Navin Rawanchaikul Ohm Phanphiroj Lolay P7 Mamafaka Tawan Wattuya Narissara TRK Rukkit Miss Ink Logan Bay Global Trash Chic Christian Develter Steven Pettifor David Terrazas Dow Wasiksiri Kara Yong Kara Choko Oat Montien Drycleanonly Ekaluck Peanpanawate Prin Tanapaisankit Techit Jiropaskosol Ratta Tap Kruavanichkit Yoswadi Krutklom Jacckrit Anantakul Arunchit Sasivimolkul Jiradt Pornpanitphan Mix Architekt Maft Sai Montonn Jira Dragon Gi Ok Jeon Jeep Kongdechakul Pariwat Practical Design Studio Tarin Yuangtrakul Pare-Nadda OH+Futon Yuree Kensaku V64
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ELOQUENCE LOVES BANGKOK
EDITORโS NOTE ์๋ ํ์ญ๋๊น. ํธ์ง์ฅ ์ ์ฐ์น์ ๋๋ค. ์ง๋ ๋ฌ, ์๋กํ์ค ํ์ ์ ์ ํ๊ตญ์ผ๋ก ๋ ์๊ฐ ๋ณด๋ฆ ๊ฐ์ โ ๋ฐฉ์ฝ ํ๋ก์ ํธโ๋ฅผ ์งํํ์ต๋๋ค. ์ด ํ๋ก์ ํธ๋ ์์ธ์ด ์๋ ๋ค๋ฅธ ๋๋ผ์ ๋์๋ก ์ด๋ํด ์์ ์บ ํ๋ฅผ ์ธ์ฐ๊ณ ์ก์ง ํ ๊ถ์ ํต์งธ๋ก ๋ง๋ค์ด ๋ณด์๋ ์ทจ์ง์์ ๊ธฐํ๋ ํ๋ก์ ํธ์์ต๋๋ค. ์ ๋ ์ด ํ๋ก์ ํธ๋ก์ธํด์๋กํ์ค๊ฐ์ถ๊ตฌํ๋์ธํฐ๋ด์ ๋ํฌ๋ฆฌ์์ดํฐ์ค๋ค์ํ๋ซํผ์ด๋ณด๋ค๋ผ์ด๋ธํ๊ฒ ์คํ๋์์ผ๋ฉด ํ๋ ๋ฐ๋จ์ด ์์์ต๋๋ค. ๊ทธ๋ฐ ๋ง์์ผ๋ก ์ด๋ฒ ํ๋ก์ ํธ๋ฅผ ์งํํ์ต๋๋ค. ํธ์ง๋ถ, ๋์์ธ๋ถ, ์ฌ์ง๋ถ ๋ฑ ํธ์ง๋ถ ์ ์์ด ๋ค๋ฅธ ๋๋ผ์ ๋์๋ก ์ฎ๊ฒจ๊ฐ์ ์ก์ง๋ฅผ ๋ง๋๋ ์ผ์ ๊ตญ๋ด ์ก์ง ์ญ์ฌ์ ์ต์ด์ ์๋์ธ ๊ฒ ๊ฐ์ต๋๋ค. ๋ง์ ๋๊ด์ด ์์ ๊ฒ์ด๋ผ๊ณ ์๊ฐํ๊ณ , ์ค์ ๋ก ๊ทธ๋ฌํ์ต๋๋ค. ๊ฐ์ฅ์ด๋ ค์ ๋๋ถ๋ถ์์๋กํ์ค์์๊ฐํ ๋งํ๋ฐฉ์ฝ์ํฌ๋ฆฌ์์ดํฐ์ค๋ฅผ์ฐพ์๋ด๋์์ ์ด์์ต๋๋ค. ๊ตญ๋ด์๋ ๊ฑฐ์ ์๋ฃ๊ฐ ์์๊ณ , ์ธํฐ๋ท์๋ ๋๋ถ๋ถ ํ๊ตญ์ด๋ก ์๊ฐ๋์ด ์์ด ์ ๋ณํ๋๋ฐ ์ด๋ ค์์ด ๋ง์์ต๋๋ค. ์ฐ๋ฆฌ๋ ์ฌ๋ง์์ ๋ฐ๋ ์ฐพ๋ ์ฌ์ ์ ๊ฐ๊ณ ๋ฐฉ์ฝ์ผ๋ก ํฅํด์ผ ํ๊ณ , ๊ทธ๊ณณ์์ ์ง์ ํ์ง ํฌ๋ฆฌ์์ดํฐ์ค๋ค ๋ง๋ ์ด์ผ๊ธฐ๋ฅผ ๋๋๊ณ ์ถ์ฒ์ ๋ฐ์, ๋ถ๋ฅํด์ผ ํ์ต๋๋ค. ์๊ฐ์ ํ์ ๋์ด ์์๊ธฐ์ ๊ทธ ๋ถ๋ถ์ ๋ํ ์คํธ๋ ์ค๋ ๋งค์ฐ ์ปธ์ต๋๋ค. ๋น์ฉ์ ์ธ ๋ถ๋ถ๋ ๋ฌธ์ ์์ต๋๋ค. 8๋ช ์ด ๋ณด๋ฆ๊ฐ ํจ๊ป ์ฒด๋ฅํด์ผ ํ๊ธฐ ์ํด์๋ ์ ์ง ์์ ๋น์ฉ์ด ํ์ํ๊ณ , ๊ทธ ๋น์ฉ์ ์ต๋ํ ์๋ผ๊ธฐ ์ํด ์๋กํ์ค ํธ์ง๋ถ๋ ๋ง์ ๋ ธ๋ ฅ์ ๊ธฐ์ธ์์ต๋๋ค. ๋ฐฉ์ฝ์ ๋ฌด์๋ฌด์ํ ํธ๋ํฝ ์ผ์ ์ต๊ณ ์ ๋ณต๋ณ์ด์์ต๋๋ค. ํ๋ฃจ์ ๋ ๊ฑด ์ด์์ ์ทจ์ฌ๊ฐ ๋ถ๊ฐ๋ฅํ์ ์ ๋์์ผ๋๊น์. ์ด๋ฌํ ์ํฉ์์ ๋ฐฉ์ฝ ํฌ๋ฆฌ์์ดํฐ์ค๋ค์ ํ๋์ ๊ฒฉ๋ ค๋ ์๋กํ์ค์ ์ปค๋ค๋ ํ์ด ๋์์ต๋๋ค. TCDC, BACC ๋ฑ์ ๋ํ ๋์์ธ ์ผํฐ์์ ์๋กํ์ค ํธ์ง๋ถ์ ๋ฏธํ ๋ฃธ์ ์ ๊ณตํด ์ฃผ์๊ณ , ๋ค์ํ ์ ๋ณด๋ฅผ ์๋ ค์ฃผ์์ต๋๋ค. ๋ฐฉ์ฝ์ ์ ๋ช ์ํธ ๋งต์ธ BAM์ ์๋กํ์ค์ ์๊น๊ณผ ์ ๋ง๋ ์ํฐ์คํธ๋ค๊ณผ ๊ฐค๋ฌ๋ฆฌ๋ค์ ์ง์ ์๊ฐํด ์ฃผ์์ต๋๋ค. ์ฌ ์์ฆ ํธํ , ๋ผ๋ง๋ค ์์ฝ, ์์ด๋กํํธ, D2 ๋์ง ํธํ , ๋์ฐจ ํ๋น๋ผ ๋ฑ ๋ง์ ๊ณ ๊ธ ํธํ ์์ ์๋กํ์ค์๊ฒ ๊ธฐ๊บผ์ด ๋ฐฉ์ ์ด์ด์ฃผ์์ต๋๋ค. ๋ผ๋ง๋ค ์์ฝ ํธํ ์ ๋ฃจํํ ํ ์ฌ์ด๋ ๋ ์คํ ๋์์ ์ด๋ฆฐ โ์๋กํ์ค ๋ฐ์นญ ์ธ ๋ฐฉ์ฝโ ํํฐ์๋ 300์ฌ ๋ช ์ ํฌ๋ฆฌ์ํฐ์ค๋ค๊ณผ ๋ธ๋๋๊ด๊ณ์๋ค์ด ์ฐพ์์ ์ถํ๋ฅผ ํด ์ฃผ์์ต๋๋ค. ๋ผ๋ง๋ค ์์ฝ ํธํ ์ธก์์๋ ์ ๊ณผ ์์์ ๋ชจ๋ ์ ๊ณตํด ์ฃผ์์ต๋๋ค. ์์งํ ์ฐ๋ฆฌ๋ ์งง์ ์ผ์ ์ผ๋ก ๋ง์ ๊ฒ์ ์ค๋นํ ์ ์์์ง๋ง, ๋ฐฉ์ฝ ํ์ง ์น๊ตฌ๋ค์ ๋์์ผ๋ก ํ๋ฅญํ๊ฒ ํํฐ๋ฅผ ๋ง์น ์ ์์์ต๋๋ค. ์ด๋ฌํ ํ๋์ ๊ฒฉ๋ ค๋ ํ๋ฅ ์ดํ ๋๋ฌธ์ผ๊น์? ๊ทธ๋ฐ ๋ฉด๋ ์์๊ฒ ์ง๋ง ์ฌ์ค ๊ฐ์ฅ ํฐ ์ด์ ๋ ์๋กํ์ค๊ฐ ์ถ๊ตฌํ๋ ๋ฐฉํฅ์ด ๋ฐฉ์ฝ์ ํฌ๋ฆฌ์์ดํฐ์ค๋ค๊ณผ ๊ณต๊ฐ๋๋ฅผ ๊ฐ์ง๊ณ ์์๊ธฐ ๋๋ฌธ์ด๋ผ๊ณ ์๊ฐํฉ๋๋ค. ๋ฐฉ์ฝ์ ํฌ๋ฆฌ์์ดํฐ์ค๋ค์ ์์ธ์ ํฌ๋ฆฌ์์ดํฐ์ค๋ค๊ณผ ๊ฐ์ ๋ง์์ ๊ฐ์ง๊ณ ์์์ต๋๋ค. ๊ทธ๋ค์ ์ด์ ์ ์ด๊ณ ์คํ์ ์ด๋ฉฐ, ๊ฐ์์ ์๊น์ ์ฐพ์ ์ต์ ์ ๋คํ๊ณ ์์์ต๋๋ค. ๋๋ถ๋ถ์ ํฌ๋ฆฌ์์ดํฐ์ค๋ค์ ํ ๊ฐ์ง ๋ถ์ผ์์ ๋ฉ์ถ์ง ์๊ณ ๋ค์ํ ๋ถ์ผ์ ์์ ์ ๋์์ ์งํํ๊ณ ์์์ต๋๋ค. ๊ทธ๋ค์ ๋ชจ๋ ํ๊ตญ ๊ณ ์ ์ ์ญ์ฌ์ ๋ฌธํ, ๊ทธ๋ฆฌ๊ณ ์์ฑ๋ฅผ ์ถฉ๋ถํ ํ์ฉํ๊ณ ์์๊ณ ๊ทธ๋ก ์ธํด ์ธ๊ณ ๊ทธ ์ด๋์ด๋์์๋ ๋ณผ ์ ์๋ ๊ทธ๋ค๋ง์ ํน๋ณํ ์์ด๋ดํฐํฐ์ ํค๋ฆฌํฐ์ง ๊ฐ์ถ๊ณ ์์์ต๋๋ค. ๊ทธ๋ฆฌ๊ณ ํ์ฌ, ๊ทธ๋ค์ ์ํต๊ณผ ํ๋ ฅ์ ํตํด ๋ณด๋ค ๋ฐ์ ์ ์์ฅ์ ๋ง๋ค์ด ๊ฐ๋ ๊ฒ์ ์ง์คํ๊ณ ์์ต๋๋ค. ๊ทธ๋ค์ ์์ธ์ ํฌ๋ฆฌ์์ดํฐ์ค๋ค๊ณผ ์๊น์ ๋ฌ๋์ง๋ง ๊ฐ์ ๊ณ ๋ฏผ์ ํ๊ณ ๊ฐ์ ์ธ์์ ๋ง๋ค์ด๊ฐ๊ณ ์์์ต๋๋ค. ์๋กํ์ค๋ ์ด๋ฒ ํ๋ก์ ํธ๋ฅผ ํตํด ๋ณด๋ค ๋ค์ํ ์น๊ตฌ๋ค๊ณผ์ ๋คํธ์ํฌ๋ฅผ ํ๋ณดํ๊ฒ ๋์์ต๋๋ค. ์์ผ๋ก ์๋กํ์ค๋ ๋งค๋ฌ ๋ฐฉ์ฝ์ 30๊ฐ ์ ๋ช ๊ฐค๋ฌ๋ฆฌ, 3๊ฐ์ ๋ํ ๋์์ธ ์ผํฐ, 5๊ฐ์ ๋์๊ณต๊ฐ์ ์ ๊ธฐ์ ์ผ๋ก ์ก์ง๋ฅผ ๋ฐฐํฌ๋ฅผ ํ๊ธฐ๋ก ๊ฒฐ์ ํ์ต๋๋ค. ๊ทธ๋ฆฌ๊ณ ์ด๋ฒ ํ๋ก์ ํธ๋ฅผ ํตํด ๋ง๋ ์๋ง์ ํ๊ตญ์ ํฌ๋ฆฌ์์ดํฐ์ค์ ์ง์์ ์ธ ๊ด๊ณ๋ฅผ ๋งบ๊ณ , ๋ค์ํ ํ๋ก์ ํธ๋ฅผ ์ถ์งํ ์์ ์ ๋๋ค. ์ค์ ๋ก ์ด๋ฒ์ ๋ฐํ๋๋ โ์๋กํ์ค ๋ฐฉ์ฝ ์คํ์ ์๋์ โ์ ์๋กํ์ค ํธ์ง๋ถ์ ๋ฐฉ์ฝ ํฌ๋ฆฌ์์ดํฐ์ค๋ค์ ์ฝ๋ผ๋ณด๋ ์ด์ ๊ฒฐ๊ณผ๋ฌผ์ ๋๋ค. ๊ทธ๋ ๊ธฐ ๋๋ฌธ์ ์ด๋ฒ์๋ ์ก์ง์ ์์ฑ๋๋ณด๋ค ์๋ก์ด ์๋์ ์ด์ ์ ๋ง์ถฐ ๋ณด์์ฃผ์ จ์ผ๋ฉด ํฉ๋๋ค. ๊ทธ๋ผ ์ ๋ ๋ค์ ๋ฒ์ ํจ๊ป ์์ ํ ์๋ก์ด ๋์๋ฅผ ์ฐพ์๋ด์ผ๊ฒ ์ต๋๋ค. ๋ด์ ๋๋ค. ํ๊ตญ๊ณผ ํ๊ตญ์ ์น๊ตฌ๋ค, ๋ชจ๋ ์ข์ ์ผ๋ง ์์์ผ๋ฉด ์ข๊ฒ ์ต๋๋ค.
ํธ์ง์ฅ ์ ์ฐ์น
Last month, the entire ELOQUENCE crew flew to Thailand to carry out a 15-day โBangkok Project.โ This project was conceived by ELOQUENCE to set up a temporary camp in a foreign city and produce an entire issue of the magazine there, cultivating a lively network with creators on a global scale. As far as I know, ours was the first attempt by a Korean magazine to undertake a project of this nature on such a grand scale; we expected to confront many difficulties in the course of the project, and confront them we did. The most daunting task was finding creators in Bangkok to whom we could introduce our readers. We found almost no useful information written in Korean, since most of what we were able to find on the Internet was written in Thai. Despite the circumstances, the creative community in Bangkok opened its arms to us, encouraging us to persevere and progress with the project. BAM, the cityโs renowned art map, took the trouble to help us identify artists and galleries in Bangkok that matched ELOQUENCEโs vision, then made the necessary introductions to allow our staff to get their interviews. TCDC and BACC, Bangkokโs premier design centers, provided meeting rooms for ELOQUENCE to use as headquarters for the duration of the project. Many of the cityโs luxury and boutique hotels, including the All Seasons Hotel and Aloft Hotel, did not hesitate to accommodate the ELOQUENCE staff during our extended stay in Bangkok. About 300 Bangkok-based creators and fashion brand executives celebrated ELOQUENCEโS official Bangkok launch party poolside on the rooftop of the Ramada Encore Hotel. Perhaps we benefited a little from Southeast Asiaโs raging K-pop fever, but the real reason was probably the strong sense of compassion felt by Bangkokโs community of creators for ELOQUENCE and the ideals it stands for. As it turns out, Bangkokโs creators are of much the same mind as their counterparts in Seoul. We found them to be energetic and experimentoriented, always doing their best to follow their true colors. By and large, the cityโs creators do not insist on one particular genre, preferring to explore diverse forms of work. Inspired by the cityโs unique history and culture, the individuals we encountered personified a creative identity and heritage unlike that found anywhere else in the world, all the while concentrating their energies on creating a more developed market through communication and collaborations. By the end of the project, ELOQUENCE had formed a close network with Bangkokโs leaders in the creative industries. ELOQUENCE can now be found in over 30 of the cityโs galleries, 3 large-scale design centers and 5 art spaces every month. In addition, ELOQUENCE will continue to maintain relationships with the many creators we encountered during the project and seek ways to pursue future collaborations with them. Now comes the task of searching for the next foreign city for ELOQUENCE to investigate in its next special edition. Spring is coming; I wish all my friends in Korea and Thailand to have a good time.
Editor in chief Woochi Jeon
contents
012 014 016 022 026 028 030 038 042 047 056 067 072 076 078 081 090 098 108 116 122 128 132 144 152 164 168
brand space art art space space art media media art art music design project art collection project drawing photography studio visit art video collection fashion information advrtorial party
Global Trash Chic The Reading Room Navin Rawanchaikul Lolay V64 The Factory Studio&ArtHouse Pariwat Jiradt Pornpanitphan Steven Pettifor Young Thai Female Artists For Crew The Sound Of Bangkok Practical Design Studio Design For Disasters Tarin Yuangtrakul 4 Graphic Designers and 4 Illustrators Yomรข€™s Visual Lab Bangkok Ohm Phanphiroj Christian Develter Gi Ok Jeon Arunchit Sasivimolkul Bangkok Cityscape Breaking World Exhibitions Aloft Hotel / dusitD2 Baraquda ELOQUENCE Launching Party
design. YOM
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staff Editor in Chief WooChi Jeon / jeonwoochi0625@gmail.com Creative Director Udo Lee / udolee@gmail.com Art Director Snil Yom / yomsnil@gmail.com Editor Anna Choi / aannaa.choi@gmail.com Andy St. Louis / andy@concreteexperience.org IDA Gr์ฑnd์ฑ s-Rhee / idaateloquence@gmail.com South East Asia Editor Vincent Sung / vsbangkok@gmail.com London Editor Suk Kyung Yun / yurusi@gmail.com Tokyo Editor Yuta Sugihara / yuta.sugihara@gmail.com Amsterdam Editor EunKyung Hwang / ikben.ekh@hotmail.com Intern Editor Giseok Cho / giseokcho@gmail.com Suesasha Joung / suesasha.joung@gmail.com Copy Editor Ross Gardiner / rgardiner4@gmail.com Hassan Chop / hhaider@gmail.com Writer / Contributor Tae Ho Kim / t4eho@hotmail.com Hyo Bong Chong / ggg6999@naver.com Head Designer Yoon Jeong Lee / ggong1110@naver.com Assistant Designer Mi Kyung Kwon / ggmmgg@naver.com Hae Rin Jeong / rinhol86@naver.com Ji Eun Kwon / kwonje0508@nate.com Su Rim Nam / s2sr1003s2@naver.com Photographer Jun O Hwang / raphip@gmail.com Jaemin Son / haneul_jm@nate.com Max Eeow / max.zhihong@gmail.com Translator Esther Hwang / soyoonie87@gmail.com Linda Choi / lchoi002@gmail.com Web Designer Yong Hoon Kwon / kwonyh@teentimes.org Ji Young Kang / 357@hanmail.net Executive Producer Joohyung Lee / sir2911@hanmail.net Chairman Deog Soo Lee / president@teentimes.org President Jung Sik Lee / core@timescore.co.kr Managing Director Jee Yea Lee / jeeyea_lee@timescore.co.kr Chief Manager Kevin Tak / starbiggy@gmail.com Julia Baik / cutejuliabaik@gmail.com IT General Manager Kang-il Kim / kang_il@teentimes.org IT Management Team Jung Hun Kim / kjh@teentimes.org Yo Han Kim / tolerance@teentimes.org Distribution Sung Sook Choi / choi740710@teentimes.org
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ELO QU ENCE international creators magazine
Times Core Co. E&C Tower 8th Fl., 46 Yangpyung dong 3ga, Yeongdeungpo gu, Seoul, Korea 150-103 Phone. 02.392.3800 / Fax. 02.392.1800
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contributors
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Brittany Wacher
Peter Smiths
Logan Bay
Brittany Wacher continually challenges convention through garment construction and styling while living in a world none other than her own. Contradiction is what unifies the diverse concepts and themes portrayed through her work, often times unfolding stories based upon โnature vs. societyโ. Currently, she is hiding away in the cold Canadian mountains creating her next story. www.brittanywacher.com
Peter Smiths is Studio Warp 54โs consultant and director. He is a nice man who enjoys talking with everybody over interesting topics. He thinks deeply of everything and maintains a sense of humor all the time. For Eloquenceโs latest Bangkok Project, he provided the Eloquence crew with a lot of assistance in various ways, while gladly taking the trouble to introduce the crew to artists of diverse backgrounds in Bangkok. We are deeply grateful to him for assisting the crew throughout the entire project. Weโd like to have an interesting dialogue with him again someday, when we get another chance to visit Bangkok. www.warp54.com
Model Jah
Jeep Kongdechakul
Logan Bay, a Bangkok-based painter, was a real star among all the artists we met during the Bangkok Project. As a member of FOR CREW, a group of street artists, he arranged meeting with more than 10 of his members and helped us take pictures of them during interviews. Without his help, it wouldnโt have been possible for us to produce this story. Besides, he took the Eloquence crew, who were visiting Bangkok for the first time, to his favorite haunts of artists and provided chances for the crew to talk with other artists as well. His art projects include audio visual performance, installation and graphic design. Active as a curator and organizer, he has produced shows in New York, Chicago & Bangkok. In 2011, Logan founded SUBPโขAโขROHT, a magazine dedicated to contemporary art from Southeast Asia. He also works as a DJ in Bangkok. Eloquence editors danced away their fatigue and worries about their deadline to the mixed CD he had given us as a gift. See you again, Logan! www.loganbay.org
For our fashion spread, Thai top model Khun Rodsathorn, nicknamed โJahโ, impressed us with her 174 cm tall and elegant allure. She began her modeling career by joining The Thai Supermodel contest in 2007 and received the โMiss Photogenicโ prize, finishing in the top 10 finalists. This contest gave her many experiences such as how to walk a runway, how to pose, how to wear makeup and how to be dressed up by professionals. As of now, she has been modeling for 5 years and has had many chances to work with a variety of talented people. She has learned how to develop her self to become a professional top model. โThis job is my life. I feel good and happy every time, when I work. My idol is Tyra Banks. Sheโs a wonderful model. I want to be like her.โ www.facebook.com/rodsathorn
Designer and illustrator of The Factory Studio&ArtHouse, designer of Thailand hot brand FlynowIII, owner & designer of Ballet Shoes, Jeep Kondechakul is really on a roll. In spite of her young age, Jeep has already achieved recognition in Thailandโs broad art field. Our ELOQUENCE team was so lucky to become friends with Jeep. Possessing a fabulous fashion sense along with a beautiful smile, Jeep is such a likable person. It is very impressive that she blends modernity and Thailandโs sense of fashion together so naturally. In spite of her tight schedule, she actively helped the ELOQUENCE team, and we really appreciate the things that she has done for us. Weโre already so curious about her upcoming artwork. jeepkongdechakul.wordpress.com
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contributors
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Mix Architekt
Ko Hwaseop
Suthada Wadkhien
We asked MA about DJs in Bangkok, and he introduced us to four of the most interesting, chilled out and talented DJ personalities you can imagine. Well, he is one of them. After listening to his deep and pulsating Set at Club Ellui in Seoul, we wanted to feature him. Unfortunately, he was on a world tour when we were in Bangkok, but he promised that he would be back in Seoul soon. soundcloud.com/mixarchitekt
He is CEO as well as a designer of Allopop. Eloquenceโs Art Director Yom designed a special Bangkok Project T-shirt. Allopop turned the design into beautiful clothing. Being an original street brand, Allopop has made artwork with unique concepts, each season over the past decade. It has opened brand shops in several shopping malls such as ALAND. You can find images of his work on the website. www.allopop.com
Suthada is teaching graphic design at Chulalongkorn University. She helped us get an overall understanding of the Thai culture, including Thai graphic design, and arranged various interviews. She also made arrangements so that Eloquenceโs Art Director Yom was able to introduce his magazineโs design work as a guest lecturer during her class. There, Yom was able to have in-depth dialogue with the design students. Her bright smile, thoughtful mind and communication skills were a boon to the Eloquence crew.
Steven Pettifor
Patipat
Annie and friends
Writer, photographer, curator โ the head behind the Bangkok Art Map - has many talents and knows many people. Fortunately for us, he has a big heart too and shared his insights about the art scene, artists and spaces with us over some glasses of beer at WTF gallery. He even agreed to contributing articles for Eloquence magazine in the future, so keep your eyes open for art related news from Bangkok. www.facebook.com/steven.pettifor
He is the CEO and designer of Drycleanonly, a popular reformation fashion brand with a touch of punk in Thailand. You can find its products in the Mob.F outlet in the Siam center. Despite being busy preparing for a collection show in Japan, he gladly reformed Eloquenceโs special Bangkok Project T-shirt. You can find images of the collaborative works of Yom and Drycleanonly on YOMS VISUAL LABโs website. www.drycleanonlybkk.wordpress.com
The Eloquence crew met these college students by chance at a party. Fascinated by their graceful beauty, Art Director Yom asked the two women to pose as models for a project of YOMS VISUAL LAB. They accepted the request readily. It was an extra project planned at the spur of the moment. Three days later, the crew met them at a photo studio on Paholyothin Road and finished the filming of them in a vivacious mood. As a result, their youthful and vivacious energy was fully recorded in the photos. Yom had his last dinner in Bangkok with the students, who are studying at the Faculty of Architecture, Chulalongkorn University.
13
brand
Global Trash Chic
Everyday an incredible amount of garbage is disposed of around the world. Global Trash Chic finds ways to make the old adage,โOne manโs trash is another manโs treasureโ ring true.
Editor. Anna Choi Images courtesy. Global Trash Chic
Global Trash Chic is a project brand from Thailand that creates appealing products by recycling textilesโrugs and T-shirt fabric, for example - that would otherwise be sent to landfills. Anusorn Ngernyuang, who started the project almost twenty years ago, is always on the lookout for opportunities to transform the things we throw away into new products that are functional beneficial to the environment. No matter what sort of product he has in mind, he always uses recycled material in his manufacturing. Global Trash Chicโs guiding philosophy is based on the principle that the very stuff normally considered to be nothing more than โtrashโ can become something more: it can be transformed into something funky and chic. Using cast-off materials gathered from around the world, including packaging materials (for rice and other dry goods) and other massproduced items that are typically used once and then disposed of,
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Global Trash Chic has manufactured nearly a million recycled pieces. Their products have been presented at industrial fairs in Bangkok, Hong Kong and Europe, and their primary markets are Europe, America, and Japan. Anusornโs eco-friendly initiatives extend beyond Global Trash Chic, however. He is also the driving force behind a boutique concept hotel in Siem Reap, Cambodia called Reflections Room (www.reflectionscambodia.com). His influence can be seen throughout the property, where the word โrecycleโ is a way of life. True to form, Anusorn has converted what was once an old and unwanted house into a fun and unique place to spend the night. Reflections Room guests receive bags made from recycled materialsโproducts of the hotelโs community outreach program which supports Cambodiaโs HIV-positive women whom Anusorn teaches how the bags are made. www.global-trashchic.com
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space
THE READING ROOM
The Reading Room is a small centre for contemporary art with a friendly atmosphere. It has an art library and archive in two sections: contemporary Thai art and art books from all over the world. We visited the space and talked to Kyo, founder of the Reading Room, a center for a new generation of socially aware cultural producers.
Editor. Udo Lee Photographer. Jun O Hwang
Q. Do visitors mainly come here to read? With the Reading Room I want to reinterpret the idea of a library. It is not a passive information source, but a space for active exchange and communication. We organize events, talks, screenings and lectures. From this month on, for example, we are collaboratinge with a group called Thai Netizen Network to hold monthly classes on online culture. It will be aboutcover questions of copyrights, freedom of expression and issues of appropriation and originality. Q. What kind of people come to these kinds of events? Itโs mostly people interested or related to the fields of art, film or social sciences. The people who visit us are young, open to new ideas and can think independently. I would say itโs a new generation of cultural producers, proactive people. Q. In which language do you hold the events generally,; are they bilingual? Yes, most of them are bilingual, but it depends on the event. Q. You run this space as a non-profit project. What is the main reason for this space? In an ideal world there is a circle of producers, spaces, etc. In Thailand
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there are a lot of gaps. So the main reason to run this space is to fill gaps. If there is nothing out there, you have to organize it yourself; spaces, teaching, curating, producing. Q. And all that happens at the Reading Room? Well, I do teach at a university, but now I mean the space and the people around it. This space is a location at whichwhere stuff can happen. People can come and make things happen. Itโs a flexible space that changes with the events taking place here. When there is a screening, itโs a small screening room,โ sometimes itโs a workshop space. And on other occasions it can be very formal. In general, the Reading Room is a space for knowledge sharing, community building and activism.
4th floor, 2 Silom Soi 19, Bangkok 10500 Tel: 02-635-3674 Email: kyo@readingroombkk.org Website: www.readingroombkk.org Opening hours: Wed-Sun 1-7pm
17
art
Navin Rawanchaikul Navin Rawanchaikul is an artist who is trying to throw a party for all the different people in the world who share his name, โNavin.โ Even though Navin is based in Chiang Mai, ELOQUENCE was able to meet him in Bangkok at a collectorโs private gallery where some of his works were being shown, and asked him about the Navin Party and Navinlandโs identity.
Editor. Suesasha Joung Photographer. Jun O Hwang Images courtesy. Navin Production Studio
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Paradiso di Navin / installation view at Paradiso, 54th Venice Biennale / 2011
Q. Can you tell us about Navin Party? The Navin Party was founded in 2006 in collaboration with my friend Tyler Russell who actually made a joke about my identity. This project is a party that we want to throw to link all of the different people around the world who are called Navin. My name originates from Indian, but also there are Navins from Thailand, Japan and Korea or even in the West... so I found this very interesting. The Navin Party raised questions about nationality and our complex identities in todayโs world, because there are Navins everywhere. I wanted to ask the question: โWhere does Navin truly belong?โ Under the Navin Production brand, we have done this project in different forms and collaborations, and brought the exhibition to Korea, the US, Tokyo and Bangkok. Q. Tell us about Navinland. And how has Navinland proceeded so far and how do you see it evolving in the future? Navinland has been developed from the Navin Party. Navinland is a land of people who all have the name Navin, as well as people who know Navin. Navinland is totally fictional, but this is just a question about nationality. Navin, my name, is everywhere and isnโt bound by borders. It was open to anyone called Navin. So my vision of the future for Navinland is to make it more open to the public and not only for the artists or Navins. Living between Thailand and Japan, and my background in India, made me imagine my own land. Actually Navinland is a non-nation. Everywhere that I work and show my art I try to ask the question of nation and investigate its relevance. I donโt want to be tied to one nation, and I think art is universal. Of course we speak different languages, but art is universal language, similar to the word โtaxi.โ Q. Why have you made yourself the subject matter here? Itโs a question about identity. My father is Indian and my mother was born in Pakistan, but I was born in Thailand and my wife is Japanese. So I asked myself what nation I should belong to. Another point is that I like to integrate myself into the work that I present. I feel that every story has some factual elements, whether real or fictional. In my work, my mother, my wife, my daughter, my friends and I appear many times. Itโs about me and my community and society. So as an artist, I want to use my art to connect a different group of people, from different communities, like a family, or extended family. I often put myself in my art as one of the protagonists. My works are always based on my experience, and the narrative in my work exists between reality and imagination. Q. Where do you spend most of your time? Chiang Mai. I was born there, and it has very good, laid back environment. I also spend a lot of time in Bangkok. Everything is happening in Bangkok. Bangkok is a big meeting place. But Chiang Mai is my home where I develop works with my team at Navin Production studio. My wife and daughter are in Japan so I try to go there as often as I can.
Q. Last year, Bangkok had a lot of political and social problems. Does much of your art reference these problems? Yes, but I tried to focus on how critical the conflict was as opposed to the political motives behind the conflict. Q. Could you tell us a little about the Taxi series and why taxis are among your favorite subject matters? In the process of urbanization and the development towards capitalism, a lot of people spend a lot of time in cars because of traffic jams. And also in this kind of situation, people feel that the relevance of art and galleries declines. So I thought that a taxi would be a very interesting place to transform into an art gallery, so that people can see artwork in various synthesized situations. Oddly enough, in other countries, there isnโt another specific name for a โtaxi.โ The word โtaxiโ transcends language barriers. This was the beginning of the thought that โTaxis are universal.โ From then on, I had taxi gallery exhibitions in Sydney, Tokyo, New York and London. I realized that the idea of a taxi and its relevance was linked to art and its decline in some peopleโs eyes. Q. In studying your work, I think that your strength lies in your understanding of the Asian art environment. Can you tell me about the identity of Thai art? The Thai art industry has developed very fast. But the organization, the galleries and museums are very slow. There arenโt that many galleries or museums in Thailand. The Bangkok Art Center is government funded, but now they donโt spend much money on the arts anymore because they think that they donโt return much profit. Itโs a shame that they feel that way. Q. You frequently reference the art market. What are your opinions of the current market? The art market now is only open to a small group of collectors. Of course it is very exciting to see art and marvel at how expensive it is, but it should be an open, free market so young people can collect artwork and artists can hold more exhibitions and sell more art. But it should not be just about money. It has to be more about culture and understanding. Artists shouldnโt make art solely for profit or gain. Art should reflect our culture and sharing experiences in our society. Q. Finally, what are your plans for the next year? Iโm building a studio and art gallery in Chiang Mai. I plan to present an exhibition there with some site-specific works along documentations of my past projects. I started construction last year, so hopefully it will be finished at some point this year. Also in Chiang Mai, I am planning to develop a series of community-based projects that will hopefully bear a closer resemblance to public engagement than gallery showings. www.navinproduction.com
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Navinland needs you / Navinlandรข€™s Billboard campaign at 54th Venice Biennale / 2011
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Imagine Nabin / acrylic on canvas / 2008
Imagine Nabin / comic, 96pages / 2009
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Who is Navin? / acrylic on canvas / 2010
Navin Gallery Bangkok / taxi gallery / Bangkok / 1995-2000
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Mahakad / billboard / Kad Luang Market, Chiang Mai / 2010
Mission Navinland / mixed media / 2011
23
art
LOLAY
Lolay is a Thai art idol. ELOQUENCE had the exclusive chance to meet Lolay in person and hear about his life and his art, both of which defy categorization.
Editor. Suesasha Joung Photographer. Jun O Hwang
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DOLLAR 009 / fiberglass / Hua-hin Beach, Thailand / 2011 / Courtesy the artist
Q. Please introduce yourself. What do you do? That all depends on who is asking. If youโre in the art industry or interested in art, I would say that Iโm an artist. I do painting , sculpture, video art and other activities that use some form of art as their base. If youโre not in the art industry or you simply want to know about my career, I would say that Iโm a creative designer and teacher. I do illustrations for magazines and books and I design all sorts of products, such as mugs, T-shirts, notebooks, iPhone cases, etc. Iโm a teacher at Bangkok University and, on occasion, Silpakorn University. Q. Your artistic practice encompasses so many different aspects of creative production; is there any one in particular that best represents the kind of work you do? These are all just forms of media, or tools, that I use to realize my ideas in concrete form. If you have a lot of ideas in your head, you have to find a way to bring them out. If painting doesnโt work for a particular idea, then I have to switch mediums to maybe video or sculpture. I never stick with just one medium. Everything depends on my creativity. Q. Do you ever feel any confusion while doing your personal work? Never. No matter which medium Iโm working with like painting, sculpture, video, or anything else, I stay focused on the one Iโve chosen. Iโm able to discover many things as a result of working in so many different media. If you only stick to one thing, it makes it hard to re-create or discover other things. I like to be experimental. Itโs fun and it guides me toward good and strange things. Experience is important. Q. Out of all the media you work with, which is your favorite to practice? What attracts you to it in particular? Painting. From the very first day I started painting back when I was a kid, I found it to be a very charming thing for me. It made me feel like I was in my own world. I like the process of painting much more than I do the results, actually. Itโs very different from sculpture. With sculpture, Iโm always eager to see the finished product, but with painting, I enjoy the time spent on the process very much. Itโs something I havenโt found in any other medium. Q. What is the meaning of your name, Lolay? I started using the name when I was 18 years old and a freshman at Silpakorn University (Art University in Bangkok). The fine art faculty there
follows a rule introduced a long time ago that requires everyone to take a new name. The idea behind it is to minimize the gap between students of different family backgrounds. No rich, no poor, no fashion, no celebrity; all students are the same, all friends. When they asked me what name I liked, I couldnโt choose one, so they named me โLolay,โ a Thai word meaning very confused and unable to choose anything. Q. In the process of preparing this issue, we solicited recommendations from all sorts of people about well-known artists in Thailand to contact and lot of people recommended you. Why do you think so many people thought to mention your name? I donโt know, you should ask them. Maybe they are my juniors from university, or my students, or friends. Maybe they think my style is different from everything else in Thailand. I cannot respond to questions like these because I donโt know. When I work, I never think about how to sell it or how to make people like it; I do what I want to. Somebody might tell me Iโm their idol, or else ask me how to be successful or famous. I donโt think Iโm famous; Iโve been doing art for 20 years now, so people know me. Q. Looking at the work from your exhibition โBruisedโ that was held last year, I noticed two people that appeared over and over again in the images. Could you introduce them? Many people want to know who they are. Actually, I just wanted to paint a woman and a man. Theyโre just like human models; itโs not important who they are. The main concept of that exhibition was war, something humans do to other humans without distinction between women and men. Q. Where do you find inspiration for your work? I like to learn from othersโ experiences. When we compare them to our own lives, we can discover new ideas. I take a lot of inspiration from the things I read, watch and listen to. I like reading history about the world, or war, or the lives of artists, scientists, musicians, etc. These are true stories about things that really happened in our world. My interest in the experiences of others is a result of experiences from my own life; When I was young, I had to stay far away from my mother and live by myself in a big city like Bangkok in order to study art. I had no family around me and sometimes, no friends and I had to face some difficult times. I wasnโt born in the World War generation, but my life at that time seemed a lot
25
like war. Through learning about war, I have learned a lot about life. We have to learn to survive whether weโre in a real war or not. Q. Do you have a muse? Music. I listen to music everyday, almost all the time. When I listen to music, the ideas and images in my head are entirely dependent on my own personal experience. Sound is very abstract; you cannot touch it or see it, but you can feel it. And when you feel it, your imagination really goes to work. Q. You do a lot of drawings, and I see many drawing notebooks here in your studio. Can you tell us what drawing notebook means to you? The most important part of my art is my collection of handmade notebooks. I make a new notebook every month and sometimes as many as three to four in any given month. I started making the notebooks more
than ten years ago. My life is in them. I think about work all the time and I often get new ideas out of nowhere, so I have to bring something with me when I go out every day. Sometimes I do drawings of my memories, sometimes I write songs, sometimes Iโm inspired by something or someone and Iโm afraid Iโll forget; I put it all in my notebook. Each notebook is like my private playground where my ideas transform. Theyโre not the final images of my ideas, but theyโre part of my creative process. Q. What are your future plans? Iโm finishing my new studio in a beach town in Thailand called Hua-hin. A lot of times I want to make a big painting but my studio in Bangkok is in condominium, so I cannot do paintings any larger than 200cm. My new studio is like a loft where I can make the big paintings Iโve been hoping to do. I really want to do them and I will. lolaytoon.blogspot.com
Human / Acrylic on canvas / 2011
JUNE MILLER AND ANAIS NIN / Acrylic on canvas / 2011
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Organ / Acrylic on canvas / 2011
Experience / Acrylic on canvas / 2011
ADOLF HITLER / Acrylic on canvas / 2010
Water / Acrylic on canvas / 2011
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space
V64
Despite having had its Grand Opening only just recently, it seems like everybody in Bangkokโs community of creators knows about V64. This new collective space represents a fresh attempt at fostering a self-sustaining artist community independent of government support.
Editor. Udo Lee Photographer. Jun O Hwang
Initiated by Attasit Pokpong, V64 is a new artist community occupying a former warehouse renovated by the same 75 artists who currently use its 35 studios as workspaces. Pokpong, an artist himself, says he selected each one personally, according to his own criteriaโ โI donโt only look at the art or the reputation when I select artists, but also at the personality. Some people say itโs a weakness to choose artists like that, but I see it as an investment in the future.โ he says with a smile. โI care about potential.โ He continues, โI was a young artist too, and had to learn how to succeed. Now I want to share my channels, knowledge and connections.โ Each of the selected artists pays rent according to the size of the studio they use. In case of difficulties in coming up with their rent money, artists can teach at V64โs in-house art school or music school. When someone sells a work of art, ten percent of the sale price goes back into developing the space. That is not to say, however, that V64 is a commercial space; inspired by the M50, Shanghaiโs government-funded arts community, Pokpong set out to build a similar community-oriented space for young artists in Thailand. Since no government funds were to be expected, he came up with a self-sustaining community conceptโ funded by artists, for artists. Most of V64โs young artists come from Bangkokโs art universities, but since the contemporary art world in Thailand is still developing, there are not many opportunities for emerging artists to gain exposure. โV64 is a space for exchange and collaboration for young artists,โ Pokpong explains. โHere, they donโt have the same pressures they would have
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if they were exposed to the art world directly. They have time to learn and adjust with time.โ Part of V64โs appeal to young artists is Pokpong himself and the ties with agents and art dealers he has maintained over the years. Sharing his networks and getting young artists acquainted with the business side of the art world is important to Pokpong, who gave up on building his solo career in order to do just that. โI think itโs important to show them how to deal with the art world,โ he says. โSome artists are more commercial, some are not; but they have to learn to deal with these differences.โ The mellow and friendly vibe at V64 seems to reflect its supportive conceptโa good foundation for Pokpongโs ambitious goal to develop V64 into the most influential art center in the city. He sees this warehouse-turned-cultural hub becoming a meeting place for art lovers, collectors, curators and the general public alike; one where the goal is not to sell art but to build a community, establish an alternative academy, and provide a place for art mediation and art consulting.
143/19 Changwattana Soi1 Yak 6 (Vibhavadi 64 rd.) Bhangkhen Laksi, Bangkok 10210 Thailand 02 973 2681 / 2 or +66 8 9143 0986 (Mobile) For Information Enquiries: info@v64artstudio.com For Sales Enquiries: sales@v64artstudio.com www.v64artstudio.com/welcome
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space
The Factory Studio&ArtHouse
Inspired by Andy Warholโs Factory, four artist friends made The Factory in Bangkok. We met three friends who founded The Factory and had a chance to get an exclusive look at their novel effort to improve art education.
Editor. Suesasha Joung Photographer. Vincent Sung
Q. Introduce The Factory Studio&ArtHouse to us. The Factory is an institute that passes along knowledge and understanding of art & design, for kids, teenagers or anyone who is interested in art. Courses vary for different age groups, from basic to advanced levels. Kids: This course aims to develop the artistic point of view, skills, concentration and positive vision. Students: This course will prepare students for their common entrance exams. University students: This course helps to develop artistic skills & understanding to a granular level. Anyone: Courses are amusing & fun, introducing art as a hobby which can be useful in daily life. All courses are conducted & supervised by people for whom art is their profession, from people in the fashion field to high school and university art professors. The factory is also an art studio, which is really great for our students; they can learn to use various art tools and the atmosphere of a working, creative studio helps the students to increase their own vision & creativity. Q. When was the studio built? The Factory Studio&ArtHouse has now been open for a little more than a year.
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Q. I understand The Factory Studio&ArtHouse is the creation and collaboration of four artists. Please introduce yourselves. Jeep is a famous illustrator who owns a shoe shop with six branches and is also known for doing shop displays and graphic design for major brands. Keng is a painter with four years experience tutoring students and selling his work through his own exhibitions. Name is a conceptual creative artist who owns cupcake bakeries and does conceptual events. And Tung is a sculptor whoโs had the opportunity to create his work in Japan. Q. How did you four get to know each other, and what was the opportunity that led you to construct The Factory Studio&ArtHouse? Weโre all childhood friends;what happened is that we discussed our mutual desire to have a place where we could all fulfill our dreams, as well as a place where we can educate the new generation about art. And in the meantime we could use the place to create and support various fields of art, so the initial model was Andy Warholโs studio, which was called the Factory. Q. Why do you think art education is so important? Art education is important because nowadays everything we do is somehow related to art and creativity. Most logical structures are perceived to be solid and unchanging, but creativity and the imagination never seize to create change.
Q. What makes the education here different from another tutoring process? It was a good idea to combine the studio and art house together because such a place doesnรข€™t exist in Thailand, where students can come and learn from artists firsthand and share the experience.
Q. In the future, how do you want your The Factory Studio&ArtHouse to be known to the public? We would want it to continue to be known as it is today. www.facebook.com/Thefactorystudioandarthouse
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art
PARIWAT
The spirit of Bangkok is alive in the photo collages of Pariwat. We took a peep at the dynamic work he creates to re-imagine its urban landscape.
Editor. Anna Choi Photographer. Jun O Hwang
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BKK.Street 015 / photo collage / 2012
Q. What was it that originally interested you about photo collage and how did you get started using it as your primary medium? It started about seven years ago when I was working on a book called โTraffic Grid.โ I was in charge of everything, including content, design, photography and illustration, and I discovered that photo collage was the perfect tool for the kind of things I was trying to create. It worked out all the problems I had been struggling with and it led me to realizeโpurely by chanceโthat I actually possessed the skill and expertise needed to execute my ideas through the medium. Q. In your opinion, what is the attraction of photo collage? I think that raw photographs (without retouching) only capture reality. If we creatively utilize photo collage to work together with those raw photographs, we can create an attractive world of imagination that is still based on reality. Q. Did you take the photos of Bangkok by yourself? Yes. When Iโm traveling and I see something that catches my eye, I immediately press the shutter. I donโt worry about lighting, colour, sound or composition. Q. Where do you usually take pictures in Bangkok? Do you have any specific location? I donโt have any particular location in my mind when taking pictures in Bangkok. Actually, the pictures I take donโt need to be from Bangkok alone; I snap stock photos of anything that strikes me as interesting. But if youโre asking where my favourite spot in Bangkok is, I would have to say โChina Town.โ Q. What are you trying to show about Bangkok through your photo collages? The beauty of the photo collage is that it has a surreal effect, allowing you the freedom to mix things up here and there. A big building can turn into a small sculpture. Street stalls can become a gigantic background.
You can take people on the pavement and pose them on top of some swanky building. It is good fun doing this sort of satire. Using just this one simple tool, I could easily be a director creating new unseen perspectives of the city. Q. How do you feel about Bangkok on an individual, personal level? I am pleased with the charm of living an โordinary lifeโ in Bangkok. I think people definitely tend to overlook this aspect of of the city since it doesnโt meet our accepted standards for judging the value of art. Leading an โordinary lifeโ here means designing a lifestyle to survive the chaotic and complicated social conditions that exist in present-day Bangkok. Even though this may be seen merely as an unremarkable facet of living here, I see it as an art; the art of living an โordinary lifeโ that has its own uniqueness. Displaying works of art is no longer the exclusive domain of galleries and museums; it is also a part of the streets where we all come and go. Q. Have you completed on any other series using collage? Iโve done two other collage sets, actually, that didnโt make use of photo collage. The first one takes userโs manuals for electronic gadgets, machines and other tools and uses collage and mixed media to transform them into a whole new gadget from my imagination. The other is a collage using from old posters dating from the previous era that assume a modernized feel with a new contemporary message. Q. What are you planning for your next artwork? At the moment I donโt have any definite plan. At the moment, Iโm very interested in old furniture and eccentric materials. Iโd like to add something edgy, crazy or funky to them and see what sort of results I get. a-pariwat.blogspot.com
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BKK.Street 014 / photo collage / 2012
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BKK.Street 001 / photo collage / 2006
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Yaowarat 001 / photo collage / 2012
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Yaowarat 003 / photo collage / 2012
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media
Jiradt Pornpanitphan
From a small-scale magazine reflecting one manรข€™s passion for street fashion to an industry-defining publishing operation producing two of Bangkokรข€™s most influential fashion lifestyle monthlies, Jiradt Pornpanitphan has made an unmistakable mark on Thai fashion media over the last eight years. Here is what the editor in chief of Cheeze and Looker magazines had to say about his path to success and the magazines that got him there.
Interview. Woochi Jeon Editor. Anna Choi Photographer. Jun O Hwang Image courtesy. Cheeze and Looker
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Q. Please introduce yourself. My name is Jiradt Pornpanitphan and I am the editor of Cheeze and Looker. Apart from that, Iโm a fairly average person who is lucky enough to do what he loves for a living. Q. What is the concept behind Cheeze magazine? The concept is โon the street,โ just like any other street magazine in the world. We are trying to record fashion culture in society from every era and to be an inspiration for all fashion lovers. The magazine also reports on โThai fashionโ in the interest of our Thai readers, though it is also a resource for foreigners to recognize the development of Thai style. Q. When did was Cheeze magazine first published? We published our first issue in May 2004. Q. Can you tell us about how it all started? Itโs not a particularly long story to be honest. It started when a foreign photographer came to take a photo of me for his street style website. I logged on to his website and it made me think โWhy isnโt there anything like this in Thailand? Thai people dress with real style.โ After that, I created a mock-up of the magazine and kept it with me. One day, I met an investor who suggested that I make the magazine, since there was really nothing like it in Thailand at the time. At first, there were only five people in the team: an art director, a photo editor, a fashion editor, myself and my assistant. We started off as simply as we could, and spent six months developing the style before publishing. We had to think everything through before getting started in order to minimize potential risks and problems. Q. You are a publisher and an editor in chief at the same time. How different are these two roles? Being an editor in chief is not so complicated for me because Iโve had the concept clearly defined since the beginning and I have an awesome team. We all seem to share the same vision and work ethic. Therefore, I still have some time left to do other things, such as planning and managing the publishing house. I want us to grow up not only as a magazine but as an organization. Being a publisher requires a strong competitive strategy with regards to advertising. Now we have Cheeze, Looker, Shopping Guide, some pocket books and a lot more to come. Apart from being an editor in chief and a publisher, I also have time for shopping, traveling, and even finding good coffee to drink. Q. Cheeze magazine is known as the representative street magazine of Thailand. Other street magazines have strong male influences, but Cheeze magazineโs content and layout is more feminine. Was this your intention when you started? In this country, fashion starts with the girls. Wherever you go, youโll see lots of girls, and they all present themselves in such a cute and beautiful way. So why shouldnโt I publicize them? I also understand that Thai girls are beautiful, and people love to look at beautiful girls. Yet again, in the last few years weโve started to see men dressing up more than before. They care a lot more about how they look, so I came up with Looker Magazine, which is for men only. Q. Can you tell us about any other culture and style publications in Thailand? I think Koo-Sang Koo-Som is a magazine that understands Thai social structure really well. Itโs one of those magazines you can find in any home. Everyone reads it. My parents read it more than they read my magazines! Q. Cheeze magazine was first started as a local magazine, but itโs now beginning to gain international attention. What do you consider the secret to Cheezeโs success? I think itโs timing. It was the perfect time; the sender and the receiver were thinking the same thing. Supply and demand is what keeps society functioning and moving forward.
Q.Which brands do you target for advertorials in Cheeze and Looker? Our main targets are the fashion brands worn on the city streets so that our clients understand the direction of the magazines. But itโs also important that they trust that we can communicate with our readers in our own way and give the correct representation of their brands. But we are also open to some consumer products because they can help us generate the money we need to keep producing the magazines. Sometimes itโs necessary to put business first. We advertise unisex products in Cheeze magazine, but in Looker the products are aimed mostly at men. Itโs very clear and our clients understand that. Advertising clients in Thailand are actually really nice. Q. You are well known for your โEDITORโS TALKโ page. What are you trying to say in this single page article? Iโm trying to teach readers about the simple way of life, with help from Buddhist teachings. I try not to make it too serious, though. The article is generally fun and silly. Q. Although Cheeze magazine is a fashion magazine, you also do collaborations with artists. How do you pick the artists for these projects? The kind of artists that we collaborate with are special. We choose them because they know how to dress and they inspire me and my team, although a big part of it is that we like them. We have done all kinds of collaborations, including illustration, photography, writing and styling work. I donโt want to keep doing these things all by myself; I want to share with them. Q. Who is Cheezeโs favorite artist? I like Jeep from The Factory Studio&ArtHouse. She is so determined and so talented. Q. Compared to other cities around the world, what do you think makes Bangkok a great place to have something like this? The characteristics of Bangkokโs street style come from many places, but when people dress up in the Thai heat, it becomes โBangkok street style.โ The fashion trends here are diverse and always changing. Another reason is that we have beautiful people in Thailand, something that always plays a major role in the development of a cityโs fashion scene. Q.You mentioned Looker magazine earlier. Could you tell us a little about that? Looker is a magazine aimed at men who ignore sex, luxury, vehicles, suits, ties and expensive watches because there are so many of those things in the market. We think itโs time for men to get up and dress up; to show their heart and soul in their clothing. Q. Looker magazine was published after the success of Cheeze magazine. What are the major differences between the two? Cheezeโs audience is a bit younger, in the 15-22 year old age group, and unisex. Looker is for men who are 22 - 45 years old. Since these two groups of people have different interests, the magazines run content that differs as well. We always wanted Cheeze to be unisex, yet veer closer to a female audience. With Looker we use the phrase โMen Only,โ which is very explicit, although many girls also buy it. I think that itโs mainly because they want to see the guys in it [laughs]. Q. As opposed to the diversely styled articles of Cheeze magazine, Looker definitely puts more importance on street snapshots and new product items. Why is this? Because guys are not that complex. They donโt like to read anything too long or descriptive. They just want to see people and stuff, then build the rest of the story on their own. Q. The strong, distinctive feeling of Lookerโs pictorials is unlike that found in Thailandโs other established magazines. What styles do look for? I like so many styles. When thereโs a Looker style, it kind of becomes my style as well. I think Thai people like it too.
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Q. How do you keep the pages of Looker full of so many stylish and fashionable people? There are so many stylish people in Bangkok. All we have to do is keep looking for them and going to the places where they live and hang out. We have trained our photographer to understand the Looker style, and we just pick the ones that are perfect for our concept. Of course, I have to thank those fashionable guys a lot. Q. I see some staff contributing to both Cheeze and Looker. What are the benefits of working on two entirely different magazines simultaneously? In spite of their differences, I think the thing they have in common is their style. Itโs like we have two questions to answer. Some people can solve them both really well because the questions are not ambiguous. Actually, I think itโs a good thing because it means we donโt have to do the same things all the time. We can have a lot of fun with different kinds of work.
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Q. What is the most difficult thing about running two magazines at once? The most difficult thing is to do it well and not to take advantage of the readers. We have to let the two magazines have their own identities and values while embrace their differences. This is like a fuel that keeps driving us to make something interesting that people want to read. Q. As a representative fashion and culture magazine creator from Thailand, is there anything else youโd like to say? โเธเธกเธฃเธฑเธเนเธเธซเธฅเธงเธโ (โI love the kingโ) www.cheeze-magazine.com www.looker-magazine.com
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media
Steven Pettifor
The BANGKOK ART MAP (BAM) is an indispensable resource for anybody who wants to explore the cityรข€™s art spaces. ELOQUENCE met the person behind Bangkokรข€™s most comprehensive list of exhibition spaces, Steven Pettifor. Over some glasses of beer we learned that the starting point for his activities might be Bangkok, but the outcome of his work as a writer, curator and artist spreads all over the world.
Editor. Udo Lee Photographer. Jun O Hwang
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โNajhin
Q. What is BAM? BAM is a complete list of exhibition spaces in Bangkok, published by Talisman Media Group. It also includes everything around art, like spaces which exhibit art but are not galleries, artist studios, private art schools, framing services, art shipping companies, photo schools, art supplies, and archives. Itโs really a diverse selection of whatโs out there. Q. What was the starting point for BAM? When we started in 2007, there was no other art map. Well, there had been one other guide, but it came out irregularly and was more informal. Traveling to other cities showed me how useful these maps are. You donโt want to buy different magazines and collect all the information by yourself, you want something convenient, simple and free. Q. The publication is bilingual. Is it not a lot of work? It is, but our readers are not only tourists. Actually most people reading it are residents of Bangkok. Itโs good to see that the people living here find it helpful too. Q. BAM is free; how do you finance it? For the first two years we had a sponsor, a property developer. When the market slumped in 2009, they jumped off the wagon. So we approached galleries to donate. Q. How did that work out? Most galleries have a small profit margin, but we found about 20 galleries which agreed to support BAM because they see that such a publication is quite important. Recently we made a deal with a corporate sponsor. Itโs good, but we are always open for more sponsorship. Q. Each month, you introduce selected exhibitions. What are the criteria? Itโs a selection of what I think are the best exhibitions in a month. There are many considerations to be made โ the sponsors, Thai artists vs.
non-Thai artists, etc. In general, I want to present a broad range. BAM caters to a wide spectrum of people, not only specialists in the art field. Q. Art mediation seems to be a thread that runs through all your activities. Yes, I contribute to several international and regional newspapers and journals. Since 1999 I am the Thailand contributing editor for the international bi-monthly publication Asian Art News and the quarterly World Sculpture News. I also wrote one of the only English language books on Thai art, Flavours โ Thai Contemporary Art, which was published in 2004. Besides writing, I also was involved in curating several exhibitions, including the Thai Pavilion at the 54th Venice Biennale, โPlaces of Rebirthโ by Navin Rawanchaikul at Sakshi Gallery in Mumbai, โCharles LaBelleโ at Number 1 Gallery in Bangkok, and โOtakuโ by Charinthorn Rachurutchata. Q. With all that, you still find the time to produce your own artโฆ My photos show Thailand from a different angle, I like to capture unusual scenes in everyday life. Itโs about the small moments, in which you have to look twice to see whatโs special about them. Other works are more abstract and textural. I exhibited at โCreaturesโ at About Cafรฉ in 1998, the 1999 nomadic interactive exhibition โHow much is that doggy โฆ..โ presented on the body of Philippine artist Judy Freya Sibayan on her travels through Asia and Europe (including the opening event of โCities on the Moveโ at Londonโs Hayward Gallery), Womanifesto at Pridi Banomyong Institute in 2003, the 2008-9 group show โKrungthep 226โ held at the Bangkok Art & Culture Centre, and the 2009 group exhibition โTriggerโ at Bangkokโs Whitespace Gallery. I also participated regularly in the group exhibition series โSee Saw Seenโ in various galleries in Bangkok. www.bangkokartmap.com
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UNIVERSITY GALLERIES
CULTURAL CENTER
GALLERIES
CHULALONGKORN ART CENTRE (MAP E-4) Centre of Academic Resources, Chulalongkorn University, Phaya Thai Rd | 02-218-2965 | Mon-Fri 9am-7pm, Sat 9am-4pm | www.car.chula.ac.th/ art/ | BTS Siam This large gallery space holds noncommercial solo and group exhibitions. Until Mar 28: (Dis)continuity Conceptual artist Wantanee Siripattananuntakul looks at notions of time and how distinctions between the past, present and future interrelate.
ALLIANCE FRANCAISE (ART CENTRE) (MAP G-5) 29 Sathorn Rd | 02-670-4200 | Mon-Sat 10am-6pm | BTS Sala Daeng A busy promoter of both French and Thai art, this art centre sponsors many exciting collaborative exhibitions and innovative cultural events. Until Mar 29: La Fรชte The annual French cultural festival.
AKKO GALLERY (MAP F-8) 919/1 Sukhumvit Rd (btw Soi 49 & 51) | 02-259-1436 l Mon-Sat 10am-7pm | www.akkoart.com | BTS Thonglor Run by Japanese dealer Atsuko, this gallery has a definite Nipponesque flavour to much of its art. Until Mar 17: Letโs Go Far Far Away Marine life provides the focus for Japanese artist Kyoko Abeโs acrylic paintings. Mar 31 โ May 12: Not Just Beautiful โ The New Nature Series Floral watercolours by Somboon Phoungdorkmai.
G23 (MAP D-7) SWUNIPLEX Fl2-3, Srinakarinwirot University, 114 Sukhumvit Soi 23 I 02649-5000 #5005 I Tue-Sun 11am-6pm I www.g23.swu.ac.th I BTS Asok Four large exhibition spaces in one. Until July 29: Somyot Hananuntasuk An exhibition by the senior abstract artist. JAMJUREE GALLERY (MAP E-4) Jamjuree Bldg 8, Chulalongkorn University, Phaya Thai Rd | 02-2183709 | Mon-Fri 10am- 7pm Sat, Sun & Holiday noon-6pm | www. jamjureeartgallery.blogspot.com | BTS Siam Two rooms display student group shows as well as experimental exhibits. rising local artists. Until Mar 8: The Art of Martial Art Depictions of northern Lanna martial arts. Until Mar 11: 4 Dimension Four instructors from Poh Chang College use four different mediums in their creativity. Mar 6 โ 23: Happiness Beyond Measure Photographs of a Buddhist pilgrimage around SE Asia by Bhanuwat Jittivuthikarn. Mar 14 โ 28: Assalamu Alaikum Works by five Islamic artists from Songklha. Mar 15 โ 30: The Southern way of Life A group show highlighting southern Thai culture. SILPAKORN UNIVERSITY GALLERY (MAP D-1) 31 Na Phra Lan Rd (opp the Grand Palace) | 02-221-3841 | Mon-Fri 9am7pm, Sat 9am -4pm l www.art-centre.su.ac.th Silpakorn University has three neighbouring campus galleries hanging art from students, famous alumni, teachers and visiting artists. Until Mar 16: Preecha Orachunga A retrospective from the senior abstract artist to celebrate his 75th birthday.
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GOETHE INSTITUT (MAP F-5) 18/1 Goethe Gasse, Sathorn Soi 1 | 02-287-0942~4 | Daily 8am-6pm | www. goethe.de/bangkok | MRT Lumphini This Germanic organisation holds exhibitions of German and Thai art. Until Mar 13: Somewhat Different An international exhibition of trailblazing contemporary design objects. JAPAN FOUNDATION (MAP E-6) Serm-mit Tower 10F, Sukhumvit Soi 21 | 02-260-8560~4 | Mon-Fri 9pm-7pm, Sat 9am-5pm | www.jfbkk.or.th | MRT Sukhumvit, BTS Asok Organises external exhibitions by Japanese and Asian artists. Until Mar 31: Erque After a Japanese residency, Pisitakun Kuantalaeng looks at human resilience.
cafes, bars + more 2SNAKESTUDIO (MAP E-3) Soi Nana, Maitri Chit Rd (nr Hualamphong Station) | 086-012-1972 | By appointment only | MRT Hualamphong Run by photographer Philip Blenkinsop and his partner Yonola Viguerie, this studiocum-gallery has curious permanent display and temporary presentations. EAT ME (MAP F-4) Soi Phi Phat 2, Convent Rd | 02238-0931 | Daily 3pm-1am | www. hgallerybkk.com l BTS Sala Daeng A trendy restaurant with a regular schedule of local and international art organised by H Gallery. Until Mar 4: Anu-Sti Internal fear is writ large in student artist Waranthorn Tachakunakornโs photographs. Mar 6 โ April 29: Mythos and Mime American photographer Cameron Wolfโs portrays mythical creatures. WAI ART (MAP C-5) Baan Bar, Soi Rangnam (beside King Power Complex) I 081-697-4866 I www.facebook.com/pages/wai-art I BTS Victory Monument Located in a bar, this gallery promotes emerging art. Until Mar 31: Mara The first in a series of exhibitions at the Banyan Tree Hotel on Sathorn Rd: Thanapon Junkasainโs Buddhist aligned paintings.
ARDELโS THIRD PLACE GALLERY (MAP E-8) The Third Place, Thonglor Soi 10 | 02-422-2092, 084-772-2887, 086890-2762 | 10amโ8:30pm | www. ardelgallery.com I BTS Thonglor Ardelโs sister gallery is a compact venue on the first floor of this lifestyle space. Until Mar 18: Logiyadhamma Silpakorn University lecturer Thongchai Srisukprasertโs paintings and sculptures explore Buddhist notions of desire. Mar 29 โ April 29: Spirit of Women Palut Marodโs paintings look at female sensibilities from a male perspective. ARTERY: POST-MODERN GALLERY (MAP G-3) 2/2 Soi Silom 19, Silom Rd | 02-630-3006-7 | Mon-Sat 10:30am7pm | www.arterybangkok.com | BTS Surasak Focussing mainly on emerging Thai art, this gallery has relocated to a new townhouse around the corner from Silom Galleria. Mar 2 โ Mar 30: Jack Back to Town BANGKOK ART & CULTURE CENTRE (BACC) (MAP D-4) 939 Rama I Rd, Pathumwan | 02-2146630-1 | Tue-Sun 10am-9pm | www.bacc.or.th | BTS National Stadium This 11-storey arts centre has over 3,000m2 of exhibition space accommodating a broad scope of exhibitions and creative events. Until Mar 11: Culture: memorable, formless, shadowless Cultural systems are explored in this group exhibition. Until Mar 18: Hosanna to Our King Tributary art works celebrating His Majestyโs birthday. Mar 8 โ April 18: You Are Not Alone RMA INSTITUTE (MAP F-7) 238 Soi Sainamthip 2, Sukhumvit 22 I 02-663-0809 I 11am-7pm I www.rmainstitute.net This studio gallery in a renovated home is run by photographer Piyatat Hemmatat.
art
Young Thai Female Artists
Pare-Nadda
OH+Futon
Yuree Kensaku
Jeep Kongdechakul
Four Thai female artists have caught ELOQUENCEรข€™s attention. They are actively working in a variety of different art genres. ELOQUENCE had the chance to meet the multi-talented artists and learn more about their work.
Editor. Suesasha Joung Photographer. Jun O Hwang
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Pare-Nadda
Illustration. Pare-Nadda
Q. Could you please tell us about yourself? I am a painter, writer, singer, musician, host of an art TV program and a masters student in Art theory. I do various things because I think that life has many perspectives. Art can connect to anything because it is a framework of our daily life. And I donโt want to make my life boring. I think humans can do anything they want to do. Just do it. Experimentation brings me to re-create again and again. It is the driving force in my life. Q. You are well known as an illustrator. Why did you find yourself choosing this form of expression? I am very interested in human psychology and have been analyzing myself as best I can, and testing my findings. I am trying to use art as a means of communicate between myself and others. I do not limit myself to any one technique, preferring to use whatever means is best in each circumstance. But I do like painting as I can express such a large range of feelings within a given format. Q. I know that you are a member of HAPPYBAND. Can you tell us about HAPPYBAND? HAPPYBAND is a model that we created for learning about art and life in October 2009. HAPPYBAND has four members; Lolay, Giameee, Missyoon and me. Lolay is the only one who can play guitar and bass. I can play piano, but we wanted to form three-piece band, with guitar, bass and drums. Now we have more 20 songs and have had many shows.
Q. Between illustrating and music, which is more important to you? Music and illustration are from the same family. They will always be an inspiration to one another. Art is so varied. Music is a big part of art. For me, music can communicate more with the audience than painting because of its magic. You canโt see but you can feel it. With a painting everyone sees the same shades of the same colors. But in music you will see your own shades. When I play my own music, I feel like Iโm speaking in another language. Q. What is illustration to you? Itโs a mirror. It can show what is deep in my mind. Lines and colors cannot hide my feelings. When I was young my lines and colors were very colorful and free. But when I grew up I found that being a human is a very complicated existence. Humans have sense. Sense makes various feelings. I decided then I felt that I didnโt want to use color anymore. I love lines drawn with black acrylic. I donโt want to do complicated paintings. I want to keep the feeling in them. For example, when I was painting a girl, I didnโt want to present how she looks like, all I wanted to present how she was feeling. Q. Could you tell us about any upcoming plans you have? Iโm going to get married to a person who is a famous artist in some peopleโs eyes, but a great man in my eyes. parenadda.blogspot.com
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OH+Futon
Illustration. OH-Futon
Q. Could you please introduce yourself to our readers? My name is OH+. I am an illustrator. People called me โOH+Futonโ because I also play in the band called FUTON. Q. Which is more important to you: music or illustration? Very good question. I do a lot of stuff. My answer is always โI choose the things I like.โ I always love whatever Iโm doing at the time. I do not do the things I donโt like. So I cannot choose what I love more. It depends on the time. I feel really happy when Iโm drawing. Normally time goes fast when I draw, but I cannot do two things at the same time. So I always give a lot of concentration and ideas when I do something. Everything is about art in my life. Q. You must have a lot of fans. Who are they? I donโt think Iโm famous, but many people know about me. However, my music fans donโt know that I also draw, while my art fans have no idea that I play music. So my fans are from all walks of life. When a fan asks for my autograph, I ask him or her which genre of art does the person like. Isnโt it interesting? In short, I donโt have fans for only one genre. Therefore, I donโt really know the exact styles of my fans. Q. What made you start illustrating? I started drawing pictures when I was young. I continued steadily and eventually I graduated from an art college. When I was in my second year of college, I was playing the bass guitar in a hip-hop band and
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started doing various other things, so I couldnโt really focus on my artwork. But then, one day, I decided to draw pictures and I started drawing every day in my spare time. One day, I showed my pictures to one of my favorite artists, who is probably the most famous artist in Thailand, and suggested her to use my illustrations for her book. To my surprise, she accepted my suggestion without hesitation and we made a pocket book together. Since then, I was able to put a lot of time into drawing pictures. The reason why I was able to show my artworks to her was that I thought I had nothing to lose. Iโm a person who follows my dreams. Q. What does illustration mean to you? Illustration is like a profession or task for me. For example, when I illustrate for a book about law, I have to draw pictures to help readers understand the contents perfectly and more easily. Also, I put about 50 percent of my ideas into the pictures and the other half is made up of requested ideas. But when I hold my own exhibition, no one asks me for requests, so I put all of my ideas into my art. Iโd like to express my ideas and feelings through my artwork. To me, illustration is like an answer for a certain thing. Q. What are your future plans? To be honest I have no plan. I do the things I feel like doing at the time.
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Yuree Kensaku
Illustration. Yuree Kensaku
Q. Could you please introduce yourself to our readers? I mainly work as a painter. I do paintings, murals, and any kind of art thatโs based on painting. I design CD covers, products, Music VDO, and illustrations.
when I walk in the market and find interesting materials. Recently, my friends and I have been doing mural work together and I find myself falling into the place and having deep feelings about it. For example, in that painting, I thought about the homeless, so I painted a neglected girl.
Q. You are an illustrator. How did you start illustrating? I usually paint and hold some exhibitions, so that publications and magazines get to know my work. Then they invite me to join them.
Q. Beside illustration, you do a lot of paintings too. What is your favorite piece of art? There are many paintings that I like. Especially Cruising Ahead, a painting I completed in 2010. I painted my love and I in a small boat carrying many things towards an unpredictable future. While I was painting, I thought โif we still have each other, thatโs more than enough to get through any obstacles and we can solve any problems we have together.โ Another piece might be the music video, Pry Song (Pleng Pry). That was the first time I saw my paintings in motion.
Q. Do you have special creative synergy when you illustrate? I have loved seeing movies and animation since I was young. When I illustrate, I draw a lot of inspiration from the storytellers, writers, other professional creators, and then I will mix this inspiration with my own experiences. Q. In your drawing, it looks like there are a lot of stories inside. Are there any personal experiences in there? I paint from my own vision, and of how I think about this world, our environment, personal relationship experiences, and all confusing things around me. I think my painting is a memo of what affects my moods at different periods. Q. Where do you find the most inspiration? My inspirations happen for many reasons and come from many places, but I get a lot when I travel, far away from home. I feel inspired even
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Q. What is illustration to you? As a painter and illustrator, I think illustrations are promotional art pieces which mainly support articles, fashion, music etc. But my paintings have been created from my own ideas. Painting is more about me. It has its own meaning without supporting anything else. Most of the time, illustrating gives me many opportunities to get to know people, experience new things and it inspires me to create other works. www.facebook.com/yureekensaku
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Jeep Kongdechakul
Illustration. Jeep Kongdechakul
Q. Could you please introduce yourself to our readers? My name is Jeep Kongdechakul and Iรข€™m 26 years old. I am an illustrator and columnist for Cheeze magazine (street fashion magazine). I also do various things in different art fields like; Fashion design (clothes , fabric pattern, display for Flynow III, Bangkok Thailand), Shoe design (ballet shoes since 1959, Bangkok Thailand), Graphic Design (Corporate identity design, Wallpaper*), and I am a lecturer at the Faculty of Fine Arts, Srinakakharinwirot University and Faculty of Decorative Arts, Silpakorn University. I am also the founder and designer at The Factory Studio&ArtHouse. Q. You are well known as an illustrator. How did you get started illustrating? One day, while I was waiting for the Flynow III tailor, I started sketching all the clutter in my handbag. The drawing is a quick sketch which gave the feeling of informality and the lines colored by marker showed layers which reflected my personality and my emotions at that time. So I continued sketching almost everything I bought or ate in my sketchbook as if it was a diary. Then Cheeze magazine editor contacted me to ask if I wanted to be a columnist, but because I am not good at writing articles, I rejected. Once again, he contacted me so I told him that I can only draw and I showed him my sketchbook. Since then, I have become a columnist of Cheeze magazine.
