The Media Wall is a 75m×16m screen visible from the Asia Plaza and the Forest of Light.
Medial Wall Showcase < Arcade 4WALLS > is a tour exhibition featuring public art projects created by six artists and inspired by various themes including Gwangju, the Fourth Industrial Revolution, and humans and nature in the era of climate change.

※ The schedule is subject to change.

A child dies, a child plays, a woman is born, a woman dies, a bird arrives, a bird flies off (Arcade 4walls edition)
Over the past two years, I have been working on a series of studies of the migration of birds in and out of the Philippines, a kindred project to a feature-length film I'm writing called "The Wild Duck", inspired by memories of my father's migration to the United States in the early 2000s. The project aims to deal with migration in many forms and times. Birds, and ducks in particular, are like role models for humans-they find ways to survive by various means across varied terrain. I hope to bring together a mix of local birds and migratory ones, migrating across different generations of moving image media.

The project started in 2018 and has taken on various forms, from multi-channel video installations to experimental outdoor screenings and theatrical screenings. The project is still ongoing as I feel there is an urgent need to expand the length and scope of the work. The work thus far has been in parallel to the birth of my daughter, so I was limited to footage I was able to shoot in two locations a few hours by car from Manila. I still have my limitations as a mother during a nation-wide quarantine. So this time, I would like to work with other bird enthusiasts to include found footage of birds sourced from all over the Philippines, and perhaps other countries as well. During my research, I made friends with several bird experts and birdwatchers, and I realized that they each have a wealth of footage from their own birdwatching. I will also look into using open-source footage of birds shared online.

This new work (Arcade 4Walls edition) will be created specifically for the Arcade 4Walls media screen in Gwangju. At a time when people are forced to question our way of life, birds can offer much to learn from. They are really citizens of the world, belonging to several places at the same time. I hope to bring together a dynamic mix of these brilliant winged beings, migrating across the three screens of the media wall.

Shireen Seno is an artist and filmmaker based in Manila and whose work addresses memory, history, and image-making, often in relation to the idea of home. A recipient of the 2018 Thirteen Artists Award from the Cultural Center of the Philippines, she is known for her films which have won awards at Rotterdam, Shanghai, Olhar de Cinema, Vladivostok, Jogja-Netpac, and Lima Independiente and have screened at New Directors/New Films, Yebisu International Festival of Art & Alternative Visions, Rencontres Internationales Paris/Berlin, and institutions such as Tate Modern, UCCA Center for Contemporary Art, Portikus, and NTU Center for Contemporary Art Singapore.

During his premiership for 15 years spanning from 1938 to 1957, Field Marshal Plaek Phibunsongkhram had planned to relocate the capital city of Thailand to Phetchabun province; and in WWII, he established the Ministry of Treasury at Tham Ruesi Sombat, a cave on the mountain there, where the national treasure, the gold bars and the sacred Emerald Buddha were hidden from the Japanese army. Now only the ruined fortress and turret can be seen above the cave, while the bats occupy inside the dark cave. Since 2014, the dictator government has made a conscious effort to remove the architectural heritage of the People's Party who revolutionized Thailand in 1932 and whom Phibunsongkhram was one of the leading members and whose legacy has been praised by the young generation of the 2020 Thai Protests.
Seeing in the Dark interweaves these narratives sensorially and echoes the dark enclosure of the unresolved Thailand.

Taiki Sakpisit is a visual artist and filmmaker working in Bangkok. His works explore the underlying tensions and conflicts, and the sense of anticipation in contemporary Thailand, through precise and sensorially overwhelming audio-visual assemblage using a wide range of sounds and images. His films produce heightened and uneasy modes of spectatorship that often relate to the tumultuous socio-political climate in Thailand. His film Shadow and Act (2019) was supported by ACC Cinema Funds. His previous work A Ripe Volcano (2011) has been screened internationally at more than 50 film festivals and museums. His first feature film The Edge of Daybreak is currently in post-production.

< Sally says, > proposes new world, virtual Seoul that grounds on AI, mobilities, robots, energy and smart city. He uses Lidar camera and Thermography camera as a new visual medium announcing new city which is full of visual data. It also informs basic income, data banks and data intermediaries; and reports entry into new society due to data.

