{"id":10995,"date":"2021-11-25T19:20:39","date_gmt":"2021-11-25T12:20:39","guid":{"rendered":"https:\/\/arkipel.org\/?p=10995"},"modified":"2021-11-25T19:20:39","modified_gmt":"2021-11-25T12:20:39","slug":"indifferent-surface-pendulum-movement","status":"publish","type":"post","link":"https:\/\/arkipel.org\/indifferent-surface-pendulum-movement\/","title":{"rendered":"Indifferent Surface, Pendulum Movement"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1637839817881{margin-bottom: 0px !important;}”]\n

Indifferent Surface, Pendulum Movement\u00a0<\/b><\/strong>
\nPermukaan Tak Acuh, Gerakan Pendulum
\n<\/em><\/h1>\n

Curator: Kim Eunhee<\/strong><\/p>\n

December 5th – December 11th, 2021 | festival.arkipel.org
\nFriday, December 3rd, 2021 | 19:30 | Forum Lenteng<\/p>\n[\/vc_column_text][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1637840935025{margin-bottom: 0px !important;}”]Apakah dunia luar yang kita lihat lewat pandangan benar-benar nyata? Otak menafsirkan lanskap citraan yang tercermin pada retina dengan menarik banyak informasi dan isyarat. Ketika kita mencoba menangkap dunia luar secara visual, jika fenomena yang terjadi di dalam diri manusia sebagian besar merupakan respons sel saraf optik mikroskopis, maka penglihatan mungkin hanyalah reaksi atau refleksi terhadap stimulus eksternal sebelum tindakan. Namun, kita tidak dapat mendeteksi apakah perilaku manusia lebih dulu ada ketimbang lanskap yang terlihat (dunia luar) atau apakah dunia luar sudah ada sebelum itu semua.<\/span><\/span><\/p>\n

Ketika kita terbangun dari tidur dan membuka mata, jika sinar mentari di langit-langit terpantul di retina, kita akan terbangun dari tempat tidur, mengira bahwa pagi sudah ada sebelum kita bangun. Tentu saja, kata \u201cpagi\u201d hanyalah sebuah isyarat waktu yang berhubungan dengan kecepatan rotasi Bumi. Dengan kata lain, relasi antara arus waktu abstrak yang diciptakan oleh putaran Bumi dan kesadaran manusia adalah sebuah kemitraan, dan waktu dalam wujud fisiknya dapat dianggap sebagai khazanah abstrak di dalam kesadaran kita karena kita tidak dapat merasakan tubuh kita berlari mengikuti gerakan perputaran Bumi.<\/span><\/span><\/p>\n

Sama seperti \u201cA World without Time\u201d<\/em> karya Kurt Friedrich G\u00f6del, adalah mustahil untuk mengubah suatu waktu lokal menjadi satu waktu yang global, sehingga waktu menjadi tidak lebih dari intuisi batin kita. Ketika kita tiba di suatu tempat dengan latar belakang historis tertentu dan memandang lanskap yang terbentang di depan mata kita, lanskap tersebut tidak menyatakan atau menjelaskan apa pun. Realita lanskap tersebut bisa jadi sebenarnya tidak ada atau ada sebagai representasi dari sejumlah relasi. Pemandangan ini, yang hanya kita lihat dengan mata pengamat murni tanpa mengintervensi sebisa mungkin, adalah seperti halnya permukaan yang tak acuh.<\/span><\/span><\/p>\n

