최대진
Daejin Choi

‹박싱 데이: 신은 불의가 아닌 불평등을 창조했다›, 2019
Boxing day: God created inequality, not injustice, 2019

종이에 목탄, 파스텔
가변 크기
Charcoal and pastel on paper
Variable dimensions 



최대진의 목탄 벽화 ‹박싱 데이: 신은 불의가 아닌 불평등을 창조했다›는 압도적인 스케일로 관객을 사로잡는다. 길이가 6미터에 달하는 벽을 차지하며 파도가 몰아치는 순간을 포착한 듯한 드로잉은 현대사에서 가장 치명적인 재난 중 하나로 손꼽히는 2004년 인도양 지진해일을 나타낸다. 영미권에선 ‘박싱 데이(성탄절 다음 날인 12월 26일로 영연방 국가와 일부 유럽 국가에서 휴일로 지정) 쓰나미’라고도 알려진 수마트라 섬 인근에서 해저 강진과 함께 발생한 이 지진해일은 태국, 인도, 스리랑카, 심지어는 남아프리카 공화국의 해안가를 휩쓸었고 아시아와 아프리카 대륙 14개 국가에서 약 230,000명의 목숨을 앗아갔다. 종이나 나무 목재 위에 목탄이나 먹을 주로 사용한 드로잉을 선보여 온 작가는 강력한 해일이 얼마나 멀리 그리고 널리 퍼져나갔는지 바람과 파도의 움직임을 통해 상기시키며 지정학적 국경이 지니는 임의성에 주목한다. 개인으로서 마주치는 사회의 부조리와 혼란에 예민하게 반응하는 작가는, 자연 재해의 파괴적인 힘이 드러내는 구조적 불평등을 은유적으로 암시하는 한편, 군도와 바다를 건너 먼 곳에서 친밀감을 찾고자 했던 연대의 움직임을 상기시키기도 한다.

Daejin Choi’s charcoal mural, A Great Wave, engulfs viewers in its sheer scale. Covering an entire wall measuring six meters in length, this temporary mural painting refers to one of the deadliest disasters in modern history: the 2004 Indian Ocean earthquake and tsunami. A powerful undersea earthquake that struck off the coast of the island of Sumatra triggered a succession of tsunami waves that rolled over coastlines in Thailand, India, Sri Lanka, and even South Africa, killing nearly 230,000 people in 14 countries across the Asian and African continents.

Reminding us how far and wide the deadly waves traveled across the globe, Choi calls attention to the arbitrariness of geopolitical borders. The destructive force of nature the waves signal, on the other hand, acts as a compelling counterpoint to the wars and human conflicts that affect and shape the world. The ‘black ocean’ and its erupting wave thus invite us to reflect on invisible yet interconnected forces that divide and bind nations and their peoples.



Dae Jin Choi was born and raised in Busan and attended university there until he moved to France, where he by chance began to work on art and remained for a long period of time. Infuenced by the sense of liminality gained from his long sojourn abroad and the personal and acute experiences borne of predicament, Choi has been working to combine his formative experiences with contemporary social and political issues that are deployed in myriad ways. In 2007, he graduated from the École Nationale Supérieure d’Arts in Paris-Cergy, and in 2008, he worked as a researcher-artist in the Postgraduate programme of the Ecole Nationale Superieure des Beaux-Arts de Lyon. He has held solo exhibitions at Parc Saint Léger in France, Espace Kugler in Geneva, Switzerland, Alternative Space LOOP and Project Space SARUBIA in Seoul, Korea, and has participated in a variety of group exhibitions across Europe and Asia in venues such as Gwangju Museum of Art, Total Museum of Contemporary Art, Nuit Blanche (annual art festival in Paris), Hite Collection, Accademia d’Ungheria (Rome), Musee d’Art Moderne de Saint-Etienne Metropole (France), Musée d’art contemporain de Lyon (France), and the Former Bank of Japan--Hiroshima Branch, as well as artist-in-res- idence programs in Paris, Moscow, Geneva, and Seoul. He currently lives and works in Seoul.


Daejin Choi, Installation view of Human Work at Alter Space LOOP, Seoul. Courtesy of the artist.