Ravin Agrawal: 10 young Indian artists to watch

36,458 views ใƒป 2010-01-20

TED


์•„๋ž˜ ์˜๋ฌธ์ž๋ง‰์„ ๋”๋ธ”ํด๋ฆญํ•˜์‹œ๋ฉด ์˜์ƒ์ด ์žฌ์ƒ๋ฉ๋‹ˆ๋‹ค.

๋ฒˆ์—ญ: Ji hoon Heo ๊ฒ€ํ† : Jung-Hoon Jee
00:16
Right now is the most exciting time
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๋ฐ”๋กœ ์ง€๊ธˆ์ด ์ƒˆ๋กœ์šด ์ธ๋„ ๋ฏธ์ˆ ์— ๋ˆˆ์„ ๋Œ๋ฆฌ๊ธฐ์—
00:19
to see new Indian art.
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๊ฐ€์žฅ ํฅ๋ฏธ๋กœ์šด ์‹œ๊ธฐ์ž…๋‹ˆ๋‹ค
00:21
Contemporary artists in India are having a conversation with the world
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์ธ๋„์˜ ํ˜„๋Œ€ ๋ฏธ์ˆ ๊ฐ€๋“ค์€ ์–ด๋Š ๋•Œ ๋ณด๋‹ค๋„ ํ™œ๋ฐœํ•˜๊ฒŒ
00:24
like never before.
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์„ธ๊ณ„์™€ ์†Œํ†ตํ•˜๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
00:26
I thought it might be interesting, even for the many long-time
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์—ฌ๊ธฐ TED์— ์™€๊ณ„์‹  ์˜ค๋žœ ์ฝœ๋ ‰ํ„ฐ, ์ง€์—ญ ์ฝœ๋ ‰ํ„ฐ ๋ถ„๋“ค๋„
00:28
collectors here with us at TED, local collectors,
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10๋ช…์˜ ์ Š์€ ์ธ๋„ ์•„ํ‹ฐ์ŠคํŠธ๋ฅผ ๋Œ€ํ•˜๋Š” ์™ธ๋ถ€์˜ ์‹œ๊ฐ์„
00:31
to have an outside view of 10 young Indian artists
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๊ฒฝํ—˜ํ•˜๋Š” ๊ฒƒ์ด ์žฌ๋ฏธ์žˆ์ง€ ์•Š์„๊นŒ ์ƒ๊ฐํ•˜์—ฌ,
00:35
I wish everyone at TED to know.
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TED์˜ ๋ชจ๋“  ๋ถ„๋“ค์—๊ฒŒ ์†Œ๊ฐœํ•˜๊ณ ์ž ํ•ฉ๋‹ˆ๋‹ค.
00:37
The first is Bharti Kher.
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์ฒซ๋ฒˆ์งธ๋กœ ๋ฐ”ํ‹ฐ ์ผ€์–ด.
00:40
The central motif of Bharti's practice
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๋ฐ”ํ‹ฐ๊ฐ€ ์ถ”๊ตฌํ•˜๋Š” ์ž‘์—…์˜ ์ฃผ์š” ๋ชจํ‹ฐํ”„๋Š”
00:42
is the ready-made store-bought bindi
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๊ฐ€๊ฒŒ์—์„œ ํ”ํžˆ ํŒŒ๋Š” ๊ธฐ์„ฑํ’ˆ ๋นˆ๋””์ž…๋‹ˆ๋‹ค.
00:45
that untold millions of Indian women apply to their foreheads,
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๋นˆ๋””๋Š” ์ˆ˜์—†์ด ๋งŽ์€ ์ธ๋„ ์—ฌ์„ฑ๋“ค์ด ๋งค์ผ ์ด๋งˆ์— ๋ถ™์ด๋Š” ๊ฒƒ์œผ๋กœ
00:48
every day, in an act closely associated with
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๊ฒฐํ˜ผ ์ œ๋„์™€ ๊ด€๊ณ„๊นŠ์€
00:50
the institution of marriage.
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์ƒํ™œ๊ด€์Šต์ž…๋‹ˆ๋‹ค.
00:53
But originally the significance of the bindi
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๊ทธ๋Ÿฐ๋ฐ ์›๋ž˜ ๋นˆ๋””์˜ ์˜๋ฏธ๋Š”
00:55
is to symbolize the third eye
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์˜์  ์„ธ๊ณ„์™€ ์ข…๊ต์  ์„ธ๊ณ„ ์‚ฌ์ด์— ์žˆ๋Š”
00:58
between the spiritual world and the religious world.
