Eloquence 'international Creators Magazine'

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ELOQUENCE LOVES BANGKOK


EDITORโ€™S NOTE ์•ˆ๋…•ํ•˜์‹ญ๋‹ˆ๊นŒ. ํŽธ์ง‘์žฅ ์ „์šฐ์น˜์ž…๋‹ˆ๋‹ค. ์ง€๋‚œ ๋‹ฌ, ์—˜๋กœํ€€์Šค ํŒ€์€ ์ „์› ํƒœ๊ตญ์œผ๋กœ ๋‚ ์•„๊ฐ€ ๋ณด๋ฆ„ ๊ฐ„์˜ โ€˜ ๋ฐฉ์ฝ• ํ”„๋กœ์ ํŠธโ€™๋ฅผ ์ง„ํ–‰ํ–ˆ์Šต๋‹ˆ๋‹ค. ์ด ํ”„๋กœ์ ํŠธ๋Š” ์„œ์šธ์ด ์•„๋‹Œ ๋‹ค๋ฅธ ๋‚˜๋ผ์˜ ๋„์‹œ๋กœ ์ด๋™ํ•ด ์ž„์‹œ ์บ ํ”„๋ฅผ ์„ธ์šฐ๊ณ  ์žก์ง€ ํ•œ ๊ถŒ์„ ํ†ต์งธ๋กœ ๋งŒ๋“ค์–ด ๋ณด์ž๋Š” ์ทจ์ง€์—์„œ ๊ธฐํš๋œ ํ”„๋กœ์ ํŠธ์˜€์Šต๋‹ˆ๋‹ค. ์ €๋Š” ์ด ํ”„๋กœ์ ํŠธ๋กœ์ธํ•ด์—˜๋กœํ€€์Šค๊ฐ€์ถ”๊ตฌํ•˜๋Š”์ธํ„ฐ๋‚ด์…”๋„ํฌ๋ฆฌ์—์ดํ„ฐ์Šค๋“ค์˜ํ”Œ๋žซํผ์ด๋ณด๋‹ค๋ผ์ด๋ธŒํ•˜๊ฒŒ ์‹คํ˜„๋˜์—ˆ์œผ๋ฉด ํ•˜๋Š” ๋ฐ”๋žจ์ด ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค. ๊ทธ๋Ÿฐ ๋งˆ์Œ์œผ๋กœ ์ด๋ฒˆ ํ”„๋กœ์ ํŠธ๋ฅผ ์ง„ํ–‰ํ–ˆ์Šต๋‹ˆ๋‹ค. ํŽธ์ง‘๋ถ€, ๋””์ž์ธ๋ถ€, ์‚ฌ์ง„๋ถ€ ๋“ฑ ํŽธ์ง‘๋ถ€ ์ „์›์ด ๋‹ค๋ฅธ ๋‚˜๋ผ์˜ ๋„์‹œ๋กœ ์˜ฎ๊ฒจ๊ฐ€์„œ ์žก์ง€๋ฅผ ๋งŒ๋“œ๋Š” ์ผ์€ ๊ตญ๋‚ด ์žก์ง€ ์—ญ์‚ฌ์ƒ ์ตœ์ดˆ์˜ ์‹œ๋„์ธ ๊ฒƒ ๊ฐ™์Šต๋‹ˆ๋‹ค. ๋งŽ์€ ๋‚œ๊ด€์ด ์žˆ์„ ๊ฒƒ์ด๋ผ๊ณ  ์ƒ๊ฐํ–ˆ๊ณ , ์‹ค์ œ๋กœ ๊ทธ๋Ÿฌํ–ˆ์Šต๋‹ˆ๋‹ค. ๊ฐ€์žฅ์–ด๋ ค์› ๋˜๋ถ€๋ถ„์€์—˜๋กœํ€€์Šค์—์†Œ๊ฐœํ• ๋งŒํ•œ๋ฐฉ์ฝ•์˜ํฌ๋ฆฌ์—์ดํ„ฐ์Šค๋ฅผ์ฐพ์•„๋‚ด๋Š”์ž‘์—…์ด์—ˆ์Šต๋‹ˆ๋‹ค. ๊ตญ๋‚ด์—๋Š” ๊ฑฐ์˜ ์ž๋ฃŒ๊ฐ€ ์—†์—ˆ๊ณ , ์ธํ„ฐ๋„ท์—๋„ ๋Œ€๋ถ€๋ถ„ ํƒœ๊ตญ์–ด๋กœ ์†Œ๊ฐœ๋˜์–ด ์žˆ์–ด ์„ ๋ณ„ํ•˜๋Š”๋ฐ ์–ด๋ ค์›€์ด ๋งŽ์•˜์Šต๋‹ˆ๋‹ค. ์šฐ๋ฆฌ๋Š” ์‚ฌ๋ง‰์—์„œ ๋ฐ”๋Š˜ ์ฐพ๋Š” ์‹ฌ์ •์„ ๊ฐ–๊ณ  ๋ฐฉ์ฝ•์œผ๋กœ ํ–ฅํ•ด์•ผ ํ–ˆ๊ณ , ๊ทธ๊ณณ์—์„œ ์ง์ ‘ ํ˜„์ง€ ํฌ๋ฆฌ์—์ดํ„ฐ์Šค๋“ค ๋งŒ๋‚˜ ์ด์•ผ๊ธฐ๋ฅผ ๋‚˜๋ˆ„๊ณ  ์ถ”์ฒœ์„ ๋ฐ›์•„, ๋ถ„๋ฅ˜ํ•ด์•ผ ํ–ˆ์Šต๋‹ˆ๋‹ค. ์‹œ๊ฐ„์€ ํ•œ์ •๋˜์–ด ์žˆ์—ˆ๊ธฐ์— ๊ทธ ๋ถ€๋ถ„์— ๋Œ€ํ•œ ์ŠคํŠธ๋ ˆ์Šค๋Š” ๋งค์šฐ ์ปธ์Šต๋‹ˆ๋‹ค. ๋น„์šฉ์ ์ธ ๋ถ€๋ถ„๋„ ๋ฌธ์ œ์˜€์Šต๋‹ˆ๋‹ค. 8๋ช…์ด ๋ณด๋ฆ„๊ฐ„ ํ•จ๊ป˜ ์ฒด๋ฅ˜ํ•ด์•ผ ํ•˜๊ธฐ ์œ„ํ•ด์„œ๋Š” ์ ์ง€ ์•Š์€ ๋น„์šฉ์ด ํ•„์š”ํ–ˆ๊ณ , ๊ทธ ๋น„์šฉ์„ ์ตœ๋Œ€ํ•œ ์•„๋ผ๊ธฐ ์œ„ํ•ด ์—˜๋กœํ€€์Šค ํŽธ์ง‘๋ถ€๋Š” ๋งŽ์€ ๋…ธ๋ ฅ์„ ๊ธฐ์šธ์˜€์Šต๋‹ˆ๋‹ค. ๋ฐฉ์ฝ•์˜ ๋ฌด์‹œ๋ฌด์‹œํ•œ ํŠธ๋ž˜ํ”ฝ ์žผ์€ ์ตœ๊ณ ์˜ ๋ณต๋ณ‘์ด์—ˆ์Šต๋‹ˆ๋‹ค. ํ•˜๋ฃจ์— ๋‘ ๊ฑด ์ด์ƒ์˜ ์ทจ์žฌ๊ฐ€ ๋ถˆ๊ฐ€๋Šฅํ–ˆ์„ ์ •๋„์˜€์œผ๋‹ˆ๊นŒ์š”. ์ด๋Ÿฌํ•œ ์ƒํ™ฉ์—์„œ ๋ฐฉ์ฝ• ํฌ๋ฆฌ์—์ดํ„ฐ์Šค๋“ค์˜ ํ™˜๋Œ€์™€ ๊ฒฉ๋ ค๋Š” ์—˜๋กœํ€€์Šค์— ์ปค๋‹ค๋ž€ ํž˜์ด ๋˜์—ˆ์Šต๋‹ˆ๋‹ค. TCDC, BACC ๋“ฑ์˜ ๋Œ€ํ˜• ๋””์ž์ธ ์„ผํ„ฐ์—์„  ์—˜๋กœํ€€์Šค ํŽธ์ง‘๋ถ€์˜ ๋ฏธํŒ… ๋ฃธ์„ ์ œ๊ณตํ•ด ์ฃผ์—ˆ๊ณ , ๋‹ค์–‘ํ•œ ์ •๋ณด๋ฅผ ์•Œ๋ ค์ฃผ์—ˆ์Šต๋‹ˆ๋‹ค. ๋ฐฉ์ฝ•์˜ ์œ ๋ช… ์•„ํŠธ ๋งต์ธ BAM์€ ์—˜๋กœํ€€์Šค์˜ ์ƒ‰๊น”๊ณผ ์ž˜ ๋งž๋Š” ์•„ํ‹ฐ์ŠคํŠธ๋“ค๊ณผ ๊ฐค๋Ÿฌ๋ฆฌ๋“ค์„ ์ง์ ‘ ์†Œ๊ฐœํ•ด ์ฃผ์—ˆ์Šต๋‹ˆ๋‹ค. ์˜ฌ ์‹œ์ฆŒ ํ˜ธํ…”, ๋ผ๋งˆ๋‹ค ์—”์ฝ”, ์—์ด๋กœํ”„ํŠธ, D2 ๋‘์ง“ ํ˜ธํ…”, ๋‚˜์ฐจ ํ’€๋นŒ๋ผ ๋“ฑ ๋งŽ์€ ๊ณ ๊ธ‰ ํ˜ธํ…”์—์„œ ์—˜๋กœํ€€์Šค์—๊ฒŒ ๊ธฐ๊บผ์ด ๋ฐฉ์„ ์—ด์–ด์ฃผ์—ˆ์Šต๋‹ˆ๋‹ค. ๋ผ๋งˆ๋‹ค ์—”์ฝ” ํ˜ธํ…”์˜ ๋ฃจํ”„ํƒ‘ ํ’€ ์‚ฌ์ด๋“œ ๋ ˆ์Šคํ† ๋ž‘์—์„œ ์—ด๋ฆฐ โ€˜์—˜๋กœํ€€์Šค ๋Ÿฐ์นญ ์ธ ๋ฐฉ์ฝ•โ€™ ํŒŒํ‹ฐ์—๋Š” 300์—ฌ ๋ช…์˜ ํฌ๋ฆฌ์—ํ„ฐ์Šค๋“ค๊ณผ ๋ธŒ๋žœ๋“œ๊ด€๊ณ„์ž๋“ค์ด ์ฐพ์•„์™€ ์ถ•ํ•˜๋ฅผ ํ•ด ์ฃผ์—ˆ์Šต๋‹ˆ๋‹ค. ๋ผ๋งˆ๋‹ค ์—”์ฝ” ํ˜ธํ…” ์ธก์—์„œ๋Š” ์ˆ ๊ณผ ์Œ์‹์„ ๋ชจ๋‘ ์ œ๊ณตํ•ด ์ฃผ์—ˆ์Šต๋‹ˆ๋‹ค. ์†”์งํžˆ ์šฐ๋ฆฌ๋Š” ์งง์€ ์ผ์ •์œผ๋กœ ๋งŽ์€ ๊ฒƒ์„ ์ค€๋น„ํ•  ์ˆ˜ ์—†์—ˆ์ง€๋งŒ, ๋ฐฉ์ฝ• ํ˜„์ง€ ์นœ๊ตฌ๋“ค์˜ ๋„์›€์œผ๋กœ ํ›Œ๋ฅญํ•˜๊ฒŒ ํŒŒํ‹ฐ๋ฅผ ๋งˆ์น  ์ˆ˜ ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค. ์ด๋Ÿฌํ•œ ํ™˜๋Œ€์™€ ๊ฒฉ๋ ค๋Š” ํ•œ๋ฅ˜ ์—ดํ’ ๋•Œ๋ฌธ์ผ๊นŒ์š”? ๊ทธ๋Ÿฐ ๋ฉด๋„ ์žˆ์—ˆ๊ฒ ์ง€๋งŒ ์‚ฌ์‹ค ๊ฐ€์žฅ ํฐ ์ด์œ ๋Š” ์—˜๋กœํ€€์Šค๊ฐ€ ์ถ”๊ตฌํ•˜๋Š” ๋ฐฉํ–ฅ์ด ๋ฐฉ์ฝ•์˜ ํฌ๋ฆฌ์—์ดํ„ฐ์Šค๋“ค๊ณผ ๊ณต๊ฐ๋Œ€๋ฅผ ๊ฐ€์ง€๊ณ  ์žˆ์—ˆ๊ธฐ ๋•Œ๋ฌธ์ด๋ผ๊ณ  ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค. ๋ฐฉ์ฝ•์˜ ํฌ๋ฆฌ์—์ดํ„ฐ์Šค๋“ค์˜ ์„œ์šธ์˜ ํฌ๋ฆฌ์—์ดํ„ฐ์Šค๋“ค๊ณผ ๊ฐ™์€ ๋งˆ์Œ์„ ๊ฐ€์ง€๊ณ  ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค. ๊ทธ๋“ค์€ ์—ด์ •์ ์ด๊ณ  ์‹คํ—˜์ ์ด๋ฉฐ, ๊ฐ์ž์˜ ์ƒ‰๊น”์„ ์ฐพ์•„ ์ตœ์„ ์„ ๋‹คํ•˜๊ณ  ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค. ๋Œ€๋ถ€๋ถ„์˜ ํฌ๋ฆฌ์—์ดํ„ฐ์Šค๋“ค์€ ํ•œ ๊ฐ€์ง€ ๋ถ„์•ผ์—์„œ ๋ฉˆ์ถ”์ง€ ์•Š๊ณ  ๋‹ค์–‘ํ•œ ๋ถ„์•ผ์˜ ์ž‘์—…์„ ๋™์‹œ์— ์ง„ํ–‰ํ•˜๊ณ  ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค. ๊ทธ๋“ค์€ ๋ชจ๋‘ ํƒœ๊ตญ ๊ณ ์œ ์˜ ์—ญ์‚ฌ์™€ ๋ฌธํ™”, ๊ทธ๋ฆฌ๊ณ  ์ƒ‰์ฑ„๋ฅผ ์ถฉ๋ถ„ํžˆ ํ™œ์šฉํ•˜๊ณ  ์žˆ์—ˆ๊ณ  ๊ทธ๋กœ ์ธํ•ด ์„ธ๊ณ„ ๊ทธ ์–ด๋””์–ด๋””์—์„œ๋„ ๋ณผ ์ˆ˜ ์—†๋Š” ๊ทธ๋“ค๋งŒ์˜ ํŠน๋ณ„ํ•œ ์•„์ด๋ดํ‹ฐํ‹ฐ์™€ ํ—ค๋ฆฌํ‹ฐ์ง€ ๊ฐ–์ถ”๊ณ  ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค. ๊ทธ๋ฆฌ๊ณ  ํ˜„์žฌ, ๊ทธ๋“ค์€ ์†Œํ†ต๊ณผ ํ˜‘๋ ฅ์„ ํ†ตํ•ด ๋ณด๋‹ค ๋ฐœ์ „์  ์‹œ์žฅ์˜ ๋งŒ๋“ค์–ด ๊ฐ€๋Š” ๊ฒƒ์— ์ง‘์ค‘ํ•˜๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค. ๊ทธ๋“ค์€ ์„œ์šธ์˜ ํฌ๋ฆฌ์—์ดํ„ฐ์Šค๋“ค๊ณผ ์ƒ‰๊น”์€ ๋‹ฌ๋ž์ง€๋งŒ ๊ฐ™์€ ๊ณ ๋ฏผ์„ ํ•˜๊ณ  ๊ฐ™์€ ์„ธ์ƒ์„ ๋งŒ๋“ค์–ด๊ฐ€๊ณ  ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค. ์—˜๋กœํ€€์Šค๋Š” ์ด๋ฒˆ ํ”„๋กœ์ ํŠธ๋ฅผ ํ†ตํ•ด ๋ณด๋‹ค ๋‹ค์–‘ํ•œ ์นœ๊ตฌ๋“ค๊ณผ์˜ ๋„คํŠธ์›Œํฌ๋ฅผ ํ™•๋ณดํ•˜๊ฒŒ ๋˜์—ˆ์Šต๋‹ˆ๋‹ค. ์•ž์œผ๋กœ ์—˜๋กœํ€€์Šค๋Š” ๋งค๋‹ฌ ๋ฐฉ์ฝ•์˜ 30๊ฐœ ์œ ๋ช… ๊ฐค๋Ÿฌ๋ฆฌ, 3๊ฐœ์˜ ๋Œ€ํ˜• ๋””์ž์ธ ์„ผํ„ฐ, 5๊ฐœ์˜ ๋Œ€์•ˆ๊ณต๊ฐ„์— ์ •๊ธฐ์ ์œผ๋กœ ์žก์ง€๋ฅผ ๋ฐฐํฌ๋ฅผ ํ•˜๊ธฐ๋กœ ๊ฒฐ์ •ํ–ˆ์Šต๋‹ˆ๋‹ค. ๊ทธ๋ฆฌ๊ณ  ์ด๋ฒˆ ํ”„๋กœ์ ํŠธ๋ฅผ ํ†ตํ•ด ๋งŒ๋‚œ ์ˆ˜๋งŽ์€ ํƒœ๊ตญ์˜ ํฌ๋ฆฌ์—์ดํ„ฐ์Šค์™€ ์ง€์†์ ์ธ ๊ด€๊ณ„๋ฅผ ๋งบ๊ณ , ๋‹ค์–‘ํ•œ ํ”„๋กœ์ ํŠธ๋ฅผ ์ถ”์ง„ํ•  ์˜ˆ์ •์ž…๋‹ˆ๋‹ค. ์‹ค์ œ๋กœ ์ด๋ฒˆ์— ๋ฐœํ–‰๋˜๋Š” โ€˜์—˜๋กœํ€€์Šค ๋ฐฉ์ฝ• ์ŠคํŽ˜์…œ ์—๋””์…˜โ€™์€ ์—˜๋กœํ€€์Šค ํŽธ์ง‘๋ถ€์™€ ๋ฐฉ์ฝ• ํฌ๋ฆฌ์—์ดํ„ฐ์Šค๋“ค์˜ ์ฝœ๋ผ๋ณด๋ ˆ์ด์…˜ ๊ฒฐ๊ณผ๋ฌผ์ž…๋‹ˆ๋‹ค. ๊ทธ๋ ‡๊ธฐ ๋•Œ๋ฌธ์— ์ด๋ฒˆ์—๋Š” ์žก์ง€์˜ ์™„์„ฑ๋„๋ณด๋‹ค ์ƒˆ๋กœ์šด ์‹œ๋„์— ์ดˆ์ ์„ ๋งž์ถฐ ๋ณด์•„์ฃผ์…จ์œผ๋ฉด ํ•ฉ๋‹ˆ๋‹ค. ๊ทธ๋Ÿผ ์ €๋Š” ๋‹ค์Œ ๋ฒˆ์— ํ•จ๊ป˜ ์ž‘์—…ํ•  ์ƒˆ๋กœ์šด ๋„์‹œ๋ฅผ ์ฐพ์•„๋ด์•ผ๊ฒ ์Šต๋‹ˆ๋‹ค. ๋ด„์ž…๋‹ˆ๋‹ค. ํ•œ๊ตญ๊ณผ ํƒœ๊ตญ์˜ ์นœ๊ตฌ๋“ค, ๋ชจ๋‘ ์ข‹์€ ์ผ๋งŒ ์žˆ์—ˆ์œผ๋ฉด ์ข‹๊ฒ ์Šต๋‹ˆ๋‹ค.

ํŽธ์ง‘์žฅ ์ „์šฐ์น˜

Last month, the entire ELOQUENCE crew flew to Thailand to carry out a 15-day โ€˜Bangkok 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 cityโ€™s renowned art map, took the trouble to help us identify artists and galleries in Bangkok that matched ELOQUENCEโ€™s vision, then made the necessary introductions to allow our staff to get their interviews. TCDC and BACC, Bangkokโ€™s premier design centers, provided meeting rooms for ELOQUENCE to use as headquarters for the duration of the project. Many of the cityโ€™s 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 ELOQUENCEโ€™S official Bangkok launch party poolside on the rooftop of the Ramada Encore Hotel. Perhaps we benefited a little from Southeast Asiaโ€™s raging K-pop fever, but the real reason was probably the strong sense of compassion felt by Bangkokโ€™s community of creators for ELOQUENCE and the ideals it stands for. As it turns out, Bangkokโ€™s 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 cityโ€™s creators do not insist on one particular genre, preferring to explore diverse forms of work. Inspired by the cityโ€™s 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 Bangkokโ€™s leaders in the creative industries. ELOQUENCE can now be found in over 30 of the cityโ€™s 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 Gr์ฑ„nd์ฑ…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 โ€œnature vs. societyโ€. Currently, she is hiding away in the cold Canadian mountains creating her next story. www.brittanywacher.com

Peter Smiths is Studio Warp 54โ€™s 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 Eloquenceโ€™s 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. Weโ€™d 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 wouldnโ€™t 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 SUBPโ€ขAโ€ขROHT, 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 โ€œJahโ€, 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 โ€˜Miss 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. โ€œThis job is my life. I feel good and happy every time, when I work. My idol is Tyra Banks. Sheโ€™s 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 Thailandโ€™s 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 Thailandโ€™s 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. Weโ€™re 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. Eloquenceโ€™s 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 Eloquenceโ€™s Art Director Yom was able to introduce his magazineโ€™s 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 Eloquenceโ€™s special Bangkok Project T-shirt. You can find images of the collaborative works of Yom and Drycleanonly on YOMS VISUAL LABโ€™s 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.


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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,โ€œOne manโ€™s trash is another manโ€™s 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 textilesโ€”rugs 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 Chicโ€™s guiding philosophy is based on the principle that the very stuff normally considered to be nothing more than โ€˜trashโ€™ 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. Anusornโ€™s 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 โ€˜recycleโ€™ 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 materialsโ€”products of the hotelโ€™s community outreach program which supports Cambodiaโ€™s HIV-positive women whom Anusorn teaches how the bags are made. www.global-trashchic.com


15


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? Itโ€™s 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 itโ€™s 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. Itโ€™s a flexible space that changes with the events taking place here. When there is a screening, itโ€™s a small screening room,โ€” sometimes itโ€™s 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, โ€˜Navin.โ€™ Even though Navin is based in Chiang Mai, ELOQUENCE was able to meet him in Bangkok at a collectorโ€™s private gallery where some of his works were being shown, and asked him about the Navin Party and Navinlandโ€™s 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 todayโ€™s world, because there are Navins everywhere. I wanted to ask the question: โ€œWhere 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 isnโ€™t 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 donโ€™t 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 โ€˜taxi.โ€™ Q. Why have you made yourself the subject matter here? Itโ€™s 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. Itโ€™s 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 isnโ€™t another specific name for a โ€˜taxi.โ€™ The word โ€˜taxiโ€™ transcends language barriers. This was the beginning of the thought that โ€œTaxis 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 peopleโ€™s 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 arenโ€™t that many galleries or museums in Thailand. The Bangkok Art Center is government funded, but now they donโ€™t spend much money on the arts anymore because they think that they donโ€™t return much profit. Itโ€™s 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 shouldnโ€™t 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? Iโ€™m 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 youโ€™re in the art industry or interested in art, I would say that Iโ€™m an artist. I do painting , sculpture, video art and other activities that use some form of art as their base. If youโ€™re not in the art industry or you simply want to know about my career, I would say that Iโ€™m 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. Iโ€™m 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 doesnโ€™t 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 Iโ€™m working with like painting, sculpture, video, or anything else, I stay focused on the one Iโ€™ve chosen. Iโ€™m 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. Itโ€™s 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. Itโ€™s very different from sculpture. With sculpture, Iโ€™m always eager to see the finished product, but with painting, I enjoy the time spent on the process very much. Itโ€™s something I havenโ€™t 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 couldnโ€™t choose one, so they named me โ€œLolay,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 donโ€™t 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 donโ€™t 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 Iโ€™m their idol, or else ask me how to be successful or famous. I donโ€™t think Iโ€™m famous; Iโ€™ve been doing art for 20 years now, so people know me. Q. Looking at the work from your exhibition โ€œBruisedโ€ 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. Theyโ€™re just like human models; itโ€™s 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 wasnโ€™t 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 weโ€™re 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 Iโ€™m inspired by something or someone and Iโ€™m afraid Iโ€™ll forget; I put it all in my notebook. Each notebook is like my private playground where my ideas transform. Theyโ€™re not the final images of my ideas, but theyโ€™re part of my creative process. Q. What are your future plans? Iโ€™m 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 Iโ€™ve 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

27


space

V64

Despite having had its Grand Opening only just recently, it seems like everybody in Bangkokโ€™s 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€ โ€œI donโ€™t only look at the art or the reputation when I select artists, but also at the personality. Some people say itโ€™s a weakness to choose artists like that, but I see it as an investment in the future.โ€ he says with a smile. โ€œI care about potential.โ€ He continues, โ€œI 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 V64โ€™s 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, Shanghaiโ€™s 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 V64โ€™s young artists come from Bangkokโ€™s art universities, but since the contemporary art world in Thailand is still developing, there are not many opportunities for emerging artists to gain exposure. โ€œV64 is a space for exchange and collaboration for young artists,โ€ Pokpong explains. โ€œHere, they donโ€™t have the same pressures they would have

28

if they were exposed to the art world directly. They have time to learn and adjust with time.โ€ Part of V64โ€™s 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. โ€œI think itโ€™s important to show them how to deal with the art world,โ€ he says. โ€œSome 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 conceptโ€”a good foundation for Pokpongโ€™s 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 Warholโ€™s 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 whoโ€™s 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? Weโ€™re 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 Warholโ€™s 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 โ€˜Traffic 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 realizeโ€”purely by chanceโ€”that 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 Iโ€™m traveling and I see something that catches my eye, I immediately press the shutter. I donโ€™t worry about lighting, colour, sound or composition. Q. Where do you usually take pictures in Bangkok? Do you have any specific location? I donโ€™t have any particular location in my mind when taking pictures in Bangkok. Actually, the pictures I take donโ€™t need to be from Bangkok alone; I snap stock photos of anything that strikes me as interesting. But if youโ€™re asking where my favourite spot in Bangkok is, I would have to say โ€˜China 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 โ€˜ordinary lifeโ€™ in Bangkok. I think people definitely tend to overlook this aspect of of the city since it doesnโ€™t meet our accepted standards for judging the value of art. Leading an โ€˜ordinary 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 โ€˜ordinary 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? Iโ€™ve done two other collage sets, actually, that didnโ€™t make use of photo collage. The first one takes userโ€™s 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 donโ€™t have any definite plan. At the moment, Iโ€™m very interested in old furniture and eccentric materials. Iโ€™d 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, Iโ€™m 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 โ€˜on 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 โ€˜Thai 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? Itโ€™s 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 โ€œWhy isnโ€™t 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 Iโ€™ve 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 magazineโ€™s content and layout is more feminine. Was this your intention when you started? In this country, fashion starts with the girls. Wherever you go, youโ€™ll see lots of girls, and they all present themselves in such a cute and beautiful way. So why shouldnโ€™t 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 weโ€™ve 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. Itโ€™s 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 itโ€™s now beginning to gain international attention. What do you consider the secret to Cheezeโ€™s success? I think itโ€™s 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 itโ€™s 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 itโ€™s necessary to put business first. We advertise unisex products in Cheeze magazine, but in Looker the products are aimed mostly at men. Itโ€™s very clear and our clients understand that. Advertising clients in Thailand are actually really nice. Q. You are well known for your โ€˜EDITORโ€™S TALKโ€™ page. What are you trying to say in this single page article? Iโ€™m 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 donโ€™t want to keep doing these things all by myself; I want to share with them. Q. Who is Cheezeโ€™s 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 Bangkokโ€™s street style come from many places, but when people dress up in the Thai heat, it becomes โ€˜Bangkok 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 cityโ€™s 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 itโ€™s 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? Cheezeโ€™s 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 โ€˜Men Only,โ€™ which is very explicit, although many girls also buy it. I think that itโ€™s 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 donโ€™t 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 Lookerโ€™s pictorials is unlike that found in Thailandโ€™s other established magazines. What styles do look for? I like so many styles. When thereโ€™s 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. Itโ€™s like we have two questions to answer. Some people can solve them both really well because the questions are not ambiguous. Actually, I think itโ€™s a good thing because it means we donโ€™t 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 youโ€™d like to say? โ€œเธœเธกเธฃเธฑเธเนƒเธ™เธซเธฅเธงเธ‡โ€ (โ€œI 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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โ“’Najhin

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. Itโ€™s really a diverse selection of whatโ€™s 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 donโ€™t 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. Itโ€™s 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. Itโ€™s good, but we are always open for more sponsorship. Q. Each month, you introduce selected exhibitions. What are the criteria? Itโ€™s 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, โ€˜Places of Rebirthโ€™ by Navin Rawanchaikul at Sakshi Gallery in Mumbai, โ€˜Charles LaBelleโ€™ at Number 1 Gallery in Bangkok, and โ€˜Otakuโ€™ by Charinthorn Rachurutchata. Q. With all that, you still find the time to produce your own artโ€ฆ My photos show Thailand from a different angle, I like to capture unusual scenes in everyday life. Itโ€™s about the small moments, in which you have to look twice to see whatโ€™s special about them. Other works are more abstract and textural. I exhibited at โ€˜Creaturesโ€™ at About Cafรฉ in 1998, the 1999 nomadic interactive exhibition โ€˜How much is that doggy โ€ฆ..โ€™ presented on the body of Philippine artist Judy Freya Sibayan on her travels through Asia and Europe (including the opening event of โ€˜Cities on the Moveโ€™ at Londonโ€™s Hayward Gallery), Womanifesto at Pridi Banomyong Institute in 2003, the 2008-9 group show โ€˜Krungthep 226โ€™ held at the Bangkok Art & Culture Centre, and the 2009 group exhibition โ€˜Triggerโ€™ at Bangkokโ€™s Whitespace Gallery. I also participated regularly in the group exhibition series โ€˜See 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: Letโ€™s Go Far Far Away Marine life provides the focus for Japanese artist Kyoko Abeโ€™s 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 Tachakunakornโ€™s photographs. Mar 6 โ€“ April 29: Mythos and Mime American photographer Cameron Wolfโ€™s 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 Junkasainโ€™s Buddhist aligned paintings.

ARDELโ€™S THIRD PLACE GALLERY (MAP E-8) The Third Place, Thonglor Soi 10 | 02-422-2092, 084-772-2887, 086890-2762 | 10amโ€“8:30pm | www. ardelgallery.com I BTS Thonglor Ardelโ€™s sister gallery is a compact venue on the first floor of this lifestyle space. Until Mar 18: Logiyadhamma Silpakorn University lecturer Thongchai Srisukprasertโ€™s paintings and sculptures explore Buddhist notions of desire. Mar 29 โ€“ April 29: Spirit of Women Palut Marodโ€™s 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 Majestyโ€™s 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 donโ€™t 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 canโ€™t 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 Iโ€™m speaking in another language. Q. What is illustration to you? Itโ€™s 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 didnโ€™t want to use color anymore. I love lines drawn with black acrylic. I donโ€™t want to do complicated paintings. I want to keep the feeling in them. For example, when I was painting a girl, I didnโ€™t 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? Iโ€™m going to get married to a person who is a famous artist in some peopleโ€™s 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 โ€˜OH+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 โ€œI choose the things I like.โ€ I always love whatever Iโ€™m doing at the time. I do not do the things I donโ€™t like. So I cannot choose what I love more. It depends on the time. I feel really happy when Iโ€™m 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 donโ€™t think Iโ€™m famous, but many people know about me. However, my music fans donโ€™t 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. Isnโ€™t it interesting? In short, I donโ€™t have fans for only one genre. Therefore, I donโ€™t 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 couldnโ€™t 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. Iโ€™m 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. Iโ€™d 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 thatโ€™s 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 โ€œif we still have each other, thatโ€™s 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 memberโ€™s 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? Whatโ€™s 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 โ€˜freestyle 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 Iโ€™ve 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 MMFKโ€™s 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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Letโ€™s 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€ห˜Aรข€ห˜ROHT, 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

Bangkokโ€™s 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 itโ€™s 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 โ€˜nโ€™ 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 didnโ€™t really like DnB at first and it took a while to get to the point itโ€™s at right now. Nowadays I organize and promote a monthly dubstep/bass night called โ€˜DUBWAY 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 โ€˜nโ€™ 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 werenโ€™t 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. Itโ€™s 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, itโ€™s 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 โ€˜nโ€™ 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 thereโ€™s 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 thereโ€™s always something different going on at Dubway. Q. Do you also produce music? I havenโ€™t produced anything but Iโ€™ve released music in Thailand on my Homebass Communications Label. To date weโ€™ve released an Asian drum โ€˜nโ€™ 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 Thailandโ€™s folk music. It is a short form of pleng luk thung, which literally means โ€œsong 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 itโ€™s 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 Thailandโ€™s 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 didnโ€™t happen, so new styles could evolve. We call it โ€˜Thai 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 โ€˜Paradise 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? Itโ€™s rather small but over time, itโ€™s 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 โ€˜Paradise 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 itโ€™s 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, Iโ€™ve been really into film music lately. Iโ€™m 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 Iโ€™d like to sign on as a resident DJ at a new lounge in the Meatpacking District of NYC. That was in 2003, and Iโ€™d never really DJโ€™ed 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 donโ€™t really remember. Q. When we met, you just heard that youโ€™d 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 weโ€™ve 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. Itโ€™s 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 Iโ€™m 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 Iโ€™ve 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. Iโ€™ve been working in the โ€˜entertainmentโ€™ industry here in Thailand since I was nine, and Iโ€™ve 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 itโ€™s 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 itโ€™s because there is a bigger scene for this type of music out there, and the audience is much more appreciative of the DJs. Itโ€™s not so much the case in Bangkok, especially for the music style Iโ€™m pushing, as I feel like sometimes there are only a handful of DJs doing what I do here. The scene is definitely smaller, but weโ€™re 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 parentโ€™s 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 DJโ€™ed 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 itโ€™s 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 itโ€™s 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. Itโ€™s 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 doesnโ€™t 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 youโ€™re midway in, the dam has broken, pulling you deeper into the Dub. Once you cross the portal weโ€™re 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 Iโ€™m 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 โ€œDesign 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, โ€œHow 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 wouldnโ€™t 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 donโ€™t think graphic design responds only to commercial business. Yet, we canโ€™t 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. Itโ€™s absolutely true that Practical Design Studio runs commercially; itโ€™s 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 donโ€™t 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., โ€˜Show me Thaiโ€™ Art Exhibition, โ€˜Portrait of The Kingโ€™ Art Exhibition, โ€˜King 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). Practicalโ€™s designers also give lectures and presentations to many universities and organizations.

Q. Do you have any philosophical concept for Practicalโ€™s design? โ€œDesign 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 โ€˜I am a Thai Graphic Designerโ€™ which was initiated by Santi Lawrachawee. In 2010, Practical contributed work to โ€˜Paper Matter,โ€™ a design exhibition at Bangkok Art and Culture Centre, and to the โ€˜heART to Heartโ€™ exhibition under the theme โ€˜HOPEโ€™ which was on construction hoarding in front of Centralworld Building, Rajprasong Junction. They also organized the graphic design forum, โ€˜Somewhere Thai,โ€™ which included 50 speakers who were asked to represent โ€˜Thainessโ€™ 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 cityโ€™s 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 Bangkokโ€™s safety. But the city wants us to tell people that it is safe. So, we feel that we canโ€™t 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, itโ€™s about whatโ€™s to be expected rather than this moment because I trust in its advancement and success. I think Thai graphic designers have great potential. Iโ€™m not trying to emptily praise them; itโ€™s the truth.

I am a Thai Graphic Designer / poster / 2009

โ€˜Portrait of The Kingโ€™ Exhibition / poster / 2009

Q. Whatโ€™s 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

โ€˜Paper 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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โ€˜Talk 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 โ€˜Amphibious 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 Letโ€™s 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 monthโ€™s 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

1st Prize

2nd Prize

3rd Prize

Honorable Mention

Honorable Mention

Honorable Mention

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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? Iโ€™m Tarin Yuangtrakul, Iโ€™m 19 years old and a young artist and designer from Bangkok, Thailand. I am also an artist of SlashTHREE -- an international art collective. Iโ€™m 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 donโ€™t 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 Iโ€™m really trying to say. Mostly, I mix traditional art and digital art together to create something attractive. Peopleโ€™s 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 itโ€™s open to interpretation. Q. Do you encounter any difficulties when working? I donโ€™t 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 canโ€™t 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 itโ€™s 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 โ€œAll 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 โ€œKhonkaenโ€ 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 giclฤ‚ล 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

80โ€™s / 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 yearโ€™s floods in Thailand, I watched a lot of news on television. Currently, Iโ€™m making drawings of women arguing, fighting and helping each other in various costumes and situations. yoswadikrutklom.blogspot.com

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YOMโ€™S VISUA L/LAB YOM X DRYCLEANONLY

In commemoration of the โ€˜Bangkok 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 Bangkokโ€™s 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, Iโ€™ve 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 โ€˜eyeโ€™ to assimilate the โ€˜eye of the Wind.โ€™ This is the reason why I visualize the wind in these landscape drawings. And itโ€™s also the point of contact between the โ€˜wind drawingsโ€™ Iโ€™ve created before and these โ€˜city drawings.โ€™ Bangkok is held up as Southeast Asiaโ€™s 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 countryโ€™s situation. At that time, how will it change these views? I think that Iโ€™ll 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 Bangkokโ€™s 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. Whatโ€™s the reasoning behind this? Ohmphotography.com is the website for everything visual that Iโ€™ve 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 Iโ€™ve 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. Whatโ€™s 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? Itโ€™s 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 youโ€™re 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? Werenโ€™t 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? Itโ€™s 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 โ€œsomeone.โ€ In the end, though, there is more myth than truth to reasons like these and I think a lot of people donโ€™t 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 thereโ€™s 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 Iโ€™m 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

โ“’Panuwat

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 youโ€™ve 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. Iโ€™d 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. Iโ€™m partly shaped by my surroundings, and thatโ€™s 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. Iโ€™m 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 Iโ€™ll 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. Itโ€™s a small wonder that this building, on this location, hasnโ€™t 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 โ€˜Soi 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 itโ€™s like cleaning a football stadium. Some Thai people canโ€™t understand why I would like to work in a place like this without air conditioning, but they obviously forgot their history and donโ€™t 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, weโ€™ve had a book launch, dance performances, fashion school shootings, a pop up dinner and many other happenings. And these are cross-cultural enrichments and Iโ€™ve 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

โ“’Panuwat

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็ฌ‚ๅ˜anuwat

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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 Womenโ€™s University in Korea in 1994, majoring in Oriental Art. Then I went on to study landscape painting in Beijing and completed my masterโ€™s degree in 1998. Before starting my masterโ€™s 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. Iโ€™ve been living in Bangkok since 1998 with my husband and my 12-year-old daughter, working on my art. In addition, Iโ€™m also running an Oriental painting Workshop Program called JeOn Art Booth since 2001. Q. Youโ€™ve 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 masterโ€™s 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 husbandโ€™s 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 Iโ€™ve 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 Iโ€™d 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 โ€˜The 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 โ€˜Room of Imagination,โ€™ in which my works had been inspired by my six-year-old daughterโ€™s drawings. I displayed some of my daughterโ€™s drawings, too. I transformed the subject matters in my daughterโ€™s 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 โ€˜Mindscapeโ€™ 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 peopleโ€™s business cards into a small plastic box. The fifth one was held in 2009 under the title โ€˜Embroidery 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 โ€˜Name 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 โ€˜Dwelling 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 womenโ€™s 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 donโ€™t 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. Iโ€™m 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 Iโ€™m 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 Iโ€™m getting more recognition in the Thai art scene because Iโ€™ve 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 โ€˜Dwelling 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 Iโ€™ve made myself by grinding the ink slab. I followed traditional methods and used cloth for the collage. For engravings, Iโ€™ve 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 didnโ€™t 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, Iโ€™m 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 donโ€™t have. Iโ€™m 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 Iโ€™ve been doing continuously. I didnโ€™t 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 Iโ€™m 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 Lilyโ€™s 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 donโ€™t really use it, but you will see it frequently in the countryside. The patterns show each regionโ€™s 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 Iโ€™m 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. Whatโ€™s 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 yearโ€™s 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, wasnโ€™t 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 Iโ€™ve 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. Weโ€™ve 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 Thailandโ€™s 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 Buddhismโ€™s 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 Iโ€™ve lived overseas for such a long time, I couldnโ€™t have a chance to introduce my work in Korea. Iโ€™m 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 Liveโ€™s media director met ARUNCHIT, Wakeup Rabbitโ€™s media director to talk about Bangkokโ€™s 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 Iโ€™m 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 didnโ€™t 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, itโ€™s 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 isnโ€™t just about low-budget indie movies anymore. Itโ€™s 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 donโ€™t 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 arenโ€™t bound to traditional distribution methods. Having a box office smash isnโ€™t 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 donโ€™t backup it in many different places, we could lose entire films. Also, when we are shooting we also donโ€™t know if the materials that we are recording will have problems, or when weโ€™re 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 theyโ€™re on the go, and, to an extent, on their televisions. If people are willing to pay for films, they arenโ€™t 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. Itโ€™s not a problem if youโ€™re 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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Doctorโ€™s Love / single-channel video / 21โ€™35โ€ / 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. Iโ€™m 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. Thereโ€™s 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 youโ€™re 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 worldโ€™s most visited cities, though among its least understood. I navigate everyday scenarios the same way Thais generally do with humour. I donโ€™t 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 weโ€™ve 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 cityโ€™s 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 โ€˜sanuk,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 โ€˜Thainessโ€™ 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 Iโ€™m doing about Thailand which represents scenes in the transformation of people. The themes expressed in Bangkokโ€™s cityscape and Thai popular culture resonate with the hybrid development of Thailandโ€™s 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. Itโ€™s 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 personโ€™s 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 donโ€™t want to see Bangkok as being โ€˜prettyโ€™ or โ€˜bad.โ€™ Although it has sometimes been overlooked, this is the sort of thing that seems to be happening now; itโ€™s 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. Itโ€™s a city on the move; when you look outside in Bangkok even if you donโ€™t see any people, youโ€™re really looking at life. If you donโ€™t look soon, youโ€™ll probably never know the actual city. www.karayongkarachoko.com

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Breaking This fashion photo shoot started from Brittanyโ€™s doodle named โ€˜dead 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 & Collectorโ€™s 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

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The Reading Room Q. ์ฃผ๋กœ ์‚ฌ๋žŒ๋“ค์ด ๋…์„œํ•˜๋ ค๊ณ  ์˜ค๋Š”๊ฐ€? Reading Room์€ ๋„์„œ๊ด€ ์•„์ด๋””์–ด๋ฅผ ์žฌํ•ด์„ํ–ˆ๋‹ค. ์ˆ˜๋™์ ์ธ ์ธํฌ๋ฉ”์ด์…˜ ๊ณต๊ฐ„์€ ์•„๋‹ˆ์ง€๋งŒ, ํ™œ๋ฐœํ•œ ์ •๋ณด๊ต๋ฅ˜์™€ ์ปค๋ฎค๋‹ˆ์ผ€์ด์…˜์„์œ„ํ•œ์žฅ์†Œ๋กœ๋งŒ๋“ค๊ณ ์‹ถ์—ˆ๋‹ค. ์ด๋ฒคํŠธ, ๋Œ€ํ™”, ์Šคํฌ๋ฆฌ๋‹, ๊ฐ•์ขŒ ๋“ฑ์„ ์—ด๊ณค ํ•œ๋‹ค. ์ด๋ฒˆ ๋‹ฌ๋ถ€ํ„ฐ๋Š” Thai Netizen Network ์ด๋ผ๋Š” ๊ทธ๋ฃน๊ณผ ํ•จ๊ป˜ ๋งค๋‹ฌ ์˜จ๋ผ์ธ ๊ฐ•์ขŒ๋ฅผ ๊ฐœ์„คํ•  ์˜ˆ์ •์ด๋‹ค. ์ €์ž‘๊ถŒ, ํ‘œํ˜„์˜ ์ž์œ , ์ฐจ์šฉ๊ณผ ์˜ค๋ฆฌ์ง€๋„๋ฆฌํ‹ฐ์˜ ์Ÿ์ ์— ๊ด€ํ•ด ๋‹ค๋ฃฐ ๊ฒƒ์ด๋‹ค. Q. ์–ด๋–ค ์‚ฌ๋žŒ๋“ค์ด ์ด๋ฒคํŠธ์— ์ฐธ๊ฐ€ํ•˜๋Š”๊ฐ€? ๋Œ€๋ถ€๋ถ„ ์•„ํŠธ, ํ•„๋ฆ„, ์‚ฌํšŒ๊ณผํ•™ ์˜์—ญ์— ๊ด€์‹ฌ์ด ์žˆ๊ฑฐ๋‚˜์—ฐ๊ด€๋œ์‚ฌ๋žŒ๋“ค์ด๋‹ค.์šฐ๋ฆฌ๋ฅผ์ฐพ์•„์˜ค๋Š” ์‚ฌ๋žŒ๋“ค์€์ Š๊ณ ,์ƒˆ๋กœ์šด์•„์ด๋””์–ด์—์—ด๋ ค์žˆ๊ณ  ๋…๋ฆฝ์ ์ธ์‚ฌ๊ณ ๋ฅผํ•œ๋‹ค.๋‚˜๋Š”์ด๋“ค์„๋ฌธํ™”์ ์ธ

ํ”„๋กœ๋“€์„œ๋กœ์„œ ์ƒˆ๋กœ์šด ์„ธ๋Œ€๋ผ๊ณ  ์ƒ๊ฐํ•œ๋‹ค. Q. ๋Œ€์ฒด๋กœ ์ด๋ฒคํŠธ์—์„œ ์–ด๋Š ์–ธ์–ด๋ฅผ ์‚ฌ์šฉํ•˜๋Š”๊ฐ€? ์ฐธ๊ฐ€์ž๋“ค์€ ์ด์ค‘์–ธ์–ด์— ์ต์ˆ™ํ•œ๊ฐ€? ๊ทธ๋ ‡๋‹ค. ๋Œ€๋ถ€๋ถ„ ์ฐธ๊ฐ€์ž๋“ค์€ ์ด์ค‘์–ธ์–ด๋ฅผ ์•Œ์ง€๋งŒ, ์ด๋ฒคํŠธ ์„ฑ๊ฒฉ์— ๋”ฐ๋ผ ์–ธ์–ด๋Š” ๋‹ค๋ฅด๋‹ค. Q. ๋น„์˜๋ฆฌ๋‹จ์ฒด๋กœ ์ด๊ณณ์„ ์šด์˜ํ•˜๊ณ  ์žˆ๋‹ค. ๊ณต๊ฐ„์˜ ์ฃผ๋œ ๋ชฉ์ ์ด ๋ฌด์—‡์ธ๊ฐ€? ์ด์ƒ์ ์œผ๋กœ๋Š” ์ผ๋ จ์˜ ํ”„๋กœ๋“€์„œ์™€ ๊ทธ์— ๋งž๋Š” ๊ณต๊ฐ„๋“ค์ด ์žˆ์„ ๊ฒƒ์ด๋‹ค. ํƒœ๊ตญ์—์„  ์•„์ง๊นŒ์ง€ ํ•œ๊ณ„๊ฐ€ ์žˆ๋‹ค. ์ด ๊ณต๊ฐ„์„ ์šด์˜ํ•˜๋Š” ์ฃผ๋œ ์ด์œ ๋Š” ๊ทธ๋Ÿฌํ•œ ํ•œ๊ณ„๋ฅผ ์ฑ„์šฐ๊ธฐ ์œ„ํ•จ์ด๋‹ค. ๊ธฐ์กด์— ์—†๋Š” ๊ฒƒ์ด๋ผ๋ฉด, ์ง์ ‘ ์Šค์Šค๋กœ ๋งŒ๋“œ๋Š” ์ˆ˜๋ฐ–์— ์—†์ง€ ์•Š๋‚˜. ๊ณต๊ฐ„, ๊ต์œก, ํ๋ ˆ์ดํŒ…, ํ”„๋กœ๋“€์‹ฑ ๋“ฑ. Q. ๊ทธ๋ž˜์„œ ์ด ๋ชจ๋“  ์ผ์„ Reading Room์—์„œ ํ•˜๊ณ  ์žˆ๋‚˜? ์Œ...๋Œ€ํ•™์—์„œ ๊ฐ€๋ฅด์น˜๊ธฐ๋„ ํ•˜์ง€๋งŒ ์ง€๊ธˆ์€ ๊ณต๊ฐ„๊ณผ ๊ทธ๊ณณ์— ๋ชจ์ธ ์‚ฌ๋žŒ๋“ค์ด ์žˆ๋‹ค๋ฉด ์–ธ์ œ๋“  ํ•œ๋‹ค. ์ด ๊ณณ์€ ๊ทธ๋Ÿฐ ์ผ์ด ์ผ์–ด๋‚  ์ˆ˜ ์žˆ๋Š” ์žฅ์†Œ๋‹ค. ์‚ฌ๋žŒ๋“ค์ด ๋ชจ์ด๊ณ  ๋ฌด์–ธ๊ฐ€ ์‹คํ˜„ํ•œ๋‹ค. ์ด๋ฒคํŠธ ๋ณ€๋™์‚ฌํ•ญ์— ๋”ฐ๋ผ ์œ ๋™์ ์ธ ๊ณต๊ฐ„์ด๋‹ค. ์Šคํฌ๋ฆฌ๋‹์„ ํ•˜๋ฉด ์ž‘์€ ์ƒ์˜๊ณต๊ฐ„์ด ๋˜๊ณ , ์›Œํฌ์ƒต์„ ์ง„ํ–‰ํ•˜๊ธฐ๋„ ํ•œ๋‹ค. ์ƒํ™ฉ์— ๋”ฐ๋ผ์„  ๊ณต์‹์  ํ–‰์‚ฌ๋„ ํ•œ๋‹ค. ์ฃผ๋กœ Reading Room์€ ์ง€์‹์„ ๋‚˜๋ˆ„๊ณ , ์ปค๋ฎค๋‹ˆํ‹ฐ๋ฅผ ๋งŒ๋“ค๋ฉฐ ํ™œ๋™ํ•˜๋Š” ๊ณต๊ฐ„์ด๋‹ค.

๊ทธ๊ณณ์—์„  ๋‹ค์–‘ํ•œ ์ผ์ด ์ƒ๊ธฐ๊ณ , ์ผ์ข…์˜ ๊ฑฐ๋Œ€ํ•œ ๋งŒ๋‚จ์˜ ๋„์‹œ ๊ฐ™๋‹ค. ํ•˜์ง€๋งŒ Chiang Mai๊ฐ€ ์ง‘ ๊ฐ™์€ ๊ณณ์ด๋‹ค. Navin Production ์ŠคํŠœ๋””์˜ค์—์„œ ํŒ€๊ณผ ํ•จ๊ป˜ ๊ทธ๊ณณ์—์„œ ์ž‘์—…ํ•˜๊ธฐ ๋•Œ๋ฌธ์ด๋‹ค. ๋‚ด์™€ ๋”ธ์ด ์ผ๋ณธ์— ์žˆ์–ด์„œ ์‹œ๊ฐ„์ด ๋‚˜๋Š” ๋Œ€๋กœ ๊ฐ€๊ณค ํ•œ๋‹ค. Q. ์ž‘๋…„, ๋ฐฉ์ฝ•์€ ์‚ฌํšŒ์  ์ •์น˜์  ์ด์Šˆ๊ฐ€ ๋งŽ์•˜๋‹ค. ๋‹น์‹ ์˜ ์ž‘ํ’ˆ์—์„œ ์ด๋Ÿฐ ์ด์Šˆ๋“ค์„ ๋‹ด๊ธฐ๋„ ํ•˜๋‚˜? ๊ทธ๋ ‡๋‹ค. ํ•˜์ง€๋งŒ ๊ฐˆ๋“ฑ ์ž์ฒด์™€ ๊ทธ ๋’ค์— ๋†“์ธ ์ •์น˜์  ๋ชจํ‹ฐ๋ธŒ๋Š” ์„œ๋กœ ๋ฐ˜ํ•˜๊ณ  ์žˆ๋‹ค๋Š” ์‚ฌ์‹ค์— ์ฃผ๋ชฉํ•˜๊ณ  ์žˆ๋‹ค. Q. Taxi์‹œ๋ฆฌ์ฆˆ์— ๋Œ€ํ•ด ์•Œ๋ ค๋‹ฌ๋ผ. ์ˆ˜๋งŽ์€ ์ฃผ์ œ ์ค‘์—์„œ ํŠน๋ณ„ํžˆ ํƒ์‹œ๋ฅผ ์ข‹์•„ํ•˜๋Š” ์ด์œ ๊ฐ€ ์žˆ๋‚˜? ๋„์‹œํ™”, ์ž๋ณธ์ฃผ์˜๋กœ ๋ฐœ์ „ ๊ณผ์ •์—์„œ, ๊ตํ†ต ์ฒด์ฆ ๋•Œ๋ฌธ์— ๋งŽ์€ ์‚ฌ๋žŒ๋“ค์ด ์ฐจ ์•ˆ์—์„œ ์‹œ๊ฐ„์„ ๋ณด๋‚ธ๋‹ค. ๊ทธ๋Ÿฐ ์ƒํ™ฉ์—์„œ๋Š” ์•„ํŠธ๋‚˜ ๊ฐค๋Ÿฌ๋ฆฌ์— ๋Œ€ํ•œ ๊ด€์‹ฌ์€ ์ ์  ์ค„์–ด๋“ค๊ณ  ์žˆ๋‹ค. ๊ทธ๋ž˜์„œ ํƒ์‹œ ์•ˆ์„ ์•„ํŠธ ๊ฐค๋Ÿฌ๋ฆฌ๋กœ ๋ฐ”๊ฟ”์„œ ์ž‘ํ’ˆ์„ ๋‹ค์–‘ํ•œ ๋ฐฉ๋ฒ•์œผ๋กœ ๋ณด์—ฌ์ค€๋‹ค๋ฉด ์žฌ๋ฏธ์žˆ์„ ๊ฒƒ ๊ฐ™๋‹ค๋Š” ์ƒ๊ฐ์„ ํ–ˆ๋‹ค. ์ด์ƒํ•˜๊ฒŒ ๋‹ค๋ฅธ ๋‚˜๋ผ์—์„œ๋„ ํƒ์‹œ๋Š” ํƒ์‹œ๋ผ๊ณ  ๋ถ€๋ฅธ๋‹ค. ํƒ์‹œ๋ผ๋Š” ๋‹จ์–ด ์ž์ฒด๊ฐ€ ์–ธ์–ด์˜ ์žฅ๋ฒฝ์„ ๋„˜์€ ๊ฒƒ์ด๋‹ค. ์ด๊ฒƒ์ด โ€˜Taxis are universal.โ€™๋ฅผ ๊ธฐํšํ•˜๊ฒŒ ๋œ ๊ณ„๊ธฐ์˜€๊ณ , ๊ทธ ๋•Œ๋ถ€ํ„ฐ ์‹œ๋“œ๋‹ˆ, ๋„์ฟ„, ๋‰ด์š•, ๋Ÿฐ๋˜์—์„œ ํƒ์‹œ ๊ฐค๋Ÿฌ๋ฆฌ ์ „์‹œํšŒ๋ฅผ ํ–ˆ๋‹ค. ์–ด๋–ค ์‚ฌ๋žŒ๋“ค์—๊ฒŒ๋Š” ํƒ์‹œ์— ๋Œ€ํ•œ ์•„์ด๋””์–ด๊ฐ€ ํ•˜๋ฝํ•˜๋Š” ์ถ”์„ธ์— ์žˆ๋Š” ์•„ํŠธ ์‹œ์žฅ์— ์–ด์šธ๋ฆฐ๋‹ค๊ณ  ๋ฐ›์•„๋“ค์ธ ๊ฒƒ ๊ฐ™๋‹ค. Q. ๋‹น์‹ ์˜ ์ž‘ํ’ˆ์„ ๋ณด๋ฉด, ์•„์‹œ์•„ ์˜ˆ์ˆ ์— ๋Œ€ํ•œ ๋‹น์‹ ์˜ ์ „๋ฐ˜์ ์ธ ์ดํ•ด์— ๊ฐ•์ ์ด ์žˆ๋Š” ๊ฒƒ ๊ฐ™๋‹ค. ํƒœ๊ตญ ์•„ํŠธ์˜ ์•„์ด๋ดํ‹ฐํ‹ฐ๋ฅผ ๋งํ•ด๋‹ฌ๋ผ. ํƒœ๊ตญ์•„ํŠธ์‚ฐ์—…์€ ์•„์ฃผ ๋น ๋ฅด๊ฒŒ ์„ฑ์žฅํ•˜๊ณ  ์žˆ๋‹ค. ์‚ฐ์—… ์ž์ฒด๋Š” ๋น ๋ฅด๊ฒŒ ์„ฑ์žฅํ•œ ๋ฐ˜๋ฉด ์กฐ์ง, ๊ฐค๋Ÿฌ๋ฆฌ, ๋ฐ•๋ฌผ๊ด€์€ ๋Š๋ฆฐ ํŽธ์ด๋‹ค. ํƒœ๊ตญ์—” ๊ฐค๋Ÿฌ๋ฆฌ๋‚˜ ๋ฐ•๋ฌผ๊ด€์ด ๋งŽ์ง€ ์•Š๋‹ค. ์ •๋ถ€ ์ง€์›์„ ๋ฐ›์€ Bangkok Art Center๊ฐ€ ์žˆ์—ˆ์ง€๋งŒ, ์ •๋ถ€ ์ชฝ์—์„œ ์ˆ˜์ต์„ฑ์ด ์—†๋‹ค๊ณ  ์ƒ๊ฐํ•ด์„œ ํˆฌ์ž ์ง€์›์„ ์ค‘๋‹จํ–ˆ๋‹ค. ์œ ๊ฐ์Šค๋Ÿฌ์šด ์ผ์ด๋‹ค. Q. ์•„ํŠธ ์‹œ์žฅ์— ๋Œ€ํ•ด์„œ ๊ณ„์† ์–ธ๊ธ‰ํ•˜๊ณ  ์žˆ๋‹ค. ํ˜„์žฌ ํƒœ๊ตญ์˜ ์•„ํŠธ ์‹œ์žฅ์— ๋Œ€ํ•ด ์–ด๋–ป๊ฒŒ ์ƒ๊ฐํ•˜๋Š”๊ฐ€? ํ˜„์žฌ ํƒœ๊ตญ์˜ ์•„ํŠธ ์‹œ์žฅ์€ ์†Œ์ˆ˜์˜ ์ปฌ๋ ‰ํ„ฐ์—๊ฒŒ๋งŒ ์—ด๋ ค ์žˆ๋‹ค. ๋ฌผ๋ก  ๊ฐ’๋น„์‹ผ ์•„ํŠธ๋ฅผ ๋ณด๋ฉด ๋†€๋ž๋‹ค. ํ•˜์ง€๋งŒ ๋ˆ„๊ตฌ์—๊ฒŒ๋‚˜ ์—ด๋ฆฐ ์‹œ์žฅ์ด์–ด์•ผ ํ•œ๋‹ค. ๊ทธ๋ž˜์•ผ์ง€ ์ Š์€ ์นœ๊ตฌ๋“ค๋„ ์ž‘ํ’ˆ ์ปฌ๋ ‰์…˜์„ ํ•˜๊ณ  ์•„ํ‹ฐ์ŠคํŠธ ์—ญ์‹œ ๋” ๋งŽ์€ ์ „์‹œํšŒ๋‚˜ ํŒ๋งค ๊ธฐํšŒ๋ฅผ ๊ฐ€์งˆ ์ˆ˜ ์žˆ๋‹ค. ๋ฌผ๋ก  ๋ชจ๋“  ๊ฒƒ์ด ์ˆ˜์ต ์ค‘์‹ฌ์ด ๋˜์–ด์„œ๋Š” ์•ˆ ๋œ๋‹ค. ๋ฌธํ™”์™€ ์ดํ•ด์— ๋Œ€ํ•œ ๊ฒƒ์ด์–ด์•ผ ํ•œ๋‹ค. ์•„ํ‹ฐ์ŠคํŠธ๋ผ๋ฉด ์•„ํŠธ๋ฅผ ์ˆ˜์ต๋งŒ ๋…ธ๋ฆฌ๊ณ  ๋งŒ๋“œ๋Š” ๊ฒƒ์ด ์•„๋‹ˆ๋ผ, ๊ทธ๋“ค์˜ ๋ฌธํ™”์™€ ๊ฒฝํ—˜์„ ๋‹ด์œผ๋ ค๊ณ  ํ•ด์•ผ ํ•œ๋‹ค. Q. ๋งˆ์ง€๋ง‰์œผ๋กœ, ์•ž์œผ๋กœ ๊ณ„ํš์ด ์žˆ๋‚˜? Chiang Mai์— ์ŠคํŠœ๋””์˜ค์™€ ์•„ํŠธ๊ฐค๋Ÿฌ๋ฆฌ๋ฅผ ์ง“๋Š” ์ค‘์ด๋‹ค. ์˜ˆ์ „ ํ”„๋กœ์ ํŠธ ๋‹คํ๋ฉ˜ํ…Œ์ด์…˜๊ณผ ํ•จ๊ป˜ ํŠน์ • ์žฅ์†Œ์—์„œ ํ–ˆ๋˜ ์ž‘ํ’ˆ์„ ์ „์‹œํ•˜๋ ค๊ณ  ํ•œ๋‹ค. ์ž‘๋…„์— ๊ณต์‚ฌ๋ฅผ ์‹œ์ž‘ํ–ˆ๊ณ , ์•„๋งˆ ์˜ฌํ•ด ์•ˆ์— ์™„์„ฑ๋  ๊ฒƒ ๊ฐ™๋‹ค. ๋˜ Chiang Mai์—์„œ ๊ฐค๋Ÿฌ๋ฆฌ โ€˜๊ด€๋žŒโ€™๋ณด๋‹ค ์ข€ ๋” ๋Œ€์ค‘์ด ์ฐธ์—ฌํ•˜๋Š” ์ปค๋ฎค๋‹ˆํ‹ฐ ๊ธฐ๋ฐ˜์˜ ํ”„๋กœ์ ํŠธ๋ฅผ ๊ณ„ํš ์ค‘์ด๋‹ค.

016p

022p

Q. Navin Party์— ๋Œ€ํ•ด ์•Œ๋ ค๋‹ฌ๋ผ. Navin Party๋Š” ๋‚ด ์•„์ด๋ดํ‹ฐํ‹ฐ์— ๋Œ€ํ•ด ๋†๋‹ด์„ ํ•˜๊ณค ํ–ˆ๋˜ ์นœ๊ตฌ Tyler Russell๊ณผ ํ•จ๊ป˜ 2006 ๋…„ ๋งŒ๋“ค์—ˆ๋‹ค. ๋‚˜๋Š” ์ „์„ธ๊ณ„์— ์žˆ๋Š” โ€˜Navinโ€™ ์ด๋ผ๋Š” ๋ชจ๋“  ์‚ฌ๋žŒ๋“ค์—๊ฒŒ ์—ฐ๋ฝํ•˜๊ณ  ์‹ถ์—ˆ๋‹ค. Navin์ด๋ผ๋Š” ์ด๋ฆ„์€ ์›๋ž˜ ์ธ๋„์—์„œ ์œ ๋ž˜๋œ ์ด๋ฆ„์ธ๋ฐ, ํƒœ๊ตญ, ์ผ๋ณธ, ํ•œ๊ตญ๋ฟ ์•„๋‹ˆ๋ผ ์„œ์–‘์—๋„ ์ด๋ฆ„์„ ์“ฐ๋Š” ์‚ฌ๋žŒ์ด ์žˆ์—ˆ๋‹ค. ์žฌ๋ฏธ์žˆ์„ ๊ฒƒ ๊ฐ™์•˜๋‹ค. Navin Party ํ”„๋กœ์ ํŠธ๋Š” ์ „์„ธ๊ณ„์— ๊ฑธ์ณ์„œ Navin์ด๋ผ๋Š” ์ด๋ฆ„์„ ๊ฐ€์ง„ ์‚ฌ๋žŒ๋“ค์ด ์žˆ๋‹ค๋Š” ์  ๋•Œ๋ฌธ์—, ์‚ฌ์‹ค์ƒ ๋‚ด์…”๋„๋ฆฌํ‹ฐ์™€ ์˜ค๋Š˜๋‚  ๋ณต์žกํ•œ ์•„์ด๋ดํ‹ฐํ‹ฐ์— ๋Œ€ํ•œ ์งˆ๋ฌธ์ด๋‹ค. Navin์€ ์ •๋ง ์–ด๋””์— ์†ํ•œ ๊ฑด์ง€ ์‚ฌ๋žŒ๋“ค์—๊ฒŒ ๋ฌป๊ณ  ์‹ถ์—ˆ๋‹ค. Navin Production์ด๋ผ๋Š” ๋ธŒ๋žœ๋“œ ํ•˜์— ๋‹ค์–‘ํ•œ ํ˜•ํƒœ๋กœ ํ”„๋กœ์ ํŠธ๋ฅผ ํ–ˆ๊ณ , ํ•œ๊ตญ, ๋ฏธ๊ตญ, ์ผ๋ณธ,

Q. ์ž๊ธฐ ์†Œ๊ฐœ๋ฅผ ํ•ด๋‹ฌ๋ผ. ๋‹ค์–‘ํ•œ ๋ถ„์•ผ์˜ ์ž‘์—…์„ ํ•˜๋Š” ์‚ฌ๋žŒ์œผ๋กœ์„œ ์Šค์Šค๋กœ๋ฅผ ์–ด๋–ป๊ฒŒ ์†Œ๊ฐœํ•˜๋Š”๊ฐ€? ๋ฌผ์–ด๋ณด๋Š” ์‚ฌ๋žŒ์— ๋”ฐ๋ผ ๋Œ€๋‹ต์ด ๋‹ค๋ฅด๋‹ค. ๋งŒ์•ฝ ์งˆ๋ฌธ์ž๊ฐ€ ์˜ˆ์ˆ ๊ณ„์— ์ข…์‚ฌํ•˜๊ณ  ์žˆ๊ฑฐ๋‚˜ ์˜ˆ์ˆ ์— ๊ด€์‹ฌ์ด ์žˆ๋‹ค๋ฉด, โ€˜์ €๋Š” ์˜ˆ์ˆ ๊ฐ€์ž…๋‹ˆ๋‹ค.โ€™ ๋ผ๊ณ  ๋Œ€๋‹ตํ•œ๋‹ค. ๋‚˜๋Š” ๊ทธ๋ฆผ์ด๋‚˜ ์กฐ๊ฐ, ๋น„๋””์˜ค ์•„ํŠธ๋‚˜ ์˜ˆ์ˆ ์˜ ํ˜•ํƒœ๋ฅผ ๊ธฐ๋ฐ˜์œผ๋กœ ์‚ผ๋Š” ์ž‘์—…์„ ์ฃผ๋กœ ํ•œ๋‹ค. ๊ทธ๋Ÿฌ๋‚˜ ์งˆ๋ฌธ์ž๊ฐ€ ์˜ˆ์ˆ ๊ณ„์— ์žˆ์ง€ ์•Š๊ฑฐ๋‚˜ ๋‹จ์ˆœํžˆ ์ œ ์ง์—…์— ๋Œ€ํ•ด์„œ๋งŒ ๊ด€์‹ฌ์ด ์žˆ๋‹ค๋ฉด, ๋‚˜๋Š” ์ฐฝ์กฐ์ ์ธ ๋””์ž์ด๋„ˆ๋‚˜ ๊ต์‚ฌ๊ฐ€ ๋œ๋‹ค. ๋‚˜๋Š” ์žก์ง€๋‚˜ ์ฑ…์— ์ผ๋Ÿฌ์ŠคํŠธ๋ฅผ ๊ทธ๋ฆฌ๊ณ  ์žˆ๊ณ , ๋จธ๊ทธ์ปต์ด๋‚˜ ํ‹ฐ์…”์ธ , ๋…ธํŠธ๋ถ, ์•„์ดํฐ ์ผ€์ด์Šค ๋“ฑ์˜ ์ œํ’ˆ๋“ค๋„ ๋””์ž์ธํ•˜๊ณ  ์žˆ๋‹ค. ๋˜ ๋ฐฉ์ฝ• ๋Œ€ํ•™๊ณผ ๋•Œ๋•Œ๋กœ ์‹คํŒŒ์ฝ˜ ๋Œ€ํ•™์—์„œ ๊ฐ•์˜๋„ ํ•œ๋‹ค.

Navin Rawanchaikul

Lolay

๋ฐฉ์ฝ•์—์„œ๋„ ์ „์‹œํšŒ๋ฅผ ํ•˜๊ฒŒ ๋˜์—ˆ๋‹ค. Q. Navinland์— ๋Œ€ํ•ด ์•Œ๋ ค๋‹ฌ๋ผ. ์—ฌ์ง€๊ป Navinland๋Š” ์–ด๋–ป๊ฒŒ ์ง„ํ–‰๋˜์—ˆ๊ณ , ์•ž์œผ๋กœ ์–ด๋–ค ํ–‰๋ณด๋ฅผ ๋ณด์ผ ๊ฒƒ ๊ฐ™์€๊ฐ€? Navinland๋Š” Navin Party์—์„œ ์‹œ์ž‘๋๋‹ค. Navinland๋Š” Navin์ด๋ผ๋Š” ์ด๋ฆ„์„ ๊ฐ€์ง„ ์‚ฌ๋žŒ์ด๋‚˜ ๊ทธ๋“ค์„ ์•Œ๊ณ  ์žˆ๋Š” ๋ˆ„๊ตฌ๋‚˜ ๋Œ€ํ™˜์˜์ด๋‹ค. Navinland๋ž€ ์™„์ „ ํ”ฝ์…˜์ธ๋ฐ ์ด๊ฒƒ ์—ญ์‹œ ๋‚ด์…”๋„๋ฆฌํ‹ฐ์— ๋Œ€ํ•œ ์งˆ๋ฌธ์ด๋‹ค. Navin์ด๋ž€ ์ด๋ฆ„์€ ๊ตญ๊ฒฝ์— ์ƒ๊ด€์—†์ด ์–ด๋””์—๋‚˜ ์žˆ์ง€ ์•Š์€๊ฐ€. ์•ž์œผ๋กœ๋Š” Navinland ๊ฐ€ ๋Œ€์ค‘์—๊ฒŒ ๋” ๋‹ค๊ฐ€๊ฐ€, Navin๋“ค๊ณผ ์•„ํ‹ฐ์ŠคํŠธ ๋ชจ๋‘๋ฅผ ์•„์šฐ๋ฅด๊ณ  ์‹ถ๋‹ค. ๋‚˜๋Š” ํƒœ๊ตญ๊ณผ ์ผ๋ณธ์„ ์˜ค๊ฐ€๋ฉฐ ๋™์‹œ์— India์˜ ๋ฐฐ๊ฒฝ์„ ๊ฐ€์กŒ๊ธฐ ๋•Œ๋ฌธ์— ๋‚ด ์ž์‹ ๋งŒ์˜ ์„ธ์ƒ์ด ์žˆ์—ˆ์œผ๋ฉด ํ–ˆ๋‹ค. ์‚ฌ์‹ค Navinland๋Š” ๊ตญ๊ฐ€๊ฐ€ ์•„๋‹ˆ๋‹ค. ๋‚ด๊ฐ€ ์ž‘์—…ํ•˜๊ฑฐ๋‚˜ ์ „์‹œํ–ˆ๋˜ ๊ณณ์— ๊ฐˆ ๋•Œ๋งˆ๋‹ค, ์‚ฌ๋žŒ๋“ค์—๊ฒŒ ๊ตญ๊ฐ€์™€ ์‚ฌํšŒ์  ๋ฌธ์ œ์— ๋Œ€ํ•ด ๋ฌป๋Š”๋‹ค. ๋ฌผ๋ก  ์šฐ๋ฆฌ๋Š” ๋‹ค๋ฅธ ์–ธ์–ด๋ฅผ ์‚ฌ์šฉํ•˜์ง€๋งŒ, โ€˜ํƒ์‹œโ€™๋ผ๋Š” ๋‹จ์–ด์ฒ˜๋Ÿผ ์•„ํŠธ๋Š” ๋ฒ”์„ธ๊ณ„์  ๊ณต์šฉ์–ด์ด์ง€ ์•Š์€๊ฐ€. Q. ์ž์‹ ์„ ์ฃผ์ œ๋กœ ์‚ผ์€ ์ด์œ ๊ฐ€ ์žˆ๋‚˜? ์•„์ด๋ดํ‹ฐํ‹ฐ์— ๊ด€ํ•œ ๊ฒƒ์ด๋‹ค. ์•„๋ฒ„์ง€๋Š” ์ธ๋„์ธ์ด๊ณ  ์–ด๋จธ๋‹ˆ๋Š” Pakistan์—์„œ ํƒœ์–ด๋‚˜์…จ๋‹ค. ๋‚˜๋Š” ํƒœ๊ตญ์—์„œํƒœ์–ด๋‚ฌ๊ณ , ๋ถ€์ธ์€ ์ผ๋ณธ์ธ์ด๋‹ค. ๊ทธ๋ž˜์„œ ๋‚œ ๋‚ด๊ฐ€ ์ •๋ง ์–ด๋””์— ์†ํ•˜๋Š”์ง€ ๊ณ„์† ๋ฌผ์–ด์™”๋‹ค. ๋˜, ๋‚˜๋Š” ๋‚ด ์ž‘ํ’ˆ์—์„œ ๋‚˜๋ฅผ ํ‘œํ˜„ํ•˜๋Š” ๊ฒƒ์ด ์ข‹๋‹ค. ์ง„์งœ๊ฑด ํ”ฝ์…˜์ด๋˜ ๋ชจ๋“  ์ด์•ผ๊ธฐ์—๋Š” ์‚ฌ์‹ค์ ์ธ ์š”์†Œ๊ฐ€ ์žˆ๋‹ค. ๋‚ด ์ž‘ํ’ˆ์—์„œ ์–ด๋จธ๋‹ˆ, ์•„๋‚ด, ๋”ธ, ์นœ๊ตฌ๋“ค๊ณผ ๋‚ด๊ฐ€ ๋งŽ์ด ๋“ฑ์žฅํ•˜๋Š” ๊ฒƒ ์—ญ์‹œ, ๋‚˜์˜ ์ปค๋ฎค๋‹ˆํ‹ฐ์™€ ์‚ฌํšŒ์— ๊ด€ํ•œ ๊ฒƒ์ด๋‹ค. ์•„ํ‹ฐ์ŠคํŠธ๋กœ์„œ ๋‹ค์–‘ํ•œ ์ปค๋ฎค๋‹ˆํ‹ฐ์™€ ์ง‘๋‹จ์˜ ์‚ฌ๋žŒ๋“ค์„ ์ž‘ํ’ˆ์„ ํ†ตํ•ด ์—ฐ๊ฒฐํ•˜๊ณ  ์‹ถ๋‹ค. ๊ฐ€์กฑ์ด๋‚˜ ํ™•์žฅ๋œ ๊ฐ€์กฑ์ฒ˜๋Ÿผ. ์ž‘ํ’ˆ ์†์—์„œ ๋‚˜๋ฅผ ์ฃผ์ธ๊ณต์œผ๋กœ ์‚ผ๋Š”๋ฐ, ๋‚ด ์ž‘ํ’ˆ์€ ์–ธ์ œ๋‚˜ ๋‚˜ ์ž์‹ ์˜ ๊ฒฝํ—˜, ๋ฆฌ์–ผ๋ฆฌํ‹ฐ์™€ ํ”ฝ์…˜ ์‚ฌ์ด ์–ด๋”˜๊ฐ€์— ์กด์žฌํ•˜๋Š” ๋‚ด๋Ÿฌํ‹ฐ๋ธŒ์— ๋Œ€ํ•œ ๊ฒƒ์ด๊ธฐ ๋•Œ๋ฌธ์ด๋‹ค. Q. ์ฃผ๋กœ ์–ด๋””์—์„œ ์ง€๋‚ด๋Š”๊ฐ€? Chiang Mai. ์ด๊ณณ์—์„œ ํƒœ์–ด๋‚ฌ๊ณ , ๋ถ„์œ„๊ธฐ๊ฐ€ ์—ฌ์œ ๋กœ์›Œ์„œ ์ข‹๋‹ค. ๋ฐฉ์ฝ•์—์„œ ์ง€๋‚ด๊ธฐ๋„ ํ•œ๋‹ค. ๋ฐฉ์ฝ•์—๋Š”

156

Q. ๋‹น์‹ ์˜ ์˜ˆ์ˆ ์  ์‹คํ—˜์€ ๋งŽ์€ ์ธก๋ฉด์˜ ์ฐฝ์กฐ์  ์ƒ์‚ฐ๋ฌผ๋“ค์„ ํฌํ•จํ•˜๊ณ  ์žˆ๋‹ค. ๋‹น์‹ ์˜ ์ž‘ํ’ˆ ์ค‘์— ํŠนํžˆ ๋Œ€ํ‘œ์ž‘์ด๋ผ๊ณ  ํ•  ๋งŒํ•œ ๊ฒƒ๋“ค์€ ๋ฌด์—‡์ธ๊ฐ€? ๋‚ด ์ž‘ํ’ˆ๋“ค์€ ๋ชจ๋‘ ์•„์ด๋””์–ด๋ฅผ ๊ตฌ์ฒด์ ์œผ๋กœ ๊นจ๋‹ซ๊ฒŒ ํ•˜๋Š” ๋ฏธ๋””์–ด๋‚˜ ๋„๊ตฌ๋“ค์˜ ํ˜•ํƒœ๋ฅผ ๋ ๊ณ  ์žˆ๋‹ค. ๋งŒ์•ฝ ๋‹น์‹ ์ด ๋งŽ์€ ์•„์ด๋””์–ด๋ฅผ ๊ฐ€์ง€๊ณ  ์žˆ๋‹ค๋ฉด, ๊ทธ๊ฒƒ์„ ๋จธ๋ฆฟ์†์—์„œ ๋„์ง‘์–ด๋‚ด๋Š” ๋ฐฉ๋ฒ•์„ ์ฐพ์•„์•ผ๋งŒ ํ•œ๋‹ค. ๋งŒ์•ฝ ๊ทธ๋ฆผ์ด ํŠน์ • ์•„์ด๋””์–ด๋ฅผ ํ‘œํ˜„ํ•˜์ง€ ๋ชปํ•œ๋‹ค๋ฉด, ๋น„๋””์˜ค๋‚˜ ์กฐ๊ฐ์ฒ˜๋Ÿผ ๋งค๊ฐœ์ฒด๋ฅผ ๋ฐ”๊พธ์–ด์•ผ ํ•œ๋‹ค. ๋‚˜๋Š” ํ•œ ๊ฐ€์ง€ ๋งค๊ฐœ๋งŒ์„ ๊ณ ์ง‘ํ•˜์ง€ ์•Š๋Š”๋‹ค. ๋ชจ๋“  ๊ฒƒ์€ ์ œ ์ฐฝ์กฐ๋ ฅ์— ๋‹ฌ๋ ค ์žˆ๋‹ค๊ณ  ์ƒ๊ฐํ•œ๋‹ค. Q. ๋‹ค์–‘ํ•œ ์žฅ๋ฅด์˜ ์ž‘์—…์„ ํ•˜๋ฉด์„œ ํ˜ผ๋ž€์Šค๋Ÿฌ์› ๋˜ ์ ์€ ์—†์—ˆ๋‚˜? ํ•œ ๋ฒˆ๋„ ์—†์—ˆ๋‹ค. ๋‚˜๋Š” ๊ทธ๋ฆผ์ด๋‚˜ ์กฐ๊ฐ, ๋น„๋””์˜ค, ๋˜๋Š” ๋‹ค๋ฅธ ์–ด๋–ค ๋งค๊ฐœ๋ฅผ ์‚ฌ์šฉํ•˜์—ฌ ์ž‘์—…์„ ํ•˜๋“ ์ง€ ๊ฐ„์— ๋‚ด๊ฐ€ ์„ ํƒํ•œ ๊ฒƒ์— ์ง‘์ค‘ํ•œ๋‹ค. ๋งŽ์€ ๋‹ค๋ฅธ ๋ฏธ๋””์–ด์—์„œ ์ž‘์—…์˜ ์—ฌ๋Ÿฌ ๊ฒฐ๊ณผ๋ฅผ ๋ฐœ๊ฒฌํ•  ์ˆ˜ ์žˆ๋‹ค. ๋งŒ์•ฝ ๋‹น์‹ ์ด ํ•œ๊ฐ€์ง€์—๋งŒ ๋งค๋‹ฌ๋ ค์žˆ๋‹ค๋ฉด ๋‹ค๋ฅธ ๊ฒƒ์„ ์žฌ์ฐฝ์กฐํ•˜๊ฑฐ๋‚˜ ๋ฐœ๊ฒฌํ•˜๊ธฐ ํž˜๋“ค ๊ฒƒ์ด๋‹ค. ๋‚˜๋Š” ์‹คํ—˜์ ์ด๊ณ  ์‹ถ๋‹ค. ์‹คํ—˜์ ์ธ ๊ฒƒ์€ ์žฌ๋ฏธ์žˆ๊ธฐ๋„ ํ•˜์ง€๋งŒ, ์‹ ๊ธฐํ•˜๊ณ  ์ข‹์€ ๊ฒƒ๋“ค๋กœ ๋‚˜๋ฅผ ์ด๋Œ์–ด์ฃผ๊ธฐ๋„ ํ•œ๋‹ค. ๊ฒฝํ—˜์€ ๋งค์šฐ ์ค‘์š”ํ•œ ๊ฒƒ์ด๋‹ค. Q. ๋‹น์‹ ์ด ์ž‘์—…ํ•œ ๋ชจ๋“  ๋ฏธ๋””์–ด ์ค‘์—์„œ ๊ฐ€์žฅ ์ข‹์•˜๋˜ ๊ฒƒ์€ ๋ฌด์—‡์ด์—ˆ๋‚˜? ๊ทธ๋ฆผ์ด ๊ฐ€์žฅ ๋งค๋ ฅ์ ์ด์—ˆ๋‹ค. ๋‚ด๊ฐ€ ๊ผฌ๋งˆ์˜€์„ ๋•Œ, ๊ทธ๋ฆผ์„ ๊ทธ๋ฆฌ๊ธฐ ์‹œ์ž‘ํ•œ ์ฒซ๋‚ ๋ถ€ํ„ฐ ๋‚˜๋Š” ๊ทธ๋ฆผ์ด ๊ต‰์žฅํžˆ ๋งค๋ ฅ์ ์ธ ์ผ์ด๋ผ๋Š” ๊ฒƒ์„ ์•Œ์•˜๋‹ค. ๋‚˜๋งŒ์˜ ์„ธ๊ณ„ ์†์— ์žˆ๋Š” ๊ฒƒ ๊ฐ™์€ ๋Š๋‚Œ์ด์—ˆ๋‹ค. ์‚ฌ์‹ค, ๋‚˜๋Š” ๊ทธ๋ฆผ์˜ ๊ฒฐ๊ณผ๋ณด๋‹ค ๊ทธ ๊ณผ์ •์„ ํ›จ์”ฌ ๋” ์ข‹์•„ํ•œ๋‹ค. ์กฐ๊ฐ๊ณผ๋Š” ๋˜ ๋‹ค๋ฅด๋‹ค. ์กฐ๊ฐ์€ ํ•ญ์ƒ ๊ฒฐ๊ณผ๋ฌผ์„ ๊ณ ๋Œ€ํ•˜๊ฒŒ ํ•˜์ง€๋งŒ, ๊ทธ๋ฆผ์€ ๊ทธ๋ฆฌ๋Š” ๊ณผ์ •์„ ๋” ์ฆ๊ธฐ๊ฒŒ ๋˜๋Š” ๊ฒƒ ๊ฐ™๋‹ค. ๋‹ค๋ฅธ ๋งค๊ฐœ์—์„œ๋Š” ์•„์ง ๋Š๋ผ์ง€ ๋ชปํ•œ ๋งค๋ ฅ์ด๋‹ค. Q. Lolay๋ผ๋Š” ๋‹น์‹ ์˜ ์ด๋ฆ„์€ ๋ฌด์Šจ ๋œป์ธ๊ฐ€? Lolay๋Š” ๋‚ด๊ฐ€ ๋Œ€ํ•™๊ต 1ํ•™๋…„์ด์—ˆ๋˜ 18์‚ด์— ์ฒ˜์Œ ์“ฐ๊ธฐ ์‹œ์ž‘ํ•œ ์ด๋ฆ„์ด๋‹ค. ๋‚ด๊ฐ€ ๋‹ค๋‹ˆ๋˜ ๋Œ€ํ•™์˜


๋ฏธ์ˆ ํ•™๋ถ€์—์„œ๋Š” ๋ชจ๋“  ํ•™์ƒ๋“ค์—๊ฒŒ ์ƒˆ๋กœ์šด ์ด๋ฆ„์„ ์ง“๊ฒŒ ํ•˜๋Š” ์ „ํ†ต์ด ์žˆ๋‹ค. ์„œ๋กœ ๋‹ค๋ฅธ ํ™˜๊ฒฝ์—์„œ ์ž๋ผ์˜จ ํ•™์ƒ๋“ค ์‚ฌ์ด์˜ ์ฐจ์ด๋ฅผ ์ตœ์†Œํ™”์‹œํ‚ค๊ธฐ ์œ„ํ•œ ๊ฒƒ์ด์—ˆ์œผ๋ฉฐ, ๋นˆ๋ถ€์˜ ์ •๋„๋‚˜ ์œ ๋ช…ํ•œ ์ •๋„์— ์ƒ๊ด€์—†์ด ๋ชจ๋“  ํ•™์ƒ์€ ํ‰๋“ฑํ•˜๊ณ  ๋ชจ๋‘๊ฐ€ ์นœ๊ตฌ๋ผ๋Š” ๊ฒƒ์„ ์ฃผ์ง€์‹œํ‚ค๊ธฐ ์œ„ํ•œ ๋ฐฉ๋ฒ•์ด์—ˆ๋‹ค. ํ•™๊ต์—์„œ ๋‚˜์—๊ฒŒ ์–ด๋–ค ์ด๋ฆ„์ด ์ข‹์œผ๋ƒ๊ณ  ๋ฌผ์—ˆ์„ ๋•Œ, ๋‚˜๋Š” ํ•˜๋‚˜๋ฅผ ์„ ํƒํ•˜์ง€ ๋ชปํ–ˆ๊ณ , ๊ทธ๋ž˜์„œ ํ•™๊ต์—์„œ ๋‚˜์—๊ฒŒ โ€˜Lolayโ€™๋ผ๋Š” ์ด๋ฆ„ ์ง€์–ด ์ฃผ์—ˆ๋‹ค. โ€˜Lolayโ€™๋Š” ํƒœ๊ตญ์–ด๋กœ ๋งค์šฐ ํ˜ผ๋ž€์Šค๋Ÿฝ๊ฑฐ๋‚˜ ์–ด๋–ค ๊ฒƒ์„ ์„ ํƒํ•  ์ˆ˜ ์—†๋Š” ๊ฒƒ์„ ์˜๋ฏธํ•œ๋‹ค.

