2022 ARKO Screening Program Facing the Movement: Crossing/Invading/Stopping

2022. 1. 6 - 2. 6

ARKO Art Center Gallery 1

11AM - 7PM (Closed every Monday)

Online Exhibition: lux.org.uk

2022.1.6 - 2.6

Curator: Sera Jung

Coordinator: Seonghyeon Cho

Artists:

Sejin Kim, Minha Park, Cheol Min Im, Sojung Jun, Hyekyung Ham, Keira Greene, Laida Lertxundi

Hosted by ARKO Art Center

Organized by THE STREAM

Cooperated by LUX

Graphic Design: Jungwook Kim

Space Design: OUR LABOUR

Video Translating and Subtitling: FURMO DT

Video Credit Design and Encoding: Youngdon Jung

Photography and Video: Yohan Choi

Translation: Jaeyong Park (Seoul Reading Room)

lux.org.uk

www.thestream.kr

www.arko.or.kr/artcenter

Admission: Free

*Please check the online reservation for visiting can be used on the website naver.com.

Facing the Movement: The World Is Always on the Move

by Sera Jung (Director of THE STREAM)

In our time of pandemic, we are living through adversities while imagining what will come post the pandemic. Amidst the situation, ‘mobility’ occurs in a variety of modes. The COVID-19 crisis has suspended the interconnected economic and social systems around the globe, leading to a reckoning about the fragility of such systems. Life is always moving, and so is art. Mobility in different scales expands and grows not only in society but also in the artistic landscape while integrating with each other at the same time. On the other hand, it also relies on unequal forms of mobility. Sometimes, it induces disorientation and calls for reorientation in a new direction.

The fluidity of moving also exists within a dynamic relationship, which is only possible thanks to the immobility of stopping and suspension. In the state where movement ceases, we realize once again that new and extensive says in our everyday life had been existed within mobility. This means that the chances for our life can also be reduced if it was not for mobility. Currently, mobility leads us to face the paradoxical moment where a new mobility paradigm is needed for physical movement and accelerated circulation. The real-time movement of information in the virtual world can compress the world into zero-dimensional dots. Different from the past, the experiences of viewers off and online also intersect according to mobility. As multinational networks are strengthening at this very moment, mobility is in the process of reconceptualization thanks to various contributions made by cultural studies and investigations on gender, migration, and settlement among others. Mobility can be understood as a way of relating to the world and understanding ourselves in the present within that world. It operates the same way as art operates in our life.

In 2022, THE STREAM presents Facing the Movement: Crossing/Invading/Stopping, a screening program at Arko Art Center. The program is organized with an aim to share different concepts on mobility, generating new questions on how we face the world by presenting mobility through various modes within contemporary art. Each work in Facing the Movement: Crossing/Invading/Stopping is programmed in anticipation to operate as an element to trigger critical thinking and reflection and to take perspectives on the present by drawing the viewers to encounter representational methods of crossing-infiltrating-stopping in the world on the move. The screening program is organized in collaboration with LUX and coincides with an online exhibition. The offline screening takes place at ARKO Art Center with seven participating artists Sejin Kim, Minha Park, Cheol Min Im, Sojung Jun, Hyekyung Ham, Keira Greene, and Laida Lertxundi. LUX hosts a website that streams the artists’ works.

In the works, the potential of art often manifests in unexpected ways through exploratory and expressive modes in relation to mobility and boundaries of the present. Sejin Kim’s To the North for Nonexistence deals with the story of Sami, the indigenous people of northern Europe. Kim traces the conflicts and anguish from national and territorial issues by examining the life of Anita Gimvall, a Sami descendant and individual who strives to preserve her family history, and events that take place around her. The work exposes a situation where the ethnic minority identity is forced to be generalized by a larger social system and the expanded social network of diaspora saddens and threatens some minority groups because of the gap in mobility. While Sejin Kim’s To the North for Nonexistence explains certain parts of history unbeknownst to us with infographics and asks us to reflect on the problems of the system, Minha Park’s Cosmic Kaleidoscope delivers a story about mobility in space as a utopia that we want to bring under control. Such an approach invites us to take on infinite imagination of human desire to explore the optical source of light beyond the physical mobility of walking on foot or driving cars. The endless exploration of the unknown and the desire for conquest, mediated through the history of illusions of images, raises a question on what we are fascinated with once again.

Let us return to our journey in reality. While Sejin Kim and Minha Park delve into the macroscopic transversality on nations, individuals, the universe, and humanity through their works, the works by Cheol Min Im and Hyekyung Ham present the kind of present that is plausible enough to exist in our daily life. Cheol Min Im’s B-ing B-ing has characteristics of montage, combining the artist’s video and the music by Part-time Suite. Moving through a city where the real and the virtual is not different from experiencing fragments of our lives. The concoction of different elements is reduced to a narrative of a city that invades, relates, and often equilibrates and to the reality that individuals have to bear. This enables us to take a look at it through our imagination. Hyekyung Ham’s A Man From Afar imagines the life of a fictional character. By adding a narrative to her imagination, the artist calmly looks into the loneliness of the fictional character and situations in his inner mind. The narration on the issue of loss, taking place in an intimate space inside a car, invites us to the situation of a man while presenting the scenery of flow on the move.

