Ewho Gallery Presents Global Art Project: Frida Kahlo - Love & Tragedy by Seruni Bodjawati & Higi Jung


Ewho Gallery, Seoul, South Korea Presents Global Art Project (Indonesia & Korea)
“FRIDA KAHLO: LOVE & TRAGEDY”
Seruni Bodjawati and Higi Jung
Essay by Seruni Bodjawati

Man is a mystery. Although his physical action can be read but the motion of the soul is unpredictable where it leads. Within humans contained possibilities that are endless. If a human is being compared to universe, the human self is like a small cosmos and the universe is a big cosmos. Remarkably, the big cosmos can be stored in a small cosmos. The human mind itself, if it is compacted and summarized can be smaller than a grain of sand. And when it is deployed can be wider than the universe. Yes, man is a great mystery, for himself or for others.

Higi Jung tried to interpret the figure of Frida Kahlo with the sharpness point of view that is left loose. Excerpts meaning embodied in the works of photography. Her artistic presentation technique is unique. She presents a psychological analysis as an expression of short poems. It is fresh with surprises that are igniting enlightenment. The shortness of expression precisely impresses the longevity of distraction power in creativity that is difficult to be measured. Frida’s existence as a source of inspiration is described as eternal riddle. Man is a big question mark. His imperfection becomes the falsification of his wholeness. The secret of the noise is located on the edge of silence. The maturity is within the simplicity reflexion. Photographic works of Higi Jung become an unexpected appeal precisely because its expression is very close to everyday reality. Similar wonders to the heartbeat. It is fused in the body until it has palpable presence.

Higi Jung was born in Uncheon, Kunggi-do, on December 5, 1986. She ever stayed in Moscow, Russia, in 1991-1993. Until now she is living in Seoul, South Korea. In 2009 she graduated from Chung-Ang University in creative writing and photography. Getting to know Frida Kahlo at the age of 17 through the film titled Frida. Her curiosity with the Mexican legend was made her continuously hunting information via internet and books. Finally, the figure of Frida is used as a source of ideas for work, especially in photography.

Frida Kahlo is known in the art world because of her life history was full of colour and wave. She was born on July 6, 1907 and died on July 13, 1954. Living amid the roar of the Mexican revolution made her experienced tragic events. A great traffic accident made her suffering pains for life. Her marriage with a muralist, Diego Rivera, was widening inner wounds as well as boosting her creativity. Her affair with a communist leader, Trotsky, became a glamorous myth. Her attitude was reckless, with the lion guts, banging on the walls of the establishment. In short, her life story is as important to talk about as the awesomeness of her artworks. Recorded Frida made 143 paintings, 55 of which are self-portraits which often incorporate symbolic depiction of the physical and psychological wounds. She insisted, "I never paint dreams or nightmares. I paint my own reality.”

Equally fascinated by Frida Kahlo, I agreed to collaborate with Higi Jung in the project Frida Kahlo: Love & Tragedy, supported by Ewho Gallery, Seoul, South Korea. Since high school, starting when I was 15 years old, I have created dozens of paintings with the main object of Frida Kahlo figure. Working together with Higi Jung would certainly be an important record for both our artistic journeys.

There are seven pieces of my paintings I created in this art project. Five pieces sized 200 x 145 cm; A Couple of Rebels, Glimpses of Morning Star, Children of Heaven, The Legend Vanished in Memories and The Silent World of Frida. Two others are Conquering the World sized 200 x 300 cm and Opera Pablo Pickahlo sized 250 x 200 cm. The media of all my artworks are acrylic on canvases. My inclination is to tell by the winged language. I see the figure of Frida Kahlo in my artworks as an existence plagued with gloom fate. Full of problems, rebelling to grey fate, continuously searching for herself holding a twist of death on her back. As human with multidimensional characters, the figure is hammered with a big question mark that will never go over answered. I also idealize it by intentionally increasing the volume of humanity. In order for the dramatic aspects that were created can be sticking sharper. Decorative technique is quite dominating the whole field of the canvases. Surrealistic atmosphere is spreading in the stern expression. The power of colours is slightly muted to strengthen the suggestive power and fantasy games.

By featuring the clarity of mind, Higi Jung created eight photographic works. Two of them are self-portraits. Four of them were shot with a model of South Korean actress, Jaehwa Kim, her own cousin. And two works were shot with a model of a Javanese woman, Darajati Pertiwi. She shot the six works in South Korea. Two works titled Women F # 5 Pink Tears and Women F#6 Connivance were created in Indonesia when she was visiting Yogyakarta. In the series of Women F, summarized eight works titled Spring Fever, Do not be Afraid, Summer House, Ponds in the Forest, On the Carpet with Tiny Ducks, Pink Tears, Connivance, and Gaze. Thick eyebrows that characterize Frida Kahlo character are imposed on the face of the model to build a new character. It is an affirmation of the view that women are strong, independent and having unbeatable freedom. This is a maturation of culture that tends to push the perception that women should be gentle and pure.

At last, my collaboration with Higi Jung will be a silent dialogue that will never end. From two different and far places we look toward a same point. Although the direction of our view is the same but our minds are wandering into the wilderness that much different. Indeed, a friendship becomes beautiful when each person is left to be himself to the fullest.

