Museum Project

<Museum Project>  이은종

미술시장의 흐름이 변화되면서 미술관의 기능과 영역이 다양한 창작과 향유의 접점영역으로 변화되고 있다. 미술관을 찾는 관객층은 전문가와 비전문가의 경계선이 모호해 질 만큼 작품의 이해와 관심도가 점점 높아지고, 더불어 개인에게는 작품에 대한 감상적 경험만큼이나 미술관의 공간과 건축에 대한 미학적 견해와 장소로서의 체험을 갖게 한다. 그렇다면 작가에게 미술관은 어떤 영향을 미치는가!

작가에게 미술관은 작품을 전시하거나 수장하는 상징적 힘을 가지게 하고, 세계를 향해 새롭게 작품을 해석하고, 변화시킬 수 있는 권력적 공간이다. 또한 작업을 바라보는 사회는 어느 미술관에 어떤 경로로 어떤 작품이 수장될지에 대해 흥미를 보인다. 이러한 사회현상을 통해 미술관은 작품 수장고로서 권위와 권력의 상징성을 가지게 된다. 나는 이러한 미술관이 지니고 있는 권위와 상징성을 떠나, 미적 질서와 시각적 효과나 흥미를 유발하는 차원의 장치를 벗겨내, 미술관 건축물의 공간 자체로서의 재질적인 표현과, 현실의 실체를 자유롭게 표현하고자 한다. 진짜 현실의 느낌을 무질서한 물체의 흐트러짐과 전시를 준비 중인 현장의 기자재, 작품이 펼쳐지기 전이나 벽면에 걸리는 시간의 흐름을 통해 미술관이 지닌 현재의 풍경을 리얼하게 연출한다.

미술관은 도시와 함께 성장하고, 각 영역의 문화를 지향하고 미술사에서 주류 제도의 자리를 내놓은 적이 없는 예술의 권력적 공간으로, 미술관은 일종의 미술관 미술을 만들어 냈다고 해도 과언이 아니다. 이번 작업은 미술관 놀기를 통해 기존의 엄숙하고 근엄했던 공간의 질서를 파괴하고, 그 동안 진행은 했으나 발표하지 못했던 작업을 발표시키고, 순수하게 공간을 지키고 있는 파티션과 구성물을 통해 새로운 art work을 진행한다. 창작자는 자신의 작업에 의해 창조되고, 창작이 사유하는 모든 것을 사유하고 만들어내는 것이라 생각한다. 창작된 작업이 새롭게 사유 될 수 있는 곳, 그 곳이 미술관이다. 그 곳에 전시된 작품들이 가치를 인정 받는 것은 단순히 작가나 희소성의 문제가 아니라 문화적으로나 사회적으로 크거나 작게 권력구조가 연결고리를 이루고 있다. 그렇다면 ‘전시기획자의 이슈나 사회/정치적, 상업적 권력 구조가 부재한 미술관이 존재 한다면 그 공간에 남은 힘은 무엇일까?’ 그리고 미술관이 도시에 끼치는 영향? 등 이러한 의문으로부터 시작된 ‘Museum Project’는 나에게 작품이 한 점도 없는 전시장, 예술품이 부재하거나 전시를 하기 위해 난장판화되어 있는 전야제, 즉 그 공간은 관람 시 존재하게 되는 통제나 감시, 규제가 없는 공간이며, 마치 영화 촬영을 하기 위한 셋트, 또는 배우를 기다리는 연극무대, 또는 텅 빈 공간처럼 보인다.

<Museum Project> Eunjong Lee

By changing of Art market, the museum has been changed to contact area of creation and entertainment. The public interest and understanding to artwork in museum are rising, and the boundaries between professional and amateur are being blurred and muddled. Moreover museum provides space to feel the aesthetic view to the museum building with emotional experience to the artworks to audience. Then, what is the effect of museum for the artist.

For the artist, the museum have the a symbolic power of collection or exhibition of works. And also it is the space of power which can analyse and change the work in new point of view to the world. Moreover the world which look at the art have an interest in collections of museums in what artist’s work with what path. Through these social phenomena, the museum will have the symbolism of authority and power as the Museum storage. I want to leave this museum symbolism behind, and express the reality substance and material expression of the museum building itself by striping away the systems of interesting, aesthetic and visual effects. The image shows reality install situation by scattering materials around the exhibition space with various equipments.