Q. Have you ever brought two forms of creativity together and been surprised by the results? Iรข€™d give the example of a window display for Flynow III, which combined various branches of art, like drawing, graphic design, collage work, paintings, etc. I would try to incorporate the brand image that the client requires into the art. Flynow III gives the image of youthfulness and playfulness which match my personality and make it much easier to understand. Q. You are doing diversified works (window painting, shoes design, book-illustrating etc) using illustration. What is your favorite piece? My favorite artworks are my drawings and illustrations because I get to use the paintbrush. I prefer drawing by hand rather than using computer graphics. Most of my art is done by hand and finished by computer before printing. Another favorite artwork is window display for Flynow III. Because Flynow III has big window displays, I can use my ideas to create to the extreme. It is like drawing on a huge four-side frame. Window displays are like the exhibition in the center of the shopping mall. I am very proud and happy when passers-by admire and take photos of my window display. Q. What is illustration to you? Illustration is illustration! jeepkongdechakul.wordpress.com
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art
FOR CREW
The members of the street artist crew FOR are witty and energetic just like their attractive artwork. Hereรข€™s what FOR CREWรข€™s leader, P7, has to say about the talented artists in Bangkok. www.massuniverse.org/for.html
Editor. Anna Choi Photographer. Jun O Hwang
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P7 Q. Please tell us about FOR CREW. I, P7, am a street artist. One day, I had the chance to create a wall painting with fellow artist, Yuree. The process of working with another artist, mixing styles and ideas, was very exciting and inspirational. We then had the idea to collaborate with artists in different fields such as graffiti, street art, graphic design, and illustration. This initial idea led to the creation of FOR. Our bold multidisciplinary approach has led to two exhibitions at the Bangkok Art & Culture Centre and numerous live painting events in Bangkok and around Thailand. Since our first exhibition in 2010, FOR has grown to include eighteen active members: P7, Yuree Kensaku, Zids, Mamafaka, Kult, Cider, Nev3r, May-t, 01, Tawan Wattuya, Narissara Pianwimungsa, Rukkit Kuanhawej, Miss Ink, Logan Bay, Wanpracha SGR, TRK, Space Limo and Chip 7.
creative power. This spirit of coming together has helped each memberโs work progress in new directions beyond our collective imagination. Also, FOR serves as an extended family, with members offering support and guidance to one another.
Q. Why did you make this crew? Whatโs the purpose of the crew? I conceived the collaboration among these different people so they could express their art freely and really just be themselves. The group allows artists to work in a freestyle improvisational manner. They can create their own pieces of art without any prerequisite patterns or concepts. I want the combination of different individual artworks to grow together in an environment with no limitations or regulations. Each member of FOR holds a different strength that, when unified with the group, amplifies our
Q. Please introduce about your artwork in FOR CREW. My artwork is a combination of realism, street art, painting, graphics, and experimental art, which I refer to as โfreestyle artโ. Always creating, I am constantly at work on art; as soon as a piece is completed, a new one is begun. I do not repeat what Iโve done. Using colors, words, and iconography, I explore the duality and depth of human nature and the world around us. My characters will be dead as soon as I finish them, and then await reincarnation.
Q. What kinds of projects does FOR CREW make? FOR projects contain elements of fine art, design and graffiti. We work in many different styles unified by a shared street art sensibility. Working on large scale public installations, we focus on creating artwork that is out of the box, equally at home on urban streets as in gallery exhibitions. Expanding the output of FOR, upcoming projects include a sculpture exhibition, products and interactive events. We are constantly striving to make art that is accessible, inspirational and fun.
www.p7even.com
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Siam TIger / 2010
BLACKJACK / 2010
Rave Twist Echo / 2011
For / 2010
My Face / 2012
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MAMAFAKA MAMAFAKA is well known for his graphic design work with the B.O.R.E.D. collective. His interest in street art led me to invite him to participate in the first FOR show in 2010. I wanted to encourage him to expand his work beyond graphics into character and mural design. The FOR show saw the birth of MMFKโs signature character Mr.HellYeah!, a fuzzy dude with a big mustache and one eye. Since then, Mr.HellYeah! has become iconic around Bangkok, appearing on T-shirts, posters, graffiti and skateboards. www.mamafaka.com
Mr.HellYeah! RAD / 2011
Mr.HellYeah! Good Day / 2010
Mr.HellYeah! Rider / 2009
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Letโs GO / 2010
Mr.HellYeah! Uncle Tree / 2011
Mr.HellYeah! A / 2010
Mr.HellYeah! 3 eyes / 2011
Tawan Wattuya Tawan Wattuya is a long time friend. He is well known in the fine art world for his impressionistic watercolors. His solo shows at Toot Yung Gallery, Numthong Gallery and Tang Contemporary Art in Bangkok have earned him a reputation as the lighthearted provocateur of political unrest and hedonism. With his distinct fine art pedigree, Tawan brings a different approach to the FOR group. Working on the FOR shows was the first time he worked on large scale mural projects. Tawan exhibits throughout Europe and Asia. www.facebook.com/tawanyod
Wonder Girl / 2010
Coyote Girl / 2010
Red Party / 2010
4 Season /2010
Red / 2008
Red sitting dog / 2008
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Narissara Narissara is represented by Gallerie N in Bangkok. I would always see her at openings, but we had never really talked much. Working on FOR was a great chance to get to know and work with her. Her illustrative style centers around dreams and the subconscious. Normally working on paintings and charcoal drawings, FOR was the first time Narissara worked on wall painting, adding spray paint to her artistic repertoire. Her new works combine watercolor and embroidery on textiles. Narissaraรข€˜s iconic polka dot birds and other artwork can be found for sale at her new site, the Mellon Collie Shop on Etsy. nariss.exteen.com
MIRROR (JEKYLL & HYDE) / Oil on canvas / 2011
PINKY / Oil on canvas / 2009
SECRET / Pastel on paper / 2011
SOMEONE INSIDE / Pastel on paper / 2009
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Finale / Oil and acrylic on canvas / 2011
TRK TRK is known for his gory and mildly perverted black and white illustrations. He is well known in Bangkok for his graphic design for Dubway, a local club night geared toward drum & bass and dubstep. Fascinated with ghosts, monsters and fetish styles TRK explores the darker side through his intricate line work. I have always been impressed with TRK because of his skills in traditional art practices. TRK draws his works by hand and practices sketching everyday. He is one of our hardest working members and is always happy to help others paint. Recently TRK has worked with Preduce Skateshop to create several successful series of skate decks, posters and t-shirts. thunpuchpen.blogspot.com
for2b / 2011
for2a / 2011
Yaak / 2011
TRK x creep / 2011
Leo-Anzevui / 2011
Mad Society Queen / 2011
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Rukkit Rukkit is a highly skilled graphic artist. He is well known for his info mapping, typography and layout design. I met Rukkit through MMFK, his friend and frequent collaborator. Working on FOR encouraged Rukkit to mix characters with his strong designs. Developing new techniques, Rukkit created his one box stencil system which is used to generate his creations. He is pushing his new work in the direction of sculpture by layering wood cuts. In 2011, Rukkit and MMFK launched the designer accessory brand and store URFace. www.rukkit.net
Free As A Bird / 2011
For 2 / 2011
A day Black sheep / 2011
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For 2 / 2011
Miss Ink Miss Ink is the youngest member of FOR. She is influenced by tattoo art, taking vintage skin art styles and infusing them with her own contemporary Thai twist. I had met her at many gallery openings but had not seen her work until a friend posted a picture of it on Facebook one day. I was very impressed and invited her to join the FOR crew. For her thesis show at Srinakharinwirot University, she covered a coffin with her trademark designs: skulls, flowers and beautiful women. Always working and learning new skills, Miss Ink is currently apprenticing at a tattoo parlor and developing a line of products and clothing for her own shop. www.facebook.com/missink9
Demon Lover#2 / 2011
Dark Mary / 2011
The Ghost Who Walks / 2011
Sweet Hell / 2011
Demon Lover / 2011
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Logan Bay Logan Bay curated a show sponsored by apexart at a clothing factory on the outskirts of Bangkok that I participated in. We had very similar ideas and concepts for art shows, both looking to escape convention and have some fun with art. His personal work is playful and colorful. With a pop art style, he explores the intersection of Western and Thai culture. His perspective on art and Thailand made him a great addition to the FOR crew as our first foreign member. Logan works to support and promote the contemporary art scene in Thailand. With the help of his wife, Sandy, they founded SUBPรข€หAรข€หROHT, an oversized zine dedicated to arts in the region. www.loganbay.org
Break On Through / 2012
Flood Relief Design / T-shirt Graphic to benefit flood relief / 2011
For Happiness / 2011
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Time Out of Mind / 2011
music
THE SOUND OF BANGKOK
Bangkokโs electronic music scene is diverse and alive. We talked to four DJs/producers who helped shape the scene as it is today โ despite the fact that sometimes itโs not easy to be first.
Editor. Udo Lee Photographers. Jun O Hwang, Alistar Dewar
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DRAGON Q. What kind of music do you play? I play a broad spectrum of dubwize beats. So everything from house, techno, dubstep and drum โnโ bass. Q. When did you start? I got my first pair of decks when I was in 8th grade. So yeah, that was a very long time ago. Q. What was your first party like? I started organizing DnB parties in Bangkok back in 1997/98 with two other friends of mine, Mc Abu and DJ Wen. People here didnโt really like DnB at first and it took a while to get to the point itโs at right now. Nowadays I organize and promote a monthly dubstep/bass night called โDUBWAY SESSIONS.โ The first one we ever had was over four years ago. When I first organized DnB nights in Bangkok no one really seemed to like dubstep that much, but its huge now. Q. You are known for establishing drum โnโ bass and dubstep in Bangkok. How is the scene for this kind of music in the city? I love Bangkok because everyone here is so friendly and the atmosphere in most clubs is always superb. When we started there werenโt too many DJs around. Nowadays there are many excellent DJs spinning all kinds of quality beats. On the production tip, Thailand has a lot of talented musicians and many of them are making quality music. Itโs going to take a bit longer to get our music known in other places though. Q. What do you mean? Talent and production wise, producers here are very talented. The hard part is trying to sign and sell the music in other places like the UK and USA. Because there is so much competition, itโs really hard to get our foot in the door. Guys like Maft Sai are doing extremely well with selling and distributing music in Europe and Japan, but his sound is uniquely his and can only be found on his label. Other guys who are making electronic music like drum โnโ bass, dubstep, and techno are great producers but they face a lot of competition from more well known producers. Electronic music is like a double edged sword. Anyone can do it so therefore thereโs a million would-be producers with demos out.
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For labels, trying to find the next big thing is like trying to find a needle in a haystack. What Thai and Southeast Asian producers need more of are the business connections and most of all someone at the top who is willing to appreciate and help nurture this scene. Q. What kind of flavours within your genre are popular with Bangkok party people? I think people like to come to Dubway because mainly its such a friendly vibe inside the venue. When we have guest DJs they usually are all from different musical backgrounds so thereโs always something different going on at Dubway. Q. Do you also produce music? I havenโt produced anything but Iโve released music in Thailand on my Homebass Communications Label. To date weโve released an Asian drum โnโ bass compilation and an EP with Japanese producer DJ Yas. We plan on releasing another compilation this year. Q. What is your favourite club to play at? Cafe Democ!!! People there are always up for it and the vibe is always top notch. www.dragonhb.com
MAFT SAI Q. You run ZudRangMa Records, a specialist label and record store. What is your main focus? We focus on original records and reissues of roots music from different parts of the world, mainly luk thung and molam from Thailand, but also Jamaican roots music, afrobeat, etc. Q. What are luk thung and molam? Luk thung and molam are traditional music styles from different parts of Thailand. Luk thung is basically Thailandโs folk music. It is a short form of pleng luk thung, which literally means โsong of a child of the rice fields.โ Molam is traditional music from the north-eastern part of Thailand. The north of Thailand, Bangkok, and the south all have different sounds. Luk thung from the 70s especially is more upbeat, while molam is slower with hypnotic singing. Q. So itโs all old music? Yes, this music started from celebrations in the villages. Luk thung dates back to the beginning of the 20th century, molam is even older. The first recordings were pressed around 1966. We can still find these records, because Thailandโs situation is different from Cambodia, Burma or Vietnam. There, the communist regimes destroyed most records as symbols of a bourgeois culture. In Thailand, fortunately this didnโt happen, so new styles could evolve. We call it โThai funkโ, a unique blend of traditional music and funk, disco and jazz from abroad.
Jazz & Molam in Thailand 1964 - 1975 on Soundway, and Thai? Dai! The Heavier Side of the Luk Thung Underground on Finders Keepers. Q. How about the parties? From 2009 on, we organised the โParadise Bangkokโ parties. It was mostly to play out the music I have collected over the years. The party was originally all about promoting vintage sounds, Jamaican music, afrobeat, music from Pakistan, Mali etc. Q. So I assume that you play vinyl only? Yes, we play original stuff from vinyl. Q. Is there a big community of diggers in Thailand? Itโs rather small but over time, itโs gotten better. Many of our customers are from abroad, Thai customers are often the latest. But I see all this in a bigger context. For example, did you know that Light in the Attic Records from Seattle just reissued music from the Korean producer Shin Joong Hyun? Q. What are your future plans? Right now, we are preparing a new compilation with selected molam songs. It will come out end of March. Also, end of February we will have our third anniversay party with โParadise Bangkok!โ www.zudrangmarecords.com
Q. Where do you find all these old records? Well, you have to get your hands dirty. I look everywhere and even make trips to the villages. But itโs not easy. Once I heard about a record collection close to the border between Thailand and Laos. When I arrived, the man told me that he just burned 30,000 records some days ago โ to make space in the house! Why would anybody do that? Q. You run a record store, a label and a party series. How did it all start? It all started in 2007 with the label, ZudRangMa Records. We began to promote this music in Europe first with reissues and compilations. We helped with two compilations: The Sound of Siam : Leftfield Luk Thung,
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MONTONN JIRA Q. What is your style of music? As a DJ, it shifts between minimal techno and tech-house. I like to keep it pretty smart. As a composer, Iโve been really into film music lately. Iโm working on a full length based on soundscapes and textures in a pop music context. Q. What was your first party like? A promoter had mistaken me for someone else and asked if Iโd like to sign on as a resident DJ at a new lounge in the Meatpacking District of NYC. That was in 2003, and Iโd never really DJโed before. I had just moved to New York and figured, why not? The place was interesting, like a swimming pool. I was playing all sorts of music and trying to figure out the software I was running at the same time. It was probably a real mess, although I donโt really remember. Q. When we met, you just heard that youโd won an award. What was that about? I produced an album for a local rock band called Slot Machine. The album is quite different from other albums being released and weโve been raking up lots of awards for it. That night, we had just won Album of the Year and Band of the Year awards from a local news publication awards show. Itโs been pretty great and highly motivating as we never really expected it. We really worked hard at crafting something we were extremely proud of, even though we knew our music might not fit in any particular category. Q. What is more important for you, DJing or producing? Production is probably more important for me, as I started playing and making music much earlier than DJing. I also work a lot in non-dance styles and Iโm able to explore different genres in my productions, whereas with DJing I feel like I know what works in a club setting and I tend to stick to that. Obviously, the two go hand in hand for me and in the last 2 years Iโve been getting more recognition as a DJ locally and regionally. I really think producers of dance music should get out and perform their music, and DJs need to learn to produce music to take their careers to the next level.
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Q. You seem to do a lot of collaborations also outside the music field. Tell me more about that. Iโve been working in the โentertainmentโ industry here in Thailand since I was nine, and Iโve kind of dipped my hands in every field, from TV soaps, game shows, hosting shows, short films, feature films, to musical direction for brands, brand presenter, event curator, you name it. I think itโs worked out quite well as it keeps it diversified and interesting. My main focus has been music for the last ten years and it will probably remain that way, but I do engage in other projects regularly as well. Q. You played in Seoul before. Do you see a difference between the crowds in Seoul and Bangkok? I did play in Seoul thanks to the ECI Crew, specifically Unjin Yeo and Mang Esilo. The crowd in Seoul were much more engaged with the music. I think itโs because there is a bigger scene for this type of music out there, and the audience is much more appreciative of the DJs. Itโs not so much the case in Bangkok, especially for the music style Iโm pushing, as I feel like sometimes there are only a handful of DJs doing what I do here. The scene is definitely smaller, but weโre working on changing that. Q. When will you play again in Korea? I hope to get back out there this year sometime. Hopefully after I get done with my album. www.montonn.com
Mix Architekt Q. What is your style of music? To be healthy and balanced, one has to eat a variety of foods and adjust relative to their environment; only consuming the same thing makes you malnourished and sick. I aspire to perform and listen to a wide variety of music from the aesthetic buffet of sound. If there is one thread that connects all that I do, it can always be found in Dub. Listening to the space between the notes, changing the atmosphere with deep delays, shifting the tide with reverb. Dub is the life force that inspires us to move from our comfort zone into the unknown. Q. When did you start? My birth was in the mid 70s surrounded by my parentโs music; from there I found my own interests through radio waves, concerts, and the unexpected. Experiencing a reggae sound system in the elementary school lunch yard was the first time I found the bass on a visceral level. We chased the bass line, from standing in front of the stage to being on it and playing, listening at home, then in the studio making it. Q. What was your first party like? The first rave that I DJโed was in a warehouse at an industrial complex. It was an underground party by one of the local record shops, and they filled the place up with a solid wall of speakers and a single film loop projection was the only lighting. I played heavy techno records some of which have become permanent fixtures in my sets to this day. This is my idealized environment for events - minimal to no lighting, a massive, high fidelity bass weight sound system worship at the altar of sound. Q. Does your work as Minister of Technology for Allen & Heath Asia influence your approach to DJing and music production? I would say my approach to DJing and music production influences Allen & Heath (rather than the opposite), but itโs a very dynamic and reciprocal relationship. Is the outcome of our art a byproduct of our tools or an expression of self irregardless of the medium? Both elements are interrelated, so we push and pull each other towards greatness, with a lot of passionate arguments that aspire to offer the artist effective tools for communicating their vision.
Q. How would you describe the Bangkok party scene in comparison to other cities? The situation in Bangkok is very complicated, and itโs a reflection of the rifts in society as a whole. The environment is unique and nourished with a deep heritage of its own it has amazing potential. Unfortunately sometimes people work against one another, and many are blindly following trends that are outside of themselves. Itโs a battle where people find acceptance by drinking the poison of Western commercialism, or struggle with rejection from raw, authentic expression that pisses in the face of society. There is a need to find a bridge to welcome the uninitiated into the temple of sound, but it has to have a balance that doesnโt alienate people that would like to simply have a good time. Q. What was the concept behind The Multiverse, your new album? On a personal level, The Multiverse album project was a challenge to myself to stop giving a f*** about anything, and just get on with letting the music flow. The flood gates are breaking down track after track, and by the time youโre midway in, the dam has broken, pulling you deeper into the Dub. Once you cross the portal weโre firmly in a new universe, making peace with the astral plane. Break down your walls, get your crazy out, ride your flow, and find some balance. Q. Where can people get your music? Through the usual channels - Beatport, Juno, etc. The ECI Korea label takes great care of me and Iโm very excited about my new release, Mutations, which will be out in early March on ECI. www.mixarchitekt.com
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design
Practical Design Studio Practical Design Studio says โDesign is relation.โ ELOQUENCE will introduce Practical, a Thailand design studio who makes society and culture a pleasant relationship by design.
Editor. Anna Choi Images courtesy. Practical Design Studio
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Q. When and why did you found this design studio? If you have a particular story of the founding, please tell us. Well, Practical Design Studio was established in 2004 by a group of graphic designers based in Bangkok with experience in professional and educational communication design. We firstly addressed the question, โHow can we create our design organization?โ Then, we made an effort to find the solution to what kind of design studio, or which methods of work, would make us happiest. Those different ideas fused into some models we finally adjusted to use for Practical Design Studio.
these push us to arrange vocational activities as well as personal exhibitions, and they may be the reasons that we have been increasingly accepted.
Q. How was Practical able to grow into a big design studio? We wouldnโt consider ourselves a big one. We continue to challenge ourselves in addition to finding pleasure in what we do. In addition to customer services, we engage in non-profit work with several projects and organizations. We donโt think graphic design responds only to commercial business. Yet, we canโt deny that commercial business is a driving force for graphic design to continue. In my own opinion, graphic design is also able to react to social, cultural and personal demands. Itโs absolutely true that Practical Design Studio runs commercially; itโs our profession and means of living. But if we can use our practical skills and efficiency to create success for the brands and organizations we work for, why we donโt we use those same sets of skills to respond to our own thoughts, something else from within ourselves. As you can see,
Q. What kinds of design work does Practical Design Studio usually do? Actually, we do many things that we can use for communication. We have worked with many well-known organizations and companies including Bangkok Art and Culture Centre, Office of Contempory Art and Culture, Ministry of Culture, Democrat Party, Antalis (Thailand) Co., Ltd., โShow me Thaiโ Art Exhibition, โPortrait of The Kingโ Art Exhibition, โKing in Heart Project,โ Somboon Seafood, Designiti, Knowledge Network Institute of Thailand, etc. In addition to performing the basic functions of a design studio, Practical initiates and organizes design activities on a regular basis, under the collaboration with the Thai Association of Graphic Designer (ThaiGa). Practicalโs designers also give lectures and presentations to many universities and organizations.
Q. Do you have any philosophical concept for Practicalโs design? โDesign is relationโ seems to be the philosophy of our relationship with design. And the aim is to employ constructive ideas and design skills in response to the society and the culture in order to show that the graphic design is valuable in terms of aesthetics and practicability.
In 2009, Practical organized the graphic design project โI am a Thai Graphic Designerโ which was initiated by Santi Lawrachawee. In 2010, Practical contributed work to โPaper Matter,โ a design exhibition at Bangkok Art and Culture Centre, and to the โheART to Heartโ exhibition under the theme โHOPEโ which was on construction hoarding in front of Centralworld Building, Rajprasong Junction. They also organized the graphic design forum, โSomewhere Thai,โ which included 50 speakers who were asked to represent โThainessโ in their design work.
order to let people know the amount of us out there. And, if we did this at the same time, society might, at least, notice us. Moreover, it would let others know how we could move forward. The project would like to inform about how many of us there are- not only to the government, but also to ourselves. If the city or the government would like to do something, we are ready to take part. From a small activity group on Facebook, it became an exhibition featuring 1,146 pieces of designed work, with workshops and seminars held over the course of nine days.
Q. Please explain to us about I am a Thai Graphic Designer, which Practical organized. Initially, it was a little project in our studio. The starting point was the graphic design attached to public relations, especially marketing. For example, we can see billboards in Bangkok that tell us something about the city. They all are the work of graphic designers. When thinking about the image of Bangkok as it is advertised, is anyone thinking of us? If graphic designersโ work is in visual communication, those resources should be a part of the cityโs establishment as well as its policy, but why must they be responsible for selling that policy? According to the billboards, Bangkok is a perfect city or a safe city. Yet, there have never been any questions as to whether graphic design can aid in Bangkokโs safety. But the city wants us to tell people that it is safe. So, we feel that we canโt completely play our roles, and it makes us feel unimportant. As a result, we imagined ourselves holding signs telling who we are in
Q. What do you think about the Thailand design industry? I really believe that everything will be better. It will take its own steps in time. The more Thai people live with designed works, the more they understand them well. So, itโs about whatโs to be expected rather than this moment because I trust in its advancement and success. I think Thai graphic designers have great potential. Iโm not trying to emptily praise them; itโs the truth.
I am a Thai Graphic Designer / poster / 2009
โPortrait of The Kingโ Exhibition / poster / 2009
Q. Whatโs the next plan or project of Practical? We are now preparing our design exhibition which will be held at the end of this year. We hope there will be an organization which is interested in our work and invites us to represent our exhibition in Seoul. www.practical-studio.com www.facebook.com/OfficialPractical
โPaper Matterโ Exhibition / paper installation / 2010
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Design is relation / limited edition book / 2011
Huang Kam Nuang / pocketbook / 2011
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โTalk About Loveโ Exhibition / poster / 2007
Brainstore by Antalis / leaflet / 2011
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project
DESIGN FOR DISASTERS
In 2010, a group of designers, architects and academics got together to found a creative research and information sharing platform, Design for Disasters. Founder Vipavee Kunavitchayanont explains how environmentalism, community activism and design can make an impact, why she invites people to panic and why it is too late when disaster strikes. Editor. Udo Lee Image courtesy. Design for Disasters
Q. What kind of disasters do you have in mind? When we talk about disasters, in general we think about all kinds, man-made and natural disasters. In the case of Bangkok, we focus on the possibility of a mega-flood. When that happens people need to be prepared, not only when the disaster strikes, but way ahead.
Q. How do you activate alertness? We assessed the situation, researched which parts of urban life will be affected and which fields of design need to be activated to come up with solutions. Then we organized different projects for finding solutions.
Q. How is all that connected to design? First of all, our core members are mostly designers and architects. One of them is e.g. Chutayaves Sinthuphan of the research company SiteSpecific. Based on a research on architecture in Siam, he developed the concept of โAmphibious Housesโ built on floatation platforms, with built-in power generators and rain collecting systems. But for us it is also important that normal people can benefit from our work. In general we use design to come up with ideas and concepts. This is why we put so much focus on everyday objects. In case a flood attacks the city, it is important that anybody in the city can protect themselves, not only the wealthy.
Q. What kind of projects? One of them was a joint project between art and architecture departments of four universities. 449 undergrad students were asked to come up with a sketch in 15 minutes, proposing possible solutions for a flood scenario which leaves the city with no food, no water, no electricity, no shelter, no transportation and no communication systems. It was a really effective way to get a lot of ideas in a very short time. We also went out to Chainat, a province that was hit very hard in November 2010. We did an experiment to create lifesavers from objects
Q. After you collect all these ideas, what do you do with them? It depends. Last year we organized an exhibtion at Bangkok Art & Culture Centre, with the title Letโs panic. Ironically preparations for the show began in June 2011, so when the flood hit Bangkok in October 2011, it was more actual than one could wish. We also worked on a calender for kids, in collaboration with the Royal Thai Government and the World Health Organization. Each month covers instructions what to do in certain disaster scenarios. Each monthโs scenario is matched to probable disasters of that month. Also last year, we invited the public to
Q. How do you want to achieve that? We try to make people aware so that they develop a state of alertness. Awareness begins with understanding the origins of floods like global environmental issues but also should reach into everyday situations.
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that can be found in every home: plastic bottles, fishing nets, ropes, plastic bottles, woks, flippers, basins, plastic chairs. The villagers came up with great solutions independently.
come up with ideas. We announced a public design competition, Survive!. All participants joined a lecture we prepared, and the winners will be exhibited at the Bangkok Design Festival 2012. Q. How were the submissions for the competition? People came up with really good ideas. It was remarkable that not only designers but also e.g. teachers sent in their ideas. The task was to limited to fixed household objects we chose. We wanted the submissions as practical and helpful as possible. The participants came up with a lot of smart ideas. The main criteria for selecting the winners was not how nice it looked, but how original the ideas and the concept were.
Q. How did the people of Bangkok deal with the flood last year? Well you know, the people here can adapt to new situations very quickly. When you search the internet, you can find the most funny photos, of people having a barbeque in the water or the wildest constructions to stay on top of the water. Itรข€™s so imaginative! But seriously, the flood affected millions of people, and that is what we want to deal with. www.designfordisasters.org
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art
TARIN YUANGTRAKUL
Young artist Tarin Yuangtrakul works actively in various areas, such as graphic design and illustration. We talked to him about his work and his life.
Editor. GiSeok Cho Photographer. Jun O Hwang
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Beaten Heart / 2011
Enemies Still Stay / 2011
Q. Could you introduce yourself? Iโm Tarin Yuangtrakul, Iโm 19 years old and a young artist and designer from Bangkok, Thailand. I am also an artist of SlashTHREE -- an international art collective. Iโm currently studying Graphic Design at Chulalongkorn University, Thailand. Fortunately, I come from a creative family. I am very proud to say that my mom is an interior designer and my dad and my brother are architects. My first exposure to art and design was when I was a little boy. I saw my mom, my dad, and my older brother drawing pictures. At that moment, I thought they were so great. I think I can credit that moment and their influence as the beginning of my obsession with art.
Q. I know you are a university student. What do you plan to do after you graduate? Actually, I donโt have any plans yet. All I can say is that I want to be a good designer and artist. I want to influence the design scene in my country and I am certain that I can add something to the world of design.
Q. You are only 19 years old, and I know you are working in many diversified areas like typography, illustrating and even music. What got you started working on these projects so early in your life? The main reason is that I am very interested in many different art and design fields. I see everything as pieces of art. I think my family have contributed so much to this as well. I have been surrounded with art and design since I was born. I usually draw pictures and play the guitar when I have some free time. Each field also has its own set of characteristics, and different details to learn about. I am a very curious person and I love to work out how things are created. Q. Your works embrace the grotesque. Are you a dark and deep person? What is the motive behind your works? I would say that I am a dark and deep person. I love to look for depth in the things that have happened in my life. My inspiration always comes from the places I go and the things I face in my life. Sometimes, I want to be quiet and think out the stories in my head. Q. I think you are good at appealing to different types of people. What do you think makes your work appealing? As far as I can see, most of people want to see something beautiful. My work may have that in the conventional sense, but there is a certain darkness to my work. I still want to make it beautiful and tangible, but I try to stop myself from forgetting that I am making work for an audience.
Q. Could you tell us a little about your style? As you said, I am a fairly dark and deep person. I think my style represents that. I want to make my work a bit dark and hard to understand. You have to look below the surface to see what Iโm really trying to say. Mostly, I mix traditional art and digital art together to create something attractive. Peopleโs daily lives often inspire me in both a positive and negative way, but the negative is more obvious on the surface. But quite a lot of the time itโs open to interpretation. Q. Do you encounter any difficulties when working? I donโt feel that I have good sense of color. I try so hard to use different colors in my art. The most difficult problem is my mood at the time. If I feel happy, I can work well and work a lot. But if I feel depressed, I canโt work well. I have to sit and wait it out. Q. What stimulates your creativity? I will recommend this to all people in creative fields: take note of the little things that most people overlook to get new ideas. I usually find that listening to music helps. As there are so many different kinds of music genres and sub-genres, you are never at a loss for something to pull ideas from. Q. What has been inspiring you recently? Branding and Corporate Identity. It is quite a contrast from usual work, but I think itโs very interesting to learn about. I want to know how a brand communicates to people with its design. This idea is something that I am studying at university in this semester. It will hopefully give me a chance to learn some new things and branch out my knowledge of the power of design.
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Listen To My Eyes / 2011
TIGER / 2011
Pseudo Reality / 2011
Q. What are you working on these days? At the moment, Iรข€™m trying to finish all of my university assignments. I also have a few commissioned projects Iรข€™m working on too. But when I want to relax, I just draw pictures and sometimes these can find their way into my personal portfolio.
Time Goes By / 2011
Q. What is your goal as an artist? I want to be a great artist who can express my thoughts to the world, and tell the world that a 19-year-old person can do these kind of things. I want my development to never end. I have to make my work better and better. I hope that more people will accept my work style and my ideas. If I could help other people by using my art, I would. I believe that good art helps in creating a better world. cargocollective.com/tabname
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collection
4 Graphic Designers and 4 Illustrators
Introducing four graphic designers and four illustrators from Thailand who have made names for themselves through their unique and innovative styles.
Editor. GiSeok Cho
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Know / font specimen / 2010
KalaTexa / font specimen / 2010
Faith / art project about faith to the great flood in Thailand / 2010
Kurry / font / 2012 John Fiorelli and Tom Bueschemann
A Chronicle of Hope from Womb to Tomb / Poster / 2011
Kondolar / font / 2010
Ekaluck Peanpanawate
36 / Male / Graphic & type designer and educator / Thon Buri District, Bangkok I like playing with type and Iรข€™m especially interested in how type is used. The fonts Iรข€™ve created make my work stand out from others. My work seeks to engage the public and use type itself as a form of communication. I want my work to speak to people directly. www.ekaluck.com
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HELLO / print / 2012
Typography in water / digital media and print / 2010
YWFT Wonderland / 2011
Typography in water / digital media and print / 2010
Thai Fight Flood / post card / 2011
Thai Fight Flood / postcard / 2011
Typography in ice / 2010
YWFT Nim / typeface design and animation / 2012
Jackkrit Anantakul
33 / Male / Graphic & type designer and professor / Rama 2, Bangkok I like working on type because it is attractive. It gives me the freedom to think about the structure of the glyphs and the different ways we use type in words and forms of mass communication. My working style mainly deals with drawing, but not exclusivelyรข€”I am constantly trying to improve my work. Even though my design work may be experimental, people usually recognize that itรข€™s mine. When I see images that populate our everyday lives and use gimmicks to appeal to the general public, I design it from my own point of view. www.designreformcouncil.com
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Reincarnate / poster design / 2010
Below / Artwork in concept รข€œBelowรข€? for Super8 magazine / 2009
CitID / identity design / 2010
1+1=1 / poster / 2011
The Battleship Potemkin / poster / 2010
Taechit Jiropaskosol
30 / Male / Graphic, type, motion & web designer / Ladprao District, Bangkok Most of my works are based in experimentation with grids, patterns and symmetric proportion. I like to assemble structures and then break or distort them to see the ways they transform. I am constantly experimenting in various fields, including both those in which I am skilled as well as others I have never tried. Sometimes I get good results and sometimes not; no matter the outcome, new experiences always refresh my thought. www.taechitjiropaskosol.com
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All Around Khonkaen / typographic installation, Khonkaen Province / 2009
Detail, All Around Khonkaen
Typo Tree / Recycle Christmas Tree / Siam Discovery / 2010
Things To Make and Do / book design / 2011
Scissors / brand Identity / 2011
Yeah / Recycle Installation / Siam Center / 2011
Tap Kruavanichkit
33 / Male / Graphic & type designer and installation artist / Thong Lo, Bangkok โAll Around Khonkaenโ was a typographic installation I did with my studio (Farmgroup) in Khonkaen Province (northeast Thailand). Our client was opening up a new department store there called Central Plaza Khonkaen. We decided to create a new sign for Khonkaen Province, which is the first thing you see when you enter the province. The sign takes the form of a typographic sculpture that displays the name โKhonkaenโ in three dimensions and is legible from more than 180 degrees. On its surface, the names of all 198 tumbon (districts) of Khonkaen are engraved. www.farmgroup.co.th
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King / mixed media / 2010.
Street Tailor / mixed media / 2012
Voyager / mixed media / 2010.
I Need Some Fresh Air / mixed media / 2010
Prin Tanapaisankit
28 / Male / Graphic & web designer and illustrator / Bangkok Yai District, Bangkok Itรข€™s pretty hard to stick with a certain style here, since clients expect us to draw whatever they request. My illustration tends to lean towards realism; that said, Iรข€™m always open to exploring new directions to improve my style. I usually start my work with hand drawing and watercolor painting and then finish it in Photoshop. I usually employ a neutral color scheme and I love to keep my work clean and simple. www.prin-t.com
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Bleeding Trees / mixed media / 2011
Bleeding Trees / mixed media / 2011
Mask / mixed media / 2011
Stolen / mixed media / 2011
Oat Montien
23 / Male / Illustrator and educator / Don Mueang District, Bangkok I enjoy applying a handmade finish to digital works. To me, the intersection of lavish computer-generated art and traditional handmade craft techniques is very interesting and allows for lots of possibilities. Most of my recent pieces are executed by painting on giclฤล e prints. Currently Iรข€™m working on an illustration-inspired interior for a new museum in Thailand. www.oatmontien.com
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Who are you / T-shirt print / 2010
The Death / magazine print / 2008
EVA / wall print / 2010
True nature / print / 2011
Ratta Ananphada
26 / Female / Illustrator / Nonthaburi Province, Thailand My work is feminine. I focus primarily on the emotions that can be seen in womenรข€™s faces. I love to draw eyes in all expressions and I put a lot of detail into my work. I like to use a variety of colors; my favorite tone is Pastel. Presently, I am doing illustration work for a number of projects: magazines and books, fabric and cloth patterns, a CD cover, and product packaging design. www.behance.net/ISEDieeis
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Some people / acrylic on canvas / 2010
Vintage nude / acrylic on canvas / 2010
Native American / acrylic on canvas / 2010
Fighting for food copy / acrylic on canvas / 2010
Soldier of king / acrylic on canvas / 2010
80โs / acrylic on canvas / 2010
Akira / acrylic on canvas / 2010
Bitch / acrylic on canvas / 2010
The Mother / acrylic on canvas / 2010
Yoswadi Krutklom
28 / Female / Illustrator and designer / Pathum Thani Province, Thailand I like to watch movies, especially horror movies, and look at old photographs. I like to observe people on the street, paying special attention to the similarities and differences I see in their hair styles, clothing and body type. During last yearโs floods in Thailand, I watched a lot of news on television. Currently, Iโm making drawings of women arguing, fighting and helping each other in various costumes and situations. yoswadikrutklom.blogspot.com
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YOMโS VISUA L/LAB YOM X DRYCLEANONLY
In commemoration of the โBangkok Special Edition,โ ELOQUENCE art director YOM created a limited-edition T-shirt design incorporating the colors of the Thai flag into a parody of the Rolling Stones logo. Korean street fashion brand Allopop manufactured the T-shirt, which we brought to Bangkokโs fascinating reform fashion brand Drycleanonly to have expertly reformed. T-shirt designed by YOM Manufactured by ALLOPOP Reformed by Drycleanonly Creative assistant. GiSeok Cho photographer. Jun O Hwang
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Model. GiSeok Cho
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Model. Annie Thongprapan
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Model. YOM
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Model. Patcharapoj Sungda
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Model. Patcharapoj Sungda
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Director of Drycleanonly
Patipat Chaipukdee Q. How would you introduce your brand to our readers? Drycleanonly creates handmade clothing by taking industrial products and other mass-produced materials and transforming them into fashion items. Superior craftsmanship is at the heart of our products, which are geared toward the contemporary femme fatale who is confident and fearless in what she wears. Q. What led you to choose such an unexpected name for the brand? Since most of our production line consists of handcrafted items. We named the brand Drycleanonly to remind customers that our products require special care and appreciation. Q. How did Drycleanonly begin? What was it like, trying to get a brand like this off the ground and into the market? I started Drycleanonly in 2008 with the goal of creating clothing using techniques and materials that were unique but not fully appreciated. I wanted to make clothes the way people used to - by stocking fabrics, making patterns, etc. Even from the beginning, my ideas seemed to be well received and find resonance within the Thai fashion industry; within its first year, Drycleanonly was included in the Thailand Young Designer Room at the 2008 Bangkok International Fashion Fair. Q. What sorts of problems have you come up against since first launching the brand? Weรข€™ve always found it very difficult to source vintage T-shirts and then organize them into one collection. Q. In your opinion, what are the differences between reforming clothes and building them from scratch? Working with such an interesting range of materials generates a lot of excitement for me; the process is totally unpredictable and full of surprises. Q. What sorts of things can we expect to see from Drycleanonly in 2012? We have started branching out in Japan and plan to continue building our presence there. We are also looking forward to completing our official website later in the year. drycleanonlybkk.wordpress.com
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BANGKOK
change, balance, and development of Buddism ELOQUENCEรข€™s Japan editor Yuta Sugihara illustrates the Bangkok landscape with his own distinctive lines.
Editor. Anna Choi Illustrator. Yuta Sugihara
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Until now, Iโve drawn with the motifs of the wind and the world of fiction envisioned in myself. This time, too, the motif of the wind found its way into my drawings of the Thai city. The presence of the wind as it runs through the drawing gives flow to our sight. Then, it might be a trigger for our โeyeโ to assimilate the โeye of the Wind.โ This is the reason why I visualize the wind in these landscape drawings. And itโs also the point of contact between the โwind drawingsโ Iโve created before and these โcity drawings.โ Bangkok is held up as Southeast Asiaโs premier global city. It has multiple faces: developed metropolis, city of immigrants, tourist destination, and pride of Buddhism. The people and the city seem to grow together while keeping a balance between the changing views of life that result from economic growth and the original views of the world through religion. It is chaos. But it also holds its balance and is not broken. This time for the drawing, I chose the view below; The great traffic jam, The house built in along a small canal The building trimmed with Western ornamentation, A collage of motifs representing Bangkok, And at last, as a symbol of Thailand, the Garuda. To me, these views convey a sense of economic growth as well as the legacy of history and conservative religion. I drew the motifs of the city repeatedly while imagining the world of Theravada Buddhism. In the future, the balance might be upset by the changes in the countryโs situation. At that time, how will it change these views? I think that Iโll return to draw this city again, after the future has already become history. www.sugihara-yuta.com
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photography
OHM PHANPHIROJ
Ohm is an award-winning international photographer. Originally from Bangkok and subsequently raised and educated in the US, he has found success in the spheres of art and business alike. His art is centered on representations of Bangkokโs reality. I asked Ohm a few questions about his art and other activities.
Editor. Snil Yom Image Courtesy. Ohm Phanphiroj
Q. You have two homepages that bear your name. Whatโs the reasoning behind this? Ohmphotography.com is the website for everything visual that Iโve done. Ohmmanagement.com is a model management site that I also run. Q. Having been brought up and attended university in the US, you must have quite an interesting outlook on the world. How has your career been influences by your international experience? My career started in 1997 when I won the national photography contest while still a film student at Georgia State University. I started exhibiting with a gallery and shortly thereafter, agencies began approaching me for representation. After signing with Marge+Casey in New York I began producing commercial works in addition to exhibiting fine art, which eventually led me to book publishing. Q. Despite having studied and worked in film in the beginning of your career, you are now primarily a photographer. What was the reason for changing fields? Film and photography belong to the same family and share the same fundamentals. Film production, however, involves a lot more people, which slows everything down and really takes its toll on my artistic flow. I am impatient. When I want to work, I want to work right away, at that very moment. With photography, I can be totally independent, making my artistic process less hectic and more creative. Even though Iโve changed directions in my work, I still continue doing film when time permits.
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Q. Please introduce some of your recent work. Identity Crisis: Transsexuals is a documentary project about Thai transsexuals. The project won the Sony World Photography Award in 2009. In 2010, I did a documentary project on underage male prostitutes called Underage, which has attracted international attention been shortlisted for and received awards, as well as being short listed in many competitions. Q. Do you adopt a different attitude toward the commercial work you do, as opposed to your own art? Does one inform the other? My art is based solely on what I like and what direction I want to take, whereas commercial work is dependent on the client and their direction. I am more compromising when shooting for clients, so my attitude is more adjustable and less one-sided than it is toward my own work. The two do not affect each other. I enjoy doing both. Q. What sort of commissions make up the bulk of your commercial work? I do photography for magazines and small venues in Thailand and in the US, shooting everything from the R&B singer Ciara to the Solis campaign. Q. Your photos are very sexual. Whatโs your outlook on nudity and sexuality, and how do you use your images to express this? I focus on capturing raw feeling and honest atmosphere in my work. I hate manipulation and I does a disservice to the whole purpose of
photography. Photography should be pure and reflect the way we see the world. It should showcase creativity in its finest form and be achieved through the camera, not Photoshop. I want to make images that are sincere, raw, pure, powerful and universally understandable. I shoot with intent of understanding the psychological aspect of my subjects; their feelings, emotions and body language. I want my photos to be sensual, sexual, seductive, gritty and grainy so that when you look at them, they imbed themselves in your mind. Q. Much of your photography centers on the male form. Is this the result of aesthetic considerations, or does it have more to do with the theoretical underpinnings of your work? Itโs my belief that men are more willing [than women] to explore their boundaries and show off, especially when they think they have a good body. In fashion photography, where objectification and desire play a big role in the creation of images, women tend to be the primary subjects of our gaze. I want to put a spin on this situation and make men attractive as well. I want to make them feel that they too can be seen as commodities with the ability to whet viewersโ sexual appetites. Q. In your series Identity Crisis: Transsexuals, what inspired the choice to show multiple photos of each person? Is there a deeper meaning youโre trying to encourage through this format? Each image is triptych, composed of three photos of the same person side by side. The first photo is taken before they put on makeup. The second photo is the same, only with their eyes closed, and the final photo is taken after they have put on makeup. I want to use these three photos in sequence to imply the subjectsโ changing states of mind. The photo without makeup shows their true face and naked body, while the photo with their eyes closed suggests their denial of the reality of being a man. The final photo with makeup and open eyes suggests a feeling of being complete. Looking at the three shots in order, you notice drastic changes both physically and psychologically. In the last photo, even without being told what to do, many of the models showed slight smiles, hinting at the contentment and acceptance of who they think they are. Q. How did you cast the models for this series? Werenโt they hesitant to show their faces? I photographed anyone who was available and willing to pose for me.
Yes, a lot of them were apprehensive at first and did not want to show their faces, so I offered them monetary gain as an incentive for posing. Q. Thailand is famous for its transsexual population and the surrounding culture. What, if anything, do you attribute this to? Itโs hard to pinpoint one exact reason why gay/lady boys in Thailand want to become transsexuals and look like real women. I think fashion trends are a big part of it, and the assumption that men will like them better if they look somewhat like women. In Thailand, there is no stigma or retaliation against transsexuals, which allows people to feel more secure coming out and pushing the limits. In addition, gay and transsexual celebrities are famous in the Thai fashion industry, so some people think it could give them a golden ticket to become โsomeone.โ In the end, though, there is more myth than truth to reasons like these and I think a lot of people donโt fully understand why they want to become women. Most of them still suffer from failed relationships even after becoming transsexuals and men are still not quite attracted to them, but they go after the money and a cheap thrill. Q. I feel like I get a real sense of the realities of Thailand when looking at your work. What are your thoughts on how the country represents itself to the rest of the world versus the way it is perceived by its own people? I think thereโs a double-standard. The country and the people are full of contradiction. On the surface, everything sees nice and friendly, but there is ugliness underneath. The picture-perfect ideas perceived by outsiders do not reflect the realities of Thailand. The country is full of corruption, dishonesty, bad situations and underprivileged people. I really think the ways Thailand and its culture are represented abroad are quite a sham. Of course, there are good things in Thailand, just like any other country, but Iโm mainly interested in documenting its sad truths. So I search out the subjects and issues that are disturbing and let their stories speak through my images. Q. What are you planning for the future? I have many plans. I want to open a modeling agency, direct a commercial film and also publish books. www.ohmphotography.com
Untitled / collage / 2011
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Sam Whitman / 2008
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Steve / 2008
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IDENTITY CRISIS: TRANSSEXUAL SERIES # 3 Name: Krittipich Panawiwatthan D.O.B.: August 21, 1987 Height: 168cm. Weight: 50kg. Occupation: Student Transformation age: 15
IDENTITY CRISIS: TRANSSEXUAL SERIES #5 Name: Krittipich Panawiwatthanakarn D.O.B.: August 21, 1987 Height: 168cm. Weight: 50kg. Occupation: Student Transformation age: 15
IDENTITY CRISIS: TRANSSEXUAL SERIES # 7 Name: Jakarin Thonglarb D.O.B.: May 4, 1985 Height: 174cm. Weight: 53kg. Occupation: Performer Transformation age: 17
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IDENTITY CRISIS: TRANSSEXUAL SERIES # 14 Name: Jaturong Somsukwang D.O.B.: March 11, 1975 Height: 178cm. Weight: 128kg. Occupation: Make-up artist Transformation age: 17
IDENTITY CRISIS: TRANSSEXUAL SERIES # 20 Name: Purnten Jandsund D.O.B.: November 8, 1992 Height: 165cm. Weight: 53kg. Occupation: Student Transformation age: 15
IDENTITY CRISIS: TRANSSEXUAL SERIES # 22 Name: Attapon Boonchai D.O.B.: May 12, 1989 Height: 175cm. Weight: 65kg. Occupation: Student Transformation age: 15
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The street of broken dreams: underage prostitution # 4 Name: Warin Mangsin / Nickname: Bas / Age: 14 / D.O.B.: November 12, 1995 / Sexual Orientation: Straight Hometown: Bangkok / Siblings: 3 / Parents: Unemployed Length of prostitution: one week / Clients: 8 / Reason for prostitution: Money Dream: B-Boy dancer Date photographed: June 30, 2010
The street of broken dreams: underage prostitution # 14 Name: Jaturawit ah-Konghan / Nickname: Game / Age: 14 / D.O.B.: December 8, 1996 / Sexual Orientation: Straight Hometown: Bangkok / Siblings: 4 / Parents: Sell street food Length of prostitution: 4 years / Clients: 100+ / Reason for prostitution: Money Dream: Military Date photographed: June 3, 2010
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The street of broken dreams: underage prostitution # 30 Name: Anapat Khanoey-ing / Nickname: Oat / Age: 16 / D.O.B.: February 18, 1994 / Sexual Orientation: Straight Hometown: Bangkok / Siblings: 3 / Parents: Divorced. Live with a mother who is butcher Length of prostitution: 4 days / Clients: 3 / Reason for prostitution: A friend conviced him to try Dream: Air force Date photographed: September 12, 2010
The street of broken dreams: underage prostitution # 34 Name: Tassanai Pongsri / Nickname: Pai / Age: 14 / D.O.B.: June 30, 1996 / Sexual Orientation: Bi-sexual Hometown: Bangkok / Siblings: 2 / Parents: Unemployed Length of prostitution: one year / Clients: 30 / Reason for prostitution: Money Dream: No dream Date photographed: September 17, 2010
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studio visit
Christian Develter
ELOQUENCE visited WARP54 studio in Bangkok city and met Christian Develter, a painter who is very famous for his big and beautiful portrait paintings.
Editor. Anna Choi Image Courtesy. Christian Develter
โPanuwat
About him and his work Q. You were born in Belgium and have lived in Asia since the age of nineteen. Please tell us about the places youโve lived in your life. I was born in Flanders, Belgium, in the coastal town of Blankenberge. I studied at the Art Academy in Gent (Ghent) and Fashion at the Royal Academy of Antwerpen (Antwerp). I moved to Asia in 1996 and have lived in Bangkok ever since. Q. Iโd guess that the experiences of living in different places could affect you in various ways. What did it do? Each new place that I move to has a positive effect. It provides me with new ways of looking at things and many new places to discover. Iโm partly shaped by my surroundings, and thatโs reflected in my work. Q. Do you carry any philosophy in your paintings? The main impact of my portraits is the way a person looks at you. I always start with the eyes. I tend to use strong colors, and I simplify details in clothing and jewelry so that the focus is on the person(s).
Q. You have drawn lots of women. What does a woman mean to you? The majority of my paintings are Asian-inspired, and many of them are female indeed, although my latest works have included more massive, strong, male portraits. However, I have, for a long time, been fascinated with the sensuality and mystique of Asian women. Being European, I translate this inspiration differently as a combination of my imagination and reality. Q. What are you planning for the upcoming year? This year I gave myself the freedom to continue to experiment and look for new ways of evolving in my work. It is a never-ending process. Iโm planning a joint event with some other artists in my studio and an exhibition of my latest work in Munchen, Germany, in September. My latest work is Asian urban faces with tattoos painted on them. These originated from the Chin tribes in Burma (Myanmar) which requires travelling in that remote region. I also want to spend more time in Hong Kong and East Asia, so Iโll be rather busy this year. www.christiandevelter.com
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About the studio Q. When did you start this studio? I started the studio with my partner, Peter Smits, in November 2011. Q. Please tell us the story of this building. It is an old warehouse, close to the Chao Praya River, just behind the Portuguese embassy residence. The Japanese built it during the occupation in World War II, and it has hardly been changed since, maintaining the fantastic old teak wood floors and huge ceilings which are very suitable to present my XLL paintings. Itโs a small wonder that this building, on this location, hasnโt been demolished. Apparently, nobody here came up with the idea to transfer it into an art studio, so we ended up having a unique space at a prime location near the river a few footsteps away from Chinatown. The owners understand the need for preservation and are art collectors themselves. Their office is opposite our warehouse in a remarkable art deco building where the patriarch of the family also keeps his art collection. Q. What is attraction of this studio and place? I love the overall feel of it and also the dimensions. When one enters the space, he or she can actually feel the history. I like to make large paintings, and I needed a big space in which to create them. The studio is located on a historical location, on the back of the oldest Embassy in town, the Portuguese. The Soi is also named โSoi Captain Bush,โ named after an early Bangkok Harbor Master.
Q. Are there any demerits of this studio? The only demerit of this place is that it needs to be cleaned now and then, and itโs like cleaning a football stadium. Some Thai people canโt understand why I would like to work in a place like this without air conditioning, but they obviously forgot their history and donโt even seem to realize that the warehouse is built and positioned in such a way that it partly cools itself. Q. What is the happiest memory of this studio? We have already had so many nice cultural events take place since we also offer the studio to other people to show their disciplines. For example, weโve had a book launch, dance performances, fashion school shootings, a pop up dinner and many other happenings. And these are cross-cultural enrichments and Iโve loved them all, but the happiest memory was the actual installation that took place just over a year ago. We have been so busy with all of this that we never actually managed to have an inauguration party. Q. Do you have any plans for the studio? We are planning to have more artistic events and an exhibition of my own work, of course, all in due time. www.warp54.com
โPanuwat
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็ฌๅanuwat
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Laytu Chin / oil on canvas
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Comrade Lin / oil on canvas
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Kroyo Drill II / oil on canvas
Kroyo Drill / oil on canvas
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art
Gi Ok Jeon
ELOQUENCE paid a visit to Gi Ok Jeon, who was recently featured on the cover of BAM, a famous art map and guide in Bangkok. Jeon has been working in Bangkok for 10 years. When we met her, she was holding her 7th exhibition.
Interview. Woochi Jeon Editor. Anna Choi Photographer. Jun O Hwang
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Q. Please tell us about yourself. I graduated from Duksung Womenโs University in Korea in 1994, majoring in Oriental Art. Then I went on to study landscape painting in Beijing and completed my masterโs degree in 1998. Before starting my masterโs course, I spent one year in the U.S. to learn English and I met my Thai husband there. He majored in economics in Thailand and studied for an MBA in the U.S. Iโve been living in Bangkok since 1998 with my husband and my 12-year-old daughter, working on my art. In addition, Iโm also running an Oriental painting Workshop Program called JeOn Art Booth since 2001. Q. Youโve held 7 exhibitions here in Bangkok. What made you settle down in this city? In fact, my first personal exhibition was held in Beijing when I finished my masterโs degree. I got married that year and moved to Thailand right away with my husband. The reason why I settled down in Bangkok is because this is my husbandโs hometown and now it is my home where my family lives. Since then, I started holding my personal exhibitions in Thailand. Korea is my mother country, where I was born. However, Thailand means more than a homeland to me because it is my second home and where Iโve chosen to settle down. Q. Please explain your past six exhibitionsโ titles and topics over the last 10 years. My first personal exhibition was held in Beijing in 1998 when I graduated from the Beijing Central Art Institute. I displayed my work that Iโd spent two years working on and it featured traditional black-and-white drawings I drew during my 45-day sketch trip. I got inspired by nature and my hands-on experiences during the trip. My second exhibition was held in 2003 under the title โThe Moments of Life.โ I expressed my complicated feelings and new experiences such as culture shock, loneliness, fear, the depression that came from my international marriage and a new life in a new country, through simple, distorted shapes, strong colors, and objets. The third one was held in 2006 under the title โRoom of Imagination,โ in which my works had been inspired by my six-year-old daughterโs drawings. I displayed some of my daughterโs drawings, too. I transformed the subject matters in my daughterโs paintings that she started drawing at the age of four and expressed my happiness, hope and wishes, as well as my concerns and worries as a mother of a daughter in an imaginary space. The fourth exhibition was held in 2008 under the title โMindscapeโ in a Mini solo form. I displayed my needlework and had an installation made up of business cards. This was when I started thinking about specifying the potential of non-traditional oriental materials and trying to find the meanings of the relationship with others. I also tried to make relationships with others and society, horizontally yet in a vertical condition by putting peopleโs business cards into a small plastic box. The fifth one was held in 2009 under the title โEmbroidery a Space โ Landscape with needleworkโ where I exhibited my Indian ink paintings, sculptures, and installations in various ways. The paintings connect my world and the world outside me through sewing the Chinese drawing paper and the layers of colors together, just like the ones I displayed in my fourth exhibition. I tried to talk about my identity crisis and the difficulty of making relationships with others through my installations and paintings using Patoong, traditional Thai textile and an artificial garden made with dozens of wooden sticks rolled up with various colored threads and twigs. In addition, I installed a โName card treeโ in the gallery to communicate with the visitors by encouraging them to hang their business cards on the tree branches by themselves. The sixth exhibition was held in 2010 in the form of outdoor installations under the same title as my fifth one. I tried to communicate and interact with more people by connecting the closed gallery space and the opened outdoor space. I moved my indoor tree installations that had been used for the artificial garden onto the outdoor grassplot so they could get joined together. This one is my seventh personal exhibition. Under the title โDwelling in a Space โ Patoong collage & installation,โ I will display my
Indian ink paintings, woodprints, as well as installations. As an emigrated artist, I expressed the identity crisis that I went through in Thailand. I also expressed my roles as an artist, housewife, mother, and a woman through my artworks. In order to do that, I drew pictures of my daughter, collage works using Patoong in Thai womenโs clothing, and basket-shaped installations made with copper wire and twigs rolled up with Patoong. I will hang them on the ceiling to make shadows on the walls. Q. You are the only Bangkok-based Korean artist. How does Bangkok treat you as a foreign artist? There are many foreign artists in Bangkok. They display various artworks while actively interacting with Thai artists. Thailand is such an attractive place where the traditional Buddhist culture and other cultures co-exist harmoniously. Also, they are very open-minded towards Western culture and they donโt discriminate foreigners. The city of Bangkok is an international, open city and accepts foreign modern cultures warmly. May be this is why it accepts Western modern art easily and there are not many limitations for foreign artists. Iโm just one of the many foreign artists in Bangkok. Some foreign artists are even recognized as members of the Thai art scene and they are getting a lot of attention in Thailand. Q. What are some good and bad points of being a Korean artist working in Bangkok? Since I was the only Korean artist working in Bangkok, I always had to work alone. In the beginning, I had a hard time getting information on the local art world and contacting art galleries. No one was willing to help me. Now I get attention just because Iโm Korean, thanks in no small part to the Korean Wave (Hallryu). However, when I first started working in Thailand, the Thai people were more interested in Japanese culture than Korean culture, and they treated Koreans very differently. At the time, some Thai were interested in my work, but they thought that I was staying in Thailand temporarily as a foreign artist. However, now Iโm getting more recognition in the Thai art scene because Iโve been working on my artwork and holding exhibitions continuously. Q. Your artwork featured the cover of the February issue of Bam, a famous art map in Bangkok. Which aspect of your work do you think was most appealing to them? I think it was the use of the traditional Thai textile Patoong in my work which was appealing to the Thai people. Both of my plane paintings and installations used Patoong, which is a powerful symbol of Thailand. I guess Patoong played a role in helping me find my identity as a foreign artist in Thailand, as a woman, and as a mother. I especially think the depiction of my Korean-Thai daughter running around wearing Patoong in my Korean-style Indian ink paintings was an effective way to connect the two different countriesโ cultures. Q. Could you tell us a little bit about your current exhibition? This exhibition is being held under the theme โDwelling in a Space โ Patoong collage & installation,โ in which I tried to convey the process of finding my place in Thai society and culture. I think life and art are indivisible and they are actually very closely related. So I expressed my feelings and experience of my daily life in this exhibition. Q. You have displayed a variety of works all at once, such as paintings, engravings, and installations in this exhibition. Could you explain you diversity in this exhibition? I have prepared 35 ink brush paintings, 18 engravings, and 14 basketshaped installations for this exhibition. I drew the ink brush paintings on Korean rice paper, using an ink brush, Indian ink, and natural colors that Iโve made myself by grinding the ink slab. I followed traditional methods and used cloth for the collage. For engravings, Iโve used two techniques โ one is a reduction woodcut method, in which I engraved gradually as I printed so all of the wood pieces will be gone by the end. The other one is a key block method, where I drew on a wood panel as much I needed. Then, I engraved with a knife and pressed paper onto it to print, and then did collage work. I needed panels for each color that I used. For my installations, I used copper wire to make basket-shaped objects and then I put objects inside them. Then I hung them from the ceiling. I didnโt use
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any special techniques to create these installations โ I just wove every single copper wire just like weaving cloth. Q. Unlike Korean artists who are working in a specific genre, you are working on various genres at the same time. Is there anyspecial reason for that? As an artist, Iโm always interested in mastering new techniques and apply them in my work. By doing that, I can express my artworks in more abundant ways and it enables me open new doors of expression. I found a unique hue of colors while engraving that Oriental paintings donโt have. Iโm just thrilled to be able to express my feelings through my creations. Q. All of your works are using the techniques of Oriental paintings โ with the Korean techniques particularly standing out. Is there any reason why you are pursuing Oriental painting techniques? I majored in Oriental painting in Korean college and at graduate school in China. It is the one genre Iโve been doing continuously. I didnโt intend to focus on putting Korean elements in my works, but your comment makes me think about my works in a different. Black and white drawings require a lot of hands-on experience because it is a very subtle genre and it is not easy to use the materials. The spread of Indian ink depends on the speed and strength of your brush touch. That makes drawing black and white drawings a highly skilled, profound work. Q. Your daughter Lily appears a lot in your art works. Is there any particular reason that you use your daughter in your paintings? My daughter is always with me and, as her mother, I have to take good care of her. Perhaps I feel more attached to her because of my status as an alien in Thailand. Also, I try to find ways to connect myself with the Thai society through her by using her in my artwork. Q. In your artwork, Lily is always jumping. Is there any special reason for this? The movement in my work has something to do with space. My identity issue is associated with the space Iโm living in. Everything needs a space in which it can exist, whether it is an imaginary space or a real, physical space. In this sense, I think spaces are essential conditions for existences. Q. The pattern of Lilyโs clothes in your paintings looks very Thai. What kind of pattern and material did you use? And what did you try to say through the pattern? The cloth is called patoong and it is a traditional material used by Thai women when they take a bath or change clothes. Women in Bangkok donโt really use it, but you will see it frequently in the countryside. The patterns show each regionโs specialties because they vary according to the region. Q. Where do you get your inspiration for the patterns and materials? I first used it for my 2009 exhibition and Iโm still using it in various ways for my artworks. I first came across the material when I first came to Thailand. I spent six months in Nonkai, a small city located in northeastern part of the country. At the time, the city was secluded so the local features were well preserved. While staying there, I frequently saw Thai women wearing patoong. It was the first time that I saw something that was distinctly Thai. After moving to Bangkok, I realized I could buy patoong at textile stores, and as soon as I saw it again, memories of that time started flooding back to me. So patoong is a material with a very special meaning for me. Whatโs interesting is that I rarely see women wearing patoong here in Bangkok. I think that just shows a changing Thailand, developing with global trends and styles. Q. Some of your works are inspired by last yearโs flood in Thailand. What are you trying to say in these artworks? I witnessed the flood while preparing for this exhibition. Many areas had been inundated due to the flood over the last few months and I saw countless people in Thailand who were suffering from the situation. The central Bangkok area, where I living, wasnโt affected, but people were
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still afraid and had many problems while coping with the disaster. As I said earlier, I express my daily life in my work, so I naturally expressed my experience with the flood in my artwork as well. Q. The bird nest-shaped installation looks very interesting. Could you please tell us about it? The installation looks like a basket and Iโve put twigs rolled up with patoong and then hung it on the ceiling. I used twigs for my installations in the 2009 personal exhibition and even now it has the same meaning. For example, I created an artificial garden by installing dozens of twigs on the floor after rolling them up with colored threads. Each twig stands for an individual and the garden represents a society. This time, the installation deals with the issue of space more deeply. Q. What is your favorite piece in this exhibition? I like Jumping. It is my first collage of patoong in a plain painting. My 10-year-old daughter had to jump more than 50 times for the 12 poses in the picture. She monitored the working process from the beginning and also gave me advice. Thanks to this project, I could create various other works. Q. We could see the potential of the Bangkok art scene while making our Bangkok special edition. Weโve met various Thai artists, visited galleries and design centers. What do you see as the current trends in the Thai art scene? If my assumptions are correct, just like other developing countries, there are many artists in Thailand who are concerned about the local identity of the country while paying attention to internationalization and globalization. Over the last few years, the number of artists who had been invited to world-famous exhibitions and who are involved in overseas residency programs has increased. I think Thailandโs modern art is improving and becoming more diverse through them and their ventures. In terms of genre, the Thai art scene is always filled with energy because of the traditional artists and new artists who try to implement various methods and ideas. Personally, I think the relation between the artists who professionally draw Buddhist paintings is unique to Thailand. Thailand has a unique culture and art because its national religion is Buddhism. Q. Who is your favorite local artist in Thailand? I like Sudsiri Pui-ock, a young Chiang Mai-based artist, best. I saw little objects here and there on a tatami floor mat which looked like mutated human body parts in her recent display. According to her, she was inspired by Buddhismโs transmigration. I like the way she deals with serious issues and basic concepts such as life, death, happiness, and sadness. Also, her works are very conceptual and highlight her handson quality. I became interested in her work because we share a lot of similarities; both of us think highly of the working process. Q. Are you planning to hold the eighth exhibition? In my next exhibition I will improve my installations using copper wire. Just like this exhibition, I will be in search for my identity through my artwork in relation to a space. Specifically speaking, I will be using Thai letters to approach and solve the issues of communication with other people and the society. Q. We are very happy to meet a Korean artist in Bangkok and we are very proud of you. Do you have any final words for our readers? Thank you very much for introducing myself and my work in ELOQUENCE. Since Iโve lived overseas for such a long time, I couldnโt have a chance to introduce my work in Korea. Iโm very lucky to have a chance to let the world know who I am and what I do through this Korean magazine that is distributed all over the world. I hope to meet the ELOQUENCE readers again with some new and improved art work. www.jeonartbooth.com
Dwelling in a Space 7 / Chinese ink with color on rice paper / patoong fabric collage / 2011
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Dwelling in a Space 2 / Chinese ink with color on rice paper / patoong fabric collage / 2011
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Jumping / Chinese ink with color on rice paper / patoong fabric collage / 2011
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video
Arunchit Sasivimolkul KIMBO, Cracker Liveโs media director met ARUNCHIT, Wakeup Rabbitโs media director to talk about Bangkokโs next generation of digital media kids.
Interview. KIMBO KIM Editor. GiSeok Cho Photographer. Jun O Hwang
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Q. Hi Arunchit, could you please introduce yourself to our readers?
My name is Arunchit Sasivimolkul and Iโm from Bangkok. I work as the director of photography and a camera operator in the Wakeup Rabbit team. The production team (Kratai tuentua Co.,Ltd.) is a group of friends with varied skills brought together by common goals and a passion to create. Our expertise is in communication and design-related fields and we aim to pursue an efficient model of communication based around info-graphic design, commercial film & animation, viral campaign management, communicative illustration, visual concerts and online and digital media.
Q. When and why did you choose to be a filmmaker?
I worked as a photographer before I became a filmmaker. In university I still didnโt know what career path I wanted to follow. In 2002, I had my first experience on a film set. Since then, I realized that filmmaking was the one thing that I would love to spend the rest of my life doing.
Q. There are some outstanding filmmakers in your country, such as Apichatpong Weerasethakul. What is the film industry like in Thailand? There are many filmmakers in Thailand. Apichatpong is certainly one of the top directors. His films are sort of independent art films, so they are not really aimed at the mainstream audience in Thailand. The film industry in Thailand mostly makes action films, comedies, dramas or horrors, and they are almost always geared towards revenue, not the arts.
Q. What is your favorite movie and who is your favorite director?
My favorite director is Alejandro Gonzalez Inarritu, the director of Biutiful, Babel, etc. But my favorite movie is Inception (2010) by Christopher Nolan.
Q. There are many popular places to study film, such as London or New York. Was there any specific reason that you wanted to go to Prague? The main reason I went to Prague is because I wanted to experience the European atmosphere, which is quite different from Asia. I wanted to learn about not only filmmaking but also the arts and the history in Europe. Czech Republic is one of the best places to study film due to its quite unique history and filmmaking style.
Q. What is the biggest difference between European and Asian filmmaking?
I think that they are different in the methods and processes of filmmaking, but they have very different narratives. Asia has got its own traditional culture, and that has an effect on its story telling. I think to be a competitive Asian film in the world market, itโs important to make our own style based on our culture and history.
Q. In the past, filmmaking was analogue. Since the digital revolution, the filmmaking system has changed a lot. We are in the DIGITAL GENERATION. What do you think about digital technology in filmmaking, and what are the advantages and disadvantages?
Digital filmmaking isnโt just about low-budget indie movies anymore. Itโs one of the most exciting and revolutionary opportunities in filmmaking today.
Advantages of Digital Technology
Digital filmmaking is accessible. The relatively low cost and user friendly, digital recording equipment has become the engine of the film industry. It means that talented filmmakers donโt need the backing of Hollywood heavyweights to produce their films. While this could be seen as a threat to the establishment, these new voices in film can also inspire others and bring a new energy to the film industry. The editing process has also become a lot simpler. Like digital recording equipment, editing equipment for digital film is affordable and easy to master. Users can make cut, or undo it with relative ease. Postproduction can be less cumbersome in the digital world as well. If someone with no training in digital film editing can do a reasonable job on their iMac, imagine what someone with a digital film education could do. The possibilities are exciting and endless. Digital distribution reaches a wide audience. You no longer need a big marketing budget to reach a wide audience. Today, your movie could take off on YouTube. It could be available on iPods and cell phones. Digitally formatted films arenโt bound to traditional distribution methods. Having a box office smash isnโt necessary to gain notoriety. A little success could open big doors for your film career.
Disadvantages of Digital Technology
The huge data kept on hard disks or DVDs can be problematic. If we donโt backup it in many different places, we could lose entire films. Also, when we are shooting we also donโt know if the materials that we are recording will have problems, or when weโre transferring the footage we could run into technical problems without knowing it. This sort of problem only becomes obvious during the post-production phase, and by then you could have lost too much time to reshoot. One argument is that the growth of digital film is destroying art. Depending on how loyal you are to the idealized art form of film, digital distribution can be seen as a contributing factor to the slow death of theater-style viewing. Audiences prefer to see films on their computers, on their iPods while theyโre on the go, and, to an extent, on their televisions. If people are willing to pay for films, they arenโt willing to pay for the inconvenience of going out to the theater to do it. Digital distribution plays right into their hands and exclusive use of it actively condones this behavior. Itโs not a problem if youโre not too attached to the traditional cinematic experience, but it really is putting the nails in the coffin of the cinematic experience.
Q. What are your dreams and goals?
I want to be a director of photography who can work on feature films, not just in my country but around the world. For me, making great films, travelling around world, meeting people from different countries, and learning about different cultures is the way to enjoy life.
vimeo.com/cxclarinet
Digital Technology gives us a lot of new opportunities in filmmaking.
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Doctorโs Love / single-channel video / 21โ35โ / 2011
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collection
Bangkok Cityscape
Bangkok is a city full of people as diverse as the urban landscapes they inhabit, a capital characterized by incessant change - and the scars to prove it. In light of all this inconstancy, how can one capture the essence of its urban fabric? These photographers document Bangkokรข€™s dynamic cityscape through their own eyes, sharing the ways it reveals itself to those who know where to look.