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์„ธ๋ฒˆ์งธ ๋ˆˆ์˜ ์ƒ์ง•์ด์—ˆ์Šต๋‹ˆ๋‹ค.
01:01
Bharti seeks to liberate this everyday cliche, as she calls it,
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๋ฐ”ํ‹ฐ๋Š” ๊ทธ๋…€ ์ž์‹ ์˜ ํ‘œํ˜„์— ์˜ํ•˜๋ฉด, ์ง„๋ถ€ํ•œ ๊ด€์Šต์ธ ๋นˆ๋””๋ฅผ ๊ฐ€์ง€๊ณ 
01:04
by exploding it into something spectacular.
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๋ˆˆ๋ถ€์‹  ์˜ˆ์ˆ ๋กœ ํ„ฐ๋œจ๋ ค ๋ƒ„์œผ๋กœ์จ, ๊ด€์Šต์„ ํ•ด๋ฐฉํ•˜๊ณ ์ž ํ•ฉ๋‹ˆ๋‹ค.
01:09
She also creates life-size fiberglass sculptures, often of animals,
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๊ทธ๋…€๋Š” ๋˜ ์‹ค๋ฌผ ํฌ๊ธฐ์˜ ์œ ๋ฆฌ์„ฌ์œ  ์กฐ๊ฐ์ƒ, ์ฃผ๋กœ ๋™๋ฌผ ์กฐ๊ฐ์ƒ์˜
01:12
which she then completely covers in bindis,
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ํ‘œ๋ฉด์„ ๋นˆ๋””๋กœ ์™„์ „ํžˆ ๋’ค๋ฎ๋Š”๋ฐ,
01:16
often with potent symbolism.
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์ข…์ข… ๊ฐ•๋ ฅํ•œ ์ƒ์ง•์„ฑ์„ ๊ฐ–์Šต๋‹ˆ๋‹ค.
01:18
She says she first got started with
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์ฒ˜์Œ์—” ๋นˆ๋”” 10 ๋ฌถ์Œ์œผ๋กœ
01:20
10 packets of bindis,
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์‹œ์ž‘ํ–ˆ๋Š”๋ฐ,
01:22
and then wondered what she could do with 10 thousand.
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๊ทธ๋Ÿฌ๋ฉด ๋นˆ๋”” ๋งŒ ๊ฐœ๋กœ๋Š” ๋ญ˜ ํ•  ์ˆ˜ ์žˆ์„์ง€ ์ƒ์ƒํ•ด ๋ณด์•˜๋‹ค๊ณ  ํ•ฉ๋‹ˆ๋‹ค.
01:27
Our next artist, Balasubramaniam,
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๋‹ค์Œ ์•„ํ‹ฐ์ŠคํŠธ๋Š” ๋ฐœ๋ผ์ˆ˜๋ธŒ๋ผ๋งˆ๋‹ˆ์•”(๋ฐœ๋ผ)์ž…๋‹ˆ๋‹ค.
01:29
really stands at the crossroads of sculpture, painting and installation,
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๊ทธ๋Š” ์กฐ๊ฐ, ํšŒํ™”, ์„ค์น˜๋ฏธ์ˆ ์ด ๋งŒ๋‚˜๋Š” ๊ณณ์—์„œ
01:32
working wonders with fiberglass.
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์œ ๋ฆฌ์„ฌ์œ ๋กœ ๋†€๋ผ์šด ์ž‘์—…์„ ํ•ฉ๋‹ˆ๋‹ค.
01:35
Since Bala himself will be speaking at TED
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๋ฐœ๋ผ๋„ TED์—์„œ ๊ฐ•์—ฐ์„ ํ•  ์˜ˆ์ •์ด๋ฏ€๋กœ
01:37
I won't spend too much time on him here today,
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๊ฐ„๋‹จํžˆ ๋งํ•˜์ž๋ฉด,
01:39
except to say that he really succeeds
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๊ทธ๋Š” ๋ณด์ด์ง€ ์•Š๋Š” ๊ฒƒ์„
01:41
at making the invisible visible.
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๋ณด์—ฌ์ฃผ๋Š” ๋ฐ ์„ฑ๊ณตํ–ˆ๋‹ค๊ณ  ํ•˜๊ฒ ์Šต๋‹ˆ๋‹ค.
