사운드 키네틱 설치, 미디어, 아카이빙 ~ Sound Kinetic Installation, Media, Archiving
2021 : 자연과 문화 Nature and Culture
2020 : 한국전통 : KR & 네덜란드전통 : NL = ?
2019 : 한국의 옻칠, 네덜의 블랙체리
2018 : 잊혀지는것의 재구성 프로젝트
2017 : 가이드 인포그래픽
2016 : 이방인의 네덜란드 아인트호벤 관찰 일기
2015 : 지저귐
2013 : 초기 인포그래픽 아이덴티티 작업
퍼포먼스 비디오, 6:45, 비디오 발췌, 1:31, 1920x1080px, 2018 Performance Video, 6:45, Video Excerpt, 1:31, 1920x1080px, 2018
숨 쉬는 자리 : Place to Breathe
연주자는 마음 속에 존재하는 집(Jib)라는 고정 선율의 순서를 바꾸거나 생략하여 즉흥 연주를 한다. 그들의 숨 쉬는 자리, 즉 그들의 즉흥 단위를 일반적인 사람들도 직관적으로 알 수 있도록 숨 쉬는 자리를 보여주는 비디오이다. 영상을 보면 시간이 지날수록 장면이 점점 짧아지고 빨라지는 것을 시각적으로 느낄 수 있는데, 이는 출연자들이 묵은 한의 감정을 해탈로 이끌면서, 고정된 멜로디를 짧고 빠르게 쌓고 있음을 보여준다. 영상에서 출연자들은 그들의 마음속을, 듣는 사람도 최대한 이해하기 쉽도록 간결하고 복잡하지 않게 연주하였다. The performer improvises by changing or omitting the order of the fixed melody called Jib that exists in thier mind. This is a video showing where they breathe(improvise) so that ordinary people can intuitively know their improvised units. If you look at the video, you can visually feel that the scenes are getting shorter and faster as time goes by, which shows that the performers are building a fixed melody short and fast, leading to the liberation of the old Han(resentment) emotions. In the video, the performers played concisely and uncomplicatedly in their minds, so that listeners could understand them as much as possible. *‘잊혀져가는 것의 재구성’ 시리즈의 일부로 본 작품은 레드닷 어워드에서 라이브 퍼포먼스 부문에서 위너를, 어도비 어워드에서 탑 탤런트 등을 수상했습니다. (As part of the ‘The Reframing of Being Forgotten’ series, this work won the Red Dot Award for Live Performance, and Top Talent from the Adobe Awards and more.)
Designer Suk Go
Shooting, Editing SungKwan Kim, Suk Go
Adviser Joost Grootens,
Simon Davies,
Gert Staal,
Kim Bouvy,
Bart Guldemond,
Koehorst in ‘t Veld
cast members Sun-Kyung No(Jangu),
So-Yeon Kim(Haegeum),
Sung-Min Jo(Piri),
Dong-Hyun Yu(Daegeum),
Gun-Young Yu(Ajeng)
A Partial Excerpt From Visualizing Gugak(Thesis)
Earl Brown; Open Form
Most of Brown’s works are composed of fixed modules, and a form that performance is improvised by changing the order of such modules spontaneously is called Figure Earl Brown’s Open Form. In the Reference Figure, fixed modules (fixed melodies) are grouped in circles, and the order of these circles can be freely changed by the conductor during the performance. Although the performance using the Open Form is different every time, all the performances have a single identity since they are composed of the same modules. He performed these Open Form scores in conjunction with mobile sculptures by Alexander Calder or paintings by Jackson Pollock. Most of improvised scores used visual elements, and it can be seen that the improvisation is made possible as the performer is reinterpreting these visual elements. Particularly, the use of Earl Brown’s Open Form allows creating the improvised score that retains a single identity even if similar figures of the modules are removed or the order is changed. Especially interesting was Earl Brown’s Open form during reserching improvisational score. Many of Brown’s works consist of fixed modules, but the module’s order is left to the conductor for free choice. Throughout this process, his pieces are not identical but are played in a variety of ways, maintaining a single identity (ex: The combination of Alexander Calder’s mobile sculptures). Sinawi is an improvisational piece, but there are apparently repeating parts: fixed modules. I noted that this was similar to the Open Form of Earle Brown that created improvised music by changing the order of modules or omitting some of them although music was basically composed of fixed modules, and further learned that Gugak musicians used the same method to modulate performing times by mixing and matching detailed modules in their minds in an improvised fashion. While such improvisation is possible without scores because they have played for more than 10 years since their childhood, it is difficult for ordinary Koreans and foreigners to capture its meaning in a short period of time. Thus, I decided to show the sentiments of Koreans contained in Sinawi visually and intuitively through editing as a designer.