V64์—์„œ ์„ ์ •๋œ ์•„ํ‹ฐ์ŠคํŠธ๋“ค์€ ๊ฐ๊ฐ ์ŠคํŠœ๋””์˜ค ํฌ๊ธฐ์— ๋”ฐ๋ผ ๋ ŒํŠธ๋น„๋ฅผ ๋‚ด๋Š” ๊ตฌ์กฐ๋กœ ์ด๋ฃจ์–ด์ ธ ์žˆ๋‹ค. ์žฌ์ •์  ๋ถ€๋‹ด์ด ์žˆ๋Š” ์•„ํ‹ฐ์ŠคํŠธ๋“ค์˜ ๊ฒฝ์šฐ์—” ๋‚ด๋ถ€ ์•„ํŠธ์Šค์ฟจ๊ณผ ๋ฎค์ง์Šค์ฟจ์—์„œ ๊ฐ€๋ฅด์น˜๊ณค ํ•œ๋‹ค. ์ž‘ํ’ˆ ํ•œ ์ ์ด ํŒ”๋ฆฌ๋ฉด, ๊ฐ€๊ฒฉ์˜ 10%๊ฐ€ V64๋กœ ๋ฐฐ๋‹น๋œ๋‹ค. ๊ทธ๋ ‡๋‹ค๊ณ  ํ•ด์„œ V64๊ฐ€ ์ƒ์—…์ ์ธ ๊ณต๊ฐ„์ด๋ผ๋Š” ๊ฒƒ์€ ์•„๋‹ˆ๋‹ค. ์ •๋ถ€ ์ง€์›์œผ๋กœ ์„ค๋ฆฝ๋œ Shanghai์˜ ์•„ํŠธ ์ปค๋ฎค๋‹ˆํ‹ฐ M60์— ์˜๊ฐ์„ ๋ฐ›์•„ ์„ธ์›Œ์ง€๊ธด ํ–ˆ์ง€๋งŒ, V64๋Š” ์ฒ˜์Œ๋ถ€ํ„ฐ ์ •๋ถ€ ์ง€์›์„ ๊ธฐ๋Œ€ํ•˜์ง€ ์•Š์•˜๊ธฐ ๋•Œ๋ฌธ์—, ๊ทธ๋Š” ์•„ํ‹ฐ์ŠคํŠธ์— ์˜ํ•ด ์šด์˜๋˜๋Š” ์ž๋ฆฝํ˜• ์ปค๋ฎค๋‹ˆํ‹ฐ๋กœ ์„ฑ์žฅํ•˜๊ณ  ์žˆ๋‹ค

Q. ์ด๋ฒˆ ๋ฐฉ์ฝ• ์ŠคํŽ˜์…œ ์—๋””์…˜์„ ์ค€๋น„ํ•˜๋Š” ๊ณผ์ •์—์„œ ํƒœ๊ตญ์˜ ๋‹ค๋ฅธ ์˜ˆ์ˆ ๊ฐ€๋“ค์—๊ฒŒ ํƒœ๊ตญ์˜ ์•„ํ‹ฐ์ŠคํŠธ๋ฅผ ์ถ”์ฒœ ๋ฐ›์•˜๋Š”๋ฐ, ๋งŽ์€ ์‚ฌ๋žŒ๋“ค์ด ๋‹น์‹ ์„ ์–ธ๊ธ‰ํ–ˆ๋‹ค. ์™œ ๋‹น์‹ ์„ ์ถ”์ฒœํ–ˆ๋‹ค๊ณ  ์ƒ๊ฐํ•˜๋Š”๊ฐ€? ์ž˜ ๋ชจ๋ฅด๊ฒ ๋‹ค. ๊ทธ๋“ค์—๊ฒŒ ๋ฌผ์–ด๋ด์•ผ ํ•˜์ง€ ์•Š์„๊นŒ? ๊ทธ๋“ค์ด ๋‚˜์˜ ์„ ๋ฐฐ์ด๊ฑฐ๋‚˜ ์ œ์ž ๋˜๋Š” ์นœ๊ตฌ์ผ์ง€๋„ ๋ชจ๋ฅด๊ฒ ๋‹ค. ์–ด์ฉŒ๋ฉด ๋‚˜์˜ ์Šคํƒ€์ผ์ด ํƒœ๊ตญ์˜ ์–ด๋–ค ๋‹ค๋ฅธ ๊ฒƒ๋“ค๊ณผ ์ฐจ๋ณ„ํ™”๋œ๋‹ค๊ณ  ์ƒ๊ฐํ–ˆ์„ ์ˆ˜๋„ ์žˆ๋‹ค. ์ž˜ ๋ชจ๋ฅด๊ธฐ ๋•Œ๋ฌธ์— ์ด๋Ÿฐ ์งˆ๋ฌธ์—๋Š” ๋Œ€๋‹ตํ•  ์ˆ˜๊ฐ€ ์—†๋‹ค. ๋‚ด๊ฐ€ ์ž‘์—…์„ ํ•  ๋•Œ, ๋‚ด๊ฐ€ ์ด๊ฒƒ์„ ์–ด๋–ป๊ฒŒ ํŒ๋งคํ•ด์•ผ ํ•˜๋‚˜ - ๋ผ๋“ ๊ฐ€ ์–ด๋–ป๊ฒŒ ์‚ฌ๋žŒ๋“ค์ด ์ข‹์•„ํ•˜๊ฒŒ ๋งŒ๋“ค ์ˆ˜ ์žˆ์„๊นŒ - ์™€ ๊ฐ™์€ ์ƒ๊ฐ์€ ํ•˜์ง€ ์•Š๋Š”๋‹ค. ๊ทธ์ € ๋‚ด๊ฐ€ ์›ํ•˜๋Š” ๊ฒƒ์„ ํ•œ๋‹ค. ์–ด๋–ค ์‚ฌ๋žŒ๋“ค์€ ๋‚ด๊ฐ€ ๊ทธ๋“ค์˜ ์šฐ์ƒ์ด๋ผ๊ณ  ๋งํ•˜๊ธฐ๋„ ํ•˜๊ณ , ๋˜ ์–ด๋–ค ์‚ฌ๋žŒ๋“ค์€ ์–ด๋–ป๊ฒŒ ์„ฑ๊ณตํ•˜๊ฑฐ๋‚˜ ์œ ๋ช…ํ•ด์งˆ ์ˆ˜ ์žˆ๋Š”์ง€๋ฅผ ๋ฌป๊ธฐ๋„ ํ•œ๋‹ค. ๋‚œ ๋‚ด๊ฐ€ ์œ ๋ช…ํ•˜๋‹ค๊ณ  ์ƒ๊ฐํ•˜์ง€ ์•Š๋Š”๋‹ค. ๋‹ค๋งŒ 20๋…„ ๋™์•ˆ ์ด ์ผ์„ ๊พธ์ค€ํžˆ ํ•ด์™”๊ธฐ ๋•Œ๋ฌธ์— ์‚ฌ๋žŒ๋“ค์ด ๊ทธ์ € ๋‚˜๋ฅผ ์•Œ๊ณ  ์žˆ์„ ๋ฟ์ด๋ผ๊ณ  ์ƒ๊ฐํ•œ๋‹ค.

๋””๋ ‰ํ„ฐ์ธ Pokpong์€ V64๋ฅผ ์ Š์€ ์•„ํ‹ฐ์ŠคํŠธ๋ฅผ ์œ„ํ•œ ๊ณต๊ฐ„์œผ๋กœ ๋งŒ๋“ค์–ด๊ฐ€๊ณ  ์žˆ๋‹ค. ๋Œ€๋ถ€๋ถ„ ์ Š์€ ์•„ํ‹ฐ์ŠคํŠธ๋“ค์€ ๋ฐฉ์ฝ• ์•„ํŠธ ๋Œ€ํ•™์—์„œ ๋ฐฐ์ถœ๋œ๋‹ค. ํƒœ๊ตญ์˜ ์ปจํ…œํฌ๋Ÿฌ๋ฆฌ ์•„ํŠธ๋Š” ์—ญ์‚ฌ๊ฐ€ ๊ธธ์ง€ ์•Š์•„์„œ, ์ „์‹œํ•  ์ˆ˜ ์žˆ๋Š” ๊ธฐํšŒ๊ฐ€ ์ ์€ ๊ฒƒ์ด ํ˜„์‹ค์ด๋‹ค. โ€œV64๋Š” ์ Š์€ ์ž‘๊ฐ€๋“ค์ด ๊ต๋ฅ˜ํ•˜๊ณ  ์ฝœ๋ผ๋ณด๋ ˆ์ด์…˜ํ•˜๊ธฐ ์œ„ํ•œ ์žฅ์†Œ๋‹ค. ๋งŒ์•ฝ ๊ทธ๋“ค์ด ๋ฐ”๋กœ ์•„ํŠธ ์‹œ์žฅ์— ์ง„์ถœํ–ˆ๋‹ค๋ฉด ๋ฐ›์•˜์„ ์ŠคํŠธ๋ ˆ์Šค๋ฅผ ์—ฌ๊ธฐ์—์„  ๋ฐ›์ง€ ์•Š๋Š”๋‹ค. ๊ทธ๋“ค์—๊ฒŒ ๋ฐฐ์šฐ๊ณ  ์ ์‘ํ•  ์‹œ๊ฐ„์„ ์ค€๋‹ค.โ€ Pokpong์€ ์„ค๋ช…ํ•œ๋‹ค. Pokpong์ด ์Œ“์€ ์—์ด์ „ํŠธ๋‚˜ ์•„ํŠธ๋”œ๋Ÿฌ์™€ ๊ด€๊ณ„๋„ ์ Š์€ ์•„ํ‹ฐ์ŠคํŠธ๋“ค์—๊ฒŒ ๋„์›€์ด ๋œ๋‹ค. ๊ทธ๋Š” ๊ฐœ์ธ ์ปค๋ฆฌ์–ด๋ฅผ ์Œ“๋Š” ๋Œ€์‹ ์— ์ž์‹ ์˜ ๋„คํŠธ์›Œํฌ๋ฅผ ๊ณต์œ ํ•˜๊ณ  ์ Š์€ ์•„ํ‹ฐ์ŠคํŠธ๋“ค์ด ์•„ํŠธ ์‚ฐ์—…์— ํ•œ ๋ฐœ์ง ๊ฐ€๊น๊ฒŒ ๋‹ค๊ฐ€๊ฐˆ ์ˆ˜ ์žˆ๊ฒŒ ํ–ˆ๋‹ค. โ€œ์•„ํŠธ์„ธ๊ณ„๊ฐ€ ์–ด๋–ป๊ฒŒ ๋Œ์•„๊ฐ€๋Š”์ง€ ์•Œ๋ ค์ฃผ๋Š” ๊ฒƒ์ด ์ค‘์š”ํ•˜๋‹ค. ์–ด๋–ค ์นœ๊ตฌ๋“ค์€ ์ข€ ๋” ์ƒ์—…์ ์ด๊ณ , ์–ด๋–ค ์ด๋“ค์€ ๊ทธ๋ ‡์ง€ ์•Š๋‹ค. ํ•˜์ง€๋งŒ ์ด๋Ÿฐ ์ฐจ์ด์ ๋“ค์„ ์•Œ๊ณ  ์žˆ์–ด์•ผ ํ•œ๋‹ค.โ€

Q. ์ง€๋‚œ ํ•ด์— ์—ด๋ ธ๋˜ ๋‹น์‹ ์˜ ์ „์‹œํšŒ โ€˜Bruisedโ€™์—์„œ ๋ณด์—ฌ์ค€ ๋‹น์‹ ์˜ ์ž‘ํ’ˆ์—์„œ ์ด๋ฏธ์ง€๋ฅผ ํ†ตํ•ด ๋ฐ˜๋ณต์ ์œผ๋กœ ๋‚˜ํƒ€๋‚œ ๋‘ ๋ช…์˜ ์‚ฌ๋žŒ๋“ค์ด ์žˆ์—ˆ๋‹ค. ๊ทธ๋“ค์„ ์†Œ๊ฐœํ•ด์ค„ ์ˆ˜ ์žˆ๋‚˜? ๋งŽ์€ ์‚ฌ๋žŒ๋“ค์ด ๊ทธ๋“ค์ด ๋ˆ„๊ตฐ์ง€ ๊ถ๊ธˆํ•ด ํ–ˆ๋‹ค. ์‚ฌ์‹ค, ๋‚˜๋Š” ๊ทธ์ € ๋‚จ๋…€๋ฅผ ๊ทธ๋ฆฌ๊ณ  ์‹ถ์—ˆ๋‹ค. ๊ทธ๋“ค์€ ๊ทธ์ € ๋ชจ๋ธ์ด๋‹ค. ๊ทธ๋“ค์ด ๋ˆ„๊ตฌ์ธ์ง€๋Š” ์ค‘์š”ํ•˜์ง€ ์•Š๋‹ค. ๊ทธ ์ „์‹œํšŒ์˜ ์ฃผ์ œ๋Š” ์ „์Ÿ์ด์—ˆ๊ณ , ์ „์Ÿ์€ ๋‚จ๋…€์˜ ๊ตฌ๋ถ„ ์—†์ด ์ธ๊ฐ„์ด ์ธ๊ฐ„์—๊ฒŒ ๋ฌด์–ธ๊ฐ€๋ฅผ ํ•˜๋Š” ๊ฒƒ์ด๋‹ค.

V64์˜ ํŽธ์•ˆํ•˜๊ณ  ์นœ๊ทผํ•œ ๋ถ„์œ„๊ธฐ๋Š” ์ Š์€ ์•„ํ‹ฐ์ŠคํŠธ๋ฅผ ์ง€์›ํ•˜๊ณ ์ž ํ•˜๋Š” ์ปจ์…‰์„ ๋ฐ˜์˜ํ•˜๊ณ  ์žˆ๋‹ค. ์„ค๋ฆฝ์ž์ด์ž ๋””๋ ‰ํ„ฐ์ธ Attasit Pokpong๋Š” ์—ด์ •์ ์ธ ๋ชฉํ‘œ๋ฅผ ๊ฐ€์ง€๊ณ  V64๋ฅผ ๋„์‹œ์—์„œ ๊ฐ€์žฅ ์˜ํ–ฅ ์žˆ๋Š”์•„ํŠธ์„ผํŠธ๋กœ๋งŒ๋“œ๋Š”๊ฒƒ์ด๋ชฉํ‘œ๋‹ค.V64๋Š”์•„ํŠธ๋ฅผ์‚ฌ๋ž‘ํ•˜๋Š”์‚ฌ๋žŒ๋“ค,์ฝœ๋ ‰ํ„ฐ,ํ๋ ˆ์ดํ„ฐ์™€๋Œ€์ค‘๋“ค ๋ชจ๋‘๊ฐ€ ๋งŒ๋‚  ์ˆ˜ ์žˆ๋Š” ๊ณณ์„ ๋ชฉํ‘œ๋กœ ํ•œ๋‹ค. ์•„ํŠธ๋ฅผ ํŒŒ๋Š” ๊ฒƒ๋„ ์ค‘์š”ํ•˜์ง€๋งŒ, ๊ถ๊ทน์ ์œผ๋กœ ์ปค๋ฎค๋‹ˆํ‹ฐ๋ฅผ ๋งŒ๋“ค์–ด์„œ ์•„ํŠธ ๋ฏธ๋””์—์ด์…˜๊ณผ ์•„ํŠธ ์ปจ์„คํŒ…์„ ํ•  ์ˆ˜ ์žˆ๋Š” ๋Œ€์•ˆ์ ์ธ ๊ณต๊ฐ„์ด ๋˜๋ ค ๋…ธ๋ ฅํ•˜๊ณ  ์žˆ๋‹ค.

Q. ์ž‘์—…์˜ ์˜๊ฐ์€ ์–ด๋””์—์„œ ์–ป๋‚˜? ํƒ€์ธ์˜ ๊ฒฝํ—˜์„ ํ†ตํ•ด ์˜๊ฐ์„ ์–ป๋Š” ๊ฒƒ์„ ์ข‹์•„ํ•œ๋‹ค. ํƒ€์ธ๊ณผ ์ž์‹ ์˜ ์‚ถ์„ ๋น„๊ตํ•ด๋ณด์•˜์„ ๋•Œ, ์šฐ๋ฆฌ๋Š” ์ƒˆ๋กœ์šด ์•„์ด๋””์–ด๋ฅผ ๋ฐœ๊ฒฌํ•  ์ˆ˜ ์žˆ๋‹ค. ๋‚ด๊ฐ€ ์ฝ์€ ๊ฒƒ, ๋ณธ ๊ฒƒ, ๋“ค์€ ๊ฒƒ๋“ค์€ ๋‚˜์—๊ฒŒ ๋งŽ์€ ์˜๊ฐ์„ ์ค€๋‹ค. ๋‚˜๋Š” ์—ญ์‚ฌ๋‚˜ ์„ธ๊ณ„, ์ „์Ÿ ๋“ฑ์— ๋Œ€ํ•ด์„œ ์ฝ๋Š” ๊ฒƒ์„ ์ข‹์•„ํ•˜๊ณ  ๋งˆ์ฐฌ๊ฐ€์ง€๋กœ ์˜ˆ์ˆ ๊ฐ€๋‚˜ ๊ณผํ•™์ž ๋˜๋Š” ์Œ์•…๊ฐ€๋“ค์˜ ์‚ถ์„ ์ฝ๋Š” ๊ฒƒ๋„ ์ข‹์•„ํ•œ๋‹ค. ์ด๋Ÿฐ ๊ฒƒ๋“ค์€ ์šฐ๋ฆฌ์„ธ๊ณ„์—์„œ ์‹ค์ œ ์ผ์–ด๋‚œ ์ผ์— ๋Œ€ํ•œ ์ง„์งœ ์ด์•ผ๊ธฐ๋‹ค. ํƒ€์ธ์˜ ๊ฒฝํ—˜์— ๋Œ€ํ•œ ํฅ๋ฏธ๋Š” ๋‚ด ์ž์‹ ์˜ ์ธ์ƒ์—์„œ ๊ฒฝํ—˜ํ•œ ๊ฒƒ๋“ค์˜ ๊ฒฐ๊ณผ๋ฌผ์ด๋‹ค. ๋‚ด๊ฐ€ ์–ด๋ ธ์„ ๋•Œ, ๋‚˜๋Š” ์˜ˆ์ˆ  ๊ณต๋ถ€๋ฅผ ์œ„ํ•ด์„œ ๋ชจ์นœ๊ณผ ๋–จ์–ด์ ธ ๋ฐฉ์ฝ•๊ณผ ๊ฐ™์€ ํฐ ๋„์‹œ์—์„œ ํ˜ผ์ž ์‚ด์•„์•ผ ํ–ˆ๋‹ค. ๊ฐ€์กฑ๋“ค๊ณผ ๋–จ์–ด์ ธ ํ˜ผ์ž ์ง€๋ƒˆ๊ณ , ๋•Œ๋กœ๋Š” ์นœ๊ตฌ๋„ ์—†์—ˆ๋‹ค. ์–ด๋ ค์šด ์‹œ์ ˆ์ด์—ˆ๋‹ค. ๋‚˜๋Š” ์„ธ๊ณ„๋Œ€์ „์„ ๊ฒฝํ—˜ํ•˜์ง€๋Š” ๋ชปํ–ˆ์ง€๋งŒ, ๊ทธ ๋•Œ์˜ ์ œ ์ƒํ™ฉ์€ ์ „์Ÿ๊ณผ๋„ ๊ฐ™์•˜๋‹ค. ์ „์Ÿ์— ๋Œ€ํ•ด ๋ฐฐ์šฐ๋ฉด์„œ ์‚ถ์— ๋Œ€ํ•ด์„œ๋„ ๋ฐฐ์šฐ๊ฒŒ ๋˜์—ˆ๋‹ค. ์šฐ๋ฆฌ๊ฐ€ ์ง„์งœ ์ „์Ÿ์„ ๊ฒฝํ—˜ํ•˜๋“ ์ง€ ๊ทธ๋ ‡์ง€ ์•Š๋“ ์ง€ ๊ฐ„์— ์šฐ๋ฆฌ๋Š” ์ƒ์กดํ•˜๋Š” ๋ฒ•์„ ๋ฐฐ์›Œ์•ผ ํ•œ๋‹ค. Q. ๋‹น์‹ ์—๊ฒŒ ๋ฎค์ฆˆ๊ฐ€ ์žˆ๋‚˜? ๋‚˜์˜ ๋ฎค์ฆˆ๋Š” ์Œ์•…์ด๋‹ค. ๋งค์ผ ๊ทธ๋ฆฌ๊ณ  ๊ฑฐ์˜ ํ•ญ์ƒ ์Œ์•…์„ ๋“ฃ๋Š”๋‹ค. ์Œ์•…์„ ๋“ค์„ ๋•Œ๋Š” ๋‚ด ๋จธ๋ฆฟ์†์˜ ์•„์ด๋””์–ด์™€ ์ด๋ฏธ์ง€๋“ค์ด ๋‚˜์˜ ๊ฐœ์ธ์ ์ธ ๊ฒฝํ—˜๊ณผ ์™„์ „ํžˆ ๊ฒฐํ•ฉํ•˜๊ฒŒ ๋œ๋‹ค. ๋งค์šฐ ์ถ”์ƒ์ ์œผ๋กœ ๋“ค๋ฆฌ๊ฒ ์ง€๋งŒ, ์ด๋Ÿฐ ๊ฒƒ๋“ค์€ ๋งŒ์ง€๊ฑฐ๋‚˜ ๋ณผ ์ˆ˜ ์—†๊ณ  ์˜ค์ง ๋Š๋‚„ ์ˆ˜๋งŒ ์žˆ๋‹ค. ๊ทธ๋Ÿฌ๋‚˜ ๋‹น์‹ ์ด ์‹ค์ œ ๊ทธ๊ฒƒ์„ ๋Š๋‚€๋‹ค๋ฉด ๋‹น์‹ ์˜ ์ƒ์ƒ๋ ฅ์€ ๋ฐ”๋กœ ์ž‘์—…์˜ ์›๋™๋ ฅ์ด ๋  ๊ฒƒ์ด๋‹ค. Q. ๋‹น์‹ ์€ ๋“œ๋กœ์ž‰์„ ๋งŽ์ด ํ•œ๋‹ค, ๊ทธ๋ฆฌ๊ณ  ์ง€๊ธˆ ๋‹น์‹ ์˜ ์ŠคํŠœ๋””์˜ค ์•ˆ์— ๋งŽ์€ ๋“œ๋กœ์ž‰ ๋…ธํŠธ ๋ชจ์Œ์ง‘๋“ค์ด ๋ณด์ธ๋‹ค. ๋‹น์‹ ์—๊ฒŒ ์žˆ์–ด์„œ ๋“œ๋กœ์ž‰ ๋…ธํŠธ๋ชจ์Œ์€ ๋ฌด์—‡์ธ๊ฐ€? ๋‚ด ์˜ˆ์ˆ ์—์„œ ๊ฐ€์žฅ ์ค‘์š”ํ•œ ๋ถ€๋ถ„์€ ๋‚ด๊ฐ€ ์ง์ ‘ ๊ทธ๋ฆฐ ๋…ธํŠธ๋ชจ์Œ์ด๋‹ค. ํ•œ ๋‹ฌ์— ํ•œ ๊ถŒ, ๋งŽ๊ฒŒ๋Š” 3~4๊ถŒ ์ •๋„๋ฅผ ์‚ฌ์šฉํ•˜๋Š”๋ฐ, ์ด๋ ‡๊ฒŒ ๋…ธํŠธ๋ฅผ ์‚ฌ์šฉํ•œ์ง€ 10๋…„ ์ด์ƒ์ด ๋˜์—ˆ๋‹ค. ๋‚ด ์ธ์ƒ์ด ๊ฑฐ๊ธฐ์— ๋“ค์–ด์žˆ๋‹ค. ๋‚˜๋Š” ๋‚ด ์ž‘์—…์— ๋Œ€ํ•ด ํ•ญ์ƒ ์ƒ๊ฐํ•˜๊ณ  ๊ฐ‘์ž๊ธฐ ์•„์ด๋””์–ด๋ฅผ ์–ป์„ ๋•Œ๋„ ์žˆ๋‹ค. ๊ทธ๋ž˜์„œ ๋‚ด๊ฐ€ ๋‚˜๊ฐˆ ๋•Œ ๋งˆ๋‹ค ๊ทธ๊ฒƒ์„ ๊ธฐ๋กํ•  ์ˆ˜ ์žˆ๋Š” ๋ฌด์–ธ๊ฐ€๋ฅผ ํ•ญ์ƒ ๊ฐ€์ง€๊ณ  ๋‹ค๋‹Œ๋‹ค. ๋•Œ๋กœ ๋‚ด ๊ธฐ์–ต์— ๋Œ€ํ•ด์„œ ๊ทธ๋ฆผ์„ ๊ทธ๋ฆด ๋•Œ๋„ ์žˆ๊ณ , ๋…ธ๋ž˜๋ฅผ ์ ์„ ๋Œ€๋„ ์žˆ๋‹ค. ๋‚˜๋Š” ์–ด๋–ค ์‚ฌ๋ฌผ์ด๋‚˜ ์‚ฌ๋žŒ๋“ค์—๊ฒŒ ์˜๊ฐ์„ ๋ฐ›์•˜์„ ๋•Œ ๊ทธ๊ฒƒ์„ ์žŠ์–ด๋ฒ„๋ฆด๊นŒ ๋ด ๊ฑฑ์ •์ด ๋œ๋‹ค. ๊ทธ๋ž˜์„œ ๊ทธ ๋ชจ๋“  ๊ฒƒ์„ ๋…ธํŠธ์— ๊ธฐ๋กํ•œ๋‹ค. ๊ฐ๊ฐ์˜ ๋…ธํŠธ๋Š” ๋‚ด ์•„์ด๋””์–ด๊ฐ€ ๋ณ€ํ™”ํ•˜๋Š” ๊ฐœ์ธ์ ์ธ ๋†€์ดํ„ฐ๋ผ๊ณ  ํ•  ์ˆ˜ ์žˆ๊ฒ ๋‹ค. ์ด ๋…ธํŠธ๋Š” ๋‚ด ์•„์ด๋””์–ด์˜ ์ตœ์ข… ์ด๋ฏธ์ง€๋Š” ์•„๋‹ˆ์ง€๋งŒ, ์ œ ์ฐฝ์ž‘๊ณผ์ •์˜ ์ผ๋ถ€๋ถ„์ด๋ผ๊ณ  ํ•  ์ˆ˜ ์žˆ๋‹ค. Q. ๋ฏธ๋ž˜์˜ ๊ณ„ํš์€ ๋ฌด์—‡์ž…๋‹ˆ๊นŒ? ํƒœ๊ตญ์˜ ํ•ด๋ณ€๋„์‹œ์ธ Hua-hin์— ์ƒˆ๋กœ์šด ์ŠคํŠœ๋””์˜ค๋ฅผ ๋งŒ๋“ค์—ˆ๋‹ค. ๋ฐฉ์ฝ•์— ์žˆ๋Š” ์ŠคํŠœ๋””์˜ค๋Š” ์ฝ˜๋„๋ผ์„œ 200cm๋ฅผ ๋„˜๋Š” ํฐ ๊ทธ๋ฆผ์„ ๊ทธ๋ฆด ์ˆ˜๊ฐ€ ์—†์—ˆ๋‹ค. ์ƒˆ๋กœ์šด ์ŠคํŠœ๋””์˜ค๋Š” ๋‚ด๊ฐ€ ์›ํ•˜๋Š” ํฐ ๊ทธ๋ฆผ์„ ๊ทธ๋ฆด ์ˆ˜ ์žˆ๋Š” ๋‹ค๋ฝ ๊ตฌ์กฐ๋กœ ๋˜์–ด์žˆ๋‹ค. ์•ž์œผ๋กœ ํฐ ๊ทธ๋ฆผ์„ ๊ทธ๋ฆฌ๊ณ  ์‹ถ๋‹ค!

026p

V64 V64๋Š” Attasit Pokpong์ด ์„ค๋ฆฝํ•œ ์ƒˆ๋กœ์šด ์•„ํ‹ฐ์ŠคํŠธ ์ปค๋ฎค๋‹ˆํ‹ฐ์ด๋‹ค. ์ฐฝ๊ณ ์˜€๋˜ ๊ฑด๋ฌผ์„ 75๋ช…์˜ ์•„ํ‹ฐ์ŠคํŠธ๋“ค์ด ๊ฐœ์กฐํ•ด์„œ ํ˜„์žฌ 35๊ฐœ ์ŠคํŠœ๋””์˜ค๋กœ ์‚ฌ์šฉํ•˜๊ณ  ์žˆ๋‹ค. V64์˜ ๋””๋ ‰ํ„ฐ Pokpong์ด ์•„ํ‹ฐ์ŠคํŠธ๋กœ์„œ ์ง์ ‘ ์ž์‹ ๋งŒ์˜ ๊ธฐ์ค€์œผ๋กœ ๊ทธ๋“ค์„ ์„ ๋ณ„ํ•œ ๊ฒƒ์ด ํŠน์ง•์ด๋‹ค. โ€œ ์•„ํ‹ฐ์ŠคํŠธ๋ฅผ ์„ ํƒํ•  ๋•Œ ์•„ํŠธ๋‚˜ ๋ช…์„ฑ๋งŒ ๋ณด์ง€ ์•Š๋Š”๋‹ค. ์„ฑ๊ฒฉ๋„ ์ค‘์š”ํ•˜๊ธฐ ๋•Œ๋ฌธ์ด๋‹ค. ์–ด๋–ค ์ด๋“ค์€ ์•„ํ‹ฐ์ŠคํŠธ๋ฅผ ์ด๋Ÿฐ ์‹์œผ๋กœ ๊ณ ๋ฅด๋ฉด ๋ฌธ์ œ๊ฐ€ ๋  ๊ฑฐ๋ผ๊ณ  ํ•˜์ง€๋งŒ ๋‚˜๋Š” ๋ฏธ๋ž˜๋ฅผ ์œ„ํ•œ ํˆฌ์ž๋ผ๊ณ  ์ƒ๊ฐํ•œ๋‹ค. ๋‚˜๋Š” ๊ฐ€๋Šฅ์„ฑ์„ ๋ณธ๋‹ค.โ€ ๊ทธ๋Š” ์›ƒ์œผ๋ฉฐ ๋งํ•œ๋‹ค.

โ€œ๋ชจ๋“  ์ด๋“ค์ด ์•„ํ‹ฐ์ŠคํŠธ๊ฐ€ ๋˜๋Š” ๊ณผ์ •์— ๋Œ€ํ•ด ๋” ์•Œ์•˜์œผ๋ฉด ์ข‹๊ฒ ๋‹ค. ๋‚˜๋„ ํ•œ๋•Œ ์ Š์€ ์•„ํ‹ฐ์ŠคํŠธ์˜€๊ณ  ์–ด๋–ป๊ฒŒ ํ•ด์•ผ ์„ฑ๊ณตํ•˜๋Š”์ง€ ๋ฐฐ์›Œ์•ผ ํ–ˆ๋‹ค. ์ด์ œ๋Š” ๋‚ด๊ฐ€ ๊ฒช์—ˆ๋˜ ๊ฒฝ๋กœ, ์ง€์‹๊ณผ ์ธ๋งฅ๋“ค์„ ๋‚˜๋ˆ„๊ณ  ์‹ถ๋‹ค.โ€

028p

The Factory Studio & Art House Q. Factory Studio&ArtHouse๋ฅผ ์†Œ๊ฐœํ•œ๋‹ค๋ฉด? Factory๋Š” ์•„์ด๋“ค, ์‹ญ๋Œ€๋‚˜ ์•„ํŠธ์— ๊ด€์‹ฌ ์žˆ๋Š” ์‚ฌ๋žŒ์ด๋ผ๋ฉด ๋ˆ„๊ตฌ๋‚˜ ์•„ํŠธ&๋””์ž์ธ์— ๊ด€ํ•œ ์ง€์‹์„ ๋ฐฐ์šธ ์ˆ˜ ์žˆ๋Š” ๊ณต๊ฐ„์ด๋‹ค. Factory ์˜ ๊ฐ•์ขŒ๋Š” ๊ธฐ์ดˆ์—์„œ๋ถ€ํ„ฐ ๊ณ ๊ธ‰ ์ˆ˜์ค€๊นŒ์ง€ ์—ฐ๋ น๋Œ€์— ๋”ฐ๋ผ์„œ ๋‹ค์–‘ํ•˜๋‹ค. ์•„์ด๋“ค์„ ์œ„ํ•œ ๊ฐ•์ขŒ๋Š” ์˜ˆ์ˆ ์  ์‹œ๊ฐ, ๊ธฐ์ˆ ๊ณผ ๊ธ์ •์ ์ธ ๋น„์ „์„ ์Œ“๋Š” ๋ฐ ์ง‘์ค‘ํ•˜๊ณ  ์žˆ๋‹ค. ํ•™์ƒ๋“ค์˜ ๊ฒฝ์šฐ ์ผ๋ฐ˜์ ์œผ๋กœ ์ž…์‹œ๋ฅผ ์ค€๋น„ํ•˜๋Š” ๊ฐ•์ขŒ๊ฐ€ ์žˆ๋‹ค. ๋Œ€ํ•™์ƒ๋“ค์„ ์œ„ํ•œ ๊ฐ•์ขŒ๋Š” ์ข€ ๋” ์„ธ๋ถ„ํ™”๋œ ๋ ˆ๋ฒจ๋กœ์˜ˆ์ˆ ์ ๊ธฐ์ˆ ์ด๋‚˜์ดํ•ด๋ฅผ๋•๊ณ ์žํ•œ๋‹ค.

์ผ๋ฐ˜์ธ์„ ์œ„ํ•ด์„œ ์ผ์ƒ ์ƒํ™œ์—์„œ ์ทจ๋ฏธ๋กœ ์ฆ๊ฒ๊ฒŒ ์˜ˆ์ˆ ์„ ์ ‘ํ•  ์ˆ˜ ์žˆ๋Š” ๊ฐ•์ขŒ๊ฐ€ ์žˆ๋‹ค. ๋ชจ๋“  ๊ฐ•์˜๋Š” ํŒจ์…˜ ๋ถ„์•ผ๋‚˜ ๊ณ ๋“ฑํ•™๊ต์™€ ๋Œ€ํ•™์—์„œ ์˜ˆ์ˆ  ๋ถ„์•ผ๋ฅผ ์ „๊ณต์œผ๋กœ ํ•˜๋Š” ๋ถ„๋“ค์ด ๊ฐ€๋ฅด์น˜๊ณ  ์žˆ๋‹ค. Factory๋Š” ํ•™์ƒ๋“ค์—๊ฒŒ ๊ต‰์žฅํžˆ ์ค‘์š”ํ•œ ์•„ํŠธ ์ŠคํŠœ๋””์˜ค์ด๊ธฐ๋„ ํ•˜๋‹ค. ํ•™์ƒ๋“ค์€ ๋‹ค์–‘ํ•œ ๋ฏธ์ˆ  ๋„๊ตฌ๋ฅผ ๋ฐฐ์šฐ๊ธฐ๋„ ํ•˜๊ณ , ์ผ๋‹จ ์ŠคํŠœ๋””์˜ค ํ™˜๊ฒฝ์ด ์ฐฝ์กฐ์ ์ด๋ฉด ๊ทธ๋“ค์˜ ๋น„์ ผ๊ณผ ํฌ๋ฆฌ์—์ดํ‹ฐ๋น„ํ‹ฐ๋ฅผ ์ž๊ทนํ•œ๋‹ค. Q. ์ŠคํŠœ๋””์˜ค๋Š” ์–ธ์ œ ๋งŒ๋“ค์—ˆ๋Š”๊ฐ€? Factory Studio&ArtHouse๋Š” ์˜คํ”ˆ ํ•œ ์ง€ ์ผ๋…„์ด ์กฐ๊ธˆ ๋„˜์–ด๊ฐ„๋‹ค. Q. Factory Studio&ArtHouse ๋Š” 4๋ช…์˜ ์•„ํ‹ฐ์ŠคํŠธ๋“ค์˜ ํ˜‘์—…์ด๋ผ๊ณ  ์•Œ๊ณ  ์žˆ๋‹ค. ๋ฉค๋ฒ„๋“ค์„ ๊ฐ„๋‹จํžˆ ์†Œ๊ฐœํ•œ๋‹ค๋ฉด? Jeep๋Š” 6๊ฐœ ์ง€์ ์˜ ์‹ ๋ฐœ๊ฐ€๊ฒŒ๋ฅผ ๊ฐ€์ง€๊ณ  ์žˆ๋Š” ์Šˆ์ฆˆ๋””์ž์ด๋„ˆ์ด์ž, ์ผ๋Ÿฌ์ŠคํŠธ๋ ˆ์ดํ„ฐ๋‹ค. ๊ทธ๋…€๋Š” ๋ฉ”์ด์ ธ ๋ธŒ๋žœ๋“œ์˜ ๋งค์žฅ ๋””์Šคํ”Œ๋ ˆ์ด๋‚˜ ๊ทธ๋ž˜ํ”ฝ ๋””์ž์ธ์œผ๋กœ๋„ ๋ฐฉ์ฝ• ๋‚ด์—์„œ ๋งค์šฐ ์œ ๋ช…ํ•˜๋‹ค. Keng ์€ ๊ฐœ์ธ ์ž‘์—…์„ ํ•˜๋ฉฐ ์ „์‹œํšŒ๋ฅผ ํ†ตํ•ด ์ž‘ํ’ˆ์„ ํŒ๋งคํ•˜๋Š” ์ „์—… ์•„ํ‹ฐ์ŠคํŠธ๋‹ค. 4๋…„๊ฐ„ ํ•™์ƒ๋“ค์„ ๊ฐ€๋ฅด์นœ ๊ฒฝํ—˜์ด ์žˆ๋Š” ์„ ์ƒ๋‹˜์ด๊ธฐ๋„ ํ•˜๋‹ค. Name์€ ๊ฐœ๋… ์˜ˆ์ˆ  ์ด๋ฒคํŠธ๋ฅผ ๊ธฐํšํ•˜๋Š” ํฌ๋ฆฌ์—์ดํ‹ฐ๋ธŒ ์•„ํ‹ฐ์ŠคํŠธ๋‹ค. ๋™์‹œ์— ์ปต๊ฒŒ์ดํฌ ์ˆ์˜ ๋Œ€ํ‘œ์ด๊ธฐ๋„ ํ•˜๋‹ค. ๊ทธ๋ฆฌ๊ณ  Thug ๋Š” ์ผ๋ณธ์—์„œ ์ง€๋‚ด๋ฉฐ ์ž‘์—…์„ ํ•ด์™”๋˜ ์•„ํ‹ฐ์ŠคํŠธ๋‹ค. Q. ์–ด๋–ป๊ฒŒ ์„œ๋กœ ์•Œ๊ฒŒ ๋˜์—ˆ๋Š”๊ฐ€? Factory Studio&ArtHouse๋ฅผ ์‹œ์ž‘ํ•˜๊ฒŒ ๋œ ์ด์œ ๋Š”? ์šฐ๋ฆฌ ๋ชจ๋‘ ์–ด๋ฆฐ ์‹œ์ ˆ ์นœ๊ตฌ๋“ค์ด๋‹ค. ๋„ท ๋ชจ๋‘์˜ ๋น„์ ผ์„ ๋‚˜๋ˆŒ ์ˆ˜ ์žˆ๊ณ  ์ƒˆ๋กœ์šด ์„ธ๋Œ€์—๊ฒŒ ์˜ˆ์ˆ ์„ ๊ฐ€๋ฅด์น  ์ˆ˜ ์žˆ๋Š” ๊ณต๊ฐ„์„ ๋งŒ๋“ค๋ ค๊ณ  ํ–ˆ๋‹ค. ๋™์‹œ์— ๋‹ค์–‘ํ•œ ๋ถ„์•ผ์˜ ์˜ˆ์ˆ ์„ ์ง€์›ํ•˜๊ณ  ์‹ถ์—ˆ๋‹ค. ์šฐ๋ฆฌ๋Š” ์•ค๋””์›Œํ™€์˜ Factory ๊ฐ™์€ ์ŠคํŠœ๋””์˜ค๋ฅผ ๋งŒ๋“ค๊ณ  ์‹ถ์—ˆ๋‹ค. Q. ์˜ˆ์ˆ  ๊ต์œก์„ ์ค‘์š”์‹œ ์—ฌ๊ธฐ๋Š” ๊ฒƒ ๊ฐ™๋‹ค. ์‚ฌ๋žŒ๋“ค์ด ํ•˜๋Š” ๋ชจ๋“  ๊ฒƒ์€ ์•„ํŠธ์™€ ํฌ๋ฆฌ์—์ดํ‹ฐ๋น„ํ‹ฐ์— ๊ด€ํ•œ ๊ฒƒ์ด๊ธฐ ๋•Œ๋ฌธ์ด๋‹ค. ๋…ผ๋ฆฌ์  ์‚ฌ๊ณ ๋Š” ๋ณ€ํ•˜์ง€ ์•Š๋Š”๋‹ค๊ณ  ์—ฌ๊ธฐ์ง€๋Š” ๋ฐ˜๋ฉด, ํฌ๋ฆฌ์—์ดํ‹ฐ๋น„ํ‹ฐ์™€ ์ƒ์ƒ๋ ฅ์€ ๋ณ€ํ™”๋ฅผ ํฌ์ฐฉํ•˜๋Š” ๊ฒƒ์ด๋‹ค. Q. ๋‹ค๋ฅธ ์•„ํŠธ ๊ต์œก ๊ธฐ๊ด€๊ณผ ์ด๊ณณ์˜ ๊ฐ€์žฅ ํฐ ์ฐจ์ด์ ์€ ๋ฌด์—‡์ธ๊ฐ€? ์ŠคํŠœ๋””์˜ค์™€ ์•„ํŠธ ํ•˜์šฐ์Šค๊ฐ€ ๊ฒฐํ•ฉ๋œ ๊ณต๊ฐ„์ด ํƒœ๊ตญ์— ์—†์—ˆ๋‹ค. ์ด๊ณณ์—์„œ ํ•™์ƒ๋“ค์€ ์•„ํ‹ฐ์ŠคํŠธ์—๊ฒŒ ์ง์ ‘ ๋ฐฐ์šธ ์ˆ˜ ์žˆ๊ณ  ์•„ํŠธ์˜ ๊ฒฝํ—˜์„ ๊ณต์œ ํ•  ์ˆ˜ ์žˆ๋‹ค. Q. ์•ž์œผ๋กœ ๋Œ€์ค‘์—๊ฒŒ ์–ด๋–ป๊ฒŒ Factory Studio&ArtHouse๋ฅผ ์•Œ๋ฆฌ๊ณ  ์‹ถ์€๊ฐ€? ์•ž์œผ๋กœ๋„ ์ง€๊ธˆ๋งŒ ๊ฐ™๊ธฐ๋ฅผ ๋ฐ”๋ž€๋‹ค.

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Pariwat Q. ํฌํ†  ์ฝœ๋ผ์ฃผ์— ํฅ๋ฏธ๋ฅผ ๊ฐ–๊ฒŒ ๋œ ๊ณ„๊ธฐ๋Š” ๋ฌด์—‡์ธ๊ฐ€? ๊ทธ๋ฆฌ๊ณ  ์–ด๋–ป๊ฒŒ ๊ทธ๊ฒƒ์„ ๋‹น์‹  ์ž‘ํ’ˆ์˜ ์ฃผ์š” ๋งค์ฒด๋กœ ์‚ฌ์šฉํ•˜๊ฒŒ ๋˜์—ˆ๋‚˜? ์‚ฌ์ง„ ์ฝœ๋ผ์ฃผ๋Š” 7๋…„ ์ „ โ€˜Traffic Gridโ€™๋ผ๋Š” ์ฑ…์„ ์ž‘์—…ํ•  ๋•Œ ์ฒ˜์Œ ์‹œ์ž‘ํ–ˆ๋‹ค. ๊ทธ ๋•Œ ์ €๋Š” ๊ทธ ์ฑ…์˜ ๋‚ด์šฉ, ๋””์ž์ธ, ์‚ฌ์ง„, ์ผ๋Ÿฌ์ŠคํŠธ ๋“ฑ ๋ชจ๋“  ๊ฒƒ์„์ฑ…์ž„์ง€๊ณ ์žˆ์—ˆ๋‹ค.๊ทธ๋ฆฌ๊ณ ์‚ฌ์ง„์ฝœ๋ผ์ฃผ๊ฐ€ ์™„๋ฒฝํ•œ ๋„๊ตฌ๋ผ๋Š” ์‚ฌ์‹ค์„ ๋ฐœ๊ฒฌํ–ˆ๋‹ค. ๊ทธ๊ฒƒ์€ ๋‚ด๊ฐ€ ๊ณ ๋ฏผํ–ˆ๋˜ ๋ชจ๋“  ๋ฌธ์ œ๋ฅผ ํ•ด๊ฒฐํ•ด ์ฃผ์—ˆ๋‹ค. ๋˜ํ•œ ์ด ๋งค๊ฐœ๋ฅผ ํ†ตํ•ด ์ œ๊ฒŒ ์•„์ด๋””์–ด๋ฅผ ์‹คํ˜„์‹œํ‚ฌ ์ˆ˜ ์žˆ๋Š” ๊ธฐ์ˆ ๊ณผ ์ „๋ฌธ์„ฑ์ด ์žˆ๋‹ค๋Š” ๊ฒƒ์„ ๊นจ๋‹ซ๊ฒŒ ํ•ด์ฃผ์—ˆ๋‹ค.

Q. ํฌํ†  ์ฝœ๋ผ์ฃผ์˜ ๋งค๋ ฅ์€ ๋ฌด์—‡์ด๋ผ๊ณ  ์ƒ๊ฐํ•˜๋Š”๊ฐ€? ์ˆœ์ˆ˜ํ•œ ์‚ฌ์ง„์€ ๋‹จ์ง€ ํ˜„์‹ค๋งŒ์„ ํฌ์ฐฉํ•œ๋‹ค. ๊ทธ๋Ÿฌ๋‚˜ ์ˆœ์ˆ˜ ์‚ฌ์ง„๊ณผ ์‚ฌ์ง„ ๊ผด๋ผ์ฅฌ๋ฅผ ํ•จ๊ป˜ ์‚ฌ์šฉํ•œ๋‹ค๋ฉด ํ˜„์‹ค์— ๊ธฐ๋ฐ˜์„ ๋‘” ๋งค๋ ฅ์ ์ธ ์ƒ์ƒ์˜ ์„ธ๊ณ„๋ฅผ ์ฐฝ์กฐํ•  ์ˆ˜ ์žˆ๋‹ค. Q. ๋ฐฉ์ฝ•์˜ ์‚ฌ์ง„์„ ์ง์ ‘ ์ฐ๋Š”๊ฐ€? ๊ทธ๋ ‡๋‹ค. ์—ฌํ–‰ํ•˜๋ฉด์„œ ๋‚ด ๋ˆˆ๊ธธ์„ ๋„๋Š” ๊ฒƒ์ด ์žˆ์œผ๋ฉด ์ฃผ์ € ์—†์ด ์…”ํ„ฐ๋ฅผ ๋ˆ„๋ฅธ๋‹ค. ๋น›, ์ƒ‰๊ฐ, ์†Œ๋ฆฌ, ๊ตฌ์„ฑ์— ์ƒ๊ด€ ์—†์ด ๋ง์ด๋‹ค. Q. ์ฃผ๋กœ ๋ฐฉ์ฝ•์˜ ์–ด๋””์—์„œ ์‚ฌ์ง„์„ ์ฐ๋‚˜? ํŠน์ • ์žฅ์†Œ๊ฐ€ ์žˆ๋Š”๊ฐ€? ๋ฐฉ์ฝ•์˜ ์‚ฌ์ง„์„ ์ฐ์„ ๋•Œ ํŠน์ •ํ•œ ์žฅ์†Œ๋ฅผ ์—ผ๋‘์— ๋‘์ง€๋Š” ์•Š๋Š”๋‹ค. ์‚ฌ์‹ค, ๋‚ด๊ฐ€ ์ฐ๋Š” ์‚ฌ์ง„์ด ๊ผญ ๋ฐฉ์ฝ• ๋ฐฐ๊ฒฝ์ผ ํ•„์š”๋Š” ์—†๋‹ค. ๋‚ด ํฅ๋ฏธ๋ฅผ ๋„๋Š” ๊ฒƒ์ด๋ฉด ์–ด๋–ค ์‚ฌ์ง„์ด์ด๋ผ๋„ ๊ดœ์ฐฎ๋‹ค. ํ•˜์ง€๋งŒ, ๋ฐฉ์ฝ•์—์„œ ๊ฐ€์žฅ ์ข‹์•„ํ•˜๋Š” ์žฅ์†Œ๋ฅผ ๊ตณ์ด ๊ผฝ์œผ๋ผ๋ฉด, ๋‚˜๋Š” ์ฐจ์ด๋‚˜ํƒ€์šด์„ ์„ ํƒํ•˜๊ฒ ๋‹ค. Q. ํฌํ†  ์ฝœ๋ผ์ฃผ๋ฅผ ํ†ตํ•ด ๋ฐฉ์ฝ•์— ๋Œ€ํ•œ ์–ด๋–ค ๊ฒƒ์„ ๋ณด์—ฌ์ฃผ๋ ค๊ณ  ํ•˜๋Š” ๊ฒƒ์ธ๊ฐ€? ํฌํ†  ์ฝœ๋ผ์ฃผ์˜ ์•„๋ฆ„๋‹ค์›€์€ ์Šค์Šค๋กœ ๋งˆ์Œ๋Œ€๋กœ ์—ฌ๊ธฐ์ €๊ธฐ์— ์—ฌ๋Ÿฌ ๊ฐ€์ง€ ๊ฒƒ๋“ค์„ ์„ž์„ ์ˆ˜ ์žˆ์–ด ์ดˆํ˜„์‹ค์ ์ธ ํšจ๊ณผ๋ฅผ ๋‚ผ ์ˆ˜ ์žˆ๋‹ค๋Š” ๊ฒƒ์ด๋‹ค. ํฐ ๋นŒ๋”ฉ์ด ์ž‘์€ ์กฐ๊ฐ์ด ๋˜๊ธฐ๋„ ํ•˜๊ณ , ๋„๋กœ๊ฐ€ ๊ฑฐ๋Œ€ํ•œ ๋ฐฐ๊ฒฝ์ด ๋  ์ˆ˜๋„ ์žˆ๋‹ค. ๋„๋กœ ์œ„์˜ ์‚ฌ๋žŒ์„ ํ™”๋ คํ•œ ๋นŒ๋”ฉ ๊ผญ๋Œ€๊ธฐ์— ๋ฐฐ์น˜ํ•  ์ˆ˜๋„ ์žˆ๋‹ค. ์ด๋Ÿฌํ•œ ํ’์ž๋Š” ๋ฌด์ฒ™์ด๋‚˜ ์žฌ๋ฏธ์žˆ๋‹ค. ๋‹จ์ง€ ์ด๋Ÿฐ ๋‹จ์ˆœํ•œ ๋„๊ตฌ๋ฅผ ์‚ฌ์šฉํ•จ์œผ๋กœ์จ ๋‚˜๋Š” ๋„์‹œ๋ฅผ ๋ณด๋Š” ์ƒˆ๋กœ์šด ์‹œ๊ฐ์„ ์‰ฝ๊ฒŒ ๋งŒ๋“ค์–ด๋‚ผ ์ˆ˜ ์žˆ์œผ๋ฉฐ ๊ทธ๊ฒƒ์„ ๋ณด์—ฌ์ฃผ๊ณ  ์žˆ๋‹ค. Q. ๊ฐœ์ธ์ ์œผ๋กœ ๋Š๋ผ๋Š” ๋ฐฉ์ฝ•์€ ์–ด๋–ค ๊ณณ์ธ๊ฐ€? ๋‚˜๋Š” ๋ฐฉ์ฝ• ๋‚ด์—์„œ ํ‰๋ฒ”ํ•˜๊ฒŒ ์‚ด์•„๊ฐˆ ์ˆ˜ ์žˆ๋Š” ์‚ถ์˜ ๋งค๋ ฅ์— ๊ฐ์‚ฌํ•˜๊ณ  ์žˆ๋‹ค. ์•„๋งˆ ์‚ฌ๋žŒ๋“ค์€ ์ด๋Ÿฐ ๋„์‹œ์˜ ์ธก๋ฉด์„ ๊ฐ„๊ณผํ•˜๊ณ  ์žˆ์ง€ ์•Š์„๊นŒ ์‹ถ๋‹ค. ๋ฐฉ์ฝ•์˜ ํ‰๋ฒ”ํ•œ ์‚ถ์€ ์˜ˆ์ˆ ์˜ ๊ฐ€์น˜๋ฅผ ํŒ๋‹จํ•˜๋Š” ์ผ์ • ์ˆ˜์ค€์„ ๋งŒ์กฑ์‹œํ‚ค์ง€ ๋ชปํ•œ๋‹ค๊ณ  ์ƒ๊ฐํ•˜๊ธฐ ๋•Œ๋ฌธ์ผ ๊ฒŒ๋‹ค. ๋‚˜์—๊ฒŒ ํ‰๋ฒ”ํ•œ ์‚ถ์„ ์ด๋ˆ๋‹ค๋Š” ๊ฒƒ์€ ์˜ค๋Š˜๋‚  ๋ฐฉ์ฝ•์— ์กด์žฌํ•˜๋Š” ํ˜ผ๋ž€์Šค๋Ÿฝ๊ณ  ๋ณต์žกํ•œ ์‚ฌํšŒ ์ƒํ™ฉ ์†์—์„œ๋„ ์ƒ์กดํ•  ์ˆ˜ ์žˆ๋Š” ์‚ถ์˜ ๋ฐฉ๋ฒ•์„ ๋””์ž์ธ ํ•œ๋‹ค๋Š” ๊ฒƒ์„ ์˜๋ฏธํ•œ๋‹ค. ๋น„๋ก ์ด๊ฒƒ์ด ๋‹จ์ง€ ํ‰๋ฒ”ํ•œ ์‚ถ์˜ ์ธก๋ฉด์„ ๋ณด์—ฌ์ค€๋‹ค๊ณ  ํ• ์ง€๋ผ๋„, ๋‚˜๋Š” ์ด๊ฒƒ์„ ์˜ˆ์ˆ ์ด๋ผ๊ณ ์ƒ๊ฐํ•œ๋‹ค.โ€˜ํ‰๋ฒ”ํ•œ์‚ถโ€™์„์‚ฐ๋‹ค๋Š”์˜ˆ์ˆ ์€๊ทธ๊ฒƒ์ž์ฒด๋กœ๋…ํŠนํ•˜๋‹ค.์˜ˆ์ˆ ์ž‘ํ’ˆ๋“ค์„์ „์‹œํ•˜๋Š” ๊ฒƒ์€ ๋” ์ด์ƒ ๊ฐค๋Ÿฌ๋ฆฌ๋‚˜ ๋ฐ•๋ฌผ๊ด€์˜ ๋…์ ์  ์˜์—ญ์ด ์•„๋‹ˆ๋‹ค. ๊ทธ๊ฒƒ์€ ์šฐ๋ฆฌ ๋ชจ๋‘๊ฐ€ ๋“œ๋‚˜๋“œ๋Š” ๊ฑฐ๋ฆฌ์˜ ์ผ๋ถ€๋ถ„์ผ ์ˆ˜ ์žˆ๋‹ค. Q. ์ฝœ๋ผ์ฃผ๋ฅผ ์ด์šฉํ•œ ๋‹ค๋ฅธ ์ž‘ํ’ˆ ์‹œ๋ฆฌ์ฆˆ๋„ ์žˆ๋Š”๊ฐ€? ์‚ฌ์‹ค ์‚ฌ์ง„์„ ์ด์šฉํ•˜์ง€ ์•Š์€ ๋‘ ๊ฐœ์˜ ์ฝœ๋ผ์ฃผ ์ž‘ํ’ˆ์ด ์žˆ๋‹ค. ์ฒซ ๋ฒˆ์งธ ์ž‘ํ’ˆ์€ ์ „์ž ๋„๊ตฌ, ๊ธฐ๊ณ„, ๋‹ค๋ฅธ ๋„๊ตฌ๋“ค์˜ ์‚ฌ์šฉ์„ค๋ช…์„œ๋ฅผ ์ฝœ๋ผ์ฃผ์™€ ํ˜ผํ•ฉ๋œ ๋ฏธ๋””์–ด์— ์ด์šฉํ•œ ํ›„ ์™„์ „ํžˆ ์ƒˆ๋กœ์šด ๋ถ€์†ํ’ˆ์œผ๋กœ ๋ณ€ํ˜•ํ•œ ๊ฒƒ์ด๋‹ค. ๋‹ค๋ฅธ ์ž‘ํ’ˆ์€ ์ด์ „ ์‹œ๋Œ€์˜ ์˜ค๋ž˜๋œ ํฌ์Šคํ„ฐ๋ฅผ ์ด์šฉํ•œ ์ฝœ๋ผ์ฃผ๋กœ ํ˜„๋Œ€์  ๊ฐ๊ฐ๊ณผ ๋™์‹œ๋Œ€์˜ ์ƒˆ๋กœ์šด ๋ฉ”์‹œ์ง€๋ฅผ ๋‚˜ํƒ€๋‚ด๋ ค๊ณ  ํ–ˆ๋‹ค. Q. ๋‹ค์Œ ์ž‘ํ’ˆ์€ ์–ด๋–ค ๊ฒƒ์„ ๊ณ„ํšํ•˜๊ณ  ์žˆ๋Š”๊ฐ€? ์•„์ง์€ ํŠน๋ณ„ํžˆ ์ •ํ•ด์ง„ ๊ฒƒ์ด ์—†๋‹ค. ์ง€๊ธˆ์€ ๊ณ ๊ฐ€๊ตฌ์™€ ํŠน์ดํ•œ ์žฌ๋ฃŒ์— ํฅ๋ฏธ๊ฐ€ ์žˆ๋‹ค. ๋ฌด์–ธ๊ฐ€ ๋‚ ์นด๋กญ๊ณ  ํŽ‘ํ‚คํ•œ ๊ฒƒ๋“ค์„ ์ด๋Ÿฐ ์žฌ๋ฃŒ์— ๋”ํ•ด ์–ด๋–ค ๊ฒฐ๊ณผ๊ฐ€ ๋‚˜์˜ค๋Š”์ง€ ๋ณด๊ณ  ์‹ถ๋‹ค.

Q. ์–ด๋–ป๊ฒŒ ์‹œ์ž‘ํ•˜๊ฒŒ ๋˜์—ˆ๋‚˜? ์†”์งํžˆ ๋งํ•˜๋ฉด ๊ทธ๋ฆฌ ๊ธด ์ด์•ผ๊ธฐ๋„ ์•„๋‹ˆ๋‹ค. ํ•œ ์™ธ๊ตญ์ธ ํฌํ† ๊ทธ๋ž˜ํผ๊ฐ€ ์ž์‹ ์˜ ์ŠคํŠธ๋ฆฌํŠธ ์Šคํƒ€์ผ ์›น์‚ฌํŠธ์ดํŠธ์— ๋„ฃ๊ณ  ์‹ถ๋‹ค๊ณ  ์‚ฌ์ง„์„ ์ฐ๊ณ  ์‹ถ๋‹ค๊ณ  ํ–ˆ๋‹ค. ๊ทธ๋ฆฌ๊ณค ๊ทธ์˜ ์›น์‚ฌ์ดํŠธ๋ฅผ ๋ฐฉ๋ฌธํ–ˆ๋Š”๋ฐ, โ€˜ ์ง€๊ธˆ๊นŒ์ง€ ํƒœ๊ตญ์—” ์™œ ์ด๋Ÿฐ ๊ฒƒ๋“ค์ด ์—†์—ˆ์ง€? ํƒœ๊ตญ์ธ๋“ค๋„ ์ž์‹ ๋งŒ์˜ ์Šคํƒ€์ผ์ด ์žˆ๋Š”๋ฐโ€™๋ผ๊ณ  ๊ณ ๋ฏผํ–ˆ๋‹ค. ๊ทธ๋ฆฌ๊ณค ์‹คํ—˜๋‹จ๊ณ„์ธ ๋งค๊ฑฐ์ง„ ํ˜•ํƒœ๋ฅผ ์ฒ˜์Œ ๋งŒ๋“ค๊ธฐ ์‹œ์ž‘ํ–ˆ๊ณ , ํˆฌ์ž์ž๊ฐ€ ๋‚˜ํƒ€๋‚ฌ๋‹ค. ๊ทธ ๋‹น์‹œ ํƒœ๊ตญ์—๋Š” ์ด๋Ÿฐ ์Šคํƒ€์ผ์˜ ๋งค๊ฑฐ์ง„์ด ์ „ํ˜€ ์—†์—ˆ๋‹ค. ์ฒ˜์Œ์—” ์•„ํŠธ ๋””๋ ‰ํ„ฐ, ํฌํ†  ์—๋””ํ„ฐ, ํŒจ์…˜ ์—๋””ํ„ฐ, ๋‚˜, ๊ทธ๋ฆฌ๊ณ  ์–ด์‹œ์Šคํ„ดํŠธ ์ด๋ ‡๊ฒŒ 5๋ช… ํŒ€์ด์—ˆ๋‹ค. ์ตœ๋Œ€ํ•œ ๊ฐ„๋‹จํ•˜๊ฒŒ ์‹œ์ž‘ํ–ˆ๊ณ  ์ถœํŒํ•˜๊ธฐ ์ „์— ๋งค๊ฑฐ์ง„ ์Šคํƒ€์ผ์„ ์žก์œผ๋ ค๊ณ  6๊ฐœ์›”์„ ๋ณด๋ƒˆ๋‹ค. ๊ฐ€๋Šฅํ•œ ๋ฆฌ์Šคํฌ๋ฅผ ์ตœ์†Œํ™” ํ•˜๊ธฐ ์œ„ํ•ด์„œ ์šฐ๋ฆฌ๋Š” ์ด๊ฒƒ์ €๊ฒƒ ๋ชจ๋“  ๊ฒƒ์„ ๊ณ ๋ คํ•ด์•ผ ํ–ˆ๋‹ค. Q. ๋‹น์‹ ์€ ์ถœํŒ๊ณผ ํŽธ์ง‘์„ ๋™์‹œ์— ๋ชจ๋‘ ์ด๊ด„ํ•˜๊ณ  ์žˆ๋‹ค. ๋‘ ์—ญํ• ์€ ์–ด๋–ป๊ฒŒ ๋‹ค๋ฅธ๊ฐ€? ์‹œ์ž‘๋‹จ๊ณ„๋ถ€ํ„ฐ ์ปจ์…‰์„ ๋ถ„๋ช…ํžˆ ์žก์•˜๊ณ  ํŒ€ ์กฐํ•ฉ ๋•๋ถ„์— ํŽธ์ง‘์žฅ ์ผ์€ ๊ทธ๋ฆฌ ๋ณต์žกํ•˜์ง€ ์•Š์•˜๋‹ค. ํŒ€ ๋ชจ๋‘๊ฐ€ ๊ฐ™์€ ๋น„์ ผ๊ณผ ์ง์—… ์˜์‹์„ ๊ณต์œ ํ–ˆ๋‹ค. ๊ทธ๋ ‡๊ธฐ ๋•Œ๋ฌธ์—, ์ถœํŒ์‚ฌ ๊ณ„ํš์ด๋‚˜ ๊ด€๋ฆฌ ๋“ฑ ๋‹ค๋ฅธ ์ผ ํ•  ์‹œ๊ฐ„์ด ์ƒ๊ฒผ๋‹ค. ๋‚˜๋Š” ์šฐ๋ฆฌ๊ฐ€ ๋งค๊ฑฐ์ง„ ํ˜•ํƒœ๋ฟ๋งŒ ์•„๋‹ˆ๋ผ ์ผ์ข…์˜ ์กฐ์ง์œผ๋กœ ๋งŒ๋“ค๊ณ  ์‹ถ์—ˆ๋‹ค. ์ถœํŒ์‚ฌ๋Š” ํ™๋ณด์™€ ๊ด€๋ จํ•ด์„œ ํ™•์‹คํ•œ ๊ฒฝ์Ÿ ์ „๋žต์„ ๊ฐ€์ง€๊ณ  ์žˆ์–ด์•ผ ํ•œ๋‹ค. ํ˜„์žฌ Cheeze, Looker, Shopping Guide, ํฌ์ผ“ ๋ถ๊ณผ ์•ž์œผ๋กœ ์ง„ํ–‰ํ•  ์ฑ… ๋ช‡ ๊ถŒ์„ ๋ฐœํ–‰ํ•˜๊ณ  ์žˆ๋‹ค. ์ถœํŒ๊ณผ ํŽธ์ง‘์— ๊ด€๋ จ๋œ ์ผ์„ ์•ˆ ํ•  ๋•Œ๋Š” ์‡ผํ•‘, ์—ฌํ–‰, ํ–ฅ ์ข‹์€ ์ปคํ”ผ๋ฅผ ์ฐพ์œผ๋ฉฐ ์ง€๋‚ด๊ธฐ๋„ ํ•œ๋‹ค. Q. Cheeze๋งค๊ฑฐ์ง„์€ ํƒœ๊ตญ ์ŠคํŠธ๋ฆฌํŠธ๋งค๊ฑฐ์ง„ ์ค‘ ๋Œ€ํ‘œ์ ์ด๋‹ค. ๋‹ค๋ฅธ ์ŠคํŠธ๋ฆฌํŠธ ๋งค๊ฑฐ์ง„์— ๋น„ํ•ด์„œ Cheeze๋งค๊ฑฐ์ง„์˜ ์ปจํ…์ธ ๋‚˜ ํ˜•์‹์€ ์—ฌ์„ฑ์ ์ด๋‹ค. ์ฒ˜์Œ ์‹œ์ž‘ํ•  ๋•Œ, ์˜๋„ํ•ด๋‘” ๋ฐ”์˜€๋‚˜? ํƒœ๊ตญ์—์„œ ํŒจ์…˜์€ ์—ฌ์„ฑ์—๊ฒŒ์„œ ์‹œ์ž‘ํ•œ๋‹ค. ํƒœ๊ตญ ์–ด๋”œ ๊ฐ€๋“  ์ˆ˜๋งŽ์€ ์—ฌ์„ฑ๋“ค์ด ๊ท€์—ฝ๊ณ  ์˜ˆ์˜๊ฒŒ ์ฐจ๋ ค ์ž…์€ ๊ฒƒ์„ ๋ณผ ์ˆ˜ ์žˆ๋‹ค. ๊ทธ๋“ค์€ ๊พธ๋ฏธ๋Š” ๊ฒƒ์„ ์ข‹์•„ํ•˜๊ณ , ์‚ฌ๋žŒ๋“ค์€ ์ด๋Ÿฐ ์—ฌ์„ฑ๋“ค์„ ๋ณด๋Š” ๊ฒƒ์„ ์ข‹์•„ํ•œ๋‹ค. ์ตœ๊ทผ ๋ช‡ ๋…„ ์‚ฌ์ด์— ๋‚จ์„ฑ๋“ค ์—ญ์‹œ ํŒจ์…˜์— ์‹ ๊ฒฝ ์“ฐ๊ธฐ ์‹œ์ž‘ํ–ˆ๋‹ค. ๊ทธ๋“ค์ด ์–ด๋–ค ๋ฃฉ์„ ์ž…๋Š”์ง€ ๋ณด์—ฌ์ฃผ๊ณ  ์‹ถ์—ˆ๊ณ  ๊ทธ๋ž˜์„œ ๋‚จ์„ฑ์„ ์œ„ํ•œ Looker ๋งค๊ฑฐ์ง„์„ ์‹œ์ž‘ํ•˜๊ฒŒ ๋˜์—ˆ๋‹ค. Q. ํƒœ๊ตญ์— ๋‹ค๋ฅธ ๋ฌธํ™”๋‚˜ ์Šคํƒ€์ผ ๋งค๊ฑฐ์ง„์— ๋Œ€ํ•ด์„œ ์ด์•ผ๊ธฐํ•ด๋‹ฌ๋ผ. Koo-Sang Koo-Som. ํƒœ๊ตญ ์‚ฌํšŒ๊ตฌ์กฐ์— ๋Œ€ํ•ด์„œ ์ž˜ ์ดํ•ดํ•˜๊ณ  ์žˆ๋Š” ๋งค๊ฑฐ์ง„์ด๋‹ค. ํƒœ๊ตญ ์–ด๋Š ๊ฐ€์ •์ง‘์„ ๋ฐฉ๋ฌธํ•ด๋„ ์ฐพ์„ ์ˆ˜ ์žˆ๋‹ค. ๋ชจ๋‘๊ฐ€ ์ฝ๊ธฐ ๋•Œ๋ฌธ์ด๋‹ค. ๋‚ด ๋ถ€๋ชจ๋‹˜ ์—ญ์‹œ ๋‚ด๊ฐ€ ๋งŒ๋“  ๋งค๊ฑฐ์ง„๋ณด๋‹ค ๋” ์ž์ฃผ ์ฝ๋Š”๋‹ค. Q. Cheeze๋งค๊ฑฐ์ง„์€ ํ˜„์ง€์—์„œ ์‹œ์ž‘ํ•ด์„œ ๊ตญ์ œ์ ์ธ ์ฃผ๋ชฉ์„ ๋ฐ›๊ณ  ์žˆ๋‹ค. Cheeze ๋งค๊ฑฐ์ง„์˜ ์„ฑ๊ณต ๋น„๊ฒฐ์ด ์žˆ๋‹ค๋ฉด? ํƒ€์ด๋ฐ์ธ ๊ฒƒ ๊ฐ™๋‹ค. ์‹œ๊ธฐ๊ฐ€ ์ž˜ ๋งž์•˜๋‹ค. ์ถœํŒ์‚ฌ์™€ ๋…์ž๋“ค์ด ๊ฐ™์€ ๊ฒƒ์„ ์ƒ๊ฐํ•˜๊ณ  ์žˆ์—ˆ๋‹ค. ์ˆ˜์š”์™€ ๊ณต๊ธ‰์ด ์‚ฌํšŒ๋ฅผ ์›€์ง์ด๋Š” ํž˜์ด๋ผ๊ณ  ํ•˜์ง€ ์•Š๋Š”๊ฐ€. Q. Cheeze, Looker๋งค๊ฑฐ์ง„์—์„œ ์–ด๋–ค ๋ธŒ๋žœ๋“œ๋ฅผ ํ™๋ณด๊ธฐ์‚ฌ๋กœ ์‚ผ๋Š”๊ฐ€? ์ฃผ ํƒ€๊ฒŸ์€ ์šฐ๋ฆฌ ๋งค๊ฑฐ์ง„์˜ ๋ฐฉํ–ฅ์„ ์ดํ•ดํ•˜๋Š” ๋„์‹œ ์ŠคํŠธ๋ฆฌํŠธ ํŒจ์…˜์„ ์œ„ํ•œ ๋ธŒ๋žœ๋“œ์ด๋‹ค. ๋ธŒ๋žœ๋“œ ํด๋ผ์ด์–ธํŠธ์—๊ฒŒ ์šฐ๋ฆฌ ๋งค๊ฑฐ์ง„์€ ๋…์ž์™€ ์†Œํ†ตํ•  ์ˆ˜ ์žˆ๊ณ  ๊ทธ๋“ค์˜ ๋ธŒ๋žœ๋“œ์˜ ์ด๋ฏธ์ง€๋ฅผ ํ™•์‹คํžˆ ๋ณด์—ฌ์ค„ ์ˆ˜ ์žˆ์–ด์•ผ ํ•œ๋‹ค. ๊ทธ๋ ‡์ง€๋งŒ ๋งค๊ฑฐ์ง„ ๋ฐœํ–‰์— ์ž๊ธˆ๋„ ํ•„์š”ํ•˜๊ธฐ ๋•Œ๋ฌธ์— ๋‹ค๋ฅธ ์†Œ๋น„์ž ๊ด‘๊ณ ๋„ ๋งก๋Š”๋‹ค. ์–ด์ฉ” ๋•Œ๋Š” ์‚ฌ์—…์„ ์šฐ์„ ์ˆœ์œ„์— ๋‘ฌ์•ผ ํ•œ๋‹ค. Cheeze๋งค๊ฑฐ์ง„์—์„œ๋Š” ์ฃผ๋กœ ์œ ๋‹ˆ์„น์Šค ์ œํ’ˆ์„ ํ™๋ณดํ•˜๊ณ  Looker๋งค๊ฑฐ์ง„์€ ๋‚จ์„ฑ ํƒ€๊ฒŸ์ด๋‹ค. ์ด ์ ์— ๋Œ€ํ•ด์„œ๋Š” ํด๋ผ์ด์–ธํŠธ๋„ ํ™•์‹คํžˆ ์ž˜ ์•Œ๊ณ  ์žˆ๋‹ค. ํƒœ๊ตญ์—์„œ ํด๋ผ์ด์–ธํŠธ ๋ธŒ๋žœ๋“œ๋ฅผ ํ™๋ณดํ•˜๋Š” ๊ฒƒ์€ ์žฌ๋ฏธ์žˆ๋‹ค. Q. ๋‹น์‹ ์€ โ€œEDITORโ€™S TALKโ€ ํŽ˜์ด์ง€๋กœ ์œ ๋ช…ํ•˜๋‹ค. ์ด ํ•œ ์žฅ์˜ ํŽ˜์ด์ง€์—์„œ ๋ฌด์—‡์„ ๋งํ•˜๊ณ  ์‹ถ์€๊ฐ€? ๋ถˆ๊ต ๊ตํ›ˆ์— ๋‚˜์˜ค๋Š” ๊ฐ€๋ฅด์นจ์œผ๋กœ, ๋…์ž๋“ค์—๊ฒŒ ์‚ถ์˜ ๊ฐ„๋‹จํ•จ(the simple way of life)์„ ์•Œ๋ฆฌ๊ณ  ์‹ถ๋‹ค. ์•„์ฃผ ์ง„์ง€ํ•˜๊ฒŒ ์“ฐ๋ ค๊ณ  ํ•˜์ง€๋Š” ์•Š๋Š”๋‹ค. ์•„ํ‹ฐํด์€ ์ฆ๊ฒ๊ณ  ์žฌ๋ฏธ์žˆ์–ด์•ผ ํ•œ๋‹ค. Q. Cheeze๋งค๊ฑฐ์ง„์€ ํŒจ์…˜๋งค๊ฑฐ์ง„์ด์ง€๋งŒ, ์•„ํ‹ฐ์ŠคํŠธ์™€ ์ฝœ๋ผ๋ณด๋ ˆ์ด์…˜ ์ž‘์—…์„ ๋งŽ์ด ํ•œ๋‹ค. ์ด๋Ÿฐ ํ”„๋กœ์ ํŠธ๋ฅผ ํ•  ๋•Œ ์–ด๋–ป๊ฒŒ ์•„ํ‹ฐ์ŠคํŠธ๋ฅผ ์„ ์ •ํ•˜๋Š”๊ฐ€? ์šฐ๋ฆฌ์™€ ์ฝœ๋ผ๋ณด๋ ˆ์ด์…˜ ํ•˜๋Š” ์•„ํ‹ฐ์ŠคํŠธ๋“ค์€ ํŠน๋ณ„ํ•˜๋‹ค. ๊ทธ๋“ค์€ ์ž์‹ ๋งŒ์˜ ์Šคํƒ€์ผ์ด ์žˆ๊ณ  ์šฐ๋ฆฌ ํŒ€์—๊ฒŒ ์˜๊ฐ์„ ์ค€๋‹ค. ๋ฌผ๋ก  ์ œ์ผ ํฐ ์ด์œ ๋Š” ์šฐ๋ฆฌ๊ฐ€ ๊ทธ๋“ค์„ ์ข‹์•„ํ•˜๊ธฐ ๋•Œ๋ฌธ์ด๋‹ค. ์ผ๋Ÿฌ์ŠคํŠธ๋ ˆ์ด์…˜, ํฌํ† ๊ทธ๋ž˜ํ”ผ, ์Šคํƒ€์ผ๋ง ๋“ฑ ๋‹ค์–‘ํ•œ ์ฝœ๋ผ๋ณด๋ ˆ์ด์…˜์„ ํ•ด์™”๋‹ค. ์ด ๋ชจ๋“  ๊ฒƒ์„ ๋‚˜ ํ˜ผ์ž ํ•˜๋Š” ๊ฒƒ๋ณด๋‹ค ๋ชจ๋‘ ํ•จ๊ป˜ ๊ณต์œ ํ•˜๋ฉฐ ์ž‘์—…ํ•˜๊ณ  ์‹ถ๋‹ค. Q. Cheeze๋งค๊ฑฐ์ง„์ด ์ข‹์•„ํ•˜๋Š” ์•„ํ‹ฐ์ŠคํŠธ๊ฐ€ ์žˆ๋‹ค๋ฉด? Factory Studio & Art House์—์„œ ์ž‘์—…ํ•˜๋Š” Jeep์„ ์ข‹์•„ํ•œ๋‹ค. ๊ทธ๋…€๋Š” ์ž๊ธฐ๋งŒ์˜ ์ฒ ํ•™์ด ์žˆ๊ณ  ์žฌ๋Šฅ์ด ์žˆ๋‹ค. Q. ๋‹ค๋ฅธ ๋‚˜๋ผ์˜ ๋„์‹œ์™€ ๋น„๊ตํ•ด์„œ, ๋ฐฉ์ฝ• ์ŠคํŠธ๋ฆฌํŠธ ํŒจ์…˜์˜ ํŠน๋ณ„ํ•œ ์ ์ด ์žˆ๋Š”๊ฐ€? ๋ฐฉ์ฝ• ์ŠคํŠธ๋ฆฌํŠธ ์Šคํƒ€์ผ์€ ๋งŽ์€ ๊ณณ์—์„œ ์˜ํ–ฅ์„ ๋ฐ›์•˜๋‹ค. ๊ทธ๋ ‡์ง€๋งŒ ํƒœ๊ตญ ๋”์šด ๋‚ ์”จ์— ๋งž์ถฐ ์ž…๊ฒŒ ๋˜๋ฉด, โ€˜๋ฐฉ์ฝ• ์ŠคํŠธ๋ฆฌํŠธ ์Šคํƒ€์ผโ€™์ด ๋˜๋Š” ๊ฒƒ์ด๋‹ค. ํŒจ์…˜ ํŠธ๋ Œ๋“œ๊ฐ€ ๋‹ค์–‘ํ•˜๊ณ  ๋Š˜ ๋ณ€ํ•œ๋‹ค. ๋˜ ๋‹ค๋ฅธ ์ ์€ ํŒจ์…˜ ์‚ฐ์—…์ด ๋ฐœ๋‹ฌํ•˜๋Š”๋ฐ ์žˆ์–ด์„œ ์ค‘์š”ํ•œ ์—ญํ• ์„ ํ•˜๋Š” ์•„๋ฆ„๋‹ค์šด ์‚ฌ๋žŒ๋“ค์ด ๋งŽ๋‹ค.