The museum grow with the city, and orient culture of various area. So, it is not an exaggeration that museum made a sort of ‘museum art’ as a place in the mainstream with powerful place in the art history. Through ‘playing museum’ process, the Museum Project destroys the existing order in the space that was solemn and grave, publish the hidden works which did not published, and proceed the new art work with pure partition and materials in the museum. The creator is created by their own artwork, and the creation is created with thinking and deliberation. The Museum is a storage place for newly created by creator. The value of artwork which is exhibited by the museum is recognized to the public, because there is a cultural and social connection of a big or small power structure in museum. This is not a issue of artist or scarcity of work. If there is no issue of curator and social/political/commercial structure in the museum, then what is the power of the museum? Also what is the effect of the museum to the city? The ‘Museum Project’ has been started with those questions. And the empty exhibition space or scattering space with install materials has no control, observation and regulation of the museum. Moreover this space is shown as film set, stage for actor/actress, or just empty space.

Distracted Space, scattered objects        Kim Jong Gil | Art Critic

The Sketch of Eunjong Lee’s Photographs; Art Politics of Modern Art Gallery

A debate about ‘New Gallery’ in modern art galleries is related to art discourse of ‘Now/Here’. Accordingly, the end of Modern is essentially related to social system of ‘That time/There’, and it will be historicized having relationships with all cultural and artistic bodies. In spite of zooming in and out the back of time as the perspective and focusing on it clearly, ‘That time/There’ does not return into ‘Now/Here’. To tell post-modern, we have to enter into the inside of modern straightly, to turn the nature of modern inside out or to deconstruct it and to think restructuring /post-structuring and recontextualization /decontenxualization. In that process, we can reach to ‘Now/Here’ discourse only after incinerating the remnants of castoff modern.

It is the art gallery that the art is born as a body, the most structured system. An art gallery, just a storage of artworks, stirred up the politics of art history gaining a white cube and reconstructing works, rejected historical identity of aesthetics, and began to exhibit Avant-Garde paradigm. Organization system in management of a storage and cataloging have evolve over and over, which transformed an art gallery (just a institution) into a body (an alive body). Seven key words such as collection, preservation, management, research, exhibition, education, and service are the structures of a body where the reason and practice are begun, expanded and converged. The birth of modern art gallery is interwoven with the revolution and politics of the ‘modern art’ and such evidences of collections, and its birth could be completed by ever-changing and widespread ‘masterpiece’ collection.

Modern art gallery had ceaselessly absorbed ‘modern’. Nowadays, a lot of the 20th century art galleries became ‘past’ that they criticized and attempted to break, and was in the satiety of Avant-Garde and exhausted. ‘That time/There’, which modern art galleries gave attention, just whispers the rigid aesthetics, ideological art history and movements of being unable to move freely like summarized encyclopedias. Master artisans of pop art, master artisans of abstract expressionism and even master artisans of dada do not any more pronounce the new. After they became a star in the art world with their major works, they become a deceased intangible cultural asset or they wander like a ghost owing the institutionalized reputation. The flame of modernism, which flares up intensively from the tail of post-modern discourse, was the incineration of modern as well as the cremation rite of modern art.

Today, an art gallery of ‘Now/Here’ is the space where the politics of contemporary art is planned and consumed the most vigorously. The body of an institution, which modern art gallery completed, now does not separate the inside and the outside. An art gallery of ‘Now/Here’ actively intervenes in and makes a voice about the space of modern art, and volunteers to be a speaker of the incident within such space. The time of post-museum had begun in the place where modern was already burned out; because modern art galleries of South Korea began just 10 years ago, it is tasting luck of post-museum’s sprout. In contemporary art world, there is issues about how to deconstruct and rethink ‘That time/There’ as well as phenomenon of constructing more ‘Now/Here’ arts. The most of works, which are exhibited from 2 weeks to a month or over 2 months even or over several months, are invited regardless of collections of the art gallery, and then these are scattered as soon as the exhibition is finished. An art gallery, the destination of the art, became the platform; it might mean that politics of collection that modern art gallery sought was change into politics of exhibition.