Sebuah adegan dalam filem yang menangkap momen pertemuan dengan lanskap karena kebetulan atau memunculkan cerita yang tak terlihat di balik lanskap akan memperoleh sudut pandang melalui keterbatasan bingkai dan montase. Ada sejumlah filem yang membiarkan kita membayangkan waktu intuitif dari seorang pengamat yang berdiri di sebuah dunia di mana lintasan waktu secara riil tidak ada, begitu pula dengan reaksi tubuhnya. Para filsuf matematika, seperti G\u00f6del, meyakini bahwa tubuh pengamat memiliki suatu indera khusus (beda dari panca indera) yang dapat dideteksi manusia di alam yang ideal. Tempat ini, secara khusus, meninggalkan riak gelombang dari alam abstrak melalui tubuh pengamat. Rasanya seolah-olah tubuh pengamat mendeteksi gelombang tak kasat mata melalui pendulum yang mendeteksi radiasi dan kantuk yang mendeteksi vena air. Getaran tak terlihat yang dideteksi oleh tubuh seniman melalui kamera menjadi sangat nyata dalam berbagai citra lanskap yang mewujud di dalam karya seniman gambar bergerak kontemporer.<\/span><\/span><\/p>\n

Namun, tidak semua citra lanskap yang terekam mampu menyampaikan getaran dan riak gelombang dari momen pengambilan gambar. Hanya karya segelintir seniman yang mampu menangkap sinyal dari dunia tak dikenal yang menembus tubuh-tubuh mereka. Mereka menemukan titik di mana sulit untuk dibuktikan secara logis, tetapi mustahil untuk dibagi menjadi potongan-potongan objektif. Vena air terbentang luas, tetapi tidak di semua tempat, sehingga peran pendulum untuk mendeteksi gelombang vena air tetap esensial. Sinyal tak dikenal yang dikumpulkan oleh metodologi kohesi waktu subjektif milik sang seniman adalah selayaknya gerakan ruang di mana waktu telah lenyap. A. Einstein pernah berkata: \u201ckontinum empat dimensi kini tidak lagi dapat dipecahkan secara objektif menjadi potongan-potongan, mereka semua mengandung peristiwa yang terjadi serentak; kata \u2018kini\u2019 menjadi kehilangan makna objektifnya karena dunia yang meluas secara spasial.\u201d Menurutnya, dalam dunia yang meluas secara spasial, makna objektif dari \u201csekarang\u201d menjadi hilang.[1]<\/a><\/span><\/span><\/p>\n

Program kuratorial ini menghadirkan karya-karya terbaru dari empat seniman gambar bergerak asal Korea. Keempat karya ini mengubah peristiwa masa lalu, masa kini, dan masa depan menjadi berlangsung secara serentak di ruang di mana waktu telah lenyap.<\/span><\/span><\/p>\n

Filem terbaru Minjung Kim yang berjudul The Red Filter is Withdrawn<\/em> mengeksplorasi lanskap laut di Pulau Jeju, tempat terjadinya peristiwa \u2018Jeju 4.3,\u2019 pembantaian oleh pemerintah Korea Selatan sebagai akibat dari konflik ideologi yang berlangsung antara 1948 dan 1954 di Pulau Jeju. Eksplorasi ini menanyakan apa yang perlu dilihat dalam lanskap ini dengan intervensi dari ceramah Hollys Frampton dan filter merah. Karya penelitian Jaekyung Jung yang berjudul A Village<\/em> mengeksplorasi daerah residensial untuk pasien pengidap penyakit Hansen (atau yang dikenal dengan istilah kusta) sejak tahun 1960an. Filem ini merekam Desa Heonin, yang kini tinggal puing-puing karena wilayahnya telah dibangun kembali sejak awal tahun 2000. To the North for Nonexistence<\/em> karya Sejin Kim merefleksikan masa kini yang mengaburkan seluruh batasan ketika kisah S\u00e1mi, masyarakat adat Lapland, Arktik Eropa, menjadi tumpang tindih dengan lanskap yang terpecah-belah. Karya Ayoung Kim yang berjudul Porosity Valley 2: Tricksters\u2019 Plot<\/em> mereproduksi jalur migrasi makhluk mitos yang menjadi metafora bagi jalur pengungsi di ruang virtual fiksi ilmiah.<\/span><\/span><\/p>\n

