ξοΈ
Vol. 03
Available in both Eng / Kor
(for mobile users) Please scroll down for Korean version
(λͺ¨λ°μΌ) μλλ‘ μ€ν¬λ‘€νμλ©΄ νκ΅μ΄ λ²μ μΌλ‘ μ½μΌμ€ μ μμ΅λλ€.
SCRAMBLED
About Unidentifiable Boundaries
βWe shouldnβt have chosen this as the theme for this edition...β
It's been an hour since I started writing, but I could barely write just one paragraph, despite all the struggles I had. It feels as if digging my own grave. Why is it so difficult to write? After all, wasn't it us ourselves who decided to do this theme after many meetings? We have selected the topic "boundary" because we thought it includes various sub-topics that can be written out. To my surprise, it was tremendously challenging to write anything about the theme. What was even more surprising is that it wasn't only me who felt it that way, seeing from the first drafts that we've received.
We thought of it more as a line or a wall that separates one property from another. However, the closer we look into it, the clearer it became that it is an area of confusion rather than a line or a wall. It's like that we used to think that Saturn has a thin line around it, but a space probe discovered that the ring was, in fact, a large area with thousands of asteroids. Changing the property from one to another can't be as simple as jumping across a line. It's natural if you think about it, but why didn't we know that before?
Thinking that a boundary is more like an area of confusion, it can also be understood as a painful transformation process. Just like Dutch April changes its weather every 5 minutes. Perhaps, irregularity and chaos are two words that best describe what boundary is. Putting that process in-between, the world on one side and on the other seems so peaceful and stable. However, while you are within that area of boundary, you'll constantly collide, break and transform. Since we decided to set our foot on this "boundary" throughout this edition, our creative process can't help but be confusing, just like we're within that boundary.
This edition reveals the confusion and bafflement we've felt facing the boundary or being within the area of boundary. It even feels as if this edition has become a border itself in the course of the life of Het Ma:dang, that we could actually feel the change that is taking its place. However, facing boundaries means that there's a certain extent of growth in any form. I hope that readers can face this boundary without the confusion we felt.
μ€ν¬λ¨λΈ
μ 체λ₯Ό μ μ μλ κ²½κ³μ λνμ¬
μ 체λ₯Ό μ μ μλ κ²½κ³μ λνμ¬
βμ΄λ² μλμ μ£Όμ λ₯Ό μ λͺ» μ νλ€.β
κΈμ μ¨μΌμ§ μκ°μ νκ³ μ»΄ν¨ν°λ₯Ό λ§μ£Όν μ§ ν μκ°, ν λ¬Έλ¨ κ²¨μ° μ₯μ΄ μ§λ΄λ λͺ¨μ΅μ΄ λ§μΉ λ΄ λ¬΄λ€μ λ΄κ° ν λͺ¨μ΅μ΄μλ€. νμλ₯Ό κ±°μ³ μ ν μ£Όμ μ΄μ§λ§ μ΄μ° λμλ μ€μ€λ‘ μ ν μ£Όμ μ μ΄λ κ² κ΄΄λ‘μΈ μΌμΈκ°. λΆλͺ μ΄λ κ² μ λ κ² νμλκΈ° μ¬μΈ κ±°λΌ μκ°ν΄ μ ν βκ²½κ³βλΌλ μ£Όμ λ μμκ³Όλ λ¬λ¦¬ μμ²λ μλ ¨μ λμκ² μ£Όκ³ μμλ€. μ΄μμ λ°κ³ μ λλ μ μ, μ΄λ κ² μκ°ν μ¬λμ΄ λλκ²λ λ νλκ° μλλΌλ μ μ΄μλ€.
νλμ μ±μ§κ³Ό λ λ€λ₯Έ μ±μ§μ ꡬλΆνλ βκ²½κ³βλΌλ κ²μ μ°λ¦¬λ λ§μΉ μ μ΄λ λ²½μΌλ‘ μκ°νμ§λ§, λ€μ¬λ€λ³΄λ©΄ λ³Όμλ‘ κ·Έλ³΄λ€λ λ λκ² μ΄μ΄μ§ νΌλμ μμμ κ°κΉμ λ€. λ§μΉ ν μ±μ κ³ λ¦¬κ° μ μΈ μ€ μμμ§λ§, νμ¬μ μ λ³΄λ΄ μμΈν 보λ μλ§μ μνμ±μΌλ‘ μ΄λ£¨μ΄μ§ ν° μμμ΄μλ κ²μ²λΌ. νλμ μ±μ§μμ λ€λ₯Έ μ±μ§λ‘ λμ΄κ°λ κ²μ΄ μ΄λ»κ² μ νλ ν΄μ§ λ°μ΄λλ κ²κ³Ό κ°μ μ μμκΉ. μκ°ν΄λ³΄λ©΄ λΉμ°νλ° μ λͺ°λμκΉ.
μκ°ν΄λ³΄λ©΄ κ²½κ³λΌλ κ²μ κ³ ν΅μ€λ¬μ΄ λ³λͺ¨μ κ³Όμ μ΄λΌκ³ λ³Ό μ μμ κ² κ°λ€. λ§μΉ λ€λλλμ νμ κΈ°μ 5λΆλ§λ€ λ μ¨κ° λ³νλ κ²μ²λΌ λ³λμ€λ½κ³ νΌλμ€λ¬μ΄ κ²μ΄ κ²½κ³λ₯Ό κ±°μ³ κ°λ κ³Όμ μ΄ μλκΉ. κ·Έ κ³Όμ μ μ¬μ΄μ λκ³ μ΄ μ κ³Ό μ΄νμ μΈμμ ννλ‘κ³ μμ μ μΌ μ μκ² μ§λ§ κ²½κ³ κ·Έ μμ λ€μ΄ μλ λμμ μΌ μμ΄ λΆλͺνκ³ κΉ¨μ§λ©° λ³νν΄κ°μΌ νλ κ² μλκΉ. κ·Έλ¬λ κ·Έλ° κ²½κ³λ₯Ό λ§μ£ΌνκΈ°λ‘ ν μ΄λ² μλμ μ κ·Έ μ°½μ κ³Όμ λν λ§μΉ κ²½κ³ κ·Έ μμ λ€μ΄ μλ λ― νΌλμ€λ¬μΈ μλ°μ μλ κ²μ΄λ€.
μ΄λ² μλμ μλ κ²½κ³ κ·Έ μμμ νΌλμ€λ¬μνλ λͺ¨μ΅λ€κ³Ό κ²½κ³λ₯Ό λ§μ£Όνμ λ λκ»΄μ§λ λΉνΉκ°μ΄ μ λλ¬λλ κ² κ°λ€. λν μ΄ μλμ μμ²΄κ° λ νλμ κ²½κ³κ° λμ΄ ν-λ§:λΉμλ λ³νκ° μ΄λ£¨μ΄μ§κ³ μμμ μ¬μ€ν λλ μ μμλ€. νμ§λ§ κ²½κ³λ₯Ό λ§μ£Όνλ€λ κ²μ κ·Έκ²μ ν΅ν΄ μ΄λ ν μλ―Έλ‘λ μ±μ₯μ΄ μ΄λ£¨μ΄μ§μ λ»νλ€. λΆλ λ μλ€μ μ°λ¦¬κ° λλ νΌλ μμ΄ μ΄ κ²½κ³λ₯Ό λ§μ£ΌνκΈΈ λ°λλ€.
[21st May 2021]
Chaereen Kong, Editor-in-chief
Chaereen Kong, Editor-in-chief
ξοΈ
Articles
NO. 1
ξοΈ
The Other-land (2021)
Kelly Jang






The Other-land (2021) by Kelly Jang
Swipe through to see close up images
μ΄λ―Έμ§λ₯Ό μμΌλ‘ λκΈ°λ©΄, λ μμΈν λ³΄μ€ μ μμ΅λλ€.
μ΄λ―Έμ§λ₯Ό μμΌλ‘ λκΈ°λ©΄, λ μμΈν λ³΄μ€ μ μμ΅λλ€.
Among my childhood memories, there are clear memories that remain like trauma. One day I arrived at the kindergarten too early, so I closed the door and waited alone in the classroom for the teacher and the other children to arrive. But for some reason, the door couldnβt be opened from outside, so other people could not come in. At that time, I didn't know how to open the door that I closed, and I couldn't even hear the teacher from the outside explaining to me how to open the door from the inside.
I was scared and lonely.
Even now, I think about that door I closed sometimes. I accidentally settled in an unfamiliar place, with the feeling of being trapped in it without notice. Knowing that no one has locked me in, nor have I indeed never locked the door, but somehow I feel like I made it impossible for anyone to enter. Or I feel like I can't get out on my own. There were days when I became an isolated island myself and the days that this place became like an island that I could not reach.
<The Other-land> is my view towards the Netherlands. It's also the way I look at myself in this place. This work is done through a collage process on the canvas after working with a brush on the backside of the paper on which the text was printed. It is expressed as if the objects all look similar and appear to be mixed, but the boundaries exist clearly among them. The boundaries may be formed by others or may be by myself. In addition, the use of the backside of the printed paper represents the backside of another world visually, the matter of legibility, and another attempt (e.g., act of soaking with water) to reveal the text on the backside.
This work is connected with the series of my previous work, βMind your Gap.β It can be said to be an expression of the unconstrained boundary between my values and the place where I stayed, Germany and the Netherlands. In particular, during this pandemic period, I have realized that people tend to easily define other people while constantly recognizing this boundary and in-between, and so do I. Therefore, I have learned that we need to be wary of not easily judging and defining other people and their culture.
I was scared and lonely.
Even now, I think about that door I closed sometimes. I accidentally settled in an unfamiliar place, with the feeling of being trapped in it without notice. Knowing that no one has locked me in, nor have I indeed never locked the door, but somehow I feel like I made it impossible for anyone to enter. Or I feel like I can't get out on my own. There were days when I became an isolated island myself and the days that this place became like an island that I could not reach.
<The Other-land> is my view towards the Netherlands. It's also the way I look at myself in this place. This work is done through a collage process on the canvas after working with a brush on the backside of the paper on which the text was printed. It is expressed as if the objects all look similar and appear to be mixed, but the boundaries exist clearly among them. The boundaries may be formed by others or may be by myself. In addition, the use of the backside of the printed paper represents the backside of another world visually, the matter of legibility, and another attempt (e.g., act of soaking with water) to reveal the text on the backside.