030p

Jiradt Pornpanitphan Q. ๋‹น์‹ ์„ ์†Œ๊ฐœํ•ด๋‹ฌ๋ผ. ๋‚ด ์ด๋ฆ„์€ Jiradt Pornpanitphan์ด๊ณ , Cheeze, Looker ๋งค๊ฑฐ์ง„์˜ ํŽธ์ง‘์žฅ์„ ๋‹ด๋‹นํ•˜๊ณ  ์žˆ๋‹ค. ๋‚ด๊ฐ€ ์ข‹์•„ํ•˜๋Š” ๊ฒƒ์„ ์ง์—… ์‚ผ์•„ ํ•˜๊ฒŒ ๋œ ๊ฝค ์šด์ด ์ข‹์€ ์‚ฌ๋žŒ์ด๋‹ค. Q. Cheeze๋งค๊ฑฐ์ง„ ์ปจ์…‰์ด ์žˆ๋‹ค๋ฉด? ์ปจ์…‰์€ ์ „์„ธ๊ณ„ ๋‹ค๋ฅธ ์ŠคํŠธ๋ฆฌํŠธ ๋งค๊ฑฐ์ง„์ฒ˜๋Ÿผ ์ŠคํŠธ๋ฆฌํŠธ์ด๋‹ค. ์šฐ๋ฆฌ๋Š” ์‚ฌํšŒ ์ „๋ฐ˜์— ๊ฑธ์ณ ํŒจ์…˜๋ฌธํ™”๋ฅผ ๋‚จ๊ธฐ๊ณ  ์‹ถ๊ณ  ํŒจ์…˜์„ ์‚ฌ๋ž‘ํ•˜๋Š” ์ด๋“ค์—๊ฒŒ ์˜๊ฐ์„ ์ฃผ๊ณ  ์‹ถ๋‹ค. ๋˜, ํƒœ๊ตญ ๋…์ž๋“ค์„ ์œ„ํ•ด์„œ ํƒœ๊ตญ ํŒจ์…˜์„ ๋‹ด๊ณ  ์žˆ๋Š”๋ฐ ์ด ์—ญ์‹œ ์™ธ๊ตญ์ธ๋“ค์—๊ฒŒ ํƒœ๊ตญ ์Šคํƒ€์ผ์ด ์–ด๋–ป๊ฒŒ ๋ฐœ์ „ํ•˜๊ณ  ์žˆ๋Š”์ง€ ๋ณด์—ฌ์ค„ ๊ฒƒ์ด๋‹ค. Q. ์–ธ์ œ Cheeze๋งค๊ฑฐ์ง„์„ ์ฒ˜์Œ ์ถœ๊ฐ„ํ–ˆ๋‚˜? 2004๋…„ 5์›” ์ฒ˜์Œ ์ถœ๊ฐ„ํ–ˆ๋‹ค.

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Q. Looker๋งค๊ฑฐ์ง„์— ๋Œ€ํ•ด ์•Œ๊ณ  ์‹ถ๋‹ค. ์ข€ ๋” ์ž์„ธํžˆ ์ด์•ผ๊ธฐํ•ด๋‹ฌ๋ผ. Looker๋งค๊ฑฐ์ง„์€ ์„น์Šค, ๋Ÿญ์…”๋ฆฌ, ์ž๋™์ฐจ, ์ˆ˜ํŠธ, ํƒ€์ด๋‚˜ ๋น„์‹ผ ์‹œ๊ณ„์— ๊ด€์‹ฌ ์—†๋Š” ๋‚จ์„ฑ๋“ค์„ ์œ„ํ•œ ๊ฒƒ์ด๋‹ค. ์™œ๋ƒํ•˜๋ฉด ์ด๋ฏธ ๊ธฐ์กด ์‹œ์žฅ์—๋Š” ์ด๋Ÿฐ ์žก์ง€๋“ค์ด ์•„์ฃผ ๋งŽ๋‹ค. ์šฐ๋ฆฌ๋Š” ์˜ท์„ ํ†ตํ•ด ๊ทธ๋“ค์˜ ์˜ํ˜ผ์„ ๋ณด์—ฌ์ฃผ๊ณ  ์ด๋Ÿฐ ๋‚จ์„ฑ๋“ค์ด ๋‚˜ํƒ€๋‚  ๋•Œ๊ฐ€ ๋๋‹ค๊ณ  ์ƒ๊ฐํ–ˆ๋‹ค. Q. Looker๋งค๊ฑฐ์ง„์€ Cheeze๋งค๊ฑฐ์ง„ ์„ฑ๊ณต ํ›„ ๋ฐœํ–‰ ํ–ˆ๋‹ค. ๋‘ ๋งค๊ฑฐ์ง„์˜ ๊ฐ€์žฅ ํฐ ์ฐจ์ด์ ์€? Cheeze๋งค๊ฑฐ์ง„ ๋…์ž๋Š” ์ข€ ๋” ์–ด๋ฆฌ๋‹ค. 15~22์„ธ ์ •๋„์˜ ๋‚จ๋…€๋ชจ๋‘๊ฐ€ ๋…์ž์ธต์ด๋‹ค. Looker๋งค๊ฑฐ์ง„์€ 22~45์„ธ์˜ ๋‚จ์„ฑ ๋…์ž์ธต์„ ์œ„ํ•œ ๊ฒƒ์ด๋‹ค. ๋‹ค๋ฅธ ์ทจํ–ฅ์„ ๊ฐ€์ง„ ๋‘ ๊ทธ๋ฃน์ด ์žˆ๊ธฐ ๋•Œ๋ฌธ์—, ๋งค๊ฑฐ์ง„์˜ ์ปจํ…์ธ  ์—ญ์‹œ ๋‹ค๋ฅด๋‹ค. Cheeze๋Š” ๋‚จ๋…€ ๋ชจ๋‘ ์ฝ์„ ์ˆ˜ ์žˆ์ง€๋งŒ ์—ฌ์„ฑ์ธต์— ์กฐ๊ธˆ ๋” ๊ฐ€๊นŒ์šด ๋ฐ˜๋ฉด์—, Looker๋Š” ์˜ค์ง ๋‚จ์„ฑ๋งŒ์„ ์œ„ํ•œ ์žก์ง€๋กœ ์ฐจ๋ณ„ํ™”๋ฅผ ๋‘”๋‹ค. ํ•˜์ง€๋งŒ ๋งŽ์€ ์—ฌ์„ฑ๋“ค์ด ์žก์ง€์— ๋‚˜์˜ค๋Š” ๋‚จ์„ฑ๋“ค์„ ๋ณด๊ธฐ ์œ„ํ•ด ์—ฌ์„ฑ ๊ตฌ๋งค์ธต๋„ ๋งŽ๋‹ค(์›ƒ์Œ). Q. Cheeze๋งค๊ฑฐ์ง„ ์•„ํ‹ฐํด์€ ๋‹ค์–‘ํ•œ ๋ฐ˜๋ฉด, Looker๋งค๊ฑฐ์ง„์€ ์ŠคํŠธ๋ฆฌํŠธ ์Šค๋ƒ…์ƒท์ด๋‚˜ ์‹ ์ œํ’ˆ์— ๋Œ€ํ•œ ๋‚ด์šฉ์ด ๋งŽ๋‹ค. ์ด์œ ๊ฐ€ ์žˆ๋‚˜? ๋‚จ์„ฑ๋…์ž์ธต์€ ๋œ ๋ณต์žกํ•˜๊ธฐ ๋•Œ๋ฌธ์ด๋‹ค. ๊ทธ๋“ค์€ ๋„ˆ๋ฌด ๊ธธ๊ฑฐ๋‚˜ ์„œ์ˆ ์ ์ธ ๊ธ€ ์ฝ๋Š” ๊ฒƒ์„ ์ข‹์•„ํ•˜์ง€ ์•Š๋Š”๋‹ค. ์Šค์Šค๋กœ ํŒจ์…˜ํ”ผํ”Œ๊ณผ ์•„์ดํ…œ์„ ๋ณด๊ณ  ๋‚˜๋จธ์ง€ ์ด์•ผ๊ธฐ๋ฅผ ์ƒ์ƒํ•œ๋‹ค. Q. Looker๋งค๊ฑฐ์ง„ ํ”ฝํ† ๋ฆฌ์–ผ์€ ์—ฌ๋Š ๊ธฐ์กด์˜ ํƒœ๊ตญ ์žก์ง€์™€ ๋‹ฌ๋ฆฌ ๊ฐ•ํ•˜๊ณ  ๋šœ๋ ทํ•˜๋‹ค. ์–ด๋–ค ์Šคํƒ€์ผ์„ ์ถ”๊ตฌํ•˜๋Š”๊ฐ€? ๋‚˜๋Š” ๋‹ค์–‘ํ•œ ์Šคํƒ€์ผ์„ ์ข‹์•„ํ•œ๋‹ค. Looker์Šคํƒ€์ผ์ด ๋‚˜๋งŒ์˜ ์Šคํƒ€์ผ์ด ๋˜๊ธฐ๋„ ํ•œ๋‹ค. ํƒœ๊ตญ ์‚ฌ๋žŒ๋“ค


์—ญ์‹œ ์ด๋Ÿฐ ์ ์„ ์ข‹์•„ํ•˜๋Š” ๊ฒƒ ๊ฐ™๋‹ค. Q. ์–ด๋–ป๊ฒŒ LookerํŽ˜์ด์ง€๋ฅผ ์Šคํƒ€์ผ๋ฆฌ์‹œํ•œ ํŒจ์…˜ ํ”ผํ”Œ๋กœ ์ฑ„์šฐ๋‚˜? ๋ฐฉ์ฝ•์—๋Š” ์Šคํƒ€์ผ๋ฆฌ์‹œํ•œ ์‚ฌ๋žŒ๋“ค์ด ๋งŽ์•„์„œ, ์šฐ๋ฆฌ๊ฐ€ ํ•˜๋Š” ๊ฑด ๊ทธ์ € ๊ทธ๋“ค์ด ์ž์ฃผ ๊ฐ€๋Š” ๊ณณ์„ ์ฐพ๋Š” ๊ฒƒ์ด๋‹ค. ์šฐ๋ฆฌ๋Š” ํฌํ† ๊ทธ๋ž˜ํผ์—๊ฒŒ Looker ์Šคํƒ€์ผ์„ ์ดํ•ดํ•˜๊ฒŒ ์•Œ๋ ค์ฃผ๊ณ  ์šฐ๋ฆฌ ์ปจ์…‰์— ๋งž๋Š” ์‚ฌ๋žŒ๋“ค์„ ๊ณ ๋ฅธ๋‹ค. ๋ฌผ๋ก  ์ˆ˜๋งŽ์€ ํŒจ์…”๋„ˆ๋ธ”ํ•œ ๋‚จ์„ฑ๋“ค์—๊ฒŒ ์ œ์ผ ๊ณ ๋งˆ์›Œํ•ด์•ผ ํ•  ๊ฒƒ ๊ฐ™๋‹ค. Q. ๋‹น์‹ ์˜ ์Šคํƒœํ”„ ์ค‘์—๋Š” Cheeze์™€ Looker๋งค๊ฑฐ์ง„ ์–‘์ชฝ ๋ชจ๋‘์— ๊ธฐ๊ณ ํ•˜๋Š” ์Šคํƒญ๋„ ์žˆ๋”๋ผ. ๋™์‹œ์— ์™„์ „ํžˆ ๋‹ค๋ฅธ ๋งค๊ฑฐ์ง„์—์„œ ์ผํ•˜๋ฉด์„œ ์ƒ๊ธฐ๋Š” ์žฅ์ ์€ ๋ฌด์—‡์ธ๊ฐ€? ๋‘ ์žก์ง€ ์‚ฌ์ด์— ์ฐจ์ด์ ์ด ์žˆ์ง€๋งŒ, ๊ฒฐ๊ตญ์—” ์Šคํƒ€์ผ์— ๊ด€ํ•œ ๊ฒƒ์ด๋‹ค. ๋งˆ์น˜ ๋‘ ๊ฐ€์ง€ ์งˆ๋ฌธ์„ ๋˜์ง€๋Š” ๊ฒƒ์ด๋‹ค. ์งˆ๋ฌธ๋“ค์ด ์ „ํ˜€ ๋ชจํ˜ธํ•˜์ง€ ์•Š๊ฒŒ ์—ฌ๊ฒจ์„œ ๋‘ ๊ฐ€์ง€ ๋ชจ๋‘ ์ž˜ํ•˜๋Š” ์‚ฌ๋žŒ๋“ค๋„ ์žˆ๋‹ค. ์‚ฌ์‹ค ํ•ญ์ƒ ๋˜‘๊ฐ™์€ ๊ฒƒ๋“ค๋งŒ ํ•˜์ง€ ์•Š์•„๋„ ๋œ๋‹ค๋Š” ์ ์—์„œ ์ข‹์€ ๊ฒƒ ๊ฐ™๋‹ค. ๋‹ค์–‘ํ•œ ๋ถ„์•ผ์˜ ์ž‘์—…์„ ์ฆ๊ธธ ์ˆ˜ ์žˆ๋‹ค. Q. ๋™์‹œ์— ๋‘ ๋งค๊ฑฐ์ง„์„ ์šด์˜ํ•˜๋Š”๋ฐ ์žˆ์–ด์„œ ๊ฐ€์žฅ ์–ด๋ ค์šด ์ ์€? ์•„๋ฌด๋ž˜๋„ ๋‘ ๋งค๊ฑฐ์ง„ ๋ชจ๋‘ ์ž˜ ๋งŒ๋“ค๋ฉด์„œ ๋…์ž๋“ค์„ ์šฐ๋กฑํ•˜์ง€ ์•Š๋Š” ๊ฒƒ์ด๋‹ค. ๋‚˜๋Š” ๋‘ ๋งค๊ฑฐ์ง„์ด ๊ฐ๊ฐ์˜ ์ฐจ์ด์ ์„ ์ˆ˜์šฉํ•˜๋ฉด์„œ๋„ ๋งค๊ฑฐ์ง„๋งŒ์˜ ์•„์ด๋ดํ‹ฐํ‹ฐ์™€ ๊ฐ€์น˜๋ฅผ ๊ฐ€์ง€๊ฒŒ ํ•˜๊ณ  ์‹ถ๋‹ค. ์ด๊ฒƒ์ด ์‚ฌ๋žŒ๋“ค์ด ํฅ๋ฏธ๋กญ๊ฒŒ ์ฝ์„ ๋งŒํ•œ ๊ฒƒ์„ ๋งŒ๋“ค๊ณ  ์‹ถ์€ ์šฐ๋ฆฌ์˜ ์›๋™๋ ฅ์ด๋‹ค.

042p

Steven Pettifor Q. BAM(Bangkok Art Map)์„ ์„ค๋ช…ํ•ด๋‹ฌ๋ผ. BAM์€ ๋ฐฉ์ฝ• ๋„์‹ฌ์˜ ์ „์‹œ ๊ณต๊ฐ„์„ ์ •๋ฆฌํ•œ ์ง€๋„๋‹ค. ์˜ˆ์ˆ ์— ๊ด€๋ จ๋œ ๋ชจ๋“  ๊ฒƒ์„ ํ‘œ๊ธฐํ•˜๊ณ  ์žˆ๋‹ค. ๊ผญ, ๊ฐค๋Ÿฌ๋ฆฌ๊ฐ€ ์•„๋‹ˆ๋”๋ผ๋„ ์•„ํŠธ ์ „์‹œ๋ฅผ ํ•˜๋Š”๊ณต๊ฐ„์—์„œ๋ถ€ํ„ฐ์ž‘๊ฐ€์ŠคํŠœ๋””์˜ค,์‚ฌ๋ฆฝ๋ฏธ์ˆ  ํ•™๊ต, ํ”„๋ ˆ์ด๋ฐ ์„œ๋น„์Šค, ์˜ˆ์ˆ ํ’ˆ ์ˆ˜์ถœ์—…์ฒด, ํฌํ†  ์Šค์ฟจ, ๋ฏธ์ˆ  ์šฉํ’ˆ์  ๋“ฑ์„ ์†Œ๊ฐœํ•˜๊ณ  ์žˆ์œผ๋ฉฐ๊ทธ์•ˆ์—์•„์นด์ด๋ธŒ๊นŒ์ง€์†Œ๊ฐœํ•˜๊ณ ์žˆ๋‹ค. ๋ฐฉ์ฝ• ๋‚ด์— ์žˆ๋Š” ์˜ˆ์ˆ ์— ๊ด€ํ•œ ๊ฑฐ์˜ ๋ชจ๋“  ๊ฒƒ์„ ๋‹ด์•˜๋‹ค๊ณ  ํ•ด๋„ ๊ณผ์–ธ์ด ์•„๋‹ˆ๋‹ค. Q. BAM์€ ์–ด๋–ป๊ฒŒ ์‹œ์ž‘๋˜์—ˆ๋Š”๊ฐ€? 2007๋…„ ์ฒ˜์Œ ์‹œ์ž‘ํ–ˆ์„ ๋•Œ๋งŒํ•ด๋„ ์ฃผ๋ณ€์— ๊ทธ๋Ÿด๋งŒํ•œ ์•„ํŠธ ๋งต์ด ์—†์—ˆ๋‹ค. ๋น„์Šทํ•œ ์•ˆ๋‚ด ์ฑ…์ž๊ฐ€ ํ•˜๋‚˜ ์žˆ์—ˆ๋Š”๋ฐ ๋น„์ •๊ธฐ์ ์œผ๋กœ ๋ฐœํ–‰๋๊ณ  ๋น„๊ณต์‹์ ์ด์—ˆ๋‹ค. ๋‹ค๋ฅธ ๋„์‹œ๋กœ ์—ฌํ–‰์„ ๋‹ค๋…€๋ณด๋‹ˆ ์ด๋Ÿฐ ์ข…๋ฅ˜์˜ ์ฑ…์ž๊ฐ€ ์–ผ๋งˆ๋‚˜ ๋„์›€์ด ๋˜๋Š” ์ง€๋ฅผ ์•Œ๊ฒŒ ๋๋‹ค. ์‚ฌ๋žŒ๋“ค์€ ์žก์ง€๋“ค์„ ์—ฌ๋Ÿฌ ๊ถŒ ์‚ฌ์„œ ๋ชจ๋“  ์ •๋ณด๋ฅผ ์Šค์Šค๋กœ ๋ชจ์œผ๋Š” ๊ฒƒ๋ณด๋‹ค ํŽธ๋ฆฌํ•˜๊ณ  ๊ฐ„๋‹จํ•˜๊ณ  ๋˜ ์ €๋ ดํ•˜๊ฒŒ ์ •๋ณด๋ฅผ ์–ป๊ณ  ์‹ถ์–ดํ•œ๋‹ค. Q. 2๊ฐœ ๊ตญ์–ด๋กœ ์ถœํŒํ•œ๋‹ค. ์ผ์ด ๋งŽ์ง€ ์•Š๋‚˜. ๋งŽ๋‹ค. ๊ทธ๋Ÿฐ๋ฐ ์šฐ๋ฆฌ์˜ ๋…์ž๋Š” ์—ฌํ–‰์ž๋“ค๋งŒ์ด ์•„๋‹ˆ๋‹ค. ์‚ฌ์‹ค ์šฐ๋ฆฌ ๋…์ž๋“ค์€ ๋Œ€๋ถ€๋ถ„ ๋ฐฉ์ฝ•์— ์‚ฌ๋Š” ์‚ฌ๋žŒ๋“ค์ด๋‹ค. ๋ฐฉ์ฝ• ์‚ฌ๋Š” ์‚ฌ๋žŒ๋“ค์ด BAM์„ ์œ ์šฉํ•˜๊ฒŒ ์ƒ๊ฐํ•ด์ฃผ๋Š” ๊ฒƒ์ด ์ข‹๋‹ค. Q. BAM์€ ๊ณต์งœ๋‹ค. ์–ด๋–ป๊ฒŒ ์ž๊ธˆ์„ ๋งˆ๋ จํ•˜๋Š”๊ฐ€? ์ฒซ ๋‘ ํ•ด ๋™์•ˆ์€ ๋™์•ˆ์€ ๋ถ€๋™์‚ฐ ๊ฐœ๋ฐœ์—…์ž๊ฐ€ ํ›„์›์„ ํ•ด์คฌ๋‹ค. 2009๋…„์— ๊ฒฝ๊ธฐ๊ฐ€ ์–ด๋ ค์›Œ์ง€๋‹ˆ ์ž๊ธˆ์ค„์„๋–ผ๋”๋ผ.๊ทธ๋ž˜์„œ๊ฐค๋Ÿฌ๋ฆฌ์—๊ธฐ๋ถ€ํ•ด๋‹ฌ๋ผ์š”์ฒญํ–ˆ๋‹ค.์‚ฌ์‹ค,๋ฐฉ์ฝ•์—์žˆ๋Š”๋Œ€๋ถ€๋ถ„์˜๊ฐค๋Ÿฌ๋ฆฌ๋“ค์€ ์ด์œค์„ ์ ๊ฒŒ ๋‚จ๊ธฐ๋ฉฐ ์˜์—…์„ ํ•œ๋‹ค. ๊ทธ๋Ÿฐ๋ฐ๋„ BAM์„ ์ง€์›ํ•ด์ฃผ๊ฒ ๋‹ค๋Š” ๊ฐค๋Ÿฌ๋ฆฌ๊ฐ€ 20๊ฐœ ์ •๋„ ์žˆ์—ˆ๋‹ค. ์ตœ๊ทผ์— ์šฐ๋ฆฌ๋Š” ๊ธฐ์—… ์Šคํฐ์„œ์™€ ๊ณ„์•ฝํ–ˆ๋‹ค. ๋งค์šฐ ์ข‹์€ ์ƒํ™ฉ์ด์ง€๋งŒ BAM์ด ํ™œ์„ฑํ™” ๋˜๊ธฐ ์œ„ํ•ด์„œ๋Š” ๋” ๋งŽ์€ ์Šคํฐ์„œ ์‰ฝ์ด ํ•„์š”ํ•˜๋‹ค. Q. ๋งค๋‹ฌ ์—„์„ ๋œ ์ „์‹œํšŒ๋ฅผ ์†Œ๊ฐœํ•œ๋‹ค. ๋ฝ‘๋Š” ๊ธฐ์ค€์— ๋Œ€ํ•ด ์•Œ๋ ค๋‹ฌ๋ผ. ์ด๋‹ฌ์˜ ์ตœ๊ณ ๋ผ๊ณ  ์ƒ๊ฐํ•˜๋Š” ์ „์‹œ๋ฅผ ํƒํ•œ๋‹ค. ๊ณ ๋ คํ•  ๊ฒƒ์ด ๋งŽ์€๋ฐ ์ด๋ฅผํ…Œ๋ฉด ์Šคํฐ์„œ์™€ ํƒœ๊ตญ ์ถœ์‹  ์•„ํ‹ฐ์ŠคํŠธ์™€ํ•ด์™ธํŒŒ์•„ํ‹ฐ์ŠคํŠธ๋น„์œจ๋“ฑ์„์—ผ๋‘์—๋‘”๋‹ค.๊ฐ€๊ธ‰์ ์ด๋ฉด๋‹ค์–‘ํ•˜๊ณ ํญ๋„“๊ฒŒ๋‹ค๋ฃจ๋ ค๊ณ ํ•œ๋‹ค. BAM์€ ์˜ˆ์ˆ  ๋ถ„์•ผ์˜ ์ „๋ฌธ๊ฐ€๋“ค๋ฟ๋งŒ ์•„๋‹ˆ๋ผ ๋‹ค์–‘ํ•œ ์‚ฌ๋žŒ๋“ค์„ ์œ„ํ•œ ๊ฒƒ์ด๊ธฐ ๋•Œ๋ฌธ์ด๋‹ค. Q.๋‹น์‹ ์ด ํ•˜๋Š” ๋ชจ๋“  ํ™œ๋™์ด ์˜ˆ์ˆ ๊ณผ ๊ด€๋ จ๋œ ๊ฒƒ ๊ฐ™๋‹ค. ๊ทธ๋ ‡๋‹ค. ์—ฌ๋Ÿฌ ํ•ด์™ธ ์‹ ๋ฌธ์ด๋‚˜ ์ง€์—ญ ์‹ ๋ฌธ์— ๊ธฐ๊ณ ํ•œ๋‹ค. 1999๋…„๋ถ€ํ„ฐ ๊ฒฉ์›”๋กœ ํ•ด์™ธ์— ์ถœํŒ๋˜๋Š” โ€˜Asian Art Newsโ€™์™€ ๋ถ„๊ธฐ๋ณ„๋กœ ์ถœํŒ๋˜๋Š” โ€˜Word Sculpture Newsโ€™์˜ ํƒœ๊ตญ ํŽธ์ง‘ ์—๋””ํ„ฐ๋กœ ์ผํ•˜๊ณ  ์žˆ๋‹ค. 2004์—๋Š” ํƒœ๊ตญ ์˜ˆ์ˆ ์— ๊ด€ํ•œ ์˜๋ฌธ๋ณธ โ€˜Flavours-Thai Contemporary Artโ€™๋„ ์ผ๋‹ค. ์ง‘ํ•„ ํ™œ๋™ ์™ธ์—๋„ ์—ฌ๋Ÿฌ ์ „์‹œ ํ๋ ˆ์ดํŒ…์— ์ฐธ์—ฌํ–ˆ๋‹ค. 54th Venice Biennale์—์„œ ์—ด๋ฆฐ Thai Pavilion, Mumbai ์— ์œ„์น˜ํ•œ Sakshi Gallery์—์„œ ์—ด๋ ธ๋˜ Navin Rawanchaikul์˜ โ€˜Places of Rebirthโ€™ ์ „์‹œ, ๋ฐฉ์ฝ•์˜ Number 1 Gallery์—์„œ ์—ด๋ ธ๋˜ โ€˜Charles LaBelleโ€™ ๊ทธ๋ฆฌ๊ณ  Charinthorn Rachurutchata์˜ โ€˜Otakuโ€™ ์—ญ์‹œ ์ฐธ์—ฌํ–ˆ๋‹ค. Q. ๋‹น์‹ ์€ ํŽธ์ง‘์ž์ž„๊ณผ ๋™์‹œ์— ์‚ฌ์ง„๊ฐ€๋กœ๋„ ์™•์„ฑํ•˜๊ฒŒ ํ™œ๋™ํ•˜๊ณ  ์žˆ๋‹ค. ๊ทธ ๋งŽ์€ ์ผ์„ ํ•˜๋ฉด์„œ ํ˜ผ์ž์„œ ์˜ˆ์ˆ  ํ•  ์‹œ๊ฐ„์€ ์–ด๋–ป๊ฒŒ ๋งŒ๋“œ๋‚˜? ๋‚˜๋Š” ์ผ์ƒ ์†์˜ ๋น„์ผ์ƒ์ ์ธ ์žฅ๋ฉด๋“ค์„ ์ฐ๋Š” ๊ฒƒ์„ ์ข‹์•„ํ•˜๊ธฐ ๋•Œ๋ฌธ์— ๋‚ด ์‚ฌ์ง„๋“ค์€ ์ข€ ๋…ํŠนํ•œ ์‹œ๊ฐ์—์„œ ๋ฐ”๋ผ ๋ณธ ํƒœ๊ตญ์„ ๋ณด์—ฌ์ค€๋‹ค. ์ฐฐ๋‚˜์˜ ์ˆœ๊ฐ„๋“ค์— ๋Œ€ํ•œ ์‚ฌ์ง„๋“ค์ด๋‹ค ๋ณด๋‹ˆ ํŠน๋ณ„ํ•จ์„ ๋ฐœ๊ฒฌํ•˜๋ ค๋ฉด ์ ์–ด๋„ ๋‘ ๋ฒˆ ์ •๋„๋Š” ๋ด์•ผ ํ•œ๋‹ค. ๋‚˜์˜ ์ž‘์—…์€ ๋‹ค๋ฅธ ์ž‘ํ’ˆ๋“ค์€ ๋ณด๋‹ค ์ถ”์ƒ์ ์ด๊ณ  ์กฐ์ง์ ์ด๋‹ค. 1998 ๋…„ About Cafe์—์„œ โ€˜Creaturesโ€™๋ผ๋Š” ์ด๋ฆ„์˜ ์ „์‹œํšŒ๋ฅผ ์—ด์—ˆ๊ณ , 1999๋…„์— โ€˜How much is that doggyโ€ฆ..โ€™๋ผ๋Š” ์ด๋ฆ„์œผ๋กœ ๋…ธ๋งˆ๋”• ์ธํ„ฐ๋ ‰ํ‹ฐ๋ธŒ ์ „์‹œํšŒ๋„ ์—ด์—ˆ๋‹ค. ๊ทธ ์ „์‹œ์—์„œ Judy Freya Sibayan ์ด๋ผ๋Š” ํ•„๋ฆฌํ•€ ์•„ํ‹ฐ์ŠคํŠธ์˜ ๋ชธ์— ๊ทธ๋…€์˜ ์•„์‹œ์•„ ๋ฐ ์œ ๋Ÿฝ ์—ฌํ–‰๊ธฐ๋ฅผ ํ‘œํ˜„ํ–ˆ๋‹ค(์ด ์ „์‹œ๋กœ ๋Ÿฐ๋˜์˜ Hayward Gallery์—์„œ ์—ด๋ ธ๋˜ โ€˜Cities on the Moveโ€™์˜ ๊ฐœ๋ง‰์‹์—์„œ๋„ ์ฐธ์—ฌํ–ˆ๋‹ค). ์ด ๋ฐ–์—๋„ 2003 ๋…„์—๋Š” Pridi Banomyong Institute์—์„œ Womanifesto๋ฅผ, 2008~ 2009๋…„ ์‚ฌ์ด์—๋Š” Bangkok Art & Culture Centre์—์„œ ๊ทธ๋ฃน์‡ผ โ€˜Krungthep 226โ€™๋ฅผ, ๊ทธ๋ฆฌ๊ณ  ๋˜ 2009๋…„ ๋ฐฉ์ฝ•์˜ Whitespace Gallery ์—์„œ โ€˜Triggerโ€™๋ผ๋Š” ๊ทธ๋ฃน ์ „์‹œ๋ฅผ ์—ด์—ˆ๋‹ค. ๋ฐฉ์ฝ• ์‹œ๋‚ด ์—ฌ๋Ÿฌ ๊ฐค๋Ÿฌ๋ฆฌ์—์„œ ์—ด๋ฆฌ๋Š” โ€˜See Saw Seenโ€™๋ผ๋Š” ๊ทธ๋ฃน ์ „์‹œํšŒ์—๋„ ์ •๊ธฐ์ ์œผ๋กœ ์ฐธ์—ฌํ•œ๋‹ค.

์ฐจ์ด์ ์„ ์ˆ˜์šฉํ•˜๋ฉด์„œ๋„ ๋งค๊ฑฐ์ง„๋งŒ์˜ ์•„์ด๋ดํ‹ฐํ‹ฐ์™€ ๊ฐ€์น˜๋ฅผ ๊ฐ€์ง€๊ฒŒ ํ•˜๊ณ  ์‹ถ๋‹ค. ์ด๊ฒƒ์ด ์‚ฌ๋žŒ๋“ค์ด ํฅ๋ฏธ๋กญ๊ฒŒ ์ฝ์„ ๋งŒํ•œ ๊ฒƒ์„ ๋งŒ๋“ค๊ณ  ์‹ถ์€ ์šฐ๋ฆฌ์˜ ์›๋™๋ ฅ์ด๋‹ค.

047p

Young Thai Female Artists Pare-Nadda

Q. ์ž์‹ ์— ๋Œ€ํ•ด ์†Œ๊ฐœํ•ด ๋‹ฌ๋ผ. ์ €๋Š” ํ™”๊ฐ€, ์ž‘๊ฐ€, ๊ฐ€์ˆ˜, ์Œ์•…๊ฐ€, ๊ทธ๋ฆฌ๊ณ  ์˜ˆ์ˆ  ํ…”๋ ˆ๋น„์ „ ํ”„๋กœ๊ทธ๋žจ ํ˜ธ์ŠคํŠธ์ด์ž, ์˜ˆ์ˆ  ์ด๋ก  ์„์‚ฌ ๊ณผ์ •์„ ๋ฐŸ๊ณ  ์žˆ๋Š” ํ•™์ƒ์ž…๋‹ˆ๋‹ค. ์ €๋Š” ์ธ์ƒ์—๋Š” ์—ฌ๋Ÿฌ ๊ด€์ ์ด ์žˆ๋‹ค๊ณ  ์ƒ๊ฐํ•˜๊ธฐ ๋•Œ๋ฌธ์— ๋‹ค์–‘ํ•œ ์ผ์„ ํ•ฉ๋‹ˆ๋‹ค. ์˜ˆ์ˆ ์€ ์šฐ๋ฆฌ ์ผ์ƒ ์ƒํ™œ์˜ ๋ผˆ๋Œ€์ด๊ธฐ ๋•Œ๋ฌธ์— ๋ชจ๋“  ๊ฒƒ๊ณผ ์—ฐ๊ฒฐ๋  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค. ์ €๋Š” ์ œ ์‚ถ์„ ์ง€๋ฃจํ•˜๊ฒŒ ๋งŒ๋“ค๊ณ  ์‹ถ์ง€ ์•Š์Šต๋‹ˆ๋‹ค. ์ €๋Š” ์‚ฌ๋žŒ์ด๋ผ๋ฉด ๋ˆ„๊ตฌ๋‚˜ ์ž์‹ ๋“ค์ด ์›ํ•˜๋Š” ๊ทธ ์–ด๋–ค ๊ฒƒ์ด๋“  ํ•  ์ˆ˜ ์žˆ๋‹ค๊ณ  ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค. ์ €๋Š” ์•„์ด๋””์–ด๊ฐ€ ๋– ์˜ค๋ฅด๋ฉด ์ผ๋‹จ ์‹œ์ž‘์„ ํ•ฉ๋‹ˆ๋‹ค. ์‹คํ—˜์€ ์ €๋กœ ํ•˜์—ฌ๊ธˆ๊ณ„์†ํ•ด์„œ์žฌ์ฐฝ์กฐํ•˜๊ฒŒ๋งŒ๋“ค์ฃ .์ด๊ฒƒ์ด ์ œ ์‚ถ์˜ ์›๋™๋ ฅ์ด๋ž๋‹ˆ๋‹ค. Q. ๋‹น์‹ ์€ ์‚ฝํ™”๊ฐ€๋กœ ์ž˜ ์•Œ๋ ค์ ธ ์žˆ๋‹ค. ์™œ ์‚ฝํ™”๋ฅผ ์ž‘ํ’ˆ์˜ ํ‘œํ˜„ ํ˜•ํƒœ๋กœ ์„ ํƒํ–ˆ๋‚˜? ์ €๋Š” ์ธ๊ฐ„์˜ ์‹ฌ๋ฆฌ์— ๋งค์šฐ ๊ด€์‹ฌ์ด ์žˆ๊ณ  ์ œ๊ฐ€ ํ•  ์ˆ˜ ์žˆ๋Š” ์ตœ๋Œ€ํ•œ์œผ๋กœ ์Šค์Šค๋กœ๋ฅผ ๋ถ„์„ํ•ด ์™”์œผ๋ฉฐ ์ œ๊ฐ€ ๋ฐœ๊ฒฌํ•œ ๊ฒƒ๋“ค์„ ์‹œํ—˜ํ•ด์™”์Šต๋‹ˆ๋‹ค. ์ €๋Š” ์˜ˆ์ˆ ์„ ์ €์™€ ๋‹ค๋ฅธ ์‚ฌ๋žŒ๋“ค ์‚ฌ์ด์˜ ์ปค๋ฎค๋‹ˆ์ผ€์ด์…˜ ์ˆ˜๋‹จ์œผ๋กœ ์‚ฌ์šฉํ•˜๋ ค๊ณ  ๋…ธ๋ ฅํ•˜๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค. ์ €๋Š” ํ•œ๊ฐ€์ง€์˜ ๊ธฐ์ˆ ์—๋งŒ ์Šค์Šค๋กœ๋ฅผ ์ œํ•œ์‹œํ‚ค์ง€ ์•Š๊ณ  ๊ฐ ์ƒํ™ฉ๋งˆ๋‹ค ์ตœ์„ ์˜ ์ˆ˜๋‹จ์„ ์‚ฌ์šฉํ•˜๋Š” ๊ฒƒ์„ ๋” ์ข‹์•„ํ•ฉ๋‹ˆ๋‹ค. ํ•˜์ง€๋งŒ ํšŒํ™”๋Š” ์ฃผ์–ด์ง„ ํฌ๋งท ์•ˆ์—์„œ ๊ด‘๋ฒ”์œ„ํ•œ ๊ฐ์ •๋“ค์„ ํ‘œํ˜„ํ•  ์ˆ˜ ์žˆ์œผ๋ฏ€๋กœ ์ œ์ผ ์ข‹์•„ํ•˜๋Š” ์žฅ๋ฅด ์ค‘ ํ•˜๋‚˜์ž…๋‹ˆ๋‹ค. Q. ๋‹น์‹ ์€ ํ•ดํ”ผ๋ฐด๋“œ์˜ ๋ฉค๋ฒ„์ด๊ธฐ๋„ ํ•˜๋‹ค. ํ•ดํ”ผ๋ฐด๋“œ์— ๋Œ€ํ•ด ์„ค๋ช… ์ข€ ํ•ด ๋‹ฌ๋ผ. ํ•ดํ”ผ๋ฐด๋“œ๋Š” 2009๋…„ 10์›”์— ์˜ˆ์ˆ ๊ณผ ์‚ถ์— ๋Œ€ํ•ด ๋ฐฐ์šธ ์ˆ˜ ์žˆ๋„๋ก ๋งŒ๋“  ๋ฐด๋“œ์ž…๋‹ˆ๋‹ค. ํ•ดํ”ผ๋ฐด๋“œ์—๋Š” ๋„ค ๋ช…์˜ ๋ฉค๋ฒ„๋“ค์ด ์žˆ๋Š”๋ฐ Lolay , Giameee , Missyo, ๊ทธ๋ฆฌ๊ณ  ์ €์ž…๋‹ˆ๋‹ค. Lolay ๋Š” ๊ธฐํƒ€์™€ ๋ฒ ์ด์Šค๋ฅผ ์น  ์ˆ˜ ์žˆ๋Š” ์œ ์ผํ•œ ๋ฉค๋ฒ„์ž…๋‹ˆ๋‹ค. ์ €๋Š” ํ”ผ์•„๋…ธ๋ฅผ ์น  ์ˆ˜ ์žˆ์ง€๋งŒ, ์šฐ๋ฆฌ๋Š” ๊ธฐํƒ€, ๋ฒ ์ด์Šค, ๋“œ๋Ÿผ์ด ์žˆ๋Š” 3 ์ค‘์ฃผ ๋ฐด๋“œ๋ฅผ ๋งŒ๋“ค๊ณ  ์‹ถ์—ˆ์Šต๋‹ˆ๋‹ค. ์ด์ œ ์šฐ๋ฆฌ์—๊ฒŒ๋Š” ์Šค๋ฌด ๊ฐœ ์ด์ƒ์˜ ๊ณก์ด ์žˆ๊ณ  ์‡ผ๋„ ๋งŽ์ด ํ–ˆ์Šต๋‹ˆ๋‹ค Q. ๋‹น์‹ ์—๊ฒŒ๋Š” ์Œ์•…๊ณผ ์ผ๋Ÿฌ์ŠคํŠธ ์ค‘ ์–ด๋–ค ๊ฒƒ์ด ๋” ์ค‘์š”ํ•œ๊ฐ€? ์Œ์•…๊ณผ ์ผ๋Ÿฌ์ŠคํŠธ๋Š” ๊ฐ™์€ ๋ฟŒ๋ฆฌ์—์„œ ๋‚˜์™”์Šต๋‹ˆ๋‹ค. ๊ทธ๋“ค์€ ํ•ญ์ƒ ์„œ๋กœ์—๊ฒŒ ์˜๊ฐ์„ ์ค„ ๊ฒ๋‹ˆ๋‹ค. ์˜ˆ์ˆ ์€ ๋งค์šฐ ๋‹ค์–‘ํ•ด์š”. ์Œ์•…์€ ์˜ˆ์ˆ ์˜ ํฐ ๋ถ€๋ถ„ ์ค‘ ํ•˜๋‚˜์ฃ . ์ €์—๊ฒŒ ์žˆ์–ด ์Œ์•…์ด๋ž€ ๋งˆ๋ฒ•์ ์ธ ํž˜ ๋•Œ๋ฌธ์— ๊ทธ๋ฆผ๋ณด๋‹ค ๋” ๊ด€๊ฐ๊ณผ ๋” ์†Œํ†ตํ•  ์ˆ˜ ์žˆ๋Š” ์ˆ˜๋‹จ์ž…๋‹ˆ๋‹ค. ๋ณผ ์ˆ˜๋Š” ์—†์ง€๋งŒ ๋Š๋‚„ ์ˆ˜๋Š” ์žˆ์ฃ . ๊ทธ๋ฆผ์—์„œ๋Š” ๋ชจ๋“  ์‚ฌ๋žŒ์ด ๊ฐ™์€ ์ƒ‰๊น”์˜ ๊ฐ™์€ ์Œ์˜์„ ๋ด…๋‹ˆ๋‹ค. ํ•˜์ง€๋งŒ ์Œ์•…์—์„œ๋Š” ๊ฐ์ž ์ž์‹ ๋งŒ์˜ ์Œ์˜์„ ๋ณด๊ฒŒ ๋ฉ๋‹ˆ๋‹ค. ์ €๋งŒ์˜ ์Œ์•…์„ ์—ฐ์ฃผํ•  ๋•Œ๋ฉด, ๋งˆ์น˜ ๋‹ค๋ฅธ ์–ธ์–ด๋กœ ์ด์•ผ๊ธฐํ•˜๊ณ  ์žˆ๋Š” ๊ฒƒ ๊ฐ™์€ ๊ธฐ๋ถ„์ด ๋“ค๊ธฐ๋„ ํ•ฉ๋‹ˆ๋‹ค.. Q. ๋‹น์‹ ์—๊ฒŒ ์ผ๋Ÿฌ์ŠคํŠธ๋ž€ ๋ฌด์—‡์ธ๊ฐ€? ๊ฑฐ์šธ์ž…๋‹ˆ๋‹ค. ์ €์˜ ์‚ฝํ™”๋Š” ์ œ ๋งˆ์Œ ์† ๊นŠ์€ ๊ณณ์— ๋ฌด์—‡์ด ์žˆ๋Š”์ง€๋ฅผ ๋ณด์—ฌ์ค๋‹ˆ๋‹ค. ์„ ๊ณผ ์ƒ‰๋“ค์€ ์ œ ๊ฐ์ •์„ ์ˆจ๊ธธ ์ˆ˜ ์—†๋‹ต๋‹ˆ๋‹ค. ์ œ๊ฐ€ ์–ด๋ ธ์„ ๋•Œ๋Š” ์„ ๊ณผ ์ƒ‰๋“ค์ด ๋งค์šฐ ํ™”๋ คํ–ˆ๊ณ  ์ž์œ ๋กœ์› ์Šต๋‹ˆ๋‹ค. ํ•˜์ง€๋งŒ ์„ฑ์žฅํ•˜๋ฉด์„œ ์ ์  ์ธ๊ฐ„์ด๋ž€ ๋งค์šฐ ๋ณต์žกํ•œ ์กด์žฌ๋ผ๋Š” ์‚ฌ์‹ค์„ ์•Œ๊ฒŒ ๋˜์—ˆ์Šต๋‹ˆ๋‹ค. ์ธ๊ฐ„์—๊ฒŒ๋Š” ๊ฐ๊ฐ์ด ์žˆ์Šต๋‹ˆ๋‹ค. ๊ฐ๊ฐ์€ ๋‹ค์–‘ํ•œ ๊ฐ์ •๋“ค์„ ๋งŒ๋“ค์–ด ๋ƒ…๋‹ˆ๋‹ค. ๊ทธ๋•Œ ์ €๋Š” ๋” ์ด์ƒ ์ƒ‰์„ ์ด์šฉํ•˜์ง€ ์•Š๊ณ  ์‹ถ๋‹ค๊ณ  ๊ฒฐ์‹ฌํ–ˆ์Šต๋‹ˆ๋‹ค. ์ €๋Š” ๊ฒ€์€์ƒ‰ ์•„ํฌ๋ฆด๋กœ ๊ทธ๋ฆฐ ์„ ์„ ์•„์ฃผ ์ข‹์•„ํ•ฉ๋‹ˆ๋‹ค. ์ €๋Š” ๋ณต์žกํ•œ ๊ทธ๋ฆผ์€ ๊ทธ๋ฆฌ๊ณ  ์‹ถ์ง€ ์•Š์Šต๋‹ˆ๋‹ค. ์ €๋Š” ๊ทธ๋ฆผ ์†์— ๊ฐ์ •์„ ๋‹ด์•„ ๋‘๊ณ  ์‹ถ์Šต๋‹ˆ๋‹ค. ์˜ˆ๋ฅผ ๋“ค๋ฉด, ์†Œ๋…€๋ฅผ ๊ทธ๋ฆด ๋•Œ๋ฉด, ์†Œ๋…€๊ฐ€ ์–ด๋–ป๊ฒŒ ์ƒ๊ฒผ๋Š”์ง€๋Š” ๋‚˜ํƒ€๋‚ด๊ณ  ์‹ถ์ง€ ์•Š์•˜๊ณ , ๊ทธ๋…€์˜ ๊ฐ์ •๋งŒ์„ ๋‹ด์•„๋‚ด๊ณ ์ž ํ–ˆ์Šต๋‹ˆ๋‹ค. Q. ์•ž์œผ๋กœ์˜ ๊ณ„ํš์ด ์žˆ๋‹ค๋ฉด? ์ €๋Š” ๊ณง ๋ช‡๋ช‡ ์‚ฌ๋žŒ๋“ค์˜ ๋ˆˆ์—๋Š” ์œ ๋ช…ํ•œ ์˜ˆ์ˆ ๊ฐ€๋กœ ๋ณด์ด์ง€๋งŒ ์ œ ๋ˆˆ์—๋Š” ๊ทธ์ € ํ›Œ๋ฅญํ•œ ํ•œ ์ธ๊ฐ„์œผ๋กœ ๋ณด์ด๋Š” ์‚ฌ๋žŒ๊ณผ ๊ฒฐํ˜ผ์‹์„ ์˜ฌ๋ฆด ์˜ˆ์ •์ž…๋‹ˆ๋‹ค.

OH+Futon

Q. ์ž๊ธฐ ์†Œ๊ฐœ๋ฅผ ํ•ด๋‹ฌ๋ผ. ์ œ ์ด๋ฆ„์€ OH+์ž…๋‹ˆ๋‹ค. ์‚ฝํ™”๊ฐ€์ž…๋‹ˆ๋‹ค. ์‚ฌ๋žŒ๋“ค์€ ์ œ๊ฐ€ FUTON ๋ผ๋Š” ๋ฐด๋“œ์—์„œ ์—ฐ์ฃผ๋ฅผ ํ–ˆ๊ธฐ ๋•Œ๋ฌธ์— ์ €๋ฅผ OH+Futon์ด๋ผ๊ณ  ๋ถ€๋ฆ…๋‹ˆ๋‹ค. Q. ๋‹น์‹ ์—๊ฒŒ๋Š” ์Œ์•…๊ณผ ์ผ๋Ÿฌ์ŠคํŠธ ์ค‘ ์–ด๋–ค ๊ฒƒ์ด ๋” ์ค‘์š”ํ•œ๊ฐ€? ์•„์ฃผ ์ข‹์€ ์งˆ๋ฌธ์ด๋„ค์š”. ์ €๋Š” ๋งŽ์€ ์ผ์„ ํ•˜๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค. ์ œ ๋Œ€๋‹ต์€ ํ•ญ์ƒ โ€œ์ €๋Š” ์ข‹์•„ํ•˜๋Š” ์ผ์„ ์„ ํƒํ•œ๋‹คโ€๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค. ์ €๋Š” ํ•ญ์ƒ ์ œ๊ฐ€ ๊ทธ ์ˆœ๊ฐ„์— ํ•˜๊ณ  ์žˆ๋Š” ์ผ์„ ์‚ฌ๋ž‘ํ•ฉ๋‹ˆ๋‹ค. ์ €๋Š” ์ข‹์•„ํ•˜์ง€ ์•Š๋Š” ์ผ์€ ํ•˜์ง€ ์•Š์Šต๋‹ˆ๋‹ค. ๋”ฐ๋ผ์„œ ์ €๋Š” ์Œ์•…๊ณผ ์ผ๋Ÿฌ์ŠคํŠธ ์ค‘ ๋ฌด์—‡์„ ๋” ์ข‹์•„ํ•˜๋Š”์ง€ ์„ ํƒํ•  ์ˆ˜๊ฐ€ ์—†์Šต๋‹ˆ๋‹ค. ๋‚˜์ด๊ฐ€ ๋“ค๋ฉด ์—ฌ์ƒ ๋™์•ˆ ๊ทธ๋ฆผ์„ ๊ทธ๋ฆฌ๋Š” ์ผ๋งŒ ํ•  ์ˆ˜ ์žˆ๊ฒŒ ๋  ๊ฒƒ์ด๋ผ ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค. ์ €๋Š” ๊ทธ๋ฆผ์„ ๊ทธ๋ฆด ๋•Œ ์ •๋ง ํ–‰๋ณตํ•ฉ๋‹ˆ๋‹ค. ๋ณดํ†ต ๊ทธ๋ฆผ์„ ๊ทธ๋ฆด ๋•Œ๋Š” ์‹œ๊ฐ„์ด ๋นจ๋ฆฌ ๊ฐ‘๋‹ˆ๋‹ค. ํ•˜์ง€๋งŒ ์ €๋Š” ๋™์‹œ์— ๋‘ ๊ฐ€์ง€ ์ผ์€ ํ•˜์ง€ ๋ชปํ•ฉ๋‹ˆ๋‹ค. ๊ทธ๋ž˜์„œ ๋ฌด์–ธ๊ฐ€๋ฅผ ํ•  ๋•Œ๋Š” ํ•ญ์ƒ ๊ทธ๊ฒƒ์— ์ €์˜ ๋ชจ๋“  ์•„์ด๋””์–ด์™€ ์ง‘์ค‘๋ ฅ์„ ์ง‘์–ด๋„ฃ์Šต๋‹ˆ๋‹ค. ์ œ ์ธ์ƒ์˜ ๋ชจ๋“  ๊ฒƒ์ด

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์˜ˆ์ˆ ์ด๋ž๋‹ˆ๋‹ค.

์†”์งํžˆ ๋งํ•ด์„œ ์–ด๋–ค ๊ณ„ํš๋„ ์—†์Šต๋‹ˆ๋‹ค. ์ˆœ๊ฐ„๋งˆ๋‹ค ์ œ๊ฐ€ ํ•˜๊ณ  ์‹ถ์€ ์ผ๋“ค์„ ํ•  ๋ฟ์ž…๋‹ˆ๋‹ค.

Q ๋‹น์‹ ์€ ๋งŽ์€ ํŒฌ ์ธต์„ ํ™•๋ณดํ•˜๊ณ  ์žˆ์„๋“ฏํ•œ๋ฐ, ๋‹น์‹ ์˜ ํŒฌ๋“ค์€ ์–ด๋–ค ์‚ฌ๋žŒ๋“ค์ธ๊ฐ€? ์ €๋Š” ์Šค์Šค๋กœ๊ฐ€ ์œ ๋ช…ํ•˜๋‹ค๊ณ  ์ƒ๊ฐํ•˜์ง€๋Š” ์•Š์ง€๋งŒ, ๋งŽ์€ ์‚ฌ๋žŒ๋“ค์ด ์ €๋ฅผ ์•Œ๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค. ํ•˜์ง€๋งŒ ์Œ์•… ์ชฝ์—์„œ ์ €๋ฅผ ์ข‹์•„ํ•˜๋Š” ์‚ฌ๋žŒ๋“ค์€ ์ œ๊ฐ€ ๊ทธ๋ฆผ์„ ๊ทธ๋ฆฌ๋Š” ๊ฒƒ์„ ๋ชจ๋ฅด๊ณ , ์ œ ๊ทธ๋ฆผ์„ ์ข‹์•„ํ•˜๋Š” ์‚ฌ๋žŒ๋“ค์€ ์ œ๊ฐ€ ์Œ์•…์„ ํ•˜๋Š” ๊ฑธ ๋ชจ๋ฆ…๋‹ˆ๋‹ค. ๊ทธ๋ ‡๊ธฐ ๋•Œ๋ฌธ์— ์ €๋Š” ๊ต‰์žฅํžˆ ๋‹ค์–‘ํ•œ ํŒฌ ์ธต์„ ํ™•๋ณดํ•˜๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค. ๋งŒ์•ฝ ์–ด๋–ค ํŒฌ์ด ์ €์—๊ฒŒ ์‚ฌ์ธ์„ ๋‹ฌ๋ผ๊ณ  ํ•˜๋ฉด ์ €๋Š” ๊ทธ ๋ถ„์—๊ฒŒ ์ €์˜ ์–ด๋–ค ๋ถ„์•ผ๋ฅผ ์ข‹์•„ํ•˜๋ƒ๊ณ  ๋ฌป์Šต๋‹ˆ๋‹ค. ์ด๋Ÿฐ ์ ์ด ์ฐธ ์žฌ๋ฐŒ์Šต๋‹ˆ๋‹ค. ์–ด์จŒ๋“  ์ €๋Š” ํ•œ ๋ถ„์•ผ์˜ ํŒฌ์„ ํ™•๋ณดํ•˜๊ณ  ์žˆ์ง€๋Š” ์•Š์Šต๋‹ˆ๋‹ค. ๊ทธ๋ ‡๊ธฐ ๋•Œ๋ฌธ์— ์ €์˜ ํŒฌ๋“ค์ด ๊ฐ€์ง€๊ณ  ์žˆ๋Š” ์ •ํ™•ํ•œ ์Šคํƒ€์ผ์ด ๋ฌด์—‡์ธ์ง€ ๋ชจ๋ฅด๊ฒ ์Šต๋‹ˆ๋‹ค.

Jeep Kongdechakul

Q. ์šฐ๋ฆฌ ๋…์ž๋“ค์—๊ฒŒ ์ž๊ธฐ ์†Œ๊ฐœ๋ฅผ ๋ถ€ํƒํ•œ๋‹ค. ์ œ ์ด๋ฆ„์€ Jeep Kongdechakul ์ด๊ณ  26 ์„ธ์ž…๋‹ˆ๋‹ค. ์ €๋Š” ์‚ฝํ™”๊ฐ€์ด์ž ์น˜์ฆˆ ๋งค๊ฑฐ์ง„ ( ์ŠคํŠธ๋ฆฌํŠธํŒจ์…˜๋งค๊ฑฐ์ง„)์˜์นผ๋Ÿผ๋‹ˆ์ŠคํŠธ์ž…๋‹ˆ๋‹ค. ์ €๋Š” ์‚ฝํ™” ์™ธ์— ํŒจ์…˜ ๋””์ž์ธ (์˜๋ฅ˜, ์ง๋ฌผ ํŒจํ„ด,ํƒœ๊ตญ๋ฐฉ์ฝ•์˜flynowIII๋””์Šคํ”Œ๋ ˆ์ด),์‹ ๋ฐœ ๋””์ž์ธ (ํƒœ๊ตญ ๋ฐฉ์ฝ•์˜ since 1959 ๋ฐœ๋ ˆ ์Šˆ์ฆˆ) ๊ทธ๋ž˜ํ”ฝ ๋””์ž์ธ (๊ธฐ์—… ์ด๋ฏธ์ง€ ๋””์ž์ธ, ๋ฒฝ์ง€)๊ณผ ๊ฐ™์€ ๋‹ค๋ฅธ ์˜ˆ์ˆ  ๋ถ„์•ผ์—์„œ ๋‹ค์–‘ํ•œ ์ผ์„ ํ•˜๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค. Srinakakharinwirot ๋Œ€ํ•™์˜ ์ˆœ์ˆ˜ ๋ฏธ์ˆ  ํ•™๊ณผ์˜ ๊ฐ•์‚ฌ๋ฅผ ํ•˜๊ณ  ์žˆ์œผ๋ฉฐ, Silpakorn ๋Œ€ํ•™ ๋ฐ์ฝ”๋ ˆ์ด์…˜ ์•„ํŠธ ํ•™๊ณผ์˜ ๊ฐ•์‚ฌ์ด๊ธฐ๋„ ํ•ฉ๋‹ˆ๋‹ค. ๋˜ํ•œ ์ €๋Š” The Factory Studio & Arthouse์˜ ์ฐฝ๋ฆฝ์ž์ด์ž ๋””์ž์ด๋„ˆ์ด๊ธฐ๋„ ํ•ฉ๋‹ˆ๋‹ค.

Q. ์ผ๋Ÿฌ์ŠคํŠธ๋ ˆ์ด์…˜์„ ์‹œ์ž‘ํ•˜๊ฒŒ ๋œ ๊ณ„๊ธฐ๋Š” ๋ฌด์—‡์ธ๊ฐ€? ์–ด๋ ธ์„ ๋•Œ๋ถ€ํ„ฐ ๊ทธ๋ฆผ์„ ๊ทธ๋ ธ๊ณ  ๋ฏธ์ˆ  ๋Œ€ํ•™์„ ๋‚˜์™”์Šต๋‹ˆ๋‹ค. ๋Œ€ํ•™๊ต 2ํ•™๋…„ ๋•Œ๋Š” ์–ด๋–ค ํž™ํ•ฉ ๋ฐด๋“œ ์•ˆ์—์„œ ๋ฒ ์ด์Šค ๊ธฐํƒ€๋ฅผ ์น˜๊ธฐ๋„ ํ–ˆ๊ณ  ๊ทธ ์ดํ›„์— ๋‹ค์–‘ํ•œ ์ผ๋“ค์„ ํ–ˆ๊ธฐ ๋•Œ๋ฌธ์— ๋งŽ์€ ์ž‘์—…์„ ์ œ๋Œ€๋กœ ํ•˜์ง€ ๋ชปํ–ˆ์Šต๋‹ˆ๋‹ค. ๊ทธ๋Ÿฐ๋ฐ ์–ด๋Š ๋‚  ์ •๋ง ๊ทธ๋ฆผ์„ ๊ทธ๋ ค์•ผ๊ฒ ๋‹ค๊ณ  ์ƒ๊ฐํ–ˆ๊ณ  ๊ทธ๋•Œ๋ถ€ํ„ฐ ๋งค์ผ ์‹œ๊ฐ„์ด ๋‚  ๋•Œ ๋งˆ๋‹ค ํ‹ˆํ‹ˆ์ด ๊ทธ๋ฆผ์„ ๊ทธ๋ ธ์Šต๋‹ˆ๋‹ค. ๊ทธ๋ฆฌ๊ณ  ์–ด๋Š ๋‚  ์ œ๊ฐ€ ์ œ์ผ ์ข‹์•„ํ•˜๋Š” ์ž‘๊ฐ€์ด์ž ํƒœ๊ตญ์—์„œ ๊ฐ€์žฅ ์œ ๋ช…ํ•œ ์ž‘๊ฐ€์—๊ฒŒ ๊ฐ€์„œ ๋‚˜์˜ ๊ทธ๋ฆผ์„ ๋‹น๋‹นํžˆ ๋ณด์—ฌ์ฃผ๋ฉฐ ๊ทธ์˜ ์ฑ…์— ์ œ ์ผ๋Ÿฌ์ŠคํŠธ๋ฅผ ๋„ฃ๋Š” ๊ฒƒ์— ๋Œ€ํ•œ ์ œ์•ˆ์„ ํ–ˆ์Šต๋‹ˆ๋‹ค. ๊ทธ๋Ÿฐ๋ฐ ๊ทธ ์ž‘๊ฐ€๊ฐ€ ์„œ์Šด์—†์ด ๋‚˜์˜ ์ž‘์—…์ด ์ข‹๋‹ค๊ณ  ์Šน๋‚™ํ•˜์—ฌ ๊ฐ™์ด ํฌ์ผ“๋ถ์„ ๋งŒ๋“ค์—ˆ๊ณ , ๊ทธ ์ผ์„ ๊ณ„๊ธฐ๋กœ ๋งŽ์€ ์‹œ๊ฐ„์„ ๊ทธ๋ฆผ ๊ทธ๋ฆฌ๋Š” ๋ฐ์— ํˆฌ์žํ•  ์ˆ˜ ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค. ์ œ๊ฐ€ ๋‹น๋‹นํžˆ ๊ทธ ์ž‘๊ฐ€ํ•œํ…Œ ์ž‘์—…์„ ๋ณด์—ฌ์ค„ ์ˆ˜ ์žˆ์—ˆ๋˜ ์ด์œ ๋Š” ๊ทธ๋…€๊ฐ€ ์ œ ์ž‘์—…์„ ๋งˆ์Œ์— ๋“ค์–ด ํ•˜๋“  ๊ทธ๋ ‡์ง€ ์•Š๋“ , ์ €๋Š” ์žƒ์„ ๊ฒŒ ์—†๋‹ค๊ณ  ์ƒ๊ฐํ–ˆ๊ธฐ ๋•Œ๋ฌธ์ž…๋‹ˆ๋‹ค. ์ €๋Š” ์ •๋ง ์ €์˜ ๊ฟˆ์„ ๋”ฐ๋ผ๊ฐ€๋Š” ์‚ฌ๋žŒ์ž…๋‹ˆ๋‹ค. Q. ๋‹น์‹ ์—๊ฒŒ ์ผ๋Ÿฌ์ŠคํŠธ๋ž€ ๋ฌด์—‡์ธ๊ฐ€? ์ผ๋Ÿฌ์ŠคํŠธ๋Š” ์ €์—๊ฒŒ ์ง์—…์ด๋‚˜ ์ผ์— ๊ฐ€๊น์Šต๋‹ˆ๋‹ค. ์˜ˆ๋ฅผ ๋“ค๋ฉด, ์ œ๊ฐ€ ๋ฒ•์— ๋Œ€ํ•œ ๋‚ด์šฉ์„ ๋‹ค๋ฃจ๋Š” ์ฑ…์˜ ์ผ๋Ÿฌ์ŠคํŠธ๋ฅผ ํ•  ๋•Œ๋Š” ๋…์ž๊ฐ€ ๊ทธ ์ฑ…์˜ ๋‚ด์šฉ์„ ์™„๋ฒฝํ•˜๊ฒŒ ์ดํ•ดํ•˜๊ณ  ๋” ์ดํ•ดํ•˜๊ธฐ ์‰ฝ๊ฒŒ ๊ทธ๋ฆผ์„ ๊ทธ๋ ค์ค˜์•ผ ํ•ฉ๋‹ˆ๋‹ค. ๊ทธ๋ฆฌ๊ณ  ๊ทธ ๊ทธ๋ฆผ ์•ˆ์— ๋ฐ˜์€ ์ œ ์ƒ๊ฐ์ด ๋“ค์–ด๊ฐ€๊ณ  ๊ทธ ์™ธ์˜ ๊ฒƒ์€ ์ €์—๊ฒŒ ์š”๊ตฌํ•˜๋Š” ๊ฑธ ๋‹ค๋ฃน๋‹ˆ๋‹ค. ํ•˜์ง€๋งŒ ์ œ๊ฐ€ ์ „์‹œ๋ฅผ ํ•˜๋Š” ๊ฒฝ์šฐ์—๋Š” ๊ทธ ๋ˆ„๊ตฌ๋„ ์ €์—๊ฒŒ ์š”๊ตฌํ•˜๋Š” ๋‹ต์ด ์—†๊ธฐ ๋•Œ๋ฌธ์— ์ €๋Š” ๊ทธ ์•ˆ์— ์ œ ๋ชจ๋“ ๊ฑธ ํ‘œํ˜„ํ•˜๊ณ  ์ง‘์–ด ๋„ฃ์Šต๋‹ˆ๋‹ค. ์ €๋Š” ๋ชจ๋“  ๊ฒƒ์— ์ œ ์ƒ๊ฐ๊ณผ ๊ฐ์ •์„ ๋‹ค ํ‘œํ˜„ํ•˜๊ณ  ์‹ถ์Šต๋‹ˆ๋‹ค. ์ €์—๊ฒŒ ์ผ๋Ÿฌ์ŠคํŠธ๋ž€ ์–ด๋– ํ•œ ๊ฒƒ์— ๋Œ€ํ•œ ๋‹ต์ด๋ผ๊ณ  ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค. Q. ์•ž์œผ๋กœ์˜ ๊ณ„ํš์€ ๋ฌด์—‡์ธ๊ฐ€? ์†”์งํžˆ ๋งํ•ด์„œ ์–ด๋–ค ๊ณ„ํš๋„ ์—†์Šต๋‹ˆ๋‹ค. ์ˆœ๊ฐ„๋งˆ๋‹ค ์ œ๊ฐ€ ํ•˜๊ณ  ์‹ถ์€ ์ผ๋“ค์„ ํ•  ๋ฟ์ž…๋‹ˆ๋‹ค.

Yuree Kensaku

Q. ์šฐ๋ฆฌ ๋…์ž๋“ค์—๊ฒŒ ์ž๊ธฐ ์†Œ๊ฐœ ๋ฅผ ํ•ด ๋‹ฌ๋ผ. ์ €๋Š” ์ฃผ๋กœ ํ™”๊ฐ€๋กœ ํ™œ๋™ํ•ฉ๋‹ˆ๋‹ค. ์ˆ˜์ฑ„ํ™”, ๋ฒฝํ™”, ๊ทธ๋ฆฌ๊ณ  ํšŒํ™”์— ๊ธฐ์ดˆํ•œ ๋ชจ๋“  ์ข…๋ฅ˜์˜ ์˜ˆ์ˆ ์„ ํ•˜๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค. ๋ฟ๋งŒ ์•„๋‹ˆ๋ผ CD ์ปค๋ฒ„, ์ œํ’ˆ, ๋ฎค์ง ๋น„๋””์˜ค๋„ ๋””์ž์ธ ํ•˜๊ณ  ์ผ๋Ÿฌ์ŠคํŠธ๋„ ํ•˜๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค. Q. ๋‹น์‹ ์€ ์ผ๋Ÿฌ์ŠคํŠธ๋ ˆ์ดํ„ฐ๋กœ๋„ ์œ ๋ช…ํ•˜๋‹ค. ์–ด๋–ป๊ฒŒ ํ•ด์„œ ์‚ฝํ™”๋ฅผ ์‹œ์ž‘ํ•˜๊ฒŒ ๋˜์—ˆ๋‚˜? ์ €๋Š” ์ •๊ธฐ์ ์œผ๋กœ ๊ทธ๋ฆผ์„ ๊ทธ๋ฆฌ๊ณ  ์ „์‹œํšŒ๋ฅผ ์—ด์—ˆ๊ณ  ๋•Œ๋ฌธ์— ๋Œ€๋ถ€๋ถ„์˜ ๊ฐ„ํ–‰๋ฌผ๊ณผ ์žก์ง€๋“ค์€ ์ œ๊ฐ€ ๋ฌด์Šจ ์ž‘์—…์„ ํ•˜๋Š”์ง€ ์•Œ๊ฒŒ ๋˜์—ˆ์Šต๋‹ˆ๋‹ค. ๊ทธ๋“ค์€ ์ €์—๊ฒŒ ํ•ฉ๋ฅ˜ํ•˜๋ผ๊ณ  ์ดˆ๋Œ€๋ฅผ ํ•˜๊ธฐ ์‹œ์ž‘ํ–ˆ๊ณ , ์ €๋Š” ์—ด์‹ฌํžˆ ์ž‘์—…์„ ํ•ด์™”์Šต๋‹ˆ๋‹ค.

Q. ๋‹น์‹ ์ด ์‚ฝํ™”๋ฅผ ๊ทธ๋ฆด ๋•Œ ์ƒ๊ธฐ๋Š” ํŠน๋ณ„ํ•œ ์ฐฝ์˜์  ์‹œ๋„ˆ์ง€๊ฐ€ ์žˆ๋Š”๊ฐ€? ์ €๋Š” ์–ด๋ ธ์„ ๋•Œ๋ถ€ํ„ฐ ์˜ํ™”์™€ ์• ๋‹ˆ๋ฉ”์ด์…˜ ๋ณด๋Š” ๊ฒƒ์„ ๋ฌด์ฒ™ ์ข‹์•„ํ–ˆ์Šต๋‹ˆ๋‹ค. ์‚ฝํ™”๋ฅผ ๊ทธ๋ฆด ๋•Œ, ์ €๋Š” ์†Œ์„ค ์ž‘๊ฐ€, ์ €์ž, ๋‹ค๋ฅธ ์ „๋ฌธ ํฌ๋ฆฌ์—์ดํ„ฐ๋“ค์—๊ฒŒ์„œ ๋งŽ์€ ์˜๊ฐ์„ ๋Œ์–ด๋‚ด์–ด ์ด๋Ÿฌํ•œ ์˜๊ฐ์„ ์ œ ๊ฒฝํ—˜๊ณผ ํ˜ผํ•ฉ์‹œํ‚ต๋‹ˆ๋‹ค.

