〈떨어지지 않는 풍경 · City'scape + Tied〉 문을 어떻게 열어야 하나 — 두 사람이 함께 건너는 짧은 문턱에 관한 가이드
서민혁의 〈떨어지지 않는 풍경 · City'scape + Tied〉(2026)는 영상이 아니라 ‘문’이라는 물리적 장치 너머의 풍경을 직접 여는 인터랙티브 설치다. 작은 문에 1분 30초 단채널 영상이, 큰 문에 인터랙티브 설치와 사운드가 결합된다. 이 가이드는 문을 어떻게 여는 것이 작가가 의도한 작동인지, 천이 부유하는 순간이 어디인지, 혼자 보기와 둘이 보기가 어떻게 다른지를 정리한다.
두 개의 문, 두 개의 호흡
이 작품은 작은 문과 큰 문 두 개로 구성된다. 작은 문은 짧고 단편적이다 — TV 스크린과 1분 30초 단채널 영상이 결합되어, 문 너머에 어떤 종류의 풍경이 있는지 한 번만 보여 준다. 큰 문은 인터랙티브 설치다. 문이 열리는 각도에 따라 천 너머의 풍경과 사운드가 함께 반응한다.
두 문의 순서는 정해져 있지 않다. 작은 문에서 ‘무엇이 너머에 있는가’를 한 번 본 다음 큰 문으로 넘어가도, 큰 문에서 자기 호흡으로 처음 풍경을 만들고 작은 문에서 ‘기준 풍경’을 본 뒤 다시 큰 문으로 돌아와도 된다. 두 번째 시도가 의미가 다르게 만든다.
문은 어떻게 열어야 하나
작가가 정해 둔 ‘올바른 각도’는 없다. 다만 작품의 작동 방식은 문이 열리는 정도에 따라 ‘바람’의 세기가 결정되는 구조다. 천이 한 번도 들리지 않을 만큼만 살짝 열면 작품은 닫힌 상태에서 머물고, 너무 거칠게 한 번에 끝까지 열면 부유의 순간이 사라진다. 천이 프레임 너머를 향해 펄럭이지만 끝내 떨어지지 않는 ‘부유의 순간’이 작품의 정점이며, 그 순간을 만드는 것은 손의 속도와 깊이다.
문을 천천히 그러나 끝까지 열면 사운드가 따라 올라가며 천의 부유가 가장 길게 유지된다. 권장 호흡은 약 4–6초에 걸쳐 천천히 끝까지 여는 것이다.
혼자 보기, 둘이 보기
작품은 한 사람이 보아도 작동한다. 다만 두 사람이 함께 문을 여는 경우, 한 사람은 문을 열고 다른 한 사람은 문 안의 풍경을 정면에서 본다는 두 자리의 분담이 자연스럽게 발생한다. 이 분담은 작품 안에서 ‘여는 자’와 ‘건너편을 보는 자’의 짧은 역할 교환을 만든다. 두 사람이 한 번씩 자리를 바꿔 보는 것이 작가가 권장하는 사용 방식에 가깝다.
관람 인원이 많은 시간대에는 문이 점유될 수 있다. 한 회 사용 시간(여는 동작 + 부유 + 닫는 동작)은 약 30–40초다.
권장 시간대와 동선
주말 오후 14:00–17:00에는 문 앞에 짧은 대기가 발생할 수 있다. 평일 11:00–13:00 또는 17:00 이후가 두 사람이 차분히 두세 차례 문을 열어 볼 수 있는 시간대다. 동선상으로는 〈Goldilocks〉(체험형 인터랙티브) 직전이나 직후에 보는 것이 좋다 — 두 작품 모두 관객의 입력을 매개로 작동한다.
How to open the door — a viewer's guide to Minhyeok Seo's City'scape + Tied at Living Geometry 2026
City'scape + Tied (2026) by Minhyeok Seo is not a video. It is an interactive installation built around a physical device — a door — that the visitor opens. A small door pairs with a 1′30″ TV-screen video; a large door pairs with an interactive cloth-and-sound installation. This guide covers how to open the door so the work actually performs, where the cloth's hovering moment lives, and how watching alone differs from watching as a pair.
Two doors, two breaths
The work is two doors. The small door is short and declarative — a TV screen with a 1′30″ single-channel video that shows, once, the kind of landscape that lies beyond. The large door is the interactive piece: how far it is opened determines how the cloth and sound on the other side respond.