This work is connected with the series of my previous work, βMind your Gap.β It can be said to be an expression of the unconstrained boundary between my values and the place where I stayed, Germany and the Netherlands. In particular, during this pandemic period, I have realized that people tend to easily define other people while constantly recognizing this boundary and in-between, and so do I. Therefore, I have learned that we need to be wary of not easily judging and defining other people and their culture.
λμ μ΄λ¦° μμ κΈ°μ΅ μ€μ νΈλΌμ°λ§μ²λΌ λ¨μμλ μ λͺ
ν κΈ°μ΅μ΄ μλ€. νΌμ μ μΉμμ μΌμ° λμ°©ν΄μ λ¬Έμ λ«κ³ μ μλκ³Ό μΉκ΅¬λ€μ κΈ°λ€λ¦¬κ³ μμλλ°, κ·Έ λ¬Έμ΄ λ°μμ μ΄λ¦¬μ§ μμ λ€λ₯Έ μ¬λλ€μ΄ λͺ» λ€μ΄μ€κ² λ κ²μ΄λ€. κ·Έλ λλ λ΄κ° λ«μ λ¬Έμ μ΄λ»κ² μ΄μ΄μΌ νλμ§ μμ§ λͺ»νκ³ , λ°μμ μ μλμ΄ μμμ λ¬Έμ μ΄ μ μλ λ°©λ²μ λ΄κ² μ€λͺ
νλ μ리λ μμλ€μ μ μμλ€.
λλ 무μμ κ³ μΈλ‘μ λ€.
μ§κΈλ μ’ μ’ λλ λ΄κ° λ«μλ²λ¦° λ¬Έμ μκ°νλ€. μ΄μ©λ€ λ―μ κ³³μ μ μ°©νλλ°, κ·Έ μμ λλ λͺ¨λ₯΄κ² κ°νμλ κΈ°λΆ. μ무λ λλ₯Ό κ°λ μ μ΄ μκ³ , λλ λΆλͺ λ¬Έμ κ±Έμ΄ μ κ·Ό μ μλλ°, μ무λ μ΄ μμ λ€μ΄μ€μ§ λͺ»νκ² λ§λ κΈ°λΆ. λλ λ΄κ° μ€μ€λ‘ λ°μΌλ‘ λκ° μ μλ κΈ°λΆ. κ·Έλ κ² λ΄κ° μΈλ΄ μ¬μ΄ λκ³ , λ΄κ° λκ³ μλ μ΄κ³³μ΄ λμκ² λΏμ μ μλ μ¬μ΄ λμλ κ·Έλ° λλ λ€μ΄ μμλ€.
<The Other-land>λ λ΄κ° λ€λλλλ₯Ό λ°λΌλ³΄λ μμ μ΄λ©°, λ€λλλμ μλ λλ₯Ό λ°λΌλ³΄λ μκ°μ΄λ€. μ΄ μμ μ ν μ€νΈκ° νλ¦°νΈλ μ’ μ΄μ λ·λ©΄μ λΆμΌλ‘ μμ ν ν μΊλ²μ€ μμ μ½λΌμ£Ό νλ κ³Όμ μ κ±°μΉ κ²μΌλ‘, μ€λΈμ νΈλ€μ΄ λͺ¨λ λΉμ·ν΄ λ³΄μ¬ νλ° μμ¬ μλ κ²μ²λΌ 보μ΄μ§λ§, κ·Έ μ¬μ΄μ κ²½κ³μ μ΄ λΆλͺ ν μ‘΄μ¬νλ€λ κ²μ νννλ€. κ·Έ κ²½κ³μ μ νμΈμ΄ λλ κ²μΌ μλ μκ³ , λ΄κ° μ€μ€λ‘ λ§λ κ²μΌ μλ μλ€. λν κΈμ¨κ° νλ¦°νΈλ μ’ μ΄μ λ·λ©΄μ μ΄μ©ν κ²μ λ€λ₯Έ μΈκ³μ μ΄λ©΄κ³Ό κ°λ μ±μ λ¬Έμ , κ·Έλ¦¬κ³ λ·λ©΄μ κΈμ¨κ° λλ¬λκΈ° μν΄μ κ°ν΄μ§λ λ λ€λ₯Έ μλ(λ¬Όλ‘ μ μλ νμ λ±)λ₯Ό μκ°μ μΌλ‘ ννν κ²μ΄λ€.
μ΄ μμ μ λμ κΈ°μ‘΄ μμ βMind your Gapβ μ리μ¦μ μ°κ²°λλ μμ μΌλ‘, λμ κ°μΉκ΄κ³Ό λ΄κ° λ¨Έλ¬Όλ κ³³ μ¬μ΄μ μ’νμ§μ§ μλ κ²½κ³μ λν ννμ΄λΌκ³ ν μ μλ€. νΉν μ΄ ν¬λλ―Ή κΈ°κ° λ΄κ° μ΄ κ²½κ³βμ¬μ΄λ₯Ό λμμμ΄ μΈμνλ©΄μλ νμΈμ μ½κ² κ·μ ν΄λ²λ¦΄ μ μλ€λ κ², λ λ°λλ‘ νμΈμ΄ λμ λμ λ¬Ένμ λν΄ μ½κ² νλ¨νκ³ μ μνλ κ²μ΄ μ°λ¦¬κ° μ λ§ κ²½κ³ν΄μΌ ν κ²μμ μκ² λμλ€.
λλ 무μμ κ³ μΈλ‘μ λ€.
μ§κΈλ μ’ μ’ λλ λ΄κ° λ«μλ²λ¦° λ¬Έμ μκ°νλ€. μ΄μ©λ€ λ―μ κ³³μ μ μ°©νλλ°, κ·Έ μμ λλ λͺ¨λ₯΄κ² κ°νμλ κΈ°λΆ. μ무λ λλ₯Ό κ°λ μ μ΄ μκ³ , λλ λΆλͺ λ¬Έμ κ±Έμ΄ μ κ·Ό μ μλλ°, μ무λ μ΄ μμ λ€μ΄μ€μ§ λͺ»νκ² λ§λ κΈ°λΆ. λλ λ΄κ° μ€μ€λ‘ λ°μΌλ‘ λκ° μ μλ κΈ°λΆ. κ·Έλ κ² λ΄κ° μΈλ΄ μ¬μ΄ λκ³ , λ΄κ° λκ³ μλ μ΄κ³³μ΄ λμκ² λΏμ μ μλ μ¬μ΄ λμλ κ·Έλ° λλ λ€μ΄ μμλ€.
<The Other-land>λ λ΄κ° λ€λλλλ₯Ό λ°λΌλ³΄λ μμ μ΄λ©°, λ€λλλμ μλ λλ₯Ό λ°λΌλ³΄λ μκ°μ΄λ€. μ΄ μμ μ ν μ€νΈκ° νλ¦°νΈλ μ’ μ΄μ λ·λ©΄μ λΆμΌλ‘ μμ ν ν μΊλ²μ€ μμ μ½λΌμ£Ό νλ κ³Όμ μ κ±°μΉ κ²μΌλ‘, μ€λΈμ νΈλ€μ΄ λͺ¨λ λΉμ·ν΄ λ³΄μ¬ νλ° μμ¬ μλ κ²μ²λΌ 보μ΄μ§λ§, κ·Έ μ¬μ΄μ κ²½κ³μ μ΄ λΆλͺ ν μ‘΄μ¬νλ€λ κ²μ νννλ€. κ·Έ κ²½κ³μ μ νμΈμ΄ λλ κ²μΌ μλ μκ³ , λ΄κ° μ€μ€λ‘ λ§λ κ²μΌ μλ μλ€. λν κΈμ¨κ° νλ¦°νΈλ μ’ μ΄μ λ·λ©΄μ μ΄μ©ν κ²μ λ€λ₯Έ μΈκ³μ μ΄λ©΄κ³Ό κ°λ μ±μ λ¬Έμ , κ·Έλ¦¬κ³ λ·λ©΄μ κΈμ¨κ° λλ¬λκΈ° μν΄μ κ°ν΄μ§λ λ λ€λ₯Έ μλ(λ¬Όλ‘ μ μλ νμ λ±)λ₯Ό μκ°μ μΌλ‘ ννν κ²μ΄λ€.
μ΄ μμ μ λμ κΈ°μ‘΄ μμ βMind your Gapβ μ리μ¦μ μ°κ²°λλ μμ μΌλ‘, λμ κ°μΉκ΄κ³Ό λ΄κ° λ¨Έλ¬Όλ κ³³ μ¬μ΄μ μ’νμ§μ§ μλ κ²½κ³μ λν ννμ΄λΌκ³ ν μ μλ€. νΉν μ΄ ν¬λλ―Ή κΈ°κ° λ΄κ° μ΄ κ²½κ³βμ¬μ΄λ₯Ό λμμμ΄ μΈμνλ©΄μλ νμΈμ μ½κ² κ·μ ν΄λ²λ¦΄ μ μλ€λ κ², λ λ°λλ‘ νμΈμ΄ λμ λμ λ¬Ένμ λν΄ μ½κ² νλ¨νκ³ μ μνλ κ²μ΄ μ°λ¦¬κ° μ λ§ κ²½κ³ν΄μΌ ν κ²μμ μκ² λμλ€.
Artist
Kelly Jang ξοΈοΈοΈ
Kelly Jang majored in Korean Painting in South Korea and received her Ph.D. degree with a thesis based on Eastern Philosophy. Since participating in the Artist-in-Residence in the Netherlands in 2014, she has worked in Germany and the Netherlands. She has dealt with the subject in her work, such as life and death, time and space in combination with Still Life themes. Recently, she has been studying the inner relationship between the object and the text. The main theme of her work is the question of time arising from the relationship between the text created through the image and the image created through the text.
