์ธ๋ จ๋๊ฒ ์ ์ํตํ๋์ง ๊ทธ ์์ฒด๊ฐ ์ด๋ ค์ด ์ผ์ด๋ค. ๊ทธ๋ ๊ธฐ ๋๋ฌธ์ ๊ทธ ์ ํต ์์ฌ๋ฅผ ์ด๋ป๊ฒ ํ๋ ๊ฐ๊ฐ์ ๋ง๊ฒ ์ฌ์ฐฝ์กฐ ํ๋๋๊ฐ ๋์ ๋ชซ์ด๊ณ , ๋ง์ ์ฐฝ์๊ฐ๋ค์ ๋ชซ์ด๋ค. ๋ ธ๋ ฅํด์ผ ํ๋ค. Q. ํน๋ณํ <์ถํฅ์ >๊ณผ <๋ฐ๋ฆฌ>๋ฅผ ํ๋ ์๊ฐ์ผ๋ก ์ฌ์ฐฝ์กฐ ํ ์ด์ ๋ ๋ฌด์์ธ๊ฐ? ์๋ณธ์ด ๋๋ฌด ์ข๋ค. ์ด๋ฌํ ์คํ ๋ฆฌ๋ ๋ฌธํ์ ์ธ ์ฌ์ฐ์ด๋ผ๊ณ ์๊ฐํ๋ค. ์๊ฐ์ด ์ค๋ ์ง๋ฌ์์๋ ๋ถ๊ตฌํ๊ณ ๊ทธ ์ ๋จธ๊ฐ๊ฐ์ด๋ ๊ธ์์จ๋ ์ง๊ธ์ ์ฌ๋๋ค์ ๋ฐ์ด๋๋๋ค. ๋, ์ธ์ด๋ ๋ฌผ๋ก ์ ๋จธ, ์ถ์ ๋ฐ๋ผ๋ณด๋ ๊ด์ , ๋ฌธ์ ๋ฅผ ํด๊ฒฐํ๋ ๋ฐฉ๋ฒ ๋ฑ ๊ฑฐ๊ธฐ์์ ๋ฐฐ์ฐ๋ ๊ฒ์ด ๋๋ฌด๋ ๋ง๋ค. ํนํ๋ <์ ์ถํฅ> ๊ณผ <๋ฐ๋ฆฌ>๋ ์ผ๋จ ์ฃผ์ธ๊ณต์ด ์ฌ์๋ค. ๊ทธ ์ฉ๊ฐํ ์ฌ์๋ค์ ์ด๋จธ๋๋ฅผ ๋๋ณํ ์๋ ์๊ณ , ์ฌ์ฑ์ ํ์ ๋๋ณํ ์๋ ์๋ค. ์ฐ๋ฆฌ๋ ๊ทธ๋ฐ ๋ด์ฉ๋ค์ ์์ด์๋ ์ ๋๋ค. ๋ฏธ๋์ ์ด๋ฆฐ ์น๊ตฌ๋ค์ด ๊ณ์ ๋์๊ธธ ์ ์๋๋ก ํด์ผ ํ๋ค. ์๋ง ํ ์๋์๋ <์ถํฅ์ >์ด๋ <๋ฐ๋ฆฌ>๊ฐ์ ๊ณ ์ ์คํ ๋ฆฌ๊ฐ ํ์ํ๊ธฐ ์ด๋ ต๊ณ ํ์ํ๋ค ํ๋๋ผ๋ ๊ณ ์ ๊ณผ ๊ฐ์ ํ์ ๋ฐํํ๊ธฐ๋ ์ฝ์ง ์๋ค. ๊ทธ๋ ๊ธฐ ๋๋ฌธ์ ์ด๋ฅผ ๊ทธ๋๋ก ๋จ๊ธฐ๊ณ , ๋ค์ ๋ถ์ํ๋ฉด์, ํ๋์์ ์ธ ์ ์๋ ๊ฐ์น๋ค์ ์ ์ฉํ๊ฒ ๋ง๋ค์ด์ผ ํ๋ค๊ณ ์๊ฐํ๋ค. Q. <์ฌํฌ์นด ๋ฐ๋ฆฌ>๋ฅผ ๋ณด๊ณ , ๊ตฟ์ด๋ ํ๊ตญ์ ํ ์์ ์ธ ๋ฌธํ์ ๋ํด ์ธ๊ตญ์ธ๋ค์ ๋ฐ์์ ์ด๋ ํ๊ฐ?
022-025p
Hyungseok Yun (์คํ์) Q. ์ปค๋ฒ๋ซ(COVERNAT)์ ์ด๋ค ๋ธ๋๋์ธ๊ฐ? ์ปค๋ฒ๋ซ์ ์๋ฉ๋ฆฌ์นธ ์คํ์ผ์ ๋จ์ฑ ์บ์ฃผ์ผ ๋ธ๋๋๋ค. 19์ธ๊ธฐ๋ถํฐ 20์ธ๊ธฐ์ ๊ด๋ถ, ๋ชฉ์, ์นด์ฐ๋ณด์ด ๋ฑ ์ก์ฒด์ ์ธ ํ๋์ด ๋ง์๋ ๋จ์ฑ๋ค์ด ์ ์๋ ์ท์ ํ๋์ ์ผ๋ก ์ฌํด์ํ๊ณ ์๋ค. ์ท์ ํผํผํ๊ฒ ๋ง๋๋ ์ ์ ์ ์ด์ด์ค๋, ํ๋์ธ์ ๋ชธ์ ๋ง๋ ํจํด, ํ๋ฆฌํฐ ์ข์ ์๋จ, ๋ํ ์ผ ๋ฑ ํ์ํ ๋ถ๋ถ์ ์๋ก ๊ฐ๋ฐํ๊ณ ์๋ค. 2008๋ ๊ฐ์์ ํ์ปฌ๋ ์ ์ผ๋ก ๋ฐ๋ทํด ์ง๊ธ๊น์ง ์ด์ด์ ธ ์ค๊ณ ์๋ค. Q. ์๋ฉ๋ฆฌ์นธ ์บ์ฃผ์ผ๋ก ๋ธ๋๋์ ์ปจ์ ์ ์ก์ ์ด์ ๊ฐ ๋ฌด์์ธ๊ฐ? 20๋ ์ด๋ฐ์ ํํฉ์ ์ท๊ณผ ๋ฌธํ๋ฅผ ๋งค์ฐ ์ข์ํ๋ค. ์ด์ ๊ฑธ๋ง๊ฒ Sean John, Polo ๋ฑ ๋ฏธ๊ตญ ๋ธ๋๋๋ฅผ ์ข์ํ๊ณ ์ฆ๊ฒจ ์ ์๋ค. ๋ฏธ๊ตญ ๋ธ๋๋๋ฅผ ์ ๋ค ๋ณด๋, ์ท์ ๋ฟ๋ฆฌ๊ฐ Work wear์ ์นด์ฐ๋ณด์ด๋ผ๋ ๊ฒ์ ์๊ฒ ๋์๋ค. ์ฒ์์๋ ์ข์ํ๋ ๋ธ๋๋์ ๋์์ธ๊ณผ ์ ์ ์ด ์ค๋๋ ๋ฌธํ์ ๋ณต์ ๋ผ๊ณ ์๊ฐํด์ ์ค๋งํ๋ค. ํ์ง๋ง ์ท์ ๋ํด ๊ณต๋ถ๋ฅผ ํ๋ฉด์ ๊ทธ ๋ฌธํ์ ์ญ์ฌ์ ๋ฟ๋ฆฌ๊ฐ ํ๋ ๋์์ด๋์ ๊ด์ ์ผ๋ก ์ฌํ์๋จ์ ์๊ฒ ๋์๋ค. 19์ธ๊ธฐ์ ์ํ, ์ฌ์ง ๋ฑ์์๋ ๋ง์ ์ํฅ์ ๋ฐ์๋ค. ์ด ์ธ์ ๋ฏธ๊ตญ ๋นํฐ์ง ์๋ฅ๋ฅผ ๊ณ์ ์์งํ๋ค. ์ผ๋ณธ์ ๋ฐฉ๋ฌธํ ๋๋ ์ธ์ ๋ ํ์ฑ ๋ฐฉ์ด๋ ์์ ์ฑ ๋ฐฉ์ ๊ผญ ๋ฐฉ๋ฌธํ์ฌ ์๋ฃ๋ฅผ ์ฐพ๋๋ค. ๊พธ์คํ ๊ณต๋ถํ๊ณ ์๋ค. Q. ๊ตญ๋ด ๋ธ๋๋์ ์๋ฉ๋ฆฌ์นธ ์บ์ฃผ์ผ์ ์์ง ์์ํ๋ค. ๋ธ๋๋๋ฅผ ์์ํ ๋ ๊ตญ๋ด ์์ฅ์์ ์ด ์ปจ์ ์ด ๊ฐ๋ฅ์ฑ ์๋ค๊ณ ์๊ฐํ๋? ํฌ๋ง์ ๊ฐ์ง๊ณ ์์์ง๋ง ๋ถ์ํ๋ค. ๋งํ๋ฉด ์ ๋๋๊น. ์ฒซ ์์ฆ์๋ ํ๋ฆด ๊ฒ ๊ฐ์ ์ท์ ๋ช ๋ฒ ๋ง๋ค์ด ๋ค์ ์์ฆ๊ณผ ๋ค๋ค์ ์์ฆ์ ์๋นํ๋ค. ๊ตณ์ด ์ด๊ฑธ ๋ด๊ฐ ๋ง๋ค์ด์ผ ํ๋๊ฐ๋ผ๋ ์๊ฐ์ด ๋ค๊ธฐ๋ ํ๊ณ ๋ค๊ณ ๊ทธ ์ท์ ๋ํ ์ ์ ์ด ์์ ๋๋ ์์๋ค. ์ฌ์ง์ด ์ ์ง๋ ์์๋ ๋ชจ๋ธ๋ ์๋ค. ํ์ง๋ง ๋ชฉํ๋ฅผ ํฅํด ๊ฐ ๋ ๋ง๋ค๊ณ ์ถ์ ์ท๊ณผ ํ์ํ ์ท์ด ๋ค๋ฅด๋ค๋ ์ ์ ์๊ธฐ์ ๊ณ ์ง์ ์ ํผ์ ๋ค. ๊ทธ ์ท๋ค์ด ์์์ผ๋ฉด ์ง๊ธ ์ปค๋ฒ๋ซ์ ์ด ์๋ฆฌ๊น์ง ๋ชป ์์ ๊ฒ์ด๋ค. ์์ฆ์ด ์ง๋ ์๋ก ์ ์ ์์ฌ ๋ถ๋ฆด ์ ์๋ ํ๊ฒฝ์ด ๋์ด๊ฐ๊ณ ์๋ค. ์์ฆ์๋ 10์ ์ค 7, 8์ ๊น์ง ๋ง์กฑ๋๊ฐ ์ฌ๋ผ๊ฐ๋ค. ์ฒ์๋ถํฐ
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2011-11-01
5:40:42
์ง๊ธ๊น์ง์ ๋ฃฉ๋ถ์ ๋ณด๋ฉด ๋ธ๋๋๊ฐ ์ด๋ป๊ฒ ๋ณํด๊ฐ๋์ง, ๋ด๊ฐ ์์ฌ์ ๋ด๋ ๋ถ๋ถ์ด ๋ฌด์์ธ์ง ์ ์ ์์ ๊ฒ์ด๋ค. Q. ๋ธ๋๋๋ ์ด๋ป๊ฒ ์์ํ๊ฒ ๋์๋? ํ์ ์์ , ๋๋ ์ท์ ์ ๋ง ์ข์ํ๋ค. ๊ทธ ๋น์ ๋ฏธ๊ตญ์์ 20๋ถ์ธ ํฐ์ ์ธ ๋ฅผ ๊ตญ๋ด ๋ฉํฐ์ต์์ 8 ๋ง์์ ํ๊ณ ์์๋ค. ์ง์ ๊ตฌ๋งค๋ฅผ ํ๋ฉด ๋ ์ ๋ ดํ๊ฒ ์ท์ ๊ตฌํ ์ ์๊ฒ ๋ค๋ ์๊ฐ์ 3๊ฐ์ ๋์ ์๋ฅด๋ฐ์ดํธ๋ฅผ ํด์ ์บ๋๋ค์ ์๋ ์น๊ตฌ์๊ฒ 150๋ง์์ ๋ณด๋๋ค. ์น๊ตฌ๋ ๊ทธ ๋์ผ๋ก ํฐ์ ์ธ 100 ์ฅ์ ์ฌ์ ๋์๊ฒ ๋ณด๋๋ค. ๊ทธ๋ฐ๋ฐ ์ท์ด ์ ๋ง ์ข๊ธด ํด๋ ํฐ์ ์ธ 100์ฅ์ ํผ์ ๊ฐ๋นํ ์ ์๋๋ผ. ์ ๊ณ ์ถ์ ์ท 30์ฅ๋ง ๋จ๊ฒจ๋๊ณ ๋๋จธ์ง๋ ์น์ฌ์ดํธ์ ์ฌ๋ ค์ ์ฒ๋ฆฌํ๋ค. 11๋ ์ ์๋ ๋์งํธ ์นด๋ฉ๋ผ๊ฐ ์์ด์ ํ๋ฆ ์นด๋ฉ๋ผ๋ก ์ ํ ์ฌ์ง์ ์ฐ์๋ค. ๊ทธ ์ฌ์ง์ ์ค์บํ ํ ์ธํฐ๋ท ์ฌ์ดํธ์ ์ฌ๋ ธ๋ค. ์์ค๊ฐ์ ๋ฐ๊ฐ์ผ๋ก. ํ๋งค๊ฐ ์ ๋์๋ค. ์์๊ฐ์ ํฌ์๊ธ ์ด์์ ๋ฒ์๋ค. ์ด๊ฑฐ๋ค ์ถ์ด ์๋ฅด๋ฐ์ดํธ๋ฅผ ํด์ ๋์ ๋ณด๋ด๊ณ ๋ฌผํ ์์ ์ข ๋ฅ๋ฅผ ์ ์ ๋๋ฆฌ๊ฒ ๋์๋ค. ์ ์ ์์ด ์ผํ๋ค ๋ณด๋ 2 ๋ ํ์๋ ์จ๋ผ์ธ ์ผํ๋ชฐ 1์์ ํ๋ ๋ช ์ต์ง๋ฆฌ ํ์ฌ์ ๋ํ์ ์ฌ์ฅ์ด ๋์ด ์์๋ค. ๊ทธ ๋น์์๋ ์ฃผ๋ฌธํ ์ท์์๊ฐ ์ค๋ฉด ์ ์ผ ๋จผ์ ์ด์ด์ ๋์๋ ๋งก์๋ณด๊ณ ์ ์ด๋ณด๊ณ ์ ๋ฐ์ ๋จธ๋ฆฌ๋งก์ ๋๊ณ ์ ์ ์ค๋ค. ๊ทธ๋งํผ ์ท๊ณผ ์ ๋ฐ์ ์ข์ํ์๋๋ฐ, ์์ ๋ธ๋๋๊ฐ 50~60๊ฐ๊ฐ ๋๊ณ ๊ท๋ชจ๊ฐ ์ปค์ง๋ค ๋ณด๋ ์ท์ ์ฌ๋ฏธ๊ฐ ๋จ์ด์ก๋ค. ์ด๋ ์ ๋ ์๊ฐ์ด ํ๋ฅด๋ฉด์ ๋ด ์ค์ค๋ก ์ค๊ฐ ์์ ์์ผ๋ก ์ผ์ ํ๋ฉฐ ๋์ ๋ฒ๊ฒ ๋์์ง๋ง ํ์ง์์ ์ผ๋ง ์ ํ๋ ์ท์ด ์ฐ๋ฆฌ๋๋ผ์์ ํ๋ฆฌ๋ฏธ์์ ํ๋ฆฌ๊ณ ์๋ ์์คํ ์ ์ง๋ฆฌ๊ฒ ๋์๋ค. ์ท์ ์ง์ ๋ง๋ค์ด๋ณด๊ณ ์ถ์๋ค. ๋จ๋ค์ด ๋ค ๋ง๋ฆฌ๋๋ฐ๋ ๋ถ๊ตฌํ๊ณ ์ฌ์ ์ ๋ชจ๋ ์ ๊ณ ๋ฐ๋๊ณผ ์ผ๋ณธ์์ 4๋ ๋์ ์ท๊ณผ ์์ฅ์ ๋ํ ๊ณต๋ถํ๋ค. ํ๊ตญ์ ์ค์๋ง์ ๋ธ๋๋๋ฅผ ๋ฐ๋ก ์์ํ๋ค. Q. 2008๋ ์ ๋ธ๋๋๋ฅผ ๋ฐ์นญํ ์ดํ ๋น ๋ฅด๊ฒ ์ฑ์ฅํ๋ค. ๋น๊ฒฐ์ด ์๋๊ฐ? ๋๋ ๊ฒ์ด ์๋ ์ฑ๊ฒฉ์ด๋ค. ๊ณํ๋ ์ ์ง ๋ค. ํ์ง๋ง ์ ๋ ํ๋ B๋ฅผ ๋์ง ์๋๋ค. ๋์์ ๋์ง ์๊ณ ๋ฌด์กฐ๊ฑด ์ฌ์ ์ ํฌ์๋ฅผ ๊ณ์ ํ๊ธฐ ๋๋ฌธ์ ์๊ฐ๋๋น ์ฑ์ฅํญ์ด ํฐ ๊ฒ ๊ฐ๋ค. ๊ณผ๊ฑฐ ํ์ฌ๋ฅผ ์ด์ํ๋ฉด์ ๋ณดํต ์ฌ๋๋ณด๋ค ๋ง์ด ์ ์ด๋ณด๊ณ ์ ์ด๋ณด๊ณ ๋๊ปด๋ณด๊ณ ํ๋ค์ดํ๋ ๋ชจ๋ ๊ฒฝํ์ด ์ปค๋ฒ๋ซ ์ด์์ ๋ค ๋ น์์ ธ ๋์ค๋ ๊ฒ ๊ฐ๋ค. Q. ๊ทธ๋ ๋ค๋ฉด ์ปค๋ฒ๋ซ์ ๊ฒฝ์๋ ฅ์ ๋ฌด์์ธ๊ฐ? ์ปค๋ฒ๋ซ์ด ์ฒ์ ๋ฑ์ฅํ์ ๋๋ ๊ฐ์ธ์ด ์์ํ ๋ง์์์ ์์ํ ์ธ๋ํ๋ํธ ๋ธ๋๋๋ค์ด ๋ง์๋ค. ์ด๋ฐ ๋ธ๋๋๋ค์ ํ๋ก์ ํธ ํ์์ผ๋ก ๋ฉ์์ง๋ ๊ทธ๋ํฝ๋ง์ ์ดํํ ํฐ์ ์ธ ๋ ๋ชจ์๋ฅผ ๋ง๋ค์๋ค. ํ์ง๋ง ๋งค ์์ฆ ๊พธ์คํ๊ฒ ๋ชจ๋ธ์ ๋นผ๋ ๋ธ๋๋๋ ๋ณ๋ก ์์๋ค. ์ปค๋ฒ๋ซ์ ์ด๋ฐ ์์ฅ์์ ์ ์ธ์๋ฆฌ์์๋ถํฐ ์๋ฅ์ ์ด๋ฅด๊ธฐ๊น์ง ํ ํธ๋ก ๋์จ ์ต์ด์ ์ธ๋ํ๋ํธ ๋ธ๋๋์๋ค. ๋ํ ์ผ, ํ์ด ํ๋ฆฌํฐ, ํ์ ์ธ๊ฐ์ง ์ด๋ ์ ๊ฐ์ง ํ ํธ ํจ์ ์ด๋ผ๋ ์ ์ด ๊ทธ ๋น์๋ถํฐ ์ง๊ธ๊น์ง ์ด์ด์ค๋ ์ฐ๋ฆฌ์ ๊ฒฝ์๋ ฅ์ด๋ค.
๋ง์ด ํ๊ณ ์๋ค. Q. 10์ ๋ง์ ์์ฅ์กฐ์ฌ์ฐจ ๋ฏธ๊ตญ์ ๊ฐ๋ค๋ ์๋ฌธ์ ๋ค์๋ค. ํด์ธ ์ง์ถ ๊ณํ์ ์ธ์ฐ๋ ์ค์ธ๊ฐ? ๊ทธ๋ ๋ค. ์ด๋ฒ ๋ฐฉ๋ฌธ์ ํตํด ๋ฏธ๊ตญ ์ท์ ์ค๋ฃจ์ฃ๊ณผ ํจํด์ ๋ณด๊ณ ํธ๋ ์ด๋์ผ๋ฅผ ์ํ ๊ณํ์ ์ธ์ฐ๋ ค ํ๋ค. ์ฐ๋ฆฌ๋๋ผ๋ ๋ฐฑํ์ ์ด ์๋ฅ ์ ํต์ 80%๋ฅผ ๋งก๊ณ ์๋ค. ๊ตญ๋ด์์ ๋ธ๋๋ฉ์ ํ๋ ค๋ฉด ์ ํต ๊ณต๋ฃก์ธ ๋ฐฑํ์ ์๊ฒ ํฐ์๋ฆฌ๋ฅผ ์น๋ ์ ์ฅ์ด ๋์ด์ผ ํ๋๋ฐ ํ์ ๊ธฐ๋ฅด๋ ๋ฐฉ๋ฒ์ ํด์ธ ์ ํต๋ง์ ํ๋ณดํ๋ ๊ฒ ๋ฐ์ ์๋ค. ๊ตญ๋ด์์ ์ด์๋จ๊ธฐ ์ํด ํด์ธ๋ก ๋์ ๋๋ฆฐ ๊ฒ์ด๋ค. Q. ๋ชฉํ๋ก ํ๋ ํด์ธ ์์ฅ์ ์ด๋์ธ๊ฐ? ์ผ๋ณธ์ ๋ชฉํ๋ก ํ๊ณ ์๋ค. ์ปค๋ฒ๋ซ์ ์ท์ ํ๊ตญ ์ฌ๋์๊ฒ ๋ง์ถ ์์์ ํจํด์ด๊ธฐ ๋๋ฌธ์ ๋ฏธ๊ตญ ์ฌ๋๋ค๊ณผ๋ ๋ง์ง ์๋๋ค. ๋ฏธ๊ตญ ์ท์ ์ข์ํ๊ณ ๋ฏธ๊ตญ ์ท์ ๋ง๋ค์ง๋ง ๋ฏธ๊ตญ์์ ์ฑ๊ณตํ๊ณ ์ถ์ง๋ ์๋ค. ๋ฏธ๊ตญ ํธ๋ ์ด๋์ผ์ ๊ฐ๋ ์ด์ ๋ ๋จ์ํ ๋ฏธ๊ตญ ์์ฅ ์ง์ถ์ด ์๋๋ผ ์ผ๋ณธ, ํ์ฝฉ, ์ ๋ฝ์์ ์ค๋ ๋ฐ์ด์ด๋ค์ ๋ง๋๊ธฐ ์ํจ์ด๋ค. ํนํ ์ผ๋ณธ์ ์ธ๊ณ์์ ๊ฐ์ฅ ์ข์ ๊ฒ๋ง ๋ค ๋ชจ์ ๋์ ์ ๋ ์ต๊ณผ ์๊ตญ์์ ์ฑ๊ณตํ ๋ธ๋๋๋ค์ด ๋ง๋ค. ์ด๋ ๊ฒ ์น์ดํ ๊ฒฝ์์์ ์ปค๋ฒ๋ซ์ด ์ด์ ๋จ๋๋ค๋ฉด ์ผ๋ง๋ ์ข์๊น? Q. ์์ผ๋ก ์ด๋ค ๋ธ๋๋๋ก ๊ธฐ์ต๋๊ณ ์ถ์๊ฐ? ๋ฒฝ์ ๊นจ๋ ค๊ณ ํ๋ ๋ธ๋๋๋ก ๊ธฐ์ต๋๊ณ ์ถ๋ค. ์์ธ ํจ์ ์ํฌ์ ๋๊ฐ์ง ์์์ง๋ง ํด์ธ ์ง์ถ์ ์ฑ๊ณตํ๊ณ , ๊ตญ๋ด ์์ฅ์์ ์ด์๋จ๊ณ , ํญ์ ๋์ ํ๋ ํจ์ ๋ธ๋๋๋ก ์ธ์๋์์ผ๋ฉด ์ข๊ฒ ๋ค. ํด์ธ์์๋ ์์์์ ์ด๋ฐ ๋ธ๋๋๊ฐ ์์๋๊ณ ๋๋ผ์์ ์ฃผ์์ผ๋ฉด ์ข๊ฒ ๋ค. ๊ฐ์ธ์ ์ผ๋ก๋ ๋ด ์ฃผ์์ฌ๋๋ค์ ์ํด ์ปค๋ฒ๋ซ์ด ์ ๋์์ผ๋ฉด ์ข๊ฒ ๋ค. ์ฃผ์์ ์ท ๋ง๋๋ ๋์๋ค์ ์ง๊ธ ์ปค๋ฒ๋ซ์ ๋ณด๋ฉด์ ํ์ ๋ธ๋ค. ๊ทธ๋ค์ โ๋๋ ์กฐ๊ธ ๋ ํ์ ๋ด์ ์ปค๋ฒ๋ซ์ฒ๋ผ ์ผ๋ฃธ๋ ๋ด๊ณ ์ง์๋ ๋๋ ๋ธ๋๋๋ฅผ ๋ง๋ค์ด์ผ๊ฒ ๋คโ๋ผ๋ ํฌ๋ง์ ๊ฐ์ง๊ณ ์๋ค. ๊ทธ๋์ ์ฝ๋ผ๋ณด๋ ์ด์ ๋ ์ด๋ฐ ๋ง์์ผ๋ก ์งํํ๋ค. ์ฐ๋ฆฌ๋ ๋์ดํค์ ์ํ๋ฆผSupreme์ ์ฝ๋ผ๋ณด๋ ์ด์ ์ ํจ๊ป ๋ณด๊ณ ๊ฐํํ๋ฉฐ ์ฑ์ฅํ ์ธ๋๋ค. ๊ทธ๋ฐ๋ฐ ์ง๊ธ ์ปค๋ฒ๋ซ์ ์ธ๊ณ์ ์ธ ๋ธ๋๋์ธ ๋ฒ ์คํ, ๋ฐ๋ ์ ๋๋ฑํ ์์น์์ ํ์ ์ ๋ง์น ์ํ๋ค. ์ฐ๋ฆฌ๋ ์ ๋ ์ ์๋ค๋ ์ธ์๊ณผ ํฌ๋ง์ ๋์๋ค์๊ฒ ์ฃผ๊ณ ์ถ๋ค. ๊ทธ๋ฆฌ๊ณ ํจ์ ์ผ์ ๋๊ฐ๋ ํ๋ คํ ๋ธ๋๋ ๋ฟ๋ง ์๋๋ผ ์์ฐ ์์คํ ์ ๊ฐ์ถ๊ณ ๋์์ธ์ ๋ํ ์ฒ ํ์ ๊ฐ์ง ๋ ๋ฆฝ ๋ธ๋๋๊ฐ ์ฌ๊ธฐ์ ์๋ค๋ ๊ฒ์ ๋ณด์ฌ์ฃผ๊ณ ์ถ๋ค.
