사진관 사진 안에 담긴 역사의 의미: 이주용의 ‘천연당 사진관’ 전시를 중심으로
The Meaning of History in the Exhibitions of the Photographer Lee Juyong’s Cheonyondang Sajingwan Project
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Lots of local studios in the East Asian countries mimicked key colonial ways of life including aesthetic forms. They were very inclined to identify their new social status with following the ways of life of the European rulers. In that purpose, the photography was so good enough to boast them as British civilized citizen. In this context, the studio photographers stressed the necessity of their pose in studio both the naturalism of pose and the artistry of context. And the costumes and background of the studios should have mimicked those of the Victorian age. Photographer Lee Juyong’s successive exhibition project, Cheonyondang Sajingwan is composed of photograph archives and creation of studio. The studio was set according to the imagination of the artist giving audiences the fantasy. It was performed with the backdrops serving as signs that show tensions and contradictions accompanying the dissemination of photography in space and time. Lee juyong’s exhibition in four cities of East Asia gives us the inspiration of the photographic exhibition the way of consumption of the history by the photographs. He shows us the imaginary studio with old photographs leading the audiences to be taken pictures the dream of fantasy where history was variously consumed as done in new museums.
Abstract
Lots of local studios in the East Asian countries mimicked key colonial ways of life including aesthetic forms. They were very inclined to identify their new social status with following the ways of life of the European rulers. In that purpose, the photography was so good enough to boast them as British civilized citizen. In this context, the studio photographers stressed the necessity of their pose in studio both the naturalism of pose and the artistry of context. And the costumes and background of the studios should have mimicked those of the Victorian age. Photographer Lee Juyong’s successive exhibition project, Cheonyondang Sajingwan is composed of photograph archives and creation of studio. The studio was set according to the imagination of the artist giving audiences the fantasy. It was performed with the backdrops serving as signs that show tensions and contradictions accompanying the dissemination of photography in space and time. Lee juyong’s exhibition in four cities of East Asia gives us the inspiration of the photographic exhibition the way of consumption of the history by the photographs. He shows us the imaginary studio with old photographs leading the audiences to be taken pictures the dream of fantasy where history was variously consumed as done in new museums.
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