[b]racket march 2014

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Editor’s Letter

[b]racket exists for two groups of people: artists, and those who enjoy art. I be-long exclusively to the second group. I have tried a number of times in my life to be a visual artist. In high school I scraped together collages out of YM magazines and took black and white photographs of my bare feet in the backyard. I can as-sure you that all of my artistic attempts, while painfully genuine, were probably fueled more by a teenage desire to be a Cool Artist Chick and less by an innate need to express myself through visual art.

I did eventually find my creative outlet through making music and later, writ-ing. But even though I could never become the visual artist that I wished I was cut out to be, I still ended up making friends with creative people who produced visual art. My exposure to this type of art was consistent through high school and university, and my love for it grew as my friend’s artistic styles matured and their CVs lengthened. I felt inspired by the art I experienced and began to feel confident and at peace with the fact that I belonged on the side of the viewer within the visual arts community.

When I moved to Korea and the opportunity to write for [b]racket came around, I hesitated. While I had a love for art, I had never made “real” art, nor had I ever written about it. I thought my position as a strict observer had been cemented. After I began writing each month, I realized I had been given a golden opportunity to channel the inspiration into its proper medium; the written form.

Now, as [b]racket’s digital editor, art continues to inspire me to put words on to the pages. This is my art, and I’m lucky that [b]racket facilitates this expres-sion. I hope both the art and the words in this magazine inspire you in some way, whether you’re an artist of any form, a critical viewer, or someone who just likes how it looks. No matter what you get from [b]racket, I hope you feel inspired and in some way, included.

Lisa HighfillDigital Editor

4 [b]racket March 2014

10 12 16

20 24 28

GUFM

OTT

Choi

Yoon

Kyeo

ng

Gius

eppe

Sant

agat

a

Chun

g Joo

a

Han J

ae Ye

ol*c

over

imag

e

Mich

ael R

oy

5

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Issue 16March 2014

Hwang JinWhit Altizer

Doyin Oyeniyi Hanika FronemanSeo Hee Joo, PhD

[b]racket

contributors

bracket.magazine@gmail.combracketmagazine.wordpress.comfacebook.com/bracketMagazine

Gufmott ~ [email protected] Jae Yeol ~ jaeyeolhan.comMichael Roy ~ birdcap.tumblr.comChung Jooa ~ [email protected] Giuseppe Santagata ~ giuseppesantagata.comChoi Yoon Kyeong ~ [email protected]

Support for [b]racket magazine is provided by Daegu Gyeongbuk Design Center

Design Concept

Kim, Tae Hei

Seo, Dong Chan

Ahn, Jang Won

2008. 04. 02

Originally

색의 속성을 표현, DGDC의 고유한 설립 취지와 정체성을 의미

Perfection 디자인 산업의 메카로서 중심성과 성공적인 부가가치를 창출하는 완성을 의미

Expansion Concurrent Center로서의 성격을 표현, 색채 감성문화의 확장성

Flexibility

세계적 섬유도시로서의 소재 및 첨단 디지털 도시 이미지를 담고 색이 가지는 시각적 변화와 변이의 유연성을 형상화

Unique Space

활기차고 매력적인 대구를 지향점으로 두고 명랑하고, 밝고, 생명력 넘치는 공간, 다양한 色감정을 아이덴티티로 구축하여 Brand Unique Space Promotion을 강화하는 공간 컨셉을 의미

support

Jess Hinshaw [editor in chief] Christopher Cote [design editor]Sybille Cavasin [words editor] Lisa Highfill [digital editor]

writers

Jacob Morris [ad design] Lee Ryoon Kyeong [advertising]Park Ga Young [translation]Ryu Eun Ji [translation]Lee Ji Young [translation]Hae-Eun Lee [edits]Jiwon Kang [edits]

7

Gallery [t.] and [b]racket present photography by

Aoife Casey

Displaying Feb 8th to April 8th, 7am to 10pm

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9

GUFMOTT

GUFMOTT has a unique approach as a graffiti artist which allows each piece of his work to carry its own distinct impression. When viewing his work for the first time, the message may be challenging for one to decipher. His work encourages spectators to look again and again, which makes it uncommon for one person to take away the same understanding of each piece. While the imagery and text are often difficult to decode, one sure way to identify GUFMOTT’S work is to look for his name or the name of his crew, SUPA-CRQS.