Q. ๋‹น์‹ ์€ ์ผ๋Ÿฌ์ŠคํŠธ๋ ˆ์ดํ„ฐ๋กœ ์ž˜ ์•Œ๋ ค์ ธ ์žˆ๋‹ค. ์–ด๋–ป๊ฒŒ ์ผ๋Ÿฌ์ŠคํŠธ๋ฅผ ์‹œ์ž‘ํ•˜๊ฒŒ ๋˜์—ˆ๋‚˜? ์–ด๋Š ๋‚ , Flynow III์˜ ์žฌ๋ด‰์‚ฌ๋ฅผ ๊ธฐ๋‹ค๋ฆฌ๋Š” ๋™์•ˆ ์ œ ํ•ธ๋“œ๋ฐฑ ์•ˆ์— ๋“ค์–ด ์žˆ๋˜ ๋ชจ๋“  ์žก๋™์‚ฌ๋‹ˆ๋“ค์„ ์Šค์ผ€์น˜ํ•˜๊ธฐ ์‹œ์ž‘ํ–ˆ์Šต๋‹ˆ๋‹ค. ๊ทธ ๊ทธ๋ฆผ๋“ค์€ ๋น ๋ฅด๊ฒŒ ๊ทธ๋ ค์ง„ ์Šค์ผ€์น˜์˜€๋Š”๋ฐ ์ €์—๊ฒŒ๋Š” ๋น„๊ณต์‹์ ์ธ ์ผ์„ ํ•˜๋Š” ๋Š๋‚Œ์„ ์ฃผ์—ˆ๊ณ , ๋งˆ์ปค๋กœ ์ƒ‰์น ํ•œ ์„ ๋“ค์˜ ์ธต์€ ์ œ ์„ฑ๊ฒฉ๊ณผ ๊ทธ ๋‹น์‹œ์˜ ๊ฐ์ •๋“ค์„ ๋ณด์—ฌ์ฃผ๊ณ  ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค. ๊ทธ๋ž˜์„œ ์ €๋Š” ๋งˆ์น˜ ์ผ๊ธฐ์ฒ˜๋Ÿผ ์ œ๊ฐ€ ์‚ฌ๊ฑฐ๋‚˜ ๋จน์€ ๊ฑฐ์˜ ๋ชจ๋“  ๊ฒƒ๋“ค์„ ์Šค์ผ€์น˜๋ถ์— ๊ณ„์†ํ•ด์„œ ๊ทธ๋ ค๋‚˜๊ฐ”์Šต๋‹ˆ๋‹ค. ๊ทธ๋Ÿฌ๋˜ ์–ด๋Š ๋‚  Cheeze ๋งค๊ฑฐ์ง„์˜ ํŽธ์ง‘์žฅ์ด ์ €์—๊ฒŒ ์—ฐ๋ฝ์„ ํ•ด ์นผ๋Ÿผ๋‹ˆ์ŠคํŠธ๊ฐ€ ๋˜๊ณ  ์‹ถ์€์ง€๋ฅผ ๋ฌผ์—ˆ์Šต๋‹ˆ๋‹ค. ์ €๋Š” ๊ธฐ์‚ฌ๋ฅผ ์“ฐ๋Š” ๊ฒƒ์ด ๋ถ€๋‹ด์Šค๋Ÿฌ์›Œ ๊ณ ๋ง™์ง€๋งŒ ๊ฑฐ์ ˆํ–ˆ์Šต๋‹ˆ๋‹ค. ํ•˜์ง€๋งŒ ๋‹ค์‹œ ํ•œ๋ฒˆ ์—ฐ๋ฝ์ด ์™”๊ณ , ์ €๋Š” ์ œ ์Šค์ผ€์น˜๋ถ์„ ๋ณด์—ฌ์ฃผ์—ˆ์Šต๋‹ˆ๋‹ค. ๊ทธ ์ดํ›„๋กœ, ์ €๋Š” Cheeze ๋งค๊ฑฐ์ง„์˜ ์นผ๋Ÿผ๋‹ˆ์ŠคํŠธ๊ฐ€ ๋˜์—ˆ์Šต๋‹ˆ๋‹ค. Q. ๋‹น์‹ ์€ ๋‘ ๊ฐ€์ง€ ํ˜•ํƒœ์˜ ์ฐฝ์˜๋ ฅ์„ ํ•ฉ์ณ ๋†€๋ผ์šด ๊ฒฐ๊ณผ๋ฌผ์„ ์–ป์€ ์ ์ด ์žˆ๋‚˜? ํšŒํ™”, ๊ทธ๋ž˜ํ”ฝ ๋””์ž์ธ, ๊ผด๋ผ์ฅฌ ์ž‘์—…, ์ˆ˜์ฑ„ํ™” ๋“ฑ๊ณผ ๊ฐ™์€ ๋‹ค์–‘ํ•œ ๋ถ€๋ฌธ์˜ ์˜ˆ์ˆ ์„ ํ•ฉ์ณ ์ง„ํ–‰ํ•œ Flynow III์˜ ์œˆ๋„์šฐ ๋””์Šคํ”Œ๋ ˆ์ด์˜ ์˜ˆ๋ฅผ ๋“ค๊ณ  ์‹ถ์Šต๋‹ˆ๋‹ค. ์ €๋Š” ๊ณ ๊ฐ์ด ์š”๊ตฌํ•˜๋Š” ๋ธŒ๋žœ๋“œ ์ด๋ฏธ์ง€๋ฅผ ์˜ˆ์ˆ ์— ํ˜ผํ•ฉํ•˜๋ ค๊ณ  ํ•ฉ๋‹ˆ๋‹ค. Flynow III์€ ์ œ ์„ฑ๊ฒฉ๊ณผ ์ž˜ ๋งž๋Š” ์ Š๊ณ  ์พŒํ™œํ•œ์˜ ์ด๋ฏธ์ง€๋ฅผ ๋„๋ฏ€๋กœ ์ดํ•ดํ•˜๊ธฐ๊ฐ€ ํ›จ์”ฌ ์‰ฝ์Šต๋‹ˆ๋‹ค. Q. ๋‹น์‹ ์€ ์ผ๋Ÿฌ์ŠคํŠธ๋ฅผ ์ด์šฉํ•˜์—ฌ ์œˆ๋„์šฐ ํŽ˜์ธํŒ…, ์ฑ… ์ผ๋Ÿฌ์ŠคํŠธ, ์‹ ๋ฐœ ๋””์ž์ธ ๋“ฑ ๋‹ค์–‘ํ•œ ์ผ์„ ํ•˜๊ณ  ์žˆ๋‹ค. ๋‹น์‹ ์ด ๊ฐ€์žฅ ์ข‹์•„ํ•˜๋Š” ์ž‘ํ’ˆ์€ ๋ฌด์—‡์ธ๊ฐ€? ๊ทธ๋ฆผ ๋ถ“์„ ์ด์šฉํ•˜๊ธฐ ๋•Œ๋ฌธ์— ์ œ๊ฐ€ ๊ฐ€์žฅ ์ข‹์•„ํ•˜๋Š” ์ž‘ํ’ˆ์€ ์ œ ๊ทธ๋ฆผ๊ณผ ์‚ฝํ™”์ž…๋‹ˆ๋‹ค. ์ €๋Š” ์ปดํ“จํ„ฐ ๊ทธ๋ž˜ํ”ฝ์„ ์‚ฌ์šฉํ•˜๋Š” ๊ฒƒ๋ณด๋‹ค ์†์œผ๋กœ ๊ทธ๋ฆฌ๋Š” ๊ฒƒ์„ ๋” ์ข‹์•„ํ•ฉ๋‹ˆ๋‹ค. ๋Œ€๋ถ€๋ถ„ ์ €์˜ ์ž‘ํ’ˆ์€ ์†์œผ๋กœ ๋งŒ๋“ค์–ด์ง€๊ณ  ์ธ์‡„ํ•˜๊ธฐ ์ „์— ์ปดํ“จํ„ฐ๋กœ ๋งˆ๋ฌด๋ฆฌ๋ฉ๋‹ˆ๋‹ค. ์ œ๊ฐ€ ๊ฐ€์žฅ ์ข‹์•„ํ•˜๋Š” ๋˜ ๋‹ค๋ฅธ ์ž‘ํ’ˆ์€ Flynow III์—์„œ ํ•œ ์œˆ๋„์šฐ ๋””์Šคํ”Œ๋ ˆ์ด์ž…๋‹ˆ๋‹ค. Flynow III์—๋Š” ์ปค๋‹ค๋ž€ ์œˆ๋„์šฐ ๋””์Šคํ”Œ๋ ˆ์ด๊ฐ€ ์žˆ๊ธฐ ๋•Œ๋ฌธ์— ์ €๋Š” ์ตœ์ƒ์˜ ๊ฒƒ์„ ๋งŒ๋“ค์–ด ๋‚ด๊ธฐ ์œ„ํ•ด ์•„์ด๋””์–ด๋ฅผ ์‚ฌ์šฉํ•  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค. ์œˆ๋„ ๋””์Šคํ”Œ๋ ˆ์ด๋Š” ๋งˆ์น˜ ์ปค๋‹ค๋ž€ 4๋ฉด์ฒด ํ‹€์— ๊ทธ๋ฆผ์„ ๊ทธ๋ฆฌ๋Š” ๊ฒƒ, ํ˜น์€ ์‡ผํ•‘ ๋ชฐ์˜ ์ค‘์•™์— ์ „์‹œ๋ฅผ ํ•˜๋Š” ๊ฒƒ๊ณผ ๋งˆ์ฐฌ๊ฐ€์ง€์ž…๋‹ˆ๋‹ค. ์ €๋Š” ์ง€๋‚˜๊ฐ€๋Š” ์‚ฌ๋žŒ๋“ค์ด ์ œ ์œˆ๋„์šฐ ๋””์Šคํ”Œ๋ ˆ์ด์— ๊ฐํƒ„ํ•˜๊ณ  ์‚ฌ์ง„์„ ์ฐ์„ ๋•Œ๋ฉด ๋งค์šฐ ์ž๋ž‘์Šค๋Ÿฝ๊ณ  ๊ธฐ์ฉ๋‹ˆ๋‹ค. Q. ๋‹น์‹ ์—๊ฒŒ ์ผ๋Ÿฌ์ŠคํŠธ๋ž€ ๋ฌด์—‡์ธ๊ฐ€? ์ผ๋Ÿฌ์ŠคํŠธ๋Š” ์ผ๋Ÿฌ์ŠคํŠธ ๊ทธ ์ž์ฒด์ž…๋‹ˆ๋‹ค!

056p

FOR CREW

Q. ๋‹น์‹ ์˜ ๊ทธ๋ฆผ ์•ˆ์—๋Š” ๋งŽ์€ ์ด์•ผ๊ธฐ๋“ค์ด ๋‹ด๊ฒจ ์žˆ๋Š” ๊ฒƒ ๊ฐ™๋‹ค. ์–ด๋–ค ๊ฐœ์ธ์ ์ธ ๊ฒฝํ—˜์ด๋ผ๋„ ๋‹ด๊ฒจ ์žˆ๋Š” ๊ฑด๊ฐ€? ์ €๋Š” ์ €๋งŒ์˜ ๋น„์ „์œผ๋กœ ๊ทธ๋ฆผ์„ ๊ทธ๋ฆฌ๊ณ  ์ด ์„ธ์ƒ์— ๋Œ€ํ•ด ์ œ๊ฐ€ ์–ด๋–ป๊ฒŒ ์ƒ๊ฐํ•˜๋Š”์ง€, ์šฐ๋ฆฌ์˜ ํ™˜๊ฒฝ, ๊ฐœ์ธ์ ์ธ ๊ด€๊ณ„ ๊ฒฝํ—˜, ๊ทธ๋ฆฌ๊ณ  ์ œ ์ฃผ๋ณ€์˜ ๋ชจ๋“  ํ˜ผ๋ž€์Šค๋Ÿฌ์šด ๊ฒƒ๋“ค์„ ๊ทธ๋ฆฝ๋‹ˆ๋‹ค. ์ œ ๊ทธ๋ฆผ์€ ๊ฐ๊ฐ ๋‹ค๋ฅธ ์‹œ๊ธฐ์— ์ œ ๊ธฐ๋ถ„์— ์˜ํ–ฅ์„ ๋ฏธ์นœ ๊ฒƒ๋“ค์— ๋Œ€ํ•œ ๋ฉ”๋ชจ๋ผ๊ณ  ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค. Q. ๋‹น์‹ ์€ ์˜๊ฐ์„ ์–ด๋””์—์„œ ๋ฐœ๊ฒฌํ•˜๋Š”๊ฐ€? ์ €์—๊ฒŒ๋Š” ์—ฌ๋Ÿฌ ๊ฐ€์ง€ ์ด์œ ๋กœ, ๋งŽ์€ ๊ณณ์—์„œ ์˜๊ฐ์ด ๋ฐœ์ƒ๋˜์ง€๋งŒ, ์ฃผ๋กœ ์ง‘์—์„œ ๋ฉ€๋ฆฌ ๋–จ์–ด์ ธ ์—ฌํ–‰์„ ํ•  ๋•Œ ์˜๊ฐ์ด ๊ฐ•ํ•˜๊ฒŒ ๋– ์˜ค๋ฆ…๋‹ˆ๋‹ค. ์ €๋Š” ์‹œ์žฅ์„ ๊ฑธ์„ ๋•Œ์™€ ํฅ๋ฏธ๋กœ์šด ์†Œ์žฌ๊ฑฐ๋ฆฌ๋ฅผ ๋ฐœ๊ฒฌํ–ˆ์„ ๋•Œ๋„ ์˜๊ฐ์„ ๋ฐ›์Šต๋‹ˆ๋‹ค. ์ตœ๊ทผ, ์ œ ์นœ๊ตฌ๋“ค๊ณผ ์ €๋Š” ๋ฒฝํ™” ์ž‘์—…์„ ํ•จ๊ป˜ ํ–ˆ๋Š”๋ฐ ๊ทธ ์žฅ์†Œ์— ํ‘น ๋น ์ ธ ๊นŠ์€ ๊ฐ์ •์„ ๋Š๋ผ๋Š” ์ œ ์ž์‹ ์„ ๋ฐœ๊ฒฌํ–ˆ์Šต๋‹ˆ๋‹ค. ์˜ˆ๋ฅผ ๋“ค๋ฉด, ๊ทธ ๊ทธ๋ฆผ์—์„œ ์ €๋Š” ๋…ธ์ˆ™์ž๋“ค์— ๋Œ€ํ•ด ์ƒ๊ฐํ•˜๋ฉด์„œ ์†Œ์™ธ ๋‹นํ•˜๋Š” ์†Œ๋…€๋ฅผ ๊ทธ๋ ธ์Šต๋‹ˆ๋‹ค. Q. ์ผ๋Ÿฌ์ŠคํŠธ ์ด์™ธ์—๋„ ๋งŽ์€ ํŽ˜์ธํŒ…๋“ค์„ ํ•œ๋‹ค. ๊ฐ€์žฅ ์ข‹์•„ํ•˜๋Š” ์ž‘ํ’ˆ์ด ์–ด๋–ค ๊ฒƒ์ธ๊ฐ€? ์ €์—๊ฒŒ๋Š” ์ข‹์•„ํ•˜๋Š” ๊ทธ๋ฆผ๋“ค์ด ๋งŽ์ด ์žˆ์Šต๋‹ˆ๋‹ค. ํŠนํžˆ ์ œ๊ฐ€ 2010๋…„์— ์™„์„ฑํ•œ โ€˜Cruising Aheadโ€™ ๋ผ๋Š” ๊ทธ๋ฆผ์„ ์ข‹์•„ํ•ฉ๋‹ˆ๋‹ค. ์ €๋Š” ์ €์˜ ์‚ฌ๋ž‘๊ณผ ์ž‘์€ ๋ณดํŠธ ์•ˆ์—์„œ ์˜ˆ์ธก ๋ถˆ๊ฐ€๋Šฅํ•œ ๋ฏธ๋ž˜๋ฅผ ํ–ฅํ•ด ๋งŽ์€ ๊ฒƒ๋“ค์„ ์‹ค์–ด ๋‚˜๋ฅด๋Š” ์ œ ์ž์‹ ์„ ๊ทธ๋ ธ์Šต๋‹ˆ๋‹ค. ๊ทธ๋ฆผ์„ ๊ทธ๋ฆฌ๋Š” ๋™์•ˆ, ์ €๋Š” โ€˜๋งŒ์•ฝ ์šฐ๋ฆฌ์—๊ฒŒ ์—ฌ์ „ํžˆ ์„œ๋กœ๊ฐ€ ์žˆ๋‹ค๋ฉด, ์–ด๋– ํ•œ ์žฅ์• ๋ฌผ๋„ ๊ทน๋ณตํ•˜๊ธฐ์— ์ถฉ๋ถ„ํ•˜๊ณ  ์šฐ๋ฆฌ๊ฐ€ ํ•จ๊ป˜ ๊ณต์œ ํ•˜๊ณ  ์žˆ๋Š” ์–ด๋– ํ•œ ๋ฌธ์ œ๋„ ํ•ด๊ฒฐํ•  ์ˆ˜ ์žˆ๋‹คโ€™ ๋ผ๊ณ  ์ƒ๊ฐํ–ˆ์Šต๋‹ˆ๋‹ค. ๋งˆ์Œ์— ๋“œ๋Š” ๋˜ ๋‹ค๋ฅธ ์ž‘ํ’ˆ์„ ๊ผฝ์œผ๋ผ๋ฉด ์•„๋งˆ ํ”„๋ผ์ด ์†ก (Pleng Pry)์ผ ๊ฒ๋‹ˆ๋‹ค. ๊ทธ๋•Œ ์ €๋Š” ์ฒ˜์Œ์œผ๋กœ ์ œ ๊ทธ๋ฆผ์ด ์›€์ง์ด๋Š” ๊ฒƒ์„ ๋ณด์•˜์œผ๋‹ˆ๊นŒ์š”. Q. ๋‹น์‹ ์—๊ฒŒ ์ผ๋Ÿฌ์ŠคํŠธ๋ž€ ๋ฌด์—‡์ธ๊ฐ€? ์‚ฝํ™”๋Š” ์ฃผ๋กœ ๊ธฐ์‚ฌ, ํŒจ์…˜, ์Œ์•… ๋“ฑ์„ ๋ณด์กฐํ•˜๋Š” ์„ ์ „ ์˜ˆ์ˆ ์ด๋ผ๊ณ  ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค. ํ•˜์ง€๋งŒ ์ œ ๊ทธ๋ฆผ๋“ค์€ ์ œ ์ž์‹ ์˜ ์ƒ๊ฐ์œผ๋กœ ์ฐฝ์กฐ๋˜์—ˆ์Šต๋‹ˆ๋‹ค. ๊ทธ๋ฆผ์€ ๋” ์ œ ์ž์‹ ์— ๋Œ€ํ•œ ๊ฒƒ์ž…๋‹ˆ๋‹ค. ๋‹ค๋ฅธ ์–ด๋–ค ๊ฒƒ๋„ ๋ณด์กฐํ•˜์ง€ ์•Š๊ณ  ์Šค์Šค๋กœ์˜ ์˜๋ฏธ๊ฐ€ ์žˆ๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค. ๋Œ€๋ถ€๋ถ„, ์ผ๋Ÿฌ์ŠคํŠธ๋Š” ์ €์—๊ฒŒ ์‚ฌ๋žŒ๋“ค์„ ์•Œ๊ณ , ์ƒˆ๋กœ์šด ๊ฒƒ๋“ค์„ ๊ฒฝํ—˜ํ•˜๋„๋ก ๋งŽ์€ ๊ธฐํšŒ๋ฅผ ์ฃผ๊ณ  ๋‹ค๋ฅธ ์ž‘ํ’ˆ์„ ๋งŒ๋“ค๋„๋ก ์˜๊ฐ์„ ์ค๋‹ˆ๋‹ค.

160

P7

Q. FOR CREW์— ๋Œ€ํ•ด ์ด์•ผ๊ธฐ ํ•ด๋‹ฌ๋ผ. ๋‚˜๋Š” P7์ด๋ผ๊ณ  ํ•œ๋‹ค. ์ŠคํŠธ๋ฆฌํŠธ ์•„ํ‹ฐ์ŠคํŠธ์ด๋ฉฐ FOR CREW์˜ ๋ฆฌ๋”๋‹ค. FOR CREW์˜ ๊ฒฐ์„ฑ ๋™๊ธฐ๋Š” ์šฐ์—ฐํ•œ ๊ธฐํšŒ์— ๋™๋ฃŒ ์•„ํ‹ฐ์ŠคํŠธ Yuree์™€ ํ•จ๊ป˜ ๋ฒฝํ™” ์ž‘์—…์„ ํ•˜๋ฉด์„œ๋ถ€ํ„ฐ์˜€๋‹ค. ๋‹ค๋ฅธ ์˜ˆ์ˆ ๊ฐ€์™€ ํ•จ๊ป˜ ์ž‘์—…ํ•˜๋Š” ๊ณผ์ •, ์Šคํƒ€์ผ๊ณผ ์•„์ด๋””์–ด๋ฅผ ์กฐํ™”์‹œํ‚ค๋Š” ์ผ์€ ๋งค์šฐ ํฅ๋ฏธ๋กœ์› ๊ณ  ๊ณ ๋ฌด์ ์ด์—ˆ๋‹ค. ๊ทธ ํ›„ ์šฐ๋ฆฌ๋Š” ๊ทธ๋ž˜ํ”ผํ‹ฐ, ์ŠคํŠธ๋ฆฌํŠธ ์•„ํŠธ, ๊ทธ๋ž˜ํ”ฝ ๋””์ž์ธ, ์ผ๋Ÿฌ์ŠคํŠธ๋ ˆ์ด์…˜ ๋“ฑ ๋‹ค๋ฅธ ๋ถ„์•ผ์˜ ์•„ํ‹ฐ์ŠคํŠธ๋“ค๊ณผ ํ•จ๊ป˜ ๊ณต๋™ ์ž‘์—…์„ ํ•˜์ž๋Š” ์•„์ด๋””์–ด๋ฅผ ๋‚ด๊ฒŒ ๋˜์—ˆ๋‹ค. ๊ทธ๋ฆฌ๊ณ  ๊ณง๋ฐ”๋กœ FOR CREW์˜ ํƒ„์ƒ์œผ๋กœ ์ด์–ด์ง€๊ฒŒ ๋˜์—ˆ๋‹ค. ์—ฌ๋Ÿฌ ์ „๋ฌธ ๋ถ„์•ผ์— ๊ฑธ์นœ ์šฐ๋ฆฌ์˜ ๋Œ€๋‹ดํ•œ ์ ‘๊ทผ์ด ๋ฐฉ์ฝ• ์•„ํŠธ & ์ปฌ์ณ ์„ผํ„ฐ์—์„œ


์—ด๋ฆฐ ๋‘ ๋ฒˆ์˜ ์ „์‹œํšŒ์™€ ๋ฐฉ์ฝ•๊ณผ ํƒœ๊ตญ ๋“ฑ์ง€์—์„œ ์—ด๋ฆฐ ์ˆ˜ ๋งŽ์€ ๋ผ์ด๋ธŒ ํŽ˜์ธํŒ… ์ด๋ฒคํŠธ๋กœ ์ด์–ด์กŒ๋‹ค. 2010๋…„ ์šฐ๋ฆฌ์˜ ์ฒซ ์ „์‹œ๊ฐ€ ์—ด๋ฆฐ ์ด๋ž˜, 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 ์ด์ƒ ์—ด ์—ฌ๋Ÿ ๋ช…์˜ ๋ฉค๋ฒ„๊ฐ€ ํ•จ๊ป˜ ํ™œ๋™ํ•˜๋Š” ์ง‘๋‹จ์œผ๋กœ ์„ฑ์žฅํ•˜๊ฒŒ ๋˜์—ˆ๋‹ค. Q. ์™œ ์ด๋Ÿฐ ํฌ๋ฃจ๋ฅผ ๋งŒ๋“ค๊ฒŒ ๋˜์—ˆ๋‚˜? ์ด ํฌ๋ฃจ์˜ ๋ชฉ์ ์€ ๋ฌด์—‡์ธ๊ฐ€? ๊ฐ๊ธฐ ๋‹ค๋ฅธ ์Šคํƒ€์ผ์˜ ์•„ํ‹ฐ์ŠคํŠธ๊ฐ€ ๊ฐ์ž ์ž์‹ ์˜ ์˜ˆ์ˆ ์„ ๋งˆ์Œ๊ป ํ‘œํ˜„ํ•˜๊ณ  ์žˆ๋Š” ๊ทธ๋Œ€๋กœ ์ž์‹ ์„ ๋“œ๋Ÿฌ๋‚ผ ์ˆ˜ ์žˆ๋‹ค๋ฉด ๋งค์šฐ ํฅ๋ฏธ๋กญ๊ณ  ์žฌ๋ฏธ์žˆ์„ ๊ฒƒ์ด๋ผ ์ƒ๊ฐํ–ˆ๋‹ค. ์šฐ๋ฆฌ ๊ทธ๋ฃน์€ ์•„ํ‹ฐ์ŠคํŠธ๋“ค์ด ์ž์œ ๋กญ๊ณ  ์ฆ‰ํฅ์ ์ธ ๋ฐฉ์‹์œผ๋กœ ์ž‘์—…ํ•  ์ˆ˜ ์žˆ๋„๋ก ์ง€์›ํ•œ๋‹ค. ๊ทธ๋“ค์€ ์–ด๋–ค ์ผ์ •ํ•œ ํŒจํ„ด์ด๋‚˜ ์ปจ์…‰ ์—†์ด ์ž์‹ ๋งŒ์˜ ์ž‘ํ’ˆ์„ ๋งŒ๋“ค ์ˆ˜ ์žˆ๋‹ค. ๋‚˜๋Š” FOR CREW๊ฐ€ ๋‹ค์–‘ํ•œ ๊ฐœ์ธ์ ์ธ ์ž‘ํ’ˆ๋“ค์˜ ๊ฒฐํ•ฉ์ด ์ œํ•œ์ด๋‚˜ ๊ทœ์œจ์ด ์—†๋Š” ํ™˜๊ฒฝ์—์„œ ํ•จ๊ป˜ ์„ฑ์žฅํ•˜๊ธฐ๋ฅผ ์›ํ•œ๋‹ค. FOR CREW์˜ ๊ฐ ๋ฉค๋ฒ„๋“ค์—๊ฒŒ๋Š” ๊ฐ๊ฐ ๋‹ค๋ฅธ ๊ฐ•์ ์ด ์žˆ๊ณ , ๊ทธ๋ฃน์œผ๋กœ ๊ทธ ์žฅ์ ๋“ค์ด ํ•ฉ์ณ์ง€๋ฉด ์ฐฝ์˜์ ์ธ ํž˜์ด ํ™•๋Œ€๋œ๋‹ค. โ€˜ํ•จ๊ป˜ ํ•œ๋‹คโ€™๋Š” ์ด ์ •์‹ ์ด ๊ฐ ๋ฉค๋ฒ„๋“ค์˜ ์ž‘์—… ๊ณผ์ •์— ์šฐ๋ฆฌ์˜ ์ƒˆ๋กœ์šด ๋ฐฉํ–ฅ์€ ์ƒ์ƒ ์ด์ƒ์œผ๋กœ ๋„์›€์ด ๋˜์–ด์™”๋‹ค. ์ด๋Ÿฌํ•œ ๊ธ์ •์  ์—๋„ˆ์ง€๋Š” ๋น„๋‹จ ์ฐฝ์˜์ ์ธ ์‹œ๋„ˆ์ง€์— ๊ทธ์น˜์ง€ ์•Š๊ณ  FOR CREW๋Š” ๋ฉค๋ฒ„๋“ค, ์„œ๋กœ๊ฐ€ ๊ฒฉ๋ คํ•˜๊ณ  ์กฐ์–ธ์„ ํ•ด์ฃผ๋Š” ํ™•๋Œ€ ๊ฐ€์กฑ์˜ ์—ญํ• ๋„ ํ•˜๊ณ  ์žˆ๋‹ค.

์Šคํƒ€์ผ์„ ๋ฐ›์•„ ๋“ค์˜€๋‹ค. ๊ทธ๋ฆฌ๊ณ  ๋…์ฐฝ์ ์ด๋ฉด์„œ ๋™์‹œ๋Œ€์ ์ด๊ณ  ๋งค์šฐ ํƒœ๊ตญ์ ์ธ ์ƒˆ ๋ฐฉ์‹์œผ๋กœ ํ•จ๊ป˜ ๋…น์—ฌ๋‚ด๊ณ  ์žˆ๋‹ค. ๋‚˜๋Š” ๊ทธ๋…€๋ฅผ ๋งŽ์€ ๊ฐค๋Ÿฌ๋ฆฌ ๊ฐœ๊ด€์‹์—์„œ ๋งŒ๋‚ฌ์ง€๋งŒ, ๊ทธ๋…€์˜ ๊ทธ๋ฆผ์„ ๋ณธ ์ ์€ ์—†์—ˆ๋‹ค. ์–ด๋Š ๋‚ , ์นœ๊ตฌ ํ•œ ๋ช…์ด ๊ทธ๋…€์˜ ๊ทธ๋ฆผ์„ ํŽ˜์ด์Šค๋ถ์— ์˜ฌ๋ฆฐ ๊ฒƒ์„ ๋ฐœ๊ฒฌํ–ˆ๊ณ , ๋‚˜๋Š” ๊ทธ๋…€์˜ ์ž‘ํ’ˆ์— ๊นŠ์€ ์ธ์ƒ์„ ๋ฐ›์•„ ๊ทธ๋…€๋ฅผ FOR CREWํฌ๋ฃจ์— ์ดˆ๋Œ€ํ–ˆ๋‹ค. Srinakharinwirot ๋Œ€ํ•™์—์„œ ์—ด๋ฆฐ ์ž์‹ ์˜ ์กธ์—… ์ž‘ํ’ˆ ์‡ผ๋Š” ๋งค์šฐ ์ธ์ƒ์ ์ด์—ˆ๋‹ค. ๊ทธ๋…€๋Š” ๊ด€์„ ์ž์‹ ์˜ ํŠธ๋ ˆ์ด๋“œ ๋งˆํฌ ๋””์ž์ธ์ธ ํ•ด๊ณจ, ๊ฝƒ, ์•„๋ฆ„๋‹ค์šด ์—ฌ์„ฑ์œผ๋กœ ๋’ค๋ฎ์—ˆ๋‹ค. ๊ทธ๋…€๋Š” ํ•ญ์ƒ ๋…ธ๋ ฅํ•˜๊ณ  ์ƒˆ๋กœ์šด ๊ธฐ์ˆ ์„ ๋ฐฐ์šด๋‹ค. ๋ฏธ์Šค ์ž‰ํฌ๋Š” ํ˜„์žฌ ํƒ€ํˆฌ ์ƒต์—์„œ ์‹ค์Šตํ•˜๊ณ  ์žˆ์œผ๋ฉฐ, ์ƒˆ๋กœ์šด ๊ฐ€๊ฒŒ๋ฅผ ์˜คํ”ˆํ•˜๊ธฐ ์œ„ํ•ด ์ œํ’ˆ ๋ผ์ธ๊ณผ ์˜์ƒ์„ ๊ฐœ๋ฐœํ•˜๊ณ  ์žˆ๋‹ค.

Logan Bay

Logan Bay ๋Š” ๋‚ด๊ฐ€ ์ฐธ๊ฐ€ํ–ˆ๋˜ ๋ฐฉ์ฝ• ์™ธ๊ณฝ์˜ ํ•œ ์˜๋ฅ˜ ๊ณต์žฅ์—์„œ ์—ด๋ ธ๋˜ apexart๊ฐ€ ํ›„์›ํ•œ ์‡ผ์—์„œ ํ๋ ˆ์ดํ„ฐ๋ฅผ ๋งก๊ณ  ์žˆ์—ˆ๋‹ค. ์šฐ๋ฆฌ๋Š” ๋‘˜ ๋‹ค ์ธ์Šต์„ ๋ฒ—์–ด๋‚˜ ์˜ˆ์ˆ ์„ ์ฆ๊ธธ ์ˆ˜ ์žˆ๋Š” ๋ฐฉ๋ฒ•์„ ์ฐพ์œผ๋ฉฐ ์•„ํŠธ ์‡ผ์— ๋Œ€ํ•ด ๋งค์šฐ ๋น„์Šทํ•œ ์ƒ๊ฐ๊ณผ ์ปจ์…‰์„ ๊ฐ€์ง€๊ณ  ์žˆ์—ˆ๋‹ค. ๊ทธ์˜ ๊ฐœ์ธ ์ž‘์—…์€ ์œ ์พŒํ–ˆ๊ณ  ์ƒ‰๊น”์ด ํ™”๋ คํ–ˆ๋‹ค. ๊ทธ๋Š” ํŒ ์•„ํŠธ ์Šคํƒ€์ผ๋กœ ์„œ๊ตฌ ๋ฌธํ™”์™€ ํƒœ๊ตญ ๋ฌธํ™”์˜ ๊ต์ฐจ์ ์„ ํƒํ—˜ํ•˜๊ณ  ์žˆ์—ˆ๋‹ค. ์šฐ๋ฆฌ์˜ ์ฒซ ์™ธ๊ตญ์ธ ๋ฉค๋ฒ„๋กœ์„œ ๊ทธ์˜ ์˜ˆ์ˆ ๊ณผ ํƒœ๊ตญ์— ๋Œ€ํ•œ ๊ด€์ ์€ FOR CREW์—๊ฒŒ ํ›Œ๋ฅญํ•œ ๋ณดํƒฌ์ด ๋˜๊ณ  ์žˆ๋‹ค. Logan ์€ ํƒœ๊ตญ์˜ ๋™์‹œ๋Œ€์  ์˜ˆ์ˆ ๊ณ„๋ฅผ ์ง€์ง€ํ•˜๊ณ  ํ™๋ณดํ•˜๊ธฐ ์œ„ํ•ด ์ž‘์—…ํ•˜๊ณ  ์žˆ๋‹ค. ๊ทธ์˜ ์•„๋‚ด Sandy์˜ ๋„์›€์œผ๋กœ ๊ทธ๋“ค์€ ํƒœ๊ตญ์˜ ์•„ํŠธ๋ฅผ ๋‹ค๋ฃจ๋Š” ์žก์ง€ SUBPโ€ขAโ€ขROHT๋ฅผ ์ฐฝ๊ฐ„ํ–ˆ๋‹ค.

Q. FOR CREW๋Š” ์–ด๋–ค ์ข…๋ฅ˜์˜ ํ”„๋กœ์ ํŠธ๋ฅผ ํ•˜๊ณ  ์žˆ๋‚˜? FOR CREW์˜ ํ”„๋กœ์ ํŠธ๋Š” ์ˆœ์ˆ˜ ๋ฏธ์ˆ , ๋””์ž์ธ, ๊ทธ๋ž˜ํ”ผํ‹ฐ์˜ ์š”์†Œ๋ฅผ ํฌํ•จํ•˜๊ณ  ์žˆ๋‹ค. ์šฐ๋ฆฌ๋Š” ์„œ๋กœ ๊ณต์œ ํ•˜๊ณ  ์žˆ๋Š” ์ŠคํŠธ๋ฆฌํŠธ ์•„ํŠธ ๊ฐ์„ฑ์— ์˜ํ•ด ๊ฒฐํ•ฉ๋œ ๋งŽ์€ ๋‹ค์–‘ํ•œ ์Šคํƒ€์ผ๋กœ ์ž‘์—…ํ•œ๋‹ค. ๋Œ€๊ทœ๋ชจ ๊ณต๊ณต ์ž‘ํ’ˆ์„ ํ•˜๋ฉด์„œ ์šฐ๋ฆฌ๋Š” ๋„์‹œ์˜ ๊ฑฐ๋ฆฌ์™€ ๊ฐค๋Ÿฌ๋ฆฌ ์ „์‹œ ๋ชจ๋‘์—์„œ ํ‹€์„ ๋ฒ—์–ด๋‚œ ์ž‘ํ’ˆ์„ ๋งŒ๋“œ๋Š”๋ฐ ์ดˆ์ ์„ ๋งž์ถ”๊ณ ์žˆ๋‹ค.FORCREW์˜๊ฒฐ๊ณผ๋ฌผ์„ํ™•์žฅ์‹œ์ผœ๋‚˜๊ฐ€๋ฉด์„œ์•ž์œผ๋กœ์žˆ์„ํ”„๋กœ์ ํŠธ๋“ค์€์กฐ๊ฐํ’ˆ์ „์‹œ, ์ œํ’ˆ๊ณผ์ธํ„ฐ๋ ‰ํ‹ฐ๋ธŒ์ด๋ฒคํŠธ๋ฅผํฌํ•จํ•˜๊ณ ์žˆ๋‹ค.์šฐ๋ฆฌ๋Š”์ดํ•ดํ•˜๊ธฐ์‰ฝ๊ณ ,๊ณ ๋ฌด์ ์ด๋ฉฐ,์žฌ๋ฏธ์žˆ๋Š”์˜ˆ์ˆ ์„ ๋งŒ๋“ค๊ธฐ ์œ„ํ•ด ๋Š์ž„์—†์ด ๋…ธ๋ ฅํ•˜๊ณ  ์žˆ๋‹ค.

067p

THE SOUND OF BANGKOK DRAGON

Q. ๋‹น์‹ ์˜ ์Œ์•… ์Šคํƒ€์ผ์— ๋Œ€ํ•ด ์ด์•ผ๊ธฐํ•ด๋‹ฌ๋ผ. House, techno, dubstep, drum โ€˜nโ€™ bass ๋“ฑ Dubwize ๋น„ํŠธ๋ผ๋ฉด ๋‹ค์–‘ํ•œ ์ข…๋ฅ˜๋ฅผ ํŠผ๋‹ค.

Q. ๋‹น์‹ ์˜ ์ž‘ํ’ˆ์— ๋Œ€ํ•ด ์†Œ๊ฐœํ•ด ๋‹ฌ๋ผ. ๋‚ด ์ž‘ํ’ˆ์€ ์‚ฌ์‹ค์ฃผ์˜, ์ŠคํŠธ๋ฆฌํŠธ ์•„ํŠธ, ํŽ˜์ธํŒ…, ๊ทธ๋ž˜ํ”ฝ, ์‹คํ—˜ ์˜ˆ์ˆ ์„ ๊ฒฐํ•ฉ์‹œ์ผœ ๋†“์€ ๊ฒƒ์œผ๋กœ ์Šค์Šค๋กœ โ€œํ”„๋ฆฌ ์Šคํƒ€์ผ ์•„ํŠธโ€๋ผ๊ณ  ๋ถ€๋ฅธ๋‹ค. ๋‚˜๋Š” ํ•ญ์ƒ ๋ฌด์–ธ๊ฐ€๋ฅผ ๋งŒ๋“ค์–ด ๋‚ด๋ฉด์„œ, ๋Š์ž„์—†์ด ์˜ˆ์ˆ  ์ž‘ํ’ˆ์— ๋งค๋‹ฌ๋ฆฌ๊ณ  ์žˆ๋Š”๋ฐ ํ•œ ์ž‘ํ’ˆ์ด ์™„์„ฑ๋˜๋ฉด, ๊ณง๋ฐ”๋กœ ์ƒˆ๋กœ์šด ์ž‘ํ’ˆ์ด ์‹œ์ž‘ํ•œ๋‹ค. ์ด๋ฏธ ํ–ˆ๋˜ ๊ฒƒ์€ ๋˜ํ’€์ด ํ•˜์ง€ ์•Š๋Š”๋‹ค. ๋‚˜๋Š” ์ƒ‰๊น”, ๋‹จ์–ด, ์‹œ๊ฐ ์˜ˆ์ˆ ์„ ์‚ฌ์šฉํ•˜๋ฉด์„œ, ์ด์ค‘์„ฑ๊ณผ ์ธ๊ฐ„ ๋ณธ์„ฑ์˜ ๊นŠ์ด์™€ ์šฐ๋ฆฌ ์ฃผ๋ณ€ ์„ธ์ƒ์— ๋Œ€ํ•ด ํƒํ—˜ํ•˜๋Š”๋ฐ ๋ชฉ์ ์„ ๋‘”๋‹ค. ๋งŒ์•ฝ ๋‚ด๊ฐ€ ์ด๋Ÿฐ ๊ฒƒ๋“ค์„ ๋๋‚ด๋Š” ์ˆœ๊ฐ„ ๋‚ด ์บ๋ฆญํ„ฐ๋Š” ์ฃฝ๊ฒŒ ๋  ๊ฒƒ์ด๊ณ , ๋‚˜๋Š” ํ™˜์ƒ์„ ๊ธฐ๋‹ค๋ฆฌ๊ฒŒ ๋  ๊ฒƒ์ด๋‹ค.

MAMAFAKA

MAMAFAKA ๋Š” B.O.R.E.D.์™€์˜ ๊ทธ๋ž˜ํ”ฝ ๋””์ž์ธ ๊ณต๋™ ์ž‘์—…์œผ๋กœ ์ž˜ ์•Œ๋ ค์ ธ ์žˆ๋‹ค. ๊ทธ์˜ ์ŠคํŠธ๋ฆฌํŠธ ์•„ํŠธ์— ๋Œ€ํ•œ ๊ด€์‹ฌ์€ ์‹ค๋กœ ๋Œ€๋‹จํ•ด ๋‚˜๋กœ ํ•˜์—ฌ๊ธˆ ๊ทธ๋ฅผ 2010๋…„ FOR์˜ ์ฒซ ์‡ผ์— ์ฐธ๊ฐ€ํ•˜๋„๋ก ์ดˆ๋Œ€ํ•˜๊ฒŒ ๋งŒ๋“ค์—ˆ๋‹ค. ๋‹น์‹œ ๋‚˜๋Š” ๊ทธ๊ฐ€ ์ž์‹ ์˜ ์ž‘์—…์— ์žˆ์–ด ๊ทธ๋ž˜ํ”ฝ์„ ๋„˜์–ด์„œ ์บ๋ฆญํ„ฐ์™€ ๋ฒฝํ™” ๋””์ž์ธ๊นŒ์ง€ ํ™•์žฅ์‹œํ‚ค๋„๋ก ๊ฒฉ๋ คํ•˜๊ณ  ์‹ถ์—ˆ๋‹ค. ๊ทธ๋ฆฌ๊ณ  ๊ทธ ํ•ด FOR CREW ์‡ผ์—์„œ MMFK์˜ ์ƒ์ง•์  ์บ๋ฆญํ„ฐ์ธ ์ปค๋‹ค๋ž€ ์ฝง์ˆ˜์—ผ์ด ๋‚˜๊ณ  ๋ˆˆ์ด ํ•˜๋‚˜ ๋‹ฌ๋ฆฐ ํ„ธ๋ณต์ˆญ์ด HELL YEAH ์”จ๊ฐ€ ํƒ„์ƒํ–ˆ๋‹ค. ๊ทธ ์ดํ›„๋กœ, HELL YEAH ์”จ๋Š” ํ‹ฐ์…”์ธ , ํฌ์Šคํ„ฐ, ๊ทธ๋ž˜ํ”ผํ‹ฐ, ์Šค์ผ€์ดํŠธ ๋ณด๋“œ์— ๋“ฑ์žฅํ•˜๋ฉฐ ๋ฐฉ์ฝ• ์ŠคํŠธ๋ฆฟ ์•„ํŠธ๋ฅผ ๋Œ€ํ‘œํ•˜๋Š” ์•„์ด์ฝ˜์ด ๋˜์—ˆ๋‹ค.

Tawan Wattuya

Tawan Wattuya๋Š” ๋‚ด ์˜ค๋žœ ์นœ๊ตฌ๋‹ค. ๊ทธ๋Š” ์ˆœ์ˆ˜ ์˜ˆ์ˆ ๊ณ„์—์„œ ์ธ์ƒ์ ์ธ ์ˆ˜์ฑ„ํ™”๋กœ ์œ ๋ช…ํ•˜๋‹ค. ๋ฐฉ์ฝ•์˜ ํˆฌํŠธ ์œต ๊ฐค๋Ÿฌ๋ฆฌ, ๋ˆ”ํ†ต ๊ฐค๋Ÿฌ๋ฆฌ, ํƒ• ํ˜„๋Œ€ ๋ฏธ์ˆ ๊ด€์—์„œ ์—ด๋ฆฐ ๋‹จ๋… ์ „์‹œํšŒ๋กœ ์ธํ•ด ๊ทธ๋Š” ์ •์น˜์  ๋ถˆ์•ˆ๊ณผ ์พŒ๋ฝ์ฃผ์˜์˜ ๋ช…๋ž‘ํ•œ ์„ ๋™๊ฐ€๋ผ๋Š” ํ‰ํŒ์„ ์–ป๊ณ  ์žˆ๋‹ค. ๊ทธ์˜ ๋…ํŠนํ•œ ์ˆœ์ˆ˜ ๋ฏธ์ˆ ๊ณ„์˜ ๋‚ด๋ ฅ์œผ๋กœ Tawan ์€ FOR CREW์— ๋‹ค๋ฅธ ์ ‘๊ทผ๋ฒ•์„ ์„ ์‚ฌํ•˜๊ณ  ์žˆ๋‹ค. FOR CREW์‡ผ์—์„œ ์ž‘์—…ํ•˜๋ฉด์„œ ๊ทธ๋Š” ์ฒ˜์Œ์œผ๋กœ ๋Œ€๊ทœ๋ชจ ๋ฒฝํ™” ํ”„๋กœ์ ํŠธ์—์„œ ์ž‘์—…ํ•˜๊ฒŒ ๋˜์—ˆ๋‹ค. Tawan์€ ์œ ๋Ÿฝ๊ณผ ์•„์‹œ์•„ ์ „์—ญ์—์„œ ์ „์‹œํšŒ๋ฅผ ์—ด๊ณ  ์žˆ๋‹ค.

Narissara

Narissara๋Š” ๋ฐฉ์ฝ•์˜ ๊ฐค๋Ÿฌ๋ฆฌ N์˜ ๋Œ€ํ‘œ๋‹ค. ๋‚˜๋Š” ํ•ญ์ƒ ๊ทธ๋…€๋ฅผ ๊ฐœ๊ด€์‹์—์„œ ๋ดค์ง€๋งŒ, ์„œ๋กœ ์ด์•ผ๊ธฐ๋ฅผ ๋งŽ์ด ๋‚˜๋ˆˆ ์ ์€ ์—†์—ˆ๋‹ค. FOR CREW์—์„œ ์ž‘์—…์„ ํ•˜๋ฉด์„œ ๊ทธ๋…€๋ฅผ ์•Œ๊ฒŒ ๋˜์—ˆ๋‹ค. ๊ทธ๋…€์™€ ํ•จ๊ป˜ ์ž‘์—…์„ ํ•˜๊ณ  ์žˆ๋‹ค๋Š” ๊ฒƒ ์ž์ฒด๊ฐ€ ๊ฐœ์ธ์ ์œผ๋กœ ์ข‹์€ ๊ธฐํšŒ๊ฐ€ ๋˜๊ณ  ์žˆ๋‹ค. ๊ทธ๋…€์˜ ์ผ๋Ÿฌ์ŠคํŠธ ์Šคํƒ€์ผ์€ ๊ฟˆ๊ณผ ์ž ์žฌ์˜์‹์— ์ค‘์‹ฌ์„ ๋‘๊ณ  ์žˆ๋‹ค. ๋ณดํ†ต ํŽ˜์ธํŒ…๊ณผ ๋ชฉํƒ„ ์†Œ๋ฌ˜ ์ž‘์—…์„ ํ•˜๋Š” Narissara๋Š” FOR CREW ์—์„œ ์ฒ˜์Œ์œผ๋กœ ์ž์‹ ์˜ ์˜ˆ์ˆ ์ ์ธ ๋ž˜ํผํ† ๋ฆฌ์— ํŽ˜์ธํŠธ๋ฅผ ๋ฟŒ๋ฆฌ๋ฉฐ ๋ฒฝํ™” ์ž‘์—…์„ ํ–ˆ๋‹ค. ๊ทธ๋…€์˜ ์ƒˆ๋กœ์šด ์ž‘ํ’ˆ์€ ์„ฌ์œ ์— ์ˆ˜์ฑ„ํ™”์™€ ์ž์ˆ˜๋ฅผ ๊ฒฐํ•ฉํ•œ ๊ฒƒ์ด๋‹ค. Narissara์˜ ๋Œ€ํ‘œ์ ์ธ ๋ฌผ๋ฐฉ์šธ ๋ฌด๋Šฌ ์ƒˆ์™€ ๋‹ค๋ฅธ ์ž‘ํ’ˆ๋“ค์ด ๊ทธ๋…€์˜ ์ƒˆ๋กœ์šด ์›น์‚ฌ์ดํŠธ, Etsy์˜ the Mellon Collie Shop ์—์„œ ํŒ๋งค๋˜๊ณ  ์žˆ๋‹ค.

TRK

Q. ์–ธ์ œ ์‹œ์ž‘ํ–ˆ๋Š”๊ฐ€? 8ํ•™๋…„ ๋•Œ DJ deck์„ ๊ฐ€์ง€๊ฒŒ ๋˜์—ˆ๋Š”๋ฐ ๊ฝค ์˜ค๋žœ ์ „ ์ผ์ด๋‹ค. Q. ์ฒซ ๋ฒˆ์งธ ํŒŒํ‹ฐ๋Š” ์–ด๋• ๋Š”๊ฐ€? 1997/1998๋…„๋„ ๋ฐฉ์ฝ•์—์„œ ๋‹ค๋ฅธ ๋‘ ์นœ๊ตฌ Mc Abu, DJ Wen๊ณผ ํ•จ๊ป˜ DnB ํŒŒํ‹ฐ๋ฅผ ๊ฐœ์ตœํ•˜๋ ค๊ณ  ํ–ˆ๋‹ค. ์ฒ˜์Œ์—” ์‚ฌ๋žŒ๋“ค์ด DnB๋ฅผ ๋ณ„๋กœ ์ข‹์•„ํ•˜์ง€ ์•Š์•˜๊ณ  ์ง€๊ธˆ๊ฐ™์ด ๋˜๊ธฐ๊นŒ์ง„ ์‹œ๊ฐ„์ด ๊ฑธ๋ ธ๋‹ค. ์š”์ฆ˜์—๋Š” โ€œDUBWAY SESSIONSโ€์ด๋ผ๊ณ  ํ•˜๋Š” dubstep/bass night๋ฅผ ๋งค ์›” ๊ธฐํšํ•˜๊ณ  ํ™๋ณดํ•˜๋Š” ์ค‘์ด๋‹ค. ์ œ์ผ ์ฒ˜์Œ ํ–ˆ๋˜ ๋•Œ๊ฐ€ 4๋…„ ์ „์ธ๋ฐ, ๊ทธ ๋‹น์‹œ์—๋Š” ducbstep์„ ์ข‹์•„ํ•˜๋Š” ์‚ฌ๋žŒ์ด ๊ฑฐ์˜ ์—†์—ˆ๋‹ค. ์ง€๊ธˆ์€ ์–ด๋Š ์ •๋„ ์„ฑ์žฅํ–ˆ๋‹ค. Q ๋ฐฉ์ฝ•์—์„œ drum โ€˜nโ€™ bass, dubstep ์žฅ๋ฅด๋ฅผ ๊ฑฐ์˜ ์ฒ˜์Œ ๋งŒ๋“  ๊ฒƒ์œผ๋กœ ์œ ๋ช…ํ•˜๋‹ค. ์ด๋Ÿฐ ์žฅ๋ฅด์˜ ์Œ์•…์”ฌ์€ ์–ด๋–ค๊ฐ€? ์‚ฌ๋žŒ๋“ค๋„ ์นœ์ ˆํ•˜๊ณ  ๋Œ€๋ถ€๋ถ„ ํด๋Ÿฝ ๋ถ€์œ„๊ธฐ๋„ ์ข‹์•„์„œ ๋ฐฉ์ฝ•์„ ์ข‹์•„ํ•œ๋‹ค. ์ฒ˜์Œ ์‹œ์ž‘ํ–ˆ์„ ๋•Œ๋Š” DJ๊ฐ€ ๊ฑฐ์˜ ์—†์—ˆ๋‹ค. ์š”์ฆ˜์—” ์˜จ๊ฐ– ์ข…๋ฅ˜์˜ ๋น„ํŠธ๋ฅผ ๊ฐ€์ง€๊ณ  ๋…ธ๋Š” ๋›ฐ์–ด๋‚œ DJ๋“ค์ด ๋งŽ๋‹ค. Thailand์—๋Š” ์žฌ๋Šฅ ์žˆ๋Š” ๋ฎค์ง€์…˜๋“ค์ด ํ€„๋ฆฌํ‹ฐ ์žˆ๋Š” ์Œ์•…์„ ์ƒ๋‹น์ˆ˜ ๋งŒ๋“ค๊ณ  ์žˆ๋‹ค. ํ•˜์ง€๋งŒ ์šฐ๋ฆฌ ์Œ์•… ์Šคํƒ€์ผ์„ ํƒ€์ง€์—ญ์— ์•Œ๋ฆฌ๋ ค๋ฉด ์‹œ๊ฐ„์ด ์ข€ ๊ฑธ๋ฆด ๊ฒƒ ๊ฐ™๋‹ค. Q. ์ž์„ธํžˆ ์ด์•ผ๊ธฐํ•ด ์ค„ ์ˆ˜ ์žˆ๋‚˜? ๋Šฅ๋ ฅ ์žˆ๋Š” ํ”„๋กœ๋“€์„œ๋“ค์€ ๋งŽ๋‹ค. ํ•˜์ง€๋งŒ UK, USA ์‹œ์žฅ์—์„œ ์Œ๋ฐ˜๊ณ„์•ฝ์„ ํ•˜๊ณ  ํŒŒ๋Š” ๊ฒƒ์€ ์—ฌ์ „ํžˆ ํž˜๋“ค๋‹ค. ์‹œ์žฅ์ด ๋” ๊ฒฝ์Ÿ์ ์ด๊ธฐ๋„ ํ•˜๊ณ , ์ง„์ž…ํ•˜๋Š” ๊ฒƒ ์ž์ฒด๊ฐ€ ์–ด๋ ต๋‹ค. Maft Sai๊ฐ™์€ ์นœ๊ตฌ๋Š” ๊ฐœ์„ฑ์ด ๊ฐ•ํ•˜์ง€๋งŒEurope๊ณผJapan์—์„œ์ž˜ํŒ”๋ฆฌ๊ณ ์žˆ๋‹ค.Drumโ€˜nโ€™bass,dubstep,techno๊ฐ™์€์ผ๋ ‰ํŠธ๋กœ๋‹‰ ๋ฎค์ง์„ ํ•˜๋Š” ๋‹ค๋ฅธ ์นœ๊ตฌ๋“ค ๊ฒฝ์šฐ์—๋Š” ์‹ค๋ ฅ์ด ์žˆ์ง€๋งŒ, ์ƒ๋Œ€์ ์œผ๋กœ ์œ ๋ช…ํ•œ ํ”„๋กœ๋“€์„œ์™€ ๊ฒฝ์Ÿํ•˜๊ธฐ ์–ด๋ ต๋‹ค. ์ผ๋ ‰ํŠธ๋กœ๋‹‰ ์Œ์•…์€ ์žฅ๋‹จ์ ์ด ์žˆ๋‹ค. ๋ˆ„๊ตฌ๋‚˜ ํ•  ์ˆ˜ ์žˆ๊ธฐ ๋•Œ๋ฌธ์— ๋ฐ๋ชจ๋ฅผ ๊ฐ€์ง„ ์ˆ˜๋งŽ์€ ํ”„๋กœ๋“€์„œ ์ง€๋ง์ƒ์ด ์žˆ์ง€๋งŒ, ๋ ˆ์ด๋ธ” ์ž…์žฅ์—์„œ๋Š” ์‚ฌ๋ง‰์—์„œ ๋ฐ”๋Š˜์ฐพ๊ธฐ ์ˆ˜์ค€์ด๋‹ค. Thai์™€ ๋™๋‚จ์•„์‹œ์•„ ํ”„๋กœ๋“€์„œ๋“ค์ด ํ•„์š”ํ•œ ๊ฒƒ์€ ์‚ฌ์—…์—ฐ์ค„๊ณผ ์ด ์”ฌ์„ ํ‚ค์›Œ์ฃผ๊ณ ์ž ํ•˜๋Š” ์‚ฌ๋žŒ๋“ค์ด๋‹ค. Q. ๋ฐฉ์ฝ•์˜ ํŒŒํ‹ฐํ”ผํ”Œ์ด ํŠน๋ณ„ํžˆ ์ข‹์•„ํ•˜๋Š” ์žฅ๋ฅด๊ฐ€ ์žˆ๋‚˜? ๋‚ด ์ƒ๊ฐ์—”, ๋ถ„์œ„๊ธฐ๊ฐ€ ํŽธํ•ด์„œ ์‚ฌ๋žŒ๋“ค์ด Dubway์˜ค๋Š” ๊ฒƒ์„ ์ข‹์•„ํ•˜๋Š” ๊ฒƒ ๊ฐ™๋‹ค. ๋‹ค์–‘ํ•œ ์Œ์•…์  ๋ฐฑ๊ทธ๋ผ์šด๋“œ๋ฅผ ๊ฐ€์ง„ ๊ฒŒ์ŠคํŠธ DJ๋“ค์ด ์˜ค๊ธฐ ๋•Œ๋ฌธ์— Dubway์—๋Š” ํ•ญ์ƒ ํŠน๋ณ„ํ•œ ๋ญ”๊ฐ€ ์žˆ๋‹ค.

TRK๋Š” ํ”ผํˆฌ์„ฑ์ด์˜ ๋‹ค์†Œ ๋ณ€ํƒœ์ ์ธ ํ‘๋ฐฑ ์‚ฝํ™”๋กœ ์ž˜ ์•Œ๋ ค์ ธ ์žˆ๋‹ค. ๊ทธ๋Š” ๋ฐฉ์ฝ•์—์„œ ๋“œ๋Ÿผ & ๋ฒ ์ด์Šค, ๋ฅ์Šคํ…์„ ์ง€ํ–ฅํ•˜๋Š” ํ˜„์ง€ ํด๋Ÿฝ ๋‚˜์ดํŠธ ๋ฅ์›จ์ด์˜ ๊ทธ๋ž˜ํ”ฝ ๋””์ž์ธ์„ ํ•œ ๊ฒƒ์œผ๋กœ ์œ ๋ช…ํ•˜๋‹ค. ์œ ๋ น, ๊ดด๋ฌผ, ํŽ˜ํ‹ฐ์‹œ ์Šคํƒ€์ผ์— ๋งค๋ฃŒ๋˜์–ด ์žˆ๋Š” TRK๋Š” ๋‚œํ•ดํ•œ ์ž‘ํ’ˆ์„ ํ†ตํ•ด ์–ด๋‘์šด ๋ฉด์„ ํƒํ•˜๋Š” ๊ฒƒ์€ ์ฆ๊ธด๋‹ค. ๊ฐœ์ธ์ ์œผ๋กœ ๋‚˜๋Š” TRK์˜ ์ „ํ†ต์ ์ธ ์˜ˆ์ˆ  ํ–‰์œ„์— ๋‚˜ํƒ€๋‚˜๋Š” ์†œ์”จ ๋•Œ๋ฌธ์— ํ•ญ์ƒ ๊ทธ์—๊ฒŒ ๊ฐ•ํ•œ ์ธ์ƒ์„ ๋ฐ›์•„์™”๋‹ค. TRK๋Š” ์†์œผ๋กœ ๊ทธ๋ฆผ์„ ๊ทธ๋ฆฌ๊ณ  ์Šค์ผ€์น˜๋ฅผ ๋‚ ๋งˆ๋‹ค ์—ฐ์Šตํ•œ๋‹ค. ๊ทธ๋Š” ์šฐ๋ฆฌ ๊ทธ๋ฃน์—์„œ ๊ฐ€์žฅ ์—ด์‹ฌํžˆ ์ž‘์—…ํ•˜๋Š” ์•„ํ‹ฐ์ŠคํŠธ ์ค‘ ํ•˜๋‚˜๊ณ  ํ•ญ์ƒ ๊ธฐ๊บผ์ด ๋‹ค๋ฅธ ์‚ฌ๋žŒ๋“ค์˜ ์ž‘์—…์„ ๋•๋Š”๋‹ค. ์ตœ๊ทผ TRK๋Š” ํ”„๋ ˆ๋“€์Šค ์Šค์ผ€์ดํŠธ์ƒต๊ณผ ํ•จ๊ป˜ ์„ฑ๊ณต์„ ๊ฑฐ๋‘” ์Šค์ผ€์ดํŠธ ๋ฑ ์‹œ๋ฆฌ์ฆˆ, ํฌ์Šคํ„ฐ, ํ‹ฐ์…”์ธ ๋ฅผ ๋งŒ๋“œ๋Š” ์ž‘์—…์„ ์ง„ํ–‰ํ–ˆ๋‹ค.

Q. ์Œ์•…๋„ ์ œ์ž‘ํ•˜๋Š”๊ฐ€? ์Œ๋ฐ˜์ œ์ž‘ ๊ฒฝํ—˜์€ ํ•œ๋ฒˆ๋„ ์—†์ง€๋งŒ, Thailand์—์„œ Homebass Communications Lable์—์„œ ์Œ๋ฐ˜์„ ๋‚ธ ์ ์ด ์žˆ๋‹ค. Asian drum โ€˜nโ€™ bass ์ปดํ”Œ๋ ˆ์ด์…˜ ์•จ๋ฒ”๊ณผ ์ผ๋ณธ ํ”„๋กœ๋“€์„œ DJ.Yas์™€ EP๋ฅผ ๋ƒˆ๋‹ค. ์˜ฌํ•ด ๋‹ค๋ฅธ ์ปดํ”Œ๋ ˆ์ด์…˜ ์•จ๋ฒ”๋„ ์ค€๋น„ ์ค‘์ด๋‹ค.

Rukkit

MAFT SAI

Rukkit๋Š”๋Œ€๋‹จํžˆ์ˆ™๋ จ๋œ๊ทธ๋ž˜ํ”ฝ์•„ํ‹ฐ์ŠคํŠธ๋‹ค.๊ทธ๋Š”์ธํฌ๋งคํ•‘,ํƒ€์ดํฌ๊ทธ๋ž˜ํ”ผ,๋ ˆ์ด์•„์›ƒ๋””์ž์ธ์œผ๋กœ ๋ฐฉ์ฝ• ๋‚ด์— ์ž˜ ์•Œ๋ ค์ ธ ์žˆ๋‹ค. ๋‚˜๋Š” ๊ทธ์˜ ์นœ๊ตฌ์ด์ž ๋‹จ๊ณจ ํ˜‘๋ ฅ์ž์ธ MMFK๋ฅผ ํ†ตํ•ด Rukkit๋ฅผ ๋งŒ๋‚˜๊ฒŒ ๋˜๋‹ค. FOR CREW์—์„œ ์ž‘์—…ํ•œ ๊ฒƒ์ด Rukkit๋กœ ํ•˜์—ฌ๊ธˆ ์ž์‹ ์˜ ๊ฐ•๋ ฅํ•œ ๋””์ž์ธ๊ณผ ์บ๋ฆญํ„ฐ๋ฅผ ํ˜ผํ•ฉํ•˜๋„๋ก๋งŒ๋“ค์—ˆ๋‹ค.์ƒˆ๋กœ์šดํ…Œํฌ๋‹‰์„๊ฐœ๋ฐœํ•˜๋ฉด์„œ,Rukkit๋Š”์ž์‹ ์˜์ž‘ํ’ˆ์„๋งŒ๋“ค์–ด๋‚ด๋Š”๋ฐ์“ฐ์ด๋Š” ํ•˜๋‚˜์˜ ์ƒ์ž๋กœ ๋œ ์Šคํ…์‹ค ์ธ์‡„ ์‹œ์Šคํ…œ์„ ๋งŒ๋“ค์—ˆ๋‹ค. ๊ทธ๋Š” ํ˜„์žฌ ๋ชฉํŒ์„ ์ธต์œผ๋กœ ๋งŒ๋“ค์–ด ์กฐ๊ฐ์ด๋ผ๋Š” ์ƒˆ๋กœ์šด ๋ฐฉํ–ฅ์˜ ์ž‘์—…์„ ์ง„ํ–‰ํ•˜๊ณ  ์žˆ๋‹ค. 2011๋…„์— Rukkit์™€ MMFK๋Š” ๋””์ž์ด๋„ˆ ์•ก์„ธ์„œ๋ฆฌ ๋ธŒ๋žœ๋“œ์™€ URFace๋ผ๋Š” ๊ฐ€๊ฒŒ๋ฅผ ๋ก ์นญํ–ˆ๋‹ค.

Miss Ink

Miss Ink ๋Š” FOR CREW์˜ ๊ฐ€์žฅ ์–ด๋ฆฐ ๋ฉค๋ฒ„๋‹ค. ๊ทธ๋…€๋Š” ํƒ€ํˆฌ ์•„ํŠธ์˜ ์˜ํ–ฅ์„ ๋ฐ›์•„ ๋นˆํ‹ฐ์ง€ ์Šคํ‚จ ์•„ํŠธ

Q. ์ข‹์•„ํ•˜๋Š” ํด๋Ÿฝ์ด ์žˆ๋‚˜? Cafe Democ!!! ํ•ญ์ƒ ์‚ฌ๋žŒ๋“ค์ด ์‹ ๋‚˜๊ณ  ๋ถ„์œ„๊ธฐ๋„ ์ตœ๊ณ ๋‹ค.

Q. ZudRangMa ์ „๋ฌธ ๋ ˆ์ด๋ธ” ๋ฐ ๋ ˆ์ฝ”๋“œ์‚ฌ๋ฅผ ์šด์˜ํ•˜๊ณ  ์žˆ๋‹ค. ์–ด๋””์— ๊ฐ€์žฅ ์ค‘์ ์„ ๋‘๊ณ  ์žˆ๋‚˜? ์„ธ๊ณ„ ๊ฐ์ง€์—์„œ ๊ทผ์›์ด ๋˜๋Š” ๋ฃจํŠธ ๋ฎค์ง์˜ ์›๋ณธ์„ ๊ธฐ๋กํ•˜๊ณ  ์žฌ๋ฐœ๊ฐ„ํ•˜๋Š”๋ฐ ์ค‘์ ์„ ๋‘”๋‹ค. ์ฃผ๋กœ ํƒœ๊ตญ์˜ luk thung ๊ณผmolamqnxj๋ถ€ํ„ฐ afrobeat, Jamaican roots music ์ด๋ฅด๊ธฐ๊นŒ์ง€ ๋‹ค์–‘ํ•˜๋‹ค. Q. luk thung ๊ณผmolam์— ๋Œ€ํ•ด ์†Œ๊ฐœํ•ด๋‹ฌ๋ผ. Luk thung ๊ณผ molam์€ ํƒœ๊ตญ์˜ ๋‹ค๋ฅธ ์ง€๋ฐฉ์—์„œ ์ „ํ•ด ๋‚ด๋ ค์˜ค๋Š” ์ „ํ†ต์Œ์•…์Šคํƒ€์ผ์ด๋‹ค. Luk thung์€ ๊ธฐ๋ณธ์ ์œผ๋กœ ํƒœ๊ตญ ๋ฏผ์š”์ด๋‹ค. ์šฉ์–ด๋Š” ๋ฌธ์ž ๊ทธ๋Œ€๋กœ ๋…ผ๋ฐญ์˜ ์–ด๋ฆฐ์ด๋“ค์˜ ๋…ธ๋ž˜๋ฅผ ์˜๋ฏธํ•˜๋Š” pleng luk thung๋ฅผ ์ค„์—ฌ์“ด ๊ฒƒ์ด๋‹ค. Molam์€ ํƒœ๊ตญ ๋ถ๋™๋ถ€ ์ง€๋ฐฉ์—์„œ ๋‚ด๋ ค์˜ค๋Š” ์ „ํ†ต์Œ์•…์ด๋‹ค. ๋ฐฉ์ฝ• ๊ฐ™์€ ํƒœ๊ตญ ๋ถ๋ถ€์™€ ๋‚จ๋ถ€๋Š” ์Œ์•…์Šคํƒ€์ผ์ด ์™„์ „ํžˆ ๋‹ค๋ฅด๋‹ค. 70๋…„๋Œ€์˜ Luk thung ์ด ์ข€ ๋” ๊ฒฝ์พŒํ•œ ๋ฐ˜๋ฉด molam ์ž์žฅ๊ฐ€๊ฐ™์ด ๋Š๋ฆฌ๋‹ค.

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Q. ๋ชจ๋‘ ์˜›๋‚  ์Œ์•… ์Šคํƒ€์ผ์ด๋‹ค. ๊ทธ๋ ‡๋‹ค. ๋‘˜ ๋‹ค ๋งˆ์„์ถ•์ œ์—์„œ ๋น„๋กฏ๋˜์—ˆ๋‹ค. Luk thung์€ 20์„ธ๊ธฐ ์ดˆ๋ฐ˜๊นŒ์ง€ ๊ฑฐ์Šฌ๋Ÿฌ ์˜ฌ๋ผ๊ฐ€๊ณ , molam ์€ ๋” ์˜ค๋ž˜๋˜์—ˆ๋‹ค. ์ฒซ ๋ฒˆ์งธ ๋…น์Œ์€ 1966๋…„ ์ •๋„์˜€๋‹ค. Cambodia, Burma , Vietnam์—์„œ๋Š” ๊ณต์‚ฐ ์ •๊ถŒ์ด ๋Œ€๋ถ€๋ถ„์˜ ๊ธฐ๋ก์„ ๋ถ€๋ฃจ์ฃผ์•„์˜ ์ƒ์ง•์œผ๋กœ ๋ณด๊ณ  ์—†์•  ๋ฒ„๋ ธ๋‹ค. ๋‹คํ–‰ํžˆ๋„ ํƒœ๊ตญ์—์„œ๋Š” ์ด๋Ÿฐ ์ผ์ด ์ผ์–ด๋‚˜์ง€ ์•Š์•„์„œ, ์—ฌ์ „ํžˆ ๊ธฐ๋ก์„ ์ฐพ์„ ์ˆ˜ ์žˆ๊ณ  ์ƒˆ๋กœ์šด ์Šคํƒ€์ผ๋กœ ๋‚˜์•„๊ฐˆ ์ˆ˜ ์žˆ์—ˆ๋‹ค. ๊ทธ๋Ÿฐ ์ „ํ†ต์Œ์•…๊ณผ ํŽ‘ํฌ, ๋””์Šค์ฝ”, ์žฌ์ฆˆ๋ฅผ ๋…ํŠนํ•˜๊ฒŒ ์„ž์€ ์Šคํƒ€์ผ์„ Thai Funk๋ผ๊ณ  ๋ถ€๋ฅธ๋‹ค. Q. ์ด๋Ÿฐ ์˜ค๋ž˜๋œ ๋ ˆ์ฝ”๋“œ๋ฅผ ์–ด๋””์„œ ์ฐพ์•˜๋Š”๊ฐ€? ์Œ, ์ผ๋‹จ ์ง์ ‘ ์ฐพ์•„์•ผ ํ•œ๋‹ค. ํ•„์š”ํ•˜๋‹ค๋ฉด ๋งˆ์„๊นŒ์ง€ ์ฐพ์•„๊ฐ€๊ธฐ๋„ ํ•˜๊ณ  ๋ชจ๋“  ๊ณณ์„ ๋‹ค๋‹Œ๋‹ค. ๋ง์ฒ˜๋Ÿผ ์‰ฝ์ง„ ์•Š๋‹ค. ํ•œ๋ฒˆ์€ ํƒœ๊ตญ๊ณผ Laos ๊ตญ๊ฒฝ์— ๋ ˆ์ฝ”๋“œ ์ฝœ๋ ˆ์…˜์ด ์žˆ๋‹ค๊ณ  ๋“ค์—ˆ๋‹ค. ๊ทธ๊ณณ์— ๋„์ฐฉํ–ˆ๋”๋‹ˆ ๊ทธ ๊ณณ ์ฃผ๋ฏผ์ด ์ง‘ ์ง€์„ ๊ณต๊ฐ„์ด ํ•„์š”ํ•ด์„œ ๋ช‡ ์ผ ์ „์— 30,000 ์žฅ์˜ ๋ ˆ์ฝ”๋“œ๋ฅผ ํƒœ์› ๋‹ค๊ณ  ํ–ˆ๋‹ค Q. ๋ ˆ์ฝ”๋“œ ๊ฐ€๊ฒŒ์™€, ๋ ˆ์ด๋ธ”, ํŒŒํ‹ฐ๋ฅผ ๋ชจ๋‘ ํ•˜๋Š”๋ฐ ์–ด๋–ป๊ฒŒ ์‹œ์ž‘๋˜์—ˆ๋Š”๊ฐ€? ๋ชจ๋‘๋‹ค ZudRangMa Records ๋ผ๋Š” ๋ ˆ์ด๋ธ”์„ ๊ฐ€์ง€๊ณ  2007๋…„์— ์‹œ์ž‘๋˜์—ˆ๋‹ค. ๋จผ์ € ์œ ๋Ÿฝ์—์„œ ์ด๋Ÿฐ ์žฅ๋ฅด๋ฅผ ์ปดํ”Œ๋ ˆ์ด์…˜ ํ˜•ํƒœ๋กœ ์žฌ๋ฐœ๊ฐ„ํ–ˆ๋‹ค. ๊ทธ ์ค‘์—๋Š” โ€˜The Sound of Siam : Leftfield Luk Thung, Jazz & Molam in Thailand 1964 - 1975โ€™ on Soundway, โ€˜Thai? Dai! The Heavier Side of the Luk Thung Undergroundโ€™ on Finders Keepers ์•จ๋ฒ”์ด ์žˆ๋‹ค. Q.ํŒŒํ‹ฐ๋Š”์–ด๋–ค๊ฐ€?2009๋…„๋ถ€ํ„ฐ์šฐ๋ฆฌ๋Š”โ€˜ParadiseBangkokโ€™์„๊ฐœ์ตœํ–ˆ๋‹ค.๊ทธ๋™์•ˆ๋ชจ์•„์™”๋˜์Œ์•…์„ ์ฃผ๋กœ ํ‹€์—ˆ๋‹ค. ์ฒ˜์Œ์—๋Š” ๋นˆํ‹ฐ์ง€ ์‚ฌ์šด๋“œ, ์ž๋ฉ”์ด์นด ์Œ์•…, afrobeat, ํŒŒํ‚ค์Šคํƒ„ ์Œ์•…, Mali ๋“ฑ์„ ์•Œ๋ฆฌ๊ณ  ์‹ถ์—ˆ๋‹ค. Q. vinyl๋งŒ ๋“ค๋ ค์ฃผ๋Š”๊ฐ€? ๊ทธ๋ ‡๋‹ค. ์šฐ๋ฆฌ๋Š” vinyl ์›๋ณธ์„ ํŠผ๋‹ค. Q. ํƒœ๊ตญ์— ๋งค๋‹ˆ์•„๋“ค์„ ์œ„ํ•œ ์ปค๋ฎค๋‹ˆํ‹ฐ๊ฐ€ ์žˆ๋‚˜? ์‹œ๊ฐ„์ด ํ๋ฅด๋ฉด์„œ ๊ทœ๋ชจ๋Š” ์ค„์—ˆ์ง€๋งŒ, ๋” ์ข‹์•„์กŒ๋‹ค. ๋งŽ์€ ์†๋‹˜๋“ค์ด ์™ธ๊ตญ์—์„œ ์™”๊ณ , ํƒœ๊ตญ์†๋‹˜๋“ค์€ ์ตœ๊ทผ์— ์˜ค๊ธฐ ์‹œ์ž‘ํ–ˆ๋‹ค. ๋‚œ ์ด๋Ÿฐ ํ˜„์ƒ์„ ๋” ํฐ ๋งฅ๋ฝ์œผ๋กœ ๋ณด๋ ค๊ณ  ํ•œ๋‹ค. ๋งˆ์ฐฌ๊ฐ€์ง€๋กœ ํ•œ๊ตญ์—์„  Seattle์˜ โ€˜Light in the Atticโ€™ ๋ ˆ์ด๋ธ”์—์„œ ํ•œ๊ตญ์ธ ํ”„๋กœ๋“€์„œ ์‹ ์ค‘ํ˜„์˜ ์Œ์•…์„ ์žฌ๋ฐœ๋งคํ–ˆ๋‹ค๋Š” ๊ฑธ ์•Œ์ง€ ๋ชจ๋ฅด๊ฒ ๋‹ค. Q. ์•ž์œผ๋กœ์˜ ๊ณ„ํš์€? ์ง€๊ธˆ ๋‹น์žฅ์€ 3์›”๋ง ๋‚˜์˜ฌ molam๊ณก์„ ๋ชจ์€ ์ƒˆ๋กœ์šด ์ปดํ”Œ๋ ˆ์ด์…˜ ์•จ๋ฒ”์„ ์ค€๋น„ ์ค‘์ด๋‹ค. 2์›”๋ง์— โ€˜Paradise Bangkokโ€™ 3์ฃผ๋…„ ๊ธฐ๋…ํŒŒํ‹ฐ๋ฅผ ํ•˜๋ ค ํ•œ๋‹ค.

MONTONN JIRA

Q. ๋‹น์‹ ์˜ ์Œ์•… ์Šคํƒ€์ผ์— ๋Œ€ํ•ด ์ด์•ผ๊ธฐํ•ด๋‹ฌ๋ผ. DJ๋กœ์„œ minimal techno ์žฅ๋ฅด์™€ tech-house์‚ฌ์ด๋ฅผ ๋„˜๋‚˜๋“ ๋‹ค. ์ž‘๊ณก๊ฐ€๋กœ์„œ๋Š” ์ตœ๊ทผ์— ํ•„๋ฆ„๋ฎค์ง์— ๋น ์ ธ์žˆ๋‹ค. ๋‚˜๋Š” ๋Œ€์ค‘์Œ์•…์˜ ๋งฅ๋ฝ์œผ๋กœ ์Œ์•…์—์„œ soundscapes์™€ textures๋ฅผ ํ‘œํ˜„ํ•˜๊ณ  ์‹ถ๋‹ค. Q. ์ฒซ ๋ฒˆ์งธ ํŒŒํ‹ฐ๋Š” ์–ด๋• ๋Š”๊ฐ€? ํ”„๋กœ๋ชจํ„ฐ๊ฐ€ ๋‚˜๋ฅผ ๋‹ค๋ฅธ ์‚ฌ๋žŒ์œผ๋กœ ์ฐฉ๊ฐํ•˜๊ณ  New York Meatpacking District ์ง€์—ญ์— ์ƒˆ๋กœ ์—ด๋ฆฐ ๋ผ์šด์ง€ DJ๋ฅผ ํ•ด์ฃผ์ง€ ์•Š๊ฒ ๋Š๋ƒ๊ณ  ๋ฌผ์—ˆ๋‹ค. ๊ทธ ๋•Œ๊ฐ€ 2003๋…„์ด์—ˆ๋Š”๋ฐ ์ด์ „์— ํ•œ๋ฒˆ๋„ ๋””์ œ์ž‰ ํ•ด ๋ณธ์ ์ด ์—†์—ˆ๋‹ค. ๋‹น์žฅ New York์œผ๋กœ ๊ฐ€์„œ ํ•ด๋ณด๋ฉด ๋˜์ง€ ์‹ถ์—ˆ๋‹ค. ์žฅ์†Œ๋Š” ์ˆ˜์˜์žฅ์ฒ˜๋Ÿผ ์ƒ๊ธด ๊ณณ์ด์—ˆ๋‹ค. ์˜จ๊ฐ– ์ข…๋ฅ˜์˜ ์Œ์•…์„ ํ‹€๋ฉด์„œ ๋™์‹œ์— ์–ด๋–ค ์†Œํ”„ํŠธ์›จ์–ด๋ฅผ ์“ฐ๊ณ  ์žˆ๋Š”์ง€ ์ฐพ์•„์•ผ ํ–ˆ๋‹ค. ๊ธฐ์–ต์€ ์•ˆ ๋‚˜์ง€๋งŒ ์ง„์งœ ์—‰๋ง์ด์—ˆ๋˜ ๊ฒƒ ๊ฐ™๋‹ค. Q. ์ฒ˜์Œ ์ธํ„ฐ๋ทฐ๋กœ ๋งŒ๋‚ฌ์„ ๋•Œ, ์ƒ์„ ํƒ”๋‹ค๊ณ  ๋“ค์—ˆ๋‹ค. ์–ด๋–ค ๊ฒƒ์ธ๊ฐ€? Slot Machine์ด๋ผ๋Š” ๋ก๋ฐด๋“œ ์•จ๋ฒ”์„ ํ”„๋กœ๋“€์‹ฑํ–ˆ๋‹ค. ๊ธฐ์กด์— ๋ฐœ๋งค๋œ ์•จ๋ฒ”๊ณผ๋Š” ๊ฝค ๋‹ฌ๋ž๊ณ  ์‹ค์ œ๋กœ ์ƒ๋„ ๋งŽ์ด ํƒ”๋‹ค. ๊ทธ ๋‚ ๋ฐค ์ง€์—ญ์‡ผ์—์„œ ์˜ฌํ•ด์˜ ์•จ๋ฒ”๊ณผ ์˜ฌํ•ด์˜ ๋ฐด๋“œ ์ƒ์„ ํƒ”๋‹ค. ์ „ํ˜€ ๊ธฐ๋Œ€ํ•˜์ง€ ์•Š๊ณ  ์žˆ์–ด์„œ ๊ฝค ์ข‹์•˜๋‹ค. ์•จ๋ฒ”์ด ํŠน๋ณ„ํ•œ ์žฅ๋ฅด์— ๋งž์•„ ๋–จ์–ด์ง€์ง€๋Š” ์•Š์ง€๋งŒ, ์šฐ๋ฆฌ๊ฐ€ ์ž๋ž‘์Šค๋Ÿฌ์›Œ ํ•˜๋Š” ๋ฌด์–ธ๊ฐ€๋ฅผ ๋งŒ๋“ค๊ธฐ ์œ„ํ•ด์„œ ๋…ธ๋ ฅํ–ˆ๋‹ค. Q. ๋””์ œ์ž‰๊ณผ ํ”„๋กœ๋“€์‹ฑ ์ค‘์—์„œ ๋ฌด์—‡์ด ๋” ์ค‘์š”ํ•œ๊ฐ€? ๋””์ œ์ž‰๋ณด๋‹ค๋Š” ์Œ์•…์„ ์—ฐ์ฃผํ•˜๊ณ  ๋งŒ๋“ ์ง€๊ฐ€ ๋” ์˜ค๋ž˜ ๋˜์–ด ํ”„๋กœ๋•์…˜์ด ์ข€ ๋” ์ค‘์š”ํ•œ ๊ฒƒ ๊ฐ™๋‹ค. ํ”„๋กœ๋•์…˜ ํ•  ๋•Œ๋Š” Non-dance์Œ์•…๋„ ์ž‘์—…ํ•˜๊ณ  ๋‹ค์–‘ํ•œ ์žฅ๋ฅด๋ฅผ ๋งŽ์ด ์ฐพ์•„๋ณธ๋‹ค. ๋ฐ˜๋ฉด ๋””์ œ์ž‰ ํ•  ๋•Œ๋Š” ํด๋Ÿฝ ์„ธํŒ…์ด ์–ด๋–ป๊ฒŒ ์ž‘๋™ํ•˜๋Š”์ง€ ์•„๋Š” ํŽธ์ด๊ณ , ๊ทธ๊ฑธ ๋”ฐ๋ฅด๋Š” ํŽธ์ด๋‹ค. ํ™•์‹คํžˆ ๋‘ ๊ฐ€์ง€ ์˜์—ญ ๋ชจ๋‘ ํ•จ๊ป˜ ํ•ด์™”๊ณ , ์ตœ๊ทผ 2๋…„ ์‚ฌ์ด์—๋Š” ๋””์ œ์ด๋กœ์„œ ๋” ์•Œ๋ ค์ง„ ๊ฒƒ ๊ฐ™๋‹ค. ํ”„๋กœ๋“€์„œ๋ผ๋ฉด ๋Œ„์Šค์Œ์•…์„ ์ง์ ‘ ๊ฐ€์ง€๊ณ  ๋‚˜์™€ ๊ณต์—ฐํ•˜๊ณ , DJ๋Š” ํ•œ ๋‹จ๊ณ„ ๋‚˜์•„์ง€๋ ค๋ฉด ์Œ์•…์„ ์–ด๋–ป๊ฒŒ ํ”„๋กœ๋“€์‹ฑํ•˜๋Š”์ง€ ๋ฐฐ์›Œ์•ผ ํ•œ๋‹ค. Q. ์Œ์•… ์™ธ์˜ ์—ฌ๋Ÿฌ ๊ฐ€์ง€ ์ฝœ๋ผ๋ณด๋ ˆ์ด์…˜์„ ํ•˜๋Š” ๊ฒƒ ๊ฐ™๋‹ค. ๋” ํ•˜๋Š” ์ž‘์—…์ด ์žˆ๋‚˜? 9์‚ด ์ดํ›„๋กœ ์—”ํ„ฐํ…Œ์ธ๋จผํŠธ ์‚ฐ์—…์—์„œ ๊ณ„์† ์ผํ•˜๊ณ  ์žˆ๋‹ค. TV๋“œ๋ผ๋งˆ, ๊ฒŒ์ž„์‡ผ, ํ† ํฌ์‡ผ, ๋‹จํŽธ์˜์ƒ, ์žฅํŽธ์˜ํ™”, ๋ธŒ๋žœ๋“œ๋ฅผ ์œ„ํ•œ ๋””๋ ‰ํŒ…, ์ด๋ฒคํŠธ ํ๋ ˆ์ดํŒ… ๋“ฑ ์•ˆ ํ•ด๋ณธ ์ผ์ด ์—†๋‹ค. ์˜์—ญ์ด ๋‹ค์–‘ํ•ด์ง€๋ฉด์„œ ์ผ์ด ์ž˜ ํ’€๋ ธ๋‹ค. ๊ทธ๋ž˜๋„ 10๋…„๊ฐ„ ๊ฐ€์žฅ ์ค‘์š”ํ–ˆ๋˜ ๊ฒƒ์€ ์Œ์•…์ด๊ณ  ์•ž์œผ๋กœ๋„ ๋‹ค์–‘ํ•œ ํ”„๋กœ์ ํŠธ๋ฅผ ํ•˜๋ฉด์„œ ๋‚ด ๊ธธ์„ ๊ฐˆ ๊ฒƒ ๊ฐ™๋‹ค. Q. ์˜ˆ์ „์— Seoul์—์„œ ๊ณต์—ฐํ•œ ์ ์ด ์žˆ๋‹ค. ๋ฐฉ์ฝ•๊ณผ ์„œ์šธ ๊ด€๊ฐ๋“ค์ด ๋‹ค๋ฅธ ์ ์ด ์žˆ๋‹ค๋ฉด? ํŠน๋ณ„ํžˆUnjin Yeo๊ณผ Mang Esilo, ECI Crew๋•๋ถ„์— ์„œ์šธ์—์„œ ๊ณต์—ฐํ•˜๊ฒŒ ๋˜์—ˆ๋‹ค. ์„œ์šธ ๊ด€๊ฐ๋“ค์ด ์ข€๋” ์ ๊ทน์ ์ด๋‹ค. ์•„๋งˆ ์ด๋Ÿฐ ์Œ์•… ์žฅ๋ฅด๊ฐ€ ํฌ๊ณ  DJ๋ฅผ ์ฆ๊ธธ ์ค„ ์•Œ๊ธฐ ๋•Œ๋ฌธ์ธ ๊ฒƒ ๊ฐ™๋‹ค. ๋ฐฉ์ฝ•์˜ ๊ฒฝ์šฐ ๊ทธ๋Ÿฐ ๋ถ€๋ถ„์ด ์กฐ๊ธˆ ๋ถ€์กฑํ•˜๋‹ค. ๋‚ด๊ฐ€ ์ถ”๊ตฌํ•˜๋Š” ์Œ์•… ์‹ ์ด ์•„์ง ์ž‘๊ธฐ๋„ ํ•˜๊ณ . ๊ทธ๋ ‡์ง€๋งŒ ๋ณ€ํ™”ํ•˜๋ ค๊ณ  ์ตœ์„ ์„ ๋‹คํ•˜๊ณ  ์žˆ๋‹ค. Q. Korea์—์„œ ๋‹ค์‹œ ํ•œ๋ฒˆ ๊ณต์—ฐ์ด ์žˆ์„๊นŒ? ๋‚ด ์•จ๋ฒ”์ž‘์—…์„ ์ž˜ ๋๋‚ด๊ณ  ์˜ฌํ•ด ํ•œ๋ฒˆ ๋” ๊ณต์—ฐ์„ ํ•œ๋ฒˆ ๋” ํ•ด๋ณด๊ณ  ์‹ถ๋‹ค.