01:47
Brooklyn-based Chitra Ganesh
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๋ธŒ๋ฃฉํด๋ฆฐ์—์„œ ํ™œ๋™ํ•˜๊ณ  ์žˆ๋Š” ์น˜ํŠธ๋ผ ๊ฐ€๋„ค์‰ฌ๋Š”
01:49
is known for her digital collages,
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๋””์ง€ํƒˆ ์ฝœ๋ผ์ฃผ ์ž‘ํ’ˆ์œผ๋กœ ์•Œ๋ ค์ ธ ์žˆ๋Š”๋ฐ,
01:51
using Indian comic books called amar chitra kathas
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์ฃผ๋กœ ์•„๋ง ์น˜ํŠธ๋ผ ์นดํƒ€์Šค๋ผ๋Š” ์ธ๋„ ๋งŒํ™”๋ฅผ
01:55
as her primary source material.
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์ฃผ๋กœ ์‚ฌ์šฉํ•ฉ๋‹ˆ๋‹ค.
01:57
These comics are a fundamental way
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์ด ๋งŒํ™”๋Š” ์ธ๋„์˜ ์•„์ด๋“ค,
01:59
that children, especially in the diaspora,
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ํŠนํžˆ ๊ณ ๊ตญ์„ ๋– ๋‚˜ ์‚ด๊ฒŒ๋œ ์•„์ด๋“ค์ด
02:01
learn their religious and mythological folk tales.
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์ข…๊ต์ , ์‹ ํ™”์  ๋ฏผ๋‹ด์„ ๋ฐฐ์šฐ๋Š” ๊ธฐ๋ณธ์„œ๊ฐ€ ๋ฉ๋‹ˆ๋‹ค.
02:05
I, for one, was steeped in these.
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์ €๋„ ๊ฑฐ๊ธฐ์— ํ•ด๋‹นํ•ด์„œ, ์—ฌ๊ธฐ ํ‘น ๋น ์กŒ์—ˆ์ฃ .
02:07
Chitra basically remixes and re-titles
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๊ธฐ๋ณธ์ ์œผ๋กœ ์น˜ํŠธ๋ผ๋Š” ์ด ์ƒ์ง•์  ์ด๋ฏธ์ง€๋“ค์„
02:10
these iconic images
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์„œ๋กœ ์„ž๊ณ  ๋‹ค์‹œ ์ด๋ฆ„๋ถ™์—ฌ์„œ
02:12
to tease out some of the sexual and gender politics
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์ด๋ ‡๊ฒŒ ๊นŠ์€ ์˜ํ–ฅ๋ ฅ์ด ์žˆ๋Š” ๋งŒํ™”์— ์‹ฌ๊ฒจ์ง„
02:16
embedded in these deeply influential comics.
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์„ฑ์ •์น˜ํ•™์„ ๋ถ„๋ฆฌํ•ด๋‚ด๊ณ ์ž ํ•ฉ๋‹ˆ๋‹ค.
02:18
And she uses this vocabulary in her installation work as well.
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์ด๋Ÿฌํ•œ ํ‘œํ˜„ ํ˜•์‹์€ ๊ทธ๋…€์˜ ์„ค์น˜ ์ž‘ํ’ˆ์—๋„ ์‚ฌ์šฉ๋ฉ๋‹ˆ๋‹ค.
02:24
Jitish Kallat successfully practices across photography,
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์ง€ํ‹ฐ์‰ฌ ์นผ๋ผํŠธ๋Š” ์‚ฌ์ง„, ์กฐ๊ฐ, ํšŒํ™”์™€ ์„ค์น˜๋ฅผ ๋„˜๋‚˜๋“ค๋ฉฐ
02:28
sculpture, painting and installation.
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์„ฑ๊ณต์ ์ธ ์ž‘์—…์„ ํ•˜๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
02:31
As you can see, he's heavily influenced
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๋ณด์ด๋Š” ๊ฒƒ์ฒ˜๋Ÿผ, ๊ทธ๋Š” ๊ทธ๋ž˜ํ”ผํ‹ฐ๋‚˜
02:33
by graffiti and street art,
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๊ธธ๊ฑฐ๋ฆฌ ๋ฏธ์ˆ ์˜ ์˜ํ–ฅ์„ ๋งŽ์ด ๋ฐ›์•˜๊ณ 
02:35
and his home city of Mumbai is an ever-present element in his work.
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๊ทธ์˜ ๊ณ ํ–ฅ์ธ ๋ญ„๋ฐ”์ด๋Š” ์ž‘ํ’ˆ์— ๋Š์ž„์—†์ด ๋‚˜ํƒ€๋‚˜๋Š” ์š”์†Œ์ž…๋‹ˆ๋‹ค.