Both Sojung Jun and Keira Greene delve with mobility in a similar manner, looking into the mode of existence through the trace of memories and physical senses. Sojung Jun’s Interval. Recess. Pause. follows the fragmented memories of people who were adopted from Korea to France. The artist collects statements about the uncertainty, which remains only as senses along with the omitted and erased spatiotemporal gaps. At the same time, she intersects it with choreographer Olivia Lioret’s interpretive movements on the experimental contents of Theresa Hak Kyung Cha’s Dictée. In Dictée, Theresa Hak Kyung Cha emphasized the resistance not to be incorporated into or defined by the system based on self-identity. In Jun’s work, the connection between such resistance and the life of an adoptee is joined by instantaneous physical mobility. In a similar respect, Keira Greene’s Eustatic Drift presents a process of corporeal sensing by showing dancer Katye Coe interprets the petroglyphs on the fossils of graptolites through her body. The work excavates traces of species, which certainly existed in the past yet have disappeared in the present, explores them as the origin of humanity today, and interacts with them. Graptolites, as a dialectical existence that continues through certain traces even after the passing of a tremendous amount of time, trigger a search for new existence by us, the humans. It also functions as mobility as a self-referential possibility.

The formal characteristics of a moving image presume mobility in all its production stages, from pre-production to post-production. Laida Lertxundi’s Inner Outer Space is the artist’s first 16mm film produced post after she moved from California to Spain. The work presents a new perspective on the cinematic production method in relation to reality and representation, reflecting on it within the relations between interior and exterior, figures and landscape, and image and sound. At the peak of its narrative, the work projects the seascape of her hometown of the Basque Country onto the screen. It ends with a performance of two women who reveal their pure emotions as if they discovered their nostalgia.

The moving image records the self-reflective process, which is particularly dynamic in our various ‘ways of seeing.’ The appearance of the world is not fixed to a point and is experienced as instantaneous situations that cannot be repeated. As such, it documents the contemporaries of the times and often functions as a reference to investigate the records of the distant past. The event of ‘encounter’ through the screening generates a temporary field of emotional recharging and offers a ground of interactions. It creates new energy that generates, arises, sinks, and moves to other places. The energy functions as a possibility that triggers certain emotions or thoughts that can enter and cross new fields and be changed at each time.

By organizing the program, THE STREAM also intends to build conversations around the practice of mobility through an offline exhibition in Korea at ARKO Art Center and an online exhibition in the UK in collaboration with LUX. In particular, intersectional mobility plays a certain role in the formation of mobility practices and artistic experiences post the pandemic. As such, it is also expected that subtle differences in how we experience moving images are to be discovered in experiences of the dual system of on and offline screenings through the concept of mobility in Facing the Movement: Crossing/Invading/Stopping. The program also reflects thoughts on how artworks can function differently by how they are mediated in different ways — when they are organized through a program within the system of a museum and streamed online as individual works or displayed in a white cube and mediated online. When the artworks are sensed in the real space, they can lead the viewers to a concrete identification with them by the tactile experiences they induce. On the other hand, the artworks operate as a mode of performative practice that holds images by the personalized and subjective temporality. These two practical methods will also lead the viewers to discover a possibility that mobility can deal with affective or emotional dimensions beyond representation and keep maintaining its mobility beyond dominating viewers as singular movers and idealized individuals.

Everything moves. Mobility facilitates the body, place, and time, repositioning and inscribing them into the present time where they are absent. If one asks what art can do with this, the answer would be that art puts all these on stage and translates them to new sensory states.

[Screening program]

Program A

(11:00-12:00) (13:00-14:00) (15:00-16:00) (17:00-18:00)

Hyekyung Ham, A Man From Afar, 2015

Cheol Min Im, B-ing B-ing, 2016

Sojung Jun, Interval. Recess. Pause., 2017

Program B

(12:00-13:00) (14:00-15:00) (16:00-17:00) (18:00-19:00)

Sejin Kim, To the North for Nonexistence, 2019

Minha Park, Cosmic Kaleidoscope, 2018

Keira Greene, Eustatic Drift, 2018

Laida Lertxundi, Inner Outer Space, 2021

*Reservation: search ‘ARKO Art Center’ on NAVER reservation page.

[Related Program: Round Table]

Issue "Practice online and offline mobility in a moving image."