GUFMOTT is based in Seoul, and he’s the leader of SUPACRQS (Super Circus), a group of artists who also create work in and around the city. GUFMOTT graduated from the Samsung Art and Design Institute in 1997 with his fellow crew member ORCFINGA. After a few failed attempts, they finally established a crew of artists they were happy with in 2002. SUPA-CRQS currently consists of six members. These artists collaborate with each other as well as create their own work individually. The crew was originally a graffiti group, but over time has grown to include other art mediums into their practice. Though this strays a bit from their initial direction, a small group within the

crew called CRS (Clowns Rule Seoul) stays true to the crew’s graffiti roots and focuses on graffiti in its pur-est form.

Over the years, GUFMOTT and SUPACRQS have been involved in various solo and group projects in and around Seoul. One of GUFMOTT’s proudest proj-ects was the 2009 “Gaza 61 + SEOUL 59” exhibition. The exhibition was a collaboration between Korean and Palestinian artists to memorialize the wars that have left both Palestine and Korea as divided nations.

For his solo work GUFMOTT prefers to attack a piece freestyle, rarely planning work in advance. He searches for new places to create work while on public transit around Seoul. Upon arrival at a new location, he begins working on whatever comes to mind. With-out putting a constraint on time, whether it be hours or days, he works diligently to finish and perfect each piece.

Once completed, it’s easy to see how his pieces exemplify his off-the-cuff approach. Though clearly classified as “graffiti” it’s hard to pin down his style. His ideas vary greatly, as he draws inspirations from “cholo” writing (Latino gang graffiti) and Korean/Asian calligraphy. Some of his work is relatively easy


to read, while others can look like another language altogether. Through my attempt at investigating one of my favorite pieces, (page 10), I’m left wondering about the message he is conveying, which is one aspect that makes his work so intriguing. The lettering in this piece echoes aquatic life, and it feels as if I’m observing a coral reef. Through simple blacks, whites, and hints of turquoise, imagery of underwater animal and plant life are arranged to spell out “MOTE.”

GUFMOTT continues to grow with his work as an individual and with the help of his fellow artists. This year is SUPACRQS’ 12th year as a crew, and I’m sure that with each coming year they will continue to crank out diverse and enthralling work for the people of Seoul to happen upon. [b]

Doyin Oyeniyi

11

그녀는, 요즘 관객들이 무엇을 원하는지 잘 알고 있는 작가임이 틀림없다.

작품의 사진들과 작업노트만 받아들고도 굉장히 흥미로워졌다.

작품을 직접 만질 수 있게 해준다니, 이렇게 관대할 수가!

관객의 참여를 적극적으로 유도하는 전시는 늘어나고 있는 추세지만

“눈으로만 보세요.”라며 사진촬영을 금지하는 전시도 여전히 많은건

사실이다.”요즘같이 적극적인 관객들에겐 그닥 신나지 않은 문화생활일테다.

콘서트에 가도 그저 노래를 들으며 고개를 끄덕이는거에 그치지 않고

우리는 함께 노래를 따라부르고, 자리에서 일어나 어색하더라도 리듬을

즐기며 함께 춤을 춘다. 조금 더 들어가서는 정치조차 국민의 참여를

강조하는 ‘참여정부’ 인데 미술만이 여전히 예외일 수는 없는거다.

이쯤되면 도대체 그녀의 작품은 우리를 어떻게 참여하도록 하려나

궁금해질터이다.그녀는 이번 전시가 공간과 행위를 통해 하나의 작품이 완성되는 것을

계획중이라고 하였다.

CHOI YOON KYEONG

12

March 2014 [b]racket 13

4개의 벽 전체가 접혀진 책들로 설치되고,

그 공간은 빛을 차단하여 어둡게

세팅될 예정이다. 그리고 우리는 그녀의

작품을 보기위해 램프를 받아들고

전시실 안으로 들어가는 것이다.

적극적인 관객 중 한명인 나로서는 말만

들어도 신이 난다.

그뿐인가. 사방에 설치된 책에서 무엇을

찾게 될지는 아무도 모르는 일이다.

어디선가 봤던 문학 소설의 한 단락일지,

평소 내가 좋아하던 시 구절이

나타날지.. 마치 램프를 들고 보물섬 지도

라도 들여다보는 마음으로 전시를

관람할 수있을 것이다.

