Interim Statement/Theme Park : Seo Junyoung

I gets one-day vacation even these days. I come out as if going to the office with wearing a business suit. It is all right just in case of being not the time for the bus that I always got on. In the wake of ignoring a few buses with random-looking, a bus driver who flings the front door open waits with glancing over. I get goose bumps owing to the totally different time & space and alienation. I want to go on to do even if floundering. I’d like to be alive. That guy’s word was right. No one asks me now, ‘Hey, mister, what are you doing here?’ Curse bubbles up again.

I drove me out because of having needed to earn ‘money’ that way due to the family circumstances of requiring me to wear just worn-out sneakers, to my father’s death of leading to be left puberty as hunger, and to my younger siblings’ crying. His word of saying that a dream is just a dream made me become a salary man. At the age of thirty, I got married to a woman whom I came to know around that time, and came to meet my little daughter just following a few years. It is not important in whether some of these lists were unhappy or happy. But given being asked, I will answer, ‘It is not just so, specially.’

Humans are also reproduced and trained to meet expected social standards and productivity. They become salarymen who are confined within the concrete of a social norm. Salarymen are confined, controlled, and reproduced. Humans repeat stereotypical behaviors as well but in different realms and with different cycles. Salarymen are mere tools of society for production.

I can no longer go to a zoo. One day when I saw a monkey and clicked the shutter of a camera, the monkey mocked me. From that day on, a monkey puts a camera on me. I became a monkey outside the confinement of a theme park.

요즘도 휴가를 하루씩 낸다. 양복을 입고 출근하듯 나온다. 늘 타던 버스, 그 시간만 아니면 된다. 몇 대의 버스를 멍 때리며 무시하다 보면 앞문을 열어젖힌 버스기사가 힐끗 거리며 기다린다. 전혀 다른 시간과 공간, 이질감, 닭살이 돋는다. 허우적거리더라도 나아가고 싶다. 살아 있고 싶다. 그 자식 말이 맞았다. 이젠, 아무도 ‘아저씨, 여기서 뭐해요?’ 라고 물어오지 않는다. 욕이 또 쳐올라 온다.

그저 낡은 운동화를 신어야 하는 가정형편에, 사춘기를 배고픔으로 남겨버린 아버지의 죽음에, 동생들의 울음에, 그렇게 ‘돈’을 벌어야 했기에 스스로를 내몰았다. 꿈은 꿈일 뿐이라던 그의 말에 샐러리맨이 되었다. 그 무렵 알게 된 여자와 서른 즈음 결혼을 하고, 몇 년이 지나서야 딸아이를 만나게 되었다. 이 몇 몇의 나열이 불행했느냐, 행복했느냐는 중요하지 않지만, 물어본다면, ‘딱히 그렇지만은 않다’ 고 대답할 것이다.

인간도 번식되어 사회성, 생산성에 길들여진다. 관념의 콘크리트 속에 갇힌 샐러리맨 따위가 되어 버린다.샐러리맨은 제한되고 통제되어 번식한다. 구획과 주기만 다를 뿐 인간들 또한 정형행동을 반복한다.샐러리맨은 생산을 위한 사회의 도구일 뿐이다.

나는 이제 더 이상 동물원에 가지 못한다. 원숭이를 보고 셔터를 누른 그날,
그가 나를 보고 비웃었기 때문이다. 그날 이후 원숭이가 내게 카메라를 들이대었고, 나는 테마파크 울타리 밖에 있는 원숭이가 되었다.