Kelly Jang majored in Korean Painting in South Korea and received her Ph.D. degree with a thesis based on Eastern Philosophy. Since participating in the Artist-in-Residence in the Netherlands in 2014, she has worked in Germany and the Netherlands. She has dealt with the subject in her work, such as life and death, time and space in combination with Still Life themes. Recently, she has been studying the inner relationship between the object and the text. The main theme of her work is the question of time arising from the relationship between the text created through the image and the image created through the text.
μΌλ¦¬ μ₯ξοΈοΈοΈ
μΌλ¦¬ μ₯μ νκ΅μμ νκ΅ ννλ₯Ό μ 곡νκ³ , λμ μ² ν λ Όλ¬ΈμΌλ‘ λ°μ¬ νμλ₯Ό λ°μλ€. 2014λ μ λ€λλλμμ μ§νν μν°μ€νΈ λ μ§λμμ μ°Έμ¬ν ν, λ μΌκ³Ό λ€λλλμμ κ°μΈμ κ³Ό ν°μΉ λ±μ νλμ μ΄μ΄κ°κ³ μλ€. μΌλ¦¬ μ₯μ μμ μ μ£Όμ λ‘ μΆκ³Ό μ£½μ, μκ°κ³Ό 곡κ°μ μ€νΈλΌμ΄νμ ν λ§μ κ²°ν©νμ¬ ννν΄ μλ€. μ΅κ·Όμλ λμκ³Ό ν μ€νΈμμ λ΄μ κ΄κ³μ λν΄ κ³΅λΆλ₯Ό νκ³ μκ³ , μ΄λ―Έμ§λ₯Ό ν΅ν΄ μμ±λ ν μ€νΈμ ν μ€νΈλ₯Ό ν΅ν΄ μμ±λ μ΄λ―Έμ§μμ κ΄κ³μμ λ°μνλ βμκ°βμ λν μ§λ¬Έμ ν λ§λ‘ μμ μ νκ³ μλ€.
μΌλ¦¬ μ₯μ νκ΅μμ νκ΅ ννλ₯Ό μ 곡νκ³ , λμ μ² ν λ Όλ¬ΈμΌλ‘ λ°μ¬ νμλ₯Ό λ°μλ€. 2014λ μ λ€λλλμμ μ§νν μν°μ€νΈ λ μ§λμμ μ°Έμ¬ν ν, λ μΌκ³Ό λ€λλλμμ κ°μΈμ κ³Ό ν°μΉ λ±μ νλμ μ΄μ΄κ°κ³ μλ€. μΌλ¦¬ μ₯μ μμ μ μ£Όμ λ‘ μΆκ³Ό μ£½μ, μκ°κ³Ό 곡κ°μ μ€νΈλΌμ΄νμ ν λ§μ κ²°ν©νμ¬ ννν΄ μλ€. μ΅κ·Όμλ λμκ³Ό ν μ€νΈμμ λ΄μ κ΄κ³μ λν΄ κ³΅λΆλ₯Ό νκ³ μκ³ , μ΄λ―Έμ§λ₯Ό ν΅ν΄ μμ±λ ν μ€νΈμ ν μ€νΈλ₯Ό ν΅ν΄ μμ±λ μ΄λ―Έμ§μμ κ΄κ³μμ λ°μνλ βμκ°βμ λν μ§λ¬Έμ ν λ§λ‘ μμ μ νκ³ μλ€.
Other articles in Vol.03
No.2 Don't be an amateur! I μλ§μΆμ΄κ°μ΄ μ κ·Έλ?
No.3 Would you rather marry? I κ²°νΌ λ°Έλ°μ€ κ²μ
No.4 Kill them all and let God do the judgment I λͺ¨μ‘°λ¦¬ μ£½μ¬λΌ μ¬νμ νλλκ» λ§‘κΈ°κ³
No.5 The Edge of Companionship I μ¬κ·μ κ²½κ³
No.6 My precious child I κΈμͺ½κ°μ λ΄ μλΌ
No.2 Don't be an amateur! I μλ§μΆμ΄κ°μ΄ μ κ·Έλ?
No.3 Would you rather marry? I κ²°νΌ λ°Έλ°μ€ κ²μ
No.4 Kill them all and let God do the judgment I λͺ¨μ‘°λ¦¬ μ£½μ¬λΌ μ¬νμ νλλκ» λ§‘κΈ°κ³
No.5 The Edge of Companionship I μ¬κ·μ κ²½κ³
No.6 My precious child I κΈμͺ½κ°μ λ΄ μλΌ
Other Editions :
Vol.01_YEAR : AC 1
Vol.02_Life_ver.01.jpeg
Vol.01_YEAR : AC 1
Vol.02_Life_ver.01.jpeg
ξοΈ
Don't be an amateur!
Chaereen Kong
I've earned my living in my 20s, mostly from part-time jobs as an interpreter or a coordinator for filming. It lifted a bit of a burden that I've given to my parents for the financial support for me, who had a particularly long student period. These were the best part-time jobs I could have because these offered a good payment and the fact that these were occasional. Most jobs were for a consecutive interpretation of a presentation at a meeting between governmental bodies from Korea and the Netherlands. These meetings took from a half-day till a few days at the longest. Most of my clients called me "Interpreter" during these meetings, which I couldn't quite know how to react to. When I was a child, I dreamed of becoming an interpreter, so I had a passion for it. And over the past years that I got these jobs, I tried to develop my own know-how and skills, which led me to be quite a successful part-time interpreter. Even so, I questioned myself if I'm allowed to be called an interpreter since I didn't have professional education. Of course, they might have called me an interpreter just because there weren't any other ways to refer to me. Still, I felt embarrassed because of the idea that I wasn't a professional.
I often think that I'm not good enough to do something even before starting it. Maybe that is because of lacking self-esteem or having little faith in my capability. It takes some time for me to start doing anything. Even if I start something, I think I'm not capable of having this as a profession or being entitled as a professional. Some might not value much about placing a title in front of their name. But for me, it has significant meaning, as if putting a label on myself. Ever since I took off the label as a student after finishing the master course, I wasn't sure what to introduce myself as. That's why I left the profile section on social media empty for a while. I majored in design, but I'm not planning to become a designer, so I can't call myself a designer. I introduce myself with a job title at work, but it doesn't represent my identity. I've left my profile empty, but it doesn't mean that I'm a nobody. Can somebody please put a label on me? It seems that putting a label on myself implies a question of whether I'm a professional or an amateur. In Korea, we often say someone is a pro as an abbreviation of a professional. In the opposite cases, we say someone is an amateur. When does one become a pro, and until when does one stay as an amateur?
Pro (Professional)
Noun
Someone who has a speciality in something or does it as a profession.
Amateur
Noun
Someone who enjoys doing something, such as art, sport or skills, as a hobby, but not as a profession.
The definition from the Korean dictionary says that a pro means a person who does something with speciality or as a profession. Having a speciality is used as a synonym for pro. Having speciality means having research or focussing on a certain field only, with considerable knowledge and experience in that field. Having something as a profession means continuing to work for a certain period to make a living. In theory, having something as a profession may be synonymous with having speciality in it. But in reality, we know it's not always the case. We often see someone who has a job but lacks expertise in it. Or, on the contrary, there are cases that one has a great deal of speciality in something but earns hardly anything from it. We say that the former is being unprofessional. But doesn't it mean that he is "an unprofessional pro"? We call the latter like a professional. It implies that the one is still an amateur who is "almost" like a professional.
Professional
noun
- a person who has the type of job that needs a high level of education and special training.
- someone who has worked hard in the same type of job for a long time, and has a lot of skill and knowledge.
- someone who does an activity or a job to earn money, rather than as a hobby.
Amateur
noun
- a person who takes part in an activity for pleasure, not as a job
- someone who does not have much skill in what they do
Looking at the definition from the English dictionary, what we imply with the word "professional" corresponds to the second and third definition. It refers to a person who earns income through a certain activity or a job and has significant skill and knowledge about it by working on it for a long time. The definition of amateur is a bit more elaborate than the definition in Korean, on the other hand. An amateur means someone who does something as a hobby but also means that one lacks certain skills. When we say "don't be like an amateur.", it implies that one lacks the required skill for performing the job. Since the one does have it as a profession(as a job) though they lack the skill, the one is still a pro, no matter how much amateur-like.
Allowing myself to be categorised as millennials, I'm not planning to keep my current paid job for the rest of my life. I also don't think that one job can represent my self-identity either. Though there may be no financial compensation at this moment, I'm trying to keep many different things as a side job. I'm already in my 30s, but I still want to live young and pursue what I can and what I like. I value mental satisfaction over financial stability. I do my best in everything I do and take responsibility for what I'm assigned. For me, being recognised as a pro means the recognition of the perfection of the work that I'm passionate about rather than generating income through the job. However, this recognition doesn't coincide with the definition of a pro from the dictionary. Maybe the dichotomy of pro and amateur does not apply to our generation. I want my hobby to become a job, and I want to do my job like a hobby. I want to become a pro who enjoys the job like an amateur, and I want to be an amateur who has the speciality like a pro. Perhaps I'm looking for new possibilities somewhere between pro and amateur or at a place where pro and amateur are mixed together.
[May, 2021]
ξοΈ
μλ§μΆμ΄κ°μ΄ μ κ·Έλ?