그녀는 이번 전시에서 관람객의 적극적인

참여가 작품의 일부가 되어

전시 관람이 그저 보는것이 아니라 무언가

를 하는것으로 마무리 되기를

원하는거 같았다.

문득 궁금해졌다, 왜 하필 ‘책’ 이었는지.

그녀는 이렇게 답해주었다.

“종이를 여러 장 묶어 맨 물건(책)을 접어

형태를 부풀리는 것은 형태의

가능함을 말하며, 어긋나는 부분의 문자들

은 변형 전 보다 더욱 차이성을

가지게 된다.변형된 책들의 결합으로 설

치적요소와 절제있는 구성(구도)이 돋보

이며 목탄,

나무, 책의 바래진 색은 무수하게 움직이

는 것처럼 표현된다.

책이 접혀지는 많은 양은 나의 작업에 대

한 욕심과 스케일의 문제이다.

나는 특히 이성보다 감성을 중시한다.인간

의 이성과 감성의 입장에서 사물을

지각하고 행위를 자극하여 인간의 충동적

행위, 상상을 이끈다. 우리의 감성을

직접적이면서도 단순하게 시각화한다.

그래서 빛을 활용한 작품은 동적인 지각경

험을 이끌어 내면서 조형적인

형식과 함께 감성을 작품의 중요한 요소로

내세운다.”

이미 전시가 된 작업에 관한 아티클이 아

니라 첫번째 전시를 코앞에 두고

있는 따끈따끈한 작업을 미리 맛보아서인

지, 나 또한 그녀만큼이나 이번

전시를 기대하는 바이다. 전시가 오픈하는

2월, 보물찾기하는 마음으로

그녀의 전시회장을 들릴 예정이다. [b]

Hwang Jin

15

HAN JAE YEOL

Sometimes, while walking through the crowded streets of a large city, it can be easy to forget that the people we pass are also going some-

where, meeting someone, or hoping for something. Those people are also nervous, happy, anxious and sad. We walk by each other thinking little of the other pedestrians, hardly seeing their faces, rarely wonder-ing where they are going or who they are. We often just focus on ourselves.

Artist Han Jae Yeol, however, pays attention to the passers-by and has introduced us to them in his paintings. “During my military service, I was dispatched to Haiti’s peacekeeping unit in response to the earthquakes.” Han said, “what was happen-ing there was contained in {the Haitians} faces.” He continued, “I collected those faces and that’s how it began.”

Though we are many, we are also individuals. Han hasn’t forgotten the importance and beauty of individuality. “A Crowd of humans flowing like a body of water,” Han says in his blog “negates individual en-ergy and dissolves their existence.” Walking amongst a group of people makes us less likely to focus on any

one individual. While Han walks amongst a crowd of people, he often begins retreating further into him-self. His work is a response to that inward focus. Since his service in Haiti, he has turned his energy outward and created his project; a collection that encompasses over 300 paintings. Han believes that artists must “pay close attention to things, to give them the atten-tion they deserve.”

Han gives consideration to the “existential energy” of the people he observes and looks to capture its presence with oil paints. “I was first interested in the structural qualities of the human face,” Han said, “but later realized that this interest rose from a primitive force exerted from faces.” He decided to work with paint despite it being a traditional medium. Painting, Han feels, is the best way “to capture brief existences born between image and spontaneity.”

Han’s work doesn’t show details of the subject’s face. The final outcome looks similar to what we may remember when trying to recall a face with which we are not familiar. Han’s portraits are blurred with color expressing the “existential energy” he sees in a person’s face. Han reveals the subject’s emotions and

16

energy with the colors that he chooses to use.

His work also speaks of a larger societal issue. “We avoid human relations,” Han said, “our lifecycles change to make living alone more comfortable and convenient.” He believes living too much within our-selves isn’t healthy, and we must commu-nicate with others more often. “The age of excluding the others is over, but now the self exhausts the self, and violence is

returned into the self.” Han’s work looks to expose this idea of the self, and to give us an experience with the faces we rarely take the time to examine. His paintings remind us that sometimes you should take a closer look at the people around you. The discoveries you can make with this simple act may surprise you. [b]

Whit Altizer

19

MICHAEL ROY


Michael Roy’s hip-hop portraits are recogniz-ably different from any others you might see. Considering this often-addressed subject

matter, distinctiveness isn’t easy to accomplish. It’s commonplace to see famous photographs replicated as a painting or drawing, yet the majority of these copies – frankly – are dull. Referencing photos can become mundane, and lacking in point of view. Consequently, producing such images has become risky business. However, Roy’s artistic angle sidesteps these pitfalls and makes believers out of his viewers, even those who are not hip-hop admirers.

