Light and Spectrum 2

Bxlooms, C - Print_10075cm_2023

Disconnection, C - Print_75x100cm_2023

    
Soft and Rough, C - Print_100x75cm_2023

line of emotion, C - Print_100x75cm_2023

Piled up, C - Print_75x100cm_2023

πŸ”Ή 1. What Does “Coordinates of Labor” Mean?

The "coordinates of labor" refer to the spatial and temporal placement of labor — but also much more:

  • Social coordinates: Who performs labor, where, and in what position? (e.g., factory vs. remote work; CEO vs. precarious worker)

  • Psychological coordinates: How does labor affect the identity, emotions, and memory of the laborer?

  • Ideological coordinates: Some labor is hyper-visible; some is completely hidden. This reflects systems of power.

πŸ“Œ For example:

  • Emotional laborers are often "invisible workers."

  • Caregivers, cleaners, and migrant workers are often placed outside the visible grid of value.


πŸ”Ή 2. What Is a “Scapegoat”? (via RenΓ© Girard)

RenΓ© Girard argued that societies resolve internal tensions by sacrificing a scapegoat—a single figure onto whom all violence and guilt are projected.
This mechanism appears in religion, politics, and even art.

"The scapegoat is the focal point of violence that maintains social order."


πŸ”Ή 3. Connecting Labor’s Coordinates to the Scapegoat

Now, let’s connect the two ideas.

①  The laborer often exists at the coordinates of the scapegoat.

  • When crises strike, the weakest are blamed or discarded. (e.g., non-contract workers laid off during a recession)

  • To maintain economic structure, certain labor must remain invisible, voiceless, and expendable.

②  Artists, caregivers, migrant laborers = “Scapegoats beyond coordinates.”

  • They work within the system but are under-recognized and under-compensated.

  • They are sacrificed, yet they sustain the system.

③  In modern society, the map of labor is also a map of sacrifice.

  • When we examine the map of labor, we see the traces of the scapegoat.

  • Factory workers, delivery drivers, nameless artists, and caregivers become unseen points in this map.


πŸ”Ή 4. In Relation to Artistic Work

In your performance or film "The Inverted Saints", this concept fits beautifully:

  • The nuns’ actions represent both labor and ritualistic sacrifice.

  • If Father X creates the nuns as fractured selves, each one is a scapegoat placed in a psychic coordinate.

  • Your use of spatial staging, silence, movement, sound can visually express these invisible structures of sacrifice and labor.




1. λ…Έλ™μ˜ μ’Œν‘œλž€ 무엇인가?

"λ…Έλ™μ˜ μ’Œν‘œ"λŠ” 물리적 곡간과 μ‹œκ°„ μ†μ—μ„œ 노동이 μœ„μΉ˜ν•˜κ³  λ°°μΉ˜λ˜λŠ” 지점을 μ˜λ―Έν•  수 μžˆμŠ΅λ‹ˆλ‹€.
ν•˜μ§€λ§Œ 더 깊이 λ“€μ–΄κ°€λ©΄, 이것은 λ‹€μŒμ˜ 의미λ₯Ό ν¬ν•¨ν•©λ‹ˆλ‹€:

  • μ‚¬νšŒμ  μ’Œν‘œ: λˆ„κ°€, μ–΄λ””μ—μ„œ, μ–΄λ–€ μœ„μΉ˜μ—μ„œ 노동을 μˆ˜ν–‰ν•˜λŠ”κ°€? (예: 곡μž₯ vs 원격노동 / CEO vs λΉ„μ •κ·œμ§)

  • 정신적 μ’Œν‘œ: 노동은 μˆ˜ν–‰μžμ˜ 정체성과 감정, 기얡에 μ–΄λ–€ 영ν–₯을 λ―ΈμΉ˜λŠ”κ°€?

  • 이데올둜기적 μ’Œν‘œ: μ–΄λ–€ 노동은 보이지 μ•Šκ³ , μ–΄λ–€ 노동은 κ³Όλ„ν•˜κ²Œ λ“œλŸ¬λ‚œλ‹€. 이것은 ꢌλ ₯ ꡬ쑰의 λ°˜μ˜μ΄λ‹€.

πŸ“Œ 예:

  • κ°μ •λ…Έλ™μžλŠ” 항상 “보이지 μ•ŠλŠ” 곳에 μžˆλŠ” λ…Έλ™μž”이닀.

  • κ°„λ³‘λ…Έλ™μž, μ²­μ†Œλ…Έλ™μž, μ΄μ£Όλ…Έλ™μžλŠ” μ‚¬νšŒμ μœΌλ‘œ ‘μ’Œν‘œ λ°”κΉ₯’에 놓인닀.


πŸ”Ή 2. ν¬μƒμ–‘μ΄λž€ 무엇인가? (λ₯΄λ„€ 지라λ₯΄ μ€‘μ‹¬μœΌλ‘œ)

λ₯΄λ„€ 지라λ₯΄λŠ” μ‚¬νšŒκ°€ λΆ„μ—΄κ³Ό 폭λ ₯을 잠재우기 μœ„ν•΄ λˆ„κ΅°κ°€λ₯Ό ‘κ³΅λ™μ˜ 적’으둜 μ‚Όμ•„ ν¬μƒμ‹œν‚€λŠ” ꡬ쑰λ₯Ό κ°•μ‘°ν•©λ‹ˆλ‹€.
κ·ΈλŠ” 이 λ©”μ»€λ‹ˆμ¦˜μ΄ 쒅ꡐ, μ •μΉ˜, 심지어 μ˜ˆμˆ μ—μ„œλ„ λ°˜λ³΅λœλ‹€κ³  λ§ν•˜μ£ .

