Piled up, C - Print_75x100cm_2023
πΉ 1. What Does “Coordinates of Labor” Mean?
The "coordinates of labor" refer to the spatial and temporal placement of labor — but also much more:
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Social coordinates: Who performs labor, where, and in what position? (e.g., factory vs. remote work; CEO vs. precarious worker)
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Psychological coordinates: How does labor affect the identity, emotions, and memory of the laborer?
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Ideological coordinates: Some labor is hyper-visible; some is completely hidden. This reflects systems of power.
π For example:
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Emotional laborers are often "invisible workers."
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Caregivers, cleaners, and migrant workers are often placed outside the visible grid of value.
πΉ 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."
πΉ 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.
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When crises strike, the weakest are blamed or discarded. (e.g., non-contract workers laid off during a recession)
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To maintain economic structure, certain labor must remain invisible, voiceless, and expendable.
② Artists, caregivers, migrant laborers = “Scapegoats beyond coordinates.”
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They work within the system but are under-recognized and under-compensated.
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They are sacrificed, yet they sustain the system.
③ In modern society, the map of labor is also a map of sacrifice.
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When we examine the map of labor, we see the traces of the scapegoat.
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Factory workers, delivery drivers, nameless artists, and caregivers become unseen points in this map.
πΉ 4. In Relation to Artistic Work
In your performance or film "The Inverted Saints", this concept fits beautifully:
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The nuns’ actions represent both labor and ritualistic sacrifice.
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If Father X creates the nuns as fractured selves, each one is a scapegoat placed in a psychic coordinate.
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Your use of spatial staging, silence, movement, sound can visually express these invisible structures of sacrifice and labor.
1. λ
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Έλμ μ’ν"λ 물리μ 곡κ°κ³Ό μκ° μμμ λ
Έλμ΄ μμΉνκ³ λ°°μΉλλ μ§μ μ μλ―Έν μ μμ΅λλ€.
νμ§λ§ λ κΉμ΄ λ€μ΄κ°λ©΄, μ΄κ²μ λ€μμ μλ―Έλ₯Ό ν¬ν¨ν©λλ€:
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μ¬νμ μ’ν: λκ°, μ΄λμμ, μ΄λ€ μμΉμμ λ
Έλμ μννλκ°? (μ: 곡μ₯ vs μ격λ
Έλ / CEO vs λΉμ κ·μ§)
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μ μ μ μ’ν: λ
Έλμ μνμμ μ 체μ±κ³Ό κ°μ , κΈ°μ΅μ μ΄λ€ μν₯μ λ―ΈμΉλκ°?
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μ΄λ°μ¬λ‘κΈ°μ μ’ν: μ΄λ€ λ
Έλμ 보μ΄μ§ μκ³ , μ΄λ€ λ
Έλμ κ³Όλνκ² λλ¬λλ€. μ΄κ²μ κΆλ ₯ ꡬ쑰μ λ°μμ΄λ€.
π μ:
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κ°μ λ
Έλμλ νμ “λ³΄μ΄μ§ μλ κ³³μ μλ λ
Έλμ”μ΄λ€.
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κ°λ³λ
Έλμ, μ²μλ
Έλμ, μ΄μ£Όλ
Έλμλ μ¬νμ μΌλ‘ ‘μ’ν λ°κΉ₯’μ λμΈλ€.
πΉ 2. ν¬μμμ΄λ 무μμΈκ°? (λ₯΄λ€ μ§λΌλ₯΄ μ€μ¬μΌλ‘)
λ₯΄λ€ μ§λΌλ₯΄λ μ¬νκ° λΆμ΄κ³Ό νλ ₯μ μ μ¬μ°κΈ° μν΄ λκ΅°κ°λ₯Ό ‘곡λμ μ ’μΌλ‘ μΌμ ν¬μμν€λ ꡬ쑰λ₯Ό κ°μ‘°ν©λλ€.