Yangachi is an artist who is interested in virtuality, networks, surveillance, object, technique, data, basic income, AI, mobility, robot, energy and smart city. He produced various projects; < Middle Corea >, < eGovernment >, < Paik/Abe Video Synthesizer, Willy-Nilly Version >, < Sea Salt Theatre >, < Seven-Step Poem >, < Bright Dove Hyunsook >, < Credit >, < I go to the office in the year of 1956. In 1956, I invent the year of 1976, 1980, 1986 which were before the year of 1966 and get off work in 2010. I got train and stop the station called the year of 1980. After take off the train, I gaze over the window at Inn, the year of 2012 >.

On Her Wavelength depicts in her interview reminds of seen or heard scenes from the movies about Gwangju. The river seems like chasing a man. The bed he was sleeping is empty at times. Does he have sleepwalking? These things comes up and down the surface at night.

Woong-Yong Kim produced real-time video performances < Okhotsk Sea Anticyclone >, < Hidden Names Under The Skin >, < Night And Mist >, based on his interests in omissions found behind the documentation and its circular relation with recording mediums. His works have been showcased in many local and international institutions including ARKO Art Center, Seoul Museum of Art and National Museum of Modern and Contemporary Art, Korea. He furthered his studies in graduate school, where he explored historical traits and temporality which occurred in transition period of film and new media. He translated < Exhibiting The Moving Images : History Revisited > into Korean.

The Black Dog Which Causes Cholera, a vernacular in Philippine history mentioned alongside the supernatural creature Asuang, "that a black dog which runs down the street" caused the great cholera epidemic of the early 1900's in some parts of the archipelago, a phenomenon that coincided with the Philippine-American War. The estimated death toll reached 200,000 - a great number to which the cause of deaths, whether due to cholera or the actual conflict, remained in doubt. At the dawn of pandemic 2020, Lumbera heard nothing but the howls of the distant dogs, a resonance of the unknown fear of all people in hiding, and thus convinced that the black dog has returned. Solely seeking and following the movement of the dogs that reclaimed territory upon the deserted streets, Lumbera conjured the dance of a ghost with a total of 7,000 images accumulated during the first months of the pandemic, - a proof that the unaccounted black dog has returned to haunt this time.

Jim Jasper J. Lumbera is a visual linguist of historical and cultural idioms. Born in the Philippines (1986), he grew up to the sight and dialogue of the timeless phenomena surrounding the volcano at the heart of a lake of his hometown, that continues to haunt the theater of his lens-based works up to this day. From his short, Class Picture (2011) to his feature, Anak Araw (2012) exhibited in Documenta '14, and all shot entirely on Film, his works evince the unsung ghosts of impaired time, a visual conversation that more than a filmmaker, a visual artist, an ethnographer, and an archivist, Lumbera otherwise seeks from the hidden and reveals only a glimpse of magic. Thus, in 2012, he became a recipient of the Ani ng Dangal National Award for Cinema from the President of the Philippines. Today, his current works are a decade-long series of photographs about lost faith and an angry God, and The Black Dog Which Causes Cholera, that return him to this strange time of turning.

A video game for playing as long as you can remember what LEFT and RIGHT is.
☜☞ is a project that challenges our sense of LEFT and RIGHT spatially, semantically and ideologically, as well as the capricious nature of our short-term memory

IP Yuk-Yiu is an experimental filmmaker, media artist, art educator and independent curator. His works, ranging from films, live performances, media installations to video games, have been showcased extensively at international venues and festivals, including European Media Art Festival, New York Film Festival (views from the avant-garde), the Image Festival, FILE Festival, VideoBrasil, Transmediale, NTT InterCommunication Center [ICC] and WRO media art Bienniale. He is the founder of the art.ware project, an independent curatorial initiative focusing on the promotion of new media art in Hong Kong. IP has over fifteen years of curatorial experience in film, video and media art. Currently he is Associate Professor at the School of Creative Media, City University of Hong Kong. His recent works explore hybrid creative forms that are informed by cinema, video games and media art practices. In recognizing his artistic contributions, he was awarded the Artist of the Year (media arts) by the Hong Kong Arts Development Council in 2019.