Yogyakarta, 23 October 2012




Korean & English essays after the jump-break section:

Frida Kahlo : Love & Tragedy - by Higi Jung - 2012

μ£½μŒμ€ 인간을 κ΄΄λ‘­νžˆλŠ” λΉ„κ·Ή 쀑 ν•˜λ‚˜μΌ 것이닀. 인간은 μ£½μŒμ„ κ°•μš”λ‹Ήν•˜κΈ°λ„ ν•˜κ³  λ•Œλ‘œλŠ” μ„ νƒν•˜κΈ°λ„ ν•œλ‹€. ν•˜μ§€λ§Œ  μ£½μŒμ— κ΄€ν•œ λͺ…μΎŒν•œ 해닡을 μ•Œκ³  μžˆλŠ” μ‚¬λžŒμ€ μ–Όλ§ˆλ‚˜ λ κΉŒμ£½μŒμ€ 인간이 μ˜μœ„ν•˜λŠ” μ‹œκ°„ 상에 μžˆμ–΄ μ˜μ›ν•œ 자유λ₯Ό μ˜λ―Έν•œλ‹€. λͺ½ν…Œλ‰΄ Montaigne, M. λŠ” ≪μˆ˜μƒλ‘ ιš¨ζƒ³ιŒ„≫μ—μ„œ ‘μ£½μŒμ„ μ˜ˆμΈ‘ν•˜λŠ” 것은 자유λ₯Ό μ˜ˆμΈ‘ν•˜λŠ” 일이닀. 죽음의 κΉ¨λ‹¬μŒμ€ μ˜¨κ°– μ˜ˆμ†κ³Ό κ΅¬μ†μ—μ„œ μš°λ¦¬λ“€μ„ ν•΄λ°©μ‹œν‚¨λ‹€.’κ³  μ μ—ˆλ‹€μ£½μŒμ€ λͺ¨λ‘μ—κ²Œ λ˜‘κ°™μ΄ μ£Όμ–΄μ§„ 운λͺ…이며 그것을 거슀λ₯΄λŠ” 인간은 μ—†λ‹€. 'μš°λ¦¬λŠ” μ–΄λ””μ—μ„œ μ™”μœΌλ©° μ–΄λ””λ‘œ κ°€λŠ”κ°€?' λΌλŠ” λ¬ΌμŒμ€ 인λ₯˜κ°€ μ‘΄μž¬ν•˜λŠ” ν•œ, μ‹œλŒ€λ₯Ό λ„˜λ‚˜λ“€λ©° μ˜μ›νžˆ 지속될 것이닀. 이번 ν”„λ‘œμ νŠΈλ₯Ό ν•¨κ»˜ μ§„ν–‰ν•˜λŠ” μ„Έλ£¨λ‹ˆ λ³΄μžμ™€ν‹°(Seruni Bodjawati)λŠ” ‘μ‚¬λžŒμ€ λ―ΈμŠ€ν…Œλ¦¬λ‹€.’라고 μˆ νšŒν•œλ‹€. μ΄λŠ” λͺ¨λž˜μ˜ ν‹°λŒλ³΄λ‹€ μž‘κ²Œ μš”μ•½λœ νƒ„νƒ„ν•œ 인간 정신에 κ΄€ν•œ λ―ΏμŒμ„ 기반으둜 ν•œλ‹€. 신체적 행동은 읽어 λ‚Ό 수 μžˆμ§€λ§Œ 영혼의 μ›€μ§μž„μ΄ μ–΄λ””λ‘œ κ°€λŠ”μ§€λŠ” μ˜ˆμΈ‘ν•  수 μ—†λ‹€λŠ” 것이닀. κ·Έλ…€κ°€ λ§ν•˜λŠ” μΈκ°„μ˜ 비극은 정신적 μ˜λ―Έμ—μ„œμ˜ λ―ΈμŠ€ν…Œλ¦¬μ΄λ©° κ·Έ μ˜μ‹μ˜ 흐름은 μ‚Άκ³Ό 죽음 μ‚¬μ΄μ˜ ν˜Όλž€μœΌλ‘œ 이어진닀.