Date: January 20, 2022. 4 pm

Venue: ARKO Space Feelux

Participants: Participating artist, curators, critics, relevant experts, etc

Moderator: Sera Jung

*The time and schedule can be changed. You can check it later through an online notice.

1. Sejin Kim

Sejin Kim is a media artist artist and filmmaker. She holds an MFA in Fine Art in Slade school of fine art, UCL and MA in Fim & TV in Media Art, Sogang University. She has working with a variety of media apparatuses, including documentary realism and cinematic language to explore various and perplexing relationships between individuals and contemporary systems. Her works have been exhibited at Songeun Art Space, National Museum of Contemporary and Modern Art in Seoul, MAXXI in Rome; Grunt Gallery in Vancouver; La Friche Belle de Mai in Marseille, France. She has participated in several residency programs including Delfina foundation(London), Helsinki International Artist Programme (HIAP), International Studio & Curatorial Program (ISCP), King Sejong Research Station(Antarctica) and MMCA residency(Goyang). Also she won the prize of Songeun Art Award, 4th Daum Prize and Unesco Prize for the Promotion of the Arts.

2. Minha Park

Minha Park is an artist based in Seoul and she creates both film and installation. Along with her most recent solo exhibition Cartography of Night (2020) at Space Onsu, Park has participated in numerous exhibitions and film festivals held by the Seoul Museum of Art; Doosan Gallery; National Museum of Modern and Contemporary Art MMCA Seoul; 27th Images Festival; the 56th Festival International de Cine de Gijón; Luckman Gallery; Nam June Paik Art Center, among others.

In 2018, she received the Jury Special Mention for Best Short Film at the 72nd Edinburgh International Film Festival. Park’s works are in public collections including the Museum of Contemporary Art, MoCA Busan; Korean Film Archive; Arko Art Center Media Archive.

3. Cheol Min Im

Cheol-min Lim started his career as a director in 2010 when his short film Secret Garden was invited to a number of film festivals in Korea and other countries. Since then, Lim directed Golden Light (2011), PRISMA (2013), and B-ing B-ing (2016). His works have been screened internationally through the festival circuit as well as screenings and exhibitions. In 2017, he directed the performance version of Glow. In the following year, he also created a film version of the same work. Lim won the Silver Crown Award in the competition section of the 4th Great Short Film Festival, the Korean EXiS Award in the domestic competition section of the 10th Seoul International Experimental Film Festival (EXiS), and the Special Jury Prize in the Korean competition section of the 10th DMZ International Documentary Film Festival.

4. Sojung Jun

Sojung Jun is an artist based in Seoul, South Korea. She has received her BFA in Sculpture from Seoul National University and MFA in Media Art from the Graduate School of Communication & Art at Yonsei University. Using the language of video and writing, the artist is interested in creating a nonlinear space-time to awake a new awareness on history and the present or in how the changes made in physical boundaries penetrates daily sensorial experiences. In particular, she has produced works that weave and crisscross with her personal experiences by paying attention to people stand on the boundary amid the ruins of modernity and invisible voices. She has newly established what she has fragmented through interviews, historical materials and narratives appropriated from classical texts, and carries out experiments of intersecting personal, psychological and aesthetic factors with political ones in life.

She has held solo and group exhibitions at a number of institutions including National Museum of Modern and Contemporary Art (Seoul, 2021), Kunstmuseum Bern (Bern, 2021), Nam June Paik Art Center (Gyeonggi-do, 2021), Atelier Hermès (Seoul, 202), Tai Kwun JC Contemporary (2020), Ottawa Art Gallery (Ottawa, 2020), Art Gallery of New South Wales (Sydney, 2019), ARKO Art Center (Seoul, 2018), Palais de Tokyo (Paris, 2017), SongEun art space (Seoul, 2017), Villa Vassilieff, (Paris, 2017), 11th Gwangju Biennale (Gwangju, 2016), Doosan Gallery (Seoul, 2015), Seoul Museum of Art (Seoul, 2015), The Cube Project Space (Taipei, 2014), The National Museum of Art, Osaka, (Osaka, 2013); Leeum Samsung Museum (Seoul, 2012). She is the recipient of the 18th Hermès Foundation Missulsang, Villa Vassilieff Pernod Ricard Fellowship, Paris, France 2016 and Noon Art Prize, Gwangju Biennale 2016.

5. Hyekyung Ham

Hyekyung Ham is a South Korean-based video artist. Her work is about her own interpretation of relationship, love, desire, success and despair. In her works, she portrays scenes capturing a situation she can see herself in by translating them to text. Instead of ‘what happens next,’ Ham speaks of what happens to the characters’ inner minds going through the situation. Protagonists in her videos, roaming around and feeling solitude and insecurity, face our own lives and worlds as an unaffiliated being. More than anything, she pays a close attention in creating new stories through pre-existing narratives and images.

