Tues 20 Sep 2022, 07 pm
Manzi Art Space
14 Phan Huy Ích, Ba Đình, Hà Nội
From the organizer:
For this event, Inhan Cho and Rhee Hun from Seoul-based AAMP will present 60 min of recent Korean experimental films and moving images, and will present what AAMP is and how it works explaining previous editions.
AAMP is a curatorial platform for Asian moving images. AAMP’s aim is to build an open network for individuals and institutes in Asia that research and produce moving images and to foster new discourses on contemporary art practices. Invited participants collectively circulate critical ideas and experiment curatorial practices on moving images through shared research materials and artistic projects. AAMP operates as a platform for these activities.
*Free admission. Limited seats.
About guest artists:
Cho Inhan is an artist of film and video making. He participated in the screening of the Seoul National Museum of Modern and Contemporary Art, EXiS, the New York Film Festival, and the Ann Arbor Film Festival. In addition to his personal work, he is a member of AAMP.
Rhee Hun is a filmmaker and researcher for artist film and moving images. Working as a member of AAMP, he focuses on his practices with asking questions of ‘the future of landscape and moving image’ based on the archeological space and speculative narrative, language and allegorical epistemology. His exhibitions and screenings include SeMA Storage(2019), International Short Film Festival in Oberhausen, Labs Program(2019), Collective research in MMCA Changdong residency program(2016), ACC Network platform: Asia-Kula, Kula Ring (2016), and Arkipel (2015).
#1: The Lovesick Serpent (2022)
Korea / 2022 / Color / Stereo / 9min 33sec / 16mm to digital transfer
Tales of the lovesick serpent “Sangsabaem” is a Korean folklore about a protagonist who dies from the pain of unrequited love and turns into a snake to express their suppressed emotions to the object of affection.
The icon of the lovesick serpent has long endured and persisted in written and oral traditions of Korean literature. Diverse discourses of this metaphor and its meanings exist in various textual and cultural contexts, dealing desire, death, and metamorphosis. What I was interested in was ‘lovesickness’ itself, and how devastating it could be for both the ‘I’ and the object of affection. The character of my film
Chae Yu is a filmmaker based in Seoul, Korea. Her films
#2: Graeae: A Stationed Idea (2020)
Korea / 2020 / Color+B/W / Sound / 33min 5sec / DCP
There is a U.S. military base near. The place cannot be seen. In the AR, there are infantries just like me. They are wandering around the symbols of violence with no passages or fences. The film starts with staring the mirage of U.S. and U.S. military which relies on self-fulfilling prophecy. Then it gazes covertness about rise and fall of a place. As the silent ascension of birds shows the air current, some omens can overtake visible things.
While playing AR game called Pokemon Go, I came to find monuments inside the US military base. This territory is not marked on Korean maps. Since a military district is confidential, it has to be marked as a green area on the map for civilians What if I can estimate the location of the monuments registered in Pokemon world, Is the military base visible or not? Starting with finding intimate images around the neighborhood, I tried to diagnose the mechanism of how a location really works.
Jeong Yeoreum reframes stories about the correlation between space and memory into visual language. Her work is a continuous process of fixated reinvestigation on a narrative, analyzing its mechanisms and dismantling the body from the parts.
#3: Die Resistenz (2019)
Korea / 2019 / Color / Sound / 12min 55sec / 4K
Here is a frame of a statue of a person in the sculpture workshop of an artist*. The building of the sculpture was stopped two years ago when the scandal of ex-president Park Geun-hye and her friend Choi Soon-sil became exposed. The five-meter high frame was built to represent feelings of awe and respect that the people who planned the statue had felt. In other words, time has not completely said goodbye to the figure. I planned to capture the scene in a video and present this as a funeral, an act of leaving her to rest. I hired a drone and a professional drone operator to make more of a spectacle for the video creating a situation where the person’s scale is being defied just as she has been heroized.
However, the drone refused to follow the operator’s orders because it was not well connected to the satellite GPS location which was inside of an iron producing factory. The drone tried to keep away from the iron scaffolding that was supporting the statue’s frame. The drone flew out of its intended direction and in the end crashed into the structure and fell down. The scene of the funeral to leave her turned out to be a failure through the resistance of the drone.
The title Die Resistenz is a German word for “resistance”. In this work the word “resistance” indicates the part of Korean society that leads the current irrational social phenomenon—Parksamo (supporters for ex-president Park), Taegeukki-budae (Korean national flag troops) and refers to the extreme right nationalists. These groups oppose the spirit of the times and hold on to the past, haunting the whole society.
*The elder sculptor created the statue of King Sejong the Great that was placed on the Gwanghwamun square in the center of Seoul, as well as many Korean presidents including Park Chung-hee, Kim Yeong-sam, Kim Dae-jung, and Roh Mu-hyeon.
Lee Jungwoo majored in Stage Design at the Sangmyung University, and worked as a film production designer from 2004 to 2009. In 2010, he moved to Germany and received his Video Art Diplom and Meisterschüler degree from Hochschule für Bildende Kunst Braunschweig (HBK) under the tutelage of Prof. Candice Breitz. His solo exhibitions include Shot Blank at Art Sonje Project Space, Seoul (2017) and Olwookeok-geoggurogeogguro at SongEun ArtCube, Seoul (2019) in Seoul. LEE has also participated in group exhibitions at the National Museum of Modern and Contemporary Art, Korea (MMCA), Seoul; NamJune Paik Art Center, Yongin; SongEun ArtSpace, Seoul; Hannover Kunstverein, Hannover; and Mönchehaus Kunst Museum Goslar, Goslar, among others. He currently lives and works in Korea since 2017.
#4: Playing time played (2022)
Korea / 2022 / B&W / optical sound / 8 min 27 sec / 16mm to digital transfer
The work(ing device) that resembles a clock does not allow the fixed time to be fixed, in order to perceive the actual time sense. It is not a sort of clock that assumes and measures the absolute time, but the image itself which arises from the power operating under the film and the relationship with the power. The image, which is the reality itself, cannot be divided by a membrane of celluloid. Which exists as being real oscillates between the area of the virtual and the realm under the physically acting film.
Jieun Wang is a noise musician, who contemplates the landscape of narrative, accompanied by mediatic concerns and remaps the landscape on the basis of the premise that human being’s subjective visual category is defective. Also considering how the thoughts of non-human subjects, or the objectified beings are to be practiced cinematically, and how the expansion of the thoughts about human subjects works
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