λ‚˜μ™€ μ„Έλ£¨λ‹ˆλŠ” μ‚Άμ˜ 비극을 λŒμ–΄μ•ˆκ³  μ‚΄μ•„μ•Όλ§Œ ν–ˆλ˜ λ©•μ‹œμ½”μ˜ ν™”κ°€ 프리닀 칼둜λ₯Ό 곡톡 λΆ„λͺ¨λ‘œ μž‘μ—…μ„ ν•˜κ³  μžˆλ‹€ν”„λ¦¬λ‹€μΉΌλ‘œλŠ” 1907λ…„ λ©•μ‹œμ½” μ‹œν‹° μ½”μš”μ•„μΉΈμ—μ„œ νƒœμ–΄λ‚¬λ‹€FRIDAλŠ” λ…μΌμ–΄λ‘œ 자유λ₯Ό λœ»ν•œλ‹€. κ·Έλ…€μ˜ 이름 λ§ŒνΌμ΄λ‚˜ 자유λ₯Ό κ°ˆλ§ν–ˆλ˜ κ·Έλ…€λŠ”μ•„μ΄λŸ¬λ‹ˆν•˜κ²Œλ„ μΌμƒλ™μ•ˆ 죽음의 κ³ λΉ„λ₯Ό μ—¬λŸ¬λ²ˆ κ²ͺμ—ˆκ³ , 32번의 λŒ€μˆ˜μˆ μ„ λ°›μ•˜λ‹€. μ—¬κΈ°μ—λŠ” 선척적 자ꢁ κΈ°ν˜•κ³Ό μ‚¬κ³ λ‘œ 인해 아이λ₯Ό μœ μ‚°ν•œ 일도 ν¬ν•¨λœλ‹€. 운λͺ…적인 κ³ ν†΅μ˜ 회였리λ₯Ό λͺΈμ— ν’ˆκ³  μžˆμ—ˆμ§€λ§Œ, 맀번 κ·Έ μœ„κΈ°μ˜ μˆœκ°„μ— μ ˆλ§ν•˜μ§€ μ•Šκ³  늘 μžμ‹ μ˜ μ‚Άκ³Ό μ§„μ†”ν•˜κ²Œ λŒ€λ©΄ν•˜λ©° 삢을 νƒκ΅¬ν–ˆλ‹€. “두 λͺ…μ˜ 프리닀가 항상 μ‹Έμš°κ³  μžˆμ—ˆλ‹€. ν•˜λ‚˜λŠ” 죽은 프리닀고 ν•˜λ‚˜λŠ” μ‚΄μ•„ μžˆλŠ” ν”„λ¦¬λ‹€μ˜€λ‹€.” 이승과 μ €μŠΉμ„ μˆ˜μ‹œλ‘œ μ˜€κ°”λ˜ κ·Έμ˜€κΈ°μ— κ·Έλ…€μ˜ κ·Έλ¦Όμ—λŠ” μ‚Άκ³Ό 죽음의 λ©΄λͺ¨κ°€ λ‹΄κ²¨μžˆλ‹€. κ·Έλ…€λŠ” ν”ΌμΉ΄μ†Œμ™€ λ’€μƒΉ μΉΈλ”˜μŠ€ν‚€ λ“±μœΌλ‘œ 인해 μ΄ˆν˜„μ‹€μ£Όμ˜μžλΌκ³  인정을 λ°›μ§€λ§Œ μ •μž‘ κ·Έλ…€ μžμ‹ μ€ λ©•μ‹œμ½”μ  λΏŒλ¦¬μ™€ μ„±ν–₯을 κ³ μ§‘ν–ˆλ‹€. κ·ΈλŠ” λ‹€λ₯Έ μ˜λ„ 없이 머리에 λ– μ˜€λ₯΄λŠ” 것을 그릴 뿐이라고 μ§„μˆ ν–ˆλ‹€λ§Žμ€ μž‘ν’ˆ μ†μ—μ„œ κ·Έλ…€λŠ” ν”Όν˜λ¦¬κ³  μƒμ²˜λ°›μ€ λͺ¨μŠ΅μ΄λ‹€. λˆˆλ¬Όμ„ 흘리며 고톡에 μ ˆλ§ν•˜κ³  μžˆμ§€λ§Œ 두 λˆˆμ€ 투λͺ…ν•˜κ³  κ°•μΈν•˜λ‹€. 짙은 눈썹과 ꡳ게 λ‹€λ¬Έ μž…, λ¬΄ν‘œμ •ν•œ ν‘œμ •μœΌλ‘œ λ‹΄λ‹΄ν•˜κ²Œ μ„œμžˆλŠ” 인물듀은 ν˜„μ‹€μ˜ λΆˆν–‰κ³Ό 죽음 μ•žμ—μ„œ λ”μš± 빛을 λ°œν•œλ‹€. 탄생, 결혼, μ£½μŒμ€ 프리닀 칼둜의 μΈμƒμ—μ„œ κ°€μž₯ μ€‘μš”ν•œ μ„Έ κ°€μ§€ 사싀이닀. 1984λ…„ λ©•μ‹œμ½” μ •λΆ€λŠ” κ·Έλ…€μ˜ 그림을 ꡭ보둜 μ§€μ •ν–ˆλ‹€.