Q, ์ปค๋ฒ๋ซ์ ์ฒ์ ์์ํ ๋ ์ํฅ์ ๋ฐ์ ๋ธ๋๋๊ฐ ์๋? ์๋ฉ๋ฆฌ์นธ ๋นํฐ์ง ์๋ฅ์์ ๋ง์ ์ํฅ์ ๋ฐ์๋ค. ๋ธ๋๋๋ฅผ ๊ตณ์ด ๊ผฝ์๋ฉด Ralph Lauren์ ๋ธ๋๋์ธ RRL์ ๋ค ์ ์๋ค. RRL์ ๋ํ ๋ก๋ ์ด ์ง์ง ํ๊ณ ์ถ์ ๋ผ์ธ์ ๋ง๋ ๊ฒ์ด๋ผ ํ ์ ์๋ค. RRL ์ ๊ฐ๋ฐฉ์ ๋ถ์์ก์ ๋ด๊ถ์ ๋นํฐ์ง ์ํ๋ก ํ๋งค๋๊ณ ๋ชจ์๋ ๊ตฌ๋ฉ๋ด๊ณ ์์ฑํ์ฌ ํค์ง๊ฒ ๋ง๋ ํ ํ๋งคํ๋ค. ์์ด ๋ง์ด ๊ฐ๋ ๋งํผ ์ฒญ๋ฐ์ง, ๊ฐ๋ฐฉ ํ๋๊ฐ 4~50 ๋ง์ ์ ๋๋ก ํด๋ก์ 2~3๋ฐฐ ๊ฐ๊ฒฉ์ด๋ค. ๋งค์ฅ ์ธํ ๋ฆฌ์ด๋ ๋๋ฆฌ๋ฒ๋ฆฌ ๋ฑ ์ ํ๋ฟ๋ง ์๋๋ผ ๋ง์ผํ ์ด๋ ์์คํ ์์ ๋ชจ๋ ํ๋์ ์ปจ์ ์ผ๋ก ์ด์๋๋ ์ ์ ๋๊ฒฝํ๋ค. ์ฐ๋ฆฌ๋๋ผ์ ์์ ์ด ๋์ง ์๋ ๊ฒ์ด ์์ฝ๋ค. Q. ์ปค๋ฒ๋ซ์ ๋์์ธ์ ํน์ง์ ๋ฌด์์ธ๊ฐ? ๋ธ๋๋ ์ปจ์ ์ ์๋ก์ด ๋์์ธ์ ๋ง๋ค์ง ์์ ๊ฒ ๊ฐ๋ค. ์ปค๋ฒ๋ซ์ ์์ ๋ฒ ํ๋๋ฐ ์์๋ ์ท์ ๋ง๋ค๊ณ ์๋ค. ๋ง์ ์ฌ๋๋ค์ด ๋นํฐ์ง ์จ์ด๋ฅผ ์ ์ ๋ ํ, ์ปฌ๋ฌ, ์๋จ์์ ์์ฌ์์ ๋๋ผ๋ ๊ฒฝ์ฐ๊ฐ ๋ง์ ๊ฒ์ด๋ค. ๋๋ ์ง๊ธ ์๋์ ํ์ํ ๋ถ๋ถ์ ์ฒจ๊ฐํ๊ณ ํ์ ์๋ ๋ํ ์ผ์ ์ค์ฌ ํ ๋จ๊ณ ์์น๋ ์ท์ ๋ง๋๋ ๊ฒ์ด ์ข๋ค. ์๋ฉ๋ฆฌ์นธ ์บ์ฃผ์ผ ๋ธ๋๋์ธ ํด๋ก์์ ์์ฌ์์ ๋๋ ์๋น์๊ฐ ์ปค๋ฒ๋ซ์์ ๋ถ์กฑํ ๋ถ๋ถ์ ์ถฉ์กฑํ๋ ๊ฒฝ์ฐ๋ ์์๋ค. ๊ธฐ์กด ์บ์ฃผ์ผ์์ ์์ฌ์ํ๋ ๋ถ๋ถ๋ค์ ๊ฐ์ง ์๋น์๋ค์ด ์ฐ๋ฆฌ ๊ณ ๊ฐ์ด์์ผ๋ฉด ์ข๊ฒ ๋ค. ๋ ์ฐฝ์ ์ธ ๋์์ธ์ ๋ค๋ฅธ ๋์์ด๋๋ค์ด ํด์ผ ํ ์ผ์ธ ๊ฒ ๊ฐ๋ค. ๋ชจ๋ ์ฌ๋๋ค์ ์ฐ๋ฆฌ ์๋น์๋ก ๋ง๋ค๊ณ ์ถ์ง ์๋ค. Q. ์ปค๋ฒ๋ซ์ด ์ฃผ๋ ฅํ๋ ์ ํ์ด ์๋๊ฐ? ๋ฐ๋์ผ๋ก ๋ง๋ ์ท, ๊ธฐ๋ฅ์ฑ ์๋จ์ผ๋ก ๋ง๋ ์ท, ๊ฐ๋ฐฉ์ ์์ฒด์ ์ผ๋ก ์ฃผ๋ ฅํ๊ณ ์๋ค. ์๋ฉ๋ฆฌ์นธ ๋นํฐ์ง ์จ์ด๋ ๊ธฐ๋ฅ์ฑ ์๋จ์ ์ฌ์ฉํ์ง ์์๋ค. ์ง๊ธ ์ปค๋ฒ๋ซ์ ๊ธฐ๋ฅ์ฑ ์๋จ์ ์ฌ์ฉํ์ฌ ์๋๋ธ๋ ์ด์ปค์ ๋ง์ดํดํ์นด๋ง ๋ง๋ค๊ณ ์๋๋ฐ ์์ผ๋ก๋ ์ด๋ฐ ์๋จ์ผ๋ก ๋ค์ํ ์ท์ ๋ง๋ค๊ณ ์ถ๋ค. ๊ณ์ ์์ฌ ๋ด๋ ์ค์ด๋ค. Q. ์ปค๋ฒ๋ซ์ ์ง๊ธ๊น์ง ๋ค๋ฅธ ๋ธ๋๋์ ๋ค์ํ ์ฝ๋ผ๋ณด๋ ์ด์ ์ ์งํํด์๋ค. ์ดํ๋ฆฌ์ ๋ฐ์ดํฌ ๋ฒ ์คํ๋ฅผ ์์์ผ๋ก ์ค๋ฒ ์ํฐ์คํธ ํธ๋ฆฌํ ์์ค, ๊ตญ๋ด ํ์ฐ์ค ๋ธ๋๋ ๋ฆฌํ, ๋ํค์ฆ, ๊ทธ๋ฆฌ๊ณ ๊ฐ์ฅ ์ต๊ทผ ํ๋์ค ์์๋์ด ๋ธ๋๋ ๋ฐ๋ ์ ์ฝ๋ผ๋ณด๋ ์ด์ ์ ์งํํ๋ค. ์ฒซ ์์ฆ์ ์ ์ธํ๊ณ ๊ฑฐ์ ์์ฆ๋ง๋ค ํ๋์ฉ ์งํํ ์ ์ด๋ค. Q. ์ผ์ ์ด๋ป๊ฒ ์ฑ์ฌ๋์๋? ์ฌ์์์ ๋ธ๋๋ ๊ด๊ณ์๋ฅผ ์๊ฐ๋ฐ๊ณ ๋ง๋์ ์ปคํผ๋ฅผ ๋ง์๋ฉฐ ์๋ก ์์ด๋์ด๋ฅผ ๊ตํํ๋ค๊ฐ ์ ๋ ์ ์๋ฆฌ์์ ์ฝ๋ผ๋ณด๋ ์ด์ ์ด ํ์ ๋ ๊ฒฝ์ฐ๊ฐ ๋๋ถ๋ถ์ด๋ค. ๋คํํ ์ง๊ธ๊น์ง ์งํํ ํ๋ก์ ํธ๋ค์ ์ฌ์ ๊ณํ์๋ ํ๋ ์ ํ ์ด์ ์์ด ํ์ ๋์๋ค. Q. ์ฝ๋ผ๋ณด๋ ์ด์ ์ ์ฅ๋จ์ ์ ๋ฌด์์ธ๊ฐ? ๋ถ์กฑํ ๋ถ๋ถ์ด ์๋ก๋ฅผ ํตํด ์ฑ์์ง๋ค๋ ์ ์ด ์ฝ๋ผ๋ณด๋ ์ด์ ์ ์ฅ์ ์ด๋ค. ๋ฒ ์คํ๋ ์๋ฅ๋ฅผ ๋ง๋ค์ง ์์ผ๋ ์๋ ๋ธ๋ ์ด์ปค๋ฅผ ์ ์ํ ๋ ์ฐ๋ฆฌ์ ํ์ ํจ์ผ๋ก์จ ์๋ก์ด ์ธ๋ ฅ์ ์ถฉ์ํ์ง ์์์ ์ข์๊ณ ๊ทธ ๋น์ 1๋ ๋ฐ์ ์๋ ์ปค๋ฒ๋ซ์ ๋ธ๋๋ ํ๋ณด๊ฐ ๋์ด ์ข์๋ค. ์ต๊ทผ ๋ฐ๋ ์์ ์ฝ๋ผ๋ณด๋ ์ด์ ๋ ๊ฐ์ ๊ฒฝ์ฐ๋ค. ์ฐ๋ฆฌ๋ ๊ธฐ๋ฅ์ฑ ์๋จ์ ๋ค๋ฃจ๊ณ ์ถ์์ง๋ง ๊ณ ์ดํ ์ค ์๋จ์ ๋ค๋ฃจ๋ ๊ณ ์ด ์ฝ๋ฆฌ์๋ ์ฐ๋ฆฌ์๊ฒ ํธ์์ ์ด์ง ์์๋ค. ์์๋์ด ๋ธ๋๋ ๋ฐ๋ ๋ ์ ์ ์ธต์๊ฒ ์ดํํ๊ณ ์ถ์์ง๋ง ๊ธฐ์กด์ ๋์์ธ๊ณผ ์๋น์๋ฅผ ๋ฑ์ง ์ ์์๋ค. ๊ธฐ๋ฅ์ฑ ์จ์ด๋ฅผ ๋ง๋ค์ด๋ณด๊ณ ์ถ์ ์ปค๋ฒ๋ซ๊ณผ ํจ์ ๋๋ธํ ์์๋ฅผ ํ์๋ก ํ๋ ๋ฐ๋ ๊ฐ ๋ง๋ ์ปค๋ฒ๋ซ ๊ฐ์ผ๋ฉด์ ๋ฐ๋ ๊ฐ์ ์ท์ ๋ง๋ค์๋ค. ๋๋ 1 + 1์ 2๊ฐ ์๋๋ผ 3์ด ๋์ด์ผ ํ๋ค๊ณ ์๊ฐํ๋ค. ์ง๊ธ๊น์ง์ ์ฝ๋ผ๋ณด๋ ์ด์ ์ 3๊ฐ์ ๊ฒฐ๊ณผ๋ฅผ ๋ง๋ค์๋ค. ๊ฐํน ์๋ก ์ผ์ ๋ ๋ง์ด ํ๋ค๊ณ ๋๊ปด์ง๊ธฐ๋ ํ๋ค. ๋ง์ ์ฌ๋๋ค์ด ์ด๋ฅผ ์ฝ๋ผ๋ณด๋ ์ด์ ์ ๋จ์ ์ด๋ผ๊ณ ๋งํ์ง๋ง ๋๋ ๊ทธ๋ ์ง ์๋ค. ๊ทธ๋ฐ ๋ง์์ ๋ฒ๋ฆฌ๋ฉด ๋๋ค. Q. ๋์ ํด๋ณด๊ณ ์ถ์ ์ฝ๋ผ๋ณด๋ ์ด์ ์ด ์๋? ์ ๋ฐ. ์ง์ง ํด๋ณด๊ณ ์ถ๋ค. ์ปค๋ฒ๋ซ์ด๋ผ๋ ์ด๋ฆ์ ๋ฌ๊ณ ์ ๋ฐ์ ์ ์ํ๊ณ ์ถ์ง๋ ์๋ค. Redwing์ด๋ Alden๊ฐ์ ๋ฏธ๊ตญ ์ ๋ฐ์ด๋ Vans ์ค๋์ปค์ฆ์ ์ฝ๋ผ๋ณด๋ ์ด์ ์ ํด๋ณด๊ณ ์ถ๋ค. ์ ๋ฐ์ ๋ํด ๊ธฐ๋ณธ์ ์๊ณ ์์ด์ผ ๋์ค์ ์งํ ๋ฐฉํฅ์ด๋ ๋์์ธ์ ๋ํด ์ด์ผ๊ธฐํ ์ ์์ผ๋ ์ง๊ธ ์ ๋ฐ์ ๋ํ ๊ณต๋ถ๋ฅผ
026-029p
Robb Harker Q. ์์ ์ ๋ํด ์๊ฐํด ๋ฌ๋ผ ํ์ฌ Supermodified Agency์ ๋ํ์ด์ ๋๋ ํฐ๋ค. ์บ๋๋ค์์ ํ์ด๋ฌ์ผ๋ฉฐ ์์์์์ 14๋ ์ ์ด์๋ค. ์์์์ ๋ค๋ฅธ ๋๋ฅ์ ๊ด๋ฒ์ํ๊ฒ ์ฌํํ์ง๋ง ๋๋ถ๋ถ์ ์๊ฐ์ ์์ธ์์ ๋ณด๋๋ค. Q. ํ๊ตญ์๋ ์ผ๋ง๋ ์์๋๊ฐ 1997๋ ์ด์ ํ๊ตญ์ ์ฒ์ ์๋ค. ๋ค๋ฅธ ๋๋ผ์ ์์ฃผ ๋ฐฉ๋ฌธํ๊ธฐ ๋๋ฌธ์ ํ๊ตญ ์ฒด๋ฅ ๊ธฐ๊ฐ์ 10๋ ์ ๋ ์์๋ ๊ฒ ๊ฐ๋ค. Q. ๋น์ ์ด ๊ฒฐ์ฑํ๋ ๊ตญ๋ด ์ต์ด์ ํํฐ ํ๋ก๋ชจํฐ Sickboy๋ ์ด๋ค ํ์ด์๋๊ฐ. ๋ํ Sickboy ์์๋ ์ด๋ค ํ๋ก์ ํธ๋ฅผ ์งํํ๋๊ฐ. ๋๋ Morgan Wilbur๋ผ๋ ํํธ๋์ ํจ๊ป Sickboy๋ฅผ ๋ง๋ค์ด ์ด์ํ๋ค. ์ฐ๋ฆฌ๋ 1998๋ 3์์ ์ง๊ธ ํ๋ Nb๊ฐ ์๋ฆฌํ ๊ตฌ Nbinb์์ ์ฒซ ์ด๋ฒคํธ๋ฅผ ์ด์๋ค. ์ฐ๋ฆฌ๋ ๋ก์ปฌ DJ๋ค๊ณผ ์ธ๊ณ์ ์ธ ์คํ๋ค๊ณผ ํจ๊ป ์์ ํด๋ฝ์ ๋ฐค์ ์ด์๋ค. ์ด๋ฐ ์ด๋ฒคํธ๋ค์ด ์ ์ฐจ ์ปค์ง๋ฉด์ ์ฐ๋ฆฌ๋ ํฐ ๊ณต์ฐ์ฅ์ผ๋ก ํ๋์ ์ฎ๊ฒผ๋ค. Q. ๋น์ ์ ๊ตญ๋ด ์ต์ด์ ํด๋ฝ ํํฐ๋ฅผ ์งํ, ๊ตญ๋ด ์ต์ด์ ์ผ์ธ ํํฐ๋ฅผ ์งํํ ๊ฒ์ผ๋ก ์๊ณ ์๋ค. ๊ทธ ํํฐ์ ์ด๋ฆ์ ๋ฌด์์ด์์ผ๋ฉฐ, ์ด๋ค ๋์ ์ด๊ฐ ํจ๊ป ํ๋? ์ฐ๋ฆฌ์ ์ฒซ ํด๋ฝ ํํฐ โInfinityโ๋ฅผ ์น๊ตฌ์ด์ DJ์ธ Tory Wolf์ ํจ๊ป ํ๋ค. ์ฐ๋ฆฌ๋ ์์ฃผ ์ ์ ์๋ณธ์ผ๋ก ์ด๋ฒคํธ๋ฅผ ์์ํ๋ค. Tory๋ ๋นํ๊ธฐ ๊ฐ๋ง ๋ฐ๊ณ ์บ๋๋ค ๋ฐด์ฟ ๋ฒ์์ ํ๊ตญ์ผ๋ก ์๋ค. ๋๋ ๊ทธ๋ฅผ ๊ณตํญ์์ ๋ฒ์ค๋ก ํฝ์ ํ๊ณ ๊ทธ๋ ์ฐ๋ฆฌ ์ง ๊ฑฐ์ค ์ํ์์ ์ ์ ์ค๋ค. ์ฐ๋ฆฌ๋ ํ๊ตญ์์ ์ด๋ฐ ์ด๋ฒคํธ๋ฅผ ์ฒ์์ผ๋ก ์งํํ๋ ๋งํผ ์ด๋ค ๊ฒฐ๊ณผ๋ฅผ ๊ธฐ๋ํด์ผ ํ๋์ง ๋ชฐ๋๋ค. ๊ทธ๋ฌ๋ ํํฐ์ ๋ํ ๋ฐ์์ ๋จ๊ฑฐ์ ๊ณ ์ฐ๋ฆฌ๋ ์ ๋ง ๋๋จํ ๋ฐค์ ๋ณด๋๋ค. ์ฒซ ๋ฒ์งธ ์ผ์ธ ํํฐ๋ ๊ฒฝํฌ๋์์ UK ์ถ์ ์ Hybrid๋ผ๋ DJ ๋์ค์ ํจ๊ปํ๋ค. ๋น๋ก ์์ธ์์ ๋ง์ ์ฌ๋์ ๋์ด ๋ชจ์ผ์ง ๋ชปํ์ง๋ง ๋ฐ๋ท๊ฐ์ ๋๋ฌ ์จ ์ฌํ๊ฐ๋ค์ด ์์ฒญ ๋ง์ด ๋ชจ์๋ค. ๋๋ผ์ด ๋ฐค์ด์๋ค. Q. 2002๋ ์๋์ปต ๋น์ ๋ฉ๋ฆฌ์ดํธ ํธํ ์์ ์งํํ๋ ์คํ๋ ํํฐ๋ ์ ์ค๋ก ์๋ ค์ ธ ์๋ค. ๋น์ ํป๋ณด์ด ์ฌ๋จ์ ์ด์ฒญํ๋๋ฐ, ๊ทธ ๊ณผ์ ์ด ๊ถ๊ธํ๋ค. ์์ฆ์ ์ผ๋ ํธ๋ก๋ ๋ฎค์ง ์ด๋ฒคํธ๋ก 5,000๋ช ์ ๊ด๊ฐ์ ๋์ด ๋ชจ์ผ๋ ์ผ์ ์ด๋ ต์ง ์๋ค. ์ง๊ธ ์์ธ์
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2011-11-01
5:40:44
ํ๋ก๋์ ํ์ฌ ๋ช ๊ฐ๋ 10~15,000 ์ฌ๋๋ค์ ๋ชจ์ผ๋ ๋๋ผ์ด ์ด๋ฒคํธ๋ค์ ๋ฌด๋ฆฌ ์์ด ์งํํ๋ค. ๊ทธ๋ฌ๋ 2002๋ ์๋ ์ด๋ค ์ฌ๋๋ ์ผ๋ ํธ๋ก๋ ๋์ค ๋ฎค์ง(EDM)์ ๊ธฐ๋ฐ์ผ๋ก 5,000๋ช ์ ๋ชจ์ ์ ์์ ๊ฒ์ด๋ผ ๊ธฐ๋ํ์ง ์์๋ค. ์คํ๋ ํํฐ๋ฅผ ์งํํ๋ ๊ณผ์ ์ ๋ค๋ฅธ ํํฐ๋ฅผ ์ค๋นํ๋ ๊ณผ์ ๊ณผ ๋์ผํ๋ค. ์ฐ์์ธ์ ์ก๊ณ , ์ฅ์๋ฅผ ์์ฝํ๊ณ , ํ๋ก๊ทธ๋จ์ ์ ๋ฆฌํ๊ณ , ๋ฏธ์น ๋ฏ์ด ํ๋ณดํ๋ค. ์ฐ๋ฆฌ๋ ์ด ๊ณผ์ ๊ฐ์ด๋ฐ FIFA์ ์ด๋ชฉ์ ๋์๊ณ ์ด ์ด๋ฒคํธ๋ 2002๋ ์๋์ปต ๊ณต์ ์คํ๋ ํํฐ๊ฐ ๋์๋ค. ์ด๋ ์๋ง ์์ธ์์ ์ผ๋ฐ์ ์ธ ๊ด์ค์ ๋์ด์ ์ฃผ๋ฅ์์ฅ์ ๋๋ฌํ ์ฒซ ์ด๋ฒคํธ์ผ๊ฒ์ด๋ค. Q. 2003๋ ๋ง์ง๋ง ์๋ก ํํฐ๋ก ์๋ณด์ด๋ฅผ ํด์ฒดํ๋ค. ์ด์ ๊ฐ ์์๋๊ฐ? 2003๋ ์ ๋ค์ ๋จ๊ณ๋ก ๋์ด๊ฐ ์์ ์ด์๋ค. ๋์ ํํธ๋๋ 6๋ ๋์ ํ์ฌ๋ฅผ ์ด์ํ๊ณ ๋ ๋ค ๋ณํ๋ฅผ ์ํ๋ค. Morgan์ ๋ฏธ๊ตญ์ผ๋ก ๋์๊ฐ ๋ค๋ฅธ ์ฐ์ ์ ๋ฐ์ด๋ค์๋ค. ๋๋ Sickboy์ ์๋ก ๋๋ ํฐ๋ก์ ๋ช ๊ฐ์ ์ด๋ฒคํธ๋ฅผ ์งํํ์ง๋ง ํ๊ตญ์ ํฐ ๊ณต์ฐ์ฅ ๋ถ์กฑ์ ๋ํด ํ๋ฉธ์ ๋๋ผ๊ฒ ๋์๋ค. ์ด๋ฒคํธ๋ ๋๋ถ๋ถ ํ๋์ ์์ ํด๋ฝ์ด๋ ์ญ๋งํ ํธํ ๋์ฐํ์ฅ์์ ์ด๋ ธ๋ค. ํด์์ด ํ์ํ๋ ๋๋ ๋ฐ๋ฆฌ๋ก ๋ ๋ ๊ทธ๊ณณ์์ ์ด๋ฒคํธ๋ฅผ ์งํํ๋ค. Q. Sickboy ํด์ฒด ์ดํ ๋น์ ์ ๋ฐ๋ฆฌ์์ 6๊ฐ์ ๊ฐ ๋จธ๋ฌผ๋ค ๋ค์ ๊ตญ๋ด ๋ํ ํด๋ฝ์ ๋ ์ ๋์ธ M2์ ์ด๊ด๋๋ ํฐ๋ก ์ปด๋ฐฑํ๋ค. M2๋ฅผ ๊ธฐํํ ๋น์ ์ฑ๊ณต์ ํ์ ํ๊ณ ์์๋๊ฐ? M2์ ์ฑ๊ณต์ ๋๋ง์ ๊ณต๋ก๋ผ๊ณ ํ ์๋ ์์ง๋ง ํฐ ์ญํ ์ ๋งก์ ๊ฒ์ ํ์คํ๋ค. M2๋ ํ๊ตญ ์คํ์ผ์ ๋ถํน ํด๋ฝ๊ณผ ๋ฐ๋๋ก ๊ตญ์ ์ ์ธ ํด๋ฝ ํํ๋ฅผ ๊ฐ์ถ ์ต์ด์ โ๋ํโ ํด๋ฝ์ด์๊ณ 100% ์ผ๋ ํธ๋ก๋ ์์ ์ ์ฐ์ฃผํ๋ค๋ ์ ์ ์์ด ํน๋ณํ๋ค. M2๋ ํํฐ์ EDM์ ์ํด ์ง์ด์ง ๊ณต์ฐ์ฅ์ด๋ค. M2๋ ์ฌ๋ฌ๋ชจ๋ก ๊ทธ ์ดํ ๋ฑ์ฅํ ๋ชจ๋ ํฐ ํด๋ฝ์ ๋ณธ๋ณด๊ธฐ๊ฐ ๋์๋ค. ์ด๋ ๋ด๊ฐ ํด๋ฝ์ ๋ํด ๊ฐ์ธ์ ์ผ๋ก ๊ฐ์ง ๋น์ ์ ์๋์์ง๋ง ์ง๊ธ๊น์ง ๊ฐํ๊ฒ ์ด์ด์ค๊ณ ์๋ค. Q. M2๋ฅผ ์ฑ๊ณต์ํจ ๋น์ ์ ๋์ฐ ๋ฐ๋ฆฌ๋ก ๋ ๋ ์๋ก์ด ์์ด์ ์ supermodified๋ฅผ ์ค๋ฆฝํ๋ค. Supermodified ์ด๋ค ํ์ฌ์ด๋ฉฐ, ์ด๋ค ์ผ์ ์ฃผ๋ก ํ๋๊ฐ? Supermodified๋ ์ฐ์์ธ๋ค์ ์ถ์ฐ ์์ฝ์ ํ๋ ์์ด์ ์๋ค. ์ฐ๋ฆฌ๋ ์ฃผ๋ก ์ธ๊ณ์ ์ธ ํ DJ ๋ค์ ๋ณด์ ์ ์ง์คํ์ง๋ง ๋ผ์ด๋ธ๋ก ์ฐ์ฃผ๋ฅผ ์ ํธํ๋ ๊ณ ๊ฐ๋ค๋ ์ถฉ์กฑ์ํจ๋ค. Supermodified๋ ์ํฐ์คํธ๋ค์ ์์์ ์์ฅ์ผ๋ก ๋์ด๋ด๊ณ ํฌ์ด๋ฅผ ์ฃผ์ ํ๋ค. ์ฐ๋ฆฌ์ ํ๋ก๋ชจํฐ์ ํด๋ผ์ด์ธํธ๋ ์ค๋๋ถํฐ ์ผ๋ณธ ์ฌ์ด์ ๋ชจ๋ ์ง์ญ์ ํฌํจํ ์ ๋๋ก ๋ค์ํ๋ค. Q. ๋น์ ๋ถํน ํ๋ DJ ์ค ๋ํ DJ๋ ์ด๋ค DJ๊ฐ ์์์ผ๋ฉฐ ๊ฐ์ฅ ๊ธฐ์ต์ ๋จ๋ DJ๋ ๋๊ตฌ์ธ๊ฐ? Supermodified๋ U.K.