κ·Έλ μ΄ λ©μ»€λμ¦μ΄ μ’
κ΅, μ μΉ, μ¬μ§μ΄ μμ μμλ λ°λ³΅λλ€κ³ λ§νμ£ .
"ν¬μμμ μ¬ν μ§μ μ μ§λ₯Ό μν νλ ₯μ μ§μ€μ μ΄λ€."
πΉ 3. λ
Έλμ μ’νμ ν¬μμμ μ°κ²°
μ΄μ μ΄ λ κ°λ
μ μ°κ²°ν΄λ΄
μλ€.
① ⛓️ λ
Έλμλ μ’
μ’
μ¬νμ 'ν¬μμ μ’ν'μ μμΉνλ€.
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μμ€ν
μ΄ μκΈ°λ₯Ό λ§μ λ, κ°μ₯ μ½ν κ³μΈ΅μκ² μ±
μμ μ κ°νλ€. (μ: κ²½μ μκΈ° λ ν΄κ³ λλ λΉμ κ·μ§)
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λΆνλ±μ κ΅¬μ‘°κ° μ μ§λκΈ° μν΄, λκ΅°κ°μ λ
Έλμ κ³μ 보μ΄μ§ μκ², 침묡 μμμ, μμ§λμ΄μΌ νλ€.
② μμ κ°, κ°λ³μΈ, μ΄μ£Όλ
Έλμ λ±μ 'μ’ν λ°μ ν¬μμ'μΌ μ μλ€.
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μ΄λ€μ μ²΄κ³ μμμ λ
Έλνμ§λ§, μ λΉν λκ°λ₯Ό λ°μ§ λͺ»νκ±°λ μ΄λ¦ μμ΄ μ¬λΌμ§λ€.
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κ·Έλ€μ ν¬μλΉνλ©΄μλ, μ¬ν μ§μλ₯Ό μ μ§νλ μΆμ΄ λλ€.
③ νλ μ¬νμμ 'λ
Έλμ μ’ν'λ κ³§ 'ν¬μμμ μ§λ'μ΄κΈ°λ νλ€.
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μ°λ¦¬λ λ
Έλμ μ§λλ₯Ό νΌμ³λ³Ό λ, κ·Έ κ³³κ³³μ μλ ν¬μμμ νμ μ λ³΄κ² λλ€.
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μλ₯Ό λ€μ΄, ν©ν 리 λ
Έλμ, νλ«νΌ λλΌμ΄λ², 무λͺ
μ μμ κ°, κ°λ³λ
Έλμ λͺ¨λ μ΄ μ§λ μ ‘λΆκ°μμ μ ’μΌλ‘ κΈ°λ‘λλ€.
πΉ 4. μμ μμ
κ³Όμ μ°κ΄μ±
λΉμ μ΄ νμ¬ μμ
μ€μΈ **《κ±°κΎΈλ‘ μ μ±μλ€》**μ΄λ, μ λΆμ μλ
κ° λ±μ₯νλ νΌν¬λ¨Όμ€μμ μ΄ κ°λ
μ λ§€μ° μ μ΄μΈλ¦½λλ€:
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μλ
λ€μ΄ μννλ νμλ€μ 'λ
Έλ'μ΄λ©΄μ λμμ 'ν¬μμ μλ‘'μ
λλ€.
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μ λΆ Xκ° λΆμ΄λ μμλ‘ μλ
λ€μ λ§λ€μ΄λΈλ€λ©΄, κ·Έλ€ κ°κ°μ μ μ μ μ’νμ λ°°μΉλ ν¬μμμΌ μ μμ΅λλ€.
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λΉμ μ μνμμ 무λ μ λ°°μΉ, λμ , μ리, 침묡 λ±μ μ΄ μ’ν-ν¬μ κ°λ
μ μκ°ννλ μ₯μΉκ° λ μ μμ΅λλ€.
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