뉴 카메라 옵스큐라의 시대

천경우 에이엠아트 2024 Art in culture Vol.25 No.1

신체적 경험과 인간관계의 사진적 표출 : The Weight, Most Beautiful 작품을 중심으로

천경우 현대사진영상학회 2021 현대사진영상학회논문집 Vol.24 No.3

The fundamental characteristic of photography, which always requires an object, is tied to the routine and repetitive human action of first confirming one’ s own existence through the existence of others, especially in the category of object individual. In this thesis, I would like to look back on two works from the artist’s point of view based on the recognition that a human being is always connected with others, the value of existence is formed, and is an independent and interdependent existence. It deals with the visualization of the unconscious revealed in the performance process of the work, the recognition of new senses discovered through the act of non-routine physical contact with others, and the results of the image consciously formed as a participant. This project was realized with the invitation by the Macval (MAC/VAL - musée d’art contemporain Val-de-Marne), a contemporary art museum in Vitry-sur-Seine, France in conjunction of commemorating the 130th anniversary of diplomatic ties between Korea and France. It contains information about the background and process of the production of the realized work. In addition, I would like to describe the possibility of new artistic expression discovered through the process of this project, which was produced while traveling between France and Korea during the project period. By introducing the conception background and process of the two works The Weight(2016) and Most Beautiful(2016), it is not a directing for an image, but an example of the possibility of expressing an image through real experience and imagination, giving researchers and artists a new perspective on the photographic medium. key

인물사진에서의 시간인식과 인물간의 교감에 관하여 - Thirty-Minute Dialog, One-Hour Portrait 시리즈를 중심으로 -

천경우 ( Chun Kyungwoo ) 한국사진학회 2021 AURA Vol.0 No.46

The act of taking a portrait photograph is a historical event that captures the flow of the past and present in the image. Since the mid-1990s I have been searching for new questions and methodological alternatives through doubts about the perceptions that have been traditionally and absolutely regarded in photography history. One of them relates to the role of the photographer and the person to be photographed', which is the subject of shooting in portrait photography, and the other that follows is related to the perception of time contained in the picture, the uniqueness of time', Experimental attempts have been made to implement works through technical experiments. The strong skepticism resulting from the continuous experience of the inconsistency between the photograph and the person created the inevitability of pursuing new possibilities behind the scenes while still respecting the valid traditional perception in many cases and denying it. This article contains some descriptions of the background and production process of representative experimental series based on the awareness of the problem of photography that began to be intensively dealt with in the mid-1990s. This reveals that this is not an article about the artist's own analysis or interpretation of the work.

행위로서의 사진과 퍼포먼스 - reMEMBERed, Versus 시리즈를 중심으로 -

천경우 ( Kyungwoo Chun ) 한국사진학회 2021 AURA Vol.- No.47

This thesis is a study on the possibility of extension of photography from the process of taking portraits, which aims to result in a photographic image, to a performance art in which the process itself becomes the center of the work. The background and development process of the work are centered on the photographic series reMEMBERed (2002), Pseudonym (2004), and Versus (2007), as well as the performance works 18x1Minute (2004) and Versus (2007-2012) derived from photographic works. In addition, noteworthy parts of the contents that various theorists have described about the artist's work are extracted and compared with the author's thoughts. Based on this, various examples of a performance work, which is a work as a work itself and ‘photography as a holistic experience of space and time’, is presented along with the image of the work, and through this, the possibility of new recognition of the photographic medium is discussed.

참여적 자화상으로서의 인물사진 : Being a Queen, Face of Face 시리즈를 중심으로

천경우 ( Chun¸ Kyungwoo ) 현대사진영상학회 2021 현대사진영상학회논문집 Vol.24 No.2

The requirements for portrait photography are premised on the fact that the photographer and the subject are together in one space. In other words, a photographic image is formed as a single overall result through small and large interactions and empathy in space and time where the photographer and the subject person coexist. The two photographic series to be introduced in this article both have the structure of the process of acting (performance) and the image as their result. And the process of making a photo is not aimed at capturing any moment or finding and recording the characteristics of a person, and the conditions for who the subject will be are given regardless of their appearance. Rather, it is made up of voluntary ‘choice’ and ‘participation’ by those who want to understand and participate in the conditions given by the artist, and as a result of their act of participation, the characters ultimately experience the way they see themselves. The author sees these processes and technical conditions as the meaning of ‘self-portrait as participation’. In this paper, Korean and foreign theorists introduced and interpreted the process from the conception stage to the production process and exhibition in Europe and Korea of the project Being a Queen (2007/2009) realized in Denmark and Face of Face (2016) produced in Korea. I would like to present the expanded possibilities of photographic expression of how people in front of the camera look at themselves, along with examples of their perspectives, as well as the participatory act, the perception of time in it, and how the people in front of the camera view themselves.