์ ์์ด์ ์ โExcessionโ์ ์์์ ๋ํ๋ก ์์ํ๋ค. DJ Sasha์ ์์ด์ ์์ธ โExcessionโ์ Sasha ๋ณธ์ธ๋ฟ๋ง ์๋๋ผ Nick Warren, Steve Lawler, Lee Burridge, James Zabiela ์ธ์ ๋ง์ ์ํฐ์คํธ๋ฅผ ๋ณด์ ํ๋ค. ์ฐ๋ฆฌ๋ ์ด ์์ด์ ์๋ฅผ ๋ฒ ์ด์ค๋ก ๋ค๋ฅธ ๋ํ ๊ตญ์ ์์ด์ ์๋ค๊ณผ ๊ด๊ณ๋ฅผ ๋งบ์ด ์์์์ ์๋ ๊ทธ๋ค์ ์ํฐ์คํธ๋ฅผ ๋งก์๋ค. 2004๋ ์ ์ค๊ตญ์ด ๋ํ ์์ฅ์ผ๋ก ์ฑ์ฅํ๋ฉด์ ์ฐ๋ฆฌ๋ 7~8๋ช ์ DJ๋ค๊ณผ ์ค๊ตญ ๋์ฒ์ ๋์๋ค์ ํฌ์ดํ๋ค. ์ฐ๋ฆฌ๋ ์ด ์ธ์๋ ์ฑ๊ฐํด, KL, ์์นด๋ฅดํ, ๋์ฟ, ํ์ฝฉ, ๋๋ง ๊ทธ๋ฆฌ๊ณ ๋ฌผ๋ก ์์ธ์ ์ํฐ์คํธ ์์ฝ์ ๋ด๋นํ๋ค. ๋๋ ์์ด์ ์์ ์ปจ์ ์ ๋ง๊ฒ ๋ ๋ง์ ์ฅ๋ฅด์ ์์ ์ ๋ค๋ฃฐ ์ ์๋๋ก ๋ฆฌ์คํธ๋ฅผ ๋๋ ธ๋ค. ์ฐ๋ฆฌ๋ MANDY ์ Fergie์ ํ ํฌ๋ ธ ๊ณต์ฐ์ ์ด์๊ณ ์ต๊ทผ์๋ ์ดํ๋ฆฌ์ ํ๋ก๋์ Dusty Kids์ ๊ณ์ฝํ๋ค. Swedish House Mafia, Fedde Le Grand, Afrojack ๋ฑ๊ณผ๋ ์ข ๋ ์์ ์ ์ธ ๋ฉด์์ ํจ๊ป ์ผํ๋ค. Q. ์ ๋ฝ, ๋ฏธ๊ตญ์ด ๋์ ์ด๋ค์ ์์์ ์์ฅ์ ์ด๋ป๊ฒ๋ค ์๊ฐํ๊ณ ์๋๊ฐ? ๊ทธ๋ค์ ์์์์ ๋ํด ๋ณต์กํ ๊ฐ์ ์ ๊ฐ์ง๊ณ ์๋ค. ์ด๋ ๊ทธ๋ค์ด ์์์์์ ํ ์ ์๋ ๊ฒฝํ์ด ๋ค์ํ๊ธฐ ๋๋ฌธ์ธ ๊ฒ ๊ฐ๋ค. ์์์์ ์ด๋ค ์์ฅ์ ํน๋ณํ ๋ฐ๋ฌ๋์ด ์๋ค. ์ด๋ค ์ง์ญ์ ํํฐ ๊ณ ์ด๋ค์ ๋ง์ ๊ฒฝํ์ผ๋ก ํํฐ์ ๋ํด ์ ์๊ณ ์๊ณ ์ด๋ค ์ง์ญ์ ๊ทธ๋ ์ง ์๋ค. ์ด๋ค ์ฌ๋๋ค์ ์๋ก ๋ฉ์ง๊ฒ ๋ณด์ด๋ ค๊ณ ๋ ธ๋ ฅํ๋ฉฐ ์์๋ ๋ฐ๋ฉด ์ด๋ค ์ฌ๋๋ค์ ์ ๋ง ๋ฏธ์น ๋ฏ์ด ์ ๋ ผ๋ค. ์ฌ์ค ์์ธ์ ๋ด๊ฐ ๊ณต์ฐํ๊ธฐ ์ข์ํ๋ ์ฅ์ ์ค ํ๋๋ค. ์ฌ๊ธฐ ์ฌ๋๋ค์ ์์ ์ ์ ์ดํด ๋ชปํ๋๋ผ๋ ํํฐ๋ฅผ ์ข์ํ๊ณ ์ข์ ์์ ์ ๋ฐ์ํ ์ค ์๋ค. ๋์ฟ์ ์ฑ๊ฐํด ๋ํ ๊ณต์ฐํ๊ธฐ์ ์ข์ ์ฅ์์ด๋ค. Q. ๋น์ ์ ๋ฐ๋ฆฌ์์ ์์ด์ ์๋ฅผ ์ฑ๊ณต์ ์ผ๋ก ์ด์ํ๊ณ ์์๊ณ ๊ฒฐํผ๋ ํ๊ณ ์์ด๋ ๋ณ์๋ค. 2009 ๋ ํ๊ตญ์ผ๋ก ๋ค์ ๋์์จ ์ด์ ๋ ๋ฌด์์ธ๊ฐ? ๋ด ์์ด์ ์์ ์ฅ์ ์ ์ธํฐ๋ท ์ฐ๊ฒฐ๋ง ๋๋ค๋ฉด ์์์ ์ด๋์์๋ ์ง ์ผ ํ ์ ์๋ค๋ ์ ์ด๋ค. ๋์ ํ๊ตญ์ธ ์๋ด๋ ์ํ ์ฐ์ ์์ ์ง์ฅ์ ๊ฐ์ง๊ธฐ ์ํด์ ํ๊ตญ์ผ๋ก ๋ค์ ๋์์๋ค. ๋ํ ์ฐ๋ฆฌ๋ ๋ง์ ๋ฐฐ์ฐ๋ ๋จ๊ณ์ธ ์ฐ๋ฆฌ ์๋ค์ด ํ๊ตญ์ด์ ์์ด๋ฅผ ์ ๋๋ก ๋ฐฐ์ฐ๊ธธ ์ํ๋ค. Q. ํ๊ตญ์ ๊ตต์งํ ๋ํ ํด๋ฝ์ ์ด์ฒญ ๋์ ์ด ์๋น ์๋ฅผ ์ฐ๊ฒฐํด ์ฃผ๋ ๊ฒ์ผ๋ก ์๊ณ ์๋ค. ์ด๋ค ํด๋ฝ์ ์ฐ๊ฒฐ์ ํด์ฃผ๊ณ ์์ผ๋ฉฐ, ๋น์ ์ด ์ฐ๊ฒฐํด ์ค ๊ฑฐ๋ฌผ๊ธ ๋์ ์ด์๋ ์ด๋ค ์ด๋ค์ด ์์๋๊ฐ? ์์ ์คํ์ผ์ ์ง๋ ๋ช ๋ ๋์ ๋ง์ด ๋ฐ๋์๋ค. ๋๋ ๋ด๊ฐ ์ฒ์๋ถํฐ ๋ณด์ ํ ๋ง์ ๋์ ์ด๋ค์ ๋งก๋ ๋์์ ์์ ์ฐ์ ์ ๋ณํ์ ๋ง์ถฐ DJ ๋ช ๋จ์ ๋ณด์ํ๋ค. ์ง๊ธ Supermodified์ ๊ฐ์ฅ ํฌ๊ณ โ์๋ก์ดโ ์ํฐ์คํธ๋ Afrojack๊ณผ Avicii๋ค. ์ฐ๋ฆฌ๋ ์ด๋ค๊ณผ ์ง๋ ๋ช ๋ ๋์ ํจ๊ป ์ผํ๋ค. ๊ทธ๋ค์ ํ๋กํ์ ๊ณ์ ์ฑ์ฅํ๊ณ ์๋ค. Afrojack์ ์๋ ์ ๋น๋ณด๋ 1์ ํํธ๋ฅผ ํ์ ๋ฟ๋ง ์๋๋ผ ๊ทธ๋๋ฏธ ์๊น์ง ๋ฐ์ ์ ๋ช ์ธ์ฌ๋ค. Supermodified๋ ๋ ๋ฆฝ ์์ด์ ์์ด๊ธฐ ๋๋ฌธ์ ์์ธ์ ํน์ ํด๋ฝ๊ณผ ์ ํดํ์ง ์์๋ค. ์ฐ๋ฆฌ๋ ์๋ ๊ฐ M2, Answer, Mass, Volume, Heaven, Rococo, Ellui ๋ฑ์์ ๊ณต์ฐ์ ์ด์๋ค. ์ฐ๋ฆฌ๋ ์ถ์ ์ ๋ค๋ฅธ ์ด๋ฒคํธ์๋ ๊ณต์ฐ ๊ทธ๋ฃน๋ค์ ์ฐ๊ฒฐํด์ฃผ๊ณ ์๋ค.
โMineโ์ ์ ์ฌ๋์ ์์นํ Money Lounge๋ผ๋ ์์ ๊ณต์ฐ์ฅ์์ ์์๋ ๊ฒ์ด๋ค. ๋๋ ๊ทธ ์ฅ์๊ฐ ์์ฃผ ๋ฏธ๋๋ฉํ๊ณ ์์ ์ ๋ฐฉํดํ๋ ์์๊ฐ ์์ด์ ์ข์ํ๋ค. โMineโ์ ํฐ ๊ณต๊ฐ์ ๋ง์ง ์์ ๊น์ ์์ ์คํ์ผ์ ์ถ๊ตฌํ ๊ฒ์ด๋ค. ๋๋ ์ด๋ฒคํธ๊ฐ ์ข ๋ ๊ธด๋ฐํ ๋๋์ ๊ฐ์ง ์ ์๋๋ก ์ฌ๋ฌ ์์๋ค์ ์น๋ฐํ๊ฒ ๋ง๋ค๊ณ ์ถ๋ค. ๋ํ ์ด๋ฒคํธ๋ ์ฐธ์ํ๊ธฐ ์ฆ๊ฑฐ์ธ ์ ์์ง๋ง ์๊ณ ์ด๋์ด ์ธ๋๊ทธ๋ผ์ด๋ ๊ณต๊ฐ์์๋ง ๋ง๋ค ์ ์๋ ํน์ ๋๋์ด ์๋ค. ๊ทธ๋ฆฌ๊ณ ์์ง์ ์ธ๋๊ทธ๋ผ์ด๋ ๋ฎค์ง์ ์ฐพ๋ ํต์ฌ ๊ทธ๋ฃน์ด ์๋ค๊ณ ๋ฏฟ๋๋ฐ, ๋๋ ๊ทธ ํต์ฌ ๊ทธ๋ฃน๋ค์ด ์์ฃผ ์์ ๊ฒ์ด๋ผ ์๊ฐํ๋ค. ์ด๋ ํฐ ๊ณต์ฐ์ฅ๋ค์ด ๋ถ์กฑํด์ ์์ธ์ ๋ ๋ฌ๋ ์ด์ ์ ๋นํ๋ฉด ๋งค์ฐ ์์ด๋ฌ๋ํ๋ค. ์ง๊ธ ์์ธ์ ๋ํ ํด๋ฝ๋ค์ด ๋์ณ๋์ง๋ง ๋๋ ๋ค์ ์์ ๊ณต๊ฐ์ผ๋ก ๋์๊ฐ๊ณ ์ถ๋ค. ์๊ฒ ์์ํด์ ๊ทธ๊ณณ์์ ์ฑ์ฅํ๊ณ ์ถ๋ค. Q. ๊ทธ๋ ๋ค๋ฉด ์ด ํํฐ๋ ๊ตญ๋ด์ ํํฐ์๋ ์ด๋ค ์ฐจ๋ณ์ฑ์ด ์๋ ๊ฒ์ธ๊ฐ? ๋น์ ์ด ๊ณต๋ตํ๊ณ ์ถ์ ๊ตญ๋ด ์๋ก์ด ์๋์ ๋ํด ์์ธํ ์ค๋ช ํด ๋ฌ๋ผ. ์ง๊ธ ์์ธ์๋ ๋ํ ํด๋ฝ๋ค์ด ๋ง์ง๋ง ์๋ก์ด ๊ณต์ฐ์ฅ๋ค๋ ๊ณง ์ด๋ฆด ์์ ์ด๋ค. ๋ํ ๋ํ ์ด๋ฒคํธ ํ์ฌ๋ค์ด ์งํํ๋ ๋ฉ์ง ํ๋ก๊ทธ๋จ๋ค๊ณผ ์ฐธ์์๋ค์ด ํจ๊ป ์ฆ๊ธฐ๋ ์ด๋ฒคํธ์ ์ถ์ ๋ ๋ง์์ก๋ค. ์ด๊ฑด ๊ตญ๋ด์ ์ด๋ฒคํธ๊ฐ ๊ฑด๊ฐํ๊ฒ ์ฑ์ฅ ์ค์ด๋ฉฐ ๋ง์นจ๋ด ๋ฉ์ธ์คํธ๋ฆผ์ ๋๋ฌํ๋ค๋ ์ข์ ์ ํธ๋ค. ์์ธ์ ์ด๋ฐ ์์ง์๋ ํ์ํ์ง๋ง ๊ท ํ์ ๋ง์ถ๊ธฐ ์ํด์๋ ๊ฒฌ๊ณ ํ ์ธ๋๊ทธ๋ผ์ด๋ ์ ์ด ํ์ํ๋ค. ํ์ง๋ง ์๋ฌด๋ ์ด๋ฅผ ๊ฐ๋ฐํ๋ ค๊ณ ๋ ธ๋ ฅํ์ง ์๋ ๊ฒ ๊ฐ์ง ์๋ค. ์ด๋ค ๋ํ ํด๋ฝ์ ๊ด๊ฐ๊ณผ ์์ ์ด ๋จ์ ๋๊ธฐ๋ ํ๋ค. ๊ทธ๋ค์ ์ฃผ์ ๊ด์ฌ์ฌ๋ ์ฌ์๋ ๋จ์๋ฅผ ๋ง๋๋ ๊ฒ์ด์ง ์์ ์ด ์๋ ๊ฒ ๊ฐ๋ค. โMineโ๊ณผ ํจ๊ปํ๋ ๋์ ๋ชฉํ๋ ์ ์ง ๊ฐ์ ์์๋ฅผ ๋ฐฐ์ ํ๊ณ ์์ค ๋์ ๋ฆฌ์ค๋๋ฅผ ๋์ด ์ฌ๋ ค ์์ํ๊ฒ ์์ ์ ์ง์คํ๋ ๊ฒ์ด๋ค. Q. ๋น์ ์ ์๋ง์ ํด์ธ ๋์ ์ด๋ฅผ ํ๊ตญ๊ณผ ์์์์ ์๊ฐํ ํด๋ฝ ๋ฌธํ์ ์ ๋ฌธ๊ฐ๋ค. ํ๊ตญ์ ํด๋ฝ ๋ฌธํ๊ฐ ์ฑ์ํด ์ง๊ธฐ ์ํด์๋ ์ด๋ค ์ ๋ค์ด ํ์ํ๋ค๊ณ ์๊ฐํ๋๊ฐ? ์ด ๋ถ์ผ์์ ํ๋ํ๋ ์ฌ๋๋ค์ ๋ ์์ ์๊ฐ์ด ํ์ํ๋ค. ๊ทธ๋ค์ด ์ง๊ธ ์ด๋์ ์๋์ง์๋ง ํฌ์ปค์ค๋ฅผ ๋ง์ถ๊ธฐ๋ณด๋ค 5๋ ํ์ ์ด๋ป๊ฒ ๋๊ณ ์ถ์์ง, ๊ทธ๋ฆฌ๊ณ ๋ชฉํ์ ์ด๋ป๊ฒ ๊ฐ์ผ ํ๋์ง ์๋ฌธํ ํ์๊ฐ ์๋ค๊ณ ์๊ฐํ๋ค. ์ธ๊ณ ๋๋ถ๋ถ ๋์๋ 10๋ , 15๋ , ๋๋ 20๋ ๋๋ ์ญ์ฌ๋ฅผ ๊ฐ์ง ๋ํ ํด๋ฝ๋ค์ด ์๋ค. ํ๊ตญ์ โ์ ํโ์ด ์ฌํด์ ํด๋ฝ์ ์ถฉ์ฑ๋๊ฐ ๋์ ๊ณ ๊ฐ์ด ๋ง์ด ์๊ณ ํด๋ฝ ๋ํ ์ ์ง๋ ฅ์ด ์ฝํ๋ค. ์ฌ๋๋ค์ โ์๋ก์ด ๊ณต๊ฐโ์ผ๋ก ์ด๋ํ์ฌ ๊ทธ ๊ณต๊ฐ์ ์ ๋ช ํ๊ฒ ๋ง๋ค๋ค๊ฐ ๋ค๋ฅธ ์๋ก์ด ๊ณต์ฐ์ฅ์ด ์๊ธฐ๋ฉด ๊ทธ ๊ณณ์ผ๋ก ์ฎ๊ธด๋ค. ์์ธ์๋ ์์ง ์์ ์ ์ฑ ์ ๊ฐ์ง๊ณ ์ธ์์ง ์์ค์ด ์๋ค. ๋ด ์๊ฐ์๋ ๋ง์ฝ ์ด๋ค ์ฌ๋์ด ์ด๋ฐ ์์ค์ ๋ง๋ ๋ค๋ฉด ์ ๋๋ก ์ด์๋๋ ๊ฒ์ ๋ณด๊ณ ๋๋ ๊ฒ์ด๋ค. Q. ๋น์ ์ ์๋ง์ ํด์ธ ๋์ ์ด๋ฅผ ํ๊ตญ์ ์๊ฐํ๋ค. ๊ทธ๋ ๋ค๋ฉด ๋ฐ๋๋ก ํ๊ตญ ๋์ ์ด๋ฅผ ๋ค๋ฅธ ๋๋ผ์ ์๊ฐํ๊ธฐ๋ ํ๋๊ฐ? ์๊ฐํ๊ณ ์๋ค๋ฉด ์ด๋ค ๋์ ์ด์ธ๊ฐ? ๋๋ ์ง๊ธ East Collective๋ผ๊ณ ๋ถ๋ฆฌ๋ ๋ก์ปฌ ๊ทธ๋ฃน๊ณผ ์ผํ๊ณ ์๋ค. ์ด๋ค์ ํน๋ณํ ๋ฌด์ธ๊ฐ๋ฅผ ๊ฐ์ง๊ณ ์๋ค. ์ฐ๋ฆฌ๋ East Collective๊ฐ 10์์ ๋ฐ๋ Ministry of Sound์์ ๊ณต์ฐํ ์ ์๋๋ก ์งํํ๋ค. ์ด๋ค์ ์ฐ๋ฆฌ์ ์ฃผ์ ์์ด๋ ์คํ์ธ SONAR์ ๋ ์ผ์์ ํ๋ํ ์ ๋๋ค. ์ฐ๋ฆฌ๋ 10์ ๋ง์ ํจ๊ป Amsterdam Dance ์ด๋ฒคํธ์ ์ฐธ์ํ๋ค. ์ด๋ฒ ๊ธฐํ์ ์ฐ๋ฆฌ๊ฐ ๋ถ๋ ์ ๋ฝ์์ ํ๋ํ ๋ ๋์์ด ๋ ์ ์๋ ์ข์ ์ปค๋ฅ์ ์ ๋ง๋ค ์ ์๊ธธ ๊ธฐ๋ํ๋ค. Q. East Collective๊ฐ ํด์ธ ์์ฅ์์ ์ฑ๊ณตํ ๊ฒ์ด๋ผ๊ณ ์๊ฐํ๋ค๋ฉด, ๊ทธ ์ด์ ๋ ๋ฌด์์ธ๊ฐ? ๊ทธ๋ค์ ์ฅ์ ์ ๋ํด ์ค๋ช ํด ๋ฌ๋ผ. ๋๋ East Collective๊ฐ ๋น์ฐํ ๊ตญ์ ์ ์ผ๋ก ์ฑ๊ณตํ ์ ์๋ค๊ณ ์๊ฐํ๋ค. ๊ทธ๋ค์ ์ ๊ธฐ์ ์ผ๋ก ์์ค ์๋ ํ๋ฆฌํฐ์ ํธ๋์ ๋ง๋ค ์ ์๋ ECI๋ผ๋ ๋ ์ด๋ธ์ ์์ ํ๊ณ ์ด์ ์ค์ด๋ค. ๊ทธ๋ค์ ์ถฉ๋ถํ ํฌ์ง์ ๊ธฐ์ ์ ๊ฐ์ง๊ณ ์๋ค. ์ด์ ์ค์ค๋ก๋ฅผ ๊ฐ๋ฅํ ๋ง์ด ๋ ธ์ถํ๋ ์ผ๋ง ๋จ์๋ค. Q. East Collective ์ธ์ ํด์ธ ์์ฅ์ ์๊ฐํ ๋งํ ํ๊ตญ ๋์ ์ด๊ฐ ์๋ค๊ณ ๋ณด๋๊ฐ? ์๋ค๋ฉด ๋๊ตฌ์ธ์ง ๋งํด์ค ์ ์๋๊ฐ? ํ๊ตญ DJ๋ค์ ์คํฌ ์์ค์ ์ ๋ฐ์ ์ผ๋ก ๋งค์ฐ ๋๋ค. ๋ฌธ์ ๋ ๋๋ฌด ๋ง์ DJ๊ฐ ์์ด ๋์ ๋๊ธฐ๊ฐ ์ด๋ ต๋ค๋ ์ ์ด๋ค. ์ฑ๊ณต ๊ฐ๋ฅํ ์ง์ง ๋น๊ฒฐ์ ๋ฐ๋ก ํ๋ก๋์ ์ด๋ค. ๋ง์ฝ ์์ฒญ๋ ๋ฉ์ด์ ๊ณก์ ๋ง๋ ๋ค๋ฉด ๊ทธ๋ค์ ์ฆ์ ๊ฒฝ๋ ฅ์ ์ฌ๋ฆด ์ ์๋ค. ๊ตญ์ ๋ฌด๋์์ ํ์ฝํ ์ ์๋ ํ๊ตญ DJ๋ ๋ง๋ค. ๊ทธ๋ฌ๋ ์ด๋ ๊ฒ ๋ ๊ธฐํ๊ฐ ์ฃผ์ด์ง๊น? ๋๋ ์ ๋ชจ๋ฅด๊ฒ ๋ค. Q. ๋น์ ์ ์๋ก์ด ์๋๊ฐ ๋ค์ ํ๋ฒ ํ๊ตญ ํด๋ฝ ๋ฌธํ์ ํ๋ช ์ด ๋๊ธธ ๋ฐ๋๋ค. ๋ง์ง๋ง์ผ๋ก ํด๋ฝ ๋ฌธํ์ ์ ๊ตฌ์ ์ค ํ ์ฌ๋์ผ๋ก ํ๊ตญ์ ์๋ง์ ํด๋ฌ๋ฒ๋ค์๊ฒ ํด์ฃผ๊ณ ์ถ์ ๋ง์ด ์๋ค๋ฉด. ๋ง์ฝ ๋น์ ์ด ๋๊ฐ์ด ์ค๋๋ ๊ฒ์ ์ง๋ฆฐ๋ค๋ฉด, ๊ทธ๋ฆฌ๊ณ ์์ ์ ์ผ๋ก ๋ง์์ ์ด๊ณ ์ถ๋ค๋ฉด โMineโ์ ๋ฐฉ๋ฌธํ๋ผ.
Q, ํํฐ ํ๋ก๋ชจํฐ๋ฅผ ์ํดํ๊ณ ๋ถํน ์์ด์ ํธ๋ก๋ง ์ผํด์๋ ๋น์ ์ด๋ค. ๊ทธ๋ฐ ๋น์ ์ด 11์ 16์ผ ์ง์ ํํฐ๋ฅผ ์ค๋นํ๊ณ ์๋ค๋ ์ด์ผ๊ธฐ๋ฅผ ๋ค์๋ค. ๊ทธ ํํฐ๋ ์ด๋ค ํํฐ์ธ๊ฐ? ๋๋ โMineโ์ด๋ผ๋ ์์ ์ธ๋๊ทธ๋ผ์ด๋ ๋ฐค์ ๋ฐ์นญํ๊ณ ํ๋ณดํ๊ธฐ ์์ํ๋ค. ๋๋ ๊ธฐ๋ณธ์ ์ผ๋ก ๋ชจ๋ ๊ฒ์ ๋ด๋ ค๋๊ณ ์จ์ ํ ์์ ์ ์ง์คํ๊ณ ์ถ๋ค. ์ด๋ฒคํธ์๋ ์ข์ ์ฌ์ด๋๊ฐ ํ์์ ์ธ ๋งํผ ๋๋ ์์ ํ ์ฌ์ด๋ ์์คํ ์ ๋์ ํ๋ค. ๊ทธ๋ฆฌ๊ณ ์ฌ๋๋ค์ ์ฐ๋งํ๊ฒ ํ๋ ํฐ ํ๋ก๊ทธ๋จ์ด๋ ๋น์ฃผ์ผ์ ์์ ๊ฒ์ด๋ค. ๋๋ ์ค ์ฝ๋๋ ์๋ค. ๋จ์ง ์ข์ ์ธ๋๊ทธ๋ผ์ด๋ ์์ ๋ง ์์ ๋ฟ. Q. ์ด๋ฒ์ ์ด์ฒญํ๋ ๋์ ์ด ์ญ์ ํ๊ตญ์ ์ฒ์ ๋ฐฉ๋ฌธํ๋ ๋์ ์ด๋ก ์๊ณ ์๋ค. ์ด๋ ๋๊ตฌ์ด๋ฉฐ, ์ด๋ ์ ๋์ ์ธ๊ธฐ๋ฅผ ๊ฐ์ง๊ณ ์๋ ๋์ ์ด์ธ๊ฐ ์๋ฅดํจํฐ๋ ์ถ์ ์ด์ง๋ง ํ์ฌ ๋ฒ ๋ฅผ๋ฆฐ์์ ๊ธฐ๋ฐ์ ์ก๊ณ ์๋ Ernesto Ferreyra๋ค. ๊ทธ๋ CADENZA ๋ผ๋ ๋ํ ๋ ์ฝ๋ ๋ ์ด๋ธ๊ณผ ์ ํดํ๊ณ ์๋ค. Ernesto๋ ๊ตญ์ ์ ์ผ๋ก ์ ๋ช ํ๊ณ ๋์ด ํ๊ฐ๋๊ณ ์์ง๋ง ํ๊ตญ์์ ๊ทธ์ ๋ํด ๋ค์ด๋ณธ ์ฌ๋์ ๋ง์ง ์์ ๊ฑฐ๋ผ ํ์ ํ๋ค. โMineโ์ ์ปจ์ ์ ์ฌ๋๋ค์ด ์ ๋ชจ๋ฅด๋ ์ค๋ ฅ ์๋ DJ, ์์ฃผ ํน๋ณํ ๋ถ์๊ธฐ๋ฅผ ๋ง๋๋ ์ํฐ์คํธ, ์๋ก์ด ๊ณต์ฐ์ ํ๊ตญ์ ์๊ฐํ๋ ๊ฒ์ด๋ค. ์ง๋ ๋ช ๋ ๋์ ํด๋ฝ ์ ์ ๋์งํธ ํ์์ผ๋ก ์์ ์ ์ฐ์ฃผํ๋ ๊ฑฐ๋ํ ์์ง์์ด ์์๋ค. Ernesto๋ ์์ง๋ ๋ ์ฝ๋ํ์ผ๋ก ์ฐ์ฃผํ๋ค. ๊ทธ๊ฐ ํ๋ ํ์๋ DJ ์ ์์ ์์ฃผ ๋๋ฌผ์ง๋ง ๊ทผ์์ผ๋ก ๋์๊ฐ๋ ์๋ฏธ ์๋ ์ผ์ด๊ณ ์ด๊ฒ์ด์ผ ๋ง๋ก โMineโ์ด ์ํ๋ ๋ฐ์ด๊ธฐ๋ ํ๋ค. 030-033p Q. ํํฐ์ ๊ท๋ชจ๋ฅผ ๋งค์ฐ ์๊ฒ ํ๋ ๊ฒ ๊ฐ๋ค. ํน๋ณํ ์ด์ ๊ฐ ์๋๊ฐ?
