During the play
 
The hybrids of analogue/digital and also of offline/online have been expanding and reconstructing the modes of artistic practices of artists’ moving-image. What is here meant by ‘artists’ moving-image’ is any work of art in which a relationship between temporality and mobility is visual-perceptibly embodied in such a way that the presence of the relationship is revealed through the work.
During the progress in which celluloid film is replaced by digital file and film projector by beam projector, artists have been trying to explore a variety of ways of working for artists’ moving-image. In white cubes such explorations by artists are delivered in the form of projection or installation. Works of artists’ moving-image are expected to be seen in ways that are different from how paintings and sculptures are supposed to be seen, and they also have the power to move spectators who are used to sitting in black boxes(closed spaces).
 
During the play looks into the current in which artists’ moving-image is transforming itself in accordance with its relations to technology. It is intended to recognize the fact that each artistic practice in artists’ moving-image is closely connected to technological changes, and also to encourage further research developments in the relevant fields.  
 
Each scene in the exhibition consists of artworks exploring a particular relationship between media characteristics of artists’ moving-image and technology. In addition, you will be presented with artistic practices concerning three types of artists’ moving-image inserted between the scenes.
 
#Scene 1.  Mediating Effect
This scene explores medium specificity and expanded visuality, featuring works of art by nine artists who are focused on looking at the relationship between artists’ moving-image and technology. Each artwork with the help of such devices as film, video, digital, film projector, beam projector, or monitor gives us some idea of how the relevant technology has been changing. A closer look at the works shows that the artists in this scene are examining the principles of media and technology that they used in creating and representing artists’ moving-image. This naturally leads us to a question of moving sensation and visuality.
 
The first floor features Brilliant Night of Film by Jaekyu Byun, an installation intending to combine and show the material and nonmaterial devices of artists’ moving-image, and Drive by Dayeon Kim, a criticism of a film constructed by using and editing the film itself, instead of using written words. also Latency Contemplation 1 by Seoungho Cho, a video of metaphorical character in which color bars in VHS video are associated with the seascape.
 
The underground floor shows Frame Walk by Hayoung Jeon, a work in which spectators can see that thousands of photographic still images of people are in motion, and also Swarm Circulation by Yeonu Ju, a film that looks into the relationship between human beings and the history of technology by making use of montages of digital images of electronic devices.
 
The second floor introduces you to 5days in May by Go-Eun Im, a work providing you with impressions of flickering after-images as two projected images of a dying peony in the form of film and digital are overlapped. Europa by Youjin Moon brings your attention to the constant state of perceptual ambiguity through her careful observation on the relationship between painting and moving-image. Light-Film by A. Young is an exploration of how still image and moving image can be perceived in the continuous series of time.
Finally in the staircase connecting the second and the third floor you will find Footage by Minjung Kim which shows on a perpetual loop how the physical length of a particular body part can be converted into the temporal measurement of 16mm film.
 
# Scene 2. Post Script
In this scene you will be introduced to curatorial practices in support of artists’ moving-image. You will have a chance to look at examples of artists’ moving-image exhibitions in Korea from the 1990s to the present, overseas artists’ moving-image distributors started as a community, and artist collectives working with the mediating artists’ moving-image.
 
#Scene 3. Show and Tell
This scene is intended to survey the terrain of artists’ moving-image in Korea. You can have a look at things that are taken into account in curatorial executions such as projects, installations, spectatorship, archives, collections and distribution systems, so as to have a better understanding of the situations in Korea.
 
#Scene 4. Catalog
This scene experiments with ways of distribution system that are suitable to the latest technological environment of artists’ moving-image. When it comes to preserving, collecting and distributing the immaterial artists’ moving-image, following a model in which material works of art is managed can lead to a conflict between the system and the genre traits of artists’ moving-image. The fact that the immaterial medium in question is shared in terms of immaterial forms is a considerable deviation from the traditional way of possessing in terms of material forms. This insight is incorporated into our production of promotional materials, based on the assumption that the works of art in this exhibition are to be distributed later. 
 
We have observed that immovable images in art galleries and immovable spectators in movie theaters can move simultaneously via forming a connection between artists’ moving-image and technology. The curator of this exhibition hopes that spectators walking into “During the play” feel welcomed to roam around and experience moving images freely. That is to say, spectators are encouraged to create their own moving-image while walking through Insa Art Space, the metaphor of which is a roll of film.
 
Last but not least, this exhibition attempts to establish a new platform for the terrain of artists’ moving-image, grounded on the fact that artists’ moving-image has been developed as ‘cooperative links’. It is our expectation that During the play can contribute to the continuation of the artistic practices(such as producing, curating, viewing) which are carried out through the medium of artists’ moving-image with the purpose of expanding and reconstructing artists’ moving-image. We are also waiting for someone willing to support our endeavor.