The photograph of Eunjong Lee was to change the discourse of art into the discourse of art gallery and to catch the moment of politics which happened quietly and vividly. Lee’s photograph recorded that walls of constructing disharmony successfully were broken easily and disappeared through infiltrating between ‘going’ exhibition and ‘coming’ exhibition and into a gap of deconstruction /demolition and construction (in spite of getting permission beforehand); it caught that the space was again constructed. That space reminds us of segmented words before the language was created and is full of irregular noisy like the plosive. Institutions wonder not composing a body, and the shadow of artistic vanity, desire and obstinacy that cannot be satisfied roams. Packed or unpacked works are displayed with wastes, equipments and partition structures, and these are losing ’self’ like homeless who lost a social security number. In the space of such loss, we sneaked a look at dysfunction of modern art, which cannot afford ’self service’.

To break modern art rather than modern, equally we have to “enter into the inside of modern straightly and to turn its nature inside out or to deconstruct it”, and practical thinking, “restructuring /post-structuring and recontextualization /decontenxualization” are required. Heaps of castoff exhibition from Lee’s photographs testify how the period of post-museum transformed from modern art gallery politicalizes itself like the modern. And, such heaps might not blaze up like the dry firewood because outer walls of an art gallery based on huge muscles, a seductive naked body and a fortress of strong capital look like ‘exhibition-machine’ of being unable to be incinerated. Eunjong Lee creates ’scenes’ of mechanical body, frankly exposed organs, dignity or the antique, modern and postmodern, and the inside scenes of scattered and distracted art gallery as ‘art works’ regardless of a feeling like a kind of ‘museum’.

Now, we need to interpret ‘work’ as art works, becoming free from working note. The point that she decontextualizes the art and art gallery by rethinking is that she again hangs her works on the white wall. Keywords like modern, modern art gallery, That time/There’, ‘Now/Here’, a body, a machine and post-museum are just basic concepts of her work, and the metaphor that she attempts to represent seems to be related to ‘agency of photograph’. The space for the exhibition shows an aspect of Avant-Garde, which modern art gallery enthusiastically supported. Recently, young English artists gave avant-garde performance, throwing and breaking the 20th century master pieces; the scenes of Eunjong Lee show stronger ‘contemporary art’. Isn’t the situation, which art works and non art works are mixed or scatted over the exhibition hall, the forefront of contemporary art? Her works reminds us of ‘performance art’ that exhibits evidences as a witness who observed the forefront of the art.

Pink Room of <D #0601 Project 2009> was shot during painting construction; although only a wheeled iron scaffolding, paint pots and lightings of illuminating the wall without the viewpoint were installed, this is a good exhibition and a work.

<G #0716 Project 2009> represents the situation that partition structures were placed or were not placed in an proper location. The machine of cutting the panel and partition mean art works of the moment that intrudes regardless of the space production plan. In this scene, which the form of picture, sculpture, image and art disappeared or did not yet emerged, ‘autonomy’, which cannot be concluded by any aesthetic and theory, exists.

The motif of <G #1019 Project 2009> is paint pots, coloring the surface of the wall of the exhibition room. The scene of ‘color-pots’, which can be installed openly inside the art gallery, looks like the scenery of the artist’s studio. We can remind the action painting and the body drawing of Yves Klein from pots, which are scattered without a owner/artist. Some photographs are blank, and other photographs are the mixture of a ladder, a ladder truck and others’ works that are installing. One of the most impressive photographs is the work that there is an orange hand forklift in the middle. A hand forklift, simple and rigid design concept of the machine designer, is ‘installed’ like the monument of structuralism aesthetic.

The spaces in the photograph hang in the exhibition room as single photography. Such spaces were anonymized, and others’ works, which sometimes emerge in the photographs, do not provide aesthetic reference. Those exist just there as objects like packing materials, the wood structure, paint pots and a ladder truck. However, her pictures are inserted at the wall of art gallery, partition and the floor in the photograph. She changed the lights and colored the wall. And, she hanged her picture secretly; it is a delicate image manipulation as well as an attempt to initiate uncomfortable conversation about politics of the art gallery.

“Intervening, speaking and being a speaker of the incident oneself”

She intervenes as editing her pictures in the space of ‘That time/There’ art gallery and exhibition. She installs her works at the wide basket, the empty partition, the wall and the floor as the gaze of a space director or curator. She makes to speak the incident as ‘inserting’ the works among spaces of before the exhibition is deconstructed and deconstructed things are constructed.

