- Book Size : 220 x 300 x 8 mm
- Pages : 144 pages, 79 photographs
- Binding : PUR binding
- Publication Date : 2019. 11
- Published by Aprilsnow Press
- ISBN 979-11-89478-04-9 (03660)
책 소개
“스크린으로/맨눈으로/망원경으로 본 것들의 합은 풍경을 하나의 장면으로 모으기 보다 풍경의 시-차를 벌릴 뿐이다.” - 이민지
사월의눈 열다섯 번째 책인 <그때는 개를 제대로 잘 묻는 것이 중요하다고 생각했다>는 사진가 이민지의 두 사진 연작인 ‘light volume’(2015~2019)과 ‘sight lag’(2017~2019)의 모음집이다.
‘light volume’은 작가가 외할머니의 죽음 전후로 ‘본 것'과 ‘못 본 것'을 찍은 사진 연작이다. 생의 끝을 향해 가는 외할머니를 보며 작가는 피란민-노동자-집사라는 단절되면서도 동시에 복합적인 정체성의 한 여성이자 황해도-연평도-인천으로 거주지를 옮기며 유동적 삶을 살았던 외할머니의 과거를 훑는다. 사진은 종종 대상을 가장 명료하게 포착하는 매체이면서도, 그곳엔 미처 담지 못하는 프레임의 바깥 지대가 있다. 작가는 사진으로 포착할 수 있는 ‘본 것'과 ‘못 본 것'의 가능성과 그 경계를 탐색하며 매체로서의 사진과 외할머니의 삶을 동시에 읊는다.
‘시차'에 대한 보다 적극적인 사진적 탐색은 이후 ‘sight lag’로 이어진다. 작가가 외할머니의 죽음 이후 향한 곳은 아이슬란드. 백야가 시작하는 아이슬란드라는 섬에서 본 풍경과 컴퓨터 화면의 좌표값으로 만난 장면들은 서로 일치하지 않고 어긋나기만 한다. 온전한 풍경을 담아낸다는 것은 과연 가능한 것인가. 대상에 대한 명료한 기록과 포착이라는 전통적 사진의 의도 앞에서 질문은 그저 미끄러질 뿐이다.
책의 전반부에는 ‘sight lag’가, 중후반에는 ‘light volume’이 수록되어 있다. 각 시리즈는 서로 다른 평량의 종이 및 편집 방식으로 느슨하게 구분된다. 특히, ‘light volume’의 경우, 인쇄면의 접지 방식을 이민지 작가 작품의 핵심 개념이라 할 수 있는 ‘시차(sight lag)’를 해석하는 장치로 활용했다. 온전한 윤곽이 포착되지 않는 사진들은 파편으로 분산되어 등장하다가 사라지고 또다시 등장하다 휘발한다.
총 79장의 사진이 수록되어 있으며, 작가의 작가노트와 촬영일지에서 발췌한 문장들이 ‘light volume’ 사이로 심어져 있다. 에필로그로 작가의 단채널 영상인 ‘light volumes’(2018; 10m40s) 일부 장면이 등장한다.
“The sum of what I have seen via screen/bare eyes/a telescope does not come together as a single scene.” - Minji Yi
The fifteenth photobook of Aprilsnow Press is photographer Minji Yi’s TO BURY THE DOG PROPERLY. The book is a compilation of two photo series, the ‘light-volume’(2015~2019) and ‘sight lag’(2017~2019).
The series ‘light volume’ is composed of photos Minji Yi had seen and unseen before and after the death of her grandmother. Seeing her grandmother nearing her death, the photographer contemplates her grandmother’s life as a female who was a Korean War refugee, laborer and deacon and moved from one place to another in Korea. What she captured was a nomadic life of a Korean woman who had to live a life of floating but disconnected identities. Photography is believed to be a medium which records an object or scene the most truthful way, but there is always the grey zone which photography misses. Minji Yi explores through ‘light volume’ series what can be seen and unseen through photography, which is at the same time an idiosyncratic approach of memorizing her grandmother’s past life.
The series ‘sight lag’ which follows the former ‘light volume’ is a bold and experimental photographic approach. Minji Yi flew over to Iceland, where she thought would be the most distanced spot from her grandmother’s place. The landscape she had seen on Iceland with its white night and the one she saw on Google Earth never match together. Would there ever be a possibility of capturing a whole scene through photography? ‘Sight lag’ is a conceptual interpretation of the function and role of photography.
The book starts with ‘sight lag’ first, which is followed by ‘light volume’ series. Each of the series is printed on the same paper but with different weight. Both series are loosely separated by the the paper weight and editing style. Especially, a peculiar editing and design is applied to ‘light volume’ series; as a structural interpretation of ‘sight lag’, photographs are laid out not on each spread. Instead, they are laid out on the front and back of six octavo-sheets. Once they are folded and collated, one has 96 pages of disconnected and segmented photographs. Photographs become fragments and they appear and disappear throughout the pages.