Editor. Anna Choi
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David Terrazas
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Dow Wasiksiri / Nationalism / 2006
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Dow Wasiksiri / Happy Meal / 2007
Dow Wasiksiri / Karma / 2007
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Ohm Phanphiroj / Young boy / 2008
Ohm Phanphiroj / a bird / 2008
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Ohm Phanphiroj / Buddha / 2011
Ohm Phanphiroj / Lone walker / 2012
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Steven Pettifor / Spirit house and grafifti / 2010
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Kara yong Kara choko
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Kara yong Kara choko
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David Terrazas This small selection of photos offers a personal perspective of the city through scenes taken from my daily life in Bangkok over the course of the past year, from portraits of friends to landscapes shot from my place to photos of a certain teashop in Chinatown (which I consider one of the most photogenic locations in the city) and everything in between. I show an independent and lonely perspective of this large and populated metropolis, paying more attention to its details and small spots than its overcrowded areas and tourist attractions. Iโm not really trying to show anything in particular about Bangkok in my photos, since they are individual images without any specific finality rather than a premeditated project. Nevertheless, I think they do say something about me and my perceptions of the city. Thereโs no doubt it is an amazing city that offers a full range of possibilities, contrasts, and exotic scenes wherever you look. No matter what it is youโre looking for, you will find it in this architecturally chaotic city in which modernity and tradition coexist in perfect harmony. Bangkok and its people are unique. www.davidterrazasphotography.com
Dow Wasiksiri In this collection on Bangkok I photograph the Bangkokian way of life with a quizzical eye. Bangkok is one of the worldโs most visited cities, though among its least understood. I navigate everyday scenarios the same way Thais generally do with humour. I donโt seek to mock or categorize, only spark a knowing smile. I see this collection as a visual autobiography of a Thai reflecting on what we have done to ourselves and how weโve taken modernization and made it our own. I aim to present a reality-check that responds to the conventional images of Bangkok, which range from PR puffery to orientalist romance to salacious storytelling. For two decades, my lens has explored the psychology of Thais in their habitat. I show the people and scenes that I encounter in the same way they present themselves in public: without judgment. As a Buddhist, I was raised to treat situations with detachment not an easy task, but one that breeds a useful discipline. I shoot something unexpected, then let it go. The people I photograph may not be as tidily prepared for the camera as our social conventions might prefer, but their appearance reflects the impromptu and shared way Bangkokians tackle everything, from eating habits and worship rituals to the cityโs markets and hair-dos even having having their photographs taken. Indeed, as an outgoing people, Bangkokians relish the experience of being photographed, if only for the sake of โsanuk,โ an all-encompassing sensibility for fun. The saturated hues in my photos may not seem naturalistic, but Bangkok always feels more vibrant and vivid to me than a 2-D print can express. Bangkok supplies plenty of unexpected moments, so its particular rhythms and priorities can seem chaotic or bizarre to the casual observer. Compounding this mystique are the idealized images of โThainessโ which are fabricated by Thais themselves and presented to visitors as a way to show outer decorum for reasons of face. These countless published views of Thailand and Bangkok are staged and styled, leading to startling juxtapositions of contrivance and reality. Through these frames, I aim to reveal the unselfconscious behavior of Bangkokians, in all its playful contradictions. Taken as a whole, this collection is only a small part of a larger body of work that Iโm doing about Thailand which represents scenes in the transformation of people. The themes expressed in Bangkokโs cityscape and Thai popular culture resonate with the hybrid development of Thailandโs neighbors, testifying to the onslaught of globalization as it collides with tradition. However hard that collision may be, Thais meet it with the one exotic clichรฉ that holds true: a smile. www.dowwasiksiri.com
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Ohm Phanphiroj This series explores the secrets of Bangkok and reveals the differences in its cityscape by day and by night. I take a lot of pictures of Bangkok while driving around the city. Whenever I see something odd or visually interesting I stop the car, get out, and take a photo. I want to show Bangkok as a place full of excitement, drama, mystery and unpredictability. Itโs both sexy and dangerous at the same time. I think Bangkok is a wonderful place to see and visit. It has many different sides to its character like dirty, gritty, vibrant, challenging that allow you to be secretive, explorative and naughty. To me, it seems to be the only city in the world that offers such a full range of things to see and experience. At any given moment, Bangkok is both heaven and hell. www.ohmphotography.com
Steven Pettifor The majority of the images I capture are from the immediate environment of my neighborhood in the Ekkamai area of Bangkok. Like much of the city, the area where I live is rapidly changing as it becomes more gentrified and homogeneous and loses its community spaces. My photos focus on the vernacular; I am drawn to the minutiae and curious details of everyday life which, for whatever reason, hold my attention. I attempt to elevate the trivial into the sublime. I am not a photographer, but I use photography as an artistic medium. Like a flรขneur, I wander and experience the city, particularly its residential backstreets and hidden recesses.
Kara yong Kara choko People tend to be drawn to beautiful places, giving rise to tourist hotspots and landmarks that are always bustling with people taking in the sights. Though we may provide access to one personโs life in an attempt at understanding a particular population, or analyze a single city block in order to gauge the character of a certain city, things like these can only be properly understood in the context of society at large. Some of my photos seem to be taken from a long distance; people and tall buildings must be presented differently. I donโt want to see Bangkok as being โprettyโ or โbad.โ Although it has sometimes been overlooked, this is the sort of thing that seems to be happening now; itโs a way of life in Bangkok. I want to show how relationships are built between the capital and its people as well as the conflicts that develop when the growth of the city is inconsistent with the needs of its inhabitants. Bangkok has a lot of different areas, yet the old and the new blend together surprisingly well. Itโs a city on the move; when you look outside in Bangkok even if you donโt see any people, youโre really looking at life. If you donโt look soon, youโll probably never know the actual city. www.karayongkarachoko.com
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Breaking This fashion photo shoot started from Brittanyโs doodle named โdead worm girlโ
Photographer. Vincent Sung Stylist. Brittany Wacher Hair and Make Up Artist. Brittany Wacher Creative assistant. Giseok Cho
Dress: asava Lace Over Dress: Nagara
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Shirt/dress: WWA Scarf: Nagara Shoes: Dusk till Dawn
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Top: Couturier (Prarunrop Prueksopee) Skirt: Senada Shoes: Wonder Anatomie
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Dress: Senada Vest: Wonder Anatomie
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Top: Wonder Anatomie Skirt: Flynow
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Sweater dress: WWA Purse: HOB
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Jacket: Flynow Shirt: Sretsis Pants: Couturier (Prarunrop Prueksopee) Shoes: Wonder Anatomie
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Shirt/dress: Nagara Shoes: Wonder Anatomie
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information
World Exhibitions Seoul Suh Do-ho: Home Within Home 22 March โ 3 June Leeum, Samsung Museum of Art www.leeum.org
Design Finland 17 March โ 14 April Hangaram Design Museum, Seoul Arts Center www.arkoartcenter. or.kr Dansaekhwa: Korean Monochrome Painting 17 March โ 13 May National Museum of Contemporary Art, Korea www.moca.go.kr Michael Craig-Martin 16 March โ 29 April Gallery Hyundai www.galleryhyundai. com
Choi Ki Seog 15 March โ 15 April Gallery2 www.gallery2.co.kr
Simon Raab: Surface Tension 24 February โ 25 March Michael Schultz Gallery Seoul www.schultzgallery.co.kr Noori Lee: Trait 24 February โ 23 March PKM Trinity Gallery www.pkmgallery.com Nomadic Report 2012 22 February โ 15 April Arko Art Center www.arkoartcenter. or.kr
Reflections from Nature: Collection of Cahiers dโ Artistes 17 February โ 21 March SongEun ArtSpace www.songeunartspace.org Q&O. Structure and Fragments 16 February โ 7 March One and J. Gallery www.oneandj.com Magical Realism in the Netherlands: Past Toward Contemporary 10 February โ 10 March Seoul National University Museum of Art www.snumoa.org
Lee Jin Han: Postmodernism of the Beholder โ Landscape of the Concept 9 February โ 17 March Alternative Space LOOP
Ju Ri Lee 9 March โ 7 April Project Space Sarubia www.sarubia.org
www.galleryloop.com
Bae Young-whan: Song for Nobody 1 March โ 20 May PLATEAU, Samsung Museum of Art www.plateau.or.kr
Leipzig Painters II 9 February โ 17 March Gallery Baton www.gallerybaton.com 1958-Ecole de Paris 9 February โ 19 March Shinsegae Gallery
www.shinsegae.com Beyond Landscape Paintings 3 February โ 1 April Gyeonggi MoMA www.gmoma.or.kr
TOKYO Oliver Payne 17 March โ 14 April NANZUKA http://nug.jp
Debbie Han: Being 10 February โ 18 March Sungkok Art Museum www.sungkokmuseum.com
Sora Kim: Abstract Walking 10 March โ 22 April Artsonje Center www.artsonje.org
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Eva Hesse: Spectres and Studiowork 28 February โ 7 April Kukje Gallery www.kukjegallery.com
Making as Living: The Great East Japan Earthquake Regeneration Support Action Project 11 March โ 25 March 3331 Arts Chiyoda www.3331.jp Alexander Rodchenko: Innovator of Russian Avant-Garde 2 March - 27 March Ginza Graphic Gallery www.dnp.co.jp/gallery/ ggg Kwan Sheung Chi: Collected Works 25 February โ 31 March Yuka Tsuruno http://yukatsuruno.com Leslie Kee: Power People 16 February โ 27 February Seibu Shibuya www.artmeetslife.jp
Rikrit Tiravanija: Untitled 2001/2012 10 February โ 20 April Gallery Side 2 http://galleryside2.net
Ay-O: Over the Rainbow Once More 4 February โ 6 May Museum of Contemporary Art Tokyo www.mot-art-museum.jp
Lee Bul: From Me, Belongs To You Only 4 February โ 27 May Mori Art Museum www.mori.art.museum
Zhang Hui: Lonesome Souls 19 February โ 1 April Hub, Alexander Ochs Galleries www.alexanderochsgalleries.com Do A Book 18 February โ 18 March White Space Beijing www.whitespacebeijing.com
BANGKOK Gi-ok Jeon: Dwelling in a Space 21 February โ 25 March Galerie N www.galerienbangkok. com
Daniele Dainelli: Domestic Archaeology 11 February โ 23 March Ofoto Gallery www.ofoto-gallery.com Prapat Jiwarangsan: I will never smile again 2 February โ 31 March WTF Gallery www.wtfbangkok.com
Inside Out/Lost City 1 March โ 22 March Fabrik Contemporary Art www.fabrik-gallery. com
Hans Hartung 17 February โ 30 March de Sarthe Gallery http://desarthe.com
Beijing
Ran Huang: Disruptive Desires, Tranquility, and the Loss of Lucidity 16 March โ 16 April Long March Space www.longmarchspace. com
Helmut Newton 24 March โ 17 June Grand Palais www.grandpalais.fr
Ai Weiwei: Entrelacs 21 February โ 29 April Jeu de Paume www.jeudepaume.org
BERLIN Monica Bonvicini 18 February - 14 April Galerie Max Hetzler www.maxhetzler.com
HONG KONG
Art & Collectorโs Editions by TASCHEN 2 February โ 15 April Serindia Gallery www.serindiagallery. com
Bashir Makhoul: Enter Ghost, Exit Ghost 17 March โ 15 April Yang Gallery Beijing http://yanggallery. com.sg
PARIS
SHANGHAI Nostalgia: East Asia Contemporary Art Exhibition 18 February โ 1 May MoCA Shanghai www.mocashanghai.org
Wantanee Siripattananuntakul : (Dis)continuity 15 February โ 28 March The Art Center at Chulalongkorn University www.car.chula.ac.th/art
9 February โ 5 June Tate Modern www.tate.org.uk/ modern
Dash Snow 11 February โ 24 March Contemporary Fine Arts www.cfa-berlin.com
AMSTERDAM Guy Tillim: Second Nature 3 March โ 3 June Huis Marseille www.huismarseille.nl
Joel Sternfeld: Color Photographs since 1970 14 December โ 14 March Foam Amsterdam foam.org
LONDON David Hockney RA: A Bigger Picture 21 January โ 8 April Royal Academy of Arts www.royalacademy. org.uk
David Shrigley: Brain Activity 1 February โ 13 May Hayward Gallery www.southbankcentre. co.uk Yayoi Kusama
NEW YORK Mitch Epstein 16 March โ 14 April Sikkema Jenkins & Co. www. sikkemajenkinsco.com
155
Korean version 014p
The Reading Room Q. ์ฃผ๋ก ์ฌ๋๋ค์ด ๋ ์ํ๋ ค๊ณ ์ค๋๊ฐ? Reading Room์ ๋์๊ด ์์ด๋์ด๋ฅผ ์ฌํด์ํ๋ค. ์๋์ ์ธ ์ธํฌ๋ฉ์ด์ ๊ณต๊ฐ์ ์๋์ง๋ง, ํ๋ฐํ ์ ๋ณด๊ต๋ฅ์ ์ปค๋ฎค๋์ผ์ด์ ์์ํ์ฅ์๋ก๋ง๋ค๊ณ ์ถ์๋ค. ์ด๋ฒคํธ, ๋ํ, ์คํฌ๋ฆฌ๋, ๊ฐ์ข ๋ฑ์ ์ด๊ณค ํ๋ค. ์ด๋ฒ ๋ฌ๋ถํฐ๋ Thai Netizen Network ์ด๋ผ๋ ๊ทธ๋ฃน๊ณผ ํจ๊ป ๋งค๋ฌ ์จ๋ผ์ธ ๊ฐ์ข๋ฅผ ๊ฐ์คํ ์์ ์ด๋ค. ์ ์๊ถ, ํํ์ ์์ , ์ฐจ์ฉ๊ณผ ์ค๋ฆฌ์ง๋๋ฆฌํฐ์ ์์ ์ ๊ดํด ๋ค๋ฃฐ ๊ฒ์ด๋ค. Q. ์ด๋ค ์ฌ๋๋ค์ด ์ด๋ฒคํธ์ ์ฐธ๊ฐํ๋๊ฐ? ๋๋ถ๋ถ ์ํธ, ํ๋ฆ, ์ฌํ๊ณผํ ์์ญ์ ๊ด์ฌ์ด ์๊ฑฐ๋์ฐ๊ด๋์ฌ๋๋ค์ด๋ค.์ฐ๋ฆฌ๋ฅผ์ฐพ์์ค๋ ์ฌ๋๋ค์์ ๊ณ ,์๋ก์ด์์ด๋์ด์์ด๋ ค์๊ณ ๋ ๋ฆฝ์ ์ธ์ฌ๊ณ ๋ฅผํ๋ค.๋๋์ด๋ค์๋ฌธํ์ ์ธ
ํ๋ก๋์๋ก์ ์๋ก์ด ์ธ๋๋ผ๊ณ ์๊ฐํ๋ค. Q. ๋์ฒด๋ก ์ด๋ฒคํธ์์ ์ด๋ ์ธ์ด๋ฅผ ์ฌ์ฉํ๋๊ฐ? ์ฐธ๊ฐ์๋ค์ ์ด์ค์ธ์ด์ ์ต์ํ๊ฐ? ๊ทธ๋ ๋ค. ๋๋ถ๋ถ ์ฐธ๊ฐ์๋ค์ ์ด์ค์ธ์ด๋ฅผ ์์ง๋ง, ์ด๋ฒคํธ ์ฑ๊ฒฉ์ ๋ฐ๋ผ ์ธ์ด๋ ๋ค๋ฅด๋ค. Q. ๋น์๋ฆฌ๋จ์ฒด๋ก ์ด๊ณณ์ ์ด์ํ๊ณ ์๋ค. ๊ณต๊ฐ์ ์ฃผ๋ ๋ชฉ์ ์ด ๋ฌด์์ธ๊ฐ? ์ด์์ ์ผ๋ก๋ ์ผ๋ จ์ ํ๋ก๋์์ ๊ทธ์ ๋ง๋ ๊ณต๊ฐ๋ค์ด ์์ ๊ฒ์ด๋ค. ํ๊ตญ์์ ์์ง๊น์ง ํ๊ณ๊ฐ ์๋ค. ์ด ๊ณต๊ฐ์ ์ด์ํ๋ ์ฃผ๋ ์ด์ ๋ ๊ทธ๋ฌํ ํ๊ณ๋ฅผ ์ฑ์ฐ๊ธฐ ์ํจ์ด๋ค. ๊ธฐ์กด์ ์๋ ๊ฒ์ด๋ผ๋ฉด, ์ง์ ์ค์ค๋ก ๋ง๋๋ ์๋ฐ์ ์์ง ์๋. ๊ณต๊ฐ, ๊ต์ก, ํ๋ ์ดํ , ํ๋ก๋์ฑ ๋ฑ. Q. ๊ทธ๋์ ์ด ๋ชจ๋ ์ผ์ Reading Room์์ ํ๊ณ ์๋? ์...๋ํ์์ ๊ฐ๋ฅด์น๊ธฐ๋ ํ์ง๋ง ์ง๊ธ์ ๊ณต๊ฐ๊ณผ ๊ทธ๊ณณ์ ๋ชจ์ธ ์ฌ๋๋ค์ด ์๋ค๋ฉด ์ธ์ ๋ ํ๋ค. ์ด ๊ณณ์ ๊ทธ๋ฐ ์ผ์ด ์ผ์ด๋ ์ ์๋ ์ฅ์๋ค. ์ฌ๋๋ค์ด ๋ชจ์ด๊ณ ๋ฌด์ธ๊ฐ ์คํํ๋ค. ์ด๋ฒคํธ ๋ณ๋์ฌํญ์ ๋ฐ๋ผ ์ ๋์ ์ธ ๊ณต๊ฐ์ด๋ค. ์คํฌ๋ฆฌ๋์ ํ๋ฉด ์์ ์์๊ณต๊ฐ์ด ๋๊ณ , ์ํฌ์ต์ ์งํํ๊ธฐ๋ ํ๋ค. ์ํฉ์ ๋ฐ๋ผ์ ๊ณต์์ ํ์ฌ๋ ํ๋ค. ์ฃผ๋ก Reading Room์ ์ง์์ ๋๋๊ณ , ์ปค๋ฎค๋ํฐ๋ฅผ ๋ง๋ค๋ฉฐ ํ๋ํ๋ ๊ณต๊ฐ์ด๋ค.
๊ทธ๊ณณ์์ ๋ค์ํ ์ผ์ด ์๊ธฐ๊ณ , ์ผ์ข ์ ๊ฑฐ๋ํ ๋ง๋จ์ ๋์ ๊ฐ๋ค. ํ์ง๋ง Chiang Mai๊ฐ ์ง ๊ฐ์ ๊ณณ์ด๋ค. Navin Production ์คํ๋์ค์์ ํ๊ณผ ํจ๊ป ๊ทธ๊ณณ์์ ์์ ํ๊ธฐ ๋๋ฌธ์ด๋ค. ๋ด์ ๋ธ์ด ์ผ๋ณธ์ ์์ด์ ์๊ฐ์ด ๋๋ ๋๋ก ๊ฐ๊ณค ํ๋ค. Q. ์๋ , ๋ฐฉ์ฝ์ ์ฌํ์ ์ ์น์ ์ด์๊ฐ ๋ง์๋ค. ๋น์ ์ ์ํ์์ ์ด๋ฐ ์ด์๋ค์ ๋ด๊ธฐ๋ ํ๋? ๊ทธ๋ ๋ค. ํ์ง๋ง ๊ฐ๋ฑ ์์ฒด์ ๊ทธ ๋ค์ ๋์ธ ์ ์น์ ๋ชจํฐ๋ธ๋ ์๋ก ๋ฐํ๊ณ ์๋ค๋ ์ฌ์ค์ ์ฃผ๋ชฉํ๊ณ ์๋ค. Q. Taxi์๋ฆฌ์ฆ์ ๋ํด ์๋ ค๋ฌ๋ผ. ์๋ง์ ์ฃผ์ ์ค์์ ํน๋ณํ ํ์๋ฅผ ์ข์ํ๋ ์ด์ ๊ฐ ์๋? ๋์ํ, ์๋ณธ์ฃผ์๋ก ๋ฐ์ ๊ณผ์ ์์, ๊ตํต ์ฒด์ฆ ๋๋ฌธ์ ๋ง์ ์ฌ๋๋ค์ด ์ฐจ ์์์ ์๊ฐ์ ๋ณด๋ธ๋ค. ๊ทธ๋ฐ ์ํฉ์์๋ ์ํธ๋ ๊ฐค๋ฌ๋ฆฌ์ ๋ํ ๊ด์ฌ์ ์ ์ ์ค์ด๋ค๊ณ ์๋ค. ๊ทธ๋์ ํ์ ์์ ์ํธ ๊ฐค๋ฌ๋ฆฌ๋ก ๋ฐ๊ฟ์ ์ํ์ ๋ค์ํ ๋ฐฉ๋ฒ์ผ๋ก ๋ณด์ฌ์ค๋ค๋ฉด ์ฌ๋ฏธ์์ ๊ฒ ๊ฐ๋ค๋ ์๊ฐ์ ํ๋ค. ์ด์ํ๊ฒ ๋ค๋ฅธ ๋๋ผ์์๋ ํ์๋ ํ์๋ผ๊ณ ๋ถ๋ฅธ๋ค. ํ์๋ผ๋ ๋จ์ด ์์ฒด๊ฐ ์ธ์ด์ ์ฅ๋ฒฝ์ ๋์ ๊ฒ์ด๋ค. ์ด๊ฒ์ด โTaxis are universal.โ๋ฅผ ๊ธฐํํ๊ฒ ๋ ๊ณ๊ธฐ์๊ณ , ๊ทธ ๋๋ถํฐ ์๋๋, ๋์ฟ, ๋ด์, ๋ฐ๋์์ ํ์ ๊ฐค๋ฌ๋ฆฌ ์ ์ํ๋ฅผ ํ๋ค. ์ด๋ค ์ฌ๋๋ค์๊ฒ๋ ํ์์ ๋ํ ์์ด๋์ด๊ฐ ํ๋ฝํ๋ ์ถ์ธ์ ์๋ ์ํธ ์์ฅ์ ์ด์ธ๋ฆฐ๋ค๊ณ ๋ฐ์๋ค์ธ ๊ฒ ๊ฐ๋ค. Q. ๋น์ ์ ์ํ์ ๋ณด๋ฉด, ์์์ ์์ ์ ๋ํ ๋น์ ์ ์ ๋ฐ์ ์ธ ์ดํด์ ๊ฐ์ ์ด ์๋ ๊ฒ ๊ฐ๋ค. ํ๊ตญ ์ํธ์ ์์ด๋ดํฐํฐ๋ฅผ ๋งํด๋ฌ๋ผ. ํ๊ตญ์ํธ์ฐ์ ์ ์์ฃผ ๋น ๋ฅด๊ฒ ์ฑ์ฅํ๊ณ ์๋ค. ์ฐ์ ์์ฒด๋ ๋น ๋ฅด๊ฒ ์ฑ์ฅํ ๋ฐ๋ฉด ์กฐ์ง, ๊ฐค๋ฌ๋ฆฌ, ๋ฐ๋ฌผ๊ด์ ๋๋ฆฐ ํธ์ด๋ค. ํ๊ตญ์ ๊ฐค๋ฌ๋ฆฌ๋ ๋ฐ๋ฌผ๊ด์ด ๋ง์ง ์๋ค. ์ ๋ถ ์ง์์ ๋ฐ์ Bangkok Art Center๊ฐ ์์์ง๋ง, ์ ๋ถ ์ชฝ์์ ์์ต์ฑ์ด ์๋ค๊ณ ์๊ฐํด์ ํฌ์ ์ง์์ ์ค๋จํ๋ค. ์ ๊ฐ์ค๋ฌ์ด ์ผ์ด๋ค. Q. ์ํธ ์์ฅ์ ๋ํด์ ๊ณ์ ์ธ๊ธํ๊ณ ์๋ค. ํ์ฌ ํ๊ตญ์ ์ํธ ์์ฅ์ ๋ํด ์ด๋ป๊ฒ ์๊ฐํ๋๊ฐ? ํ์ฌ ํ๊ตญ์ ์ํธ ์์ฅ์ ์์์ ์ปฌ๋ ํฐ์๊ฒ๋ง ์ด๋ ค ์๋ค. ๋ฌผ๋ก ๊ฐ๋น์ผ ์ํธ๋ฅผ ๋ณด๋ฉด ๋๋๋ค. ํ์ง๋ง ๋๊ตฌ์๊ฒ๋ ์ด๋ฆฐ ์์ฅ์ด์ด์ผ ํ๋ค. ๊ทธ๋์ผ์ง ์ ์ ์น๊ตฌ๋ค๋ ์ํ ์ปฌ๋ ์ ์ ํ๊ณ ์ํฐ์คํธ ์ญ์ ๋ ๋ง์ ์ ์ํ๋ ํ๋งค ๊ธฐํ๋ฅผ ๊ฐ์ง ์ ์๋ค. ๋ฌผ๋ก ๋ชจ๋ ๊ฒ์ด ์์ต ์ค์ฌ์ด ๋์ด์๋ ์ ๋๋ค. ๋ฌธํ์ ์ดํด์ ๋ํ ๊ฒ์ด์ด์ผ ํ๋ค. ์ํฐ์คํธ๋ผ๋ฉด ์ํธ๋ฅผ ์์ต๋ง ๋ ธ๋ฆฌ๊ณ ๋ง๋๋ ๊ฒ์ด ์๋๋ผ, ๊ทธ๋ค์ ๋ฌธํ์ ๊ฒฝํ์ ๋ด์ผ๋ ค๊ณ ํด์ผ ํ๋ค. Q. ๋ง์ง๋ง์ผ๋ก, ์์ผ๋ก ๊ณํ์ด ์๋? Chiang Mai์ ์คํ๋์ค์ ์ํธ๊ฐค๋ฌ๋ฆฌ๋ฅผ ์ง๋ ์ค์ด๋ค. ์์ ํ๋ก์ ํธ ๋คํ๋ฉํ ์ด์ ๊ณผ ํจ๊ป ํน์ ์ฅ์์์ ํ๋ ์ํ์ ์ ์ํ๋ ค๊ณ ํ๋ค. ์๋ ์ ๊ณต์ฌ๋ฅผ ์์ํ๊ณ , ์๋ง ์ฌํด ์์ ์์ฑ๋ ๊ฒ ๊ฐ๋ค. ๋ Chiang Mai์์ ๊ฐค๋ฌ๋ฆฌ โ๊ด๋โ๋ณด๋ค ์ข ๋ ๋์ค์ด ์ฐธ์ฌํ๋ ์ปค๋ฎค๋ํฐ ๊ธฐ๋ฐ์ ํ๋ก์ ํธ๋ฅผ ๊ณํ ์ค์ด๋ค.
016p
022p
Q. Navin Party์ ๋ํด ์๋ ค๋ฌ๋ผ. Navin Party๋ ๋ด ์์ด๋ดํฐํฐ์ ๋ํด ๋๋ด์ ํ๊ณค ํ๋ ์น๊ตฌ Tyler Russell๊ณผ ํจ๊ป 2006 ๋ ๋ง๋ค์๋ค. ๋๋ ์ ์ธ๊ณ์ ์๋ โNavinโ ์ด๋ผ๋ ๋ชจ๋ ์ฌ๋๋ค์๊ฒ ์ฐ๋ฝํ๊ณ ์ถ์๋ค. Navin์ด๋ผ๋ ์ด๋ฆ์ ์๋ ์ธ๋์์ ์ ๋๋ ์ด๋ฆ์ธ๋ฐ, ํ๊ตญ, ์ผ๋ณธ, ํ๊ตญ๋ฟ ์๋๋ผ ์์์๋ ์ด๋ฆ์ ์ฐ๋ ์ฌ๋์ด ์์๋ค. ์ฌ๋ฏธ์์ ๊ฒ ๊ฐ์๋ค. Navin Party ํ๋ก์ ํธ๋ ์ ์ธ๊ณ์ ๊ฑธ์ณ์ Navin์ด๋ผ๋ ์ด๋ฆ์ ๊ฐ์ง ์ฌ๋๋ค์ด ์๋ค๋ ์ ๋๋ฌธ์, ์ฌ์ค์ ๋ด์ ๋๋ฆฌํฐ์ ์ค๋๋ ๋ณต์กํ ์์ด๋ดํฐํฐ์ ๋ํ ์ง๋ฌธ์ด๋ค. Navin์ ์ ๋ง ์ด๋์ ์ํ ๊ฑด์ง ์ฌ๋๋ค์๊ฒ ๋ฌป๊ณ ์ถ์๋ค. Navin Production์ด๋ผ๋ ๋ธ๋๋ ํ์ ๋ค์ํ ํํ๋ก ํ๋ก์ ํธ๋ฅผ ํ๊ณ , ํ๊ตญ, ๋ฏธ๊ตญ, ์ผ๋ณธ,
Q. ์๊ธฐ ์๊ฐ๋ฅผ ํด๋ฌ๋ผ. ๋ค์ํ ๋ถ์ผ์ ์์ ์ ํ๋ ์ฌ๋์ผ๋ก์ ์ค์ค๋ก๋ฅผ ์ด๋ป๊ฒ ์๊ฐํ๋๊ฐ? ๋ฌผ์ด๋ณด๋ ์ฌ๋์ ๋ฐ๋ผ ๋๋ต์ด ๋ค๋ฅด๋ค. ๋ง์ฝ ์ง๋ฌธ์๊ฐ ์์ ๊ณ์ ์ข ์ฌํ๊ณ ์๊ฑฐ๋ ์์ ์ ๊ด์ฌ์ด ์๋ค๋ฉด, โ์ ๋ ์์ ๊ฐ์ ๋๋ค.โ ๋ผ๊ณ ๋๋ตํ๋ค. ๋๋ ๊ทธ๋ฆผ์ด๋ ์กฐ๊ฐ, ๋น๋์ค ์ํธ๋ ์์ ์ ํํ๋ฅผ ๊ธฐ๋ฐ์ผ๋ก ์ผ๋ ์์ ์ ์ฃผ๋ก ํ๋ค. ๊ทธ๋ฌ๋ ์ง๋ฌธ์๊ฐ ์์ ๊ณ์ ์์ง ์๊ฑฐ๋ ๋จ์ํ ์ ์ง์ ์ ๋ํด์๋ง ๊ด์ฌ์ด ์๋ค๋ฉด, ๋๋ ์ฐฝ์กฐ์ ์ธ ๋์์ด๋๋ ๊ต์ฌ๊ฐ ๋๋ค. ๋๋ ์ก์ง๋ ์ฑ ์ ์ผ๋ฌ์คํธ๋ฅผ ๊ทธ๋ฆฌ๊ณ ์๊ณ , ๋จธ๊ทธ์ปต์ด๋ ํฐ์ ์ธ , ๋ ธํธ๋ถ, ์์ดํฐ ์ผ์ด์ค ๋ฑ์ ์ ํ๋ค๋ ๋์์ธํ๊ณ ์๋ค. ๋ ๋ฐฉ์ฝ ๋ํ๊ณผ ๋๋๋ก ์คํ์ฝ ๋ํ์์ ๊ฐ์๋ ํ๋ค.
Navin Rawanchaikul
Lolay
๋ฐฉ์ฝ์์๋ ์ ์ํ๋ฅผ ํ๊ฒ ๋์๋ค. Q. Navinland์ ๋ํด ์๋ ค๋ฌ๋ผ. ์ฌ์ง๊ป Navinland๋ ์ด๋ป๊ฒ ์งํ๋์๊ณ , ์์ผ๋ก ์ด๋ค ํ๋ณด๋ฅผ ๋ณด์ผ ๊ฒ ๊ฐ์๊ฐ? Navinland๋ Navin Party์์ ์์๋๋ค. Navinland๋ Navin์ด๋ผ๋ ์ด๋ฆ์ ๊ฐ์ง ์ฌ๋์ด๋ ๊ทธ๋ค์ ์๊ณ ์๋ ๋๊ตฌ๋ ๋ํ์์ด๋ค. Navinland๋ ์์ ํฝ์ ์ธ๋ฐ ์ด๊ฒ ์ญ์ ๋ด์ ๋๋ฆฌํฐ์ ๋ํ ์ง๋ฌธ์ด๋ค. Navin์ด๋ ์ด๋ฆ์ ๊ตญ๊ฒฝ์ ์๊ด์์ด ์ด๋์๋ ์์ง ์์๊ฐ. ์์ผ๋ก๋ Navinland ๊ฐ ๋์ค์๊ฒ ๋ ๋ค๊ฐ๊ฐ, Navin๋ค๊ณผ ์ํฐ์คํธ ๋ชจ๋๋ฅผ ์์ฐ๋ฅด๊ณ ์ถ๋ค. ๋๋ ํ๊ตญ๊ณผ ์ผ๋ณธ์ ์ค๊ฐ๋ฉฐ ๋์์ India์ ๋ฐฐ๊ฒฝ์ ๊ฐ์ก๊ธฐ ๋๋ฌธ์ ๋ด ์์ ๋ง์ ์ธ์์ด ์์์ผ๋ฉด ํ๋ค. ์ฌ์ค Navinland๋ ๊ตญ๊ฐ๊ฐ ์๋๋ค. ๋ด๊ฐ ์์ ํ๊ฑฐ๋ ์ ์ํ๋ ๊ณณ์ ๊ฐ ๋๋ง๋ค, ์ฌ๋๋ค์๊ฒ ๊ตญ๊ฐ์ ์ฌํ์ ๋ฌธ์ ์ ๋ํด ๋ฌป๋๋ค. ๋ฌผ๋ก ์ฐ๋ฆฌ๋ ๋ค๋ฅธ ์ธ์ด๋ฅผ ์ฌ์ฉํ์ง๋ง, โํ์โ๋ผ๋ ๋จ์ด์ฒ๋ผ ์ํธ๋ ๋ฒ์ธ๊ณ์ ๊ณต์ฉ์ด์ด์ง ์์๊ฐ. Q. ์์ ์ ์ฃผ์ ๋ก ์ผ์ ์ด์ ๊ฐ ์๋? ์์ด๋ดํฐํฐ์ ๊ดํ ๊ฒ์ด๋ค. ์๋ฒ์ง๋ ์ธ๋์ธ์ด๊ณ ์ด๋จธ๋๋ Pakistan์์ ํ์ด๋์ จ๋ค. ๋๋ ํ๊ตญ์์ํ์ด๋ฌ๊ณ , ๋ถ์ธ์ ์ผ๋ณธ์ธ์ด๋ค. ๊ทธ๋์ ๋ ๋ด๊ฐ ์ ๋ง ์ด๋์ ์ํ๋์ง ๊ณ์ ๋ฌผ์ด์๋ค. ๋, ๋๋ ๋ด ์ํ์์ ๋๋ฅผ ํํํ๋ ๊ฒ์ด ์ข๋ค. ์ง์ง๊ฑด ํฝ์ ์ด๋ ๋ชจ๋ ์ด์ผ๊ธฐ์๋ ์ฌ์ค์ ์ธ ์์๊ฐ ์๋ค. ๋ด ์ํ์์ ์ด๋จธ๋, ์๋ด, ๋ธ, ์น๊ตฌ๋ค๊ณผ ๋ด๊ฐ ๋ง์ด ๋ฑ์ฅํ๋ ๊ฒ ์ญ์, ๋์ ์ปค๋ฎค๋ํฐ์ ์ฌํ์ ๊ดํ ๊ฒ์ด๋ค. ์ํฐ์คํธ๋ก์ ๋ค์ํ ์ปค๋ฎค๋ํฐ์ ์ง๋จ์ ์ฌ๋๋ค์ ์ํ์ ํตํด ์ฐ๊ฒฐํ๊ณ ์ถ๋ค. ๊ฐ์กฑ์ด๋ ํ์ฅ๋ ๊ฐ์กฑ์ฒ๋ผ. ์ํ ์์์ ๋๋ฅผ ์ฃผ์ธ๊ณต์ผ๋ก ์ผ๋๋ฐ, ๋ด ์ํ์ ์ธ์ ๋ ๋ ์์ ์ ๊ฒฝํ, ๋ฆฌ์ผ๋ฆฌํฐ์ ํฝ์ ์ฌ์ด ์ด๋๊ฐ์ ์กด์ฌํ๋ ๋ด๋ฌํฐ๋ธ์ ๋ํ ๊ฒ์ด๊ธฐ ๋๋ฌธ์ด๋ค. Q. ์ฃผ๋ก ์ด๋์์ ์ง๋ด๋๊ฐ? Chiang Mai. ์ด๊ณณ์์ ํ์ด๋ฌ๊ณ , ๋ถ์๊ธฐ๊ฐ ์ฌ์ ๋ก์์ ์ข๋ค. ๋ฐฉ์ฝ์์ ์ง๋ด๊ธฐ๋ ํ๋ค. ๋ฐฉ์ฝ์๋
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Q. ๋น์ ์ ์์ ์ ์คํ์ ๋ง์ ์ธก๋ฉด์ ์ฐฝ์กฐ์ ์์ฐ๋ฌผ๋ค์ ํฌํจํ๊ณ ์๋ค. ๋น์ ์ ์ํ ์ค์ ํนํ ๋ํ์์ด๋ผ๊ณ ํ ๋งํ ๊ฒ๋ค์ ๋ฌด์์ธ๊ฐ? ๋ด ์ํ๋ค์ ๋ชจ๋ ์์ด๋์ด๋ฅผ ๊ตฌ์ฒด์ ์ผ๋ก ๊นจ๋ซ๊ฒ ํ๋ ๋ฏธ๋์ด๋ ๋๊ตฌ๋ค์ ํํ๋ฅผ ๋ ๊ณ ์๋ค. ๋ง์ฝ ๋น์ ์ด ๋ง์ ์์ด๋์ด๋ฅผ ๊ฐ์ง๊ณ ์๋ค๋ฉด, ๊ทธ๊ฒ์ ๋จธ๋ฆฟ์์์ ๋์ง์ด๋ด๋ ๋ฐฉ๋ฒ์ ์ฐพ์์ผ๋ง ํ๋ค. ๋ง์ฝ ๊ทธ๋ฆผ์ด ํน์ ์์ด๋์ด๋ฅผ ํํํ์ง ๋ชปํ๋ค๋ฉด, ๋น๋์ค๋ ์กฐ๊ฐ์ฒ๋ผ ๋งค๊ฐ์ฒด๋ฅผ ๋ฐ๊พธ์ด์ผ ํ๋ค. ๋๋ ํ ๊ฐ์ง ๋งค๊ฐ๋ง์ ๊ณ ์งํ์ง ์๋๋ค. ๋ชจ๋ ๊ฒ์ ์ ์ฐฝ์กฐ๋ ฅ์ ๋ฌ๋ ค ์๋ค๊ณ ์๊ฐํ๋ค. Q. ๋ค์ํ ์ฅ๋ฅด์ ์์ ์ ํ๋ฉด์ ํผ๋์ค๋ฌ์ ๋ ์ ์ ์์๋? ํ ๋ฒ๋ ์์๋ค. ๋๋ ๊ทธ๋ฆผ์ด๋ ์กฐ๊ฐ, ๋น๋์ค, ๋๋ ๋ค๋ฅธ ์ด๋ค ๋งค๊ฐ๋ฅผ ์ฌ์ฉํ์ฌ ์์ ์ ํ๋ ์ง ๊ฐ์ ๋ด๊ฐ ์ ํํ ๊ฒ์ ์ง์คํ๋ค. ๋ง์ ๋ค๋ฅธ ๋ฏธ๋์ด์์ ์์ ์ ์ฌ๋ฌ ๊ฒฐ๊ณผ๋ฅผ ๋ฐ๊ฒฌํ ์ ์๋ค. ๋ง์ฝ ๋น์ ์ด ํ๊ฐ์ง์๋ง ๋งค๋ฌ๋ ค์๋ค๋ฉด ๋ค๋ฅธ ๊ฒ์ ์ฌ์ฐฝ์กฐํ๊ฑฐ๋ ๋ฐ๊ฒฌํ๊ธฐ ํ๋ค ๊ฒ์ด๋ค. ๋๋ ์คํ์ ์ด๊ณ ์ถ๋ค. ์คํ์ ์ธ ๊ฒ์ ์ฌ๋ฏธ์๊ธฐ๋ ํ์ง๋ง, ์ ๊ธฐํ๊ณ ์ข์ ๊ฒ๋ค๋ก ๋๋ฅผ ์ด๋์ด์ฃผ๊ธฐ๋ ํ๋ค. ๊ฒฝํ์ ๋งค์ฐ ์ค์ํ ๊ฒ์ด๋ค. Q. ๋น์ ์ด ์์ ํ ๋ชจ๋ ๋ฏธ๋์ด ์ค์์ ๊ฐ์ฅ ์ข์๋ ๊ฒ์ ๋ฌด์์ด์๋? ๊ทธ๋ฆผ์ด ๊ฐ์ฅ ๋งค๋ ฅ์ ์ด์๋ค. ๋ด๊ฐ ๊ผฌ๋ง์์ ๋, ๊ทธ๋ฆผ์ ๊ทธ๋ฆฌ๊ธฐ ์์ํ ์ฒซ๋ ๋ถํฐ ๋๋ ๊ทธ๋ฆผ์ด ๊ต์ฅํ ๋งค๋ ฅ์ ์ธ ์ผ์ด๋ผ๋ ๊ฒ์ ์์๋ค. ๋๋ง์ ์ธ๊ณ ์์ ์๋ ๊ฒ ๊ฐ์ ๋๋์ด์๋ค. ์ฌ์ค, ๋๋ ๊ทธ๋ฆผ์ ๊ฒฐ๊ณผ๋ณด๋ค ๊ทธ ๊ณผ์ ์ ํจ์ฌ ๋ ์ข์ํ๋ค. ์กฐ๊ฐ๊ณผ๋ ๋ ๋ค๋ฅด๋ค. ์กฐ๊ฐ์ ํญ์ ๊ฒฐ๊ณผ๋ฌผ์ ๊ณ ๋ํ๊ฒ ํ์ง๋ง, ๊ทธ๋ฆผ์ ๊ทธ๋ฆฌ๋ ๊ณผ์ ์ ๋ ์ฆ๊ธฐ๊ฒ ๋๋ ๊ฒ ๊ฐ๋ค. ๋ค๋ฅธ ๋งค๊ฐ์์๋ ์์ง ๋๋ผ์ง ๋ชปํ ๋งค๋ ฅ์ด๋ค. Q. Lolay๋ผ๋ ๋น์ ์ ์ด๋ฆ์ ๋ฌด์จ ๋ป์ธ๊ฐ? Lolay๋ ๋ด๊ฐ ๋ํ๊ต 1ํ๋ ์ด์๋ 18์ด์ ์ฒ์ ์ฐ๊ธฐ ์์ํ ์ด๋ฆ์ด๋ค. ๋ด๊ฐ ๋ค๋๋ ๋ํ์
๋ฏธ์ ํ๋ถ์์๋ ๋ชจ๋ ํ์๋ค์๊ฒ ์๋ก์ด ์ด๋ฆ์ ์ง๊ฒ ํ๋ ์ ํต์ด ์๋ค. ์๋ก ๋ค๋ฅธ ํ๊ฒฝ์์ ์๋ผ์จ ํ์๋ค ์ฌ์ด์ ์ฐจ์ด๋ฅผ ์ต์ํ์ํค๊ธฐ ์ํ ๊ฒ์ด์์ผ๋ฉฐ, ๋น๋ถ์ ์ ๋๋ ์ ๋ช ํ ์ ๋์ ์๊ด์์ด ๋ชจ๋ ํ์์ ํ๋ฑํ๊ณ ๋ชจ๋๊ฐ ์น๊ตฌ๋ผ๋ ๊ฒ์ ์ฃผ์ง์ํค๊ธฐ ์ํ ๋ฐฉ๋ฒ์ด์๋ค. ํ๊ต์์ ๋์๊ฒ ์ด๋ค ์ด๋ฆ์ด ์ข์ผ๋๊ณ ๋ฌผ์์ ๋, ๋๋ ํ๋๋ฅผ ์ ํํ์ง ๋ชปํ๊ณ , ๊ทธ๋์ ํ๊ต์์ ๋์๊ฒ โLolayโ๋ผ๋ ์ด๋ฆ ์ง์ด ์ฃผ์๋ค. โLolayโ๋ ํ๊ตญ์ด๋ก ๋งค์ฐ ํผ๋์ค๋ฝ๊ฑฐ๋ ์ด๋ค ๊ฒ์ ์ ํํ ์ ์๋ ๊ฒ์ ์๋ฏธํ๋ค.
V64์์ ์ ์ ๋ ์ํฐ์คํธ๋ค์ ๊ฐ๊ฐ ์คํ๋์ค ํฌ๊ธฐ์ ๋ฐ๋ผ ๋ ํธ๋น๋ฅผ ๋ด๋ ๊ตฌ์กฐ๋ก ์ด๋ฃจ์ด์ ธ ์๋ค. ์ฌ์ ์ ๋ถ๋ด์ด ์๋ ์ํฐ์คํธ๋ค์ ๊ฒฝ์ฐ์ ๋ด๋ถ ์ํธ์ค์ฟจ๊ณผ ๋ฎค์ง์ค์ฟจ์์ ๊ฐ๋ฅด์น๊ณค ํ๋ค. ์ํ ํ ์ ์ด ํ๋ฆฌ๋ฉด, ๊ฐ๊ฒฉ์ 10%๊ฐ V64๋ก ๋ฐฐ๋น๋๋ค. ๊ทธ๋ ๋ค๊ณ ํด์ V64๊ฐ ์์ ์ ์ธ ๊ณต๊ฐ์ด๋ผ๋ ๊ฒ์ ์๋๋ค. ์ ๋ถ ์ง์์ผ๋ก ์ค๋ฆฝ๋ Shanghai์ ์ํธ ์ปค๋ฎค๋ํฐ M60์ ์๊ฐ์ ๋ฐ์ ์ธ์์ง๊ธด ํ์ง๋ง, V64๋ ์ฒ์๋ถํฐ ์ ๋ถ ์ง์์ ๊ธฐ๋ํ์ง ์์๊ธฐ ๋๋ฌธ์, ๊ทธ๋ ์ํฐ์คํธ์ ์ํด ์ด์๋๋ ์๋ฆฝํ ์ปค๋ฎค๋ํฐ๋ก ์ฑ์ฅํ๊ณ ์๋ค
Q. ์ด๋ฒ ๋ฐฉ์ฝ ์คํ์ ์๋์ ์ ์ค๋นํ๋ ๊ณผ์ ์์ ํ๊ตญ์ ๋ค๋ฅธ ์์ ๊ฐ๋ค์๊ฒ ํ๊ตญ์ ์ํฐ์คํธ๋ฅผ ์ถ์ฒ ๋ฐ์๋๋ฐ, ๋ง์ ์ฌ๋๋ค์ด ๋น์ ์ ์ธ๊ธํ๋ค. ์ ๋น์ ์ ์ถ์ฒํ๋ค๊ณ ์๊ฐํ๋๊ฐ? ์ ๋ชจ๋ฅด๊ฒ ๋ค. ๊ทธ๋ค์๊ฒ ๋ฌผ์ด๋ด์ผ ํ์ง ์์๊น? ๊ทธ๋ค์ด ๋์ ์ ๋ฐฐ์ด๊ฑฐ๋ ์ ์ ๋๋ ์น๊ตฌ์ผ์ง๋ ๋ชจ๋ฅด๊ฒ ๋ค. ์ด์ฉ๋ฉด ๋์ ์คํ์ผ์ด ํ๊ตญ์ ์ด๋ค ๋ค๋ฅธ ๊ฒ๋ค๊ณผ ์ฐจ๋ณํ๋๋ค๊ณ ์๊ฐํ์ ์๋ ์๋ค. ์ ๋ชจ๋ฅด๊ธฐ ๋๋ฌธ์ ์ด๋ฐ ์ง๋ฌธ์๋ ๋๋ตํ ์๊ฐ ์๋ค. ๋ด๊ฐ ์์ ์ ํ ๋, ๋ด๊ฐ ์ด๊ฒ์ ์ด๋ป๊ฒ ํ๋งคํด์ผ ํ๋ - ๋ผ๋ ๊ฐ ์ด๋ป๊ฒ ์ฌ๋๋ค์ด ์ข์ํ๊ฒ ๋ง๋ค ์ ์์๊น - ์ ๊ฐ์ ์๊ฐ์ ํ์ง ์๋๋ค. ๊ทธ์ ๋ด๊ฐ ์ํ๋ ๊ฒ์ ํ๋ค. ์ด๋ค ์ฌ๋๋ค์ ๋ด๊ฐ ๊ทธ๋ค์ ์ฐ์์ด๋ผ๊ณ ๋งํ๊ธฐ๋ ํ๊ณ , ๋ ์ด๋ค ์ฌ๋๋ค์ ์ด๋ป๊ฒ ์ฑ๊ณตํ๊ฑฐ๋ ์ ๋ช ํด์ง ์ ์๋์ง๋ฅผ ๋ฌป๊ธฐ๋ ํ๋ค. ๋ ๋ด๊ฐ ์ ๋ช ํ๋ค๊ณ ์๊ฐํ์ง ์๋๋ค. ๋ค๋ง 20๋ ๋์ ์ด ์ผ์ ๊พธ์คํ ํด์๊ธฐ ๋๋ฌธ์ ์ฌ๋๋ค์ด ๊ทธ์ ๋๋ฅผ ์๊ณ ์์ ๋ฟ์ด๋ผ๊ณ ์๊ฐํ๋ค.
๋๋ ํฐ์ธ Pokpong์ V64๋ฅผ ์ ์ ์ํฐ์คํธ๋ฅผ ์ํ ๊ณต๊ฐ์ผ๋ก ๋ง๋ค์ด๊ฐ๊ณ ์๋ค. ๋๋ถ๋ถ ์ ์ ์ํฐ์คํธ๋ค์ ๋ฐฉ์ฝ ์ํธ ๋ํ์์ ๋ฐฐ์ถ๋๋ค. ํ๊ตญ์ ์ปจํ ํฌ๋ฌ๋ฆฌ ์ํธ๋ ์ญ์ฌ๊ฐ ๊ธธ์ง ์์์, ์ ์ํ ์ ์๋ ๊ธฐํ๊ฐ ์ ์ ๊ฒ์ด ํ์ค์ด๋ค. โV64๋ ์ ์ ์๊ฐ๋ค์ด ๊ต๋ฅํ๊ณ ์ฝ๋ผ๋ณด๋ ์ด์ ํ๊ธฐ ์ํ ์ฅ์๋ค. ๋ง์ฝ ๊ทธ๋ค์ด ๋ฐ๋ก ์ํธ ์์ฅ์ ์ง์ถํ๋ค๋ฉด ๋ฐ์์ ์คํธ๋ ์ค๋ฅผ ์ฌ๊ธฐ์์ ๋ฐ์ง ์๋๋ค. ๊ทธ๋ค์๊ฒ ๋ฐฐ์ฐ๊ณ ์ ์ํ ์๊ฐ์ ์ค๋ค.โ Pokpong์ ์ค๋ช ํ๋ค. Pokpong์ด ์์ ์์ด์ ํธ๋ ์ํธ๋๋ฌ์ ๊ด๊ณ๋ ์ ์ ์ํฐ์คํธ๋ค์๊ฒ ๋์์ด ๋๋ค. ๊ทธ๋ ๊ฐ์ธ ์ปค๋ฆฌ์ด๋ฅผ ์๋ ๋์ ์ ์์ ์ ๋คํธ์ํฌ๋ฅผ ๊ณต์ ํ๊ณ ์ ์ ์ํฐ์คํธ๋ค์ด ์ํธ ์ฐ์ ์ ํ ๋ฐ์ง ๊ฐ๊น๊ฒ ๋ค๊ฐ๊ฐ ์ ์๊ฒ ํ๋ค. โ์ํธ์ธ๊ณ๊ฐ ์ด๋ป๊ฒ ๋์๊ฐ๋์ง ์๋ ค์ฃผ๋ ๊ฒ์ด ์ค์ํ๋ค. ์ด๋ค ์น๊ตฌ๋ค์ ์ข ๋ ์์ ์ ์ด๊ณ , ์ด๋ค ์ด๋ค์ ๊ทธ๋ ์ง ์๋ค. ํ์ง๋ง ์ด๋ฐ ์ฐจ์ด์ ๋ค์ ์๊ณ ์์ด์ผ ํ๋ค.โ
Q. ์ง๋ ํด์ ์ด๋ ธ๋ ๋น์ ์ ์ ์ํ โBruisedโ์์ ๋ณด์ฌ์ค ๋น์ ์ ์ํ์์ ์ด๋ฏธ์ง๋ฅผ ํตํด ๋ฐ๋ณต์ ์ผ๋ก ๋ํ๋ ๋ ๋ช ์ ์ฌ๋๋ค์ด ์์๋ค. ๊ทธ๋ค์ ์๊ฐํด์ค ์ ์๋? ๋ง์ ์ฌ๋๋ค์ด ๊ทธ๋ค์ด ๋๊ตฐ์ง ๊ถ๊ธํด ํ๋ค. ์ฌ์ค, ๋๋ ๊ทธ์ ๋จ๋ ๋ฅผ ๊ทธ๋ฆฌ๊ณ ์ถ์๋ค. ๊ทธ๋ค์ ๊ทธ์ ๋ชจ๋ธ์ด๋ค. ๊ทธ๋ค์ด ๋๊ตฌ์ธ์ง๋ ์ค์ํ์ง ์๋ค. ๊ทธ ์ ์ํ์ ์ฃผ์ ๋ ์ ์์ด์๊ณ , ์ ์์ ๋จ๋ ์ ๊ตฌ๋ถ ์์ด ์ธ๊ฐ์ด ์ธ๊ฐ์๊ฒ ๋ฌด์ธ๊ฐ๋ฅผ ํ๋ ๊ฒ์ด๋ค.
V64์ ํธ์ํ๊ณ ์น๊ทผํ ๋ถ์๊ธฐ๋ ์ ์ ์ํฐ์คํธ๋ฅผ ์ง์ํ๊ณ ์ ํ๋ ์ปจ์ ์ ๋ฐ์ํ๊ณ ์๋ค. ์ค๋ฆฝ์์ด์ ๋๋ ํฐ์ธ Attasit Pokpong๋ ์ด์ ์ ์ธ ๋ชฉํ๋ฅผ ๊ฐ์ง๊ณ V64๋ฅผ ๋์์์ ๊ฐ์ฅ ์ํฅ ์๋์ํธ์ผํธ๋ก๋ง๋๋๊ฒ์ด๋ชฉํ๋ค.V64๋์ํธ๋ฅผ์ฌ๋ํ๋์ฌ๋๋ค,์ฝ๋ ํฐ,ํ๋ ์ดํฐ์๋์ค๋ค ๋ชจ๋๊ฐ ๋ง๋ ์ ์๋ ๊ณณ์ ๋ชฉํ๋ก ํ๋ค. ์ํธ๋ฅผ ํ๋ ๊ฒ๋ ์ค์ํ์ง๋ง, ๊ถ๊ทน์ ์ผ๋ก ์ปค๋ฎค๋ํฐ๋ฅผ ๋ง๋ค์ด์ ์ํธ ๋ฏธ๋์์ด์ ๊ณผ ์ํธ ์ปจ์คํ ์ ํ ์ ์๋ ๋์์ ์ธ ๊ณต๊ฐ์ด ๋๋ ค ๋ ธ๋ ฅํ๊ณ ์๋ค.
Q. ์์ ์ ์๊ฐ์ ์ด๋์์ ์ป๋? ํ์ธ์ ๊ฒฝํ์ ํตํด ์๊ฐ์ ์ป๋ ๊ฒ์ ์ข์ํ๋ค. ํ์ธ๊ณผ ์์ ์ ์ถ์ ๋น๊ตํด๋ณด์์ ๋, ์ฐ๋ฆฌ๋ ์๋ก์ด ์์ด๋์ด๋ฅผ ๋ฐ๊ฒฌํ ์ ์๋ค. ๋ด๊ฐ ์ฝ์ ๊ฒ, ๋ณธ ๊ฒ, ๋ค์ ๊ฒ๋ค์ ๋์๊ฒ ๋ง์ ์๊ฐ์ ์ค๋ค. ๋๋ ์ญ์ฌ๋ ์ธ๊ณ, ์ ์ ๋ฑ์ ๋ํด์ ์ฝ๋ ๊ฒ์ ์ข์ํ๊ณ ๋ง์ฐฌ๊ฐ์ง๋ก ์์ ๊ฐ๋ ๊ณผํ์ ๋๋ ์์ ๊ฐ๋ค์ ์ถ์ ์ฝ๋ ๊ฒ๋ ์ข์ํ๋ค. ์ด๋ฐ ๊ฒ๋ค์ ์ฐ๋ฆฌ์ธ๊ณ์์ ์ค์ ์ผ์ด๋ ์ผ์ ๋ํ ์ง์ง ์ด์ผ๊ธฐ๋ค. ํ์ธ์ ๊ฒฝํ์ ๋ํ ํฅ๋ฏธ๋ ๋ด ์์ ์ ์ธ์์์ ๊ฒฝํํ ๊ฒ๋ค์ ๊ฒฐ๊ณผ๋ฌผ์ด๋ค. ๋ด๊ฐ ์ด๋ ธ์ ๋, ๋๋ ์์ ๊ณต๋ถ๋ฅผ ์ํด์ ๋ชจ์น๊ณผ ๋จ์ด์ ธ ๋ฐฉ์ฝ๊ณผ ๊ฐ์ ํฐ ๋์์์ ํผ์ ์ด์์ผ ํ๋ค. ๊ฐ์กฑ๋ค๊ณผ ๋จ์ด์ ธ ํผ์ ์ง๋๊ณ , ๋๋ก๋ ์น๊ตฌ๋ ์์๋ค. ์ด๋ ค์ด ์์ ์ด์๋ค. ๋๋ ์ธ๊ณ๋์ ์ ๊ฒฝํํ์ง๋ ๋ชปํ์ง๋ง, ๊ทธ ๋์ ์ ์ํฉ์ ์ ์๊ณผ๋ ๊ฐ์๋ค. ์ ์์ ๋ํด ๋ฐฐ์ฐ๋ฉด์ ์ถ์ ๋ํด์๋ ๋ฐฐ์ฐ๊ฒ ๋์๋ค. ์ฐ๋ฆฌ๊ฐ ์ง์ง ์ ์์ ๊ฒฝํํ๋ ์ง ๊ทธ๋ ์ง ์๋ ์ง ๊ฐ์ ์ฐ๋ฆฌ๋ ์์กดํ๋ ๋ฒ์ ๋ฐฐ์์ผ ํ๋ค. Q. ๋น์ ์๊ฒ ๋ฎค์ฆ๊ฐ ์๋? ๋์ ๋ฎค์ฆ๋ ์์ ์ด๋ค. ๋งค์ผ ๊ทธ๋ฆฌ๊ณ ๊ฑฐ์ ํญ์ ์์ ์ ๋ฃ๋๋ค. ์์ ์ ๋ค์ ๋๋ ๋ด ๋จธ๋ฆฟ์์ ์์ด๋์ด์ ์ด๋ฏธ์ง๋ค์ด ๋์ ๊ฐ์ธ์ ์ธ ๊ฒฝํ๊ณผ ์์ ํ ๊ฒฐํฉํ๊ฒ ๋๋ค. ๋งค์ฐ ์ถ์์ ์ผ๋ก ๋ค๋ฆฌ๊ฒ ์ง๋ง, ์ด๋ฐ ๊ฒ๋ค์ ๋ง์ง๊ฑฐ๋ ๋ณผ ์ ์๊ณ ์ค์ง ๋๋ ์๋ง ์๋ค. ๊ทธ๋ฌ๋ ๋น์ ์ด ์ค์ ๊ทธ๊ฒ์ ๋๋๋ค๋ฉด ๋น์ ์ ์์๋ ฅ์ ๋ฐ๋ก ์์ ์ ์๋๋ ฅ์ด ๋ ๊ฒ์ด๋ค. Q. ๋น์ ์ ๋๋ก์์ ๋ง์ด ํ๋ค, ๊ทธ๋ฆฌ๊ณ ์ง๊ธ ๋น์ ์ ์คํ๋์ค ์์ ๋ง์ ๋๋ก์ ๋ ธํธ ๋ชจ์์ง๋ค์ด ๋ณด์ธ๋ค. ๋น์ ์๊ฒ ์์ด์ ๋๋ก์ ๋ ธํธ๋ชจ์์ ๋ฌด์์ธ๊ฐ? ๋ด ์์ ์์ ๊ฐ์ฅ ์ค์ํ ๋ถ๋ถ์ ๋ด๊ฐ ์ง์ ๊ทธ๋ฆฐ ๋ ธํธ๋ชจ์์ด๋ค. ํ ๋ฌ์ ํ ๊ถ, ๋ง๊ฒ๋ 3~4๊ถ ์ ๋๋ฅผ ์ฌ์ฉํ๋๋ฐ, ์ด๋ ๊ฒ ๋ ธํธ๋ฅผ ์ฌ์ฉํ์ง 10๋ ์ด์์ด ๋์๋ค. ๋ด ์ธ์์ด ๊ฑฐ๊ธฐ์ ๋ค์ด์๋ค. ๋๋ ๋ด ์์ ์ ๋ํด ํญ์ ์๊ฐํ๊ณ ๊ฐ์๊ธฐ ์์ด๋์ด๋ฅผ ์ป์ ๋๋ ์๋ค. ๊ทธ๋์ ๋ด๊ฐ ๋๊ฐ ๋ ๋ง๋ค ๊ทธ๊ฒ์ ๊ธฐ๋กํ ์ ์๋ ๋ฌด์ธ๊ฐ๋ฅผ ํญ์ ๊ฐ์ง๊ณ ๋ค๋๋ค. ๋๋ก ๋ด ๊ธฐ์ต์ ๋ํด์ ๊ทธ๋ฆผ์ ๊ทธ๋ฆด ๋๋ ์๊ณ , ๋ ธ๋๋ฅผ ์ ์ ๋๋ ์๋ค. ๋๋ ์ด๋ค ์ฌ๋ฌผ์ด๋ ์ฌ๋๋ค์๊ฒ ์๊ฐ์ ๋ฐ์์ ๋ ๊ทธ๊ฒ์ ์์ด๋ฒ๋ฆด๊น ๋ด ๊ฑฑ์ ์ด ๋๋ค. ๊ทธ๋์ ๊ทธ ๋ชจ๋ ๊ฒ์ ๋ ธํธ์ ๊ธฐ๋กํ๋ค. ๊ฐ๊ฐ์ ๋ ธํธ๋ ๋ด ์์ด๋์ด๊ฐ ๋ณํํ๋ ๊ฐ์ธ์ ์ธ ๋์ดํฐ๋ผ๊ณ ํ ์ ์๊ฒ ๋ค. ์ด ๋ ธํธ๋ ๋ด ์์ด๋์ด์ ์ต์ข ์ด๋ฏธ์ง๋ ์๋์ง๋ง, ์ ์ฐฝ์๊ณผ์ ์ ์ผ๋ถ๋ถ์ด๋ผ๊ณ ํ ์ ์๋ค. Q. ๋ฏธ๋์ ๊ณํ์ ๋ฌด์์ ๋๊น? ํ๊ตญ์ ํด๋ณ๋์์ธ Hua-hin์ ์๋ก์ด ์คํ๋์ค๋ฅผ ๋ง๋ค์๋ค. ๋ฐฉ์ฝ์ ์๋ ์คํ๋์ค๋ ์ฝ๋๋ผ์ 200cm๋ฅผ ๋๋ ํฐ ๊ทธ๋ฆผ์ ๊ทธ๋ฆด ์๊ฐ ์์๋ค. ์๋ก์ด ์คํ๋์ค๋ ๋ด๊ฐ ์ํ๋ ํฐ ๊ทธ๋ฆผ์ ๊ทธ๋ฆด ์ ์๋ ๋ค๋ฝ ๊ตฌ์กฐ๋ก ๋์ด์๋ค. ์์ผ๋ก ํฐ ๊ทธ๋ฆผ์ ๊ทธ๋ฆฌ๊ณ ์ถ๋ค!
026p
V64 V64๋ Attasit Pokpong์ด ์ค๋ฆฝํ ์๋ก์ด ์ํฐ์คํธ ์ปค๋ฎค๋ํฐ์ด๋ค. ์ฐฝ๊ณ ์๋ ๊ฑด๋ฌผ์ 75๋ช ์ ์ํฐ์คํธ๋ค์ด ๊ฐ์กฐํด์ ํ์ฌ 35๊ฐ ์คํ๋์ค๋ก ์ฌ์ฉํ๊ณ ์๋ค. V64์ ๋๋ ํฐ Pokpong์ด ์ํฐ์คํธ๋ก์ ์ง์ ์์ ๋ง์ ๊ธฐ์ค์ผ๋ก ๊ทธ๋ค์ ์ ๋ณํ ๊ฒ์ด ํน์ง์ด๋ค. โ ์ํฐ์คํธ๋ฅผ ์ ํํ ๋ ์ํธ๋ ๋ช ์ฑ๋ง ๋ณด์ง ์๋๋ค. ์ฑ๊ฒฉ๋ ์ค์ํ๊ธฐ ๋๋ฌธ์ด๋ค. ์ด๋ค ์ด๋ค์ ์ํฐ์คํธ๋ฅผ ์ด๋ฐ ์์ผ๋ก ๊ณ ๋ฅด๋ฉด ๋ฌธ์ ๊ฐ ๋ ๊ฑฐ๋ผ๊ณ ํ์ง๋ง ๋๋ ๋ฏธ๋๋ฅผ ์ํ ํฌ์๋ผ๊ณ ์๊ฐํ๋ค. ๋๋ ๊ฐ๋ฅ์ฑ์ ๋ณธ๋ค.โ ๊ทธ๋ ์์ผ๋ฉฐ ๋งํ๋ค.
โ๋ชจ๋ ์ด๋ค์ด ์ํฐ์คํธ๊ฐ ๋๋ ๊ณผ์ ์ ๋ํด ๋ ์์์ผ๋ฉด ์ข๊ฒ ๋ค. ๋๋ ํ๋ ์ ์ ์ํฐ์คํธ์๊ณ ์ด๋ป๊ฒ ํด์ผ ์ฑ๊ณตํ๋์ง ๋ฐฐ์์ผ ํ๋ค. ์ด์ ๋ ๋ด๊ฐ ๊ฒช์๋ ๊ฒฝ๋ก, ์ง์๊ณผ ์ธ๋งฅ๋ค์ ๋๋๊ณ ์ถ๋ค.โ
028p
The Factory Studio & Art House Q. Factory Studio&ArtHouse๋ฅผ ์๊ฐํ๋ค๋ฉด? Factory๋ ์์ด๋ค, ์ญ๋๋ ์ํธ์ ๊ด์ฌ ์๋ ์ฌ๋์ด๋ผ๋ฉด ๋๊ตฌ๋ ์ํธ&๋์์ธ์ ๊ดํ ์ง์์ ๋ฐฐ์ธ ์ ์๋ ๊ณต๊ฐ์ด๋ค. Factory ์ ๊ฐ์ข๋ ๊ธฐ์ด์์๋ถํฐ ๊ณ ๊ธ ์์ค๊น์ง ์ฐ๋ น๋์ ๋ฐ๋ผ์ ๋ค์ํ๋ค. ์์ด๋ค์ ์ํ ๊ฐ์ข๋ ์์ ์ ์๊ฐ, ๊ธฐ์ ๊ณผ ๊ธ์ ์ ์ธ ๋น์ ์ ์๋ ๋ฐ ์ง์คํ๊ณ ์๋ค. ํ์๋ค์ ๊ฒฝ์ฐ ์ผ๋ฐ์ ์ผ๋ก ์ ์๋ฅผ ์ค๋นํ๋ ๊ฐ์ข๊ฐ ์๋ค. ๋ํ์๋ค์ ์ํ ๊ฐ์ข๋ ์ข ๋ ์ธ๋ถํ๋ ๋ ๋ฒจ๋ก์์ ์ ๊ธฐ์ ์ด๋์ดํด๋ฅผ๋๊ณ ์ํ๋ค.
์ผ๋ฐ์ธ์ ์ํด์ ์ผ์ ์ํ์์ ์ทจ๋ฏธ๋ก ์ฆ๊ฒ๊ฒ ์์ ์ ์ ํ ์ ์๋ ๊ฐ์ข๊ฐ ์๋ค. ๋ชจ๋ ๊ฐ์๋ ํจ์ ๋ถ์ผ๋ ๊ณ ๋ฑํ๊ต์ ๋ํ์์ ์์ ๋ถ์ผ๋ฅผ ์ ๊ณต์ผ๋ก ํ๋ ๋ถ๋ค์ด ๊ฐ๋ฅด์น๊ณ ์๋ค. Factory๋ ํ์๋ค์๊ฒ ๊ต์ฅํ ์ค์ํ ์ํธ ์คํ๋์ค์ด๊ธฐ๋ ํ๋ค. ํ์๋ค์ ๋ค์ํ ๋ฏธ์ ๋๊ตฌ๋ฅผ ๋ฐฐ์ฐ๊ธฐ๋ ํ๊ณ , ์ผ๋จ ์คํ๋์ค ํ๊ฒฝ์ด ์ฐฝ์กฐ์ ์ด๋ฉด ๊ทธ๋ค์ ๋น์ ผ๊ณผ ํฌ๋ฆฌ์์ดํฐ๋นํฐ๋ฅผ ์๊ทนํ๋ค. Q. ์คํ๋์ค๋ ์ธ์ ๋ง๋ค์๋๊ฐ? Factory Studio&ArtHouse๋ ์คํ ํ ์ง ์ผ๋ ์ด ์กฐ๊ธ ๋์ด๊ฐ๋ค. Q. Factory Studio&ArtHouse ๋ 4๋ช ์ ์ํฐ์คํธ๋ค์ ํ์ ์ด๋ผ๊ณ ์๊ณ ์๋ค. ๋ฉค๋ฒ๋ค์ ๊ฐ๋จํ ์๊ฐํ๋ค๋ฉด? Jeep๋ 6๊ฐ ์ง์ ์ ์ ๋ฐ๊ฐ๊ฒ๋ฅผ ๊ฐ์ง๊ณ ์๋ ์์ฆ๋์์ด๋์ด์, ์ผ๋ฌ์คํธ๋ ์ดํฐ๋ค. ๊ทธ๋ ๋ ๋ฉ์ด์ ธ ๋ธ๋๋์ ๋งค์ฅ ๋์คํ๋ ์ด๋ ๊ทธ๋ํฝ ๋์์ธ์ผ๋ก๋ ๋ฐฉ์ฝ ๋ด์์ ๋งค์ฐ ์ ๋ช ํ๋ค. Keng ์ ๊ฐ์ธ ์์ ์ ํ๋ฉฐ ์ ์ํ๋ฅผ ํตํด ์ํ์ ํ๋งคํ๋ ์ ์ ์ํฐ์คํธ๋ค. 4๋ ๊ฐ ํ์๋ค์ ๊ฐ๋ฅด์น ๊ฒฝํ์ด ์๋ ์ ์๋์ด๊ธฐ๋ ํ๋ค. Name์ ๊ฐ๋ ์์ ์ด๋ฒคํธ๋ฅผ ๊ธฐํํ๋ ํฌ๋ฆฌ์์ดํฐ๋ธ ์ํฐ์คํธ๋ค. ๋์์ ์ปต๊ฒ์ดํฌ ์์ ๋ํ์ด๊ธฐ๋ ํ๋ค. ๊ทธ๋ฆฌ๊ณ Thug ๋ ์ผ๋ณธ์์ ์ง๋ด๋ฉฐ ์์ ์ ํด์๋ ์ํฐ์คํธ๋ค. Q. ์ด๋ป๊ฒ ์๋ก ์๊ฒ ๋์๋๊ฐ? Factory Studio&ArtHouse๋ฅผ ์์ํ๊ฒ ๋ ์ด์ ๋? ์ฐ๋ฆฌ ๋ชจ๋ ์ด๋ฆฐ ์์ ์น๊ตฌ๋ค์ด๋ค. ๋ท ๋ชจ๋์ ๋น์ ผ์ ๋๋ ์ ์๊ณ ์๋ก์ด ์ธ๋์๊ฒ ์์ ์ ๊ฐ๋ฅด์น ์ ์๋ ๊ณต๊ฐ์ ๋ง๋ค๋ ค๊ณ ํ๋ค. ๋์์ ๋ค์ํ ๋ถ์ผ์ ์์ ์ ์ง์ํ๊ณ ์ถ์๋ค. ์ฐ๋ฆฌ๋ ์ค๋์ํ์ Factory ๊ฐ์ ์คํ๋์ค๋ฅผ ๋ง๋ค๊ณ ์ถ์๋ค. Q. ์์ ๊ต์ก์ ์ค์์ ์ฌ๊ธฐ๋ ๊ฒ ๊ฐ๋ค. ์ฌ๋๋ค์ด ํ๋ ๋ชจ๋ ๊ฒ์ ์ํธ์ ํฌ๋ฆฌ์์ดํฐ๋นํฐ์ ๊ดํ ๊ฒ์ด๊ธฐ ๋๋ฌธ์ด๋ค. ๋ ผ๋ฆฌ์ ์ฌ๊ณ ๋ ๋ณํ์ง ์๋๋ค๊ณ ์ฌ๊ธฐ์ง๋ ๋ฐ๋ฉด, ํฌ๋ฆฌ์์ดํฐ๋นํฐ์ ์์๋ ฅ์ ๋ณํ๋ฅผ ํฌ์ฐฉํ๋ ๊ฒ์ด๋ค. Q. ๋ค๋ฅธ ์ํธ ๊ต์ก ๊ธฐ๊ด๊ณผ ์ด๊ณณ์ ๊ฐ์ฅ ํฐ ์ฐจ์ด์ ์ ๋ฌด์์ธ๊ฐ? ์คํ๋์ค์ ์ํธ ํ์ฐ์ค๊ฐ ๊ฒฐํฉ๋ ๊ณต๊ฐ์ด ํ๊ตญ์ ์์๋ค. ์ด๊ณณ์์ ํ์๋ค์ ์ํฐ์คํธ์๊ฒ ์ง์ ๋ฐฐ์ธ ์ ์๊ณ ์ํธ์ ๊ฒฝํ์ ๊ณต์ ํ ์ ์๋ค. Q. ์์ผ๋ก ๋์ค์๊ฒ ์ด๋ป๊ฒ Factory Studio&ArtHouse๋ฅผ ์๋ฆฌ๊ณ ์ถ์๊ฐ? ์์ผ๋ก๋ ์ง๊ธ๋ง ๊ฐ๊ธฐ๋ฅผ ๋ฐ๋๋ค.
