We oftentimes feel deeply linked to the incidents that we see in movies without having lived through them ourselves. That can explain why the director Steven Spielberg’s 1998 film *Saving Private Ryan* received an R rating in the US. The pain and fear depicted in the film were deemed too much to handle for viewers under 17.
In his thesis “Body, Affect, and New Media” (*Korean Studies 36*, 2011, pp. 5-31), Sangmin Kim asserts that most contemporary media including film possess this special capacity. He explains this quality found in contemporary media with Alison Landsberg’s concept of “prosthetic memory.” Like a prosthetic, an individual’s memory, when transferred to someone else, can move the other person’s body or evoke sympathy. For Kim who sees contemporary media as a kind of prosthetic memory, contemporary media can transcend identities such as class, race, and gender, and affect the memory and physical experience of the viewer who comes into contact with it.
However, when we come across the pain of others in our surroundings, we cannot readily offer our hand out of fear that overrides our sense of compassion. Therefore, in order for the pain of others to result in a political act, a distance must be maintained between the pain and the viewer. Kim believes that the pain of others provided as a “faraway” spectacle for the viewer is, paradoxically, the prerequisite for the viewer’s will to find out more about it and, ultimately, the condition for solidarity.
정주영 JuYoung Jung ∙ Text
Majored in art theory and received MA on the popularization of art in Modern Korea. Jung is currently preparing her PhD thesis on art management. She started her career as an assistant curator at the Museum of Art Seoul National University (2007), and subsequently worked as an assistant adminstrator at the Korean Society of Art Theories (2007) and a researcher at the Korea Air-affiliated Ilwoo Foundation (2012). She is particularly interested in and writes on contemporary art in Asia.
이제 Leeje ∙ Illustration
Leeje works with the conviction that the world outside pictures can become a more livable place through the world inside pictures. She is interested in the points where desire, despair, and hope intersect. Apart from solo show *Here, Now* (OCI Museum of Art, 2010), Leeje participated in various group shows at Art Space Pool, PKM Gallery, and Gallery Hyundai to name a few. She is currently working on the 2Y2W2V project with artist Han Sue-Ja.
한수자 Han Sue-ja ∙ Illustration
Han’s practice encompasses many different genres from animation and illustration to participating in group exhibitions. She paricipated in collaborative projects that led to *Binge* (Insa Art Space, Seoul, 2005), *Neverending Story Ko Woo Young* (Arko Art Center, Seoul, 2009), and *Pungnyeon Super Camp* (Art and Garden, 2012).
어휘록 ∙ Glossary
4회 APAP는 공공예술을 둘러싼 다양한 층위의 주제어들을 선정하여, 각각에 대한 설명 또는 해석의 글을 생산한다. 어휘록의 주제어는 4회 APAP뿐만 아니라 지난 1, 2, 3회 APAP에서 다루었던 공공예술의 주요 개념, 작가와 이론가, 사업 등 다양한 층위를 포함한다. 한편 주제어 설명 글은 이제, 한수자 작가의 일러스트레이션과 함께, APAP의 새로운 웹사이트와 연동하여 매주 하나씩 업데이트한다.