02:38
He really captures that sense of density
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๊ทธ๋Š” ํ˜„๋Œ€ ๋„์‹œ ๋ด„๋ฒ ์ด๋ฅผ ํŠน์ง•์ง“๋Š”
02:41
and energy which really characterizes modern urban Bombay.
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์—„์ฒญ๋‚œ ๋ฐ€๋„์™€ ์—๋„ˆ์ง€๋ฅผ ์ž˜ ์žก์•„๋ƒ…๋‹ˆ๋‹ค.
02:46
He also creates phantasmagoric sculptures
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์ง€ํ‹ฐ์‰ฌ ์นผ๋ผํŠธ๋Š” ํ•ฉ์„ฑ์ˆ˜์ง€๋กœ ๋งŒ๋“  ๋ผˆ๋ฅผ ๊ฐ€์ง€๊ณ 
02:48
made of bones from cast resin.
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ํ™˜์ƒ์ ์ธ ์กฐ๊ฐ๋ฌผ๋„ ๋งŒ๋“ค์–ด ๋ƒ…๋‹ˆ๋‹ค.
02:51
Here he envisions the carcass
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๊ทธ๋Š” ํญ๋™ ์ค‘์— ์‚ผ๋ฅœ์ฐจ๊ฐ€ ๋ถˆํƒ€๋Š” ๊ฒƒ์„ ๋ณธ ์ ์ด ์žˆ๋Š”๋ฐ
02:53
of an autorickshaw he once witnessed burning in a riot.
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์ด ์ž‘ํ’ˆ์—์„œ ์ฐจ์˜ ์ž”ํ•ด๋ฅผ ํ‘œํ˜„ํ•œ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
02:57
This next artist, N.S. Harsha,
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๋‹ค์Œ ์•„ํ‹ฐ์ŠคํŠธ๋Š” N.S.ํ•˜์ƒค ์ž…๋‹ˆ๋‹ค.
02:59
actually has a studio right here in Mysore.
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๊ทธ์˜ ์ž‘์—…์‹ค์€ ๋ฐ”๋กœ ์—ฌ๊ธฐ ๋งˆ์ด์†Œ๋ฅด์— ์žˆ๋Š”๋ฐ์š”,
03:02
He's putting a contemporary spin on the miniature tradition.
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๊ทธ๋Š” ๊ธฐ์กด์˜ ์„ธ๋ฐ€ํ™” ์ „ํ†ต์— ํ˜„๋Œ€์  ๋ณ€ํ™”๋ฅผ ์ฃผ๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
03:05
He creates these fine, delicate images
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์ •๊ตํ•˜๊ณ  ์„ธ๋ฐ€ํ•œ ์ด๋ฏธ์ง€๋ฅผ ๋งŒ๋“ค์–ด
03:08
which he then repeats on a massive scale.
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๊ฑฐ๋Œ€ํ•œ ํ™”ํญ์— ๊ทธ๊ฒƒ์„ ๋ฐ˜๋ณตํ•œ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
03:12
He uses scale to more and more spectacular effect,
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๊ทธ๊ฐ€ ๊ทœ๋ชจ๋ฅผ ํ‚ค์›Œ์„œ ๋งŒ๋“ค์–ด๋‚ด๋Š” ์ ์  ๋” ์žฅ๋Œ€ํ•œ ํšจ๊ณผ๋Š”
03:15
whether on the roof of a temple in Singapore,
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์‹ฑ๊ฐ€ํฌ๋ฅด์˜ ์‚ฌ์› ์ง€๋ถ• ์œ„์—์„œ, ํ˜น์€
03:19
or in his increasingly ambitious installation work,
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๊ทธ์˜ ์•ผ์‹ฌ์ฐฌ ์„ค์น˜ ์ž‘ํ’ˆ์—์„œ ๋ณผ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
03:21
here with 192 functioning sewing machines,
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192๊ฐœ์˜ ์‹ค์ œ ์žฌ๋ด‰ํ‹€์ด
03:24
fabricating the flags of every member of the United Nations.
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UN์— ์†ํ•œ ๋ชจ๋“  ๋‚˜๋ผ์˜ ๊ตญ๊ธฐ๋ฅผ ์ œ์ž‘ํ•˜๊ณ  ์žˆ๋Š” ์ž‘ํ’ˆ์ž…๋‹ˆ๋‹ค.
03:30
Mumbai-based Dhruvi Acharya
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๋ญ„๋ฐ”์ด์˜ ๋“œ๋ฃจ๋น„ ์•„์ฐจ๋ฆฌ์•„๋Š”
03:32
builds on her love of comic books and street art
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๋งŒํ™”์ฑ…๊ณผ ๊ธธ๊ฑฐ๋ฆฌ ๋ฏธ์ˆ ์— ๋Œ€ํ•œ ์• ์ •์„ ๋ฐ”ํƒ•์œผ๋กœ
03:34
to comment on the roles and expectations
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ํ˜„๋Œ€ ์ธ๋„์—ฌ์„ฑ์˜
03:36
of modern Indian women.