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Pariwat Q. ํฌํ ์ฝ๋ผ์ฃผ์ ํฅ๋ฏธ๋ฅผ ๊ฐ๊ฒ ๋ ๊ณ๊ธฐ๋ ๋ฌด์์ธ๊ฐ? ๊ทธ๋ฆฌ๊ณ ์ด๋ป๊ฒ ๊ทธ๊ฒ์ ๋น์ ์ํ์ ์ฃผ์ ๋งค์ฒด๋ก ์ฌ์ฉํ๊ฒ ๋์๋? ์ฌ์ง ์ฝ๋ผ์ฃผ๋ 7๋ ์ โTraffic Gridโ๋ผ๋ ์ฑ ์ ์์ ํ ๋ ์ฒ์ ์์ํ๋ค. ๊ทธ ๋ ์ ๋ ๊ทธ ์ฑ ์ ๋ด์ฉ, ๋์์ธ, ์ฌ์ง, ์ผ๋ฌ์คํธ ๋ฑ ๋ชจ๋ ๊ฒ์์ฑ ์์ง๊ณ ์์๋ค.๊ทธ๋ฆฌ๊ณ ์ฌ์ง์ฝ๋ผ์ฃผ๊ฐ ์๋ฒฝํ ๋๊ตฌ๋ผ๋ ์ฌ์ค์ ๋ฐ๊ฒฌํ๋ค. ๊ทธ๊ฒ์ ๋ด๊ฐ ๊ณ ๋ฏผํ๋ ๋ชจ๋ ๋ฌธ์ ๋ฅผ ํด๊ฒฐํด ์ฃผ์๋ค. ๋ํ ์ด ๋งค๊ฐ๋ฅผ ํตํด ์ ๊ฒ ์์ด๋์ด๋ฅผ ์คํ์ํฌ ์ ์๋ ๊ธฐ์ ๊ณผ ์ ๋ฌธ์ฑ์ด ์๋ค๋ ๊ฒ์ ๊นจ๋ซ๊ฒ ํด์ฃผ์๋ค.
Q. ํฌํ ์ฝ๋ผ์ฃผ์ ๋งค๋ ฅ์ ๋ฌด์์ด๋ผ๊ณ ์๊ฐํ๋๊ฐ? ์์ํ ์ฌ์ง์ ๋จ์ง ํ์ค๋ง์ ํฌ์ฐฉํ๋ค. ๊ทธ๋ฌ๋ ์์ ์ฌ์ง๊ณผ ์ฌ์ง ๊ผด๋ผ์ฅฌ๋ฅผ ํจ๊ป ์ฌ์ฉํ๋ค๋ฉด ํ์ค์ ๊ธฐ๋ฐ์ ๋ ๋งค๋ ฅ์ ์ธ ์์์ ์ธ๊ณ๋ฅผ ์ฐฝ์กฐํ ์ ์๋ค. Q. ๋ฐฉ์ฝ์ ์ฌ์ง์ ์ง์ ์ฐ๋๊ฐ? ๊ทธ๋ ๋ค. ์ฌํํ๋ฉด์ ๋ด ๋๊ธธ์ ๋๋ ๊ฒ์ด ์์ผ๋ฉด ์ฃผ์ ์์ด ์ ํฐ๋ฅผ ๋๋ฅธ๋ค. ๋น, ์๊ฐ, ์๋ฆฌ, ๊ตฌ์ฑ์ ์๊ด ์์ด ๋ง์ด๋ค. Q. ์ฃผ๋ก ๋ฐฉ์ฝ์ ์ด๋์์ ์ฌ์ง์ ์ฐ๋? ํน์ ์ฅ์๊ฐ ์๋๊ฐ? ๋ฐฉ์ฝ์ ์ฌ์ง์ ์ฐ์ ๋ ํน์ ํ ์ฅ์๋ฅผ ์ผ๋์ ๋์ง๋ ์๋๋ค. ์ฌ์ค, ๋ด๊ฐ ์ฐ๋ ์ฌ์ง์ด ๊ผญ ๋ฐฉ์ฝ ๋ฐฐ๊ฒฝ์ผ ํ์๋ ์๋ค. ๋ด ํฅ๋ฏธ๋ฅผ ๋๋ ๊ฒ์ด๋ฉด ์ด๋ค ์ฌ์ง์ด์ด๋ผ๋ ๊ด์ฐฎ๋ค. ํ์ง๋ง, ๋ฐฉ์ฝ์์ ๊ฐ์ฅ ์ข์ํ๋ ์ฅ์๋ฅผ ๊ตณ์ด ๊ผฝ์ผ๋ผ๋ฉด, ๋๋ ์ฐจ์ด๋ํ์ด์ ์ ํํ๊ฒ ๋ค. Q. ํฌํ ์ฝ๋ผ์ฃผ๋ฅผ ํตํด ๋ฐฉ์ฝ์ ๋ํ ์ด๋ค ๊ฒ์ ๋ณด์ฌ์ฃผ๋ ค๊ณ ํ๋ ๊ฒ์ธ๊ฐ? ํฌํ ์ฝ๋ผ์ฃผ์ ์๋ฆ๋ค์์ ์ค์ค๋ก ๋ง์๋๋ก ์ฌ๊ธฐ์ ๊ธฐ์ ์ฌ๋ฌ ๊ฐ์ง ๊ฒ๋ค์ ์์ ์ ์์ด ์ดํ์ค์ ์ธ ํจ๊ณผ๋ฅผ ๋ผ ์ ์๋ค๋ ๊ฒ์ด๋ค. ํฐ ๋น๋ฉ์ด ์์ ์กฐ๊ฐ์ด ๋๊ธฐ๋ ํ๊ณ , ๋๋ก๊ฐ ๊ฑฐ๋ํ ๋ฐฐ๊ฒฝ์ด ๋ ์๋ ์๋ค. ๋๋ก ์์ ์ฌ๋์ ํ๋ คํ ๋น๋ฉ ๊ผญ๋๊ธฐ์ ๋ฐฐ์นํ ์๋ ์๋ค. ์ด๋ฌํ ํ์๋ ๋ฌด์ฒ์ด๋ ์ฌ๋ฏธ์๋ค. ๋จ์ง ์ด๋ฐ ๋จ์ํ ๋๊ตฌ๋ฅผ ์ฌ์ฉํจ์ผ๋ก์จ ๋๋ ๋์๋ฅผ ๋ณด๋ ์๋ก์ด ์๊ฐ์ ์ฝ๊ฒ ๋ง๋ค์ด๋ผ ์ ์์ผ๋ฉฐ ๊ทธ๊ฒ์ ๋ณด์ฌ์ฃผ๊ณ ์๋ค. Q. ๊ฐ์ธ์ ์ผ๋ก ๋๋ผ๋ ๋ฐฉ์ฝ์ ์ด๋ค ๊ณณ์ธ๊ฐ? ๋๋ ๋ฐฉ์ฝ ๋ด์์ ํ๋ฒํ๊ฒ ์ด์๊ฐ ์ ์๋ ์ถ์ ๋งค๋ ฅ์ ๊ฐ์ฌํ๊ณ ์๋ค. ์๋ง ์ฌ๋๋ค์ ์ด๋ฐ ๋์์ ์ธก๋ฉด์ ๊ฐ๊ณผํ๊ณ ์์ง ์์๊น ์ถ๋ค. ๋ฐฉ์ฝ์ ํ๋ฒํ ์ถ์ ์์ ์ ๊ฐ์น๋ฅผ ํ๋จํ๋ ์ผ์ ์์ค์ ๋ง์กฑ์ํค์ง ๋ชปํ๋ค๊ณ ์๊ฐํ๊ธฐ ๋๋ฌธ์ผ ๊ฒ๋ค. ๋์๊ฒ ํ๋ฒํ ์ถ์ ์ด๋๋ค๋ ๊ฒ์ ์ค๋๋ ๋ฐฉ์ฝ์ ์กด์ฌํ๋ ํผ๋์ค๋ฝ๊ณ ๋ณต์กํ ์ฌํ ์ํฉ ์์์๋ ์์กดํ ์ ์๋ ์ถ์ ๋ฐฉ๋ฒ์ ๋์์ธ ํ๋ค๋ ๊ฒ์ ์๋ฏธํ๋ค. ๋น๋ก ์ด๊ฒ์ด ๋จ์ง ํ๋ฒํ ์ถ์ ์ธก๋ฉด์ ๋ณด์ฌ์ค๋ค๊ณ ํ ์ง๋ผ๋, ๋๋ ์ด๊ฒ์ ์์ ์ด๋ผ๊ณ ์๊ฐํ๋ค.โํ๋ฒํ์ถโ์์ฐ๋ค๋์์ ์๊ทธ๊ฒ์์ฒด๋ก๋ ํนํ๋ค.์์ ์ํ๋ค์์ ์ํ๋ ๊ฒ์ ๋ ์ด์ ๊ฐค๋ฌ๋ฆฌ๋ ๋ฐ๋ฌผ๊ด์ ๋ ์ ์ ์์ญ์ด ์๋๋ค. ๊ทธ๊ฒ์ ์ฐ๋ฆฌ ๋ชจ๋๊ฐ ๋๋๋๋ ๊ฑฐ๋ฆฌ์ ์ผ๋ถ๋ถ์ผ ์ ์๋ค. Q. ์ฝ๋ผ์ฃผ๋ฅผ ์ด์ฉํ ๋ค๋ฅธ ์ํ ์๋ฆฌ์ฆ๋ ์๋๊ฐ? ์ฌ์ค ์ฌ์ง์ ์ด์ฉํ์ง ์์ ๋ ๊ฐ์ ์ฝ๋ผ์ฃผ ์ํ์ด ์๋ค. ์ฒซ ๋ฒ์งธ ์ํ์ ์ ์ ๋๊ตฌ, ๊ธฐ๊ณ, ๋ค๋ฅธ ๋๊ตฌ๋ค์ ์ฌ์ฉ์ค๋ช ์๋ฅผ ์ฝ๋ผ์ฃผ์ ํผํฉ๋ ๋ฏธ๋์ด์ ์ด์ฉํ ํ ์์ ํ ์๋ก์ด ๋ถ์ํ์ผ๋ก ๋ณํํ ๊ฒ์ด๋ค. ๋ค๋ฅธ ์ํ์ ์ด์ ์๋์ ์ค๋๋ ํฌ์คํฐ๋ฅผ ์ด์ฉํ ์ฝ๋ผ์ฃผ๋ก ํ๋์ ๊ฐ๊ฐ๊ณผ ๋์๋์ ์๋ก์ด ๋ฉ์์ง๋ฅผ ๋ํ๋ด๋ ค๊ณ ํ๋ค. Q. ๋ค์ ์ํ์ ์ด๋ค ๊ฒ์ ๊ณํํ๊ณ ์๋๊ฐ? ์์ง์ ํน๋ณํ ์ ํด์ง ๊ฒ์ด ์๋ค. ์ง๊ธ์ ๊ณ ๊ฐ๊ตฌ์ ํน์ดํ ์ฌ๋ฃ์ ํฅ๋ฏธ๊ฐ ์๋ค. ๋ฌด์ธ๊ฐ ๋ ์นด๋กญ๊ณ ํํคํ ๊ฒ๋ค์ ์ด๋ฐ ์ฌ๋ฃ์ ๋ํด ์ด๋ค ๊ฒฐ๊ณผ๊ฐ ๋์ค๋์ง ๋ณด๊ณ ์ถ๋ค.
Q. ์ด๋ป๊ฒ ์์ํ๊ฒ ๋์๋? ์์งํ ๋งํ๋ฉด ๊ทธ๋ฆฌ ๊ธด ์ด์ผ๊ธฐ๋ ์๋๋ค. ํ ์ธ๊ตญ์ธ ํฌํ ๊ทธ๋ํผ๊ฐ ์์ ์ ์คํธ๋ฆฌํธ ์คํ์ผ ์น์ฌํธ์ดํธ์ ๋ฃ๊ณ ์ถ๋ค๊ณ ์ฌ์ง์ ์ฐ๊ณ ์ถ๋ค๊ณ ํ๋ค. ๊ทธ๋ฆฌ๊ณค ๊ทธ์ ์น์ฌ์ดํธ๋ฅผ ๋ฐฉ๋ฌธํ๋๋ฐ, โ ์ง๊ธ๊น์ง ํ๊ตญ์ ์ ์ด๋ฐ ๊ฒ๋ค์ด ์์์ง? ํ๊ตญ์ธ๋ค๋ ์์ ๋ง์ ์คํ์ผ์ด ์๋๋ฐโ๋ผ๊ณ ๊ณ ๋ฏผํ๋ค. ๊ทธ๋ฆฌ๊ณค ์คํ๋จ๊ณ์ธ ๋งค๊ฑฐ์ง ํํ๋ฅผ ์ฒ์ ๋ง๋ค๊ธฐ ์์ํ๊ณ , ํฌ์์๊ฐ ๋ํ๋ฌ๋ค. ๊ทธ ๋น์ ํ๊ตญ์๋ ์ด๋ฐ ์คํ์ผ์ ๋งค๊ฑฐ์ง์ด ์ ํ ์์๋ค. ์ฒ์์ ์ํธ ๋๋ ํฐ, ํฌํ ์๋ํฐ, ํจ์ ์๋ํฐ, ๋, ๊ทธ๋ฆฌ๊ณ ์ด์์คํดํธ ์ด๋ ๊ฒ 5๋ช ํ์ด์๋ค. ์ต๋ํ ๊ฐ๋จํ๊ฒ ์์ํ๊ณ ์ถํํ๊ธฐ ์ ์ ๋งค๊ฑฐ์ง ์คํ์ผ์ ์ก์ผ๋ ค๊ณ 6๊ฐ์์ ๋ณด๋๋ค. ๊ฐ๋ฅํ ๋ฆฌ์คํฌ๋ฅผ ์ต์ํ ํ๊ธฐ ์ํด์ ์ฐ๋ฆฌ๋ ์ด๊ฒ์ ๊ฒ ๋ชจ๋ ๊ฒ์ ๊ณ ๋ คํด์ผ ํ๋ค. Q. ๋น์ ์ ์ถํ๊ณผ ํธ์ง์ ๋์์ ๋ชจ๋ ์ด๊ดํ๊ณ ์๋ค. ๋ ์ญํ ์ ์ด๋ป๊ฒ ๋ค๋ฅธ๊ฐ? ์์๋จ๊ณ๋ถํฐ ์ปจ์ ์ ๋ถ๋ช ํ ์ก์๊ณ ํ ์กฐํฉ ๋๋ถ์ ํธ์ง์ฅ ์ผ์ ๊ทธ๋ฆฌ ๋ณต์กํ์ง ์์๋ค. ํ ๋ชจ๋๊ฐ ๊ฐ์ ๋น์ ผ๊ณผ ์ง์ ์์์ ๊ณต์ ํ๋ค. ๊ทธ๋ ๊ธฐ ๋๋ฌธ์, ์ถํ์ฌ ๊ณํ์ด๋ ๊ด๋ฆฌ ๋ฑ ๋ค๋ฅธ ์ผ ํ ์๊ฐ์ด ์๊ฒผ๋ค. ๋๋ ์ฐ๋ฆฌ๊ฐ ๋งค๊ฑฐ์ง ํํ๋ฟ๋ง ์๋๋ผ ์ผ์ข ์ ์กฐ์ง์ผ๋ก ๋ง๋ค๊ณ ์ถ์๋ค. ์ถํ์ฌ๋ ํ๋ณด์ ๊ด๋ จํด์ ํ์คํ ๊ฒฝ์ ์ ๋ต์ ๊ฐ์ง๊ณ ์์ด์ผ ํ๋ค. ํ์ฌ Cheeze, Looker, Shopping Guide, ํฌ์ผ ๋ถ๊ณผ ์์ผ๋ก ์งํํ ์ฑ ๋ช ๊ถ์ ๋ฐํํ๊ณ ์๋ค. ์ถํ๊ณผ ํธ์ง์ ๊ด๋ จ๋ ์ผ์ ์ ํ ๋๋ ์ผํ, ์ฌํ, ํฅ ์ข์ ์ปคํผ๋ฅผ ์ฐพ์ผ๋ฉฐ ์ง๋ด๊ธฐ๋ ํ๋ค. Q. Cheeze๋งค๊ฑฐ์ง์ ํ๊ตญ ์คํธ๋ฆฌํธ๋งค๊ฑฐ์ง ์ค ๋ํ์ ์ด๋ค. ๋ค๋ฅธ ์คํธ๋ฆฌํธ ๋งค๊ฑฐ์ง์ ๋นํด์ Cheeze๋งค๊ฑฐ์ง์ ์ปจํ ์ธ ๋ ํ์์ ์ฌ์ฑ์ ์ด๋ค. ์ฒ์ ์์ํ ๋, ์๋ํด๋ ๋ฐ์๋? ํ๊ตญ์์ ํจ์ ์ ์ฌ์ฑ์๊ฒ์ ์์ํ๋ค. ํ๊ตญ ์ด๋ ๊ฐ๋ ์๋ง์ ์ฌ์ฑ๋ค์ด ๊ท์ฝ๊ณ ์์๊ฒ ์ฐจ๋ ค ์ ์ ๊ฒ์ ๋ณผ ์ ์๋ค. ๊ทธ๋ค์ ๊พธ๋ฏธ๋ ๊ฒ์ ์ข์ํ๊ณ , ์ฌ๋๋ค์ ์ด๋ฐ ์ฌ์ฑ๋ค์ ๋ณด๋ ๊ฒ์ ์ข์ํ๋ค. ์ต๊ทผ ๋ช ๋ ์ฌ์ด์ ๋จ์ฑ๋ค ์ญ์ ํจ์ ์ ์ ๊ฒฝ ์ฐ๊ธฐ ์์ํ๋ค. ๊ทธ๋ค์ด ์ด๋ค ๋ฃฉ์ ์ ๋์ง ๋ณด์ฌ์ฃผ๊ณ ์ถ์๊ณ ๊ทธ๋์ ๋จ์ฑ์ ์ํ Looker ๋งค๊ฑฐ์ง์ ์์ํ๊ฒ ๋์๋ค. Q. ํ๊ตญ์ ๋ค๋ฅธ ๋ฌธํ๋ ์คํ์ผ ๋งค๊ฑฐ์ง์ ๋ํด์ ์ด์ผ๊ธฐํด๋ฌ๋ผ. Koo-Sang Koo-Som. ํ๊ตญ ์ฌํ๊ตฌ์กฐ์ ๋ํด์ ์ ์ดํดํ๊ณ ์๋ ๋งค๊ฑฐ์ง์ด๋ค. ํ๊ตญ ์ด๋ ๊ฐ์ ์ง์ ๋ฐฉ๋ฌธํด๋ ์ฐพ์ ์ ์๋ค. ๋ชจ๋๊ฐ ์ฝ๊ธฐ ๋๋ฌธ์ด๋ค. ๋ด ๋ถ๋ชจ๋ ์ญ์ ๋ด๊ฐ ๋ง๋ ๋งค๊ฑฐ์ง๋ณด๋ค ๋ ์์ฃผ ์ฝ๋๋ค. Q. Cheeze๋งค๊ฑฐ์ง์ ํ์ง์์ ์์ํด์ ๊ตญ์ ์ ์ธ ์ฃผ๋ชฉ์ ๋ฐ๊ณ ์๋ค. Cheeze ๋งค๊ฑฐ์ง์ ์ฑ๊ณต ๋น๊ฒฐ์ด ์๋ค๋ฉด? ํ์ด๋ฐ์ธ ๊ฒ ๊ฐ๋ค. ์๊ธฐ๊ฐ ์ ๋ง์๋ค. ์ถํ์ฌ์ ๋ ์๋ค์ด ๊ฐ์ ๊ฒ์ ์๊ฐํ๊ณ ์์๋ค. ์์์ ๊ณต๊ธ์ด ์ฌํ๋ฅผ ์์ง์ด๋ ํ์ด๋ผ๊ณ ํ์ง ์๋๊ฐ. Q. Cheeze, Looker๋งค๊ฑฐ์ง์์ ์ด๋ค ๋ธ๋๋๋ฅผ ํ๋ณด๊ธฐ์ฌ๋ก ์ผ๋๊ฐ? ์ฃผ ํ๊ฒ์ ์ฐ๋ฆฌ ๋งค๊ฑฐ์ง์ ๋ฐฉํฅ์ ์ดํดํ๋ ๋์ ์คํธ๋ฆฌํธ ํจ์ ์ ์ํ ๋ธ๋๋์ด๋ค. ๋ธ๋๋ ํด๋ผ์ด์ธํธ์๊ฒ ์ฐ๋ฆฌ ๋งค๊ฑฐ์ง์ ๋ ์์ ์ํตํ ์ ์๊ณ ๊ทธ๋ค์ ๋ธ๋๋์ ์ด๋ฏธ์ง๋ฅผ ํ์คํ ๋ณด์ฌ์ค ์ ์์ด์ผ ํ๋ค. ๊ทธ๋ ์ง๋ง ๋งค๊ฑฐ์ง ๋ฐํ์ ์๊ธ๋ ํ์ํ๊ธฐ ๋๋ฌธ์ ๋ค๋ฅธ ์๋น์ ๊ด๊ณ ๋ ๋งก๋๋ค. ์ด์ฉ ๋๋ ์ฌ์ ์ ์ฐ์ ์์์ ๋ฌ์ผ ํ๋ค. Cheeze๋งค๊ฑฐ์ง์์๋ ์ฃผ๋ก ์ ๋์น์ค ์ ํ์ ํ๋ณดํ๊ณ Looker๋งค๊ฑฐ์ง์ ๋จ์ฑ ํ๊ฒ์ด๋ค. ์ด ์ ์ ๋ํด์๋ ํด๋ผ์ด์ธํธ๋ ํ์คํ ์ ์๊ณ ์๋ค. ํ๊ตญ์์ ํด๋ผ์ด์ธํธ ๋ธ๋๋๋ฅผ ํ๋ณดํ๋ ๊ฒ์ ์ฌ๋ฏธ์๋ค. Q. ๋น์ ์ โEDITORโS TALKโ ํ์ด์ง๋ก ์ ๋ช ํ๋ค. ์ด ํ ์ฅ์ ํ์ด์ง์์ ๋ฌด์์ ๋งํ๊ณ ์ถ์๊ฐ? ๋ถ๊ต ๊ตํ์ ๋์ค๋ ๊ฐ๋ฅด์นจ์ผ๋ก, ๋ ์๋ค์๊ฒ ์ถ์ ๊ฐ๋จํจ(the simple way of life)์ ์๋ฆฌ๊ณ ์ถ๋ค. ์์ฃผ ์ง์งํ๊ฒ ์ฐ๋ ค๊ณ ํ์ง๋ ์๋๋ค. ์ํฐํด์ ์ฆ๊ฒ๊ณ ์ฌ๋ฏธ์์ด์ผ ํ๋ค. Q. Cheeze๋งค๊ฑฐ์ง์ ํจ์ ๋งค๊ฑฐ์ง์ด์ง๋ง, ์ํฐ์คํธ์ ์ฝ๋ผ๋ณด๋ ์ด์ ์์ ์ ๋ง์ด ํ๋ค. ์ด๋ฐ ํ๋ก์ ํธ๋ฅผ ํ ๋ ์ด๋ป๊ฒ ์ํฐ์คํธ๋ฅผ ์ ์ ํ๋๊ฐ? ์ฐ๋ฆฌ์ ์ฝ๋ผ๋ณด๋ ์ด์ ํ๋ ์ํฐ์คํธ๋ค์ ํน๋ณํ๋ค. ๊ทธ๋ค์ ์์ ๋ง์ ์คํ์ผ์ด ์๊ณ ์ฐ๋ฆฌ ํ์๊ฒ ์๊ฐ์ ์ค๋ค. ๋ฌผ๋ก ์ ์ผ ํฐ ์ด์ ๋ ์ฐ๋ฆฌ๊ฐ ๊ทธ๋ค์ ์ข์ํ๊ธฐ ๋๋ฌธ์ด๋ค. ์ผ๋ฌ์คํธ๋ ์ด์ , ํฌํ ๊ทธ๋ํผ, ์คํ์ผ๋ง ๋ฑ ๋ค์ํ ์ฝ๋ผ๋ณด๋ ์ด์ ์ ํด์๋ค. ์ด ๋ชจ๋ ๊ฒ์ ๋ ํผ์ ํ๋ ๊ฒ๋ณด๋ค ๋ชจ๋ ํจ๊ป ๊ณต์ ํ๋ฉฐ ์์ ํ๊ณ ์ถ๋ค. Q. Cheeze๋งค๊ฑฐ์ง์ด ์ข์ํ๋ ์ํฐ์คํธ๊ฐ ์๋ค๋ฉด? Factory Studio & Art House์์ ์์ ํ๋ Jeep์ ์ข์ํ๋ค. ๊ทธ๋ ๋ ์๊ธฐ๋ง์ ์ฒ ํ์ด ์๊ณ ์ฌ๋ฅ์ด ์๋ค. Q. ๋ค๋ฅธ ๋๋ผ์ ๋์์ ๋น๊ตํด์, ๋ฐฉ์ฝ ์คํธ๋ฆฌํธ ํจ์ ์ ํน๋ณํ ์ ์ด ์๋๊ฐ? ๋ฐฉ์ฝ ์คํธ๋ฆฌํธ ์คํ์ผ์ ๋ง์ ๊ณณ์์ ์ํฅ์ ๋ฐ์๋ค. ๊ทธ๋ ์ง๋ง ํ๊ตญ ๋์ด ๋ ์จ์ ๋ง์ถฐ ์ ๊ฒ ๋๋ฉด, โ๋ฐฉ์ฝ ์คํธ๋ฆฌํธ ์คํ์ผโ์ด ๋๋ ๊ฒ์ด๋ค. ํจ์ ํธ๋ ๋๊ฐ ๋ค์ํ๊ณ ๋ ๋ณํ๋ค. ๋ ๋ค๋ฅธ ์ ์ ํจ์ ์ฐ์ ์ด ๋ฐ๋ฌํ๋๋ฐ ์์ด์ ์ค์ํ ์ญํ ์ ํ๋ ์๋ฆ๋ค์ด ์ฌ๋๋ค์ด ๋ง๋ค.
030p
Jiradt Pornpanitphan Q. ๋น์ ์ ์๊ฐํด๋ฌ๋ผ. ๋ด ์ด๋ฆ์ Jiradt Pornpanitphan์ด๊ณ , Cheeze, Looker ๋งค๊ฑฐ์ง์ ํธ์ง์ฅ์ ๋ด๋นํ๊ณ ์๋ค. ๋ด๊ฐ ์ข์ํ๋ ๊ฒ์ ์ง์ ์ผ์ ํ๊ฒ ๋ ๊ฝค ์ด์ด ์ข์ ์ฌ๋์ด๋ค. Q. Cheeze๋งค๊ฑฐ์ง ์ปจ์ ์ด ์๋ค๋ฉด? ์ปจ์ ์ ์ ์ธ๊ณ ๋ค๋ฅธ ์คํธ๋ฆฌํธ ๋งค๊ฑฐ์ง์ฒ๋ผ ์คํธ๋ฆฌํธ์ด๋ค. ์ฐ๋ฆฌ๋ ์ฌํ ์ ๋ฐ์ ๊ฑธ์ณ ํจ์ ๋ฌธํ๋ฅผ ๋จ๊ธฐ๊ณ ์ถ๊ณ ํจ์ ์ ์ฌ๋ํ๋ ์ด๋ค์๊ฒ ์๊ฐ์ ์ฃผ๊ณ ์ถ๋ค. ๋, ํ๊ตญ ๋ ์๋ค์ ์ํด์ ํ๊ตญ ํจ์ ์ ๋ด๊ณ ์๋๋ฐ ์ด ์ญ์ ์ธ๊ตญ์ธ๋ค์๊ฒ ํ๊ตญ ์คํ์ผ์ด ์ด๋ป๊ฒ ๋ฐ์ ํ๊ณ ์๋์ง ๋ณด์ฌ์ค ๊ฒ์ด๋ค. Q. ์ธ์ Cheeze๋งค๊ฑฐ์ง์ ์ฒ์ ์ถ๊ฐํ๋? 2004๋ 5์ ์ฒ์ ์ถ๊ฐํ๋ค.
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Q. Looker๋งค๊ฑฐ์ง์ ๋ํด ์๊ณ ์ถ๋ค. ์ข ๋ ์์ธํ ์ด์ผ๊ธฐํด๋ฌ๋ผ. Looker๋งค๊ฑฐ์ง์ ์น์ค, ๋ญ์ ๋ฆฌ, ์๋์ฐจ, ์ํธ, ํ์ด๋ ๋น์ผ ์๊ณ์ ๊ด์ฌ ์๋ ๋จ์ฑ๋ค์ ์ํ ๊ฒ์ด๋ค. ์๋ํ๋ฉด ์ด๋ฏธ ๊ธฐ์กด ์์ฅ์๋ ์ด๋ฐ ์ก์ง๋ค์ด ์์ฃผ ๋ง๋ค. ์ฐ๋ฆฌ๋ ์ท์ ํตํด ๊ทธ๋ค์ ์ํผ์ ๋ณด์ฌ์ฃผ๊ณ ์ด๋ฐ ๋จ์ฑ๋ค์ด ๋ํ๋ ๋๊ฐ ๋๋ค๊ณ ์๊ฐํ๋ค. Q. Looker๋งค๊ฑฐ์ง์ Cheeze๋งค๊ฑฐ์ง ์ฑ๊ณต ํ ๋ฐํ ํ๋ค. ๋ ๋งค๊ฑฐ์ง์ ๊ฐ์ฅ ํฐ ์ฐจ์ด์ ์? Cheeze๋งค๊ฑฐ์ง ๋ ์๋ ์ข ๋ ์ด๋ฆฌ๋ค. 15~22์ธ ์ ๋์ ๋จ๋ ๋ชจ๋๊ฐ ๋ ์์ธต์ด๋ค. Looker๋งค๊ฑฐ์ง์ 22~45์ธ์ ๋จ์ฑ ๋ ์์ธต์ ์ํ ๊ฒ์ด๋ค. ๋ค๋ฅธ ์ทจํฅ์ ๊ฐ์ง ๋ ๊ทธ๋ฃน์ด ์๊ธฐ ๋๋ฌธ์, ๋งค๊ฑฐ์ง์ ์ปจํ ์ธ ์ญ์ ๋ค๋ฅด๋ค. Cheeze๋ ๋จ๋ ๋ชจ๋ ์ฝ์ ์ ์์ง๋ง ์ฌ์ฑ์ธต์ ์กฐ๊ธ ๋ ๊ฐ๊น์ด ๋ฐ๋ฉด์, Looker๋ ์ค์ง ๋จ์ฑ๋ง์ ์ํ ์ก์ง๋ก ์ฐจ๋ณํ๋ฅผ ๋๋ค. ํ์ง๋ง ๋ง์ ์ฌ์ฑ๋ค์ด ์ก์ง์ ๋์ค๋ ๋จ์ฑ๋ค์ ๋ณด๊ธฐ ์ํด ์ฌ์ฑ ๊ตฌ๋งค์ธต๋ ๋ง๋ค(์์). Q. Cheeze๋งค๊ฑฐ์ง ์ํฐํด์ ๋ค์ํ ๋ฐ๋ฉด, Looker๋งค๊ฑฐ์ง์ ์คํธ๋ฆฌํธ ์ค๋ ์ท์ด๋ ์ ์ ํ์ ๋ํ ๋ด์ฉ์ด ๋ง๋ค. ์ด์ ๊ฐ ์๋? ๋จ์ฑ๋ ์์ธต์ ๋ ๋ณต์กํ๊ธฐ ๋๋ฌธ์ด๋ค. ๊ทธ๋ค์ ๋๋ฌด ๊ธธ๊ฑฐ๋ ์์ ์ ์ธ ๊ธ ์ฝ๋ ๊ฒ์ ์ข์ํ์ง ์๋๋ค. ์ค์ค๋ก ํจ์ ํผํ๊ณผ ์์ดํ ์ ๋ณด๊ณ ๋๋จธ์ง ์ด์ผ๊ธฐ๋ฅผ ์์ํ๋ค. Q. Looker๋งค๊ฑฐ์ง ํฝํ ๋ฆฌ์ผ์ ์ฌ๋ ๊ธฐ์กด์ ํ๊ตญ ์ก์ง์ ๋ฌ๋ฆฌ ๊ฐํ๊ณ ๋๋ ทํ๋ค. ์ด๋ค ์คํ์ผ์ ์ถ๊ตฌํ๋๊ฐ? ๋๋ ๋ค์ํ ์คํ์ผ์ ์ข์ํ๋ค. Looker์คํ์ผ์ด ๋๋ง์ ์คํ์ผ์ด ๋๊ธฐ๋ ํ๋ค. ํ๊ตญ ์ฌ๋๋ค
์ญ์ ์ด๋ฐ ์ ์ ์ข์ํ๋ ๊ฒ ๊ฐ๋ค. Q. ์ด๋ป๊ฒ Lookerํ์ด์ง๋ฅผ ์คํ์ผ๋ฆฌ์ํ ํจ์ ํผํ๋ก ์ฑ์ฐ๋? ๋ฐฉ์ฝ์๋ ์คํ์ผ๋ฆฌ์ํ ์ฌ๋๋ค์ด ๋ง์์, ์ฐ๋ฆฌ๊ฐ ํ๋ ๊ฑด ๊ทธ์ ๊ทธ๋ค์ด ์์ฃผ ๊ฐ๋ ๊ณณ์ ์ฐพ๋ ๊ฒ์ด๋ค. ์ฐ๋ฆฌ๋ ํฌํ ๊ทธ๋ํผ์๊ฒ Looker ์คํ์ผ์ ์ดํดํ๊ฒ ์๋ ค์ฃผ๊ณ ์ฐ๋ฆฌ ์ปจ์ ์ ๋ง๋ ์ฌ๋๋ค์ ๊ณ ๋ฅธ๋ค. ๋ฌผ๋ก ์๋ง์ ํจ์ ๋๋ธํ ๋จ์ฑ๋ค์๊ฒ ์ ์ผ ๊ณ ๋ง์ํด์ผ ํ ๊ฒ ๊ฐ๋ค. Q. ๋น์ ์ ์คํํ ์ค์๋ Cheeze์ Looker๋งค๊ฑฐ์ง ์์ชฝ ๋ชจ๋์ ๊ธฐ๊ณ ํ๋ ์คํญ๋ ์๋๋ผ. ๋์์ ์์ ํ ๋ค๋ฅธ ๋งค๊ฑฐ์ง์์ ์ผํ๋ฉด์ ์๊ธฐ๋ ์ฅ์ ์ ๋ฌด์์ธ๊ฐ? ๋ ์ก์ง ์ฌ์ด์ ์ฐจ์ด์ ์ด ์์ง๋ง, ๊ฒฐ๊ตญ์ ์คํ์ผ์ ๊ดํ ๊ฒ์ด๋ค. ๋ง์น ๋ ๊ฐ์ง ์ง๋ฌธ์ ๋์ง๋ ๊ฒ์ด๋ค. ์ง๋ฌธ๋ค์ด ์ ํ ๋ชจํธํ์ง ์๊ฒ ์ฌ๊ฒจ์ ๋ ๊ฐ์ง ๋ชจ๋ ์ํ๋ ์ฌ๋๋ค๋ ์๋ค. ์ฌ์ค ํญ์ ๋๊ฐ์ ๊ฒ๋ค๋ง ํ์ง ์์๋ ๋๋ค๋ ์ ์์ ์ข์ ๊ฒ ๊ฐ๋ค. ๋ค์ํ ๋ถ์ผ์ ์์ ์ ์ฆ๊ธธ ์ ์๋ค. Q. ๋์์ ๋ ๋งค๊ฑฐ์ง์ ์ด์ํ๋๋ฐ ์์ด์ ๊ฐ์ฅ ์ด๋ ค์ด ์ ์? ์๋ฌด๋๋ ๋ ๋งค๊ฑฐ์ง ๋ชจ๋ ์ ๋ง๋ค๋ฉด์ ๋ ์๋ค์ ์ฐ๋กฑํ์ง ์๋ ๊ฒ์ด๋ค. ๋๋ ๋ ๋งค๊ฑฐ์ง์ด ๊ฐ๊ฐ์ ์ฐจ์ด์ ์ ์์ฉํ๋ฉด์๋ ๋งค๊ฑฐ์ง๋ง์ ์์ด๋ดํฐํฐ์ ๊ฐ์น๋ฅผ ๊ฐ์ง๊ฒ ํ๊ณ ์ถ๋ค. ์ด๊ฒ์ด ์ฌ๋๋ค์ด ํฅ๋ฏธ๋กญ๊ฒ ์ฝ์ ๋งํ ๊ฒ์ ๋ง๋ค๊ณ ์ถ์ ์ฐ๋ฆฌ์ ์๋๋ ฅ์ด๋ค.
042p
Steven Pettifor Q. BAM(Bangkok Art Map)์ ์ค๋ช ํด๋ฌ๋ผ. BAM์ ๋ฐฉ์ฝ ๋์ฌ์ ์ ์ ๊ณต๊ฐ์ ์ ๋ฆฌํ ์ง๋๋ค. ์์ ์ ๊ด๋ จ๋ ๋ชจ๋ ๊ฒ์ ํ๊ธฐํ๊ณ ์๋ค. ๊ผญ, ๊ฐค๋ฌ๋ฆฌ๊ฐ ์๋๋๋ผ๋ ์ํธ ์ ์๋ฅผ ํ๋๊ณต๊ฐ์์๋ถํฐ์๊ฐ์คํ๋์ค,์ฌ๋ฆฝ๋ฏธ์ ํ๊ต, ํ๋ ์ด๋ฐ ์๋น์ค, ์์ ํ ์์ถ์ ์ฒด, ํฌํ ์ค์ฟจ, ๋ฏธ์ ์ฉํ์ ๋ฑ์ ์๊ฐํ๊ณ ์์ผ๋ฉฐ๊ทธ์์์์นด์ด๋ธ๊น์ง์๊ฐํ๊ณ ์๋ค. ๋ฐฉ์ฝ ๋ด์ ์๋ ์์ ์ ๊ดํ ๊ฑฐ์ ๋ชจ๋ ๊ฒ์ ๋ด์๋ค๊ณ ํด๋ ๊ณผ์ธ์ด ์๋๋ค. Q. BAM์ ์ด๋ป๊ฒ ์์๋์๋๊ฐ? 2007๋ ์ฒ์ ์์ํ์ ๋๋งํด๋ ์ฃผ๋ณ์ ๊ทธ๋ด๋งํ ์ํธ ๋งต์ด ์์๋ค. ๋น์ทํ ์๋ด ์ฑ ์๊ฐ ํ๋ ์์๋๋ฐ ๋น์ ๊ธฐ์ ์ผ๋ก ๋ฐํ๋๊ณ ๋น๊ณต์์ ์ด์๋ค. ๋ค๋ฅธ ๋์๋ก ์ฌํ์ ๋ค๋ ๋ณด๋ ์ด๋ฐ ์ข ๋ฅ์ ์ฑ ์๊ฐ ์ผ๋ง๋ ๋์์ด ๋๋ ์ง๋ฅผ ์๊ฒ ๋๋ค. ์ฌ๋๋ค์ ์ก์ง๋ค์ ์ฌ๋ฌ ๊ถ ์ฌ์ ๋ชจ๋ ์ ๋ณด๋ฅผ ์ค์ค๋ก ๋ชจ์ผ๋ ๊ฒ๋ณด๋ค ํธ๋ฆฌํ๊ณ ๊ฐ๋จํ๊ณ ๋ ์ ๋ ดํ๊ฒ ์ ๋ณด๋ฅผ ์ป๊ณ ์ถ์ดํ๋ค. Q. 2๊ฐ ๊ตญ์ด๋ก ์ถํํ๋ค. ์ผ์ด ๋ง์ง ์๋. ๋ง๋ค. ๊ทธ๋ฐ๋ฐ ์ฐ๋ฆฌ์ ๋ ์๋ ์ฌํ์๋ค๋ง์ด ์๋๋ค. ์ฌ์ค ์ฐ๋ฆฌ ๋ ์๋ค์ ๋๋ถ๋ถ ๋ฐฉ์ฝ์ ์ฌ๋ ์ฌ๋๋ค์ด๋ค. ๋ฐฉ์ฝ ์ฌ๋ ์ฌ๋๋ค์ด BAM์ ์ ์ฉํ๊ฒ ์๊ฐํด์ฃผ๋ ๊ฒ์ด ์ข๋ค. Q. BAM์ ๊ณต์ง๋ค. ์ด๋ป๊ฒ ์๊ธ์ ๋ง๋ จํ๋๊ฐ? ์ฒซ ๋ ํด ๋์์ ๋์์ ๋ถ๋์ฐ ๊ฐ๋ฐ์ ์๊ฐ ํ์์ ํด์คฌ๋ค. 2009๋ ์ ๊ฒฝ๊ธฐ๊ฐ ์ด๋ ค์์ง๋ ์๊ธ์ค์๋ผ๋๋ผ.๊ทธ๋์๊ฐค๋ฌ๋ฆฌ์๊ธฐ๋ถํด๋ฌ๋ผ์์ฒญํ๋ค.์ฌ์ค,๋ฐฉ์ฝ์์๋๋๋ถ๋ถ์๊ฐค๋ฌ๋ฆฌ๋ค์ ์ด์ค์ ์ ๊ฒ ๋จ๊ธฐ๋ฉฐ ์์ ์ ํ๋ค. ๊ทธ๋ฐ๋ฐ๋ BAM์ ์ง์ํด์ฃผ๊ฒ ๋ค๋ ๊ฐค๋ฌ๋ฆฌ๊ฐ 20๊ฐ ์ ๋ ์์๋ค. ์ต๊ทผ์ ์ฐ๋ฆฌ๋ ๊ธฐ์ ์คํฐ์์ ๊ณ์ฝํ๋ค. ๋งค์ฐ ์ข์ ์ํฉ์ด์ง๋ง BAM์ด ํ์ฑํ ๋๊ธฐ ์ํด์๋ ๋ ๋ง์ ์คํฐ์ ์ฝ์ด ํ์ํ๋ค. Q. ๋งค๋ฌ ์์ ๋ ์ ์ํ๋ฅผ ์๊ฐํ๋ค. ๋ฝ๋ ๊ธฐ์ค์ ๋ํด ์๋ ค๋ฌ๋ผ. ์ด๋ฌ์ ์ต๊ณ ๋ผ๊ณ ์๊ฐํ๋ ์ ์๋ฅผ ํํ๋ค. ๊ณ ๋ คํ ๊ฒ์ด ๋ง์๋ฐ ์ด๋ฅผํ ๋ฉด ์คํฐ์์ ํ๊ตญ ์ถ์ ์ํฐ์คํธ์ํด์ธํ์ํฐ์คํธ๋น์จ๋ฑ์์ผ๋์๋๋ค.๊ฐ๊ธ์ ์ด๋ฉด๋ค์ํ๊ณ ํญ๋๊ฒ๋ค๋ฃจ๋ ค๊ณ ํ๋ค. BAM์ ์์ ๋ถ์ผ์ ์ ๋ฌธ๊ฐ๋ค๋ฟ๋ง ์๋๋ผ ๋ค์ํ ์ฌ๋๋ค์ ์ํ ๊ฒ์ด๊ธฐ ๋๋ฌธ์ด๋ค. Q.๋น์ ์ด ํ๋ ๋ชจ๋ ํ๋์ด ์์ ๊ณผ ๊ด๋ จ๋ ๊ฒ ๊ฐ๋ค. ๊ทธ๋ ๋ค. ์ฌ๋ฌ ํด์ธ ์ ๋ฌธ์ด๋ ์ง์ญ ์ ๋ฌธ์ ๊ธฐ๊ณ ํ๋ค. 1999๋ ๋ถํฐ ๊ฒฉ์๋ก ํด์ธ์ ์ถํ๋๋ โAsian Art Newsโ์ ๋ถ๊ธฐ๋ณ๋ก ์ถํ๋๋ โWord Sculpture Newsโ์ ํ๊ตญ ํธ์ง ์๋ํฐ๋ก ์ผํ๊ณ ์๋ค. 2004์๋ ํ๊ตญ ์์ ์ ๊ดํ ์๋ฌธ๋ณธ โFlavours-Thai Contemporary Artโ๋ ์ผ๋ค. ์งํ ํ๋ ์ธ์๋ ์ฌ๋ฌ ์ ์ ํ๋ ์ดํ ์ ์ฐธ์ฌํ๋ค. 54th Venice Biennale์์ ์ด๋ฆฐ Thai Pavilion, Mumbai ์ ์์นํ Sakshi Gallery์์ ์ด๋ ธ๋ Navin Rawanchaikul์ โPlaces of Rebirthโ ์ ์, ๋ฐฉ์ฝ์ Number 1 Gallery์์ ์ด๋ ธ๋ โCharles LaBelleโ ๊ทธ๋ฆฌ๊ณ Charinthorn Rachurutchata์ โOtakuโ ์ญ์ ์ฐธ์ฌํ๋ค. Q. ๋น์ ์ ํธ์ง์์๊ณผ ๋์์ ์ฌ์ง๊ฐ๋ก๋ ์์ฑํ๊ฒ ํ๋ํ๊ณ ์๋ค. ๊ทธ ๋ง์ ์ผ์ ํ๋ฉด์ ํผ์์ ์์ ํ ์๊ฐ์ ์ด๋ป๊ฒ ๋ง๋๋? ๋๋ ์ผ์ ์์ ๋น์ผ์์ ์ธ ์ฅ๋ฉด๋ค์ ์ฐ๋ ๊ฒ์ ์ข์ํ๊ธฐ ๋๋ฌธ์ ๋ด ์ฌ์ง๋ค์ ์ข ๋ ํนํ ์๊ฐ์์ ๋ฐ๋ผ ๋ณธ ํ๊ตญ์ ๋ณด์ฌ์ค๋ค. ์ฐฐ๋์ ์๊ฐ๋ค์ ๋ํ ์ฌ์ง๋ค์ด๋ค ๋ณด๋ ํน๋ณํจ์ ๋ฐ๊ฒฌํ๋ ค๋ฉด ์ ์ด๋ ๋ ๋ฒ ์ ๋๋ ๋ด์ผ ํ๋ค. ๋์ ์์ ์ ๋ค๋ฅธ ์ํ๋ค์ ๋ณด๋ค ์ถ์์ ์ด๊ณ ์กฐ์ง์ ์ด๋ค. 1998 ๋ About Cafe์์ โCreaturesโ๋ผ๋ ์ด๋ฆ์ ์ ์ํ๋ฅผ ์ด์๊ณ , 1999๋ ์ โHow much is that doggyโฆ..โ๋ผ๋ ์ด๋ฆ์ผ๋ก ๋ ธ๋ง๋ ์ธํฐ๋ ํฐ๋ธ ์ ์ํ๋ ์ด์๋ค. ๊ทธ ์ ์์์ Judy Freya Sibayan ์ด๋ผ๋ ํ๋ฆฌํ ์ํฐ์คํธ์ ๋ชธ์ ๊ทธ๋ ์ ์์์ ๋ฐ ์ ๋ฝ ์ฌํ๊ธฐ๋ฅผ ํํํ๋ค(์ด ์ ์๋ก ๋ฐ๋์ Hayward Gallery์์ ์ด๋ ธ๋ โCities on the Moveโ์ ๊ฐ๋ง์์์๋ ์ฐธ์ฌํ๋ค). ์ด ๋ฐ์๋ 2003 ๋ ์๋ Pridi Banomyong Institute์์ Womanifesto๋ฅผ, 2008~ 2009๋ ์ฌ์ด์๋ Bangkok Art & Culture Centre์์ ๊ทธ๋ฃน์ผ โKrungthep 226โ๋ฅผ, ๊ทธ๋ฆฌ๊ณ ๋ 2009๋ ๋ฐฉ์ฝ์ Whitespace Gallery ์์ โTriggerโ๋ผ๋ ๊ทธ๋ฃน ์ ์๋ฅผ ์ด์๋ค. ๋ฐฉ์ฝ ์๋ด ์ฌ๋ฌ ๊ฐค๋ฌ๋ฆฌ์์ ์ด๋ฆฌ๋ โSee Saw Seenโ๋ผ๋ ๊ทธ๋ฃน ์ ์ํ์๋ ์ ๊ธฐ์ ์ผ๋ก ์ฐธ์ฌํ๋ค.
์ฐจ์ด์ ์ ์์ฉํ๋ฉด์๋ ๋งค๊ฑฐ์ง๋ง์ ์์ด๋ดํฐํฐ์ ๊ฐ์น๋ฅผ ๊ฐ์ง๊ฒ ํ๊ณ ์ถ๋ค. ์ด๊ฒ์ด ์ฌ๋๋ค์ด ํฅ๋ฏธ๋กญ๊ฒ ์ฝ์ ๋งํ ๊ฒ์ ๋ง๋ค๊ณ ์ถ์ ์ฐ๋ฆฌ์ ์๋๋ ฅ์ด๋ค.
047p
Young Thai Female Artists Pare-Nadda
Q. ์์ ์ ๋ํด ์๊ฐํด ๋ฌ๋ผ. ์ ๋ ํ๊ฐ, ์๊ฐ, ๊ฐ์, ์์ ๊ฐ, ๊ทธ๋ฆฌ๊ณ ์์ ํ ๋ ๋น์ ํ๋ก๊ทธ๋จ ํธ์คํธ์ด์, ์์ ์ด๋ก ์์ฌ ๊ณผ์ ์ ๋ฐ๊ณ ์๋ ํ์์ ๋๋ค. ์ ๋ ์ธ์์๋ ์ฌ๋ฌ ๊ด์ ์ด ์๋ค๊ณ ์๊ฐํ๊ธฐ ๋๋ฌธ์ ๋ค์ํ ์ผ์ ํฉ๋๋ค. ์์ ์ ์ฐ๋ฆฌ ์ผ์ ์ํ์ ๋ผ๋์ด๊ธฐ ๋๋ฌธ์ ๋ชจ๋ ๊ฒ๊ณผ ์ฐ๊ฒฐ๋ ์ ์์ต๋๋ค. ์ ๋ ์ ์ถ์ ์ง๋ฃจํ๊ฒ ๋ง๋ค๊ณ ์ถ์ง ์์ต๋๋ค. ์ ๋ ์ฌ๋์ด๋ผ๋ฉด ๋๊ตฌ๋ ์์ ๋ค์ด ์ํ๋ ๊ทธ ์ด๋ค ๊ฒ์ด๋ ํ ์ ์๋ค๊ณ ์๊ฐํฉ๋๋ค. ์ ๋ ์์ด๋์ด๊ฐ ๋ ์ค๋ฅด๋ฉด ์ผ๋จ ์์์ ํฉ๋๋ค. ์คํ์ ์ ๋ก ํ์ฌ๊ธ๊ณ์ํด์์ฌ์ฐฝ์กฐํ๊ฒ๋ง๋ค์ฃ .์ด๊ฒ์ด ์ ์ถ์ ์๋๋ ฅ์ด๋๋๋ค. Q. ๋น์ ์ ์ฝํ๊ฐ๋ก ์ ์๋ ค์ ธ ์๋ค. ์ ์ฝํ๋ฅผ ์ํ์ ํํ ํํ๋ก ์ ํํ๋? ์ ๋ ์ธ๊ฐ์ ์ฌ๋ฆฌ์ ๋งค์ฐ ๊ด์ฌ์ด ์๊ณ ์ ๊ฐ ํ ์ ์๋ ์ต๋ํ์ผ๋ก ์ค์ค๋ก๋ฅผ ๋ถ์ํด ์์ผ๋ฉฐ ์ ๊ฐ ๋ฐ๊ฒฌํ ๊ฒ๋ค์ ์ํํด์์ต๋๋ค. ์ ๋ ์์ ์ ์ ์ ๋ค๋ฅธ ์ฌ๋๋ค ์ฌ์ด์ ์ปค๋ฎค๋์ผ์ด์ ์๋จ์ผ๋ก ์ฌ์ฉํ๋ ค๊ณ ๋ ธ๋ ฅํ๊ณ ์์ต๋๋ค. ์ ๋ ํ๊ฐ์ง์ ๊ธฐ์ ์๋ง ์ค์ค๋ก๋ฅผ ์ ํ์ํค์ง ์๊ณ ๊ฐ ์ํฉ๋ง๋ค ์ต์ ์ ์๋จ์ ์ฌ์ฉํ๋ ๊ฒ์ ๋ ์ข์ํฉ๋๋ค. ํ์ง๋ง ํํ๋ ์ฃผ์ด์ง ํฌ๋งท ์์์ ๊ด๋ฒ์ํ ๊ฐ์ ๋ค์ ํํํ ์ ์์ผ๋ฏ๋ก ์ ์ผ ์ข์ํ๋ ์ฅ๋ฅด ์ค ํ๋์ ๋๋ค. Q. ๋น์ ์ ํดํผ๋ฐด๋์ ๋ฉค๋ฒ์ด๊ธฐ๋ ํ๋ค. ํดํผ๋ฐด๋์ ๋ํด ์ค๋ช ์ข ํด ๋ฌ๋ผ. ํดํผ๋ฐด๋๋ 2009๋ 10์์ ์์ ๊ณผ ์ถ์ ๋ํด ๋ฐฐ์ธ ์ ์๋๋ก ๋ง๋ ๋ฐด๋์ ๋๋ค. ํดํผ๋ฐด๋์๋ ๋ค ๋ช ์ ๋ฉค๋ฒ๋ค์ด ์๋๋ฐ Lolay , Giameee , Missyo, ๊ทธ๋ฆฌ๊ณ ์ ์ ๋๋ค. Lolay ๋ ๊ธฐํ์ ๋ฒ ์ด์ค๋ฅผ ์น ์ ์๋ ์ ์ผํ ๋ฉค๋ฒ์ ๋๋ค. ์ ๋ ํผ์๋ ธ๋ฅผ ์น ์ ์์ง๋ง, ์ฐ๋ฆฌ๋ ๊ธฐํ, ๋ฒ ์ด์ค, ๋๋ผ์ด ์๋ 3 ์ค์ฃผ ๋ฐด๋๋ฅผ ๋ง๋ค๊ณ ์ถ์์ต๋๋ค. ์ด์ ์ฐ๋ฆฌ์๊ฒ๋ ์ค๋ฌด ๊ฐ ์ด์์ ๊ณก์ด ์๊ณ ์ผ๋ ๋ง์ด ํ์ต๋๋ค Q. ๋น์ ์๊ฒ๋ ์์ ๊ณผ ์ผ๋ฌ์คํธ ์ค ์ด๋ค ๊ฒ์ด ๋ ์ค์ํ๊ฐ? ์์ ๊ณผ ์ผ๋ฌ์คํธ๋ ๊ฐ์ ๋ฟ๋ฆฌ์์ ๋์์ต๋๋ค. ๊ทธ๋ค์ ํญ์ ์๋ก์๊ฒ ์๊ฐ์ ์ค ๊ฒ๋๋ค. ์์ ์ ๋งค์ฐ ๋ค์ํด์. ์์ ์ ์์ ์ ํฐ ๋ถ๋ถ ์ค ํ๋์ฃ . ์ ์๊ฒ ์์ด ์์ ์ด๋ ๋ง๋ฒ์ ์ธ ํ ๋๋ฌธ์ ๊ทธ๋ฆผ๋ณด๋ค ๋ ๊ด๊ฐ๊ณผ ๋ ์ํตํ ์ ์๋ ์๋จ์ ๋๋ค. ๋ณผ ์๋ ์์ง๋ง ๋๋ ์๋ ์์ฃ . ๊ทธ๋ฆผ์์๋ ๋ชจ๋ ์ฌ๋์ด ๊ฐ์ ์๊น์ ๊ฐ์ ์์์ ๋ด ๋๋ค. ํ์ง๋ง ์์ ์์๋ ๊ฐ์ ์์ ๋ง์ ์์์ ๋ณด๊ฒ ๋ฉ๋๋ค. ์ ๋ง์ ์์ ์ ์ฐ์ฃผํ ๋๋ฉด, ๋ง์น ๋ค๋ฅธ ์ธ์ด๋ก ์ด์ผ๊ธฐํ๊ณ ์๋ ๊ฒ ๊ฐ์ ๊ธฐ๋ถ์ด ๋ค๊ธฐ๋ ํฉ๋๋ค.. Q. ๋น์ ์๊ฒ ์ผ๋ฌ์คํธ๋ ๋ฌด์์ธ๊ฐ? ๊ฑฐ์ธ์ ๋๋ค. ์ ์ ์ฝํ๋ ์ ๋ง์ ์ ๊น์ ๊ณณ์ ๋ฌด์์ด ์๋์ง๋ฅผ ๋ณด์ฌ์ค๋๋ค. ์ ๊ณผ ์๋ค์ ์ ๊ฐ์ ์ ์จ๊ธธ ์ ์๋ต๋๋ค. ์ ๊ฐ ์ด๋ ธ์ ๋๋ ์ ๊ณผ ์๋ค์ด ๋งค์ฐ ํ๋ คํ๊ณ ์์ ๋ก์ ์ต๋๋ค. ํ์ง๋ง ์ฑ์ฅํ๋ฉด์ ์ ์ ์ธ๊ฐ์ด๋ ๋งค์ฐ ๋ณต์กํ ์กด์ฌ๋ผ๋ ์ฌ์ค์ ์๊ฒ ๋์์ต๋๋ค. ์ธ๊ฐ์๊ฒ๋ ๊ฐ๊ฐ์ด ์์ต๋๋ค. ๊ฐ๊ฐ์ ๋ค์ํ ๊ฐ์ ๋ค์ ๋ง๋ค์ด ๋ ๋๋ค. ๊ทธ๋ ์ ๋ ๋ ์ด์ ์์ ์ด์ฉํ์ง ์๊ณ ์ถ๋ค๊ณ ๊ฒฐ์ฌํ์ต๋๋ค. ์ ๋ ๊ฒ์์ ์ํฌ๋ฆด๋ก ๊ทธ๋ฆฐ ์ ์ ์์ฃผ ์ข์ํฉ๋๋ค. ์ ๋ ๋ณต์กํ ๊ทธ๋ฆผ์ ๊ทธ๋ฆฌ๊ณ ์ถ์ง ์์ต๋๋ค. ์ ๋ ๊ทธ๋ฆผ ์์ ๊ฐ์ ์ ๋ด์ ๋๊ณ ์ถ์ต๋๋ค. ์๋ฅผ ๋ค๋ฉด, ์๋ ๋ฅผ ๊ทธ๋ฆด ๋๋ฉด, ์๋ ๊ฐ ์ด๋ป๊ฒ ์๊ฒผ๋์ง๋ ๋ํ๋ด๊ณ ์ถ์ง ์์๊ณ , ๊ทธ๋ ์ ๊ฐ์ ๋ง์ ๋ด์๋ด๊ณ ์ ํ์ต๋๋ค. Q. ์์ผ๋ก์ ๊ณํ์ด ์๋ค๋ฉด? ์ ๋ ๊ณง ๋ช๋ช ์ฌ๋๋ค์ ๋์๋ ์ ๋ช ํ ์์ ๊ฐ๋ก ๋ณด์ด์ง๋ง ์ ๋์๋ ๊ทธ์ ํ๋ฅญํ ํ ์ธ๊ฐ์ผ๋ก ๋ณด์ด๋ ์ฌ๋๊ณผ ๊ฒฐํผ์์ ์ฌ๋ฆด ์์ ์ ๋๋ค.
OH+Futon
Q. ์๊ธฐ ์๊ฐ๋ฅผ ํด๋ฌ๋ผ. ์ ์ด๋ฆ์ OH+์ ๋๋ค. ์ฝํ๊ฐ์ ๋๋ค. ์ฌ๋๋ค์ ์ ๊ฐ FUTON ๋ผ๋ ๋ฐด๋์์ ์ฐ์ฃผ๋ฅผ ํ๊ธฐ ๋๋ฌธ์ ์ ๋ฅผ OH+Futon์ด๋ผ๊ณ ๋ถ๋ฆ ๋๋ค. Q. ๋น์ ์๊ฒ๋ ์์ ๊ณผ ์ผ๋ฌ์คํธ ์ค ์ด๋ค ๊ฒ์ด ๋ ์ค์ํ๊ฐ? ์์ฃผ ์ข์ ์ง๋ฌธ์ด๋ค์. ์ ๋ ๋ง์ ์ผ์ ํ๊ณ ์์ต๋๋ค. ์ ๋๋ต์ ํญ์ โ์ ๋ ์ข์ํ๋ ์ผ์ ์ ํํ๋คโ๋ ๊ฒ์ ๋๋ค. ์ ๋ ํญ์ ์ ๊ฐ ๊ทธ ์๊ฐ์ ํ๊ณ ์๋ ์ผ์ ์ฌ๋ํฉ๋๋ค. ์ ๋ ์ข์ํ์ง ์๋ ์ผ์ ํ์ง ์์ต๋๋ค. ๋ฐ๋ผ์ ์ ๋ ์์ ๊ณผ ์ผ๋ฌ์คํธ ์ค ๋ฌด์์ ๋ ์ข์ํ๋์ง ์ ํํ ์๊ฐ ์์ต๋๋ค. ๋์ด๊ฐ ๋ค๋ฉด ์ฌ์ ๋์ ๊ทธ๋ฆผ์ ๊ทธ๋ฆฌ๋ ์ผ๋ง ํ ์ ์๊ฒ ๋ ๊ฒ์ด๋ผ ์๊ฐํฉ๋๋ค. ์ ๋ ๊ทธ๋ฆผ์ ๊ทธ๋ฆด ๋ ์ ๋ง ํ๋ณตํฉ๋๋ค. ๋ณดํต ๊ทธ๋ฆผ์ ๊ทธ๋ฆด ๋๋ ์๊ฐ์ด ๋นจ๋ฆฌ ๊ฐ๋๋ค. ํ์ง๋ง ์ ๋ ๋์์ ๋ ๊ฐ์ง ์ผ์ ํ์ง ๋ชปํฉ๋๋ค. ๊ทธ๋์ ๋ฌด์ธ๊ฐ๋ฅผ ํ ๋๋ ํญ์ ๊ทธ๊ฒ์ ์ ์ ๋ชจ๋ ์์ด๋์ด์ ์ง์ค๋ ฅ์ ์ง์ด๋ฃ์ต๋๋ค. ์ ์ธ์์ ๋ชจ๋ ๊ฒ์ด
159
์์ ์ด๋๋๋ค.
์์งํ ๋งํด์ ์ด๋ค ๊ณํ๋ ์์ต๋๋ค. ์๊ฐ๋ง๋ค ์ ๊ฐ ํ๊ณ ์ถ์ ์ผ๋ค์ ํ ๋ฟ์ ๋๋ค.
Q ๋น์ ์ ๋ง์ ํฌ ์ธต์ ํ๋ณดํ๊ณ ์์๋ฏํ๋ฐ, ๋น์ ์ ํฌ๋ค์ ์ด๋ค ์ฌ๋๋ค์ธ๊ฐ? ์ ๋ ์ค์ค๋ก๊ฐ ์ ๋ช ํ๋ค๊ณ ์๊ฐํ์ง๋ ์์ง๋ง, ๋ง์ ์ฌ๋๋ค์ด ์ ๋ฅผ ์๊ณ ์์ต๋๋ค. ํ์ง๋ง ์์ ์ชฝ์์ ์ ๋ฅผ ์ข์ํ๋ ์ฌ๋๋ค์ ์ ๊ฐ ๊ทธ๋ฆผ์ ๊ทธ๋ฆฌ๋ ๊ฒ์ ๋ชจ๋ฅด๊ณ , ์ ๊ทธ๋ฆผ์ ์ข์ํ๋ ์ฌ๋๋ค์ ์ ๊ฐ ์์ ์ ํ๋ ๊ฑธ ๋ชจ๋ฆ ๋๋ค. ๊ทธ๋ ๊ธฐ ๋๋ฌธ์ ์ ๋ ๊ต์ฅํ ๋ค์ํ ํฌ ์ธต์ ํ๋ณดํ๊ณ ์์ต๋๋ค. ๋ง์ฝ ์ด๋ค ํฌ์ด ์ ์๊ฒ ์ฌ์ธ์ ๋ฌ๋ผ๊ณ ํ๋ฉด ์ ๋ ๊ทธ ๋ถ์๊ฒ ์ ์ ์ด๋ค ๋ถ์ผ๋ฅผ ์ข์ํ๋๊ณ ๋ฌป์ต๋๋ค. ์ด๋ฐ ์ ์ด ์ฐธ ์ฌ๋ฐ์ต๋๋ค. ์ด์จ๋ ์ ๋ ํ ๋ถ์ผ์ ํฌ์ ํ๋ณดํ๊ณ ์์ง๋ ์์ต๋๋ค. ๊ทธ๋ ๊ธฐ ๋๋ฌธ์ ์ ์ ํฌ๋ค์ด ๊ฐ์ง๊ณ ์๋ ์ ํํ ์คํ์ผ์ด ๋ฌด์์ธ์ง ๋ชจ๋ฅด๊ฒ ์ต๋๋ค.
Jeep Kongdechakul
Q. ์ฐ๋ฆฌ ๋ ์๋ค์๊ฒ ์๊ธฐ ์๊ฐ๋ฅผ ๋ถํํ๋ค. ์ ์ด๋ฆ์ Jeep Kongdechakul ์ด๊ณ 26 ์ธ์ ๋๋ค. ์ ๋ ์ฝํ๊ฐ์ด์ ์น์ฆ ๋งค๊ฑฐ์ง ( ์คํธ๋ฆฌํธํจ์ ๋งค๊ฑฐ์ง)์์นผ๋ผ๋์คํธ์ ๋๋ค. ์ ๋ ์ฝํ ์ธ์ ํจ์ ๋์์ธ (์๋ฅ, ์ง๋ฌผ ํจํด,ํ๊ตญ๋ฐฉ์ฝ์flynowIII๋์คํ๋ ์ด),์ ๋ฐ ๋์์ธ (ํ๊ตญ ๋ฐฉ์ฝ์ since 1959 ๋ฐ๋ ์์ฆ) ๊ทธ๋ํฝ ๋์์ธ (๊ธฐ์ ์ด๋ฏธ์ง ๋์์ธ, ๋ฒฝ์ง)๊ณผ ๊ฐ์ ๋ค๋ฅธ ์์ ๋ถ์ผ์์ ๋ค์ํ ์ผ์ ํ๊ณ ์์ต๋๋ค. Srinakakharinwirot ๋ํ์ ์์ ๋ฏธ์ ํ๊ณผ์ ๊ฐ์ฌ๋ฅผ ํ๊ณ ์์ผ๋ฉฐ, Silpakorn ๋ํ ๋ฐ์ฝ๋ ์ด์ ์ํธ ํ๊ณผ์ ๊ฐ์ฌ์ด๊ธฐ๋ ํฉ๋๋ค. ๋ํ ์ ๋ The Factory Studio & Arthouse์ ์ฐฝ๋ฆฝ์์ด์ ๋์์ด๋์ด๊ธฐ๋ ํฉ๋๋ค.
Q. ์ผ๋ฌ์คํธ๋ ์ด์ ์ ์์ํ๊ฒ ๋ ๊ณ๊ธฐ๋ ๋ฌด์์ธ๊ฐ? ์ด๋ ธ์ ๋๋ถํฐ ๊ทธ๋ฆผ์ ๊ทธ๋ ธ๊ณ ๋ฏธ์ ๋ํ์ ๋์์ต๋๋ค. ๋ํ๊ต 2ํ๋ ๋๋ ์ด๋ค ํํฉ ๋ฐด๋ ์์์ ๋ฒ ์ด์ค ๊ธฐํ๋ฅผ ์น๊ธฐ๋ ํ๊ณ ๊ทธ ์ดํ์ ๋ค์ํ ์ผ๋ค์ ํ๊ธฐ ๋๋ฌธ์ ๋ง์ ์์ ์ ์ ๋๋ก ํ์ง ๋ชปํ์ต๋๋ค. ๊ทธ๋ฐ๋ฐ ์ด๋ ๋ ์ ๋ง ๊ทธ๋ฆผ์ ๊ทธ๋ ค์ผ๊ฒ ๋ค๊ณ ์๊ฐํ๊ณ ๊ทธ๋๋ถํฐ ๋งค์ผ ์๊ฐ์ด ๋ ๋ ๋ง๋ค ํํ์ด ๊ทธ๋ฆผ์ ๊ทธ๋ ธ์ต๋๋ค. ๊ทธ๋ฆฌ๊ณ ์ด๋ ๋ ์ ๊ฐ ์ ์ผ ์ข์ํ๋ ์๊ฐ์ด์ ํ๊ตญ์์ ๊ฐ์ฅ ์ ๋ช ํ ์๊ฐ์๊ฒ ๊ฐ์ ๋์ ๊ทธ๋ฆผ์ ๋น๋นํ ๋ณด์ฌ์ฃผ๋ฉฐ ๊ทธ์ ์ฑ ์ ์ ์ผ๋ฌ์คํธ๋ฅผ ๋ฃ๋ ๊ฒ์ ๋ํ ์ ์์ ํ์ต๋๋ค. ๊ทธ๋ฐ๋ฐ ๊ทธ ์๊ฐ๊ฐ ์์ด์์ด ๋์ ์์ ์ด ์ข๋ค๊ณ ์น๋ํ์ฌ ๊ฐ์ด ํฌ์ผ๋ถ์ ๋ง๋ค์๊ณ , ๊ทธ ์ผ์ ๊ณ๊ธฐ๋ก ๋ง์ ์๊ฐ์ ๊ทธ๋ฆผ ๊ทธ๋ฆฌ๋ ๋ฐ์ ํฌ์ํ ์ ์์์ต๋๋ค. ์ ๊ฐ ๋น๋นํ ๊ทธ ์๊ฐํํ ์์ ์ ๋ณด์ฌ์ค ์ ์์๋ ์ด์ ๋ ๊ทธ๋ ๊ฐ ์ ์์ ์ ๋ง์์ ๋ค์ด ํ๋ ๊ทธ๋ ์ง ์๋ , ์ ๋ ์์ ๊ฒ ์๋ค๊ณ ์๊ฐํ๊ธฐ ๋๋ฌธ์ ๋๋ค. ์ ๋ ์ ๋ง ์ ์ ๊ฟ์ ๋ฐ๋ผ๊ฐ๋ ์ฌ๋์ ๋๋ค. Q. ๋น์ ์๊ฒ ์ผ๋ฌ์คํธ๋ ๋ฌด์์ธ๊ฐ? ์ผ๋ฌ์คํธ๋ ์ ์๊ฒ ์ง์ ์ด๋ ์ผ์ ๊ฐ๊น์ต๋๋ค. ์๋ฅผ ๋ค๋ฉด, ์ ๊ฐ ๋ฒ์ ๋ํ ๋ด์ฉ์ ๋ค๋ฃจ๋ ์ฑ ์ ์ผ๋ฌ์คํธ๋ฅผ ํ ๋๋ ๋ ์๊ฐ ๊ทธ ์ฑ ์ ๋ด์ฉ์ ์๋ฒฝํ๊ฒ ์ดํดํ๊ณ ๋ ์ดํดํ๊ธฐ ์ฝ๊ฒ ๊ทธ๋ฆผ์ ๊ทธ๋ ค์ค์ผ ํฉ๋๋ค. ๊ทธ๋ฆฌ๊ณ ๊ทธ ๊ทธ๋ฆผ ์์ ๋ฐ์ ์ ์๊ฐ์ด ๋ค์ด๊ฐ๊ณ ๊ทธ ์ธ์ ๊ฒ์ ์ ์๊ฒ ์๊ตฌํ๋ ๊ฑธ ๋ค๋ฃน๋๋ค. ํ์ง๋ง ์ ๊ฐ ์ ์๋ฅผ ํ๋ ๊ฒฝ์ฐ์๋ ๊ทธ ๋๊ตฌ๋ ์ ์๊ฒ ์๊ตฌํ๋ ๋ต์ด ์๊ธฐ ๋๋ฌธ์ ์ ๋ ๊ทธ ์์ ์ ๋ชจ๋ ๊ฑธ ํํํ๊ณ ์ง์ด ๋ฃ์ต๋๋ค. ์ ๋ ๋ชจ๋ ๊ฒ์ ์ ์๊ฐ๊ณผ ๊ฐ์ ์ ๋ค ํํํ๊ณ ์ถ์ต๋๋ค. ์ ์๊ฒ ์ผ๋ฌ์คํธ๋ ์ด๋ ํ ๊ฒ์ ๋ํ ๋ต์ด๋ผ๊ณ ์๊ฐํฉ๋๋ค. Q. ์์ผ๋ก์ ๊ณํ์ ๋ฌด์์ธ๊ฐ? ์์งํ ๋งํด์ ์ด๋ค ๊ณํ๋ ์์ต๋๋ค. ์๊ฐ๋ง๋ค ์ ๊ฐ ํ๊ณ ์ถ์ ์ผ๋ค์ ํ ๋ฟ์ ๋๋ค.