Mix Architekt

Q. ๋‹น์‹ ์˜ ์Œ์•… ์Šคํƒ€์ผ์— ๋Œ€ํ•ด ์ด์•ผ๊ธฐํ•ด๋‹ฌ๋ผ. ๊ฑด๊ฐ•ํ•˜๊ฒŒ ๊ท ํ˜• ์žˆ๋Š” ์ƒํ™œ์„ ํ•˜๋ ค๋ฉด, ์‚ฌ๋žŒ์€ ๋‹ค์–‘ํ•œ ์Œ์‹์„ ๋จน๊ณ  ํ™˜๊ฒฝ์— ์ ์‘ํ•ด์•ผ ํ•œ๋‹ค. ๋งค์ผ ๊ฐ™์€ ์Œ์‹๋งŒ ๋จน๋‹ค ๋ณด๋ฉด ์˜์–‘์‹ค์กฐ๋Š” ๋ฌผ๋ก  ์•„ํ”„๊ฒŒ ๋œ๋‹ค. ๋ท”ํŽ˜์—์„œ ๋‹ค์–‘ํ•œ ์Œ์‹์„ ๋จน๋“ฏ์ด ๋‚˜๋„ ๋‹ค์–‘ํ•œ ์‚ฌ์šด๋“œ๋ฅผ ๊ณต์—ฐํ•˜๊ณ  ๋“ฃ๊ณ  ์‹ถ๋‹ค. ๋งŒ์•ฝ ๋‚ด๊ฐ€ ํ•˜๋Š” ๋ชจ๋“  ๊ฒƒ์„ ์•„์šฐ๋ฅด๋Š” ์žฅ๋ฅด๊ฐ€ ์žˆ๋‹ค๋ฉด, Dub์ผ ๊ฒƒ ๊ฐ™๋‹ค. ์Œํ‘œ ์‚ฌ์ด์˜ ๊ณต๊ฐ„์„ ๋“ฃ๊ณ  ๋”ฅ ๋”œ๋ ˆ์ด ์‚ฌ์ด์— ๋ถ„์œ„๊ธฐ๋ฅผ ๋ฐ”๊พธ๊ณ  ์Šคํ…Œ๋ ˆ์˜ค ๋ฆฌ๋ฒ„๋ธŒ๋กœ ์ „ํ™˜ํ•œ๋‹ค. Dub์€ ์ต์ˆ™ํ•œ ๊ณต๊ฐ„์—์„œ ๋ฏธ์ง€๋กœ ์ด๋™ํ•˜๋Š” ์‚ถ์˜ ์ƒ๋ช…๋ ฅ์ด๋‹ค. Q. ์–ธ์ œ ์‹œ์ž‘ํ–ˆ๋Š”๊ฐ€?

162

๋‚œ 70๋…„๋Œ€ ์ค‘๋ฐ˜ ๋ถ€๋ชจ๋‹˜ ์„ธ๋Œ€๋“ค์˜ ์Œ์•…์„ ๋“ค์œผ๋ฉฐ ์ž๋ž๋‹ค. ๋ผ๋””์˜ค, ์ฝ˜์„œํŠธ๋‚˜ ์˜ˆ๊ธฐ์น˜ ๋ชปํ•œ ์ผ๋“ค์„ ํ†ตํ•ด์„œ ๋‚ด๊ฐ€ ๊ด€์‹ฌ์ด ์žˆ๋‹ค๋Š” ๊ฒƒ์„ ์•Œ์•˜๋‹ค. ์ดˆ๋“ฑํ•™๊ต ์ ์‹ฌ ์‹œ๊ฐ„์— ๋ ˆ๊ฒŒ ์‚ฌ์šด๋“œ๋ฅผ ๋“ฃ๋‹ค๊ฐ€ ๋ณธ๋Šฅ์ ์œผ๋กœ ๋ฒ ์ด์Šค์— ๋Œ๋ ธ๋‹ค. ์นœ๊ตฌ๋“ค๊ณผ ๋ฌด๋Œ€ ์•ž์—์„œ ๋ฒ ์ด์Šค ๋ผ์ธ์„ ์ซ“์•„ ๋“ฃ๊ณ , ์—ฐ์ฃผ๋„ ํ•˜๊ณ , ๋“ฃ๊ธฐ๋„ ํ•˜๋‹ค๊ฐ€ ๊ฒฐ๊ตญ์€ ์ŠคํŠœ๋””์˜ค์—์„œ ์ž‘์—…ํ•˜๊ฒŒ ๋˜์—ˆ๋‹ค. Q. ๋‹น์‹ ์˜ ์ฒซ๋ฒˆ์งธ ํŒŒํ‹ฐ๋Š” ์–ด๋• ๋‚˜? ๋‚ด๊ฐ€ ์ฒ˜์Œ ๋””์ œ์ž‰์„ ํ–ˆ๋˜ ๊ณณ์€ ์‚ฐ์—… ๊ณต๋‹จ์— ์žˆ๋Š” ์ฐฝ๊ณ ์˜€๋‹ค. ์ง€์—ญ์˜ ๋ ˆ์ฝ”๋“œ ๊ฐ€๊ฒŒ๊ฐ€ ํ–ˆ๋˜ ์–ธ๋”๊ทธ๋ผ์šด๋“œ ํŒŒํ‹ฐ์˜€๋Š”๋ฐ, ๋ฒฝ ๋ฉด์„ ์˜จํ†ต ์Šคํ”ผ์ปค๋กœ ์ฑ„์šฐ๊ณ  ํ•„๋ฆ„ ๋ฃจํ”„ ํ”„๋กœ์ ํ„ฐ๊ฐ€ ์œ ์ผํ•œ ์กฐ๋ช…์ด์—ˆ๋‹ค. ๋‚ด ์ž‘์—…์˜ ์˜์›ํ•œ ํŒŒํŠธ๊ฐ€ ๋˜๊ธฐ๋„ ํ•œ ํ—ค๋น„ ํ…Œํฌ๋…ธ๋ฅผ ๋””์ œ์ž‰ํ–ˆ๋‹ค. ์ตœ์†Œํ•œ์˜ ์กฐ๋ช…์— ๊ณ ์Œ์งˆ ๋ฒ ์ด์Šค ์‚ฌ์šด๋“œ ์‹œ์Šคํ…œ์„ ๊ฐ–์ถ˜ ํ™˜๊ฒฝ์€ ์ด๋ฒคํŠธ๋ฅผ ์œ„ํ•ด ๋‚ด๊ฐ€ ๊ฟˆ๊ฟ”์™”๋˜ ๊ณต๊ฐ„์ด์—ˆ๋‹ค. Q. Allen & Heath Asia ํ…Œํฌ๋†€๋กœ์ง€ ๋Œ€ํ‘œ๋กœ ์ผํ–ˆ๋˜ ๊ฒƒ์ด ๋””์ œ์ž‰๊ณผ ์Œ๋ฐ˜์ œ์ž‘์— ๋Œ€ํ•œ ๋‹น์‹ ์˜ ๊ด€์ ์— ์˜ํ–ฅ์„ ์คฌ๋Š”๊ฐ€? ์—ญ์œผ๋กœ ๋””์ œ์ž‰๊ณผ ์Œ๋ฐ˜์ œ์ž‘์— ๋Œ€ํ•œ ๋‚ด ๊ด€์ ์ด Allen & Heath์— ์˜ํ–ฅ์„ ์คฌ๋‹ค๊ณ  ํ•˜๋Š” ํŽธ์ด ๋งž๋‹ค. ๋‘ ๊ฐ€์ง€ ๋ชจ๋‘ ๋‹ค์ด๋‚ด๋ฏนํ•˜๊ณ  ์ƒํ˜ธ์ ์ธ ๊ด€๊ณ„์ด๋‹ค. ์•„ํŠธ์—์„œ ๋‚˜์˜ค๋Š” ๊ฒฐ๊ณผ๋ฌผ์ด ๋งค์ฒด์™€ ์ƒ๊ด€์—†์ด ํ‘œํ˜„์ด๋‚˜ ํˆด์—์„œ ๋‚˜์˜จ๋‹ค๊ณ  ํ•  ์ˆ˜ ์žˆ์„๊นŒ? ๋‘ ๊ฐ€์ง€ ์š”์†Œ๋Š” ๊ฒฐํ•ฉ๋˜์–ด์žˆ๊ธฐ ๋•Œ๋ฌธ์—, ์šฐ๋ฆฌ๋Š” ๋” ์ข‹์€ ๋ฐฉํ–ฅ์„ ์œ„ํ•ด์„œ ์—ด์ •์„ ๊ฐ€์ง€๊ณ  ํ•˜๊ณ  ์‹ถ๋‹ค. ์•„ํ‹ฐ์ŠคํŠธ์—๊ฒŒ ๊ทธ๋“ค์˜ ๋น„์ ผ์„ ์ปค๋ฎค๋‹ˆ์ผ€์ดํŒ…ํ•˜๋Š”๋ฐ ์žˆ์–ด์„œ ์•„ํ‹ฐ์ŠคํŠธ๋“ค์—๊ฒŒ ๋งž๋Š” ํˆด์„ ์ œ๊ณตํ•˜๊ณ  ์‹ถ๋‹ค. Q. ๋‹ค๋ฅธ ๋„์‹œ์™€ ๋น„๊ตํ•ด์„œ ๋ฐฉ์ฝ•์˜ ํŒŒํ‹ฐ ์”ฌ์€ ์–ด๋–ค๊ฐ€? ๋ฐฉ์ฝ•์˜ ์ƒํ™ฉ์€ ๋งค์šฐ ๋ณต์žกํ•˜๊ณ  ์‚ฌํšŒ์  ๋ถˆํ™”๋ฅผ ๋ฐ˜์˜ํ•˜๊ณ  ์žˆ๋‹ค. ๋ฌผ๋ก  ๋ฐฉ์ฝ•์€ ์˜ค๋ž˜๋œ ํ—ค๋ฆฌํ‹ฐ์ง€๋ฅผ ๊ฐ€์ง„ ๋…ํŠนํ•œ ๋ถ„์œ„๊ธฐ๋ฅผ ๊ฐ€์ง€๊ณ  ์žˆ๊ณ  ์•ž์œผ๋กœ ๊ฐ€๋Šฅ์„ฑ์ด ๋งŽ๋‹ค. ์•„์‰ฝ๊ฒŒ๋„ ์‚ฌ๋žŒ๋“ค์€ ์„œ๋กœ์—๊ฒŒ ์ ๋Œ€์ ์ด๊ฑฐ๋‚˜ ํ˜น์€ ๋งน๋ชฉ์ ์œผ๋กœ ํŠธ๋ Œ๋“œ๋ฅผ ๋”ฐ๋ฅด๊ธฐ๋„ ํ•œ๋‹ค. ์„œ์–‘์‹ ์ƒ์—…์ฃผ์˜์— ์ค‘๋…๋˜์–ด ์–ด๋””์—์„œ ์ ‘์ ์„ ์ฐพ์•„์•ผ ํ•˜๋Š”์ง€ ๊ณ ๋ฏผํ•˜๋Š” ์ง‘๋‹จ๋„ ์žˆ๊ณ , ์‚ฌํšŒ๋ฅผ ํ–ฅํ•ด ๋Œ€๋†“๊ณ  ๊ฑฐ๋ถ€๊ฐ์„ ํ‘œํ•˜๋Š” ์ง‘๋‹จ๋„ ํ•œ๋‹ค. ํ™˜์˜ ๋ฐ›์ง€ ๋ชปํ•œ ์ž๋“ค๋„ ๋ฐ›์•„๋“ค์ผ ์ˆ˜ ์žˆ๋Š” ์ค‘๊ฐœ์ง€์ ์ด ํ•„์š”ํ•˜๋‹ค. ๊ทธ๋ ‡์ง€๋งŒ ๋™์‹œ์— ๋‹จ์ˆœํžˆ ์ฆ๊ธฐ๊ณ  ์‹ถ์–ดํ•˜๋Š” ์‚ฌ๋žŒ๋“ค ์—ญ์‹œ ํŽธํ•ด์•ผ ํ•œ๋‹ค. Q. ์ƒˆ๋กœ์šด ์•จ๋ฒ”, The Multiverse ์ปจ์…‰์€? ๊ฐœ์ธ์ ์œผ๋กœ๋Š” The Multiverse ์•จ๋ฒ” ํ”„๋กœ์ ํŠธ๊ฐ€ ์žก๋‹คํ•œ ๊ฒƒ์„ ๋ฉˆ์ถ”๊ณ  ๋ฎค์ง ํ”Œ๋กœ์šฐ๋ฅผ ๋”ฐ๋ฅด๊ณ ์ž ํ•˜๋Š” ๋„์ „์ด์—ˆ๋‹ค. ๋งˆ์น˜ ํŠธ๋ž™ ๋ณ„๋กœ ์ˆ˜๋ฌธ์„ ์„ธ์›Œ์„œ ์ค‘๊ฐ„์ฏค์—์„œ ๋Œ์ด ํ„ฐ์ง€๊ฒŒ ํ•˜๋Š” ๊ฒƒ์ด๋‹ค. ์‚ฌ๋žŒ๋“ค์„ Dub ์— ๋” ๊นŠ๊ฒŒ ๋น ์ ธ๋“ค๊ฒŒ ํ•˜๊ณ  ์‹ถ์—ˆ๋‹ค. ํ•œ ๋ฒˆ ์‹ ์„ธ๊ณ„๋ฅผ ๊ฑด๋„ˆ๊ธฐ๋งŒ ํ•˜๋ฉด, ๊ทธ ์‚ฌ์ด์—์„œ ํ‰ํ™”๋กœ์›€์„ ๋Š๋‚„ ์ˆ˜ ์žˆ๋‹ค. ๋‹น์žฅ ๋ฒฝ์„ ๊นจ๊ณ  ๊ด‘๊ธฐ๋ฅผ ๋“œ๋Ÿฌ๋‚ด์„œ ์ž์‹ ๋งŒ์˜ ํ”Œ๋กœ์šฐ๋ฅผ ๋งŒ๋“ค๊ณ  ๊ทธ ์‚ฌ์ด ๋ฐธ๋Ÿฐ์Šค๋ฅผ ์ฐพ์•„๋ผ. Q. ์–ด๋””์„œ ๋‹น์‹ ์˜ ์Œ์•…์„ ๊ตฌ ํ•  ์ˆ˜ ์žˆ๋‚˜์š”? Beatport, Juno ๋“ฑ๊ณผ ๊ฐ™์€ ๋ฃจํŠธ๋กœ ๊ตฌํ•  ์ˆ˜ ์žˆ๋‹ค. ECI Korea label์ด ์‹ ๊ฒฝ์„ ์จ์คฌ๊ณ  ECI์—์„œ 3์›”์— ๋‚˜์˜ค๊ฒŒ ๋  ์‹ ๋ณด Muatation์ด ๊ธฐ๋Œ€๊ฐ€ ํฌ๋‹ค.

072p

Practical Design Studio Q. ์–ธ์ œ, ์™œ ๋””์ž์ธ ์ŠคํŠœ๋””์˜ค๋ฅผ ์„ค๋ฆฝํ•˜๊ฒŒ ๋˜์—ˆ๋‚˜? ํŠน๋ณ„ํ•œ ์„ค๋ฆฝ ์Šคํ† ๋ฆฌ๊ฐ€ ์žˆ๋‹ค๋ฉด ๋งํ•ด๋‹ฌ๋ผ. Practical Design Studio๋Š” 2004๋…„์— ํ”„๋กœ ๋””์ž์ธ๊ณผ ๊ต์œก ์ปค๋ฎค๋‹ˆ์ผ€์ด์…˜ ๋””์ž์ธ์— ๊ฒฝํ—˜์ด ์žˆ๋Š” ๋ฐฉ์ฝ•์˜ ํ•œ ๊ทธ๋ž˜ํ”ฝ ๋””์ž์ด๋„ˆ ํŒ€์— ์˜ํ•ด ์„ค๋ฆฝ๋˜์—ˆ๋‹ค. ์šฐ๋ฆฌ๋Š” ์ฒ˜์Œ์— โ€œ ์šฐ๋ฆฌ๋Š” ์–ด๋–ป๊ฒŒ ์šฐ๋ฆฌ์˜ ๋””์ž์ธ ๋‹จ์ฒด๋ฅผ ํ˜•์„ฑํ•  ๊ฒƒ์ธ๊ฐ€?โ€ ๋ผ๋Š” ์งˆ๋ฌธ์„ ํ–ˆ๋‹ค. ๊ทธ๋ฆฌ๊ณ  ๋‚˜์„œ ์šฐ๋ฆฌ๋Š” ์–ด๋–ค ์ข…๋ฅ˜์˜ ๋””์ž์ธ ์ŠคํŠœ๋””์˜ค๋‚˜ ์ž‘์—… ๋ฐฉ์‹์ด ์šฐ๋ฆฌ๋ฅผ ๊ฐ€์žฅ ๊ธฐ์˜๊ฒŒ ํ•ด์ค„ ์ˆ˜ ์žˆ๋Š”์ง€์—๋Œ€ํ•œํ•ด๊ฒฐ์ฑ…์„์ฐพ๊ธฐ์œ„ํ•ด๋…ธ๋ ฅํ–ˆ๋‹ค. ์ด๋Ÿฌํ•œ ๊ฐ์ž์˜ ๋‹ค์–‘ํ•œ ์•„์ด๋””์–ด๋“ค์ด ๋ช‡๋ช‡ ๋ชจ๋ธ๋กœ ๋…น์•„ ๋“ค์–ด ๊ฒฐ๊ตญ Practical Design Studio์— ์“ฐ์ผ ์ˆ˜ ์žˆ๋Š” ๋ชจ๋ธ๋กœ ์กฐ์ •ํ–ˆ๋‹ค. Q. ์–ด๋–ป๊ฒŒ ํ•ด์„œ Practical Design Studio๊ฐ€ ํฐ ๋””์ž์ธ ์ŠคํŠœ๋””์˜ค๋กœ ์„ฑ์žฅํ•  ์ˆ˜ ์žˆ์—ˆ๋‚˜? ์šฐ๋ฆฌ๋Š” ์Šค์Šค๋กœ๊ฐ€ ํฐ ์ŠคํŠœ๋””์˜ค๋ผ๊ณ  ์ƒ๊ฐํ•˜์ง€๋Š” ์•Š๋Š”๋‹ค. ์šฐ๋ฆฌ๋Š” ์šฐ๋ฆฌ๊ฐ€ ํ•˜๊ณ  ์žˆ๋Š” ์ผ์—์„œ ๊ธฐ์จ์„ ์ฐพ๋Š” ๊ฒƒ๊ณผ ๋”๋ถˆ์–ด ๊ณ„์†ํ•ด์„œ ๋„์ „ํ•ด ๋‚˜๊ฐ€๊ณ  ์žˆ์„ ๋ฟ์ด๋‹ค. ๊ณ ๊ฐ ์„œ๋น„์Šค๋ฅผ ๋น„๋กฏํ•˜์—ฌ, ๋ช‡๋ช‡ ํ”„๋กœ์ ํŠธ์™€ ๋‹จ์ฒด์™€์˜ ๋น„์˜๋ฆฌ ์ž‘์—…์—๋„ ๊ด€์—ฌํ•˜๊ณ  ์žˆ๋‹ค. ๊ทธ๋ž˜ํ”ฝ ๋””์ž์ธ์ด ์ƒ์—…์ ์ธ ๋น„์ฆˆ๋‹ˆ์Šค์—๋งŒ ๋ถ€์‘ํ•˜๋Š” ๊ฒƒ์€ ์•„๋‹ˆ๋ผ๊ณ  ๋ณธ๋‹ค. ๊ทธ๋Ÿผ์—๋„, ์šฐ๋ฆฌ๋Š” ์ƒ์—…์ ์ธ ๋น„์ฆˆ๋‹ˆ์Šค๊ฐ€ ๊ทธ๋ž˜ํ”ฝ ๋””์ž์ธ์„ ๊ณ„์†ํ•  ์ˆ˜ ์žˆ๋Š” ์›๋™๋ ฅ์ด๋ผ๋Š” ์‚ฌ์‹ค์€ ๋ถ€์ธํ•  ์ˆ˜๊ฐ€ ์—†๋‹ค. ๊ทธ๋ž˜ํ”ฝ ๋””์ž์ธ๋„ ์‚ฌํšŒ์ , ๋ฌธํ™”์ , ๊ฐœ์ธ์ ์ธ ์š”๊ตฌ์— ๋ฐ˜์‘ํ•  ์ˆ˜ ์žˆ๋‹ค๊ณ  ๋ณธ๋‹ค. Practical Design Studio๊ฐ€ ์šฐ๋ฆฌ์˜ ์ง์—…์ด๊ณ  ์ƒ๊ณ„์˜ ์ˆ˜๋‹จ์ด๋ฏ€๋กœ ์ƒ์—…์ ์œผ๋กœ ์šด์˜๋˜๊ณ  ์žˆ๋‹ค๋Š” ๊ฒƒ์€ ํ‹€๋ฆผ์—†๋Š” ์‚ฌ์‹ค์ด๋‹ค. ํ•˜์ง€๋งŒ ์šฐ๋ฆฌ์˜ ์‹ค์ œ์ ์ธ ๊ธฐ์ˆ ๊ณผ ๋Šฅ๋ฅ ์„ฑ์„ ์šฐ๋ฆฌ๊ฐ€ ์ผํ•˜๊ณ  ์žˆ๋Š” ๋ธŒ๋žœ๋“œ์™€ ๋‹จ์ฒด์˜ ์„ฑ๊ณต์„ ์œ„ํ•ด ์“ธ ์ˆ˜ ์žˆ๋‹ค๋ฉด, ์™œ ๊ฐ™์€ ๊ธฐ์ˆ ์„ ์šฐ๋ฆฌ ์ž์‹ ์˜ ์ƒ๊ฐ๊ณผ ์šฐ๋ฆฌ ์•ˆ์—์„œ ๋‚˜์˜ค๋Š” ๋‹ค๋ฅธ ๊ฒƒ๋“ค์„ ์œ„ํ•ด์„œ ์“ฐ์ง€ ๋ชปํ•˜๊ฒ ๋Š”๊ฐ€. ์ด๋Ÿฌํ•œ ์ƒ๊ฐ์ด ์šฐ๋ฆฌ๋กœ ํ•˜์—ฌ๊ธˆ ์—…๋ฌด์ ์ธ ํ™œ๋™๊ณผ ๋”๋ถˆ์–ด ๊ฐœ์ธ ์ „์‹œํšŒ ๋“ฑ์„ ๊ธฐํšํ•  ์ˆ˜ ์žˆ๋„๋ก ์˜ํ–ฅ์„ ๋ฏธ์ณค๋‹ค๊ณ  ์ƒ๊ฐํ•œ๋‹ค. ์•„๋งˆ๋„ ์ด๋Ÿฌํ•œ ์ ์ด ์šฐ๋ฆฌ๊ฐ€ ์ ์  ์ธ์ •๋ฐ›๊ณ  ์žˆ๋Š” ์ด์œ ๊ฐ€ ์•„๋‹Œ๊ฐ€ ์‹ถ๋‹ค. Q. Practical Design Studio์˜ ๋””์ž์ธ ์ฒ ํ•™์€ ๋ฌด์—‡์ธ๊ฐ€? โ€œ๋””์ž์ธ์€ ๊ด€๊ณ„๋‹คโ€๊ฐ€ ์šฐ๋ฆฌ์™€ ๋””์ž์ธ์˜ ๊ด€๊ณ„์— ๋Œ€ํ•œ ์ฒ ํ•™์ด๋‹ค. ์šฐ๋ฆฌ์˜ ๋ชฉํ‘œ๋Š” ์‚ฌํšŒ์™€ ๋ฌธํ™”์— ๋ถ€์‘ํ•˜๊ณ  ๊ทธ๋ž˜ํ”ฝ ๋””์ž์ธ์ด ๋ฏธ์ , ์‹ค์šฉ์ ์ธ ๊ด€์ ์—์„œ ๊ฐ€์น˜๊ฐ€ ์žˆ๋‹ค๋Š” ๊ฒƒ์„ ๋ณด์—ฌ์ฃผ๊ธฐ ์œ„ํ•ด ๊ฑด์„ค์ ์ธ ์•„์ด๋””์–ด์™€ ๋””์ž์ธ ๊ธฐ์ˆ ์„ ์‚ฌ์šฉํ•˜๋Š” ๊ฒƒ์ด๋‹ค. Q. Practical Design Studio๋Š” ๋ณดํ†ต ์–ด๋–ค ์ข…๋ฅ˜์˜ ๋””์ž์ธ ์ž‘์—…์„ ํ•˜๋Š”๊ฐ€? ์‚ฌ์‹ค, ์šฐ๋ฆฌ๋Š” ์ปค๋ฎค๋‹ˆ์ผ€์ด์…˜์„ ์œ„ํ•ด ์šฐ๋ฆฌ๊ฐ€ ์‚ฌ์šฉํ•  ์ˆ˜ ์žˆ๋Š” ๋งŽ์€ ๊ฒƒ๋“ค์„ ํ•˜๊ณ  ์žˆ๋‹ค. ์šฐ๋ฆฌ๋Š” ๋ฐฉ์ฝ• ์•„ํŠธ ์ปฌ์ณ ์„ผํ„ฐ, ํ˜„๋Œ€ ๋ฌธํ™”์˜ˆ์ˆ  ์‚ฌ๋ฌด์†Œ, ๋ฌธํ™”๋ถ€, ๋ฏผ์ฃผ๋‹น, Antalis (ํƒœ๊ตญ), โ€œShow me Thaiโ€ ์•„ํŠธ ์ „์‹œํšŒ, โ€œPortrait of The Kingโ€ ์ „์‹œํšŒ, โ€œKing in Heart Projectโ€ Somboon Seafood, Designiti, ํƒœ๊ตญ ์ง€์‹ ๋„คํŠธ์›Œํฌ ๊ธฐ๊ด€ ๋“ฑ์„ ํฌํ•จํ•œ ๋งŽ์€ ์œ ๋ช…ํ•œ ๋‹จ์ฒด์™€ ๊ธฐ์—…๋“ค๊ณผ ์ž‘์—…ํ•œ ์ผ์ด ์žˆ๋‹ค. ๋””์ž์ธ ์ŠคํŠœ๋””์˜ค๋กœ์„œ ๊ธฐ๋ณธ์ ์ธ ๊ธฐ๋Šฅ์„ ์ˆ˜ํ–‰ํ•œ ๊ฒƒ๊ณผ ๋”๋ถˆ์–ด, Practical Design Studio๋Š”


์ •๊ธฐ์ ์œผ๋กœ ํƒœ๊ตญ ๊ทธ๋ž˜ํ”ฝ ๋””์ž์ด๋„ˆ ํ˜‘ํšŒ(ThaiGa)์™€์˜ ํ˜‘๋ ฅ ์•„๋ž˜ ๋””์ž์ธ ํ™œ๋™์„ ์‹œ์ž‘ํ•˜๊ณ  ๊ธฐํšํ–ˆ๋‹ค.PracticalDesignStudio์˜๋””์ž์ด๋„ˆ๋“ค์€๋งŽ์€๋Œ€ํ•™๊ณผ๊ธฐ์—…์—์„œ๊ฐ•์˜์™€ํ”„๋ ˆ์  ํ…Œ์ด์…˜๋„ ํ•˜๊ณ  ์žˆ๋‹ค. 2009๋…„, Practical Design Studio๋Š” Santi Lawrachawee์— ์˜ํ•ด ์ฐฝ์‹œ๋œ ๊ทธ๋ž˜ํ”ฝ ๋””์ž์ธ ํ”„๋กœ์ ํŠธ โ€œI am a Thai Graphic Designerโ€๋ฅผ ๊ธฐํšํ–ˆ๋‹ค. 2010๋…„, Practical Design Studio๋Š” ๋ฐฉ์ฝ• ์•„ํŠธ ์ปฌ์ณ ์„ผํ„ฐ์—์„œ ์—ด๋ฆฐ ๋””์ž์ธ ์ „์‹œ โ€œPaper Matterโ€์™€ โ€œHOPEโ€ ์ด๋ผ๋Š” ํ…Œ๋งˆ ์•„๋ž˜ Rajprasong Junction ์— ์žˆ๋Š” Centralworld ๋นŒ๋”ฉ ์•ž์—์„œ ๊ฑด์„ค ์ค‘์ด๋˜ โ€œheART to Heartโ€ ์ „์‹œ ์ž‘์—…์—๋„ ๊ธฐ์—ฌํ–ˆ๋‹ค. ๋˜ํ•œ ๊ทธ๋“ค์€ โ€œThainessโ€๋ฅผ ์ž์‹ ๋“ค์˜ ๋””์ž์ธ ์ž‘์—…์— ํ‘œํ˜„ํ•˜๋„๋ก ์š”์ฒญ ๋ฐ›์€ 50๋ช…์˜ ๋ฐœํ‘œ์ž๊ฐ€ ํฌํ•จ๋˜์–ด ์žˆ๋Š” ๊ทธ๋ž˜ํ”ฝ ๋””์ž์ธ ํฌ๋Ÿผ โ€œSomewhere Thaiโ€๋„ ์กฐ์งํ–ˆ๋‹ค. Q. Practical Design Studio๊ฐ€ ์ง„ํ–‰ํ–ˆ๋˜ โ€œI am a Thai Graphic Designerโ€์— ๋Œ€ํ•ด ์„ค๋ช…ํ•ด ๋‹ฌ๋ผ. ์ฒ˜์Œ์—๋Š” ์šฐ๋ฆฌ ์ŠคํŠœ๋””์˜ค์˜ ์ž‘์€ ํ”„๋กœ์ ํŠธ์˜€๋‹ค. ์ถœ๋ฐœ์ ์€ ํ™๋ณด, ํŠนํžˆ ๋งˆ์ผ€ํŒ…์— ์ฒจ๋ถ€๋œ ๊ทธ๋ž˜ํ”ฝ ๋””์ž์ธ์ด์—ˆ๋‹ค. ์˜ˆ๋ฅผ ๋“ค๋ฉด, ์šฐ๋ฆฌ๋Š” ๋ฐฉ์ฝ•์—์„œ ์ด ๋„์‹œ์— ๊ด€ํ•ด ๋ฌด์–ธ๊ฐ€๋ฅผ ๋งํ•ด์ค„ ์ˆ˜ ์žˆ๋Š” ๊ด‘๊ณ ํŒ๋“ค์„ ๋ณผ ์ˆ˜ ์žˆ๋‹ค. ์ด๋Ÿฌํ•œ ๊ด‘๊ณ ํŒ๋“ค์€ ๋ชจ๋‘ ๊ทธ๋ž˜ํ”ฝ ๋””์ž์ด๋„ˆ๋“ค์˜ ์ž‘ํ’ˆ์ด๋‹ค. ๊ด‘๊ณ ์— ๋‚˜์˜จ ๋Œ€๋กœ ๋ฐฉ์ฝ•์˜ ์ด๋ฏธ์ง€๋ฅผ ๋– ์˜ฌ๋ฆด ๋•Œ, ๊ทธ๋ž˜ํ”ฝ ๋””์ž์ด๋„ˆ๋“ค์— ๋Œ€ํ•ด์„œ๋„ ์ƒ๊ฐํ•˜๋Š” ์‚ฌ๋žŒ์ด ์žˆ์„๊นŒ? ๋งŒ์•ฝ ๊ทธ๋ž˜ํ”ฝ ๋””์ž์ด๋„ˆ๋“ค์˜ ์ž‘์—…์ด ์‹œ๊ฐ์ ์ธ ์ปค๋ฎค๋‹ˆ์ผ€์ด์…˜์œผ๋กœ ์ด๋ฃจ์–ด์ ธ ์žˆ๋‹ค๋ฉด, ์ด๋Ÿฌํ•œ ์ˆ˜๋‹จ๋“ค์€ ๋ฐฉ์ฝ•์˜ ์„ค๋ฆฝ์€ ๋ฌผ๋ก  ์ •์ฑ…์˜ ์ผ๋ถ€์—ฌ์•ผ ํ•˜์ง€๋งŒ, ์™œ ๊ทธ๋“ค์˜ ์ž‘ํ’ˆ์ด ๊ทธ ์ •์ฑ…์„ ํŒŒ๋Š”๋ฐ ์ฑ…์ž„์ด ์žˆ๋Š”๊ฐ€? ๊ด‘๊ณ ํŒ๋“ค์— ์˜ํ•˜๋ฉด, ๋ฐฉ์ฝ•์€ ์™„๋ฒฝํ•œ ๋„์‹œ ๋˜๋Š” ์•ˆ์ „ํ•œ ๋„์‹œ๋ผ๊ณ  ํ•œ๋‹ค. ํ•˜์ง€๋งŒ, ๊ทธ๋ž˜ํ”ฝ ๋””์ž์ธ์ด ๋ฐฉ์ฝ•์˜ ์•ˆ์ „์„ ๋„์šธ ์ˆ˜ ์žˆ๋Š”์ง€์— ๋Œ€ํ•œ ์งˆ๋ฌธ์€ ์ „ํ˜€ ์—†์—ˆ๋‹ค. ๊ทธ๋Ÿฌ๋‚˜ ๋ฐฉ์ฝ•์€ ์šฐ๋ฆฌ๊ฐ€ ์‚ฌ๋žŒ๋“ค์—๊ฒŒ ์ด ๋„์‹œ๊ฐ€ ์•ˆ์ „ํ•˜๋‹ค๊ณ  ๋งํ•ด์ฃผ๊ธฐ๋ฅผ ์›ํ•œ๋‹ค. ๋”ฐ๋ผ์„œ, ์šฐ๋ฆฌ๋Š” ์šฐ๋ฆฌ์˜ ์—ญํ• ์„ ์™„์ „ํžˆ ํ•  ์ˆ˜ ์—†๋‹ค๊ณ  ๋Š๋ผ๊ณ , ์ด๋Ÿฌํ•œ ๊ฐ์ •์€ ์šฐ๋ฆฌ๋ฅผ ์ค‘์š”ํ•˜์ง€ ์•Š๋Š” ์กด์žฌ๋กœ ๋Š๊ปด์ง€๊ฒŒ ๋งŒ๋“ ๋‹ค. ๊ฒฐ๊ณผ์ ์œผ๋กœ, ์šฐ๋ฆฌ๋Š” ์‚ฌ๋žŒ๋“ค์—๊ฒŒ ์šฐ๋ฆฌ๊ฐ€ ๋ช‡ ๋ช…์ด๋‚˜ ๋˜๋Š”์ง€๋ฅผ ์•Œ๋ ค์ฃผ๊ธฐ ์œ„ํ•ด, ์šฐ๋ฆฌ๊ฐ€ ๋ˆ„๊ตฌ์ธ์ง€ ๋งํ•˜๋ฉฐ ์Šค์Šค๋กœ ๊ด‘๊ณ ํŒ์„ ๋“ค๊ณ  ์žˆ๋Š” ๋ชจ์Šต์„ ์ƒ์ƒ์„ ํ–ˆ๋‹ค. ๊ทธ๋ฆฌ๊ณ , ๋งŒ์•ฝ ์ด๋Ÿฐ ์ผ์„ ๋งŽ์€ ๊ทธ๋ž˜ํ”ฝ ๋””์ž์ด๋„ˆ๋“ค์ด ๋™์‹œ์— ํ•œ๋‹ค๋ฉด, ์‚ฌํšŒ๋Š” ์•„๋งˆ ์šฐ๋ฆฌ์˜ ์กด์žฌ๋ฅผ ์•Œ์•„์ฐจ๋ฆด ์ˆ˜ ์žˆ์„ ๊ฒƒ์ด๋ผ๋Š” ๊ฒƒ์ด๋‹ค. ๋”์šฑ์ด, ๋‹ค๋ฅธ ์‚ฌ๋žŒ๋“ค์—๊ฒŒ ์šฐ๋ฆฌ๊ฐ€ ์–ผ๋งˆ๋‚˜ ๋” ๋‚˜์•„๊ฐˆ ์ˆ˜ ์žˆ๋Š”์ง€๋„ ์•Œ๊ฒŒ ํ•ด์ฃผ์—ˆ์„ ๊ฒƒ์ด๋‹ค. ์ด ํ”„๋กœ์ ํŠธ๋Š” ์ •๋ถ€๋ฟ๋งŒ ์•„๋‹ˆ๋ผ ์šฐ๋ฆฌ ์Šค์Šค๋กœ์—๊ฒŒ๋„ ๊ทธ๋ž˜ํ”ฝ ๋””์ž์ด๋„ˆ๋“ค์ด ์–ผ๋งˆ๋‚˜ ์žˆ๋Š”์ง€๋ฅผ ์•Œ๋ ค์ฃผ์—ˆ๋‹ค. ๋งŒ์•ฝ ๋ฐฉ์ฝ•์ด๋‚˜ ํƒœ๊ตญ ์ •๋ถ€๊ฐ€ ๋ฌด์–ธ๊ฐ€๋ฅผ ํ•˜๊ณ  ์‹ถ์–ด ํ•œ๋‹ค๋ฉด, ์šฐ๋ฆฌ๋Š” ์šฐ๋ฆฌ์˜ ์—ญํ• ์„ ๋งก์„ ์ค€๋น„๊ฐ€ ๋˜์–ด ์žˆ๋‹ค. ํŽ˜์ด์Šค๋ถ์—์„œ ํ™œ๋™ํ•˜๋Š” ์ž‘์€ ๊ทธ๋ฃน์—์„œ ์‹œ์ž‘ํ•˜์—ฌ, 9์ผ ๋™์•ˆ ์›Œํฌ์ƒต๊ณผ ์„ธ๋ฏธ๋‚˜๋ฅผ ์—ด๊ณ , 1,146์ ์˜ ๋””์ž์ธ ์ž‘ํ’ˆ์„ ์ „์‹œํ–ˆ๋‹ค. Q. ํƒœ๊ตญ ๋””์ž์ธ ์‚ฐ์—…์— ๋Œ€ํ•ด ์–ด๋–ป๊ฒŒ ์ƒ๊ฐํ•˜๋Š”๊ฐ€? ํƒœ๊ตญ์˜ ๋””์ž์ธ ์‚ฐ์—…์˜ ๋ชจ๋“  ๊ฒƒ์ด ๋” ๋‚˜์•„์งˆ ๊ฒƒ์ด๋ผ๊ณ  ๋ฏฟ๋Š”๋‹ค. ๋•Œ๊ฐ€ ๋˜๋ฉด ์Šค์Šค๋กœ ๋‹จ๊ณ„๋ฅผ ๋ฐŸ์•„ ๋‚˜๊ฐˆ ๊ฒƒ์ด๋‹ค. ํƒœ๊ตญ์ธ๋“ค์ด ๋””์ž์ธ๋œ ์ž‘์—…์„ ๋งŽ์ด ์ ‘ํ• ์ˆ˜๋ก, ๊ทธ๋“ค์€ ๋””์ž์ธ์— ๋Œ€ํ•ด ๋” ์ž˜ ์ดํ•ดํ•  ์ˆ˜ ์žˆ๋‹ค. ๋”ฐ๋ผ์„œ, ๋‚˜๋Š” ์•ž์œผ๋กœ ์ง„๋ณดํ•  ํƒœ๊ตญ ๋””์ž์ธ ์—…๊ณ„์— ๋Œ€ํ•ด ๊ธฐ๋Œ€๋ฅผ ๊ฐ–๋Š”๋‹ค. ํƒœ๊ตญ์˜ ๊ทธ๋ž˜ํ”ฝ ๋””์ž์ด๋„ˆ๋“ค์€ ์—„์ฒญ๋‚œ ์ž ์žฌ๋ ฅ์„ ๊ฐ€์ง€๊ณ  ์žˆ๋‹ค๊ณ  ์ƒ๊ฐํ•œ๋‹ค. ๊ทธ๋“ค์„ ์นญ์ฐฌํ•˜๋ ค๊ณ  ํ•˜๋Š” ๊ฒƒ์ด ์•„๋‹ˆ๋ผ, ์ด๊ฑด ์‚ฌ์‹ค์ด๋‹ค. Q. Practical Design Studio์˜ ๋‹ค์Œ ๊ณ„ํš์ด๋‚˜ ํ”„๋กœ์ ํŠธ๋Š” ๋ฌด์—‡์ธ๊ฐ€? ์˜ฌํ•ด ๋ง์— ์—ด๋ฆด ์˜ˆ์ •์ธ ๋””์ž์ธ ์ „์‹œํšŒ๋ฅผ ์ค€๋น„ํ•˜๊ณ  ์žˆ๋‹ค. ์„œ์šธ์—์„œ๋„ ๋งŒ๋‚  ์ˆ˜ ์žˆ๊ธฐ๋ฅผ ๋ฐ”๋ž€๋‹ค. 076p

Design for Disaster Q. ์–ด๋–ค ์ข…๋ฅ˜์˜ ์žฌ๋‚œ์ธ๊ฐ€? ๋ณดํ†ต ์žฌ๋‚œ์ด๋ผ๊ณ  ํ•˜๋ฉด, ์‚ฌ๋žŒ๋“ค์€ ์ธ๊ณต์ ์ธ ์‚ฌ๊ณ ๋‚˜ ์ž์—ฐ์žฌํ•ด๋ฅผ ์ƒ๊ฐํ•œ๋‹ค. ๋ฐฉ์ฝ•์˜ ๊ฒฝ์šฐ ๋Œ€ํ™์ˆ˜ ๊ฐ€๋Šฅ์„ฑ์— ์ดˆ์ ์„ ๋‘์—ˆ๋‹ค. ์‚ฌ๋žŒ๋“ค์ด ์žฌ๋‚œ์ด ๋‹ฅ์ณค์„ ๋•Œ ์ƒํ™ฉ๋Œ€์ฒ˜๋„ ์ค‘์š”ํ•˜์ง€๋งŒ, ๋ฏธ๋ฆฌ ๋Œ€๋น„ํ•ด๋‘๋Š” ๊ฒƒ ์—ญ์‹œ ํ•„์š”ํ•˜๋‹ค. Q. ์ฃผ์ œ๋ฅผ ํƒํ•˜๊ฒŒ ๋œ ์ด์œ ๊ฐ€ ์žˆ๋‚˜? ์‚ฌ๋žŒ๋“ค์ด ์ด๋Ÿฐ ์œ„ํ—˜์„ฑ์„ ์ธ์‹ํ•˜๊ฒŒ ํ•˜๊ณ  ์‹ถ์—ˆ๋‹ค. ๋ฌผ๋ก  ๊ธ€๋กœ๋ฒŒ ํ™˜๊ฒฝ ์ด์Šˆ ๊ฐ™์€ ํ™์ˆ˜์˜ ๊ทผ๋ณธ์ ์ธ ์›์ธ์— ๋Œ€ํ•ด์„œ๋„ ์•Œ์•„์•ผ ํ•˜์ง€๋งŒ, ์ผ์ƒ ์ƒํ™œ์—์„œ ์—ฐ๊ตฌ๋„ ํ•„์š”ํ•˜๋‹ค. Q. ์–ด๋–ป๊ฒŒ ์‚ฌํƒœ์˜ ์œ„ํ—˜์„ฑ์„ ์•Œ๋ฆฌ๋ ค๊ณ  ํ–ˆ๋Š”๊ฐ€? ๋จผ์ € ์ƒํ™ฉ์„ ๋ถ„์„ํ•˜๊ณ , ํ™์ˆ˜๊ฐ€ ๋‹ฅ์ณค์„ ๋•Œ ๋„์‹ฌ ์–ด๋Š ์ง€์—ญ์ด ๊ฐ€์žฅ ์˜ํ–ฅ์„ ๋ฐ›์„์ง€ ์กฐ์‚ฌํ–ˆ๋‹ค. ๊ทธ๋ฆฌ๊ณค ๋ฌธ์ œ์— ๋Œ€์‘ํ•  ์ˆ˜ ์žˆ๋Š” ๋””์ž์ธ์„ ์ƒ๊ฐํ–ˆ๊ณ , ์ด๋Ÿฐ ์†”๋ฃจ์…˜์— ๋งž๋Š” ๊ฐ๊ฐ์˜ ํ”„๋กœ์ ํŠธ๋ฅผ ์ง„ํ–‰ํ•˜๊ฒŒ ๋˜์—ˆ๋‹ค. Q. ์–ด๋–ค ํ”„๋กœ์ ํŠธ์ธ๊ฐ€? ํ”„๋กœ์ ํŠธ ์ค‘ ํ•˜๋‚˜๋Š” ์•„ํŠธ์™€ ๋„ค ๊ฐœ ๋Œ€ํ•™์˜ ๊ฑด์ถ•๋ถ€ ๊ฐ„ ํ˜‘๋™ ํ”„๋กœ์ ํŠธ์ด๋‹ค. ์Œ์‹, ๋ฌผ, ์ „๊ธฐ, ํ”ผ๋‚œ์†Œ, ๋Œ€์ค‘๊ตํ†ต, ์ปค๋ฎค๋‹ˆ์ผ€์ด์…˜ ์‹œ์Šคํ…œ์ด ๋ชจ๋‘ ๋‹จ์ ˆ๋œ ํ™์ˆ˜ ์‹œ๋‚˜๋ฆฌ์˜ค์— ์ ํ•ฉํ•œ ์†”๋ฃจ์…˜์„ 449๋ช… ํ•™๋ถ€์ƒ๋“ค์—๊ฒŒ 15๋ถ„ ์•ˆ์— ์Šค์ผ€์น˜ํ•˜๊ฒŒ ํ–ˆ๋‹ค. ๋‹จ๊ธฐ๊ฐ„์— ๊ต‰์žฅํžˆ ์œ ์šฉํ•œ ์•„์ด๋””์–ด๋ฅผ ์–ป๊ฒŒ ๋˜์—ˆ๋‹ค. ๋˜, 2010๋…„ 11์›” ๋”์œ„๊ฐ€ ์‹ฌํ•œ ์ง€์—ญ์ธ Chainat์„ ๊ฐ”๋‹ค. ํ”Œ๋ผ์Šคํ‹ฑ ๋ณ‘, ์–ด๋ง, ๋ฐง์ค„, ์› ๋ƒ„๋น„, ํ”Œ๋ฆฌํผ, ์–‘ํ‘ผ ๊ทธ๋ฆ‡, ํ”Œ๋ผ์Šคํ‹ฑ ์˜์ž ๋“ฑ ์ผ๋ฐ˜ ๊ฐ€์ •์ง‘์—์„œ ์‰ฝ๊ฒŒ ์ฐพ์„ ์ˆ˜ ์žˆ๋Š” ๋ฌผ๊ฑด๋“ค๋กœ ๋น„์ƒ์‹œ ๋„๊ตฌ๋ฅผ ๋งŒ๋“ค์–ด ๋ณด๊ธฐ๋„ ํ–ˆ๋‹ค. ์ฃผ๋ฏผ๋“ค ์Šค์Šค๋กœ ๊ฝค ๊ดœ์ฐฎ์€ ์†”๋ฃจ์…˜์„ ๋งŒ๋“ค์–ด ๋ƒˆ๋‹ค. Q. ์–ด๋–ป๊ฒŒ ์ด ๋ชจ๋“  ๊ฒƒ์ด ๋””์ž์ธ์œผ๋กœ ์—ฐ๊ฒฐ๋˜์—ˆ๋‚˜? ๋ฌด์—‡๋ณด๋‹ค๋„ ํ•ต์‹ฌ ๋ฉค๋ฒ„๋“ค์ด ๋””์ž์ด๋„ˆ์™€ ๊ฑด์ถ•๊ฐ€์ด๋‹ค. Site-Specific ์—ฐ๊ตฌ์†Œ์˜ Chutayaves Sinthuphan๋„์žˆ๋‹ค.Siam์—์„œ๊ทธ๊ฐ€ํ–ˆ๋˜๊ฑด์ถ•์—ฐ๊ตฌ๋ฅผ๊ธฐ๋ฐ˜์œผ๋กœโ€˜์ˆ˜๋ฅ™์–‘์šฉ์˜์ง‘โ€™์ปจ์…‰ํŠธ๋ฅผ์žก์•˜๊ณ , ๋ฐœ์ „๊ธฐ์™€ ํ•˜์ˆ˜์‹œ์Šคํ…œ์ด ๋‚ด์žฅ๋œ ๋ฌผ์— ๋œจ๋Š” ํ˜•ํƒœ์˜ ํ”Œ๋žซํผ์„ ๋งŒ๋“ค์—ˆ๋‹ค. ํ•˜์ง€๋งŒ ์ œ์ผ ์ค‘์š”ํ•œ ๊ฒƒ์€ ์‹ค์ œ๋กœ ์‚ฌ๋žŒ๋“ค์ด ์œ ์šฉํ•˜๊ฒŒ ์“ธ ์ˆ˜ ์žˆ๋Š” ์ง€์˜€๋‹ค. ์ผ๋ฐ˜์ ์œผ๋กœ๋Š” ์•„์ด๋””์–ด๋‚˜ ์ปจ์…‰ํŠธ๋ฅผ ์ฐพ๊ธฐ ์œ„ํ•ด ๋””์ž์ธํ•˜์ง€๋งŒ, ์ด๋ฒˆ ์ž‘์—…์€ ์‚ฌ๋žŒ๋“ค์ด ์ผ์ƒ์ ์œผ๋กœ ์“ธ ์ˆ˜ ์žˆ๋Š” ์šฉํ’ˆ์— ์ดˆ์ ์„ ๋’€๋‹ค. ์‹ค์ œ๋กœ ๋„์‹œ์—์„œ ํ™์ˆ˜๊ฐ€ ๋‚ฌ์„ ๋•Œ, ๋ถ€์œ ํ•œ ๊ณ„์ธต๋ฟ ์•„๋‹ˆ๋ผ ๋ˆ„๊ตฌ๋“ ์ง€ ์žฌ๋‚œ์— ๋Œ€์ฒ˜ํ•  ์ˆ˜ ์žˆ์–ด์•ผ ํ•˜์ง€ ์•Š๋Š”๊ฐ€. Q. ์ด๋Ÿฐ ์•„์ด๋””์–ด๋ฅผ ํ•œ๋ฐ ๋ชจ์•„์„œ, ์–ด๋–ป๊ฒŒ ์ง„ํ–‰ํ–ˆ๋‚˜? ๊ฒฝ์šฐ์— ๋”ฐ๋ผ ๋‹ค๋ฅด๋‹ค. ์ž‘๋…„ Bangkok Art & Culture Centre์—์„œ โ€œLetโ€™s Panicโ€์ด๋ž€ ์ œ๋ชฉ์œผ๋กœ ์ „์‹œํšŒ๋ฅผ ํ–ˆ๋‹ค. 2011๋…„ 6์›”๋ถ€ํ„ฐ ์‡ผ ์ค€๋น„๋ฅผ ์‹œ์ž‘ํ–ˆ๋Š”๋ฐ ์•„์ด๋Ÿฌ๋‹ˆํ•˜๊ฒŒ 10์›” ๋ฐฉ์ฝ•์— ํ™์ˆ˜๊ฐ€ ๋‹ฅ์ณค๋‹ค. ์ด๋ณด๋‹ค ๋” ํ˜„์‹ค์ ์ผ ์ˆœ ์—†์—ˆ๋‹ค. Royal Thai Government, World Health Organization๊ณผ

์ฝœ๋ผ๋ณด๋ ˆ์ด์…˜ ์ž‘์—…์˜ ์ผํ™˜์œผ๋กœ ์•„์ด๋“ค์„ ์œ„ํ•œ ๋‹ฌ๋ ฅ๋„ ๋งŒ๋“ค์—ˆ๋‹ค. ๋งค๋‹ฌ ์ปค๋ฒ„๋Š” ํŠน์ •ํ•œ ์žฌ๋‚œ์ƒํ™ฉ ์‹œ ์ง€์‹œ์‚ฌํ•ญ์— ๋Œ€ํ•œ ๊ฒƒ์ด๋‹ค. ๊ณ„์ ˆ์— ๋”ฐ๋ผ ๊ฐ€๋Šฅ์„ฑ์ด ๋†’์€ ์ž์—ฐ ์žฌํ•ด๋ฅผ ๋งค๋‹ฌ ์ปค๋ฒ„๋กœ ์„ ํƒํ–ˆ๋‹ค. ๋˜ ์ž‘๋…„์—๋Š” ์‹ ์„ ํ•œ ์•„์ด๋””์–ด๋ฅผ ์–ป๊ณ ์ž ์ผ๋ฐ˜์ธ์„ ์ดˆ๋Œ€ํ–ˆ๋‹ค. ์ผ๋ฐ˜์ธ ๋””์ž์ธ ๋Œ€ํšŒ โ€œSurvivie!โ€ ๋ฅผ ์—ด์—ˆ๊ณ  ๋ชจ๋“  ์ฐธ๊ฐ€์ž๋“ค์€ ์šฐ๋ฆฌ๊ฐ€ ์ค€๋น„ํ•œ ๊ฐ•์ขŒ์— ์ฐธ์—ฌํ•˜๊ฒŒ ํ–ˆ๋‹ค. ์šฐ์Šน์ž‘์€ Bangkok Design Festival 2012์— ์ „์‹œ๋  ์˜ˆ์ •์ด๋‹ค. Q. ๋Œ€ํšŒ ์ฐธ์—ฌ๋„๋Š” ์–ด๋• ๋‚˜? ์‚ฌ๋žŒ๋“ค์ด์ •๋ง์ข‹์€์•„์ด๋””์–ด๋ฅผ์ œ์•ˆํ–ˆ๋‹ค.๋””์ž์ด๋„ˆ๋ฟ์•„๋‹ˆ๋ผ๊ต์‚ฌ๋“ค๋„์ฐธ์—ฌํ–ˆ๋‹ค.์†Œ์žฌ๋Š”์šฐ๋ฆฌ๊ฐ€ ์„ ํƒํ•œ๋ช‡๊ฐ€์ง€๊ฐ€์ •์šฉํ’ˆ์œผ๋กœ์ œํ•œํ–ˆ๋‹ค.์ œ์ถœํ•œ์•„์ด๋””์–ด๊ฐ€์ตœ๋Œ€ํ•œ์œ ์šฉํ•˜๊ธธ๋ฐ”๋žฌ๋‹ค.์ฐธ๊ฐ€์ž๋“ค์€ ๋‹ค์–‘ํ•œ ์•„์ด๋””์–ด๋ฅผ ๋‚ด๋†“์•˜๊ณ , ์šฐ์Šน์ž ์„ ํƒ ๊ธฐ์ค€์€ ์ถœํ’ˆ์ž‘์˜ ์™„์„ฑ๋„๋ณด๋‹ค๋Š” ์›๋ž˜ ์•„์ด๋””์–ด์™€ ์ปจ์…‰ํŠธ๋ฅผ ๋” ์ค‘์š”ํ•˜๊ฒŒ ๋ณด์•˜๋‹ค. Q. ์ง€๋‚œํ•ด ๋‹ฅ์นœ ํ™์ˆ˜๋ฅผ ๋ฐฉ์ฝ• ์‚ฌ๋žŒ๋“ค์€ ์ž˜ ๋Œ€์ฒ˜ํ–ˆ๋Š”๊ฐ€? ์•Œ๋‹ค์‹œํ”ผ, ์ด๊ณณ ์‚ฌ๋žŒ๋“ค์€ ์ƒˆ๋กœ์šด ์ƒํ™ฉ์— ๋น ๋ฅด๊ฒŒ ์ ์‘ํ•œ๋‹ค. ์ธํ„ฐ๋„ท์„ ์ฐพ์•„๋ณด๋ฉด, ๋ฌผ ์œ„์—๋‚˜ ๋ฌผ์— ์ž ๊ธด ๋นŒ๋”ฉ ์˜ฅ์ƒ์—์„œ ๋ฐ”๋น„ํ๋ฅผ ํ•˜๋Š” ์žฌ๋ฏธ์žˆ๋Š” ์‚ฌ์ง„์ด ์žˆ๋‹ค. ์–ผ๋งˆ๋‚˜ ๊ธฐ๋ฐœํ•œ๊ฐ€! ํ•˜์ง€๋งŒ ์‚ฌ์‹ค์ƒ ํ™์ˆ˜๋กœ ์ธํ•ด ๋ช‡ ๋ฐฑ๋งŒ ๋ช…์˜ ์‚ฌ๋žŒ๋“ค์ด ํ”ผํ•ด๋ฅผ ๋ดค๊ณ  ๊ทธ๊ฒŒ ๋ฐ”๋กœ ์šฐ๋ฆฌ๊ฐ€ ๋•๊ณ  ์‹ถ์€ ์ผ์ด๋‹ค.

078p

Tarin Yuangtrakul Q. ์ž๊ธฐ ์†Œ๊ฐœ๋ฅผ ๋ถ€ํƒํ•œ๋‹ค. ๋‚˜๋Š” Tarin Yuangtrakul์ด๊ณ  ๋‚˜์ด๋Š” 19 ์„ธ์ด๋‹ค.ํƒœ๊ตญ๋ฐฉ์ฝ•์ถœ์‹ ์˜์ Š์€์•„ํ‹ฐ์ŠคํŠธ์ด์ž ๋””์ž์ด๋„ˆ์ด๋‹ค. ๋‚˜๋Š” ๋˜ํ•œ ๊ตญ์ œ ์˜ˆ์ˆ  ๋‹จ์ฒด SlashTHREE์— ์†ํ•œ ์•„ํ‹ฐ์ŠคํŠธ์ด๊ธฐ๋„ ํ•˜๋‹ค. ๋‚˜๋Š” ํ˜„์žฌ ํƒœ๊ตญ Chulalongkorn ๋Œ€ํ•™์—์„œ ๊ทธ๋ž˜ํ”ฝ ๋””์ž์ธ์„ ๊ณต๋ถ€ํ•˜๊ณ  ์žˆ๋‹ค. ์šด ์ข‹๊ฒŒ๋„, ๋‚˜๋Š” ์ฐฝ์˜์ ์ธ ๊ฐ€์ •์—์„œ ํƒœ์–ด๋‚ฌ๋‹ค. ๋‚˜์˜ ์–ด๋จธ๋‹ˆ๋Š” ์ธํ…Œ๋ฆฌ์–ด ๋””์ž์ด๋„ˆ๊ณ  ์•„๋ฒ„์ง€์™€ ํ˜•์ด ๊ฑด์ถ•๊ฐ€์ด๋‹ค. ๋‚˜๋Š” ๊ทธ๋“ค์ด ๋ฌด์ฒ™ ์ž๋ž‘์Šค๋Ÿฝ๋‹ค.๋‚ด๊ฐ€์ฒ˜์Œ์œผ๋กœ์˜ˆ์ˆ ๊ณผ๋””์ž์ธ์„ ์ ‘ํ•˜๊ฒŒ ๋œ ๊ฒƒ์€ ๋‚ด๊ฐ€ ๊ผฌ๋งˆ์˜€์„ ๋•Œ์˜€๋‹ค. ์–ด๋จธ๋‹ˆ, ์•„๋ฒ„์ง€, ํ˜•์ด ๊ทธ๋ฆผ ๊ทธ๋ฆฌ๋Š” ๊ฒƒ์„ ๋ณด๋ฉฐ ์ž๋ž๋‹ค. ์–ด๋ฆด ๋•Œ ๋‚˜๋Š” ๊ทธ๋“ค์ด ๋ฌด์ฒ™ ๋ฉ‹์ง€๋‹ค๊ณ  ์ƒ๊ฐํ–ˆ๊ณ , ๋‚ด๊ฐ€ ์˜ˆ์ˆ ์— ์‚ฌ๋กœ์žกํžˆ๊ธฐ ์‹œ์ž‘ํ•œ ๊ฒƒ์€ ๊ทธ๋“ค์˜ ์˜ํ–ฅ๊ณผ ๊ณต์ด ์ปธ๋‹ค.. Q. ๋‹น์‹ ์€ ๊ฒจ์šฐ 19์‚ด์ธ๋ฐ ํƒ€์ดํฌ๊ทธ๋ž˜ํ”ผ, ์ผ๋Ÿฌ์ŠคํŠธ, ์‹ฌ์ง€์–ด ์Œ์•…์— ์ด๋ฅด๊ธฐ๊นŒ์ง€ ๋งŽ์€ ๋‹ค์–‘ํ•œ ๋ถ„์•ผ์—์„œ ํ™œ๋™ํ•˜๊ณ  ์žˆ๋‹ค. ์–ด๋ฆฐ ๋‚˜์ด์— ์ดํ† ๋ก ๋‹ค์–‘ํ•œ ํ”„๋กœ์ ํŠธ๋ฅผ ํ•˜๊ฒŒ ๋œ ์ด์œ ๊ฐ€ ์žˆ๋Š”๊ฐ€? ์ฃผ๋œ ์ด์œ ๋Š” ๋‹ค์–‘ํ•œ ์˜ˆ์ˆ , ๋””์ž์ธ ๋ถ„์•ผ์— ๋งค์šฐ ๊ด€์‹ฌ์ด ์žˆ๋‹ค๋Š” ๊ฒƒ์ด๋‹ค. ๋‚˜๋Š” ๋ชจ๋“  ๊ฒƒ์„ ํ•˜๋‚˜์˜ ์˜ˆ์ˆ ๋กœ ๋ณธ๋‹ค. ๋‚ด ๊ฐ€์กฑ๋„ ๋งŽ์€ ๊ธฐ์—ฌ๋ฅผ ํ–ˆ๋‹ค๊ณ  ๋ณธ๋‹ค. ๋‚˜๋Š” ์—ฌ๊ฐ€ ์‹œ๊ฐ„์ด ์žˆ์„ ๋•Œ ์ฃผ๋กœ ๊ทธ๋ฆผ์„ ๊ทธ๋ฆฌ๊ฑฐ๋‚˜ ๊ธฐํƒ€๋ฅผ ์นœ๋‹ค. ๋˜ํ•œ ๊ฐ ๋ถ„์•ผ๋Š” ๊ฐ๊ธฐ ๋‹ค๋ฅธ ํŠน์ง•์ด ์žˆ๊ณ  ๋ฐฐ์›Œ์•ผ ํ•  ์„ธ๋ถ€ ์‚ฌํ•ญ๋“ค์ด ๋‹ค๋ฅด๋‹ค. ํ˜ธ๊ธฐ์‹ฌ์ด ๋ฌด์ฒ™ ๋งŽ์€ ๋‚˜๋กœ์„œ๋Š” ์‚ฌ๋ฌผ๋“ค์ด ์–ด๋–ป๊ฒŒ ๋งŒ๋“ค์–ด์ง€๋Š”์ง€์— ๋Œ€ํ•ด ์•Œ์•„๊ฐ€๋Š” ๊ฒƒ์ด ๋งค์šฐ ์ข‹๋‹ค. Q. ๋‹น์‹ ์˜ ์ž‘ํ’ˆ์€ ๊ทธ๋กœํ…Œ์Šคํฌํ•˜๋‹ค. ๋‹น์‹ ์€ ์–ด๋‘ก๊ณ  ๊นŠ์€ ์‚ฌ๋žŒ์ธ๊ฐ€? ๋˜, ๋‹น์‹  ์ž‘ํ’ˆ ๋’ค์— ์ˆจ๊ฒจ์ง„ ๋ชจํ‹ฐ๋ธŒ๋Š” ๋ฌด์—‡์ธ๊ฐ€? ๋‚˜๋Š” ์–ด๋‘ก๊ณ  ๊นŠ์€ ์‚ฌ๋žŒ์ด๋ผ๊ณ  ํ•  ์ˆ˜ ์žˆ๋‹ค. ๋‚ด ์ธ์ƒ์—์„œ ์ผ์–ด๋‚ฌ๋˜ ์ผ๋“ค์˜ ๊นŠ์€ ๊ณณ์„ ๋“ค์—ฌ๋‹ค๋ณด๋Š” ๊ฒƒ์„ ๋งค์šฐ ์ข‹์•„ํ•œ๋‹ค. ๋‚ด๊ฐ€ ๊ฐ”๋˜ ์žฅ์†Œ๋“ค๊ณผ ๋‚ด ์‚ถ์—์„œ ๋งˆ์ฃผ์น˜๋Š” ๊ฒƒ๋“ค์—์„œ ํ•ญ์ƒ ์˜๊ฐ์„ ์–ป๋Š”๋‹ค. ๋•Œ๋•Œ๋กœ ์กฐ์šฉํžˆ ์žˆ์œผ๋ฉด์„œ ๋จธ๋ฆฟ์†์—์„œ ์ด์•ผ๊ธฐ๋“ค์„ ์ƒ๊ฐํ•ด ๋‚ด๊ณค ํ•œ๋‹ค. Q. ๋‹น์‹ ์€ ๋‹ค์–‘ํ•œ ํƒ€์ž…์˜ ์‚ฌ๋žŒ๋“ค์—๊ฒŒ ์–ดํ•„ํ•˜๋Š” ๊ฒƒ์— ๋Šฅ์ˆ™ํ•œ ๊ฒƒ ๊ฐ™๋‹ค. ์–ด๋–ค ๊ฒƒ์ด ๋‹น์‹  ์ž‘ํ’ˆ์„ ๋ˆˆ์— ๋„๊ฒŒ ๋งŒ๋“ ๋‹ค๊ณ  ์ƒ๊ฐํ•˜๋Š”๊ฐ€? ๋Œ€๋ถ€๋ถ„์˜ ์‚ฌ๋žŒ๋“ค์€ ๋ฌด์–ธ๊ฐ€ ์•„๋ฆ„๋‹ค์šด ๊ฒƒ์„ ๋ณด๊ณ  ์‹ถ์–ดํ•œ๋‹ค๊ณ  ์ƒ๊ฐํ•œ๋‹ค. ๋‚ด ์ž‘์—…์€ ์•„๋งˆ๋„ ์ „ํ†ต์ ์ธ ๋ฐฉ์‹์œผ๋กœ๋Š” ์•„๋ฆ„๋‹ค์›€์„ ๋‚˜ํƒ€๋‚ด๊ณ  ์žˆ์„์ง€๋„ ๋ชจ๋ฅด์ง€๋งŒ, ๋ฐ˜๋ฉด์— ์–ด๋– ํ•œ ์–ด๋‘์›€์ด ๋‚˜ํƒ€๋‚˜์žˆ๋‹ค. ๊ทธ๋Ÿฌ๋‚˜ ๊ด€๊ฐ์ด ๋ถ€๋‹ด์Šค๋Ÿฌ์›Œ ํ•  ๋งŒํผ ์–ด๋‘์›€์„ ํ‘œํ˜„ํ•˜๋ ค๊ณ  ํ•˜์ง€๋Š” ์•Š๋Š”๋‹ค. ์—ฌ์ „ํžˆ ์ž‘ํ’ˆ์„ ์•„๋ฆ„๋‹ต๊ณ  ํ˜„์‹ค์ ์œผ๋กœ ๋งŒ๋“ค๊ณ ์‹ถ๊ณ , ๊ด€๊ฐ์„ ์œ„ํ•ด ์ž‘ํ’ˆ์„ ๋งŒ๋“ค๊ณ  ์žˆ๋‹ค๋Š” ์ ๋„ ์žŠ์ง€ ์•Š๋„๋ก ๋…ธ๋ ฅํ•˜๊ณ  ์žˆ๋‹ค. Q. ๋‹น์‹ ์€ ๋Œ€ํ•™์ƒ์ด๋‹ค. ์กธ์—… ํ›„์—๋Š” ๋ฌด์—‡์„ ํ•  ๊ณ„ํš์ธ๊ฐ€? ์‚ฌ์‹ค, ์•„์ง ์•„๋ฌด๋Ÿฐ ๊ณ„ํš์ด ์—†๋‹ค. ์ข‹์€ ๋””์ž์ด๋„ˆ, ์•„ํ‹ฐ์ŠคํŠธ๊ฐ€ ๋˜๊ณ  ์‹ถ๋‹ค๋Š” ๊ฒƒ๋ฟ์ด๋‹ค. ๋‚˜๋Š” ํƒœ๊ตญ์—์„œ ๋””์ž์ธ๊ณ„์— ์˜ํ–ฅ๋ ฅ์„ ๋ฏธ์น˜๋Š” ์‚ฌ๋žŒ์ด ๋˜๊ณ  ์‹ถ๊ณ  ๋‚ด๊ฐ€ ๋””์ž์ธ๊ณ„์— ๋ฌด์–ธ๊ฐ€๋ฅผ ๋”ํ•  ์ˆ˜ ์žˆ๋‹ค๋Š” ๊ฒƒ์„ ํ™•์‹ ํ•ฉ๋‹ˆ๋‹ค. Q. ๋‹น์‹ ์˜ ์Šคํƒ€์ผ์— ๋Œ€ํ•ด ๋” ๋งํ•ด๋‹ฌ๋ผ. ์•ž์„œ ๋งํ–ˆ๋“ฏ์ด ๋‚˜๋Š” ๋งค์šฐ ์–ด๋‘ก๊ณ  ๊นŠ์€ ์‚ฌ๋žŒ์ด๋‹ค. ๋‚ด ์ž‘ํ’ˆ ์Šคํƒ€์ผ์ด ๊ทธ๋Ÿฌํ•œ ์ ์„ ์ž˜ ๋‚˜ํƒ€๋‚ด๋Š” ๊ฒƒ ๊ฐ™๋‹ค. ๋‚˜๋Š” ๋‚ด ์ž‘ํ’ˆ์ด ์•ฝ๊ฐ„ ์–ด๋‘ก๊ณ  ์ดํ•ดํ•˜๊ธฐ ์–ด๋ ค์› ์œผ๋ฉด ์ข‹๊ฒ ๋‹ค. ๋‚ด๊ฐ€ ์ •๋ง๋กœ ๋งํ•˜๊ณ ์ž ํ•˜๋Š” ๊ฒƒ์„ ๋ณด๋ ค๋ฉด ์‚ฌ๋žŒ๋“ค์€ ํ‘œ๋ฉด ์•„๋ž˜์˜ ๊ฒƒ๋“ค์„ ๋ณด์•„์•ผ๋งŒ ํ•œ๋‹ค. ๋Œ€๋ถ€๋ถ„ ๋‚˜๋Š” ์ „ํ†ต ์˜ˆ์ˆ ๊ณผ ๋””์ง€ํ„ธ ์•„ํŠธ๋ฅผ ํ•จ๊ป˜ ์„ž์–ด ๋ฌด์–ธ๊ฐ€ ๋งค๋ ฅ์ ์ธ ๊ฒƒ์„ ๋งŒ๋“ค์–ด๋‚ธ๋‹ค. ์‚ฌ๋žŒ๋“ค์˜ ์ผ์ƒ ์ƒํ™œ์€ ์ข…์ข… ๊ธ์ •์ , ๋ถ€์ •์  ๋ฐฉ์‹ ๋ชจ๋‘๋กœ ๋‚˜์—๊ฒŒ ์˜๊ฐ์„ ์ฃผ์ง€๋งŒ, ๋ถ€์ •์ ์ธ ๋ฉด์ด ํ‘œ๋ฉด์—์„œ ๋”์šฑ ๋ถ„๋ช…ํžˆ ๋“œ๋Ÿฌ๋‚œ๋‹ค. ๊ทธ๋Ÿฌ๋‚˜ ๋‚ด ์ž‘ํ’ˆ์— ๋Œ€ํ•ด์„œ ๋‹ค์–‘ํ•œ ํ•ด์„์˜ ๊ฐ€๋Šฅ์„ฑ์€ ์—ด๋ ค์žˆ๋‹ค.. Q. ์ž‘์—…ํ•  ๋•Œ ์ง๋ฉดํ•˜๋Š” ์–ด๋ ค์›€์ด ์žˆ๋Š”๊ฐ€? ๋‚ด ์ž‘ํ’ˆ์€ ์ƒ‰๊ฐ์ด ๋›ฐ์–ด๋‚œ ๊ฒƒ ๊ฐ™์ง€ ์•Š๋‹ค. ์ €๋Š” ์ž‘ํ’ˆ์— ๋‹ค๋ฅธ ์ƒ‰๊น”๋“ค์„ ์‚ฌ์šฉํ•˜๋ ค๊ณ  ๋งค์šฐ ์—ด์‹ฌํžˆ ๋…ธ๋ ฅํ•œ๋‹ค. ๊ฐ€์žฅ ์–ด๋ ค์šด ๋ฌธ์ œ๋Š” ๊ทธ ์ˆœ๊ฐ„์˜ ๋‚ด ๊ธฐ๋ถ„์ด๋‹ค. ๊ธฐ๋ถ„์ด ์ข‹์„ ๋• ์ž‘์—…์„ ์ž˜ ํ•˜๊ณ  ์ผ๋„ ๋งŽ์ด ํ•œ๋‹ค. ํ•˜์ง€๋งŒ ๊ธฐ๋ถ„์ด ์šฐ์šธํ•˜๋ฉด ์ž‘์—…์„ ์ž˜ ํ•˜์ง€ ๋ชปํ•œ๋‹ค. ๊ทธ๋Ÿด ๋• ๊ทธ์ € ์•‰์•„์„œ ๋•Œ๋ฅผ ๊ธฐ๋‹ค๋ฆฐ๋‹ค. Q. ๋ฌด์—‡์ด ๋‹น์‹ ์˜ ์ฐฝ์˜๋ ฅ์„ ์ž๊ทนํ•˜๋‚˜? ๋‚˜๋Š” ์ด ๋ฐฉ๋ฒ•์„ ์ฐฝ์˜์ ์ธ ๋ถ„์•ผ์˜ ์ผ์„ ํ•˜๋Š” ์‚ฌ๋žŒ๋“ค์—๊ฒŒ ๊ถŒํ•˜๊ณ  ์‹ถ๋‹ค. ์ƒˆ๋กœ์šด ์•„์ด๋””์–ด๋ฅผ ์–ป๊ธฐ ์œ„ํ•ด ๋Œ€๋ถ€๋ถ„์˜ ์‚ฌ๋žŒ๋“ค์ด ๋ฌด์‹œํ•˜๊ณ  ์ง€๋‚˜๊ฐ€๋Š” ์ž‘์€ ๊ฒƒ๋“ค์„ ์Šต๊ด€์ ์œผ๋กœ ์ ์–ด ๋‘๋Š” ๊ฒƒ์ด๋‹ค. ๋‚˜๋Š” ๋ณดํ†ต ์Œ์•…์„ ๋“ฃ๋Š” ๊ฒƒ์—์„œ ์ž๊ทน์„ ๋ฐ›๋Š”๋‹ค. ์Œ์•…์˜ ์žฅ๋ฅด๊ฐ€ ๋„ˆ๋ฌด๋‚˜ ๋‹ค์–‘ํ•˜๊ธฐ ๋•Œ๋ฌธ์— ๊ฒฐ์ฝ” ์–ด๋–ค ์•„์ด๋””์–ด๋ฅผ ์–ป๋Š๋ผ ์• ๋ฅผ ์“ฐ๋Š” ์ผ์€ ๋งŽ์ง€ ์•Š์„ ๊ฒƒ์ด๋‹ค.

