미디어월 쇼케이스 아케이드 4WALLS
산책하는 관람자를 위한 미디어월
- 기간2020.12.15(화) - 2021.7.14(수)
- 시간19:00 - 22:00
※ 광장 내 행사 일정 등 내부 사정에 따라 일부 변동 가능
- 장소아시아문화광장 미디어월
- 가격 무료
- 예매자유 관람
미디어월 쇼케이스 < 아케이드 4WALLS >는 코로나 이후의 극장과 전시장을 모색하는 미디어 공공 미술 전시이자 광주와 4차산업혁명기술, 기후변화 시대의 인간과 환경을 주제로 한 여섯 작가의 순회 전시이다.
|1||2020.12.15 ~ 2021.1.14||Shireen Seno (필리핀)||A child dies, a child plays, a woman is born, a woman dies, a bird arrives, a bird flies off
(Arcade 4walls edition)
아이는 죽고, 아이는 놀고, 여자는 태어나고, 여자는 죽고, 새는 날아오고, 새는 날아간다.
(아케이드 포월 에디션)
|2||1.15 ~ 2.14||Taiki Sakpisit (태국)||Seeing in the Dark (어둠 속에서 보기)|
|3||2.15 ~ 3.14||양아치 (한국)||Sally says, (샐리는 말한다)|
|4||3.15 ~ 4.14||김웅용(한국)||여자의 파장으로 (On Her Wavelength)|
|5||4.15 ~ 5.14||Gym Lumbera (필리핀)||The Black Dog Which Causes Cholera(콜레라의 검은개)|
|6||5.15 ~ 7.14||IP Yuk-Yiu (홍콩)||☜ ☞ (왼쪽, 오른쪽)|
(아케이드 포월 에디션)
- 작품명A child dies, a child plays, a woman is born, a woman dies, a bird arrives, a bird flies off (Arcade 4walls edition)
아이는 죽고, 아이는 놀고, 여자는 태어나고, 여자는 죽고, 새는 날아오고, 새는 날아간다. (아케이드 포월 에디션)
- 창작자명시린 세노 Shireen Seno
지난 2년 동안, 나는 2000년대 초반 미국으로 이민한 아버지의 기억에서 영감을 받아 장편영화 <야생 오리>를 작업하며, 필리핀을 오고 가는 철새 이주에 대해 연구했다. 본 프로젝트는 여러 형태와 시기에 걸쳐 발생하는 이주를 다룬다. 조류는, 특히 오리의 경우, 다양한 지형을 가로질러 다양한 수단으로 생존할 수 있는 방법을 찾는다는 점에서 인간의 역할 모델과도 같다. 다른 세대에 걸쳐 이주하는 토착 조류와 철새들의 움직임을 움직이는 이미지로 구성하고자 한다.
이번 신작(아케이드 포월 에디션)은 광주의 미디어월에 적합한 형태로 제작되었다. 인간이 삶의 방식에 대해 의문을 제기할 수 밖에 없는 상황에서, 새들은 많은 것을 알려줄 것이다. 새들은 동시에 여러 곳에 속한, 전 세계의 시민이다. 미디어 월의 세개의 스크린을 가로 지르는 찬란한 날개 달린 존재들의 움직임을 통해, 역동성을 소환하고자 한다.
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.
- 작품명Seeing in the Dark (어둠 속에서 보기)
- 창작자명타이키 삭피싯 Taiki Sakpisit
2020년 현재, 폐허가 된 요새와 포탑만이 동굴 너머에 보일뿐, 어두운 동굴 안은 박쥐들이 공간을 채우고 있다. 1932년 인민당의 주도적 일원이었던 피분 송크람은 무혈 혁명을 통해 정권을 장악했으며, 그의 업적은 2020년 태국 시위대 젊은 층의 찬사를 받아왔다. 2014년부터 독재 정권은 인민당의 잔재를 제거하는 데에 심혈을 기울여 왔다.
<어둠 속에서 보기>는 이러한 내러티브를 감각적으로 엮어내고, 해결되지 않은 태국의 어두운 면면을 비추고자 한다
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.
- 작품명Sally Says (샐리는 말한다)
- 창작자명양아치 Yangachi
< 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 >.
- 작품명여자의 파장으로 (On Her Wavelength)
- 창작자명김웅용 Woong-Yong Kim
A sleeping man dreams of walking along the Han River at night. A woman starts the interview as if she gets lost in her memories. What she 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 come 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.
- 작품명콜레라를 유발하는 검정 개(The Black Dog Which Causes Cholera)
- 창작자명짐 룸베라 Jim Lumbera
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.
그의 작품은 모두 필름으로 촬영했으며, 단편영화 <클래스 픽쳐> (2011)와 장편영화 <태양의 아들> (2012)은 다큐멘타 14에서 상영된 바 있다. 영화 제작자, 비주얼 아티스트, 민속학자, 아키비스트 등 그를 지칭할 수 있는 이름은 많지만, 그는 상처 입은 시간 속 이름 없는 망령들을 시각적 대화를 통해 조명한다. 그는 이처럼 시각적 대안을 통해, 숨겨진 것들을 쫓아 마법과 같은 순간의 단면을 드러낸다. 또한 그는 2012년에는 필리핀 대통령이 수여한 '아닌 응 당알' 을 수상하였다. 그는 현재 잃어버린 믿음과 신의 분노, 콜레라를 일으키는 검은 개에 대한 10년 간의 작업을 사진으로 엮어내며, 그 자신을 전환기로 되돌아 가고자 한다.
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.
- 작품명☜ ☞ (왼쪽, 오른쪽)
- 창작자명입육위 IP Yuk-Yiu
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.
아시아문화광장, 아시아문화광장 미디어월