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์—ญํ• ๊ณผ ๊ธฐ๋Œ€์— ๋Œ€ํ•ด ์ง€์ ํ•ฉ๋‹ˆ๋‹ค.
03:39
She too mines the rich source material of amar chitra kathas,
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์•„๋ง ์น˜ํŠธ๋ผ ์นดํƒ€์Šค๋ผ๋Š” ๋งŒํ™”์—์„œ ์žฌ๋ฃŒ๋ฅผ ๊ฐ€์ ธ์˜จ ์ ์€
03:42
but in a very different way than Chitra Ganesh.
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์น˜ํŠธ๋ผ ๊ฐ€๋„ค์‰ฌ์™€ ๊ฐ™์ง€๋งŒ ๋“œ๋ฃจ๋น„์˜ ๋ฐฉ์‹์€ ๋งค์šฐ ๋‹ค๋ฆ…๋‹ˆ๋‹ค.
03:45
In this particular work, she actually strips out the images
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์ด ์ž‘ํ’ˆ์—์„œ๋Š”, ์ด์ฒ˜๋Ÿผ ๊ทธ๋ฆผ์„ ์ง€์›Œ๋ฒ„๋ฆฌ๊ณ 
03:48
and leaves the actual text
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๋งŒํ™”์— ์žˆ๋˜ ๊ธ€์ž๋งŒ ๋‚จ๊ฒจ ๋‘ ์œผ๋กœ์จ
03:50
to reveal something previously unseen, and provocative.
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์ „์—๋Š” ๋ณด์ด์ง€ ์•Š๋˜ ๊ฒƒ์ด ๋„๋ฐœ์ ์œผ๋กœ ๋“œ๋Ÿฌ๋‚ฉ๋‹ˆ๋‹ค.
03:56
Raqib Shaw is Kolkata-born,
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๋ผํ‚ต ์ƒค๋Š” ์ฝœ์นดํƒ€ ์—์„œ ํƒœ์–ด๋‚˜
03:58
Kashmir-raised,
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์นด์‰ฌ๋ฏธ๋ฅด์—์„œ ์ž๋ž๊ณ 
04:00
and London-trained.
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๋Ÿฐ๋˜์—์„œ ๊ณต๋ถ€ํ–ˆ์Šต๋‹ˆ๋‹ค
04:02
He too is reinventing the miniature tradition.
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๋ผํ‚ต ์ƒค๋„ ์„ธ๋ฐ€ํ™” ์ „ํ†ต์„ ์žฌ์ฐฝ์กฐํ•˜์ง€๋งŒ
04:05
He creates these opulent tableaus inspired by Hieronymus Bosch,
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๊ทธ๋Š” ์ด ํ™”๋ คํ•œ ๊ตฐ์ƒ์„ ํžˆ์—๋กœ๋‹ˆ๋ฌด์Šค ๋ณด์‰ฌ์˜ ์ž‘ํ’ˆ๊ณผ
04:09
but also by the Kashmiri textiles of his youth.
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์œ ๋…„๊ธฐ์˜ ์นด์‰ฌ๋ฏธ๋ฅด ์ง๋ฌผ์—์„œ ์˜๊ฐ์„ ์–ป์–ด ์ฐฝ์ž‘ํ–ˆ์Šต๋‹ˆ๋‹ค.
04:12
He actually applies metallic industrial paints to his work
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๊ทธ๋Š” ๊ธˆ์†์„ฑ ์‚ฐ์—…์šฉ ํŽ˜์ธํŠธ๋ฅผ ์“ฐ๋Š”๋ฐ,
04:16
using porcupine quills to get this rich detailed effect.
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์ด๋Ÿฐ ํ’์„ฑํ•œ ๋””ํ…Œ์ผ์„ ์œ„ํ•ด ๊ณ ์Šด๋„์น˜์˜ ๊ฐ€์‹œ๋ฅผ ์‚ฌ์šฉํ•ฉ๋‹ˆ๋‹ค.
04:23
I'm kind of cheating with this next artist
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์ž, ๋‹ค์Œ ์•„ํ‹ฐ์ŠคํŠธ๋Š” ์‚ฌ์‹ค,
04:25
since Raqs Media Collective are really
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๋ž™์Šค ๋ฏธ๋””์–ด ์ฝœ๋ ‰ํ‹ฐ๋ธŒ๋ผ๋Š” ๊ณณ์œผ๋กœ
04:27
three artists working together.