<N #0615 Project 2009> is the construction site of some art gallery’s storage. Her work emits blue light among remains of the space and is being exhibited oddly and strangely as if someone forgets and does not demolish. The authority of her work, which is not afraid of scratch or crack, resembles a instinct of a storage of a museum that needs to endure even the violence of the war. In the demolition site which entirely uncovers the iron bar, concrete and brick among structures of completely dismantled space, her works are hanging intactly as if by magic. As such way, she intervenes modern art gallery, speaks and volunteers to be a speaker of the incident. This is the reason why she intervenes the power of art and politics of modern art gallery as ‘photography act’ and means the art of kind self service against the ‘art’ of loss.

정신없는 공간, 흐트러진 사물들        김종길 | 미술평론가

이은종 사진의 밑그림 ; 근대 미술관의 미술정치학

근대 미술관 이후의 새로운 미술관에 관한 논의는 ‘지금/여기’의 미술담론과 구별되지 않는다. 근대의 종식은 결국 ‘그때/거기’의 사회적 체제, 제도들과 연결될수밖에 없고, 그것은 또한 모든 문화적, 예술적 신체들과 관계를 맺으면서 역사화 될 것이다. 시간의 뒤를 원근법으로 밀고 당겨 선명하게 초점을 맞춰도 ‘그때/거기’가 ‘지금/여기’로 환원되지 않는다. 우리가 근대 이후를 말하기 위해선 근대의 내부로 직핍해 들어가 그 본질을 뒤집어 까거나 해체해야 하고, 재구조화/탈구조화, 재맥락화/탈맥락화의 사유를 거치지 않으면 안 된다. 그 과정에서 탈각된 근대의 더미를 소각한 뒤에야 우리는 비로소 ‘지금/여기’의 담론에 이를수 있을 것이다.

근대를 거쳐 미술이 가장 구조적인 제도, 신체로 탄생한 것은 미술관이다. 작품 창고에 불과했던 미술관이 화이트 큐브를 얻어 작품의 재구성을 이루면서 미술사의 정치성을 뒤 흔들었고, 미학의 역사적 동일성을 거부했으며 아방가르드 정신을 컬렉션하기 시작했다. 창고관리와 목록작성의 조직체계는 분화를 거듭하여 단지 기관에 불과했던 미술관을 하나의 신체, 즉 살아있는 몸으로 변화시켰다. 수집 보존 관리 연구 전시 교육 서비스 등 일곱 개의 키워드는 미술의 사유와실천이 발생하고 확장, 수렴되는 몸의 구조들이다. 근대 미술관의 탄생은 ‘근대미술’이 보여 주었던 미술의 혁명과 정치, 그 증거들의 컬렉션과 맞물려 있는데,집요하고 광범위한 ‘명품’ 컬렉션을 통해서 자신을 완성시킬 수 있었다.

근대 미술관은 끊임없이 ‘근대’를 내부로 빨아 들였다. 오늘날 20세기의 많은 미술관들은 그들이 비판했고 넘어서고자 했던 ‘과거’가 되었으며, 아방가르드의포만감과 피로함에 놓여 있다. 또한 그들이 주목했던 시대의 ‘그때/거기’는 큐브 안에서 요약 정리된 표준전과처럼 딱딱한 미학, 관념의 미술사, 거동이 불편한운동을 들려주고 있을 뿐이다. 팝아트의 장인들, 추상표현주의의 장인들, 심지어 다다의 장인들은 더 이상 새로운 언표를 띄우지 않는다. 그들은 자신의 대표작을 입고시킨 뒤 작고한 무형문화재가 되었거나 제도화된 명성에 힘입어 유령처럼 세계를 떠돈다. 포스트모더니즘 담론의 꼬리에서 요란스럽게 타 오른 모더니즘의 불꽃은 근대의 소각이자 근대미술의 다비식이었다.

오늘날 ‘지금/여기’의 미술관은 당대 미술의 정치가 가장 왕성하게 기획되고 소비되는 현장이다. 근대 미술관이 완성한 기관의 신체는 이제 내, 외부를 구분하지 않는다. 현대미술의 현장에 적극적으로 개입하고 발언하며, 스스로 사건의 발화자가 되기를 자청한다. 포스트 뮤지엄 시대는 이미 근대가 타버린 자리에서싹텄고, 한국의 현대 미술관은 역설적으로 고작 10년에 불과한 역사 때문에 그 싹의 행운을 맛보고 있다. ‘그때/거기’의 미술을 어떻게 해체하고 재사유할 것인가 못지않게 ‘지금/여기’의 미술이 더 많이 조직되고 있는 것은 그 현상이다. 두주에서 한 달 혹은 두 달, 심지어 수개월에 걸쳐 전시되는 작품들의 대부분은 미술관 컬렉션과 상관없이 초대를 받고, 전시 종료와 함께 흩어진다. 미술의 종착지였던 미술관이 플랫폼이 되었다. 그러나 그것은 근대 미술관이 추구했던 컬렉션의 정치성을 전시의 정치성으로 바꾼 것과 다르지 않아 보이기도 한다.