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Q. ์ตœ๊ทผ์—๋Š” ์–ด๋–ค ๊ฒƒ์—์„œ ์˜๊ฐ์„ ์–ป๊ณ  ์žˆ๋‚˜? ๋ธŒ๋žœ๋”ฉ๊ณผ ๊ธฐ์—… ์ด๋ฏธ์ง€ ํ†ตํ•ฉ ์ „๋žต. ์ด๊ฒƒ์€ ๋‚˜์˜ ํ‰์ƒ์‹œ์˜ ์ผ๊ณผ ๋งค์šฐ ๋ฐ˜๋Œ€๋˜์ง€๋งŒ, ์ด ๋ถ„์•ผ๋ฅผ ๋ฐฐ์šฐ๋Š” ๊ฒƒ์ด ๋ฌด์ฒ™ ํฅ๋ฏธ๋กญ๋‹ค. ๋ธŒ๋žœ๋“œ๊ฐ€ ์‚ฌ๋žŒ๊ณผ ๋””์ž์ธ์œผ๋กœ ์–ด๋–ป๊ฒŒ ์ปค๋ฎค๋‹ˆ์ผ€์ด์…˜์„ ํ•˜๋Š”์ง€ ์•Œ๊ณ  ์‹ถ๋‹ค. ์ด ์•„์ด๋””์–ด๋Š” ์ด๋ฒˆ ํ•™๊ธฐ์— ๋Œ€ํ•™์—์„œ ๊ณต๋ถ€ํ•˜๊ณ  ์žˆ๋Š” ๊ณผ๋ชฉ์ด๊ธฐ๋„ ํ•˜๋‹ค. ์ด ์ˆ˜์—…์„ ํ†ตํ•ด ์ƒˆ๋กœ์šด ๊ฒƒ๋“ค์„ ๋ฐฐ์šธ ์ˆ˜ ์žˆ๋Š” ๊ธฐํšŒ๋ฅผ ์–ป๊ณ  ๋‚˜์˜ ๋””์ž์ธ์˜ ํž˜์— ๋Œ€ํ•œ ์ง€์‹์„ ํ™•์žฅ์‹œํ‚ฌ ์ˆ˜ ์žˆ๊ธฐ๋ฅผ ๋ฐ”๋ผ๊ณ  ์žˆ๋‹ค.

097p

YOMS VISUAL LAB Q. Drycleanonly๋ฅผ ์†Œ๊ฐœํ•ด ๋‹ฌ๋ผ. Drycleanonly๋Š” ์‚ฐ์—…์ œํ’ˆ์ด๋‚˜ ๋Œ€๋Ÿ‰ ์ƒ์‚ฐ ์ œํ’ˆ์„ ํ•ธ๋“œ๋ฉ”์ด๋“œ ์˜ท์ด๋‚˜ ํŒจ์…˜ ์•„์ดํ…œ์œผ๋กœ ์ œ์ž‘ํ•˜๋Š”๊ณณ์ด๋‹ค.์šฐ๋ฆฌ์ œํ’ˆ์˜์ค‘์‹ฌ์—๋Š”์žฅ์ธ ์ •์‹ ์ด ์žˆ๋‹ค. ๊ทธ๊ฒƒ์„ ํ†ตํ•ด ์–ด๋–ค ์˜ท์„ ์ž…๋˜์ง€ ๋‹น๋‹นํ•œ ํŒœ๋ฏ€ ํŒŒํƒˆ์˜ ์ด๋ฏธ์ง€๋ฅผ ์ถ”๊ตฌํ•œ๋‹ค.

Q. ์š”์ฆ˜์—๋Š” ์–ด๋–ค ์ž‘์—…์„ ํ•˜๊ณ  ์žˆ๋‚˜? ํ˜„์žฌ, ๋Œ€ํ•™์˜ ๋ชจ๋“  ๊ณผ์ œ๋ฌผ๋“ค์„ ๋๋‚ด๋ ค๊ณ  ํ•˜๊ณ  ์žˆ๋‹ค. ๋˜, ๋ช‡๋ช‡ ๋ถ€ํƒ ๋ฐ›์€ ํ”„๋กœ์ ํŠธ ์ž‘์—…๋„ ํ•˜๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค. ํ•˜์ง€๋งŒ ์‰ฌ๊ณ  ์‹ถ์„ ๋•Œ๋Š” ๊ทธ๋ƒฅ ๊ทธ๋ฆผ์„ ๊ทธ๋ฆฌ๋Š”๋ฐ ๋•Œ๋กœ๋Š” ์ด๋Ÿฌํ•œ ๊ทธ๋ฆผ๋“ค์ด ๋‚ด ๊ฐœ์ธ ํฌํŠธํด๋ฆฌ์˜ค๊ฐ€ ๋˜๊ธฐ๋„ ํ•œ๋‹ค. Q. ์˜ˆ์ˆ ๊ฐ€๋กœ์„œ ๋ชฉํ‘œ๋Š” ๋ฌด์—‡์ธ๊ฐ€? ๋‚ด ์ƒ๊ฐ์„ ์„ธ์ƒ์— ํ‘œํ˜„ํ•  ์ˆ˜ ์žˆ๋Š” ํ›Œ๋ฅญํ•œ ์˜ˆ์ˆ ๊ฐ€๊ฐ€ ๋˜๊ณ  ์‹ถ๊ณ  19์‚ด์ด๋ผ๋Š” ์–ด๋ฆฐ ๋‚˜์ด์—๋„ ์ด๋Ÿฌํ•œ ์ผ๋“ค์„ ํ•  ์ˆ˜ ์žˆ๋‹ค๋Š” ๊ฒƒ์„ ์„ธ์ƒ์— ๋งํ•ด์ฃผ๊ณ  ์‹ถ๋‹ค. ๋‚˜๋Š” ๋Š์ž„์—†์ด ๋ฐœ์ „ํ•˜๊ณ  ์‹ถ๋‹ค. ๋‚˜๋Š” ๋‚ด ์ž‘ํ’ˆ์ด ์ ์  ๋” ๋‚˜์•„์ง€๊ฒŒ ๋งŒ๋“ค์–ด์•ผ ํ•œ๋‹ค. ๋‚˜๋Š” ๋” ๋งŽ์€ ์‚ฌ๋žŒ๋“ค์ด ๋‚ด ์ž‘์—… ์Šคํƒ€์ผ๊ณผ ์•„์ด๋””์–ด๋ฅผ ๋ฐ›์•„๋“ค์ด๊ธฐ๋ฅผ ๋ฐ”๋ž€๋‹ค. ๋‚ด๊ฐ€ ๋งŒ์•ฝ ๋‚ด ์ž‘ํ’ˆ์„ ์ด์šฉํ•ด ๋‹ค๋ฅธ ์‚ฌ๋žŒ๋“ค์„ ๋„์šธ ์ˆ˜ ์žˆ๋‹ค๋ฉด, ๊ทธ๋ ‡๊ฒŒ ํ•˜๊ณ  ์‹ถ๋‹ค. ์ข‹์€ ์˜ˆ์ˆ  ์ž‘ํ’ˆ์€ ๋” ๋‚˜์€ ์„ธ์ƒ์„ ๋งŒ๋“œ๋Š”๋ฐ ๋„์›€์ด ๋œ๋‹ค๊ณ  ๋ฏฟ๋Š”๋‹ค.

Q. Drycleanonly๋ผ๋Š” ๋ธŒ๋žœ๋“œ๋ช…์€ ์–ด๋–ป๊ฒŒ ์„ ํƒํ•˜๊ฒŒ ๋˜์—ˆ๋Š”๊ฐ€? ์ƒํ’ˆ ๋ผ์ธ์ด ํ•ธ๋“œ๋ฉ”์ด๋“œ ์•„์ดํ…œ์ด๊ธฐ ๋•Œ๋ฌธ์ด๋‹ค. ๊ณ ๊ฐ๋“ค์ด Drycleanonly์ด๋ผ๋Š” ์ด๋ฆ„์„ ๋“ค์œผ๋ฉด โ€˜์ด ๋ธŒ๋žœ๋“œ์˜ ์ œํ’ˆ์€ ํŠน๋ณ„ํ•œ ๊ด€๋ฆฌ๊ฐ€ ํ•„์š”ํ•˜๋‹คโ€™๋Š” ๊ฑธ ์ƒ๊ธฐ์‹œ์ผœ ์ฃผ๊ณ  ์‹ถ์—ˆ๋‹ค.

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4 graphic designers and 4 illustrators Ekaluck Peanpanawate ๊ธ€์ž๋ฅผ ๊ฐ€์ง€๊ณ  ๋…ธ๋Š” ๊ฒƒ์ด ์ข‹๋‹ค. ํŠนํžˆ ๊ธ€์ž๊ฐ€ ์“ฐ์ด๋Š” ๋ฐฉ์‹์— ๊ด€์‹ฌ์ด ๋งŽ๋‹ค. ๋‚ด๊ฐ€ ๋งŒ๋“  ํฐํŠธ๋Š” ๋ˆˆ์— ๋„๊ฒŒ ๋งŒ๋“ค๋ ค๊ณ  ํ•œ๋‹ค. ์ž‘ํ’ˆ์„ ํ†ตํ•ด ๊ณต์ ์œผ๋กœ ์ฐธ์—ฌํ•˜๊ณ  ์‹ถ๊ณ , ๊ธ€์ž ์ž์ฒด๋งŒ์œผ๋กœ ์˜์‚ฌ ์†Œํ†ต์˜ ํ•œ ํ˜•ํƒœ๋ผ๊ณ  ์ƒ๊ฐํ•œ๋‹ค. ๋ฌด์—‡๋ณด๋‹ค๋„ ๋‚ด ์ž‘ํ’ˆ์„ ํ†ตํ•ด ์‚ฌ๋žŒ๋“ค๊ณผ ์ง์ ‘์ ์œผ๋กœ ์†Œํ†ตํ•˜๊ณ  ์‹ถ๋‹ค.

Jacckrit Anantakul ๋‹จ์ˆœํžˆ ๋งค๋ ฅ์ ์ด๋ผ๋Š” ์ด์œ  ํ•˜๋‚˜๋งŒ์œผ๋กœ ๊ธ€์ž๋ฅผ ์ข‹์•„ํ•œ๋‹ค. ๊ธ€์ž ์ž‘์—…์„ ํ•˜๋ฉด ์ƒํ˜• ๋ฌธ์ž ๊ตฌ์กฐ๋ผ๋˜๊ฐ€ ๋งค์Šค ์ปค๋ฎค๋‹ˆ์ผ€์ด์…˜์˜ ํ˜•์‹์—์„œ ์‚ฌ๋žŒ๋“ค๋งˆ๋‹ค ์–ด๋–ป๊ฒŒ ๊ธ€์ž๋ฅผ ์‚ฌ์šฉํ•˜๋Š”์ง€ ์ž์œ ๋กญ๊ฒŒ ์ƒ๊ฐํ•˜๊ฒŒ ๋œ๋‹ค. ์ฃผ๋กœ ๋“œ๋กœ์ž‰์„ ๋งŽ์ด ํ•˜๋Š” ํŽธ์ธ๋ฐ, ์ž‘ํ’ˆ์— ๋„์›€์ด ๋œ๋‹ค๋ฉด ๋ฌด์—‡์ด๋“  ์‹œ๋„ํ•˜๋ ค๊ณ  ๋…ธ๋ ฅํ•œ๋‹ค. ๋‚ด ๋””์ž์ธ์€ ์‹คํ—˜์ ์ด์ง€๋งŒ, ์‚ฌ๋žŒ๋“ค์€ ๋‚ด ์ž‘ํ’ˆ์ด๋ผ๋Š” ๊ฑธ ์•ˆ๋‹ค. ์ผ์ƒ์ƒํ™œ์— ๊ตณ์–ด์ง„ ์ด๋ฏธ์ง€๋‚˜ ๋Œ€์ค‘์„ ๋…ธ๋ฆฐ ์ด๋ฏธ์ง€๋ฅผ ๋ณผ ๋•Œ, ๋‚˜๋Š” ๊ทธ๊ฒƒ์„ ๋‚ด ๊ด€์ ์—์„œ ๋””์ž์ธํ•  ๋ฟ์ด๋‹ค.

Q. ์–ด๋–ป๊ฒŒ Drycleanonly๋ฅผ ์‹œ์ž‘ํ•˜๊ฒŒ ๋˜์—ˆ๋Š”๊ฐ€? 2008๋…„ ์™„์ „ํ•˜์ง„ ์•Š๋”๋ผ๋„ ํ…Œํฌ๋‹‰์ด๋‚˜ ์†Œ์žฌ์—์„œ ๋…ํŠนํ•œ ์˜ท์„ ๋งŒ๋“œ๋Š” ๊ฒƒ์„ ๋ชฉํ‘œ๋กœ, Drycleanonly ์„ ์‹œ์ž‘ํ–ˆ๋‹ค. ํŒจ๋ธŒ๋ฆญ์„ ์‚ฐ๋‹ค๋˜๊ฐ€ ํŒจํ„ด์„ ๋งŒ๋“œ๋Š” ์‹์œผ๋กœ ์ผ๋ฐ˜์ ์œผ๋กœ ์‚ฌ๋žŒ๋“ค์ด ์˜ท์„ ๋งŒ๋“ค๊ณค ํ•˜๋Š” ๋ฐฉ๋ฒ•์„ ํƒํ–ˆ๋‹ค. ์ดˆ์ฐฝ๊ธฐ์˜€์ง€๋งŒ ์•„์ด๋””์–ด๊ฐ€ ํƒœ๊ตญ ํŒจ์…˜ ์‚ฐ์—…๊ณผ ์ž˜ ๋งž์„ ๊ฒƒ ๊ฐ™์•˜๊ณ , ์ผ๋…„์ด ์ฑ„ ์•ˆ๋˜ 2008๋…„ ๋ฐฉ์ฝ• ๊ตญ์ œ ํŒจ์…˜ ํŽ˜์–ด์— ํƒœ๊ตญ ์‹ ์ง„ ๋””์ž์ด๋„ˆ ๋ฃธ์„ ์ฐจ์ง€ํ•˜๊ฒŒ ๋˜์—ˆ๋‹ค. Q. ์ฒ˜์Œ ๋ธŒ๋žœ๋“œ๋ฅผ ๋Ÿฐ์นญํ•œ ํ›„์—, ์–ด๋–ค ์–ด๋ ค์›€์ด ์žˆ์—ˆ๋‚˜? ๋นˆํ‹ฐ์ง€ ํ‹ฐ์…”์ธ ๋ฅผ ๊ตฌํ•˜๊ณ  ๊ทธ๊ฒƒ๋“ค์„ ํ•˜๋‚˜์˜ ์ฝœ๋ ‰์…˜์œผ๋กœ ๋งŒ๋“œ๋Š” ๊ฒƒ, ๊ทธ ๊ฒƒ ์ž์ฒด๊ฐ€ ์–ด๋ ค์šด ๊ณผ์ •์ด๋‹ค. ์ด ๊ณผ์ •์€ ์ฒ˜์Œ์ด๋‚˜ ์ง€๊ธˆ์ด๋‚˜ ์—ฌ์ „ํžˆ ์–ด๋ ต๋‹ค. . Q. ๊ฐœ์ธ์ ์œผ๋กœ ์˜ท์„ ๋ฆฌํผํ•˜๋Š” ๊ฒƒ๊ณผ ์ฒ˜์Œ๋ถ€ํ„ฐ ๋งŒ๋“œ๋Š” ๊ฒƒ์˜ ์ฐจ์ด์ ์€ ๋ฌด์—‡์ด๋ผ๊ณ  ์ƒ๊ฐํ•˜๋Š”๊ฐ€? ๋‚˜๋Š” ๋‹ค์–‘ํ•œ ์†Œ์žฌ๋กœ ์ž‘์—…ํ•˜๋Š” ๊ฒƒ์ด ๋„ˆ๋ฌด ํฅ๋ฏธ๋กญ๋‹ค. ๋ฌด์—‡๋ณด๋‹ค๋„ ๊ทธ ๊ณผ์ •์—์„œ ๋‚˜์˜ค๋Š” ๊ฒฐ๊ณผ๋ฅผ ์˜ˆ์ธกํ•  ์ˆ˜ ์—†๊ณ  ์˜์™ธ์˜ ๊ฒƒ๋“ค์ด ๋งŽ๊ธฐ ๋•Œ๋ฌธ์ด๋‹ค. Q. 2012๋…„ Drycleanonly์—์„œ ๊ธฐ๋Œ€ ํ•ด๋ณผ๋งŒํ•œ ๊ฒƒ์€? ์ผ๋ณธ ์‹œ์žฅ์— ์ง„์ถœํ–ˆ๊ณ  ์•ž์œผ๋กœ ์–ด๋Š ์ •๋„ ์ธ์ง€๋„๋ฅผ ์Œ“์œผ๋ ค๊ณ  ๊ณ„ํš ์ค‘์ด๋‹ค. ๊ทธ๋ฆฌ๊ณ  ์˜ฌํ•ด ๊ณต์‹ ์›น์‚ฌ์ดํŠธ๋ฅผ ์™„์„ฑํ•˜๋ ค๊ณ  ํ•œ๋‹ค. 098p

Bangkok

- change, balance, and development of Buddhism Techit Jiropaskosol ๊ฒฉ์ž, ํŒจํ„ด, ๋Œ€์นญ๊ณผ ๊ด€๋ จ๋œ ์‹คํ—˜์ ์ธ ์‹œ๋„๋ฅผ ์ฆ๊ธด๋‹ค. ์ผ๋‹จ ๊ตฌ์กฐ๋ฅผ ๋งŒ๋“ค๊ณ  ๋‹ค์‹œ ๋ถ„ํ•ด์‹œํ‚ค๋Š” ๊ณผ์ •์—์„œ ์ž‘ํ’ˆ์ด ๋ณ€ํ™˜ํ•˜๋Š” ๋ฐฉ์‹์„ ์ข‹์•„ํ•œ๋‹ค. ๋‚ด๊ฐ€ ์ž˜ํ•˜๋Š” ์˜์—ญ๊ณผ ๋‚จ๋“ค์ด ํ•œ๋ฒˆ๋„ ์‹œ๋„ํ•ด ๋ณด์ง€ ์•Š์€ ๋‹ค์–‘ํ•œ ๋ถ„์•ผ์— ๊ฑธ์ณ ๊พธ์ค€ํ•˜๊ฒŒ ํ™œ๋™ํ•  ๊ณ„ํš์ด๋‹ค. ๋•Œ์— ๋”ฐ๋ผ์„œ ์ข‹์€ ๊ฒฐ๊ณผ๋ฅผ ์–ป๊ธฐ๋„ ํ•˜๊ณ  ๊ทธ๋ ‡์ง€ ์•Š์„ ๋•Œ๋„ ์žˆ์ง€๋งŒ ์ƒˆ๋กœ์šด ์‹œ๋„๋Š” ๊ทธ ์ž์ฒด๋งŒ์œผ๋กœ๋„ ์–ธ์ œ๋‚˜ ์‹ ์„ ํ•˜๋‹ค.

Tap Kruavanichkit โ€œAll Around Khonkaenโ€์€ ์ŠคํŠœ๋””์˜ค(Farmgroup)๋ฉค๋ฒ„๋“ค๊ณผ ํ•จ๊ป˜ Khonkaen Province(๋ถ๋™๋ถ€ ํƒœ๊ตญ ์ง€์—ญ)์—์„œ ์ž‘์—…ํ–ˆ๋˜ ์„ค์น˜๋ฏธ์ˆ ์ด๋‹ค. ๊ทธ ๋‹น์‹œ ๋งก์•˜๋˜ ํด๋ผ์ด์–ธํŠธ๋Š” Central Plaza Khonkaen ์ง€์—ญ์—์„œ ๋ฐฑํ™”์  ์˜คํ”ˆ ์˜ˆ์ •์ด์—ˆ๊ณ , ์šฐ๋ฆฌ๋Š” ์‚ฌ๋žŒ๋“ค์ด Khonkaen์— ์˜จ๋‹ค๋ฉด ์ œ์ผ ์ฒ˜์Œ ๋งˆ์ฃผํ•  ํ‘œ์ง€ํŒ์„ ๋งŒ๋“ค๊ธฐ๋กœ ํ–ˆ๋‹ค. โ€œKhonkaenโ€์ด๋ผ๋Š” ๋‹จ์–ด๋ฅผ 3์ฐจ์›์œผ๋กœ ๋ณด์—ฌ์ฃผ๋Š” ํƒ€์ดํฌ๊ทธ๋ ˆํ”ผ ์กฐ๊ฐ ํ˜•ํƒœ๋กœ 180๋„ ์ด์ƒ์—์„œ ์•Œ์•„ ๋ณผ ์ˆ˜ ์žˆ์—ˆ๋‹ค. ์ž‘ํ’ˆ ํ‘œ๋ฉด์—๋Š” Khonkaen ์˜ ๋ชจ๋“  198๊ฐœ์˜ tumbon ์ง€์—ญ ์ด๋ฆ„์„ ์ƒˆ๊ฒจ ์žฅ์‹ํ–ˆ๋‹ค.

Prin Tanapaisankit ๋Œ€๊ฐœ ๋ฐฉ์ฝ•์—์„œ๋Š” ํด๋ผ์ด์–ธํŠธ๊ฐ€ ์›ํ•˜๋Š” ๋Œ€๋กœ ๊ทธ๋ ค์ฃผ๋Š” ํŽธ์ด๊ธฐ ๋•Œ๋ฌธ์—, ํ•œ ๊ฐ€์ง€ ํŠน์ • ์Šคํƒ€์ผ์„ ๊ณ ์ˆ˜ํ•˜๋Š” ๊ฑด ๊ฝค ์–ด๋ ต๋‹ค. ๋‚˜๋Š” ๋ฆฌ์–ผ๋ฆฌ์ฆ˜์— ๊ฐ€๊นŒ์šด ํŽธ์ธ๋ฐ, ๋‚˜๋งŒ์˜ ์Šคํƒ€์ผ์„ ๋งŒ๋“œ๋Š” ๋ฐ ๋„์›€์ด ๋œ๋‹ค๋ฉด ์ƒˆ๋กœ์šด ๋ฐฉํ–ฅ์— ๋Œ€ํ•ด ์–ธ์ œ๋“  ํ™˜์˜์ด๋‹ค. ์ฃผ๋กœ ๋“œ๋กœ์ž‰์ด๋‚˜ ์ˆ˜์ฑ„ํ™”๋ฅผ ๊ทธ๋ ค์„œ ํฌํ† ์ƒต์œผ๋กœ ๋งˆ๋ฌด๋ฆฌ ์ž‘์—…์„ ํ•œ๋‹ค. ๋ฌด์ฑ„์ƒ‰ ๋ฐฐ์ƒ‰์„ ๋งŽ์ด ์“ฐ๋Š” ํŽธ์ด๊ณ , ๊นจ๋—ํ•˜๊ณ  ์‹ฌํ”Œํ•œ ์ด๋ฏธ์ง€๋ฅผ ๋งŒ๋“ค๋ ค๊ณ  ํ•œ๋‹ค.

Oat Montien ์ˆ˜๊ณต์˜ˆํ’ˆ์— ๋””์ง€ํ„ธ ๋ฐฉ์‹์„ ์ ์šฉํ•ด๋ณด๋ ค๊ณ  ํ•œ๋‹ค. ์ปดํ“จํ„ฐ๋ฅผ ๊ธฐ๋ฐ˜์œผ๋กœ ํ•œ ์•„ํŠธ์™€ ์ „ํ†ต์ ์ธ ์ˆ˜๊ณต์˜ˆ์‹ ์žฅ์ธ์ •์‹ ์ด ๋งŒ๋‚˜๋Š” ์ง€์ ์€ ๊ต‰์žฅํžˆ ํฅ๋ฏธ๋กœ์šด ์˜์—ญ์ด๊ณ  ์•ž์œผ๋กœ๋„ ์ˆ˜๋งŽ์€ ๊ฐ€๋Šฅ์„ฑ์„ ๊ฐ€์ง€๊ณ  ์žˆ๋‹ค๊ณ  ์ƒ๊ฐํ•œ๋‹ค. ์ตœ๊ทผ ์ž‘ํ’ˆ๋“ค์€ ์ฃผ๋กœ ์ง€ํด๋ ˆ์ด ํ”„๋ฆฐํŠธ ๊ธฐ๋ฒ•์„ ์“ฐ๊ณ  ์žˆ๋‹ค. ์ง€๊ธˆ์€ ํƒœ๊ตญ์— ์ƒˆ๋กœ ์ƒ๊ธธ ๋ฐ•๋ฌผ๊ด€์—์„œ ์ผ๋Ÿฌ์ŠคํŠธ์— ์˜๊ฐ์„ ๋ฐ›์€ ์ธํ…Œ๋ฆฌ์–ด ์ž‘์—… ์ค‘์ด๋‹ค.

Ratta Ananphada ๋‚ด ์ž‘ํ’ˆ์€ ์—ฌ์„ฑ์ ์ด๋‹ค. ์ฃผ๋กœ ์—ฌ์„ฑ์˜ ์–ผ๊ตด์— ๋“œ๋Ÿฌ๋‚˜๋Š” ๊ฐ์ •์„ ํ‘œํ˜„ํ•˜๋Š”๋ฐ, ๊ทธ ๊ฐ์ •์„ ๋ˆˆ์„ ํ†ตํ•ด ๊ทธ๋ฆฐ๋‹ค. ๋””ํ…Œ์ผ์— ์‹ ๊ฒฝ์„ ๋งŽ์ด ์“ฐ๋Š” ํŽธ์ด๋‹ค. ๊ฐ€์žฅ ์ข‹์•„ํ•˜๋Š” ํ†ค์€ ํŒŒ์Šคํ…”์ด๋‹ค. ์š”์ฆ˜์—๋Š” ์žก์ง€, ๋„์„œ, ํŒจ๋ธŒ๋ฆญ, ํŒจํ„ด, CD ์ปค๋ฒ„๋‚˜ ํŒจํ‚ค์ง• ๋“ฑ ๋‹ค์–‘ํ•œ ํ”„๋กœ์ ํŠธ์— ์ฐธ์—ฌํ•ด์„œ ์ผ๋Ÿฌ์ŠคํŠธ ์ž‘์—…์„ ํ•œ๋‹ค.

Yoswadi Krutklom ์˜ํ™”, ํŠนํžˆ ํ˜ธ๋Ÿฌ ์žฅ๋ฅด๋ฅผ ๋ณด๊ฑฐ๋‚˜ ์˜ค๋ž˜๋œ ์‚ฌ์ง„์„ ๊ฐ์ƒํ•˜๊ณค ํ•œ๋‹ค. ๊ฑฐ๋ฆฌ์˜ ์‚ฌ๋žŒ๋“ค์„ ๋ณด๋Š” ๊ฒƒ์„ ์ข‹์•„ํ•˜๊ธฐ๋„ ํ•œ๋‹ค. ์‚ฌ๋žŒ๋“ค์˜ ํ—ค์–ด์Šคํƒ€์ผ, ํŒจ์…˜, ๊ทธ๋ฆฌ๊ณ  ๋ชธ์—์„œ ๋‚˜์˜ค๋Š” ๋น„์Šทํ•œ ์ ์ด๋‚˜ ์ฐจ์ด์ ์„ ์ฃผ์˜ ๊นŠ๊ฒŒ ๋ณธ๋‹ค. ์ž‘๋…„ ํƒœ๊ตญ์—์„œ ์ผ์–ด๋‚œ ํ™์ˆ˜ ๊ธฐ๊ฐ„์—, TV ๋‰ด์Šค๋ฅผ ๋งŽ์ด ๋ดค๋‹ค. ๊ฐ€์žฅ ์ตœ๊ทผ์—๋Š” ๋ง๋‹คํˆผ์„ ํ•˜๊ฑฐ๋‚˜ ์„œ๋กœ ๋•๊ธฐ๋„ ํ•˜๋Š” ์—ฌ์„ฑ๋“ค์˜ ๋ชจ์Šต์„ ๋‹ค์–‘ํ•œ ์˜์ƒ๊ณผ ์ƒํ™ฉ์— ๋งž์ถฐ์„œ ๊ทธ๋ฆฌ๊ณ  ์žˆ๋‹ค.

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์ง€๊ธˆ๊นŒ์ง€, ๋ฐ”๋žŒ์ด๋‚˜ ๋‚˜๋งŒ์˜ ๊ณต์ƒ ์„ธ๊ณ„๋ฅผ ๋ชจํ‹ฐํ”„๋กœ ์ž‘์—…ํ•ด ์™”๋‹ค. ์ด๋ฒˆ์—๋„ ํƒœ๊ตญ์˜ ๋ชจ์Šต์— ๋ฐ”๋žŒ ๋ชจํ‹ฐํ”„๋ฅผ ์ผ๋‹ค. ๋“œ๋กœ์ž‰์— ํ‘œํ˜„๋œ ๋ฐ”๋žŒ์€ ์ž‘ํ’ˆ์„ ๋ณด๋Š” ์‚ฌ๋žŒ๋“ค์—๊ฒŒ ํ๋ฆ„์„ ๋ณด์—ฌ์ค€๋‹ค. ๊ทธ๋ฆฌ๊ณค โ€˜ ๋ฐ”๋žŒ์˜ ์‹œ๊ฐโ€™์—์„œ ์ž‘ํ’ˆ์„ ๋ณผ ์ˆ˜ ์žˆ๊ฒŒ ํ•ด์ค€๋‹ค. ์ด๊ฒƒ์ด ๋‚ด๊ฐ€ ํ’๊ฒฝ๋“œ๋กœ์ž‰์—์„œ ๋ฐ”๋žŒ์„ ์‹œ๊ฐํ™”ํ•˜๋Š” ์ด์œ ์ด๋‹ค. ๋˜ ์ด์ „์— ์ž‘์—…ํ•ด์™”๋˜ ๋‚˜์˜ โ€˜๋ฐ”๋žŒ ๋“œ๋กœ์ž‰โ€™ ์ปจ์…‰๊ณผ ์ด๋ฒˆ โ€˜๋ฐฉ์ฝ• ๋„์‹œ ๋“œ๋กœ์ž‰โ€™ ๊ฐ„์˜ ์ ‘์ ์„ ํ‘œํ˜„ํ•œ ๊ฒƒ์ด๊ธฐ๋„ ํ•˜๋‹ค. ๋ฐฉ์ฝ•์€ ํƒœ๊ตญ์˜ ์ˆ˜๋„์ด๊ณ  ๋™๋‚จ ์•„์‹œ์•„์—์„œ ๋†’์€ ๊ตญ์ œ์  ์œ„์ƒ์„ ์ฐจ์ง€ํ•˜๊ณ  ์žˆ๋‹ค. ๊ธ‰์†ํ•œ ๋„์‹œํ™”, ์ด๋ฏผ์ž, ์—ฌํ–‰๊ฐ, ๋ถˆ๊ต์˜ ๋‚˜๋ผ๋กœ์„œ ๋ฐฉ์ฝ•์€ ๋‹ค์–‘ํ•œ ๋ฉด์ด ์žˆ๋‹ค. ์ด ๊ณณ์˜ ์‚ฌ๋žŒ๋“ค๊ณผ ๋„์‹œ๋Š” ๊ฒฝ์ œ ์„ฑ์žฅ( ์™ธํ™” ์ž๋ณธ์˜ ์œ ์ž…)๊ณผ ์ข…๊ต๋ฅผ ํ†ตํ•œ ๊ณ ์œ ์˜ ๊ฐ€์น˜๊ด€ ์‚ฌ์ด์—์„œ ๊ท ํ˜•์„ ๋งž์ถ”๋ฉฐ, ํ•จ๊ป˜ ์„ฑ์žฅํ•˜๋Š” ๊ฒƒ ๊ฐ™๋‹ค. ๋ฌผ๋ก  ํ˜ผ๋ˆ์œผ๋กœ ๊ฐ€๋“ํ•˜๋‹ค. ๊ทธ๋Ÿฌ๋‚˜ ๊ท ํ˜•์„ ์œ ์ง€ํ•˜๊ณ  ์žˆ๊ณ  ์•„์ง๊นŒ์ง€๋Š” ๊ทธ ๊ท ํ˜•์ด ๊นจ์ง€์ง€ ์•Š์•˜๋‹ค. ์ด๋ฒˆ ์ž‘ํ’ˆ์—์„œ๋Š” ์‹ฌ๊ฐํ•œ ๊ตํ†ต์ฒด์ฆ, ์ž‘์€ ์šดํ•˜๋ฅผ ๋”ฐ๋ผ ์„ธ์›Œ์ง„ ๋‚ก์€ ์ง‘, ์„œ๊ตฌ์‹ ์žฅ์‹์„ ํ•œ ๋นŒ๋”ฉ, ํƒœ๊ตญ์˜ ์ƒ์ง•์ธ ๊ฐ€๋ฃจ๋‹ค ๋“ฑ ๋ฐฉ์ฝ•์„ ๋Œ€ํ‘œํ•˜๋Š” ๋ชจ๋“  ๋ชจํ‹ฐํ”„๋ฅผ ์ฝœ๋ผ์ฃผ์ฒ˜๋Ÿผ ํ‘œํ˜„ํ–ˆ๋‹ค. ๋“œ๋กœ์ž‰์„ ํ•˜๋ฉด์„œ ํƒœ๊ตญ์˜ ๊ฒฝ์ œ ์„ฑ์žฅ๋ฟ๋งŒ ์•„๋‹ˆ๋ผ ์—ญ์‚ฌ์  ์œ ๋ฌผ, ์ „ํ†ต ๋ถˆ๊ต๋ฅผ ์กฐ๊ธˆ ์•Œ์•„๋ณด์•˜๋‹ค. ํ…Œ๋ ˆ๋ฐ”๋‹ค ๋ถˆ๊ต(์†Œ์Šน๋ถˆ๊ต)๋ฅผ ์ƒ์ƒํ•˜๋ฉด์„œ, ๋ฐ˜๋ณต์ ์œผ๋กœ ๋„์‹œ์˜ ๋ชจํ‹ฐํ”„๋“ค์„ ๊ทธ๋ ธ๋‹ค. ์•ž์œผ๋กœ ํƒœ๊ตญ์˜ ์ƒํ™ฉ์ด ๋ณ€ํ•ด๊ฐ€๋ฉด์„œ ๊ท ํ˜•์ด ๊นจ์งˆ์ง€๋„ ๋ชจ๋ฅธ๋‹ค. ๊ทธ๋ ‡๊ฒŒ ๋œ๋‹ค๋ฉด, ์–ด๋–ป๊ฒŒ ๋ฐ”๋€”๊นŒ? ํƒœ๊ตญ์˜ ์—ญ์‚ฌ๊ฐ€ ์ข€ ๋” ์ง„ํ–‰๋œ ํ›„์— ๋„์‹œ์˜ ๋ชจ์Šต์„ ๋‹ค์‹œ ํ•œ๋ฒˆ ๊ทธ๋ ค๋ณด๊ณ  ์‹ถ๋‹ค.


108p

Ohm Phanphiroj Q. ๋‹น์‹ ์˜ ์ด๋ฆ„์ด ๊ฑธ๋ฆฐ ์›น์‚ฌ์ดํŠธ๊ฐ€ ๋‘ ๊ฐœ์ธ๋ฐ, ์ด์œ ๊ฐ€ ์žˆ๋‚˜? Ohmphotography.com์€ ๋‚ด๊ฐ€ ํ–ˆ๋˜ ๋ชจ๋“  ๋น„์ฅฌ์–ผ์„ ์œ„ํ•œ ์›น์‚ฌ์ดํŠธ์ด๋‹ค. Ohmmanagement.com์€ ๋‚ด๊ฐ€ ๊ด€๋ฆฌํ•˜๊ณ  ์žˆ๋Š” ๋ชจ๋ธ ์›น์‚ฌ์ดํŠธ์ด๋‹ค. Q. ๋ฏธ๊ตญ์—์„œ ์ž๋ผ๊ณ  ๋Œ€ํ•™์„ ๋‹ค๋‹ˆ๋ฉด์„œ ์ž์‹ ๋งŒ์˜ ๊ด€์ ์ด ์žˆ์„ ๊ฒƒ ๊ฐ™๋‹ค. ์ด๋Ÿฐ ๊ตญ์ œ์ ์ธ ๊ฒฝํ—˜์ด ๊ฒฝ๋ ฅ์— ์˜ํ–ฅ์„ ์ฃผ์—ˆ๋‚˜? Georgia ์ฃผ๋ฆฝ๋Œ€์˜ ์˜์ƒํ•™๊ณผ์— ๋‹ค๋‹ˆ๋˜ ์‹œ์ ˆ, 1997๋…„ ์ „๊ตญ ์‚ฌ์ง„ ๋Œ€ํšŒ์—์„œ ์ƒ์„ ํƒ€๋ฉด์„œ ์‹œ์ž‘ํ•˜๊ฒŒ ๋˜์—ˆ๋‹ค. ๊ทธ ์ดํ›„์— ๊ฐค๋Ÿฌ๋ฆฌ ์ „์‹œ๋ฅผ ํ•˜๊ธฐ ์‹œ์ž‘ํ–ˆ๊ณ  ์–ผ๋งˆ ๋˜์ง€ ์•Š์•„์„œ ์—์ด์ „์‹œ ์ธก์—์„œ ์—ฐ๋ฝ์ด ์™”๋‹ค. ๋‰ด์š•์˜ Marge+Casey ์™€ ๊ณ„์•ฝํ•œ ์ดํ›„์— ๋ฏธ์ˆ  ์ „์‹œ์™€ ์ƒ์—… ์ž‘ํ’ˆ๋„ ํ•˜๋‹ค๊ฐ€ ๊ฒฐ๊ตญ ์ถœํŒ์„ ํ•˜๊ฒŒ ๋˜์—ˆ๋‹ค. Q. ์ดˆ์ฐฝ๊ธฐ์—๋Š” ํ•„๋ฆ„์„ ๊ณต๋ถ€ํ•˜๊ณ  ์ž‘์—…ํ–ˆ์ง€๋งŒ, ์ง€๊ธˆ์€ ์ฃผ๋กœ ์‚ฌ์ง„ ์ž‘๊ฐ€๋กœ์„œ ํ™œ๋™ํ•œ๋‹ค. ๋ถ„์•ผ๋ฅผ ๋ฐ”๊พผ ์ด์œ ๊ฐ€ ์žˆ์—ˆ๋‚˜? ํ•„๋ฆ„๊ณผ ์‚ฌ์ง„์€ ์‚ฌ์‹ค์ƒ ๊ฐ™์€ ์˜์—ญ์— ์†ํ•˜๊ณ  ๊ทผ๋ณธ์ ์œผ๋กœ ๋น„์Šทํ•˜๋‹ค. ํ•˜์ง€๋งŒ ํ•„๋ฆ„ ์ œ์ž‘์—๋Š” ๋” ๋งŽ์€ ์‚ฌ๋žŒ์ด ํ•„์š”ํ•˜๊ธฐ ๋•Œ๋ฌธ์— ๋” ๋งŽ์€ ์‹œ๊ฐ„์ด ํ•„์š”ํ•˜๋‹ค. ๋‚˜๋Š” ์„ฑ๊ธ‰ํ•œ ํŽธ์ด๋‹ค. ๋‚ด๊ฐ€ ์ผํ•˜๊ณ  ์‹ถ์„ ๋• ๋‚œ ๊ทธ ์ˆœ๊ฐ„ ๋ฐ”๋กœ ์ผํ•˜๋Š” ์„ฑ๊ฒฉ์ด๋‹ค. ์‚ฌ์ง„ ์ž‘์—…์€ ์™„์ „ํžˆ ๊ฐœ์ธ์ ์ด๋ผ์„œ ๋œ ๋ฐ”์˜์ง€๋งŒ ๋” ์ฐฝ์˜์ ์ด๊ฒŒ ๋œ๋‹ค. ์ž‘์—…์˜ ๋ฐฉํ–ฅ์ด ๋ฐ”๋€Œ์—ˆ์ง€๋งŒ ์—ฌ์ „ํžˆ ์‹œ๊ฐ„์ด ๋˜๋ฉด ํ•„๋ฆ„ ์ž‘์—…๋„ ํ•˜๊ณค ํ•œ๋‹ค. Q. ์ตœ๊ทผ ์ž‘์—…์„ ์†Œ๊ฐœํ•ด๋‹ฌ๋ผ. Identity Crisis: Transsexuals์€ ํƒœ๊ตญ ์„ฑ์ „ํ™˜์ž๋“ค์— ๊ด€ํ•œ ๋‹คํ๋ฉ˜ํ„ฐ๋ฆฌ์ธ๋ฐ 2009๋…„ ์†Œ๋‹ˆ ๊ตญ์ œ ์‚ฌ์ง„์ƒ์„ ์ˆ˜์ƒํ–ˆ๋‹ค. 2010๋…„์—๋Š” Underage๋ผ๊ณ  ๋ถˆ๋ฆฌ๋Š” ๋ฏธ์„ฑ๋…„์ž ๋‚จ์„ฑ ๋งค์ถ˜๋ถ€๋“ค์— ๊ด€ํ•œ ๋‹คํ๋ฉ˜ํ„ฐ๋ฆฌ๋ฅผ ํ–ˆ๊ณ  ๊ตญ์ œ์ ์ธ ์ฃผ๋ชฉ์„ ๋ฐ›๊ฒŒ ๋˜์—ˆ๋‹ค. ๊ทธ๋ฆฌ๊ณ  ๋งŽ์€ ๊ฒฝ์Ÿ ๋ถ€๋ฌธ์— ํ›„๋ณด๋กœ ์„ ์ •๋˜๊ฑฐ๋‚˜ ์ˆ˜์ƒํ–ˆ๋‹ค. Q. ๋‹น์‹ ์˜ ๊ฐœ์ธ ์ž‘ํ’ˆ๊ณผ ๋ฐ˜๋Œ€ ์„ฑ๊ฒฉ์„ ๋ˆ ์ƒ์—…์  ์ž‘ํ’ˆ์— ํ•  ๋•Œ, ์–ด๋–ป๊ฒŒ ์ƒ๊ฐํ•˜๋Š”๊ฐ€? ์ƒ์—…์  ์ž‘ํ’ˆ๊ณผ ๊ฐœ์ธ ์ž‘ํ’ˆ์ด ์˜ํ–ฅ์„ ์„œ๋กœ ๋ฐ›๋Š”๊ฐ€? ์ƒ์—…์  ์ž‘ํ’ˆ์€ ํด๋ผ์ด์–ธํŠธ๋‚˜ ๊ทธ๋“ค์ด ์›ํ•˜๋Š” ๋ฐฉํ–ฅ์— ๋”ฐ๋ผ ๋‹ฌ๋ผ์ง„๋‹ค๋ฉด, ๋‚ด ์ž‘ํ’ˆ์€ ์ˆœ์ „ํžˆ ๋‚ด๊ฐ€ ์ข‹์•„ํ•˜๊ณ  ๋‚ด๊ฐ€ ์›ํ•˜๋Š” ๋ฐฉํ–ฅ์ด๋‹ค. ํด๋ผ์ด์–ธํŠธ๋ฅผ ์œ„ํ•ด ์ฐ์„ ๋•Œ๋Š” ์ข€ ๋” ํƒ€ํ˜‘์ ์ด๊ณ  ๋‚ด ์ž‘ํ’ˆ์„ ์ง„ํ–‰ํ•  ๋•Œ๋ณด๋‹ค ์น˜์šฐ์น˜์ง€ ์•Š์œผ๋ ค๊ณ  ํ•œ๋‹ค. ๊ทธ๋ž˜์„œ ๋‘ ์ž‘์—…์€ ์„œ๋กœ ์˜ํ–ฅ์„ ์ฃผ์ง€ ์•Š๋Š”๋‹ค. ๊ทธ๋ฆฌ๊ณ  ๋‘˜ ๋‹ค ์ฆ๊ธด๋‹ค. Q. ์ƒ์—…์  ์ž‘ํ’ˆ์„ ํ•  ๋•Œ ์–ด๋–ค ์ข…๋ฅ˜๋ฅผ ์˜๋ขฐ ๋ฐ›๋Š”๊ฐ€? ๋‚˜๋Š” ํƒœ๊ตญ๊ณผ ๋ฏธ๊ตญ์˜ ๋งค๊ฑฐ์ง„๋ถ€ํ„ฐ ์†Œ๊ทœ๋ชจ ๊ฐ€ํŒ๋Œ€ ์ฑ…์ž๊นŒ์ง€ ๋ชจ๋‘๋‹ค. R&B๊ฐ€์ˆ˜ Ciara์™€ ์ž‘์—…ํ•˜๊ธฐ๋„ ํ•˜๊ณ  Solios ์บ ํŽ˜์ธ์„ ํ•˜๊ธฐ๋„ ํ•œ๋‹ค. Q. ๋‹น์‹ ์˜ ์‚ฌ์ง„์€ ์„ฑ์ ์ด๋‹ค. ๋ˆ„๋“œ์™€ ์„น์Šˆ์–ผ๋ฆฌํ‹ฐ์— ๊ด€ํ•ด ์–ด๋–ป๊ฒŒ ์ƒ๊ฐํ•˜๊ณ  ์ด๊ฒƒ์„ ํ‘œํ˜„ํ•˜๊ธฐ ์œ„ํ•ด์„œ ์–ด๋–ค ์ด๋ฏธ์ง€๋ฅผ ์“ฐ๋Š”๊ฐ€? ๋‚˜๋Š” ๋‚ด ์ž‘ํ’ˆ์—์„œ ์ˆœ์ˆ˜ํ•˜๊ณ  ์›์ดˆ์  ๊ฐ๊ฐ์„ ๋‹ด๊ณ  ์‹ถ๋‹ค. ๋‚˜๋Š” ์ธ์œ„์ ์ธ ๊ฒƒ์„ ์‹ซ์–ดํ•˜๊ณ  ์‚ฌ์ง„์˜ ๋ชฉ์ ์— ์žˆ์–ด์„œ ์ข‹์ง€ ์•Š๋‹ค๊ณ  ์ƒ๊ฐํ•œ๋‹ค. ์‚ฌ์ง„์€ ์‚ฌ๋žŒ๋“ค์ด ์„ธ์ƒ์„ ๋ฐ”๋ผ๋ณด๋Š” ๋ฐฉ์‹์„ ๋‹ด์•„์•ผ ํ•œ๋‹ค. ๊ฐ€์žฅ์ˆœ์ˆ˜ํ•œํ˜•ํƒœ๋กœํฌ๋ฆฌ์—์ดํ‹ฐ๋น„ํ‹ฐ๋ฅผ๋ณด์—ฌ์ฃผ๋Š”๊ฒƒ์€ํฌํ† ์ƒต์„ํ†ตํ•ด์„œ๊ฐ€์•„๋‹ˆ๋ผ์นด๋ฉ”๋ผ๋ฅผํ†ตํ•ด์„œ ์ด๋ค„์ง„๋‹ค. ๋‚˜๋Š” ๋ณดํŽธ์ ์œผ๋กœ ๊ณต๊ฐํ•  ์ˆ˜ ์žˆ๋Š” ์ง„์‹คํ•˜๊ณ  ๊ฐ•๋ ฅํ•œ ์ด๋ฏธ์ง€๋ฅผ ๋งŒ๋“ค๊ณ  ์‹ถ๋‹ค. ๊ทธ๋ž˜์„œ ๋‚˜๋Š” ๋Œ€์ƒ์˜ ๊ฐ์ •, ๋ฐ”๋”” ๋žญ๊ท€์ง€ ๊ฐ™์€ ์‹ฌ๋ฆฌ์ ์ธ ์ธก๋ฉด์„ ๋” ๊นŠ์ด ์ดํ•ดํ•˜๋ ค๊ณ  ํ•œ๋‹ค. ์‚ฌ๋žŒ๋“ค์ด ๋‚˜์˜ ๊ฐ๊ฐ์ ์ด๋ฉฐ ์„ฑ์ ์ด๊ณ  ์œ ํ˜น์ ์ธ ํ˜น์€ ๋ถˆ์พŒํ•˜๊ธฐ๊นŒ์ง€ ํ•œ ์‚ฌ์ง„๋“ค์„ ๋ณผ ๋•Œ, ๊ทธ ์ด๋ฏธ์ง€๋“ค์ด ๋งˆ์Œ์— ๋‚จ๊ธฐ ์›ํ•œ๋‹ค. Q. ํ”ผ์‚ฌ์ฒด๋“ค์€ ์ฃผ๋กœ ๋‚จ์„ฑ์ด๋‹ค. ๋ฏธ์ ์ธ ์ด์œ ์—์„œ ์ธ๊ฐ€ ์•„๋‹ˆ๋ฉด ์ž‘ํ’ˆ์˜ ์ด๋ก ์ ์ธ ํ† ๋Œ€์™€ ๊ด€๋ จ์ด ์žˆ๋Š”๊ฐ€? ๊ฐœ์ธ์ ์œผ๋กœ ๋‚˜๋Š” ํŠนํžˆ ๋ชธ๋งค๊ฐ€ ์ข‹์€ ๊ฒฝ์šฐ์— ๋‚จ์„ฑ๋“ค์ด ์ข€ ๋” ํ•œ๊ณ„๋ฅผ ๋„˜์–ด์„œ๋Š” ์‹œ๋„๋ฅผ ํ•˜๊ณ  ๋‹๋ณด์ธ๋‹ค๊ณ  ์ƒ๊ฐํ•œ๋‹ค. ๊ฐ์ฒดํ™”์™€ ์š•๋ง์ด ์ด๋ฏธ์ง€๋ฅผ ํ˜•์„ฑํ•˜๋Š”๋ฐ ์ค‘์š”ํ•œ ํŒจ์…˜ ์‚ฌ์ง„์—์„œ๋Š” ์—ฌ์„ฑ๋“ค์ด ์‘์‹œ ๋Œ€์ƒ์ด ๋œ๋‹ค. ์ด๋Ÿฌํ•œ ์ƒํ™ฉ์„ ๋’ค๋ฐ”๊พธ์–ด ๋‚จ์„ฑ ์—ญ์‹œ ๋งค๋ ฅ์ ์œผ๋กœ ๋ณด์ด๊ฒŒ ํ•˜๊ณ  ์‹ถ์—ˆ๋‹ค. ๋‚จ์„ฑ ์—ญ์‹œ ๋…์ž์˜ ์„ฑ์  ์ทจํ–ฅ์— ๋”ฐ๋ผ์„œ ๊ทธ๋Ÿฌํ•œ ๋Œ€์ƒ์ด ๋  ์ˆ˜ ์žˆ๋‹ค๋Š” ๊ฒƒ์„ ๋ณด์—ฌ์ฃผ๊ณ  ์‹ถ๋‹ค. Q. ๋‹น์‹ ์˜ ์‹œ๋ฆฌ์ฆˆIdentity Crisis: Transsexuals์—์„œ ๊ฐ์ž์˜ ๋ชจ์Šต์„ ๋‹ค์–‘ํ•˜๊ฒŒ ๋ณด์—ฌ์ฃผ๋Š” ๋ฐฉ์‹์„ ์„ ํƒํ•œ ์ด์œ ๊ฐ€ ์žˆ๋Š”๊ฐ€? ์ด๋Ÿฌํ•œ ํ˜•์‹์„ ํ†ตํ•ด์„œ ๋‹น์‹ ์ด ์ „๋‹ฌํ•˜๋ ค๊ณ  ํ•˜๋Š” ์ข€ ๋” ๊นŠ์€ ์˜๋ฏธ๊ฐ€ ์žˆ๋Š”๊ฐ€? ๊ฐ๊ฐ์˜ ์ด๋ฏธ์ง€๋Š” ๋™์ผํ•œ ์‚ฌ๋žŒ์œผ๋กœ ๋‚˜๋ž€ํžˆ ์ด๋ฃจ์–ด์ง„ ์‚ผ๋ถ€์ž‘์ด๋‹ค. ์ฒซ ๋ฒˆ์งธ ์‚ฌ์ง„์€ ๋ฉ”์ดํฌ์—…์„ ํ•˜๊ธฐ ์ „์ด๊ณ  ๋‘ ๋ฒˆ์งธ ์‚ฌ์ง„์€ ๋ˆˆ์„ ๊ฐ๊ธฐ๋งŒ ํ–ˆ๋‹ค. ๋งˆ์ง€๋ง‰ ์‚ฌ์ง„์€ ๋ฉ”์ดํฌ์—…์„ ๋ฐ›๊ณ  ๋‚œ ํ›„๋‹ค. ์„ธ ๊ฐœ์˜ ์‚ฌ์ง„์— ๋”ฐ๋ผ ๋ณ€ํ•˜๋Š” ํ”ผ์‚ฌ์ฒด์˜ ์‹ฌ๋ฆฌ๋ฅผ ์‹œํ€€์Šค๋Œ€๋กœ ํ‘œํ˜„ํ•˜๊ณ  ์‹ถ๋‹ค. ๋ฉ”์ดํฌ์—…์ด ์—†๋Š” ์‚ฌ์ง„์€ ๊ทธ๋“ค์˜ ์ง„์‹คํ•œ ์–ผ๊ตด๊ณผ ์•Œ๋ชธ์„ ๋ณด์—ฌ์ฃผ๊ณ  ๋ˆˆ์„ ๊ฐ์€ ๋‘ ๋ฒˆ์งธ ์‚ฌ์ง„์€ ๋‚จ์„ฑ์œผ๋กœ์„œ์˜ ํ˜„์‹ค์— ๊ฑฐ๋ถ€๋ฅผ ์˜๋ฏธํ•œ๋‹ค. ๋ˆˆ์„ ๋œฌ ์ฑ„๋กœ ๋ฉ”์ดํฌ์—…์„ ํ•œ ๋งˆ์ง€๋ง‰ ์‚ฌ์ง„์€ ์™„์ „์ฒด๋ฅผ ์˜๋ฏธํ•œ๋‹ค. ์„ธ ์‚ฌ์ง„์„ ์ˆœ์„œ๋Œ€๋กœ ๋ณด๋…ธ๋ผ๋ฉด, ์•„๋งˆ ์œก์ฒด์ ์œผ๋กœ๋‚˜ ์‹ฌ๋ฆฌ์ ์œผ๋กœ ๊ณผ๊ฐํ•œ ๋ณ€ํ™”๋ฅผ ์•Œ ์ˆ˜ ์žˆ์„ ๊ฒƒ์ด๋‹ค. ๋งˆ์ง€๋ง‰ ์ดฌ์˜์—์„œ๋Š” ๊ตณ์ด ์š”๊ตฌํ•˜์ง€ ์•Š์•„๋„ ๋ชจ๋ธ๋“ค์€ ์Šค์Šค๋กœ ์–ด๋–ป๊ฒŒ ๋ฐ›์•„๋“ค์ด๊ณ  ๋งŒ์กฑํ•˜๋Š”์ง€๋ฅผ ์‚ด์ง ์—ฟ๋ณผ ์ˆ˜ ์žˆ๋Š” ๋ฏธ์†Œ๋ฅผ ๋ค๋‹ค. Q. ์ด๋ฒˆ ์‹œ๋ฆฌ์ฆˆ๋ฅผ ์œ„ํ•ด์„œ ์–ด๋–ป๊ฒŒ ๋ชจ๋ธ์„ ์บ์ŠคํŒ…ํ–ˆ๋‚˜? ๊ทธ๋“ค์ด ๋ง์„ค์ด์ง„ ์•Š๋˜๊ฐ€? ์ž‘ํ’ˆ์„ ์œ„ํ•ด ์„œ ์ค„ ์ˆ˜ ์žˆ๋Š” ๋ˆ„๊ตฌ๋“ ์ง€ ์ดฌ์˜ํ–ˆ๋‹ค. ์‚ฌ์‹ค์ด๋‹ค. ๋ชจ๋ธ๋“ค์€ ์ฒ˜์Œ์—” ๋ง์„ค์ด๋‹ค๊ฐ€ ์–ผ๊ตด์„ ๋ณด์—ฌ์ฃผ๊ณ  ์‹ถ์–ดํ•˜์ง€ ์•Š๋Š”๋‹ค. ๊ทธ๋ž˜์„œ ๋‚˜๋Š” ๊ทธ๋“ค์—๊ฒŒ ํฌ์ฆˆ๋ฅผ ์ทจํ•ด์ฃผ๋Š” ๋Œ€๊ฐ€๋กœ ๋ˆ์„ ์คฌ๋‹ค. Q. ํƒœ๊ตญ์€ ํŠธ๋ Œ์Šค์„น์Šˆ์–ผ ์ธ๊ตฌ์™€ ๊ทธ ์ฃผ๋ณ€ ๋ฌธํ™”๋กœ ์œ ๋ช…ํ•˜๋‹ค. ํŠน๋ณ„ํ•œ ์ด์œ ๊ฐ€ ์žˆ์„๊นŒ? ํƒœ๊ตญ์˜ ๊ฒŒ์ด๋‚˜ ๋ ˆ์ด๋”” ๋ณด์ด๋“ค์ด ์™œ ํŠธ๋ Œ์Šค์„น์Šค์–ผ์ด ๋งŽ์€์ง€ ๋Œ€ํ•ด์„ , ํ•œ ๊ฐ€์ง€ ๊ผญ ์ง‘์–ด ์ •ํ™•ํ•˜๊ฒŒ ๋งํ•˜๊ธฐ ์–ด๋ ต๋‹ค. ํŒจ์…˜ ํŠธ๋ Œ๋“œ๊ฐ€ ์˜ํ–ฅ์ด ํฐ ๊ฒƒ๋„ ์žˆ๊ณ , ์ด์™•์ด๋ฉด ๋‚จ์„ฑ์ด ์ž์‹ ๋“ค์ด ์ข€๋” ์—ฌ์„ฑ์ฒ˜๋Ÿผ ๋ณด์ด๋ฉด ์ข‹์•„ํ•  ๊ฒƒ์ด๋ผ๊ณ  ์ƒ๊ฐํ•˜๋Š” ๊ฒƒ ๊ฐ™๋‹ค. ํƒœ๊ตญ์—์„œ๋Š” ํŠธ๋ Œ์Šค ์„น์Šˆ์–ผ์— ๋Œ€ํ•œ ๋ถ€์ •์  ๊ฒฌํ•ด๊ฐ€ ์—†๋Š” ํŽธ์ด์–ด์„œ ๊ทธ๋“ค์ด ์ปค๋ฐ์•„์›ƒํ•˜๋Š” ๊ฑธ ์ข€ ๋” ํŽธํ•˜๊ฒŒ ์—ฌ๊ธด๋‹ค. ๋˜ ๊ฒŒ์ด๋‚˜ ํŠธ๋ Œ์Šค์„น์Šˆ์–ผ ์…€๋ ˆ๋ธŒ๋ฆฌํ‹ฐ๋“ค์ด

ํƒœ๊ตญ ํŒจ์…˜์—…๊ณ„์—์„œ ์œ ๋ช…ํ•œ ํƒ“์—, ์œ ๋ช…์„ธ๋ฅผ ์–ป๋Š” ๊ธธ๋กœ ์—ฌ๊ธฐ๊ธฐ๋„ ํ•œ๋‹ค. ์—ฌ์ „ํžˆ ์‚ฌ์‹ค๋ณด๋‹ค๋Š” ๊พธ๋ฉฐ๋‚ธ ์ด์•ผ๊ธฐ๊ฐ€ ๋” ๋งŽ์ง€๋งŒ, ๋Œ€๋ถ€๋ถ„์˜ ์‚ฌ๋žŒ๋“ค์ด ์™œ ๊ทธ๋“ค์ด ์—ฌ์„ฑ์ด ๋˜๊ณ  ์‹ถ์€์ง€ ์™„์ „ํžˆ ์ดํ•ดํ•˜์ง€ ๋ชปํ•˜๋Š” ๊ฒƒ ๊ฐ™๋‹ค. ํŠธ๋ Œ์Šค์„น์Šˆ์–ผ์ด ๋˜๊ณ  ๋‚œ ํ›„์—๋„ ๋‚จ์„ฑ๊ณผ์˜ ๊ด€๊ณ„์— ์‹คํŒจํ•˜๊ณ  ๋ˆ์ด๋‚˜ ์พŒ๋ฝ์„ ์ซ“๊ฒŒ ๋˜๋Š” ๊ฒฝ์šฐ๋„ ๋งŽ๋‹ค. Q. ๋‹น์‹ ์˜ ์ž‘ํ’ˆ์„ ๋ณด๋ฉด ํƒœ๊ตญ์˜ ์ง„์ •ํ•œ ํ˜„์‹ค์ด ๋ณด์ธ๋‹ค. ๋Œ€์™ธ์ ์œผ๋กœ ๋ณด์ด๋Š” ํƒœ๊ตญ์˜ ์ด๋ฏธ์ง€์™€ ์ž๊ตญ์ธ๋“ค์ด ์ƒ๊ฐํ•˜๋Š” ์ฐจ์ด๊ฐ€ ์žˆ๋Š”๊ฐ€? ์ด์ค‘์žฃ๋Œ€๋ฅผ ๋“ค์ด๋Œ€๊ณค ํ•œ๋‹ค. ์‚ฌ๋žŒ๋“ค์€ ๋ชจ์ˆœ๋œ ์ƒํ™ฉ์— ๋†“์—ฌ ์žˆ๋‹ค. ํ‘œ๋ฉด์ ์œผ๋กœ๋Š” ๋ชจ๋“  ๊ฒŒ ์ˆœํƒ„ํ•˜๊ณ  ์ข‹์•„๋ณด์ด์ง€๋งŒ,๋ฐ”๋‹ฅ์—๋Š”๋ถˆํŽธํ•œ์ง„์‹ค์ด์žˆ๋‹ค.๋Œ€์™ธ์ ์œผ๋กœ๋ณด์ด๋Š”์ด์ƒ์ ์ธํƒœ๊ตญ์˜๋ชจ์Šต์€์ง„์ •ํ•œ ํƒœ๊ตญ ํ˜„์‹ค์„ ๋‹ด์ง€ ์•Š์•˜๋‹ค. ์‹ค์ œ ํƒœ๊ตญ์€ ๋ถ€์ •๋ถ€ํŒจ์™€ ๋นˆ๊ณค์ธต์˜ ๋ฌธ์ œ๊ฐ€ ๋งŽ๋‹ค. ๋Œ€์™ธ์ ์œผ๋กœ ๋ณด์ด๋Š” ํƒœ๊ตญ์˜ ๋ชจ์Šต์€ ์ข€ ์œ„์„ ์ ์ด๋‹ค. ๋ฌผ๋ก  ๋‹ค๋ฅธ ๋‚˜๋ผ์ฒ˜๋Ÿผ ํƒœ๊ตญ์—๋„ ์ข‹์€ ์ ์€ ๋งŽ์ง€๋งŒ, ๋‚˜๋Š” ์Šฌํ”ˆ ํ˜„์‹ค์„ ์ด์•ผ๊ธฐํ•˜๋Š” ๊ฒƒ์ด ์ข‹๋‹ค. ๊ทธ๋ž˜์„œ ๊ทธ๋Ÿฐ ์ฃผ์ œ๋‚˜ ์ด์Šˆ๋ฅผ ๋‚ด ์ž‘ํ’ˆ์„ ํ†ตํ•ด์„œ ๋ณด์—ฌ์ฃผ๊ณ  ์‹ถ๋‹ค. Q. ๊ณ„ํšํ•˜๊ณ  ์žˆ๋Š” ๊ฒƒ์ด ์žˆ๋‹ค๋ฉด? ๋งŽ๋‹ค. ๋ชจ๋ธ ์—์ด์ „์‹œ๋„ ์—ด๊ณ  ์‹ถ๊ณ , CF์ดฌ์˜์ด๋‚˜ ์ถœํŒ๋„ ํ•  ์˜ˆ์ •์ด๋‹ค.

116p

Christian Develter Q. Belgium์—์„œ ํƒœ์–ด๋‚˜ 19์‚ด๋ถ€ํ„ฐ ์•„์‹œ์•„์—์„œ์‚ด์•˜๋‹ค.์—ฌํƒœ๊ป์‚ด์•„์˜จ๊ณณ์—๋Œ€ํ•ด ์ด์•ผ๊ธฐํ•ด๋‹ฌ๋ผ. Blankenberge ํ•ด์•ˆ๊ฐ€ ๋„์‹œ์— ์žˆ๋Š” Belgium ์˜ ํ”Œ๋ž€๋”์Šค์—์„œ ํƒœ์–ด๋‚ฌ๋‹ค. Gent Art Academy์—์„œ ๊ณต๋ถ€ํ–ˆ๊ณ  Royal Academy of Antwerpen์—์„œ ํŒจ์…˜์„ ์ „๊ณตํ–ˆ๋‹ค. ๊ทธ๋ฆฌ๊ณค 1996๋…„์— ์ฒ˜์Œ ์•„์‹œ์•„์— ์˜ค๊ฒŒ ๋ฌ๋Š”๋ฐ, ๊ทธ ์ดํ›„๋กœ ์ญ‰ ๋ฐฉ์ฝ•์—์„œ ์‚ด๊ณ  ์žˆ๋‹ค. Q. ๋‹ค์–‘ํ•œ ๋‚˜๋ผ์—์„œ ์‚ด๋ฉด์„œ ์˜ํ–ฅ์„ ๋งŽ์ด ๋ฐ›์•˜์„ ๊ฒƒ ๊ฐ™๋‹ค. ์ƒˆ๋กœ์šด ๊ณณ์„ ๊ฐˆ ๋•Œ ๋งˆ๋‹ค ์ข‹์€ ์˜ํ–ฅ์„ ๋ฐ›๋Š”๋‹ค. ํŠนํžˆ ์ต์ˆ™ํ•˜์ง€ ์•Š๋˜ ๊ฒƒ๋“ค์— ๋Œ€ํ•ด ์ƒˆ๋กœ์šด ์‹œ๊ฐ์„ ๊ฐ€์ง€๊ฒŒ ๋œ๋‹ค. ์‹ค์ œ๋กœ ๊ทธ๋Ÿฐ ๊ฒฝํ—˜๋“ค์ด ๋‚˜์˜ ์ผ๋ถ€๊ฐ€ ๋˜์—ˆ๊ณ , ์ž‘์—…์—๋„ ์˜ํ–ฅ์„ ์ค€๋‹ค. Q. ์ž์‹ ์˜ ์ฒ ํ•™์„ ์ž‘ํ’ˆ์— ์–ด๋–ป๊ฒŒ ๋‹ด์œผ๋ ค๊ณ  ํ•˜๋Š”๊ฐ€? ์ดˆ์ƒํ™”์—๋Š” ์ƒ๋Œ€๊ฐ€ ์‚ฌ๋žŒ์„ ์–ด๋–ป๊ฒŒ ๋ณด๋Š”์ง€ ๋“œ๋Ÿฌ๋‚œ๋‹ค. ๊ทธ๋ž˜์„œ ๋‚˜๋Š” ํ•ญ์ƒ ๋ˆˆ๋ถ€ํ„ฐ ์‹œ์ž‘ํ•œ๋‹ค. ๊ฐ•ํ•œ ์ƒ‰์„ ์“ฐ๋Š” ํŽธ์ด๊ณ  ์˜ท์ด๋‚˜ ์žฅ์‹ ๊ตฌ ๋””ํ…Œ์ผ์€ ๊ฐ„๋žตํ•˜๊ฒŒ ํ•œ๋‹ค. ์‚ฌ๋žŒ์—๊ฒŒ ์ข€ ๋” ์ดˆ์ ์„ ๋‘๊ณ  ์‹ถ๊ธฐ ๋•Œ๋ฌธ์ด๋‹ค. . Q. ์ฃผ๋กœ ์—ฌ์„ฑ์„ ๋งŽ์ด ๊ทธ๋ ธ๋‹ค. ๋‹น์‹ ์—๊ฒŒ ์—ฌ์„ฑ์ด๋ž€ ์–ด๋–ค ์˜๋ฏธ์ธ๊ฐ€? ๋‚ด ์ž‘ํ’ˆ์€ ์ฃผ๋กœ ์•„์‹œ์•„ ์˜๊ฐ์„ ๋ฐ›์•˜๊ณ  ์‹ค์ œ๋กœ ์—ฌ์„ฑ๋“ค์„ ๋งŽ์ด ๊ทธ๋ ธ๋‹ค. ์ตœ๊ทผ์—๋Š” ์ข€ ๋” ๊ฐ•ํ•œ ์ด๋ฏธ์ง€์˜ ๋‚จ์„ฑ ์ดˆ์ƒํ™”๋„ ๊ทธ๋ ธ๋‹ค. ํ•˜์ง€๋งŒ ๋‚˜๋Š” ์˜ค๋žซ๋™์•ˆ ์•„์‹œ์•„ ์—ฌ์„ฑ์˜ ๊ด€๋Šฅ๋ฏธ์™€ ์‹ ๋น„ํ•จ์— ๋งค๋ฃŒ๋˜์—ˆ๋‹ค. ์œ ๋Ÿฝ์ธ์œผ๋กœ์„œ ์ด๋Ÿฐ ์˜๊ฐ์„ ๋‚˜์˜ ์ƒ์ƒ๋ ฅ๊ณผ ๋ฆฌ์–ผ๋ฆฌํ‹ฐ ๊ฐ€์šด๋ฐ ์žฌํ•ด์„ํ•˜๋ ค๊ณ  ํ•œ๋‹ค. Q. ์•ž์œผ๋กœ ๊ณ„ํšํ•˜๊ณ  ์žˆ๋Š” ์ผ์ด ์žˆ๋‚˜? ์˜ฌํ•ด์—” ์ด๊ฒƒ์ €๊ฒƒ ์‹คํ—˜์ ์ธ ๋ฐฉ์‹๋„ ํ•ด๋ณด๊ณ  ์ž‘ํ’ˆ์— ์ƒˆ๋กœ์šด ๋ฐฉ์‹์„ ์‹œ๋„ํ•ด๋ณด๊ณ  ์‹ถ๋‹ค. ๊ทธ๊ฑด ์ •๋ง ๋์—†๋Š” ๊ณผ์ •์ด๋‹ค. ์ŠคํŠœ๋””์˜ค์—์„œ ๋‹ค๋ฅธ ์•„ํ‹ฐ์ŠคํŠธ๋“ค๊ณผ ํ•จ๊ป˜ ์ด๋ฒคํŠธ๋ฅผ ๊ณ„ํš ์ค‘์ด๊ณ  9์›”์— ์žˆ์„ Germany ๋ฎŒํ—จ ์ „์‹œํšŒ๋ฅผ ์ค€๋น„ํ•˜๊ณ  ์žˆ๋‹ค. ์ตœ๊ทผ ์ž‘ํ’ˆ์€ ์–ผ๊ตด์— ํƒ€ํˆฌ๋ฅผ ํ•œ ์•„์‹œ์•„์ธ๋“ค์— ๊ด€ํ•œ ๊ฒƒ์„ ํ•˜๋ ค๊ณ  ํ•œ๋‹ค. ์ด๊ฑด ๋ฏธ์–€๋งˆ ๋ฒ„๋งˆ์— ์žˆ๋Š” ํ•œ ์ค‘๊ตญ๋ถ€์กฑ์—์„œ ์œ ๋ž˜๋œ ๊ฒƒ์ธ๋ฐ, ๊ทธ๋ž˜์„œ ๊ทธ ์ง€์—ญ์„ ์ง์ ‘ ์—ฌํ–‰ํ•ด๋ด์•ผ ํ•  ๊ฒƒ ๊ฐ™๋‹ค. Hong Kong๊ณผ ๋™์•„์‹œ์•„ ์ง€์—ญ์—์„œ ์‹œ๊ฐ„์„ ๋” ๋ณด๋‚ด๊ณ  ์‹ถ๊ธฐ๋„ ํ•˜๊ณ , ์˜ฌํ•ด๋Š” ๋ฐ”์  ๊ฒƒ ๊ฐ™๋‹ค. Q. WARP54 ์ŠคํŠœ๋””์˜ค๋Š” ์–ธ์ œ๋ถ€ํ„ฐ ์‹œ์ž‘ํ–ˆ๋‚˜? ํŒŒํŠธ๋„ˆ์ธ Peter Smits์™€ ํ•จ๊ป˜ 2011๋…„ 11์›” ์‹œ์ž‘ํ–ˆ๋‹ค. Q. ์ŠคํŠœ๋””์˜ค ๊ฑด๋ฌผ์— ๋Œ€ํ•œ ์ด์•ผ๊ธฐ๋ฅผ ํ•ด๋‹ฌ๋ผ. Portuguese ๋Œ€์‚ฌ๊ด€ ์ €ํƒ ๋’ค์ชฝ์œผ๋กœ Chao Praya ๊ฐ•์—์„œ ๊ฐ€๊นŒ์šด ์˜ค๋ž˜๋œ ์ฐฝ๊ณ ์˜€๋‹ค. 2์ฐจ ์„ธ๊ณ„ ๋Œ€์ „ ์ ๋ น ๋‹น์‹œ ์ผ๋ณธ์ธ์ด ์ง€์—ˆ๋‹ค. ์ฒ˜์Œ ๊ฑด๋ฌผ์„ ์ง€์€ ์ดํ›„๋กœ ๊ฑฐ์˜ ๋ณ€ํ•˜์ง€ ์•Š์•˜๋‹ค. ์˜ค๋ž˜๋œ ํ‹ฐํฌ ์†Œ์žฌ ๋ฐ”๋‹ฅ๊ณผ XXL ์ž‘ํ’ˆ๋“ค์„ ์ „์‹œํ•˜๊ธฐ์— ๋”ฑ ๋งž๋Š” ํฐ ์ฒœ์žฅ์ด ์žˆ๋‹ค. ๊ฑด๋ฌผ์ด ์•„์ง๊นŒ์ง€ ๊ทธ๋Œ€๋กœ ๋‚จ์•„์žˆ๋‹ค๋Š” ๊ฑด ๋†€๋ผ์šด ์ผ์ด๋‹ค. ์•„๋ฌด๋„ ์ด ๊ณต๊ฐ„์„ ์•„ํŠธ ์ŠคํŠœ๋””์˜ค๋กœ ๋ฐ”๊ฟ”์•ผ๊ฒ ๋‹ค๊ณ  ์ƒ๊ฐํ•˜์ง€ ์•Š์€ ๊ฒƒ ๊ฐ™์•„์„œ, ์šฐ๋ฆฌ๊ฐ€ ํ•˜๊ฒŒ ๋˜์—ˆ๋‹ค. ๊ฑด๋ฌผ์ฃผ๋Š” ๊ฑด๋ฌผ์„ ๊ณ„์† ๋ณด์ „ํ•  ํ•„์š”๊ฐ€ ์žˆ๋‹ค๋Š”๋ฐ ๋™์˜ํ–ˆ๊ณ  ๋ณธ์ธ ์—ญ์‹œ ์•„ํŠธ ์ฝœ๋ ‰ํ„ฐ์˜€๋‹ค. ๊ทธ ์ชฝ ์‚ฌ๋ฌด์‹ค์€ ์šฐ๋ฆฌ ๊ฑด๋ฌผ๊ณผ ๋งž์€ ํŽธ์— ์žˆ๋Š”๋ฐ, ์•„ํŠธ ์ฝœ๋ ‰์…˜์„ ๋ณด๊ด€ํ•˜๊ณ  ์žˆ๋Š” ๋ˆˆ์— ๋„๋Š” ์•„ํŠธ ๋ฐ์ฝ” ๊ฑด๋ฌผ์ด๋‹ค. Q. ์ŠคํŠœ๋””์˜ค์™€ ์ฃผ๋ณ€ ์žฅ์†Œ์˜ ์–ด๋–ค ์ ์ด ๋งค๋ ฅ์ ์ธ๊ฐ€? ์ „๋ฐ˜์ ์ธ ๋ถ„์œ„๊ธฐ๊ฐ€ ์ข‹๊ณ  ์ผ๋‹จ ๊ทœ๋ชจ๊ฐ€ ํฌ๋‹ค. ์ฒ˜์Œ ์‚ฌ๋žŒ๋“ค์ด ๋“ค์–ด์˜ค๋ฉด ์‹ค์ œ๋กœ ์ด๊ณณ์˜ ์—ญ์‚ฌ๋ฅผ ๋Š๋‚„ ์ˆ˜ ์žˆ๋‹ค. ์ฃผ๋กœ ํฐ ์ž‘์—…์„ ๋งŽ์ด ํ•˜๋Š”๋ฐ ๊ทธ๊ฑธ ๋งŒ๋“ค๋งŒํ•œ ๊ณต๊ฐ„์ด ํ•„์š”ํ–ˆ๋‹ค. ์ŠคํŠœ๋””์˜ค๋Š” ๊ฐ€์žฅ ์˜ค๋ž˜ ๋œ Portuguese ๋Œ€์‚ฌ๊ด€ ๋’ค์ชฝ์— ์œ„์น˜ํ•ด ์žˆ๊ณ , ์˜ค๋žœ ์—ญ์‚ฌ๋ฅผ ๋‹ด๊ณ  ์žˆ๋‹ค. Soi๋ผ๋Š” ์ด๋ฆ„์€ ๋ฐฉ์ฝ• ํ•ญ๋งŒ์žฅ โ€˜Soi Captain Bushโ€™์—์„œ ๋”ด ์ด๋ฆ„์ด๋‹ค. Q. ๋ถˆํŽธํ•œ ์ ๋„ ์žˆ๋‚˜? ๋”ฑ ํ•œ๊ฐ€์ง€ ๋‹จ์ ์ด ์žˆ๋‹ค๋ฉด ์ •๊ธฐ์ ์œผ๋กœ ์ฒญ์†Œ๋ฅผ ํ•ด์•ผ ํ•˜๋Š”๋ฐ ํฌ๊ธฐ๊ฐ€ ํฌ๋‹ค ๋ณด๋‹ˆ ์ถ•๊ตฌ์žฅ ์ฒญ์†Œํ•˜๋Š” ๊ธฐ๋ถ„์ด ๋“ ๋‹ค. ์–ด๋–ค ์‚ฌ๋žŒ๋“ค์€ ์™œ ์ด๋Ÿฐ ์žฅ์†Œ์—์„œ ์—์–ด์ปจ๋„ ์—†์ด ๋ถˆํŽธํ•˜๊ฒŒ ์ž‘์—…ํ•˜๋Š”์ง€ ์ดํ•ดํ•˜์ง€ ๋ชปํ•œ๋‹ค. ๊ทธ๋ ‡์ง€๋งŒ ์—ฌ๊ธฐ์—” ์—ญ์‚ฌ๊ฐ€ ์žˆ๊ณ , ๊ฑด๋ฌผ ์ผ๋ถ€๋Š” ์ž์—ฐํ†ตํ’์ด ๋˜๊ฒŒ๋” ์ง€์–ด์กŒ๋‹ค. Q. ์ŠคํŠœ๋””์˜ค์—์„œ ๊ฐ€์žฅ ํ–‰๋ณตํ–ˆ๋˜ ๊ธฐ์–ต์€? ์ŠคํŠœ๋””์˜ค๋ฅผ ๋‹ค๋ฅธ ์‚ฌ๋žŒ์—๊ฒŒ ๋Œ€์—ฌํ•ด์ฃผ๊ธฐ ์‹œ์ž‘ํ•œ ์ดํ›„๋กœ ์ข‹์€ ์ด๋ฒคํŠธ๊ฐ€ ๋งŽ์•˜๋‹ค. ๋„์„œ ๋Ÿฐ์นญ, ๋Œ„์Šค ํผํฌ๋จผ์Šค, ํŒจ์…˜ ์Šค์ฟจ ์ดฌ์˜, ํŒ์—… ๋””๋„ˆ ๊ฐ™์€ ์—ฌ๋Ÿฌ ํ–‰์‚ฌ๋ฅผ ํ–ˆ๋‹ค. ๊ทธ๋Ÿฐ ํ–‰์‚ฌ๋“ค์ด ๋‹ค์–‘ํ•œ ๋ฌธํ™”๋ฅผ ๋„˜๋‚˜๋“ค๊ธฐ ๋•Œ๋ฌธ์— ๋ชจ๋‘ ๊ธฐ์–ต์— ๋‚จ๋Š”๋‹ค. ๊ตณ์ด ๊ฐ€์žฅ ํ–‰๋ณตํ–ˆ๋˜ ๊ธฐ์–ต์„ ๊ณ ๋ฅด์ž๋ฉด 1๋…„ ์ „ ์‹ค์ œ

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์ทจ์ž„ํ–‰์‚ฌ๊ฐ€ ์žˆ์—ˆ๋Š”๋ฐ ์ด์ „์— ํ•ด๋ณธ ๊ฒฝํ—˜์ด ์—†์–ด์„œ ์•„์ฃผ ๋ฐ”์˜๊ฒŒ ์ผํ–ˆ๋‹ค. Q. ์•ž์œผ๋กœ ์–ด๋–ค ๊ณ„ํš์ด ์žˆ๋Š”๊ฐ€? ์ŠคํŠœ๋””์˜ค์—์„œ ๋‹ค์–‘ํ•œ ์•„ํŠธ ์ด๋ฒคํŠธ์™€ ๋‚ด ์ „์‹œ๋ฅผ ๊ณ„ํšํ•˜๊ณ  ์žˆ๋‹ค.