Even in the early stages of the genre, creators of hip-hop and fans have had a sort of familial relation-ship, the resulting community often being referred to as the “hip-hop nation.” Roy has found that his work affords him support through this community. Before coming to Korea Roy was familiar with a few rap-pers here, and they became creative cohorts when he

arrived. “I can message strangers [from the hip-hop community] a couple weeks before taking a flight and know they’ll find me a place to paint.” The passion and support for art that exists within this community satisfies Roy’s creative appetite. The music itself also informs his work. “I liked the parallels of listening to the beat with the monotonous tapping of the brush to create a sort of background.” A good example of this is his portrait of Rick Ross (page 20). Take a second to focus on one of the colorful areas of this piece and you will find a kaleidoscope of rhythmic beats.

Other artists’ depictions of hip-hop legends can come off as idyllic, but Roy’s portraits of Jay-Z, Ice Cube, Rick Ross, Slick Rick, T.I., and Tupac avoid wor-ship, and seem to take a more artistic approach. His technique is achieved through a lot of blotting and dotting with Korean watercolors and Japanese ink. Through his use of bright and variegated textures Roy conjures the energy and rebellion that these figures

21

have come to represent. He stays true to each hip-hop artist’s characteristics, while maintaining his own artistic distinctiveness. When painting this series Roy made it clear that he didn’t want to “exaggerate the faces into caricature,” but instead he hoped to convey “the atmosphere” that the music gave him while completing each portrait. The combination of multi-colored dabs contrasting with dark Japanese ink gives viewers a second entry point, beyond the accessible and immediate star recognition.

Roy seems to have found creative fulfillment through his work. “We all need something to ground that constant nausea of living constantly in mo-ments,” he says. For him, his paintings are “concrete

proof” of his accomplishments which can be seen by him, and also spectators, as a “path” of life. Roy’s feel-ings about art can serve as an inspiration to artists and viewers alike, as it is clear that he is intrinsically motivated to keep creating. Roy’s creative fulfillment is something I personally admire as it’s extraordinary for one to attempt, let alone achieve. As Roy explains, “making art is like fueling a self made aircraft. It takes me out of stasis, but the moment I quit is the moment the plane starts to fail.” From what we’ve seen, this craft is built to last. [b]

Christopher Cote


CHUNG JOOA

우리는 다양한 관계를 형성하면서 살아간다. 가족이라

는 혈연적 관계 이외에 형성되는 대부분의 관계는 유

사(類似) 또는 이익의 공통이라는 문화적, 파생적 유

대를 통하여 사회적 망에서 형성된다. 이러한 관계는 개인의 역사

나 삶의 방식에 따라 다르게 나타난다. 우리가 관계를 형성하면서

도 모든 관계를 원하는 것은 아니다. 한편으로 우리가 어떤 관계

든 간에 기대하는 것은 상대방이 나에게 관심을 가지고 나의 이

야기에 귀를 기울여주는 것이다. 사람에 따라서는 상대방과의 친

밀도에 따라 적절한 수준의 친밀도를 원하고 그것을 넘어서면 불

편해 하기도 한다. 그러나 기본적으로 우리는 신뢰, 사랑, 관심 등

을 받고자 하는 욕구를 가지고 있으며 나를 이해해주고 상호 소통

할 수 있는 누군가를 필요로 한다. 진실한 관계에 대한 우리의 욕

구가 여기에 있다.

타인과의 관계를 간절히 원하는 한 남자가 있다. 이 남자는 작

가 정주아의 작품에 등장하는 인물이다. 작가는 이 남자를 ‘진실

한 남자’ 라고 부른다. 그녀는 진실한 남자가 희망하는 타인과의

관계를 종이, 나무, 천 등에 드로잉 작업으로 표현하고 애니메이

션으로 그의 희망을 극대화시켰다. 진실한 남자의 연작은 서로 이

질적인 매체들이 뒤섞이고 진실한 남자의 모습이 혼재하면서도

각각 독립적으로 그 남자의 간절함을 이야기하고 있다. 그러므로

그녀의 작품들은 이질감과 동질감, 불균형과 균형을 넘나들면서

부조리한 관계에 대한 이야기이며 나아가 부조리한 사회에 대한

젊은 작가의 시선이다. 우리는 그녀의 작품을 보면서 다양한 드로

잉과 여러 편의 애니메이션을 통해 타인과의 관계를 원하는 진실

한 남자의 사연이 궁금해진다. 그리고 그가 왜 진실한 남자로 불

리는지가 궁금해진다.