μ„Έλ£¨λ‹ˆ λ³΄μžμ™€ν‹°(Seruni Bodjawati)λŠ” 1991λ…„ 9μ›” 1일 μΈλ„λ„€μ‹œμ•„ 쑱자카λ₯΄νƒ€μ—μ„œ 슀리 ν•˜λ₯΄μž”ν†  μ‚¬νžˆλ“œ(Sri Harjanto Sahid)와 와라 μ•ˆμΈλ””μ•„ (Wara Anindyah) μ‚¬μ΄μ—μ„œ νƒœμ–΄λ‚¬λ‹€. κ·Έλ…€μ˜ λΆ€λͺ¨ λͺ¨λ‘ μΈλ„λ„€μ‹œμ•„μ˜ 화가이닀. μ–΄λ¨Έλ‹ˆ 와라 μ•ˆμΈλ””μ•„λŠ” μΈλ„λ„€μ‹œμ•„μ˜ 프리닀 칼둜둜 λΆˆλ¦¬μš΄λ‹€. ν™”κ°€ μ§‘μ•ˆμ—μ„œ νƒœμ–΄λ‚œ μ„Έλ£¨λ‹ˆλŠ” 생후 10κ°œμ›”μ΄ 되던 λ•ŒλΆ€ν„° 그림을 그리기 μ‹œμž‘ν–ˆκ³ , 2009년에 ISI(Indonesia Institue of the Arts) νšŒν™”κ³Όμ— μž…ν•™ν•˜μ˜€λ‹€κ·Έλ…€λŠ” ꡭ제적으둜 λ‹€μˆ˜μ˜ 그룹전에 μ°Έκ°€ν•˜μ˜€κ³ , 올 2012λ…„μ—λŠ” μΈλ„λ„€μ‹œμ•„ Kartini μž‘μ§€μ™€ μΈλ„λ„€μ‹œμ•„ μ˜λΆ€μΈ μ•„λ‹ˆ μœ ν˜Έμš”λ…Έ(Ani Yudhoyono)κ°€ μˆ˜μ—¬ν•˜λŠ” 예술, λ¬Έν™” λΆ€λ¬Έμ˜ μΈλ„λ„€μ‹œμ•„μ— κ°€μž₯ 큰 μ˜κ°μ„ μ€€ 여성상을 λ°›μ•˜μœΌλ©° κ·Έ 밖에도 λ§Žμ€ 상을 λ°›μ•˜λ‹€. 또 κ·Έλ…€λŠ” νŽ˜λ―Έλ‹ˆμ¦˜κ³Ό μ˜ˆμˆ μ— κ΄€λ ¨λœ 글을 μ“°κ³  μžˆλ‹€.
  ν”„λ¦¬λ‹€μΉΌλ‘œμ˜ 인생 μ „μ²΄λŠ” μ„Έλ£¨λ‹ˆμ—κ²Œ λ¬΄μ‹œλ¬΄μ‹œν•œ 영감으둜 λ‹€κ°€μ˜¨λ‹€. μ„Έλ£¨λ‹ˆλŠ” 15μ‚΄ λΆ€ν„° μš°μšΈν•œ 운λͺ…을 κ°€μ§„ 전염병 같은 프리닀 칼둜의 λͺ¨μŠ΅μ„ 화폭에 λ‹΄μ•˜λ‹€. κ·Έλ…€λŠ” 이번 콜라보λ₯Ό μœ„ν•΄ 7개의 μž‘ν’ˆ -  <A Couple of Rebels / 200x145cm >, <Glimpses of Morning Star / 200x145cm >, <Children of Heaven / 200x145cm >, <The Legend Vanished in Memories / 200x145cm >, <The Silent World of Frida / 200x145cm >와  <Conquering the World / 200x300cm> 그리고 <Opera Pablo Pickahlo / 250x200cm>-λ₯Ό μ„ λ³„ν–ˆλ‹€.
 μ„Έλ£¨λ‹ˆλŠ” μž‘ν’ˆ μ•ˆμ—μ„œ νšŒμƒ‰λΉ› 운λͺ…을 κ°–κ³  λ’€ν‹€λ¦° μ£½μŒμ„ μ₯” 채 λŠμž„μ—†μ΄ μžμ‹ μ„ μ°Ύκ³  μžˆλŠ” ν”„λ¦¬λ‹€μ˜ λͺ¨μŠ΅μ„ κ·Έλ Έλ‹€. κ·ΈλŠ” 슀슀둜λ₯Ό μ»€λ‹€λž€ λ¬ΌμŒν‘œλ₯Ό μ§Šμ–΄μ§„ ν”„λ¦¬λ‹€λ‘œ νˆ¬μ˜ν•˜κΈ°λ„ ν–ˆλ‹€. κ·Έ λͺ¨μŠ΅μ€ 마치 자유둭게 μ‚Άμ˜ 해닡을 νƒμƒ‰ν•˜λŠ” λ“― λ³΄μ΄μ§€λ§Œ κ²°κ΅­ 해닡을 μ–»μ§€ λͺ»ν•œμ±„ ν˜„μ‹€κ³Ό μ§λ©΄ν•œ λ“― 보인닀.
  κ·Έλ…€μ˜ μž‘μ—…μ  νŠΉμ§•μ„ μ‚΄νŽ΄λ³Έλ‹€λ©΄ 첫 번째둜 검은 ν…Œλ‘λ¦¬λ₯Ό λ“€ 수 μžˆλ‹€. 검정은 자유둜운 κ°μ •μ˜ 흐름을 μ°¨λ‹¨ν•˜λŠ” 색이닀. 그것은 κ³΅ν¬λ‚˜ λΆˆμ•ˆμ— μ˜ν•΄ μƒμ„±λœ 자기의 얡압을 λ°˜μ˜ν•˜λ©°, 심리적 μœ„μΆ• μƒνƒœλ₯Ό 보여쀀닀. λ‘κ»κ²Œ μΉ ν•΄μ§„ κ²€μ • ν…Œλ‘λ¦¬ μ•ˆμ— κ°‡ν˜€μžˆλŠ” μ˜€λΈŒμ œλ“€μ€ 그런 ν‹€ μ•ˆμ— κ°‡ν˜€ κ·Έ μ†μ—μ„œλ§Œ 맴돌고 μžˆλŠ” 것이닀. 이 검정은 고전적인 λ¬΄κ²Œκ°μ„ 더해 주기도 ν•œλ‹€. λ˜ν•œ 무채색과 μ›μƒ‰μ˜ μ‘°ν™”λŠ” ν™˜μƒμ μ΄μ§€λ§Œ κ³ ν†΅μŠ€λŸ½κ³  λΆˆν–‰ν•œ μ•„μš°λΌλ₯Ό 풍긴닀
  κ·Έλ…€μ˜ κ·Έλ¦Όμ—λŠ” 여백이 μ—†λ‹€. μ‹€μ œλ‘œ 그림의 λ°°κ²½μ—λŠ” κ΄΄κΈ°ν•œ ν‘œμ •μ„ 띈 ν˜•μƒλ“€μ΄ λ“œλΌλ§ˆν‹±ν•˜κ²Œ ν™”λ©΄ 가득 μ±„μ›Œμ Έμžˆλ‹€. 마치 빼곑히 λ“€μ–΄μ°¬ μš”μ†Œλ“€μ΄ 화폭 λ°–μœΌλ‘œ μŸμ•„μ Έ 내릴 것 만 κ°™λ‹€. μ‹€μ œλ‘œ κ·Έλ…€μ˜ μž‘ν’ˆ μ•žμ— μ„œμžˆμœΌλ©΄ ν˜„μ‹€μ˜ λ¬΄λŒ€ μ•žμ— μ„œμžˆλŠ” λŠλ‚Œμ΄λ‹€. 삢이 λ¬΄μˆ˜ν•œ μ‚¬κ±΄λ“€λ‘œ μ—°κ²°λœ ν•˜λ‚˜μ˜ κ±°λŒ€ν•œ λ©μ–΄λ¦¬λ‘œ 보여진닀. 그것은 μ‚¬λžŒμ˜ ν‚€λ₯Ό μ••λ„ν•˜λŠ” μΊ”λ²„μŠ€μ˜ ν¬κΈ°λŠ” λ•Œλ¬Έμ΄κΈ°λ„ ν•˜λ‹€. κ·Έ ν¬κΈ°λŠ” 화폭에 λ‹΄κΈ΄ 삢을 κ°•μš” ν•˜λŠ” λ“― λŠκ»΄μ§„λ‹€. ν”Όμ‚¬μ²΄μ˜ ν‘œμ •, 색, 크기, ꡬ성등은 μ΄ˆν˜„μ‹€μ μΈ λΆ„μœ„κΈ°λ₯Ό μžμ•„λ‚Έλ‹€. κ·Έλ…€λŠ” 인간 λ³Έμ§ˆμ— κ΄€ν•œ λŒ€λ²”ν•œ λ¬ΌμŒμ„ λ˜μ§„λ‹€. 삢은 μ ˆλŒ€λ‘œ 닡을 내릴 수 μ—†λŠ” λ―ΈμŠ€ν…Œλ¦¬μ΄λ©° κ·Έ 삢을 μ‚΄μ•„κ°€λŠ” 인간 λ˜ν•œ κ±°λŒ€ν•œ λ¬ΌμŒν‘œλ‘œ λ‚¨μ•„μžˆλ‹€.