ในทุกวันนี้ฉันมีวันหยุดรายวัน ฉันสวมสูทออกจากบ้านราวกับจะมุ่งหน้าไปออฟฟิต ทุกอย่างราบรื่นนอกเสียจากว่านี่ไม่ใช่เวลาของรถโดยสารที่ฉันขึ้นเป็นประจำ หลังจากการเพิกเฉยต่อรถโดยสารบางคัน คนขับรถบัสเปิดประตูอย่างรุนแรงทำให้ฉันได้รับการกระแทกอย่างกระทันหัน แต่ฉันยังยืนยันที่จะไปต่อแม้จะเป็นไปอย่างทุลักทุเล ฉันต้องการจะมีชีวิตอยู่ ชายคนนั้นพูดถูก ไม่มีใครถามฉันในตอนนี้ว่า “นี่ คุณ คุณมาทำอะไรที่นี่” คำสบถผุดขึ้นมาอีกครั้ง ฉันจำเป็นต้องออกจากบ้านเพราะความต้องการเงินตามแบบวิถีของครอบครัวที่อยากให้ฉันต้องสวมแต่รองเท้าสำหรับนอกบ้านเสมอ เพื่อประทังความหิวโหยของวัยหนุ่มสาวที่พ่อจากไปและเพื่อน้องที่เอาแต่ร้องไห้ ประโยคที่เขาพูดว่า ความฝันก็เป็นเพียงแค่ความฝันทำให้ฉันกลายเป็นมนุษย์เงินเดือน ในวัยที่อายุ 30 ฉันแต่งงานกับหญิงสาวที่ฉันได้รู้จักในช่วงเวลานั้น และนำฉันไปพบกับลูกสาวตัวน้อยในอีกไม่กี่ปีต่อมา มันไม่สำคัญหรอกว่าสิ่งเหล่านี้คือความสุขหรือไม่สุข แต่ถ้าฉันถูกถาม ฉันก็มักจะตอบไปว่า “ไม่มีอะไรเป็นพิเศษ” มนุษย์เราถูกผลิตซ้ำและปลูกฝังให้พบกับความคาดหวังตามมาตรฐานและผลิตภาพของสังคม พวกเขากลายเป็นมนุษย์เงินเดือนที่ถูกบีบบังคับให้อยู่ภายใต้บรรทัดฐานของสังคม มนุษย์เงินเดือนจะถูกจำกัด ควบคุมและผลิตซ้ำแล้วซ้ำเล่า และเป็นเช่นนี้เพียงแต่อาจจะต่างพื้นที่และต่างรูปแบบ มนุษย์เงินเดือนจึงเป็นเพียงเครื่องมือทางการผลิตของสังคม

ฉันไม่สามารถที่จะไปสวนสัตว์ได้อีกต่อไปแล้ว ในวันหนึ่งขณะที่ฉันมองดูลิงในกรงและกดชัตเตอร์ของกล้องถ่ายภาพ ลิงเยาะเย้ยฉัน และจากวันนั้น ลิงนั่นเองที่เป็นฝ่ายถ่ายรูปฉัน และฉันกลายเป็นลิงตัวหนึ่งที่อยู่นอกกรงขังของสวนสนุก


Junyoung Seo, a photographer, was born in Busan, South Korea. Majoring in architecture and beginning taking pictures since 2001, he started to be interested in documentary and photo journalism  after he met Honghee Kim in 2007, who was chosen as the world’s 20 photographers by Nikon.

He doesn’t want his problems to be mentioned by others. He is the typical 21st artist. He has a lot of concern for the relationship or connectivity between a private documentary covering individual’s inner side and a public one dealing with the social issues. He is unfolding his story, which is seldom covered with by the traditional documentary, giving prominence to the social problems.

His major work, ‘Theme Park’, describes despair he feels as a salary man and contradiction of capitalism. This method has individual’s emotions and depth of introspection in contrast with the traditional documentary composed of some interviews by people. He is not merely a photographer but a photographer, subject, and explainer at the same time.


사진가 서준영, 그는 1974년, 한국의 부산에서 태어났다. 건축학을 전공하고 2001년부터 사진을 찍기 시작하여, 니콘이 선정한 전세계 20인의 사진가 중 한 명인 김홍희작가를 2007년에 만나 다큐멘터리와 포토저널리즘에 관심을 가지기 시작하였다.

그는 타인에 의해 자신의 문제가 거론되는 것을 원치 않는다. 자신이 하고 싶은 이야기를 위해 카메라를 든 21세기 전형적인 ‘新’ 아티스트이다. 그는 개인의 내면을 다루는 사적 다큐멘터리와 사회의 문제를 다루는 공적 다큐멘터리의 ‘관계성’ 혹은 ‘연계성’에 대해 관심을 가지고 있다. 전통적인 다큐멘터리에서는 잘 다루지 않는 개인의 문제 즉, 자신의 이야기를 통해 사회의 문제점을 부각시키는 새로운 접근 방법으로 이야기한다. 그의 대표작인 ‘Theme Park’는 실제 샐러리맨인 그가 느끼는 절망과 자본주의의 모순을 표현한 것이다. 이러한 이야기 방식은 몇 몇 사람들의 인터뷰로 구성되는 전통 다큐멘터리와는 달리 개인의 감정과 깊은 성찰이 담겨진다.

그는 사진가일 뿐만 아니라, 피사체 혹은 해설가이기도 하다.