시간과 기억의 풍경 군함도의 사진표현

Abstract

My work is intended to showcase the multifaceted meanings behind "scenes after the formation of historical facts" through the documentation of Gunkanjima. It is almost impossible to know for sure if the proposition "Every documentary is based on historical facts" is true or false even after an event has become part of the historical past. Thus, these photographs were produced while taking note of the multilayered meanings of photographs and their metaphors. Taken in a very short amount of time, these pictures are but a hiccup in a long history. What meaning does the suffering caused by the compulsory manpower draft and the diverse connotations preserved within a site of forced labor have at this Moment after so many long years? Distortion in an artist's perspective and a viewer's acceptance of such a viewpoint is inevitable. I would like to chronicle inconvenient facts that derive form present political power and capital in photographs through records of short moments in 2013 Gunkanjima, where countless people once suffered under forced labor, has changed completely. The island was successfully registered as a UNESCO, World Heritage site in 2015 by the Japanese government as a symbol of Japan's Meiji Restoration. Japan has taken an ambiguous position by not admitting historical facts. Gunkanjima shows a difference between what Japan wants and what we view this is not post-history but a metaphor for a past history. A scene following an event is a new metaphoric reality that depends on a nation or an individual's interpretation, not a representation of history. Found here is the key point of Scenes after the History. Coldhearted scenes are neutral ones. They conceal my heart. Instead of offering any meaning, they cover up my heart and extend a semantic network. We react differently to objects according to our individual experiences just as Korean and Japanese people react differently on account of their different collective experience with history. Only the shells of the buildings remain as they were partly destroyed by typhoons and the weight of time. I let objects speak for themselves in such cold scenes in order to avoid the use of distortion. The ruins of buildings were photographed to keep their horizontal and vertical balance. I let objects generate their own meaning and just highlight the scene itself. I think these photographs bring about multifaceted meanings by offering the space of thoughts where collective experiences meet individual ones rather than leading their contents by the artist.

My work is intended to showcase the multifaceted meanings behind "scenes after the formation of historical facts" through the documentation of Gunkanjima. It is almost impossible to know for sure if the proposition "Every documentary is based on historical facts" is true or false even after an event has become part of the historical past. Thus, these photographs were produced while taking note of the multilayered meanings of photographs and their metaphors. Taken in a very short amount of time, these pictures are but a hiccup in a long history. What meaning does the suffering caused by the compulsory manpower draft and the diverse connotations preserved within a site of forced labor have at this Moment after so many long years? Distortion in an artist's perspective and a viewer's acceptance of such a viewpoint is inevitable. I would like to chronicle inconvenient facts that derive form present political power and capital in photographs through records of short moments in 2013 Gunkanjima, where countless people once suffered under forced labor, has changed completely. The island was successfully registered as a UNESCO, World Heritage site in 2015 by the Japanese government as a symbol of Japan's Meiji Restoration. Japan has taken an ambiguous position by not admitting historical facts. Gunkanjima shows a difference between what Japan wants and what we view this is not post-history but a metaphor for a past history. A scene following an event is a new metaphoric reality that depends on a nation or an individual's interpretation, not a representation of history. Found here is the key point of Scenes after the History. Coldhearted scenes are neutral ones. They conceal my heart. Instead of offering any meaning, they cover up my heart and extend a semantic network. We react differently to objects according to our individual experiences just as Korean and Japanese people react differently on account of their different collective experience with history. Only the shells of the buildings remain as they were partly destroyed by typhoons and the weight of time. I let objects speak for themselves in such cold scenes in order to avoid the use of distortion. The ruins of buildings were photographed to keep their horizontal and vertical balance. I let objects generate their own meaning and just highlight the scene itself. I think these photographs bring about multifaceted meanings by offering the space of thoughts where collective experiences meet individual ones rather than leading their contents by the artist.