  ν”„λ¦¬λ‹€λŠ” 일생 λ™μ•ˆ 55점의 μ…€ν”„ 포트레이트λ₯Ό κ·Έλ ΈλŠ”λ° κ·Έ μ΄μœ λŠ” μžμ‹ μ΄ κ°€μž₯ 잘 μ•„λŠ” μ†Œμž¬μ˜€κΈ° λ•Œλ¬Έμ΄λ‹€. μ•„λ§ˆ 그림을 톡해 μžμ‹ μ„ 쑴재λ₯Ό 증λͺ…ν•˜λ € ν–ˆλ˜ 것 κ°™λ‹€. λ‚˜ λ˜ν•œ λΉ„μŠ·ν•œ λ§₯λ½μ—μ„œ 2009λ…„ Women F μ‹œλ¦¬μ¦ˆμ˜ 첫 μ‹œμž‘μ„ μ…€ν”„ 포트레이트둜 μ΄¬μ˜ν•˜μ˜€λ‹€. 사진 <#0 Do not Afraid> 와 <#1 Spring Fever>κ°€ μ…€ν”„ ν¬νŠΈλ ˆμ΄νŠΈμ΄λ‹€. λ‚˜λŠ” ν˜„μž¬κΉŒμ§€ 총 8점의 μž‘ν’ˆμ„ λ§Œλ“€μ—ˆκ³  κ±°κΈ°μ—λŠ” λ‚˜λ₯Ό ν¬ν•¨ν•˜μ—¬ 총 3λͺ…μ˜ λͺ¨λΈμ΄ μžˆλ‹€. #으둜 μ‹œμž‘λ˜λŠ” λ²ˆν˜ΈλŠ” μž‘μ—… μˆœμ„œμ˜ λΆ„λ₯˜λ₯Ό μœ„ν•΄ λΆ™μ—¬μ‘Œλ‹€. 삢은 λͺ¨λ‘ 각기 λ‹€λ₯Έ 단면을 κ°€μ§€κ³  μžˆκΈ°μ— 각 #듀을 어디에 κ°–λ‹€ 놓아도 그것 λ³Έμ—°μ˜ μ΄μ•ΌκΈ°λ‘œ κ΅¬μ„±λœλ‹€κ³  μƒκ°ν•œλ‹€. λ”°λΌμ„œ λ²ˆν˜Έμ— λ”°λ₯Έ μ΄μ•ΌκΈ°μ˜ λ§₯락은 크게 쑴재 ν•˜μ§€ μ•ŠλŠ”λ‹€.      Women F의 FλŠ” μ—¬μ„±, 그리고 자유λ₯Ό μƒμ§•ν•˜λŠ” μ—΄λ¦° λ¬Έμžμ΄λ‹€. λ‹Ήμ‹œ λ‚˜λŠ” 슀슀둜λ₯Ό λΆˆν–‰ν•˜κ²Œ λ§Œλ“€κ³  μžˆμ—ˆλ‹€. κΏˆμ„ λͺ¨λ₯΄λŠ” λ‚˜μ—κ²Œ λ―Έλž˜λŠ” λΆ€μ •μ μ΄μ—ˆκ³  늘 λ‚˜ μžμ‹ μ—κ²Œ λΆˆμ•ˆν•¨μ„ 느끼고 μžˆμ—ˆλ‹€. 마치 λ―Έλž˜κ°€ λ‚˜λ₯Ό κ°•νƒˆν•œ κΈ°λΆ„μ΄μ—ˆλ‹€. λ¬ΌμŒν‘œλ‘œ 가득찬 삢에 λŒ€ν•œ 해닡이 ν•„μš”ν–ˆλ‹€. 그러기 μœ„ν•΄μ„œλŠ” λ‚˜ μžμ‹ μ„ λ°œκ²¬ν•΄μ•Όν–ˆλ‹€. λ•ŒλŠ¦μ€ 정체성 찾기에 ν˜ˆμ•ˆμ΄ 된 λ‚˜λŠ” μœ„μž₯을 ν•˜λ“― 프리닀 칼둜의 μ§™κ³  λ‘κΊΌμš΄ λˆˆμΉμ„ κ·Έλ €λ„£μ—ˆλ‹€. 그것은 마치 λΆ€μ μ²˜λŸΌ μ–΄λ–€ 힘이 μƒκΈ°λŠ” λ“― ν–ˆλ‹€. 늘 죽음과 λ™ν–‰ν•˜λ©° λΆˆμ•ˆν•œ μ‚Ά μ†μ—μ„œλ„ μžμ‹ μ˜ λͺ©μ†Œλ¦¬λ₯Ό μžƒμ§€ μ•Šμ•˜λ˜ 프리닀 칼둜의 영적인 νž˜μ„ κ°–κ³  μ‹Άμ—ˆλ˜ 것이닀. κ·Έλ…€λŠ” μžμ‹ μ„ μ£½μŒκ³Όλ„ λ§žλ°”κΏ€ μ •λ„λ‘œ μ‚¬λž‘ν–ˆλ˜ μ‚¬λžŒμ΄μ—ˆλ‹€. κ·Έλ…€λ‘œ 인해 λ‚΄ μ‚Άμ˜ κ²°μ—¬λœ 뢀뢄이 κ°•μΈν•œ μ—λ„ˆμ§€λ‘œ μ±„μ›Œμ§ˆ κ²ƒλ§Œ κ°™μ•˜λ‹€. κ·Έν›„ λ‹€λ₯Έ μ—¬μ„±λ“€μ—κ²Œλ„ ν”„λ¦¬λ‹€μΉΌλ‘œμ˜ λˆˆμΉμ„ κ·Έλ € λ„£μœΌλ©΄ μ–΄λ–€ μ—λ„ˆμ§€κ°€ 생겨날지 κΆκΈˆν–ˆλ‹€. λ•Œλ¬Έμ— μž‘μ—…μ— μ°Έμ—¬ν•˜λŠ” λͺ¨λΈλ“€μ΄ κ°–κ³  μžˆλŠ” μ΄λ―Έμ§€λŠ” μ€‘μš”ν•œ 영감이 λ˜μ—ˆλ‹€. μž‘μ—…μ— μ°Έμ—¬ν•œ κΉ€μž¬ν™”μ™€ λ‹€λΌμžν‹° 페λ₯΄ν‹°μœ„(Darajati Pertiwi)λŠ” ν˜„μ‹€μ„ λΉ„κ΄€ν•˜κ±°λ‚˜ λ‚™λ‹΄ν•˜μ§€ μ•Šκ³  삢을 λŠ₯λ™μ μœΌλ‘œ κ°œμ²™ν•˜λ©° μžμ‹ μ˜ 역할에 μΆ©μ‹€ν•œ μ‚¬λžŒλ“€μ΄λ‹€. κ·Έλ“€μ˜ μ΄λŸ¬ν•œ λ©΄λͺ¨κ°€ μ™Έλͺ¨μ—μ„œλ„ λ¬˜ν•œ κ°•μΈν•¨μœΌλ‘œ λ‚˜νƒ€λ‚¬λ‹€. μž‘μ—…μ„ ν•˜λŠ” λ™μ•ˆ λͺ¨λΈμ˜ μ‹œμ„ μ—μ„œλŠ” μ™„κ°•ν•˜κ³  ν™•κ³ ν•œ  λˆˆλΉ›μ΄ 묻어났닀. <#2 Summer House κ·Έλ…€λŠ” 데킬라 ν•œμž”μ„ λ§ˆμ‹œκ³  κ·Έλ™μ•ˆ λŒλ³΄μ§€ λͺ»ν–ˆλ˜ 화뢄에 물을 쀬닀>, <#3 Ponds in the forest κ·Έλ…€λŠ” λ¬Όκ³Ό ν•¨κ»˜ 울고 μžˆμ—ˆλ‹€>, <#4 On the carpet with tiny ducks>, <#7 Gaze>λŠ” κΉ€μž¬ν™”μ™€ ν•¨κ»˜ ν–ˆκ³ , <#5 Pink Tears>와 <#6 Connivance>λŠ” Darajati와 μΈλ„λ„€μ‹œμ•„ 쑱자카λ₯΄νƒ€μ—μ„œ μ΄¬μ˜μ„ ν–ˆλ‹€. 각기 λ‹€λ₯Έ 배경으둜 촬영된 이미지듀은 각기 λ‹€λ₯Έ, μ‹œκ°„κ³Ό 이야기λ₯Ό λ‹΄κ³  μžˆμ§€λ§Œ 그것듀이 ν•œλ° λͺ¨μ΄λ©΄  Women F둜 λŒ€λ³€λ˜λŠ” μ—¬μ„±λ“€μ˜ μ΄μ•ΌκΈ°λ‘œ λ°œμ „ λœλ‹€. 이 μž‘μ—…μ— λ‹΄κΈΈ 인물과 이야기듀은 λ‹€μ–‘ν•˜κ² μ§€λ§Œ κ²°κ΅­ 자유λ₯Ό κ°ˆλ§ν•˜λŠ” μΈκ°„μ˜ κ°•μΈν•œ μ—λ„ˆμ§€λ‘œ μ±„μ›Œμ§ˆ 것이닀.