Di senjakala Bumi yang tengah menderita, mari kita rasakan getaran menit yang berhenti sejenak pada titik di mana pendulum diguncang oleh empat seniman Korea yang menangkap lanskap-lanskap serentak dari Bumi, atau bayangkan lanskap ruang yang meluas dari posisinya masing-masing atau selagi bergerak.<\/span><\/span><\/p>\n

[1] A World without Time: The Forgotten Legacy of G\u00f6del and Einstein, Palle Yourgrau, Basic Books<\/em>, 2004, 81p.
\n<\/span><\/span><\/a><\/span>[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1637840558906{margin-bottom: 0px !important;}”]Is the external world that we perceive through sight really real? The brain interprets the landscape of the image reflected on the retina by attracting a lot of information and signs. When visually grasping the external world, if the phenomena occurring inside a human being are primarily a response of microscopic optic nerve cells, the seeing may be merely a reaction or reflection to an external stimulus before an action. However, we cannot detect whether the behavior of the human being takes precedence over the visible landscape (the external world) or whether the external world exists prior to it.<\/span><\/p>\n

When we awake from sleep and open our eyes, if morning light shining on the ceiling is reflected in the retina, we would wake up from our bed, thinking that the morning exists before we wake up. Of course, the word \u201cmorning\u201d is only a sign of time related to the speed of Earth’s rotation. In other words, the relationship between the abstract flow of time created by the Earth’s spin and human consciousness is a partnership, and physical time can be left as an abstract realm in our consciousness because we cannot feel our body running with the movement of Earth rotation.<\/span><\/p>\n

Just as Kurt Friedrich G\u00f6del’s “A World Without Time<\/em>“, it is impossible to make the selected local times into one global time, so time becomes nothing other than our inner intuition. When you arrive at a place with a specific historical background and look at the landscape unfolding before your eyes, the landscape does not dictate or explain anything. The reality of the landscape may not exist or may exist as a representation of multiple relationships. The scenery that you encounter only through the eyes of a pure observer without intervening as much as possible is like an indifferent and cold surface.<\/span><\/p>\n

A scene in the film that captures the moment of a landscape encountered by chance or brings out unseen stories behind the landscape acquires a point of view through the limitations of the frame and montage. There are films that let you imagine the intuitive time of an observer standing in a world where the passage of real time does not exist and the reaction of his body. Some mathematical philosophers, such as G\u00f6del, believe that the observer’s body has a special sense (different from the five sensory organs) that humans can detect the ideal realm. The place, in particular, leaves the wavelength of the abstract realm through the body of the observer. It is as if the observer’s body detects invisible waves through a pendulum that detects radiation and a dozing that detects water veins. The invisible vibrations detected by the artist’s body through the camera are immanent in the multiple images of landscapes that appear in the works of contemporary moving image artists.<\/span><\/p>\n

However, not all the recorded images of landscapes convey the vibration and wavelength of the moment of shooting. Only the works of a few artists capture signals from the unknown world that penetrated their bodies. They detect points where it is difficult to prove logically, but impossible to divide it into objective parts. The water veins are widespread, but not everywhere, so the role of the pendulum to detect the waves of the water veins is essential. The unknown signals collected by the artist’s methodology of cohesion of subjective time are like the movement of space where time has disappeared. A. Einstein said: \u201cThe four-dimensional continuum is now no longer resolvable objectively into sections, all of which contain simultaneous events; ‘now’ loses for the spatially extended world its objective meaning\u201d According to him, in a spatially extended world, the objective meaning of \u201cpresent\u201d is lost.[1]<\/span><\/a> <\/span><\/p>\n

For this curatorial program, it presents the latest works of four Korean moving image artists. These four works transform the events of past, present, and future into simultaneous time in a space where time has disappeared.<\/span><\/p>\n