There is no fixed order between the two. You can take the small door first to see a 'reference landscape' and then meet the large door from a known starting point, or open the large door cold and use the small door afterwards to recognise what you were touching. The second visit reads differently from the first.
How to open the door
There is no 'correct' angle. The work's mechanism is that the wind beyond the cloth scales with how the door is opened. Crack the door barely and the work stays closed; throw it open in one motion and the cloth's hovering moment passes too quickly to register. The piece's peak is the suspended instant when the cloth flutters toward the landscape beyond the frame yet refuses to fall. That instant is shaped by the speed and depth of the hand.
A slow, full opening — about four to six seconds — gives the longest hovering moment and the cleanest rise in sound.
Alone, or as a pair
The work performs for a single visitor. With two, the natural division is that one person opens and the other watches the landscape beyond from the front. That division creates a small role exchange — opener, witness — and the piece reads more fully when the two people swap once.
At busy times the door can be occupied. One use cycle (open, hover, close) is about 30–40 seconds.
When to come, and where it sits on the floor
On weekend afternoons (14:00–17:00) a brief queue can form at the door. Weekdays 11:00–13:00, or after 17:00, give a pair time to open the door two or three times unhurried. On the floor route the work sits naturally just before or after Goldilocks — both pieces require visitor input to perform.
How to open the door — a viewer's guide to Minhyeok Seo's City'scape + Tied at Living Geometry 2026
City'scape + Tied (2026) by Minhyeok Seo is not a video. It is an interactive installation built around a physical device — a door — that the visitor opens. A small door pairs with a 1′30″ TV-screen video; a large door pairs with an interactive cloth-and-sound installation. This guide covers how to open the door so the work actually performs, where the cloth's hovering moment lives, and how watching alone differs from watching as a pair.
Two doors, two breaths
The work is two doors. The small door is short and declarative — a TV screen with a 1′30″ single-channel video that shows, once, the kind of landscape that lies beyond. The large door is the interactive piece: how far it is opened determines how the cloth and sound on the other side respond.
There is no fixed order between the two. You can take the small door first to see a 'reference landscape' and then meet the large door from a known starting point, or open the large door cold and use the small door afterwards to recognise what you were touching. The second visit reads differently from the first.
How to open the door
There is no 'correct' angle. The work's mechanism is that the wind beyond the cloth scales with how the door is opened. Crack the door barely and the work stays closed; throw it open in one motion and the cloth's hovering moment passes too quickly to register. The piece's peak is the suspended instant when the cloth flutters toward the landscape beyond the frame yet refuses to fall. That instant is shaped by the speed and depth of the hand.
A slow, full opening — about four to six seconds — gives the longest hovering moment and the cleanest rise in sound.
Alone, or as a pair
The work performs for a single visitor. With two, the natural division is that one person opens and the other watches the landscape beyond from the front. That division creates a small role exchange — opener, witness — and the piece reads more fully when the two people swap once.
At busy times the door can be occupied. One use cycle (open, hover, close) is about 30–40 seconds.
When to come, and where it sits on the floor
On weekend afternoons (14:00–17:00) a brief queue can form at the door. Weekdays 11:00–13:00, or after 17:00, give a pair time to open the door two or three times unhurried. On the floor route the work sits naturally just before or after Goldilocks — both pieces require visitor input to perform.
Transit :: 3-min walk from Yeongdeungpo Station (Line 1, KTX)
Best times :: Weekday 11:00–13:00, or after 17:00
Time per work :: ~5–8 min (two passes at the large door + one at the small door)
About the exhibition
Living Geometry 2026 is a media-art special exhibition curated and developed by the KAIST Experience Design Lab (XD Lab) within KAIST's Department of Industrial Design. It re-threads Yeongdeungpo's visible urban landscape, its invisible data, and the emotional strata behind them in a geometric language — recasting the city, beyond a stilled aggregate of concrete, as an organism in continual pulse. Seven works span single-channel video, interactive installation, and multi-device web art.
Title :: Living Geometry 2026 · 생동 기하학 (Living Geometry)
Dates :: May 1 – Jun 28, 2026
Hours :: Daily 10:00–18:00 (last entry 17:45)
Venue :: YDP Artsquare · Times Square B2F, 15 Yeongjung-ro, Yeongdeungpo-gu, Seoul