μš°λ¦¬λ“€ μž‘ν’ˆμ˜ ꡬ성 μš”μ†Œλ₯Ό λͺ¨λ‘ 버리고도 λ‚¨μ•„μžˆλŠ” 것이 무엇인지 λ¬»λŠ”λ‹€λ©΄
그것은 프리닀 μΉΌλ‘œλΌλŠ” ν˜•μƒμ΄ μ•„λ‹Œ, κ·Έ 인물이 κ°€μ§€κ³  μžˆλŠ” 본질만이 남을 것이닀. 프리닀 μΉΌλ‘œλŠ” μ‚¬λž‘κ³Ό 고톡을 λΆ€λ‘₯켜 μ•ˆκ³  죽음과 μ§λ©΄ν•˜λ©° μ‚΄μ•„κ°€μ•Όλ§Œ ν–ˆλ˜ 자유λ₯Ό κ°ˆλ§ν•˜λ˜ ν•œ 인간이닀. 평생 κ·Έ 해닡을 μ•Œ 수 μ—†λŠ” μ‚Άκ³Ό μ£½μŒμ΄λΌλŠ” μ•„μ΄λŸ¬λ‹ˆμ—μ„œ μžμ‹ μ˜ 쑴재λ₯Ό 규λͺ…ν•˜κ³  μžˆλŠ” 것이닀. μ‚Άμ˜ λΆˆμ•ˆμ •ν•˜κ³  λͺ¨ν˜Έν•œ λ¬ΌμŒν‘œμ— 해닡을 μ°ΎκΈ° μœ„ν•œ λ‚˜μ™€ μ„Έλ£¨λ‹ˆμ˜ μž‘μ—…μ˜ ν–‰λ‘œλŠ” λ³€ν•˜μ§€ μ•Šμ„ 것이닀.