Minjung Kim\u2019s latest film The Red Filter is Withdrawn<\/em> explores the landscape of the sea in Jeju Island, the place of \u2018Jeju 4.3\u2019, a massacre by South Korean government as a result of ideological conflicts that occurred between 1948 and 1954 on Jeju Island. This exploration asks what to see in the landscape with the intervention of Hollys Frampton’s lecture and the red filter. Jaekyung Jung’s research work A Village<\/em> explores a residential area for patients with Hansen\u2019s disease(also known as leprosy) since the 1960s. The film records Heonin Village, which is now ruined because the area has been redeveloped since the beginning of 2000. Sejin Kim’s To the North for Nonexistence<\/em> reflects the present time which is blurred all the boundaries when the story of the S\u00e1mi, indigenous peoples of Northern Europe’s Arctic Lapland, overlaps with the fragmentary landscapes. Ayoung Kim\u2019s work Porosity Valley 2: Tricksters’ Plot<\/em> reproduces the migration path of mythical creatures that metaphors the refugee\u2019s path in a sci-fi virtual space.<\/span><\/p>\n

At the twilight of the suffering Earth, let’s feel the minute vibrations pausing for a moment at the point where the pendulum is shaken by four Korean artists who capture the simultaneous landscapes of Earth, or imagine the landscapes of an expanded space from their respective positions or while moving.<\/span><\/p>\n

[1]<\/span><\/a> A World without Time: The forgotten Legacy of G\u00f6del and Einstein<\/span>, Palle Yourgrau, Basic Books, 2004, 81p.<\/span><\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”Film List” color=”black” border_width=”3″][\/vc_column][\/vc_row][vc_row][vc_column][vc_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1637819978801-76f85e64-390b”][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”11007″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637841303844{margin-bottom: 0px !important;}”]\n

The Red Filter is Withdrawn<\/b><\/h2>\n

Filmmaker <\/em>Minjung Kim<\/strong> (South Korea)
\n<\/span>International Title<\/em> The Red Filter is Withdrawn<\/b>
\n<\/strong>Country of Production<\/em>\u00a0 South Korea
\n<\/strong>Language<\/em> –
\n<\/strong>Subtitle<\/em>\u00a0 Korean language, English<\/strong><\/p>\n

10 min 30 sec, stereo, HD, color, 2020[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637841358347{margin-bottom: 0px !important;}”]Banyak tempat kolonial, termasuk gua pantai dan bunker militer di banyak Oreum (gunung berapi kecil menjulang yang sudah tidak aktif di Pulau Jeju), serta kenangan akan pemberontakan dan pembantaian ada di mana-mana di Pulau Jeju. Karya ini didasarkan pada La condition humaine (1935) karya Ren\u00e9 Magritte, yang merupakan pemandangan luar gua yang ditumpangkan di atas kanvas. Kamera menangkap pemandangan gua dan bunker di Pulau Jeju seperti kutipan dari naskah pertunjukan Hollis Frampton \u201cA Lecture\u201d, dan meminta media agar dapat menangkap gambar peninggalan bersejarah di lanskap tanpa distorsi atau eliminasi.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637841373212{margin-bottom: 0px !important;}”]Numerous colonial places, including coastal cave and military bunkers on a lot of Oreums (rising small defunct volcano in the Jeju Island) as well as memories of uprising and massacres are everywhere on Jeju Island. This work is based on Ren\u00e9 Magritte’s La condition humaine(1935), which is a view of the outside of the cave superimposed on a canvas. The camera captures landscapes of caves and bunkers in Jeju Island as having quotes from Hollis Frampton\u2019s \u201cA Lecture\u201d performance script, and asks the media can capture the image of historic vestige on the landscape without any distortion or elimination.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1637503076686-c189603b-0340″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”11009″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637841455358{margin-bottom: 0px !important;}”]Minjung Kim<\/strong><\/em> belajar Desain Komunikasi Visual di Universitas Hongik, Seoul, dan memperoleh gelar MFA dalam bidang Film dan Video dari California Institute of the Arts. Karyanya telah diputar di berbagai festival filem internasional dan helatan seni media. Dia baru-baru ini tinggal di Seoul, Korea bekerja terutama dengan media film, video, dan instalasi 16mm.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637841476282{margin-bottom: 0px !important;}”]Minjung Kim<\/strong><\/em> studied Visual Communication Design at Hongik University, Seoul, and earned an MFA in Film and Video from the California Institute of the Arts. Her works have been screened at international film festivals and media art venues. She recently resides in Seoul, Korea working primarily in the medium of 16mm film, video, and installations.\u00a0<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][vc_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1637819987068-28310080-e730″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”11010″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637841651965{margin-bottom: 0px !important;}”]\n