Yuree Kensaku
Q. ์ฐ๋ฆฌ ๋ ์๋ค์๊ฒ ์๊ธฐ ์๊ฐ ๋ฅผ ํด ๋ฌ๋ผ. ์ ๋ ์ฃผ๋ก ํ๊ฐ๋ก ํ๋ํฉ๋๋ค. ์์ฑํ, ๋ฒฝํ, ๊ทธ๋ฆฌ๊ณ ํํ์ ๊ธฐ์ดํ ๋ชจ๋ ์ข ๋ฅ์ ์์ ์ ํ๊ณ ์์ต๋๋ค. ๋ฟ๋ง ์๋๋ผ CD ์ปค๋ฒ, ์ ํ, ๋ฎค์ง ๋น๋์ค๋ ๋์์ธ ํ๊ณ ์ผ๋ฌ์คํธ๋ ํ๊ณ ์์ต๋๋ค. Q. ๋น์ ์ ์ผ๋ฌ์คํธ๋ ์ดํฐ๋ก๋ ์ ๋ช ํ๋ค. ์ด๋ป๊ฒ ํด์ ์ฝํ๋ฅผ ์์ํ๊ฒ ๋์๋? ์ ๋ ์ ๊ธฐ์ ์ผ๋ก ๊ทธ๋ฆผ์ ๊ทธ๋ฆฌ๊ณ ์ ์ํ๋ฅผ ์ด์๊ณ ๋๋ฌธ์ ๋๋ถ๋ถ์ ๊ฐํ๋ฌผ๊ณผ ์ก์ง๋ค์ ์ ๊ฐ ๋ฌด์จ ์์ ์ ํ๋์ง ์๊ฒ ๋์์ต๋๋ค. ๊ทธ๋ค์ ์ ์๊ฒ ํฉ๋ฅํ๋ผ๊ณ ์ด๋๋ฅผ ํ๊ธฐ ์์ํ๊ณ , ์ ๋ ์ด์ฌํ ์์ ์ ํด์์ต๋๋ค.
Q. ๋น์ ์ด ์ฝํ๋ฅผ ๊ทธ๋ฆด ๋ ์๊ธฐ๋ ํน๋ณํ ์ฐฝ์์ ์๋์ง๊ฐ ์๋๊ฐ? ์ ๋ ์ด๋ ธ์ ๋๋ถํฐ ์ํ์ ์ ๋๋ฉ์ด์ ๋ณด๋ ๊ฒ์ ๋ฌด์ฒ ์ข์ํ์ต๋๋ค. ์ฝํ๋ฅผ ๊ทธ๋ฆด ๋, ์ ๋ ์์ค ์๊ฐ, ์ ์, ๋ค๋ฅธ ์ ๋ฌธ ํฌ๋ฆฌ์์ดํฐ๋ค์๊ฒ์ ๋ง์ ์๊ฐ์ ๋์ด๋ด์ด ์ด๋ฌํ ์๊ฐ์ ์ ๊ฒฝํ๊ณผ ํผํฉ์ํต๋๋ค.
Q. ๋น์ ์ ์ผ๋ฌ์คํธ๋ ์ดํฐ๋ก ์ ์๋ ค์ ธ ์๋ค. ์ด๋ป๊ฒ ์ผ๋ฌ์คํธ๋ฅผ ์์ํ๊ฒ ๋์๋? ์ด๋ ๋ , Flynow III์ ์ฌ๋ด์ฌ๋ฅผ ๊ธฐ๋ค๋ฆฌ๋ ๋์ ์ ํธ๋๋ฐฑ ์์ ๋ค์ด ์๋ ๋ชจ๋ ์ก๋์ฌ๋๋ค์ ์ค์ผ์นํ๊ธฐ ์์ํ์ต๋๋ค. ๊ทธ ๊ทธ๋ฆผ๋ค์ ๋น ๋ฅด๊ฒ ๊ทธ๋ ค์ง ์ค์ผ์น์๋๋ฐ ์ ์๊ฒ๋ ๋น๊ณต์์ ์ธ ์ผ์ ํ๋ ๋๋์ ์ฃผ์๊ณ , ๋ง์ปค๋ก ์์น ํ ์ ๋ค์ ์ธต์ ์ ์ฑ๊ฒฉ๊ณผ ๊ทธ ๋น์์ ๊ฐ์ ๋ค์ ๋ณด์ฌ์ฃผ๊ณ ์์์ต๋๋ค. ๊ทธ๋์ ์ ๋ ๋ง์น ์ผ๊ธฐ์ฒ๋ผ ์ ๊ฐ ์ฌ๊ฑฐ๋ ๋จน์ ๊ฑฐ์ ๋ชจ๋ ๊ฒ๋ค์ ์ค์ผ์น๋ถ์ ๊ณ์ํด์ ๊ทธ๋ ค๋๊ฐ์ต๋๋ค. ๊ทธ๋ฌ๋ ์ด๋ ๋ Cheeze ๋งค๊ฑฐ์ง์ ํธ์ง์ฅ์ด ์ ์๊ฒ ์ฐ๋ฝ์ ํด ์นผ๋ผ๋์คํธ๊ฐ ๋๊ณ ์ถ์์ง๋ฅผ ๋ฌผ์์ต๋๋ค. ์ ๋ ๊ธฐ์ฌ๋ฅผ ์ฐ๋ ๊ฒ์ด ๋ถ๋ด์ค๋ฌ์ ๊ณ ๋ง์ง๋ง ๊ฑฐ์ ํ์ต๋๋ค. ํ์ง๋ง ๋ค์ ํ๋ฒ ์ฐ๋ฝ์ด ์๊ณ , ์ ๋ ์ ์ค์ผ์น๋ถ์ ๋ณด์ฌ์ฃผ์์ต๋๋ค. ๊ทธ ์ดํ๋ก, ์ ๋ Cheeze ๋งค๊ฑฐ์ง์ ์นผ๋ผ๋์คํธ๊ฐ ๋์์ต๋๋ค. Q. ๋น์ ์ ๋ ๊ฐ์ง ํํ์ ์ฐฝ์๋ ฅ์ ํฉ์ณ ๋๋ผ์ด ๊ฒฐ๊ณผ๋ฌผ์ ์ป์ ์ ์ด ์๋? ํํ, ๊ทธ๋ํฝ ๋์์ธ, ๊ผด๋ผ์ฅฌ ์์ , ์์ฑํ ๋ฑ๊ณผ ๊ฐ์ ๋ค์ํ ๋ถ๋ฌธ์ ์์ ์ ํฉ์ณ ์งํํ Flynow III์ ์๋์ฐ ๋์คํ๋ ์ด์ ์๋ฅผ ๋ค๊ณ ์ถ์ต๋๋ค. ์ ๋ ๊ณ ๊ฐ์ด ์๊ตฌํ๋ ๋ธ๋๋ ์ด๋ฏธ์ง๋ฅผ ์์ ์ ํผํฉํ๋ ค๊ณ ํฉ๋๋ค. Flynow III์ ์ ์ฑ๊ฒฉ๊ณผ ์ ๋ง๋ ์ ๊ณ ์พํํ์ ์ด๋ฏธ์ง๋ฅผ ๋๋ฏ๋ก ์ดํดํ๊ธฐ๊ฐ ํจ์ฌ ์ฝ์ต๋๋ค. Q. ๋น์ ์ ์ผ๋ฌ์คํธ๋ฅผ ์ด์ฉํ์ฌ ์๋์ฐ ํ์ธํ , ์ฑ ์ผ๋ฌ์คํธ, ์ ๋ฐ ๋์์ธ ๋ฑ ๋ค์ํ ์ผ์ ํ๊ณ ์๋ค. ๋น์ ์ด ๊ฐ์ฅ ์ข์ํ๋ ์ํ์ ๋ฌด์์ธ๊ฐ? ๊ทธ๋ฆผ ๋ถ์ ์ด์ฉํ๊ธฐ ๋๋ฌธ์ ์ ๊ฐ ๊ฐ์ฅ ์ข์ํ๋ ์ํ์ ์ ๊ทธ๋ฆผ๊ณผ ์ฝํ์ ๋๋ค. ์ ๋ ์ปดํจํฐ ๊ทธ๋ํฝ์ ์ฌ์ฉํ๋ ๊ฒ๋ณด๋ค ์์ผ๋ก ๊ทธ๋ฆฌ๋ ๊ฒ์ ๋ ์ข์ํฉ๋๋ค. ๋๋ถ๋ถ ์ ์ ์ํ์ ์์ผ๋ก ๋ง๋ค์ด์ง๊ณ ์ธ์ํ๊ธฐ ์ ์ ์ปดํจํฐ๋ก ๋ง๋ฌด๋ฆฌ๋ฉ๋๋ค. ์ ๊ฐ ๊ฐ์ฅ ์ข์ํ๋ ๋ ๋ค๋ฅธ ์ํ์ Flynow III์์ ํ ์๋์ฐ ๋์คํ๋ ์ด์ ๋๋ค. Flynow III์๋ ์ปค๋ค๋ ์๋์ฐ ๋์คํ๋ ์ด๊ฐ ์๊ธฐ ๋๋ฌธ์ ์ ๋ ์ต์์ ๊ฒ์ ๋ง๋ค์ด ๋ด๊ธฐ ์ํด ์์ด๋์ด๋ฅผ ์ฌ์ฉํ ์ ์์ต๋๋ค. ์๋ ๋์คํ๋ ์ด๋ ๋ง์น ์ปค๋ค๋ 4๋ฉด์ฒด ํ์ ๊ทธ๋ฆผ์ ๊ทธ๋ฆฌ๋ ๊ฒ, ํน์ ์ผํ ๋ชฐ์ ์ค์์ ์ ์๋ฅผ ํ๋ ๊ฒ๊ณผ ๋ง์ฐฌ๊ฐ์ง์ ๋๋ค. ์ ๋ ์ง๋๊ฐ๋ ์ฌ๋๋ค์ด ์ ์๋์ฐ ๋์คํ๋ ์ด์ ๊ฐํํ๊ณ ์ฌ์ง์ ์ฐ์ ๋๋ฉด ๋งค์ฐ ์๋์ค๋ฝ๊ณ ๊ธฐ์ฉ๋๋ค. Q. ๋น์ ์๊ฒ ์ผ๋ฌ์คํธ๋ ๋ฌด์์ธ๊ฐ? ์ผ๋ฌ์คํธ๋ ์ผ๋ฌ์คํธ ๊ทธ ์์ฒด์ ๋๋ค!
056p
FOR CREW
Q. ๋น์ ์ ๊ทธ๋ฆผ ์์๋ ๋ง์ ์ด์ผ๊ธฐ๋ค์ด ๋ด๊ฒจ ์๋ ๊ฒ ๊ฐ๋ค. ์ด๋ค ๊ฐ์ธ์ ์ธ ๊ฒฝํ์ด๋ผ๋ ๋ด๊ฒจ ์๋ ๊ฑด๊ฐ? ์ ๋ ์ ๋ง์ ๋น์ ์ผ๋ก ๊ทธ๋ฆผ์ ๊ทธ๋ฆฌ๊ณ ์ด ์ธ์์ ๋ํด ์ ๊ฐ ์ด๋ป๊ฒ ์๊ฐํ๋์ง, ์ฐ๋ฆฌ์ ํ๊ฒฝ, ๊ฐ์ธ์ ์ธ ๊ด๊ณ ๊ฒฝํ, ๊ทธ๋ฆฌ๊ณ ์ ์ฃผ๋ณ์ ๋ชจ๋ ํผ๋์ค๋ฌ์ด ๊ฒ๋ค์ ๊ทธ๋ฆฝ๋๋ค. ์ ๊ทธ๋ฆผ์ ๊ฐ๊ฐ ๋ค๋ฅธ ์๊ธฐ์ ์ ๊ธฐ๋ถ์ ์ํฅ์ ๋ฏธ์น ๊ฒ๋ค์ ๋ํ ๋ฉ๋ชจ๋ผ๊ณ ์๊ฐํฉ๋๋ค. Q. ๋น์ ์ ์๊ฐ์ ์ด๋์์ ๋ฐ๊ฒฌํ๋๊ฐ? ์ ์๊ฒ๋ ์ฌ๋ฌ ๊ฐ์ง ์ด์ ๋ก, ๋ง์ ๊ณณ์์ ์๊ฐ์ด ๋ฐ์๋์ง๋ง, ์ฃผ๋ก ์ง์์ ๋ฉ๋ฆฌ ๋จ์ด์ ธ ์ฌํ์ ํ ๋ ์๊ฐ์ด ๊ฐํ๊ฒ ๋ ์ค๋ฆ ๋๋ค. ์ ๋ ์์ฅ์ ๊ฑธ์ ๋์ ํฅ๋ฏธ๋ก์ด ์์ฌ๊ฑฐ๋ฆฌ๋ฅผ ๋ฐ๊ฒฌํ์ ๋๋ ์๊ฐ์ ๋ฐ์ต๋๋ค. ์ต๊ทผ, ์ ์น๊ตฌ๋ค๊ณผ ์ ๋ ๋ฒฝํ ์์ ์ ํจ๊ป ํ๋๋ฐ ๊ทธ ์ฅ์์ ํน ๋น ์ ธ ๊น์ ๊ฐ์ ์ ๋๋ผ๋ ์ ์์ ์ ๋ฐ๊ฒฌํ์ต๋๋ค. ์๋ฅผ ๋ค๋ฉด, ๊ทธ ๊ทธ๋ฆผ์์ ์ ๋ ๋ ธ์์๋ค์ ๋ํด ์๊ฐํ๋ฉด์ ์์ธ ๋นํ๋ ์๋ ๋ฅผ ๊ทธ๋ ธ์ต๋๋ค. Q. ์ผ๋ฌ์คํธ ์ด์ธ์๋ ๋ง์ ํ์ธํ ๋ค์ ํ๋ค. ๊ฐ์ฅ ์ข์ํ๋ ์ํ์ด ์ด๋ค ๊ฒ์ธ๊ฐ? ์ ์๊ฒ๋ ์ข์ํ๋ ๊ทธ๋ฆผ๋ค์ด ๋ง์ด ์์ต๋๋ค. ํนํ ์ ๊ฐ 2010๋ ์ ์์ฑํ โCruising Aheadโ ๋ผ๋ ๊ทธ๋ฆผ์ ์ข์ํฉ๋๋ค. ์ ๋ ์ ์ ์ฌ๋๊ณผ ์์ ๋ณดํธ ์์์ ์์ธก ๋ถ๊ฐ๋ฅํ ๋ฏธ๋๋ฅผ ํฅํด ๋ง์ ๊ฒ๋ค์ ์ค์ด ๋๋ฅด๋ ์ ์์ ์ ๊ทธ๋ ธ์ต๋๋ค. ๊ทธ๋ฆผ์ ๊ทธ๋ฆฌ๋ ๋์, ์ ๋ โ๋ง์ฝ ์ฐ๋ฆฌ์๊ฒ ์ฌ์ ํ ์๋ก๊ฐ ์๋ค๋ฉด, ์ด๋ ํ ์ฅ์ ๋ฌผ๋ ๊ทน๋ณตํ๊ธฐ์ ์ถฉ๋ถํ๊ณ ์ฐ๋ฆฌ๊ฐ ํจ๊ป ๊ณต์ ํ๊ณ ์๋ ์ด๋ ํ ๋ฌธ์ ๋ ํด๊ฒฐํ ์ ์๋คโ ๋ผ๊ณ ์๊ฐํ์ต๋๋ค. ๋ง์์ ๋๋ ๋ ๋ค๋ฅธ ์ํ์ ๊ผฝ์ผ๋ผ๋ฉด ์๋ง ํ๋ผ์ด ์ก (Pleng Pry)์ผ ๊ฒ๋๋ค. ๊ทธ๋ ์ ๋ ์ฒ์์ผ๋ก ์ ๊ทธ๋ฆผ์ด ์์ง์ด๋ ๊ฒ์ ๋ณด์์ผ๋๊น์. Q. ๋น์ ์๊ฒ ์ผ๋ฌ์คํธ๋ ๋ฌด์์ธ๊ฐ? ์ฝํ๋ ์ฃผ๋ก ๊ธฐ์ฌ, ํจ์ , ์์ ๋ฑ์ ๋ณด์กฐํ๋ ์ ์ ์์ ์ด๋ผ๊ณ ์๊ฐํฉ๋๋ค. ํ์ง๋ง ์ ๊ทธ๋ฆผ๋ค์ ์ ์์ ์ ์๊ฐ์ผ๋ก ์ฐฝ์กฐ๋์์ต๋๋ค. ๊ทธ๋ฆผ์ ๋ ์ ์์ ์ ๋ํ ๊ฒ์ ๋๋ค. ๋ค๋ฅธ ์ด๋ค ๊ฒ๋ ๋ณด์กฐํ์ง ์๊ณ ์ค์ค๋ก์ ์๋ฏธ๊ฐ ์๋ ๊ฒ์ ๋๋ค. ๋๋ถ๋ถ, ์ผ๋ฌ์คํธ๋ ์ ์๊ฒ ์ฌ๋๋ค์ ์๊ณ , ์๋ก์ด ๊ฒ๋ค์ ๊ฒฝํํ๋๋ก ๋ง์ ๊ธฐํ๋ฅผ ์ฃผ๊ณ ๋ค๋ฅธ ์ํ์ ๋ง๋ค๋๋ก ์๊ฐ์ ์ค๋๋ค.
160
P7
Q. FOR CREW์ ๋ํด ์ด์ผ๊ธฐ ํด๋ฌ๋ผ. ๋๋ P7์ด๋ผ๊ณ ํ๋ค. ์คํธ๋ฆฌํธ ์ํฐ์คํธ์ด๋ฉฐ FOR CREW์ ๋ฆฌ๋๋ค. FOR CREW์ ๊ฒฐ์ฑ ๋๊ธฐ๋ ์ฐ์ฐํ ๊ธฐํ์ ๋๋ฃ ์ํฐ์คํธ Yuree์ ํจ๊ป ๋ฒฝํ ์์ ์ ํ๋ฉด์๋ถํฐ์๋ค. ๋ค๋ฅธ ์์ ๊ฐ์ ํจ๊ป ์์ ํ๋ ๊ณผ์ , ์คํ์ผ๊ณผ ์์ด๋์ด๋ฅผ ์กฐํ์ํค๋ ์ผ์ ๋งค์ฐ ํฅ๋ฏธ๋ก์ ๊ณ ๊ณ ๋ฌด์ ์ด์๋ค. ๊ทธ ํ ์ฐ๋ฆฌ๋ ๊ทธ๋ํผํฐ, ์คํธ๋ฆฌํธ ์ํธ, ๊ทธ๋ํฝ ๋์์ธ, ์ผ๋ฌ์คํธ๋ ์ด์ ๋ฑ ๋ค๋ฅธ ๋ถ์ผ์ ์ํฐ์คํธ๋ค๊ณผ ํจ๊ป ๊ณต๋ ์์ ์ ํ์๋ ์์ด๋์ด๋ฅผ ๋ด๊ฒ ๋์๋ค. ๊ทธ๋ฆฌ๊ณ ๊ณง๋ฐ๋ก FOR CREW์ ํ์์ผ๋ก ์ด์ด์ง๊ฒ ๋์๋ค. ์ฌ๋ฌ ์ ๋ฌธ ๋ถ์ผ์ ๊ฑธ์น ์ฐ๋ฆฌ์ ๋๋ดํ ์ ๊ทผ์ด ๋ฐฉ์ฝ ์ํธ & ์ปฌ์ณ ์ผํฐ์์
์ด๋ฆฐ ๋ ๋ฒ์ ์ ์ํ์ ๋ฐฉ์ฝ๊ณผ ํ๊ตญ ๋ฑ์ง์์ ์ด๋ฆฐ ์ ๋ง์ ๋ผ์ด๋ธ ํ์ธํ ์ด๋ฒคํธ๋ก ์ด์ด์ก๋ค. 2010๋ ์ฐ๋ฆฌ์ ์ฒซ ์ ์๊ฐ ์ด๋ฆฐ ์ด๋, P7, Yuree Kensaku, Zids, Mamafaka, Kult, Cider, Nev3r, May-t, 01, Tawan Wattuya, Narissara Pianwimungsa, Rukkit Kuanhawej, Miss Ink, Logan Bay, Wanpracha SGR, TRK, Space Limo, Chip 7 ์ด์ ์ด ์ฌ๋ ๋ช ์ ๋ฉค๋ฒ๊ฐ ํจ๊ป ํ๋ํ๋ ์ง๋จ์ผ๋ก ์ฑ์ฅํ๊ฒ ๋์๋ค. Q. ์ ์ด๋ฐ ํฌ๋ฃจ๋ฅผ ๋ง๋ค๊ฒ ๋์๋? ์ด ํฌ๋ฃจ์ ๋ชฉ์ ์ ๋ฌด์์ธ๊ฐ? ๊ฐ๊ธฐ ๋ค๋ฅธ ์คํ์ผ์ ์ํฐ์คํธ๊ฐ ๊ฐ์ ์์ ์ ์์ ์ ๋ง์๊ป ํํํ๊ณ ์๋ ๊ทธ๋๋ก ์์ ์ ๋๋ฌ๋ผ ์ ์๋ค๋ฉด ๋งค์ฐ ํฅ๋ฏธ๋กญ๊ณ ์ฌ๋ฏธ์์ ๊ฒ์ด๋ผ ์๊ฐํ๋ค. ์ฐ๋ฆฌ ๊ทธ๋ฃน์ ์ํฐ์คํธ๋ค์ด ์์ ๋กญ๊ณ ์ฆํฅ์ ์ธ ๋ฐฉ์์ผ๋ก ์์ ํ ์ ์๋๋ก ์ง์ํ๋ค. ๊ทธ๋ค์ ์ด๋ค ์ผ์ ํ ํจํด์ด๋ ์ปจ์ ์์ด ์์ ๋ง์ ์ํ์ ๋ง๋ค ์ ์๋ค. ๋๋ FOR CREW๊ฐ ๋ค์ํ ๊ฐ์ธ์ ์ธ ์ํ๋ค์ ๊ฒฐํฉ์ด ์ ํ์ด๋ ๊ท์จ์ด ์๋ ํ๊ฒฝ์์ ํจ๊ป ์ฑ์ฅํ๊ธฐ๋ฅผ ์ํ๋ค. FOR CREW์ ๊ฐ ๋ฉค๋ฒ๋ค์๊ฒ๋ ๊ฐ๊ฐ ๋ค๋ฅธ ๊ฐ์ ์ด ์๊ณ , ๊ทธ๋ฃน์ผ๋ก ๊ทธ ์ฅ์ ๋ค์ด ํฉ์ณ์ง๋ฉด ์ฐฝ์์ ์ธ ํ์ด ํ๋๋๋ค. โํจ๊ป ํ๋คโ๋ ์ด ์ ์ ์ด ๊ฐ ๋ฉค๋ฒ๋ค์ ์์ ๊ณผ์ ์ ์ฐ๋ฆฌ์ ์๋ก์ด ๋ฐฉํฅ์ ์์ ์ด์์ผ๋ก ๋์์ด ๋์ด์๋ค. ์ด๋ฌํ ๊ธ์ ์ ์๋์ง๋ ๋น๋จ ์ฐฝ์์ ์ธ ์๋์ง์ ๊ทธ์น์ง ์๊ณ FOR CREW๋ ๋ฉค๋ฒ๋ค, ์๋ก๊ฐ ๊ฒฉ๋ คํ๊ณ ์กฐ์ธ์ ํด์ฃผ๋ ํ๋ ๊ฐ์กฑ์ ์ญํ ๋ ํ๊ณ ์๋ค.
์คํ์ผ์ ๋ฐ์ ๋ค์๋ค. ๊ทธ๋ฆฌ๊ณ ๋ ์ฐฝ์ ์ด๋ฉด์ ๋์๋์ ์ด๊ณ ๋งค์ฐ ํ๊ตญ์ ์ธ ์ ๋ฐฉ์์ผ๋ก ํจ๊ป ๋ น์ฌ๋ด๊ณ ์๋ค. ๋๋ ๊ทธ๋ ๋ฅผ ๋ง์ ๊ฐค๋ฌ๋ฆฌ ๊ฐ๊ด์์์ ๋ง๋ฌ์ง๋ง, ๊ทธ๋ ์ ๊ทธ๋ฆผ์ ๋ณธ ์ ์ ์์๋ค. ์ด๋ ๋ , ์น๊ตฌ ํ ๋ช ์ด ๊ทธ๋ ์ ๊ทธ๋ฆผ์ ํ์ด์ค๋ถ์ ์ฌ๋ฆฐ ๊ฒ์ ๋ฐ๊ฒฌํ๊ณ , ๋๋ ๊ทธ๋ ์ ์ํ์ ๊น์ ์ธ์์ ๋ฐ์ ๊ทธ๋ ๋ฅผ FOR CREWํฌ๋ฃจ์ ์ด๋ํ๋ค. Srinakharinwirot ๋ํ์์ ์ด๋ฆฐ ์์ ์ ์กธ์ ์ํ ์ผ๋ ๋งค์ฐ ์ธ์์ ์ด์๋ค. ๊ทธ๋ ๋ ๊ด์ ์์ ์ ํธ๋ ์ด๋ ๋งํฌ ๋์์ธ์ธ ํด๊ณจ, ๊ฝ, ์๋ฆ๋ค์ด ์ฌ์ฑ์ผ๋ก ๋ค๋ฎ์๋ค. ๊ทธ๋ ๋ ํญ์ ๋ ธ๋ ฅํ๊ณ ์๋ก์ด ๊ธฐ์ ์ ๋ฐฐ์ด๋ค. ๋ฏธ์ค ์ํฌ๋ ํ์ฌ ํํฌ ์ต์์ ์ค์ตํ๊ณ ์์ผ๋ฉฐ, ์๋ก์ด ๊ฐ๊ฒ๋ฅผ ์คํํ๊ธฐ ์ํด ์ ํ ๋ผ์ธ๊ณผ ์์์ ๊ฐ๋ฐํ๊ณ ์๋ค.
Logan Bay
Logan Bay ๋ ๋ด๊ฐ ์ฐธ๊ฐํ๋ ๋ฐฉ์ฝ ์ธ๊ณฝ์ ํ ์๋ฅ ๊ณต์ฅ์์ ์ด๋ ธ๋ apexart๊ฐ ํ์ํ ์ผ์์ ํ๋ ์ดํฐ๋ฅผ ๋งก๊ณ ์์๋ค. ์ฐ๋ฆฌ๋ ๋ ๋ค ์ธ์ต์ ๋ฒ์ด๋ ์์ ์ ์ฆ๊ธธ ์ ์๋ ๋ฐฉ๋ฒ์ ์ฐพ์ผ๋ฉฐ ์ํธ ์ผ์ ๋ํด ๋งค์ฐ ๋น์ทํ ์๊ฐ๊ณผ ์ปจ์ ์ ๊ฐ์ง๊ณ ์์๋ค. ๊ทธ์ ๊ฐ์ธ ์์ ์ ์ ์พํ๊ณ ์๊น์ด ํ๋ คํ๋ค. ๊ทธ๋ ํ ์ํธ ์คํ์ผ๋ก ์๊ตฌ ๋ฌธํ์ ํ๊ตญ ๋ฌธํ์ ๊ต์ฐจ์ ์ ํํํ๊ณ ์์๋ค. ์ฐ๋ฆฌ์ ์ฒซ ์ธ๊ตญ์ธ ๋ฉค๋ฒ๋ก์ ๊ทธ์ ์์ ๊ณผ ํ๊ตญ์ ๋ํ ๊ด์ ์ FOR CREW์๊ฒ ํ๋ฅญํ ๋ณดํฌ์ด ๋๊ณ ์๋ค. Logan ์ ํ๊ตญ์ ๋์๋์ ์์ ๊ณ๋ฅผ ์ง์งํ๊ณ ํ๋ณดํ๊ธฐ ์ํด ์์ ํ๊ณ ์๋ค. ๊ทธ์ ์๋ด Sandy์ ๋์์ผ๋ก ๊ทธ๋ค์ ํ๊ตญ์ ์ํธ๋ฅผ ๋ค๋ฃจ๋ ์ก์ง SUBPโขAโขROHT๋ฅผ ์ฐฝ๊ฐํ๋ค.
Q. FOR CREW๋ ์ด๋ค ์ข ๋ฅ์ ํ๋ก์ ํธ๋ฅผ ํ๊ณ ์๋? FOR CREW์ ํ๋ก์ ํธ๋ ์์ ๋ฏธ์ , ๋์์ธ, ๊ทธ๋ํผํฐ์ ์์๋ฅผ ํฌํจํ๊ณ ์๋ค. ์ฐ๋ฆฌ๋ ์๋ก ๊ณต์ ํ๊ณ ์๋ ์คํธ๋ฆฌํธ ์ํธ ๊ฐ์ฑ์ ์ํด ๊ฒฐํฉ๋ ๋ง์ ๋ค์ํ ์คํ์ผ๋ก ์์ ํ๋ค. ๋๊ท๋ชจ ๊ณต๊ณต ์ํ์ ํ๋ฉด์ ์ฐ๋ฆฌ๋ ๋์์ ๊ฑฐ๋ฆฌ์ ๊ฐค๋ฌ๋ฆฌ ์ ์ ๋ชจ๋์์ ํ์ ๋ฒ์ด๋ ์ํ์ ๋ง๋๋๋ฐ ์ด์ ์ ๋ง์ถ๊ณ ์๋ค.FORCREW์๊ฒฐ๊ณผ๋ฌผ์ํ์ฅ์์ผ๋๊ฐ๋ฉด์์์ผ๋ก์์ํ๋ก์ ํธ๋ค์์กฐ๊ฐํ์ ์, ์ ํ๊ณผ์ธํฐ๋ ํฐ๋ธ์ด๋ฒคํธ๋ฅผํฌํจํ๊ณ ์๋ค.์ฐ๋ฆฌ๋์ดํดํ๊ธฐ์ฝ๊ณ ,๊ณ ๋ฌด์ ์ด๋ฉฐ,์ฌ๋ฏธ์๋์์ ์ ๋ง๋ค๊ธฐ ์ํด ๋์์์ด ๋ ธ๋ ฅํ๊ณ ์๋ค.
067p
THE SOUND OF BANGKOK DRAGON
Q. ๋น์ ์ ์์ ์คํ์ผ์ ๋ํด ์ด์ผ๊ธฐํด๋ฌ๋ผ. House, techno, dubstep, drum โnโ bass ๋ฑ Dubwize ๋นํธ๋ผ๋ฉด ๋ค์ํ ์ข ๋ฅ๋ฅผ ํผ๋ค.
Q. ๋น์ ์ ์ํ์ ๋ํด ์๊ฐํด ๋ฌ๋ผ. ๋ด ์ํ์ ์ฌ์ค์ฃผ์, ์คํธ๋ฆฌํธ ์ํธ, ํ์ธํ , ๊ทธ๋ํฝ, ์คํ ์์ ์ ๊ฒฐํฉ์์ผ ๋์ ๊ฒ์ผ๋ก ์ค์ค๋ก โํ๋ฆฌ ์คํ์ผ ์ํธโ๋ผ๊ณ ๋ถ๋ฅธ๋ค. ๋๋ ํญ์ ๋ฌด์ธ๊ฐ๋ฅผ ๋ง๋ค์ด ๋ด๋ฉด์, ๋์์์ด ์์ ์ํ์ ๋งค๋ฌ๋ฆฌ๊ณ ์๋๋ฐ ํ ์ํ์ด ์์ฑ๋๋ฉด, ๊ณง๋ฐ๋ก ์๋ก์ด ์ํ์ด ์์ํ๋ค. ์ด๋ฏธ ํ๋ ๊ฒ์ ๋ํ์ด ํ์ง ์๋๋ค. ๋๋ ์๊น, ๋จ์ด, ์๊ฐ ์์ ์ ์ฌ์ฉํ๋ฉด์, ์ด์ค์ฑ๊ณผ ์ธ๊ฐ ๋ณธ์ฑ์ ๊น์ด์ ์ฐ๋ฆฌ ์ฃผ๋ณ ์ธ์์ ๋ํด ํํํ๋๋ฐ ๋ชฉ์ ์ ๋๋ค. ๋ง์ฝ ๋ด๊ฐ ์ด๋ฐ ๊ฒ๋ค์ ๋๋ด๋ ์๊ฐ ๋ด ์บ๋ฆญํฐ๋ ์ฃฝ๊ฒ ๋ ๊ฒ์ด๊ณ , ๋๋ ํ์์ ๊ธฐ๋ค๋ฆฌ๊ฒ ๋ ๊ฒ์ด๋ค.
MAMAFAKA
MAMAFAKA ๋ B.O.R.E.D.์์ ๊ทธ๋ํฝ ๋์์ธ ๊ณต๋ ์์ ์ผ๋ก ์ ์๋ ค์ ธ ์๋ค. ๊ทธ์ ์คํธ๋ฆฌํธ ์ํธ์ ๋ํ ๊ด์ฌ์ ์ค๋ก ๋๋จํด ๋๋ก ํ์ฌ๊ธ ๊ทธ๋ฅผ 2010๋ FOR์ ์ฒซ ์ผ์ ์ฐธ๊ฐํ๋๋ก ์ด๋ํ๊ฒ ๋ง๋ค์๋ค. ๋น์ ๋๋ ๊ทธ๊ฐ ์์ ์ ์์ ์ ์์ด ๊ทธ๋ํฝ์ ๋์ด์ ์บ๋ฆญํฐ์ ๋ฒฝํ ๋์์ธ๊น์ง ํ์ฅ์ํค๋๋ก ๊ฒฉ๋ คํ๊ณ ์ถ์๋ค. ๊ทธ๋ฆฌ๊ณ ๊ทธ ํด FOR CREW ์ผ์์ MMFK์ ์์ง์ ์บ๋ฆญํฐ์ธ ์ปค๋ค๋ ์ฝง์์ผ์ด ๋๊ณ ๋์ด ํ๋ ๋ฌ๋ฆฐ ํธ๋ณต์ญ์ด HELL YEAH ์จ๊ฐ ํ์ํ๋ค. ๊ทธ ์ดํ๋ก, HELL YEAH ์จ๋ ํฐ์ ์ธ , ํฌ์คํฐ, ๊ทธ๋ํผํฐ, ์ค์ผ์ดํธ ๋ณด๋์ ๋ฑ์ฅํ๋ฉฐ ๋ฐฉ์ฝ ์คํธ๋ฆฟ ์ํธ๋ฅผ ๋ํํ๋ ์์ด์ฝ์ด ๋์๋ค.
Tawan Wattuya
Tawan Wattuya๋ ๋ด ์ค๋ ์น๊ตฌ๋ค. ๊ทธ๋ ์์ ์์ ๊ณ์์ ์ธ์์ ์ธ ์์ฑํ๋ก ์ ๋ช ํ๋ค. ๋ฐฉ์ฝ์ ํฌํธ ์ต ๊ฐค๋ฌ๋ฆฌ, ๋ํต ๊ฐค๋ฌ๋ฆฌ, ํ ํ๋ ๋ฏธ์ ๊ด์์ ์ด๋ฆฐ ๋จ๋ ์ ์ํ๋ก ์ธํด ๊ทธ๋ ์ ์น์ ๋ถ์๊ณผ ์พ๋ฝ์ฃผ์์ ๋ช ๋ํ ์ ๋๊ฐ๋ผ๋ ํํ์ ์ป๊ณ ์๋ค. ๊ทธ์ ๋ ํนํ ์์ ๋ฏธ์ ๊ณ์ ๋ด๋ ฅ์ผ๋ก Tawan ์ FOR CREW์ ๋ค๋ฅธ ์ ๊ทผ๋ฒ์ ์ ์ฌํ๊ณ ์๋ค. FOR CREW์ผ์์ ์์ ํ๋ฉด์ ๊ทธ๋ ์ฒ์์ผ๋ก ๋๊ท๋ชจ ๋ฒฝํ ํ๋ก์ ํธ์์ ์์ ํ๊ฒ ๋์๋ค. Tawan์ ์ ๋ฝ๊ณผ ์์์ ์ ์ญ์์ ์ ์ํ๋ฅผ ์ด๊ณ ์๋ค.
Narissara
Narissara๋ ๋ฐฉ์ฝ์ ๊ฐค๋ฌ๋ฆฌ N์ ๋ํ๋ค. ๋๋ ํญ์ ๊ทธ๋ ๋ฅผ ๊ฐ๊ด์์์ ๋ดค์ง๋ง, ์๋ก ์ด์ผ๊ธฐ๋ฅผ ๋ง์ด ๋๋ ์ ์ ์์๋ค. FOR CREW์์ ์์ ์ ํ๋ฉด์ ๊ทธ๋ ๋ฅผ ์๊ฒ ๋์๋ค. ๊ทธ๋ ์ ํจ๊ป ์์ ์ ํ๊ณ ์๋ค๋ ๊ฒ ์์ฒด๊ฐ ๊ฐ์ธ์ ์ผ๋ก ์ข์ ๊ธฐํ๊ฐ ๋๊ณ ์๋ค. ๊ทธ๋ ์ ์ผ๋ฌ์คํธ ์คํ์ผ์ ๊ฟ๊ณผ ์ ์ฌ์์์ ์ค์ฌ์ ๋๊ณ ์๋ค. ๋ณดํต ํ์ธํ ๊ณผ ๋ชฉํ ์๋ฌ ์์ ์ ํ๋ Narissara๋ FOR CREW ์์ ์ฒ์์ผ๋ก ์์ ์ ์์ ์ ์ธ ๋ํผํ ๋ฆฌ์ ํ์ธํธ๋ฅผ ๋ฟ๋ฆฌ๋ฉฐ ๋ฒฝํ ์์ ์ ํ๋ค. ๊ทธ๋ ์ ์๋ก์ด ์ํ์ ์ฌ์ ์ ์์ฑํ์ ์์๋ฅผ ๊ฒฐํฉํ ๊ฒ์ด๋ค. Narissara์ ๋ํ์ ์ธ ๋ฌผ๋ฐฉ์ธ ๋ฌด๋ฌ ์์ ๋ค๋ฅธ ์ํ๋ค์ด ๊ทธ๋ ์ ์๋ก์ด ์น์ฌ์ดํธ, Etsy์ the Mellon Collie Shop ์์ ํ๋งค๋๊ณ ์๋ค.
TRK
Q. ์ธ์ ์์ํ๋๊ฐ? 8ํ๋ ๋ DJ deck์ ๊ฐ์ง๊ฒ ๋์๋๋ฐ ๊ฝค ์ค๋ ์ ์ผ์ด๋ค. Q. ์ฒซ ๋ฒ์งธ ํํฐ๋ ์ด๋ ๋๊ฐ? 1997/1998๋ ๋ ๋ฐฉ์ฝ์์ ๋ค๋ฅธ ๋ ์น๊ตฌ Mc Abu, DJ Wen๊ณผ ํจ๊ป DnB ํํฐ๋ฅผ ๊ฐ์ตํ๋ ค๊ณ ํ๋ค. ์ฒ์์ ์ฌ๋๋ค์ด DnB๋ฅผ ๋ณ๋ก ์ข์ํ์ง ์์๊ณ ์ง๊ธ๊ฐ์ด ๋๊ธฐ๊น์ง ์๊ฐ์ด ๊ฑธ๋ ธ๋ค. ์์ฆ์๋ โDUBWAY SESSIONSโ์ด๋ผ๊ณ ํ๋ dubstep/bass night๋ฅผ ๋งค ์ ๊ธฐํํ๊ณ ํ๋ณดํ๋ ์ค์ด๋ค. ์ ์ผ ์ฒ์ ํ๋ ๋๊ฐ 4๋ ์ ์ธ๋ฐ, ๊ทธ ๋น์์๋ ducbstep์ ์ข์ํ๋ ์ฌ๋์ด ๊ฑฐ์ ์์๋ค. ์ง๊ธ์ ์ด๋ ์ ๋ ์ฑ์ฅํ๋ค. Q ๋ฐฉ์ฝ์์ drum โnโ bass, dubstep ์ฅ๋ฅด๋ฅผ ๊ฑฐ์ ์ฒ์ ๋ง๋ ๊ฒ์ผ๋ก ์ ๋ช ํ๋ค. ์ด๋ฐ ์ฅ๋ฅด์ ์์ ์ฌ์ ์ด๋ค๊ฐ? ์ฌ๋๋ค๋ ์น์ ํ๊ณ ๋๋ถ๋ถ ํด๋ฝ ๋ถ์๊ธฐ๋ ์ข์์ ๋ฐฉ์ฝ์ ์ข์ํ๋ค. ์ฒ์ ์์ํ์ ๋๋ DJ๊ฐ ๊ฑฐ์ ์์๋ค. ์์ฆ์ ์จ๊ฐ ์ข ๋ฅ์ ๋นํธ๋ฅผ ๊ฐ์ง๊ณ ๋ ธ๋ ๋ฐ์ด๋ DJ๋ค์ด ๋ง๋ค. Thailand์๋ ์ฌ๋ฅ ์๋ ๋ฎค์ง์ ๋ค์ด ํ๋ฆฌํฐ ์๋ ์์ ์ ์๋น์ ๋ง๋ค๊ณ ์๋ค. ํ์ง๋ง ์ฐ๋ฆฌ ์์ ์คํ์ผ์ ํ์ง์ญ์ ์๋ฆฌ๋ ค๋ฉด ์๊ฐ์ด ์ข ๊ฑธ๋ฆด ๊ฒ ๊ฐ๋ค. Q. ์์ธํ ์ด์ผ๊ธฐํด ์ค ์ ์๋? ๋ฅ๋ ฅ ์๋ ํ๋ก๋์๋ค์ ๋ง๋ค. ํ์ง๋ง UK, USA ์์ฅ์์ ์๋ฐ๊ณ์ฝ์ ํ๊ณ ํ๋ ๊ฒ์ ์ฌ์ ํ ํ๋ค๋ค. ์์ฅ์ด ๋ ๊ฒฝ์์ ์ด๊ธฐ๋ ํ๊ณ , ์ง์ ํ๋ ๊ฒ ์์ฒด๊ฐ ์ด๋ ต๋ค. Maft Sai๊ฐ์ ์น๊ตฌ๋ ๊ฐ์ฑ์ด ๊ฐํ์ง๋งEurope๊ณผJapan์์์ํ๋ฆฌ๊ณ ์๋ค.Drumโnโbass,dubstep,techno๊ฐ์์ผ๋ ํธ๋ก๋ ๋ฎค์ง์ ํ๋ ๋ค๋ฅธ ์น๊ตฌ๋ค ๊ฒฝ์ฐ์๋ ์ค๋ ฅ์ด ์์ง๋ง, ์๋์ ์ผ๋ก ์ ๋ช ํ ํ๋ก๋์์ ๊ฒฝ์ํ๊ธฐ ์ด๋ ต๋ค. ์ผ๋ ํธ๋ก๋ ์์ ์ ์ฅ๋จ์ ์ด ์๋ค. ๋๊ตฌ๋ ํ ์ ์๊ธฐ ๋๋ฌธ์ ๋ฐ๋ชจ๋ฅผ ๊ฐ์ง ์๋ง์ ํ๋ก๋์ ์ง๋ง์์ด ์์ง๋ง, ๋ ์ด๋ธ ์ ์ฅ์์๋ ์ฌ๋ง์์ ๋ฐ๋์ฐพ๊ธฐ ์์ค์ด๋ค. Thai์ ๋๋จ์์์ ํ๋ก๋์๋ค์ด ํ์ํ ๊ฒ์ ์ฌ์ ์ฐ์ค๊ณผ ์ด ์ฌ์ ํค์์ฃผ๊ณ ์ ํ๋ ์ฌ๋๋ค์ด๋ค. Q. ๋ฐฉ์ฝ์ ํํฐํผํ์ด ํน๋ณํ ์ข์ํ๋ ์ฅ๋ฅด๊ฐ ์๋? ๋ด ์๊ฐ์, ๋ถ์๊ธฐ๊ฐ ํธํด์ ์ฌ๋๋ค์ด Dubway์ค๋ ๊ฒ์ ์ข์ํ๋ ๊ฒ ๊ฐ๋ค. ๋ค์ํ ์์ ์ ๋ฐฑ๊ทธ๋ผ์ด๋๋ฅผ ๊ฐ์ง ๊ฒ์คํธ DJ๋ค์ด ์ค๊ธฐ ๋๋ฌธ์ Dubway์๋ ํญ์ ํน๋ณํ ๋ญ๊ฐ ์๋ค.
TRK๋ ํผํฌ์ฑ์ด์ ๋ค์ ๋ณํ์ ์ธ ํ๋ฐฑ ์ฝํ๋ก ์ ์๋ ค์ ธ ์๋ค. ๊ทธ๋ ๋ฐฉ์ฝ์์ ๋๋ผ & ๋ฒ ์ด์ค, ๋ฅ์คํ ์ ์งํฅํ๋ ํ์ง ํด๋ฝ ๋์ดํธ ๋ฅ์จ์ด์ ๊ทธ๋ํฝ ๋์์ธ์ ํ ๊ฒ์ผ๋ก ์ ๋ช ํ๋ค. ์ ๋ น, ๊ดด๋ฌผ, ํํฐ์ ์คํ์ผ์ ๋งค๋ฃ๋์ด ์๋ TRK๋ ๋ํดํ ์ํ์ ํตํด ์ด๋์ด ๋ฉด์ ํํ๋ ๊ฒ์ ์ฆ๊ธด๋ค. ๊ฐ์ธ์ ์ผ๋ก ๋๋ TRK์ ์ ํต์ ์ธ ์์ ํ์์ ๋ํ๋๋ ์์จ ๋๋ฌธ์ ํญ์ ๊ทธ์๊ฒ ๊ฐํ ์ธ์์ ๋ฐ์์๋ค. TRK๋ ์์ผ๋ก ๊ทธ๋ฆผ์ ๊ทธ๋ฆฌ๊ณ ์ค์ผ์น๋ฅผ ๋ ๋ง๋ค ์ฐ์ตํ๋ค. ๊ทธ๋ ์ฐ๋ฆฌ ๊ทธ๋ฃน์์ ๊ฐ์ฅ ์ด์ฌํ ์์ ํ๋ ์ํฐ์คํธ ์ค ํ๋๊ณ ํญ์ ๊ธฐ๊บผ์ด ๋ค๋ฅธ ์ฌ๋๋ค์ ์์ ์ ๋๋๋ค. ์ต๊ทผ TRK๋ ํ๋ ๋์ค ์ค์ผ์ดํธ์ต๊ณผ ํจ๊ป ์ฑ๊ณต์ ๊ฑฐ๋ ์ค์ผ์ดํธ ๋ฑ ์๋ฆฌ์ฆ, ํฌ์คํฐ, ํฐ์ ์ธ ๋ฅผ ๋ง๋๋ ์์ ์ ์งํํ๋ค.
Q. ์์ ๋ ์ ์ํ๋๊ฐ? ์๋ฐ์ ์ ๊ฒฝํ์ ํ๋ฒ๋ ์์ง๋ง, Thailand์์ Homebass Communications Lable์์ ์๋ฐ์ ๋ธ ์ ์ด ์๋ค. Asian drum โnโ bass ์ปดํ๋ ์ด์ ์จ๋ฒ๊ณผ ์ผ๋ณธ ํ๋ก๋์ DJ.Yas์ EP๋ฅผ ๋๋ค. ์ฌํด ๋ค๋ฅธ ์ปดํ๋ ์ด์ ์จ๋ฒ๋ ์ค๋น ์ค์ด๋ค.
Rukkit
MAFT SAI
Rukkit๋๋๋จํ์๋ จ๋๊ทธ๋ํฝ์ํฐ์คํธ๋ค.๊ทธ๋์ธํฌ๋งคํ,ํ์ดํฌ๊ทธ๋ํผ,๋ ์ด์์๋์์ธ์ผ๋ก ๋ฐฉ์ฝ ๋ด์ ์ ์๋ ค์ ธ ์๋ค. ๋๋ ๊ทธ์ ์น๊ตฌ์ด์ ๋จ๊ณจ ํ๋ ฅ์์ธ MMFK๋ฅผ ํตํด Rukkit๋ฅผ ๋ง๋๊ฒ ๋๋ค. FOR CREW์์ ์์ ํ ๊ฒ์ด Rukkit๋ก ํ์ฌ๊ธ ์์ ์ ๊ฐ๋ ฅํ ๋์์ธ๊ณผ ์บ๋ฆญํฐ๋ฅผ ํผํฉํ๋๋ก๋ง๋ค์๋ค.์๋ก์ดํ ํฌ๋์๊ฐ๋ฐํ๋ฉด์,Rukkit๋์์ ์์ํ์๋ง๋ค์ด๋ด๋๋ฐ์ฐ์ด๋ ํ๋์ ์์๋ก ๋ ์คํ ์ค ์ธ์ ์์คํ ์ ๋ง๋ค์๋ค. ๊ทธ๋ ํ์ฌ ๋ชฉํ์ ์ธต์ผ๋ก ๋ง๋ค์ด ์กฐ๊ฐ์ด๋ผ๋ ์๋ก์ด ๋ฐฉํฅ์ ์์ ์ ์งํํ๊ณ ์๋ค. 2011๋ ์ Rukkit์ MMFK๋ ๋์์ด๋ ์ก์ธ์๋ฆฌ ๋ธ๋๋์ URFace๋ผ๋ ๊ฐ๊ฒ๋ฅผ ๋ก ์นญํ๋ค.
Miss Ink
Miss Ink ๋ FOR CREW์ ๊ฐ์ฅ ์ด๋ฆฐ ๋ฉค๋ฒ๋ค. ๊ทธ๋ ๋ ํํฌ ์ํธ์ ์ํฅ์ ๋ฐ์ ๋นํฐ์ง ์คํจ ์ํธ
Q. ์ข์ํ๋ ํด๋ฝ์ด ์๋? Cafe Democ!!! ํญ์ ์ฌ๋๋ค์ด ์ ๋๊ณ ๋ถ์๊ธฐ๋ ์ต๊ณ ๋ค.
Q. ZudRangMa ์ ๋ฌธ ๋ ์ด๋ธ ๋ฐ ๋ ์ฝ๋์ฌ๋ฅผ ์ด์ํ๊ณ ์๋ค. ์ด๋์ ๊ฐ์ฅ ์ค์ ์ ๋๊ณ ์๋? ์ธ๊ณ ๊ฐ์ง์์ ๊ทผ์์ด ๋๋ ๋ฃจํธ ๋ฎค์ง์ ์๋ณธ์ ๊ธฐ๋กํ๊ณ ์ฌ๋ฐ๊ฐํ๋๋ฐ ์ค์ ์ ๋๋ค. ์ฃผ๋ก ํ๊ตญ์ luk thung ๊ณผmolamqnxj๋ถํฐ afrobeat, Jamaican roots music ์ด๋ฅด๊ธฐ๊น์ง ๋ค์ํ๋ค. Q. luk thung ๊ณผmolam์ ๋ํด ์๊ฐํด๋ฌ๋ผ. Luk thung ๊ณผ molam์ ํ๊ตญ์ ๋ค๋ฅธ ์ง๋ฐฉ์์ ์ ํด ๋ด๋ ค์ค๋ ์ ํต์์ ์คํ์ผ์ด๋ค. Luk thung์ ๊ธฐ๋ณธ์ ์ผ๋ก ํ๊ตญ ๋ฏผ์์ด๋ค. ์ฉ์ด๋ ๋ฌธ์ ๊ทธ๋๋ก ๋ ผ๋ฐญ์ ์ด๋ฆฐ์ด๋ค์ ๋ ธ๋๋ฅผ ์๋ฏธํ๋ pleng luk thung๋ฅผ ์ค์ฌ์ด ๊ฒ์ด๋ค. Molam์ ํ๊ตญ ๋ถ๋๋ถ ์ง๋ฐฉ์์ ๋ด๋ ค์ค๋ ์ ํต์์ ์ด๋ค. ๋ฐฉ์ฝ ๊ฐ์ ํ๊ตญ ๋ถ๋ถ์ ๋จ๋ถ๋ ์์ ์คํ์ผ์ด ์์ ํ ๋ค๋ฅด๋ค. 70๋ ๋์ Luk thung ์ด ์ข ๋ ๊ฒฝ์พํ ๋ฐ๋ฉด molam ์์ฅ๊ฐ๊ฐ์ด ๋๋ฆฌ๋ค.
161
Q. ๋ชจ๋ ์๋ ์์ ์คํ์ผ์ด๋ค. ๊ทธ๋ ๋ค. ๋ ๋ค ๋ง์์ถ์ ์์ ๋น๋กฏ๋์๋ค. Luk thung์ 20์ธ๊ธฐ ์ด๋ฐ๊น์ง ๊ฑฐ์ฌ๋ฌ ์ฌ๋ผ๊ฐ๊ณ , molam ์ ๋ ์ค๋๋์๋ค. ์ฒซ ๋ฒ์งธ ๋ น์์ 1966๋ ์ ๋์๋ค. Cambodia, Burma , Vietnam์์๋ ๊ณต์ฐ ์ ๊ถ์ด ๋๋ถ๋ถ์ ๊ธฐ๋ก์ ๋ถ๋ฃจ์ฃผ์์ ์์ง์ผ๋ก ๋ณด๊ณ ์์ ๋ฒ๋ ธ๋ค. ๋คํํ๋ ํ๊ตญ์์๋ ์ด๋ฐ ์ผ์ด ์ผ์ด๋์ง ์์์, ์ฌ์ ํ ๊ธฐ๋ก์ ์ฐพ์ ์ ์๊ณ ์๋ก์ด ์คํ์ผ๋ก ๋์๊ฐ ์ ์์๋ค. ๊ทธ๋ฐ ์ ํต์์ ๊ณผ ํํฌ, ๋์ค์ฝ, ์ฌ์ฆ๋ฅผ ๋ ํนํ๊ฒ ์์ ์คํ์ผ์ Thai Funk๋ผ๊ณ ๋ถ๋ฅธ๋ค. Q. ์ด๋ฐ ์ค๋๋ ๋ ์ฝ๋๋ฅผ ์ด๋์ ์ฐพ์๋๊ฐ? ์, ์ผ๋จ ์ง์ ์ฐพ์์ผ ํ๋ค. ํ์ํ๋ค๋ฉด ๋ง์๊น์ง ์ฐพ์๊ฐ๊ธฐ๋ ํ๊ณ ๋ชจ๋ ๊ณณ์ ๋ค๋๋ค. ๋ง์ฒ๋ผ ์ฝ์ง ์๋ค. ํ๋ฒ์ ํ๊ตญ๊ณผ Laos ๊ตญ๊ฒฝ์ ๋ ์ฝ๋ ์ฝ๋ ์ ์ด ์๋ค๊ณ ๋ค์๋ค. ๊ทธ๊ณณ์ ๋์ฐฉํ๋๋ ๊ทธ ๊ณณ ์ฃผ๋ฏผ์ด ์ง ์ง์ ๊ณต๊ฐ์ด ํ์ํด์ ๋ช ์ผ ์ ์ 30,000 ์ฅ์ ๋ ์ฝ๋๋ฅผ ํ์ ๋ค๊ณ ํ๋ค Q. ๋ ์ฝ๋ ๊ฐ๊ฒ์, ๋ ์ด๋ธ, ํํฐ๋ฅผ ๋ชจ๋ ํ๋๋ฐ ์ด๋ป๊ฒ ์์๋์๋๊ฐ? ๋ชจ๋๋ค ZudRangMa Records ๋ผ๋ ๋ ์ด๋ธ์ ๊ฐ์ง๊ณ 2007๋ ์ ์์๋์๋ค. ๋จผ์ ์ ๋ฝ์์ ์ด๋ฐ ์ฅ๋ฅด๋ฅผ ์ปดํ๋ ์ด์ ํํ๋ก ์ฌ๋ฐ๊ฐํ๋ค. ๊ทธ ์ค์๋ โThe Sound of Siam : Leftfield Luk Thung, Jazz & Molam in Thailand 1964 - 1975โ on Soundway, โThai? Dai! The Heavier Side of the Luk Thung Undergroundโ on Finders Keepers ์จ๋ฒ์ด ์๋ค. Q.ํํฐ๋์ด๋ค๊ฐ?2009๋ ๋ถํฐ์ฐ๋ฆฌ๋โParadiseBangkokโ์๊ฐ์ตํ๋ค.๊ทธ๋์๋ชจ์์๋์์ ์ ์ฃผ๋ก ํ์๋ค. ์ฒ์์๋ ๋นํฐ์ง ์ฌ์ด๋, ์๋ฉ์ด์นด ์์ , afrobeat, ํํค์คํ ์์ , Mali ๋ฑ์ ์๋ฆฌ๊ณ ์ถ์๋ค. Q. vinyl๋ง ๋ค๋ ค์ฃผ๋๊ฐ? ๊ทธ๋ ๋ค. ์ฐ๋ฆฌ๋ vinyl ์๋ณธ์ ํผ๋ค. Q. ํ๊ตญ์ ๋งค๋์๋ค์ ์ํ ์ปค๋ฎค๋ํฐ๊ฐ ์๋? ์๊ฐ์ด ํ๋ฅด๋ฉด์ ๊ท๋ชจ๋ ์ค์์ง๋ง, ๋ ์ข์์ก๋ค. ๋ง์ ์๋๋ค์ด ์ธ๊ตญ์์ ์๊ณ , ํ๊ตญ์๋๋ค์ ์ต๊ทผ์ ์ค๊ธฐ ์์ํ๋ค. ๋ ์ด๋ฐ ํ์์ ๋ ํฐ ๋งฅ๋ฝ์ผ๋ก ๋ณด๋ ค๊ณ ํ๋ค. ๋ง์ฐฌ๊ฐ์ง๋ก ํ๊ตญ์์ Seattle์ โLight in the Atticโ ๋ ์ด๋ธ์์ ํ๊ตญ์ธ ํ๋ก๋์ ์ ์คํ์ ์์ ์ ์ฌ๋ฐ๋งคํ๋ค๋ ๊ฑธ ์์ง ๋ชจ๋ฅด๊ฒ ๋ค. Q. ์์ผ๋ก์ ๊ณํ์? ์ง๊ธ ๋น์ฅ์ 3์๋ง ๋์ฌ molam๊ณก์ ๋ชจ์ ์๋ก์ด ์ปดํ๋ ์ด์ ์จ๋ฒ์ ์ค๋น ์ค์ด๋ค. 2์๋ง์ โParadise Bangkokโ 3์ฃผ๋ ๊ธฐ๋ ํํฐ๋ฅผ ํ๋ ค ํ๋ค.
MONTONN JIRA
Q. ๋น์ ์ ์์ ์คํ์ผ์ ๋ํด ์ด์ผ๊ธฐํด๋ฌ๋ผ. DJ๋ก์ minimal techno ์ฅ๋ฅด์ tech-house์ฌ์ด๋ฅผ ๋๋๋ ๋ค. ์๊ณก๊ฐ๋ก์๋ ์ต๊ทผ์ ํ๋ฆ๋ฎค์ง์ ๋น ์ ธ์๋ค. ๋๋ ๋์ค์์ ์ ๋งฅ๋ฝ์ผ๋ก ์์ ์์ soundscapes์ textures๋ฅผ ํํํ๊ณ ์ถ๋ค. Q. ์ฒซ ๋ฒ์งธ ํํฐ๋ ์ด๋ ๋๊ฐ? ํ๋ก๋ชจํฐ๊ฐ ๋๋ฅผ ๋ค๋ฅธ ์ฌ๋์ผ๋ก ์ฐฉ๊ฐํ๊ณ New York Meatpacking District ์ง์ญ์ ์๋ก ์ด๋ฆฐ ๋ผ์ด์ง DJ๋ฅผ ํด์ฃผ์ง ์๊ฒ ๋๋๊ณ ๋ฌผ์๋ค. ๊ทธ ๋๊ฐ 2003๋ ์ด์๋๋ฐ ์ด์ ์ ํ๋ฒ๋ ๋์ ์ ํด ๋ณธ์ ์ด ์์๋ค. ๋น์ฅ New York์ผ๋ก ๊ฐ์ ํด๋ณด๋ฉด ๋์ง ์ถ์๋ค. ์ฅ์๋ ์์์ฅ์ฒ๋ผ ์๊ธด ๊ณณ์ด์๋ค. ์จ๊ฐ ์ข ๋ฅ์ ์์ ์ ํ๋ฉด์ ๋์์ ์ด๋ค ์ํํธ์จ์ด๋ฅผ ์ฐ๊ณ ์๋์ง ์ฐพ์์ผ ํ๋ค. ๊ธฐ์ต์ ์ ๋์ง๋ง ์ง์ง ์๋ง์ด์๋ ๊ฒ ๊ฐ๋ค. Q. ์ฒ์ ์ธํฐ๋ทฐ๋ก ๋ง๋ฌ์ ๋, ์์ ํ๋ค๊ณ ๋ค์๋ค. ์ด๋ค ๊ฒ์ธ๊ฐ? Slot Machine์ด๋ผ๋ ๋ก๋ฐด๋ ์จ๋ฒ์ ํ๋ก๋์ฑํ๋ค. ๊ธฐ์กด์ ๋ฐ๋งค๋ ์จ๋ฒ๊ณผ๋ ๊ฝค ๋ฌ๋๊ณ ์ค์ ๋ก ์๋ ๋ง์ด ํ๋ค. ๊ทธ ๋ ๋ฐค ์ง์ญ์ผ์์ ์ฌํด์ ์จ๋ฒ๊ณผ ์ฌํด์ ๋ฐด๋ ์์ ํ๋ค. ์ ํ ๊ธฐ๋ํ์ง ์๊ณ ์์ด์ ๊ฝค ์ข์๋ค. ์จ๋ฒ์ด ํน๋ณํ ์ฅ๋ฅด์ ๋ง์ ๋จ์ด์ง์ง๋ ์์ง๋ง, ์ฐ๋ฆฌ๊ฐ ์๋์ค๋ฌ์ ํ๋ ๋ฌด์ธ๊ฐ๋ฅผ ๋ง๋ค๊ธฐ ์ํด์ ๋ ธ๋ ฅํ๋ค. Q. ๋์ ์๊ณผ ํ๋ก๋์ฑ ์ค์์ ๋ฌด์์ด ๋ ์ค์ํ๊ฐ? ๋์ ์๋ณด๋ค๋ ์์ ์ ์ฐ์ฃผํ๊ณ ๋ง๋ ์ง๊ฐ ๋ ์ค๋ ๋์ด ํ๋ก๋์ ์ด ์ข ๋ ์ค์ํ ๊ฒ ๊ฐ๋ค. ํ๋ก๋์ ํ ๋๋ Non-dance์์ ๋ ์์ ํ๊ณ ๋ค์ํ ์ฅ๋ฅด๋ฅผ ๋ง์ด ์ฐพ์๋ณธ๋ค. ๋ฐ๋ฉด ๋์ ์ ํ ๋๋ ํด๋ฝ ์ธํ ์ด ์ด๋ป๊ฒ ์๋ํ๋์ง ์๋ ํธ์ด๊ณ , ๊ทธ๊ฑธ ๋ฐ๋ฅด๋ ํธ์ด๋ค. ํ์คํ ๋ ๊ฐ์ง ์์ญ ๋ชจ๋ ํจ๊ป ํด์๊ณ , ์ต๊ทผ 2๋ ์ฌ์ด์๋ ๋์ ์ด๋ก์ ๋ ์๋ ค์ง ๊ฒ ๊ฐ๋ค. ํ๋ก๋์๋ผ๋ฉด ๋์ค์์ ์ ์ง์ ๊ฐ์ง๊ณ ๋์ ๊ณต์ฐํ๊ณ , DJ๋ ํ ๋จ๊ณ ๋์์ง๋ ค๋ฉด ์์ ์ ์ด๋ป๊ฒ ํ๋ก๋์ฑํ๋์ง ๋ฐฐ์์ผ ํ๋ค. Q. ์์ ์ธ์ ์ฌ๋ฌ ๊ฐ์ง ์ฝ๋ผ๋ณด๋ ์ด์ ์ ํ๋ ๊ฒ ๊ฐ๋ค. ๋ ํ๋ ์์ ์ด ์๋? 9์ด ์ดํ๋ก ์ํฐํ ์ธ๋จผํธ ์ฐ์ ์์ ๊ณ์ ์ผํ๊ณ ์๋ค. TV๋๋ผ๋ง, ๊ฒ์์ผ, ํ ํฌ์ผ, ๋จํธ์์, ์ฅํธ์ํ, ๋ธ๋๋๋ฅผ ์ํ ๋๋ ํ , ์ด๋ฒคํธ ํ๋ ์ดํ ๋ฑ ์ ํด๋ณธ ์ผ์ด ์๋ค. ์์ญ์ด ๋ค์ํด์ง๋ฉด์ ์ผ์ด ์ ํ๋ ธ๋ค. ๊ทธ๋๋ 10๋ ๊ฐ ๊ฐ์ฅ ์ค์ํ๋ ๊ฒ์ ์์ ์ด๊ณ ์์ผ๋ก๋ ๋ค์ํ ํ๋ก์ ํธ๋ฅผ ํ๋ฉด์ ๋ด ๊ธธ์ ๊ฐ ๊ฒ ๊ฐ๋ค. Q. ์์ ์ Seoul์์ ๊ณต์ฐํ ์ ์ด ์๋ค. ๋ฐฉ์ฝ๊ณผ ์์ธ ๊ด๊ฐ๋ค์ด ๋ค๋ฅธ ์ ์ด ์๋ค๋ฉด? ํน๋ณํUnjin Yeo๊ณผ Mang Esilo, ECI Crew๋๋ถ์ ์์ธ์์ ๊ณต์ฐํ๊ฒ ๋์๋ค. ์์ธ ๊ด๊ฐ๋ค์ด ์ข๋ ์ ๊ทน์ ์ด๋ค. ์๋ง ์ด๋ฐ ์์ ์ฅ๋ฅด๊ฐ ํฌ๊ณ DJ๋ฅผ ์ฆ๊ธธ ์ค ์๊ธฐ ๋๋ฌธ์ธ ๊ฒ ๊ฐ๋ค. ๋ฐฉ์ฝ์ ๊ฒฝ์ฐ ๊ทธ๋ฐ ๋ถ๋ถ์ด ์กฐ๊ธ ๋ถ์กฑํ๋ค. ๋ด๊ฐ ์ถ๊ตฌํ๋ ์์ ์ ์ด ์์ง ์๊ธฐ๋ ํ๊ณ . ๊ทธ๋ ์ง๋ง ๋ณํํ๋ ค๊ณ ์ต์ ์ ๋คํ๊ณ ์๋ค. Q. Korea์์ ๋ค์ ํ๋ฒ ๊ณต์ฐ์ด ์์๊น? ๋ด ์จ๋ฒ์์ ์ ์ ๋๋ด๊ณ ์ฌํด ํ๋ฒ ๋ ๊ณต์ฐ์ ํ๋ฒ ๋ ํด๋ณด๊ณ ์ถ๋ค.
Mix Architekt
Q. ๋น์ ์ ์์ ์คํ์ผ์ ๋ํด ์ด์ผ๊ธฐํด๋ฌ๋ผ. ๊ฑด๊ฐํ๊ฒ ๊ท ํ ์๋ ์ํ์ ํ๋ ค๋ฉด, ์ฌ๋์ ๋ค์ํ ์์์ ๋จน๊ณ ํ๊ฒฝ์ ์ ์ํด์ผ ํ๋ค. ๋งค์ผ ๊ฐ์ ์์๋ง ๋จน๋ค ๋ณด๋ฉด ์์์ค์กฐ๋ ๋ฌผ๋ก ์ํ๊ฒ ๋๋ค. ๋ทํ์์ ๋ค์ํ ์์์ ๋จน๋ฏ์ด ๋๋ ๋ค์ํ ์ฌ์ด๋๋ฅผ ๊ณต์ฐํ๊ณ ๋ฃ๊ณ ์ถ๋ค. ๋ง์ฝ ๋ด๊ฐ ํ๋ ๋ชจ๋ ๊ฒ์ ์์ฐ๋ฅด๋ ์ฅ๋ฅด๊ฐ ์๋ค๋ฉด, Dub์ผ ๊ฒ ๊ฐ๋ค. ์ํ ์ฌ์ด์ ๊ณต๊ฐ์ ๋ฃ๊ณ ๋ฅ ๋๋ ์ด ์ฌ์ด์ ๋ถ์๊ธฐ๋ฅผ ๋ฐ๊พธ๊ณ ์คํ ๋ ์ค ๋ฆฌ๋ฒ๋ธ๋ก ์ ํํ๋ค. Dub์ ์ต์ํ ๊ณต๊ฐ์์ ๋ฏธ์ง๋ก ์ด๋ํ๋ ์ถ์ ์๋ช ๋ ฅ์ด๋ค. Q. ์ธ์ ์์ํ๋๊ฐ?
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๋ 70๋ ๋ ์ค๋ฐ ๋ถ๋ชจ๋ ์ธ๋๋ค์ ์์ ์ ๋ค์ผ๋ฉฐ ์๋๋ค. ๋ผ๋์ค, ์ฝ์ํธ๋ ์๊ธฐ์น ๋ชปํ ์ผ๋ค์ ํตํด์ ๋ด๊ฐ ๊ด์ฌ์ด ์๋ค๋ ๊ฒ์ ์์๋ค. ์ด๋ฑํ๊ต ์ ์ฌ ์๊ฐ์ ๋ ๊ฒ ์ฌ์ด๋๋ฅผ ๋ฃ๋ค๊ฐ ๋ณธ๋ฅ์ ์ผ๋ก ๋ฒ ์ด์ค์ ๋๋ ธ๋ค. ์น๊ตฌ๋ค๊ณผ ๋ฌด๋ ์์์ ๋ฒ ์ด์ค ๋ผ์ธ์ ์ซ์ ๋ฃ๊ณ , ์ฐ์ฃผ๋ ํ๊ณ , ๋ฃ๊ธฐ๋ ํ๋ค๊ฐ ๊ฒฐ๊ตญ์ ์คํ๋์ค์์ ์์ ํ๊ฒ ๋์๋ค. Q. ๋น์ ์ ์ฒซ๋ฒ์งธ ํํฐ๋ ์ด๋ ๋? ๋ด๊ฐ ์ฒ์ ๋์ ์์ ํ๋ ๊ณณ์ ์ฐ์ ๊ณต๋จ์ ์๋ ์ฐฝ๊ณ ์๋ค. ์ง์ญ์ ๋ ์ฝ๋ ๊ฐ๊ฒ๊ฐ ํ๋ ์ธ๋๊ทธ๋ผ์ด๋ ํํฐ์๋๋ฐ, ๋ฒฝ ๋ฉด์ ์จํต ์คํผ์ปค๋ก ์ฑ์ฐ๊ณ ํ๋ฆ ๋ฃจํ ํ๋ก์ ํฐ๊ฐ ์ ์ผํ ์กฐ๋ช ์ด์๋ค. ๋ด ์์ ์ ์์ํ ํํธ๊ฐ ๋๊ธฐ๋ ํ ํค๋น ํ ํฌ๋ ธ๋ฅผ ๋์ ์ํ๋ค. ์ต์ํ์ ์กฐ๋ช ์ ๊ณ ์์ง ๋ฒ ์ด์ค ์ฌ์ด๋ ์์คํ ์ ๊ฐ์ถ ํ๊ฒฝ์ ์ด๋ฒคํธ๋ฅผ ์ํด ๋ด๊ฐ ๊ฟ๊ฟ์๋ ๊ณต๊ฐ์ด์๋ค. Q. Allen & Heath Asia ํ ํฌ๋๋ก์ง ๋ํ๋ก ์ผํ๋ ๊ฒ์ด ๋์ ์๊ณผ ์๋ฐ์ ์์ ๋ํ ๋น์ ์ ๊ด์ ์ ์ํฅ์ ์คฌ๋๊ฐ? ์ญ์ผ๋ก ๋์ ์๊ณผ ์๋ฐ์ ์์ ๋ํ ๋ด ๊ด์ ์ด Allen & Heath์ ์ํฅ์ ์คฌ๋ค๊ณ ํ๋ ํธ์ด ๋ง๋ค. ๋ ๊ฐ์ง ๋ชจ๋ ๋ค์ด๋ด๋ฏนํ๊ณ ์ํธ์ ์ธ ๊ด๊ณ์ด๋ค. ์ํธ์์ ๋์ค๋ ๊ฒฐ๊ณผ๋ฌผ์ด ๋งค์ฒด์ ์๊ด์์ด ํํ์ด๋ ํด์์ ๋์จ๋ค๊ณ ํ ์ ์์๊น? ๋ ๊ฐ์ง ์์๋ ๊ฒฐํฉ๋์ด์๊ธฐ ๋๋ฌธ์, ์ฐ๋ฆฌ๋ ๋ ์ข์ ๋ฐฉํฅ์ ์ํด์ ์ด์ ์ ๊ฐ์ง๊ณ ํ๊ณ ์ถ๋ค. ์ํฐ์คํธ์๊ฒ ๊ทธ๋ค์ ๋น์ ผ์ ์ปค๋ฎค๋์ผ์ดํ ํ๋๋ฐ ์์ด์ ์ํฐ์คํธ๋ค์๊ฒ ๋ง๋ ํด์ ์ ๊ณตํ๊ณ ์ถ๋ค. Q. ๋ค๋ฅธ ๋์์ ๋น๊ตํด์ ๋ฐฉ์ฝ์ ํํฐ ์ฌ์ ์ด๋ค๊ฐ? ๋ฐฉ์ฝ์ ์ํฉ์ ๋งค์ฐ ๋ณต์กํ๊ณ ์ฌํ์ ๋ถํ๋ฅผ ๋ฐ์ํ๊ณ ์๋ค. ๋ฌผ๋ก ๋ฐฉ์ฝ์ ์ค๋๋ ํค๋ฆฌํฐ์ง๋ฅผ ๊ฐ์ง ๋ ํนํ ๋ถ์๊ธฐ๋ฅผ ๊ฐ์ง๊ณ ์๊ณ ์์ผ๋ก ๊ฐ๋ฅ์ฑ์ด ๋ง๋ค. ์์ฝ๊ฒ๋ ์ฌ๋๋ค์ ์๋ก์๊ฒ ์ ๋์ ์ด๊ฑฐ๋ ํน์ ๋งน๋ชฉ์ ์ผ๋ก ํธ๋ ๋๋ฅผ ๋ฐ๋ฅด๊ธฐ๋ ํ๋ค. ์์์ ์์ ์ฃผ์์ ์ค๋ ๋์ด ์ด๋์์ ์ ์ ์ ์ฐพ์์ผ ํ๋์ง ๊ณ ๋ฏผํ๋ ์ง๋จ๋ ์๊ณ , ์ฌํ๋ฅผ ํฅํด ๋๋๊ณ ๊ฑฐ๋ถ๊ฐ์ ํํ๋ ์ง๋จ๋ ํ๋ค. ํ์ ๋ฐ์ง ๋ชปํ ์๋ค๋ ๋ฐ์๋ค์ผ ์ ์๋ ์ค๊ฐ์ง์ ์ด ํ์ํ๋ค. ๊ทธ๋ ์ง๋ง ๋์์ ๋จ์ํ ์ฆ๊ธฐ๊ณ ์ถ์ดํ๋ ์ฌ๋๋ค ์ญ์ ํธํด์ผ ํ๋ค. Q. ์๋ก์ด ์จ๋ฒ, The Multiverse ์ปจ์ ์? ๊ฐ์ธ์ ์ผ๋ก๋ The Multiverse ์จ๋ฒ ํ๋ก์ ํธ๊ฐ ์ก๋คํ ๊ฒ์ ๋ฉ์ถ๊ณ ๋ฎค์ง ํ๋ก์ฐ๋ฅผ ๋ฐ๋ฅด๊ณ ์ ํ๋ ๋์ ์ด์๋ค. ๋ง์น ํธ๋ ๋ณ๋ก ์๋ฌธ์ ์ธ์์ ์ค๊ฐ์ฏค์์ ๋์ด ํฐ์ง๊ฒ ํ๋ ๊ฒ์ด๋ค. ์ฌ๋๋ค์ Dub ์ ๋ ๊น๊ฒ ๋น ์ ธ๋ค๊ฒ ํ๊ณ ์ถ์๋ค. ํ ๋ฒ ์ ์ธ๊ณ๋ฅผ ๊ฑด๋๊ธฐ๋ง ํ๋ฉด, ๊ทธ ์ฌ์ด์์ ํํ๋ก์์ ๋๋ ์ ์๋ค. ๋น์ฅ ๋ฒฝ์ ๊นจ๊ณ ๊ด๊ธฐ๋ฅผ ๋๋ฌ๋ด์ ์์ ๋ง์ ํ๋ก์ฐ๋ฅผ ๋ง๋ค๊ณ ๊ทธ ์ฌ์ด ๋ฐธ๋ฐ์ค๋ฅผ ์ฐพ์๋ผ. Q. ์ด๋์ ๋น์ ์ ์์ ์ ๊ตฌ ํ ์ ์๋์? Beatport, Juno ๋ฑ๊ณผ ๊ฐ์ ๋ฃจํธ๋ก ๊ตฌํ ์ ์๋ค. ECI Korea label์ด ์ ๊ฒฝ์ ์จ์คฌ๊ณ ECI์์ 3์์ ๋์ค๊ฒ ๋ ์ ๋ณด Muatation์ด ๊ธฐ๋๊ฐ ํฌ๋ค.