곡μ±λ¦°
20λ λμ κ°μ₯ ν° μμ μμ μ£Όλ‘ ν΅λ²μκ³Ό λ°©μ‘ μ½λμλ€. νμ μ λΆμ΄ κΈΈμλ λμκ² λ¨νλ‘ μΉκ³ λΉ μ§ μ μμΌλ©΄μλ κ½€ 묡μ§ν λ²μ΄κ° λμλ μ΄ λ κ°μ§λ λΆλͺ¨λκ» μ©λμ λͺ» λ릴μ§μΈμ λ§€λ² λΆλλ½κ² μμ λ²λ €μΌ νλ λμ λ§μ§λ§ μμ‘΄μ¬μ΄ λμ΄μ£Όμλ€. μ£Όλ‘ λ΄κ² λ€μ΄μλ ν΅μμΌμ κ°μ’ μ λΆκΈ°κ΄μ΄λ 곡곡기κ΄μμ ν΄μΈλ‘ μ΄λ₯Έλ° 견νμ μ€λ κ²½μ° λ€λλλ μΈ‘μμ μ€λΉν νλ μ ν μ΄μ μ μμ°¨ ν΅μμ΄μλ€. λ³΄ν΅ μ§§κ²λ λ°λμ μμ κΈΈκ²λ λ©°μΉ μ μΌμ λμ μμ΄μμ νκ΅μ΄λ‘ ν΅μνλ μΌμ λ§‘λ€λ³΄λ©΄ μλλ€μ λλ₯Ό μ£Όλ‘ βν΅μμ¬λβμ΄λΌ λΆλ₯΄κ³€ νλ€. μ΄λ¦΄ μ ν΅μμ¬λ₯Ό κΏκΎΌμ λ μμκ³ μΌμ νλ€λ³΄λ λ Ένμ°κ° λμ΄μ λλ¦ λ Έλ ¨νκ² ν΅μμ ν μ μμλ€ν΄λ μ μ ν΅μ 곡λΆλ₯Ό νμ§λ μμ λλ₯Ό βν΅μμ¬βλΌ λΆλ₯Ό λ λ§λ€ λλ μ μ§ λͺ¨λ₯΄κ² λͺΈ λ λ°λ₯Ό λͺ°λμλ€. λ¬Όλ‘ κ·Έλ€μ΄ λλ₯Ό λΆλ₯Ό λ§ν λ€λ₯Έ νΈμΉμ΄ λ±ν μμκΈ°μ 그리 μΉνμ μλ μμ§λ§, λλ νλ‘κ° μλλΌλ μκ° λλ¬Έμ λΆλλ¬μ λ κ² κ°λ€.
λλ μμ‘΄κ°μ΄ λΆμ‘±ν νμΈμ§ μλλ©΄ λ΄ μ€μ€λ‘μ λ₯λ ₯μ λν λ―Ώμμ΄ μ μ΄μ μΈμ§ λ΄κ° μ΄λ€ μΌμ μμνκΈ°μ μμ λΆμ‘±νλ€λ μκ°μ λ¨Όμ κ°λλ€. κ·Έλμ 무μμ΄λ μμνκΈ°κΉμ§ μ€λ μκ°μ΄ κ±Έλ¦¬κ³ , μ΄μ©λ€ μμμ ν μΌμ΄λΌλ λλ μ΄ μΌμ λ§‘κΈ°μ, νΉμ νλ‘λΌκ³ νκΈ°μ λΆμ‘±νλ€λ μκ°μ λ κ°κ³ μ΄μλ€. νΈμΉμ΄λ κ², λλ μ§μ± μ΄λ κ² ν° μλ―Έκ° μλ μ¬λλ€λ μκ² μ§λ§, λμκ²λ μ΄λ€ λΌλ²¨μ λΆμ΄λ κ²μ²λΌ ν° μλ―Έλ₯Ό κ°λλ€. λ΄κ° λνμμ μ‘Έμ νκ³ νμμ΄λΌλ λΌλ²¨μ λ κ·Έ μκ°λΆν°λ μ€μ€λ‘λ₯Ό 무μμ΄λΌ μκ°ν΄μΌ ν μ§ μ°Έ λκ°νμλ€. κ·Έλμ νλμ μμ λ―Έλμ΄μ μκΈ°μκ°λμ 곡λμΌλ‘ λ μ λ μλ€. λμμΈμ 곡λΆνμ§λ§ μμΌλ‘ λμμ΄λλ₯Ό ν μκ°μ μκΈ°μ λμμ΄λλ μλκ³ , νμ¬μμ λ΄ μ΄λ¦ μμ λΆμ μ§μ± μ μμ§λ§ κ·Έ μ§μ± μ λμ μ 체μ±μΌλ‘λ μκ°νμ§ μκ³ , κ·Έλ λ€κ³ μ무κ²λ μλ μΈκ°μ μλλ°. μ°¨λΌλ¦¬ μ λ° λκ° λμκ² λΌλ²¨μ μ’ λΆμ¬μ€¬μΌλ©΄. μ§μ± μ΄ μ΄λ¦ μμ λΆλλ€λ κ²μ λμκ² νλ‘λ μλ§μΆμ΄λμ λν μλ¬Έμ νλ κ²κ³Ό λ€λ¦μλ€. νν νλ‘νμ λμ μ€μ¬μ νλ‘λΌ μΉνλ νλ‘, κ·Έλ¦¬κ³ κ·Έ λ°λλ₯Ό λ»νλ μλ§μΆμ΄. μ°λ¦¬λ κ·ΈλΌ μΈμ νλ‘κ° λκ³ μΈμ κΉμ§ μλ§μΆμ΄μΈκ±ΈκΉ?
νλ‘ (professional)
λͺ μ¬
μ΄λ€ μΌμ μ λ¬Έμ μΌλ‘ νκ±°λ μ§μ μ μΌλ‘ νλ μ¬λ
μλ§μΆμ΄ (amateur)
λͺ μ¬
μμ μ΄λ μ€ν¬μΈ , κΈ°μ λ°μλ₯Ό μ§μ μΌλ‘ μΌμ§ μκ³ μ·¨λ―Έλ‘ μ¦κΈ°λ μ¬λ.
νκ΅μ΄ μ¬μ μ μ μμ λ°λ₯΄λ©΄ νλ‘λ μ΄λ€ μΌμ μ λ¬Έμ , μ§μ μ μΌλ‘ νλ μ¬λμ λ»νλ€. μ¬κΈ°μ μ λ¬Έμ μ΄λΌλ λ§μ΄ νλ‘μ μ μμ΄λ‘ μ°μ΄λλ°, μ λ¬Έμ μ΄λΌ ν¨μ μ΄λ€ λΆμΌμ μλΉν μ§μκ³Ό κ²½νμ κ°κ³ μ€μ§ κ·Έ λΆμΌλ§ μ°κ΅¬νκ±°λ λ§‘λ κ²μ λ»νλ€. μ§μ μ μΌλ‘ νλ€λ κ²μ μκ³λ₯Ό μ μ§νκΈ° μν΄ μΌμ ν κΈ°κ° λμ κ³μνμ¬ μ’ μ¬νλ κ²μ λ»νλ€. νμ§λ§ μ λ¬Έμ μΈκ²κ³Ό μ§μ μ μΈ κ²μ μ΄λ‘ μ μΌλ‘λ μ μμ΄ μΌμ§ λͺ°λΌλ μ°λ¦¬κ° μ΄μκ°λ νμ€μμ κΌ κ·Έλ μ§λ§μ μλ€. μ΄λ ν μΌμ μ§μ μΌλ‘ κ°μ§ μ¬λμ΄λΌ ν΄λ κ·Έ μΌμ μ λ¬Έμ±μ΄ λ¨μ΄μ§λ κ²½μ°κ° μ’ μ’ μλ€. λλ κ·Έμ λ°λλ‘ λ§€μ° μ λ¬Έμ μ΄μ§λ§ κ·Έλ‘ μΈν μμ μ κ±°μ μλ κ²½μ°λ κ½€ μλ€. μ°λ¦¬λ μ μλ₯Ό νλ‘λ΅μ§ λͺ»νλ€ νμ§λ§ κ·Έ λ§μ κ³§ κ·Έλ βνλ‘λ΅μ§ λͺ»ν νλ‘βλΌλ λ» μλκΉ? νμλ₯Ό νλ‘κ°λ€ νμ§λ§, κ·Έ λ§μ βλ§μΉ" βνλ‘κ°μ μλ§μΆμ΄βλΌλ λ» μλκΉ?
Professional
noun
- a person who has the type of job that needs a high level of education and special training.
- someone who has worked hard in the same type of job for a long time, and has a lot of skill and knowledge.
- someone who does an activity or a job to earn money, rather than as a hobby.
Amateur
noun
- a person who takes part in an activity for pleasure, not as a job
- someone who does not have much skill in what they do
λ λ¨μ΄κ° μ λλ μλ¨μ΄μ λ»μ μ΄ν΄λ³΄λ©΄, μ°λ¦¬κ° νν λ§νλ νλ‘μ λ»μ μλ¬Έ μ μμμ λ λ²μ§Έμ μΈ λ²μ§Έ μλ―Έμ ν΄λΉνλ€. μ΄λ€ νμλ₯Ό ν΅ν΄ μμ μ΄ μμΌλ©° μ€λ κΈ°κ° μ’ μ¬νμ¬ κ·Έμ κ΄ν κΈ°μ κ³Ό μ§μμ΄ λ§μ μ¬λμ λ»νλ€. λ°λ©΄ μλ§μΆμ΄μ κ²½μ°μλ νκ΅μ΄ μ μλ³΄λ€ μ‘°κΈ λ ꡬ체μ μΌλ‘ μ€λͺ νκ³ μλλ°, μ·¨λ―Έλ‘ νλ€λ κ² μΈμλ μ΄λ€ κΈ°μ μ λΆμ‘±ν¨μ λ»νκΈ°λ νλ€. μ¦ μ°λ¦¬κ° νν λ§νλ μλ§μΆμ΄κ°μ΄ μ κ·Έλ? λΌλ λ§μλ κ·Έκ° λ§‘μ μΌμ λνμ¬ κΈ°μ μ΄ λ¨μ΄μ§λ€λ λ»μ λ΄ν¬νκ³ μλ κ²μ΄λ€. νμ§λ§ κ·Έ λ§μ κ³§ μλ§μΆμ΄ κ°μ νλ‘, μ¦ νλ‘λ΅μ§ λͺ»ν νλ‘λΌλ λ»μ΄λ, λΉλ‘ κ·Έκ° μλ§μΆμ΄κ°λ€ νλλΌλ νλ‘λ νλ‘μΈ κ²μ΄λ€.