A Village
\n<\/b><\/h2>\n

Filmmaker <\/em>Jaekyung Jung<\/strong> (South Korea)
\n<\/span>International Title<\/em> A Village<\/b>
\n<\/strong>Country of Production<\/em>\u00a0 South Korea
\n<\/strong>Language<\/em> –
\n<\/strong>Subtitle<\/em>\u00a0 –<\/strong><\/p>\n

15 min, stereo, HD, color, 2019[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637841701189{margin-bottom: 0px !important;}”]A Village<\/strong><\/em> adalah cerita alegoris yang sangat kecil tentang desa Heonin di Seoul, Korea Selatan, dalam perjalanan menuju kepunahan selama proses memaksimalkan keinginan kapitalis perkotaan. Desa ini dimulai sebagai pemukiman bagi orang-orang yang terinfeksi penyakit Hansen pada tahun 1960-an. Pada awal tahun 2000-an, sebuah perusahaan real estate memulai proyek pembangunan desa menjadi kota mewah, menghancurkan sebagian besar desa hingga pengembangnya bangkrut pada tahun 2011. Jaekyung Jung memulai penelitian selama bertahun-tahun di desa yang masih tetap hancur tersebut pada tahun 2018. A Village<\/em> adalah salah satu proyek filem yang ia produksi sejak ia mulai meneliti di desa tersebut.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637841737936{margin-bottom: 0px !important;}”]A Village<\/strong> <\/em>is a very tiny allegorical story about Heonin village in Seoul, South Korea, on its way to extinction during the process of maximizing the urban capitalist desire. The village began as the settlement for the people infected by Hansen’s disease in 1960s. In the early 2000s, a real estate company started a project redeveloping the village into a luxury town, destroying most of the village until the developer went bankrupt in 2011. Jaekyung Jung started his multi year-long research in the village, which still remained destroyed, in 2018. A Village<\/em> is one of the film projects that he has been producing since he had started researching in the village.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1637819987270-0dee722b-23b3″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”11011″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637841877414{margin-bottom: 0px !important;}”]Jaekyung Jung<\/strong><\/em> menyelidiki bagaimana etika terbentuk melalui pengamatan dekat pada jejak periferal dalam kehidupan sehari-hari, menggunakan format gambar bergerak dan arsip. Pertunjukan solonya baru-baru ini antara Cosmographia<\/em> di Seoullo Media Canvas, The Realm of Ghosts<\/em>, dan A Scene<\/em> di Sinchon Theatre. Saat ini ia memimpin SHHH, sebuah organisasi yang mengeksplorasi seni gambar bergerak.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637841901945{margin-bottom: 0px !important;}”]Jaekyung Jung<\/strong><\/em> investigates how the sense of ethics is formed through close observations on peripheral traces in everyday life, employing the formats of moving images and archives. His recent solo shows and plays include Cosmographia<\/em> at Seoullo Media Canvas, The Realm of Ghosts<\/em>, and A Scene<\/em> at Sinchon Theater. He is currently leading SHHH, an organization exploring the art of moving images.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][vc_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1637820003140-03da7b0f-cb11″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”11012″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637842086880{margin-bottom: 0px !important;}”]\n

To the North for Nonexistence<\/b><\/h2>\n

Filmmaker <\/em>Sejin Kim<\/strong> (South Korea)
\n<\/span>International Title<\/em> To the North for Nonexistence
\n<\/strong>Country of Production<\/em>\u00a0 South Korea
\n<\/strong>Language<\/em> –
\n<\/strong><\/p>\n