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์„ธ ๋ช…์˜ ์•„ํ‹ฐ์ŠคํŠธ๊ฐ€ ํ•จ๊ป˜ ์ž‘์—…ํ•˜๋ฏ€๋กœ ํ•œ ๋ช…์€ ์•„๋‹™๋‹ˆ๋‹ค.
04:29
Raqs are probably the foremost practitioners
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๋ž™์Šค๋Š” ์‚ฌ์ง„, ๋น„๋””์˜ค, ์„ค์น˜๋ฏธ์ˆ ์„ ๋„˜๋‚˜๋“œ๋Š” ์ž‘์—…์œผ๋กœ
04:31
of multimedia art in India today,
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์˜ค๋Š˜๋‚  ์ธ๋„์˜ ๋ฉ€ํ‹ฐ๋ฏธ๋””์–ด ์•„ํŠธ์˜
04:33
working across photography, video and installation.
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์„ ๋‘์— ์žˆ๋‹ค๊ณ  ํ•˜๊ฒ ์Šต๋‹ˆ๋‹ค.
04:37
They frequently explore themes of globalization and urbanization,
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๊ทธ๋“ค์€ ์„ธ๊ณ„ํ™”์™€ ๋„์‹œํ™”๋ผ๋Š” ์ฃผ์ œ๋ฅผ ํƒ๊ตฌํ•˜๋ฉด์„œ
04:40
and their home of Delhi is a frequent element in their work.
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๊ณ ํ–ฅ ๋ธ๋ฆฌ๋„ ์ž‘ํ’ˆ์— ์ž์ฃผ ๋“ฑ์žฅํ•ฉ๋‹ˆ๋‹ค.
04:43
Here, they invite the viewer to analyze a crime
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์ด ์ž‘ํ’ˆ์€, ๊ด€๊ฐ์„ ์ดˆ๋Œ€ํ•ด ๋ฒ”์ฃ„๋ฅผ ๋ถ„์„ํ•˜๋„๋ก ํ•ฉ๋‹ˆ๋‹ค.
04:47
looking at evidence and clues embedded
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์ฆ๊ฑฐ์™€ ์ˆจ๊ฒจ์ง„ ๋‹จ์„œ๋ฅผ ๋ณด์—ฌ์ฃผ๋Š”
04:49
in five narratives on these five different screens,
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๋‹ค์„ฏ ๊ฐœ์˜ ํ™”๋ฉด์—์„œ ๋‹ค์„ฏ ๊ฐœ์˜ ์ด์•ผ๊ธฐ๊ฐ€ ๋‚˜์˜ต๋‹ˆ๋‹ค.
04:51
in which the city itself may have been the culprit.
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์ด์•ผ๊ธฐ์˜ ๋ฒ”์ธ์€ ์–ด์ฉŒ๋ฉด ๋„์‹œ ์ž์ฒด์ธ์ง€๋„ ๋ชจ๋ฆ…๋‹ˆ๋‹ค.
04:56
This next artist is probably the alpha male
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๋‹ค์Œ์€ ์ธ๋„ ํ˜„๋Œ€๋ฏธ์ˆ ๊ณ„์˜ ์šฐ๋‘๋จธ๋ฆฌ ์ˆ˜์ปท์ด๋ผ ํ•  ๋งŒํ•œ
04:58
of contemporary Indian art, Subodh Gupta.
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์ˆ˜๋ณด๋“œ ๊ตฝํƒ€ ์ž…๋‹ˆ๋‹ค.
05:01
He was first known for creating giant photo-realistic canvases,
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์ฒ˜์Œ์—” ๋Œ€ํ˜• ํ™”ํญ์— ๊ทน๋‹จ์ ์œผ๋กœ ์‚ฌ์‹ค์ ์ธ ๊ทธ๋ฆผ์„
05:05
paintings of everyday objects,
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๊ทธ๋ ค์„œ ์œ ๋ช…ํ•ด์กŒ๋Š”๋ฐ์š”,
05:07
the stainless steel kitchen vessels and tiffin containers
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๋ถ€์—Œ์˜ ์Šคํ… ๊ทธ๋ฆ‡, ๋„์‹œ๋ฝ ํ†ต ๋“ฑ
05:10
known to every Indian.
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์ธ๋„์ธ์—๊ฒŒ ์ต์ˆ™ํ•œ ์‚ฌ๋ฌผ์„ ๊ทธ๋ ธ์Šต๋‹ˆ๋‹ค.
