藝術家Artist
李世鉉Lee Se-Hyun
藝術家簡介Artist Profile
1984年出生於韓國全羅南道，2009年畢業於韓國東新大學攝影傳媒學系。他藉由拍攝不同城市中的歷史場域，像是亥安盆地(Punchbowl)、南北韓非軍事區(DMZ)、日本長崎軍艦島(Battleship Island)以及廣島原爆圓頂館等地，將逐漸淡化或轉換的場域氛圍仍能與當代人的情感記憶相互聯繫，因而開啟《界線Boundary》此一系列的攝影創作。在記錄歷史地點的同時，他特別以丟擲石頭的行為再提出新的詰問，嘗試開啟與過去發生之歷史事件相互對話的可能性；而這塊深具指標性的石頭，也如同一位長期在現場的旁觀者及觀察者，存在於在藝術家記錄的前與後，丟擲石頭的行為本身同時也代表著人類的暴力、侵略性及衝突欲望，從而呼應這些歷史場域的本質。(個人照：Rich Matheson攝影)
Born in Jeollanam, South Korea in 1984, graduated from the Department of Photography and Communication at Dongshin University in Korea in 2009.
Lee Se-Hyun shoots through historical fields in different cities.
Like the Punchbowl, the North-South Korean demilitarized zone (DMZ), the Battleship Island, and the Hiroshima Atomic Bomb Dome, the atmosphere that will gradually dilute or transform can still be compared with the emotional memory of contemporary people. Connected to each other, thus opening the series of photography creations of Boundary
創作論述Work Text
界線
歷史起源於人類的過去行為。現在的我們無法面對面經歷過去已發生的事件。我們只能透過書寫或口述的方式學習歷史。此次作品從一個歷史事件發生的地點開始。
作品記錄下歷史事件發生的空間。亥安盆地及南北韓非軍事區，這兩項物件捕捉了戰爭造成的傷疤。在南韓境內的非軍事區，象徵著禁止進入以及對戰爭的恐懼。「軍艦島」指的是日本軍艦島，因曾在二戰時期監禁奴役韓國人，而後欲申請聯合國教科文組織列入世界文化歷遺址時引起很大爭議。「五一八」描繪全羅南道政府，隱藏1980年代民眾遭受軍方政權屠殺而犧牲生命的真相。作品中的地點是南韓當代歷史中重要事件的發生地，同時包含更多尚未揭發的真相。我透過攝影，紀錄歷史地點同時嘗試再提出新的疑問。展出作品主要分成兩個層次，其一是更加瞭解歷史，另一個則是對當代歷史再次提出質疑。為了視覺上呈現問題，我選擇直接介入。作品中體現一塊石頭朝相機方向丟來，這塊深具指標性的石頭，如同一個長期在現場的旁觀者及觀察者，存在於在我出現之前及之後。丟擲石頭的行為代表人類暴力，侵略性及正面衝突的欲望本質。
如果歷史是一個事件的書寫記錄，歷史現場則是此一事件的證明，證明攝影中所捕捉丟擲石頭的行為實際發生過。我希望藉此能激發更多的問題再浮現。
Boundary
History originates from humans’ behavior in the past. We at the present time cannot come face to face with events that have already taken place. Only can we learn through what has been handed down either in a written or oral form. This work starts from a historical place that remains in the past time.
The work documents space. The space documented is where historical events happened. Two pieces, punch bowl and DMZ, captures the scars left by war, the nature of which access is forbidden and fear of war in the Demilitarized Zone existing in South Korea, one of the two only countries in the world in truce. Battleship Island is a story about the namesake island that has been controversial for being listed as UNESCO World Heritage in spite of distorting the tragic history of the Koreans who were forced into labor. 5.18 portrays the government building of Jeollanamdo Province that keeps the unrevealed truth of the civilians who were sacrificed for the power of the military regime in the 1980s. Sites in these works are those that were at the center of events in the modern history of South Korea and keeps within it the truth yet to be uncovered. Documenting historical places by photographing is an attempt to question again. Largely, the works have two layers; one is about the site embracing history and the other is the question of our moderns regarding the truth that it holds. To visualize the question, I chose to intervene directly. It is embodied in the stone that is thrown into the camera’s angle. This stone that is thrown is a monumental material – a watcher and observer that may have been there for a long time, from the time before I came till now and even after. The act of throwing implies the violent, aggressive and confrontational nature of human that appears with a desire of something.
If history is the written record left of an event, the site is its proof. Proof of the record captured in photographs with the act of throwing stone, I hope it prompts questions to resurface.