KATO AI 121
2011.11 -
.indd 121
2011-11-01
5:40:46
Q. ์์ ์ ํ ๋ง์ ๋ํด ์ด์ผ๊ธฐํด ๋ฌ๋ผ. ๋์ ๋ณธ๋ช ์ โ์ฌ๋โ์ด๋ผ๋ ๋ป์ด๋ค. ์ด๋ฆ์ ๊ฑธ๋ง๋ ์ฌ๋ช ๊ฐ์ ๊ฐ์ง๊ณ โ์ฌ๋โ์ด๋ผ๋ ํ ๋ง๋ก ์ฃผ๋ก ์์ ์ ํ๋ค. ๊ทธ ๊ฐ์ด๋ฐ ๋ชจํฐ๋ธ๋ โ2D ๋ฏธ์๋ โ๋ค. ๋ฏธ์๋ ๋ฅผ ์์ฌ๋ก ์์ ํ๋ ์ด์ ๋ โ๋ฏธ์๋ ๋, ์ฌ๋์ค๋ฌ์๋ ์์ํ ์ ํ ์ ์๋ ๊ถ๊ทน์ ์กด์ฌโ์ด๊ธฐ ๋๋ฌธ์ด๋ค. ๊ทธ ์ ๋ฌํ๊ฒ ๊ฐ์ง๋ง ๋๋ ์กด์ฌ๋ ๋์ ๋คํ๋ฆฐ ์ ์ ํํ์ด๋ ๋ฒ๋ฆ๊ณผ ์ผ์นํ๋ ๊ฒ ๊ฐ๋ค. ๊ทธ๋ฆฌ๊ณ ๋๋ ์ผ๋ณธ์ด์ ์นดํผ๋ ๋งค์ฐ ์ค์ํ๊ฒ ์ฌ๊ธด๋ค. ์ผ๋ณธ ํน์ ์ ๋์ผ์ค๋, ๋น์ ๋๋ ๋ฏํ ๋ฌธ์ฅ ๋ฑ ๊ทธ๋ฌํ ํํ๊ณผ ์ฌ์ ์์ด๊ฐ ํฉ์ณ์ก์ ๋, ์ง์ง ๋ฉ์ง ์๊ณต๊ฐ์ ๋คํ๋ฆผ ๊ฐ์ ๊ฒ์ ๋๋๋ค. ์ด๋ฐ ๊ฒ์ด ๋ณด๋ ์ฌ๋์๊ฒ๋ ๊ฐ๊ฐ์ ์ผ๋ก ์ ํด์ง๋ฉด ์ข๊ฒ ๋ค.๋คํ๋ฆฐ ์ฌ๋์ ๊ณ์ ์ ํ๊ณ ์ถ๋ค. Q. ๋ฏธ์๋ ๋ฅผ ๋ชจํฐํ๋ก ์ ํํ ์ด์ ๋ ๋ฌด์์ธ๊ฐ? ์ฒ ์ด ๋ค์์ ๋ฌด๋ ต๋ถํฐ ์๋ ์ ๋ฐ๋๋ผ์ธ์ด ์ ๋ง ์ข์๋ค. ๋น์ฃผ์ผ๋ก์ ๋ง์ด๋ค. ๋๋ ์์ฐ์ค๋ฝ๊ฒ ๋ฏธ์๋ ๋ฅผ ๋ชจํฐ๋ธ๋ก ๊ฐ์ง๊ฒ ๋์๋ค. ๋จ์ํ ํํฐ์์ฆ์ด๋ผ๊ณ ํ ์๋ ์๋ค. ๊ฑฐ๊ธฐ์๋ถํฐ ๋ฐ์ ํด 2์ฐจ์์ ์ฌ์ ์์ด์ ๊ด์ฌ์ ๊ฐ์ง๊ฒ ๋์๋ค. ํ์ค์๋ ์์ ์ ์๋, ์๊ณก๋ ์ธ๊ณ ์์ ์กด์ฌํ๋ ๋ฏธ์๋ ์ผ๋ง๋ก ๋์๊ฒ ์์ด์ ๊ถ๊ทน์ ์ธ ๋ชจํฐํ์ด๋ค. Q. ๋ฏธ์๋ ์ ์ด๋ค ์ ์ด ๋น์ ์๊ฒ ์ง์์ ์ธ ์์ ์ ๊ฐ๋ฅํ๊ฒ ํ๋๊ฐ? โ๊ท์ฝ๋ค!โ๋ ๊ฒ ๋๋ฌธ์ด๋ค. ๋ด ๊ฒฝ์ฐ๋ ์ค์ค๋ก ๊ทธ๋ฆฐ ๊ทธ๋ฆผ์ด ๊ท์ฝ๋ค๊ณ ์๊ฐ๋๋ฉด ์๋๋ ๋ ๋ฆฐ์ด ๋์ค๋ ๊ฒ ๊ฐ๋ค. ๋น์ฐํ ์ง์์ ์ผ๋ก ์์ ํ๊ฒ ๋๋ค. Q. โ๋ฏธ์๋ โ๊ฐ ์๋ค๋ฉด โ๋ฏธ์๋ โ ํน์ โ๋ฏธ์ค๋ โ๋ ์๋ค. ๋น์ ์ ์ธ๊ณ์ โ๋จ์ฑโ์ ๊ฐ๋ ์ ์๋๊ฐ? ์ฐ์ ์ฒ์๋ถํฐ ์๋ ์ด๋ ์์ ์จ๋ ๋์ ์์ ๋ชจํฐ๋ธ๋ก์ ํฅ๋ฏธ์ ๋์์ด ์๋์๋ค. ์๋ ์ด๋ ์์ ์จ์๊ฒ ์๋ฌด๋ฆฌ โ๋ฏธโ๋ผ๋ ๋ง์ ๋ถ์ฌ๋ ๋์๊ฒ ๋ณ ๊ฐํฅ์ด ์๋ค. ๋งํ์ ์คํ ๋ฆฌ๋ฅผ ์ํด์ ํ์ํ ๊ฒฝ์ฐ๋ฅผ ์ ์ธ ํ๊ณ ๋ ๋ณ๋ก ๊ทธ๋ฆฌ๊ณ ์ถ์ง ์๋ค. Q. ๋น์ ์ ๊ทธ๋ฆผ์ ์น์ํ๋ฉด์๋ ์กฐ๊ธ ์๋ํ ์์๊ฐ ๋ด๊ฒจ์๋ค. ๋น์ ์๊ฒ ์์ด์ ๊ทธ๋ฌํ ์์๋ ์ด๋ค ์๋ฏธ์ ๊ฐ๊ฐ์ธ๊ฐ? ์์ ํ ์๋ก์ค๊ฐ ์๋๋ผ๋ ์ ์ด ํฌ์ธํธ์ด๋ค. ๋ ธ์ถ์ ๋ํด์๋ ์ฒ ์ ํ๊ฒ ๊ณ์ฐํ๊ณ ์๋ค. ์ผ๋ง๋ ๊ท์ฝ๊ณ , ์ผ๋ง๋ ์์์ ๋ถ๋ฌ ์ผ์ผํค๋์ง๋ก ์ ํด์ง๋ค๊ณ ์๊ฐํ๋ค. ์๋ฅผ ๋ค๋ฉด, ์ท ํ ์ฅ์ ๋ฒ๊ฒจ ๋์ ๊ฒ์ ์ํด์ ์ฌ๋์ ์์์ ๋ช ๋ง ๋ฐฐ, ๋ช ์ต ๋ฐฐ๋ก๋ ํผ์ ธ๋๊ฐ ์ ์๋ค. ๋๋ ์ด๋ ๊ฒ ์ด์ผ๊ธฐ๊ฐ ์์ํ ๊ณ์ ๋๋๋ก ์น์ํ ๋ถ์๊ธฐ๋ฅผ ๋ง๋ค์ด๋ด๋ ๊ฒ์ด ์ข๋ค. Q. ์ต๊ทผ์๋ ์ด๋ค ํ๋์ ํ๊ณ ์๋๊ฐ? ๋งํ๋ฅผ ๊ทธ๋ฆฌ๊ณ ์๋ค. ํนํ ์ฌํด๋ ๋ด๊ฐ ๊ธฐํํ๊ณ ์๋ ๋์ธ์ง ํด๋ฝ โํ ๋ผํด๋ฝโ์ ํ์ ์๊ณ ์๋ค. ๋ง์นจ ์ฌํด๊ฐ โํ ๋ผํดโ์ด๊ธฐ๋ ํด์ ์ฐ๋ง์ ์ด ํด๋ฝ์์ ์ ์ํ๋ฅผ ๊ณํ ์ค์ด๋ค. ๋์๊ฒ ์์ด์ ๋งํ๋ ๋ฏธ์ง์ ๋ถ์ผ๋ค. ๋ง์ ํ์ ํ์๋ก ํ๊ณ , ์ฒด๋ ฅ์ , ์ ์ ์ ์ธ ๋ฉด์์ ๋ง์ ์ง๊ตฌ๋ ฅ๊ณผ ์๋ฐ๋ ฅ์ ์๊ตฌํ๋ค. ๋งํ๋ฅผ ๊ทธ๋ฆฌ๋ ๊ฒ์ ๋์๊ฒ ์์ด์ ์ํ ๊ฐ์ ๋๋์ด๋ค. Q. ๋์ธ์ง ํด๋ฝ์ ์ด๋ค ํ๋์ ํ๊ณ , ๋ช ๋ช ์ ํ์๋ค๊ณผ ์ด์ ์ค์ธ๊ฐ? ๋์ธ์ง๋ผ๊ณ ํ๋ ๊ฒ์, ์์ ์ก์ง์ ๋ฐ๋๋ง๊ณผ ๊ฐ์ ๊ฒ์ด๋ค. ์ฆ ํ๋ก ๋งํ๊ฐ๊ฐ ์๋๊ณ , ์ธ๋ ์ ์์ ๋งํ๋ฅผ ๊ทธ๋ฆฌ๊ณ ์๋ ์ฌ๋๋ค์ ๋งํ๋ค. ์ด๋ฏธ ๋์ธ์ ๋ถ์ผ๋ ๊ฝค ๋๊ณ ๊น์ด์ ธ ์๋ค. ํด๋ฝ โํ ๋ผํด๋ฝโ ์ ๋ฏธ์ ๊ฐ ๋๋ฃ์ธ ์ค์ค์ธ ์นด ์ฌํ ์(Ootsuka Satoru), ์ฌ์ฟ ๋ผ์ด ํ์นด์(Sakurai Takashi)์ ํจ๊ป ๊ฒฐ์ฑํ ๊ทธ๋ฃน์ด๋ค. ๊ฐ์์ ๋งํ๋ฅผ ๊ณต๋ ์ฑ ์ผ๋ก ๋ฐํํ๋ ๊ฒ์ ๋ชฉ์ ์ผ๋ก ํ๋ํ๊ณ ์๋ค. Q. ๊ทธ ์ค์ ๋น์ ์ ์ด๋ค ๋งํ๋ฅผ ๊ทธ๋ฆฌ๊ณ ์๋๊ฐ? ๋๋ ์์ ์ค๋ฆฌ์ง๋ ๋งํ๋ฅผ ๊ทธ๋ฆฐ๋ค. ๋ฌผ๋ก ์ฃผ์ธ๊ณต์ ๊ท์ฌ์ด ์๋ ๋ค. ์คํ ๋ฆฌ๋ 80๋ ๋์ ์ฝ๊ฐ ์๋ก ๊ฐ๊ทธ ๊ฐ์ ๋๋์ด๋ค. Q. ์ง๊ธ๊น์ง ๊ทธ๋ฆผ์ ๊ณ์ํด์ค๋ฉด์, ๊ณผ๊ฑฐ์ ๋นํด ๋ฌ๋ผ์ง ๊ฐ๊ฐ๊ณผ ๋ณํ์ง ์๋ ๊ฐ๊ฐ์ด ์๋ค๋ฉด? โ์ โ์ ๋ํ ๊ฐ๊ฐ์ด ๋ฐ๋์๋ค๊ณ ์๊ฐํ๋ค. ์ด์ ์๋ ์ด์ ๊ฐ์ ์ ์ ์ข์ํ๊ณ , ๊ทธ ์ด์์ผ๋ก ๋ฉ์ง ์ ์ ์๋ค๊ณ ์๊ฐํ๋ค. ๊ทธ๋ฌ๋ ์ผ๋ฌ์คํธ๋ ๋งํ๋ฅผ ๊ทธ๋ฆฌ๊ฒ ๋๋ฉด์ ์ด์์ ๋ง์์ด ์์ฑ๋ ์ ์ ์๋ฆ๋ค์๋ ์๊ฒ ๋์๋ค. ๋ณํ์ง ์์ ๊ฐ๊ฐ์ โ์น์ํ ๋๋์ ์ข์ํ์ง๋ง, ์ฒํ ๊ฒ์ ๋๋ฌด ์ซ๋คโ๋ ์๊ฐ.์ด๊ฒ์ ์๋ ์ฌ๋๋ง ์์์ฃผ๋ ์ ๋ฌํ ๊ฐ๊ฐ์ผ์ง๋ ๋ชจ๋ฅธ๋ค. Q. ๋น์ ์ ๋์์ด๋๋ ์๋๊ณ , ์ผ๋ฌ์คํธ๋ ์ดํฐ๋ ์๋๋ค. ํ๋ ์ํธ๋ก์ ๊ทธ๋ฆผ์ ๊ทธ๋ฆฌ๋ ๋งค๋ ฅ์ ์ด๋ค ๊ฒ์ธ๊ฐ? ์ผ์ด๋ผ๋ ์๊ฐ์ด ๋ค์ง ์๊ณ ํ์์์ ์ํ๊ณผ ๊ฒน์น๋ ์ ์ด ์๋ค๋ ๊ฒ. ๋์์ด๋๋ ์ผ๋ฌ์คํธ๋ ์ดํฐ๊ฐ ํ๋ ์ผ๊ณผ ํ๋ ์ํธ๋ ๋๊ฐ์ด ๊ทธ๋ฆผ์ ๊ทธ๋ฆฌ๋ ๋ถ์ผ์ด์ง๋ง, ๊ทธ ์ ์ข ์ด ์ ํ ๋ค๋ฅด๋ค๊ณ ์๊ฐํ๋ค. ๋์์ด๋๋ ์ผ๋ฌ์คํธ๋ ์ดํฐ๋ ์ผ์ ์ํ์ ๋ฐ์ ํ๊ณ , ์๋น์๋ ํด๋ผ์ด์ธํธ๊ฐ ์์ด์ผ ์ฑ๋ฆฝ๋๋ ์ผ์ ํ๋ค. ์ด๋ ์ฌ๋๋ค์ ์ํด, ์ธ์์ ํจ๊ป ์ผ์ ํ๋ ๊ฒ์ด๋ค. ๋ฐ๋ฉด, ํ๋ ๋ฏธ์ ์ ์์ด๋ ์ธ์์ด ๋์๊ฐ๊ณ , ์ฌ๋๋ค์ด ๊ณค๋ํด์ง๋ ์ผ์ด ์๊ธฐ์ง ์๋๋ค. ๊ทธ๋์ ํ๋ ์ํธ๋ฅผ ํ๋ ๊ฒ์ ์๊ธฐ ์์์ผ์ง๋ ๋ชจ๋ฅธ๋ค. ๊ทธ๋ฌ๋ ๊ทธ๊ณณ์์ผ๋ง๋ก ์ฌ๋ฏธ๋ ๊ฐ์ฑ์ด ์ค๋ฉฐ ๋์ค๋ ๊ฒ์ ํ์คํ๋ค. ํํ์ด ์์ ๋กญ๊ณ , ๋ฌดํํ๊ณ , ์์ ์ด ์๊ฐํ ๋๋ก ๋ฌ๋ฆด ์ ์๋ ํ๋๋ค. ํ๋ ์ํธ์๋ ๊ทธ๋ฐ ๋งค๋ ฅ์ด ์๋ค๊ณ ์๊ฐํ๋ค. Q. ๊ทธ๊ฒ์ ๋น์ผ์์ ์ฆ๊ธฐ๊ณ ์๋ค๋ ๋๋์ธ๊ฐ? ๊ทธ๋ ๋ค๊ณ ๋ ๋งํ ์ ์๋ค. ์ฆ๊ธฐ๊ณ ์๋ค๋ ๊ฒ์ด ์ ๋ถ๋ ์๋์ง๋ง, ๋น์ผ์์ด๋ผ๋ ๋๋์ ์๋ค. Q. ์ผ๋ณธ ์ด์ธ์ ๋๋ผ์์ ํ๋ํ๋ค๋ฉด ์ด๋์์ ํ๊ณ ์ถ์๊ฐ? ๋๋ง ํน์ ์์คํ ๋ฅด๋ด. ๋ ๋ค ๊ณผ๊ฑฐ์ ์ ์๋ ํผํฌ๋จผ์ค ๋๋ฌธ์ ๊ฐ๋ณธ ์ ์ด ์๋ ๋๋ผ๋ค. ์ฐ์ ๋๋ง์ ๊ฑฐ๋ฆฌ์ ๋ถ์๊ธฐ๋ ํธํ ์ ๋ฏธ๋๋ฉํ ์ค๋ด์ฅ์, ์๋ฅํ ์ฌ๋๋ค, ์์์ ๋ง ๋ฑ ๋ชจ๋๊ฐ ๋์ ์ฑํฅ์ ์ ๋ง์ ๊ฒ ๊ฐ์์ ๋ฐ๋ก ์ข์ํ๊ฒ ๋์๋ค. ์๋ฌด๋ ๋ชจ๋ฅด๊ฒ ๋๋ง ๋จ์์ ๊ฒฐํผํด ๋๋ง์ ์์ฃผ ํ ์๋ ์์๊น ๋จธ๋ฆฌ๋ฅผ ๊ตด๋ฆฌ๊ณ ์๋ค. ๊ทธ ๋๋ผ์์ ๊ทธ๋ฆผ์ ๊ทธ๋ฆฌ๋ฉด ๊ฑฐ์นจ์์ด ์์ ๋กญ๊ฒ ๊ทธ๋ฆด ์ ์์ ๊ฒ ๊ฐ๋ค. ์์คํ ๋ฅด๋ด์ ์จ ๋ง์์ด ์ํธ ๋์๊ฐ ๋๊ธฐ ๋๋ฌธ์ ๋ชน์ ์๊ทน์ ์ด์๋ค. ๊ทธ๋ฅ ๊ฑท๊ธฐ๋ง ํด๋ ์ํฐ์คํธ์ ๊ธฐ์ด์ ๋๋ ์ ์๊ณ ์ค์ ๋ก ์์ ๊ฐ๊ฐ ๋ง๋ค. ๋๋ ์์คํ ๋ฅด๋ด์์ ๊ฐ์ธ์ ์ ํ ์์ ์ด์๋๋ฐ ์ฌ๋ฌ๊ฐ์ง ๋ฌธ์ ๋ก ๊ทธ๋ฅ ์ด์ผ๊ธฐ๊ฐ ํ๋ฌ๊ฐ ๋ฒ๋ ธ๋ค. ์์ฌ์ ๊ณ ๋ค์ ๊ผญ ์๊ทน์ ๋ฐ์ผ๋ฌ ๊ฐ๊ณ ์ถ์ ๋์๋ค. Q. ์์ ์ ์ํธ ํ๋์์ ๋ฌด์์ธ๊ฐ ์ ํด๋์ ๋ชฉํ๊ฐ ์๋๊ฐ? ์ผ๋จ ๋ผ์ด๋ธ ํ์ธํธ๋ฅผ ๊ทธ๋ง๋๋ ค๊ณ ์๊ฐ ์ค์ด๋ค. ๊ทธ ์ด์ ์ ๋ํด์๋ ๊ทธ๋ง๋๊ณ ๋์ ์ด์ผ๊ธฐํ๊ณ ์ถ๋ค. ์ง๊ธ์ ํ ์ ์๋ค. ๋ง์ฝ ๋ค์ ๋ฒ์ ๋ ์๋กํ์ค์ ๋ค์ ์ธํฐ๋ทฐ๋ฅผ ํ ์ ์๋ ํ์ด์ด ์จ๋ค๋ฉด ๋ฐ๋์ ์ด์ผ๊ธฐ ํ๊ฒ ๋ค.