072p
Practical Design Studio Q. ์ธ์ , ์ ๋์์ธ ์คํ๋์ค๋ฅผ ์ค๋ฆฝํ๊ฒ ๋์๋? ํน๋ณํ ์ค๋ฆฝ ์คํ ๋ฆฌ๊ฐ ์๋ค๋ฉด ๋งํด๋ฌ๋ผ. Practical Design Studio๋ 2004๋ ์ ํ๋ก ๋์์ธ๊ณผ ๊ต์ก ์ปค๋ฎค๋์ผ์ด์ ๋์์ธ์ ๊ฒฝํ์ด ์๋ ๋ฐฉ์ฝ์ ํ ๊ทธ๋ํฝ ๋์์ด๋ ํ์ ์ํด ์ค๋ฆฝ๋์๋ค. ์ฐ๋ฆฌ๋ ์ฒ์์ โ ์ฐ๋ฆฌ๋ ์ด๋ป๊ฒ ์ฐ๋ฆฌ์ ๋์์ธ ๋จ์ฒด๋ฅผ ํ์ฑํ ๊ฒ์ธ๊ฐ?โ ๋ผ๋ ์ง๋ฌธ์ ํ๋ค. ๊ทธ๋ฆฌ๊ณ ๋์ ์ฐ๋ฆฌ๋ ์ด๋ค ์ข ๋ฅ์ ๋์์ธ ์คํ๋์ค๋ ์์ ๋ฐฉ์์ด ์ฐ๋ฆฌ๋ฅผ ๊ฐ์ฅ ๊ธฐ์๊ฒ ํด์ค ์ ์๋์ง์๋ํํด๊ฒฐ์ฑ ์์ฐพ๊ธฐ์ํด๋ ธ๋ ฅํ๋ค. ์ด๋ฌํ ๊ฐ์์ ๋ค์ํ ์์ด๋์ด๋ค์ด ๋ช๋ช ๋ชจ๋ธ๋ก ๋ น์ ๋ค์ด ๊ฒฐ๊ตญ Practical Design Studio์ ์ฐ์ผ ์ ์๋ ๋ชจ๋ธ๋ก ์กฐ์ ํ๋ค. Q. ์ด๋ป๊ฒ ํด์ Practical Design Studio๊ฐ ํฐ ๋์์ธ ์คํ๋์ค๋ก ์ฑ์ฅํ ์ ์์๋? ์ฐ๋ฆฌ๋ ์ค์ค๋ก๊ฐ ํฐ ์คํ๋์ค๋ผ๊ณ ์๊ฐํ์ง๋ ์๋๋ค. ์ฐ๋ฆฌ๋ ์ฐ๋ฆฌ๊ฐ ํ๊ณ ์๋ ์ผ์์ ๊ธฐ์จ์ ์ฐพ๋ ๊ฒ๊ณผ ๋๋ถ์ด ๊ณ์ํด์ ๋์ ํด ๋๊ฐ๊ณ ์์ ๋ฟ์ด๋ค. ๊ณ ๊ฐ ์๋น์ค๋ฅผ ๋น๋กฏํ์ฌ, ๋ช๋ช ํ๋ก์ ํธ์ ๋จ์ฒด์์ ๋น์๋ฆฌ ์์ ์๋ ๊ด์ฌํ๊ณ ์๋ค. ๊ทธ๋ํฝ ๋์์ธ์ด ์์ ์ ์ธ ๋น์ฆ๋์ค์๋ง ๋ถ์ํ๋ ๊ฒ์ ์๋๋ผ๊ณ ๋ณธ๋ค. ๊ทธ๋ผ์๋, ์ฐ๋ฆฌ๋ ์์ ์ ์ธ ๋น์ฆ๋์ค๊ฐ ๊ทธ๋ํฝ ๋์์ธ์ ๊ณ์ํ ์ ์๋ ์๋๋ ฅ์ด๋ผ๋ ์ฌ์ค์ ๋ถ์ธํ ์๊ฐ ์๋ค. ๊ทธ๋ํฝ ๋์์ธ๋ ์ฌํ์ , ๋ฌธํ์ , ๊ฐ์ธ์ ์ธ ์๊ตฌ์ ๋ฐ์ํ ์ ์๋ค๊ณ ๋ณธ๋ค. Practical Design Studio๊ฐ ์ฐ๋ฆฌ์ ์ง์ ์ด๊ณ ์๊ณ์ ์๋จ์ด๋ฏ๋ก ์์ ์ ์ผ๋ก ์ด์๋๊ณ ์๋ค๋ ๊ฒ์ ํ๋ฆผ์๋ ์ฌ์ค์ด๋ค. ํ์ง๋ง ์ฐ๋ฆฌ์ ์ค์ ์ ์ธ ๊ธฐ์ ๊ณผ ๋ฅ๋ฅ ์ฑ์ ์ฐ๋ฆฌ๊ฐ ์ผํ๊ณ ์๋ ๋ธ๋๋์ ๋จ์ฒด์ ์ฑ๊ณต์ ์ํด ์ธ ์ ์๋ค๋ฉด, ์ ๊ฐ์ ๊ธฐ์ ์ ์ฐ๋ฆฌ ์์ ์ ์๊ฐ๊ณผ ์ฐ๋ฆฌ ์์์ ๋์ค๋ ๋ค๋ฅธ ๊ฒ๋ค์ ์ํด์ ์ฐ์ง ๋ชปํ๊ฒ ๋๊ฐ. ์ด๋ฌํ ์๊ฐ์ด ์ฐ๋ฆฌ๋ก ํ์ฌ๊ธ ์ ๋ฌด์ ์ธ ํ๋๊ณผ ๋๋ถ์ด ๊ฐ์ธ ์ ์ํ ๋ฑ์ ๊ธฐํํ ์ ์๋๋ก ์ํฅ์ ๋ฏธ์ณค๋ค๊ณ ์๊ฐํ๋ค. ์๋ง๋ ์ด๋ฌํ ์ ์ด ์ฐ๋ฆฌ๊ฐ ์ ์ ์ธ์ ๋ฐ๊ณ ์๋ ์ด์ ๊ฐ ์๋๊ฐ ์ถ๋ค. Q. Practical Design Studio์ ๋์์ธ ์ฒ ํ์ ๋ฌด์์ธ๊ฐ? โ๋์์ธ์ ๊ด๊ณ๋คโ๊ฐ ์ฐ๋ฆฌ์ ๋์์ธ์ ๊ด๊ณ์ ๋ํ ์ฒ ํ์ด๋ค. ์ฐ๋ฆฌ์ ๋ชฉํ๋ ์ฌํ์ ๋ฌธํ์ ๋ถ์ํ๊ณ ๊ทธ๋ํฝ ๋์์ธ์ด ๋ฏธ์ , ์ค์ฉ์ ์ธ ๊ด์ ์์ ๊ฐ์น๊ฐ ์๋ค๋ ๊ฒ์ ๋ณด์ฌ์ฃผ๊ธฐ ์ํด ๊ฑด์ค์ ์ธ ์์ด๋์ด์ ๋์์ธ ๊ธฐ์ ์ ์ฌ์ฉํ๋ ๊ฒ์ด๋ค. Q. Practical Design Studio๋ ๋ณดํต ์ด๋ค ์ข ๋ฅ์ ๋์์ธ ์์ ์ ํ๋๊ฐ? ์ฌ์ค, ์ฐ๋ฆฌ๋ ์ปค๋ฎค๋์ผ์ด์ ์ ์ํด ์ฐ๋ฆฌ๊ฐ ์ฌ์ฉํ ์ ์๋ ๋ง์ ๊ฒ๋ค์ ํ๊ณ ์๋ค. ์ฐ๋ฆฌ๋ ๋ฐฉ์ฝ ์ํธ ์ปฌ์ณ ์ผํฐ, ํ๋ ๋ฌธํ์์ ์ฌ๋ฌด์, ๋ฌธํ๋ถ, ๋ฏผ์ฃผ๋น, Antalis (ํ๊ตญ), โShow me Thaiโ ์ํธ ์ ์ํ, โPortrait of The Kingโ ์ ์ํ, โKing in Heart Projectโ Somboon Seafood, Designiti, ํ๊ตญ ์ง์ ๋คํธ์ํฌ ๊ธฐ๊ด ๋ฑ์ ํฌํจํ ๋ง์ ์ ๋ช ํ ๋จ์ฒด์ ๊ธฐ์ ๋ค๊ณผ ์์ ํ ์ผ์ด ์๋ค. ๋์์ธ ์คํ๋์ค๋ก์ ๊ธฐ๋ณธ์ ์ธ ๊ธฐ๋ฅ์ ์ํํ ๊ฒ๊ณผ ๋๋ถ์ด, Practical Design Studio๋
์ ๊ธฐ์ ์ผ๋ก ํ๊ตญ ๊ทธ๋ํฝ ๋์์ด๋ ํํ(ThaiGa)์์ ํ๋ ฅ ์๋ ๋์์ธ ํ๋์ ์์ํ๊ณ ๊ธฐํํ๋ค.PracticalDesignStudio์๋์์ด๋๋ค์๋ง์๋ํ๊ณผ๊ธฐ์ ์์๊ฐ์์ํ๋ ์ ํ ์ด์ ๋ ํ๊ณ ์๋ค. 2009๋ , Practical Design Studio๋ Santi Lawrachawee์ ์ํด ์ฐฝ์๋ ๊ทธ๋ํฝ ๋์์ธ ํ๋ก์ ํธ โI am a Thai Graphic Designerโ๋ฅผ ๊ธฐํํ๋ค. 2010๋ , Practical Design Studio๋ ๋ฐฉ์ฝ ์ํธ ์ปฌ์ณ ์ผํฐ์์ ์ด๋ฆฐ ๋์์ธ ์ ์ โPaper Matterโ์ โHOPEโ ์ด๋ผ๋ ํ ๋ง ์๋ Rajprasong Junction ์ ์๋ Centralworld ๋น๋ฉ ์์์ ๊ฑด์ค ์ค์ด๋ โheART to Heartโ ์ ์ ์์ ์๋ ๊ธฐ์ฌํ๋ค. ๋ํ ๊ทธ๋ค์ โThainessโ๋ฅผ ์์ ๋ค์ ๋์์ธ ์์ ์ ํํํ๋๋ก ์์ฒญ ๋ฐ์ 50๋ช ์ ๋ฐํ์๊ฐ ํฌํจ๋์ด ์๋ ๊ทธ๋ํฝ ๋์์ธ ํฌ๋ผ โSomewhere Thaiโ๋ ์กฐ์งํ๋ค. Q. Practical Design Studio๊ฐ ์งํํ๋ โI am a Thai Graphic Designerโ์ ๋ํด ์ค๋ช ํด ๋ฌ๋ผ. ์ฒ์์๋ ์ฐ๋ฆฌ ์คํ๋์ค์ ์์ ํ๋ก์ ํธ์๋ค. ์ถ๋ฐ์ ์ ํ๋ณด, ํนํ ๋ง์ผํ ์ ์ฒจ๋ถ๋ ๊ทธ๋ํฝ ๋์์ธ์ด์๋ค. ์๋ฅผ ๋ค๋ฉด, ์ฐ๋ฆฌ๋ ๋ฐฉ์ฝ์์ ์ด ๋์์ ๊ดํด ๋ฌด์ธ๊ฐ๋ฅผ ๋งํด์ค ์ ์๋ ๊ด๊ณ ํ๋ค์ ๋ณผ ์ ์๋ค. ์ด๋ฌํ ๊ด๊ณ ํ๋ค์ ๋ชจ๋ ๊ทธ๋ํฝ ๋์์ด๋๋ค์ ์ํ์ด๋ค. ๊ด๊ณ ์ ๋์จ ๋๋ก ๋ฐฉ์ฝ์ ์ด๋ฏธ์ง๋ฅผ ๋ ์ฌ๋ฆด ๋, ๊ทธ๋ํฝ ๋์์ด๋๋ค์ ๋ํด์๋ ์๊ฐํ๋ ์ฌ๋์ด ์์๊น? ๋ง์ฝ ๊ทธ๋ํฝ ๋์์ด๋๋ค์ ์์ ์ด ์๊ฐ์ ์ธ ์ปค๋ฎค๋์ผ์ด์ ์ผ๋ก ์ด๋ฃจ์ด์ ธ ์๋ค๋ฉด, ์ด๋ฌํ ์๋จ๋ค์ ๋ฐฉ์ฝ์ ์ค๋ฆฝ์ ๋ฌผ๋ก ์ ์ฑ ์ ์ผ๋ถ์ฌ์ผ ํ์ง๋ง, ์ ๊ทธ๋ค์ ์ํ์ด ๊ทธ ์ ์ฑ ์ ํ๋๋ฐ ์ฑ ์์ด ์๋๊ฐ? ๊ด๊ณ ํ๋ค์ ์ํ๋ฉด, ๋ฐฉ์ฝ์ ์๋ฒฝํ ๋์ ๋๋ ์์ ํ ๋์๋ผ๊ณ ํ๋ค. ํ์ง๋ง, ๊ทธ๋ํฝ ๋์์ธ์ด ๋ฐฉ์ฝ์ ์์ ์ ๋์ธ ์ ์๋์ง์ ๋ํ ์ง๋ฌธ์ ์ ํ ์์๋ค. ๊ทธ๋ฌ๋ ๋ฐฉ์ฝ์ ์ฐ๋ฆฌ๊ฐ ์ฌ๋๋ค์๊ฒ ์ด ๋์๊ฐ ์์ ํ๋ค๊ณ ๋งํด์ฃผ๊ธฐ๋ฅผ ์ํ๋ค. ๋ฐ๋ผ์, ์ฐ๋ฆฌ๋ ์ฐ๋ฆฌ์ ์ญํ ์ ์์ ํ ํ ์ ์๋ค๊ณ ๋๋ผ๊ณ , ์ด๋ฌํ ๊ฐ์ ์ ์ฐ๋ฆฌ๋ฅผ ์ค์ํ์ง ์๋ ์กด์ฌ๋ก ๋๊ปด์ง๊ฒ ๋ง๋ ๋ค. ๊ฒฐ๊ณผ์ ์ผ๋ก, ์ฐ๋ฆฌ๋ ์ฌ๋๋ค์๊ฒ ์ฐ๋ฆฌ๊ฐ ๋ช ๋ช ์ด๋ ๋๋์ง๋ฅผ ์๋ ค์ฃผ๊ธฐ ์ํด, ์ฐ๋ฆฌ๊ฐ ๋๊ตฌ์ธ์ง ๋งํ๋ฉฐ ์ค์ค๋ก ๊ด๊ณ ํ์ ๋ค๊ณ ์๋ ๋ชจ์ต์ ์์์ ํ๋ค. ๊ทธ๋ฆฌ๊ณ , ๋ง์ฝ ์ด๋ฐ ์ผ์ ๋ง์ ๊ทธ๋ํฝ ๋์์ด๋๋ค์ด ๋์์ ํ๋ค๋ฉด, ์ฌํ๋ ์๋ง ์ฐ๋ฆฌ์ ์กด์ฌ๋ฅผ ์์์ฐจ๋ฆด ์ ์์ ๊ฒ์ด๋ผ๋ ๊ฒ์ด๋ค. ๋์ฑ์ด, ๋ค๋ฅธ ์ฌ๋๋ค์๊ฒ ์ฐ๋ฆฌ๊ฐ ์ผ๋ง๋ ๋ ๋์๊ฐ ์ ์๋์ง๋ ์๊ฒ ํด์ฃผ์์ ๊ฒ์ด๋ค. ์ด ํ๋ก์ ํธ๋ ์ ๋ถ๋ฟ๋ง ์๋๋ผ ์ฐ๋ฆฌ ์ค์ค๋ก์๊ฒ๋ ๊ทธ๋ํฝ ๋์์ด๋๋ค์ด ์ผ๋ง๋ ์๋์ง๋ฅผ ์๋ ค์ฃผ์๋ค. ๋ง์ฝ ๋ฐฉ์ฝ์ด๋ ํ๊ตญ ์ ๋ถ๊ฐ ๋ฌด์ธ๊ฐ๋ฅผ ํ๊ณ ์ถ์ด ํ๋ค๋ฉด, ์ฐ๋ฆฌ๋ ์ฐ๋ฆฌ์ ์ญํ ์ ๋งก์ ์ค๋น๊ฐ ๋์ด ์๋ค. ํ์ด์ค๋ถ์์ ํ๋ํ๋ ์์ ๊ทธ๋ฃน์์ ์์ํ์ฌ, 9์ผ ๋์ ์ํฌ์ต๊ณผ ์ธ๋ฏธ๋๋ฅผ ์ด๊ณ , 1,146์ ์ ๋์์ธ ์ํ์ ์ ์ํ๋ค. Q. ํ๊ตญ ๋์์ธ ์ฐ์ ์ ๋ํด ์ด๋ป๊ฒ ์๊ฐํ๋๊ฐ? ํ๊ตญ์ ๋์์ธ ์ฐ์ ์ ๋ชจ๋ ๊ฒ์ด ๋ ๋์์ง ๊ฒ์ด๋ผ๊ณ ๋ฏฟ๋๋ค. ๋๊ฐ ๋๋ฉด ์ค์ค๋ก ๋จ๊ณ๋ฅผ ๋ฐ์ ๋๊ฐ ๊ฒ์ด๋ค. ํ๊ตญ์ธ๋ค์ด ๋์์ธ๋ ์์ ์ ๋ง์ด ์ ํ ์๋ก, ๊ทธ๋ค์ ๋์์ธ์ ๋ํด ๋ ์ ์ดํดํ ์ ์๋ค. ๋ฐ๋ผ์, ๋๋ ์์ผ๋ก ์ง๋ณดํ ํ๊ตญ ๋์์ธ ์ ๊ณ์ ๋ํด ๊ธฐ๋๋ฅผ ๊ฐ๋๋ค. ํ๊ตญ์ ๊ทธ๋ํฝ ๋์์ด๋๋ค์ ์์ฒญ๋ ์ ์ฌ๋ ฅ์ ๊ฐ์ง๊ณ ์๋ค๊ณ ์๊ฐํ๋ค. ๊ทธ๋ค์ ์นญ์ฐฌํ๋ ค๊ณ ํ๋ ๊ฒ์ด ์๋๋ผ, ์ด๊ฑด ์ฌ์ค์ด๋ค. Q. Practical Design Studio์ ๋ค์ ๊ณํ์ด๋ ํ๋ก์ ํธ๋ ๋ฌด์์ธ๊ฐ? ์ฌํด ๋ง์ ์ด๋ฆด ์์ ์ธ ๋์์ธ ์ ์ํ๋ฅผ ์ค๋นํ๊ณ ์๋ค. ์์ธ์์๋ ๋ง๋ ์ ์๊ธฐ๋ฅผ ๋ฐ๋๋ค. 076p
Design for Disaster Q. ์ด๋ค ์ข ๋ฅ์ ์ฌ๋์ธ๊ฐ? ๋ณดํต ์ฌ๋์ด๋ผ๊ณ ํ๋ฉด, ์ฌ๋๋ค์ ์ธ๊ณต์ ์ธ ์ฌ๊ณ ๋ ์์ฐ์ฌํด๋ฅผ ์๊ฐํ๋ค. ๋ฐฉ์ฝ์ ๊ฒฝ์ฐ ๋ํ์ ๊ฐ๋ฅ์ฑ์ ์ด์ ์ ๋์๋ค. ์ฌ๋๋ค์ด ์ฌ๋์ด ๋ฅ์ณค์ ๋ ์ํฉ๋์ฒ๋ ์ค์ํ์ง๋ง, ๋ฏธ๋ฆฌ ๋๋นํด๋๋ ๊ฒ ์ญ์ ํ์ํ๋ค. Q. ์ฃผ์ ๋ฅผ ํํ๊ฒ ๋ ์ด์ ๊ฐ ์๋? ์ฌ๋๋ค์ด ์ด๋ฐ ์ํ์ฑ์ ์ธ์ํ๊ฒ ํ๊ณ ์ถ์๋ค. ๋ฌผ๋ก ๊ธ๋ก๋ฒ ํ๊ฒฝ ์ด์ ๊ฐ์ ํ์์ ๊ทผ๋ณธ์ ์ธ ์์ธ์ ๋ํด์๋ ์์์ผ ํ์ง๋ง, ์ผ์ ์ํ์์ ์ฐ๊ตฌ๋ ํ์ํ๋ค. Q. ์ด๋ป๊ฒ ์ฌํ์ ์ํ์ฑ์ ์๋ฆฌ๋ ค๊ณ ํ๋๊ฐ? ๋จผ์ ์ํฉ์ ๋ถ์ํ๊ณ , ํ์๊ฐ ๋ฅ์ณค์ ๋ ๋์ฌ ์ด๋ ์ง์ญ์ด ๊ฐ์ฅ ์ํฅ์ ๋ฐ์์ง ์กฐ์ฌํ๋ค. ๊ทธ๋ฆฌ๊ณค ๋ฌธ์ ์ ๋์ํ ์ ์๋ ๋์์ธ์ ์๊ฐํ๊ณ , ์ด๋ฐ ์๋ฃจ์ ์ ๋ง๋ ๊ฐ๊ฐ์ ํ๋ก์ ํธ๋ฅผ ์งํํ๊ฒ ๋์๋ค. Q. ์ด๋ค ํ๋ก์ ํธ์ธ๊ฐ? ํ๋ก์ ํธ ์ค ํ๋๋ ์ํธ์ ๋ค ๊ฐ ๋ํ์ ๊ฑด์ถ๋ถ ๊ฐ ํ๋ ํ๋ก์ ํธ์ด๋ค. ์์, ๋ฌผ, ์ ๊ธฐ, ํผ๋์, ๋์ค๊ตํต, ์ปค๋ฎค๋์ผ์ด์ ์์คํ ์ด ๋ชจ๋ ๋จ์ ๋ ํ์ ์๋๋ฆฌ์ค์ ์ ํฉํ ์๋ฃจ์ ์ 449๋ช ํ๋ถ์๋ค์๊ฒ 15๋ถ ์์ ์ค์ผ์นํ๊ฒ ํ๋ค. ๋จ๊ธฐ๊ฐ์ ๊ต์ฅํ ์ ์ฉํ ์์ด๋์ด๋ฅผ ์ป๊ฒ ๋์๋ค. ๋, 2010๋ 11์ ๋์๊ฐ ์ฌํ ์ง์ญ์ธ Chainat์ ๊ฐ๋ค. ํ๋ผ์คํฑ ๋ณ, ์ด๋ง, ๋ฐง์ค, ์ ๋๋น, ํ๋ฆฌํผ, ์ํผ ๊ทธ๋ฆ, ํ๋ผ์คํฑ ์์ ๋ฑ ์ผ๋ฐ ๊ฐ์ ์ง์์ ์ฝ๊ฒ ์ฐพ์ ์ ์๋ ๋ฌผ๊ฑด๋ค๋ก ๋น์์ ๋๊ตฌ๋ฅผ ๋ง๋ค์ด ๋ณด๊ธฐ๋ ํ๋ค. ์ฃผ๋ฏผ๋ค ์ค์ค๋ก ๊ฝค ๊ด์ฐฎ์ ์๋ฃจ์ ์ ๋ง๋ค์ด ๋๋ค. Q. ์ด๋ป๊ฒ ์ด ๋ชจ๋ ๊ฒ์ด ๋์์ธ์ผ๋ก ์ฐ๊ฒฐ๋์๋? ๋ฌด์๋ณด๋ค๋ ํต์ฌ ๋ฉค๋ฒ๋ค์ด ๋์์ด๋์ ๊ฑด์ถ๊ฐ์ด๋ค. Site-Specific ์ฐ๊ตฌ์์ Chutayaves Sinthuphan๋์๋ค.Siam์์๊ทธ๊ฐํ๋๊ฑด์ถ์ฐ๊ตฌ๋ฅผ๊ธฐ๋ฐ์ผ๋กโ์๋ฅ์์ฉ์์งโ์ปจ์ ํธ๋ฅผ์ก์๊ณ , ๋ฐ์ ๊ธฐ์ ํ์์์คํ ์ด ๋ด์ฅ๋ ๋ฌผ์ ๋จ๋ ํํ์ ํ๋ซํผ์ ๋ง๋ค์๋ค. ํ์ง๋ง ์ ์ผ ์ค์ํ ๊ฒ์ ์ค์ ๋ก ์ฌ๋๋ค์ด ์ ์ฉํ๊ฒ ์ธ ์ ์๋ ์ง์๋ค. ์ผ๋ฐ์ ์ผ๋ก๋ ์์ด๋์ด๋ ์ปจ์ ํธ๋ฅผ ์ฐพ๊ธฐ ์ํด ๋์์ธํ์ง๋ง, ์ด๋ฒ ์์ ์ ์ฌ๋๋ค์ด ์ผ์์ ์ผ๋ก ์ธ ์ ์๋ ์ฉํ์ ์ด์ ์ ๋๋ค. ์ค์ ๋ก ๋์์์ ํ์๊ฐ ๋ฌ์ ๋, ๋ถ์ ํ ๊ณ์ธต๋ฟ ์๋๋ผ ๋๊ตฌ๋ ์ง ์ฌ๋์ ๋์ฒํ ์ ์์ด์ผ ํ์ง ์๋๊ฐ. Q. ์ด๋ฐ ์์ด๋์ด๋ฅผ ํ๋ฐ ๋ชจ์์, ์ด๋ป๊ฒ ์งํํ๋? ๊ฒฝ์ฐ์ ๋ฐ๋ผ ๋ค๋ฅด๋ค. ์๋ Bangkok Art & Culture Centre์์ โLetโs Panicโ์ด๋ ์ ๋ชฉ์ผ๋ก ์ ์ํ๋ฅผ ํ๋ค. 2011๋ 6์๋ถํฐ ์ผ ์ค๋น๋ฅผ ์์ํ๋๋ฐ ์์ด๋ฌ๋ํ๊ฒ 10์ ๋ฐฉ์ฝ์ ํ์๊ฐ ๋ฅ์ณค๋ค. ์ด๋ณด๋ค ๋ ํ์ค์ ์ผ ์ ์์๋ค. Royal Thai Government, World Health Organization๊ณผ
์ฝ๋ผ๋ณด๋ ์ด์ ์์ ์ ์ผํ์ผ๋ก ์์ด๋ค์ ์ํ ๋ฌ๋ ฅ๋ ๋ง๋ค์๋ค. ๋งค๋ฌ ์ปค๋ฒ๋ ํน์ ํ ์ฌ๋์ํฉ ์ ์ง์์ฌํญ์ ๋ํ ๊ฒ์ด๋ค. ๊ณ์ ์ ๋ฐ๋ผ ๊ฐ๋ฅ์ฑ์ด ๋์ ์์ฐ ์ฌํด๋ฅผ ๋งค๋ฌ ์ปค๋ฒ๋ก ์ ํํ๋ค. ๋ ์๋ ์๋ ์ ์ ํ ์์ด๋์ด๋ฅผ ์ป๊ณ ์ ์ผ๋ฐ์ธ์ ์ด๋ํ๋ค. ์ผ๋ฐ์ธ ๋์์ธ ๋ํ โSurvivie!โ ๋ฅผ ์ด์๊ณ ๋ชจ๋ ์ฐธ๊ฐ์๋ค์ ์ฐ๋ฆฌ๊ฐ ์ค๋นํ ๊ฐ์ข์ ์ฐธ์ฌํ๊ฒ ํ๋ค. ์ฐ์น์์ Bangkok Design Festival 2012์ ์ ์๋ ์์ ์ด๋ค. Q. ๋ํ ์ฐธ์ฌ๋๋ ์ด๋ ๋? ์ฌ๋๋ค์ด์ ๋ง์ข์์์ด๋์ด๋ฅผ์ ์ํ๋ค.๋์์ด๋๋ฟ์๋๋ผ๊ต์ฌ๋ค๋์ฐธ์ฌํ๋ค.์์ฌ๋์ฐ๋ฆฌ๊ฐ ์ ํํ๋ช๊ฐ์ง๊ฐ์ ์ฉํ์ผ๋ก์ ํํ๋ค.์ ์ถํ์์ด๋์ด๊ฐ์ต๋ํ์ ์ฉํ๊ธธ๋ฐ๋ฌ๋ค.์ฐธ๊ฐ์๋ค์ ๋ค์ํ ์์ด๋์ด๋ฅผ ๋ด๋์๊ณ , ์ฐ์น์ ์ ํ ๊ธฐ์ค์ ์ถํ์์ ์์ฑ๋๋ณด๋ค๋ ์๋ ์์ด๋์ด์ ์ปจ์ ํธ๋ฅผ ๋ ์ค์ํ๊ฒ ๋ณด์๋ค. Q. ์ง๋ํด ๋ฅ์น ํ์๋ฅผ ๋ฐฉ์ฝ ์ฌ๋๋ค์ ์ ๋์ฒํ๋๊ฐ? ์๋ค์ํผ, ์ด๊ณณ ์ฌ๋๋ค์ ์๋ก์ด ์ํฉ์ ๋น ๋ฅด๊ฒ ์ ์ํ๋ค. ์ธํฐ๋ท์ ์ฐพ์๋ณด๋ฉด, ๋ฌผ ์์๋ ๋ฌผ์ ์ ๊ธด ๋น๋ฉ ์ฅ์์์ ๋ฐ๋นํ๋ฅผ ํ๋ ์ฌ๋ฏธ์๋ ์ฌ์ง์ด ์๋ค. ์ผ๋ง๋ ๊ธฐ๋ฐํ๊ฐ! ํ์ง๋ง ์ฌ์ค์ ํ์๋ก ์ธํด ๋ช ๋ฐฑ๋ง ๋ช ์ ์ฌ๋๋ค์ด ํผํด๋ฅผ ๋ดค๊ณ ๊ทธ๊ฒ ๋ฐ๋ก ์ฐ๋ฆฌ๊ฐ ๋๊ณ ์ถ์ ์ผ์ด๋ค.
078p
Tarin Yuangtrakul Q. ์๊ธฐ ์๊ฐ๋ฅผ ๋ถํํ๋ค. ๋๋ Tarin Yuangtrakul์ด๊ณ ๋์ด๋ 19 ์ธ์ด๋ค.ํ๊ตญ๋ฐฉ์ฝ์ถ์ ์์ ์์ํฐ์คํธ์ด์ ๋์์ด๋์ด๋ค. ๋๋ ๋ํ ๊ตญ์ ์์ ๋จ์ฒด SlashTHREE์ ์ํ ์ํฐ์คํธ์ด๊ธฐ๋ ํ๋ค. ๋๋ ํ์ฌ ํ๊ตญ Chulalongkorn ๋ํ์์ ๊ทธ๋ํฝ ๋์์ธ์ ๊ณต๋ถํ๊ณ ์๋ค. ์ด ์ข๊ฒ๋, ๋๋ ์ฐฝ์์ ์ธ ๊ฐ์ ์์ ํ์ด๋ฌ๋ค. ๋์ ์ด๋จธ๋๋ ์ธํ ๋ฆฌ์ด ๋์์ด๋๊ณ ์๋ฒ์ง์ ํ์ด ๊ฑด์ถ๊ฐ์ด๋ค. ๋๋ ๊ทธ๋ค์ด ๋ฌด์ฒ ์๋์ค๋ฝ๋ค.๋ด๊ฐ์ฒ์์ผ๋ก์์ ๊ณผ๋์์ธ์ ์ ํ๊ฒ ๋ ๊ฒ์ ๋ด๊ฐ ๊ผฌ๋ง์์ ๋์๋ค. ์ด๋จธ๋, ์๋ฒ์ง, ํ์ด ๊ทธ๋ฆผ ๊ทธ๋ฆฌ๋ ๊ฒ์ ๋ณด๋ฉฐ ์๋๋ค. ์ด๋ฆด ๋ ๋๋ ๊ทธ๋ค์ด ๋ฌด์ฒ ๋ฉ์ง๋ค๊ณ ์๊ฐํ๊ณ , ๋ด๊ฐ ์์ ์ ์ฌ๋ก์กํ๊ธฐ ์์ํ ๊ฒ์ ๊ทธ๋ค์ ์ํฅ๊ณผ ๊ณต์ด ์ปธ๋ค.. Q. ๋น์ ์ ๊ฒจ์ฐ 19์ด์ธ๋ฐ ํ์ดํฌ๊ทธ๋ํผ, ์ผ๋ฌ์คํธ, ์ฌ์ง์ด ์์ ์ ์ด๋ฅด๊ธฐ๊น์ง ๋ง์ ๋ค์ํ ๋ถ์ผ์์ ํ๋ํ๊ณ ์๋ค. ์ด๋ฆฐ ๋์ด์ ์ดํ ๋ก ๋ค์ํ ํ๋ก์ ํธ๋ฅผ ํ๊ฒ ๋ ์ด์ ๊ฐ ์๋๊ฐ? ์ฃผ๋ ์ด์ ๋ ๋ค์ํ ์์ , ๋์์ธ ๋ถ์ผ์ ๋งค์ฐ ๊ด์ฌ์ด ์๋ค๋ ๊ฒ์ด๋ค. ๋๋ ๋ชจ๋ ๊ฒ์ ํ๋์ ์์ ๋ก ๋ณธ๋ค. ๋ด ๊ฐ์กฑ๋ ๋ง์ ๊ธฐ์ฌ๋ฅผ ํ๋ค๊ณ ๋ณธ๋ค. ๋๋ ์ฌ๊ฐ ์๊ฐ์ด ์์ ๋ ์ฃผ๋ก ๊ทธ๋ฆผ์ ๊ทธ๋ฆฌ๊ฑฐ๋ ๊ธฐํ๋ฅผ ์น๋ค. ๋ํ ๊ฐ ๋ถ์ผ๋ ๊ฐ๊ธฐ ๋ค๋ฅธ ํน์ง์ด ์๊ณ ๋ฐฐ์์ผ ํ ์ธ๋ถ ์ฌํญ๋ค์ด ๋ค๋ฅด๋ค. ํธ๊ธฐ์ฌ์ด ๋ฌด์ฒ ๋ง์ ๋๋ก์๋ ์ฌ๋ฌผ๋ค์ด ์ด๋ป๊ฒ ๋ง๋ค์ด์ง๋์ง์ ๋ํด ์์๊ฐ๋ ๊ฒ์ด ๋งค์ฐ ์ข๋ค. Q. ๋น์ ์ ์ํ์ ๊ทธ๋กํ ์คํฌํ๋ค. ๋น์ ์ ์ด๋ก๊ณ ๊น์ ์ฌ๋์ธ๊ฐ? ๋, ๋น์ ์ํ ๋ค์ ์จ๊ฒจ์ง ๋ชจํฐ๋ธ๋ ๋ฌด์์ธ๊ฐ? ๋๋ ์ด๋ก๊ณ ๊น์ ์ฌ๋์ด๋ผ๊ณ ํ ์ ์๋ค. ๋ด ์ธ์์์ ์ผ์ด๋ฌ๋ ์ผ๋ค์ ๊น์ ๊ณณ์ ๋ค์ฌ๋ค๋ณด๋ ๊ฒ์ ๋งค์ฐ ์ข์ํ๋ค. ๋ด๊ฐ ๊ฐ๋ ์ฅ์๋ค๊ณผ ๋ด ์ถ์์ ๋ง์ฃผ์น๋ ๊ฒ๋ค์์ ํญ์ ์๊ฐ์ ์ป๋๋ค. ๋๋๋ก ์กฐ์ฉํ ์์ผ๋ฉด์ ๋จธ๋ฆฟ์์์ ์ด์ผ๊ธฐ๋ค์ ์๊ฐํด ๋ด๊ณค ํ๋ค. Q. ๋น์ ์ ๋ค์ํ ํ์ ์ ์ฌ๋๋ค์๊ฒ ์ดํํ๋ ๊ฒ์ ๋ฅ์ํ ๊ฒ ๊ฐ๋ค. ์ด๋ค ๊ฒ์ด ๋น์ ์ํ์ ๋์ ๋๊ฒ ๋ง๋ ๋ค๊ณ ์๊ฐํ๋๊ฐ? ๋๋ถ๋ถ์ ์ฌ๋๋ค์ ๋ฌด์ธ๊ฐ ์๋ฆ๋ค์ด ๊ฒ์ ๋ณด๊ณ ์ถ์ดํ๋ค๊ณ ์๊ฐํ๋ค. ๋ด ์์ ์ ์๋ง๋ ์ ํต์ ์ธ ๋ฐฉ์์ผ๋ก๋ ์๋ฆ๋ค์์ ๋ํ๋ด๊ณ ์์์ง๋ ๋ชจ๋ฅด์ง๋ง, ๋ฐ๋ฉด์ ์ด๋ ํ ์ด๋์์ด ๋ํ๋์๋ค. ๊ทธ๋ฌ๋ ๊ด๊ฐ์ด ๋ถ๋ด์ค๋ฌ์ ํ ๋งํผ ์ด๋์์ ํํํ๋ ค๊ณ ํ์ง๋ ์๋๋ค. ์ฌ์ ํ ์ํ์ ์๋ฆ๋ต๊ณ ํ์ค์ ์ผ๋ก ๋ง๋ค๊ณ ์ถ๊ณ , ๊ด๊ฐ์ ์ํด ์ํ์ ๋ง๋ค๊ณ ์๋ค๋ ์ ๋ ์์ง ์๋๋ก ๋ ธ๋ ฅํ๊ณ ์๋ค. Q. ๋น์ ์ ๋ํ์์ด๋ค. ์กธ์ ํ์๋ ๋ฌด์์ ํ ๊ณํ์ธ๊ฐ? ์ฌ์ค, ์์ง ์๋ฌด๋ฐ ๊ณํ์ด ์๋ค. ์ข์ ๋์์ด๋, ์ํฐ์คํธ๊ฐ ๋๊ณ ์ถ๋ค๋ ๊ฒ๋ฟ์ด๋ค. ๋๋ ํ๊ตญ์์ ๋์์ธ๊ณ์ ์ํฅ๋ ฅ์ ๋ฏธ์น๋ ์ฌ๋์ด ๋๊ณ ์ถ๊ณ ๋ด๊ฐ ๋์์ธ๊ณ์ ๋ฌด์ธ๊ฐ๋ฅผ ๋ํ ์ ์๋ค๋ ๊ฒ์ ํ์ ํฉ๋๋ค. Q. ๋น์ ์ ์คํ์ผ์ ๋ํด ๋ ๋งํด๋ฌ๋ผ. ์์ ๋งํ๋ฏ์ด ๋๋ ๋งค์ฐ ์ด๋ก๊ณ ๊น์ ์ฌ๋์ด๋ค. ๋ด ์ํ ์คํ์ผ์ด ๊ทธ๋ฌํ ์ ์ ์ ๋ํ๋ด๋ ๊ฒ ๊ฐ๋ค. ๋๋ ๋ด ์ํ์ด ์ฝ๊ฐ ์ด๋ก๊ณ ์ดํดํ๊ธฐ ์ด๋ ค์ ์ผ๋ฉด ์ข๊ฒ ๋ค. ๋ด๊ฐ ์ ๋ง๋ก ๋งํ๊ณ ์ ํ๋ ๊ฒ์ ๋ณด๋ ค๋ฉด ์ฌ๋๋ค์ ํ๋ฉด ์๋์ ๊ฒ๋ค์ ๋ณด์์ผ๋ง ํ๋ค. ๋๋ถ๋ถ ๋๋ ์ ํต ์์ ๊ณผ ๋์งํธ ์ํธ๋ฅผ ํจ๊ป ์์ด ๋ฌด์ธ๊ฐ ๋งค๋ ฅ์ ์ธ ๊ฒ์ ๋ง๋ค์ด๋ธ๋ค. ์ฌ๋๋ค์ ์ผ์ ์ํ์ ์ข ์ข ๊ธ์ ์ , ๋ถ์ ์ ๋ฐฉ์ ๋ชจ๋๋ก ๋์๊ฒ ์๊ฐ์ ์ฃผ์ง๋ง, ๋ถ์ ์ ์ธ ๋ฉด์ด ํ๋ฉด์์ ๋์ฑ ๋ถ๋ช ํ ๋๋ฌ๋๋ค. ๊ทธ๋ฌ๋ ๋ด ์ํ์ ๋ํด์ ๋ค์ํ ํด์์ ๊ฐ๋ฅ์ฑ์ ์ด๋ ค์๋ค.. Q. ์์ ํ ๋ ์ง๋ฉดํ๋ ์ด๋ ค์์ด ์๋๊ฐ? ๋ด ์ํ์ ์๊ฐ์ด ๋ฐ์ด๋ ๊ฒ ๊ฐ์ง ์๋ค. ์ ๋ ์ํ์ ๋ค๋ฅธ ์๊น๋ค์ ์ฌ์ฉํ๋ ค๊ณ ๋งค์ฐ ์ด์ฌํ ๋ ธ๋ ฅํ๋ค. ๊ฐ์ฅ ์ด๋ ค์ด ๋ฌธ์ ๋ ๊ทธ ์๊ฐ์ ๋ด ๊ธฐ๋ถ์ด๋ค. ๊ธฐ๋ถ์ด ์ข์ ๋ ์์ ์ ์ ํ๊ณ ์ผ๋ ๋ง์ด ํ๋ค. ํ์ง๋ง ๊ธฐ๋ถ์ด ์ฐ์ธํ๋ฉด ์์ ์ ์ ํ์ง ๋ชปํ๋ค. ๊ทธ๋ด ๋ ๊ทธ์ ์์์ ๋๋ฅผ ๊ธฐ๋ค๋ฆฐ๋ค. Q. ๋ฌด์์ด ๋น์ ์ ์ฐฝ์๋ ฅ์ ์๊ทนํ๋? ๋๋ ์ด ๋ฐฉ๋ฒ์ ์ฐฝ์์ ์ธ ๋ถ์ผ์ ์ผ์ ํ๋ ์ฌ๋๋ค์๊ฒ ๊ถํ๊ณ ์ถ๋ค. ์๋ก์ด ์์ด๋์ด๋ฅผ ์ป๊ธฐ ์ํด ๋๋ถ๋ถ์ ์ฌ๋๋ค์ด ๋ฌด์ํ๊ณ ์ง๋๊ฐ๋ ์์ ๊ฒ๋ค์ ์ต๊ด์ ์ผ๋ก ์ ์ด ๋๋ ๊ฒ์ด๋ค. ๋๋ ๋ณดํต ์์ ์ ๋ฃ๋ ๊ฒ์์ ์๊ทน์ ๋ฐ๋๋ค. ์์ ์ ์ฅ๋ฅด๊ฐ ๋๋ฌด๋ ๋ค์ํ๊ธฐ ๋๋ฌธ์ ๊ฒฐ์ฝ ์ด๋ค ์์ด๋์ด๋ฅผ ์ป๋๋ผ ์ ๋ฅผ ์ฐ๋ ์ผ์ ๋ง์ง ์์ ๊ฒ์ด๋ค.
163
Q. ์ต๊ทผ์๋ ์ด๋ค ๊ฒ์์ ์๊ฐ์ ์ป๊ณ ์๋? ๋ธ๋๋ฉ๊ณผ ๊ธฐ์ ์ด๋ฏธ์ง ํตํฉ ์ ๋ต. ์ด๊ฒ์ ๋์ ํ์์์ ์ผ๊ณผ ๋งค์ฐ ๋ฐ๋๋์ง๋ง, ์ด ๋ถ์ผ๋ฅผ ๋ฐฐ์ฐ๋ ๊ฒ์ด ๋ฌด์ฒ ํฅ๋ฏธ๋กญ๋ค. ๋ธ๋๋๊ฐ ์ฌ๋๊ณผ ๋์์ธ์ผ๋ก ์ด๋ป๊ฒ ์ปค๋ฎค๋์ผ์ด์ ์ ํ๋์ง ์๊ณ ์ถ๋ค. ์ด ์์ด๋์ด๋ ์ด๋ฒ ํ๊ธฐ์ ๋ํ์์ ๊ณต๋ถํ๊ณ ์๋ ๊ณผ๋ชฉ์ด๊ธฐ๋ ํ๋ค. ์ด ์์ ์ ํตํด ์๋ก์ด ๊ฒ๋ค์ ๋ฐฐ์ธ ์ ์๋ ๊ธฐํ๋ฅผ ์ป๊ณ ๋์ ๋์์ธ์ ํ์ ๋ํ ์ง์์ ํ์ฅ์ํฌ ์ ์๊ธฐ๋ฅผ ๋ฐ๋ผ๊ณ ์๋ค.
097p
YOMS VISUAL LAB Q. Drycleanonly๋ฅผ ์๊ฐํด ๋ฌ๋ผ. Drycleanonly๋ ์ฐ์ ์ ํ์ด๋ ๋๋ ์์ฐ ์ ํ์ ํธ๋๋ฉ์ด๋ ์ท์ด๋ ํจ์ ์์ดํ ์ผ๋ก ์ ์ํ๋๊ณณ์ด๋ค.์ฐ๋ฆฌ์ ํ์์ค์ฌ์๋์ฅ์ธ ์ ์ ์ด ์๋ค. ๊ทธ๊ฒ์ ํตํด ์ด๋ค ์ท์ ์ ๋์ง ๋น๋นํ ํ๋ฏ ํํ์ ์ด๋ฏธ์ง๋ฅผ ์ถ๊ตฌํ๋ค.
Q. ์์ฆ์๋ ์ด๋ค ์์ ์ ํ๊ณ ์๋? ํ์ฌ, ๋ํ์ ๋ชจ๋ ๊ณผ์ ๋ฌผ๋ค์ ๋๋ด๋ ค๊ณ ํ๊ณ ์๋ค. ๋, ๋ช๋ช ๋ถํ ๋ฐ์ ํ๋ก์ ํธ ์์ ๋ ํ๊ณ ์์ต๋๋ค. ํ์ง๋ง ์ฌ๊ณ ์ถ์ ๋๋ ๊ทธ๋ฅ ๊ทธ๋ฆผ์ ๊ทธ๋ฆฌ๋๋ฐ ๋๋ก๋ ์ด๋ฌํ ๊ทธ๋ฆผ๋ค์ด ๋ด ๊ฐ์ธ ํฌํธํด๋ฆฌ์ค๊ฐ ๋๊ธฐ๋ ํ๋ค. Q. ์์ ๊ฐ๋ก์ ๋ชฉํ๋ ๋ฌด์์ธ๊ฐ? ๋ด ์๊ฐ์ ์ธ์์ ํํํ ์ ์๋ ํ๋ฅญํ ์์ ๊ฐ๊ฐ ๋๊ณ ์ถ๊ณ 19์ด์ด๋ผ๋ ์ด๋ฆฐ ๋์ด์๋ ์ด๋ฌํ ์ผ๋ค์ ํ ์ ์๋ค๋ ๊ฒ์ ์ธ์์ ๋งํด์ฃผ๊ณ ์ถ๋ค. ๋๋ ๋์์์ด ๋ฐ์ ํ๊ณ ์ถ๋ค. ๋๋ ๋ด ์ํ์ด ์ ์ ๋ ๋์์ง๊ฒ ๋ง๋ค์ด์ผ ํ๋ค. ๋๋ ๋ ๋ง์ ์ฌ๋๋ค์ด ๋ด ์์ ์คํ์ผ๊ณผ ์์ด๋์ด๋ฅผ ๋ฐ์๋ค์ด๊ธฐ๋ฅผ ๋ฐ๋๋ค. ๋ด๊ฐ ๋ง์ฝ ๋ด ์ํ์ ์ด์ฉํด ๋ค๋ฅธ ์ฌ๋๋ค์ ๋์ธ ์ ์๋ค๋ฉด, ๊ทธ๋ ๊ฒ ํ๊ณ ์ถ๋ค. ์ข์ ์์ ์ํ์ ๋ ๋์ ์ธ์์ ๋ง๋๋๋ฐ ๋์์ด ๋๋ค๊ณ ๋ฏฟ๋๋ค.
Q. Drycleanonly๋ผ๋ ๋ธ๋๋๋ช ์ ์ด๋ป๊ฒ ์ ํํ๊ฒ ๋์๋๊ฐ? ์ํ ๋ผ์ธ์ด ํธ๋๋ฉ์ด๋ ์์ดํ ์ด๊ธฐ ๋๋ฌธ์ด๋ค. ๊ณ ๊ฐ๋ค์ด Drycleanonly์ด๋ผ๋ ์ด๋ฆ์ ๋ค์ผ๋ฉด โ์ด ๋ธ๋๋์ ์ ํ์ ํน๋ณํ ๊ด๋ฆฌ๊ฐ ํ์ํ๋คโ๋ ๊ฑธ ์๊ธฐ์์ผ ์ฃผ๊ณ ์ถ์๋ค.
081p
4 graphic designers and 4 illustrators Ekaluck Peanpanawate ๊ธ์๋ฅผ ๊ฐ์ง๊ณ ๋ ธ๋ ๊ฒ์ด ์ข๋ค. ํนํ ๊ธ์๊ฐ ์ฐ์ด๋ ๋ฐฉ์์ ๊ด์ฌ์ด ๋ง๋ค. ๋ด๊ฐ ๋ง๋ ํฐํธ๋ ๋์ ๋๊ฒ ๋ง๋ค๋ ค๊ณ ํ๋ค. ์ํ์ ํตํด ๊ณต์ ์ผ๋ก ์ฐธ์ฌํ๊ณ ์ถ๊ณ , ๊ธ์ ์์ฒด๋ง์ผ๋ก ์์ฌ ์ํต์ ํ ํํ๋ผ๊ณ ์๊ฐํ๋ค. ๋ฌด์๋ณด๋ค๋ ๋ด ์ํ์ ํตํด ์ฌ๋๋ค๊ณผ ์ง์ ์ ์ผ๋ก ์ํตํ๊ณ ์ถ๋ค.
Jacckrit Anantakul ๋จ์ํ ๋งค๋ ฅ์ ์ด๋ผ๋ ์ด์ ํ๋๋ง์ผ๋ก ๊ธ์๋ฅผ ์ข์ํ๋ค. ๊ธ์ ์์ ์ ํ๋ฉด ์ํ ๋ฌธ์ ๊ตฌ์กฐ๋ผ๋๊ฐ ๋งค์ค ์ปค๋ฎค๋์ผ์ด์ ์ ํ์์์ ์ฌ๋๋ค๋ง๋ค ์ด๋ป๊ฒ ๊ธ์๋ฅผ ์ฌ์ฉํ๋์ง ์์ ๋กญ๊ฒ ์๊ฐํ๊ฒ ๋๋ค. ์ฃผ๋ก ๋๋ก์์ ๋ง์ด ํ๋ ํธ์ธ๋ฐ, ์ํ์ ๋์์ด ๋๋ค๋ฉด ๋ฌด์์ด๋ ์๋ํ๋ ค๊ณ ๋ ธ๋ ฅํ๋ค. ๋ด ๋์์ธ์ ์คํ์ ์ด์ง๋ง, ์ฌ๋๋ค์ ๋ด ์ํ์ด๋ผ๋ ๊ฑธ ์๋ค. ์ผ์์ํ์ ๊ตณ์ด์ง ์ด๋ฏธ์ง๋ ๋์ค์ ๋ ธ๋ฆฐ ์ด๋ฏธ์ง๋ฅผ ๋ณผ ๋, ๋๋ ๊ทธ๊ฒ์ ๋ด ๊ด์ ์์ ๋์์ธํ ๋ฟ์ด๋ค.
Q. ์ด๋ป๊ฒ Drycleanonly๋ฅผ ์์ํ๊ฒ ๋์๋๊ฐ? 2008๋ ์์ ํ์ง ์๋๋ผ๋ ํ ํฌ๋์ด๋ ์์ฌ์์ ๋ ํนํ ์ท์ ๋ง๋๋ ๊ฒ์ ๋ชฉํ๋ก, Drycleanonly ์ ์์ํ๋ค. ํจ๋ธ๋ฆญ์ ์ฐ๋ค๋๊ฐ ํจํด์ ๋ง๋๋ ์์ผ๋ก ์ผ๋ฐ์ ์ผ๋ก ์ฌ๋๋ค์ด ์ท์ ๋ง๋ค๊ณค ํ๋ ๋ฐฉ๋ฒ์ ํํ๋ค. ์ด์ฐฝ๊ธฐ์์ง๋ง ์์ด๋์ด๊ฐ ํ๊ตญ ํจ์ ์ฐ์ ๊ณผ ์ ๋ง์ ๊ฒ ๊ฐ์๊ณ , ์ผ๋ ์ด ์ฑ ์๋ 2008๋ ๋ฐฉ์ฝ ๊ตญ์ ํจ์ ํ์ด์ ํ๊ตญ ์ ์ง ๋์์ด๋ ๋ฃธ์ ์ฐจ์งํ๊ฒ ๋์๋ค. Q. ์ฒ์ ๋ธ๋๋๋ฅผ ๋ฐ์นญํ ํ์, ์ด๋ค ์ด๋ ค์์ด ์์๋? ๋นํฐ์ง ํฐ์ ์ธ ๋ฅผ ๊ตฌํ๊ณ ๊ทธ๊ฒ๋ค์ ํ๋์ ์ฝ๋ ์ ์ผ๋ก ๋ง๋๋ ๊ฒ, ๊ทธ ๊ฒ ์์ฒด๊ฐ ์ด๋ ค์ด ๊ณผ์ ์ด๋ค. ์ด ๊ณผ์ ์ ์ฒ์์ด๋ ์ง๊ธ์ด๋ ์ฌ์ ํ ์ด๋ ต๋ค. . Q. ๊ฐ์ธ์ ์ผ๋ก ์ท์ ๋ฆฌํผํ๋ ๊ฒ๊ณผ ์ฒ์๋ถํฐ ๋ง๋๋ ๊ฒ์ ์ฐจ์ด์ ์ ๋ฌด์์ด๋ผ๊ณ ์๊ฐํ๋๊ฐ? ๋๋ ๋ค์ํ ์์ฌ๋ก ์์ ํ๋ ๊ฒ์ด ๋๋ฌด ํฅ๋ฏธ๋กญ๋ค. ๋ฌด์๋ณด๋ค๋ ๊ทธ ๊ณผ์ ์์ ๋์ค๋ ๊ฒฐ๊ณผ๋ฅผ ์์ธกํ ์ ์๊ณ ์์ธ์ ๊ฒ๋ค์ด ๋ง๊ธฐ ๋๋ฌธ์ด๋ค. Q. 2012๋ Drycleanonly์์ ๊ธฐ๋ ํด๋ณผ๋งํ ๊ฒ์? ์ผ๋ณธ ์์ฅ์ ์ง์ถํ๊ณ ์์ผ๋ก ์ด๋ ์ ๋ ์ธ์ง๋๋ฅผ ์์ผ๋ ค๊ณ ๊ณํ ์ค์ด๋ค. ๊ทธ๋ฆฌ๊ณ ์ฌํด ๊ณต์ ์น์ฌ์ดํธ๋ฅผ ์์ฑํ๋ ค๊ณ ํ๋ค. 098p
Bangkok
- change, balance, and development of Buddhism Techit Jiropaskosol ๊ฒฉ์, ํจํด, ๋์นญ๊ณผ ๊ด๋ จ๋ ์คํ์ ์ธ ์๋๋ฅผ ์ฆ๊ธด๋ค. ์ผ๋จ ๊ตฌ์กฐ๋ฅผ ๋ง๋ค๊ณ ๋ค์ ๋ถํด์ํค๋ ๊ณผ์ ์์ ์ํ์ด ๋ณํํ๋ ๋ฐฉ์์ ์ข์ํ๋ค. ๋ด๊ฐ ์ํ๋ ์์ญ๊ณผ ๋จ๋ค์ด ํ๋ฒ๋ ์๋ํด ๋ณด์ง ์์ ๋ค์ํ ๋ถ์ผ์ ๊ฑธ์ณ ๊พธ์คํ๊ฒ ํ๋ํ ๊ณํ์ด๋ค. ๋์ ๋ฐ๋ผ์ ์ข์ ๊ฒฐ๊ณผ๋ฅผ ์ป๊ธฐ๋ ํ๊ณ ๊ทธ๋ ์ง ์์ ๋๋ ์์ง๋ง ์๋ก์ด ์๋๋ ๊ทธ ์์ฒด๋ง์ผ๋ก๋ ์ธ์ ๋ ์ ์ ํ๋ค.
Tap Kruavanichkit โAll Around Khonkaenโ์ ์คํ๋์ค(Farmgroup)๋ฉค๋ฒ๋ค๊ณผ ํจ๊ป Khonkaen Province(๋ถ๋๋ถ ํ๊ตญ ์ง์ญ)์์ ์์ ํ๋ ์ค์น๋ฏธ์ ์ด๋ค. ๊ทธ ๋น์ ๋งก์๋ ํด๋ผ์ด์ธํธ๋ Central Plaza Khonkaen ์ง์ญ์์ ๋ฐฑํ์ ์คํ ์์ ์ด์๊ณ , ์ฐ๋ฆฌ๋ ์ฌ๋๋ค์ด Khonkaen์ ์จ๋ค๋ฉด ์ ์ผ ์ฒ์ ๋ง์ฃผํ ํ์งํ์ ๋ง๋ค๊ธฐ๋ก ํ๋ค. โKhonkaenโ์ด๋ผ๋ ๋จ์ด๋ฅผ 3์ฐจ์์ผ๋ก ๋ณด์ฌ์ฃผ๋ ํ์ดํฌ๊ทธ๋ ํผ ์กฐ๊ฐ ํํ๋ก 180๋ ์ด์์์ ์์ ๋ณผ ์ ์์๋ค. ์ํ ํ๋ฉด์๋ Khonkaen ์ ๋ชจ๋ 198๊ฐ์ tumbon ์ง์ญ ์ด๋ฆ์ ์๊ฒจ ์ฅ์ํ๋ค.
Prin Tanapaisankit ๋๊ฐ ๋ฐฉ์ฝ์์๋ ํด๋ผ์ด์ธํธ๊ฐ ์ํ๋ ๋๋ก ๊ทธ๋ ค์ฃผ๋ ํธ์ด๊ธฐ ๋๋ฌธ์, ํ ๊ฐ์ง ํน์ ์คํ์ผ์ ๊ณ ์ํ๋ ๊ฑด ๊ฝค ์ด๋ ต๋ค. ๋๋ ๋ฆฌ์ผ๋ฆฌ์ฆ์ ๊ฐ๊น์ด ํธ์ธ๋ฐ, ๋๋ง์ ์คํ์ผ์ ๋ง๋๋ ๋ฐ ๋์์ด ๋๋ค๋ฉด ์๋ก์ด ๋ฐฉํฅ์ ๋ํด ์ธ์ ๋ ํ์์ด๋ค. ์ฃผ๋ก ๋๋ก์์ด๋ ์์ฑํ๋ฅผ ๊ทธ๋ ค์ ํฌํ ์ต์ผ๋ก ๋ง๋ฌด๋ฆฌ ์์ ์ ํ๋ค. ๋ฌด์ฑ์ ๋ฐฐ์์ ๋ง์ด ์ฐ๋ ํธ์ด๊ณ , ๊นจ๋ํ๊ณ ์ฌํํ ์ด๋ฏธ์ง๋ฅผ ๋ง๋ค๋ ค๊ณ ํ๋ค.
Oat Montien ์๊ณต์ํ์ ๋์งํธ ๋ฐฉ์์ ์ ์ฉํด๋ณด๋ ค๊ณ ํ๋ค. ์ปดํจํฐ๋ฅผ ๊ธฐ๋ฐ์ผ๋ก ํ ์ํธ์ ์ ํต์ ์ธ ์๊ณต์์ ์ฅ์ธ์ ์ ์ด ๋ง๋๋ ์ง์ ์ ๊ต์ฅํ ํฅ๋ฏธ๋ก์ด ์์ญ์ด๊ณ ์์ผ๋ก๋ ์๋ง์ ๊ฐ๋ฅ์ฑ์ ๊ฐ์ง๊ณ ์๋ค๊ณ ์๊ฐํ๋ค. ์ต๊ทผ ์ํ๋ค์ ์ฃผ๋ก ์งํด๋ ์ด ํ๋ฆฐํธ ๊ธฐ๋ฒ์ ์ฐ๊ณ ์๋ค. ์ง๊ธ์ ํ๊ตญ์ ์๋ก ์๊ธธ ๋ฐ๋ฌผ๊ด์์ ์ผ๋ฌ์คํธ์ ์๊ฐ์ ๋ฐ์ ์ธํ ๋ฆฌ์ด ์์ ์ค์ด๋ค.
Ratta Ananphada ๋ด ์ํ์ ์ฌ์ฑ์ ์ด๋ค. ์ฃผ๋ก ์ฌ์ฑ์ ์ผ๊ตด์ ๋๋ฌ๋๋ ๊ฐ์ ์ ํํํ๋๋ฐ, ๊ทธ ๊ฐ์ ์ ๋์ ํตํด ๊ทธ๋ฆฐ๋ค. ๋ํ ์ผ์ ์ ๊ฒฝ์ ๋ง์ด ์ฐ๋ ํธ์ด๋ค. ๊ฐ์ฅ ์ข์ํ๋ ํค์ ํ์คํ ์ด๋ค. ์์ฆ์๋ ์ก์ง, ๋์, ํจ๋ธ๋ฆญ, ํจํด, CD ์ปค๋ฒ๋ ํจํค์ง ๋ฑ ๋ค์ํ ํ๋ก์ ํธ์ ์ฐธ์ฌํด์ ์ผ๋ฌ์คํธ ์์ ์ ํ๋ค.
Yoswadi Krutklom ์ํ, ํนํ ํธ๋ฌ ์ฅ๋ฅด๋ฅผ ๋ณด๊ฑฐ๋ ์ค๋๋ ์ฌ์ง์ ๊ฐ์ํ๊ณค ํ๋ค. ๊ฑฐ๋ฆฌ์ ์ฌ๋๋ค์ ๋ณด๋ ๊ฒ์ ์ข์ํ๊ธฐ๋ ํ๋ค. ์ฌ๋๋ค์ ํค์ด์คํ์ผ, ํจ์ , ๊ทธ๋ฆฌ๊ณ ๋ชธ์์ ๋์ค๋ ๋น์ทํ ์ ์ด๋ ์ฐจ์ด์ ์ ์ฃผ์ ๊น๊ฒ ๋ณธ๋ค. ์๋ ํ๊ตญ์์ ์ผ์ด๋ ํ์ ๊ธฐ๊ฐ์, TV ๋ด์ค๋ฅผ ๋ง์ด ๋ดค๋ค. ๊ฐ์ฅ ์ต๊ทผ์๋ ๋ง๋คํผ์ ํ๊ฑฐ๋ ์๋ก ๋๊ธฐ๋ ํ๋ ์ฌ์ฑ๋ค์ ๋ชจ์ต์ ๋ค์ํ ์์๊ณผ ์ํฉ์ ๋ง์ถฐ์ ๊ทธ๋ฆฌ๊ณ ์๋ค.
164
์ง๊ธ๊น์ง, ๋ฐ๋์ด๋ ๋๋ง์ ๊ณต์ ์ธ๊ณ๋ฅผ ๋ชจํฐํ๋ก ์์ ํด ์๋ค. ์ด๋ฒ์๋ ํ๊ตญ์ ๋ชจ์ต์ ๋ฐ๋ ๋ชจํฐํ๋ฅผ ์ผ๋ค. ๋๋ก์์ ํํ๋ ๋ฐ๋์ ์ํ์ ๋ณด๋ ์ฌ๋๋ค์๊ฒ ํ๋ฆ์ ๋ณด์ฌ์ค๋ค. ๊ทธ๋ฆฌ๊ณค โ ๋ฐ๋์ ์๊ฐโ์์ ์ํ์ ๋ณผ ์ ์๊ฒ ํด์ค๋ค. ์ด๊ฒ์ด ๋ด๊ฐ ํ๊ฒฝ๋๋ก์์์ ๋ฐ๋์ ์๊ฐํํ๋ ์ด์ ์ด๋ค. ๋ ์ด์ ์ ์์ ํด์๋ ๋์ โ๋ฐ๋ ๋๋ก์โ ์ปจ์ ๊ณผ ์ด๋ฒ โ๋ฐฉ์ฝ ๋์ ๋๋ก์โ ๊ฐ์ ์ ์ ์ ํํํ ๊ฒ์ด๊ธฐ๋ ํ๋ค. ๋ฐฉ์ฝ์ ํ๊ตญ์ ์๋์ด๊ณ ๋๋จ ์์์์์ ๋์ ๊ตญ์ ์ ์์์ ์ฐจ์งํ๊ณ ์๋ค. ๊ธ์ํ ๋์ํ, ์ด๋ฏผ์, ์ฌํ๊ฐ, ๋ถ๊ต์ ๋๋ผ๋ก์ ๋ฐฉ์ฝ์ ๋ค์ํ ๋ฉด์ด ์๋ค. ์ด ๊ณณ์ ์ฌ๋๋ค๊ณผ ๋์๋ ๊ฒฝ์ ์ฑ์ฅ( ์ธํ ์๋ณธ์ ์ ์ )๊ณผ ์ข ๊ต๋ฅผ ํตํ ๊ณ ์ ์ ๊ฐ์น๊ด ์ฌ์ด์์ ๊ท ํ์ ๋ง์ถ๋ฉฐ, ํจ๊ป ์ฑ์ฅํ๋ ๊ฒ ๊ฐ๋ค. ๋ฌผ๋ก ํผ๋์ผ๋ก ๊ฐ๋ํ๋ค. ๊ทธ๋ฌ๋ ๊ท ํ์ ์ ์งํ๊ณ ์๊ณ ์์ง๊น์ง๋ ๊ทธ ๊ท ํ์ด ๊นจ์ง์ง ์์๋ค. ์ด๋ฒ ์ํ์์๋ ์ฌ๊ฐํ ๊ตํต์ฒด์ฆ, ์์ ์ดํ๋ฅผ ๋ฐ๋ผ ์ธ์์ง ๋ก์ ์ง, ์๊ตฌ์ ์ฅ์์ ํ ๋น๋ฉ, ํ๊ตญ์ ์์ง์ธ ๊ฐ๋ฃจ๋ค ๋ฑ ๋ฐฉ์ฝ์ ๋ํํ๋ ๋ชจ๋ ๋ชจํฐํ๋ฅผ ์ฝ๋ผ์ฃผ์ฒ๋ผ ํํํ๋ค. ๋๋ก์์ ํ๋ฉด์ ํ๊ตญ์ ๊ฒฝ์ ์ฑ์ฅ๋ฟ๋ง ์๋๋ผ ์ญ์ฌ์ ์ ๋ฌผ, ์ ํต ๋ถ๊ต๋ฅผ ์กฐ๊ธ ์์๋ณด์๋ค. ํ ๋ ๋ฐ๋ค ๋ถ๊ต(์์น๋ถ๊ต)๋ฅผ ์์ํ๋ฉด์, ๋ฐ๋ณต์ ์ผ๋ก ๋์์ ๋ชจํฐํ๋ค์ ๊ทธ๋ ธ๋ค. ์์ผ๋ก ํ๊ตญ์ ์ํฉ์ด ๋ณํด๊ฐ๋ฉด์ ๊ท ํ์ด ๊นจ์ง์ง๋ ๋ชจ๋ฅธ๋ค. ๊ทธ๋ ๊ฒ ๋๋ค๋ฉด, ์ด๋ป๊ฒ ๋ฐ๋๊น? ํ๊ตญ์ ์ญ์ฌ๊ฐ ์ข ๋ ์งํ๋ ํ์ ๋์์ ๋ชจ์ต์ ๋ค์ ํ๋ฒ ๊ทธ๋ ค๋ณด๊ณ ์ถ๋ค.