λ°λ λμΌ μΈλμ λ§μ°¨λ₯Ό νκ³ μλ λλ λ΄ μ§μ , μ¦ μκ³μ μ§ μλ¨μΌλ‘μμ μ§μ μ λμ νμ μ§μ μ΄λΌκ³ μκ°νμ§λ μκ³ , κ·Έκ²μ΄ λμ μμμ 체μ±μ λλ³νλ€κ³ μκ°νμ§λ μλλ€. λΉμ₯μ κΈμ μ 보μμ μμμ§μΈμ λ΄ μ§μ μΈμλ λ€λ₯Έ μΌλ€μ λμλ€λ°μ μΌλ‘ νλ νΈμ΄λ€. μ΄λ―Έ μλ₯Έμ΄ λμ λμ΄μ¬λ λ΄κ° μ ν μ μλ κ², λμκ² μ μ μ μΌλ‘ λ§μ‘±κ°μ μ£Όλ μΌμ μΆκ΅¬νλ©° μ΄κ³ μΆκ³ , λ΄κ° λ§‘μ λͺ¨λ μΌμ μ΅μ μ λ€νκ³ μ± μκ°μ κ°κ³ μνλ€. λ΄κ° νλ‘λ‘ μΈμ λ°κ³ μΆλ€λ μλ―Έλ μ΄λ ν μΌμ ν΅ν΄ μμ μ΄ μκΈ°λ κ²λ³΄λ€λ λ΄κ° μ΄μ μ κ°μ§ μΌμ μλ²½νκ² ν΄λ΄λ κ²μ λν μΈμ μΌλ‘ ν΄μλλ€. νμ§λ§ μ΄λ° μΈμ μ μ¬μ μ΄ μ μνλ νλ‘μ μ μμλ μΌμΉνμ§ μλλ€. μ΄μ©λ©΄ μ°λ¦¬ μΈλμκ² νλ‘μ μλ§μΆμ΄λ‘ λλ μ΄λΆλ²μ μΈ μ¬κ³ λ λ μ΄μ λ§μ§ μλ 건μ§λ λͺ¨λ₯Έλ€. μ·¨λ―Έκ° μ§μ μ΄ λκ³ λ μ§μ μ μ·¨λ―Έμ²λΌ νκ³ μΆμ λλ μλ§μΆμ΄ κ°μ νλ‘κ° λκ³ μΆκ³ νλ‘κ°μ μλ§μΆμ΄κ° λκ³ μΆλ€. μλ§ λλ νλ‘μ μλ§μΆμ΄ κ·Έ μ¬μ΄ μ΄λμ―€, λλ νλ‘μ μλ§μΆμ΄ λ κ°μ§κ° μμΈ κ·Έ κ²½κ³ μμμ μλ‘μ΄ κ°λ₯μ±μ μ°Ύλ 건μ§λ λͺ¨λ₯Έλ€.
[2021, 5μ]
Writer
Chaereen Kong
A Dobby whoβs longing for the life of Hanryang*. A kid who had too many things she liked to do and to become, has ended up as an ambiguous person. With her hyper-optimism, she believes she can still become anything since sheβs not definite yet. Once a tech-uni student who majored in Architecture, then became an art-school student following her affection in art, and now working at a marketing agency in Amsterdam. What would she become next?
*Hanryang: a voluntarily unemployed person, who enjoys the beauty of our lives.
See other articles by this writer...
Vol.01 I Article No.3 I If youβre reading this, youβre standing too close
Vol.02 I Article No.4 I The Incompleteness of Online Experience
A Dobby whoβs longing for the life of Hanryang*. A kid who had too many things she liked to do and to become, has ended up as an ambiguous person. With her hyper-optimism, she believes she can still become anything since sheβs not definite yet. Once a tech-uni student who majored in Architecture, then became an art-school student following her affection in art, and now working at a marketing agency in Amsterdam. What would she become next?
*Hanryang: a voluntarily unemployed person, who enjoys the beauty of our lives.
See other articles by this writer...
Vol.01 I Article No.3 I If youβre reading this, youβre standing too close
Vol.02 I Article No.4 I The Incompleteness of Online Experience
곡μ±λ¦°
νλμ μΆμ 그리λ λλΉ. μ’μνλ κ²λ, λκ³ μΆμ κ²λ μ°Έ λ§μλ μμ΄λ μ΄κ² μ κ² νλ€λ³΄λ μ΄λ μ λ μλ μ λ§€ν μ¬λμ΄ λμλ€. νμ§λ§ νΉμ μ 무ν κΈμ μΌλ‘ μ€νλ € κ·Έλ κΈ°μ 무μμ΄λ λ μ μλ€λ©° μ¬μ ν μ² μλ κΏμ κΎΌλ€. 건μΆμ μ 곡ν 곡λμμμ, μμ μ΄ μ’μ λ―Έλμμ΄ λμλ€κ° μ§κΈμ μμ€ν λ₯΄λ΄μ λ§μΌν μμ΄μ μμμ μΌνλ κ·Έλ μ λ€μ μμ΄λ΄ν°ν°λ 무μμΌκΉ?
μ΄ μκ°μ λ€λ₯Έ κΈ...
Vol.01 I Article No.3 I μ΄λΆ λ°μ μνν΄
Vol.02 I Article No.4 I λΆμμ ν κ²½νμ λνμ¬
νλμ μΆμ 그리λ λλΉ. μ’μνλ κ²λ, λκ³ μΆμ κ²λ μ°Έ λ§μλ μμ΄λ μ΄κ² μ κ² νλ€λ³΄λ μ΄λ μ λ μλ μ λ§€ν μ¬λμ΄ λμλ€. νμ§λ§ νΉμ μ 무ν κΈμ μΌλ‘ μ€νλ € κ·Έλ κΈ°μ 무μμ΄λ λ μ μλ€λ©° μ¬μ ν μ² μλ κΏμ κΎΌλ€. 건μΆμ μ 곡ν 곡λμμμ, μμ μ΄ μ’μ λ―Έλμμ΄ λμλ€κ° μ§κΈμ μμ€ν λ₯΄λ΄μ λ§μΌν μμ΄μ μμμ μΌνλ κ·Έλ μ λ€μ μμ΄λ΄ν°ν°λ 무μμΌκΉ?
μ΄ μκ°μ λ€λ₯Έ κΈ...
Vol.01 I Article No.3 I μ΄λΆ λ°μ μνν΄
Vol.02 I Article No.4 I λΆμμ ν κ²½νμ λνμ¬
Read more
Other articles in Vol.03
No 1. The other land (2021) by Kelly Jang
No.3 Would you rather marry? I κ²°νΌ λ°Έλ°μ€ κ²μ
No.4 Kill them all and let God do the judgment I λͺ¨μ‘°λ¦¬ μ£½μ¬λΌ μ¬νμ νλλκ» λ§‘κΈ°κ³
No.5 The Edge of Companionship I μ¬κ·μ κ²½κ³
No.6 My precious child I κΈμͺ½κ°μ λ΄ μλΌ
No 1. The other land (2021) by Kelly Jang
No.3 Would you rather marry? I κ²°νΌ λ°Έλ°μ€ κ²μ
No.4 Kill them all and let God do the judgment I λͺ¨μ‘°λ¦¬ μ£½μ¬λΌ μ¬νμ νλλκ» λ§‘κΈ°κ³
No.5 The Edge of Companionship I μ¬κ·μ κ²½κ³
No.6 My precious child I κΈμͺ½κ°μ λ΄ μλΌ
Other Editions :
Vol.01_YEAR : AC 1
Vol.02_Life_ver.01.jpeg
Vol.01_YEAR : AC 1
Vol.02_Life_ver.01.jpeg
ξοΈ
Would you rather marry?
Shinyoung Kang
Although it is my fifth year in the Netherlands, living the expat-life is not always easy. I feel that I am a little bit-too-late bloomer even though people say that everyone has their own pace. Observing my Korean friends' weddings, promotions, and stock investments, I felt hurried to settle in this land like my close friends did in my homeland. I moved here to broaden my perspectives, but not to get stuck, or to feel that I am excluded from my friend's life. While I was looking back on my belated life and working through my sorrow, the term 'Marriage' suddenly appeared in my life. There isnβt any unplanned pregnancy, but simply because my father, who has never taken a day off of work, is getting a first-ever long-term holiday. It is quite a huge deal and might be the first and last chance for my parents to be here in the Netherlands. So my partner and I decided to take advantage of this. We planned to invite our parents and receive the sacrament of matrimony at a Church in the Netherlands, where we first met and started our four-year relationship.
Currently, we are staying together under a legally guaranteed unmarried couple partnership in the Netherlands. Two years ago, my visa was about to expire after my master's program, but my boyfriend was in the middle of his study. We decided to stay together by applying for my partnership visa. So he became officially my partner and was registered as my sponsor. The Dutch partnership system was new and interesting to me, who was only familiar with the two legal statuses; married or unmarried. There was no minimum dating period required for the partnership applications. I needed to write down our brief love story and the address of where we live or are about to live together. And I was free to attach our travel plane tickets and photos of us as evidence of our serious relationship.
Also, in New Zealand, there are a married couple and a Civil Union partnership who share their entire property. In addition, there is a De facto partnership, which is usually applied for a couple who is living together and shares only some part of their property. This system seems to result from acknowledging various relationships and protecting the various forms of unions of individuals legally. In Korea, there is also a common-law marriage relationship that has a legal effect. But it is not a relationship that can be officially registered as a partnership. Instead, it is decided in a conventional way on how people recognize your relationship. For example, you must prove that you call each other husband and wife in public. People around you also must think of you as a married couple to have a legal effect. In today's diverse society, I am skeptical that it is a desirable system that we have in Korea to define individuals' union with one single standard, married or unmarried.
Beyond acknowledging the various forms of relationship, I always imagined myself as a wife in the future. No matter how old I was/am, my scenario always ended up being the mother of a family. Perhaps that is why I always considered dating as a build-up step for marriage. And I tried to define our relationship within that scope. Even at the beginning of our relationship, I once argued that no matter how much we love, we must break up now if our relationship doesn't consider marriage. It's nonsense, but I approached our romantic relationship in such a cruel way. It was especially so much easier to explain to the adults in Korea that we will be married soon or are serious enough to be married. Maybe I pretended to be very open to othersβ relationships. Still, it turns out that I had a somewhat retro standard to myself with thinking that a couple must end up in marriage.