๋ฏธ์ˆ ๊ณ„์— ๋Œ€ํ•œ ์ •๋ณด๋ฅผ ์–ป๊ฑฐ๋‚˜ ๊ฐค๋Ÿฌ๋ฆฌ๋ฅผ ์ปจํƒํ•˜๋Š”๋ฐ ์–ด๋ ค์šด ์ ์ด ๋งŽ์•˜๊ณ , ์„ ๋“ฏ ๊ด€์‹ฌ์„ ๊ฐ€์ง€๊ณ  ๋„์™€์ฃผ๋Š” ์‚ฌ๋žŒ์ด ์—†์—ˆ๋‹ค. ํ˜„์žฌ๋Š” ํ•œ๋ฅ˜์—ดํ’์ด ์ด๊ณณ์—์„œ๋„ ๋Œ€๋‹จํ•ด์„œ ํ•œ๊ตญ์ธ์ด๋ผ๋Š” ์ด์œ ๋งŒ์œผ๋กœ๋„ ๊ด€์‹ฌ์˜ ๋Œ€์ƒ์ด ๋˜๊ณค ํ•œ๋‹ค. ํ•˜์ง€๋งŒ ๋‚ด๊ฐ€ ํƒœ๊ตญ์—์„œ ํ™œ๋™ํ•˜๋˜ ์ดˆ๊ธฐ์—๋Š” ํ•œ๊ตญ๋ณด๋‹ค๋Š” ์ผ๋ณธ๋ฌธํ™”์— ํƒœ๊ตญ์ธ๋“ค์ด ๋” ๋งŽ์€ ๊ด€์‹ฌ์„ ๊ฐ€์ง€๊ณ  ์žˆ๋˜ ์‹œ๊ธฐ์—ฌ์„œ ํ•œ๊ตญ์ธ์„ ๋ฐ”๋ผ๋ณด๋Š” ์‹œ๊ฐ์ด ์ง€๊ธˆ๊ณผ๋Š” ๋งค์šฐ ๋‹ฌ๋ž๋‹ค. ๊ทธ๋‹น์‹œ ๋‚ด ์ž‘์—…์— ํƒœ๊ตญ์‚ฌ๋žŒ๋“ค์ด ํฅ๋ฏธ์™€ ๊ด€์‹ฌ์„ ๊ฐ€์ง€๊ณ  ๋Œ€ํ•˜๊ธด ํ–ˆ์œผ๋‚˜ ์™ธ๊ตญ์ธ ์ž‘๊ฐ€๋กœ ํƒœ๊ตญ์— ์ž ์‹œ ์ฒด๋ฅ˜ํ•˜๋Š” ์ •๋„๋กœ ์ƒ๊ฐํ–ˆ๋˜๊ฒƒ ๊ฐ™๋‹ค. ํ•˜์ง€๋งŒ ๊พธ์ค€ํžˆ ์ž‘์—…์„ ํ•˜๊ณ  ์ „์‹œ๋ฅผ ์ง„ํ–‰ํ•ด์™”๊ธฐ์— ์ด์ œ ํƒœ๊ตญ ๋ฏธ์ˆ ๊ณ„์—์„œ ์กฐ๊ธˆ์”ฉ ์ธ์ •์„ ๋ฐ›๊ณ  ์žˆ๋‹ค.

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Gi Ok Jeon Q. ๋‹น์‹ ์„ ์†Œ๊ฐœํ•ด๋‹ฌ๋ผ. ๋‚˜๋Š” ํ•œ๊ตญ์—์„œ ๋•์„ฑ์—ฌ์ž ๋Œ€ํ•™๊ต ๋ฏธ์ˆ ๋Œ€ํ•™ ๋™์–‘ํ™”๊ณผ๋ฅผ 1994๋…„์— ์กธ์—…ํ•˜๊ณ  ๋ถ๊ฒฝ ์ค‘์•™๋ฏธ์ˆ ํ•™์›์—์„œ ์ค‘๊ตญ ์‚ฐ์ˆ˜ํ™”๊ณ„ ์—ฐ๊ตฌ์ƒ( ์„์‚ฌ)๊ณผ์ •์„ 1998๋…„์— ๋งˆ์ณค๋‹ค. ์„์‚ฌ๊ณผ์ •์— ๋“ค์–ด๊ฐ€๊ธฐ ์ „์— ๋ฏธ๊ตญ์—์„œ ์–ดํ•™์—ฐ์ˆ˜๋ฅผ 1 ๋…„๊ฐ„ ํ–ˆ๊ณ  ๊ทธ ๊ณณ์—์„œ ์–ดํ•™๊ณต๋ถ€๋ฅผ ํ•จ๊ป˜ํ•˜๋˜ ํ˜„์žฌ์˜ ํƒœ๊ตญ์ธ ๋‚จํŽธ์„ ๋งŒ๋‚ฌ๋‹ค. ๋‚จํŽธ์€ ํƒœ๊ตญ์—์„œ ๊ฒฝ์ œํ•™์„ ์ „๊ณตํ•˜๊ณ  ๋ฏธ๊ตญ์—์„œ ๊ฒฝ์˜ํ•™ ์„์‚ฌ๊ณผ์ •์„ ๋งˆ์ณค๋‹ค. ๋‚˜๋Š” 1998 ๋…„๋ถ€ํ„ฐ ํ˜„์žฌ๊นŒ์ง€ ๋‚จํŽธ๊ณผ 12์‚ด ๋œ ๋”ธ์•„์ด์™€ ํ•จ๊ป˜ ๋ฐฉ์ฝ•์— ๊ฑฐ์ฃผํ•˜๊ณ  ์žˆ์œผ๋ฉฐ ์ž‘ํ’ˆํ™œ๋™์„ ํ•˜๊ณ  ์žˆ๋‹ค. ์ด์™ธ์—๋„ 2001๋…„๋ถ€ํ„ฐ ํ˜„์žฌ๊นŒ์ง€ JeOn Art Booth๋ผ๊ณ  ํ•˜๋Š” ๋™์–‘ํ™” Workshop Program์„ ์šด์˜ ์ง€๋„ํ•˜๊ณ  ์žˆ๋‹ค. Q. ๋ฐฉ์ฝ•์—์„œ๋งŒ 7๋ฒˆ์งธ ์ „์‹œ๋ฅผ ๋งž์ดํ•˜๊ฒŒ ๋˜์—ˆ๋‹ค. ๋ฐฉ์ฝ•์—์„œ ์ž๋ฆฌ๋ฅผ ์žก๊ฒŒ ๋œ ์ด์œ ๋Š” ๋ฌด์—‡์ธ๊ฐ€? ์‚ฌ์‹ค ์ฒซ๋ฒˆ์งธ ๊ฐœ์ธ์ „์€ ๋ถ๊ฒฝ์—์„œ ์„์‚ฌ๊ณผ์ •์„ ๋งˆ์น˜๋ฉด์„œ ํ–ˆ๋‹ค. ๊ทธํ•ด ๊ฒฐํ˜ผ์„ ํ–ˆ๊ณ  ๋ฐ”๋กœ ๋‚จํŽธ์„ ๋”ฐ๋ผ ํƒœ๊ตญ์œผ๋กœ ์ด๋ฏผ์„ ์™”๋‹ค. ๋‚ด๊ฐ€ ๋ฐฉ์ฝ•์—์„œ ์ž๋ฆฌ๋ฅผ ์žก๊ฒŒ ๋œ ์ด์œ ๋Š” ๊ทธ๊ณณ์ด ๋‚จํŽธ์˜ ๋‚˜๋ผ์ด๋ฉฐ ํ˜„์žฌ ๋‚ด ๊ฐ€์กฑ์ด ์‚ฌ๋Š” ๊ณณ์ด๊ธฐ ๋•Œ๋ฌธ์ด๋‹ค. ๋‘๋ฒˆ์งธ ๊ฐœ์ธ์ „๋ถ€ํ„ฐ ํ˜„์žฌ 7๋ฒˆ์งธ ๊ฐœ์ธ์ „๊นŒ์ง€ ๋ชจ๋‘ ํƒœ๊ตญ์—์„œ ์—ด์—ˆ๋‹ค. ํ•œ๊ตญ์€ ๋‚˜๋ฅผ ๋‚ณ์•„์ค€ ๋ชจ๊ตญ์ด์ง€๋งŒ ํƒœ๊ตญ์€ ๋‚˜๋ฅผ ๋ฐ›์•„์ฃผ๊ณ  ๊ธธ๋Ÿฌ์ค€ ๋‚˜๋ผ์ด๋ฉฐ ๋˜ํ•œ ๋ชจ๊ตญ ์ด์ƒ์˜ ๊ณณ์ด๋‹ค. Q. ์ง€๋‚œ 10๋…„๊ฐ„ ์ „์‹œํ–ˆ๋˜ 6๊ฐœ์˜ ์ „์‹œ์˜ ํƒ€์ดํ‹€๊ณผ ์ฃผ์ œ, ๊ทธ๋ฆฌ๊ณ  ๊ฐ„๋‹จํ•œ ์„ค๋ช…์„ ๋ถ€ํƒํ•œ๋‹ค. ์ฒซ๋ฒˆ์งธ ๊ฐœ์ธ์ „์€ 1998๋…„ ๋ถ๊ฒฝ ์ค‘์•™๋ฏธ์ˆ ํ•™์› ์„์‚ฌ๊ณผ์ •์„ ๋งˆ์น˜๋ฉด์„œ ํ–ˆ๋‹ค. 2๋…„ ๋™์•ˆ ์ œ์ž‘ํ•œ ์ž‘ํ’ˆ๋“ค์„ ์„ ๋ณด์˜€์—ˆ๋Š”๋ฐ ํŠนํžˆ 45์ผ๊ฐ„์˜ ์Šค์ผ€์น˜์—ฌํ–‰ ์ค‘ ์ž์—ฐ์„ ์ง์ ‘ ๋ชธ์œผ๋กœ ์ฒดํ—˜ํ•˜๊ณ  ์ž์—ฐ์„ ํ†ตํ•ด ๋ฐ›์€ ์˜๊ฐ์„ ์ˆ˜๋ฌต์˜ ์ „ํ†ต์žฌ๋ฃŒ์™€ ํ•„๋ฒ•์œผ๋กœ ํ‘œํ˜„ํ•œ ์ž‘ํ’ˆ์ด ์ฃผ๋ฅผ ์ด๋ค˜๋‹ค. ๋‘ ๋ฒˆ์งธ ๊ฐœ์ธ์ „์€ 2003๋…„ โ€œThe moments of lifeโ€๋ฅผ ํƒ€์ดํ‹€๋กœ ๊ตญ์ œ๊ฒฐํ˜ผ๊ณผ ํ•จ๊ป˜ ํƒ€๊ตญ์—์„œ์˜ ์‚ถ์„ ์‹œ์ž‘ํ•˜๊ฒŒ ๋˜๋ฉด์„œ ๊ฒช์€ ๋ฌธํ™”์  ์ถฉ๊ฒฉ, ์™ธ๋กœ์›€, ๋‘๋ ค์›€, ์šฐ์šธํ•จ ๋“ฑ ๋‚˜์˜ ๋ณต์žกํ•œ ๊ฐ์ •๊ณผ ๋ถˆํ™•์‹คํ•œ ์กด์žฌ์— ๋Œ€ํ•œ ์ƒˆ๋กœ์šด ๊ฒฝํ—˜๋“ค์„ ๋‹จ์ˆœํ•˜๊ณ  ์™œ๊ณก๋œ ํ˜•์ƒ๊ณผ ๊ฐ•ํ•œ ์ƒ‰์กฐ, ์˜ค๋ธŒ์ œ๋ฅผ ์ด์šฉํ•ด ํ‘œํ˜„ํ–ˆ๋‹ค. ์„ธ ๋ฒˆ์งธ ๊ฐœ์ธ์ „์€ 2006๋…„ โ€œRoom of imaginationโ€์„ ํƒ€์ดํ‹€๋กœ ๋‹น์‹œ ์—ฌ์„ฏ์‚ด ๋œ ๋”ธ์•„์ด์˜ ๋“œ๋กœ์ž‰์— ์˜๊ฐ์„ ๋ฐ›์•„ ์ œ์ž‘ํ•œ ์ž‘ํ’ˆ๋“ค๊ณผ ๋”ธ์•„์ด์˜ ์ž‘ํ’ˆ๋“ค์„ ํ•จ๊ป˜ ์ „์‹œํ–ˆ๋‹ค. ๋„ค ์‚ด ๋•Œ๋ถ€ํ„ฐ ๋”ธ์•„์ด๊ฐ€ ๊ทธ๋ฆฐ ๊ทธ๋ฆผ ์†์˜ ์†Œ์žฌ๋“ค์„ ๋‚˜์˜ ์ž‘ํ’ˆ ์†์œผ๋กœ ์˜ฎ๊ฒจ ์˜ด์œผ๋กœ์„œ ๋”ธ์•„์ด์— ๋Œ€ํ•œ ์—„๋งˆ์˜ ํ–‰๋ณตํ•จ, ํฌ๋ง, ์†Œ๋ง๋ฟ ์•„๋‹ˆ๋ผ ์—ผ๋ ค์™€ ๊ฑฑ์ •์ด ํ•˜๋‚˜์˜ ๊ณต๊ฐ„์†์—์„œ ๋ณต์žกํ•˜๊ฒŒ ๋“œ๋Ÿฌ๋‚˜๋Š” ์—„๋งˆ์™€ ๋”ธ์•„์ด์˜ ์ƒ์ƒ์˜ ๊ณต๊ฐ„์„ ํ‘œํ˜„ํ–ˆ๋‹ค. ๋„ค ๋ฒˆ์งธ ๊ฐœ์ธ์ „์€ 2008๋…„ โ€œMindscapeโ€๋ฅผ ํƒ€์ดํ‹€๋กœ ํ•œ Mini solo ํ˜•์‹์œผ๋กœ ์ง„ํ–‰๋˜์—ˆ๋Š”๋ฐ ๋ฐ”๋Š์งˆ ์ž‘์—…๊ณผ ๋ช…ํ•จ ๋ชจ์œผ๊ธฐ์˜ ์„ค์น˜์ž‘์—…์„ ์„ ๋ณด์˜€๋‹ค. ์ด ์‹œ๊ธฐ๋ถ€ํ„ฐ ๋น„ ์ „ํ†ต ๋™์–‘ํ™” ์žฌ๋ฃŒ์˜ ์ž ์žฌ๋ ฅ์„ ๊ตฌ์ฒดํ™” ์‹œํ‚ค๋Š” ๋ฐฉ๋ฒ•์„ ๋ชจ์ƒ‰ํ•˜๊ธฐ ์‹œ์ž‘ํ–ˆ๊ณ  ์‹ค์˜ ์—ฐ๊ฒฐ์  ์„ฑ์งˆ์„ ํ†ตํ•ด ๋‚˜์™€ ํƒ€์ธ๊ณผ์˜ ๊ด€๊ณ„๋ฅผ ์—ฐ๊ฒฐ์‹œํ‚ค๋Š” ์˜๋ฏธ๋ฅผ ์ฐพ๊ณ ์ž ํ–ˆ๋‹ค. ๊ทธ๋ฆฌ๊ณ  ๋ณธ์ธ๊ณผ ์ง์ ‘ ๊ฐ„์ ‘์ ์œผ๋กœ ๊ด€๊ณ„๊ฐ€ ์žˆ๋Š” ํƒ€์ธ์˜ ๋ช…ํ•จ๋“ค์„ ์ž‘์€ ํ”Œ๋ผ์Šคํ‹ฑ ํ†ต์—ํ•˜๋‚˜์”ฉ๋‹ด์•„๋ด„์œผ๋กœ์„œ์ˆ˜์ง์ƒํƒœ์—์„œ์ˆ˜ํ‰์ ์ƒํƒœ์˜ํƒ€์ธ๊ณผ์‚ฌํšŒ์™€์˜๊ด€๊ณ„๋งบ๊ธฐ๋ฅผ์‹œ๋„ํ–ˆ์—ˆ๋‹ค. ๋‹ค์„ฏ ๋ฒˆ์งธ ๊ฐœ์ธ์ „์€ 2009๋…„ โ€œEmbroidery a space - Landscape with needleworkโ€๋ฅผ ํƒ€์ดํ‹€๋กœ ์ˆ˜๋ฌตํ™”์ž‘์—…๊ณผ ์กฐ๊ฐ, ์„ค์น˜์— ์ด๋ฅด๋Š” ๋‹ค์–‘ํ•œ ์ฐฝ์ž‘๋ฐฉ์‹์œผ๋กœ ์„ ๋ณด์˜€๋‹ค. ํšŒํ™”์ž‘์—…์€ ๋„ค ๋ฒˆ์งธ ๊ฐœ์ธ์ „์—์„œ ์„ ๋ณด์˜€๋˜ ์ž‘์—…๊ณผ ๊ฐ™์€ ๊ธฐ๋ฒ•์œผ๋กœ ํ™”์„ ์ง€์™€ ์•ˆ๋ฃŒ์˜ ์—ฌ๋Ÿฌ ์ธต๋“ค์— ์‹ค์„ ํ†ต๊ณผ์‹œํ‚ค๊ณ  ๊ฟฐ๋งค๋ฉด์„œ ๋‚˜์˜ ์„ธ๊ณ„์™€ ๋‚˜ ๋ฐ–์˜ ์„ธ๊ณ„๋ฅผ ์—ฐ๊ฒฐ์‹œํ‚ค๊ณ  ์žˆ๋‹ค. ๋‹ค์–‘ํ•œ ์ƒ‰์‹ค๋กœ ๋‚˜๋ญ‡๊ฐ€์ง€๋ฅผ ์ด˜์ด˜ํžˆ ๊ฐ์€ ์ˆ˜์‹ญ ๊ทธ๋ฃจ์˜ ๋‚˜๋ฌด์กฐ๊ฐ๋“ค์„ ๋ฐ”๋‹ฅ์— ๋†“์•„ ๋งŒ๋“  ์ธ๊ณต์ •์›๊ณผ ํƒœ๊ตญ ์ „ํ†ต์ฒœ์ธ โ€˜ํŒŒํ‰ Patoongโ€™์„ ์ด์šฉํ•œ ์„ค์น˜์ž‘์—…๋“ค์€ ํšŒํ™”์ž‘์—…๊ณผ ํ•จ๊ป˜ ์ •์ฒด์„ฑ๊ณผ ๊ด€๊ณ„ ๋งบ๊ธฐ์— ๋Œ€ํ•œ ๊ณ ๋ฏผ๋“ค์„ ์ด์•ผ๊ธฐ ํ–ˆ๋‹ค. ๋˜ํ•œ โ€˜ ๋ช…ํ•จ๋‚˜๋ฌด Name card treeโ€™๋ฅผ ์ „์‹œ์žฅ ๊ณต๊ฐ„์— ์„ค์น˜ํ•˜์—ฌ ๊ด€๊ฐ๋“ค๋กœ ํ•˜์—ฌ๊ธˆ ์ž๊ธฐ์˜ ๋ช…ํ•จ์ด๋‚˜ ๋น„์Šทํ•œ ๋ฉ”๋ชจ์šฉ์ง€๋ฅผ ๋‚˜๋ฌด๊ฐ€์ง€์— ์ง์ ‘ ๋งค๋‹ฌ๊ฒŒ ํ•จ์œผ๋กœ์„œ ๊ด€๊ฐ์ฐธ์—ฌ์™€ ์†Œํ†ต์„ ์‹œ๋„ํ–ˆ๋‹ค. ์—ฌ์„ฏ ๋ฒˆ์จฐ ๊ฐœ์ธ์ „์€ ๋‹ค์„ฏ ๋ฒˆ์งธ ๊ฐœ์ธ์ „๊ณผ ๊ฐ™์€ ํƒ€์ดํ‹€๋กœ 2010๋…„ ์•ผ์™ธ์„ค์น˜์ „ ํ˜•์‹์œผ๋กœ ์ง„ํ–‰๋˜์—ˆ์—ˆ๋‹ค. ์‹ค๋‚ด์—์„œ ์ธ๊ณต์ •์›์œผ๋กœ ๊พธ๋ฉฐ์กŒ๋˜ ๋‚˜๋ฌด์„ค์น˜ ์ž‘์—…์„ ์•ผ์™ธ ์ž”๋””๋ฐญ ๊ณต๊ฐ„์œผ๋กœ ์˜ฎ๊ฒจ ์‹ค์ œ์˜ ๋‚˜๋ฌด๋“ค๊ณผ ์–ด์šฐ๋Ÿฌ ์ง€๊ฒŒ ํ–ˆ๊ณ  ๊ฐค๋Ÿฌ๋ฆฌ์˜ ๋‹ซํžŒ ๊ณต๊ฐ„๊ณผ ์—ด๋ฆฐ ๋ฐ”๊นฅ๊ณต๊ฐ„์„ ์ด์–ด์คŒ์œผ๋กœ์„œ ๋” ๋‹ค์–‘ํ•œ ์‚ฌ๋žŒ๋“ค๊ณผ ๊ต๋ฅ˜ํ•˜๊ณ  ์†Œํ†ตํ•˜๊ธฐ๋ฅผ ์‹œ๋„ํ–ˆ๋‹ค. ์ด๋ฒˆ ๊ฐœ์ธ์ „์€ ๋‚˜์˜ ์ผ๊ณฑ๋ฒˆ์งธ ๊ฐœ์ธ์ „์ด๋‹ค. ์ „์‹œ์˜ ํƒ€์ดํ‹€์€ โ€œDwelling in a Space - Patoong collage & installationโ€์ด๊ณ  ์ˆ˜๋ฌตํ™”์ž‘์—…๊ณผ ๋ชฉํŒํ™”, ๊ทธ๋ฆฌ๊ณ  ์„ค์น˜์ž‘์—…๋“ฑ์„ ํ•จ๊ป˜ ์„ ๋ณด์ผ ์˜ˆ์ •์ด๋‹ค. ์ด๋ฏผ์ž‘๊ฐ€๋กœ์„œ ํ˜„์žฌ ์†Œ์†๋˜์–ด์žˆ๋Š” ํƒœ๊ตญ์‚ฌํšŒ์™€ํ˜„์žฌ๊ฑฐ์ฃผํ•˜๊ณ ์žˆ๋Š”๊ณต๊ฐ„๊ณผ์˜๊ด€๊ณ„์†์—์„œ์ •์ฒด์„ฑ์„์ฐพ์•„๊ฐ€๋Š”์ž‘์—…์„์„ ๋ณด์ผ์˜ˆ์ •์ธ๋ฐ ์ž‘๊ฐ€๋กœ์„œ ์ฃผ๋ถ€๋กœ์„œ ์–ด๋จธ๋‹ˆ๋กœ์„œ ๋˜ ์—ฌ์ž๋กœ์„œ์˜ ์—ญํ• ๋“ค์ด ์ž‘์—…์†์— ํ‘œํ˜„๋˜์–ด์ง€๋„๋ก ํ–ˆ๋‹ค. ๊ทธ๋ž˜์„œ ๋”ธ์•„์ด๋ฅผ ์†Œ์žฌ๋กœํ•œ ๋“œ๋กœ์ž‰๊ณผ ํƒœ๊ตญ์—ฌ์„ฑ๋“ค์ด ์ž…๋Š” ํŒŒํ‰์ฒœ์„ ์ด์šฉํ•œ ๊ผด๋ผ์ฅฌ ์ž‘์—…, ๋˜ ๊ตฌ๋ฆฌ์„ ์„ ์ด์šฉํ•ด ๋งŒ๋“  ๋‹ค์–‘ํ•œ ํ˜•ํƒœ์˜ ๋ฐ”๊ตฌ๋‹ˆ ๋ชจ์–‘์•ˆ์— ํŒŒํ‰์ฒœ์„ ๊ฐ์€ ๋‚˜๋ฌด๊ฐ€์ง€๋“ค์„ ๋„ฃ์–ด ์ฒœ์žฅ์— ๋งค๋‹ฌ์•„ ๋ฒฝ์— ๊ทธ๋ฆผ์ž๋ฅผ ๋งŒ๋“œ๋Š” ์„ค์น˜์ž‘์—…๋“ฑ์œผ๋กœ ์ „์‹œ๊ฐ€ ์ง„ํ–‰๋œ๋‹ค. Q. ๋ฐฉ์ฝ•์—์„œ ๊พธ์ค€ํžˆ ์ž‘์—…์„ ํ•˜๋Š” ํ•œ๊ตญ ์ž‘๊ฐ€๋กœ๋Š” ์œ ์ผํ•œ ๊ฒƒ ๊ฐ™๋‹ค. ๋ฐฉ์ฝ•์€ ์™ธ๊ตญ์ธ ์ž‘๊ฐ€๋ฅผ ์–ด๋–ป๊ฒŒ ๋ฐ”๋ผ๋ณด๋Š”๊ฐ€? ๋‚˜๋ฅผ ํฌํ•จํ•œ ๋งŽ์€ ์™ธ๊ตญ์ธ ์ž‘๊ฐ€๋“ค์ด ๋ฐฉ์ฝ•์—์„œ ํ™œ๋™ํ•˜๊ณ  ์žˆ๊ณ  ๋‹ค์–‘ํ•œ ์ž‘์—…๋“ค์„ ์ „์‹œํ•˜๊ณ  ์žˆ์œผ๋ฉฐ ํƒœ๊ตญ์ž‘๊ฐ€๋“ค๊ณผ ํ™œ๋ฐœํ•˜๊ฒŒ ๊ต๋ฅ˜ํ•˜๊ณ  ์žˆ๋‹ค. ํƒœ๊ตญ์€ ๋ถˆ๊ต์˜ ๋‚˜๋ผ๋ฉฐ ์ „ํ†ต์„ ์ค‘์‹œํ•˜๋ฉด์„œ๋„ ๋ฌธํ™”๊ฐ€ ๋‹ค์›์ ์œผ๋กœ ๊ณต์กดํ•˜๋Š” ๋งค๋ ฅ์ ์ธ ๊ณณ์ด๋‹ค. ๋˜ํ•œ ์„œ์–‘๋ฌธํ™”๋ฅผ ๋ฐ›์•„๋“ค์ด๋Š”๋ฐ ์˜คํ”ˆ ๋˜์–ด์žˆ๊ณ  ์™ธ๊ตญ์ธ์„ ๋Œ€ํ•˜๋Š”๋ฐํŽธ๊ฒฌ์ด๋งŽ์ง€์•Š๋‹ค.๋ฐฉ์ฝ•์ด๋ผ๋Š”๋„์‹œ์ž์ฒด๋„๊ตญ์ œ์ ์ด๋ฉฐ๊ฐœ๋ฐฉ์ ์ด์–ด์„œ์™ธ๊ตญ์˜ํ˜„๋Œ€๋ฌธํ™”๋ฅผ ๋ฐ›์•„๋“ค์ด๋Š”๋ฐ ์šฐํ˜ธ์ ์ด๋‹ค. ๊ทธ๋ž˜์„œ์ธ์ง€ ์„œ์–‘์˜ ํ˜„๋Œ€๋ฏธ์ˆ ์„ ๋ฐ›์•„๋“ค์ด๋Š”๋ฐ ํฌ์šฉ๋ ฅ์ด ํฌ๊ณ  ์™ธ๊ตญ์ž‘๊ฐ€๋“ค์ด ํ™œ๋™ํ•˜๋Š”๋ฐ ์ œ์•ฝ์ด ์ ์€๊ฒƒ ๊ฐ™๋‹ค. ๋‚˜๋„ ์™ธ๊ตญ์ธ ์ž‘๊ฐ€์˜ ํ•œ์‚ฌ๋žŒ์œผ๋กœ ๋ฐฉ์ฝ•์—์„œ ์ž‘์—…์„ ํ•˜๊ณ  ์žˆ์ง€๋งŒ ๋ฐฉ์ฝ•๋ฟ๋งŒ ์•„๋‹ˆ๋ผ ํƒœ๊ตญ ์ „์—ญ์—์„œ ๊พธ์ค€ํžˆ ์ž‘์—…์„ ํ•˜๋Š” ์†Œ์ˆ˜์˜ ์™ธ๊ตญ์ธ ์ž‘๊ฐ€๋“ค์€ ํƒœ๊ตญ ๋ฏธ์ˆ ๊ณ„์˜ ์ผ์›์œผ๋กœ ์ธ์ •๋ฐ›๊ณ  ์žˆ์œผ๋ฉฐ ๋ฏธ์ˆ ๊ณ„์—์„œ ๋งŽ์€ ๊ด€์‹ฌ์„ ๊ฐ€์ ธ์ฃผ๊ณ  ์žˆ๋‹ค. Q. ๋ฐฉ์ฝ•์—์„œ ์ž‘์—…ํ•˜๋Š” ํ•œ๊ตญ ์ž‘๊ฐ€๋กœ์„œ ์–ด๋ ค์šด ์ ๊ณผ ์ข‹์€ ์ ์€ ๊ฐ๊ฐ ๋ฌด์—‡์ธ๊ฐ€? ๋ฐฉ์ฝ•์—์„œ ์ž‘์—…ํ•˜๋Š” ํ•œ๊ตญ ์ž‘๊ฐ€๋กœ๋Š” ์œ ์ผํ•˜๊ธฐ ๋•Œ๋ฌธ์— ๋Š˜ ํ™€๋กœ์„œ๊ธฐ๋ฅผ ํ•ด์•ผํ–ˆ๋‹ค. ์ดˆ์ฐฝ๊ธฐ์—๋Š” ์ด๊ณณ

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Q. ๋‹น์‹ ์˜ ์ž‘ํ’ˆ์ด ๋ฐฉ์ฝ•์˜ ์œ ๋ช… ์•„ํŠธ ๋งต์ธ bam์˜ 2์›”ํ˜ธ ํ‘œ์ง€๋ฅผ ์žฅ์‹ํ–ˆ๋‹ค. ๋‹น์‹ ์˜ ์ž‘ํ’ˆ ์ค‘ ์–ด๋–ค ๋ถ€๋ถ„์ด ์–ดํ•„๋˜์—ˆ๋‹ค๊ณ  ์ƒ๊ฐํ•˜๋Š”๊ฐ€? ํƒœ๊ตญ์˜ ์ „ํ†ต์ฒœ์ธ ํŒŒํ‰์„ ์ž‘ํ’ˆ์— ์ด์šฉํ•˜์—ฌ ํ‘œํ˜„ํ•œ ๋ถ€๋ถ„์ด ์–ดํ•„๋œ๊ฒŒ ์•„๋‹๊นŒ ์ƒ๊ฐํ•œ๋‹ค. ํ‰๋ฉดํšŒํ™”์™€ ์„ค์น˜์—์„œ ๋ชจ๋‘ ํƒœ๊ตญ์˜ ๋ฌธํ™”๋ฅผ ์˜๋ฏธํ•˜๋Š” ํŒŒํ‰์ด ์“ฐ์˜€๋‹ค. ํƒœ๊ตญ์ด๋ผ๋Š” ๋‹ค๋ฅธ๋ฌธํ™”์˜ ๊ณต๊ฐ„์—์„œ ์ด๋ฏผ์ž‘๊ฐ€๋กœ์„œ, ์—ฌ์„ฑ์œผ๋กœ์„œ ๋˜ ์–ด๋จธ๋‹ˆ๋กœ์„œ์˜ ๋‚˜์˜ ์ •์ฒด์„ฑ์„ ์ฐพ์•„๊ฐ€๋Š”๋ฐ ํŒŒํ‰์˜ ์—ญํ• ์ด ์ž˜ ๋งž์•˜๋˜ ๊ฑด ์•„๋‹๊นŒ ์‹ถ๋‹ค. ํŠนํžˆ ํ•œ๊ตญํ™”์˜ ์ˆ˜๋ฌต๊ธฐ๋ฒ•์œผ๋กœ ์น ํ•ด์ง„ ๋ฐฐ๊ฒฝ์†์—์„œ ํ•œ๊ตญ๊ณ„ ํƒœ๊ตญ์ธ์ธ ๋”ธ์•„์ด๊ฐ€ ํŒŒํ‰์„ ์ž…๊ณ  ๋‹ค์–‘ํ•˜๊ฒŒ ๋›ฐ๋Š” ๋ชจ์Šต๋“ค์ด ํƒœ๊ตญ๊ณผ ํ•œ๊ตญ์ด๋ผ๋Š” ์„œ๋กœ ๋‹ค๋ฅธ ๋ฌธํ™”๋ฅผ ์—ฐ๊ฒฐํ•ด์ฃผ๋Š” ์—ญํ• ์„ ์ž˜ ํ‘œํ˜„ํ•ด ์ฃผ์—ˆ๋‹ค๊ณ  ์ƒ๊ฐํ•œ๋‹ค. Q. ์ด๋ฒˆ ์ „์‹œ์˜ ์ฃผ์ œ๋Š” ๋ฌด์—‡์ธ๊ฐ€? ์ด๋ฒˆ์ „์‹œ๋Š” โ€œDwelling in a Space - Patoong collage & installationโ€์ด๋ผ๋Š” ํƒ€์ดํ‹€๋กœ ํ˜„์žฌ ์†Œ์†/ ๊ฑฐ์ฃผํ•˜๊ณ  ์žˆ๋Š” ํƒœ๊ตญ ์‚ฌํšŒ์™€ ๋ฌธํ™”์  ๊ณต๊ฐ„ ์†์—์„œ ์ž์•„๋ฅผ ์ฐพ์•„๊ฐ€๋Š” ๋‚ด์šฉ์„ ๋‹ค๋ฃจ๊ณ  ์žˆ๋‹ค. ํŠนํžˆ ์‚ถ๊ณผ ์˜ˆ์ˆ ์€ ๋ถ„๋ฆฌ ๋  ์ˆ˜ ์—†๊ณ  ๋ฐ€์ ‘ํ•œ ๊ด€๊ณ„๋ฅผ ๋งบ๊ณ  ์žˆ๋‹ค๋ผ๋Š” ์ƒ๊ฐ์— ๋‚ด ์ผ์ƒ์†์—์„œ ์ƒ๊ฐํ•˜๊ณ  ๋Š๋ผ๊ณ  ๊ฒฝํ—Œํ•œ ์ž”์ž”ํ•œ ๊ฒƒ๋“ค์„ ํ‘œํ˜„ํ•˜๊ณ  ์žˆ๋‹ค. Q. ์ด๋ฒˆ ์ „์‹œ์—๋Š” ํšŒํ™”, ํŒํ™”, ์„ค์น˜ ๋“ฑ ๋‹ค์–‘ํ•œ ์Šคํƒ€์ผ์˜ ์ž‘ํ’ˆ์„ ํ•œ๊บผ๋ฒˆ์— ๋‚ด๋†“์•˜๋‹ค. ์–ด๋–ค ์žฅ๋ฅด์˜ ์ž‘ํ’ˆ์„ ์ค€๋น„ํ–ˆ์œผ๋ฉฐ, ๊ฐ ์žฅ๋ฅด์— ๋Œ€ํ•œ ํŠน์ง•์„ ์„ค๋ช…ํ•ด๋‹ฌ๋ผ. ์ด๋ฒˆ์ „์‹œ์—๋Š” ์ˆ˜๋ฌตํ™”์ž‘์—… 35์ ๊ณผ ๋ชฉํŒํ™” 18์ , ๊ทธ๋ฆฌ๊ณ  ๊ตฌ๋ฆฌ๋กœ ์ง  14๊ฐœ์˜ ๋ฐ”๊ตฌ๋‹ˆ๋ชจ์–‘ ์„ค์น˜์ž‘์—… ๋“ฑ์œผ๋กœ์ค€๋น„ํ•˜์˜€๋‹ค.์ˆ˜๋ฌตํ™”(InkBrushPainting)๋Š”ํ•œ์ง€(Koreanricepaper)์œ„์—์ˆ˜๋ฌตํ™”์šฉ๋ถ“์œผ๋กœ ๋จน์„ ๋ฒผ๋ฃจ์— ์ง์ ‘ ๊ฐˆ์•„์„œ ๋งŒ๋“  ๋จน๋ฌผ๊ณผ ์ฒœ์—ฐ์•ˆ๋ฃŒ๋กœ ๊ทธ๋ ธ๋‹ค. ์ „ํ†ต์ ์ธ ๋ฐฉ์‹์„ ๊ทธ๋Œ€๋กœ ๋”ฐ๋ž์œผ๋ฉฐ ๊ทธ์œ„์— ์ฒœ์„ ๊ผด๋ผ์ฅฌํ•˜์—ฌ ํ‘œํ˜„ํ–ˆ๋‹ค. ๋ชฉํŒํ™”๋Š” ๋‘๊ฐ€์ง€ ๊ธฐ๋ฒ•์œผ๋กœ ํ‘œํ˜„ํ•˜์˜€๋Š”๋ฐ ํ•˜๋‚˜๋Š” Reduction Woodcut์œผ๋กœ ํŒŒ๋ฉด์„œ ์ข…์ด์— ์ฐ์–ด๋‚˜๊ฐ€๊ธฐ ๋•Œ๋ฌธ์— ๋งˆ์ง€๋ง‰๋‹จ๊ณ„์—์„œ๋Š” ๋‚˜๋ฌดํŒ์œ„์˜ ์กฐ๊ฐ๋“ค์ด ๋ชจ๋‘ ์—†์–ด์ง€๋Š” ๊ธฐ๋ฒ•์ด๋‹ค. ๋‹ค๋ฅธํ•˜๋‚˜๋Š” Key Block ๊ธฐ๋ฒ•์œผ๋กœ ํ•„์š”ํ•œ ์ˆ˜ ๋งŒํผ์˜ ๋‚˜๋ฌดํŒ์— ๋“œ๋กœ์ž‰ํ•œ๋’ค ํŒํ™”์šฉ ์นผ๋กœ ํŒ ๋‹ค์Œ ์ฐจ๋ก€๋กœ ์ข…์ด์œ„์— ์ฐ๊ณ  ๋ฌธ์งˆ๋Ÿฌ ํ”„๋ฆฐํŠธ ํ–ˆ๊ณ  ๊ทธ์œ„์— ๋‹ค์‹œ ๊ผด๋ผ์ฅฌ ์ž‘์—…์„ ํ–ˆ๋‹ค. ํ•˜๋‚˜์˜ ํ™”๋ฉด์œ„์— ๋‚˜ํƒ€๋‚œ ์ƒ‰์˜ ์ˆ˜ ๋งŒํผ ๋‚˜๋ฌดํŒ์ด ํ•„์š”ํ•œ ์ž‘์—…์ด๋‹ค. ์„ค์น˜์ž‘์—…์€ ๋™์‚ฌ(copper wire)๋กœ ๋ฐ”๊ตฌ๋‹ˆ๋ชจ์–‘์˜ ํ˜•ํƒœ๋ฅผ ์งœ๋ฉด์„œ ๊ทธ์•ˆ์— ์˜ค๋ธŒ์ œ๋ฅผ ๋„ฃ์€๋‹ค์Œ ๋งˆ๋ฌด๋ฆฌ๋ฅผ ํ•˜์—ฌ ์ฒœ์žฅ์— ๋งค ๋‹ค๋Š” ์ž‘์—…์ด๋‹ค. ํŠน๋ณ„ํ•œ ๊ธฐ๋ฒ•์„ ์ถ”๊ตฌ ํ–ˆ๋‹ค๊ธฐ ๋ณด๋‹ค๋Š” ๋งˆ์น˜ ์˜ท์„ ์งœ๋“ฏ ๋™์‚ฌ๋ฅผ ๊ตฌ๋ถ€๋ ค ํ•œ์˜ฌํ•œ์˜ฌ ์†์œผ๋กœ ์ง์ ‘ ์งฐ๋‹ค. Q. ํ•œ ๊ฐ€์ง€ ์žฅ๋ฅด๋ฅผ ์ง‘์ค‘ํ•ด์„œ ์ž‘์—…ํ•˜๋Š” ํ•œ๊ตญ ์•„ํ‹ฐ์ŠคํŠธ๋“ค๊ณผ๋Š” ๋‹ฌ๋ฆฌ ๋‹ค์–‘ํ•œ ์žฅ๋ฅด๋ฅผ ๋™์‹œ์— ์ž‘์—…ํ•˜๊ณ  ์žˆ๋‹ค. ํŠน๋ณ„ํ•œ ์ด์œ ๊ฐ€ ์žˆ๋Š”๊ฐ€? ๋‚˜๋Š” ์ž‘๊ฐ€๋กœ์„œ ํ•ญ์ƒ ์ƒˆ๋กœ์šด ๊ธฐ๋ฒ•์„ ์—ฐ๋งˆํ•˜๊ณ  ๊ทธ๊ฒƒ์„ ์ž‘ํ’ˆ์— ์‘์šฉํ•˜๋Š” ๊ฒƒ์„ ๋งค์šฐ ํฅ๋ฏธ๋กญ๊ณ  ์ƒ๊ฐํ•œ๋‹ค. ๊ทธ๋ ‡๊ฒŒํ•˜๋ฏ€๋กœ์„œ ๋‚ด ์ž‘์—…์„ ๋” ํ’๋ถ€ํ•˜๊ฒŒ ํ‘œํ˜„ํ•  ์ˆ˜ ์žˆ๊ณ  ๋” ๋งŽ์€ ๊ฐ€๋Šฅ์„ฑ์„ ๋ฐœ๊ฒฌํ•  ์ˆ˜ ์žˆ๊ธฐ ๋•Œ๋ฌธ์ด๋‹ค. ํŠนํžˆ ํŒํ™”์ž‘์—…์„ ํ†ตํ•ด ๋™์–‘ํ™”์—์„œ ํ‘œํ˜„ํ•  ์ˆ˜ ์—†๋Š” ์ƒ‰๊ฐ์„ ๋ฐœ๊ฒฌํ•˜์˜€๊ณ , ํ‘œํ˜„ํ•˜๋ฏ€๋กœ์„œ ์ฐฝ์ž‘์— ๋Œ€ํ•œ ํฌ์—ด์„ ๋ง›๋ณด๊ณ  ์žˆ๋Š” ๊ฒƒ ๊ฐ™๋‹ค. Q. ๋ชจ๋“  ์ž‘ํ’ˆ์—์„œ ๋™์–‘ํ™” ๊ธฐ๋ฒ•์ด ๋ˆˆ์— ๋ค๋‹ค. ํŠนํžˆ ํ•œ๊ตญ์ ์ธ ์š”์†Œ๊ฐ€ ๊ฐ•ํ•˜๋‹ค. ๋™์–‘ํ™”๋ฅผ ๊ธฐ๋ฒ•์„ ์ถ”๊ตฌํ•˜๋Š” ์ด์œ ๊ฐ€ ์žˆ๋Š”๊ฐ€? ๋™์–‘ํ™”๋Š” ๋‚ด๊ฐ€ ํ•œ๊ตญ์˜ ๋Œ€ํ•™๊ณผ ์ค‘๊ตญ์˜ ๋Œ€ํ•™์›์—์„œ ์ „๊ณตํ•œ ๋ถ„์•ผ๋กœ ์กธ์—…๊ณผ ๋™์‹œ์— ํ˜„์žฌ๊นŒ์ง€ ๊พธ์ค€ํžˆ ์ž‘์—…ํ•ด ์˜ค๊ณ  ์žˆ๋Š” ๋ถ„์•ผ๋‹ค. ๋‚˜๋Š” ํŠน๋ณ„ํžˆ ํ•œ๊ตญ์ ์ธ ์ ์„ ์—ผ๋‘ํ•ด ๋‘๊ณ  ์ž‘์—…ํ•˜์ง€๋Š” ์•Š์•˜๋Š”๋ฐ, ๊ทธ๋Ÿฐ ์ ์„ ๋ฐœ๊ฒฌํ•˜์˜€๋‹ค๊ณ  ํ•˜๋‹ˆ ๋‚ด ์ž‘ํ’ˆ์„ ๋‹ค์‹œ๋ณด๊ฒŒ ๋งŒ๋“ ๋‹ค. ์ˆ˜๋ฌตํ™”๋Š” ๋ถ“๋†€๋ฆผ์˜ ์†๋„๋‚˜ ํž˜์— ์˜ํ•ด ํ™”์„ ์ง€ ์œ„์—์„œ ๋จน์˜ ๋ฒˆ์ง์˜ ์ •๋„๊ฐ€ ๋‹ฌ๋ผ, ๋งค์šฐ ์„ฌ์„ธํ•˜๊ณ  ์žฌ๋ฃŒ๋ฅผ ๋‹ค๋ฃจ๊ธฐ๊ฐ€ ์–ด๋ ค์šด, ์˜ค๋žœ ๊ฒฝํ—˜์„ ์š”๊ตฌํ•˜๋Š” ์ž‘์—…์ด๋‹ค. ๊ทธ๋งŒํผ ์ˆ™๋ จ์ด ํ•„์š”ํ•˜๊ณ  ๊นŠ์ด๊ฐ€ ์žˆ๋Š” ์ž‘์—…์ด๋ผ๊ณ  ์ƒ๊ฐํ•œ๋‹ค. Q. ์ด๋ฒˆ ์ „์‹œ์—๋Š” ๋”ธ(๋ฆด๋ฆฌ)์ด ๋งŽ์ด ๋“ฑ์žฅํ•œ๋‹ค. ๊ฑฐ์˜ ๋ชจ๋“  ์ž‘ํ’ˆ์—์„œ ๋”ธ์ด ๋“ฑ์žฅํ•˜๋Š”๋ฐ, ํŠน๋ณ„ํžˆ ๋”ธ์„ ์†Œ์žฌ๋กœ ์‚ผ์€ ์ด์œ ๊ฐ€ ์žˆ๋Š”๊ฐ€? ๋”ธ์•„์ด๋Š” ๋Š˜ ๋‚˜์™€ ํ•จ๊ป˜ ์žˆ๋Š” ์กด์žฌ๊ณ  ์—„๋งˆ๋กœ์„œ ํ•ญ์ƒ ๋ณด์‚ดํŽด์•ผํ•˜๋Š” ๋Œ€์ƒ์ด๋‹ค. ํƒœ๊ตญ์ด๋ผ๋Š” ์ƒˆ๋กœ์šด ๊ณณ์—์„œ ์ด๋ฐฉ์ธ์œผ๋กœ ์‚ด์•„์™€์„œ์ธ์ง€๋Š” ์ž˜ ๋ชจ๋ฅด๊ฒ ์ง€๋งŒ ๋”ธ์•„์ด์—๊ฒŒ ํŠนํžˆ ๋งŽ์€ ์• ์ฐฉ์„ ๋Š๋ผ๊ณ  ์žˆ๋‹ค. ๋ฟ๋งŒ์•„๋‹ˆ๋ผ ํƒœ๊ตญ์ธ์ธ ๋”ธ์•„์ด๋ฅผ ์ž‘ํ’ˆ์˜ ์ „๋ฉด์— ๋‚ด์„ธ์šฐ๋ฉด์„œ ๋‚˜์™€ ํƒœ๊ตญ์‚ฌํšŒ๋ฅผ ์—ฐ๊ฒฐํ•˜๊ณ ์ž ํ–ˆ๋˜๊ฒƒ ๊ฐ™๋‹ค. Q. ์ž‘ํ’ˆ ์†์˜ ๋ฆด๋ฆฌ๋Š” ํ•ญ์ƒ ์ ํ”„๋ฅผ ํ•˜๊ณ  ์žˆ๋‹ค. ์–ด๋–ค ํŠน๋ณ„ํ•œ ์˜๋ฏธ๋ฅผ ๋‹ด๊ณ  ์žˆ๋Š”๊ฐ€? ๋‚ด ์ž‘ํ’ˆ์†์—์„œ์˜ ์›€์ง์ž„์€ ๊ณต๊ฐ„๊ณผ ๊ด€๊ณ„๊ฐ€ ์žˆ๋‹ค. ๋‚˜๋Š” ๋‚ด ์ •์ฒด์„ฑ์˜ ์ด์Šˆ๋ฅผ ๋‚ด๊ฐ€ ๊ฑฐ์ฃผํ•˜๊ณ  ์žˆ๋Š” ๊ณต๊ฐ„๊ณผ ์—ฐ๊ด€์ง“๊ณ  ์žˆ๋Š”๋ฐ, ํ‰๋ฉด์ž‘์—…์†์˜ ์ด๋ฏธ์ง€ ๊ณต๊ฐ„์ด๋“  ์„ค์น˜์ž‘์—…์—์„œ์˜ ์‹ค์žฌ๊ณต๊ฐ„์ด๋“  ๋ชจ๋“  ์‚ฌ๋ฌผ์ด ์กด์žฌํ•˜๊ธฐ ์œ„ํ•ด์„œ ๊ณต๊ฐ„์ด ํ•„์š”ํ•˜์ง€ ์•Š๋Š”๊ฐ€. ๊ทธ๋Ÿฐ์ ์—์„œ ๊ณต๊ฐ„์€ ์กด์žฌ์˜ ํ•„์ˆ˜ ์กฐ๊ฑด์ด๋ผ๊ณ  ์ƒ๊ฐํ•œ๋‹ค. Q. ์ž‘ํ’ˆ ์† ๋ฆด๋ฆฌ๊ฐ€ ์ž…๊ณ  ์žˆ๋Š” ์˜ท์˜ ํŒจํ„ด์€ ๋งค์šฐ ํƒœ๊ตญ์ ์œผ๋กœ ๋Š๊ปด์ง„๋‹ค. ์–ด๋– ํ•œ ํŒจํ„ด๊ณผ ์†Œ์žฌ๋ฅผ ์‚ฌ์šฉํ–ˆ๋Š”๊ฐ€? ๊ทธ๋ฆฌ๊ณ  ๊ทธ ํŒจํ„ด์„ ํ†ตํ•ด ๋ฌด์—‡์„ ๋งํ•˜๊ณ  ์‹ถ์—ˆ๋‚˜? ์ด๊ฒƒ์€ ํŒŒํ‰์ด๋ผ๊ณ  ํ•˜๋Š” ํƒœ๊ตญ ์ „ํ†ต์ฒœ์œผ๋กœ ํƒœ๊ตญ์˜ ์—ฌ์„ฑ๋“ค์ด ๋ชฉ์š•์„ ํ• ๋•Œ ๋˜๋Š” ์˜ท์„ ๊ฐˆ์•„์ž…์„๋•Œ ์‚ฌ์šฉํ•œ๋‹ค. ๋ฐฉ์ฝ•์—์„œ๋Š” ์—ฌ์„ฑ๋“ค์ด ๊ฑฐ์˜ ์‚ฌ์šฉํ•˜๊ณ  ์žˆ์ง€ ์•Š๊ณ  ์ง€๋ฐฉ์œผ๋กœ ๊ฐ€๋ฉด ์ž์ฃผ ๋ณผ ์ˆ˜ ์žˆ๋‹ค. ์ง€์—ญ์— ๋”ฐ๋ผ ํŒจํ„ด์ด ์กฐ๊ธˆ์”ฉ ๋‹ค๋ฅด๋‹ค๋Š” ์ ์—์„œ ์ง€์—ญ์˜ ํŠน์ง•์„ ๋ณด์—ฌ์ค€๋‹ค๊ณ  ์ƒ๊ฐํ•œ๋‹ค. Q. ์ด๋Ÿฌํ•œ ํŒจํ„ด๊ณผ ์†Œ์žฌ๋Š” ์–ด๋–ค ๊ณณ์—์„œ ์˜๊ฐ์„ ์–ป๊ณ , ๋˜ ์ˆ˜์ง‘ํ•˜๋Š”๊ฐ€? ์ฒ˜์Œ ๋‚ด๊ฐ€ ํƒœ๊ตญ์— ์™”์„๋•Œ ๋†์นด์ด๋ผ๋Š” ์ง€์—ญ์—์„œ 6๊ฐœ์›”๊ฐ„ ์ƒํ™œํ•œ์ ์ด ์žˆ๋Š”๋ฐ, ๊ทธ๊ณณ์—์„œ ํŒŒํ‰์ฒœ์„ ์ฒ˜์Œ ์ ‘ํ–ˆ๋‹ค. ๋†์นด์ด๋Š” ํƒœ๊ตญ์˜ ๋™๋ถ๋ถ€์— ์œ„์น˜ํ•œ ์ž‘์€ ๋„์‹œ๋กœ ๋‹น์‹œ ์™ธ๋ถ€์™€์˜ ๊ต๋ฅ˜๊ฐ€ ๋งŽ์ง€ ์•Š์•„ ์ง€์—ญ์  ํŠน์ง•์ด ์ž˜ ๋ณด์กฐ๋˜์–ด ๊ณณ์ด๋‹ค. ๊ทธ๊ณณ์— ์ฒด๋ฅ˜ํ•˜๋Š” ๋™์•ˆ ํƒœ๊ตญ์—ฌ์ธ๋“ค์ด ์ฃผ๋กœ ํŒŒํ‰์„ ์ž…๊ณ  ์žˆ๋Š”๊ฒƒ์„ ์ž์ฃผ ๋ณด๊ฒŒ ๋˜์—ˆ๋‹ค. ๊ทธ ๋‹น์‹œ ์ ‘ํ•œ ํŒŒํ‰์€ ๋‚ด๊ฐ€ ํƒœ๊ตญ์ ์ธ ๊ฒƒ์„ ์ฒ˜์Œ ๋Š๋ผ๊ฒŒ ํ•ด์ค€ ์‚ฌ๋ฌผ์—ˆ๋‹ค. ๋ฐฉ์ฝ•์œผ๋กœ ์˜ฎ๊ฒจ์˜จ ๋’ค ํŒŒํ‰์ฒœ์„ ์ฒœ๊ฐ€๊ฒŒ์—์„œ ๊ตฌ์ž…ํ•  ์ˆ˜ ์žˆ์—ˆ๋Š”๋ฐ, ํŒŒํ‰์ฒœ์„ ๋ณด๋Š” ์ˆœ๊ฐ„ ์ด์ „์˜ ๊ธฐ์–ต๋“ค์ด ๋– ์˜ฌ๋ž๋‹ค. ๊ทธ๋Ÿฐ ์ ์—์„œ ํŒŒํ‰์€ ๋‚ด๊ฒŒ ํŠน๋ณ„ํ•œ ์˜๋ฏธ๋ฅผ ์ง€๋‹Œ ์†Œ์žฌ๊ฐ€ ๋˜์—ˆ๋‹ค. ํฅ๋ฏธ๋กœ์šด ๊ฒƒ์€ ์ด๊ณณ ๋ฐฉ์ฝ•์—์„œ๋Š” ๊ทธ ์ฒœ์„ ์ž…๊ณ  ์ƒํ™œํ•˜๋Š” ์—ฌ์„ฑ๋“ค์„ ๊ฑฐ์˜ ๋ณผ ์ˆ˜ ์—†๋‹ค๋Š” ๊ฒƒ์ด๋‹ค. 2009๋…„ ๊ฐœ์ธ์ „ ๋•Œ ์ฒ˜์Œ์œผ๋กœ ํŒŒํ‰์ฒœ์„ ์ž‘์—…์— ์‚ฌ์šฉํ–ˆ๊ณ  ํ˜„์žฌ๋„ ๋‹ค์–‘ํ•œ ๋ฐฉ๋ฒ•์œผ๋กœ ์ž‘์—…์— ์‚ฌ์šฉํ•˜๊ณ  ์žˆ๋‹ค. Q. ์ง€๋‚œํ•ด ํƒœ๊ตญ ํ™์ˆ˜๋ฅผ ์†Œ์žฌ๋กœ ํ•œ ์ž‘ํ’ˆ๋“ค๋„ ๋ˆˆ์— ๋ค๋‹ค. ์ด ์ž‘ํ’ˆ๋“ค์„ ํ†ตํ•ด ๋ฌด์—‡์„ ๋งํ•˜๊ณ 


์‹ถ์—ˆ๋Š”๊ฐ€? ์ด๋ฒˆ ์ „์‹œ๋ฅผ ์ค€๋น„ํ•˜๋Š” ๋™์•ˆ ํƒœ๊ตญ ํ™์ˆ˜์‚ฌํƒœ๋ฅผ ๊ฒฝํ—˜ํ•˜๊ฒŒ ๋˜์—ˆ๋‹ค. ์ˆ˜๊ฐœ์›”๋™์•ˆ ๋งŽ์€ ์ง€์—ญ์ด ์นจ์ˆ˜๋˜๊ณ  ์ˆ˜๋งŽ์€ ํƒœ๊ตญ๊ตญ๋ฏผ๋“ค์ด ๊ณ ํ†ต ๋ฐ›๋Š” ๊ฒƒ์„ ์ง/๊ฐ„์ ‘์ ์œผ๋กœ ๊ฒฝํ—˜ํ•˜๊ฒŒ ๋˜์—ˆ๋‹ค. ๋‚ด๊ฐ€ ๊ฑฐ์ฃผํ•˜๋Š” ๋ฐฉ์ฝ•์‹œ๋‚ด ์ค‘์‹ฌ๋ถ€๋Š” ํฐ ํ”ผํ•ด๋Š” ์—†์—ˆ์ง€๋งŒ ์žฌํ•ด์— ๋Œ€์ฒ˜ํ•˜๋Š๋ผ ์ ์ง€์•Š์€ ์–ด๋ ค์›€๊ณผ ๋‘๋ ค์›€์„ ๋Š๋ผ๊ฒŒ ๋˜์—ˆ๋‹ค. ์•ž์„œ ์ด์•ผ๊ธฐ ํ–ˆ๋“ฏ์ด ๋‚ด ์ž‘ํ’ˆ์€ ๋‚˜์˜ ์ผ์ƒ๊ณผ ๋™๋–จ์–ด์งˆ ์ˆ˜ ์—†๋Š”๋ฐ, ๊ทธ๋Ÿฐ ์ ์—์„œ ์ด๋ฒˆ ์žฌํ•ด์— ๋Œ€ํ•œ ๊ฒฝํ—˜์„ ์ž์—ฐ์Šค๋Ÿฝ๊ฒŒ ํ‘œํ˜„ํ•˜๊ฒŒ ๋˜์—ˆ๋‹ค. ์ž‘ํ’ˆ์— ๋‚˜ํƒ€๋‚˜๋Š” ์ฐŸ์–ด์ง„ ํŒŒํ‰์ฒœ์€ ํƒœ๊ตญ๋ฏผ๋“ค์˜ ์ƒ์ฒ˜๋ฅผ ์€์œ ์ ์œผ๋กœ ํ‘œํ˜„ํ–ˆ๋‹ค๊ณ  ํ•  ์ˆ˜์žˆ๋‹ค. Q. ๋™์‚ฌ๋กœ ์ง  ์ƒˆ์ง‘ ๋ชจ์–‘์˜ ์„ค์น˜๋ฌผ์ด ๋งค์šฐ ํฅ๋ฏธ๋กญ๋‹ค. ์ด ์ž‘ํ’ˆ์— ๋Œ€ํ•ด ์„ค๋ช…ํ•ด ๋‹ฌ๋ผ. ๋™์‚ฌ๋กœ ์ง  ์„ค์น˜๋ฌผ์€ ๋ฐ”๊ตฌ๋‹ˆ ๋ชจ์–‘์„ ํ•˜๊ณ  ์žˆ๊ณ  ๊ทธ ์•ˆ์— ํŒŒํ‰์ฒœ์„ ๊ฐ์€ ๋‚˜๋ญ‡๊ฐ€์ง€๋ฅผ ๋„ฃ์–ด ์ฒœ์žฅ์— ๋งค๋‹ฌ์•„ ์„ค์น˜ํ–ˆ๋‹ค. ๋‚˜๋ฌด๊ฐ€์ง€๋Š” 2009๋…„ ๊ฐœ์ธ์ „๋•Œ ์„ค์น˜์ž‘์—…์— ์‚ฌ์šฉํ–ˆ์—ˆ๋Š”๋ฐ ๊ทธ๋•Œ์™€ ๊ฐ™์€์˜๋ฏธ๋ฅผ ๋‹ด๊ณ ์žˆ๋‹ค. ์˜ˆ๋ฅผ ๋“ค๋ฉด ๊ทธ ๋‹น์‹œ ๋‚˜๋Š” ์ƒ‰์ƒ‰๊ฐ€์ง€์˜ ์‹ค์„ ์ด˜์ด˜ํžˆ ๊ฐ์€ ์ˆ˜์‹ญ๊ฐœ์˜ ๋‚˜๋ฌด๊ฐ€์ง€๋“ค์„ ๋ฐ”๋‹ฅ์— ์„ค์น˜ํ•˜์—ฌ์ธ๊ณต์ •์›์„๋งŒ๋“ค์—ˆ์—ˆ๋Š”๋ฐ,๊ฐ๊ฐ์˜๋‚˜๋ฌด๊ฐ€์ง€๋ฅผ๋‹ค๋ฅธ๊ฐœ๊ฐœ์ธ์œผ๋กœ,์ •์›์„ํ•˜๋‚˜์˜์‚ฌํšŒ๋กœ ์ƒ๊ฐํ•˜๊ณ  ํ‘œํ˜„ํ–ˆ๋‹ค. ์ด๋ฒˆ ์„ค์น˜์ž‘์—…์€ ๊ณต๊ฐ„์— ๋Œ€ํ•œ ์ด์Šˆ๋ฅผ ๋” ๊นŠ์ด ๋‹ค๋ฃจ๊ณ  ์žˆ๋‹ค. Q. ์ด๋ฒˆ ์ „์‹œ์— ์ถœํ’ˆํ•œ ์ž‘ํ’ˆ๋“ค ์ค‘ ๊ฐ€์žฅ ์• ์ฐฉ์ด ๊ฐ€๋Š” ์ž‘ํ’ˆ์ด ์žˆ๋‹ค๋ฉด ๋ฌด์—‡์ธ๊ฐ€? ์ด๋ฒˆ ์ „์‹œ์—์„œ ๊ฐ€์žฅ ์• ์ฐฉ์ด ๊ฐ€๋Š” ์ž‘ํ’ˆ์€ <Jumping>์ด๋‹ค. ํŒŒํ‰์„ ํ‰๋ฉด๊ทธ๋ฆผ์— ์ฒ˜์Œ ๊ผด๋ผ์ฅฌ ํ–ˆ๋˜ ์ž‘์—…์ด๋‹ค.ํ™”๋ฉด์†์˜12๊ฐœ์˜ํฌ์ฆˆ๋ฅผ์œ„ํ•ด10์‚ด๋‚œ๋”ธ์•„์ด๊ฐ€50ํšŒ์ด์ƒ์„์ ํ”„ํ–ˆ๋‹ค.๋”ธ์•„์ด๋Š”์ž์‹ ์˜ ๋ชจ์Šต์ด ์™„์„ฑ๋˜์–ด๊ฐ€๋Š” ๊ณผ์ •์„ ์ฒ˜์Œ๋ถ€ํ„ฐ ์ง€์ผœ๋ณด๊ณ  ์กฐ์–ธ๋„ ์•„๋ผ์ง€ ์•Š์•˜๋‹ค. ์ด ์ž‘์—…์„ ์‹œ์ž‘์œผ๋กœ ๋‹ค์–‘ํ•œ ์ž‘์—…๋“ค์„ ๋งŒ๋“ค์–ด ๋‚ผ ์ˆ˜ ์žˆ์—ˆ๋‹ค. Q. ์ด๋ฒˆ์— ๋ฐฉ์ฝ• ์ŠคํŽ˜์…œ ์—๋””์…˜์„ ๋งŒ๋“ค๋ฉด์„œ ๋งŒ๋‚œ ํƒœ๊ตญ์˜ ์•„ํ‹ฐ์ŠคํŠธ, ๊ฐค๋Ÿฌ๋ฆฌ, ๋””์ž์ธ ์„ผํ„ฐ๋ฅผ ๋ณด๋ฉด์„œ ๋ฐฉ์ฝ• ์•„ํŠธ์‹ ์˜ ๊ฐ€๋Šฅ์„ฑ์„ ์—ฟ๋ณผ ์ˆ˜ ์žˆ์—ˆ๋‹ค. ํ˜„์žฌ ํƒœ๊ตญ์˜ ์•„ํŠธ ์‹ ์— ๋Œ€ํ•œ ๋™ํ–ฅ์„ ๊ฐ„๋‹จํ•˜๊ฒŒ ์„ค๋ช…ํ•ด ๋‹ฌ๋ผ. ํƒœ๊ตญ์€ ์—ฌ๋Š ๊ฐœ๋ฐœ๋„์ƒ๊ตญ๊ณผ ๋งˆ์ฐฌ๊ฐ€์ง€๋กœ (๋‚ด ํŒ๋‹จ์ด ๋งž๋‹ค๋ฉด) ๊ตญ์ œํ™”์™€ ์„ธ๊ณ„ํ™”์— ์ฃผ๋ชฉํ•˜๋ฉด์„œ๋„ ํƒœ๊ตญ์ ์ธ ์ง€์—ญ์„ฑ์— ๋Œ€ํ•ด ๊ณ ๋ฏผํ•˜๋Š” ์ž‘๊ฐ€๋“ค์ด ๋งŽ์€๊ฒƒ ๊ฐ™๋‹ค. ์ง€๋‚œ ๋ช‡๋…„๊ฐ„ ํ•ด์™ธ ์œ ์ˆ˜ ์ „์‹œ์— ์ดˆ๋Œ€๋œ ์ž‘๊ฐ€๋“ค๋„ ๋งŽ์•„์ง€๊ณ  ๋˜ ํ•ด์™ธ ๋ ˆ์ง€๋˜์‹œ ํ”„๋กœ๊ทธ๋žจ์— ์ฐธ์—ฌํ•˜๊ณ  ๋Œ์•„์˜จ ์ž‘๊ฐ€๋“ค๋„ ๋Š˜์—ˆ๋Š”๋ฐ, ๊ทธ๋“ค์„ ํ†ตํ•ด์„œ ํƒœ๊ตญํ˜„๋Œ€๋ฏธ์ˆ ์ด ๋” ๋ฐœ์ „ํ•˜๊ณ  ์žˆ๊ณ  ๋‹ค์–‘ํ•ด ์ง€๊ณ  ์žˆ๋Š”๊ฒƒ ๊ฐ™๋‹ค. ์žฅ๋ฅด๋ฉด์—์„œ ๋ณธ๋‹ค๋ฉด ์ „ํ†ตํšŒํ™”๋ฅผ์ถ”๊ตฌํ•˜๋Š”์ž‘๊ฐ€๋“ค๋ฟ๋งŒ์•„๋‹ˆ๋ผ๋‹ค์–‘ํ•œ๊ธฐ๋ฒ•๊ณผ์•„์ด๋””์–ด๋กœ๋ฏธ์ˆ ๊ณ„๊ฐ€๋Š˜ํ™œ๋ ฅ์ด๋„˜์ณ๋‚˜๋Š” ๊ฒƒ์„ ๋Š๋‚„ ์ˆ˜ ์žˆ๋‹ค. ๊ฐœ์ธ์ ์œผ๋กœ ๋งค์šฐ ํƒœ๊ตญ์ ์ด๋ผ๊ณ  ๋Š๋ผ๋Š” ๋ถ€๋ถ„์€ ๋ถˆ๊ตํ™”๋ฅผ ์ „๋ฌธ์ ์œผ๋กœ ํ•˜๋Š” ์ž‘๊ฐ€๊ตฐ์ด ์„œ๋กœ ์—ฐ๋Œ€ํ•˜๋ฉด์„œ ๋งค์šฐ ์™•์„ฑํ•œ ํ™œ๋™์„ ํ•œ๋‹ค๋Š” ์ ์ด๋‹ค. ๋ถˆ๊ต๊ตญ๊ฐ€์—ฌ์„œ ๊ทธ๋Ÿฌํ•œ ํ˜„์ƒ์ด ๋‘๋“ค์–ด์ ธ ๋‚˜ํƒ€๋‚˜๋Š”๊ฒƒ ํŠน์ดํ•œ ์ ์ด๋ผ๊ณ  ์ƒ๊ฐํ•œ๋‹ค. Q. ๊ฐœ์ธ์ ์œผ๋กœ ์ข‹์•„ํ•˜๋Š” ํƒœ๊ตญ ๋กœ์ปฌ ์•„ํ‹ฐ์ŠคํŠธ๊ฐ€ ์žˆ๋‹ค๋ฉด ์ถ”์ฒœํ•ด๋‹ฌ๋ผ. ํƒœ๊ตญ์ Š์€ ์ž‘๊ฐ€ ์ค‘ ์น˜์•™ ๋งˆ์ด (Chiang Mai)๋ฅผ ๊ฑฐ์ ์œผ๋กœ ํ™œ๋™ํ•˜๊ณ  ์žˆ๋Š” ์˜์ด์˜ฅ (Sudsiri Pui-ock) ์ด๋ผ๋Š” ์ž‘๊ฐ€๋ฅผ ์ข‹์•„ํ•œ๋‹ค. ๊ทธ๋…€์˜ ์ตœ๊ทผ์ „์‹œ๋ฅผ ๋ณด๋ฉด ๋งˆ์น˜ ์‹ ์ฒด์ผ๋ถ€๊ฐ€ ๋Œ์—ฐ๋ณ€์ด์ฒ˜๋Ÿผ ํ‘œํ˜„๋œ ์ž‘์€ ์˜ค๋ธŒ์ œ๋“ค์ด ๋‹ค๋‹ค๋ฏธ ์œ„ ์—ฌ๊ธฐ์ €๊ธฐ์— ๋ณด์ผ๋“ฏ ๋ง๋“ฏ ํฉ์–ด์ ธ ์„ค์น˜๋˜์–ด ์žˆ๋Š”๋ฐ, ๊ทธ๋…€์— ์˜ํ•˜๋ฉด ๋ถˆ๊ต์˜ ์œคํšŒ์„ค์— ์˜๊ฐ์„ ๋ฐ›๊ณ  ์‚ถ๊ณผ ์ฃฝ์Œ, ํ–‰๋ณต๊ณผ ์Šฌํ”” ๋“ฑ ์‚ถ์— ๋Œ€ํ•œ ์ง„์ง€ํ•œ ๊ณ ๋ฏผ์ด๋‚˜ ์ƒ๋ฐ˜๋œ ๊ฐœ๋…๋“ค์„ ๋‹ค๋ฃจ๋Š” ํƒœ๋„๊ฐ€ ๋งˆ์Œ์— ๋“ ๋‹ค. ๋˜ํ•œ ๊ทธ๋…€์˜ ์ž‘์—…์€ ๋งค์šฐ ๊ฐœ๋…์ ์ด๋ฉด์„œ๋„ Hands-on ์˜ quality ๊ฐ€ ๋ถ€๊ฐ๋˜๊ณ  ์žˆ๊ณ , ์ž‘ํ’ˆ ์ œ์ž‘๊ณผ์ •์ด ์ค‘์‹œ๋˜๊ณ  ์žˆ์–ด ๋‚ด๊ฐ€ ์ž‘ํ’ˆ์—์„œ ์ถ”๊ตฌํ•˜๋Š” ์ ๊ณผ ์œ ์‚ฌํ•œ ์ ์„ ๋ฐœ๊ฒฌํ•  ์ˆ˜ ์žˆ์–ด ๋” ๊ด€์‹ฌ์„ ๊ฐ€์ง€๊ฒŒ ๋˜์—ˆ๋‹ค. Q. 8๋ฒˆ์งธ ์ „์‹œ์— ๋Œ€ํ•œ ๊ณ„ํš์€ ์žˆ๋Š”๊ฐ€? ์•ž์œผ๋กœ์˜ ๊ณ„ํš์ด ๊ถ๊ธˆํ•˜๋‹ค. ๋‹ค์Œ ์ „์‹œ๋Š” ๊ตฌ๋ฆฌ์„ค์น˜์ž‘์—…์„ ๋”์šฑ ๋ฐœ์ „์‹œํ‚ฌ ์˜ˆ์ •์ด๋‹ค. ์ด๋ฒˆ ์ „์‹œ์™€ ๋งˆ์ฐฌ๊ฐ€์ง€๋กœ ๊ณต๊ฐ„๊ณผ์˜ ๊ด€๊ณ„ ์†์—์„œ์ •์ฒด์„ฑ์„์ฐพ์•„๊ฐ€๋Š”๋ฐฉ์‹์ธ๋ฐ๊ตฌ์ฒด์ ์œผ๋กœ๋Š”ํƒœ๊ตญ๋ฌธ์ž๋ฅผ์ด์šฉํ•˜์—ฌํƒ€์ธ๊ณผ์‚ฌํšŒ์™€์˜์†Œํ†ต์— ๊ด€ํ•œ ๋ฌธ์ œ๋“ค์„ ์ƒˆ๋กญ๊ฒŒ ์ ‘๊ทผํ•˜๊ณ  ํ’€์–ด๋‚˜๊ฐˆ ๊ณ„ํš์ด๋‹ค. Q. ๋ฐฉ์ฝ•์—์„œ ๋งŒ๋‚œ ํ•œ๊ตญ์ธ ์ž‘๊ฐ€์ด๊ธฐ์— ๋”์šฑ ๋ฐ˜๊ฐ‘๊ณ , ์ž๋ž‘์Šค๋Ÿฝ๋‹ค. ์—˜๋กœํ€€์Šค ๋…์ž์—๊ฒŒ ๋งˆ์ง€๋ง‰ ์ธ์‚ฌ๋ฅผ ๋ถ€ํƒํ•œ๋‹ค. ๋‚˜์˜ ์ „์‹œ์™€ ์ž‘์—…์— ๋Œ€ํ•ด ์†Œ๊ฐœ๋ฅผ ํ•ด์ค˜์„œ ๋„ˆ๋ฌด ๊ณ ๋ง™๋‹ค. ์˜ค๋žซ๋™์•ˆ ํ•ด์™ธ์—์„œ ๊ฑฐ์ฃผํ•˜๊ณ  ํ™œ๋™์„ ํ•ด์™€์„œ ์‚ฌ์‹ค ํ•œ๊ตญ์— ๋‚ด ์ž‘์—…์— ๋Œ€ํ•œ ์†Œ๊ฐœ๋ฅผ ํ•  ๊ธฐํšŒ๊ฐ€ ์—†์—ˆ๋Š”๋ฐ, ๊ทธ๋Ÿฐ ์ ์—์„œ ํ•œ๊ตญ์—์„œ ๋ฐœํ–‰๋˜๊ณ  ์„ธ๊ณ„๋กœ ๋ฐฐํฌ๋˜๋Š” ์žก์ง€์— ์†Œ๊ฐœ๋œ๋‹ค๊ณ  ํ•˜๋‹ˆ ์ž‘๊ฐ€๋กœ์„œ๋Š” ๋„ˆ๋ฌด๋‚˜ ํฐ ํ–‰์šด์ด๊ณ  ๋งŽ์€ ๊ฒฉ๋ ค์™€ ์šฉ๊ธฐ๋ฅผ ์ค€๋‹ค. ์•ž์œผ๋กœ ๋” ์ข‹์€ ์ž‘์—…์„ ๊ฐ€์ง€๊ณ  ์—๋กœํ€€์Šค ๋…์ž์—ฌ๋Ÿฌ๋ถ„์„ ๋ต™๊ธฐ๋ฅผ ํฌ๋งํ•œ๋‹ค. ํฐํŠธ๋Š” ๋ˆˆ์— ๋„๊ฒŒ ๋งŒ๋“ค๋ ค๊ณ  ํ•œ๋‹ค. ์ž‘ํ’ˆ์„ ํ†ตํ•ด ๊ณต์ ์œผ๋กœ ์ฐธ์—ฌํ•˜๊ณ  ์‹ถ๊ณ , ๊ธ€์ž ์ž์ฒด๋งŒ์œผ๋กœ ์˜์‚ฌ ์†Œํ†ต์˜ ํ•œ ํ˜•ํƒœ๋ผ๊ณ  ์ƒ๊ฐํ•œ๋‹ค. ๋ฌด์—‡๋ณด๋‹ค๋„ ๋‚ด ์ž‘ํ’ˆ์„ ํ†ตํ•ด ์‚ฌ๋žŒ๋“ค๊ณผ ์ง์ ‘์ ์œผ๋กœ ์†Œํ†ตํ•˜๊ณ  ์‹ถ๋‹ค.