16 min 53 sec, stereo, digital video, color, 2019<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637842111615{margin-bottom: 0px !important;}”]S\u00e1mi adalah tanah akumulasi waktu, masyarakat adat di wilayah kutub Eropa Utara yang secara geografis terisolasi karena kondisi cuaca buruk. Saat ini, mereka masih hidup dengan cara hidup tradisional di daerah pemukiman mereka sebagai kelompok minoritas. Mereka dominan dalam hegemoni regional terkait hak berburu dan budaya tradisionalnya. Identitas mereka mau tak mau menimbulkan konflik dengan sistem modern. Bagi Anita Gimvall, seorang Sami yang tinggal di Lapland, filem ini menunjukkan potongan melintang dari insiden pembakaran di sebuah rumah tradisional berdasarkan kejadian nyata. Filem ini menelusuri konflik dan keterasingan di perbatasan ambigu antara tradisi masa lalu \u2013 kehidupan modern, pemukiman \u2013 deportasi, berbagi \u2013 pemikiran, serta cerita tentang batas-batas kabur dan latar belakang di dalam \u2013 luar.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637842134669{margin-bottom: 0px !important;}”]The S\u00e1mi are the land of accumulation of time, the indigenous peoples of the Northern Europe\u2019 polar regions which have been geographically isolated due to severe weather conditions. Today, they still live in a traditional way of life in their settlement areas as minority groups. They’re dominant in regional hegemony for their hunting rights and traditional cultures. Their identity inevitably arouses conflict with modern systems. To Anita Gimvall, a Sami living in Lapland, the film shows a cross-section of an arson incident in a traditional house based on real incidents. The film traces out conflict and alienation at the ambiguous border between past tradition-modern life, settlement-deportation, thought-sharing, as well as stories of blurred boundaries and backgrounds inside-outside.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1637820003807-63f7df6f-f943″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”11013″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637842239734{margin-bottom: 0px !important;}”]Sejin Kim<\/strong> <\/em>bekerja dengan berbagai perangkat media, termasuk dokumenter realisme dan bahasa sinema, mengeksplorasi berbagai hubungan yang membingungkan antara individu dan sistem kontemporer. Ia meraih gelar MFA dalam Seni Rupa di Sekolah Seni Rupa Slade, UCL, dan MA dalam bidang Film & TV di jurusan Seni Media, Universitas Sogang. Karya-karyanya telah dipamerkan di berbagai helatan seni.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637842263775{margin-bottom: 0px !important;}”]Sejin Kim<\/strong><\/em> works with various media apparatuses to explore various perplexing relationships between individuals and contemporary systems. She holds an MFA from Slade School of Fine Art, UCL, and MA in Film & TV in Media Art, Sogang University. She has had several residency programs, including Delfina Foundation in London and others. Her works have been exhibited at numerous art presentations.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][vc_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1637819999930-a4b43057-43ac”][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”11015″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637842476547{margin-bottom: 0px !important;}”]\n

Porosity Valley 2: Tricksters’ Plot\u00a0<\/b><\/h2>\n

Filmmaker <\/em>Ayoung Kim<\/strong> (South Korea)
\n<\/span>International Title<\/em> Porosity Valley 2: Tricksters’ Plot<\/strong>
\n<\/strong>Country of Production<\/em>\u00a0 South Korea
\n<\/strong>Language<\/em> –
\n<\/strong>Subtitle<\/em>\u00a0 –<\/strong><\/p>\n