"희생양은 μ‚¬νšŒ μ§ˆμ„œ μœ μ§€λ₯Ό μœ„ν•œ 폭λ ₯의 집쀑점이닀."


πŸ”Ή 3. λ…Έλ™μ˜ μ’Œν‘œμ™€ ν¬μƒμ–‘μ˜ μ—°κ²°

이제 이 두 κ°œλ…μ„ μ—°κ²°ν•΄λ΄…μ‹œλ‹€.

① ⛓️ λ…Έλ™μžλŠ” μ’…μ’… μ‚¬νšŒμ˜ '희생양 μ’Œν‘œ'에 μœ„μΉ˜ν•œλ‹€.

  • μ‹œμŠ€ν…œμ΄ μœ„κΈ°λ₯Ό λ§žμ„ λ•Œ, κ°€μž₯ μ•½ν•œ κ³„μΈ΅μ—κ²Œ μ±…μž„μ„ μ „κ°€ν•œλ‹€. (예: κ²½μ œμœ„κΈ° λ•Œ ν•΄κ³ λ˜λŠ” λΉ„μ •κ·œμ§)

  • λΆˆν‰λ“±μ˜ ꡬ쑰가 μœ μ§€λ˜κΈ° μœ„ν•΄, λˆ„κ΅°κ°€μ˜ 노동은 계속 보이지 μ•Šκ²Œ, 침묡 μ†μ—μ„œ, μ†Œμ§„λ˜μ–΄μ•Ό ν•œλ‹€.

②  μ˜ˆμˆ κ°€, 간병인, μ΄μ£Όλ…Έλ™μž 등은 'μ’Œν‘œ λ°–μ˜ 희생양'일 수 μžˆλ‹€.

  • 이듀은 체계 μ•ˆμ—μ„œ λ…Έλ™ν•˜μ§€λ§Œ, μ •λ‹Ήν•œ λŒ€κ°€λ₯Ό λ°›μ§€ λͺ»ν•˜κ±°λ‚˜ 이름 없이 사라진닀.

  • 그듀은 ν¬μƒλ‹Ήν•˜λ©΄μ„œλ„, μ‚¬νšŒ μ§ˆμ„œλ₯Ό μœ μ§€ν•˜λŠ” 좕이 λœλ‹€.

③  ν˜„λŒ€ μ‚¬νšŒμ—μ„œ 'λ…Έλ™μ˜ μ’Œν‘œ'λŠ” κ³§ 'ν¬μƒμ–‘μ˜ 지도'이기도 ν•˜λ‹€.

  • μš°λ¦¬λŠ” λ…Έλ™μ˜ 지도λ₯Ό 펼쳐볼 λ•Œ, κ·Έ 곳곳에 μžˆλŠ” ν¬μƒμ–‘μ˜ 흔적을 보게 λœλ‹€.

  • 예λ₯Ό λ“€μ–΄, νŒ©ν† λ¦¬ λ…Έλ™μž, ν”Œλž«νΌ λ“œλΌμ΄λ²„, 무λͺ…μ˜ μ˜ˆμˆ κ°€, κ°„λ³‘λ…Έλ™μž λͺ¨λ‘ 이 지도 속 ‘λΆˆκ°€μ‹œμ˜ 점’으둜 κΈ°λ‘λœλ‹€.


πŸ”Ή 4. 예술 μž‘μ—…κ³Όμ˜ μ—°κ΄€μ„±

당신이 ν˜„μž¬ μž‘μ—… 쀑인 **《거꾸둜 μ„  μ„±μžλ“€》**μ΄λ‚˜, 신뢀와 μˆ˜λ…€κ°€ λ“±μž₯ν•˜λŠ” νΌν¬λ¨ΌμŠ€μ—μ„œ 이 κ°œλ…μ€ 맀우 잘 μ–΄μšΈλ¦½λ‹ˆλ‹€:

  • μˆ˜λ…€λ“€μ΄ μˆ˜ν–‰ν•˜λŠ” ν–‰μœ„λ“€μ€ '노동'μ΄λ©΄μ„œ λ™μ‹œμ— 'ν¬μƒμ˜ μ˜λ‘€'μž…λ‹ˆλ‹€.

  • μ‹ λΆ€ Xκ°€ λΆ„μ—΄λœ μžμ•„λ‘œ μˆ˜λ…€λ“€μ„ λ§Œλ“€μ–΄λ‚Έλ‹€λ©΄, κ·Έλ“€ 각각은 μ •μ‹ μ˜ μ’Œν‘œμ— 배치된 희생양일 수 μžˆμŠ΅λ‹ˆλ‹€.

  • λ‹Ήμ‹ μ˜ μž‘ν’ˆμ—μ„œ λ¬΄λŒ€ μœ„ 배치, 동선, μ†Œλ¦¬, 침묡 등은 이 μ’Œν‘œ-희생 κ°œλ…μ„ μ‹œκ°ν™”ν•˜λŠ” μž₯μΉ˜κ°€ 될 수 μžˆμŠ΅λ‹ˆλ‹€.


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