128p

์–ด๋–ค๊ฐ€? ํƒœ๊ตญ์—๋Š” ์˜ํ™”๊ฐ๋…์ด ๋งŽ๋‹ค. ๊ฐœ์ธ์ ์œผ๋กœ Apichatpong๊ฐ๋…์„ ์ตœ๊ณ ์˜ ๊ฐ๋… ์ค‘ ํ•œ ๋ช…์ด๋ผ๊ณ  ์ƒ๊ฐํ•œ๋‹ค. ๊ทธ์˜ ์˜ํ™”๋Š” ๋Œ€๋ถ€๋ถ„ ๋…๋ฆฝ ์˜ˆ์ˆ  ์˜ํ™”๋กœ ํƒœ๊ตญ ๋Œ€์ค‘์„ ๋…ธ๋ฆฌ๋Š” ํŽธ์€ ์•„๋‹ˆ๋‹ค. ์ „๋ฐ˜์ ์ธ ํƒœ๊ตญ ์˜ํ™” ์‚ฐ์—…์€ ์•ก์…˜, ์ฝ”๋ฉ”๋””, ๋“œ๋ผ๋งˆ, ํ˜ธ๋Ÿฌ ์žฅ๋ฅด๊ฐ€ ๋งŽ๊ณ  ์˜ˆ์ˆ ์„ฑ๋ณด๋‹ค๋Š” ์ˆ˜์ต์„ฑ์„ ์œ„ํ•œ ์„ฑ๊ฒฉ์ด ๊ฐ•ํ•˜๋‹ค. Q. ๊ฐ€์žฅ ์ข‹์•„ํ•˜๋Š” ์˜ํ™”๋‚˜ ์˜ํ™”๊ฐ๋…์€? ๊ฐ€์žฅ ์ข‹์•„ํ•˜๋Š” ๊ฐ๋…์€ Biutiful, Babel๊ฐ™์€ ์ž‘ํ’ˆ์„ ๋งŒ๋“  Alejandro Gonzalez Inarritu์ด๋‹ค. ํ•˜์ง€๋งŒ ์ œ์ผ ์ข‹์•„ํ•˜๋Š” ์˜ํ™”๋Š” Christopher Nolan์˜ Inception์ด๋‹ค. Q. ๋‹น์‹ ์€ ์ฒด์ฝ”์—์„œ ํ•„๋ฆ„ ๊ณต๋ถ€๋ฅผ ํ–ˆ๋‹ค. ๋Ÿฐ๋˜, ๋‰ด์š•์—๋Š” ์œ ๋ช… ํ•„๋ฆ„ ์Šค์ฟจ์ด ๋งŽ๋‹ค. ๊ตณ์ด ํ”„๋ผํ•˜๋ฅผ ํƒํ•œ ์ด์œ ๊ฐ€ ์žˆ๋‚˜? ์ผ๋‹จ์€ ์•„์‹œ์•„์™€ ๋‹ค๋ฅธ ์œ ๋Ÿฝ ๋ฌธํ™”๋ฅผ ์ ‘ํ•ด๋ณด๊ณ  ์‹ถ์—ˆ๋‹ค. ๋˜, ์˜ํ™”์ œ์ž‘๋ฟ๋งŒ ์•„๋‹ˆ๋ผ ์œ ๋Ÿฝ์˜ ์—ญ์‚ฌ๋„ ์•Œ๊ณ  ์‹ถ์—ˆ๋‹ค. ๊ทธ ์ค‘์—์„œ๋„ ๋…ํŠนํ•œ ์—ญ์‚ฌ์™€ ์˜ํ™” ์Šคํƒ€์ผ์ด ๋“œ๋Ÿฌ๋‚˜๋Š” Czech Republic์„ ๊ฐ€์žฅ ์ข‹์•„ํ•œ๋‹ค. Q. ์œ ๋Ÿฝ ์˜ํ™”์™€ ์•„์‹œ์•„ ์˜ํ™”์˜ ๊ฐ€์žฅ ํฐ ์ฐจ์ด์ ์€ ๋ญ๋ผ๊ณ  ์ƒ๊ฐํ•˜๋‚˜? ์˜ํ™”์ œ์ž‘ํ•˜๋Š”๊ณผ์ •๋„๋‹ค๋ฅด์ง€๋งŒ,๊ฐ€์žฅํฐ์ฐจ์ด์ ์€๋‚ด๋Ÿฌํ‹ฐ๋ธŒ๋‹ค.์•„์‹œ์•„๋Š”์•„์‹œ์•„๋งŒ์˜์ „ํ†ต๋ฌธํ™”์™€ ๊ทธ ๋‚˜๋ฆ„์˜ ์Šคํ† ๋ฆฌํ…”๋ง ๋ฐฉ์‹์ด ์žˆ๋‹ค. ์„ธ๊ณ„ ์‹œ์žฅ์—์„œ ์•„์‹œ์•„ ํ•„๋ฆ„ ๋งˆ์ผ“์ด ์‚ด์•„๋‚จ์œผ๋ ค๋ฉด ์šฐ๋ฆฌ๋งŒ์˜ ์—ญ์‚ฌ์™€ ๋ฌธํ™”๋ฅผ ๋ณด์—ฌ์ฃผ๋Š” ์Šคํƒ€์ผ์ด ์ค‘์š”ํ•˜๋‹ค. Q. ๊ณผ๊ฑฐ ์˜ํ™” ์ œ์ž‘ ๋ฐฉ์‹์€ ์•„๋‚ ๋กœ๊ทธ์˜€์ง€๋งŒ, ๋””์ง€ํ„ธ ๋ฐฉ์‹์œผ๋กœ ๋ฐ”๋€Œ๋ฉด์„œ ์˜ํ™”์ œ์ž‘ ์‹œ์Šคํ…œ ์—ญ์‹œ ๋งŽ์ด๋ฐ”๋€Œ์—ˆ๋‹ค.๋‹น์‹ ์€๋ฐฉ์ฝ•์˜๋””์ง€ํ„ธํ•„๋ฆ„์„ธ๋Œ€์˜์„ ๋‘์ฃผ์ž๋‹ค.๋””์ง€ํ„ธํ…Œํฌ๋†€๋กœ์ง€์—๋Œ€ํ•ด์–ด๋–ป๊ฒŒ ์ƒ๊ฐํ•˜๋Š”๊ฐ€? ๋””์ง€ํ„ธ ํ…Œํฌ๋†€๋กœ์ง€๋Š” ์˜ํ™”์ œ์ž‘์— ์ƒˆ๋กœ์šด ๊ฐ€๋Šฅ์„ฑ์„ ๋ณด์—ฌ์คฌ๋‹ค. ๋””์ง€ํ„ธ ์˜์ƒ์ œ์ž‘์€ ์ด์ œ ๋” ์ด์ƒ ์ €์˜ˆ์‚ฐ์ธ๋”” ์˜ํ™”๋ฅผ ์œ„ํ•œ ๊ฒƒ์ด ์•„๋‹ˆ๋‹ค. ๋””์ง€ํ„ธ๊ณผ ํ•„๋ฆ„์˜ ๋งŒ๋‚จ์€ ํ•„๋ฆ„ ์—ญ์‚ฌ์ƒ ๊ฐ€์žฅ ์žฌ๋ฏธ์žˆ๊ณ  ํ˜์‹ ์ ์ธ ๋ณ€ํ™”์ž„์— ํ‹€๋ฆผ์—†๋‹ค. Q. ์ข€ ๋” ๊ตฌ์ฒด์ ์œผ๋กœ ๋งํ•ด๋‹ฌ๋ผ. ๋ฌด์—‡๋ณด๋‹ค๋„ ๋””์ง€ํ„ธ ์˜์ƒ์ œ์ž‘์€ ๋ˆ„๊ตฌ๋‚˜ ํ•  ์ˆ˜ ์žˆ๋‹ค. ์ƒ๋Œ€์ ์œผ๋กœ ์ € ์˜ˆ์‚ฐ์ธ๋ฐ๋‹ค ์‚ฌ์šฉํ•˜๊ธฐ ํŽธํ•œ ๋ฐฉ์‹์€ ์•ž์œผ๋กœ ์˜ํ™”์‚ฐ์—…์˜ ํฐ ํž˜์ด ๋  ๊ฒƒ์ด๋‹ค. ์™œ๋ƒํ•˜๋ฉด ์žฌ๋Šฅ ์žˆ๋Š” ๊ฐ๋…์ด ์˜ํ™”๋ฅผ ๋งŒ๋“ค๊ณ  ์‹ถ๋‹ค๋ฉด ๋” ์ด์ƒ Hollywood๋ฐฉ์‹์˜ ์žฌ์ •์  ์ง€์›์ด ์—†์–ด๋„ ๋˜๊ธฐ ๋•Œ๋ฌธ์ด๋‹ค. ๋ฌผ๋ก  ๊ธฐ์กด ์‚ฐ์—…์— ์œ„ํ˜‘์  ์š”์†Œ๊ฐ€ ๋  ๋•Œ๋„ ์žˆ์ง€๋งŒ, ๋””์ง€ํ„ธ ์„ธ๋Œ€๋“ค์€ ์˜ํ™”์‚ฐ์—…์— ์ƒˆ๋กœ์šด ํ™œ๊ธฐ๋ฅผ ๋ถˆ์–ด๋„ฃ์–ด์ฃผ๊ณ  ์žˆ๋‹ค. ๋˜, ํŽธ์ง‘๊ณผ์ •์ด ๋งค์šฐ ๊ฐ„๋‹จํ•ด์กŒ๋‹ค. ๋””์ง€ํ„ธ ๋ ˆ์ฝ”๋”ฉ ์žฅ๋น„๋“ค์ฒ˜๋Ÿผ ํŽธ์ง‘์žฅ๋น„ ์—ญ์‹œ ๊ตฌํ•˜๊ธฐ ์‰ฝ๊ณ  ๋ฐฐ์šฐ๊ธฐ ์‰ฝ๋‹ค. ์œ ์ €๋“ค์ด ์ง์ ‘ ์˜์ƒ์„ ์ž๋ฅด๊ณ  ์‰ฝ๊ฒŒ ์ˆ˜์ •ํ•  ์ˆ˜ ์žˆ๋‹ค. ํ›„๋ฐ˜์ž‘์—…๋„ ์ข€ ๋” ํŽธํ•œ ํŽธ์ด๊ณ . ๋ˆ„๊ตฌ๋‚˜ iMac๊ฐ™์€ ์˜์ƒํˆด ์ •๋„๋กœ ์‰ฝ๊ฒŒ ์˜์ƒ์„ ๋งŒ๋“ค ์ˆ˜ ์žˆ๋‹ค๊ณ  ์ƒ๊ฐํ•ด๋ด๋ผ. ์•ž์œผ๋กœ ๊ทธ ๊ฐ€๋Šฅ์„ฑ์€ ๋ฌดํ•œํ•˜๋‹ค. ๋งŽ์€ ์˜ˆ์‚ฐ ์—†์ด๋„, ๋””์ง€ํ„ธ ์œ ํ†ต ๋ฐฉ์‹์€ ๋” ๋งŽ์€ ๊ด€๊ฐ๊ณผ ์†Œํ†ตํ•  ์ˆ˜ ์žˆ๋‹ค. ์š”์ฆ˜์—” YouTube์— ์˜ฌ๋ฆฌ๊ฑฐ๋‚˜ iPod ์ด๋‚˜ ํ•ธ๋“œํฐ์œผ๋กœ๋„ ๊ฐ€๋Šฅํ•˜๋‹ค. ๋””์ง€ํ„ธ ํ˜•์‹ ์˜ํ™”๋Š” ๊ธฐ์กด์˜ ์œ ํ†ต ๋ฐฉ์‹์„ ๋ฒ—์–ด๋‚ฌ๋‹ค. ๋ฐ•์Šค์˜คํ”ผ์Šค ํžˆํŠธ์ž‘์ด ์•„๋‹ˆ์–ด๋„ ์‚ฌ๋žŒ๋“ค์—๊ฒŒ ์•Œ๋ ค์งˆ ์ˆ˜ ์žˆ๋‹ค. Q. ํ˜์‹ ์ ์ธ ๋ถ€๋ถ„๋„ ๋งŽ์ง€๋งŒ, ๋ฐ˜๋ฉด ๊ฐœ์„  ๋˜์–ด์•ผ ํ•  ์‚ฌํ•ญ๋„ ๋งŽ์€ ๊ฒƒ์œผ๋กœ ์•Œ๊ณ  ์žˆ๋‹ค. ๊ทธ๋ ‡๋‹ค. ๊ฐ€์žฅ ํฐ ๋ฌธ์ œ์  ์ค‘ ํ•˜๋‚˜๋Š” ํ•˜๋“œ๋””์Šคํฌ, DVD์— ๋ณด๊ด€ํ•˜๋Š” ๋Œ€์šฉ๋Ÿ‰์ด ๋ถ€์กฑํ•˜๋‹ค๋Š” ์ ์ด๋‹ค. ๋‹ค๋ฅธ ์žฅ๋น„์— ์—ฌ๋ถ„์œผ๋กœ ๋ฐฑ์—…ํ•ด๋‘์ง€ ์•Š์œผ๋ฉด ์˜ํ™”๋ฅผ ํ†ต์งธ๋กœ ๋‚ ๋ฆฌ๊ธฐ๋„ ํ•œ๋‹ค. ๋˜ ์ดฌ์˜ ๋‹น์‹œ์—๋Š” ์ฐ๋Š” ๋‚ด์šฉ์— ๋ฌธ์ œ๊ฐ€ ์ƒ๊ธธ์ง€ ๋ชจ๋ฅธ๋‹ค. ๋ฟ๋งŒ ์•„๋‹ˆ๋ผ ํ•„๋ฆ„ ๋ฐฉ์‹์„ ๋ณ€ํ™˜ํ•  ๋•Œ, ๊ธฐ์ˆ ์ ์ธ ๋ฌธ์ œ๊ฐ€ ์ƒ๊ธฐ๊ธฐ๋„ ํ•œ๋‹ค. ํŠนํžˆ ์ด๋Ÿฐ ๋ฌธ์ œ๋“ค์ด ํ›„๋ฐ˜์ž‘์—…์—์„œ๋งŒ ๋‚˜ํƒ€๋‚˜๊ธฐ ๋•Œ๋ฌธ์—, ์žฌ์ดฌ์˜์„ ํ•˜๊ธฐ์—” ์‚ฌ์‹ค์ƒ ํž˜๋“ค๋‹ค๋Š” ์ ์—์„œ๋Š” ๋งค์šฐ ํšŒ์˜์ ์ด๋‹ค. ํ•œ์ชฝ์—์„œ๋Š” ๋””์ง€ํ„ธํ•„๋ฆ„์˜ ์„ฑ์žฅ์ด ์˜ˆ์ˆ ์„ฑ์„ ๋ง์น  ๊ฒƒ์ด๋ผ๋Š” ์˜๊ฒฌ๋„ ์ฃผ์žฅํ•˜๊ณ  ์žˆ๋‹ค. ํ•˜์ง€๋งŒ ๊ฐ๋…๋“ค์ด ์–ผ๋งˆ๋‚˜ ์ด์ƒ์ ์ธ ํ•„๋ฆ„ ํ˜•ํƒœ๋ฅผ ๋งŒ๋“ค๋ ค๊ณ  ๋…ธ๋ ฅํ•˜๋Š”์ง€์— ๋”ฐ๋ผ, ํ•˜๋ฝ์„ธ์ธ ๊ธฐ์กด์˜ ์˜ํ™”๊ด€ ์œ ํ†ต ๋ฐฉ์‹์— ์žฅ์ ์ด ๋  ์ˆ˜ ์žˆ๋‹ค. ๊ด€๊ฐ๋“ค์€ ์ด๋™ ์ค‘์— iPod์ด๋‚˜ ์ปดํ“จํ„ฐ, TV๋กœ ์˜ํ™”๋ฅผ ๋ณด๋Š” ๊ฑธ ๋” ์„ ํ˜ธํ•œ๋‹ค. ์‚ฌ๋žŒ๋“ค์ด ๊ทธ๋Ÿฌํ•œ ์˜ํ™”์— ์ •๋‹นํ•œ ๋Œ€๊ฐ€๋ฅผ ์ง€๋ถˆํ•  ์šฉ์˜๋งŒ ์žˆ๋‹ค๋ฉด, ์•„๋งˆ ๊ตณ์ด ์˜ํ™”๊ด€์— ๊ฐ€์„œ ๋ณด๋ ค๊ณ  ํ•˜์ง€ ์•Š์„ ๊ฒƒ์ด๋‹ค. ๋””์ง€ํ„ธ ์œ ํ†ต ์‹œ์Šคํ…œ์„ ํ†ตํ•ด ๊ด€๊ฐ์€ ๋ฐ”๋กœ ๋ณผ ์ˆ˜ ์žˆ๊ธฐ ๋•Œ๋ฌธ์ด๋‹ค. ๊ธฐ์กด์˜ ์˜ํ™”๊ด€๋žŒ ๋ฐฉ์‹์„ ๊ต‰์žฅํžˆ ์ข‹์•„ํ•˜๋Š” ํŽธ์ด ์•„๋‹ˆ๋ฉด ๋ฌธ์ œ๊ฐ€ ์—†๊ฒ ์ง€๋งŒ, ์‚ฌ์‹ค์ƒ ๋””์ง€ํ„ธ ์œ ํ†ต ๋ฐฉ์‹์ด ์„ฑ์žฅํ•˜๋ฉด ์ข…์ „์˜ ์‹œ๋„ค๋งˆ ํ˜•ํƒœ์˜ ์˜ํ™”๊ด€์„ ๋Œ€์ฒดํ•  ๊ฒƒ์ด๋‹ค. Q. ๋””์ง€ํ„ธ ํ‚ค๋“œ๋กœ์„œ ์•ž์œผ๋กœ ๊ฟˆ์ด๋‚˜ ๋ชฉํ‘œ๊ฐ€ ์žˆ๋‹ค๋ฉด? ํƒœ๊ตญ ๋ฟ ์•„๋‹ˆ๋ผ ์ „์„ธ๊ณ„๋ฅผ ๋„˜๋‚˜๋“ค๋ฉฐ ์žฅํŽธ์˜ํ™”๋ฅผ ์ œ์ž‘ํ•˜๋Š” ๊ฐ๋…์ด ๋˜๊ณ  ์‹ถ๋‹ค. ์„ธ๊ณ„๋ฅผ ์—ฌํ–‰ํ•˜๋ฉฐ, ์„œ๋กœ ๋‹ค๋ฅธ ๋ฌธํ™”๋ฅผ ๊ฐ€์ง„ ๊ฐ์ง€์˜ ์‚ฌ๋žŒ์„ ๋งŒ๋‚˜๊ณ  ๋ฐฐ์šฐ๊ณ  ์ข‹์€ ์˜ํ™”๋ฅผ ๋งŒ๋“ค๋ฉฐ ์‚ด๊ณ  ์‹ถ๋‹ค. ํ…Œํฌ๋†€๋กœ์ง€๊ฐ€ ์ด๋Ÿฌํ•œ ๊ฟˆ์„ ๋”์šฑ ๊ฐ€๊น๊ฒŒ ๋งŒ๋“ค์–ด ์ค„ ๊ฒƒ์ด๋ผ๊ณ  ๋ฏฟ๋Š”๋‹ค. ๊ณณ์ด๋‹ค. ์šฐ๋ฆฌ ์ œํ’ˆ์˜ ์ค‘์‹ฌ์—๋Š” ์žฅ์ธ ์ •์‹ ์ด ์žˆ๋‹ค. ๊ทธ๊ฒƒ์„ ํ†ตํ•ด ์–ด๋–ค ์˜ท์„ ์ž…๋˜์ง€ ๋‹น๋‹นํ•œ ํŒœ๋ฏ€ ํŒŒํƒˆ์˜ ์ด๋ฏธ์ง€๋ฅผ ์ถ”๊ตฌํ•œ๋‹ค.

Arunchit Sasivimolkul Q. ๋‹น์‹ ์— ๋Œ€ํ•ด ๊ฐ„๋‹จํ•œ ์†Œ๊ฐœ๋ฅผ ํ•ด๋‹ฌ๋ผ. ์ด๋ฆ„์€ Arunchit Sasivimolkul, ๋ฐฉ์ฝ•์— ์‚ด๊ณ  ์žˆ๋‹ค. Wakeup Rabbit ํŒ€์—์„œ ์‚ฌ์ง„ ๋””๋ ‰ํŒ…๊ณผ ์นด๋ฉ”๋ผ์ดฌ์˜์„ ๋งก๊ณ  ์žˆ๋‹ค. Kratai tuentua Co.,Ltd. ํ”„๋กœ๋•์…˜ ํŒ€์€ ๋‹ค์–‘ํ•œ ์žฌ์ฃผ๋ฅผ ๊ฐ€์ง„ ์นœ๊ตฌ๋“ค์ด ์—ด์ •์„ ๊ฐ€์ง€๊ณ  ๋ชจ์ธ ํŒ€์ด๋‹ค. ์ปค๋ฎค๋‹ˆ์ผ€์ด์…˜๊ณผ ๋””์ž์ธ ๊ด€๋ จ ์˜์—ญ์„ ์ „๋ฌธ์œผ๋กœ ํ•œ๋‹ค. Info-graphic design, commercial film & animation, viral campaign management, communicative illustration, visual concerts, online &digital media ๋ชจ๋‘๋ฅผ ๋„˜๋‚˜๋“œ๋Š” ์ปค๋ฎค๋‹ˆ์ผ€์ด์…˜ ๋ชจ๋ธ์„ ์ถ”๊ตฌํ•˜๊ณ  ์žˆ๋‹ค.

132p

Bangkok Cityscape

Q. ์–ธ์ œ, ์–ด๋–ป๊ฒŒ ์˜ํ™”๊ฐ๋…์ด ๋˜๊ธฐ๋กœ ๊ฒฐ์‹ฌํ–ˆ๋‚˜? ์˜ํ™”๊ฐ๋…์ด๋˜๊ธฐ์ „์—ํฌํ† ๊ทธ๋ž˜ํผ๋กœ์ผํ–ˆ๋‹ค. ๋Œ€ํ•™์„ ๋‹ค๋‹ˆ๋˜ ์‹œ์ ˆ์—๋Š” ์—ฌ์ „ํžˆ ์–ด๋–ค ์ผ์„ ํ•˜๊ณ  ์‹ถ์€์ง€ ์•Œ์ง€ ๋ชปํ–ˆ๋‹ค. 2002๋…„ ํ•„๋ฆ„ ์„ธํŠธ์žฅ์—์„œ ์ฒ˜์Œ ์ผํ•˜๊ฒŒ ๋  ๊ธฐํšŒ๊ฐ€ ์žˆ์—ˆ๋Š”๋ฐ, ๊ทธ ๋•Œ ์˜ํ™”์ž‘์—…์ด ์•ž์œผ๋กœ ํ‰์ƒ ๋‚ด๊ฐ€ ํ•˜๊ณ  ์‹ถ์€ ์ผ์ด๋ž€ ๊ฑธ ๊นจ๋‹ฌ์•˜๋‹ค. Q. Apichatpong Weerasethakul ๊ฐ๋… ๋“ฑ ์ฃผ๋ชฉ ๋ฐ›๋Š” ํƒœ๊ตญ ๊ฐ๋…์ด ๋งŽ๋‹ค. ํƒœ๊ตญ ์˜ํ™” ์‚ฐ์—…์€

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David Terrazas ๋‚ด๊ฐ€ ์ฐ์€ ๋ฐฉ์ฝ•์‚ฌ์ง„์˜ ์ปฌ๋ ‰์…˜์—๋Š” ์ง€๋‚œ 1๋…„ ๋™์•ˆ ๋ฐฉ์ฝ•์—์„œ ์‚ด๋ฉด์„œ ์ผ์ƒ์ƒํ™œ์—์„œ ๋ณธ ์žฅ๋ฉด๋“ค์„ ๋‚˜๋งŒ์˜ ๊ด€์ ์œผ๋กœ ๋‹ด์•˜๋‹ค. ๋‚ด๊ฐ€ ์‚ด๋˜ ๊ณณ์—์„œ ์ฐ์€ ์นœ๊ตฌ๋“ค์˜ ๋ชจ์Šต์—์„œ๋ถ€ํ„ฐ ๋„์‹œํ’๊ฒฝ, ์ฐจ์ด๋‚˜ํƒ€์šด( ๋ฐฉ์ฝ•์—์„œ ๊ฐ€์žฅ ์‚ฌ์ง„์ด ์ž˜ ๋‚˜์˜ค๋Š” ๊ณณ ์ค‘์˜ ํ•œ ๊ณณ์ด๋‹ค.)์— ์žˆ๋Š” ์ฐป์ง‘, ๊ทธ๋ฆฌ๊ณ  ๊ทธ ์ค‘๊ฐ„์— ์žˆ๋Š” ๋ชจ๋“  ๊ฒƒ์— ์ด๋ฅด๊ธฐ๊นŒ์ง€ ๋ชจ๋“  ์‚ฌ์ง„๋“ค์ด ๊ทธ๋ ‡๋‹ค.

๋‚˜๋Š” ์‚ฌ์ง„์ž‘๊ฐ€๋Š” ์•„๋‹ˆ๋‹ค. ๊ทธ๋Ÿฌ๋‚˜ ์‚ฌ์ง„์„ ๋‚˜์˜ ์˜ˆ์ˆ ์ž‘ํ’ˆ์˜ ํ•œ ๋งค๊ฐœ๋กœ ์ด์šฉํ•˜๊ณ  ์žˆ๋‹ค. ๋งˆ์น˜ ํ•œ๋Ÿ‰์ฒ˜๋Ÿผ, ๋‚˜๋Š” ํŠนํžˆ ์ฃผํƒ๊ฐ€ ๋’ท๊ณจ๋ชฉ๊ณผ ์ž˜ ์•Œ๋ ค์ ธ ์žˆ์ง€ ์•Š์€ ์™ธ์ง„ ๊ณณ ๋“ฑ, ๋„์‹œ ์ด๊ณณ ์ €๊ณณ์„ ๋‹ค๋‹ˆ๋ฉฐ ๊ฒฝํ—˜ํ•˜๊ณ  ์žˆ๋‹ค.

Kara Yong Kara Choko

์‚ฌ๋žŒ๋“ค์ด ๋งŽ์ด ๋ชจ์ด๋Š” ์žฅ์†Œ๋‚˜ ์œ ๋ช… ๊ด€๊ด‘์ง€๋ณด๋‹ค๋Š” ์ด ๋„์‹œ์˜ ๊ตฌ์„๊ตฌ์„๊ณผ ์ž˜ ์•Œ๋ ค์ ธ ์žˆ์ง€ ์•Š์€ ๊ณณ์— ๋” ์ฃผ๋ชฉํ•˜๋ฉด์„œ, ์ด ๊ฑฐ๋Œ€ํ•˜๊ณ  ์ธ๊ตฌ๊ฐ€ ๋ฐ€์ง‘๋œ ๋Œ€๋„์‹œ์˜ ๋…ํŠนํ•˜๊ณ ๋„ ์“ธ์“ธํ•œ ๋‹จ๋ฉด์„ ๋ณด์—ฌ์ฃผ๋ ค๊ณ  ํ•œ๋‹ค. ๋ฐฉ์ฝ•์— ๊ด€ํ•ด ํŠน๋ณ„ํžˆ ์–ด๋–ค ๊ฒƒ์„ ๊ผฌ์ง‘์–ด์„œ ๋ณด์—ฌ์ฃผ๋ ค๋Š” ์˜๋„๋Š” ์—†๋‹ค. ์™œ๋ƒํ•˜๋ฉด ์ด ์‚ฌ์ง„๋“ค์€ ๋ฏธ๋ฆฌ ๊ณ„ํš๋œ ์˜๋„์— ๋”ฐ๋ผ ์ฐ์—ˆ๋‹ค๊ธฐ ๋ณด๋‹ค๋Š” ์–ด๋– ํ•œ ๋šœ๋ ทํ•œ ์ƒ๊ฐ ์—†์ด ํŒŒ์ธ๋”์— ๋‹ด์€ ๊ฒƒ์ด๋‹ค. ๊ฐ ์‚ฌ์ง„๋งˆ๋‹ค ๋”ฐ๋กœ ๋”ฐ๋กœ ์˜๋ฏธ๋ฅผ ๊ฐ€์ง€๋Š” ์˜์ƒ๋“ค์ด๋ผ๊ณ  ํ•  ์ˆ˜ ์žˆ๋‹ค. ๊ทธ๋ ‡์ง€๋งŒ, ์ด๋Ÿฌํ•œ ์‚ฌ์ง„๋“ค์€ ๋‚˜ ์ž์‹ ๊ณผ ๋ฐฉ์ฝ•์— ๋Œ€ํ•ด ๊ฐ€์ง€๊ณ  ์žˆ๋Š” ๋‚ด ์ƒ๊ฐ์— ๋Œ€ํ•ด ๋ฌด์–ธ๊ฐ€๋ฅผ ๋งํ•ด ์ฃผ๊ณ  ์žˆ๋‹ค๊ณ  ๋ณธ๋‹ค.

์‚ฌ๋žŒ๋“ค์€ ์•„๋ฆ„๋‹ค์šด ๊ณณ์— ๋Œ๋ฆฌ๊ฒŒ ๋˜์–ด์žˆ๋‹ค. ๊ทธ๋ž˜์„œ ๊ด€๊ด‘๋ช…์†Œ๋‚˜ ๋žœ๋“œ๋งˆํฌ ๊ฐ™์€ ์žฅ์†Œ๊ฐ€ ๋“ฑ์žฅํ•˜๊ณ  ์ด๋Ÿฐ ๊ณณ๋“ค์€ ํ•ญ์ƒ ํ’๊ฒฝ์„ ๋ณด๋ ค๊ณ  ๋ชจ์—ฌ๋“  ์‚ฌ๋žŒ๋“ค๋กœ ๋ถ์ ๊ฑฐ๋ฆฐ๋‹ค. ํŠน์ •ํ•œ ๊ณณ์˜ ์‚ฌ๋žŒ๋“ค์„ ์ดํ•ดํ•˜๋ ค๊ณ  ์šฐ๋ฆฌ๋Š” ์–ด๋–ค ์‚ฌ๋žŒ์˜ ์ƒํ™œ์— ์ข€๋” ๊ฐ€๊น๊ฒŒ ๋‹ค๊ฐ€๊ฐ€๊ฑฐ๋‚˜, ๋˜๋Š” ์–ด๋–ค ๋„์‹œ์˜ ์„ฑ๊ฒฉ์„ ํŒŒ์•…ํ•˜๊ธฐ ์œ„ํ•ด์„œ ์–ด๋–ค ๋„์‹œ ๊ตฌ์—ญ์„ ๋ถ„์„ํ•˜๊ฒŒ ๋  ์ˆ˜ ๋„ ์žˆ์ง€๋งŒ, ์ด ๋ชจ๋“  ๊ฒƒ๋“ค์€ ๊ทธ ์‚ฌํšŒ๋ฅผ ์ „์ฒด์ ์œผ๋กœ ๋ณผ ๋•Œ ๋น„๋กœ์†Œ ์ ์ ˆํ•˜๊ฒŒ ์ดํ•ด๋  ์ˆ˜ ์žˆ๋‹ค. ๋‚˜์˜ ์ž‘ํ’ˆ ์ค‘ ์ผ๋ถ€๋Š” ์›๊ฑฐ๋ฆฌ์—์„œ ์ฐ์€ ๊ฒƒ์ฒ˜๋Ÿผ ๋ณด์ด๊ณ  ๊ทธ ์†์— ๋“ค์–ด์žˆ๋Š” ์‚ฌ๋žŒ๋“ค๊ณผ ๊ณ ์ธต ๋นŒ๋”ฉ๋“ค์€ ์‹ค์ œ ๋ชจ์Šต๊ณผ ๋‹ค๋ฅด๊ฒŒ ๋ณด์ผ ์ˆ˜๋„ ์žˆ๋‹ค.

๋ชจ๋“  ๊ฐ€๋Šฅ์„ฑ๊ณผ, ๊ทน๋ช…ํ•˜๊ฒŒ ๋Œ€๋น„๋˜๋Š” ์—ฌ๋Ÿฌ ๊ฐ€์ง€ ๋ชจ์Šต๋“ค ๊ทธ๋ฆฌ๊ณ  ์–ด๋””๋ฅผ ๋Œ์•„ ๋ณด๋“  ๋ˆˆ์— ๋“ค์–ด์˜ค๋Š” ์ด๊ตญ์ ์ธ ํ’๊ฒฝ๋“ค๋กœ ๊ฐ€๋“ํ•œ ๋Œ€๋‹จํ•œ ๋„์‹œ๋ผ๋Š” ์ ์—๋Š” ์˜์‹ฌ์˜ ์—ฌ์ง€๊ฐ€ ์—†๋‹ค. ์—ฌ๋Ÿฌ๋ถ„์ด ๋ฐ”๋ผ๋ณด๋Š” ๊ฒƒ์ด ์–ด๋–ค ๊ฒƒ์ด๋“  ๊ฐ„์—, ํ˜„๋Œ€์™€ ์ „ํ†ต์ด ์™„๋ฒฝํ•˜๊ฒŒ ์กฐํ™”๋ฅผ ์ด๋ฃจ๋ฉฐ ๊ณต์กดํ•˜๊ณ  ์žˆ๋Š”, ๊ฑด์ถ•ํ•™์ƒ์œผ๋กœ ๋ณผ ๋•Œ ์ด ํ˜ผ๋ž€์Šค๋Ÿฌ์šด ๋„์‹œ ์†์—์„œ ๊ทธ๊ฒƒ์„ ์ฐพ๊ฒŒ ๋  ๊ฒƒ์ด๋‹ค. ๋ฐฉ์ฝ•๊ณผ ์ด ๋„์‹œ์˜ ์‚ฌ๋žŒ๋“ค์€ ๋…ํŠนํ•˜๋‹ค.

๋‚˜๋Š” ๋ฐฉ์ฝ•์„ โ€œ์˜ˆ์˜๋‹คโ€ ๋˜๋Š” โ€œ๋‚˜์˜๋‹คโ€๋“ฑ์˜ ์‹œ๊ฐ์œผ๋กœ ๋ณด๊ณ  ์‹ถ์ง€ ์•Š๋‹ค. ๋น„๋ก ์ด๋Ÿฐ ์ ๋“ค์ด ๋•Œ๋•Œ๋กœ ๊ฐ„๊ณผ๋˜์ง€๋งŒ, ์ด ์ ์€ ํ˜„์žฌ ์ผ์–ด๋‚˜๊ณ  ์žˆ๋Š” ๊ฒƒ์ฒ˜๋Ÿผ ๋ณด์ด๋Š” ์ผ์˜ ์ธก๋ฉด์ด๋‹ค. ์ด๊ฒƒ์€ ๋ฐฉ์ฝ•์˜ ์ƒํ™œ์ƒ์˜ ํ•œ ๋‹จ๋ฉด์ด๋‹ค. ์ˆ˜๋„ ๋ฐฉ์ฝ•์˜ ์„ฑ์žฅ ๋ฐœ์ „์ด ๋ฐฉ์ฝ• ์‹œ๋ฏผ๋“ค์˜ ์š•๊ตฌ์™€ ์ผ์น˜ํ•˜์ง€ ์•Š์„ ๋•Œ ๋ฐœ์ƒํ•˜๋Š” ๊ฐˆ๋“ฑ๋ฟ๋งŒ ์•„๋‹ˆ๋ผ, ๋ฐฉ์ฝ•๊ณผ ๊ทธ ๊ณณ์˜ ์ฃผ๋ฏผ๋“ค ์‚ฌ์ด์— ์–ด๋–ค ๊ด€๊ณ„๊ฐ€ ๋งบ์–ด ์ง€๋Š”์ง€ ๋ณด์—ฌ์ฃผ๊ณ  ์‹ถ๋‹ค.

Ohm Phanphiroj

๋ฐฉ์ฝ•์€ ์ˆ˜๋งŽ์€ ์ง€์—ญ์œผ๋กœ ๊ตฌ์„ฑ๋˜์–ด ์žˆ๋‹ค. ๊ทธ๋Ÿฌ๋‚˜ ๊ตฌ ์‹œ๊ฐ€์ง€์™€ ์‹  ์‹œ๊ฐ€์ง€๋Š” ๋†€๋ž๊ฒŒ๋„ ์กฐํ™”๋กญ๊ฒŒ ์œตํ™”๋˜๊ณ  ์žˆ๋‹ค. ๋ฐฉ์ฝ•์€ ์‚ด์•„ ์›€์ง์ด๋Š” ๋„์‹œ์ด๋‹ค. ๋ฐฉ์ฝ•์— ์‚ด๋ฉด์„œ ๋ฐ”๊นฅ์„ ๋‚ด๋‹ค๋ณด๋ฉด - ์•„๋ฌด๋„ ๋ณด์ด์ง€ ์•Š๋”๋ผ๋„ - ์—ฌ๋Ÿฌ๋ถ„์€ ์ƒ์ƒํ•œ ์‚ถ์˜ ๋ชจ์Šต์„ ๋ณด๊ฒŒ ๋œ๋‹ค. ๊ธˆ๋ฐฉ ๋ณด์ด์ง€ ์•Š๋Š”๋‹ค๋ฉด, ์—ฌ๋Ÿฌ๋ถ„์€ ์•„๋งˆ๋„ ๊ทธ ๋„์‹œ์˜ ์ฐธ ๋ชจ์Šต์„ ์˜์˜ ๋ชป ๋ณด๊ฒŒ ๋ ์ง€๋„ ๋ชจ๋ฅธ๋‹ค.

๋‚˜์˜ ์ผ๋ จ์˜ ์ž‘ํ’ˆ๋“ค์€ ๋ฐฉ์ฝ•์˜ ์ˆจ์€ ๋น„๊ฒฝ์„ ์ฐพ์•„๋‚ด๊ณ  ๊ทธ ๋„์‹œ์˜ ๊ฒฝ๊ด€์ด ๋‚ฎ๊ณผ ๋ฐค์— ์–ด๋–ป๊ฒŒ ๋‹ค๋ฅธ ๋ชจ์Šต์„ ์—ฐ์ถœํ•˜๋Š”์ง€ ๋ณด์—ฌ์ฃผ๊ณ  ์žˆ๋‹ค. ๋ฐฉ์ฝ• ์‹œ๋‚ด์—์„œ ์ฐจ๋ฅผ ๋ชฐ๊ณ  ๋‹ค๋‹ˆ๋ฉด์„œ ์ด ๋„์‹œ์˜ ๋ชจ์Šต์„ ์ˆ˜๋งŽ์€ ์‚ฌ์ง„์œผ๋กœ ๋‹ด์•˜๋‹ค. ์ƒ‰๋‹ค๋ฅธ ๊ฒƒ์ด๋‚˜ ํฅ๋ฏธ๋กญ๊ฒŒ ์‹œ์„ ์„ ์‚ฌ๋กœ์žก๋Š” ๊ฒƒ์ด ์žˆ์œผ๋ฉด ์–ธ์ œ๋“ ์ง€ ์ฐจ๋ฅผ ์„ธ์šฐ๊ณ  ๋‚˜๊ฐ€์„œ ์‚ฌ์ง„์„ ์ฐ๋Š”๋‹ค.

164p ๋‚ด๊ฐ€ ๋ณด์—ฌ์ฃผ๊ณ  ์‹ถ์€ ๊ฒƒ์€ ์‹ ๋‚˜๋Š” ์ผ, ๋“œ๋ผ๋งˆ ๊ฐ™์€ ์‚ฌ๊ฑด, ๋ฏธ์Šคํ„ฐ๋ฆฌ ๊ทธ๋ฆฌ๊ณ  ๋ฏธ์ฒ˜ ์ƒ๊ฐํ•˜์ง€ ๋ชปํ–ˆ๋Š”๋ฐ ๋งŒ๋‚˜๊ฑฐ๋‚˜ ๊ฒช๊ฒŒ ๋˜๋Š” ์ผ, ์ด๋Ÿฌํ•œ ๊ฒƒ๋“ค๋กœ ๊ฐ€๋“ ์ฐฌ ๋„์‹œ๋กœ์„œ์˜ ๋ฐฉ์ฝ•์ด๋‹ค. ์ด๋Ÿฌํ•œ ๊ฒƒ๋“ค์€ ์งœ๋ฆฟํ•  ์ •๋„๋กœ ์‹ ๋‚˜์ง€๋งŒ, ๋™์‹œ์— ์œ„ํ—˜ํ•˜๊ธฐ๋„ ํ•˜๋‹ค. ๋‚ด๊ฐ€ ๋ณผ ๋•Œ ๋ฐฉ์ฝ•์€ ๋ณผ๊ฑฐ๋ฆฌ๊ฐ€ ๋งŽ์€, ๋ฐฉ๋ฌธํ•  ๊ฐ€์น˜๊ฐ€ ์žˆ๋Š” ํ›Œ๋ฅญํ•œ ๋„์‹œ์ด๋‹ค. ์ด ๋„์‹œ๋Š” ์—ฌ๋Ÿฌ ๊ฐ€์ง€ ๋‹ค์–‘ํ•œ ๋ชจ์Šต์„ ์ง€๋‹ˆ๊ณ  ์žˆ๋‹ค: ์ฆ‰, ๋”๋Ÿฝ๊ณ , ์žˆ๋Š” ๊ทธ๋Œ€๋กœ ๋…ธ์ถœ๋˜์–ด์žˆ๊ณ , ์ƒ๊ธฐ๊ฐ€ ๋„˜์น˜๋ฉฐ, ๊ฐ€๊ณ  ์‹ถ์„ ์ •๋„๋กœ ๋งˆ์Œ์„ ๋„๋Š” ๊ทธ๋Ÿฐ ๋„์‹œ์ด๋‹ค. ๋”ฐ๋ผ์„œ ์ด ๋„์‹œ์— ์˜ค๊ฒŒ ๋˜๋ฉด ๋น„๋ฐ€์Šค๋Ÿฌ์›Œ์ง€๊ณ , ๋ชจํ—˜์‹ฌ์ด ์ผ์–ด๋‚˜๋ฉฐ ์•ฝ๊ฐ„์˜ ๋งˆ์Œ์˜ ์ผํƒˆ ๋“ฑ์ด ํ—ˆ์šฉ๋˜๋Š” ๋“ฏ ํ•˜๋‹ค. ๋‚˜์—๊ฒŒ ์žˆ์–ด์„œ, ๋ฐฉ์ฝ•์ด์•ผ๋ง๋กœ, ์—ฌํ–‰์ž๊ฐ€ ๋ณด๊ณ  ๊ฒฝํ—˜ํ•˜๋„๋ก ๋ชจ๋“  ๊ฒƒ์„ ์ œ๊ณตํ•ด ์ฃผ๋Š” ์„ธ๊ณ„์—์„œ ์œ ์ผํ•œ ๋„์‹œ์ธ ๊ฒƒ ๊ฐ™๋‹ค. ์–ด๋Š ์ˆœ๊ฐ„์—๋„, ๋ฐฉ์ฝ•์€ ์ฒœ๊ตญ์ด๋ฉด์„œ ๋™์‹œ์— ์ง€์˜ฅ์ด๊ธฐ๋„ ํ•˜๋‹ค.

Dow Wasiksiri ๋‚˜์˜ ๋ฐฉ์ฝ• ์ปฌ๋ ‰์…˜์—๋Š” ํ˜ธ๊ธฐ์‹ฌ์„ ๊ฐ€๋“ ๋‹ด์€ ๋ˆˆ์œผ๋กœ ๋ฐฉ์ฝ•์˜ ์ƒํ™œ์ƒ์„ ๋‹ด์€ ์‚ฌ์ง„๋“ค์ด ๋‹ด๊ฒจ ์žˆ๋‹ค. ๋ฐฉ์ฝ•์€ ๊ฐ€์žฅ ์ž˜ ์ดํ•ด๋˜์ง€ ์•Š๋Š” ๋„์‹œ์ค‘์˜ ํ•˜๋‚˜ ์ด๋ฉด์„œ๋„, ์„ธ๊ณ„์—์„œ ์—ฌํ–‰์ž๋“ค์ด ๊ฐ€์žฅ ๋งŽ์ด ์ฐพ๋Š” ๋„์‹œ์ค‘์˜ ํ•˜๋‚˜ ์ด๋‹ค. ๋‚˜๋Š” ํƒœ๊ตญ์ธ๋“ค์ด ํ•˜๋ฃจ ํ•˜๋ฃจ๋ฅผ ๋ณด๋‚ด๋Š” ๋ฐฉ๋ฒ•์œผ๋กœ ์ด ๊ณณ์—์„œ ์ƒํ™œํ•œ๋‹ค. ์ฆ‰ ํƒœ๊ตญ์ธ๋“ค์˜ ์œ ๋จธ๋ฅผ ์ดํ•ดํ•˜๊ณ  ํ™œ์šฉํ•˜๋Š” ๊ฒƒ์ด๋‹ค. ํ‰๋‚ด ๋‚ด๊ฑฐ๋‚˜ ์ผ๋ฐ˜ํ™”ํ•ด์„œ ๊ตฌ๋ณ„ํ•˜๊ฑฐ๋‚˜ ํ•˜๋ ค๊ณ  ํ•˜์ง€ ์•Š๊ณ  ๊ทธ์ € ์•Œ๊ณ  ์žˆ๋‹ค๋Š” ๋“ฏ ๋ฏธ์†Œ๋ฅผ ์ง“๋Š”๋‹ค. ๋‚˜๋Š” ์ด ์ปฌ๋ ‰์…˜์„, ์šฐ๋ฆฌ๊ฐ€ ์šฐ๋ฆฌ ์ž์‹ ์—๊ฒŒ ๋ฌด์—‡์„ ํ–ˆ์œผ๋ฉฐ ์šฐ๋ฆฌ๊ฐ€ ํ˜„๋Œ€ํ™” ๊ณผ์ •์„ ์–ด๋–ป๊ฒŒ ๋ฐ›์•„๋“ค์ด๊ณ  ์šฐ๋ฆฌ ์ž์‹ ์˜ ์ผ๋ถ€๋กœ ๋งŒ๋“ค์—ˆ๋Š”์ง€์— ๋Œ€ํ•ด ๋˜์ƒˆ๊ฒจ ๋ณด๋Š” ํƒœ๊ตญ์ธ์˜ ์ž์„œ์ „ ์‚ฌ์ง„์ฒฉ์œผ๋กœ ์ƒ๊ฐํ•˜๊ณ  ์žˆ๋‹ค. ๊ณผ์žฅ๋œ ํ™๋ณด์—์„œ๋ถ€ํ„ฐ ๋™์–‘์ ์ธ ๋กœ๋งจ์Šค, ์™ธ์„ค์Šค๋Ÿฌ์šด ์ด์•ผ๊ธฐ๋“ค์— ์ด๋ฅด๊ธฐ๊นŒ์ง€ ์žฌ๋ž˜์‹ ์‹œ๊ฐ์œผ๋กœ ๋ณธ ๋ฐฉ์ฝ•์—๋Œ€ํ•˜์—ฌโ€œํ˜„์‹ค์ง์‹œโ€๋ผ๋Š”ํ™”๋‘๋ฅผ๋˜์ง€๊ณ ์‹ถ์—ˆ๋‹ค.20๋…„๋™์•ˆ,๋‚˜์˜์นด๋ฉ”๋ผ๋ Œ์ฆˆ๋Š”ํƒœ๊ตญ์ธ๋“ค์ด ์ƒํ™œ ์†์—์„œ ๋Š˜ ๊ฐ€์ง€๊ณ  ์žˆ๋Š” ์‚ฌ๊ณ ๋ฐฉ์‹์„ ํƒ๊ตฌํ–ˆ๋‹ค. ๋‚˜์˜ ์ž‘ํ’ˆ๋“ค์€ ๊ณต๊ณต์žฅ์†Œ์—์„œ ๋‚ด๊ฐ€ ๋งŒ๋‚œ ํƒœ๊ตญ์ธ๋“ค๊ณผ ์ฃผ๋ณ€์˜ ํ’๊ฒฝ๋“ค์„ ์•„๋ฌด๋Ÿฐ ํŒ๋‹จ์„ ํ•˜์ง€ ์•Š๊ณ  ๊ทธ๋Œ€๋กœ ๋ณด์—ฌ์ค€๋‹ค. ๋‚˜๋Š” ๋ถˆ๊ต์‹ ์ž๋กœ์„œ, ์ฃผ๋ณ€์˜ ์ƒํ™ฉ์„ ๊ฐ๊ด€์ ์œผ๋กœ ๋‹ค๋ฃจ๋Š” ๊ฒƒ์„ ๋ฐฐ์šฐ๋ฉด์„œ ์ž๋ž๋‹ค. ์ด๊ฒƒ์€ ์‰ฌ์šด ์ผ์ด ์•„๋‹ˆ์ง€๋งŒ, ๊ฝค ์“ธ๋ชจ ์žˆ๋Š” ํ›ˆ๋ จ์ด ๋œ๋‹ค. ์˜ˆ๊ธฐ์น˜ ๋ชปํ–ˆ๋˜ ๊ฒƒ์„ ๋งž๋‹ฅ๋œจ๋ฆฌ๊ฒŒ ๋˜๋ฉด ์ด๊ฒƒ์„ ๋ Œ์ฆˆ์— ๋‹ด๊ณ  ๋ฐ”๋กœ ์žŠ์–ด ๋ฒ„๋ฆฐ๋‹ค. ๋‚ด๊ฐ€ ์‚ฌ์ง„์— ๋‹ด๋Š” ์‚ฌ๋žŒ๋“ค์€ ์ด๋ฒคํŠธ๋‚˜ ๋ชจ์ž„์—์„œ ํ”ํžˆ ๋‹๋ณด์ด๋Š” ์‚ฌ๋žŒ๋“ค๊ณผ๋Š” ๋‹ฌ๋ฆฌ ์นด๋ฉ”๋ผ์— ์ฐํžˆ๊ธฐ ์œ„ํ•ด ๊น”๋”ํ•˜๊ฒŒ ์ค€๋น„ํ•œ ์‚ฌ๋žŒ๋“ค์ด ์•„๋‹ ์ˆ˜๋„ ์žˆ๋‹ค. ๊ทธ๋Ÿฌ๋‚˜ ๊ทธ๋“ค์˜ ๋ชจ์Šต์€ ์‹์Šต๊ด€๊ณผ ์ข…๊ต ์˜์‹์—์„œ๋ถ€ํ„ฐ์‹ฌ์ง€์–ดํ—ค์–ด์Šคํƒ€์ผ์—์ด๋ฅด๊ธฐ๊นŒ์ง€๋ฐฉ์ฝ•์ฃผ๋ฏผ๋“ค์ด์ผ์ƒ์—์„œ์ฆ‰ํฅ์ ์ด๊ณ ๋„ํ”ํžˆํ•˜๋Š” ์ƒํ™œ ๋ฐฉ์‹์„ ๋ณด์—ฌ ์ฃผ๊ณ  ์žˆ๋‹ค. ์‹ค์ œ๋กœ ์™ธํ–ฅ์ ์ธ ์„ฑํ–ฅ์˜ ๋ฐฉ์ฝ• ์‚ฌ๋žŒ๋“ค์€ ์žฌ๋ฏธ์žˆ๋Š” ๊ธฐ์งˆ์„ ๋œปํ•˜๋Š”, ์•ฝ๋ฐฉ์˜ ๊ฐ์ดˆ ๊ฐ™์€ ๋‹จ์–ด โ€˜์‚ฌ๋ˆ„ํฌโ€™๋ฅผ ์œ„ํ•œ ์ผ์ด๋ผ๋ฉด ์–ธ์ œ๋“ ์ง€ ์‚ฌ์ง„์˜ ๋ชจ๋ธ์ด ๋˜๋Š” ๊ฒƒ์„ ์ฆ๊ธด๋‹ค. ๋‚ด ์ž‘ํ’ˆ์— ๊ฐ€๋“ํžˆ ๋“ค์–ด ์žˆ๋Š” ์ƒ‰์กฐ๋“ค์ด ์–ด์ฉŒ๋ฉด ์ž์—ฐ์Šค๋Ÿฝ์ง€ ์•Š๊ฒŒ ๋ณด์ผ ์ˆ˜ ๋„ ์žˆ๋‹ค. ๊ทธ๋Ÿฌ๋‚˜ ๋ฐฉ์ฝ•์€ ์–ธ์ œ๋‚˜ 2์ฐจ์›์˜ ์ธํ™”๋œ ์‚ฌ์ง„์ด ํ‘œํ˜„ํ•˜๋Š” ๊ฒƒ ๋ณด๋‹ค ๋” ์ƒ๋™๊ฐ ์žˆ๊ณ  ํ™œ๊ธฐ์ฐจ๋‹ค. ๋ฐฉ์ฝ•์—์„œ ๊ฒฝํ—˜ํ•˜๊ฒŒ ๋˜๋Š” ์ˆ˜๋งŽ์€ ์ˆœ๊ฐ„ ์ˆœ๊ฐ„์€ ์ „ํ˜€ ์˜ˆ์ƒ์น˜ ๋ชปํ–ˆ๋˜ ๊ฒƒ๋“ค์ด๋‹ค. ๊ทธ๋ž˜์„œ ๋ง‰์—ฐํ•˜๊ฒŒ ๋ฐฉ์ฝ•์„ ์ฐพ๋Š” ์‚ฌ๋žŒ๋“ค์—๊ฒŒ๋Š” ๋ฐฉ์ฝ•์˜ ํŠน๋ณ„ํ•œ ๋„์‹œ ๋ฆฌ๋“ฌ๊ณผ ๋ฐฉ์ฝ•์˜ ์šฐ์„ ์ˆœ์œ„ ๋“ฑ์ด ์–ด์ˆ˜์„ ํ•˜๊ณ  ์ด์ƒํ•˜๊ฒŒ ๋ณด์ผ ์ˆ˜ ๋„ ์žˆ๋‹ค. ์ด๋Ÿฌํ•œ ์‹ ๋น„๊ฐ์„ ๋” ํ˜ผ๋ž€์Šค๋Ÿฝ๊ฒŒ ๋งŒ๋“œ๋Š” ๊ฒƒ์€, ํƒœ๊ตญ ์‚ฌ๋žŒ๋“ค ์ž์‹ ๋“ค์ด ๋งŒ๋“ค์–ด ๋‚ด๊ณ  ํƒœ๊ตญ์„ ์ฐพ๋Š” ์™ธ๊ตญ์ธ๋“ค์—๊ฒŒ ์ Š์ž–์€ ํƒœ๋„๋กœ ๋น„์ณ์ง€๋Š”, ์ด์ƒํ™”๋œ โ€˜ํƒœ๊ตญ์Šค๋Ÿฌ์›€โ€™์˜ ์ด๋ฏธ์ง€์ด๋‹ค. ์ด๋Ÿฌํ•œ ๋ฌด์ˆ˜ํžˆ ํ™๋ณด๋œ ํƒœ๊ตญ๊ณผ ๋ฐฉ์ฝ•์˜ ์ด๋ฏธ์ง€๋Š” ์—ฐ์ถœ๋˜๊ณ  ๊ณผ์žฅ๋œ ๊ฒƒ์œผ๋กœ์„œ ๋†€๋ž๊ฒŒ๋„ ๋ถ€์ž์—ฐ์Šค๋Ÿฌ์›€๊ณผ ํ˜„์‹ค์ด ๋‚˜๋ž€ํžˆ ์„ž์—ฌ์„œ ํ‘œ์ถœ๋˜๊ณ  ์žˆ๋Š” ๊ฒƒ์ด๋‹ค. ์ด๋Ÿฌํ•œ ์‹œ๊ฐ์„ ํ†ตํ•ด์„œ, ๋‚˜๋Š” ๋ชจ๋“  ์žฅ๋‚œ๊ธฐ ์„ž์ธ ๋ชจ์ˆœ๋œ ์ธก๋ฉด ์†์—์„œ ๋ฐฉ์ฝ• ์‚ฌ๋žŒ๋“ค์ด ๋ถ€์ง€๋ถˆ์‹๊ฐ„์— ํ–‰ํ•˜๋Š” ํ–‰๋™์„ ์ž‘ํ’ˆ ์†์—์„œ ๋‚˜ํƒ€๋‚ด๋Š” ๊ฒƒ์ด ๋ชฉ์ ์ด๋‹ค. ์ „์ฒด์ ์œผ๋กœ ๋ด์„œ, ๋‚˜์˜ ์ปฌ๋ ‰์…˜์€ ๋‚ด๊ฐ€ ํƒœ๊ตญ์— ๊ด€ํ•ด์„œ ๋‹ด๊ณ  ์žˆ๋Š”, ๋ณ€ํ™”ํ•˜๊ณ  ์žˆ๋Š” ์‚ฌ๋žŒ๋“ค์˜ ๋ชจ์Šต์—์„œ ๋‚˜ํƒ€๋‚œ ๊ด‘๊ฒฝ์„ ๋ณด์—ฌ์ฃผ๋Š” ํฐ ๋ฉ์น˜์˜ ์ž‘ํ’ˆ ์„ธ๊ณ„์˜ ์ž‘์€ ๋ถ€๋ถ„์ผ ๋ฟ์ด๋‹ค. ๋ฐฉ์ฝ•์˜ ๋„์‹œ ํ’๊ฒฝ๊ณผ ํƒœ๊ตญ์˜ ๋Œ€์ค‘ ๋ฌธํ™”์— ํ‘œ์ถœ๋œ ์ด ์ฃผ์ œ๋“ค์€ ํƒœ๊ตญ์˜ ์ธ์ ‘๊ตญ๊ฐ€๋“ค์ด ์ด๋ฃจ๊ณ  ์žˆ๋Š” ํ˜ผํ•ฉ๋œ ์–‘์‹์˜ ๊ฐœ๋ฐœ ์†์—์„œ๋„ ๋‘๋“œ๋Ÿฌ์ง€๊ณ  ์žˆ๋‹ค. ์ฆ‰, ์ „ํ†ต๊ณผ ์ถฉ๋Œํ•˜๋ฉด์„œ ๋“ค์–ด์˜ค๋Š” ์„ธ๊ณ„ํ™”์˜ ๋ฌผ๊ฒฐ์˜ ํ›„์œ ์ฆ์ด๋ผ๊ณ  ํ•  ์ˆ˜ ์žˆ๋‹ค. ๊ทธ๋Ÿฌํ•œ ์ถฉ๋Œ์ด ์•„๋ฌด๋ฆฌ ๊ฐ•๋ ฅํ•˜๋”๋ผ๋„, ํƒœ๊ตญ ์ธ๋“ค์€ ๊ทธ์ € โ€˜๋ฏธ์†Œโ€™๋กœ ์ž˜ ๋Œ€์ฒ˜ํ•˜๊ณ  ์žˆ๋‹ค๊ณ  ๋ณธ๋‹ค.

Steven Pettifor ๋‚ด๊ฐ€ ์ž‘ํ’ˆ์— ๋‹ด์€ ์ด๋ฏธ์ง€์˜ ๋Œ€๋ถ€๋ถ„์€ ๋‚ด๊ฐ€ ์‚ฌ๋Š” ๋ฐฉ์ฝ•์˜ ์—์นด๋งˆ์ด ์ง€์—ญ์—์„œ ํŽผ์ณ์ง€๋Š” ์ƒ์ƒํ•œ ๋ชจ์Šต๋“ค์ด๋‹ค. ๋ฐฉ์ฝ•์˜ ๋Œ€๋ถ€๋ถ„์˜ ์ง€์—ญ๊ณผ ๋งˆ์ฐฌ๊ฐ€์ง€๋กœ, ๋‚ด๊ฐ€ ์‚ด๊ณ  ์žˆ๋Š” ์ง€์—ญ์€ ๊ณ ๊ธ‰ํ™”๋˜๊ณ  ๋™์ผ ํ˜•ํƒœ์˜ ์ฃผํƒ๋“ค์ด ๋“ค์–ด์„œ๊ณ  ๋งŽ์€ ๊ณต๊ฐ„๋“ค์ด ๊ฐœ๋ฐœ๊ณผ ๊ฑด์ถ•์œผ๋กœ ๋ฐ€๋ฆฌ๊ฒŒ ๋จ์— ๋”ฐ๋ผ ๋น ๋ฅธ ์†๋„๋กœ ๋ณ€ํ™”ํ•˜๊ณ  ์žˆ๋‹ค. ๋‚ด ์ž‘ํ’ˆ๋“ค์€ ์ฃผ๋ฏผ๋“ค์˜ ์ƒํ™œ์ƒ์— ์ดˆ์ ์„ ๋งž์ถ”์—ˆ๋Š”๋ฐ, ๋‚˜์˜ ๊ด€์‹ฌ์„ ๋„๋Š” ๊ฒƒ์€ ์ฃผ๋ฏผ๋“ค์˜ ์ผ์ƒ์ƒํ™œ์˜ ์žก๋‹คํ•˜๊ณ  ํฅ๋ฏธ๋กœ์šด ์†Œ์†Œํ•œ ์ธก๋ฉด์ด๋‹ค. ๋‚˜๋Š” ์‚ฌ์†Œํ•œ ๊ฒƒ์„ ๊ณ ์ฐจ์›์œผ๋กœ ๋Œ์–ด ์˜ฌ๋ฆฌ๊ธฐ๋ฅผ ์›ํ•œ๋‹ค.

168

Aloft Hotel

Aloft Hotel์€ 3๋…„ ์ „ ์ฒซ ์˜คํ”ˆ์„ ์‹œ์ž‘์œผ๋กœ ์„ธ๊ณ„์ ์ธ ํ˜ธํ…”์—…์˜ ์ƒˆ๋กœ์šด ์ง€ํ‰์„ ์—ด์—ˆ๋‹ค. Abu Dhabi, Dallas, Brussels์„ ๋น„๋กฏํ•ด ์ „์„ธ๊ณ„์ ์œผ๋กœ 55์—ฌ ๊ฐœ๊ตญ์— ๊ฑธ์ณ ์žˆ๋Š” Aloft Hotel์€ ๊ฐ๊ฐ์˜ ์Šคํƒ€์ผ์„ ๊ฐ€์ง€๊ณ  ์žˆ๋‹ค. 2012๋…„ 2์›” ํ™”๋ คํ•œ ์˜คํ”„๋‹๊ณผ ํ•จ๊ป˜ ๋ฐฉ์ฝ• ์ค‘์‹ฌ๋ถ€์— ์œ„์น˜ํ•œ Aloft Hotel - Sukhumvit 11์€ ์„ธ๊ณ„์ ์ธ ๋ช…์†Œ ์ค‘์˜ ํ•˜๋‚˜๊ฐ€ ๋˜์—ˆ๋‹ค. Nana BTS Sky ์ „์ฒ ์—ญ์—์„œ ๋ถˆ๊ณผ 5๋ถ„ ๊ฑฐ๋ฆฌ์— ์œ„์น˜ํ•œ Aloft Hotel - Sukhumvit 11์€ ๋ฐฉ์ฝ•์˜ ๊ฒฝ์Ÿ์ ์ธ ํ˜ธํ…”์‚ฐ์—… ์ค‘ ๋‹๋ณด์ด๋Š” ์—…์ฒด๋‹ค. ๋„์‹ฌ์—์„œ ์˜๊ฐ ๋ฐ›์€ ๋””์ž์ธ, ํ™˜ํ•œ ์†Œ์…œ ์ŠคํŽ˜์ด์Šค, ํ˜„๋Œ€์‹ ๊ฐ๊ฐ์ด ์–ด์šฐ๋Ÿฌ์ ธ296๊ฐ์‹ค ํ˜ธํ…”์€ ํ…Œํฌ๋†€๋กœ์ง€์— ์ต์ˆ™ํ•œ ํ˜„๋Œ€์ธ์—๊ฒŒ ๋งค๋ ฅ์ ์œผ๋กœ ๋‹ค๊ฐ€์˜จ๋‹ค. ๊ฒŒ์ŠคํŠธ๋ฃธ์€ ๋กœํ”„ํŠธ ํ˜•ํƒœ๋ฅผ ๋ ๊ณ  ์žˆ๋Š”๋ฐ 9ํ”ผํŠธ์— ๋‹ฌํ•˜๋Š” ์ฒœ์žฅ๊ณผ ๋Œ€ํ˜• ์ฐฝ๋ฌธ์œผ๋กœ ์œ ๋ช…ํ•˜๋‹ค. 300 ์ž์ˆ˜ ๋ฆฐ๋„จ ์‹œํŠธ, ๋ฌด๋ฃŒ ์™€์ดํŒŒ์ด, 42โ€ LCD TV, iPod/MP3 ๋„ํ‚น ์Šคํ…Œ์ด์…˜, ๋ฌด๋“œ์กฐ๋ช…๊ธฐ ๋“ฑ์˜ ์˜จ๊ฐ– ์„ค๋น„๊ฐ€ ๊ฐ–์ถฐ์ ธ ์žˆ๋‹ค. ์ด ์™ธ์—๋„ Blissยฎ Spa์—์„œ ์ œ๊ณตํ•˜๋Š” ๋Œ€ํ˜• ์š•์‹ค๊ณผ ๋งž์ถคํ˜• ์‹œ์„ค์„ ์ฆ๊ธธ ์ˆ˜ ์žˆ๋‹ค. Aloft Bangkok - Sukhumvit 11์€ ์—ฌํ–‰๊ฐ๋“ค์˜ ๊ธฐ๋Œ€์— ๋งž์ถฐ ๋„“์€ ์†Œ์…œ ์ŠคํŽ˜์ด์Šค๋ฅผ ๋ฐ˜์˜ํ•œ ์‚ฐ์—… ๋””์ž์ธ์  ์š”์†Œ๊ฐ€ ๋‹๋ณด์ธ๋‹ค. ๋ฐ”(w xyz SM), ์˜คํ”ˆ ๋ผ์šด์ง€(re:mix), ํ…Œ์ดํฌ์•„์›ƒ์ด ๊ฐ€๋Šฅํ•œ ๋ ˆ์Šคํ† ๋ž‘(re:fuel), ํ’€ ์„œ๋น„์Šค ํ”ผํŠธ๋‹ˆ์Šค ์„ผํ„ฐ(re:charge), ์‹ค์™ธ ์ˆ˜์˜์žฅ (splash)๊ณผ 265์—ฌ ํ‰๋ฐฉ์˜ ๋ฏธํŒ… ๊ณต๊ฐ„์„ ๊ฐ–์ถ”๊ณ  ์žˆ๋‹ค. w xyz SM ๋ฐ”๋Š” ์—๋„ˆ์ง€๊ฐ€ ํ๋ฅด๊ณ  ๊ฐ์ž์˜ ๊ฐœ์„ฑ์ด ๋’ค์„ž์ธ ๋„์‹ฌ์˜ ๋ถ„์œ„๊ธฐ๊ฐ€ ๋Š๊ปด์ง„๋‹ค. re:mix SM ์˜คํ”ˆ ๋ผ์šด์ง€๋„ ์ฃผ๋ชฉํ• ๋งŒํ•˜๋‹ค. ์‚ฌ๋žŒ๋“ค์ด ํŽธํ•˜๊ฒŒ ์ด์•ผ๊ธฐํ•˜๋ฉด์„œ, ์ˆ  ํ•œ์ž” ๋งˆ์‹œ๊ฑฐ๋‚˜ ์ฑ…์„ ์ฝ๊ฑฐ๋‚˜ ๋ฌด๋ฃŒ ์™€์ดํŒŒ์ด๋‚˜ ๊ฒŒ์ž„์„ ์ฆ๊ธฐ๊ธฐ์— ๋”ฑ ๋งž๋Š” ๊ณณ์ด๋‹ค. ํ…Œ์ดํฌ์•„์›ƒ๋ ˆ์Šคํ† ๋ž‘re:fuel์€์–ธ์ œ๋‚˜์—ด๋ ค์žˆ๋‹ค.๋‹ฌ์ฝคํ•œ๊ฐ„์‹๋ถ€ํ„ฐ๊ฑด๊ฐ•์‹๊นŒ์ง€โ€˜์‹ ์„ ํ•จ์ด์ตœ๊ณ โ€™๋ฅผ ์ž๋ถ€ํ•˜๋Š” ๋ฉ”๋‰ด๊ฐ€ ์‚ฌ๋žŒ๋“ค์˜ ์ž…๋ง›์„ ์ž๊ทนํ•œ๋‹ค. 24์‹œ๊ฐ„ ํ”ผํŠธ๋‹ˆ์Šค ์„ผํ„ฐ Re:charge๋Š” Life Fitness์‚ฌ์˜ ๋ฐ”์ดํฌ, ๋Ÿฌ๋‹๋จธ์‹ , ํƒ€์›ํ˜• ๊ธฐ๊ณ„๋ฅผ ๊ณจ๊ณ ๋ฃจ ๊ฐ–์ถ”๊ณ  ์žˆ๋‹ค. ๋ฐฉ์ฝ•์˜ ๋”์œ„์—์„œ ๋ฒ—์–ด๋‚˜๊ณ  ์‹ถ๋‹ค๋ฉด ํ˜ธํ…” ์‹ค์™ธ ์ˆ˜์˜์žฅ splashs๋ฅผ ๊ผญ ๊ฐ€์•ผ ํ•œ๋‹ค. Aloft Bangkok - Sukhumvit 11์€ 265ํ‰๋ฐฉ ๋ฏธํ„ฐ ๋ฏธํŒ… ๊ณต๊ฐ„์ด ์žˆ๋‹ค. ๋น„์ฆˆ๋‹ˆ์Šค ๋ฏธํŒ…์ด๋‚˜ ์†Œ๊ทœ๋ชจ ์„ธ๋ฏธ๋‚˜๋„ ๊ฐ€๋Šฅํ•˜๊ณ , ํ˜ธํ…” ๋ถ€๋Œ€ ์‹œ์„ค์€ 12์—์„œ ์ตœ๋Œ€ 70๋ช…๊นŒ์ง€ ๊ฒŒ์ŠคํŠธ๋ฅผ ์ˆ˜์šฉํ•  ์ˆ˜ ์žˆ๋‹ค. ํƒœ๊ตญ์—์„œ๋Š” ์ฒ˜์Œ ์˜คํ”ˆํ•œ Aloft Bangkok - Sukhumvit 11์€ ํ•ฉ๋ฆฌ์ ์ธ ๊ฐ€๊ฒฉ์œผ๋กœ ํ˜ธํ…” ์„œ๋น„์Šค๋ฅผ ์ œ๊ณตํ•œ๋‹ค.

166p

dusitD2 Baraquda

๋ฐฉ์ฝ•์—์„œ 90๋ถ„ ๊ฑฐ๋ฆฌ์— 24/7 ํ•ด๋ณ€๋„์‹œ ํŒŒํƒ€์•ผ๊ฐ€ ์žˆ๋‹ค. ๊ทธ ์ค‘์‹ฌ๋ถ€์—๋Š” dusitD2 Baraquda Pattaya ๊ฐ€ ์žˆ๋‹ค. ํŒŒํƒ€์•ผ์—๋Š” ํ•ด์•ˆ๊ฐ€, ์—”ํ„ฐํ…Œ์ธ๋จผํŠธ, ์‡ผํ•‘์„ผํ„ฐ, ์นดํŽ˜ ๋“ฑ ๋‹ค์–‘ํ•œ ๋†€๊ฑฐ๋ฆฌ์™€ ๋ณผ๊ฑฐ๋ฆฌ๊ฐ€ ๊ฐ€๋“ํ•˜์ง€๋งŒ, dusitD2 Baraquda Pattaya์— ์˜ค๊ฒŒ ๋˜๋ฉด ๋”์šฑ ํŠน๋ณ„ํ•œ ๊ฒฝํ—˜์„ ํ•˜๊ฒŒ ๋  ๊ฒƒ์ด๋‹ค. dusitD2 Baraquda Pattaya๋Š” ๋ง‘๊ณ  ํ‘ธ๋ฅธ ์ƒ‰์กฐ์˜ ๋ฌผ๊ฒฐ์— ์˜๊ฐ์„ ๋ฐ›์•„์„œ, ๋ฌผ, ๊ณต๊ธฐ, ์กฐ๋ช…์„ ํ…Œ๋งˆ๋กœ ๋””์ž์ธํ•œ ํŒŒํƒ€์•ผ ์ตœ์ƒ์˜ ๋””์ž์ธ ๋ถ€ํ‹ฐํฌ ํ˜ธํ…”์ด๋‹ค. ์ด ํž™ํ•œ ํ˜ธํ…”์€ ์ˆ˜๋ คํ•œ ๋””์ž์ธ์€ ๋ฌผ๋ก  ๊ผผ๊ผผํ•œ ์„œ๋น„์Šค์™€ ํŽธ์•ˆํ•˜๊ณ  ํฅ๊ฒจ์šด ๋ถ„์œ„๊ธฐ๋ฅผ ๊ฐ–์ถ”๊ณ  ์žˆ๋‹ค. ๋ฐœ์ฝ”๋‹ˆ๊ฐ€ ์žˆ๋Š” 72๊ฐœ์˜ ๊ฒŒ์ŠคํŠธ๋ฃธ๊ณผ ์Šค์œ„ํŠธ๋ฃธ์€ ์•ž์„œ ์„ค๋ช…ํ•œ ๋‹ค์–‘ํ•œ ์žฅ์ ์„ ๋ชจ๋‘ ๊ฐ–์ถ”๊ณ  ์žˆ๋Š” ๊ฒƒ์ด ํŠน์ง•. ๋ณต์ธต ์Šค์œ„ํŠธ๋ฃธ๊ณผ ์ŠคํŠœ๋””์˜ค๋Š” ์‹œํฌํ•œ ์ธํ…Œ๋ฆฌ์–ด์— ์›Œํ„ฐ ์ œํŠธ ์š•์กฐ๊ฐ™์€ ์ŠคํŒŒ์‹ ์š•์‹ค์„ ๊ฐ–์ถ”๊ณ  ์žˆ์–ด ๋งŽ์€ ์‚ฌ๋ž‘์„ ๋ฐ›๊ณ  ์žˆ๋‹ค. ๊ธฐ๋…ํ’ˆ ์‡ผํ•‘์ด๋‚˜ ๊ทผ์ฒ˜ ์‚ฐํ˜ธ์ดˆ ์Šค์ฟ ๋ฒ„๋‹ค์ด๋น™์„ ํ•˜๊ณ  ์‹ถ๋‹ค๋ฉด, ์–ธ์ œ๋“  dustiD2 ๋ฐ์Šคํฌ์˜ ํŽธ๋ฆฌํ•œ ์˜ˆ์•ฝ ์‹œ์Šคํ…œ์„ ์ด์šฉํ•˜๋ฉด ๋œ๋‹ค. ํ˜ธํ…” ๋‚ด๋ถ€ ์ŠคํŒŒ dโ€™spa ์—์„œ๋Š” ์—ฌํ–‰๊ฐ๋“ค์„ ํŽธ์•ˆํ•˜๊ฒŒ ํ•ด์ฃผ๊ธฐ ์œ„ํ•ด์„œ, ํ…Œ๋ผํ”ผ๋ฅผ ์ œ๊ณตํ•œ๋‹ค. ํ˜ธํ…”์˜ ์‹œ๊ทธ๋‹ˆ์ณ ๋ ˆ์Šคํ† ๋ž‘ s.e.a์—์„œ๋Š” ๋™๋‚จ์•„์‹œ์•„์˜ ๋งคํ˜น์ ์ธ ํ–ฅ์‹ ๋ฃŒ๋ฅผ ์‚ฌ์šฉํ•œ ์Œ์‹๋ถ€ํ„ฐ ๊ตญ์ œ์ ์ธ ์š”๋ฆฌ๊นŒ์ง€, ์˜คํ”ˆ ํ‚ค์นœ ํ˜•ํƒœ๋กœ ์˜จ๊ฐ– ์‹๋„๋ฝ์„ ์ฆ๊ธธ ์ˆ˜ ์žˆ๋‹ค. ๋งˆ์น˜ ์ปค๋‹ค๋ž€ ๊ณ ๋ž˜๋ฅผ์—ฐ์ƒ์ผ€ํ•˜๋Š”๊ณก์„ ์œผ๋กœ๋””์ž์ธ๋œ์ˆ˜์˜์žฅ๋ฐ”์—์„œ๋Š”์–ธ์ œ๋“ ์ง€๊ฐ„์‹์ด๋‚˜๊ฑด๊ฐ•์Œ๋ฃŒ๊ฐ€์ค€๋น„๋˜์–ด ์žˆ๋‹ค. ๋˜ํ•œ ํ˜ธํ…” ๊ฑด๋ฌผ์˜ ์˜ฅ์ƒ์— ๋งˆ๋ จ๋˜์–ด ์žˆ๋Š” sunset lounge์—์„œ๋Š” ์นตํ…Œ์ผ ํ•œ ์ž”์„ ๋งˆ์‹œ๋ฉฐ ํ•ด๊ฐ€ ์ง€๋Š” ํŒŒํƒ€์•ผ ์žฅ๊ด€์„ ๋ณผ ์ˆ˜ ์žˆ๋‹ค. ์ˆ˜์ค‘์— ์œ„์น˜ํ•œ deep bar ์—์„œ๋Š” ํƒœ๊ตญ ๊ทธ๋ฃจ๋ธŒ์™€ ์œ ๋ช… DJ๋“ค์˜ ์Œ์•…์„ ์ฆ๊ธธ ์ˆ˜ ์žˆ๋‹ค. ๋น„์ฆˆ๋‹ˆ์Šค๋ฅผ ์œ„ํ•ด ๋จธ๋ฌด๋Š” ๊ณ ๊ฐ๋“ค์„ ์œ„ํ•œ ๋””์ž์ธ๊ณผ ์„œ๋น„์Šค๋„ ์žˆ๋‹ค. ์ž์—ฐ๊ด‘์ด ๋น„์ทจ๋Š” ์ตœ์‹  ํ…Œํฌ๋†€๋กœ์ง€๋ฅผ ๊ฐ–์ถ˜ 2 ๊ฐœ์˜ ๋ฏธํŒ…๋ฃธ์—์„œ ๋น„์ฆˆ๋‹ˆ์Šค ์ „๋žต์„ ์„ธ์šฐ๊ธฐ์— ์ตœ๊ณ ์ด๋‹ค. ํŠนํžˆ Koh Larn ์‚ฐํ˜ธ์„ฌ์˜ ๋ฐฑ์‚ฌ์žฅ์€ ํŽ˜๋ฆฌ๋กœ 20๋ถ„๊ฑฐ๋ฆฌ์— ์žˆ๋‹ค. ํŽธ์•ˆํ•˜๊ณ  ์„ธ๋ จ๋œ dusitD2 Baraquda Pattay์—์„œ๋Š” ํ•ด๋ณ€ ํœด์–‘์ง€์— ์˜ค๋ฉด ์ฆ๊ธธ ์ˆ˜ ์žˆ๋Š” ๋ชจ๋“  ๊ฒƒ์ด ์žˆ๋‹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 Bangkokโ€™s 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 todayโ€™s 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. Hotelโ€™s one stop grab-and-go cafรฉ, re:fuel by AloftSM, presents a welcome change for travelers on the move. Its innovative eating options and โ€œfresh-is-bestโ€ menu will have something to excite your palate from sweet treats to healthy eats at any hour of day. re:charge, hotelโ€™s 24-hour fitness center, includes stationary bikes, treadmills, and elliptical machines from Life Fitness. The hotelโ€™s refreshing outdoor pool splash is perfect for taking a quick dip or relaxing respite from Bangkokโ€™s 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 hotelโ€™s tactic facilities can accommodate 12 to 70 guests with ease. Aloft Bangkok - Sukhumvit 11 Aloftโ€™s 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


171


advertorial

dusitD2 Baraquda

Located just a 90-minute drive from Bangkok awaits the 24/7 beachfront city of Pattayaโ€”and, at its heart, dusitD2 Baraquda Pattaya. Though the cityโ€™s 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 Pattayaโ€™s new kid on the block. Inspired by the brilliant blue jeweled hues of the sea, the hotelโ€™s 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 Dโ€™suites and studio suites feature ultra-chic interiors and spa-like bathrooms complete with water jet tubs. Whether itโ€™s shopping for souvenirs or scuba diving along the reef of an island nearby, dusitD2โ€™s desk agents can assist with arrangements and access to keep guestsโ€™ minds at ease, while the dโ€™spa offers soothing therapies to address travelersโ€™ every personal maintenance need. The hotelโ€™s 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, Thailandโ€™s 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 barโ€”the 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 monthโ€™s โ€˜Bangkok Special Edition,โ€™ ELOQUENCE is now available in all of the cityโ€™s major galleries and cultural spaces. As a way to announce its arrival on Bangkokโ€™s creative scene, ELOQUENCE threw an official launch party at the Ramada Encore Hotel on February 9. Thanks to all the guests from Bangkokโ€™s 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

์ •๊ธฐ๊ตฌ๋…์„ ์›ํ•˜์‹œ๋Š” ๋ถ„์€ ์‹ ์ฒญ๋ฉ”์ผ์„ ๋ณด๋‚ด์ฃผ์„ธ์š”.

eloquence.creators@gmail.com ๊ณ„์ขŒ์ •๋ณด:Transfer account: ์‹ ํ•œ์€ํ–‰Shinhan bank 140-008-087830 (์ฃผ)ํƒ€์ž„์Šค์ฝ”์–ด ์ด์ •์‹ 1๋…„ ์ •๊ธฐ๊ตฌ๋…๋ฃŒ, 120,000์›



ELO QU ENCE international creators magazine


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