108p
Ohm Phanphiroj Q. ๋น์ ์ ์ด๋ฆ์ด ๊ฑธ๋ฆฐ ์น์ฌ์ดํธ๊ฐ ๋ ๊ฐ์ธ๋ฐ, ์ด์ ๊ฐ ์๋? Ohmphotography.com์ ๋ด๊ฐ ํ๋ ๋ชจ๋ ๋น์ฅฌ์ผ์ ์ํ ์น์ฌ์ดํธ์ด๋ค. Ohmmanagement.com์ ๋ด๊ฐ ๊ด๋ฆฌํ๊ณ ์๋ ๋ชจ๋ธ ์น์ฌ์ดํธ์ด๋ค. Q. ๋ฏธ๊ตญ์์ ์๋ผ๊ณ ๋ํ์ ๋ค๋๋ฉด์ ์์ ๋ง์ ๊ด์ ์ด ์์ ๊ฒ ๊ฐ๋ค. ์ด๋ฐ ๊ตญ์ ์ ์ธ ๊ฒฝํ์ด ๊ฒฝ๋ ฅ์ ์ํฅ์ ์ฃผ์๋? Georgia ์ฃผ๋ฆฝ๋์ ์์ํ๊ณผ์ ๋ค๋๋ ์์ , 1997๋ ์ ๊ตญ ์ฌ์ง ๋ํ์์ ์์ ํ๋ฉด์ ์์ํ๊ฒ ๋์๋ค. ๊ทธ ์ดํ์ ๊ฐค๋ฌ๋ฆฌ ์ ์๋ฅผ ํ๊ธฐ ์์ํ๊ณ ์ผ๋ง ๋์ง ์์์ ์์ด์ ์ ์ธก์์ ์ฐ๋ฝ์ด ์๋ค. ๋ด์์ Marge+Casey ์ ๊ณ์ฝํ ์ดํ์ ๋ฏธ์ ์ ์์ ์์ ์ํ๋ ํ๋ค๊ฐ ๊ฒฐ๊ตญ ์ถํ์ ํ๊ฒ ๋์๋ค. Q. ์ด์ฐฝ๊ธฐ์๋ ํ๋ฆ์ ๊ณต๋ถํ๊ณ ์์ ํ์ง๋ง, ์ง๊ธ์ ์ฃผ๋ก ์ฌ์ง ์๊ฐ๋ก์ ํ๋ํ๋ค. ๋ถ์ผ๋ฅผ ๋ฐ๊พผ ์ด์ ๊ฐ ์์๋? ํ๋ฆ๊ณผ ์ฌ์ง์ ์ฌ์ค์ ๊ฐ์ ์์ญ์ ์ํ๊ณ ๊ทผ๋ณธ์ ์ผ๋ก ๋น์ทํ๋ค. ํ์ง๋ง ํ๋ฆ ์ ์์๋ ๋ ๋ง์ ์ฌ๋์ด ํ์ํ๊ธฐ ๋๋ฌธ์ ๋ ๋ง์ ์๊ฐ์ด ํ์ํ๋ค. ๋๋ ์ฑ๊ธํ ํธ์ด๋ค. ๋ด๊ฐ ์ผํ๊ณ ์ถ์ ๋ ๋ ๊ทธ ์๊ฐ ๋ฐ๋ก ์ผํ๋ ์ฑ๊ฒฉ์ด๋ค. ์ฌ์ง ์์ ์ ์์ ํ ๊ฐ์ธ์ ์ด๋ผ์ ๋ ๋ฐ์์ง๋ง ๋ ์ฐฝ์์ ์ด๊ฒ ๋๋ค. ์์ ์ ๋ฐฉํฅ์ด ๋ฐ๋์์ง๋ง ์ฌ์ ํ ์๊ฐ์ด ๋๋ฉด ํ๋ฆ ์์ ๋ ํ๊ณค ํ๋ค. Q. ์ต๊ทผ ์์ ์ ์๊ฐํด๋ฌ๋ผ. Identity Crisis: Transsexuals์ ํ๊ตญ ์ฑ์ ํ์๋ค์ ๊ดํ ๋คํ๋ฉํฐ๋ฆฌ์ธ๋ฐ 2009๋ ์๋ ๊ตญ์ ์ฌ์ง์์ ์์ํ๋ค. 2010๋ ์๋ Underage๋ผ๊ณ ๋ถ๋ฆฌ๋ ๋ฏธ์ฑ๋ ์ ๋จ์ฑ ๋งค์ถ๋ถ๋ค์ ๊ดํ ๋คํ๋ฉํฐ๋ฆฌ๋ฅผ ํ๊ณ ๊ตญ์ ์ ์ธ ์ฃผ๋ชฉ์ ๋ฐ๊ฒ ๋์๋ค. ๊ทธ๋ฆฌ๊ณ ๋ง์ ๊ฒฝ์ ๋ถ๋ฌธ์ ํ๋ณด๋ก ์ ์ ๋๊ฑฐ๋ ์์ํ๋ค. Q. ๋น์ ์ ๊ฐ์ธ ์ํ๊ณผ ๋ฐ๋ ์ฑ๊ฒฉ์ ๋ ์์ ์ ์ํ์ ํ ๋, ์ด๋ป๊ฒ ์๊ฐํ๋๊ฐ? ์์ ์ ์ํ๊ณผ ๊ฐ์ธ ์ํ์ด ์ํฅ์ ์๋ก ๋ฐ๋๊ฐ? ์์ ์ ์ํ์ ํด๋ผ์ด์ธํธ๋ ๊ทธ๋ค์ด ์ํ๋ ๋ฐฉํฅ์ ๋ฐ๋ผ ๋ฌ๋ผ์ง๋ค๋ฉด, ๋ด ์ํ์ ์์ ํ ๋ด๊ฐ ์ข์ํ๊ณ ๋ด๊ฐ ์ํ๋ ๋ฐฉํฅ์ด๋ค. ํด๋ผ์ด์ธํธ๋ฅผ ์ํด ์ฐ์ ๋๋ ์ข ๋ ํํ์ ์ด๊ณ ๋ด ์ํ์ ์งํํ ๋๋ณด๋ค ์น์ฐ์น์ง ์์ผ๋ ค๊ณ ํ๋ค. ๊ทธ๋์ ๋ ์์ ์ ์๋ก ์ํฅ์ ์ฃผ์ง ์๋๋ค. ๊ทธ๋ฆฌ๊ณ ๋ ๋ค ์ฆ๊ธด๋ค. Q. ์์ ์ ์ํ์ ํ ๋ ์ด๋ค ์ข ๋ฅ๋ฅผ ์๋ขฐ ๋ฐ๋๊ฐ? ๋๋ ํ๊ตญ๊ณผ ๋ฏธ๊ตญ์ ๋งค๊ฑฐ์ง๋ถํฐ ์๊ท๋ชจ ๊ฐํ๋ ์ฑ ์๊น์ง ๋ชจ๋๋ค. R&B๊ฐ์ Ciara์ ์์ ํ๊ธฐ๋ ํ๊ณ Solios ์บ ํ์ธ์ ํ๊ธฐ๋ ํ๋ค. Q. ๋น์ ์ ์ฌ์ง์ ์ฑ์ ์ด๋ค. ๋๋์ ์น์์ผ๋ฆฌํฐ์ ๊ดํด ์ด๋ป๊ฒ ์๊ฐํ๊ณ ์ด๊ฒ์ ํํํ๊ธฐ ์ํด์ ์ด๋ค ์ด๋ฏธ์ง๋ฅผ ์ฐ๋๊ฐ? ๋๋ ๋ด ์ํ์์ ์์ํ๊ณ ์์ด์ ๊ฐ๊ฐ์ ๋ด๊ณ ์ถ๋ค. ๋๋ ์ธ์์ ์ธ ๊ฒ์ ์ซ์ดํ๊ณ ์ฌ์ง์ ๋ชฉ์ ์ ์์ด์ ์ข์ง ์๋ค๊ณ ์๊ฐํ๋ค. ์ฌ์ง์ ์ฌ๋๋ค์ด ์ธ์์ ๋ฐ๋ผ๋ณด๋ ๋ฐฉ์์ ๋ด์์ผ ํ๋ค. ๊ฐ์ฅ์์ํํํ๋กํฌ๋ฆฌ์์ดํฐ๋นํฐ๋ฅผ๋ณด์ฌ์ฃผ๋๊ฒ์ํฌํ ์ต์ํตํด์๊ฐ์๋๋ผ์นด๋ฉ๋ผ๋ฅผํตํด์ ์ด๋ค์ง๋ค. ๋๋ ๋ณดํธ์ ์ผ๋ก ๊ณต๊ฐํ ์ ์๋ ์ง์คํ๊ณ ๊ฐ๋ ฅํ ์ด๋ฏธ์ง๋ฅผ ๋ง๋ค๊ณ ์ถ๋ค. ๊ทธ๋์ ๋๋ ๋์์ ๊ฐ์ , ๋ฐ๋ ๋ญ๊ท์ง ๊ฐ์ ์ฌ๋ฆฌ์ ์ธ ์ธก๋ฉด์ ๋ ๊น์ด ์ดํดํ๋ ค๊ณ ํ๋ค. ์ฌ๋๋ค์ด ๋์ ๊ฐ๊ฐ์ ์ด๋ฉฐ ์ฑ์ ์ด๊ณ ์ ํน์ ์ธ ํน์ ๋ถ์พํ๊ธฐ๊น์ง ํ ์ฌ์ง๋ค์ ๋ณผ ๋, ๊ทธ ์ด๋ฏธ์ง๋ค์ด ๋ง์์ ๋จ๊ธฐ ์ํ๋ค. Q. ํผ์ฌ์ฒด๋ค์ ์ฃผ๋ก ๋จ์ฑ์ด๋ค. ๋ฏธ์ ์ธ ์ด์ ์์ ์ธ๊ฐ ์๋๋ฉด ์ํ์ ์ด๋ก ์ ์ธ ํ ๋์ ๊ด๋ จ์ด ์๋๊ฐ? ๊ฐ์ธ์ ์ผ๋ก ๋๋ ํนํ ๋ชธ๋งค๊ฐ ์ข์ ๊ฒฝ์ฐ์ ๋จ์ฑ๋ค์ด ์ข ๋ ํ๊ณ๋ฅผ ๋์ด์๋ ์๋๋ฅผ ํ๊ณ ๋๋ณด์ธ๋ค๊ณ ์๊ฐํ๋ค. ๊ฐ์ฒดํ์ ์๋ง์ด ์ด๋ฏธ์ง๋ฅผ ํ์ฑํ๋๋ฐ ์ค์ํ ํจ์ ์ฌ์ง์์๋ ์ฌ์ฑ๋ค์ด ์์ ๋์์ด ๋๋ค. ์ด๋ฌํ ์ํฉ์ ๋ค๋ฐ๊พธ์ด ๋จ์ฑ ์ญ์ ๋งค๋ ฅ์ ์ผ๋ก ๋ณด์ด๊ฒ ํ๊ณ ์ถ์๋ค. ๋จ์ฑ ์ญ์ ๋ ์์ ์ฑ์ ์ทจํฅ์ ๋ฐ๋ผ์ ๊ทธ๋ฌํ ๋์์ด ๋ ์ ์๋ค๋ ๊ฒ์ ๋ณด์ฌ์ฃผ๊ณ ์ถ๋ค. Q. ๋น์ ์ ์๋ฆฌ์ฆIdentity Crisis: Transsexuals์์ ๊ฐ์์ ๋ชจ์ต์ ๋ค์ํ๊ฒ ๋ณด์ฌ์ฃผ๋ ๋ฐฉ์์ ์ ํํ ์ด์ ๊ฐ ์๋๊ฐ? ์ด๋ฌํ ํ์์ ํตํด์ ๋น์ ์ด ์ ๋ฌํ๋ ค๊ณ ํ๋ ์ข ๋ ๊น์ ์๋ฏธ๊ฐ ์๋๊ฐ? ๊ฐ๊ฐ์ ์ด๋ฏธ์ง๋ ๋์ผํ ์ฌ๋์ผ๋ก ๋๋ํ ์ด๋ฃจ์ด์ง ์ผ๋ถ์์ด๋ค. ์ฒซ ๋ฒ์งธ ์ฌ์ง์ ๋ฉ์ดํฌ์ ์ ํ๊ธฐ ์ ์ด๊ณ ๋ ๋ฒ์งธ ์ฌ์ง์ ๋์ ๊ฐ๊ธฐ๋ง ํ๋ค. ๋ง์ง๋ง ์ฌ์ง์ ๋ฉ์ดํฌ์ ์ ๋ฐ๊ณ ๋ ํ๋ค. ์ธ ๊ฐ์ ์ฌ์ง์ ๋ฐ๋ผ ๋ณํ๋ ํผ์ฌ์ฒด์ ์ฌ๋ฆฌ๋ฅผ ์ํ์ค๋๋ก ํํํ๊ณ ์ถ๋ค. ๋ฉ์ดํฌ์ ์ด ์๋ ์ฌ์ง์ ๊ทธ๋ค์ ์ง์คํ ์ผ๊ตด๊ณผ ์๋ชธ์ ๋ณด์ฌ์ฃผ๊ณ ๋์ ๊ฐ์ ๋ ๋ฒ์งธ ์ฌ์ง์ ๋จ์ฑ์ผ๋ก์์ ํ์ค์ ๊ฑฐ๋ถ๋ฅผ ์๋ฏธํ๋ค. ๋์ ๋ฌ ์ฑ๋ก ๋ฉ์ดํฌ์ ์ ํ ๋ง์ง๋ง ์ฌ์ง์ ์์ ์ฒด๋ฅผ ์๋ฏธํ๋ค. ์ธ ์ฌ์ง์ ์์๋๋ก ๋ณด๋ ธ๋ผ๋ฉด, ์๋ง ์ก์ฒด์ ์ผ๋ก๋ ์ฌ๋ฆฌ์ ์ผ๋ก ๊ณผ๊ฐํ ๋ณํ๋ฅผ ์ ์ ์์ ๊ฒ์ด๋ค. ๋ง์ง๋ง ์ดฌ์์์๋ ๊ตณ์ด ์๊ตฌํ์ง ์์๋ ๋ชจ๋ธ๋ค์ ์ค์ค๋ก ์ด๋ป๊ฒ ๋ฐ์๋ค์ด๊ณ ๋ง์กฑํ๋์ง๋ฅผ ์ด์ง ์ฟ๋ณผ ์ ์๋ ๋ฏธ์๋ฅผ ๋ค๋ค. Q. ์ด๋ฒ ์๋ฆฌ์ฆ๋ฅผ ์ํด์ ์ด๋ป๊ฒ ๋ชจ๋ธ์ ์บ์คํ ํ๋? ๊ทธ๋ค์ด ๋ง์ค์ด์ง ์๋๊ฐ? ์ํ์ ์ํด ์ ์ค ์ ์๋ ๋๊ตฌ๋ ์ง ์ดฌ์ํ๋ค. ์ฌ์ค์ด๋ค. ๋ชจ๋ธ๋ค์ ์ฒ์์ ๋ง์ค์ด๋ค๊ฐ ์ผ๊ตด์ ๋ณด์ฌ์ฃผ๊ณ ์ถ์ดํ์ง ์๋๋ค. ๊ทธ๋์ ๋๋ ๊ทธ๋ค์๊ฒ ํฌ์ฆ๋ฅผ ์ทจํด์ฃผ๋ ๋๊ฐ๋ก ๋์ ์คฌ๋ค. Q. ํ๊ตญ์ ํธ๋ ์ค์น์์ผ ์ธ๊ตฌ์ ๊ทธ ์ฃผ๋ณ ๋ฌธํ๋ก ์ ๋ช ํ๋ค. ํน๋ณํ ์ด์ ๊ฐ ์์๊น? ํ๊ตญ์ ๊ฒ์ด๋ ๋ ์ด๋ ๋ณด์ด๋ค์ด ์ ํธ๋ ์ค์น์ค์ผ์ด ๋ง์์ง ๋ํด์ , ํ ๊ฐ์ง ๊ผญ ์ง์ด ์ ํํ๊ฒ ๋งํ๊ธฐ ์ด๋ ต๋ค. ํจ์ ํธ๋ ๋๊ฐ ์ํฅ์ด ํฐ ๊ฒ๋ ์๊ณ , ์ด์์ด๋ฉด ๋จ์ฑ์ด ์์ ๋ค์ด ์ข๋ ์ฌ์ฑ์ฒ๋ผ ๋ณด์ด๋ฉด ์ข์ํ ๊ฒ์ด๋ผ๊ณ ์๊ฐํ๋ ๊ฒ ๊ฐ๋ค. ํ๊ตญ์์๋ ํธ๋ ์ค ์น์์ผ์ ๋ํ ๋ถ์ ์ ๊ฒฌํด๊ฐ ์๋ ํธ์ด์ด์ ๊ทธ๋ค์ด ์ปค๋ฐ์์ํ๋ ๊ฑธ ์ข ๋ ํธํ๊ฒ ์ฌ๊ธด๋ค. ๋ ๊ฒ์ด๋ ํธ๋ ์ค์น์์ผ ์ ๋ ๋ธ๋ฆฌํฐ๋ค์ด
ํ๊ตญ ํจ์ ์ ๊ณ์์ ์ ๋ช ํ ํ์, ์ ๋ช ์ธ๋ฅผ ์ป๋ ๊ธธ๋ก ์ฌ๊ธฐ๊ธฐ๋ ํ๋ค. ์ฌ์ ํ ์ฌ์ค๋ณด๋ค๋ ๊พธ๋ฉฐ๋ธ ์ด์ผ๊ธฐ๊ฐ ๋ ๋ง์ง๋ง, ๋๋ถ๋ถ์ ์ฌ๋๋ค์ด ์ ๊ทธ๋ค์ด ์ฌ์ฑ์ด ๋๊ณ ์ถ์์ง ์์ ํ ์ดํดํ์ง ๋ชปํ๋ ๊ฒ ๊ฐ๋ค. ํธ๋ ์ค์น์์ผ์ด ๋๊ณ ๋ ํ์๋ ๋จ์ฑ๊ณผ์ ๊ด๊ณ์ ์คํจํ๊ณ ๋์ด๋ ์พ๋ฝ์ ์ซ๊ฒ ๋๋ ๊ฒฝ์ฐ๋ ๋ง๋ค. Q. ๋น์ ์ ์ํ์ ๋ณด๋ฉด ํ๊ตญ์ ์ง์ ํ ํ์ค์ด ๋ณด์ธ๋ค. ๋์ธ์ ์ผ๋ก ๋ณด์ด๋ ํ๊ตญ์ ์ด๋ฏธ์ง์ ์๊ตญ์ธ๋ค์ด ์๊ฐํ๋ ์ฐจ์ด๊ฐ ์๋๊ฐ? ์ด์ค์ฃ๋๋ฅผ ๋ค์ด๋๊ณค ํ๋ค. ์ฌ๋๋ค์ ๋ชจ์๋ ์ํฉ์ ๋์ฌ ์๋ค. ํ๋ฉด์ ์ผ๋ก๋ ๋ชจ๋ ๊ฒ ์ํํ๊ณ ์ข์๋ณด์ด์ง๋ง,๋ฐ๋ฅ์๋๋ถํธํ์ง์ค์ด์๋ค.๋์ธ์ ์ผ๋ก๋ณด์ด๋์ด์์ ์ธํ๊ตญ์๋ชจ์ต์์ง์ ํ ํ๊ตญ ํ์ค์ ๋ด์ง ์์๋ค. ์ค์ ํ๊ตญ์ ๋ถ์ ๋ถํจ์ ๋น๊ณค์ธต์ ๋ฌธ์ ๊ฐ ๋ง๋ค. ๋์ธ์ ์ผ๋ก ๋ณด์ด๋ ํ๊ตญ์ ๋ชจ์ต์ ์ข ์์ ์ ์ด๋ค. ๋ฌผ๋ก ๋ค๋ฅธ ๋๋ผ์ฒ๋ผ ํ๊ตญ์๋ ์ข์ ์ ์ ๋ง์ง๋ง, ๋๋ ์ฌํ ํ์ค์ ์ด์ผ๊ธฐํ๋ ๊ฒ์ด ์ข๋ค. ๊ทธ๋์ ๊ทธ๋ฐ ์ฃผ์ ๋ ์ด์๋ฅผ ๋ด ์ํ์ ํตํด์ ๋ณด์ฌ์ฃผ๊ณ ์ถ๋ค. Q. ๊ณํํ๊ณ ์๋ ๊ฒ์ด ์๋ค๋ฉด? ๋ง๋ค. ๋ชจ๋ธ ์์ด์ ์๋ ์ด๊ณ ์ถ๊ณ , CF์ดฌ์์ด๋ ์ถํ๋ ํ ์์ ์ด๋ค.
116p
Christian Develter Q. Belgium์์ ํ์ด๋ 19์ด๋ถํฐ ์์์์์์ด์๋ค.์ฌํ๊ป์ด์์จ๊ณณ์๋ํด ์ด์ผ๊ธฐํด๋ฌ๋ผ. Blankenberge ํด์๊ฐ ๋์์ ์๋ Belgium ์ ํ๋๋์ค์์ ํ์ด๋ฌ๋ค. Gent Art Academy์์ ๊ณต๋ถํ๊ณ Royal Academy of Antwerpen์์ ํจ์ ์ ์ ๊ณตํ๋ค. ๊ทธ๋ฆฌ๊ณค 1996๋ ์ ์ฒ์ ์์์์ ์ค๊ฒ ๋ฌ๋๋ฐ, ๊ทธ ์ดํ๋ก ์ญ ๋ฐฉ์ฝ์์ ์ด๊ณ ์๋ค. Q. ๋ค์ํ ๋๋ผ์์ ์ด๋ฉด์ ์ํฅ์ ๋ง์ด ๋ฐ์์ ๊ฒ ๊ฐ๋ค. ์๋ก์ด ๊ณณ์ ๊ฐ ๋ ๋ง๋ค ์ข์ ์ํฅ์ ๋ฐ๋๋ค. ํนํ ์ต์ํ์ง ์๋ ๊ฒ๋ค์ ๋ํด ์๋ก์ด ์๊ฐ์ ๊ฐ์ง๊ฒ ๋๋ค. ์ค์ ๋ก ๊ทธ๋ฐ ๊ฒฝํ๋ค์ด ๋์ ์ผ๋ถ๊ฐ ๋์๊ณ , ์์ ์๋ ์ํฅ์ ์ค๋ค. Q. ์์ ์ ์ฒ ํ์ ์ํ์ ์ด๋ป๊ฒ ๋ด์ผ๋ ค๊ณ ํ๋๊ฐ? ์ด์ํ์๋ ์๋๊ฐ ์ฌ๋์ ์ด๋ป๊ฒ ๋ณด๋์ง ๋๋ฌ๋๋ค. ๊ทธ๋์ ๋๋ ํญ์ ๋๋ถํฐ ์์ํ๋ค. ๊ฐํ ์์ ์ฐ๋ ํธ์ด๊ณ ์ท์ด๋ ์ฅ์ ๊ตฌ ๋ํ ์ผ์ ๊ฐ๋ตํ๊ฒ ํ๋ค. ์ฌ๋์๊ฒ ์ข ๋ ์ด์ ์ ๋๊ณ ์ถ๊ธฐ ๋๋ฌธ์ด๋ค. . Q. ์ฃผ๋ก ์ฌ์ฑ์ ๋ง์ด ๊ทธ๋ ธ๋ค. ๋น์ ์๊ฒ ์ฌ์ฑ์ด๋ ์ด๋ค ์๋ฏธ์ธ๊ฐ? ๋ด ์ํ์ ์ฃผ๋ก ์์์ ์๊ฐ์ ๋ฐ์๊ณ ์ค์ ๋ก ์ฌ์ฑ๋ค์ ๋ง์ด ๊ทธ๋ ธ๋ค. ์ต๊ทผ์๋ ์ข ๋ ๊ฐํ ์ด๋ฏธ์ง์ ๋จ์ฑ ์ด์ํ๋ ๊ทธ๋ ธ๋ค. ํ์ง๋ง ๋๋ ์ค๋ซ๋์ ์์์ ์ฌ์ฑ์ ๊ด๋ฅ๋ฏธ์ ์ ๋นํจ์ ๋งค๋ฃ๋์๋ค. ์ ๋ฝ์ธ์ผ๋ก์ ์ด๋ฐ ์๊ฐ์ ๋์ ์์๋ ฅ๊ณผ ๋ฆฌ์ผ๋ฆฌํฐ ๊ฐ์ด๋ฐ ์ฌํด์ํ๋ ค๊ณ ํ๋ค. Q. ์์ผ๋ก ๊ณํํ๊ณ ์๋ ์ผ์ด ์๋? ์ฌํด์ ์ด๊ฒ์ ๊ฒ ์คํ์ ์ธ ๋ฐฉ์๋ ํด๋ณด๊ณ ์ํ์ ์๋ก์ด ๋ฐฉ์์ ์๋ํด๋ณด๊ณ ์ถ๋ค. ๊ทธ๊ฑด ์ ๋ง ๋์๋ ๊ณผ์ ์ด๋ค. ์คํ๋์ค์์ ๋ค๋ฅธ ์ํฐ์คํธ๋ค๊ณผ ํจ๊ป ์ด๋ฒคํธ๋ฅผ ๊ณํ ์ค์ด๊ณ 9์์ ์์ Germany ๋ฎํจ ์ ์ํ๋ฅผ ์ค๋นํ๊ณ ์๋ค. ์ต๊ทผ ์ํ์ ์ผ๊ตด์ ํํฌ๋ฅผ ํ ์์์์ธ๋ค์ ๊ดํ ๊ฒ์ ํ๋ ค๊ณ ํ๋ค. ์ด๊ฑด ๋ฏธ์๋ง ๋ฒ๋ง์ ์๋ ํ ์ค๊ตญ๋ถ์กฑ์์ ์ ๋๋ ๊ฒ์ธ๋ฐ, ๊ทธ๋์ ๊ทธ ์ง์ญ์ ์ง์ ์ฌํํด๋ด์ผ ํ ๊ฒ ๊ฐ๋ค. Hong Kong๊ณผ ๋์์์ ์ง์ญ์์ ์๊ฐ์ ๋ ๋ณด๋ด๊ณ ์ถ๊ธฐ๋ ํ๊ณ , ์ฌํด๋ ๋ฐ์ ๊ฒ ๊ฐ๋ค. Q. WARP54 ์คํ๋์ค๋ ์ธ์ ๋ถํฐ ์์ํ๋? ํํธ๋์ธ Peter Smits์ ํจ๊ป 2011๋ 11์ ์์ํ๋ค. Q. ์คํ๋์ค ๊ฑด๋ฌผ์ ๋ํ ์ด์ผ๊ธฐ๋ฅผ ํด๋ฌ๋ผ. Portuguese ๋์ฌ๊ด ์ ํ ๋ค์ชฝ์ผ๋ก Chao Praya ๊ฐ์์ ๊ฐ๊น์ด ์ค๋๋ ์ฐฝ๊ณ ์๋ค. 2์ฐจ ์ธ๊ณ ๋์ ์ ๋ น ๋น์ ์ผ๋ณธ์ธ์ด ์ง์๋ค. ์ฒ์ ๊ฑด๋ฌผ์ ์ง์ ์ดํ๋ก ๊ฑฐ์ ๋ณํ์ง ์์๋ค. ์ค๋๋ ํฐํฌ ์์ฌ ๋ฐ๋ฅ๊ณผ XXL ์ํ๋ค์ ์ ์ํ๊ธฐ์ ๋ฑ ๋ง๋ ํฐ ์ฒ์ฅ์ด ์๋ค. ๊ฑด๋ฌผ์ด ์์ง๊น์ง ๊ทธ๋๋ก ๋จ์์๋ค๋ ๊ฑด ๋๋ผ์ด ์ผ์ด๋ค. ์๋ฌด๋ ์ด ๊ณต๊ฐ์ ์ํธ ์คํ๋์ค๋ก ๋ฐ๊ฟ์ผ๊ฒ ๋ค๊ณ ์๊ฐํ์ง ์์ ๊ฒ ๊ฐ์์, ์ฐ๋ฆฌ๊ฐ ํ๊ฒ ๋์๋ค. ๊ฑด๋ฌผ์ฃผ๋ ๊ฑด๋ฌผ์ ๊ณ์ ๋ณด์ ํ ํ์๊ฐ ์๋ค๋๋ฐ ๋์ํ๊ณ ๋ณธ์ธ ์ญ์ ์ํธ ์ฝ๋ ํฐ์๋ค. ๊ทธ ์ชฝ ์ฌ๋ฌด์ค์ ์ฐ๋ฆฌ ๊ฑด๋ฌผ๊ณผ ๋ง์ ํธ์ ์๋๋ฐ, ์ํธ ์ฝ๋ ์ ์ ๋ณด๊ดํ๊ณ ์๋ ๋์ ๋๋ ์ํธ ๋ฐ์ฝ ๊ฑด๋ฌผ์ด๋ค. Q. ์คํ๋์ค์ ์ฃผ๋ณ ์ฅ์์ ์ด๋ค ์ ์ด ๋งค๋ ฅ์ ์ธ๊ฐ? ์ ๋ฐ์ ์ธ ๋ถ์๊ธฐ๊ฐ ์ข๊ณ ์ผ๋จ ๊ท๋ชจ๊ฐ ํฌ๋ค. ์ฒ์ ์ฌ๋๋ค์ด ๋ค์ด์ค๋ฉด ์ค์ ๋ก ์ด๊ณณ์ ์ญ์ฌ๋ฅผ ๋๋ ์ ์๋ค. ์ฃผ๋ก ํฐ ์์ ์ ๋ง์ด ํ๋๋ฐ ๊ทธ๊ฑธ ๋ง๋ค๋งํ ๊ณต๊ฐ์ด ํ์ํ๋ค. ์คํ๋์ค๋ ๊ฐ์ฅ ์ค๋ ๋ Portuguese ๋์ฌ๊ด ๋ค์ชฝ์ ์์นํด ์๊ณ , ์ค๋ ์ญ์ฌ๋ฅผ ๋ด๊ณ ์๋ค. Soi๋ผ๋ ์ด๋ฆ์ ๋ฐฉ์ฝ ํญ๋ง์ฅ โSoi Captain Bushโ์์ ๋ด ์ด๋ฆ์ด๋ค. Q. ๋ถํธํ ์ ๋ ์๋? ๋ฑ ํ๊ฐ์ง ๋จ์ ์ด ์๋ค๋ฉด ์ ๊ธฐ์ ์ผ๋ก ์ฒญ์๋ฅผ ํด์ผ ํ๋๋ฐ ํฌ๊ธฐ๊ฐ ํฌ๋ค ๋ณด๋ ์ถ๊ตฌ์ฅ ์ฒญ์ํ๋ ๊ธฐ๋ถ์ด ๋ ๋ค. ์ด๋ค ์ฌ๋๋ค์ ์ ์ด๋ฐ ์ฅ์์์ ์์ด์ปจ๋ ์์ด ๋ถํธํ๊ฒ ์์ ํ๋์ง ์ดํดํ์ง ๋ชปํ๋ค. ๊ทธ๋ ์ง๋ง ์ฌ๊ธฐ์ ์ญ์ฌ๊ฐ ์๊ณ , ๊ฑด๋ฌผ ์ผ๋ถ๋ ์์ฐํตํ์ด ๋๊ฒ๋ ์ง์ด์ก๋ค. Q. ์คํ๋์ค์์ ๊ฐ์ฅ ํ๋ณตํ๋ ๊ธฐ์ต์? ์คํ๋์ค๋ฅผ ๋ค๋ฅธ ์ฌ๋์๊ฒ ๋์ฌํด์ฃผ๊ธฐ ์์ํ ์ดํ๋ก ์ข์ ์ด๋ฒคํธ๊ฐ ๋ง์๋ค. ๋์ ๋ฐ์นญ, ๋์ค ํผํฌ๋จผ์ค, ํจ์ ์ค์ฟจ ์ดฌ์, ํ์ ๋๋ ๊ฐ์ ์ฌ๋ฌ ํ์ฌ๋ฅผ ํ๋ค. ๊ทธ๋ฐ ํ์ฌ๋ค์ด ๋ค์ํ ๋ฌธํ๋ฅผ ๋๋๋ค๊ธฐ ๋๋ฌธ์ ๋ชจ๋ ๊ธฐ์ต์ ๋จ๋๋ค. ๊ตณ์ด ๊ฐ์ฅ ํ๋ณตํ๋ ๊ธฐ์ต์ ๊ณ ๋ฅด์๋ฉด 1๋ ์ ์ค์
165
์ทจ์ํ์ฌ๊ฐ ์์๋๋ฐ ์ด์ ์ ํด๋ณธ ๊ฒฝํ์ด ์์ด์ ์์ฃผ ๋ฐ์๊ฒ ์ผํ๋ค. Q. ์์ผ๋ก ์ด๋ค ๊ณํ์ด ์๋๊ฐ? ์คํ๋์ค์์ ๋ค์ํ ์ํธ ์ด๋ฒคํธ์ ๋ด ์ ์๋ฅผ ๊ณํํ๊ณ ์๋ค.
๋ฏธ์ ๊ณ์ ๋ํ ์ ๋ณด๋ฅผ ์ป๊ฑฐ๋ ๊ฐค๋ฌ๋ฆฌ๋ฅผ ์ปจํํ๋๋ฐ ์ด๋ ค์ด ์ ์ด ๋ง์๊ณ , ์ ๋ฏ ๊ด์ฌ์ ๊ฐ์ง๊ณ ๋์์ฃผ๋ ์ฌ๋์ด ์์๋ค. ํ์ฌ๋ ํ๋ฅ์ดํ์ด ์ด๊ณณ์์๋ ๋๋จํด์ ํ๊ตญ์ธ์ด๋ผ๋ ์ด์ ๋ง์ผ๋ก๋ ๊ด์ฌ์ ๋์์ด ๋๊ณค ํ๋ค. ํ์ง๋ง ๋ด๊ฐ ํ๊ตญ์์ ํ๋ํ๋ ์ด๊ธฐ์๋ ํ๊ตญ๋ณด๋ค๋ ์ผ๋ณธ๋ฌธํ์ ํ๊ตญ์ธ๋ค์ด ๋ ๋ง์ ๊ด์ฌ์ ๊ฐ์ง๊ณ ์๋ ์๊ธฐ์ฌ์ ํ๊ตญ์ธ์ ๋ฐ๋ผ๋ณด๋ ์๊ฐ์ด ์ง๊ธ๊ณผ๋ ๋งค์ฐ ๋ฌ๋๋ค. ๊ทธ๋น์ ๋ด ์์ ์ ํ๊ตญ์ฌ๋๋ค์ด ํฅ๋ฏธ์ ๊ด์ฌ์ ๊ฐ์ง๊ณ ๋ํ๊ธด ํ์ผ๋ ์ธ๊ตญ์ธ ์๊ฐ๋ก ํ๊ตญ์ ์ ์ ์ฒด๋ฅํ๋ ์ ๋๋ก ์๊ฐํ๋๊ฒ ๊ฐ๋ค. ํ์ง๋ง ๊พธ์คํ ์์ ์ ํ๊ณ ์ ์๋ฅผ ์งํํด์๊ธฐ์ ์ด์ ํ๊ตญ ๋ฏธ์ ๊ณ์์ ์กฐ๊ธ์ฉ ์ธ์ ์ ๋ฐ๊ณ ์๋ค.
122p
Gi Ok Jeon Q. ๋น์ ์ ์๊ฐํด๋ฌ๋ผ. ๋๋ ํ๊ตญ์์ ๋์ฑ์ฌ์ ๋ํ๊ต ๋ฏธ์ ๋ํ ๋์ํ๊ณผ๋ฅผ 1994๋ ์ ์กธ์ ํ๊ณ ๋ถ๊ฒฝ ์ค์๋ฏธ์ ํ์์์ ์ค๊ตญ ์ฐ์ํ๊ณ ์ฐ๊ตฌ์( ์์ฌ)๊ณผ์ ์ 1998๋ ์ ๋ง์ณค๋ค. ์์ฌ๊ณผ์ ์ ๋ค์ด๊ฐ๊ธฐ ์ ์ ๋ฏธ๊ตญ์์ ์ดํ์ฐ์๋ฅผ 1 ๋ ๊ฐ ํ๊ณ ๊ทธ ๊ณณ์์ ์ดํ๊ณต๋ถ๋ฅผ ํจ๊ปํ๋ ํ์ฌ์ ํ๊ตญ์ธ ๋จํธ์ ๋ง๋ฌ๋ค. ๋จํธ์ ํ๊ตญ์์ ๊ฒฝ์ ํ์ ์ ๊ณตํ๊ณ ๋ฏธ๊ตญ์์ ๊ฒฝ์ํ ์์ฌ๊ณผ์ ์ ๋ง์ณค๋ค. ๋๋ 1998 ๋ ๋ถํฐ ํ์ฌ๊น์ง ๋จํธ๊ณผ 12์ด ๋ ๋ธ์์ด์ ํจ๊ป ๋ฐฉ์ฝ์ ๊ฑฐ์ฃผํ๊ณ ์์ผ๋ฉฐ ์ํํ๋์ ํ๊ณ ์๋ค. ์ด์ธ์๋ 2001๋ ๋ถํฐ ํ์ฌ๊น์ง JeOn Art Booth๋ผ๊ณ ํ๋ ๋์ํ Workshop Program์ ์ด์ ์ง๋ํ๊ณ ์๋ค. Q. ๋ฐฉ์ฝ์์๋ง 7๋ฒ์งธ ์ ์๋ฅผ ๋ง์ดํ๊ฒ ๋์๋ค. ๋ฐฉ์ฝ์์ ์๋ฆฌ๋ฅผ ์ก๊ฒ ๋ ์ด์ ๋ ๋ฌด์์ธ๊ฐ? ์ฌ์ค ์ฒซ๋ฒ์งธ ๊ฐ์ธ์ ์ ๋ถ๊ฒฝ์์ ์์ฌ๊ณผ์ ์ ๋ง์น๋ฉด์ ํ๋ค. ๊ทธํด ๊ฒฐํผ์ ํ๊ณ ๋ฐ๋ก ๋จํธ์ ๋ฐ๋ผ ํ๊ตญ์ผ๋ก ์ด๋ฏผ์ ์๋ค. ๋ด๊ฐ ๋ฐฉ์ฝ์์ ์๋ฆฌ๋ฅผ ์ก๊ฒ ๋ ์ด์ ๋ ๊ทธ๊ณณ์ด ๋จํธ์ ๋๋ผ์ด๋ฉฐ ํ์ฌ ๋ด ๊ฐ์กฑ์ด ์ฌ๋ ๊ณณ์ด๊ธฐ ๋๋ฌธ์ด๋ค. ๋๋ฒ์งธ ๊ฐ์ธ์ ๋ถํฐ ํ์ฌ 7๋ฒ์งธ ๊ฐ์ธ์ ๊น์ง ๋ชจ๋ ํ๊ตญ์์ ์ด์๋ค. ํ๊ตญ์ ๋๋ฅผ ๋ณ์์ค ๋ชจ๊ตญ์ด์ง๋ง ํ๊ตญ์ ๋๋ฅผ ๋ฐ์์ฃผ๊ณ ๊ธธ๋ฌ์ค ๋๋ผ์ด๋ฉฐ ๋ํ ๋ชจ๊ตญ ์ด์์ ๊ณณ์ด๋ค. Q. ์ง๋ 10๋ ๊ฐ ์ ์ํ๋ 6๊ฐ์ ์ ์์ ํ์ดํ๊ณผ ์ฃผ์ , ๊ทธ๋ฆฌ๊ณ ๊ฐ๋จํ ์ค๋ช ์ ๋ถํํ๋ค. ์ฒซ๋ฒ์งธ ๊ฐ์ธ์ ์ 1998๋ ๋ถ๊ฒฝ ์ค์๋ฏธ์ ํ์ ์์ฌ๊ณผ์ ์ ๋ง์น๋ฉด์ ํ๋ค. 2๋ ๋์ ์ ์ํ ์ํ๋ค์ ์ ๋ณด์์๋๋ฐ ํนํ 45์ผ๊ฐ์ ์ค์ผ์น์ฌํ ์ค ์์ฐ์ ์ง์ ๋ชธ์ผ๋ก ์ฒดํํ๊ณ ์์ฐ์ ํตํด ๋ฐ์ ์๊ฐ์ ์๋ฌต์ ์ ํต์ฌ๋ฃ์ ํ๋ฒ์ผ๋ก ํํํ ์ํ์ด ์ฃผ๋ฅผ ์ด๋ค๋ค. ๋ ๋ฒ์งธ ๊ฐ์ธ์ ์ 2003๋ โThe moments of lifeโ๋ฅผ ํ์ดํ๋ก ๊ตญ์ ๊ฒฐํผ๊ณผ ํจ๊ป ํ๊ตญ์์์ ์ถ์ ์์ํ๊ฒ ๋๋ฉด์ ๊ฒช์ ๋ฌธํ์ ์ถฉ๊ฒฉ, ์ธ๋ก์, ๋๋ ค์, ์ฐ์ธํจ ๋ฑ ๋์ ๋ณต์กํ ๊ฐ์ ๊ณผ ๋ถํ์คํ ์กด์ฌ์ ๋ํ ์๋ก์ด ๊ฒฝํ๋ค์ ๋จ์ํ๊ณ ์๊ณก๋ ํ์๊ณผ ๊ฐํ ์์กฐ, ์ค๋ธ์ ๋ฅผ ์ด์ฉํด ํํํ๋ค. ์ธ ๋ฒ์งธ ๊ฐ์ธ์ ์ 2006๋ โRoom of imaginationโ์ ํ์ดํ๋ก ๋น์ ์ฌ์ฏ์ด ๋ ๋ธ์์ด์ ๋๋ก์์ ์๊ฐ์ ๋ฐ์ ์ ์ํ ์ํ๋ค๊ณผ ๋ธ์์ด์ ์ํ๋ค์ ํจ๊ป ์ ์ํ๋ค. ๋ค ์ด ๋๋ถํฐ ๋ธ์์ด๊ฐ ๊ทธ๋ฆฐ ๊ทธ๋ฆผ ์์ ์์ฌ๋ค์ ๋์ ์ํ ์์ผ๋ก ์ฎ๊ฒจ ์ด์ผ๋ก์ ๋ธ์์ด์ ๋ํ ์๋ง์ ํ๋ณตํจ, ํฌ๋ง, ์๋ง๋ฟ ์๋๋ผ ์ผ๋ ค์ ๊ฑฑ์ ์ด ํ๋์ ๊ณต๊ฐ์์์ ๋ณต์กํ๊ฒ ๋๋ฌ๋๋ ์๋ง์ ๋ธ์์ด์ ์์์ ๊ณต๊ฐ์ ํํํ๋ค. ๋ค ๋ฒ์งธ ๊ฐ์ธ์ ์ 2008๋ โMindscapeโ๋ฅผ ํ์ดํ๋ก ํ Mini solo ํ์์ผ๋ก ์งํ๋์๋๋ฐ ๋ฐ๋์ง ์์ ๊ณผ ๋ช ํจ ๋ชจ์ผ๊ธฐ์ ์ค์น์์ ์ ์ ๋ณด์๋ค. ์ด ์๊ธฐ๋ถํฐ ๋น ์ ํต ๋์ํ ์ฌ๋ฃ์ ์ ์ฌ๋ ฅ์ ๊ตฌ์ฒดํ ์ํค๋ ๋ฐฉ๋ฒ์ ๋ชจ์ํ๊ธฐ ์์ํ๊ณ ์ค์ ์ฐ๊ฒฐ์ ์ฑ์ง์ ํตํด ๋์ ํ์ธ๊ณผ์ ๊ด๊ณ๋ฅผ ์ฐ๊ฒฐ์ํค๋ ์๋ฏธ๋ฅผ ์ฐพ๊ณ ์ ํ๋ค. ๊ทธ๋ฆฌ๊ณ ๋ณธ์ธ๊ณผ ์ง์ ๊ฐ์ ์ ์ผ๋ก ๊ด๊ณ๊ฐ ์๋ ํ์ธ์ ๋ช ํจ๋ค์ ์์ ํ๋ผ์คํฑ ํต์ํ๋์ฉ๋ด์๋ด์ผ๋ก์์์ง์ํ์์์ํ์ ์ํ์ํ์ธ๊ณผ์ฌํ์์๊ด๊ณ๋งบ๊ธฐ๋ฅผ์๋ํ์๋ค. ๋ค์ฏ ๋ฒ์งธ ๊ฐ์ธ์ ์ 2009๋ โEmbroidery a space - Landscape with needleworkโ๋ฅผ ํ์ดํ๋ก ์๋ฌตํ์์ ๊ณผ ์กฐ๊ฐ, ์ค์น์ ์ด๋ฅด๋ ๋ค์ํ ์ฐฝ์๋ฐฉ์์ผ๋ก ์ ๋ณด์๋ค. ํํ์์ ์ ๋ค ๋ฒ์งธ ๊ฐ์ธ์ ์์ ์ ๋ณด์๋ ์์ ๊ณผ ๊ฐ์ ๊ธฐ๋ฒ์ผ๋ก ํ์ ์ง์ ์๋ฃ์ ์ฌ๋ฌ ์ธต๋ค์ ์ค์ ํต๊ณผ์ํค๊ณ ๊ฟฐ๋งค๋ฉด์ ๋์ ์ธ๊ณ์ ๋ ๋ฐ์ ์ธ๊ณ๋ฅผ ์ฐ๊ฒฐ์ํค๊ณ ์๋ค. ๋ค์ํ ์์ค๋ก ๋๋ญ๊ฐ์ง๋ฅผ ์ด์ดํ ๊ฐ์ ์์ญ ๊ทธ๋ฃจ์ ๋๋ฌด์กฐ๊ฐ๋ค์ ๋ฐ๋ฅ์ ๋์ ๋ง๋ ์ธ๊ณต์ ์๊ณผ ํ๊ตญ ์ ํต์ฒ์ธ โํํ Patoongโ์ ์ด์ฉํ ์ค์น์์ ๋ค์ ํํ์์ ๊ณผ ํจ๊ป ์ ์ฒด์ฑ๊ณผ ๊ด๊ณ ๋งบ๊ธฐ์ ๋ํ ๊ณ ๋ฏผ๋ค์ ์ด์ผ๊ธฐ ํ๋ค. ๋ํ โ ๋ช ํจ๋๋ฌด Name card treeโ๋ฅผ ์ ์์ฅ ๊ณต๊ฐ์ ์ค์นํ์ฌ ๊ด๊ฐ๋ค๋ก ํ์ฌ๊ธ ์๊ธฐ์ ๋ช ํจ์ด๋ ๋น์ทํ ๋ฉ๋ชจ์ฉ์ง๋ฅผ ๋๋ฌด๊ฐ์ง์ ์ง์ ๋งค๋ฌ๊ฒ ํจ์ผ๋ก์ ๊ด๊ฐ์ฐธ์ฌ์ ์ํต์ ์๋ํ๋ค. ์ฌ์ฏ ๋ฒ์จฐ ๊ฐ์ธ์ ์ ๋ค์ฏ ๋ฒ์งธ ๊ฐ์ธ์ ๊ณผ ๊ฐ์ ํ์ดํ๋ก 2010๋ ์ผ์ธ์ค์น์ ํ์์ผ๋ก ์งํ๋์์๋ค. ์ค๋ด์์ ์ธ๊ณต์ ์์ผ๋ก ๊พธ๋ฉฐ์ก๋ ๋๋ฌด์ค์น ์์ ์ ์ผ์ธ ์๋๋ฐญ ๊ณต๊ฐ์ผ๋ก ์ฎ๊ฒจ ์ค์ ์ ๋๋ฌด๋ค๊ณผ ์ด์ฐ๋ฌ ์ง๊ฒ ํ๊ณ ๊ฐค๋ฌ๋ฆฌ์ ๋ซํ ๊ณต๊ฐ๊ณผ ์ด๋ฆฐ ๋ฐ๊นฅ๊ณต๊ฐ์ ์ด์ด์ค์ผ๋ก์ ๋ ๋ค์ํ ์ฌ๋๋ค๊ณผ ๊ต๋ฅํ๊ณ ์ํตํ๊ธฐ๋ฅผ ์๋ํ๋ค. ์ด๋ฒ ๊ฐ์ธ์ ์ ๋์ ์ผ๊ณฑ๋ฒ์งธ ๊ฐ์ธ์ ์ด๋ค. ์ ์์ ํ์ดํ์ โDwelling in a Space - Patoong collage & installationโ์ด๊ณ ์๋ฌตํ์์ ๊ณผ ๋ชฉํํ, ๊ทธ๋ฆฌ๊ณ ์ค์น์์ ๋ฑ์ ํจ๊ป ์ ๋ณด์ผ ์์ ์ด๋ค. ์ด๋ฏผ์๊ฐ๋ก์ ํ์ฌ ์์๋์ด์๋ ํ๊ตญ์ฌํ์ํ์ฌ๊ฑฐ์ฃผํ๊ณ ์๋๊ณต๊ฐ๊ณผ์๊ด๊ณ์์์์ ์ฒด์ฑ์์ฐพ์๊ฐ๋์์ ์์ ๋ณด์ผ์์ ์ธ๋ฐ ์๊ฐ๋ก์ ์ฃผ๋ถ๋ก์ ์ด๋จธ๋๋ก์ ๋ ์ฌ์๋ก์์ ์ญํ ๋ค์ด ์์ ์์ ํํ๋์ด์ง๋๋ก ํ๋ค. ๊ทธ๋์ ๋ธ์์ด๋ฅผ ์์ฌ๋กํ ๋๋ก์๊ณผ ํ๊ตญ์ฌ์ฑ๋ค์ด ์ ๋ ํํ์ฒ์ ์ด์ฉํ ๊ผด๋ผ์ฅฌ ์์ , ๋ ๊ตฌ๋ฆฌ์ ์ ์ด์ฉํด ๋ง๋ ๋ค์ํ ํํ์ ๋ฐ๊ตฌ๋ ๋ชจ์์์ ํํ์ฒ์ ๊ฐ์ ๋๋ฌด๊ฐ์ง๋ค์ ๋ฃ์ด ์ฒ์ฅ์ ๋งค๋ฌ์ ๋ฒฝ์ ๊ทธ๋ฆผ์๋ฅผ ๋ง๋๋ ์ค์น์์ ๋ฑ์ผ๋ก ์ ์๊ฐ ์งํ๋๋ค. Q. ๋ฐฉ์ฝ์์ ๊พธ์คํ ์์ ์ ํ๋ ํ๊ตญ ์๊ฐ๋ก๋ ์ ์ผํ ๊ฒ ๊ฐ๋ค. ๋ฐฉ์ฝ์ ์ธ๊ตญ์ธ ์๊ฐ๋ฅผ ์ด๋ป๊ฒ ๋ฐ๋ผ๋ณด๋๊ฐ? ๋๋ฅผ ํฌํจํ ๋ง์ ์ธ๊ตญ์ธ ์๊ฐ๋ค์ด ๋ฐฉ์ฝ์์ ํ๋ํ๊ณ ์๊ณ ๋ค์ํ ์์ ๋ค์ ์ ์ํ๊ณ ์์ผ๋ฉฐ ํ๊ตญ์๊ฐ๋ค๊ณผ ํ๋ฐํ๊ฒ ๊ต๋ฅํ๊ณ ์๋ค. ํ๊ตญ์ ๋ถ๊ต์ ๋๋ผ๋ฉฐ ์ ํต์ ์ค์ํ๋ฉด์๋ ๋ฌธํ๊ฐ ๋ค์์ ์ผ๋ก ๊ณต์กดํ๋ ๋งค๋ ฅ์ ์ธ ๊ณณ์ด๋ค. ๋ํ ์์๋ฌธํ๋ฅผ ๋ฐ์๋ค์ด๋๋ฐ ์คํ ๋์ด์๊ณ ์ธ๊ตญ์ธ์ ๋ํ๋๋ฐํธ๊ฒฌ์ด๋ง์ง์๋ค.๋ฐฉ์ฝ์ด๋ผ๋๋์์์ฒด๋๊ตญ์ ์ ์ด๋ฉฐ๊ฐ๋ฐฉ์ ์ด์ด์์ธ๊ตญ์ํ๋๋ฌธํ๋ฅผ ๋ฐ์๋ค์ด๋๋ฐ ์ฐํธ์ ์ด๋ค. ๊ทธ๋์์ธ์ง ์์์ ํ๋๋ฏธ์ ์ ๋ฐ์๋ค์ด๋๋ฐ ํฌ์ฉ๋ ฅ์ด ํฌ๊ณ ์ธ๊ตญ์๊ฐ๋ค์ด ํ๋ํ๋๋ฐ ์ ์ฝ์ด ์ ์๊ฒ ๊ฐ๋ค. ๋๋ ์ธ๊ตญ์ธ ์๊ฐ์ ํ์ฌ๋์ผ๋ก ๋ฐฉ์ฝ์์ ์์ ์ ํ๊ณ ์์ง๋ง ๋ฐฉ์ฝ๋ฟ๋ง ์๋๋ผ ํ๊ตญ ์ ์ญ์์ ๊พธ์คํ ์์ ์ ํ๋ ์์์ ์ธ๊ตญ์ธ ์๊ฐ๋ค์ ํ๊ตญ ๋ฏธ์ ๊ณ์ ์ผ์์ผ๋ก ์ธ์ ๋ฐ๊ณ ์์ผ๋ฉฐ ๋ฏธ์ ๊ณ์์ ๋ง์ ๊ด์ฌ์ ๊ฐ์ ธ์ฃผ๊ณ ์๋ค. Q. ๋ฐฉ์ฝ์์ ์์ ํ๋ ํ๊ตญ ์๊ฐ๋ก์ ์ด๋ ค์ด ์ ๊ณผ ์ข์ ์ ์ ๊ฐ๊ฐ ๋ฌด์์ธ๊ฐ? ๋ฐฉ์ฝ์์ ์์ ํ๋ ํ๊ตญ ์๊ฐ๋ก๋ ์ ์ผํ๊ธฐ ๋๋ฌธ์ ๋ ํ๋ก์๊ธฐ๋ฅผ ํด์ผํ๋ค. ์ด์ฐฝ๊ธฐ์๋ ์ด๊ณณ
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Q. ๋น์ ์ ์ํ์ด ๋ฐฉ์ฝ์ ์ ๋ช ์ํธ ๋งต์ธ bam์ 2์ํธ ํ์ง๋ฅผ ์ฅ์ํ๋ค. ๋น์ ์ ์ํ ์ค ์ด๋ค ๋ถ๋ถ์ด ์ดํ๋์๋ค๊ณ ์๊ฐํ๋๊ฐ? ํ๊ตญ์ ์ ํต์ฒ์ธ ํํ์ ์ํ์ ์ด์ฉํ์ฌ ํํํ ๋ถ๋ถ์ด ์ดํ๋๊ฒ ์๋๊น ์๊ฐํ๋ค. ํ๋ฉดํํ์ ์ค์น์์ ๋ชจ๋ ํ๊ตญ์ ๋ฌธํ๋ฅผ ์๋ฏธํ๋ ํํ์ด ์ฐ์๋ค. ํ๊ตญ์ด๋ผ๋ ๋ค๋ฅธ๋ฌธํ์ ๊ณต๊ฐ์์ ์ด๋ฏผ์๊ฐ๋ก์, ์ฌ์ฑ์ผ๋ก์ ๋ ์ด๋จธ๋๋ก์์ ๋์ ์ ์ฒด์ฑ์ ์ฐพ์๊ฐ๋๋ฐ ํํ์ ์ญํ ์ด ์ ๋ง์๋ ๊ฑด ์๋๊น ์ถ๋ค. ํนํ ํ๊ตญํ์ ์๋ฌต๊ธฐ๋ฒ์ผ๋ก ์น ํด์ง ๋ฐฐ๊ฒฝ์์์ ํ๊ตญ๊ณ ํ๊ตญ์ธ์ธ ๋ธ์์ด๊ฐ ํํ์ ์ ๊ณ ๋ค์ํ๊ฒ ๋ฐ๋ ๋ชจ์ต๋ค์ด ํ๊ตญ๊ณผ ํ๊ตญ์ด๋ผ๋ ์๋ก ๋ค๋ฅธ ๋ฌธํ๋ฅผ ์ฐ๊ฒฐํด์ฃผ๋ ์ญํ ์ ์ ํํํด ์ฃผ์๋ค๊ณ ์๊ฐํ๋ค. Q. ์ด๋ฒ ์ ์์ ์ฃผ์ ๋ ๋ฌด์์ธ๊ฐ? ์ด๋ฒ์ ์๋ โDwelling in a Space - Patoong collage & installationโ์ด๋ผ๋ ํ์ดํ๋ก ํ์ฌ ์์/ ๊ฑฐ์ฃผํ๊ณ ์๋ ํ๊ตญ ์ฌํ์ ๋ฌธํ์ ๊ณต๊ฐ ์์์ ์์๋ฅผ ์ฐพ์๊ฐ๋ ๋ด์ฉ์ ๋ค๋ฃจ๊ณ ์๋ค. ํนํ ์ถ๊ณผ ์์ ์ ๋ถ๋ฆฌ ๋ ์ ์๊ณ ๋ฐ์ ํ ๊ด๊ณ๋ฅผ ๋งบ๊ณ ์๋ค๋ผ๋ ์๊ฐ์ ๋ด ์ผ์์์์ ์๊ฐํ๊ณ ๋๋ผ๊ณ ๊ฒฝํํ ์์ํ ๊ฒ๋ค์ ํํํ๊ณ ์๋ค. Q. ์ด๋ฒ ์ ์์๋ ํํ, ํํ, ์ค์น ๋ฑ ๋ค์ํ ์คํ์ผ์ ์ํ์ ํ๊บผ๋ฒ์ ๋ด๋์๋ค. ์ด๋ค ์ฅ๋ฅด์ ์ํ์ ์ค๋นํ์ผ๋ฉฐ, ๊ฐ ์ฅ๋ฅด์ ๋ํ ํน์ง์ ์ค๋ช ํด๋ฌ๋ผ. ์ด๋ฒ์ ์์๋ ์๋ฌตํ์์ 35์ ๊ณผ ๋ชฉํํ 18์ , ๊ทธ๋ฆฌ๊ณ ๊ตฌ๋ฆฌ๋ก ์ง 14๊ฐ์ ๋ฐ๊ตฌ๋๋ชจ์ ์ค์น์์ ๋ฑ์ผ๋ก์ค๋นํ์๋ค.์๋ฌตํ(InkBrushPainting)๋ํ์ง(Koreanricepaper)์์์๋ฌตํ์ฉ๋ถ์ผ๋ก ๋จน์ ๋ฒผ๋ฃจ์ ์ง์ ๊ฐ์์ ๋ง๋ ๋จน๋ฌผ๊ณผ ์ฒ์ฐ์๋ฃ๋ก ๊ทธ๋ ธ๋ค. ์ ํต์ ์ธ ๋ฐฉ์์ ๊ทธ๋๋ก ๋ฐ๋์ผ๋ฉฐ ๊ทธ์์ ์ฒ์ ๊ผด๋ผ์ฅฌํ์ฌ ํํํ๋ค. ๋ชฉํํ๋ ๋๊ฐ์ง ๊ธฐ๋ฒ์ผ๋ก ํํํ์๋๋ฐ ํ๋๋ Reduction Woodcut์ผ๋ก ํ๋ฉด์ ์ข ์ด์ ์ฐ์ด๋๊ฐ๊ธฐ ๋๋ฌธ์ ๋ง์ง๋ง๋จ๊ณ์์๋ ๋๋ฌดํ์์ ์กฐ๊ฐ๋ค์ด ๋ชจ๋ ์์ด์ง๋ ๊ธฐ๋ฒ์ด๋ค. ๋ค๋ฅธํ๋๋ Key Block ๊ธฐ๋ฒ์ผ๋ก ํ์ํ ์ ๋งํผ์ ๋๋ฌดํ์ ๋๋ก์ํ๋ค ํํ์ฉ ์นผ๋ก ํ ๋ค์ ์ฐจ๋ก๋ก ์ข ์ด์์ ์ฐ๊ณ ๋ฌธ์ง๋ฌ ํ๋ฆฐํธ ํ๊ณ ๊ทธ์์ ๋ค์ ๊ผด๋ผ์ฅฌ ์์ ์ ํ๋ค. ํ๋์ ํ๋ฉด์์ ๋ํ๋ ์์ ์ ๋งํผ ๋๋ฌดํ์ด ํ์ํ ์์ ์ด๋ค. ์ค์น์์ ์ ๋์ฌ(copper wire)๋ก ๋ฐ๊ตฌ๋๋ชจ์์ ํํ๋ฅผ ์ง๋ฉด์ ๊ทธ์์ ์ค๋ธ์ ๋ฅผ ๋ฃ์๋ค์ ๋ง๋ฌด๋ฆฌ๋ฅผ ํ์ฌ ์ฒ์ฅ์ ๋งค ๋ค๋ ์์ ์ด๋ค. ํน๋ณํ ๊ธฐ๋ฒ์ ์ถ๊ตฌ ํ๋ค๊ธฐ ๋ณด๋ค๋ ๋ง์น ์ท์ ์ง๋ฏ ๋์ฌ๋ฅผ ๊ตฌ๋ถ๋ ค ํ์ฌํ์ฌ ์์ผ๋ก ์ง์ ์งฐ๋ค. Q. ํ ๊ฐ์ง ์ฅ๋ฅด๋ฅผ ์ง์คํด์ ์์ ํ๋ ํ๊ตญ ์ํฐ์คํธ๋ค๊ณผ๋ ๋ฌ๋ฆฌ ๋ค์ํ ์ฅ๋ฅด๋ฅผ ๋์์ ์์ ํ๊ณ ์๋ค. ํน๋ณํ ์ด์ ๊ฐ ์๋๊ฐ? ๋๋ ์๊ฐ๋ก์ ํญ์ ์๋ก์ด ๊ธฐ๋ฒ์ ์ฐ๋งํ๊ณ ๊ทธ๊ฒ์ ์ํ์ ์์ฉํ๋ ๊ฒ์ ๋งค์ฐ ํฅ๋ฏธ๋กญ๊ณ ์๊ฐํ๋ค. ๊ทธ๋ ๊ฒํ๋ฏ๋ก์ ๋ด ์์ ์ ๋ ํ๋ถํ๊ฒ ํํํ ์ ์๊ณ ๋ ๋ง์ ๊ฐ๋ฅ์ฑ์ ๋ฐ๊ฒฌํ ์ ์๊ธฐ ๋๋ฌธ์ด๋ค. ํนํ ํํ์์ ์ ํตํด ๋์ํ์์ ํํํ ์ ์๋ ์๊ฐ์ ๋ฐ๊ฒฌํ์๊ณ , ํํํ๋ฏ๋ก์ ์ฐฝ์์ ๋ํ ํฌ์ด์ ๋ง๋ณด๊ณ ์๋ ๊ฒ ๊ฐ๋ค. Q. ๋ชจ๋ ์ํ์์ ๋์ํ ๊ธฐ๋ฒ์ด ๋์ ๋ค๋ค. ํนํ ํ๊ตญ์ ์ธ ์์๊ฐ ๊ฐํ๋ค. ๋์ํ๋ฅผ ๊ธฐ๋ฒ์ ์ถ๊ตฌํ๋ ์ด์ ๊ฐ ์๋๊ฐ? ๋์ํ๋ ๋ด๊ฐ ํ๊ตญ์ ๋ํ๊ณผ ์ค๊ตญ์ ๋ํ์์์ ์ ๊ณตํ ๋ถ์ผ๋ก ์กธ์ ๊ณผ ๋์์ ํ์ฌ๊น์ง ๊พธ์คํ ์์ ํด ์ค๊ณ ์๋ ๋ถ์ผ๋ค. ๋๋ ํน๋ณํ ํ๊ตญ์ ์ธ ์ ์ ์ผ๋ํด ๋๊ณ ์์ ํ์ง๋ ์์๋๋ฐ, ๊ทธ๋ฐ ์ ์ ๋ฐ๊ฒฌํ์๋ค๊ณ ํ๋ ๋ด ์ํ์ ๋ค์๋ณด๊ฒ ๋ง๋ ๋ค. ์๋ฌตํ๋ ๋ถ๋๋ฆผ์ ์๋๋ ํ์ ์ํด ํ์ ์ง ์์์ ๋จน์ ๋ฒ์ง์ ์ ๋๊ฐ ๋ฌ๋ผ, ๋งค์ฐ ์ฌ์ธํ๊ณ ์ฌ๋ฃ๋ฅผ ๋ค๋ฃจ๊ธฐ๊ฐ ์ด๋ ค์ด, ์ค๋ ๊ฒฝํ์ ์๊ตฌํ๋ ์์ ์ด๋ค. ๊ทธ๋งํผ ์๋ จ์ด ํ์ํ๊ณ ๊น์ด๊ฐ ์๋ ์์ ์ด๋ผ๊ณ ์๊ฐํ๋ค. Q. ์ด๋ฒ ์ ์์๋ ๋ธ(๋ฆด๋ฆฌ)์ด ๋ง์ด ๋ฑ์ฅํ๋ค. ๊ฑฐ์ ๋ชจ๋ ์ํ์์ ๋ธ์ด ๋ฑ์ฅํ๋๋ฐ, ํน๋ณํ ๋ธ์ ์์ฌ๋ก ์ผ์ ์ด์ ๊ฐ ์๋๊ฐ? ๋ธ์์ด๋ ๋ ๋์ ํจ๊ป ์๋ ์กด์ฌ๊ณ ์๋ง๋ก์ ํญ์ ๋ณด์ดํด์ผํ๋ ๋์์ด๋ค. ํ๊ตญ์ด๋ผ๋ ์๋ก์ด ๊ณณ์์ ์ด๋ฐฉ์ธ์ผ๋ก ์ด์์์์ธ์ง๋ ์ ๋ชจ๋ฅด๊ฒ ์ง๋ง ๋ธ์์ด์๊ฒ ํนํ ๋ง์ ์ ์ฐฉ์ ๋๋ผ๊ณ ์๋ค. ๋ฟ๋ง์๋๋ผ ํ๊ตญ์ธ์ธ ๋ธ์์ด๋ฅผ ์ํ์ ์ ๋ฉด์ ๋ด์ธ์ฐ๋ฉด์ ๋์ ํ๊ตญ์ฌํ๋ฅผ ์ฐ๊ฒฐํ๊ณ ์ ํ๋๊ฒ ๊ฐ๋ค. Q. ์ํ ์์ ๋ฆด๋ฆฌ๋ ํญ์ ์ ํ๋ฅผ ํ๊ณ ์๋ค. ์ด๋ค ํน๋ณํ ์๋ฏธ๋ฅผ ๋ด๊ณ ์๋๊ฐ? ๋ด ์ํ์์์์ ์์ง์์ ๊ณต๊ฐ๊ณผ ๊ด๊ณ๊ฐ ์๋ค. ๋๋ ๋ด ์ ์ฒด์ฑ์ ์ด์๋ฅผ ๋ด๊ฐ ๊ฑฐ์ฃผํ๊ณ ์๋ ๊ณต๊ฐ๊ณผ ์ฐ๊ด์ง๊ณ ์๋๋ฐ, ํ๋ฉด์์ ์์ ์ด๋ฏธ์ง ๊ณต๊ฐ์ด๋ ์ค์น์์ ์์์ ์ค์ฌ๊ณต๊ฐ์ด๋ ๋ชจ๋ ์ฌ๋ฌผ์ด ์กด์ฌํ๊ธฐ ์ํด์ ๊ณต๊ฐ์ด ํ์ํ์ง ์๋๊ฐ. ๊ทธ๋ฐ์ ์์ ๊ณต๊ฐ์ ์กด์ฌ์ ํ์ ์กฐ๊ฑด์ด๋ผ๊ณ ์๊ฐํ๋ค. Q. ์ํ ์ ๋ฆด๋ฆฌ๊ฐ ์ ๊ณ ์๋ ์ท์ ํจํด์ ๋งค์ฐ ํ๊ตญ์ ์ผ๋ก ๋๊ปด์ง๋ค. ์ด๋ ํ ํจํด๊ณผ ์์ฌ๋ฅผ ์ฌ์ฉํ๋๊ฐ? ๊ทธ๋ฆฌ๊ณ ๊ทธ ํจํด์ ํตํด ๋ฌด์์ ๋งํ๊ณ ์ถ์๋? ์ด๊ฒ์ ํํ์ด๋ผ๊ณ ํ๋ ํ๊ตญ ์ ํต์ฒ์ผ๋ก ํ๊ตญ์ ์ฌ์ฑ๋ค์ด ๋ชฉ์์ ํ ๋ ๋๋ ์ท์ ๊ฐ์์ ์๋ ์ฌ์ฉํ๋ค. ๋ฐฉ์ฝ์์๋ ์ฌ์ฑ๋ค์ด ๊ฑฐ์ ์ฌ์ฉํ๊ณ ์์ง ์๊ณ ์ง๋ฐฉ์ผ๋ก ๊ฐ๋ฉด ์์ฃผ ๋ณผ ์ ์๋ค. ์ง์ญ์ ๋ฐ๋ผ ํจํด์ด ์กฐ๊ธ์ฉ ๋ค๋ฅด๋ค๋ ์ ์์ ์ง์ญ์ ํน์ง์ ๋ณด์ฌ์ค๋ค๊ณ ์๊ฐํ๋ค. Q. ์ด๋ฌํ ํจํด๊ณผ ์์ฌ๋ ์ด๋ค ๊ณณ์์ ์๊ฐ์ ์ป๊ณ , ๋ ์์งํ๋๊ฐ? ์ฒ์ ๋ด๊ฐ ํ๊ตญ์ ์์๋ ๋์นด์ด๋ผ๋ ์ง์ญ์์ 6๊ฐ์๊ฐ ์ํํ์ ์ด ์๋๋ฐ, ๊ทธ๊ณณ์์ ํํ์ฒ์ ์ฒ์ ์ ํ๋ค. ๋์นด์ด๋ ํ๊ตญ์ ๋๋ถ๋ถ์ ์์นํ ์์ ๋์๋ก ๋น์ ์ธ๋ถ์์ ๊ต๋ฅ๊ฐ ๋ง์ง ์์ ์ง์ญ์ ํน์ง์ด ์ ๋ณด์กฐ๋์ด ๊ณณ์ด๋ค. ๊ทธ๊ณณ์ ์ฒด๋ฅํ๋ ๋์ ํ๊ตญ์ฌ์ธ๋ค์ด ์ฃผ๋ก ํํ์ ์ ๊ณ ์๋๊ฒ์ ์์ฃผ ๋ณด๊ฒ ๋์๋ค. ๊ทธ ๋น์ ์ ํ ํํ์ ๋ด๊ฐ ํ๊ตญ์ ์ธ ๊ฒ์ ์ฒ์ ๋๋ผ๊ฒ ํด์ค ์ฌ๋ฌผ์๋ค. ๋ฐฉ์ฝ์ผ๋ก ์ฎ๊ฒจ์จ ๋ค ํํ์ฒ์ ์ฒ๊ฐ๊ฒ์์ ๊ตฌ์ ํ ์ ์์๋๋ฐ, ํํ์ฒ์ ๋ณด๋ ์๊ฐ ์ด์ ์ ๊ธฐ์ต๋ค์ด ๋ ์ฌ๋๋ค. ๊ทธ๋ฐ ์ ์์ ํํ์ ๋ด๊ฒ ํน๋ณํ ์๋ฏธ๋ฅผ ์ง๋ ์์ฌ๊ฐ ๋์๋ค. ํฅ๋ฏธ๋ก์ด ๊ฒ์ ์ด๊ณณ ๋ฐฉ์ฝ์์๋ ๊ทธ ์ฒ์ ์ ๊ณ ์ํํ๋ ์ฌ์ฑ๋ค์ ๊ฑฐ์ ๋ณผ ์ ์๋ค๋ ๊ฒ์ด๋ค. 2009๋ ๊ฐ์ธ์ ๋ ์ฒ์์ผ๋ก ํํ์ฒ์ ์์ ์ ์ฌ์ฉํ๊ณ ํ์ฌ๋ ๋ค์ํ ๋ฐฉ๋ฒ์ผ๋ก ์์ ์ ์ฌ์ฉํ๊ณ ์๋ค. Q. ์ง๋ํด ํ๊ตญ ํ์๋ฅผ ์์ฌ๋ก ํ ์ํ๋ค๋ ๋์ ๋ค๋ค. ์ด ์ํ๋ค์ ํตํด ๋ฌด์์ ๋งํ๊ณ
์ถ์๋๊ฐ? ์ด๋ฒ ์ ์๋ฅผ ์ค๋นํ๋ ๋์ ํ๊ตญ ํ์์ฌํ๋ฅผ ๊ฒฝํํ๊ฒ ๋์๋ค. ์๊ฐ์๋์ ๋ง์ ์ง์ญ์ด ์นจ์๋๊ณ ์๋ง์ ํ๊ตญ๊ตญ๋ฏผ๋ค์ด ๊ณ ํต ๋ฐ๋ ๊ฒ์ ์ง/๊ฐ์ ์ ์ผ๋ก ๊ฒฝํํ๊ฒ ๋์๋ค. ๋ด๊ฐ ๊ฑฐ์ฃผํ๋ ๋ฐฉ์ฝ์๋ด ์ค์ฌ๋ถ๋ ํฐ ํผํด๋ ์์์ง๋ง ์ฌํด์ ๋์ฒํ๋๋ผ ์ ์ง์์ ์ด๋ ค์๊ณผ ๋๋ ค์์ ๋๋ผ๊ฒ ๋์๋ค. ์์ ์ด์ผ๊ธฐ ํ๋ฏ์ด ๋ด ์ํ์ ๋์ ์ผ์๊ณผ ๋๋จ์ด์ง ์ ์๋๋ฐ, ๊ทธ๋ฐ ์ ์์ ์ด๋ฒ ์ฌํด์ ๋ํ ๊ฒฝํ์ ์์ฐ์ค๋ฝ๊ฒ ํํํ๊ฒ ๋์๋ค. ์ํ์ ๋ํ๋๋ ์ฐ์ด์ง ํํ์ฒ์ ํ๊ตญ๋ฏผ๋ค์ ์์ฒ๋ฅผ ์์ ์ ์ผ๋ก ํํํ๋ค๊ณ ํ ์์๋ค. Q. ๋์ฌ๋ก ์ง ์์ง ๋ชจ์์ ์ค์น๋ฌผ์ด ๋งค์ฐ ํฅ๋ฏธ๋กญ๋ค. ์ด ์ํ์ ๋ํด ์ค๋ช ํด ๋ฌ๋ผ. ๋์ฌ๋ก ์ง ์ค์น๋ฌผ์ ๋ฐ๊ตฌ๋ ๋ชจ์์ ํ๊ณ ์๊ณ ๊ทธ ์์ ํํ์ฒ์ ๊ฐ์ ๋๋ญ๊ฐ์ง๋ฅผ ๋ฃ์ด ์ฒ์ฅ์ ๋งค๋ฌ์ ์ค์นํ๋ค. ๋๋ฌด๊ฐ์ง๋ 2009๋ ๊ฐ์ธ์ ๋ ์ค์น์์ ์ ์ฌ์ฉํ์๋๋ฐ ๊ทธ๋์ ๊ฐ์์๋ฏธ๋ฅผ ๋ด๊ณ ์๋ค. ์๋ฅผ ๋ค๋ฉด ๊ทธ ๋น์ ๋๋ ์์๊ฐ์ง์ ์ค์ ์ด์ดํ ๊ฐ์ ์์ญ๊ฐ์ ๋๋ฌด๊ฐ์ง๋ค์ ๋ฐ๋ฅ์ ์ค์นํ์ฌ์ธ๊ณต์ ์์๋ง๋ค์์๋๋ฐ,๊ฐ๊ฐ์๋๋ฌด๊ฐ์ง๋ฅผ๋ค๋ฅธ๊ฐ๊ฐ์ธ์ผ๋ก,์ ์์ํ๋์์ฌํ๋ก ์๊ฐํ๊ณ ํํํ๋ค. ์ด๋ฒ ์ค์น์์ ์ ๊ณต๊ฐ์ ๋ํ ์ด์๋ฅผ ๋ ๊น์ด ๋ค๋ฃจ๊ณ ์๋ค. Q. ์ด๋ฒ ์ ์์ ์ถํํ ์ํ๋ค ์ค ๊ฐ์ฅ ์ ์ฐฉ์ด ๊ฐ๋ ์ํ์ด ์๋ค๋ฉด ๋ฌด์์ธ๊ฐ? ์ด๋ฒ ์ ์์์ ๊ฐ์ฅ ์ ์ฐฉ์ด ๊ฐ๋ ์ํ์ <Jumping>์ด๋ค. ํํ์ ํ๋ฉด๊ทธ๋ฆผ์ ์ฒ์ ๊ผด๋ผ์ฅฌ ํ๋ ์์ ์ด๋ค.ํ๋ฉด์์12๊ฐ์ํฌ์ฆ๋ฅผ์ํด10์ด๋๋ธ์์ด๊ฐ50ํ์ด์์์ ํํ๋ค.๋ธ์์ด๋์์ ์ ๋ชจ์ต์ด ์์ฑ๋์ด๊ฐ๋ ๊ณผ์ ์ ์ฒ์๋ถํฐ ์ง์ผ๋ณด๊ณ ์กฐ์ธ๋ ์๋ผ์ง ์์๋ค. ์ด ์์ ์ ์์์ผ๋ก ๋ค์ํ ์์ ๋ค์ ๋ง๋ค์ด ๋ผ ์ ์์๋ค. Q. ์ด๋ฒ์ ๋ฐฉ์ฝ ์คํ์ ์๋์ ์ ๋ง๋ค๋ฉด์ ๋ง๋ ํ๊ตญ์ ์ํฐ์คํธ, ๊ฐค๋ฌ๋ฆฌ, ๋์์ธ ์ผํฐ๋ฅผ ๋ณด๋ฉด์ ๋ฐฉ์ฝ ์ํธ์ ์ ๊ฐ๋ฅ์ฑ์ ์ฟ๋ณผ ์ ์์๋ค. ํ์ฌ ํ๊ตญ์ ์ํธ ์ ์ ๋ํ ๋ํฅ์ ๊ฐ๋จํ๊ฒ ์ค๋ช ํด ๋ฌ๋ผ. ํ๊ตญ์ ์ฌ๋ ๊ฐ๋ฐ๋์๊ตญ๊ณผ ๋ง์ฐฌ๊ฐ์ง๋ก (๋ด ํ๋จ์ด ๋ง๋ค๋ฉด) ๊ตญ์ ํ์ ์ธ๊ณํ์ ์ฃผ๋ชฉํ๋ฉด์๋ ํ๊ตญ์ ์ธ ์ง์ญ์ฑ์ ๋ํด ๊ณ ๋ฏผํ๋ ์๊ฐ๋ค์ด ๋ง์๊ฒ ๊ฐ๋ค. ์ง๋ ๋ช๋ ๊ฐ ํด์ธ ์ ์ ์ ์์ ์ด๋๋ ์๊ฐ๋ค๋ ๋ง์์ง๊ณ ๋ ํด์ธ ๋ ์ง๋์ ํ๋ก๊ทธ๋จ์ ์ฐธ์ฌํ๊ณ ๋์์จ ์๊ฐ๋ค๋ ๋์๋๋ฐ, ๊ทธ๋ค์ ํตํด์ ํ๊ตญํ๋๋ฏธ์ ์ด ๋ ๋ฐ์ ํ๊ณ ์๊ณ ๋ค์ํด ์ง๊ณ ์๋๊ฒ ๊ฐ๋ค. ์ฅ๋ฅด๋ฉด์์ ๋ณธ๋ค๋ฉด ์ ํตํํ๋ฅผ์ถ๊ตฌํ๋์๊ฐ๋ค๋ฟ๋ง์๋๋ผ๋ค์ํ๊ธฐ๋ฒ๊ณผ์์ด๋์ด๋ก๋ฏธ์ ๊ณ๊ฐ๋ํ๋ ฅ์ด๋์ณ๋๋ ๊ฒ์ ๋๋ ์ ์๋ค. ๊ฐ์ธ์ ์ผ๋ก ๋งค์ฐ ํ๊ตญ์ ์ด๋ผ๊ณ ๋๋ผ๋ ๋ถ๋ถ์ ๋ถ๊ตํ๋ฅผ ์ ๋ฌธ์ ์ผ๋ก ํ๋ ์๊ฐ๊ตฐ์ด ์๋ก ์ฐ๋ํ๋ฉด์ ๋งค์ฐ ์์ฑํ ํ๋์ ํ๋ค๋ ์ ์ด๋ค. ๋ถ๊ต๊ตญ๊ฐ์ฌ์ ๊ทธ๋ฌํ ํ์์ด ๋๋ค์ด์ ธ ๋ํ๋๋๊ฒ ํน์ดํ ์ ์ด๋ผ๊ณ ์๊ฐํ๋ค. Q. ๊ฐ์ธ์ ์ผ๋ก ์ข์ํ๋ ํ๊ตญ ๋ก์ปฌ ์ํฐ์คํธ๊ฐ ์๋ค๋ฉด ์ถ์ฒํด๋ฌ๋ผ. ํ๊ตญ์ ์ ์๊ฐ ์ค ์น์ ๋ง์ด (Chiang Mai)๋ฅผ ๊ฑฐ์ ์ผ๋ก ํ๋ํ๊ณ ์๋ ์์ด์ฅ (Sudsiri Pui-ock) ์ด๋ผ๋ ์๊ฐ๋ฅผ ์ข์ํ๋ค. ๊ทธ๋ ์ ์ต๊ทผ์ ์๋ฅผ ๋ณด๋ฉด ๋ง์น ์ ์ฒด์ผ๋ถ๊ฐ ๋์ฐ๋ณ์ด์ฒ๋ผ ํํ๋ ์์ ์ค๋ธ์ ๋ค์ด ๋ค๋ค๋ฏธ ์ ์ฌ๊ธฐ์ ๊ธฐ์ ๋ณด์ผ๋ฏ ๋ง๋ฏ ํฉ์ด์ ธ ์ค์น๋์ด ์๋๋ฐ, ๊ทธ๋ ์ ์ํ๋ฉด ๋ถ๊ต์ ์คํ์ค์ ์๊ฐ์ ๋ฐ๊ณ ์ถ๊ณผ ์ฃฝ์, ํ๋ณต๊ณผ ์ฌํ ๋ฑ ์ถ์ ๋ํ ์ง์งํ ๊ณ ๋ฏผ์ด๋ ์๋ฐ๋ ๊ฐ๋ ๋ค์ ๋ค๋ฃจ๋ ํ๋๊ฐ ๋ง์์ ๋ ๋ค. ๋ํ ๊ทธ๋ ์ ์์ ์ ๋งค์ฐ ๊ฐ๋ ์ ์ด๋ฉด์๋ Hands-on ์ quality ๊ฐ ๋ถ๊ฐ๋๊ณ ์๊ณ , ์ํ ์ ์๊ณผ์ ์ด ์ค์๋๊ณ ์์ด ๋ด๊ฐ ์ํ์์ ์ถ๊ตฌํ๋ ์ ๊ณผ ์ ์ฌํ ์ ์ ๋ฐ๊ฒฌํ ์ ์์ด ๋ ๊ด์ฌ์ ๊ฐ์ง๊ฒ ๋์๋ค. Q. 8๋ฒ์งธ ์ ์์ ๋ํ ๊ณํ์ ์๋๊ฐ? ์์ผ๋ก์ ๊ณํ์ด ๊ถ๊ธํ๋ค. ๋ค์ ์ ์๋ ๊ตฌ๋ฆฌ์ค์น์์ ์ ๋์ฑ ๋ฐ์ ์ํฌ ์์ ์ด๋ค. ์ด๋ฒ ์ ์์ ๋ง์ฐฌ๊ฐ์ง๋ก ๊ณต๊ฐ๊ณผ์ ๊ด๊ณ ์์์์ ์ฒด์ฑ์์ฐพ์๊ฐ๋๋ฐฉ์์ธ๋ฐ๊ตฌ์ฒด์ ์ผ๋ก๋ํ๊ตญ๋ฌธ์๋ฅผ์ด์ฉํ์ฌํ์ธ๊ณผ์ฌํ์์์ํต์ ๊ดํ ๋ฌธ์ ๋ค์ ์๋กญ๊ฒ ์ ๊ทผํ๊ณ ํ์ด๋๊ฐ ๊ณํ์ด๋ค. Q. ๋ฐฉ์ฝ์์ ๋ง๋ ํ๊ตญ์ธ ์๊ฐ์ด๊ธฐ์ ๋์ฑ ๋ฐ๊ฐ๊ณ , ์๋์ค๋ฝ๋ค. ์๋กํ์ค ๋ ์์๊ฒ ๋ง์ง๋ง ์ธ์ฌ๋ฅผ ๋ถํํ๋ค. ๋์ ์ ์์ ์์ ์ ๋ํด ์๊ฐ๋ฅผ ํด์ค์ ๋๋ฌด ๊ณ ๋ง๋ค. ์ค๋ซ๋์ ํด์ธ์์ ๊ฑฐ์ฃผํ๊ณ ํ๋์ ํด์์ ์ฌ์ค ํ๊ตญ์ ๋ด ์์ ์ ๋ํ ์๊ฐ๋ฅผ ํ ๊ธฐํ๊ฐ ์์๋๋ฐ, ๊ทธ๋ฐ ์ ์์ ํ๊ตญ์์ ๋ฐํ๋๊ณ ์ธ๊ณ๋ก ๋ฐฐํฌ๋๋ ์ก์ง์ ์๊ฐ๋๋ค๊ณ ํ๋ ์๊ฐ๋ก์๋ ๋๋ฌด๋ ํฐ ํ์ด์ด๊ณ ๋ง์ ๊ฒฉ๋ ค์ ์ฉ๊ธฐ๋ฅผ ์ค๋ค. ์์ผ๋ก ๋ ์ข์ ์์ ์ ๊ฐ์ง๊ณ ์๋กํ์ค ๋ ์์ฌ๋ฌ๋ถ์ ๋ต๊ธฐ๋ฅผ ํฌ๋งํ๋ค. ํฐํธ๋ ๋์ ๋๊ฒ ๋ง๋ค๋ ค๊ณ ํ๋ค. ์ํ์ ํตํด ๊ณต์ ์ผ๋ก ์ฐธ์ฌํ๊ณ ์ถ๊ณ , ๊ธ์ ์์ฒด๋ง์ผ๋ก ์์ฌ ์ํต์ ํ ํํ๋ผ๊ณ ์๊ฐํ๋ค. ๋ฌด์๋ณด๋ค๋ ๋ด ์ํ์ ํตํด ์ฌ๋๋ค๊ณผ ์ง์ ์ ์ผ๋ก ์ํตํ๊ณ ์ถ๋ค.