Frida Kahlo : Love & Tragedy

Death will be one of tragedies that bother humans. Sometime, humans get forced to die or choose to die. But, how many people in the world would have exact answers to death. The death means eternal freedom in time that humans are alive. Montaigne, M said  from <<Les Essais>> that anticipating death is anticipating freedom. He wrote that Understanding death allows us to be free from subordination and imprisonment. The death is destination that is given to all of us, and no one can go against it. The question “where has we come from and where are we going to?” will last over generations and generations as long as human exists. Seruni Bodjawati who works on the project with me says that “human is mystery.” This saying is on the basis of a belief about human mentality that is compressed as tiny as a speck of dust. While we can read physical human actions, we cannot anticipate where movements of soul go. According to her, tragedy of human is mystery in a mental context and flow of the consciousness links to confusion between live and death.


Seruni and I are working for the project on the basis of Frida Kahlo who had to live a life embracing a tragedy. Frida Kahlo was born in Coyoacan, Mexico in 1907. Frida means freedom in German. Frida who was eager for freedom just like her name ironically had gone through lots of moments of death in her life and underwent 32 times of surgeries. These tragedies include a congenital uterine anomaly and miscarriage. She was incubating all the pains of destiny, but she had never despaired at the moment of the crisis and even more, she always sincerely faced her life. “Two of Frida were always fighting. One was dead Frida and the other was alive Frida.”. She came back and forth from the life to the death, so there are two sides of life and death in her paintings. She was acknowledged as a surrealist from Picasso, Duchamp and Kandinsky, but she had stuck to her a Mexican root and inclination. She mentioned that she only draws things that came across her mind without any other meaning. She was bleeding and deeply wounded in many of her works. While she was crying and despairing in pain, her eyes were clear and strong. Figures in her works, who calmly stand with their dark eyebrows, stubbornly closed mouth and poker faces, seem shinier in front of their misfortune and death. Birth, Marriage and death are the most important three facts in Frida Kahlo’s life. In 1984, Mexican government designated her painting as a national treasure.