Total 79 photographs are included and some quotes excerpted from photographer’s journal are laid out inbetween the ‘light volume’ photos. As part of epilogue, several stills from single channel video ‘light volume’ (2018; 10m40s) appear.
About the Series
Sight-lag (2017~2019) captures the scenes from an island where the white night begins. There’s not much to see on the whited-out hills. I take pictures of the blurred scenes, search and save the coordinates. By doing this, I retrieve the perspective and location of the vision. However, the sum of what I have seen via screen/bare eyes/a telescope does not come together as a single scene. Rather, the multiple inputs only extend the scene’s sight-lag even more. Night has fallen yet again. I look through the photos and insert the coordinates on Google Earth. The eyes follow, with much buffering, the far-away time brought closer.
light volume (2015~2019) is a collection of pictures that I have taken before and after Grandmother’s death, of things that I have seen or not. Following the voice of those who are left only in the pictures would lead to feeble traces. The face of grandmother shifts from a refugee to a worker, and then to a deacon. It is filled with missing images like the unanchored life that traveled from Hwanghae Province to Yeonpyeongdo, and then to Incheon. Imported pictures encompass a mixture of those that are named or unnamed, known or unknown. An attempt to collect the faces and scenes that make up an individual’s life scatter away. The bodies that photographs took are light.
작가 소개
이민지 | 본 것과 못 본 것을 사진으로 찍고 있다. 찍은 것들의 시-차를 가늠하며 사진에 이런저런 문장을 붙이기도 한다. 개인전 《사이트-래그》(합정지구, 2018)와 《리브 포에버》(하이트컬렉션, 2019), 2018 서울사진축제 특별전 《Walking, Jumping, Speaking, Writing》(SeMA 창고, 2018), 《더 스크랩》(2018, 2016), 《Archive: 싱가포르국제사진축제》(DECK, 2016) 등의 전시에 참여했다. 사진책 『side_B』(2015)와 『light volume』 (2016), 『sight-lag』(2017)을 만들었다.
Minji Yi | Takes photos of things seen and unseen. While weighing the difference between things she has seen and unseen(the so-called ‘sight lag’), she occasionally writes text accompanying the photographs. Minji Yi had her first solo show ‘sight-lag’ in 2018 at Hapjungjigu, Seoul and took part in various group shows such as ‘Live Forever’(Hite Collection, Seoul, 2019), special exhibition of Seoul Photo Festival 2018 ‘Walking, Jumping, Speaking, Writing’(SeMA Storage, Seoul, 2018), ‘The Scrap’(Seoul, 2018, 2016) and ‘Archive: International Singapore Photo Festival’(DECK, 2016). Minji Yi self-published side_B (2015), light volume (2016) and sight-lag (2017).
책 소개
“스크린으로/맨눈으로/망원경으로 본 것들의 합은 풍경을 하나의 장면으로 모으기 보다 풍경의 시-차를 벌릴 뿐이다.” - 이민지
사월의눈 열다섯 번째 책인 <그때는 개를 제대로 잘 묻는 것이 중요하다고 생각했다>는 사진가 이민지의 두 사진 연작인 ‘light volume’(2015~2019)과 ‘sight lag’(2017~2019)의 모음집이다.
‘light volume’은 작가가 외할머니의 죽음 전후로 ‘본 것'과 ‘못 본 것'을 찍은 사진 연작이다. 생의 끝을 향해 가는 외할머니를 보며 작가는 피란민-노동자-집사라는 단절되면서도 동시에 복합적인 정체성의 한 여성이자 황해도-연평도-인천으로 거주지를 옮기며 유동적 삶을 살았던 외할머니의 과거를 훑는다. 사진은 종종 대상을 가장 명료하게 포착하는 매체이면서도, 그곳엔 미처 담지 못하는 프레임의 바깥 지대가 있다. 작가는 사진으로 포착할 수 있는 ‘본 것'과 ‘못 본 것'의 가능성과 그 경계를 탐색하며 매체로서의 사진과 외할머니의 삶을 동시에 읊는다.
‘시차'에 대한 보다 적극적인 사진적 탐색은 이후 ‘sight lag’로 이어진다. 작가가 외할머니의 죽음 이후 향한 곳은 아이슬란드. 백야가 시작하는 아이슬란드라는 섬에서 본 풍경과 컴퓨터 화면의 좌표값으로 만난 장면들은 서로 일치하지 않고 어긋나기만 한다. 온전한 풍경을 담아낸다는 것은 과연 가능한 것인가. 대상에 대한 명료한 기록과 포착이라는 전통적 사진의 의도 앞에서 질문은 그저 미끄러질 뿐이다.
책의 전반부에는 ‘sight lag’가, 중후반에는 ‘light volume’이 수록되어 있다. 각 시리즈는 서로 다른 평량의 종이 및 편집 방식으로 느슨하게 구분된다. 특히, ‘light volume’의 경우, 인쇄면의 접지 방식을 이민지 작가 작품의 핵심 개념이라 할 수 있는 ‘시차(sight lag)’를 해석하는 장치로 활용했다. 온전한 윤곽이 포착되지 않는 사진들은 파편으로 분산되어 등장하다가 사라지고 또다시 등장하다 휘발한다.