034-037p
Chang Suk Jong (์ฅ์์ข ) Q. <Cracker Your Wardrobe>๋ ์ด๋ค ๊ตฌ์กฐ๋ก ์์ ๋์๋? ๊ฐ์ ๋ํ๊ต๋ฅผ ๋ค๋๋ ์ ์งํ, ์ดํฌ์๊ณผ ํจ๊ป <Cracker Your Wardrobe>์ ์์ํ๋ค. ์ ์งํ๊ณผ ์ดํฌ์์ ๊ด๊ณ ์ ๊ฒฝ์์ ๋งก๊ณ ๋ด๊ฐ ํธ์ง์ฅ์ ๋งก์๋ค. ์ง์์ผ๋ก ์ผํ๋ ์น๊ตฌ๊ฐ ํ ๋ช ๋ ์์๋๋ฐ ๊ทธ๋ ์ค๊ฐ์ ์ผ๋ณธ์ผ๋ก ์ ํ์ ๊ฐ๋ฉด์ ์ธ ๋ช ์ด ๋จ์๋ค. Q. ํฌ๋์ปค์ ์ง๋ถ ๊ตฌ์กฐ๋? ์ ์งํ, ์ดํฌ์, ๋ ์ด๋ ๊ฒ ์ ์ด N๋ถ์ 1๋ก ๋๋์ด ์๋ค. Q. ํฌ๋์ปค๋ ๊ฐ์กฑ์ ๋ถ์๊ธฐ์ ํธ์ง๋ถ๋ก ์ ๋ช ํ๋ค. ์ฅ, ๋จ ์ ์ด ์์ ๊ฒ ๊ฐ๋ค. ์ฌ๋์ ์ ๊ณ ์ผ์ด ๋ง๋ค ๋ณด๋ ์์ฐ์ค๋ฝ๊ฒ ํจ๊ป ๋ญ์ณ ์ผํ๋ ๊ฐ์กฑ์ ์ธ ๋ถ์๊ธฐ๊ฐ ๋ ์ ๋ฐ์ ์์๋ค. ๊ฐ์กฑ์ ์ธ ๋ถ์๊ธฐ์ ์ฅ์ ์ ์ง์๋ค์ด ํ์ฌ์ ๋์ค๋ ๊ฒ์ ๋ํด ์คํธ๋ ์ค๊ฐ ์๋ค๋ ๊ฒ์ด๋ค. (์ง์๋ค์๊ฒ ์ฅ์ ์ด์ง๋ง ๊ด๋ฆฌ๋ฅผ ํด์ผ ํ๋ ๋์๊ฒ ๋จ์ ์ด๋ค) ๊ทธ๋ฆฌ๊ณ ํจ๊ป ์ผํ๋ ์ฌ๋์ ๋ํด ์คํธ๋ ์ค๋ฅผ ๋ฐ๋ ๊ฒฝ์ฐ ๋๋ ํ ๋ํ๋ฅผ ํตํด ํ ์ ์๋ ๋ถ์๊ธฐ๊ฐ ์กฐ์ฑ๋๋ค. ๊ฐ์กฑ๋ผ๋ฆฌ๋ ์ถฉ๋์ ์์ผ๋ ๋ฏธ์ํ์ง๋ ๊ฒฝ์ฐ๋ ์์ง ์๋๊ฐ. ๋จ์ ์ ์ผ์ ์งํํ ๋ ์ง์๋ค์ด ๋๋ฅผ ํธ์ง์ฅ์ด๋ผ๊ธฐ๋ณด๋ค ์ค๋น ๋ก ์๊ฐํ๋ ๊ฒฝ์ฐ๊ฐ ๋ง๋ค๋ ๊ฒ์ด๋ค. ๊ธฐ์ฌ๋ฅผ ์งํํ ๋ ๋์๊ฒ ํ๋ฝ์ ๋ฐ์ง ์๊ณ ์ค์ค๋ก ๊ฒฐ์ ํ๊ณ ์ผ์ ์ฒ๋ฆฌํ๋ ๊ฒฝ์ฐ๊ฐ ์ข ์ข ์๋๋ฐ ๊ธฐ์๋ค์ ๊ทธ๊ฑธ ๋์๋กญ์ง ์๊ฒ ์๊ฐํ๋ ๊ฒ ๊ฐ๋ค. ์ฝ์๋ ํต์ ๋ฅผ ํตํด ์ ์ฒด์ ์ธ ์๊น๊ณผ ์ปจ์ ํธ์ ํต์ผ๊ฐ์ ๋ง๋ค์ด ๊ฐ์ผ ํ๋๋ฐ ๊ฐ์กฑ์ ํธ์ง๋ถ๋ ์ด ๋ถ๋ถ์ด ์ด๋ ต๋ค. Q. ํฌ๋์ปค์ ์ฐฝ๊ฐ ์๊ธ์ด 300๋ง์์ ์์๋ณธ์ด์๊ณ , ์์์ง์ ํฌํจํ ์ ์ง์์๊ฒ 2๋ ๋์ ์๊ธ์ ๊ฐ์ ธ๊ฐ์ง ๋ชปํ๋ค๋ ์๋ฌธ๋ ๋ค๋ฆฐ๋ค. ์ฐฝ๊ฐ ๋น์์ ์ด์ผ๊ธฐ๋ฅผ ํด ๋ฌ๋ผ. ์ฐฝ๊ฐ ๋น์ ์ํฉ์ ์ด์ ํ๋ค. ์ธ์๋น์ ์ด์๋น๋ฅผ ๋ชจ์ผ๊ธฐ ์ํด ์์์ง ์ ์ PC๋ฐฉ์์ ์๋ฅด๋ฐ์ดํธ๋ฅผ ํด์ผ ํ๋ค. ์น๊ตฌ์ ๋ถ๋ชจ๋์ด ์ด์ํ๋ ์์์ญ๋ฆฌ ์ธ์์ ์๋ฆฌ๋ฅผ ๋ฌด๋ณด์ฆ 30๋ง์์ ์ฌ๋ฌด์ค์ ์๋ํ ๊ฒ์ ๊ทธ๋ฐ ์ํฉ์์ ํ์ด์ด์๋ค. ์ด์ ์ ์ ์ฃผ์๊ฐ ์ฌ์ฉํ๋ ์ฑ ์, ์์ ๋ฑ ์ง๊ธฐ ๋ฑ์ ๋๊ณ ๊ฐ์ ๊ทธ๊ฒ์ ๊ทธ๋๋ก ์ฌ์ฉํ๋ค. ์ง๊ธ ํฌ๋์ปค์ ์์์๋ํฐ๋ ์ก์ง๋ฅผ ๋ง๋ค๋ฉด์ ์ธ์ฌ๋ ์ฐป์ง์์ ์๋ฅด๋ฐ์ดํธ๋ฅผ ํ๋ค. ์ธ์๋น๋ฅผ ์๋ผ๊ธฐ ์ํด ์ฐฝ๊ฐํธ๋ 2,000๋ถ๋ก ์์ํ๋ค. ํ๋ ์ํฉ์์ ์ก์ง๋ฅผ ๋ง๋ค์์ง๋ง ์ด์ ๋งํผ์ ๋๋จํ ํ์ด์๋ค. ์์ต์ ์ฌ๋ ค ์์ ์๋ํฐ์๊ฒ ์ฒ์์ผ๋ก 40๋ง์ ๊ฐ๋์ ๊ธ์ฌ๋ฅผ ์ฃผ์๋ค. ์ฐฝ๊ฐ์ ํ์ง 2๋ ์งธ ๋๋ ํด์๋ค. ๊ทธ ํ ์๊ธ์ ์ง์์ ์ผ๋ก ์ฌ๋ ค ์ค ์ ์์๊ณ ๊ทธ๋ ๋ ์๋ฅด๋ฐ์ดํธ๋ฅผ ๊ทธ๋ง ๋๊ณ ์ก์ง์ ์ ๋ ์ ํ ์ ์์๋ค. ์์ ์๋ํฐ์๊ฒ ๊ณ ์ ๊ธ์ฌ๊ฐ ๋๊ฐ์ง๋ง ๋์์ธ ํ์ ๊ทธ๋ ๊น์ง๋ ๊ธ์ฌ๋ฅผ ์ฃผ์ง ๋ชปํ๋ ์ํฉ์ด์๋ค. ์ธ๋ถ์์ ์ผ์ด ๋ค์ด์ค๋ฉด ๋ฐ์ฃผํด ์ฃผ๋ ํ์์ผ๋ก ํจ๊ป ์ผํ๋ค. Q. ์ง๊ธ ์ํฉ์ ์ด๋ค๊ฐ? ์ง๊ธ์ ๋งค๋ฌ 23,000~25,000๋ถ๋ฅผ ๋ฐํํ๋ค. ์ง์๋ 16๋ช ์ผ๋ก ๋์๊ณ (๋ฌผ๋ก ๋ชจ๋ ์ง์๋ค์๊ฒ ์๊ธ์ด ์ง๊ธ๋๋ค) ์ฌ๋ฌด์ค ์ด์ ๋ 2๋ฒ์ด๋ ํ๋ค. ์ด ๋ชจ๋ ์ผ์ด 4๋ ๋ง์ ์ผ์ด๋ฌ๋ค. Q. ์ด์ ์๊ธฐ๋ ์์๋? ์ฌ์ค ๋๋ ์ด์๋ฉด์๋ ์ ๊ฒฝ์ ์ฐ์ง ์๋๋ค. ๋๋ ํธ์ง์ฅ์ผ๋ก์ ์ฑ ์ ๋ง๋๋ ๋ฐ์๋ง ์ง์คํ๋ค. ํ์ง๋ง ์ด์์ ๋ด๋นํ๊ณ ์๋ ๋ค๋ฅธ ๋ ๋ํ์๊ฒ ์๊ธฐ๋ ๋ง์์ ๊ฒ์ด๋ค. ์ฐฝ๊ฐ ๋น์ ๊ฐ์ฅ ๋์ด๊ฐ ๋ง์ ์ดํฌ์์ด ์๊ธ์ ๊ด๋ฆฌํ๋ ์ญํ ์ ๋งก์๋ค. ๋งค๋ฌ ์ ์์๊ธฐ ๋๋ฌธ์ ํ์ ์ด๊ฒ์ ๋ฉ๊พธ๋๋ผ ์คํธ๋ ์ค๋ ๋ง์ด ๋ฐ๊ณ ๋ฌด์ฒ ํ๋ค์์ ๊ฒ์ด๋ค. ํ๋ฐฐ์ฌ์ ๊ฒฐ์ ํด์ผ ํ๋ 70๋ง์์ด ์์ด์ ์งํ ์ฌ๋ฌด์ค์์ ์จ์ด ์์๋ ์ ๋ ์๊ณ , ์ธ์๋น 200๋ง์ ๋๋ฌธ์ ์ซ๊ธด ๊ฒฝํ๋ ์๋ค. ๋ฌผ๋ก ์ด๋ฐ ๋ถ๋ถ์ ์์ญ๋ฆฌ ์ฌ๋ฌด์ค์์ ํ๋๋ก ์ด์ ํ๋ฉฐ ๊นจ๋ํ๊ฒ ์ ๋ฆฌํ๋ค. ๋์ด์ผ ๋ณด๋ฉด ๊ทธ ๋น์ ์ฐ๋ฆฌ๋ ์ฌํ๊ฒฝํ์ด ์์๊ธฐ ๋๋ฌธ์ ๊ทธ ์ํฉ์ด ์ผ๋ง๋ ์ด์ ํ์ง์ ๋ํ ์ธ์ง๋ฅผ ํ์ง ๋ชปํ๋ค. ์ก์ง ์ฌ์ ํ๋ฉด ์๋ ์ด๋ฐ๊ฐ ๋ณด๋ค ์๊ฐํ๊ณ ๋ฌด์ํ๊ฒ ์ผํ๋ค. ๊ทธ๊ฑด ์ง๊ธ ์ฐ๋ฆฌ ์๋ํฐ๋ค๋ ๋ง์ฐฌ๊ฐ์ง๋ค. ๋ง์ฝ ์ฐ๋ฆฌ๊ฐ ์ฌํ ๊ฒฝํ์ด ์กฐ๊ธ์ด๋ผ๋ ์์๋ค๋ฉด ๋น์์ ์ํฉ์ ์ง๋ ค ์ค๊ฐ์ ํฌ๊ธฐ๋ฅผ ํ์ ์๋ ์์์ ๊ฒ์ด๋ค. Q. ์ง๋ 9์์ ํฌ๋์ปค ๋ฐ๊ฐ 4์ฃผ๋ ํํฐ๋ฅผ ์ฑ๊ณต๋ฆฌ์ ๋ง์ณค๋ค. ๋๋ ๊ฐ์ธ์ ์ผ๋ก ๊ธฐ๋ ํ์ฌ๋ ํํฐ๋ ์ด์ง ์์์ผ๋ฉด ํ๋ค. ํ์ง๋ง ๋ ๋ํ์ ์๊ฐ์ ๋ฌ๋๋ค. ์ฐ๋ฆฌ์ ์ฑ์ฅํ ๋ชจ์ต์ ๋ ์์ ๊ด๊ณ ์ฃผ์๊ฒ ๋ณด์ฌ ์ฃผ๊ณ , ํ์ธ ๋ฐ๊ณ ์ถ์ด ํ๋ค. ๊ทธ๋์ ์๊ฐํด ์์ด๋์ด๊ฐ ์ ์ ํ์์ ํํฐ์๋ค. ์ฐ๋ฆฌ ์ก์ง๋ ๋ง์ด๋์ ์ธ ์ฑํฅ์ด ๊ฐํ ์ก์ง๋ค. โ๋ง์ด๋์ ์ธ ์์ฌ๋ก ๋ฉ์ด์ ์ ์ง์ถํด ๋ณด์โ ๋ผ๋ ์๊ฐ์ ๋ ํ๊ณ ์์๊ธฐ ๋๋ฌธ์ ์กฐ๊ธ ๋ ์ ๋ํฌํ โ์์ผํํฐโ๋ฅผ ์ค๋นํ๊ณ ์ถ์๋ค. โ๋น๋์ค ๋งค์ฅโ์ด๋ผ๋ ์ปจ์ ํธ๋ ์ด๋ฌํ ์์ด๋์ด ์์์ ํ์ํ๋ค. ์ด๋ฒ โ4์ฃผ๋ ํํฐโ๋ฅผ ํตํด ํฌ๋์ปค ๋ด๋ถ์ ์ผ๋ก๋ ์ง๊ธ๊น์ง์ ์๋ฃ๋ฅผ ์ ๋ฆฌํ ์ ์์๊ณ , ์ธ๋ถ์ ์ผ๋ก๋ โํฌ๋์ปค๋ ์ญ์ ํน๋ณํดโ๋ผ๋ ์ธ์์ ์ฌ์ด ์ฃผ๋๋ฐ ์ฑ๊ณต์ ๊ฑฐ๋ ๊ฒ ๊ฐ๋ค. . Q. ํฌ๋์ปค ์ด๋ฐ๊ณผ ์ง๊ธ์ ๊ฐ์ฅ ํฐ ๋ณํ๋ ๋ฌด์์ธ๊ฐ? ๊ธ์ ์ ์ผ๋ก ์ฌ์ ๊ฐ ์๊ธด ๊ฒ์ด ๊ฐ์ฅ ํฐ ๋ณํ๋ค. ์์ ์๋ ๊ฒฝ์ ์ ์ธ ์ด์ ๋๋ฌธ์ ํ๊ณ ์ถ์
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5:40:47
ํ๋ก์ ํธ๊ฐ ์์ด๋ ๋ง๋๋ก ํ ์ ์์๋ค. ์๋ณธ์ ๋ํ ์ ์ฝ์ด ๋ชจ๋ ์ฌ๋์ ์ง์น๊ฒ ํ๋ค. ์ด์ ๋์ ๋ํด ์ฌ์ ๊ฐ ์๊ฒจ ํธ์ง๋ถ ๊ธฐ์๋ค์ด ์งํ ์ ์๋ ์์ญ์ด ๋์ด์ก๋ค.
์๊ฐํ๊ธฐ ๋๋ฌธ์ ์ ๊ฐ ํ์ด์ง๋ ์ปจํ ์ธ ์์ผ๋ก ํ๋ ค๊ณ ํ๋ค. ๊ทธ๋ฐ ๊ธฐํ๋ ฅ์ ์ข์ํด์ฃผ๋ ๊ด๊ณ ์ฃผ๋ค์ด ์์ด ๋คํ์ด๋ค.
Q. ๋น์ ์ ์ก์ง์ฌ ๊ฒฝํ์ด ์์ด ๊ณง๋ฐ๋ก ํธ์ง์ฅ์ด ๋์๋ค. ์ก์ง๋ฅผ ๋ง๋ค๋ฉด์ ์ด๋ ค์ด ๋ถ๋ถ์ด ๋ง์์ ๊ฒ ๊ฐ๋ค. ๋ง์๋ค. ์ง๊ธ๋ ๋ง๋ค. ํ์ง๋ง ๊ฐ์ฅ ํ๋ค์๋ ๊ฑด ์๊ฒฉ์ง์ฌ์ด์๋ค. ์๋ํฐ๋ค๊ณผ ํ์๋ฅผ ํ ๋ ์๊ฒฌ ์ถฉ๋์ด ์์ผ๋ฉด ๊ทธ๋ค์ด ๋ด ์๊ฒฌ์ ์ ๋ฃ์ง ์๊ณ ๋ฌด์ํ๋ค๋ ์๊ฐ์ ํ๋ค. โ๋ด๊ฐ ๋ค๋ฅธ ์ก์ง์ฌ์์ ๊ฒฝ๋ ฅ์ด ์์์ผ๋ฉด ๋๋ฅผ ๋ ์กด์คํด์คฌ์ ํ ๋ฐโ ๋ผ๋ ์์ฌ์์ด ์์๋ค. ํ๋ฃจ๋ ๊ทธ๋ฌํ ๋ถ๋ถ์ด ์์ด๊ณ ์์ฌ โ์๋ํฐ๋ค์๊ฒ ํธ์ง์ฅ์ผ๋ก์ ์กด์คํด์คฌ์ผ๋ฉด ์ข๊ฒ ๋คโ๋ผ๊ณ ์์งํ๊ฒ ์ด์ผ๊ธฐ๋ฅผ ํ๋ค. ์๋ํฐ๋ค์ โํธ์ง์ฅ์ ์กด์คํ์ง๋ง ๋ณธ์ธ์ด ํ๊ณ ์ถ์ ๊ฑด ํ๊ณ ์ถ๋คโ๊ณ ๋๋ตํ๋๋ผ. ์ฐ๋ฆฌ ์๋ํฐ๋ค์ด ์ด๋ฆฌ์ง๋ง ๊ณ ์ง์ด ์ธ๋ค. ๋ ๋ค๋ฅธ ๋ฌธ์ ๋ ํฌ๋์ปค ์ ์ ์์คํ ์ ์ ๋๋ก ๊ตฌ์ถํ๊ณ ์๋์ง์ ๋ํ ํ์ ์ด ์ฝํด์ง ๋๊ฐ ํ๋ค๋ค. ๋๋ ์ค์ ์ก์ง์ฌ์์ ์ผ์ ํ ๊ฒฝํ์ด ์๊ธฐ ๋๋ฌธ์ ์ฐ๋ฆฌ์ ์์คํ ์ด ์ ๋๋ก ๊ฐ๊ณ ์๋์ง ํ์ ํ ์ ์์๋ค. ๋น์ ๋์๊ฒ ๋ง์ ๋์์ ์ค ์ฌ๋์ <NYLON Korea> ์ ํธ์ง์ฅ์ด์๋ ๋ฐฐ์ ํ์ด๋ค. ์๊ฐ ๋ ๋๋ง๋ค ๋๋ ๊ทธ๋ ๋ฅผ ์ฐพ์๊ฐ ์ผ๋ฐ์ ์ธ ์ก์ง์ฌ๋ค์ ์ด์ ์์คํ ์ ๋ํด ๋ฌผ์ด๋ดค๋ค. ํ์ง๋ง ๊ทธ๋ ๋ โํฌ๋์ปค๊ฐ ๋ง๋ค๋ ๋ฐฉ์์ด ์ ํด์ ธ ์๊ณ ๋ฌธ์ ์์ด ์ด์๋๋ค๋ฉด ๊ทธ๋๋ก ์ ์งํ๋ผโ๋ ๋ง๋ง ๋ํ์ด ํ๋ค. ๊ทธ ๋๋ ๋ชฐ๋์ง๋ง ์ง๊ธ์ ๊ทธ๋ ์ ๋ง์ด ์ดํด๊ฐ ๋๋ค. ํ์ง๋ง ๊ทธ๋๋ ์ง๊ธ ์ฐ๋ฆฌ ํ์ฌ์์ ์ผํ๋ ์น๊ตฌ๋ค์ด ๋ค๋ฅธ ํ์ฌ์ ๊ฐ์ ๋ ์ผ๋ฐ์ ์ธ ์์คํ ์ ๋ชฐ๋ผ์ ๋ฌด์ ๋นํ ๊น ๋ด ๋ ๊ฑฑ์ ์ ๋๋ค.
Q. ์ผ๋ณธ ์ง์ถ์ ์ํด ์ถ์ฅ์ ๊ฐ๋ค๊ณ ๋ค์๋ค. ์ด๊ฑด ๋ฌด์จ ์๊ธฐ์ธ๊ฐ? ์ผ๋ณธ ๋๊ฒฝ์ HP France๋ผ๋ ํ์ฌ๊ฐ ์๋ค. ์ด ํ์ฌ๋ ๋งค๋ ํ๋ผ์ฃผ์ฟ Laforet ๋ฐฑํ์ ์ ํธ์ง๋งค์ฅ โ Wallโ์์ ํ๊ตญ ๋ธ๋๋๋ฅผ ์๊ฐํ๋ โSeoul Planetโ์ ์งํํ๋ค. ์๋ ํ์ฌ ๋ ๋๋ ์ด๋ค์ ์์ฒญ์ ๋ฐ๊ณ ์ ๋ํฌํ ํ๊ตญ ๋ธ๋๋ ๋ช ๊ฐ๋ฅผ ์๊ฐํด ์ฃผ์๋๋ฐ ๋งค์ฐ ๋ง์ ๋ค์ด ํ๋ค. ์ด์ฉ๋ค ๋ณด๋ ํฌ๋์ปค๊ฐ โSeoul Planetโ ์ ์์ผ๋ก ์ด์ฒญ ๋์๊ณ , ์์ ๋ด๋ 2์๊น์ง ํ์์ ์ ํธ์ง ๋งค์ฅ์ ์ ์ ํ ์ ์๊ฒ ๋์๋ค. ๊ธฐํ์ด ์ ํด์ ธ ์๋ ์ ์ ๊ณ์ฝ์ด์ง๋ง ํฌ๋์ปค๋ ์ด ํธ์ง๋งค์ฅ์ ์ ์ ํ ์ต์ด์ ์ก์ง๋ค. ์ด๋ฒ ์ถ์ฅ์ ์ด ๊ฑด์ ๊ณ๊ธฐ๋ก ๋์ฟ์ ํฌ๋์ปค ํ๋งค ๋ฃจํธ๋ฅผ ๊ฐ์ฒํ๋ ๊ฒ์ด ์ฃผ ๋ชฉ์ ์ด๋ค. ๋์ ๋ชฉํ ์ค ํ๋๊ฐ ํด์ธ์์ ํฌ๋์ปค๋ฅผ ํ๋งค ํ๋ ๊ฒ์ด๋ค. ์์์ฌ์ ์ด๋ผ๊ณ ํ ์ ์๋ค. ์ฐ๋ฆฌ๋ ์์์ด ๋ง์ ํด์ธ ๋งค๊ฑฐ์ง์ ์์ ํด์ ๋ณด์ง๋ง ์์ถํ๋ ์ฑ ์ ์๋ ์๋์ ์ผ๋ก ์ ๋ค. ํฌ๋์ปค๋ ํ๊ธ๋ก ๋งค๊ฑฐ์ง์ด๋ผ๋ ์ฝ์ ์ด ์์ง๋ง ๋น์ฃผ์ผ์ ์ค์์ ์ฌ๊ธฐ๋ ์ก์ง์ด๊ณ ๊ทธ๋ ๊ธฐ ๋๋ฌธ์ ์ถฉ๋ถํ ์ดํ์ด ๊ฐ๋ฅํ๋ค๊ณ ์๊ฐํ๋ค. Q. ์์ผ๋ก ํฌ๋์ปค๊ฐ ์ด๋ค ์์ผ๋ก ๋ฐ์ ํ์ผ๋ฉด ์ข๊ณ๋? ๋์๊ฒ๋ โ์ฐ๋ฆฌ ์๊ตฌโ๋ผ ๋ถ๋ฅด๋ ์ง์๋ค์ด ๋จผ์ ๋ค. ์ฐ๋ฆฌ ์๊ตฌ๋ค์ด ์ก์ง์ ๋ณํ๋ ๋ณธ์ธ์ ๋ถํฌ๋ช ํ ๋ฏธ๋์ ๋ํด ์๊ฐ์ด ๋ค์ง ์๋๋ก ๊พธ์คํ ํฌ๋์ปค์ ์๊น์ ์ ์งํด ๋๊ฐ ๊ฒ์ด๋ค. ์ฐ๋ฆฌ ์๊ตฌ๋ค์ด ์์ ์ ์ก์ง๋ฅผ ๋ง๋ค๊ณ ์๋ค๋ ์๊ฐ์ด ๋ค์์ผ๋ฉด ์ข๊ฒ ๋ค.