작가는 진실한 남자의 이야기를 작품을 통해 조심스럽게 털어

놓는다. 그녀는 진실한 남자의 사연이 “사람들에게 미움 받는 것

을 두려워” 하는데 기인한다고 말한다. 진실한 남자는 사람들의

“호의” 를 진정으로 받고 싶어한다. 그러나 불행히도 사람들이 자

신에게 호의를 베풀지 않는다면 최소한의 “동정” 이라도 받고 싶

어한다. 그래서 그는 사람들에게 “최대한 진실한 모습” 을 드러

내 보이려 한다. 이를 테면, 자신의 은밀한 모습, 다른 사람들에게

노출시키기에 고통스러운 내면, 자신이 느끼는 수치심 마저 보여

주려고 한다. 타인이 알 수 없는 자신의 속을 들추어 보이고 자신

의 모든 근육을 움직여 결백을 이야기하고 끝임 없이 그러한 동작

을 반복하면서 자신은 결백한 사람이라고 그러니 자신을 한 번만

이라도 보아 달라고 간곡히 애원한다. 이러한 과정 안에서 진실한

남자는 스스로 수치심을 느끼고 그 수치심으로 몸부림 치면서도

결백을 주장하는 것을 포기하지 않는다. 그의 몸짓은 동정심이라

도 받고 싶다는 간절함이 전략처럼 보일 정도로 애처롭다.

우리는 진실한 남자에게 한 가지 의문이 생긴다. 그는 왜 이렇

게 절박한 것일까? 오늘의 사회에서 타인과의 관계 성립에 ‘결백’

하다는 것은 무엇을 의미하는가? 작가가 밝혔듯이 진실한 남자

는 미움 받는 것을 두려워한다. 사실 누구나 미움 받기를 좋아하

는 사람은 없을 것이다. 그러나 사회적 관계 속에서 뜻하지 않게

부정적인 관계가 산출될 수도 있고 모든 관계가 좋을 수도 없으

니 미움의 대상이 될 수도 있는 것이다. 우리는 미움을 받거나 미

움이 겹겹이 쌓여 외톨이가 될지도 모른다는 두려움에 휩싸일 때

도 있지 않는가. SNS를 통한 다양한 관계가 쉽게 성립되는 현대

사회에서도 관계에서 소외되는 사람들은 존재한다. 우리는 이것

을 흔히 ‘왕따’ 라고 표현한다. 또한 왕따는 자신의 존재나 행동에

대한 사회적 지지를 받지 못해 자존감을 상실하고 본인만의 세계

로 숨어 들거나 정신 장애를 앓게 되기도 한다. 우리는 이와 같은

두려움으로 진실되지 못한 관계를 형성하거나 유지해나가기도 한

다. 여기서 우리는 진실한 남자의 절박함을 이해할 수 있게 된다.

그는 외톨이가 될지도 모른다는 강한 불안감에 싸여 있는 것이다.

그래서 안간힘을 쓰면서 자신이 결백한 사람이라는 것을 이야기

하고 있는 것이다. 그는 자신이 타인과의 관계에서 거짓이 없고

나쁜 생각을 은폐하거나 가식적이지 않다는 것을 주장하면서 사

람들이 자신과 관계 맺기를 간절히 바라는 것이다. 이와 같은 점

에서 우리는 진실한 남자의 생각을 충분히 공유할 수 있게 된다.