128p
์ด๋ค๊ฐ? ํ๊ตญ์๋ ์ํ๊ฐ๋ ์ด ๋ง๋ค. ๊ฐ์ธ์ ์ผ๋ก Apichatpong๊ฐ๋ ์ ์ต๊ณ ์ ๊ฐ๋ ์ค ํ ๋ช ์ด๋ผ๊ณ ์๊ฐํ๋ค. ๊ทธ์ ์ํ๋ ๋๋ถ๋ถ ๋ ๋ฆฝ ์์ ์ํ๋ก ํ๊ตญ ๋์ค์ ๋ ธ๋ฆฌ๋ ํธ์ ์๋๋ค. ์ ๋ฐ์ ์ธ ํ๊ตญ ์ํ ์ฐ์ ์ ์ก์ , ์ฝ๋ฉ๋, ๋๋ผ๋ง, ํธ๋ฌ ์ฅ๋ฅด๊ฐ ๋ง๊ณ ์์ ์ฑ๋ณด๋ค๋ ์์ต์ฑ์ ์ํ ์ฑ๊ฒฉ์ด ๊ฐํ๋ค. Q. ๊ฐ์ฅ ์ข์ํ๋ ์ํ๋ ์ํ๊ฐ๋ ์? ๊ฐ์ฅ ์ข์ํ๋ ๊ฐ๋ ์ Biutiful, Babel๊ฐ์ ์ํ์ ๋ง๋ Alejandro Gonzalez Inarritu์ด๋ค. ํ์ง๋ง ์ ์ผ ์ข์ํ๋ ์ํ๋ Christopher Nolan์ Inception์ด๋ค. Q. ๋น์ ์ ์ฒด์ฝ์์ ํ๋ฆ ๊ณต๋ถ๋ฅผ ํ๋ค. ๋ฐ๋, ๋ด์์๋ ์ ๋ช ํ๋ฆ ์ค์ฟจ์ด ๋ง๋ค. ๊ตณ์ด ํ๋ผํ๋ฅผ ํํ ์ด์ ๊ฐ ์๋? ์ผ๋จ์ ์์์์ ๋ค๋ฅธ ์ ๋ฝ ๋ฌธํ๋ฅผ ์ ํด๋ณด๊ณ ์ถ์๋ค. ๋, ์ํ์ ์๋ฟ๋ง ์๋๋ผ ์ ๋ฝ์ ์ญ์ฌ๋ ์๊ณ ์ถ์๋ค. ๊ทธ ์ค์์๋ ๋ ํนํ ์ญ์ฌ์ ์ํ ์คํ์ผ์ด ๋๋ฌ๋๋ Czech Republic์ ๊ฐ์ฅ ์ข์ํ๋ค. Q. ์ ๋ฝ ์ํ์ ์์์ ์ํ์ ๊ฐ์ฅ ํฐ ์ฐจ์ด์ ์ ๋ญ๋ผ๊ณ ์๊ฐํ๋? ์ํ์ ์ํ๋๊ณผ์ ๋๋ค๋ฅด์ง๋ง,๊ฐ์ฅํฐ์ฐจ์ด์ ์๋ด๋ฌํฐ๋ธ๋ค.์์์๋์์์๋ง์์ ํต๋ฌธํ์ ๊ทธ ๋๋ฆ์ ์คํ ๋ฆฌํ ๋ง ๋ฐฉ์์ด ์๋ค. ์ธ๊ณ ์์ฅ์์ ์์์ ํ๋ฆ ๋ง์ผ์ด ์ด์๋จ์ผ๋ ค๋ฉด ์ฐ๋ฆฌ๋ง์ ์ญ์ฌ์ ๋ฌธํ๋ฅผ ๋ณด์ฌ์ฃผ๋ ์คํ์ผ์ด ์ค์ํ๋ค. Q. ๊ณผ๊ฑฐ ์ํ ์ ์ ๋ฐฉ์์ ์๋ ๋ก๊ทธ์์ง๋ง, ๋์งํธ ๋ฐฉ์์ผ๋ก ๋ฐ๋๋ฉด์ ์ํ์ ์ ์์คํ ์ญ์ ๋ง์ด๋ฐ๋์๋ค.๋น์ ์๋ฐฉ์ฝ์๋์งํธํ๋ฆ์ธ๋์์ ๋์ฃผ์๋ค.๋์งํธํ ํฌ๋๋ก์ง์๋ํด์ด๋ป๊ฒ ์๊ฐํ๋๊ฐ? ๋์งํธ ํ ํฌ๋๋ก์ง๋ ์ํ์ ์์ ์๋ก์ด ๊ฐ๋ฅ์ฑ์ ๋ณด์ฌ์คฌ๋ค. ๋์งํธ ์์์ ์์ ์ด์ ๋ ์ด์ ์ ์์ฐ์ธ๋ ์ํ๋ฅผ ์ํ ๊ฒ์ด ์๋๋ค. ๋์งํธ๊ณผ ํ๋ฆ์ ๋ง๋จ์ ํ๋ฆ ์ญ์ฌ์ ๊ฐ์ฅ ์ฌ๋ฏธ์๊ณ ํ์ ์ ์ธ ๋ณํ์์ ํ๋ฆผ์๋ค. Q. ์ข ๋ ๊ตฌ์ฒด์ ์ผ๋ก ๋งํด๋ฌ๋ผ. ๋ฌด์๋ณด๋ค๋ ๋์งํธ ์์์ ์์ ๋๊ตฌ๋ ํ ์ ์๋ค. ์๋์ ์ผ๋ก ์ ์์ฐ์ธ๋ฐ๋ค ์ฌ์ฉํ๊ธฐ ํธํ ๋ฐฉ์์ ์์ผ๋ก ์ํ์ฐ์ ์ ํฐ ํ์ด ๋ ๊ฒ์ด๋ค. ์๋ํ๋ฉด ์ฌ๋ฅ ์๋ ๊ฐ๋ ์ด ์ํ๋ฅผ ๋ง๋ค๊ณ ์ถ๋ค๋ฉด ๋ ์ด์ Hollywood๋ฐฉ์์ ์ฌ์ ์ ์ง์์ด ์์ด๋ ๋๊ธฐ ๋๋ฌธ์ด๋ค. ๋ฌผ๋ก ๊ธฐ์กด ์ฐ์ ์ ์ํ์ ์์๊ฐ ๋ ๋๋ ์์ง๋ง, ๋์งํธ ์ธ๋๋ค์ ์ํ์ฐ์ ์ ์๋ก์ด ํ๊ธฐ๋ฅผ ๋ถ์ด๋ฃ์ด์ฃผ๊ณ ์๋ค. ๋, ํธ์ง๊ณผ์ ์ด ๋งค์ฐ ๊ฐ๋จํด์ก๋ค. ๋์งํธ ๋ ์ฝ๋ฉ ์ฅ๋น๋ค์ฒ๋ผ ํธ์ง์ฅ๋น ์ญ์ ๊ตฌํ๊ธฐ ์ฝ๊ณ ๋ฐฐ์ฐ๊ธฐ ์ฝ๋ค. ์ ์ ๋ค์ด ์ง์ ์์์ ์๋ฅด๊ณ ์ฝ๊ฒ ์์ ํ ์ ์๋ค. ํ๋ฐ์์ ๋ ์ข ๋ ํธํ ํธ์ด๊ณ . ๋๊ตฌ๋ iMac๊ฐ์ ์์ํด ์ ๋๋ก ์ฝ๊ฒ ์์์ ๋ง๋ค ์ ์๋ค๊ณ ์๊ฐํด๋ด๋ผ. ์์ผ๋ก ๊ทธ ๊ฐ๋ฅ์ฑ์ ๋ฌดํํ๋ค. ๋ง์ ์์ฐ ์์ด๋, ๋์งํธ ์ ํต ๋ฐฉ์์ ๋ ๋ง์ ๊ด๊ฐ๊ณผ ์ํตํ ์ ์๋ค. ์์ฆ์ YouTube์ ์ฌ๋ฆฌ๊ฑฐ๋ iPod ์ด๋ ํธ๋ํฐ์ผ๋ก๋ ๊ฐ๋ฅํ๋ค. ๋์งํธ ํ์ ์ํ๋ ๊ธฐ์กด์ ์ ํต ๋ฐฉ์์ ๋ฒ์ด๋ฌ๋ค. ๋ฐ์ค์คํผ์ค ํํธ์์ด ์๋์ด๋ ์ฌ๋๋ค์๊ฒ ์๋ ค์ง ์ ์๋ค. Q. ํ์ ์ ์ธ ๋ถ๋ถ๋ ๋ง์ง๋ง, ๋ฐ๋ฉด ๊ฐ์ ๋์ด์ผ ํ ์ฌํญ๋ ๋ง์ ๊ฒ์ผ๋ก ์๊ณ ์๋ค. ๊ทธ๋ ๋ค. ๊ฐ์ฅ ํฐ ๋ฌธ์ ์ ์ค ํ๋๋ ํ๋๋์คํฌ, DVD์ ๋ณด๊ดํ๋ ๋์ฉ๋์ด ๋ถ์กฑํ๋ค๋ ์ ์ด๋ค. ๋ค๋ฅธ ์ฅ๋น์ ์ฌ๋ถ์ผ๋ก ๋ฐฑ์ ํด๋์ง ์์ผ๋ฉด ์ํ๋ฅผ ํต์งธ๋ก ๋ ๋ฆฌ๊ธฐ๋ ํ๋ค. ๋ ์ดฌ์ ๋น์์๋ ์ฐ๋ ๋ด์ฉ์ ๋ฌธ์ ๊ฐ ์๊ธธ์ง ๋ชจ๋ฅธ๋ค. ๋ฟ๋ง ์๋๋ผ ํ๋ฆ ๋ฐฉ์์ ๋ณํํ ๋, ๊ธฐ์ ์ ์ธ ๋ฌธ์ ๊ฐ ์๊ธฐ๊ธฐ๋ ํ๋ค. ํนํ ์ด๋ฐ ๋ฌธ์ ๋ค์ด ํ๋ฐ์์ ์์๋ง ๋ํ๋๊ธฐ ๋๋ฌธ์, ์ฌ์ดฌ์์ ํ๊ธฐ์ ์ฌ์ค์ ํ๋ค๋ค๋ ์ ์์๋ ๋งค์ฐ ํ์์ ์ด๋ค. ํ์ชฝ์์๋ ๋์งํธํ๋ฆ์ ์ฑ์ฅ์ด ์์ ์ฑ์ ๋ง์น ๊ฒ์ด๋ผ๋ ์๊ฒฌ๋ ์ฃผ์ฅํ๊ณ ์๋ค. ํ์ง๋ง ๊ฐ๋ ๋ค์ด ์ผ๋ง๋ ์ด์์ ์ธ ํ๋ฆ ํํ๋ฅผ ๋ง๋ค๋ ค๊ณ ๋ ธ๋ ฅํ๋์ง์ ๋ฐ๋ผ, ํ๋ฝ์ธ์ธ ๊ธฐ์กด์ ์ํ๊ด ์ ํต ๋ฐฉ์์ ์ฅ์ ์ด ๋ ์ ์๋ค. ๊ด๊ฐ๋ค์ ์ด๋ ์ค์ iPod์ด๋ ์ปดํจํฐ, TV๋ก ์ํ๋ฅผ ๋ณด๋ ๊ฑธ ๋ ์ ํธํ๋ค. ์ฌ๋๋ค์ด ๊ทธ๋ฌํ ์ํ์ ์ ๋นํ ๋๊ฐ๋ฅผ ์ง๋ถํ ์ฉ์๋ง ์๋ค๋ฉด, ์๋ง ๊ตณ์ด ์ํ๊ด์ ๊ฐ์ ๋ณด๋ ค๊ณ ํ์ง ์์ ๊ฒ์ด๋ค. ๋์งํธ ์ ํต ์์คํ ์ ํตํด ๊ด๊ฐ์ ๋ฐ๋ก ๋ณผ ์ ์๊ธฐ ๋๋ฌธ์ด๋ค. ๊ธฐ์กด์ ์ํ๊ด๋ ๋ฐฉ์์ ๊ต์ฅํ ์ข์ํ๋ ํธ์ด ์๋๋ฉด ๋ฌธ์ ๊ฐ ์๊ฒ ์ง๋ง, ์ฌ์ค์ ๋์งํธ ์ ํต ๋ฐฉ์์ด ์ฑ์ฅํ๋ฉด ์ข ์ ์ ์๋ค๋ง ํํ์ ์ํ๊ด์ ๋์ฒดํ ๊ฒ์ด๋ค. Q. ๋์งํธ ํค๋๋ก์ ์์ผ๋ก ๊ฟ์ด๋ ๋ชฉํ๊ฐ ์๋ค๋ฉด? ํ๊ตญ ๋ฟ ์๋๋ผ ์ ์ธ๊ณ๋ฅผ ๋๋๋ค๋ฉฐ ์ฅํธ์ํ๋ฅผ ์ ์ํ๋ ๊ฐ๋ ์ด ๋๊ณ ์ถ๋ค. ์ธ๊ณ๋ฅผ ์ฌํํ๋ฉฐ, ์๋ก ๋ค๋ฅธ ๋ฌธํ๋ฅผ ๊ฐ์ง ๊ฐ์ง์ ์ฌ๋์ ๋ง๋๊ณ ๋ฐฐ์ฐ๊ณ ์ข์ ์ํ๋ฅผ ๋ง๋ค๋ฉฐ ์ด๊ณ ์ถ๋ค. ํ ํฌ๋๋ก์ง๊ฐ ์ด๋ฌํ ๊ฟ์ ๋์ฑ ๊ฐ๊น๊ฒ ๋ง๋ค์ด ์ค ๊ฒ์ด๋ผ๊ณ ๋ฏฟ๋๋ค. ๊ณณ์ด๋ค. ์ฐ๋ฆฌ ์ ํ์ ์ค์ฌ์๋ ์ฅ์ธ ์ ์ ์ด ์๋ค. ๊ทธ๊ฒ์ ํตํด ์ด๋ค ์ท์ ์ ๋์ง ๋น๋นํ ํ๋ฏ ํํ์ ์ด๋ฏธ์ง๋ฅผ ์ถ๊ตฌํ๋ค.
Arunchit Sasivimolkul Q. ๋น์ ์ ๋ํด ๊ฐ๋จํ ์๊ฐ๋ฅผ ํด๋ฌ๋ผ. ์ด๋ฆ์ Arunchit Sasivimolkul, ๋ฐฉ์ฝ์ ์ด๊ณ ์๋ค. Wakeup Rabbit ํ์์ ์ฌ์ง ๋๋ ํ ๊ณผ ์นด๋ฉ๋ผ์ดฌ์์ ๋งก๊ณ ์๋ค. Kratai tuentua Co.,Ltd. ํ๋ก๋์ ํ์ ๋ค์ํ ์ฌ์ฃผ๋ฅผ ๊ฐ์ง ์น๊ตฌ๋ค์ด ์ด์ ์ ๊ฐ์ง๊ณ ๋ชจ์ธ ํ์ด๋ค. ์ปค๋ฎค๋์ผ์ด์ ๊ณผ ๋์์ธ ๊ด๋ จ ์์ญ์ ์ ๋ฌธ์ผ๋ก ํ๋ค. Info-graphic design, commercial film & animation, viral campaign management, communicative illustration, visual concerts, online &digital media ๋ชจ๋๋ฅผ ๋๋๋๋ ์ปค๋ฎค๋์ผ์ด์ ๋ชจ๋ธ์ ์ถ๊ตฌํ๊ณ ์๋ค.
132p
Bangkok Cityscape
Q. ์ธ์ , ์ด๋ป๊ฒ ์ํ๊ฐ๋ ์ด ๋๊ธฐ๋ก ๊ฒฐ์ฌํ๋? ์ํ๊ฐ๋ ์ด๋๊ธฐ์ ์ํฌํ ๊ทธ๋ํผ๋ก์ผํ๋ค. ๋ํ์ ๋ค๋๋ ์์ ์๋ ์ฌ์ ํ ์ด๋ค ์ผ์ ํ๊ณ ์ถ์์ง ์์ง ๋ชปํ๋ค. 2002๋ ํ๋ฆ ์ธํธ์ฅ์์ ์ฒ์ ์ผํ๊ฒ ๋ ๊ธฐํ๊ฐ ์์๋๋ฐ, ๊ทธ ๋ ์ํ์์ ์ด ์์ผ๋ก ํ์ ๋ด๊ฐ ํ๊ณ ์ถ์ ์ผ์ด๋ ๊ฑธ ๊นจ๋ฌ์๋ค. Q. Apichatpong Weerasethakul ๊ฐ๋ ๋ฑ ์ฃผ๋ชฉ ๋ฐ๋ ํ๊ตญ ๊ฐ๋ ์ด ๋ง๋ค. ํ๊ตญ ์ํ ์ฐ์ ์
167
David Terrazas ๋ด๊ฐ ์ฐ์ ๋ฐฉ์ฝ์ฌ์ง์ ์ปฌ๋ ์ ์๋ ์ง๋ 1๋ ๋์ ๋ฐฉ์ฝ์์ ์ด๋ฉด์ ์ผ์์ํ์์ ๋ณธ ์ฅ๋ฉด๋ค์ ๋๋ง์ ๊ด์ ์ผ๋ก ๋ด์๋ค. ๋ด๊ฐ ์ด๋ ๊ณณ์์ ์ฐ์ ์น๊ตฌ๋ค์ ๋ชจ์ต์์๋ถํฐ ๋์ํ๊ฒฝ, ์ฐจ์ด๋ํ์ด( ๋ฐฉ์ฝ์์ ๊ฐ์ฅ ์ฌ์ง์ด ์ ๋์ค๋ ๊ณณ ์ค์ ํ ๊ณณ์ด๋ค.)์ ์๋ ์ฐป์ง, ๊ทธ๋ฆฌ๊ณ ๊ทธ ์ค๊ฐ์ ์๋ ๋ชจ๋ ๊ฒ์ ์ด๋ฅด๊ธฐ๊น์ง ๋ชจ๋ ์ฌ์ง๋ค์ด ๊ทธ๋ ๋ค.
๋๋ ์ฌ์ง์๊ฐ๋ ์๋๋ค. ๊ทธ๋ฌ๋ ์ฌ์ง์ ๋์ ์์ ์ํ์ ํ ๋งค๊ฐ๋ก ์ด์ฉํ๊ณ ์๋ค. ๋ง์น ํ๋์ฒ๋ผ, ๋๋ ํนํ ์ฃผํ๊ฐ ๋ท๊ณจ๋ชฉ๊ณผ ์ ์๋ ค์ ธ ์์ง ์์ ์ธ์ง ๊ณณ ๋ฑ, ๋์ ์ด๊ณณ ์ ๊ณณ์ ๋ค๋๋ฉฐ ๊ฒฝํํ๊ณ ์๋ค.
Kara Yong Kara Choko
์ฌ๋๋ค์ด ๋ง์ด ๋ชจ์ด๋ ์ฅ์๋ ์ ๋ช ๊ด๊ด์ง๋ณด๋ค๋ ์ด ๋์์ ๊ตฌ์๊ตฌ์๊ณผ ์ ์๋ ค์ ธ ์์ง ์์ ๊ณณ์ ๋ ์ฃผ๋ชฉํ๋ฉด์, ์ด ๊ฑฐ๋ํ๊ณ ์ธ๊ตฌ๊ฐ ๋ฐ์ง๋ ๋๋์์ ๋ ํนํ๊ณ ๋ ์ธ์ธํ ๋จ๋ฉด์ ๋ณด์ฌ์ฃผ๋ ค๊ณ ํ๋ค. ๋ฐฉ์ฝ์ ๊ดํด ํน๋ณํ ์ด๋ค ๊ฒ์ ๊ผฌ์ง์ด์ ๋ณด์ฌ์ฃผ๋ ค๋ ์๋๋ ์๋ค. ์๋ํ๋ฉด ์ด ์ฌ์ง๋ค์ ๋ฏธ๋ฆฌ ๊ณํ๋ ์๋์ ๋ฐ๋ผ ์ฐ์๋ค๊ธฐ ๋ณด๋ค๋ ์ด๋ ํ ๋๋ ทํ ์๊ฐ ์์ด ํ์ธ๋์ ๋ด์ ๊ฒ์ด๋ค. ๊ฐ ์ฌ์ง๋ง๋ค ๋ฐ๋ก ๋ฐ๋ก ์๋ฏธ๋ฅผ ๊ฐ์ง๋ ์์๋ค์ด๋ผ๊ณ ํ ์ ์๋ค. ๊ทธ๋ ์ง๋ง, ์ด๋ฌํ ์ฌ์ง๋ค์ ๋ ์์ ๊ณผ ๋ฐฉ์ฝ์ ๋ํด ๊ฐ์ง๊ณ ์๋ ๋ด ์๊ฐ์ ๋ํด ๋ฌด์ธ๊ฐ๋ฅผ ๋งํด ์ฃผ๊ณ ์๋ค๊ณ ๋ณธ๋ค.
์ฌ๋๋ค์ ์๋ฆ๋ค์ด ๊ณณ์ ๋๋ฆฌ๊ฒ ๋์ด์๋ค. ๊ทธ๋์ ๊ด๊ด๋ช ์๋ ๋๋๋งํฌ ๊ฐ์ ์ฅ์๊ฐ ๋ฑ์ฅํ๊ณ ์ด๋ฐ ๊ณณ๋ค์ ํญ์ ํ๊ฒฝ์ ๋ณด๋ ค๊ณ ๋ชจ์ฌ๋ ์ฌ๋๋ค๋ก ๋ถ์ ๊ฑฐ๋ฆฐ๋ค. ํน์ ํ ๊ณณ์ ์ฌ๋๋ค์ ์ดํดํ๋ ค๊ณ ์ฐ๋ฆฌ๋ ์ด๋ค ์ฌ๋์ ์ํ์ ์ข๋ ๊ฐ๊น๊ฒ ๋ค๊ฐ๊ฐ๊ฑฐ๋, ๋๋ ์ด๋ค ๋์์ ์ฑ๊ฒฉ์ ํ์ ํ๊ธฐ ์ํด์ ์ด๋ค ๋์ ๊ตฌ์ญ์ ๋ถ์ํ๊ฒ ๋ ์ ๋ ์์ง๋ง, ์ด ๋ชจ๋ ๊ฒ๋ค์ ๊ทธ ์ฌํ๋ฅผ ์ ์ฒด์ ์ผ๋ก ๋ณผ ๋ ๋น๋ก์ ์ ์ ํ๊ฒ ์ดํด๋ ์ ์๋ค. ๋์ ์ํ ์ค ์ผ๋ถ๋ ์๊ฑฐ๋ฆฌ์์ ์ฐ์ ๊ฒ์ฒ๋ผ ๋ณด์ด๊ณ ๊ทธ ์์ ๋ค์ด์๋ ์ฌ๋๋ค๊ณผ ๊ณ ์ธต ๋น๋ฉ๋ค์ ์ค์ ๋ชจ์ต๊ณผ ๋ค๋ฅด๊ฒ ๋ณด์ผ ์๋ ์๋ค.
๋ชจ๋ ๊ฐ๋ฅ์ฑ๊ณผ, ๊ทน๋ช ํ๊ฒ ๋๋น๋๋ ์ฌ๋ฌ ๊ฐ์ง ๋ชจ์ต๋ค ๊ทธ๋ฆฌ๊ณ ์ด๋๋ฅผ ๋์ ๋ณด๋ ๋์ ๋ค์ด์ค๋ ์ด๊ตญ์ ์ธ ํ๊ฒฝ๋ค๋ก ๊ฐ๋ํ ๋๋จํ ๋์๋ผ๋ ์ ์๋ ์์ฌ์ ์ฌ์ง๊ฐ ์๋ค. ์ฌ๋ฌ๋ถ์ด ๋ฐ๋ผ๋ณด๋ ๊ฒ์ด ์ด๋ค ๊ฒ์ด๋ ๊ฐ์, ํ๋์ ์ ํต์ด ์๋ฒฝํ๊ฒ ์กฐํ๋ฅผ ์ด๋ฃจ๋ฉฐ ๊ณต์กดํ๊ณ ์๋, ๊ฑด์ถํ์์ผ๋ก ๋ณผ ๋ ์ด ํผ๋์ค๋ฌ์ด ๋์ ์์์ ๊ทธ๊ฒ์ ์ฐพ๊ฒ ๋ ๊ฒ์ด๋ค. ๋ฐฉ์ฝ๊ณผ ์ด ๋์์ ์ฌ๋๋ค์ ๋ ํนํ๋ค.
๋๋ ๋ฐฉ์ฝ์ โ์์๋คโ ๋๋ โ๋์๋คโ๋ฑ์ ์๊ฐ์ผ๋ก ๋ณด๊ณ ์ถ์ง ์๋ค. ๋น๋ก ์ด๋ฐ ์ ๋ค์ด ๋๋๋ก ๊ฐ๊ณผ๋์ง๋ง, ์ด ์ ์ ํ์ฌ ์ผ์ด๋๊ณ ์๋ ๊ฒ์ฒ๋ผ ๋ณด์ด๋ ์ผ์ ์ธก๋ฉด์ด๋ค. ์ด๊ฒ์ ๋ฐฉ์ฝ์ ์ํ์์ ํ ๋จ๋ฉด์ด๋ค. ์๋ ๋ฐฉ์ฝ์ ์ฑ์ฅ ๋ฐ์ ์ด ๋ฐฉ์ฝ ์๋ฏผ๋ค์ ์๊ตฌ์ ์ผ์นํ์ง ์์ ๋ ๋ฐ์ํ๋ ๊ฐ๋ฑ๋ฟ๋ง ์๋๋ผ, ๋ฐฉ์ฝ๊ณผ ๊ทธ ๊ณณ์ ์ฃผ๋ฏผ๋ค ์ฌ์ด์ ์ด๋ค ๊ด๊ณ๊ฐ ๋งบ์ด ์ง๋์ง ๋ณด์ฌ์ฃผ๊ณ ์ถ๋ค.
Ohm Phanphiroj
๋ฐฉ์ฝ์ ์๋ง์ ์ง์ญ์ผ๋ก ๊ตฌ์ฑ๋์ด ์๋ค. ๊ทธ๋ฌ๋ ๊ตฌ ์๊ฐ์ง์ ์ ์๊ฐ์ง๋ ๋๋๊ฒ๋ ์กฐํ๋กญ๊ฒ ์ตํ๋๊ณ ์๋ค. ๋ฐฉ์ฝ์ ์ด์ ์์ง์ด๋ ๋์์ด๋ค. ๋ฐฉ์ฝ์ ์ด๋ฉด์ ๋ฐ๊นฅ์ ๋ด๋ค๋ณด๋ฉด - ์๋ฌด๋ ๋ณด์ด์ง ์๋๋ผ๋ - ์ฌ๋ฌ๋ถ์ ์์ํ ์ถ์ ๋ชจ์ต์ ๋ณด๊ฒ ๋๋ค. ๊ธ๋ฐฉ ๋ณด์ด์ง ์๋๋ค๋ฉด, ์ฌ๋ฌ๋ถ์ ์๋ง๋ ๊ทธ ๋์์ ์ฐธ ๋ชจ์ต์ ์์ ๋ชป ๋ณด๊ฒ ๋ ์ง๋ ๋ชจ๋ฅธ๋ค.
๋์ ์ผ๋ จ์ ์ํ๋ค์ ๋ฐฉ์ฝ์ ์จ์ ๋น๊ฒฝ์ ์ฐพ์๋ด๊ณ ๊ทธ ๋์์ ๊ฒฝ๊ด์ด ๋ฎ๊ณผ ๋ฐค์ ์ด๋ป๊ฒ ๋ค๋ฅธ ๋ชจ์ต์ ์ฐ์ถํ๋์ง ๋ณด์ฌ์ฃผ๊ณ ์๋ค. ๋ฐฉ์ฝ ์๋ด์์ ์ฐจ๋ฅผ ๋ชฐ๊ณ ๋ค๋๋ฉด์ ์ด ๋์์ ๋ชจ์ต์ ์๋ง์ ์ฌ์ง์ผ๋ก ๋ด์๋ค. ์๋ค๋ฅธ ๊ฒ์ด๋ ํฅ๋ฏธ๋กญ๊ฒ ์์ ์ ์ฌ๋ก์ก๋ ๊ฒ์ด ์์ผ๋ฉด ์ธ์ ๋ ์ง ์ฐจ๋ฅผ ์ธ์ฐ๊ณ ๋๊ฐ์ ์ฌ์ง์ ์ฐ๋๋ค.
164p ๋ด๊ฐ ๋ณด์ฌ์ฃผ๊ณ ์ถ์ ๊ฒ์ ์ ๋๋ ์ผ, ๋๋ผ๋ง ๊ฐ์ ์ฌ๊ฑด, ๋ฏธ์คํฐ๋ฆฌ ๊ทธ๋ฆฌ๊ณ ๋ฏธ์ฒ ์๊ฐํ์ง ๋ชปํ๋๋ฐ ๋ง๋๊ฑฐ๋ ๊ฒช๊ฒ ๋๋ ์ผ, ์ด๋ฌํ ๊ฒ๋ค๋ก ๊ฐ๋ ์ฐฌ ๋์๋ก์์ ๋ฐฉ์ฝ์ด๋ค. ์ด๋ฌํ ๊ฒ๋ค์ ์ง๋ฆฟํ ์ ๋๋ก ์ ๋์ง๋ง, ๋์์ ์ํํ๊ธฐ๋ ํ๋ค. ๋ด๊ฐ ๋ณผ ๋ ๋ฐฉ์ฝ์ ๋ณผ๊ฑฐ๋ฆฌ๊ฐ ๋ง์, ๋ฐฉ๋ฌธํ ๊ฐ์น๊ฐ ์๋ ํ๋ฅญํ ๋์์ด๋ค. ์ด ๋์๋ ์ฌ๋ฌ ๊ฐ์ง ๋ค์ํ ๋ชจ์ต์ ์ง๋๊ณ ์๋ค: ์ฆ, ๋๋ฝ๊ณ , ์๋ ๊ทธ๋๋ก ๋ ธ์ถ๋์ด์๊ณ , ์๊ธฐ๊ฐ ๋์น๋ฉฐ, ๊ฐ๊ณ ์ถ์ ์ ๋๋ก ๋ง์์ ๋๋ ๊ทธ๋ฐ ๋์์ด๋ค. ๋ฐ๋ผ์ ์ด ๋์์ ์ค๊ฒ ๋๋ฉด ๋น๋ฐ์ค๋ฌ์์ง๊ณ , ๋ชจํ์ฌ์ด ์ผ์ด๋๋ฉฐ ์ฝ๊ฐ์ ๋ง์์ ์ผํ ๋ฑ์ด ํ์ฉ๋๋ ๋ฏ ํ๋ค. ๋์๊ฒ ์์ด์, ๋ฐฉ์ฝ์ด์ผ๋ง๋ก, ์ฌํ์๊ฐ ๋ณด๊ณ ๊ฒฝํํ๋๋ก ๋ชจ๋ ๊ฒ์ ์ ๊ณตํด ์ฃผ๋ ์ธ๊ณ์์ ์ ์ผํ ๋์์ธ ๊ฒ ๊ฐ๋ค. ์ด๋ ์๊ฐ์๋, ๋ฐฉ์ฝ์ ์ฒ๊ตญ์ด๋ฉด์ ๋์์ ์ง์ฅ์ด๊ธฐ๋ ํ๋ค.
Dow Wasiksiri ๋์ ๋ฐฉ์ฝ ์ปฌ๋ ์ ์๋ ํธ๊ธฐ์ฌ์ ๊ฐ๋ ๋ด์ ๋์ผ๋ก ๋ฐฉ์ฝ์ ์ํ์์ ๋ด์ ์ฌ์ง๋ค์ด ๋ด๊ฒจ ์๋ค. ๋ฐฉ์ฝ์ ๊ฐ์ฅ ์ ์ดํด๋์ง ์๋ ๋์์ค์ ํ๋ ์ด๋ฉด์๋, ์ธ๊ณ์์ ์ฌํ์๋ค์ด ๊ฐ์ฅ ๋ง์ด ์ฐพ๋ ๋์์ค์ ํ๋ ์ด๋ค. ๋๋ ํ๊ตญ์ธ๋ค์ด ํ๋ฃจ ํ๋ฃจ๋ฅผ ๋ณด๋ด๋ ๋ฐฉ๋ฒ์ผ๋ก ์ด ๊ณณ์์ ์ํํ๋ค. ์ฆ ํ๊ตญ์ธ๋ค์ ์ ๋จธ๋ฅผ ์ดํดํ๊ณ ํ์ฉํ๋ ๊ฒ์ด๋ค. ํ๋ด ๋ด๊ฑฐ๋ ์ผ๋ฐํํด์ ๊ตฌ๋ณํ๊ฑฐ๋ ํ๋ ค๊ณ ํ์ง ์๊ณ ๊ทธ์ ์๊ณ ์๋ค๋ ๋ฏ ๋ฏธ์๋ฅผ ์ง๋๋ค. ๋๋ ์ด ์ปฌ๋ ์ ์, ์ฐ๋ฆฌ๊ฐ ์ฐ๋ฆฌ ์์ ์๊ฒ ๋ฌด์์ ํ์ผ๋ฉฐ ์ฐ๋ฆฌ๊ฐ ํ๋ํ ๊ณผ์ ์ ์ด๋ป๊ฒ ๋ฐ์๋ค์ด๊ณ ์ฐ๋ฆฌ ์์ ์ ์ผ๋ถ๋ก ๋ง๋ค์๋์ง์ ๋ํด ๋์๊ฒจ ๋ณด๋ ํ๊ตญ์ธ์ ์์์ ์ฌ์ง์ฒฉ์ผ๋ก ์๊ฐํ๊ณ ์๋ค. ๊ณผ์ฅ๋ ํ๋ณด์์๋ถํฐ ๋์์ ์ธ ๋ก๋งจ์ค, ์ธ์ค์ค๋ฌ์ด ์ด์ผ๊ธฐ๋ค์ ์ด๋ฅด๊ธฐ๊น์ง ์ฌ๋์ ์๊ฐ์ผ๋ก ๋ณธ ๋ฐฉ์ฝ์๋ํ์ฌโํ์ค์ง์โ๋ผ๋ํ๋๋ฅผ๋์ง๊ณ ์ถ์๋ค.20๋ ๋์,๋์์นด๋ฉ๋ผ๋ ์ฆ๋ํ๊ตญ์ธ๋ค์ด ์ํ ์์์ ๋ ๊ฐ์ง๊ณ ์๋ ์ฌ๊ณ ๋ฐฉ์์ ํ๊ตฌํ๋ค. ๋์ ์ํ๋ค์ ๊ณต๊ณต์ฅ์์์ ๋ด๊ฐ ๋ง๋ ํ๊ตญ์ธ๋ค๊ณผ ์ฃผ๋ณ์ ํ๊ฒฝ๋ค์ ์๋ฌด๋ฐ ํ๋จ์ ํ์ง ์๊ณ ๊ทธ๋๋ก ๋ณด์ฌ์ค๋ค. ๋๋ ๋ถ๊ต์ ์๋ก์, ์ฃผ๋ณ์ ์ํฉ์ ๊ฐ๊ด์ ์ผ๋ก ๋ค๋ฃจ๋ ๊ฒ์ ๋ฐฐ์ฐ๋ฉด์ ์๋๋ค. ์ด๊ฒ์ ์ฌ์ด ์ผ์ด ์๋์ง๋ง, ๊ฝค ์ธ๋ชจ ์๋ ํ๋ จ์ด ๋๋ค. ์๊ธฐ์น ๋ชปํ๋ ๊ฒ์ ๋ง๋ฅ๋จ๋ฆฌ๊ฒ ๋๋ฉด ์ด๊ฒ์ ๋ ์ฆ์ ๋ด๊ณ ๋ฐ๋ก ์์ด ๋ฒ๋ฆฐ๋ค. ๋ด๊ฐ ์ฌ์ง์ ๋ด๋ ์ฌ๋๋ค์ ์ด๋ฒคํธ๋ ๋ชจ์์์ ํํ ๋๋ณด์ด๋ ์ฌ๋๋ค๊ณผ๋ ๋ฌ๋ฆฌ ์นด๋ฉ๋ผ์ ์ฐํ๊ธฐ ์ํด ๊น๋ํ๊ฒ ์ค๋นํ ์ฌ๋๋ค์ด ์๋ ์๋ ์๋ค. ๊ทธ๋ฌ๋ ๊ทธ๋ค์ ๋ชจ์ต์ ์์ต๊ด๊ณผ ์ข ๊ต ์์์์๋ถํฐ์ฌ์ง์ดํค์ด์คํ์ผ์์ด๋ฅด๊ธฐ๊น์ง๋ฐฉ์ฝ์ฃผ๋ฏผ๋ค์ด์ผ์์์์ฆํฅ์ ์ด๊ณ ๋ํํํ๋ ์ํ ๋ฐฉ์์ ๋ณด์ฌ ์ฃผ๊ณ ์๋ค. ์ค์ ๋ก ์ธํฅ์ ์ธ ์ฑํฅ์ ๋ฐฉ์ฝ ์ฌ๋๋ค์ ์ฌ๋ฏธ์๋ ๊ธฐ์ง์ ๋ปํ๋, ์ฝ๋ฐฉ์ ๊ฐ์ด ๊ฐ์ ๋จ์ด โ์ฌ๋ํฌโ๋ฅผ ์ํ ์ผ์ด๋ผ๋ฉด ์ธ์ ๋ ์ง ์ฌ์ง์ ๋ชจ๋ธ์ด ๋๋ ๊ฒ์ ์ฆ๊ธด๋ค. ๋ด ์ํ์ ๊ฐ๋ํ ๋ค์ด ์๋ ์์กฐ๋ค์ด ์ด์ฉ๋ฉด ์์ฐ์ค๋ฝ์ง ์๊ฒ ๋ณด์ผ ์ ๋ ์๋ค. ๊ทธ๋ฌ๋ ๋ฐฉ์ฝ์ ์ธ์ ๋ 2์ฐจ์์ ์ธํ๋ ์ฌ์ง์ด ํํํ๋ ๊ฒ ๋ณด๋ค ๋ ์๋๊ฐ ์๊ณ ํ๊ธฐ์ฐจ๋ค. ๋ฐฉ์ฝ์์ ๊ฒฝํํ๊ฒ ๋๋ ์๋ง์ ์๊ฐ ์๊ฐ์ ์ ํ ์์์น ๋ชปํ๋ ๊ฒ๋ค์ด๋ค. ๊ทธ๋์ ๋ง์ฐํ๊ฒ ๋ฐฉ์ฝ์ ์ฐพ๋ ์ฌ๋๋ค์๊ฒ๋ ๋ฐฉ์ฝ์ ํน๋ณํ ๋์ ๋ฆฌ๋ฌ๊ณผ ๋ฐฉ์ฝ์ ์ฐ์ ์์ ๋ฑ์ด ์ด์์ ํ๊ณ ์ด์ํ๊ฒ ๋ณด์ผ ์ ๋ ์๋ค. ์ด๋ฌํ ์ ๋น๊ฐ์ ๋ ํผ๋์ค๋ฝ๊ฒ ๋ง๋๋ ๊ฒ์, ํ๊ตญ ์ฌ๋๋ค ์์ ๋ค์ด ๋ง๋ค์ด ๋ด๊ณ ํ๊ตญ์ ์ฐพ๋ ์ธ๊ตญ์ธ๋ค์๊ฒ ์ ์์ ํ๋๋ก ๋น์ณ์ง๋, ์ด์ํ๋ โํ๊ตญ์ค๋ฌ์โ์ ์ด๋ฏธ์ง์ด๋ค. ์ด๋ฌํ ๋ฌด์ํ ํ๋ณด๋ ํ๊ตญ๊ณผ ๋ฐฉ์ฝ์ ์ด๋ฏธ์ง๋ ์ฐ์ถ๋๊ณ ๊ณผ์ฅ๋ ๊ฒ์ผ๋ก์ ๋๋๊ฒ๋ ๋ถ์์ฐ์ค๋ฌ์๊ณผ ํ์ค์ด ๋๋ํ ์์ฌ์ ํ์ถ๋๊ณ ์๋ ๊ฒ์ด๋ค. ์ด๋ฌํ ์๊ฐ์ ํตํด์, ๋๋ ๋ชจ๋ ์ฅ๋๊ธฐ ์์ธ ๋ชจ์๋ ์ธก๋ฉด ์์์ ๋ฐฉ์ฝ ์ฌ๋๋ค์ด ๋ถ์ง๋ถ์๊ฐ์ ํํ๋ ํ๋์ ์ํ ์์์ ๋ํ๋ด๋ ๊ฒ์ด ๋ชฉ์ ์ด๋ค. ์ ์ฒด์ ์ผ๋ก ๋ด์, ๋์ ์ปฌ๋ ์ ์ ๋ด๊ฐ ํ๊ตญ์ ๊ดํด์ ๋ด๊ณ ์๋, ๋ณํํ๊ณ ์๋ ์ฌ๋๋ค์ ๋ชจ์ต์์ ๋ํ๋ ๊ด๊ฒฝ์ ๋ณด์ฌ์ฃผ๋ ํฐ ๋ฉ์น์ ์ํ ์ธ๊ณ์ ์์ ๋ถ๋ถ์ผ ๋ฟ์ด๋ค. ๋ฐฉ์ฝ์ ๋์ ํ๊ฒฝ๊ณผ ํ๊ตญ์ ๋์ค ๋ฌธํ์ ํ์ถ๋ ์ด ์ฃผ์ ๋ค์ ํ๊ตญ์ ์ธ์ ๊ตญ๊ฐ๋ค์ด ์ด๋ฃจ๊ณ ์๋ ํผํฉ๋ ์์์ ๊ฐ๋ฐ ์์์๋ ๋๋๋ฌ์ง๊ณ ์๋ค. ์ฆ, ์ ํต๊ณผ ์ถฉ๋ํ๋ฉด์ ๋ค์ด์ค๋ ์ธ๊ณํ์ ๋ฌผ๊ฒฐ์ ํ์ ์ฆ์ด๋ผ๊ณ ํ ์ ์๋ค. ๊ทธ๋ฌํ ์ถฉ๋์ด ์๋ฌด๋ฆฌ ๊ฐ๋ ฅํ๋๋ผ๋, ํ๊ตญ ์ธ๋ค์ ๊ทธ์ โ๋ฏธ์โ๋ก ์ ๋์ฒํ๊ณ ์๋ค๊ณ ๋ณธ๋ค.
Steven Pettifor ๋ด๊ฐ ์ํ์ ๋ด์ ์ด๋ฏธ์ง์ ๋๋ถ๋ถ์ ๋ด๊ฐ ์ฌ๋ ๋ฐฉ์ฝ์ ์์นด๋ง์ด ์ง์ญ์์ ํผ์ณ์ง๋ ์์ํ ๋ชจ์ต๋ค์ด๋ค. ๋ฐฉ์ฝ์ ๋๋ถ๋ถ์ ์ง์ญ๊ณผ ๋ง์ฐฌ๊ฐ์ง๋ก, ๋ด๊ฐ ์ด๊ณ ์๋ ์ง์ญ์ ๊ณ ๊ธํ๋๊ณ ๋์ผ ํํ์ ์ฃผํ๋ค์ด ๋ค์ด์๊ณ ๋ง์ ๊ณต๊ฐ๋ค์ด ๊ฐ๋ฐ๊ณผ ๊ฑด์ถ์ผ๋ก ๋ฐ๋ฆฌ๊ฒ ๋จ์ ๋ฐ๋ผ ๋น ๋ฅธ ์๋๋ก ๋ณํํ๊ณ ์๋ค. ๋ด ์ํ๋ค์ ์ฃผ๋ฏผ๋ค์ ์ํ์์ ์ด์ ์ ๋ง์ถ์๋๋ฐ, ๋์ ๊ด์ฌ์ ๋๋ ๊ฒ์ ์ฃผ๋ฏผ๋ค์ ์ผ์์ํ์ ์ก๋คํ๊ณ ํฅ๋ฏธ๋ก์ด ์์ํ ์ธก๋ฉด์ด๋ค. ๋๋ ์ฌ์ํ ๊ฒ์ ๊ณ ์ฐจ์์ผ๋ก ๋์ด ์ฌ๋ฆฌ๊ธฐ๋ฅผ ์ํ๋ค.
168
Aloft Hotel
Aloft Hotel์ 3๋ ์ ์ฒซ ์คํ์ ์์์ผ๋ก ์ธ๊ณ์ ์ธ ํธํ ์ ์ ์๋ก์ด ์งํ์ ์ด์๋ค. Abu Dhabi, Dallas, Brussels์ ๋น๋กฏํด ์ ์ธ๊ณ์ ์ผ๋ก 55์ฌ ๊ฐ๊ตญ์ ๊ฑธ์ณ ์๋ Aloft Hotel์ ๊ฐ๊ฐ์ ์คํ์ผ์ ๊ฐ์ง๊ณ ์๋ค. 2012๋ 2์ ํ๋ คํ ์คํ๋๊ณผ ํจ๊ป ๋ฐฉ์ฝ ์ค์ฌ๋ถ์ ์์นํ Aloft Hotel - Sukhumvit 11์ ์ธ๊ณ์ ์ธ ๋ช ์ ์ค์ ํ๋๊ฐ ๋์๋ค. Nana BTS Sky ์ ์ฒ ์ญ์์ ๋ถ๊ณผ 5๋ถ ๊ฑฐ๋ฆฌ์ ์์นํ Aloft Hotel - Sukhumvit 11์ ๋ฐฉ์ฝ์ ๊ฒฝ์์ ์ธ ํธํ ์ฐ์ ์ค ๋๋ณด์ด๋ ์ ์ฒด๋ค. ๋์ฌ์์ ์๊ฐ ๋ฐ์ ๋์์ธ, ํํ ์์ ์คํ์ด์ค, ํ๋์ ๊ฐ๊ฐ์ด ์ด์ฐ๋ฌ์ ธ296๊ฐ์ค ํธํ ์ ํ ํฌ๋๋ก์ง์ ์ต์ํ ํ๋์ธ์๊ฒ ๋งค๋ ฅ์ ์ผ๋ก ๋ค๊ฐ์จ๋ค. ๊ฒ์คํธ๋ฃธ์ ๋กํํธ ํํ๋ฅผ ๋ ๊ณ ์๋๋ฐ 9ํผํธ์ ๋ฌํ๋ ์ฒ์ฅ๊ณผ ๋ํ ์ฐฝ๋ฌธ์ผ๋ก ์ ๋ช ํ๋ค. 300 ์์ ๋ฆฐ๋จ ์ํธ, ๋ฌด๋ฃ ์์ดํ์ด, 42โ LCD TV, iPod/MP3 ๋ํน ์คํ ์ด์ , ๋ฌด๋์กฐ๋ช ๊ธฐ ๋ฑ์ ์จ๊ฐ ์ค๋น๊ฐ ๊ฐ์ถฐ์ ธ ์๋ค. ์ด ์ธ์๋ Blissยฎ Spa์์ ์ ๊ณตํ๋ ๋ํ ์์ค๊ณผ ๋ง์ถคํ ์์ค์ ์ฆ๊ธธ ์ ์๋ค. Aloft Bangkok - Sukhumvit 11์ ์ฌํ๊ฐ๋ค์ ๊ธฐ๋์ ๋ง์ถฐ ๋์ ์์ ์คํ์ด์ค๋ฅผ ๋ฐ์ํ ์ฐ์ ๋์์ธ์ ์์๊ฐ ๋๋ณด์ธ๋ค. ๋ฐ(w xyz SM), ์คํ ๋ผ์ด์ง(re:mix), ํ ์ดํฌ์์์ด ๊ฐ๋ฅํ ๋ ์คํ ๋(re:fuel), ํ ์๋น์ค ํผํธ๋์ค ์ผํฐ(re:charge), ์ค์ธ ์์์ฅ (splash)๊ณผ 265์ฌ ํ๋ฐฉ์ ๋ฏธํ ๊ณต๊ฐ์ ๊ฐ์ถ๊ณ ์๋ค. w xyz SM ๋ฐ๋ ์๋์ง๊ฐ ํ๋ฅด๊ณ ๊ฐ์์ ๊ฐ์ฑ์ด ๋ค์์ธ ๋์ฌ์ ๋ถ์๊ธฐ๊ฐ ๋๊ปด์ง๋ค. re:mix SM ์คํ ๋ผ์ด์ง๋ ์ฃผ๋ชฉํ ๋งํ๋ค. ์ฌ๋๋ค์ด ํธํ๊ฒ ์ด์ผ๊ธฐํ๋ฉด์, ์ ํ์ ๋ง์๊ฑฐ๋ ์ฑ ์ ์ฝ๊ฑฐ๋ ๋ฌด๋ฃ ์์ดํ์ด๋ ๊ฒ์์ ์ฆ๊ธฐ๊ธฐ์ ๋ฑ ๋ง๋ ๊ณณ์ด๋ค. ํ ์ดํฌ์์๋ ์คํ ๋re:fuel์์ธ์ ๋์ด๋ ค์๋ค.๋ฌ์ฝคํ๊ฐ์๋ถํฐ๊ฑด๊ฐ์๊น์งโ์ ์ ํจ์ด์ต๊ณ โ๋ฅผ ์๋ถํ๋ ๋ฉ๋ด๊ฐ ์ฌ๋๋ค์ ์ ๋ง์ ์๊ทนํ๋ค. 24์๊ฐ ํผํธ๋์ค ์ผํฐ Re:charge๋ Life Fitness์ฌ์ ๋ฐ์ดํฌ, ๋ฌ๋๋จธ์ , ํ์ํ ๊ธฐ๊ณ๋ฅผ ๊ณจ๊ณ ๋ฃจ ๊ฐ์ถ๊ณ ์๋ค. ๋ฐฉ์ฝ์ ๋์์์ ๋ฒ์ด๋๊ณ ์ถ๋ค๋ฉด ํธํ ์ค์ธ ์์์ฅ splashs๋ฅผ ๊ผญ ๊ฐ์ผ ํ๋ค. Aloft Bangkok - Sukhumvit 11์ 265ํ๋ฐฉ ๋ฏธํฐ ๋ฏธํ ๊ณต๊ฐ์ด ์๋ค. ๋น์ฆ๋์ค ๋ฏธํ ์ด๋ ์๊ท๋ชจ ์ธ๋ฏธ๋๋ ๊ฐ๋ฅํ๊ณ , ํธํ ๋ถ๋ ์์ค์ 12์์ ์ต๋ 70๋ช ๊น์ง ๊ฒ์คํธ๋ฅผ ์์ฉํ ์ ์๋ค. ํ๊ตญ์์๋ ์ฒ์ ์คํํ Aloft Bangkok - Sukhumvit 11์ ํฉ๋ฆฌ์ ์ธ ๊ฐ๊ฒฉ์ผ๋ก ํธํ ์๋น์ค๋ฅผ ์ ๊ณตํ๋ค.
166p
dusitD2 Baraquda
๋ฐฉ์ฝ์์ 90๋ถ ๊ฑฐ๋ฆฌ์ 24/7 ํด๋ณ๋์ ํํ์ผ๊ฐ ์๋ค. ๊ทธ ์ค์ฌ๋ถ์๋ dusitD2 Baraquda Pattaya ๊ฐ ์๋ค. ํํ์ผ์๋ ํด์๊ฐ, ์ํฐํ ์ธ๋จผํธ, ์ผํ์ผํฐ, ์นดํ ๋ฑ ๋ค์ํ ๋๊ฑฐ๋ฆฌ์ ๋ณผ๊ฑฐ๋ฆฌ๊ฐ ๊ฐ๋ํ์ง๋ง, dusitD2 Baraquda Pattaya์ ์ค๊ฒ ๋๋ฉด ๋์ฑ ํน๋ณํ ๊ฒฝํ์ ํ๊ฒ ๋ ๊ฒ์ด๋ค. dusitD2 Baraquda Pattaya๋ ๋ง๊ณ ํธ๋ฅธ ์์กฐ์ ๋ฌผ๊ฒฐ์ ์๊ฐ์ ๋ฐ์์, ๋ฌผ, ๊ณต๊ธฐ, ์กฐ๋ช ์ ํ ๋ง๋ก ๋์์ธํ ํํ์ผ ์ต์์ ๋์์ธ ๋ถํฐํฌ ํธํ ์ด๋ค. ์ด ํํ ํธํ ์ ์๋ คํ ๋์์ธ์ ๋ฌผ๋ก ๊ผผ๊ผผํ ์๋น์ค์ ํธ์ํ๊ณ ํฅ๊ฒจ์ด ๋ถ์๊ธฐ๋ฅผ ๊ฐ์ถ๊ณ ์๋ค. ๋ฐ์ฝ๋๊ฐ ์๋ 72๊ฐ์ ๊ฒ์คํธ๋ฃธ๊ณผ ์ค์ํธ๋ฃธ์ ์์ ์ค๋ช ํ ๋ค์ํ ์ฅ์ ์ ๋ชจ๋ ๊ฐ์ถ๊ณ ์๋ ๊ฒ์ด ํน์ง. ๋ณต์ธต ์ค์ํธ๋ฃธ๊ณผ ์คํ๋์ค๋ ์ํฌํ ์ธํ ๋ฆฌ์ด์ ์ํฐ ์ ํธ ์์กฐ๊ฐ์ ์คํ์ ์์ค์ ๊ฐ์ถ๊ณ ์์ด ๋ง์ ์ฌ๋์ ๋ฐ๊ณ ์๋ค. ๊ธฐ๋ ํ ์ผํ์ด๋ ๊ทผ์ฒ ์ฐํธ์ด ์ค์ฟ ๋ฒ๋ค์ด๋น์ ํ๊ณ ์ถ๋ค๋ฉด, ์ธ์ ๋ dustiD2 ๋ฐ์คํฌ์ ํธ๋ฆฌํ ์์ฝ ์์คํ ์ ์ด์ฉํ๋ฉด ๋๋ค. ํธํ ๋ด๋ถ ์คํ dโspa ์์๋ ์ฌํ๊ฐ๋ค์ ํธ์ํ๊ฒ ํด์ฃผ๊ธฐ ์ํด์, ํ ๋ผํผ๋ฅผ ์ ๊ณตํ๋ค. ํธํ ์ ์๊ทธ๋์ณ ๋ ์คํ ๋ s.e.a์์๋ ๋๋จ์์์์ ๋งคํน์ ์ธ ํฅ์ ๋ฃ๋ฅผ ์ฌ์ฉํ ์์๋ถํฐ ๊ตญ์ ์ ์ธ ์๋ฆฌ๊น์ง, ์คํ ํค์น ํํ๋ก ์จ๊ฐ ์๋๋ฝ์ ์ฆ๊ธธ ์ ์๋ค. ๋ง์น ์ปค๋ค๋ ๊ณ ๋๋ฅผ์ฐ์์ผํ๋๊ณก์ ์ผ๋ก๋์์ธ๋์์์ฅ๋ฐ์์๋์ธ์ ๋ ์ง๊ฐ์์ด๋๊ฑด๊ฐ์๋ฃ๊ฐ์ค๋น๋์ด ์๋ค. ๋ํ ํธํ ๊ฑด๋ฌผ์ ์ฅ์์ ๋ง๋ จ๋์ด ์๋ sunset lounge์์๋ ์นตํ ์ผ ํ ์์ ๋ง์๋ฉฐ ํด๊ฐ ์ง๋ ํํ์ผ ์ฅ๊ด์ ๋ณผ ์ ์๋ค. ์์ค์ ์์นํ deep bar ์์๋ ํ๊ตญ ๊ทธ๋ฃจ๋ธ์ ์ ๋ช DJ๋ค์ ์์ ์ ์ฆ๊ธธ ์ ์๋ค. ๋น์ฆ๋์ค๋ฅผ ์ํด ๋จธ๋ฌด๋ ๊ณ ๊ฐ๋ค์ ์ํ ๋์์ธ๊ณผ ์๋น์ค๋ ์๋ค. ์์ฐ๊ด์ด ๋น์ทจ๋ ์ต์ ํ ํฌ๋๋ก์ง๋ฅผ ๊ฐ์ถ 2 ๊ฐ์ ๋ฏธํ ๋ฃธ์์ ๋น์ฆ๋์ค ์ ๋ต์ ์ธ์ฐ๊ธฐ์ ์ต๊ณ ์ด๋ค. ํนํ Koh Larn ์ฐํธ์ฌ์ ๋ฐฑ์ฌ์ฅ์ ํ๋ฆฌ๋ก 20๋ถ๊ฑฐ๋ฆฌ์ ์๋ค. ํธ์ํ๊ณ ์ธ๋ จ๋ dusitD2 Baraquda Pattay์์๋ ํด๋ณ ํด์์ง์ ์ค๋ฉด ์ฆ๊ธธ ์ ์๋ ๋ชจ๋ ๊ฒ์ด ์๋ค.
ELOQUENCE LOVES BANGKOK
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advertorial
Aloft Hotel
Aloft Hotels revolutionized the international hospitality landscape with the opening of its first property three years ago. Today, Aloft Hotels are located in over 55 locations worldwide, offering style at a steal from Abu Dhabi to Dallas and Brussels to Beijing. February 2012 saw Bangkok added to this remarkable roster of international outposts with the grand opening of Aloft Bangkok โ Sukhumvit 11 in the heart of Bangkok. Strategically located just a five minute stroll from Nana BTS Sky Train Station, Aloft Hotel โ Sukhumvit 11 is the newest and most stylish player in Bangkokโs competitive hospitality industry. Incorporating urban-inspired design, bright social spaces and a fresh modern angle, the 296-room hotel is perfect for the modern and tech-savvy traveler looking for a vibrant, social experience. Guest rooms are noteworthy for their loft-like design, soaring nine-foot ceilings and oversized windows, offering amenities such as 300-thread count linens, free WiFi, 42โ LCD TVs, iPod/ MP3 docking stations and mood lighting controls in addition to bathrooms outfitted with walk-in showers and custom Aloft bathroom amenities by Blissยฎ Spa. Aloft Bangkok โ Sukhumvit 11 incorporates industrial design elements throughout its bountiful and busy social spaces catering to the expectations of todayโs travelers: a buzzing bar (w xyz SM), an relaxing open lounge (re:mix), a cafรฉ with grab-and-go dining options (re:fuel), a full service fitness center(re:charge), an outdoor swimming pool (splash), and over 265 square meters of tactic meeting space. The wxyz SM bar provides a sophisticated urban social scene where energy flows and personalities mingle.
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re:mix SM open lounge is another trendy and playful space for guests to sip a drink, read the paper, enjoy free WiFi or play a game of pool while they chit-chat and connect with others or just lounge around. Hotelโs one stop grab-and-go cafรฉ, re:fuel by AloftSM, presents a welcome change for travelers on the move. Its innovative eating options and โfresh-is-bestโ menu will have something to excite your palate from sweet treats to healthy eats at any hour of day. re:charge, hotelโs 24-hour fitness center, includes stationary bikes, treadmills, and elliptical machines from Life Fitness. The hotelโs refreshing outdoor pool splash is perfect for taking a quick dip or relaxing respite from Bangkokโs heat. Equipped with 265 square meters of tactic meeting space, Aloft Bangkok - Sukhumvit 11 will add just the right amount of pizzazz to your next business bash. Ideal for business meetings or smallscale seminars, the hotelโs tactic facilities can accommodate 12 to 70 guests with ease. Aloft Bangkok - Sukhumvit 11 Aloftโs first hotel in Thailand offers guests a total hospitality experience in a stylish setting all at an affordable price point.
Aloft Bangkok - Sukhumvit 11 35 Sukhumvit Soi 11, Sukhumvit Rd., Bangkok 10110 Thailand t. (66) (2) 207 7000 f. (66) (2) 207 7100 alofthotels.com/bangkoksukhumvit11
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advertorial
dusitD2 Baraquda
Located just a 90-minute drive from Bangkok awaits the 24/7 beachfront city of Pattayaโand, at its heart, dusitD2 Baraquda Pattaya. Though the cityโs charming beaches, entertainment, shopping and exciting cafรฉ scene all rest within easy reach, guests at this boutique design hotel will first have to drag themselves away from the happening hospitality at Pattayaโs new kid on the block. Inspired by the brilliant blue jeweled hues of the sea, the hotelโs clean-cool lines blend with appealing shapes and textures that accentuate its themes of water, air and light. Complemented by attentive and enjoyable service, 72 thoughtfully designed guest rooms and suites (each with a balcony) provide both a relaxing and uplifting atmosphere. The two-floor Dโsuites and studio suites feature ultra-chic interiors and spa-like bathrooms complete with water jet tubs. Whether itโs shopping for souvenirs or scuba diving along the reef of an island nearby, dusitD2โs desk agents can assist with arrangements and access to keep guestsโ minds at ease, while the dโspa offers soothing therapies to address travelersโ every personal maintenance need. The hotelโs exquisite signature restaurant s.e.a serves sensually spicy local specialties, alluring Southeast Asian favorites and the best of international cuisine, all in an open kitchen configuration that allows diners to indulge in the whole gastronomic adventure. Meanwhile, Thailandโs sexiest swimming pool beckons guests outdoors where they can enjoy light snacks and healthy beverages served all day long at the pool
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bar, take in the spectacular views of Pattaya Bay with a cocktail in hand at the stylish alfresco sunset lounge, and chill out into the evening to the grooves of Thai and international DJs at the inspirational underwater deep barโthe new place to see and seen. Those traveling on business will appreciate the serenity of the lounge, distinguished by its spectacular design and intuitive service. Two meeting rooms equipped with natural daylight and modern technology provide the perfect setting to plot your new business strategy. With the white sand beaches of Koh Larn (Coral Island) just a 20-minute ferry ride away, the casual and sophisticated dusitD2 Baraquda Pattay offers everything for a sensational seaside escape.
485/1 moo.10 pattaya 2 road, nongprue, banglamung, chonburi 20260, Thailand t. +66 (0) 3876 9999 f. +66 (0) 3876 9000 e. d2pa@dusit.com www.dusit.com/d2pa
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party
ELOQUENCE LAUNCHING PARTY With the publication of this monthโs โBangkok Special Edition,โ ELOQUENCE is now available in all of the cityโs major galleries and cultural spaces. As a way to announce its arrival on Bangkokโs creative scene, ELOQUENCE threw an official launch party at the Ramada Encore Hotel on February 9. Thanks to all the guests from Bangkokโs creative industries who made the event such a great success.
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BANGKOK PHOTOLOG
30 January - 14 February, Sathorn, Sukhumvit, Thong Lor, Siam, Pattaya
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SUBSCRIPTION
Creative ideas travel fast and far โ Eloquence keeps track of them and the people behind them. We introduce creators and their works. We take a look behind the scenes and trace the effects of this journey. We share ideas about creatorsโ lifestyles and working conditions. We see the world through the eyes of creators. Please send your subscription request to eloquence.creators@gmail.com Transfer account: Shinhan bank 140-008-087830 TIMESCORE Co.Ltd 120,000KRW per year
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ELO QU ENCE international creators magazine