Seruni Bodjawati was conceived from Sri harjanto Sahid and Wara Anindya in Sri Harjanto Sahid, Indonesia in September, 1st in 1991. Both her parents are painters in Indonesia. Her mother, Wara Anindya is considered the Indonesian Frida Kahlo. Seruni, who was born into a painter’s family, started drawing when she was a 10 month old baby and has gotten accepted into ISI(Indonesia Institute of the Arts) in 2009. She has participated in lots of international group exhibits and received an award as the most inspiring woman in Arts & Culture field from the frist lady, Ani Yudohoyono and Indonesian magazine, Kartini in this year, 2012. Also, she writes regarding feminism and arts.


Frida Kahlo’s whole life has come to Seruni as a tremendous inspiration. Seruni has been putting Frida Kahlo who had a depressing life into her canvas. She has chosen seven works for this collaboration: They include < A Pair of Rebels 200x145cm >, <Glimpses of Morning Star / 200x145cm >, <Children of Heaven / 200x145cm >, <The Legend Vanished in Memories / 200x145cm>, <The Silent World of Frida / 200x145cm >and <Conquering the World /200x300cm> and <Opera Pablo Pickahlo / 250x200cm>. Seruni has drawn Frida in a way that is continuously looking for herself: grabbing her twisted death with a darkened destiny. Sometimes, she projected Frida who carries a big questions mark onto herself. That seems to be looking for answers to life with freedom, but eventually seems to face the reality of the life without getting the answers. One of features of her styles in her works is black outline. The black is a color that blocks a flow of unconstrained emotions. That reflects self-suppressions generated by fear or anxiety and shows psychological withdrawals. The objects that are locked within the tick and black outlines are only circulating inside the frames. This black also adds classic heaviness onto the paintings. Additionally, combination of achromatic colors and primary colors is fantastic but exudes painful and unfortunate aura. There is no blank space in her paintings. In fact, the backgrounds of her paintings are dramatically full of the figures with grotesque faces. The objects jammed in the paintings seem to fall out of them. When actually standing in front of her works, I feels like standing in front of a real life. The lives look like a massive chunk that is liked by myriad incidents. That is also because of the size of the canvases that are big enough to overwhelm our heights. The big size seems to emphasize the lives in the paintings. The subjects’ facial expression, colors, size, and formations create surrealistic atmosphere. She casts a bold question on the nature of human beings. The life is a mystery that can never give us an answer. Humans who also live that life are left as a big question.

Frida had drawn 55 pieces of self-portrait paintings, because herself was the subject that Frida knows the most well. Maybe, she was trying to prove her existence through her paintings. On the similar side, I took a photograph of self-portrait, <Woman F, 2009> as a start. Photos, <#0 Do not Afraid> and <#1 Spring Fever> are self-portraits. I have made 8 pieces of works including three models and myself. Numbers following by # means the chronological order of the works created. All of the lives have different aspects; therefore whether these #s are attached to any of work pieces, they will play each own role creating their own stories.


So, the contexts of stories related to the # numbers do not really exist.
Alphabet F in <Women F> is acronym for Female, also an open letter standing for freedom. At that time creating my first work, I was making myself unhappy. To me who doesn’t have a dream, the future was always something pessimistic and I was feeling unstable about myself.
I felt that the future was robbing me. I needed answers to my life that is full of questions. To do so, I had to find myself first. I was desperately searching for my identity and drew Frida Kahlo’s thick and dark eyebrows on my face as if I disguised as her. It seemed to give me some power like lucky charms. I wanted to have Frida Kahlo’s spiritual power, who didn’t lose her voice in midst of her unstable life that constantly companies death. She loved herself so much that she could even exchange her life with death. I felt that part of my life that is lacking could be filled with strong energy thanks to her. Then after, I started wondering what energy will strike if I draw Frida’s eyebrows on other girls’ faces. Therefore, the models’ images have become very important inspiration. Kim, Jaehwa and Pertiwi, Derajati who were models for my project actively pioneer their life being devoted to their own lives instead of being pessimistic or discourage about their lives. Their these aspects appeared as tenacity on their faces. While working on the project, the models’ eyes were tenacious and firm. <#2 Summer House – She had a shot of tequila and watered the flowers that she couldn’t take care of>, <#3 Ponds in the forest – She was crying with the water>, <#4 On the carpet with tiny ducks>, <#7 Gaze> was worked with Kim, Jaehwa and <#5 Pink Tears> and <#6 Connivance> were shot with Darajati in Yogyakarta, Indonesia. While the images shot in different places respectably contain their own different times and stories, when they get all together, they become developed to women’s stories, who represent Women F. Models and stories in this project will be various, but will be filled with humans’ strong energy that is eager for freedom.


If I am asked what will be left in our project discarding all of the components in our works, that will be Frida Kahlo’s essence not her figuration. Frida Kahlo was a human who had to live her life embracing love and pain and facing death at the same time being long for freedom. She was tracing her existence in the middle of irony between life and death whose answers cannot be aware of. Seruni’s and my path of works to find the answers to questions of unstable and ambiguous lives won’t be changed.


Jung, Higi.  November, 2012.
Translation Talent Donation : Saerom Park

See the artworks of Seruni Bodjawati and Higi Jung on Ewho Gallery's link: http://blog.naver.com/ewhogallery

Popular Posts