By the way, We, who are in between partnership and marriage, have a stable enough connection and are satisfied with our current lifestyle. But why, why are we trying to face the boundary of marriage now?.. Wedding is not a sealing magic that never breaks up. Moreover, we are not feeling any uncertainty nor ambiguity between us. But the one thing we know for sure is our religious mission as Catholic believers - taking a matrimony oath in front of the lord of the church and forming a holy family. (Of course, technically, our current cohabitation cannot be recognized under Catholic law. But this issue should take another whole article to write down) We decided to take our religious obligations as part of our relationship. Unlike the previous weddings I attended so far, it will be very simple with just the essentials. I am pleased to have a religious marriage in the Netherlands in the coming months with my parents there. I don't know for sure when exactly it will be, but we promised each other to have a celebration with close friends and families in Korea too.
Perhaps only after facing the boundary of this marriage are we looking for our answers to the meaning of this marriage and why we are trying to have a wedding. I even had to have whole confusions, anxiety, regret, and some fears too, and it's still on-going. Still, there is excitement and joy that comes along. Somehow we feel that our relationship is becoming richer and more complete. Being in the middle of marriage makes us look back on our relationship beyond that label itself. It is not necessary to define our relationship within marriage. However, the course of defining gave me the belief that we will be evermore sturdy when faced with any boundaries. It is just the beginning of our happy journey to find our balance of marriage.
[May, 2021]
ξοΈ
κ²°νΌ λ°Έλ°μ€ κ²μ
κ°μ μ
λ€λλλλ‘ μ¨ λ€ μ΄λ°©μΈμΌλ‘μ μΆμ΄ νννμ§λ§μ μμλ€. μ무리 μ¬λλ§λ€ μκ³κ° λ€λ₯΄λ€μ§λ§ κ°μ΄ λνμ μ‘Έμ νλ μΉκ΅¬λ€μ΄ μ΄λ―Έ μ¬νμ μ리 μ‘κ³ μΉμ§μ κ²°νΌμ μ£Όμ μ¬ν ν¬κΉμ§ λΉ λ₯΄κ² μΌμ΄λ₯Έμ΄ λμ΄κ°λ κ±Έ 보λ, μ΄ λ¨Έλλ¨Ό νκ΅μμμ μ μ°©μ΄ λ λ¦μ΄μ§λ κ² κ°μ μ‘°κΈν λ§μμ΄ λ€μλ€. μμΌλ₯Ό λνλ¬ μ¨ κ²μ΄μ§, μ΄λ μ€κ°μ λ©μΆ°μλ λλμ λ°κ³ μΆλ€κ±°λ μΉκ΅¬λ€κ³Ό λΉμ·ν μΈμμ¬μ λ°°μ λκ³ μΆμ΄ λ μμ¨ κ²μ μλλ° λ§μ΄λ€. μ΄λ κ³ μ λ° νΈλ κ³Ό μΈμ κ³ μ°°μ κ²ͺμ λμ―€ λ΄κ² βκ²°νΌβμ΄λΌλ λ¨μ΄κ° νμ© λ€κ°μλ€. μμ (?)νκ²λ μ μλͺ κ³Όλ μκ΄μ΄ μκ³ , νμ μΌμ ν λ²λ μ¬μ΄λ³Έ μ μλ μλ²μ§κ° λμμ²μ κΈ΄ ν΄κ°λ₯Ό 보λ΄κ² λμ ¨λλ°, λ€λλλμ μκ° λΆλͺ¨λμ λͺ¨μ€ μ μλ νμΉ μμ κΈ°νκ° λ κ²μ΄λ€. κ·Έλ κ² λμ μ΄λλ§ 4λ μ§Έ μ§μ§κ³ λ³Άκ³ μλ ννΈλλ μ°λ¦¬κ° λ§λ μνμ ν°μ μΈ λ€λλλμμ νΌμΈ μ±μ¬λ₯Ό λλ¦¬κΈ°λ‘ νλ€.
νμ¬, μ°λ¦¬λ λ€λλλμμ λ²μ μΌλ‘ 보μ₯λ λ―ΈνΌ μ»€ν ννΈλμ (unmarried couple partnership) μ λ μμμ μ§λ΄κ³ μλ€. 2λ μ λλ, νκ΅ μ‘Έμ ν λΉμκ° κ³§ λ§λ£λλ μμ μ΄μκ³ , λ¨μμΉκ΅¬λ νμ λΉμκ° λ¨μμλ μν©μ μμ΄λ³μ μμ μ μλ€λ©° κΈ°κΊΌμ΄ μλ‘ ννΈλκ° λμλ€. κ·Έλ₯Ό λμ λΆμμλ‘ λ±λ‘νκ³ , κ·Έμκ² μ‘΄μν μ± λ΄ ννΈλμ λΉμλ₯Ό λ°μ μ μμλ€. νΌμΈ μ¬λΆλΌλ μ΄λΆλ²μ μΈ κ²½κ³μλ§ μ΅μνλ λμκ² λ―ΈνΌμΈ μ°λ¦¬λ₯Ό λ²μ μΈ κ΄κ³λ‘ μΈμ ν΄μ£Όλ λ€λλλμ ννΈλμ μ λκ° κ΅μ₯ν ν₯λ―Έλ‘μ λ€. μ μ²μ‘°κ±΄μ μ ν΄μ§ μ°μ κΈ°κ°μ λ°λ‘ μκ³ , λμ΄ κ±°μ£Όνλ μ£Όμμ§λ₯Ό μ°κ³ κ°μ΄ μ¬ν κ° λΉνκΈ°νμ μ¬μ§ λ±μ 첨λΆνμ¬ μ°λ¦¬κ° μ΄ κ΄κ³λ₯Ό μΌλ§λ μ§μ§νκ² μκ°νλμ§μ λν΄ μμ λ‘κ³ λ€μν λ°©λ²μΌλ‘ μ°λ¦¬μ κ°λ΅ν μ°μ μ€ν 리λ₯Ό μ μ΄λ΄λ©΄ λλ€.
λ€λλλ μΈμλ, λ΄μ§λλμμλ μ¬μ°μ μ λΆλ₯Ό 곡μ νλ κ΄κ³λ‘ κ²°νΌκ³Ό μλΉ ννΈλμ(μλΉ μ λμΈ)μ΄ μκ³ , μ΄ μΈμ De fectoλΌλ ννΈλμμ΄ νλ λ μλλ°, μ΄λ λΆλͺ¨λμΌλ‘λΆν° λ 립 ν λκ±°λ₯Ό νλ©° μ¬μ°μ μΌλΆλ₯Ό 곡μ νλ 컀νλ€μ΄ μ£Όλ‘ λ§Ίλλ€. μ΄λ κ°μΈκ³Ό κ°μΈμ λ€μν κ²°ν©κ³Ό μ‘΄μ ννλ₯Ό μΈμ νκ³ , λ²μ μΌλ‘ 보νΈνλ €λ λ Έλ ₯μΌλ‘ 보μΈλ€. ννΈ, νκ΅μλ ννΈλμκ³Ό λΉμ·νκ² λ²μ ν¨λ ₯μ κ°λ βμ¬μ€νΌβμ΄ μλλ°, μ΄λ μλ₯μμ λ±λ‘μ λΆκ°λ₯νκ³ , μ¬νμ κ΄μ΅ λ° ν΅λ μ λ°λΌ κ΄κ³κ° κ²°μ λλ€. κ°λ Ή, μ£Όλ³μΈλ€ μμμ μλ‘ λ¨νΈκ³Ό μλ΄λ‘ νΈμΉνκ³ , λͺ¨λμκ² λΆλΆλ‘ μΈμλλ€λ κ²μ μ¦λͺ ν΄μΌ λΆμ μ무λ₯Ό μΈμ ν΄μ€λ€. λ€μμ±μ κ°μ§ μ€λλ μ¬νμ μμ§λ μ°λ¦¬λλΌμμ κ²°νΌκ³Ό λΆλΆλΌλ λ¨μΌ κΈ°μ€μΌλ‘λ§ μ¬λμ μ‘΄μ κ΄κ³λ₯Ό μ μνκ³ λ³΄μ₯ν΄μ£Όλ κ²μ΄ κ³Όμ° λ°λμ§ν μ λμΌμ§λ λͺ¨λ₯΄κ² λ€.
κ°μΈκ³Ό κ°μΈμ λ€μν κ²°ν©μ ννλ₯Ό μΈμ νλ κ²κ³Όλ λ³κ°λ‘ λλ λ§€λ² λμ 10λ λ€ λͺ¨μ΅μ μμν λλ©΄, κ²°νΌνμ¬ λ¨λν κ°μ μ κΎΈλ¦¬κ³ μλ ν μ¬λμ μλ΄μ΄μ μλ§μλ€. κ·ΈλμμΈμ§ νμ μ°μ λ₯Ό κ²°νΌμ μν λΉλμ λ¨κ³λ‘ κ°μ£Όνκ³ , κ·Έ λ²μ μμμ μ°λ¦¬μ κ΄κ³λ₯Ό μ μνμλ€. μ°λ¦¬κ° κ²°νΌκΉμ§ κ° μ μλ μ¬μ΄λΌλ©΄, μ무리 μ¬λν΄λ μ§κΈ λΉμ₯ ν€μ΄μ ΈμΌ νλ€λ κΆ€λ³μ λ²ν μ리λ₯Ό μ£Όμ₯νκΈ°λ νλ€. μ¬μ§μ΄ μ콩λ¬μ½©ν μ°μ μ΄λ°μ μ°λ¦¬ μ¬μ΄λ₯Ό μ°¨κ°κ² μν μκ°νλ€. νΉν, νκ΅μ κ³μ μ΄λ₯΄μ κ» μκ°ν λλ βκ³§ κ²°νΌν μ¬μ΄β νΉμ βκ²°νΌμ μ μ λ‘ λ§λλ μ¬μ΄'μ²λΌ, μ§κΈμ λκ±°λ₯Ό κ²°νΌκ³Ό μ°κ²° μ§μ΄ μ€λͺ ν΄μΌ λ§μμ΄ νΈνλ€. μ΄μ©λ©΄ λλ λ¨λ€μ λ€μν κ΄κ³μλ κ΅μ₯ν μΏ¨ν μ² νμ§λ§, μ μ λ μμ νν μ°μΈμ λ°λμ κ²°νΌμΌλ‘ κ·κ²°ν΄μΌ νλ€λ λ€μ μΏ¨νμ§ λͺ»ν μ£λλ₯Ό κ°κ³ μλ λ―νλ€.