사진의 타격 ; 상실의 미술에 가하는 셀프 서비스 미술

이은종의 사진은 미술담론을 미술관 담론으로 바꾼 뒤 그 신체 내부에서 은밀하게, 그러나 생생하게 벌어지는 정치성의 현장을 포착한 것이다. ‘가는’ 전시와‘오는’ 전시사이, 해체/철거와 구조공사의 틈으로 잠입하여(공식적인 잠입이지만) 불화의 구축에 성공한 벽들이 가볍게 부서지고 사라지는 것들을 기록했고,다시 세워지는 공간을 박았다. 그 공간은 언어가 생성되기 전의 분절된 단어들을 연상시키고 파열된 음처럼 고르지 못한 소음들로 가득하다. 기관들은 신체를이루지 못한 채 떠돌고 사유될 수 없는 미술의 허영과 욕망과 아집의 그림자가 떠돈다. 작품들은 포장된 채 혹은 포장이 뜯겨진 채로 쓰레기와 장비들, 파티션구조물들과 어울리며, 주민등록을 상실한 노숙인과도 같이 ‘자기’를 상실하고 있다. 그 상실의 자리에서 우리는 ‘셀프 서비스’하지 못하는 현대미술의 기능장애를 엿본다.

근대가 아니라 현대미술을 극복하기 위해선 동일하게 “내부로 직핍해 들어가 그 본질을 뒤집어 까거나 해체해야 하고, 재구조화/탈구조화, 재맥락화/탈맥락화”는 실천적 사유가 요청된다. 이은종의 사진에 등장하는 탈각된 전시의 더미들은 근대 미술관에서 포스트 뮤지엄으로 건너 온 이 시대가 근대와 다르지 않게자신을 어떻게 정치화 하고 있는가를 증언한다. 그리고 그 더미들은 마른 장작처럼 활활 타오를 것 같지 않다. 거대한 육질, 유혹적인 나체, 견고한 자본의 성채를 배경으로 가진 미술관의 외벽들은 소각 불가능한 ‘전시-기계’들처럼 보이기 때문이다. 이은종은 그와 같은 기계 신체의 ‘장면’들과 적나라하게 노출된 장기들, 품격이나 고풍스러움, 모던함과 포스트 모던함, 일종의 ‘뮤지엄스런’ 느낌들과는 하등 관계없이, 어지럽고 산만한 미술관 내부 풍경을 ‘작품’으로 돌려놓는다.

이제 우리는 그의 사진의 ‘현장일지’에서 빠져나와 작품으로서의 ‘작업’을 해석할 필요가 있다. 그가 사진의 재사유로 미술과 미술관을 탈맥락화 한 지점은 그가 자신의 작품을 다시 화이트 월에 건다는 점이다. 근대, 근대미술관, 그때/거기, 지금/여기, 신체, 몸, 기계, 포스트 뮤지엄과 같은 키워드는 사실상 그의 작업의밑 개념일 뿐 밖으로 타전하고자 하는 메타포는 모종의 ‘사진의 행위성’과 관련이 있는 듯하다. 전시가 발생하는 현장은 흥미롭게도 근대 미술관이 그토록 열렬하게 옹호했던 아방가르드의 어떤 한 양태를 보여준다. 최근 영국의 젊은 예술가가 20세기의 명작들을 던져 부셔버리는 전위적 퍼포먼스를 펼친 바 있는데, 이은종이 보여주는 장면들은 그보다 훨씬 강렬한 ‘컨템포러리 아트’를 발산한다. 미술과 미술 아닌 것들이 섞여서 전시장에 널브러져 있거나 혼재한 상황은 그 자체로 당대 미술의 최전선이 아닐까. 그는 최전선의 미술을 목격한 목격자로서 그 증거물들을 전시장 내 거는 ‘행위예술’을 수행하고 있다는 생각이 든다.