Q. ๋น์ ์ ์ปจ์ ์ ๋ํ ํํ์ ํ์ง ์๋ ํธ์ง์ฅ์ผ๋ก ์๋ฌธ์ด ๋ ์๋ค. ๊ทธ๋ฌ์๋ค. ํ์ง๋ง ์ง๊ธ์ ๊ผญ ๊ทธ๋ ์ง ๋ง์ ์๋ค. ์์ ์๋ ๋ด๊ฐ ์ํ๋ ๊ฒ๋ง ์๊ฐํ๋ค. ๋ด๊ฐ ์ํ๋ ๊ฒ๋ง ๊ฐ์กฐํ์ง ๋ค๋ฅธ ์ฌ๋์ ๊ธฐ๋ถ์ ์๊ฐํ์ง๋ ๋ชปํ๊ณ , ์๊ฐํด ๋ณด๋ ค๊ณ ํ์ง๋ ์์๋ค. ์ฌ์ง์ด ๋ ๋ช ์ ๋ํ๊ฐ ๋์ด ๋๋ ํ๋ก์ ํธ๋ฅผ ๊ฐ์ง๊ณ ์ค๋๋ผ๋ ํธ์ง ๋ฐฉํฅ์์ ๋ฒ์ด๋๋ฉด ๊ณผ๊ฐํ๊ฒ ๊ฑฐ๋ถํ๋ค. ์ง๊ธ์ ๋จ์ ์๊ฐ์ ๊ฐ์ด ํ๋ ค๊ณ ๋ ธ๋ ฅํ๋ค. ๋ด๊ฐ ์ํ๋ ๊ฒ์ ๊ฐ์กฐํ๊ธฐ ์ํด ๋ค๋ฅธ ์ฌ๋ ๊ธฐ๋ถ์ ๋ค์น๊ฒ ํ๋ ๊ฒ์ ์ซ๋ค. ์ด์ ๋ ๋ด๊ฐ ์๋๋ผ ์ฐ๋ฆฌ๋ฅผ ์๊ฐํ๋ ค๊ณ ํ๋ค. ์ด๋ค ๋ฉดํด์๋ ๋ ๊ฐํด์ง ๊ฒ ๊ฐ๋ค. Q. ์ฐฝ๊ฐ ๋น์์๋ ์คํธ๋ฆฌํธ ํจ์ ์ฌ์ง์ด ๋๋ถ๋ถ์ด์๋ค. ํ์ง๋ง ์ง๊ธ์ ํผ์ฒ ๊ธฐ์ฌ๊ฐ ๋ง์ด ๋ค์ด๊ฐ๊ณ ์๋ค. ํน๋ณํ ์ด์ ๊ฐ ์๋๊ฐ? ์์งํ ์ฐฝ๊ฐ ๋น์์๋ ์ธ๋ ฅ ๋ถ์กฑ, ๊ฒฝํ ๋ถ์กฑ์ผ๋ก ํผ์ฒ ๊ธฐ์ฌ๋ฅผ ๋ง๋ค ์ฌ๋ ฅ์ด ์๋๋ค. ์ง๊ธ์ ์ง์์ ์ผ๋ก ํผ์ฒ ๊ธฐ์ฌ๋ฅผ ๋๋ฆฌ๊ณ ์๋ค. ์ฌ์ค ๊ณผ๊ฑฐ์๋ ๋๊ตฐ๊ฐ ์ด ์ง๋ฌธ์ ํ๋ฉด ์ด๋ฐ์๋ ์ก์ง์ ์ฑ๊ฒฉ์ ์ํด ํผ์ฒ๋ณด๋ค ์คํธ๋ฆฌํธ ํจ์ ์ ๋ ์ฃผ๋ ฅํ๋ค๊ณ ๋งํ๋ค. ๊ดํ ์์ก์ ๋ณด์ด๊ธฐ๋ ๊ฒ ์ซ์ด์. Q. ์ฐฝ๊ฐ ๋น์ ๋กค๋ชจ๋ธ์ด ๋ ์ก์ง๊ฐ ์๋๊ฐ? ๋กค ๋ชจ๋ธ์ ์์๋ค. ํ์ง๋ง ์ผ๋ณธ ์ก์ง <TUNE>์์ ์๊ฐ์ ์ป๊ณค ํ๋ค. ๋ง์๋งํผ์ <TUNE>๋ณด๋ค ๋ ๋ฉ์ง๊ฒ ๋ง๋ค๊ณ ์ถ์์ง๋ง ๋ถ๊ฐ๋ฅํ๋ค. ํธ์ง์ฃผ์ ๊ฒฝํ๋ ๋ถ์กฑํ์ง๋ง ์ง์ง ๋ถ์กฑํ ๊ฑด ๋งค๋ฌ ๋งค ํ์ด์ง๋ฅผ ์ฅ์ํ ๋งํผ ๋ฉ์ง ํจ์ ํผํ์ด ์ผ๋ณธ์ฒ๋ผ ๋ง์ง ์์๋ค. ๊ทธ๋๋ ๋๋ฆ๋๋ก ๋ฉ์ง ์คํธ๋ฆฌํธ ์ฌ์ง์ ๋ชจ์ ์ก์ง๋ก ๋์ง๋ง ๊ด๊ณ ์ฃผ๋ค์ ๋ฐ์์ ๋๋ดํ๋ค. ๋น์๋ง ํด๋ ๊ด๊ณ ์ฃผ๋ค์ โ์ฐ๋ฆฌ์ ์ปจ์ โ ์ ์ก์ง์ ๋ถ๋ก ๊ฐ๋ ์ผ๋ก๋ง ์๊ฐํ๋ค. Q. ํฌ๋์ปค ๋ง์ ์ปจ์ ์ ๋ฌด์์ธ๊ฐ? ์ผ๋ฐ์ธ์ ๋ฑ์ฅ์ด๋ค. ์ฐ๋ฆฌ ์ก์ง์๋ ์ฐ์์ธ์ ์ดฌ์ํ์ง ์๋๋ค. ์ฐ์์ธ์ด ๋์ค๋ ๊ฒฝ์ฐ๋ ๋ด๊ฐ ๊ทธ๋ฅผ ๋ชจ๋ฅด๊ฑฐ๋ ๊ฐ์ธ์ ์ผ๋ก ์ข์ํ๋ ๊ฒฝ์ฐ๋ค. ๋๋ ๊ทธ๋ค์ ๋ค๋ฃจ๊ณ ์ถ์ ์๊ฐ๋ ์๊ณ ๊ถ๊ธํ์ง๋ ์๋ค. ์ ๋ฌ๋ธ๋ฆฌํฐ๋ ์ด๋ฏธ ๋ค๋ฅธ ์ก์ง์์ ๋๋ฌด ์ ๋ค๋ฃจ๊ณ ์๋ค.. Q. โ์ผ๋ฐ์ธ์ ๋ฑ์ฅโ์์ ๋ณด์ฌ์ฃผ๊ณ ์ถ์ ๊ฒ์ ๋ฌด์์ธ๊ฐ? ์ผ๋ฐ์ธ ํจ์ , ํ์ค์ ์ธ ํจ์ ์์ โ๋ฉโ์ ๋ณด์ฌ์ฃผ๊ณ ์ถ๋ค. ์ฐ๋ฆฌ๋ โํจ์ ํ๋ณดโ๋ฅผ ๋ง๋ค์ง ์๋๋ค. ํจ์ ํ๋ณด๋ ์ ๋ฌธ๊ฐ๋ค์ ์์ ๊ฑฐ์น โ๋นํ์ค์ โ์ธ ๋น์ฃผ์ผ์ด๋ค. ๋ง์น ์ฐ์์ธ์๊ฒ ์ญ์ ์คํ์ผ๋ฆฌ์คํธ๊ฐ ์ท์ ์ ํ์ฃผ๋ ๊ฒฉ์ด๋ค. ํจ์ ์ ์ค์ค๋ก ๊ตฌ์ถํด์ผ ํ๋ค. ๋๋ ์ผ๋ฐ์ธ๋ค์ ํจ์ ์ด์ผ ๋ง๋ก ๊ฐ์ฅ ์ง์ํ ํจ์ ์ด๋ผ๊ณ ์๊ฐํ๋ค. ์ฐ๋ฆฌ๊ฐ ํฌ๋์ปค๋ฅผ ์ฐฝ๊ฐํ ๋น์ ๊ตญ๋ด์๋ ์ผ๋ฐ์ธ ํจ์ ์ ๋ํด ์กฐ๋ช ํ๋ ์ก์ง๊ฐ ์์๋ค. ํ์ค์ ์ธ ํจ์ , ์ฐ๋ฆฌ๊ฐ ํ ์ ์๋ ํจ์ , ์ฐ๋ฆฌ ์ฃผ๋ณ์ ์ค์กดํ๋ ํจ์ ์ ์๊ฐํ๊ณ ์ถ์๋ค. Q. ํธ์ง์ฅ์ผ๋ก ์๋ํฐ๋ค์๊ฒ ๊ฐ์ฅ ์ค์ํ๊ฒ ์ธ์ง์ํค๋ ๊ฒ์ ๋ฌด์์ธ๊ฐ? ์ธ ๊ฐ์ง๊ฐ ์๋ค. ์ฒซ์งธ, ๊ผผ๊ผผํ๋ผ. ๋์งธ, ์ธํฐ๋ทฐ์ด์๊ฒ ์ ์คํ๋ผ. ์ ์งธ, ์ท์ ๋ฉ์ง๊ฒ ์ ๊ณ ๋ค๋ ๋ผ. ์ฐ๋ฆฌ๋ ์ธํฐ๋ทฐ๋ก ์ด๋ฃจ์ด์ง๋ ์ก์ง์ด๊ธฐ ๋๋ฌธ์ ์ธํฐ๋ทฐ์ด๋ ์๋ช ์ด๋ค. ๊ทธ๋ฆฌ๊ณ ์ธ๋ถ์์ ํ๋์ด ๋ง์ ์ฐ๋ฆฌ ์๋ํฐ๋ค์ ํฌ๋์ปค๋ฅผ ๋๋ณํ๋ ์ฌ๋์ด๋ฏ๋ก ๋ฉ์ง๊ฒ ์ฑ๊ฒจ ์ ๊ณ ๋ค๋ ์ผ ํ๋ค๊ณ ์๊ฐํ๋ค. ์๋ก์ด ์ง์์ ๋ฝ์ ๋ ์ด ์ธ ๊ฐ์ง๋ฅผ ๊ผญ ๋ณด์ง๋ง ๋ชจ๋ ๊ฐ์ถ ์ฌ๋์ ์ฐพ๊ธฐ ์ด๋ ต๋ค. Q. ํฌ๋์ปค์ ์ปจํ ์ธ ๋ ์ด๋ป๊ฒ ๊ธฐํ ๋๋๊ฐ? ๋ฌด์์ ์ค์์ ์ฌ๊ธฐ๋? ์ผ๋ฐ์ธ์ ํจ์ ์ ์์ฌ๋ก ์์ ๋กญ๊ฒ ๊ธฐํ ๋์ด์ง๋ค. ๋ชจ๋ ์ปจํ ์ธ ์ ์์ด ๋ํ ์ผ์ ์ฐ์ ์ผ๋ก ๊ผฝ๋๋ค. ์ฐ๋ฆฌ๋ ์๋ค๋ฅด๊ฑฐ๋ ์์ธ์ธ ์ฃผ์ ๋ฅผ ๊ผผ๊ผผํ๊ฒ ๋ค๋ฃฌ๋ค. ํฌ๋์ปค์ ๋ ์๋ค์ ์ด๋ฐ ํฌ๋์ปค์ ๊ผผ๊ผผํจ์ ์ข์ํ๋ค. ์๋ฅผ ๋ค์ด ์ ๋ฐ์ ๋ํด ๊ธฐํํ๋๋ผ๋ ์ ๋ฐ์ ์ธํฅ๋ณด๋ค ๋ฐ์ฐฝ์ ํฌ์ปค์ค๋ฅผ ์ก๋๋ค. ์ ๋ฐ๋ง๋ค ๋ฐ์ฐฝ์ด ์ด๋ป๊ฒ ๋ค๋ฅธ์ง ๊ด๋ฆฌ๋ฅผ ์ด๋ป๊ฒ ํ๋์ง์ ๋ํด ์ฐ๋ ๊ฒ์ด๋ค. ํฌ๋์ปค์ ์ฐ์ฌ๋๋ โ ์ ์ฌ ๋์๋ฝ ์๋ฆฌ์ฆโ๋ฅผ ๋ณด์. ๊ต์ฅํ ๊ผผ๊ผผํ ์๊ฐ์ผ๋ก ์ทจ์ฌํ๋ค. ์ด ๋์๋ฝ์ ๋๊ฐ ๋ง๋ค์๋์ง, ์ด๋์ ์ฌ๋ฃ๋ฅผ ๊ตฌ์ ํ๋์ง, ์ด๋ป๊ฒ ํฌ์ฅ์ ํ๋์ง, ์ด๋ป๊ฒ ๋จน๋์ง ๋ฑ๋ฑ ์์์ฝ์ฝํ ๋ถ๋ถ๊น์ง ๋ค ๋ค๋ฃฌ๋ค. ์ํฉ์ด ์ด๋ฌ๋ ์ด๋จ ๋ โ๋๋ ์ด ์ฌ๋์ ๋ํด ์ด ์ ๋๊น์ง ์๊ณ ์ถ์ง ์์๋ฐ ๋๋ฌด ๋ํ ์ผํ๋คโ๋ผ๋ ๋ ์์ ํญ์ ๋ฆฌ๋ทฐ๊ฐ ์ฌ๋ผ์ค๊ธฐ๋ ํ๋ค. ์ผ๋ฐ์ธ์ ์ท์ฅ์ ํค์ง๋ โAttack Your Wardrobeโ๋ผ๋ ๊ผญ์ง๊ฐ ์๋ค. ๋ณดํต 8~9๊ฐ์ ์ฐฉ์ฅ์ด ๋ค์ด๊ฐ๋๋ฐ ๊ฐ์๊ธฐ ์ด๋ ์๊ฐ์ ์ด๋ ์ง์ ํ ์ดํ์ด ์๋๋ผ๋ ์๊ฐ์ด ๋ค๋๋ผ. ๊ทธ๋์ ๋ค์ ์ดฌ์์๋ ์ท์ฅ์ ์ท์ ๋ค ์ ์ด์ 80๊ฐ์ ์ฐฉ์ฅ์ ์ฐ์ด์ค๋ผ๊ณ ํ๋ค. ๋ด๋น ์๋ํฐ๊ฐ 12์๊ฐ ๊ฑธ๋ ค์ 50์ฅ์ ์ฐ์ด ์๋๋ฐ ์ฌ์ง์ ๋ณด๋ ๊ธฐ๋ํ๋ ๊ฒ๋ณด๋ค ์ฌ๋ฏธ๊ฐ ์์ด์ ๋ค์ 10์ฅ๋ง ๊ฐ๊ธฐ๋ก ํ๋ค. ๋์ค์ ์ ์ด์ผ๊ธฐ์ง๋ง ์ธํฐ๋ทฐ์ด๋ 15์ฐฉ ์ ์ ๋๋ถํฐ ์ง์ฆ์ ๋ด๊ธฐ ์์ํ๋ค๊ณ ํ๋๋ผ Q. ์ ์ ์ด ๊ฐ๋ ๊ผญ์ง๊ฐ ์๋๊ฐ? Attack Your Wardrobe. ๋ด๊ฐ ๊ธฐํํ๊ธฐ๋ ํ๊ณ , ์ง๊ธ๊น์ง ๋ง์ ์ฌ๋์ ๋ฐ์ผ๋ฉด์ ๊พธ์คํ ์ด์ด์จ ๊ผญ์ง์ฌ์ ์ ์ฐฉ์ด ๊ฐ๋ค. ์๋ง ์ผ๋ฐ์ธ์ ์ท์ฅ์ 4๋ ๋์ ํค์ง์ ๋งค์ฒด๋ โํฌ๋์ปคโ๋ฐ์ ์์ ๊ฒ์ด๋ค. ์๋ถ์ฌ๋ ์๊ณ ์ด๋ฅผ ํตํด ๋ง๋ค์ด์ง ์์นด์ด๋ธ๊ฐ ์๋์ค๋ฝ๋ค. ๋ธ๋๋ ๊ผญ์ง๋ ๋ค ๋ค๋ฅด์ง๋ง ํฌ๋์ปค ์คํ์ผ๋ก ์ปจํ ์ธ ํ ํ์ฌ ๋ง๋ ๊ผญ์ง๊ฐ ๊ทธ๋๋ง ์ ์ฐฉ์ด ๊ฐ๋ค. ํฌ๋์ปค์์ ๋ธ๋๋๋ฅผ ๋ค๋ฃจ๋ ์ฒ ์น์ด ์ธ ๊ฐ์ง ์๋ค. ์ฐ๋ฆฌ๋ ๋ณด๋์๋ฃ๋ฅผ ์ฌ์ฉํ์ง ์๊ณ , Advertorial ๋ ๋ง๋ค์ง ์์ผ๋ฉฐ ์ ํ์ ๋ํ ๊ฐ๊ฒฉ๋ช ์๋ฅผ ํ์ง ์๋๋ค. ์ฐ๋ฆฌ ์ฑ ๊ณผ ํ๋ณด๋ ์ด์ธ๋ฆฌ์ง ์๋๋ค๊ณ
058-063p
Junk House Q. ์ ํฌํ์ฐ์ค๊ฐ ์ฌ๋ฌผ์ ๋ฐ๋ผ๋ณด๋ ๋ฐฉ์์ ์กฐ๊ธ ๋จ๋ค๋ฅธ ๊ฒ ๊ฐ๋ค. ์ด๋ป๊ฒ ๊ทธ๋ฐ ์๊ฐ์ ๊ฐ์ง ์ ์์๋? 2001๋ ๋ถํฐ 2003๋ ๊น์ง ํธ์ฃผ ๋ฉ๋ฒ๋ฅธ์์ ๋์์ธ์ ๊ณต๋ถํ๋ค. ๊ทธ ๋์ ๋์ ๋ชฉํ๋ ์ฌ๋ฌผ์ ๋ฐ๋ผ๋ณด๋ ๊ด์ ์ ๋ฌ๋ฆฌ ๊ฐ๋ ๊ฒ์ด์๋ค. ์ด๋ฆด ๋๋ถํฐ ์ํํธ์๋ง ์ด์์ ๋ ๋ฑ๋ฑํ๋ค. ๊ทธ๋ฐ๋ฐ ํธ์ฃผ์ ๊ฐ๋ ์ด๋๋ ํ์ฐ์ค ๊ฑด๋ฌผ์ด ์๊ณ , ๋ณด๋ ๋ธ๋ญ๋ถํฐ ์ ๋ด๋๊น์ง ๋ค์ ์๋กญ๊ฒ ๋ณด์๋ค. ๊ด์ฐฐํ๊ณ , ์ฌ์ง์ ์ฐ๊ณ , ๋ผ์ด๋ธ๋ฌ๋ฆฌ๋ฅผ ๊ตฌ์ถํ๋ฉด์ ์ฌ๋ฌผ์ ๋ณด๋ ๊ด์ ์ ๋ง์ด ๋ฐ๊ฟจ๋ค. ๋ ๋๋ ์ด๋ฆด ๋๋ถํฐ ์ฌ์ด์ธ์ค ํฝ์ ์ ๋ง์ด ์ฝ์๋ค. ๋ค๋ฅธ ์์ด๋ค์ด ์์ธ์ ๊ธฐ๋ ์์ค์ฑ ์ ์ฝ์ ๋, ๋๋ ๊ณต์๊ณผํ์ ๊ด์ฌ์ ๊ฐ๊ณ ๋๋ง์ ์์์ ํผ์ณค๋ค. ์ค์ ๋ก ๋๋ ๋ก๋ด์ด๋ ๋ฑ๋ฑํ ์ฌ๋ฌผ๋ค์ ์กด์ฌ๋ฅผ ์๊ฐํ๋ค. ๊ทธ ๋ฌด๊ธฐ์ฒด๋ค๋ ์กด์์ฑ์ด ์๊ณ , ์ฌ๋์ฒ๋ผ ๋๊ฐ์ด ๋์ด๊ฐ๋ค. ๋๋ ๋ฌด๊ธฐ์ฒด๋ฅผ ์ ๊ธฐ์ฒด๋ก ๋ง๋๋ ์์ ์ ๊ณ์ ํด์ค๊ณ ์๋ค. Q. ๊ทธ๋ผ ์ธ์ ๋ถํฐ, ์ด๋ค ๊ณ๊ธฐ๋ก ์คํธ๋ฆฟ ์ํธ ์์ ์ ์์ํ๊ฒ ๋์๋? ํธ์ฃผ์์ ๋์ ์จ ํ 1๋ ์ ๋ ๋์์ธ ํ์ฌ์ ๋ค๋ ๋ค. ๊ทธ๋ฌ๋ ๋์ ์๊ฐ์ ๋ด์ ์ํ์ ๊ทธ๋ฆฌ๊ณ ์ถ์ด์ ํ์ฌ๋ฅผ ๊ทธ๋ง๋์๋ค. ๊ทธ ์์ ์ด 2004๋ ์ ์ด ํ ๋จ๊ธด ๋์๋ค. ์ดํ ๋์ ๋ญ๊ฐ๋ฅผ ๋ง๋ค์ด๋ณด์๋ ์๊ฐ์ด ๋ค์๋ค. ์ข ์ด 100์ฅ์ ๋ด ์บ๋ฆญํฐ๋ฅผ 10๋ถ์ ํ๋ ์ฉ ๊ทธ๋ ค์ ์ดํ ๋์ 100 ์ฅ์ ๋ง๋ค์! ๋ง์นจ ๋์์ด ์ฌ์ง ํ์ฌ๋ฅผ ๋ค๋ ์ ๋ ๋ค์ํ ์ข ์ด๋ฅผ ์ง์ ๊ฐ์ ธ์๊ณ , ๋๋ 100์ฅ์ ์์ฑํ ์ ์์๋ค. ๊ทธ๋ฆฌ๊ณ ์์ฑ๋ 100์ฅ์ ์บ๋ฆญํฐ๋ฅผ ์ง ์์ ๋ถ์ฌ ์ ํ ์ ์๋ฅผ ์ด์๋ค. ๊ทธ ๋๋ถํฐ ์ ํฌ ์ํธ ์ปจ์ ์ ์์ํ๋ค. ๋ฐ์ค๋ ์ด๋ฏธ ์ฌ์ฉ๋ ๋นํฐ์งํ ์ข ์ด ์์ ๋์ ์ฐ์ต์ ํ๋ค. ๊ทธ๋ฆฌ๊ณ ๊ทธ๊ฒ๋ค์ ๊ธธ์ ์ค์นํ๊ณค ํ๋ค. Q. ์ข ์ด์ ๋์ํ๋ ๊ทธ๋ฆผ๋ค์ ์ ๋ฐ๊นฅ์ ๋ฒฝ์ ๊ทธ๋ฆฌ๊ฒ ๋๋๊ฐ? ๊ทธ๋ฅ ํ์ ์ข ์ด์ ๊ทธ๋ฆฌ๋ ๊ฒ๋ณด๋ค ๋ฒฝ์ ์ฎ๊ฒจ์ ๊ทธ๋ฆฌ๋ ๊ฒ์ด ์์ ์ 2์ฐจ ์์ฑ๋๊ฐ ์๊ธด๋ค. ๊ทธ๋ฆฌ๊ณ ์ด๋ฐ ์ 2์ ์บ๋ฒ์ค๊ฐ ๊ฑฐ๋ฆฌ์ ๋๋ ค ์๊ธฐ ๋๋ฌธ์ ๊ตณ์ด ๊ฐค๋ฌ๋ฆฌ๊ฐ ์๋์ด๋ ์ธ์ ๋ ์ง ๋ด ์์ ์ ํํํ ์ ์๋ค. ๋, ์ง๊ธ ๋น์ฅ ๊ทธ๋ฆผ์ ๊ทธ๋ฆฌ๊ณ ์ถ์ ๋ ๋ฐ๋ก ์คํํ ์ ์๋ค. Q. ๋ค์ํ ์ฅ์์์ ์คํธ๋ฆฟ ์ํธ ์์ ์ ํ๋ค. ์ฅ์๋ฅผ ๊ณ ๋ฅผ ๋ ํน๋ณํ ๊ณ ๋ คํ๋ ๊ฒ์ ๋ฌด์์ธ๊ฐ? ์ฒซ์งธ๋ก๋ ์์ ํ๊ธฐ์ ์ ํฉํ ์ํ์ ๋ฒฝ์ธ์ง ๊ณ ๋ คํ๋ค. ํ์ด๋ ๋จผ์ง๊ฐ ์์ฌ์๊ฑฐ๋ ๊ฑฐ์น ํ๋ฉด์ ๊ทธ๋ฆผ์ ๊ทธ๋ฆฌ๊ธฐ์ ์ ํฉํ์ง ์๋ค. ๋ ๋ฒ์งธ๋ ๋ฒฝ ์์ฒด๊ฐ ๊ฐ์ง๊ณ ์๋ ํ ์ค์ณ์ ์๋ฆ๋ค์์ด๋ค. ๋ฒฝ์ ํ ์ค์ณ๊ฐ ๋์ ๊ทธ๋ฆผ๊ณผ ์กฐํ๋ฅผ ์ด๋ฃจ๋์ง๊ฐ ์ค์ํ๋ค. ์๋ฆ๋ค์ด ํ ์ค์ณ๋ฅผ ๊ฐ์ง ๋ฒฝ์ ์ด๋ฏธ ๋ฐ์ด์ ์์ ์ด ์์ฑ๋ ์บ๋ฒ์ค๋ฅผ ๊ณ ๋ฅด๋ ๊ฒ๊ณผ ๊ฐ๋ค. ์ธ ๋ฒ์งธ๋ก๋ ์์ ์ฑ์ด๋ค. ํธ๋ฌ๋ธ ์์ด ์์ ํ ์ ์๋ ๊ณต๊ฐ์ธ์ง ์์๋ณด๋ ๊ฒ์ด ์ค์ํ๋ค. ์ฌ๋๋ค์ด ๋ง์ด ๋ค๋๋ ๊ณณ์ด ์์ ํ ์๋ ์๊ณ , ๊ฒฝ์ฐ์ ๋ฐ๋ผ์๋ ์คํ๋ ค ํ์ ํ ๊ณณ์ด ์์ ํ ์๋ ์๋ค. Q. ๊ทธ๋ฌ๋ ๋ก๊ณ ์ค๋๋ ๊ณจ๋ชฉ์ ๋ฒฝ์ ์์ ํ ๊ฒ๋ ๋ง๋ค. ๊ทธ ์ด์ ๋ ๋ฌด์์ธ๊ฐ? ๋์๊ฐ ์๊พธ ๊ฐ๋ฐ๋๋ฉด์ ์๋ ๊ฒ๋ค์ด ์ฌ๋ผ์ง๊ณ ์๋ค. ๋๋ ๊ทธ ์์ ๊ทธ๋ฆผ์ ๋จ๊น์ผ๋ก์จ ๋ด ์์ ๊ณผ ํจ๊ป ์๋๋ฅผ ๊ธฐ๋กํ๊ณ ์ถ์๋ค. ์ฌ๋ผ์ง๋ ๊ฑด๋ฌผ๊ณผ ํจ๊ป ๋์ ๊ทธ๋ฆผ๋ ํจ๊ป ์ฌ๋ผ์ง๋ค. ๊ทธ๋ ๊ธฐ ๋๋ฌธ์
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.indd 123
2011-11-01
5:40:49
