본 연구는 《2020창원조각비엔날레》의 주제인 비조각 담론의 큐레이팅을 분석한다. 그레마스의 기호학에서 '비(not)'의 모순 논리를 빌려온 로잘린드 크라우스의 연구나, 비조각적 재료를 통해 비조각을 실험했던 이승택의 작품에서도 중성화는 주요한 개념이다. 본 연구는 비조각에 내 재한 자기모순과 자기반성의 중성화 담론에 대한 큐레이팅을 위해서 ‘빗금( / )’의 메타포를 제시 한다. ‘빗금의 경계’ 또는 ‘빗금 큐레이팅’은 A와 B의 영역을 계보학처럼 명확히 구별하지도 않지만, 그렇다고 리좀처럼 허물지도 않는다. 그것은 A와 B를 빗금의 경계 양쪽에 위치시키되 서로의 영역을 일정 부분 공유하는 화해와 소통을 지향하기 때문이다. 또한 이 연구는 야외/실내, 처음/ 마지막, 작품/작품, 작품/환경 그리고 조각/비조각의 영역에서 실제로 실험했던 빗금 큐레이팅을 분석하면서 비조각 담론의 큐레이팅 모델을 다각도로 탐구한다.

This paper examines two key elements of “contraction” and “expansion” in relation to the way in which Wonil Rhee used space in his curatorial practice. Drawing on Gilles Deleuze’s notion of "the fold (le pli)" in a close reading of one of his last texts published in 2010, it explores the implication of the elements in the theoretical context of Rhee's curatorial practice. Along with such concepts as “postcolonialism,” “Asianness,” “technology,” and “creative paradox,” the elements serve to deconstruct confrontations between west/non-west, the cultural colonizer/the cultural colonized, thereby challenging conventional boundaries. The logic of resistance and confrontation in Rhee's early curatorial practice has gradually given way to that of “hybridization, openness, intersection, assimilation, conciliation, and communication” through metaphors such as “thermocline” and “poktanju” (bomb drink; a kind of cocktail comparable to American boilermaker), which he addressed in the exhibition at ZKM in 2007. This show provided a turning point presenting the “pocket model,” that Rhee drew from Deleuze's concept of the fold. Analyzing the exhibitions Rhee curated after the ZKM show, this paper delves into the notion of flexible space, which constantly oscillates between “contraction” and “expansion,” a space that operates like the fold of Deleuze. There is a cycle of innumerable inflection in the world of the fold, creating decentralized, uncertain, and diverse spaces. The inside of the fold is the space of potentiality where differences keep arising but are not realized. This space is after all realized from potential space through the systemization and rearrangement of time. The fold is like the “organ without the body” or the “egg.” This paper suggests that Rhee’s “thermocline” or the “pocket model” unfolds the movement of creation where the fold transforms itself through a repetition of “contraction” and “expansion.”