6. Keira Greene

Keira Greene is an artist whose work takes the form of digital video, performance, and writing. Her research is critically engaged with the representation of intimacy and politics of resistance, explored through poetic narrative, oral history, non-verbal language and the body. Greene’s practice often takes the form of an inquiry into the comingling of human and non-human life. Her work frequently begins with a specific location, it’s social history and its ecosystem. She is interested in producing a rapport through collaborative working across the disciplines of art and science and in particular her role as a woman artist engaged in fieldwork

Greene uses multiple means of speaking in her video work that involves narrative text and spoken dialogue, in relationship with the non-verbal of musical score, choreography and performance. She continues to study dance and movement techniques, often considered ‘somatic’, and does so with a critical approach to their historic, social, biomechanic and aesthetic qualities. She is interested in dance as a process of being in motion and how the practice can raise questions rather than fix knowledge

Greene has made artworks about artist communities and significant individuals whose work has facilitated social and political movement, radical ideas and alternative approaches to living. In 2015 she made the work Totally on Fire which restaged a game and social experiment from the Esalen institute, CA (circa 1970) on the grounds of the secular community Braziers Park, Oxfordshire. In 2016 she made the film Grain at the home and historic dance deck of dancer Anna Halprin in CaliforniaGreene is currently working on various long-term collaborative projects with musicians Paul Abbott and Michael Speers, dance artists Katye Coe, Alexandrina Hemsley, Susanne Mayer, and writer D. Mortimer.

7. Laida Lertxundi

Laida Lertxundi was born in Bilbao, Spain, and makes 16mm films primarily in and around Los Angeles, where she has lived and worked for more than a decade. Her work is intrinsically and inextricably connected to the California landscape and psyche. Beautiful and enigmatic, her 16mm films bring together ideas from conceptual art and structural film with a radical, embodied, feminist perspective.

Lertxundi received a MFA from the California Institute of the Arts and a BFA from Bard College. She has had solo exhibitions at LUX, London (2018), Tramway Glasgow (2018), Tabakalera, San Sebastian (2017); fluent, Santander, (2017); DA2, Salamanca (2015); Vdrome (2014); La Alhondiga, Bilbao (2014); and Marta Cervera (2013). Her work has been featured in exhibitions at Katonah Museum of Art, New York (2018); Galeria Cinematica Solar, Portugal, (2018), Joan, Los Angeles, (2017), Hammer Museum, Los Angeles (2016); the Bienal de La Habana, Cuba (2015); Wild Screen, Connemara, Ireland (2015); Frieze Projects, New York, (2014); LIAF, Biennial, Norway (2013); the Lyon Biennale (2013); and in the Whitney Biennial, Whitney Museum of American Art (2012). Lertxundi’s films have screened in museums, festivals, and galleries, including most recently at, RedCat, Los Angeles (2018); Walker Art Center (2017); MoMa, New York (2017); Tate Modern (2016); ICA, London (2016); White Chapel Gallery, London (2015); Glynn Vivian Gallery, Wales (2015); National Gallery of Art, Washington D.C. (2015); Museo de Arte Moderno, Medellin, Colombia (2015); LUX, London (2014); Kunstverein, Hamburg (2014); New York film Festival (2007, 2009, 2010, 2011, 2012, 2013, 2015, 2018); Edinburgh International Film Festival (2014); BAM, Brooklyn (2014); MAK Schindler House, Los Angeles (2014); PS1 MoMA (2013); Museum of Contemporary Photography, Chicago (2013); Baltimore Museum of Art (2013); and Tate Modern, London (2011). She teaches film and Fine Art at Art Center College of Design in Los Angeles and is the chair of Filmmaking studies at EQZE masters program in San Sebastian, Spain.

[THE STREAM]

www.thestream.kr

THE STREAM is a research collective and non-profit art organization running an eponymous online archiving platform for Korean moving image art. The platform aims to establish an online search database in which a diverse collection of moving image works is accessible to the public. Our activities encompass producing critical writings and organizing curatorial projects across a white cube and a black box. Founded in 2015 as the Korean Video Art Archive Platform, we have been curating offline screenings, exhibitions and artist talks drawing from the archive. Through collaboration with international film festivals The Stream promotes critical discourse around Korean contemporary moving image practice.

[LUX]

lux.org.uk

LUX is the UK agency for the support and promotion of artists working with the moving image, based in London and Glasgow. Originally founded in 1966 as the London Filmmakers Co-operative, it represents an over 50-year history of artists’ engagement with the moving image in the UK. As well as organising exhibitions, education programmes, commissioning, artists professional development and research LUX represents Europe’s largest collection of films and videos made by visual artists.

자료담당자[기준일(2021.12.17.)] : 아르코미술관 노해나 02-760-4607
게시기간 : 21.12.17. ~