장치로 경유되는 현실과 감각의 형상들 - 연작 <Double Retina>를 중심으로 -

정영호,천경우 한국사진학회 2024 AURA Vol.- No.52

This study focuses on how technical environment are changing the human perceptions. As an important tools for understanding and sensing the world, devices are hugely affecting contemporary world. As a broad boundary of device, it includes digital camera, screen, smartphone, 3d printer, server, and even software architecture which is able to work mechanism in purpose. It includes discussions on photography series <Unphotographable Cases>, <Face Shopping>, and <Double Retina>. As for the <Face Shopping> series, it describes how generative AI is able to create technical hallucination on screen in daily life. Dealing with <Double Retina>, it discusses how inidividuals are facing the world with naked eye and screen, which is updating infinitely in real time. Two realities, screen and naked eye, are putting individuals in the new type of reality and requiring updated way of couterbalancing. Ultimately, through photography series <Double Retina>, this study focuses on how updated reality is creating updated shape of senses.

물질로서의 사진과 실재의 상호작용 가능성 - 작품 평평한 방, 80g을 통해 -

김도영,천경우 한국사진학회 2024 AURA Vol.- No.52

This study is an attempt to explore the potential for the media expansion of photography through the series "Flat Room" and "80g." The advancements in photography technology have transformed the fundamental structure of photography, which is created through the reflection of light and have been creating new subjects or worlds. However, in-depth reflections on photography still cannot completely escape the directive aspect and are considered an essential concept that cannot be omitted in discussing the medium. The two works introduced in this study address the inevitable relationship between the subject and the image created in the process of producing photographic images, presenting photography as a physical object. The reproduced image that becomes a physical object reveals the materiality of the original subject of the photograph while interacting with various elements of reality in its own right. Through this research, I introduce the creation and development process of the two works, attempting to view photography not merely as a reproduced image but as an object containing an image. This endeavor aims to expand the propositions of "reproduction" and "truthfulness" inherently present in photography in a new way, serving as my initial theoretical attempt for the ongoing exploration of artistic activities

가족사진 형식을 차용한 예술사진 연구 - 연작 <New-Family Portrait>와 <新 한국의 가족> 작업을 중심으로 -

최은주,천경우 현대사진영상학회 2021 현대사진영상학회논문집 Vol.24 No.3

Family is the reason and purpose of life for many people. But for some, the family could be a group that you can force the ideal role of a family member and constantly demands duty and sacrifice. My experience of a personal complex with family naturally led to an interest in the stereotypes of ‘family photography’, which only shows the ideal appearance of “family” in a large concept. Therefore, I studied the history of family photography and the formality of family and completed the series <New-Family Portrait> (2019) and <New Korean Family> (2020) through various explorations and experimental images. I observed that many family photographs are very similar because the form of formal family photography is implicitly defined, and taken within that fixed format. We have watched the many images of ideal families defined by society for a long time, and trained by these images, prejudices against the concept of the family have naturally emerged. These stereotypes impoverish the imagination of family photographs and make the viewer prejudiced. The purpose of this study is to express the strong stereotypes of family photographs through two pseudofamily photograph series, <New-Family Portrait> which is reconstructed from amateur family photographs and <New Korean Family> which is reconstructed from documentary photographs by Joo Myung-Duck. I aim to break apart the stereotypical forms of family photographs through the two experimental series of work by creating fictional families and raise questions about the meaning of family today. key

작가의 개입을 통한 도시공간 변화의 사진적 고찰 - 사진 연작 <-현장>을 중심으로 -

정지현,천경우 한국사진학회 2022 AURA Vol.- No.49

Abstract The series <-site> is photography about changing spaces in a city and composed of <Construction site>, <Demolition site> and <Reconstruction site>. <-site> is created after going into spaces where one cannot easily find an access such as a construction site, redevelopment site and an apartment reconstruction site and adding the researcher’s artistic activity called ‘intervention’, proves the existences of the original building at those site and visualizes them. This thesis includes how the result of photography art based on personal experiences and environments is developed and realized by focusing on the works of <-site>, and studies on what the researcher discovered from his practice, the processes of creation and extinction in a city, while aiming to recall the original meaning and function of a city by suggesting problems visually. In the series, ‘a site’ and ‘intervention’ are important keywords to understand works. The researcher exchanges with a subject at each site through an artistic activity, called intervention, and records unexpected situations in order to make a possibility of interpreting photography in diverse aspects rather than limit it just as a fact or the historical reference.

경계(Boundary)를 사유하는 예술사진 연구 - 사진 연작 <Invisible Scenery> 를 중심으로 -

김전기,천경우 한국사진학회 2022 AURA Vol.- No.48

Abstract <Invisible Scenery> series is a work that started in 2007 and has continued until the present, focusing on photographic representation of ideologic and physical boundaries in korean Peninsula. This paper aims is to examine the phenomena in the physical boundaries and surroundings of military boundaries that are difficult to approach to civil. While working on this series, I could learn about other photography works by Danish photographer Nicolai Howalt and German photographer Kai Wiedenhofer which I selected as important reference. The other works of boundaries with a mix of nature and culture that I saw from their pieces imbued vigor into my works. After, I began analyzing many phenomena and partial subjects occurring in physical boundaries, which gradually expand and fluidly change over time, by dividing them into boundaries and spaces. Through this I could discover that vagueness and uncertainty of boundary zones overlapped in places where various boundaries and spaces. <Invisible Scenery> series is a photographic study a new space that ceases to exist and is created in a world mixed with physical boundaries and ideological boundaries in Korea. I seek to develop my interest toward place and space phenomena of various boundaries shown in the planning and realization of this study into the recording and exploration of photography of a higher dimension.