호기심이 사라진 방 (2026)
Cabinet without Curiosities
Cabinet without Curiosities
16–17세기 유럽의 분더카머는 서로 다른 사물들이 명확한 구분 없이 공존하며, 하나의 의미로 고정되지 않은 채 열린 해석을 가능하게 하던 공간이다. 〈호기심이 사라진 방〉은 ‘초거대 녹색지대’ 세계의 사물들을 분더카머 형식으로 배열한다. 이 세계는 DMZ, 후쿠시마, 체르노빌과 같은 현대 무인지대가 전지구적으로 확장된 상상적 환경으로, 위협적인 녹색지대 속에 고립된 인류의 시대를 그린다. 그러나 초거대 녹색지대의 사물들이 수집된 분더카머는 열린 해석의 공간이 아닌, 어떠한 해석도 성립하지 않는 상태로 전환된다. 해석이 붕괴된 세계의 잔해만이 축적된 분더카머는 손 닿지 않은 자연의 공포를 부각한다. 또한 이는 오늘날 무인지대에 대한 낭만적 시선이, 실은 판단 기준이 무너진 ‘읽을 수 없는 세계’를 은폐하는 환상임을 드러낸다.
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The Wunderkammer of sixteenth- and seventeenth-century Europe was a space where heterogeneous objects coexisted without clear classification, inviting multiple interpretations rather than being fixed to a single meaning. ‘Cabinet without Curiosities’ arranges objects from the world of Hyper Green Zone in the form of a Wunderkammer. This speculative world imagines a future in which contemporary uninhabited zones—such as the DMZ, Fukushima, and Chernobyl—have expanded across the globe, depicting an era in which humanity is isolated within a vast and threatening green zone. Yet the Wunderkammer assembled from the objects of the Hyper Green Zone is no longer a space of open interpretation, but one in which interpretation itself has become impossible. Filled only with the remnants of a world where meaning has collapsed, it foregrounds the terror of nature beyond human reach. At the same time, it reveals that the contemporary romanticization of uninhabited zones conceals a more unsettling reality: a world that can no longer be read, where the very conditions for interpretation have disintegrated.
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The Wunderkammer of sixteenth- and seventeenth-century Europe was a space where heterogeneous objects coexisted without clear classification, inviting multiple interpretations rather than being fixed to a single meaning. ‘Cabinet without Curiosities’ arranges objects from the world of Hyper Green Zone in the form of a Wunderkammer. This speculative world imagines a future in which contemporary uninhabited zones—such as the DMZ, Fukushima, and Chernobyl—have expanded across the globe, depicting an era in which humanity is isolated within a vast and threatening green zone. Yet the Wunderkammer assembled from the objects of the Hyper Green Zone is no longer a space of open interpretation, but one in which interpretation itself has become impossible. Filled only with the remnants of a world where meaning has collapsed, it foregrounds the terror of nature beyond human reach. At the same time, it reveals that the contemporary romanticization of uninhabited zones conceals a more unsettling reality: a world that can no longer be read, where the very conditions for interpretation have disintegrated.