์ํ์ ๋ ์ฌ์ง์ผ๋ก ๊ธฐ๋กํ๋๋ฐ, ๊ทธ ์ฌ์ง ์์๋ ๋ก์์ง๊ณ ์ฌ๋ผ์ ธ๊ฐ๋ ์ฐ๋ฆฌ์ ํ ์๋๋ ๊ฐ์ด ๋ด๊ธฐ๊ฒ ๋๋ค. ๋ด๊ฐ ์ ํฌ ์ํธ์ ๊ด์ฌ์ ๊ฐ์ง๋ ๊ฒ๋ ๊ทธ๋ฐ ๋ก์์ง๋ ๊ฒ๋ค์ ๋ํ ์ฐ๋ฏผ ๋๋ฌธ์ด๋ค. ์ด๊ฒ์ด ๋๋ค๋ฅธ ํด๋จธ๋์ฆ์ ๊ธฐ๋ก์ด๋ผ๊ณ ์๊ฐํ๋ค. ์ฌ๋์ด ๊ณ์ ๋์ด๊ฐ๋ฏ์ด ๋ชจ๋ ์ฌ๋ฌผ๋ ๋น๋ฐ๋์ด ์น๊ณ , ์ฌ๋ ์ ๋๊ฐ ๋ฌป์ผ๋ฉด์ ๋์ด๊ฐ๋ค. ์ด๋ฐ ๊ฒ๋ค์ ๋๋ ์๋ฌผํ์ ์๊ฐ์ผ๋ก ๊ทธ๋ ค๋ธ๋ค. Q. ์ํ์ด ์ฌ๋ผ์ง๋ ๊ฒ์ ๋ํด ์์ฝ์ง๋ ์์๊ฐ? ๋ด๊ฐ ๊ทธ๋ฆผ์ ๋ฐ์ ๊ฐ๋ค ๋๋ ์ด์ ๋ ๋ด ์์ด๋์ด๋ ์๊ฐ์ด ๊ทธ ๊ณณ์์ ์จ ๊ฒ๋ค์ด๊ธฐ ๋๋ฌธ์ด๋ค. ๋ด๊ฐ ๋ค์ ์ด ์์ด๋ค(์คํธ๋ฆฟ์ ๊ทธ๋ฆฐ ๋ชฌ์คํฐ๋ค)์ ๊ฑฐ๋ฆฌ๋ก ํ์์ํจ๋ค๊ณ ์๊ฐํ๋ค. ํผ์์ ์ํ๋ค์ ์์ ์ค์ ์์๋๋ ๊ฒ๋ณด๋ค ์คํ๋ ค ๋ฐ์์ ์งง๊ฒ๋๋ง ์ด๊ณ ๊ฑด๋ฌผ๊ณผ ํจ๊ป ์ฌ๋ผ์ง๋ ๊ฒ์ด ์ด ์์ด๋ค์๊ฒ ๋ ์๋ฏธ ์๋ ์ถ์ด๋ผ๊ณ ์๊ฐํ๋ค. Q. โ๋ด ๊ฒโ ์ด๋ผ๋ ์์ ์์ ๋จ์ ์ํจ๋ค๋ ๊ฒ์ด ์ฌ๋ฏธ์๋ค. ๊ฐ๋ ๋ถ๋ชจ๋๋ค๋ ์๊ธฐ ์์๋ค์ ๋ฐฉ์ํ๋ ๊ฒฝ์ฐ๊ฐ ์๋ค. ๊ทธ๋ฅ ํ์ด๋์ผ๋ฉด ์์์ ํฌ๊ฒ ์ง. ๋๋ ๊ทธ๋ฐ ๊ฐ๋ ์ด๋ค. ๊ทธ๋์ ๋๋ ์ํ์ ์ฌ์ธ์ ํ์ง ์๋ ๊ฒ์ด ๋๋ถ๋ถ์ด๋ค. ๊ทธ๋ฅ ๊ทธ ์์ด๋ค์ด ๋ ๋ฆฝ์ ์ธ ๊ฐ์ฒด๋ก์ ๊ทธ ๊ณณ์ ์ด์์ผ๋ฉด ์ข๊ฒ ๋ค. Q. ๋ฐฉ์ํ๋ ๋๋ค์์ ๊ทธ๋ฆผ์ ๋ํ ๋ฏผ์์ด ๋ค์ด์ค์ง๋ ์๋๊ฐ? ๋ด๊ฐ ์ฌ์ฑ์ด๊ธฐ ๋๋ฌธ์ ๊ทธ๋ฐ์ง ๋ชฐ๋ผ๋ ๋ค๋ฅธ ๊ทธ๋ํผํฐ ํ๋ ์ฌ๋๋ค ๋ณด๋ค ์ด์ด ์ข๋ค. ์ํ๋ ์ฌ๋๋ค์ด ๋ณ๋ก ์์๋ค. ๊ฐ๋ ์๊ธฐ๋ ํ์ง๋ง ๋๋ถ๋ถ ์๊ธฐ ์ง ๋ฒฝ์ ํฐ์นํ์ง ๋ง๋ผ๋ ์ด์ ์๋ค. ๊ทธ๋์ ์์ฆ์ ์์ ๋๋๊ณ ๊ณต๊ณต ๊ณต๊ฐ์ ํ๊ณ ์๋ค. ์ฌ๋๋ค์ด ์๊ธฐ ์ง์ด ์๋๋๊น ์์๋ฆฌ๋ฅผ ํ์ง ์๋๋ค. ์์๋ฆฌ๋ฅผ ํ ๊ฒฝ์ฐ์๋ โ๋ฌผ๋ก ๊ธ๋ฐฉ ๋ ์ ์์ผ๋๊น ์ค์นํ๊ณ ๋ผ๊ฒ ์ต๋๋ค.โ๋ผ๊ณ ๋ณ๋ช ์ ํ๊ณ ๋๋ง์น๋ค. ๊ทธ๋ฆฌ๊ณ ๋ ๋ค์ ์ ๊ฐ๋ค. ๊ทธ๋ฌ๋ ์ข ์ข ์๊ธฐ๋ค ์ง๋ ๊ทธ๋ ค๋ฌ๋ผ๊ณ ํ๋ ์ฌ๋๋ค๋ ๋ง๋ค. ๊ทธ๋ฌ๋ค๋ณด๋ฉด ๋์ฌ๋ฌด์ ์์ ์จ๋ ๋ง๋๊ณ , ๋๋ค ์ฃผ๋ฏผ๋ค๋ ๋ง๋๋ค. Q. ์ ํฌํ์ฐ์ค์ ์์ด์ฝ์ด ๋ โ๋ชฌ์คํฐโ๋ ์ด๋ป๊ฒ ํ์ํ๊ฒ ๋์๋? ํธ์ฃผ์์์ ์ํ ์ดํ๋ก ๋ชจ๋ ์ฌ๋ฌผ๋ค์ ์์ธํํด์ ๋ฐ๋ผ๋ณด๊ฒ ๋์๋ค. ๋ ๊ฐ๋งํ ์์ด๋ ๋ฌด์๋ฌผ๋ค์ ์กด์ฌ๊ฐ์ด ๋๊ปด์ง๋ค. ์ด๋ฐ ์ด๋ฏธ์ง๋ค์ ํ๋๋ก ์์ฐ๋ฅผ ์ ์๋ ์ฌํํ ํฌ๋งท์ ์๊ฐํ๋ค๊ฐ โ๋ชฌ์คํฐ ํ์ฐ์คโ๋ฅผ ๋ง๋ค๊ฒ ๋์๋ค. ๋ด ์ด๋ฆ์ โ์ ํฌํ์ฐ์คโ์ด๊ณ , ์ง ๋ชจ์์์๋ ์ด์์๋ ์บ๋ฆญํฐ๊ฐ ๋๊ปด์ก๊ธฐ ๋๋ฌธ์ ์ด์์๋ ๋ฏํ ์ง ๋ชจ์์ ์ค๋ธ์ ๋ฅผ ๋ง๋ค๊ณ ์ ํ๋ค. ๊ทธ ๋๋ถํฐ โ๋ชฌ์คํฐโ๋ผ๋ ๋ง๋ ์ฐ๊ฒ ๋์๋ค. ๋ ๋ฟ๋ง ์๋๋ผ ํ์ฌ ์คํธ๋ฆฟ ์ํธ๋ฅผ ํ๋ ์๊ฐ๋ค์ ๋ชฌ์คํฐ๋ฆฌ์ฆ์ ๋น ์ ธ์๋ค. ์์ ์ ๋ถ์ ์ ์ฌ๋์ผ๋ก ๊ทธ๋ฆฌ๋ ๊ฒ ์๋๋ผ, ๋ชฌ์คํฐ๋ ๋ค๋ฅธ ์๋ก์ด ์กด์ฌ๋ฅผ ๋ง๋ค์ด์ ๊ทธ ์์ ์๊ธฐ ์คํ ๋ฆฌ๋ฅผ ํํํ๋ค. ๋ด๊ฐ ์์ ํ๋ ์ ๊ธฐ์ฒด๋ก ์ ์ฝ๊ฒ ์๊ฐํ ํ ์ ์๋ ๊ฒ์ด ๋ชฌ์คํฐ์ด๋ค. Q. ์๋ ์ ๋นํด ๋ชฌ์คํฐ๋ค์ด ์ ์ฐจ ๋จ์ํ ํํ๋ก ๋ณํด๊ฐ๊ณ ์๋ค. ์ด๋ ๊ฒ ๋ณํํ ์ด์ ๋ ๋ฌด์์ธ๊ฐ? ๋์์ ๊ฑด์ถ๋ฌผ๋ค์ด ์ ์ ๋ชจ๋ํด์ง๊ณ , ๋์ ๊ตฌ์กฐ๊ฐ ๋จ์ํด์ง๋ฉด์ ๋์ ์์ฒด๊ฐ ๊ณ์ ์ด์์๋ฏ์ด ์์ง์ด๊ณ ์๋ค. ๊ณต์ฌ์ ์ํด์, ์์ฐํ๊ฒฝ์ ์ํด์ ๋ง์ ๋ฌด๊ธฐ์ฒด๋ค์ด ์ ๊ธฐ์ฒด์ฒ๋ผ ์์ง์ธ๋ค. ์ด์ฒ๋ผ ๋์ ๋ชฌ์คํฐ๋ค๋ ์๋ก ํ๊ฒฝ์ ๋ฐ๋ผ ์์ด๊ณ , ๋ชจ์ด๊ณ ์๋ค. ํฉ์ด์ ธ ์๋ ์์ ์กด์ฌ๋ค์ด ํ๋์ ๋ฉ์ด๋ฆฌ๋ก ๋ญ์น๋ฉด์ ํํ๊ฐ ์ถ์ํ ๋์ด๊ฐ๊ณ ์๋ค. Q. ๋ฌด์๋ฌผ์ ์ ๊ธฐ์ฒด๋ก ์๊ฐํ๋ ๊ฒ์ ๋ํด์ ์ฌ๋๋ค์ด ์ด์ํ๊ฒ ์ฌ๊ธฐ์ง๋ ์๋๊ฐ? ๊ทธ๋ ์ง ์๋ค. ๋ณดํต ๋ชจ๋๊ฐ ์ธ์ํ๊ณ ์๋ ๊ฒ์ด๋ค. ๋๋ถ๋ถ์ ์ฌ๋๋ค์ด ์๋์ฐจ๋ฅผ ๋ณด๊ณ โ๊ณ ์์ด๊ฐ์ด ์๊ฒผ๋คโ, โํ๋ ํ์ ๊ฐ๋คโ๋ผ๋ ๋ฑ ์ด์์๋ ์บ๋ฆญํฐ๋ฅผ ๋๋๋ค. ๋ชจ๋ ๋๋ผ๊ณ ์์ง๋ง ๊ทธ๊ฒ์ ํํํ๋ ์ฌ๋์ด ๋ง์ง ์์๋ ๊ฒ ๋ฟ์ด๋ค. ๋๋ ๋จ์ง ๊ทธ๊ฒ์ ๋ ์๋ฏผํ๊ฒ ๋๋ผ๊ณ ๋ ์๊ฐํ๋ ค๊ณ ์ ์ฐ๋ ๊ฒ ๋ฟ์ด๋ค. Q. ์ง์ ํ์ธํ ๋ ํ์ง๋ง, ํ ์ดํ ์์ ๋ ๊ฝค ๋ง์ด ํ๋ ๊ฒ ๊ฐ๋ค. ํ ์ดํ์ ์ฅ์ ์ ๋ฌด์์ธ๊ฐ? ์ปฌ๋ฌ, ํ ์ค์ณ, ํํ๊ธฐ๋ฒ ๋ฑ์ ๊ณ์ ์ฐ๊ตฌํ๋ฉด์ ๋ด๊ฐ ์์ ํ ์ ์๋ ์ฌ๋ฃ๋ค์ ๋ฐ๊ฟ๊ฐ๊ณ ์๋ค. ์ฌ์ฉํ๊ธฐ ์ฆ๊ฒ๊ณ , ๊ฑฐ๋ฆฌ์์ ํผํผํ๊ณ , ํ๊ฒฝ์ ์ ์ฝ์ ์ ๊ฒ ๋ฐ๊ณ , ์ค๋ ๋จ์ ์ ์๋ ๊ฒ๋ค์ ๊ณ ๋ คํ๊ณ ์๋ค. ๊ทธ๋ฌ๋ค๊ฐ ํ ์ดํ๋ผ๋ ์ฌ๋ฃ๋ฅผ ๋ง๋ฌ๋ค. ๋ด๊ฐ ์์ ํ๋ ์ด์ ๋ ๋ด๊ฐ ์ฆ๊ฒ๊ธฐ ์ํด์๋ค. ์ด๋ ค์ด ํ์ธํ ์ ๊ฐ์ง๊ณ ๊ณ ๋ฏผํ๊ธฐ ๋ณด๋ค๋ ์คํธ๋ฆฟ์ผ๋ก ๋๊ฐ ํ ์ดํ์ผ๋ก ์ฝ๊ฒ, ์ฆ๊ฒ๊ฒ ํ๋ ๊ฒ์ด ๋์๊ฒ ์ ํฉํ๋ค. ๋, ์ผ๋จ ํ์ธํ ์ ์ง์ด ๋ง๊ณ ๋๋ ๋ง์ด ๋ ๋ค. ๋ฐ๋ฉด์ ํ ์ดํ์ ๊ฐ๋ฐฉ์ ํ ์ดํ์ ์นผ ํ๋๋ง ๊ฐ์ ธ๊ฐ๋ฉด ๋๋ค. ์๋ ์ง์ ๋ถํด์ง์ง ์๋๋ค. Q. ๋จธ๋ฆฟ์์ ๋ฏธ๋ฆฌ ๊ตฌ์ฑ์ ์ง๊ณ ๊ทธ๋ฆผ์ ๊ทธ๋ฆฌ๋ ๊ฒ์ธ๊ฐ, ๊ทธ๋ ค ๋๊ฐ๋ฉด์ ํํ๋ฅผ ๋ง๋ค์ด ๋ด๋ ๊ฒ์ธ๊ฐ? ๋์ ๋๋ก์ ์คํ์ผ์ ์๋ํ ๊ธฐ๋ฒ์ด๋ค. ๊ฐ๋ ์ด๋ ๋ ์ด์์์ ์ค์ ํ๊ณ ๊ทธ๋ฆฌ๋ ๊ฒ์ด ์๋๋ผ ๋ฌด์์์ ํตํด์ ๊ทธ๋ ค์ง๋ ๋๋ก ๊ทธ๋ฆฐ๋ค. ๋ด๊ฐ ์๊ฐํ์ง ๋ชปํ๋๋ผ๋ ๋ด ๋๋์ ์์ ์ด๋ฏธ์ง๋ฅผ ๋๋ผ๊ณ ์๊ธฐ ๋๋ฌธ์ ๋ณด์ด๋ ๊ทธ๋๋ก ํํํ๋ ๊ฒ์ ๊ธฐ์ด๋ก ํ๋ค. Q. ์์ผ๋ก ๋ชฌ์คํฐ์ ๋ฎคํดํธ๋ค์ ๋ ์ด๋ป๊ฒ ๋ณ์ดํ ๊ฒ์ผ๋ก ์์ํ๋๊ฐ? ์์ง ์ด๋ป๊ฒ ์งํํด ๊ฐ์ง๋ ๋๋ ๋ชจ๋ฅด๊ฒ ๋ค. ๊ทธ๋์ ์์ฆ์ ํํ์ฌ๋ฆฌํ์ ๊ณต๋ถํ๊ณ ์๋ค. ๋์๊ฐ ๋ณํด๊ฐ๊ณ , ํ๊ฒฝ์ด ๋ณํด๊ฐ๋ ๊ฒ์ฒ๋ผ ์ฌ์ค์ ๋๋ ์ด ๋ชฌ์คํฐ๋ค์ด ์ด๋ ๊ฒ ๋ณํ ์ค ๋ชฐ๋๋ค. ์ง๊ธ์ ๊ฑฐ๊ธฐ์ ๋ํ ์๋ฏธ์ ์ฌ๋ฆฌํ์ ์กด์ฌ ์๋ฏธ๋ฅผ ๋ถ์ฌํ ์ ์๋๋ก ๊ณต๋ถ๋ฅผ ๋ ํ๊ณ ์๋ค. ํน์๋ ์ โ๋์ ์๊ธฐโ๋ฅผ ๋ด์ ๊ทธ๋ฆผ์ ๊ทธ๋ฆฌ์ง ์๋๊ณ ๋ฌป๊ธฐ๋ ํ๋ค. ๊ทธ๋ฌ๋ ์ด๊ฒ์ด ๋ด ์๊ธฐ์ด๋ค. ๋จ์ง ์ฌ๋๋ค์ฒ๋ผ ๊ด๊ณ๋ ์ฌ๋์ ๋ํ ์๊ธฐ๋ฅผ ์ ํ ๋ฟ์ด๋ค. ์ด๋ฐ ์ ์๊ฐ ๋์ ์ ์๋ค. ๊ทธ๋ฆฌ๊ณ ์์ผ๋ก๋ ํํ๊ธฐ๋ฒ์ ๋ ์ฐ๊ตฌํ ๊ฒ์ด๋ค. ์ฌ๋ฃ, ์ค์ผ์ผ, ์ด๋ป๊ฒ ์ค๋ ์ด์ ๋จ์ ์ ์๋, ์ด๋ป๊ฒ ์ฌ๋ฐ๊ฒ ์ค์นํ ์ ์๋ ๋ฑ ์ฐพ์๋ณด๊ณ ์๋ค.
064-068p
Badabie Never Die ๋๋ฆฐ์ง ์ค 1. ์ข์ ์ฌ์ด๋ ์ฅ๋น๊ฐ ์๋ ๊ฒ๋ ์๋๊ณ , ํ๋กํ์ ๋ํ ์์ง๋์ด๊ฐ ์๋ ๊ฒ๋ ์๋์ง๋ง, ์ ์ผํ๊ฒ ๋ด๊ฐ ๋ฆฌํ์ค ์์ด๋ ๊ณต์ฐํ ์ ์๋ ๊ณณ์ด๋ค. ๊ณต์ฐ ์ ํ ๋์์ ํ์ ํ๊ฒ ์ ์ ์ฆ๊ฒจ๋ ๋๋ ๊ณณ์ด๊ธฐ๋ ํ๋ค. ๋์ถํ ๋ถ์๊ธฐ ์์์ ๊ด๊ฐ๋ค์ด๋ ๋ฎค์ง์ ๊ณผ ๊ฐ์ด ํธํกํ๋ฉด์ ํ๋๊ฐ ๋ ์ ์๋ ๊ณต๊ฐ์ด๋ค. ๋ฐฑ์์ ์กฐ์จ 2. ๊ทธ๋ ์ด๋กฑ๋ฐ๋ค๋น์ ๋ถ์๊ธฐ๋ฅผ ๋ง๋ค์ด ๋ด๋ ์ฌ๋์ด๋ค. ๋ฐ๋ค๋น ๊ทธ ์์ฒด๋ผ๊ณ ํ ์๋ ์๊ฒ ๋ค. ๋ ๊ทธ๋ ์์ธ์ด๋ค. ๊ทธ์ ๋ง์์จ๋ ์ฌ์น๊ฐ ๋์น๋ค. ์ธ๋ ๋ฌธํ์ ๊ด์ฌ๊ณผ ์ ์ ์ด ํฌ๊ณ , ์ ๊ณผ ๋ด๋ฐฐ๋ฅผ ์ฌ๋ํ๋ค. ์ด๋ฒ ๋ฐ๋ค๋น ๋ค๋ฒ๋ค์ด ํ์ฌ ๋, ์์๊ฐ์ ๊ธฐํ๋จ์ด ์กฐ์ง๋๊ณ ๋ง์ ๋ฎค์ง์ ๋ค์ด ์๋ฐ์ ์ผ๋ก ์ฐธ์ฌํ๊ฒ ๊ณ ๋ชฐ๋ ค ๋ค์๋ค. ์ด ์ถ์ ๊ฐ ๋ฒ์ด์ง ๊ฒ ๋ง์ผ๋ก๋ ์ฐ์ค๋ ๋ณดํ์ด ๋ง์ ์ด๋ค์๊ฒ ์ด๋ค ์ฌ๋์ธ์ง ์ค๋ช ์ด ๋๋ ๊ฒ ๊ฐ๋ค. ๊ตฌํ ๋ฒ์ฆ 1. ์ฐ์ค๋ ๋ณดํ๋์ ์ด๋ฆ์ โ๋น์์ ํ๋ก ๊ฑท๋๋คโ๋ ๋ป์ด๋ค. ์ด ์ด๋ฆ์ฒ๋ผ ๋ฐ๋ค๋น๋ ํ๋ฆ์ ์น์ฐ์น์ง ์๊ณ ๋ ๋ณด(็จๆญฅ)ํ๋ค๋ ์ธ์์ ๋ฐ์ ์ ์ผํ ๊ณณ์ด๋ค. ์ด์์ ์ด๋ ค์์ ๊ฒช๊ธฐ๋ ํ์ง๋ง, ๊ทธ๋ณด๋ค ๋ ํฐ ๋๋ํจ์ผ๋ก ์ง๊ธ๊น์ง ์ด๋ ค์์ ์ด๊ฒจ์๋ค. ๊ณต์ฐ์๊ฐ ์๊ธฐ ๊ณต์ฐ๋ง ์๊ฐํ์ง ์๊ณ ํด๋ฝ์ ์์๋ฅผ ๊ฑฑ์ ํ๋ ๊ฐ์ ๊น์ง ์ด๋์ด ๋ด๋๋ก ํ๋ค๋ ๊ฒ์ ์ฌ์ด ์ผ์ด ์๋๋ค. ๊ฐค๋ญ์ ์ต์คํ๋ ์ค 1. 2005๋ ๊ฒฝ ์ฒ์์ผ๋ก ๋ฐ๋ค๋น์์ ๋ผ๋ชฌ์ฆ์ ์ปค๋ฒ๋ฐด๋์ธ โ๋ชจ๊ธ๋ฆฌโ๋ผ๋ ๋ฐด๋๋ก ๊ณต์ฐ์ ํ๋ค. ๊ทธ ํ๋ก ์๋ก โ๊ธฐํ๋ชจ๊ธ๋ฆฌโ๋ผ๋ ์ด๋ฆ์ผ๋ก๋ ๊ณต์ฐ์ ํ๋ค. ์ง๊ธ์ ๊ฐค๋ญ์ ์ต์คํ๋ ์ค๋ก๋ ๊ณต์ฐ์ ํ๊ณ ์์ผ๋, ์ด๊ณณ์ ๋์๊ฒ ๋์ดํฐ์ด์ ์ง์ ํ ๋ฌด๋์๋ค. ๋ฐ๋ค๋น๋ ๊ณต์ฐ์ ํญ์ด ๋ค๋ฅธ ๊ณณ๋ณด๋ค ๋๋ค. ๋ฐ๋ค๋น์์ ํ๋๋ฌด์ฉ์ด๋ ํ์๋ฆฌ ๊ณต์ฐ์ ๋ณธ ๊ธฐ์ต๋ ์๋ค. โจ ๋ฐฑ์ 1. ๊ฐ์ฅ ํฐ ํน์ง์ ์ค๋์ ์ ๋๊ฐ ์๋ค๋ ๊ฒ์ด๋ค. โ๋ชฉ์ ๊ณต์ฐโ์ด๋ผ๋ ์ ๋๊ฐ ์๋ค. ๋ฎค์ง์ ๋๊ตฌ๋ ์ ์ฒญํ๋ฉด ๋ฌด๋์ ์ค ์ ์๋ค. ํนํ ์ฒ์ ์์ ์ ์์ํ๋ ์น๊ตฌ๋ค์๊ฒ๋ ์ฐธ ์ข์ ๊ธฐํ๊ฐ ๋๋ค. ๊ทธ๋์ ๋ฐด๋ ์ธํ๋ฒ ์ดํฐ๋ผ๋ ๋ง์ด ์๊ฒผ๋ค. ๋๋ฒ์งธ ํน์ง์ ๋ทํ์ด๊ฐ ์ฐํ๋ค๋ ๊ฒ์ด๋ค. ๋ทํ์ด์์ ๋ง์ ๋ฎค์ง์ ๋ค์ ์ด์ฐ๋ฌ์ง์ด ์๊ธด๋ค. ์ธ์ ๋ ์ฐ์ค๋ ๋ณดํ๋์ด ๋ทํ์ด๋ฅผ ์ฃผ์ ํ์ ๋ค. ์๊ท๋ชจ ์์นด์์ ๋ฐด๋ 1. ์ฒซ ๊ณต์ฐ์ ๋ฐ๋ค๋น์์ ์์ํ๋ค. ๊ทธ๊ณณ์์ ์ฒซ ๊ณต์ฐ์ ํ๋ ์น๊ตฌ๋ค์ด ๋ง๋ค. ๋ฐ๋ค๋น๋ ์๊ท๋ชจ ์์นด์์ ๋ฐด๋์๊ฒ ์์คํ ๊ธฐ์ต์ด๊ณ , ์ง๊ธ๋ ๋ง์ ์์ ํ๋ ์น๊ตฌ๋ค์๊ฒ ์์คํ ๊ธฐ์ต์ด ๋์ด๊ฐ๊ณ ์๋ค. ๊ณง ๋ฐ๋ค๋น ํ์ปค๋ฐ๋ฐ์ด ๊ณต์ฐ์ ํ๋ค. ๊ทธ๋์ ๋ฐ๋ค๋น๋ฅผ ๋ค๋ ๊ฐ๋ ๋ฎค์ง์ ๋ค์ด ๋ค์ ๋ฐ๋ค๋น์ ๋ชจ์ด๋ ๊ธฐํ์ด๋ค. 11์30์ผ๋ก ์์ ์ค์ด๋ค. ๋ ๋ฉ์ง ์ถ์ต์ด ํ๋ ์๊ธธ ๊ฒ ๊ฐ๋ค. ๋น ํฐ๋ทฐ 2. ์ฐ์ค๋ ๋ณดํ๋์ ๋ ํนํ ์ฌ๋์ด๋ค. ์์ ๋ง์ ๊ธฐ์ค์ผ๋ก ์ธ์์ ์ด์๊ฐ๋ ์ฌ๋์ด๋ค. ๊ทธ๋ ๋ชจ๋ ์์ ๊ฐ๋ค์๊ฒ ๋๊ฐ์ ๊ธฐํ๋ฅผ ์ค๋ค. ๊ทธ๋ฅผ ์ฒ์ ๋ณธ ์์ ๊ฐ๋ค์ ์์ ์ด ๋งค์ฐ ํน๋ณํ๋ค๊ณ ์๊ฐํ์์ง๋ ๋ชจ๋ฅธ๋ค. ์ฐ์ฃผํํผ 1. ๊ทธ ์ด๋ ๊ณณ๋ณด๋ค ๋ง์ ์์ ๊ฐ๋ค์ ๋ง๋ ์ ์๋ ๊ณณ์ด๋ค. ๋ฐ๋ค๋น๋ ์ธ์ง๋๋ฅผ ๋ฐ์ง๋ ๋ค๋ฅธ ๊ณต์ฐ์ฅ๋ค ์ฌ์ด์์ ๋ ๋ฐ๋ ค ๊ณต์ฐํ ๊ณณ์ ์ฐพ์ง ๋ชปํ๋ ์์ ์ด๋ ์๋ค์๊ฒ ํด์์ฒ ๊ฐ์ ๊ณณ์ด์๋ค. ๋๋ ๊ทธ์ค ํ๋์๋ค. ๋ฐ๋ค๋น๋ฅผ ์ฒ์ ๊ฐ์ ๋๋ฅผ ๋ ์ฌ๋ ค๋ณด๋ฉด, ๊ณต์ฐ์ฅ์ด๋ผ๊ณ ํ๊ธฐ์ ์ข ์ฐ์ธํ๊ณ ๋ง์ด ์ง์ ๋ถํ ๊ณณ์ผ๋ก ๊ธฐ์ตํ๋ค. ์ปจ์ ์ด ๋ถ๋ถ๋ช ํ ์ธํ ๋ฆฌ์ด๋ ์ฒ์ ์ค๋ ์ฌ๋๋ค์ ํ๋ง๋ ๋ง๋ ์์ด ๋ด์ซ๊ธฐ ์ผ์ค์๋ค. ๊ทธ๋ฆฌ๊ณ ๋ฐ๋ค๋น๋ ๋์ ์ฒซ ์ ๋ก ๋ฌด๋์๋ค. ์์ฐฝ๊ทผ 1. ๋ฐ๋ค๋น์์๋ ๋ชฉ์์ผ๋ง๋ค ์ค๋์ ์์ด ๋ฎค์ง์ ์ ์ ์ฒญ์ ๋ก ์ด๋ฃจ์ด์ง๋ โ๋ชฉ์ ๊ณต์ฐโ์ ์ฐ๋ค. ๊ทธ๋ฆฌ๊ณ ๋งค๋ฌ ํ ๋ฒ์ฉ, ์๋ญ์ก์ ํ๋ โ์ผ์ ์๊ทน์ฅโ๋ ํ๋ค. ์์ ๊ณต์ฐ์ ๋ฌผ๋ก ์ฐ๊ทน, ์ ์, ์์, ์๋ญ์ก ๋ฑ ๋ค์ํ ์ฅ๋ฅด์ ๊ฒฐํฉ์ ์๋ํ๊ณ , ์คํ์ ์ธ ๊ณต์ฐ๋ค์ ์ ํ์์ด ์ด๊ณ ์๋ค. ํ์ด๋ฏธ์คํฐ๋ฉ๋ชจ๋ฆฌ 2. ์ฐ์ค๋ ๋ณดํ์ ๋ฌผ๊ฐ์ ๋ด ๋์ ์์ด๊ฐ๋ค. ์ ์์ ๋ด๊ฐ ๋ฌด์จ ์ฃ๋ฅผ ์ง์๊ธฐ์ ์ด ์ฌ๋๊ณผ ๊ฐ์ด ์ด ๊ณ ์์ ํ๋๊ฐ ์ถ์ง๋ง, ๋ฏธ์ํ ์ ์๋ ์ฆ๊ฑฐ์ด ์น๊ตฌ๋ค.
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2011.11 -
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2011-11-01
5:40:51
๋ํ 1. ์ง๊ฐ์ด ํธ์ํ๋ค. ๋ ์์ ๋ฟ๋ง ์๋๋ผ ๋ฏธ์ , ๋ฌธํ ๋ฑ ๋ค์ํ ์ฅ๋ฅด๋ฅผ ์์ฉํ๋ ๊ณต๊ฐ์ด๋ค ๋ณด๋ ์ฌ๋ฌ์ฌ๋๋ค๊ณผ ๋ง๋ ์๋ ์๊ณ , ๊ฐ์ด ์์ ํ ๊ธฐํ๋ ๋ง๋ค. ์ ์๋ฆฌ๋ ์ฆ์์ ์ฐธ ์ข๋ค.
๋ค๋ฅธ ์๊ฐ๋ค ์ฌ์ด์์๋ โ๋๋ ์ด์ ๋์ฐธํ ์ ์๋คโ๋ผ๋ ์ 2์ ์ ํ์ ์ด ๋์๋ค. ๋ผ๋ฆฌ๋ผ๋ฆฌ์ ๋ชจ์ต์์ ์กฐ๊ธ์ โ์ฐ๋ฆฌ๋คโ์ ๋ชจ์ต์ผ๋ก ํ ๊ฑธ์ ๋ด๋ช๋ ๊ธฐํ๊ฐ ๋์๋ค. ์์ , ์ง์ ์ผ๋ก ์ด์ธ์ธ ํ๊ตญ ์ธ๋๋ฌธํ์ ๋ค์์ ์์ ์ด ์ฃผ๋ชฉ๋ ์ ์๋ ๊ณ๊ธฐ๊ฐ ๋์๋ค.