ννΈλμκ³Ό κ²°νΌ κ·Έ μ¬μ΄ μ΄λμ―€ μ‘΄μ¬νλ μ°λ¦¬λ μ§κΈλ μΆ©λΆν λν°μ΄ μ¬μ΄μ΄λ©° κΉ¨λ λ§μ‘±μ€λ¬μ΄ μνμ νκ³ μλ€. κ·Έλ°λ°, μ μΈμ μμ κ·Έ κ²½κ³λ₯Ό λμ΄ κ²°νΌμ λ§μ£Όνλ € νλ κ±ΈκΉβ¦ λ§μΉ κ²°νΌμ΄ μ λ ν€μ΄μ§μ§ μλ λ΄μΈμ λ μλκ³ , νμ¬ μ°λ¦¬ μ¬μ΄μ μ λ§€λͺ¨νΈν¨ νΉμ λΆνμ€ν¨μ λλΌλ κ²λ μλλ° λ§μ΄λ€. λ€λ§ νκ°μ§, μ°λ¦¬λ λ λ€ μ²μ£Όκ΅ μ μλ‘μ μ£Όλ μμ μ°λ¦¬μ κ΄κ³λ₯Ό μ μνλ©°, κ΅ν μμμ ν©λ²μ μΈ κ²°νΌμ μΈμ λ°κ³ , μ±κ°μ μ μ΄λ£¨κΈ° μν΄ νΌμΈμ±μ¬λ₯Ό λλ €μΌ νλ μ무λ₯Ό μκ³ μλ€. (λ¬Όλ‘ , μλ°ν λ§νλ©΄, κ΅νλ²μ μ°λ¦¬μ λκ±°λ μΈμ λ°μ μ μλ€. μ΄λ μμ λ§ν μ λμμ κ²°νΌ, ννΈλμκ³Όλ λ λ€λ₯Έ λ¨μμ νΌμ³μΌ νλ€) μ°λ¦¬λ μ’ κ΅μ μΈ μ무μ μ’ λ μ§μ€νκΈ°λ‘ νκ³ , λ΄κ° μ¬νκ» μ°Έμνλ κ²°νΌμκ³Όλ λ¬λ¦¬ κ°μν ννλ‘ μ§νν μμ μ΄λ€. μ’ κ΅μ μλ―Έμ κ²°νΌμ μ¬ν΄ λ€λλλμμ κΈ°μ λ§μμΌλ‘ λλ¦¬κ³ , νκ΅μλ μΈμ κ° λ μ§ λͺ¨λ₯΄κ² μ§λ§, κ·Έλ¬λ λΉ λ₯Έ μμΌ λ΄μ μ΄λ€ ννλ‘λ μΉκ΅¬μ κ°μ‘±λ€μ λΆλ¬λͺ¨μ νΉλ³ν μ리λ₯Ό κ°κΈ°λ‘ νλ€.
μ°λ¦¬λ μ΄μ©λ©΄ κ²°νΌμ΄λΌλ κ²½κ³λ₯Ό λ§μ£Όνκ³ λμμΌ, κ²°νΌμ λ³Έμ§μ μΈ μλ―Έλ 무μμΈμ§, μ μ΄ κ²°νΌμ νλ €κ³ νλμ§μ λν μ°λ¦¬λ§μ ν΄λ΅μ μ°Ύκ³ μλ€. νΌλκ³Ό κ±±μ , μμ¬μκ³Ό λλ €μμ΄ κ°λν λνλ₯Ό ν΄μΌ νκ³ , μ§κΈλ λ¬Όλ‘ μ§ν μ€μ΄λ€. νμ§λ§ μ΄ λͺ¨λ κ³Όμ μ μ€λ κ³Ό κΈ°μ¨μ΄ μ‘΄μ¬νλ€λ κ²μ μμμ λ, μ°λ¦¬ μ¬μ΄κ° λμ±λ λ€μ±λ‘κ² μμ±λκ³ μμμ λκΌλ€. μ°λ¦¬λ μ§κΈ κ²°νΌμ΄λΌλ λ λ€λ₯Έ κ²½κ³λ₯Ό λ§μ£Όνκ³ , κ·Έ κ²½κ³ μ체λ₯Ό λμ΄ μ°λ¦¬ κ΄κ³λ₯Ό λλμλ³΄κ³ μλ€. κΌ κ²°νΌμ κΈ°μ€μΌλ‘ μ°λ¦¬λ₯Ό μ μν νμλ μλ€. λ€λ§ λͺ¨λ₯΄κ³ λ§μ£Όν κ·Έ μ΄λ ν κ²½κ³ μμμλ μ°λ¦¬κ° μ’ λ λ¨λ¨ν΄μ§ κ²μ΄λ λ―Ώμμ΄ μκ²Όμ λΏμ΄λ€. κ²°νΌμ λν μ°λ¦¬λ§μ λ°Έλ°μ€λ₯Ό μ°ΎμΌλ©°, ν볡ν λ¬Όμνλ₯Ό λμ Έλ³Έλ€.
[2021, 5μ]
Writer
Shinyoung Kang
Self-proclaimed spatial experience designer and religious believer. Born and raised in Korea, came to the Netherlands at a relatively late age. Enjoys discussing our somewhat frustrating and sympathetic life from different perspectives.
See other articles by this wirter...
Vol.01 I Article No.1 I Corona-munal Space
Vol.02 I Article No.3 I Online Amen with Jesus
Self-proclaimed spatial experience designer and religious believer. Born and raised in Korea, came to the Netherlands at a relatively late age. Enjoys discussing our somewhat frustrating and sympathetic life from different perspectives.
See other articles by this wirter...
Vol.01 I Article No.1 I Corona-munal Space
Vol.02 I Article No.3 I Online Amen with Jesus
κ°μ μ
μμΉ κ³΅κ° κ²½ν λμμ΄λμ΄μ μ μμΈ. μ€λ‘―μ΄ νκ΅μμ λ¨Ήκ³ , μλΌκ³ , μΉμ΄ν μ¬νλ κ²ͺκ³ λ€μ λμ¦λ§ν λ€λλλλ‘ κ±΄λμλ€. μ μ§ λͺ¨λ₯Ό λ΅λ΅ν¨κ³Ό κ΄μ리 곡κ°κ°λ μν©μ μλ‘κ³ λ€μν κ΄μ μμ μκΈ° λλλ κ²μ΄ μ’λ€.
μ΄ μκ°μ λ€λ₯Έ κΈ...
Vol.01 I Article No.1 I μ½λ‘λ-λ‘μ΄ κ³΅μ 곡κ°
μμΉ κ³΅κ° κ²½ν λμμ΄λμ΄μ μ μμΈ. μ€λ‘―μ΄ νκ΅μμ λ¨Ήκ³ , μλΌκ³ , μΉμ΄ν μ¬νλ κ²ͺκ³ λ€μ λμ¦λ§ν λ€λλλλ‘ κ±΄λμλ€. μ μ§ λͺ¨λ₯Ό λ΅λ΅ν¨κ³Ό κ΄μ리 곡κ°κ°λ μν©μ μλ‘κ³ λ€μν κ΄μ μμ μκΈ° λλλ κ²μ΄ μ’λ€.
μ΄ μκ°μ λ€λ₯Έ κΈ...
Vol.01 I Article No.1 I μ½λ‘λ-λ‘μ΄ κ³΅μ 곡κ°
Read more
Other articles in Vol.03
No 1. The other land (2021) by Kelly Jang
No.2 Don't be an amateur! I μλ§μΆμ΄κ°μ΄ μ κ·Έλ?
No.4 Kill them all and let God do the judgment I λͺ¨μ‘°λ¦¬ μ£½μ¬λΌ μ¬νμ νλλκ» λ§‘κΈ°κ³
No.5 The Edge of Companionship I μ¬κ·μ κ²½κ³
No.6 My precious child I κΈμͺ½κ°μ λ΄ μλΌ
No 1. The other land (2021) by Kelly Jang
No.2 Don't be an amateur! I μλ§μΆμ΄κ°μ΄ μ κ·Έλ?
No.4 Kill them all and let God do the judgment I λͺ¨μ‘°λ¦¬ μ£½μ¬λΌ μ¬νμ νλλκ» λ§‘κΈ°κ³
No.5 The Edge of Companionship I μ¬κ·μ κ²½κ³
No.6 My precious child I κΈμͺ½κ°μ λ΄ μλΌ
Other Editions :
Vol.01_YEAR : AC 1
Vol.02_Life_ver.01.jpeg
Vol.01_YEAR : AC 1
Vol.02_Life_ver.01.jpeg
ξοΈ
Kill them all and let God do the judgment
Shin Woong
How would you feel when 18, 19, or 20 something-years-old boys (men) casually throw that line in your face during a conversation?
Oh yeah, my motto is to Kill them all and let God do the judgment
A bit awkward, huh?
But at the same time, I believe that people trained under such mottos were/are the lines in between war and peace.
The phrase up there was used by certain US military and Republic of Korea Marine Corps units. Possibly from more military personnel around the world too. I first came across that phrase while researching the military unit I volunteered for (thank God I got rejected in the end). Although it was the unitβs old phrase, it was shocking. And for the 18 years old kid, it was impactful enough to linger around somewhere in his mind, and I think that it will for the rest of his life. It seemed like many people (including myself) living in peace couldnβt comprehend the amount of violent ideology injected into those guarding the line in between war and peace.
I remember listening to a priest expressing how proud he is about South Koreaβs strong military power because it ensures sovereignty and a strong position internationally. I agree with him. We live in a time when power rules all, like how we are living in caves and how I think that this raw meat can be eaten in a better way. Iβm not a hippie, well, at least not 100%. I hope that President Moon can just end everything by giving Kim Jong-un Chupa Chups and become friends by making flower crowns for each other. But I know that itβs impossible. Or maybe it could be with Swiss cheese.
To maintain that thin line in between war and peace, many people are sacrificing themselves to a level that most of us can never imagine. Just to βmaintainβ it. With so much happening worldwide nowadays, all of which I still donβt want to believe is true, the line seems ever so precarious. Someone will go over to whatever side of the line.
Guess we need walls now β to make peace great again.