오늘날 우리는 관계 맺기에 뛰어난 사람들은 사회성이 좋은 인물

로 평가한다. 관계 심리학과 관련된 서적들은 다른 사람을 이해할

수 있는 지침서로서보다는 사회적 관계에 적절히 대처할 수 있는

처세술로 읽혀지고 있다. 진실된 관계가 아니라 자신을 은폐하고

사회적으로 성공과 이익을 위한 관계 맺기가 더욱 중요해지는 우

리의 현실에서는 진실한 남자의 결백은 미움이나 외로움을 두려

워하는 어떤 한 남자의 간절한 몸부림을 넘어서는 것이다. 작가가

진실된 남자를 통해서 우리에게 이야기 하고 싶었던 것도 바로 이

러한 사회적 상황이라고 생각된다. 우리는 외톨이가 될까 두려워

하고 물질 중심적 이데올로기의 지배를 받아 형성되는 많은 사회

관계 안에서는 가면을 쓰기도 하고 상처를 주고 받으면서 힘들어

하기도 한다. 진실한 남자의 몸짓은 우리의 사회적 관계 안에서

느끼는 간절함과 다를 게 없다. 우리는 항상 진실한 관계를 갈망

하고 노력한다. 우리의 내면 깊은 곳에 있는 그러한 간절함이 진

실한 남자에 투영되고 있는 것이다. [b]

Seo Hee Joo, PhD

27

GIUSEPPE SANTAGATA

The subjects in Giuseppe Santagata’s photography are presented without a setting. They resemble actors in a radically minimalist play - the stage

cleared of props and other actors. If the viewer is to find the stories within these images, the only way is to engage with what is revealed. The viewer has to follow the furrow roads that have been mapped onto the skin by age, disease, anguish or joy. Where there is clothing, a narrative needs to be unthreaded. Where there is a face, one has to let oneself be drawn in by the gaze of a stranger’s eyes.

What stories might one construct? There are stories of coming and leaving, gain and loss, regret and hope - ultimately, what is conveyed is nothing less pro-found than the very conditions of human existence. It should therefore come as no surprise that Santagata calls his work “metaphysical.”

The artist’s latest project A leap into the shadows

brings him to Daegu, South Korea, under the patron-age of the Gachang Art Studio Residence Program. Here he hopes to expand and deepen his investiga-tion into the similar existential predicament of two seemingly disparate sections of society: adolescents and the elderly. Santagata is intrigued by how both the commencement and conclusion of adult life are marked by deep uncertainty and trepidation. Young people, he explains in a provisional artist’s statement, “grapple with their desire to succeed in a reality pre-dominated by insecurity.” There is a sense of “pow-erlessness” that corresponds to what elderly people experience in the face of natural death.

Santagata’s recent work presents an unmistak-able reference to the current situation in his native country. Italy’s dismal economic slump has forced hundreds of thousands of young Italian graduates to emigrate, and a staggering 40% of young adults


in Italy are unemployed. Santagata’s photography is expanding on these issues by moving beyond the con-fines of one country or socio-economic group. In his current project he is building a portfolio of portraits taken in Italy, America, Korea and wherever his proj-ect will lead him next. The final selection will compare adolescence and old age in a universal context.

The photo “A Leap into the Shadows” offers a glimpse into how the project is progressing. The composition of the photo is reminiscent of Santa-gata’s earlier works. Its simplicity focuses the viewer’s attention on details pertaining to the subject. The manner of lighting enhances shadows, so textures become more defined to the eye. The clothing, which might have been overlooked given different lighting and composition, is striking for its rich colors and complicated folds. Together with the interior setting, one could have mistaken the portrait for a Dutch Renaissance painting. The serenity is, however, inter-rupted by an unsettling stare; the intimacy an which ambiguity cannot be expressed in words.

Santagata’s process is tailored to convey a familiar-ity with the subject. He photographs people in their homes, even though this is precarious for such a me-ticulous photographer, since he cannot predict each interior space’s individual light quality. He sits down with the subject by his or her own and converses freely. There is no strict limit on the time. The artist

patiently waits until the stage is set. By the time he feels like he has captured the essence that he wants to convey with the photo, a mere three or four shots are sufficient to capture it.

There will soon be an exhibition of Santagata’s Korean works in Daegu. It will be interesting to see how the artist’s vision translates into Korean society. If ever there were a country where the rift between the elderly and the youth seems abysmal, it is South Korea. Perhaps Santagata is just the artist to unearth their common fears and hopes. [b]

Hanika Froneman

29

www.handiyoon.com봉산점 - 대구시 중구 봉산동 177-2번지 대봉점 - 대구시 중구 대봉동 122-13번지 2층

tel. 010-2879-7936

[b]racket march 2014

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