05:13
He celebrates these local and mundane objects globally,
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๊ทธ๋Š” ์ด๋Ÿฐ ์ง€์—ญ์ ์ธ ์ผ์ƒ์˜ ์‚ฌ๋ฌผ๋“ค์„
05:16
and on a grander and grander scale,
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์ ์  ๋” ํฌ๊ฒŒ ๋งŒ๋“ค์–ด์„œ
05:18
by incorporating them into ever more colossal
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๊ฑฐ๋Œ€ํ•œ ์กฐ๊ฐ๊ณผ ์„ค์น˜๋ฏธ์ˆ ์— ํก์ˆ˜์‹œํ‚ด์œผ๋กœ์จ
05:21
sculptures and installations.
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์„ธ๊ณ„์ ์œผ๋กœ ์•Œ๋ ค์ง€๊ฒŒ ํ–ˆ์Šต๋‹ˆ๋‹ค.
05:27
And finally number 10, last and certainly not least,
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๋์œผ๋กœ ์—ด๋ฒˆ์งธ๋Š”, ์ค‘์š”๋„์—์„œ ์—ด๋ฒˆ์งธ๋Š” ์ ˆ๋Œ€ ์•„๋‹Œ
05:30
Ranjani Shettar,
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๋ž€์ž๋‹ˆ ์‰ํƒ€๋ฅด์ž…๋‹ˆ๋‹ค.
05:32
who lives and works here in the state of Karnataka,
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์—ฌ๊ธฐ ์นด๋ฅด๋‚˜ํƒ€์นด ์ฃผ์—์„œ ์‚ด๋ฉด์„œ
05:34
creates ethereal sculptures and installations
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๊ฐ€๋ณ๊ณ  ์„ฌ์„ธํ•œ ์กฐ๊ฐ๊ณผ ์„ค์น˜๋ฌผ์„ ํ†ตํ•ด
05:36
that really marry the organic to the industrial,
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์‚ฐ์—…์ ์ธ ๊ฒƒ๊ณผ ์œ ๊ธฐ์ ์ธ ๊ฒƒ์„ ๊ฒฐํ•ฉ์‹œํ‚ค๊ณ 
05:39
and brings, like Subodh, the local global.
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๋งˆ์น˜ ์ˆ˜๋ณด๋“œ ์ž์‹ ์ฒ˜๋Ÿผ, ์ง€์—ญ์ ์ธ ๊ฒƒ์„ ์„ธ๊ณ„๋กœ ๋‚ด๋ณด๋ƒ…๋‹ˆ๋‹ค.
05:42
These are actually wires wrapped in muslin
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์ด๊ฒƒ์€ ๋ชจ์Šฌ๋ฆฐ ์ฒœ์œผ๋กœ ์ฒ ์‚ฌ๋ฅผ ์‹ธ์„œ
05:45
and steeped in vegetable dye.
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์‹๋ฌผ์„ฑ ์—ผ๋ฃŒ๋กœ ๋ฌผ๋“ค์ธ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
05:47
And she arranges them so that the viewer
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๊ทธ๋…€๋Š” ์ด๊ฒƒ๋“ค์„ ๋ฐฐ์—ดํ•ด์„œ
05:49
actually has to navigate through the space,
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๊ด€๋žŒ์ž๊ฐ€ ๊ณต๊ฐ„ ์†์—์„œ ๊ธธ์„ ์ฐพ์•„๋‹ค๋‹ˆ๋ฉด์„œ
05:51
and interact with the objects.
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์ž‘ํ’ˆ๊ณผ ์ƒํ˜ธ์ž‘์šฉํ•˜๋„๋ก ํ–ˆ์Šต๋‹ˆ๋‹ค.
05:53
And light and shadow are a very important part of her work.
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๋น›๊ณผ ๊ทธ๋ฆผ์ž๋Š” ๊ทธ๋…€์˜ ์ž‘ํ’ˆ์˜ ์•„์ฃผ ์ค‘์š”ํ•œ ๋ถ€๋ถ„์ž…๋‹ˆ๋‹ค.