<D #0601 Project 2009>의 핑크 룸은 페인트 공사가 한 창일 때 촬영한 것인데, 바퀴 달린 철제 아시바와 페인트 통들, 그리고 시점 없이 벽을 비추는 조명만으로도 훌륭한 전시이며, 작품이다. <G #0716 Project 2009>는 제작된 파티션 구조물들이 자리를 잡았거나 아직 제 위치를 잡지 못한 채 어정쩡하게 놓인 형국이다. 패널을 절단하는 기계와 파티션은 공간연출 계획과 상관없이 끼어 든 그 순간의 작품들이라 할 수 있을 것이다. 회화나 조각, 영상, 미술의 형식이 사라진,또는 아직 등장하지 않은 이 장면에는 어떠한 미학, 이론으로도 결론 내릴 수 없는 ‘자율성’이 존재한다.

<G #1019 Project 2009>는 전시장 벽면을 컬러링한 페인트 통들이 주제 작품이다. 미술관 내부에 이토록 당당하게 설치될 수 있는 ‘색-통’들은 화가의 작업실에서나 볼 수 있는 풍경일 터이다. 주인/작가도 없이 무방비적으로 놓인 통들에서 잭슨폴록의 액션 페이팅과 이브클라인의 신체 드로잉을 떠 올 릴 수도 있겠지만, 이보다 강렬할 수는 없을 것이다. 어떤 사진은 텅 비어있고, 또 다른 사진은 사다리와 사다리차, 설치되고 있는 누군가의 작품들이 혼재한다. 가장 인상 깊은사진 중의 하나는 주황색 핸드 지게차가 덩그러니 놓인 작품이다. 핸드 지게차는 기계 설계자의 단순하고 강직한 디자인 컨셉이 마치 구조주의 미학의 모뉴멘트처럼 ‘설치되어’ 있다.

사진 속의 현장들은 이제 하나의 단일한 사진작품으로 전시장에 걸린다. 그 공간들은 익명화 되었으며, 간혹 사진 속에 등장하는 누군가의 작품들은 미학적 레퍼런스를 제공하지 못한다. 그것은 포장재 쓰레기나 공구들, 목재 구조물과 페인트 통, 사다리차와 다르지 않게 하나의 사물로 거기에 있을 뿐이다. 그런데, 거기, 사진 속 미술관의 벽과 파티션에, 바닥에 그의 사진들이 끼어 있다. 조명을 바꾸고, 벽에 칼라를 입혔다. 그리고 슬쩍 자신의 사진을 걸어 놓았다. 그것은 정교한 이미지 조작이면서 미술관의 정치성에 대한 불편한 말 걸기의 시도이다.

“개입하고 발언하며, 스스로 사건의 발화자가 되기”

그는 ‘그때/거기’의 미술관과 전시공간들에 자신의 사진을 합성하는 방식으로 개입한다. 넓은 좌대, 빈 파티션, 벽과 바닥에 그는 공간연출가 또는 큐레이터의시선으로 작품을 설치해 넣는다. 전시가 해체된 자리에, 해체된 것들이 구조화되기 전의 공간들에 작품을 ‘끼워 넣기’함으로써 사건을 발화시킨다. <I #0615 Project 2009>는 어느 미술관 수장고의 공사현장이다. 그의 작품은 공간의 잔해들 사이에서 푸른빛을 발하며 마치 누군가 잊고 철거를 하지 않은 것처럼, 기이하게, 낯설게 전시되고 있다. 스크레치나 크렉을 두려워하지 않는 작품의 위세는 전쟁의 폭력에도 견뎌야 하는 수장고의 본능을 닮아 있다. 완전히 뜯겨져 나간공간의 구조물들 사이에서, 철근과 콘크리트, 벽돌이 생짜로 드러난 철거현장에서 그의 작품은 신기하게도 털끝하나 상한 곳 없이 멀쩡하게 걸려있는 것이다.그는 이런 방식으로 현대 미술관에 개입하고 발언하며, 스스로 사건의 발화자가 되기를 자청한다. 이것이 그가 근대 미술관의 미술권력과 현대 미술관의 정치성에 ‘사진 행위’로 잠입하는 이유이며, 상실의 ‘미술’을 향한 친절한 셀프 서비스 미술일 것이다.