《사라지지 않는 Still there, Still here》
○ 일시 : 2018. 09. 15 - 09. 23
○ 장소 : 문래예술공장 박스씨어터, 포켓갤러리
출처 사라지지 않는 Still there, Still here
《사라지지 않는 Still there, Still here》
○ 일시 : 2018. 09. 15 - 09. 23
○ 장소 : 문래예술공장 박스씨어터, 포켓갤러리
○ 참여작가 : 에리카 위엔 황(Erica Yu-Wen Huang), 이미정, 정혜윤, 치명타, 흑표범
○ 오프닝: 9.15.Sat 5.PM
○ 전시기획: 김정현
○ 후원: 서울문화재단 문래예술공장, GS SHOP
『사라지지 않는』은 여성과 남성의 노동의 가치와 불균형에 대한 탐구에서 출발한다.
시대의 변화에 따라 여성에게 부과되는 사회적 역할과 여성상은 변모해 왔다. 60년대 경제성장의 시기에 여성은 남편의 경제적 활동에 의존하며 현명한 아내이자 어머니의 역할에 집중하는 전업주부로 그려졌으며, 90년대 IMF 외환위기를 거치면서 취업을 통한 사회적 활동과 주부의 역할을 양립하는 슈퍼우먼으로 비유되었다. 2000년대 들어서 여성들은 지속된 직장생활로 일궈낸 경제력을 바탕으로 사회적 활동이 활발해졌고, 이는 곧 독신생활을 선택한 골드미스로 불리게 되었다.
이 같이 시대의 흐름 속에서 여성 노동의 가치와 중심점은 언제나 종속적인 위치에 놓여진다. 차별이 정당하지 않다고 여겨지는 오늘날에도, 여전히 여성을 과거에 머물게 하고 전환시킨다는 것이 지난한 여정이 되는 이유는 무엇인가.
본 전시는 사회문화적 규범 이면에 본질적인 특성처럼 숨어있는 이분법적 젠더 구조에서 문제의 근원을 추출하고, 이로부터 파생되어 발생하는 불균형의 현상들을 다루고 있다. 사라지지 않는 유리천장 아래에서, 역시 사라지지 않고 전환을 위해 진행되고 있는 움직임과 그 실천적 의미를 예술적 언어를 통해 전하고자 한다.
"Still there still here" starts from the research on the value and imbalance of women's and men's labor. The social roles and the stereotyped images of women have been transformed by changes in the times. In 1960's economic growth, women were portrayed as 'full-time housewives' relying on husband's economic activities and concentrating on the role of wise wife and mother. During the 1990's financial crisis of the IMF there was 'super woman' who can both do the social activities through job and housewife's role, In 2000's women actively engaged in social affairs with their economic power as they continued to work. As a result, there was a 'gold Miss' who enjoys a single life based on her work and economic power. In the course of this period, the values and central points of women's labor are always placed in a subordinate position. Why does it still go a long way to make changes in this age when everyone thinks discrimination is unfair? This exhibition deals the imbalance tat result from the dichotomy of the gender structure hidden behind the socio-cultural norms, extracting the root of the imbalance. Under the glass ceiling that clearly exists, we want to convey meaning of the on-going movement through artistic languages
"Still there still here" starts from the research on the value and imbalance of women's and men's labor. The social roles and the stereotyped images of women have been transformed by changes in the times. In 1960's economic growth, women were portrayed as 'full-time housewives' relying on husband's economic activities and concentrating on the role of wise wife and mother. During the 1990's financial crisis of the IMF there was 'super woman' who can both do the social activities through job and housewife's role, In 2000's women actively engaged in social affairs with their economic power as they continued to work. As a result, there was a 'gold Miss' who enjoys a single life based on her work and economic power. In the course of this period, the values and central points of women's labor are always placed in a subordinate position. Why does it still go a long way to make changes in this age when everyone thinks discrimination is unfair? This exhibition deals the imbalance tat result from the dichotomy of the gender structure hidden behind the socio-cultural norms, extracting the root of the imbalance. Under the glass ceiling that clearly exists, we want to convey meaning of the on-going movement through artistic languages
Still there, Still here Installation, Seoul Art Space Mullae, 2018 ⓒ사진 김정현
출처 사라지지 않는 Still there, Still here