[May, 2021]
ξοΈ
λͺ¨μ‘°λ¦¬ μ£½μ¬λΌ μ¬νμ νλλκ» λ§‘κΈ°κ³
μ μ
μ΄μ¬λ, μ΄μν, μλλ©΄ μ€λ¬Όλͺ μ΄μ§λ¦¬ λ¨μ(μ )κ° λν μ€μ μ무λ μ§ μκ² μ λ κ² λ§νλ©΄ μ΄λ¨ κ² κ°μΌμΈμ?
μ λ€, μ μ’μ°λͺ μ λͺ¨μ‘°λ¦¬ μ£½μ΄κ³ μ¬νμ νλλκ» λ§‘κΈ°λ κ±°μμ
μ½κ° λΆνΈνμ§ μμΌμ κ°μ?
νμ§λ§ λΆνΈν¨κ³Ό λμμ, μ λ μ λ° μ’μ°λͺ μ κ°κ³ νλ ¨μ λ°μ μ¬λλ€μ΄ μ μκ³Ό ννμ κ²½κ³μκ³ , μμ§λ κ·Έ κ²½κ³λΌκ³ μκ°ν©λλ€.
μμ μλ μ ꡬμ μ νΉμ λ―Έκ΅°κ³Ό νκ΅μ ν΄λ³λ λΆλμμ μ¬μ©λλ ꡬμ μ λλ€. μ μΈκ³ μλ§μ κ΅°μΈλ€μ΄ μ¬μ©νμ§ μμμκΉ μΆκΈ°λ νλ€μ. μ λ μ κ° μ§μνλ λΆλμ λν΄μ μ‘°μ¬λ₯Ό νλ€κ° μ²μμΌλ‘ μ ꡬμ μ μκ² λμ΅λλ€ (κ²°κ΅ νλ½λμ΄μ μΌλ§λ λ€νμ΄μλμ§...). κ·Έ λΆλκ° μμ μ μ¬μ©νλ ꡬμ μ΄κΈ°λ νμ§λ§ μΌλ§λ 좩격μ μ΄μλμ§ λͺ¨λ¦ λλ€. μ΄μ¬λ μ΄μ§λ¦¬ μμ΄μ λ¨Έλ¦Ώμ κΉμ κ³³ μ΄λκ°μ λ°νκΈ°μλ μΆ©λΆν κ°λ ¬νκ³ , μλ§ νμ λ¨Έλ¦Ώμμ λ¨μμμ§ μμκΉ μΆμ΅λλ€. μ λ₯Ό ν¬ν¨ν ννμμ μ΄κ³ μλ λ§μ μ¬λλ€μ μ μκ³Ό ννμ κ²½κ³λ₯Ό μ§ν€κ³ μλ μ¬λλ€μκ² μΌλ§λ λ§μ μμ νλ ₯μ μΈ μ¬μμ΄ μ£Όμ λλμ§ μ΄ν΄νμ§ λͺ»νλκ² κ°μμ΅λλ€.
μμ μ ν μ λΆλκ»μ νκ΅μ κ°ν κ΅°μ¬λ ₯μ΄ μΌλ§λ μλμ€λ¬μ΄μ§ λ§μνμλ κ±Έ λ€μ μ μ΄ μμ΅λλ€. κ°ν κ΅°μ¬λ ₯μ μμ£ΌκΆκ³Ό κ΅μ 무λμμμ μμΉλ₯Ό 보μ₯ν΄ μ£ΌκΈ° λλ¬Έμ΄λΌκ³ νμ ¨μ£ . μ λ λμν΄μ. μ§κΈ μ ν¬λ νμ΄ λͺ¨λ κ±Έ μ§λ°°νλ μΈμμ μ΄κ³ μμμμ. μ§κΈ μ ν¬κ° λκ΅΄μ μ΄κ³ , μ κ° μ΄λ»κ² νλ©΄ μ§κΈ λ¨Ήκ³ μλ μ΄ μκ³ κΈ°λ₯Ό λ λ§μκ² λ¨Ήμ μ μμκΉ κ³ λ―Όνλ κ²μ²λΌμ. κ·Έλλ μ ννΌλ μλμμ. μ μ΄λ 100%μ§λ¦¬ ννΌλ μλλλ€. κ·Έλ₯ λ¬Έμ¬μΈ λν΅λ Ήμ΄ κΉμ μνν μΈνμΆ₯μ€λ νλ μ£Όκ³ , μλ‘ κ½μΌλ‘ μκ΄μ΄λ λ§λ€μ΄μ£Όλ©΄μ μΉκ΅¬κ° λλ©΄μ λͺ¨λ κ² λλ¬μΌλ©΄ μ’κ² λ¨ μκ°μ νμ£ . νμ§λ§ μ΄κ±΄ λΆκ°λ₯νλ€λ κ±Έ μ μκ³ μμ΅λλ€. μλλ©΄ μ€μμ€ μΉμ¦ μ£Όλ©΄ ν΅νλ €λ.
μ μκ³Ό νν μ¬μ΄μ κ·Έ μμ κ²½κ³λ₯Ό μ μ§νκΈ° μν΄ μ ν¬κ° μμν μ μλ μ λμ ν¬μμ νλ μ¬λλ€μ΄ μλ μμ΄ λ§μ΄ μμ΅λλ€. κ·Έμ βμ μ§βνλ €κ³ μ. μ λ§ μΌμ΄λκ³ μλ€κ³ λ―Ώκ³ μΆμ§λ μμ μΌλ€μ΄ κ³μ μΌμ΄λλ μ§κΈ μ΄ μκΈ°μ κ·Έ κ²½κ³λ μ¬λ λ보λ€λ μνλ‘μ 보μ λλ€. κ³§ λκ΅°κ°λ μ΄λ μͺ½μΌλ‘λ κ·Έ κ²½κ³λ₯Ό λμ΄κ° κ²μ²λΌμ.
μ΄μ κ²½κ³μ λ²½λ μΈμμΌκ² λ€μ. νΈλΌν μμ μ¨κ° μ’μνλ κ·Έ λ²½μ²λΌ.
[2021, 5μ]
Writer
Shin Woong
Shin doesnβt eat seafood. Maybe thatβs why he doesnβt understand half of the world and has so much left to experience. Like the plankton he is, he lived in South Korea half his life and the other half in the United States, Singapore and the Netherlands. As an International Public Management graduate, he also takes the fun out of Het Ma:dang.
See other articles by this writer...
Vol.01 I Article No.2 I For the better good
Vol.02 I Article No.7 I A bye-bye to go, please?
Shin doesnβt eat seafood. Maybe thatβs why he doesnβt understand half of the world and has so much left to experience. Like the plankton he is, he lived in South Korea half his life and the other half in the United States, Singapore and the Netherlands. As an International Public Management graduate, he also takes the fun out of Het Ma:dang.
See other articles by this writer...
Vol.01 I Article No.2 I For the better good
Vol.02 I Article No.7 I A bye-bye to go, please?
μ μ
κ·Έλ ν΄μ°λ¬Όμ λ¨Ήμ§ μλλ€. μλ§ κ·Έλμ μΈμμ λ°μ λͺ¨λ₯΄κ³ μμ§λ κ²½νν κ² κ·Έλ κ²λ λ§μ΄ λ¨μμλ보λ€. νλν¬ν€ κ°μ κ·Έλ μΈμμ λ°μ νκ΅μμ μ΄κ³ λ―Έκ΅κ³Ό μ±κ°ν΄, κ·Έλ¦¬κ³ λ€λλλμμ λλ¨Έμ§ λ°μ μ΄κ³ μλ€. λν κ·Έλ κ΅μ 곡곡νμ νκ³Ό μ‘Έμ μμΌλ‘μ ν-λ§:λΉμμ μ¬λ―Έλ₯Ό λΊμ΄κ°λ€.
μ΄ μκ°μ λ€λ₯Έ κΈ...
Vol.01 I Article No.2 I λ λμ λ΄μΌμ μν΄
Vol.02 I Article No.7 I μλ³μΈμ¬ νλ ν¬μ₯ν΄ μ£Όμκ² μ΄μ?
κ·Έλ ν΄μ°λ¬Όμ λ¨Ήμ§ μλλ€. μλ§ κ·Έλμ μΈμμ λ°μ λͺ¨λ₯΄κ³ μμ§λ κ²½νν κ² κ·Έλ κ²λ λ§μ΄ λ¨μμλ보λ€. νλν¬ν€ κ°μ κ·Έλ μΈμμ λ°μ νκ΅μμ μ΄κ³ λ―Έκ΅κ³Ό μ±κ°ν΄, κ·Έλ¦¬κ³ λ€λλλμμ λλ¨Έμ§ λ°μ μ΄κ³ μλ€. λν κ·Έλ κ΅μ 곡곡νμ νκ³Ό μ‘Έμ μμΌλ‘μ ν-λ§:λΉμμ μ¬λ―Έλ₯Ό λΊμ΄κ°λ€.
μ΄ μκ°μ λ€λ₯Έ κΈ...
Vol.01 I Article No.2 I λ λμ λ΄μΌμ μν΄
Vol.02 I Article No.7 I μλ³μΈμ¬ νλ ν¬μ₯ν΄ μ£Όμκ² μ΄μ?
Read more
Other articles in Vol.03
No 1. The other land (2021) by Kelly Jang
No.2 Don't be an amateur! I μλ§μΆμ΄κ°μ΄ μ κ·Έλ?
No.3 Would you rather marry? I κ²°νΌ λ°Έλ°μ€ κ²μ
No.5 The Edge of Companionship I μ¬κ·μ κ²½κ³
No.6 My precious child I κΈμͺ½κ°μ λ΄ μλΌ
No 1. The other land (2021) by Kelly Jang
No.2 Don't be an amateur! I μλ§μΆμ΄κ°μ΄ μ κ·Έλ?
No.3 Would you rather marry? I κ²°νΌ λ°Έλ°μ€ κ²μ
No.5 The Edge of Companionship I μ¬κ·μ κ²½κ³
No.6 My precious child I κΈμͺ½κ°μ λ΄ μλΌ
Other Editions :
Vol.01_YEAR : AC 1
Vol.02_Life_ver.01.jpeg
Vol.01_YEAR : AC 1
Vol.02_Life_ver.01.jpeg