총 79장의 사진이 수록되어 있으며, 작가의 작가노트와 촬영일지에서 발췌한 문장들이 ‘light volume’ 사이로 심어져 있다. 에필로그로 작가의 단채널 영상인 ‘light volumes’(2018; 10m40s) 일부 장면이 등장한다.
“The sum of what I have seen via screen/bare eyes/a telescope does not come together as a single scene.” - Minji Yi
The fifteenth photobook of Aprilsnow Press is photographer Minji Yi’s TO BURY THE DOG PROPERLY. The book is a compilation of two photo series, the ‘light-volume’(2015~2019) and ‘sight lag’(2017~2019).
The series ‘light volume’ is composed of photos Minji Yi had seen and unseen before and after the death of her grandmother. Seeing her grandmother nearing her death, the photographer contemplates her grandmother’s life as a female who was a Korean War refugee, laborer and deacon and moved from one place to another in Korea. What she captured was a nomadic life of a Korean woman who had to live a life of floating but disconnected identities. Photography is believed to be a medium which records an object or scene the most truthful way, but there is always the grey zone which photography misses. Minji Yi explores through ‘light volume’ series what can be seen and unseen through photography, which is at the same time an idiosyncratic approach of memorizing her grandmother’s past life.
The series ‘sight lag’ which follows the former ‘light volume’ is a bold and experimental photographic approach. Minji Yi flew over to Iceland, where she thought would be the most distanced spot from her grandmother’s place. The landscape she had seen on Iceland with its white night and the one she saw on Google Earth never match together. Would there ever be a possibility of capturing a whole scene through photography? ‘Sight lag’ is a conceptual interpretation of the function and role of photography.
The book starts with ‘sight lag’ first, which is followed by ‘light volume’ series. Each of the series is printed on the same paper but with different weight. Both series are loosely separated by the the paper weight and editing style. Especially, a peculiar editing and design is applied to ‘light volume’ series; as a structural interpretation of ‘sight lag’, photographs are laid out not on each spread. Instead, they are laid out on the front and back of six octavo-sheets. Once they are folded and collated, one has 96 pages of disconnected and segmented photographs. Photographs become fragments and they appear and disappear throughout the pages.
Total 79 photographs are included and some quotes excerpted from photographer’s journal are laid out inbetween the ‘light volume’ photos. As part of epilogue, several stills from single channel video ‘light volume’ (2018; 10m40s) appear.
About the Series
Sight-lag (2017~2019) captures the scenes from an island where the white night begins. There’s not much to see on the whited-out hills. I take pictures of the blurred scenes, search and save the coordinates. By doing this, I retrieve the perspective and location of the vision. However, the sum of what I have seen via screen/bare eyes/a telescope does not come together as a single scene. Rather, the multiple inputs only extend the scene’s sight-lag even more. Night has fallen yet again. I look through the photos and insert the coordinates on Google Earth. The eyes follow, with much buffering, the far-away time brought closer.
light volume (2015~2019) is a collection of pictures that I have taken before and after Grandmother’s death, of things that I have seen or not. Following the voice of those who are left only in the pictures would lead to feeble traces. The face of grandmother shifts from a refugee to a worker, and then to a deacon. It is filled with missing images like the unanchored life that traveled from Hwanghae Province to Yeonpyeongdo, and then to Incheon. Imported pictures encompass a mixture of those that are named or unnamed, known or unknown. An attempt to collect the faces and scenes that make up an individual’s life scatter away. The bodies that photographs took are light.
작가 소개
이민지 | 본 것과 못 본 것을 사진으로 찍고 있다. 찍은 것들의 시-차를 가늠하며 사진에 이런저런 문장을 붙이기도 한다. 개인전 《사이트-래그》(합정지구, 2018)와 《리브 포에버》(하이트컬렉션, 2019), 2018 서울사진축제 특별전 《Walking, Jumping, Speaking, Writing》(SeMA 창고, 2018), 《더 스크랩》(2018, 2016), 《Archive: 싱가포르국제사진축제》(DECK, 2016) 등의 전시에 참여했다. 사진책 『side_B』(2015)와 『light volume』 (2016), 『sight-lag』(2017)을 만들었다.
Minji Yi | Takes photos of things seen and unseen. While weighing the difference between things she has seen and unseen(the so-called ‘sight lag’), she occasionally writes text accompanying the photographs. Minji Yi had her first solo show ‘sight-lag’ in 2018 at Hapjungjigu, Seoul and took part in various group shows such as ‘Live Forever’(Hite Collection, Seoul, 2019), special exhibition of Seoul Photo Festival 2018 ‘Walking, Jumping, Speaking, Writing’(SeMA Storage, Seoul, 2018), ‘The Scrap’(Seoul, 2018, 2016) and ‘Archive: International Singapore Photo Festival’(DECK, 2016). Minji Yi self-published side_B (2015), light volume (2016) and sight-lag (2017).