23 min, stereo, single channel video (originally a two-channel video), color, 2019[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637842512719{margin-bottom: 0px !important;}”]Sekuel dari “Porosity Valley, Portable Holes<\/em>” (2017), karya ini memperluas karya sebelumnya melalui penggambaran fiksi tentang migrasi migran\/mineral\/klaster data yang dikenal sebagai Petra Genetrix untuk mempertanyakan gagasan tentang perbatasan, penyeberangan, dan koeksistensi atau simbiosis. Menyandingkan migrasi pengungsi dengan migrasi digital yang mencirikan migrasi di abad ke-21, karya ini menciptakan ruang-waktu spekulatif dengan menginterogasi \u201ccara berada\u201d dan \u201ccara representasi\u201d para pengungsi Yaman yang baru saja tiba di Korea Selatan. Tercermin di sini ialah situasi saat pengungsi diperlakukan sebagai semacam malware atau virus yang mengancam sistem kekebalan tubuh negara-bangsa. Adegan lebih lanjut mengungkap kontrol biopolitik seperti yang dialami oleh Petra dan para pengungsi Yaman di Korea.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637842553617{margin-bottom: 0px !important;}”]A sequel to “Porosity Valley, Portable Holes<\/em>” (2017), this piece expands upon the previous work through a fictionalized depiction of the migration of a migrant\/mineral\/data cluster known as Petra Genetrix to question the notions of borders, crossings, and co-existence or symbiosis. Juxtaposing refugee migration with digital migration characterizing migration in the 21st century, the work creates a speculative space-time by interrogating \u201cways of existence\u201d and \u201cways of representation\u201d of the Yemeni refugees who recently arrived in South Korea. Reflected here is the situation where refugees are treated as a kind of malware or virus threatening the nation-state’s immune system. Further scenes unfold biopolitical control as experienced by Petra and the Yemeni refugees in Korea.
\n<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1637820000512-9df57bb6-3365″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”11018″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637842810671{margin-bottom: 0px !important;}”]Ayoung Kim<\/strong> <\/em>saat ini tinggal dan bekerja di Seoul. Tertarik pada gagasan tentang penyeberangan, transmisi, transnasional, transposisi dan reversibilitas, ia mencari kemungkinan integrasi, artikulasi, dan tabrakan hal-hal di antara waktu, ruang, struktur, dan sintaksis. Ia telah menerima banyak penghargaan dan telah menghadirkan karyanya di berbagai helatan seni baik di Korea Selatan maupun di luar negeri.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637842828956{margin-bottom: 0px !important;}”]Ayoung Kim<\/strong><\/em> currently lives and works in Seoul. Interested in the notions of crossings, transmissions, transnationals, transpositions and reversibility, she seeks possible integrations, articulations, and collisions of things in between time, space, structure and syntax. She has received numerous awards and has shows her artworks in various art presentations both in Korea and abroad.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”About the Host” color=”black” border_width=”2″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”10996″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637839432716{margin-bottom: 0px !important;}”]Kim Eunhee<\/strong><\/em> adalah seorang kurator dan pembuat filem. Dia pernah bekerja sebagai kurator film dan karya gambar bergerak di Museum Nasional Seni Modern dan Kontemporer, Korea. Ia bergabung dengan tim kuratorial di MMCA pada tahun 2014 sebagai kurator dengan program Sinema dan menyelenggarakan program Film dan Video MMCA. Saat ini ia sedang mengerjakan proyek tulisan-tulisan filem dan kuratorialnya secara mandiri.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637839456939{margin-bottom: 0px !important;}”]Kim Eunhee<\/strong><\/em> is a curator and filmmaker. She has worked as a curator specializing on artist film and moving images at National Museum of Modern and Contemporary Art, Korea. She joined the curatorial team at MMCA in 2014 as a curator with the Cinema program and organized the MMCA Film and Video programs. She is currently working on her writings of film project and curatorial project independently.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

In the discourse of ethnographic film, representing the subjects living in the periphery will bring forth the experimentation of cinema aesthetics. The experimentation is in parallel with the paradigm shifts in social science and ethics that follow it. The aesthetic explorations, which range from a dramatic construction with the romantic style of Flaherty up to how to perceive anthropological facts with the style of Sensory Ethnography Lab films, contribute to the discourse on the development of this genre. The latest tendency of this cinema is indeed observational and participatory. 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