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[이데일리 오현주 문화전문기자] I met the writer Moon Jun-yong (38). The second time I met him alone, who wasn’t mixed in a group. It’s been three and a half years. The first meeting was in early June 2017 at the studio in Munrae-dong, Yeongdeungpo-gu, Seoul. At the time, it was less than a month since his father, President Moon Jae-in, took office. Around that time, Moon was holding a group exhibition at the Kumho Museum of Art in Jongno-gu, Seoul, and he received media attention to the extent that he was sorry for the other artists who participated. It wasn’t just a pleasant interest. He was suffering from the controversy over the’recruitment preferences’ that arose during the presidential election (refer to Jun-Yong Moon, “The President’s Son?
The second meeting took place on the 23rd. Just as time passed, nothing had changed. Still, he was famous for being the son of the president, holding a solo exhibition at Geumsan Gallery in Jung-gu, and was suffering from a controversy about the’Corona 19 victim support fund’. no. There is definitely something changed. The situation got worse, and he looked more exhausted than before.
The purpose of asking him to meet is to try to hear words different from those related to him pouring out like a waterfall. I had to listen to the words of’artist Moon Joon-yong’, not a fighter who fights against politicians or conservative public opinion. The interview took place for about two and a half hours, moving to the E-Daily headquarters and Geumsan Gallery. Published in 3 times.
△“Artist subsidy cannot be explained to the public, it’s blocked on the wall”
EDaily headquarters meeting room around 4pm. The interview is ripe. However, it wasn’t until’HeoShimbyeonghoe’. Moon was spared his words. Except for exactly’work’. It also seemed to be censoring itself. I needed the second joke. “I ask you to introduce some secrets that cause intense topics at every exhibition.” Laughter bursts out. Actually it was. Everything he moves on social media at his fingertips is communication with good words, reminiscent of the king’s’war ground’. First, it caught fire on social media, then moved to politics, then spread to the media and burned fiercely.
In particular, the controversy over the’Artist Support Fund’ (the exact name is’Corona 19 Damage Emergency Art Support’) related to this solo exhibition has reached its peak compared to so far. The accusation that he opened an exhibition by receiving a grant of 14 million won to return to a small artist using his privileges drove him to’unscrupulous’. In response to this, Moon responded to SNS with rebuttals, which resulted in inciting the situation rather than Muma. Has your thoughts changed in connection with the hot core of the’Artist Support Fund’?
“no. As it is. The problem is that there is no explanation for’Artist Subsidy’ to the general public. People often think of it as income preservation, but the subsidy does not refer to the individual’s income support. It’s about putting it into good work and making it better. When such good works are produced, they can go abroad, open new exhibitions in Korea, and cultivate the cultural world itself. There is a small subsidy for livelihoods that support many people. The explanation itself was not made, and it was blocked on the wall.”
In fact, this is exactly what Moon said. ‘Emergency Art Support for Corona 19 Victims’ is a project that the Seoul Metropolitan Government held in April through the Seoul Foundation for Arts and Culture to support artists (teams), art educators, and culture and arts planners who are having difficulties in their creative activities due to coronavirus. Any artist who has a residence or studio in Seoul could apply, and he ended up to 20 million won and 150 cases. It was confirmed that Moon announced the project execution plan as’labor expenses’ in the application form and grant application according to the budget execution details (labor and rental fees) among the support projects announced by the Cultural Foundation. The “small livelihood subsidy” he mentioned is another subsidy program executed by 500,000 to 1 million won per person per local government under the name of “artist livelihood subsidy”.
“It seems to be known that I am doing my work alone. I couldn’t explain this part either. There are quite a few people who make media art works together. Sometimes you have to outsource or subcontract. Subsidies are money spent there. Making sensor hardware and tables, manufacturing equipment, installation work, software, programming, etc. In particular, you can never do video alone. It’s like a movie. 3D modeling, 3D animation, sound, etc. need help from experts. You can never do it alone. When a media art work comes out, it is a huge credit.”
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△“Give me the documents for thousands of applicants? Waste of administrative power for political purposes”
Anyway, I’m sure you’ll get tired of this upset. Would you like to apply again if there is another opportunity for funding? This question hesitated for the first time for a while. “It’s because the people who administer have been so hard,” he said, “It’s because the people who are administering it,” he said.
“For example, reporters and members of the National Assembly were asking for materials to the Cultural Foundation that executed this grant. Still, the data requested by reporters are good, but the lawmakers say,’All are different’. It’s like’Give out all the data related to Moon Jun-yong from 2017 after the presidential election’. Hearing the story, he asked him to bring all the documents of 1,000 and hundreds of applicants. The workload is truly enormous. Aren’t they the ones who should do that? It was the first time this happened, so there was no manual. I am sorry to the staff in charge of the Cultural Foundation. I’m sorry, I don’t think I can anymore. I hate it anymore, so I don’t think I’ll pick it up.”
Then I didn’t forget the pinch words. “Anyway, this is wrong. It’s a real waste of administrative power. Isn’t that the purpose of the members of the National Assembly to use the president’s children in politics? I think it’s really wrong to waste administrative power because of that.”
There seemed to be another way other than’responding alone on SNS’. Like avoiding speculation or ignoring speculation. But his thoughts on this were firm. “I tried it all. It was better than not doing it. It seems to have been learned. Still, the experience of the past few years is that it’s better to stay still because there is social media.”
If so, it would be nice if it was soft. The main argument is that the response method looks rough. “I make adjustments. Filter out the content to be answered, refute it, but do not refute it again. Rather than fighting, I usually go for the purpose of clarifying or leaving a record. I am trying not to be sharp.”
How about thinking that you are taking a little break. Isn’t it not a task to be done as a writer, but a consumption exhibition that removes energy? “I got used to it. It’s just like work. Work in the public relations office. I don’t know how this happened. It is a waste of time, but the processing speed has also increased. In the past, it took several days. In a way, it seems that people who attack me are also doing business.”
You may have heard advice from people around you or in the Blue House, saying,’I want you to refrain from doing something.’ The answer was “sometimes”. “Okay. For now, SNS is the only channel. Without SNS, it would have been a big deal. Of course, it spread like this because of SNS. In the case of me, however, there was a training period. The problem is that you have to be good. It seems like the only way anyway.”
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