์ํด๋ก 18 1. ์ํด๋ก18์๊ฒ ๋ฐ๋ค๋น๋ ๋ฐ๋ปํ ์ง์ด๊ณ , ์ฐ๋ฆฌ์ ์ ์ฒด์ฑ์ ๋ค์๊ธ ๋์ด๋ ค์ฃผ๋ ๊ณณ์ด๋ค. ์ฐ์ค๋ ๋ณดํ๋์ ์ฐ๋ฆฌ๊ฐ ๋๋ฌด๋ ์ข์ํ๊ณ ์ฌ๋ํ๊ณ ์กด๊ฒฝํ๋ ํ์ด๋ค. ํ๋ ์ธ๋ ๋ฎค์ง์ ์ฌ์์ ์ฐ์ค๋ ๋ณดํ๋์ ๊ฑฐ์ณ๊ฐ์ง ์์ ์ฌ๋์ ์กด์ฌํ์ง ์๋๋ค๊ณ ๋ณธ๋ค. ๊ทธ๋ ๋ฐ๋ค๊ฐ ๋๊ณ , ๋๋ก ๋ฐฐ๊ฐ ๋์ด์ค๋ค. ๋ฐ๋ค๋น์์ ์ฒซ ๊ณต์ฐ์ ๋ง์น๊ณ , ์ฐ์ค๋ ๋ณดํ๋์ด ์ฌ์ฃผ๋ ์ ๋ง์ ๊ทธ ์ด๋ค ์ ๋ณด๋ค ์งํ๊ณ ๋ฌ์๋ค. ์ค์นดํผ์ฌ 1. ๋ฐ๋ค๋น๋ โ์ค์นดํผ์ฌโ๊ฐ ์ฌ์ถ๊ธฐ๋ฅผ ๋ณด๋ธ ๊ณณ์ด๋ค. ๋ฐ๋ค๋น๋ฅผ ์ฒ์ ๋ฐฉ๋ฌธํ์ ๋, ์ฐ๋ฆฌ๋ ์ค์ค๋ก์ ์์ ์ ํ๊ณ๋ฅผ ๋๋ผ๊ณ ๋ถ๋ด์ ๊ฐ์ง๊ณ ์์ ๋์๋ค. ๊ทธ๋ฌ๋ ๋ฐ๋ค๋น์์ ๋ง๋ ์ฌ๋๋ค์ ์ฐ๋ฆฌ๊ฐ ์๊ฐ์ง ๋ชปํ ๊ฒ๋ค์ ํ์ค๋ก ๊ฐ๋ฅํ๊ฒ ๋ง๋ค๊ณ ์์๋ค. ์ด ๊ณณ์ ํตํด์ ์ฐ๋ฆฌ๋ ์ค์ค๋ก ์ ์ฒด์ฑ์ ์ฐพ์ ์ ์๊ฒ ๋์๋ค. ์ฐ์ค๋ ๋ณดํ๋์ ์ฐ๋ฆฌ์๊ฒ โ๋ถ๋ถ๊ณต์๋จ, ์ค์นดํผ์ฌโ๋ผ๊ณ ํธ๋ ๋ถ์ฌ์ฃผ์ จ๋ค. ์ฐ๋ฆฌ๋ฅผ ํํํ๊ธฐ์ ์์ฃผ ์ ์ ํ ๋ง์ด ์๋๊ฐ ์ถ๋ค. ๋ฐ์ด๋๋ฆผ 2. ์ฐ์ค๋ ๋ณดํ๋์ ๋ฐ๋ค๋น์์ ๊ณต์ฐ์ ๊ธฐํํ๊ณ , ์๋ฅผ ์ด๋ค. ์ฌ๋๋ค์ ๋ถ๋ฌ ๋ชจ์ผ๊ณ ๋ฐฅ์ ๋จน๊ฑฐ๋ ๋๋ด๋ ํ๋ค. ๋ฐ๋ค๋น๋ ์ ์ธ ๋ฐด๋๋ค๊ณผ ์ธ๋ ์์ธ๋ค์ ๊พธ์คํ ๊ด๊ฐ๋ค์๊ฒ ์๊ฐํ๋ ๋ช ์ ๋๋ ํด๋ฝ ์ค์ ํ๋๋ค. ๊ทธ๋์ ๋ ์์ ์ ์ผ๋ก ์์ ์ผ๋ก ์์ฝคํ ์ํ๋ฅผ ์ ์งํ๊ณ ์๋ค. ์ฌ์ด 1. ์ด๋ฐ์๋ ์ฆ์ ๋ทํ์ด๋ก ๋ง์ ์ฌ๋๋ค์ ๋จธ๋ฆฌ๋ฅผ ์ํ๊ฒ ํ๊ณ , ํ ๋๋ ์ ๋จ์ ๋ ์ ์ถฉ๋ ์ ์ธ ๋ง๋จ์ ์ฅ์ด์๋ค. ์ง๊ธ์ ์ฐ์ค๋ ๋ณดํ์ด ์ํ ๊ฒ์ ํ๊ณ๋ก ๋ง์ ๋ฎค์ง์ ๋ค์ด ์๋ณธ ์์คํ ์ ์ ํญํ ์ ์๋๋ก ํ๋ค. ๋ฐ๋ค๋น๋ ํ๋ช ์ ๊ธฐ์ด์ ๋ง๋ค๊ณ ์๋ ๊ฒ์ด๋ค.์์ ์ ๋ฐ๋ค๋น๋ ๊ณต๊ฐ์ด ๋งค์ฐ ๋๋ฌ์ ๋ค. ๋ฐ๋ค๋น ๋ค๋ฒ๋ค์ด ํ์คํฐ๋ฒ์ ๊ณ๊ธฐ๋ก ๋ด๋ถ๋ฅผ ๋ค์ ๊นจ๋ํ๊ฒ ๋ฐ๊พผ๋ค๊ณ ํ๋ค. ๋๋ ๊ทธ๋ ๊ฒ ๋๋ ๊ฒ์ด ์์ฝ๋ค. ์ฐ์ค๋ ๋ณดํ์ด ๋นจ๋ฆฌ ๋์์ ๋ค์ ์ ์ ๋ง์๊ฒ๋๋ฉด ์ข๊ฒ ๋ค. ๋ฐ๋ค๋น๊ฐ ๋ค์ ๋๋ฌ์์ง๋๋ก! ๋ฏธ๋๋์ ์ค๋ชจํน ๋๋ผ์ด๋ธ 1. ์๋ฝํ๊ณ ํธ์ํด์ ๋ง์๊ป ๋ฏธ์น ์ ์๋ ๊ณณ์ด๋ค. ๋ง์น ์๋ฐฉ์์ ๊ณต์ฐ์ ํ๋ ๋๋์ผ๋ก ๊ทธ ์ด๋ค ๊ณณ๋ณด๋ค๋ ์ ๋๋ ๊ณต์ฐ์ ํ ์ ์๋ค. ๋ ๋์ ๋กํฐ๋กค์ ์์์ด๋ผ๊ณ ํด๋ ๊ณผ์ธ์ด ์๋ ์ ๋๋ก ๊ณ ํฅ ๊ฐ์ ๊ณณ์ด๋ค. ๊ฐ๋ ํ์ดํ์ด ๋๋ฌด ๋ฌด๋์ ๋ฐํ์ ๋์ด์ง ๋ป๋ ํ์ง๋ง ๊ทธ๊ฒ ๋ํ ์ฆ๊ฒ๋ค. ์ ์ ํด์ ๊ทธ๋ฐ์ง 2. ๊ทธ๋ ํญ์ ์ ๋จธ๋ฅผ ์ฆ๊ธฐ๋ ๋์ฒ๊ฐ์ด๋ค. ์ฌ๊ฐํ ๋ถ์๊ธฐ์์๋ ํน์ ์ ๋ง๋ ์๋๋ ์๋ฑํจ์ผ๋ก ๊ธด์ฅ์ ํ์ด์ค๋ค. ๊ทธ๋ฆฌ๊ณ ํ์์ ์ฝ๋งค์ด๊ณ ์ถ์ด ํ์ง ์๋ ์์ ๋ก์ด ์์ ๊ฐ๋ค. ๊ทธ๋ ๋ฐ๋ค๋น๋ผ๋ ๊ณต๊ฐ์ด ๋จ์ํ ๊ณต์ฐ์ฅ์ด ์๋ ์ ์ฝ ์๋ ์์ ์ด ํผ์ณ์ง๋ ์์ปค์ฆ์ฅ์ด ๋๊ธฐ๋ฅผ ๋ฐ๋๋ค. ์ฐ๋ฆฌ๋ ์จ๋ฒ์ ๋ น์ํ ๊ณต๊ฐ์ด ํ์ํ๋๋ฐ ์ฐ์ค๋ ๋ณดํ์ ํ์พํ ๋ฐ๋ค๋น์์ ๋ น์ํ ์ ์๊ฒ ํด์ฃผ์๋ค. ๊ทธ๋์ ์ํ ์ดํฌ๋ก ๋ น์ํ ์ฒซ ๋ฒ์งธ EP ์จ๋ฒ์ 5์์ ๋ฐ๋งคํ๊ณ , ๋ฐ๋ค๋น์์ ์ผ์ผ์ด์ค๋ฅผ ์ฑ๊ณต์ ์ผ๋ก ๋ง์น ์ ์์๋ค. ๋น๋๊ธฐ ์ฐ์ 2. ๊ทธ์๊ฒ ์ ์ ๋ง์ด ๋จน์ผ๋ฉด ์๋๋ค๋ ๊ฒ์ ๋ฐฐ์ ๋ค. ์๋ ์ฒซ ๊ณต์ฐ๋ ํ๊ธฐ์ ์ ์ฐ์ฐํ ๋ฐ๋ค๋น๋ฅผ ์ง๋๊ฐ๋ค๊ฐ ํธ๊ธฐ์ฌ์ ๋ค์ด๊ฐ๋ณด์๋ค. ์ฐ์ค๋ ๋ณดํ์ ์ฒ์ ๋ง๋ ์ฐ๋ฆฌ๋ค์๊ฒ ๋ง์๋ ๋ญ๋ฐฑ์์ ๋์ฌ์ ๋ฐ๊ฐ๊ฒ ๋ง์์ฃผ์๋ค. ์ฐ์ค๋ ๋ณดํ๋์ ๊ทธ๋ฐ ๋ฐ๋ปํ๊ณ ์ ๋ง์ ์ฌ๋์ด๋ค. ๋๋ฌธ 3. ์ด๋กฑ ๋ฐ๋ค๋น์ ์ด์ฐฝ๊ธฐ ์์ ๋ถํฐ ๊ณต์ฐ์ ํ๋ค. ๋ ๋ฐ๋ค๋น๋ ๋ง์ ๊ฒ๋ค์ ํจ๊ป ๋๋ ์ถ์ต์ด ๊น๋ ๊ณณ์ด๋ค. 2007๋ ์ฒซ๋ฒ์งธ ๋ฐ๋ค๋น ์ด๋ฆฌ๊ธฐ๋์๋ ํจ๊ป ํ์๋ค. ๊ทธ๋ฐ ์ธ์ฐ์ด ์๋ ์ํฉ์์ ์ด๋กฑ ๋ฐ๋ค๋น๊ฐ ํ๋ค์ด์ง๊ณ ์ฃผ์ธ์ฅ ์ฐ์ค๋ ๋ณดํ๋๋ ํธ์ฐฎ์ผ์๋ค๋ ์์์ ๋ฃ๊ณ ๋ ์์ฐ์ค๋ฝ๊ฒ ํจ๊ป ์ฐธ์ฌํ๊ฒ ๋์๋ค. ์์๋ถ๋ ๋ด๋ฐ๋ 3. ๋ฐ๋ค๋น ๋ฎค์ง์ ์ด๋ ํน์ ๋ฐ๋ค๋น๋ฅผ ๋ชฐ๋๋ ๋ฎค์ง์ ๋ค๋ ํ ๋ง์ ํ ๋ป์ผ๋ก ๋ญ์ณค๋ค. ๋น๋จ ๋ฐ๋ค๋น์ ์ฐ์ค๋ ๋ณดํ๋๋ง์ ์ํด ๋ชจ์ธ ๊ฒ์ด ์๋๋ผ๊ณ ์๊ฐํ๋ค. ์ด๋ฒ ํ์ฌ๋ ์ญ๋งํด์ ธ๊ฐ๋ ์ธ๋ ๋ฌธํ๊ณ๋ฅผ ํฅํ ๋ฎค์ง์ ๋ค์ ์ธ์นจ์ด์๋ค. ์กฐ๊น๋ฅผ๋ก์ค 3. ๋ฐ๋ค๋น ๋ค๋ฒ๋ค์ด ํฌ์คํฐ๋ฅผ ๋ง๋ค์๋ค. ๋ฌผ์ง์ ์ผ๋ก ๋์ง ๋ชปํด์ ์ฌ๋ฅ์ด๋ผ๋ ๊ธฐ๋ถํ๋ ค๊ณ ๋ง๋ค๊ฒ ๋์๋ค. ๊ท๋ชจ๊ฐ ์ปค์ ธ์ ์ฐ๋ ค๊ฐ ๋ง์๋๋ฐ ๋ง์ ์ฌ๋๋ค์ด ๋์์ค์ ๊ฒฐ๊ณผ์ ์ผ๋ก ์ ๋์๋ค. ๋ฐ๋ค๋น๋ฅผ ๋น๋กฏํ ๋ชจ๋ ํด๋ฝ์ด ํ๋ค๊ณ ์ด๋ฏธ ์ ์ ํ ์ฐจ๋ก์ ๋ชจ๊ธ์ด๋์ ํด๋ณธ์ ์ด ์๋์ง๋ผ ์ด๋ฐ์์ ๋ชจ๊ธํ์ฌ๋ ๋ง์ง๋ง์ธ ๊ฒ ๊ฐ๋ค. ํ๋ ์, ์์ธํ ์ธ๋ ์์ ์ฌ์ ์ ์ ํธํก๊ธฐ๋ฅผ ๋ผ์์ฃผ๋ ๋๋์ด๋ผ์ ์ฌ์ค, ๋ฏธ๋๋ ๋น๊ด์ ์ด๋ค.
082-089p
Shin Hye Rim (์ ํ๋ฆผ) Q. ์ฌ์ง์ ์ด๋ป๊ฒ ์์ํ๊ฒ ๋์๋? ์ฌ์ง์ ํน๋ณํ ๊ณ๊ธฐ ์์ด ์์ฐ์ค๋ฝ๊ฒ ์์๋์๋ค. ์ง์ ์์ ์บ๋ ผ ์นด๋ฉ๋ผ๊ฐ ์์๋๋ฐ ์ด๋ ธ์ ๋ ์ฅ๋๊ฐ์ฒ๋ผ ๊ฐ์ง๊ณ ๋์๋ค. Q. ์๋์นด๋ฉ๋ผ ์๋๋ฒ์ ์ด๋์ ๋ฐฐ์ ๋? ํ๋ฆ์ ์ฌ๋ฌ ์ฌ์ง๊ด์ ๊ฐ์ ๋ ์ฌ์ง๊ด ์์ ์จ๊ฐ ์๋ ค์ฃผ์๋ค. โ์กฐ๋ฆฌ๊ฐ๋ 11๋ก ๋๊ณ ์ค๋์ ๋ ์จ๊ฐ ๋ง์ผ๋ ์ ํฐ์คํผ๋๋ 125์ ๋์๋ผ. ์ด์ ์ ๋ง์ถ ์ค ์์ง?โ ์ด๊ฒ ๋ค๋ค. ์ฌ๊ธฐ๊น์ง ๋ฐฐ์ฐ๊ณ ๋๋จธ์ง๋ ๊ณ์ ์ฌ์ง์ ์ฐ์ผ๋ฉฐ ํฐ๋ํ๋ค. Q. ์๋ ์ฌ์ง ์๋ฆฌ์ฆ๋ ์ด๋ป๊ฒ ์์๋์๋? ์์งํ ๋งํ๋ฉด ์ด์ฑ ์น๊ตฌ๊ฐ ๋ง์ด ์์ด์ ์ฌ์์น๊ตฌ๋ค์ ์ฐ์ผ๋ฉฐ ์์ํ๋ค. ์์ ์์ด๋ค์ ์ฌ์ง ์ฐํ๋ ๊ฒ์ ๋ํด ๋๋ ค์์ด ์์ด์ ์งํ์ด ์ ๋๋๋ผ. ๊ทธ๋ฆฌ๊ณ ๊ฐ์ธ์ ์ผ๋ก ์๋ ๊ฐ์ ์ด๋ฏธ์ง๋ฅผ ์ข์ํ๋ ํธ์ด๋ค. ์ํ๋ ์์ค์์๋ ์ฌ์ถ๊ธฐ ์์ ์๋ ์บ๋ฆญํฐ๋ฅผ ์ข์ํ๋๋ฐ ๋ธ๋ผ๋๋ฏธ๋ฅด ๋๋ณด์ฝํVladimir Nabokov์์์ <Lolita>์ Lolita์ ์ํ <The Blue Lagoon>์ Emmeline๋ฅผ ์๋ก ๋ค ์ ์๋ค. <Lolita>๋ ์์ค๊ณผ ์ํ ๋ชจ๋ ์ข์ํ๋ค. Q. ๊ทธ๋ฐ ์ด๋ฏธ์ง์ ๊ฐ์ฑ์ ์ฌ์ง์ ๋ด๊ธฐ ์ํด ๋ ธ๋ ฅํ๋ ํธ์ธ๊ฐ? ๋ณด๊ณ ๋๋ ์์ ์์๋ค์ด ๋ด ์์ ์ถ์ ๋์ด ์ฌ์ง์ ๋ น์๋๋ ๊ฒ ๊ฐ๋ค. ์ฌ์ง์ ์ํด ํน๋ณํ ๋ชฉํ๋ ์ต์ง ๊ด์ฌ์ ๊ฐ์ง๋ ค ๋ ธ๋ ฅํ์ง ์์๋ค. Q. ๋ชจ๋ธ๋ค์ ์ด๋ป๊ฒ ์ญ์ธํ๋๊ฐ? ์ฒ์์๋ ํ๊ต์์ ๋ง๋ ์์ ์น๊ตฌ๋ค์ ์ฐ์๋ค. ๊ทธ๋ฌ๋ค ์น์ํ์ ํตํด ์๋ก์ด ๋ชจ๋ธ์ ์ง์ ์ฐพ์๋ค. ์ธํฐ๋ท์์ ๋ง์์ ๋๋ ์ฌ๋์ ์ฐพ์ผ๋ฉด ๊ทธ ์ฌ๋์ ๋ํด ์กฐ์ฌ๋ฅผ ๊ผผ๊ผผํ ํ ํ ์ฌ์ง์ ์ฐ๊ณ ์ถ๋ค๊ณ ์ฐ๋ฝ์ ํ๋ค. ๋ด ์ฌ์ง์ ์์ฃผ ๋ฑ์ฅํ๋ ๊น์ธ์ ์ 2007๋ ์ ๋ด๊ฐ ๋จผ์ ์ฐ๋ฝ์ ์ทจํ๋ฉด์ ๋ง๋ฌ๋ค. Q. ์ฌ์ง ์ดฌ์ํ ๋ ๋ชจ๋ธ์๊ฒ ํน๋ณํ ๋ถํํ๋ ํฌ์ฆ๋ ํ์ ์ด ์๋๊ฐ? ์์ฐ์ค๋ฌ์ด ๋ชจ์ต์ ์์ฒญํ๋ค. ์ฒ์ ๋ง๋๋ ์ฌ๋์ ๋ชจ๋ธ๋ก ์ธ์ธ ๋๋ ์ฐ๊ธฐ ์ ์ด๋ฐ์ ๋ํ๋ฅผ ๋ง์ด ๋๋๋ฉฐ ์นํด์ง๋ ค๊ณ ๋ ธ๋ ฅํ๋ค. ๋ณดํต ์ฌ๋๋ค์ ์นด๋ฉ๋ผ๊ฐ ๋ฐ๋ก ์์ ์์ผ๋ฉด ๊ธด์ฅ์ ํ๋ค. ๋ด๊ฐ ์ฐ๋ ์๋ ๋ค์ ์นด๋ฉ๋ผ์ ๊ด๋ํ ํธ์ด์ง๋ง ํ๋ก ๋ชจ๋ธ์ด ์๋๊ธฐ ๋๋ฌธ์ ๊ธด์ฅ๊ฐ๋ ๊ฐ์ง๊ณ ์๋ค. ๋๋ ๊ทธ๋ ์ ๊ธด์ฅ๊ฐ์ ์ค์ผ ์ ์๋๋ก ๋ง์ ๋ ธ๋ ฅ์ ํ๋ค. ๋๋ ๋ชจ๋ธ์ด ์นด๋ฉ๋ผ๊ฐ ์๋๋ผ ๊ทธ ๋ค์ ์๋ ๋๋ฅผ ๋ณผ ์ ์๋๋ก ํ๋ค Q. ์๋ ์ฌ์ง์ด 5๋ ์ ๋ ๊พธ์คํ ์งํ๋๊ณ ์๋ค. ์ด์ฐฝ๊ธฐ ์ฌ์ง๊ณผ ์ง๊ธ ์ฌ์ง์ ๋ค๋ฅธ์ ์ ๋ฌด์์ธ๊ฐ? ๋๋ง ๊ทธ๋ ๊ฒ ์๊ฐํ๋์ง ๋ชจ๋ฅด๊ฒ ์ง๋ง ๊ธฐ์ ์ ์ธ ๋ฉด์์ ์กฐ๊ธ ๋ฌ๋ผ์ก๋ค. ๊ทธ๋ฆฌ๊ณ ์ฌ์ง๊ณผ ๋ชจ๋ธ์ด ํจ๊ป ์ฑ์ฅํ๊ณ ์๋ค. ๋ชจ๋ธ๋ค๊ณผ๋ ์ด์ ์น๊ตฌ๊ฐ ๋์ด ๋ ๊น์ ๊ด๊ณ๊ฐ ๋ ์ ๋ ์ฌ์ง์ ์ํฅ์ ๋ผ์น ๊ฒ ๊ฐ๋ค.
ํ ๋๋ผ์ธ 3. ๋ฐ๋ค๋น๋ ํ๊ตญ์ DGBD, ๋๋ก๋ Royal Albert Hall์ด๋ค. ์ธ๋๋ฎค์ง์ ์ฑ์ง์ด์ ํ๊ตญ๋์ค์์ ๊ณ์ ๋ฐํ์ ๋ค๋ฌ๋ ๋ฐ๊ฑฐ๋ฆ์ ์์๋ค. โtenderignโ์ indie์ jazz์ฌ์ด์์ ์คํ๊ธฐ๋ฅผ ํ๋ ๋ฐด๋์ธ๋ฐ, ๋ฐ๋ค๋น๋ ๊ทธ ์ถฉ๋ถํ ํผํฌ๋จผ์ค๋ฅผ ํ๊ธฐ์ ๊ฐ์ฅ ์ด์ธ๋ฆฌ๋ ์ฅ์๋ค. ๊ทธ๋ฐ ๊ณณ์ด ์์ด์ง๋ค๋ ๊ฒ์ ๋ชธ์ ์ฅ๊ธฐ๋ฅผ ๋ผ์ด๋ด๋ ๊ฒ๊ณผ ๊ฐ์ ๋งฅ๋ฝ์ด๊ธฐ๋๋ฌธ์ ์ด์ ๋ถ๋ฌธํ๊ณ ์ฐธ์ฌํ๊ฒ ๋์๋ค.
Q. ์ฌ์ง์ ๋ณด๋ ์ฌ๋๋ค์ด โ์ด๊ฑด ์ ํ๋ฆผ ์ํ์ด๊ตฐโ ์ด๋ผ๊ณ ๋๋ ์ ์๊ฒ ํ๋ ์์๊ฐ ๋ฌด์์ด๋ผ๊ณ ์๊ฐํ๋๊ฐ? ์ฌ์ง ์ ๋ชจ๋ธ์ ๋๋น. ์์ฐ์ค๋ฌ์์์ ํ๋ฌ๋์ค๋ ๋ฌดํ์ ํ ๋๋น์์ ๋๊ปด์ง๋ ์ ๋น๋ก์ด ์ด๋ฏธ์ง๊ฐ ์ข๋ค. ์ค์ณ ์ง๋์น๋ ์ฌ์ง์ด ์๋๋ผ ๋ช ์ด๋ผ๋ ๋๊ธธ์ ์ค ์ ์๋ ์ฌ์ง์ด ์ข์์ ๊ทธ๋ฐ ๋๋น์ ๋ง๋๋ ค๊ณ ํ๋ค.
์ ๋ฏผ์ 3. ์ด๋ฒ ํ์คํฐ๋ฒ์ ์ค๋นํ ๋น์, ๋ชจ๋๋ค ์ฌ์ฅ๋์ ๋์์ ์์์ ๋ฃ๊ณ ๋ง์ด ์ํ๊น์ํ๋ค. ์ญ์ธํ ๋ชจ๋ ํ์ด ๋ฌด๋ฃ๊ณต์ฐ์ ํ๊ฒ ๋ค๊ณ ํ๋ค. ๋ฎค์ง์ ๋ค์ด ์๋ก ๋์์ ์ญ์ธ๋ฅผ ๋์์ฃผ์๊ณ ๋์ค์ ๊ธฐํํ์ด ๊ฐ๋นํ๊ธฐ ํ๋ค์ ๋๋ก ๋ง์ ๋ฎค์ง์ ๋ค์ด ์ฐธ๊ฐํ๊ฒ ๋์๋ค.
Q. ์ง๊ธ ์งํ์ค์ธ ํ๋ก์ ํธ๊ฐ ์๋ค๋ฉด ์๊ฐํด๋ฌ๋ผ. ๊น์ธ์ ๊ณผ ์ฌํ ํ๋ก์ญํธ๋ฅผ ์งํํ๊ณ ์๋ค. ๊ตญ๋ด๋ฅผ ๋์๋ค๋๋ฉฐ ๋๋ ์ฌ์ง์ ์ฐ๊ณ ์ธ๋๋ ๊ธ์ ์ฐ๋ ํ์์ด๋ค. ์ด ๋ด์ฉ์ ๋ฌถ์ด ์ฐ๋ฆฌ ๋์ ์ด๋ฆ์ผ๋ก ์ฌํ ์์ธ์ด์ฑ ์ ๋ด๊ณ ์ถ๋ค. ์ต๊ทผ ํต์๊ณผ ์์์ ๋ค๋ ์๋๋ฐ ์ ๋ง ๋ป๊น์ ์๊ฐ์ ๋ณด๋๋ค. ์ธ์ ์ธ๋์๋ ํ ๋จธ๋๊ฐ ๋์ด์๋ ํจ๊ปํ๊ณ ์ถ์ ์ฌ๋์ด๋ค.
๊น๋ง์คํ 3. ๋์ค๋ฌธํ์ ์ฅ๋ฅด ์ค์์ ๊ฐ์ฅ ๊ฐ์ธ์ ์ธ ์ฅ๋ฅด๊ฐ ์์ ์ด๋ผ๊ณ ์๊ฐํ๋ค. ๋ฐ๋ค๋น ๋ค๋ฒ๋ค์ด๋ฅผ ํตํด์ ์ด๋ฐ ์์ ๋ถ๋ถ์ ์ฐ๋๊ฐ์ด๋ผ๋ ๊ฒ์ด ์กฐ์ฑ๋๊ณ ์์์ ๋ณผ ์ ์์๋ค. 130์ฌํ์ด ๋ง๋ค์ด ๋ธ ๊ฒฝ์ ์ ์์ต์ โ์ฐ์ค๋ ๋ณดํโ๊ณผ ๊ณต๊ฐ, โ์ด๋กฑ๋ฐ๋ค๋นโ๋ฅผ ์ด๋ฆฌ๋ ์ผ์ ์ฐ์๋ค. ๋, ๋ฌด๊ดํ๋ ํ๋ ์์
Q. ์์ผ๋ก์ ๊ณํ์ ๋ฌด์์ธ๊ฐ? ๋ง์ ์ฌ๋๋ค์ ๋ง๋๊ณ ๋ค์ํ ์๋๋ฅผ ํ๊ณ ์ถ๋ค. ์ค๋ ์ฌ์ง๊ณผ ์ค๋ธ์ ์ฌ์ง์ ์ฐ๊ณ ๋๋ง์ ์ํ ์ฌ์ง๋ ๋ง๋ค ์์ ์ด๋ค. ๋ฌผ๋ก ์๋ ์ฌ์ง๋ ์ง์์ ์ผ๋ก ์ฐ์ ์์ ์ด๋ค.
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POJANGMACHA PROJECT
The Street Stall (POJANGMACHA) Project has finally started. Directors in various creative fields, such as architecture, cooking, sound, and visuals, gathered together to visit street stalls in Seoul and present a performance.
Editor. Anna Choi Photographer. Jeong Ho Kim Pojangmacha Project started when the two architects, Kim Tae-beom and Kim Tae-ho, tried to take a look at the huge structure of Seoul differently through the small, shabby street stalls. Street stalls have been evolving with various structures and features as the city changes rapidly. The two architects called the street stalls the โhealers of the cityโ and they have created an amazing and architecturally profound street stall called the โTransformer Street Stall.โ In order to put life into the new structure and to challenge spatial evolution, Eloquence recruited directors from many different fields to help. The Street Stall Project not only displays the new structure as a simple simulation, but it is also a process to create new culture, where people can eat, drink, and have fun inside the street stall. You will be able to enjoy the one-and-only street stall party as early as December this year.
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Architect. TaeHo Kim Sound Director. Udo Lee Art Director. Snil Yom Food Director. JiHo Jeon Creative Assistant. Miu Kim (from left)
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