05:56
She also explores themes of consumerism,
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๊ทธ๋…€๋Š” ์†Œ๋น„์ง€์ƒ์ฃผ์˜์™€ ํ™˜๊ฒฝ๋ฌธ์ œ๋ฅผ ํƒ๊ตฌํ•˜๋Š”๋ฐ
05:58
and the environment, such as in this work,
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์ด์™€ ๊ฐ™์€ ์ž‘ํ’ˆ์—์„œ๋Š”
06:00
where these basket-like objects look organic and woven,
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๋ฐ”๊ตฌ๋‹ˆ ๋ชจ์–‘์ด ๋งˆ์น˜ ์œ ๊ธฐ๋ฌผ๋กœ ์งœ์—ฌ์ง„ ๊ฒƒ์ฒ˜๋Ÿผ ๋ณด์ด๋Š”๋ฐ,
06:03
and are woven,
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์งœ์—ฌ์ ธ ์žˆ๊ธด ํ•˜์ง€๋งŒ
06:05
but with the strips of steel, salvaged from cars
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๋ฒต๊ฐˆ๋ฃจ๋ฃจ ํ์ฐจ์žฅ์˜ ์ฐจ์—์„œ ๋‚˜์˜จ
06:08
that she found in a Bangalore junkyard.
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์ฒ ๋กœ ๋งŒ๋“  ๋ˆ์œผ๋กœ ์งœ์—ฌ์กŒ์Šต๋‹ˆ๋‹ค.
06:13
10 artists, six minutes, I know that was a lot to take in.
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10 ๋ช…์˜ ์•„ํ‹ฐ์ŠคํŠธ, 6๋ถ„์— ์†Œํ™”ํ•˜๊ธฐ์—” ๋„ˆ๋ฌด ๋งŽ์Šต๋‹ˆ๋‹ค.
06:16
But I can only hope I've whet your appetite
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๊ทธ์ € ์—ฌ๋Ÿฌ๋ถ„์ด ์˜ค๋Š˜๋‚  ์ธ๋„์˜ ๋ฏธ์ˆ ๊ณ„์— ์ผ์–ด๋‚˜๋Š” ๋†€๋ผ์šด ์ผ๋“ค์— ๋Œ€ํ•ด
06:18
to go out and see and learn more
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๋” ๋“ค์—ฌ๋‹ค ๋ณด๊ณ  ์•Œ๊ณ  ์‹ถ๋„๋ก ์ž๊ทน์ด ๋˜์—ˆ๊ธฐ๋งŒ ๋ฐ”๋ž๋‹ˆ๋‹ค.
06:20
about the amazing things that are happening in art in India today.
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๋” ๋“ค์—ฌ๋‹ค ๋ณด๊ณ  ์•Œ๊ณ  ์‹ถ๋„๋ก ์ž๊ทน์ด ๋˜์—ˆ๊ธฐ๋งŒ ๋ฐ”๋ž๋‹ˆ๋‹ค.
06:23
Thank you very much for looking and listening.
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๊ฒฝ์ฒญํ•ด ์ฃผ์…”์„œ ๊ฐ์‚ฌํ•ฉ๋‹ˆ๋‹ค.
06:26
(Applause)
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(๋ฐ•์ˆ˜)
์ด ์›น์‚ฌ์ดํŠธ ์ •๋ณด

์ด ์‚ฌ์ดํŠธ๋Š” ์˜์–ด ํ•™์Šต์— ์œ ์šฉํ•œ YouTube ๋™์˜์ƒ์„ ์†Œ๊ฐœํ•ฉ๋‹ˆ๋‹ค. ์ „ ์„ธ๊ณ„ ์ตœ๊ณ ์˜ ์„ ์ƒ๋‹˜๋“ค์ด ๊ฐ€๋ฅด์น˜๋Š” ์˜์–ด ์ˆ˜์—…์„ ๋ณด๊ฒŒ ๋  ๊ฒƒ์ž…๋‹ˆ๋‹ค. ๊ฐ ๋™์˜์ƒ ํŽ˜์ด์ง€์— ํ‘œ์‹œ๋˜๋Š” ์˜์–ด ์ž๋ง‰์„ ๋”๋ธ” ํด๋ฆญํ•˜๋ฉด ๊ทธ๊ณณ์—์„œ ๋™์˜์ƒ์ด ์žฌ์ƒ๋ฉ๋‹ˆ๋‹ค. ๋น„๋””์˜ค ์žฌ์ƒ์— ๋งž์ถฐ ์ž๋ง‰์ด ์Šคํฌ๋กค๋ฉ๋‹ˆ๋‹ค. ์˜๊ฒฌ์ด๋‚˜ ์š”์ฒญ์ด ์žˆ๋Š” ๊ฒฝ์šฐ ์ด ๋ฌธ์˜ ์–‘์‹์„ ์‚ฌ์šฉํ•˜์—ฌ ๋ฌธ์˜ํ•˜์‹ญ์‹œ์˜ค.

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