Kim Minjung

One spring day when the autumn colors had filled, three members of the movie club suddenly decide to borrow a senior's car and take a trip to an isolated village in Mountain Nae-jang. Being their first trip there, they get lost a little and witness a terrible accident and they pick up a navigation device nearby. The kind voice on the device leads them to their destination but they end up somewhere they never expected. They decide to take a break and find a piece of flat stone to grill some meat on but they realize the stone was a gravestone and hurriedly run away in their car. Their tragedy starts when someone jumps out from nowhere and is hit by their car

1400 tints printed onto paper in 2005 are transferred to the emulsion to be seen in a new light.

Minjung Kim's (100ft) consists of a single uninterrupted shot, lasting an entire 100ft roll of 16mm film, as two figures with different sized feet traverse a vast, striated landscape.

100ft. 4000frames. 166.7 seconds.

An art curator is told about a past visit to Searles Lake, a salt desert near California's Mojave Desert, and the nearby town of Trona, while pulling out a burned pharmaceutical encyclopedia. Trona's borax serves as a raw material for film developer, becoming becomes a link between the memory of the place and the act of filmmaking. Long-held memories of conversations with the filmmaker's mentor James Benning, colleagues, and other mentors about the book found in front of a burned house in this borax-mining village are restored as script.

A short film by Kim Minjung

One spring day when the autumn colors had filled, three members of the movie club suddenly decide to borrow a senior's car and take a trip to an isolated village in Mountain Nae-jang. Being their first trip there, they get lost a little and witness a terrible accident and they pick up a navigation device nearby. The kind voice on the device leads them to their destination but they end up somewhere they never expected. They decide to take a break and find a piece of flat stone to grill some meat on but they realize the stone was a gravestone and hurriedly run away in their car. Their tragedy starts when someone jumps out from nowhere and is hit by their car

1400 tints printed onto paper in 2005 are transferred to the emulsion to be seen in a new light.

Minjung Kim's (100ft) consists of a single uninterrupted shot, lasting an entire 100ft roll of 16mm film, as two figures with different sized feet traverse a vast, striated landscape.

100ft. 4000frames. 166.7 seconds.

An art curator is told about a past visit to Searles Lake, a salt desert near California's Mojave Desert, and the nearby town of Trona, while pulling out a burned pharmaceutical encyclopedia. Trona's borax serves as a raw material for film developer, becoming becomes a link between the memory of the place and the act of filmmaking. Long-held memories of conversations with the filmmaker's mentor James Benning, colleagues, and other mentors about the book found in front of a burned house in this borax-mining village are restored as script.

A short film by Kim Minjung

As the time preceding a beginning, the countdown leader's descending numbers evoke both anxiety and anticipation. As a temporal medium, 16mm film is material, tactile, and intrinsically bound to time. By collecting, retrieving, salvaging, washing, and splicing together strips of film—fragments inscribed with time—I confront the anxiety and restlessness brought on by the awareness that the time available to me is slipping away and that I am moving ever closer to a certain "end."

An exercise in excavation and a reflection on impermanence, Minjung Kim’s From My Cloud delicately sifts through and assembles videos from her personal archive, rescuing moments both banal and sublime from the digital ether.

If you look into the entrance of one of the huge caves on the Korean island of Jeju, it looks like a camera lens. If you walk into the cave, it looks like a screen, a rectangle showing clouds and white light, just like a film. Director Kim Minjung delves into the bloody history of Jeju, where tens of thousands were killed in a massacre in 1948. The camera follows the traces in the landscape, sometimes transformed by a strident, distance-creating red light, accompanied by a commentary by avant-garde filmmaker Hollis Frampton. Film as a means to address history and its taboos.

This work explores what happens when a three-dimensional space is captured through a medium into a two-dimensional frame.

No synopsis available yet.

The physical length of our body turns into the temporal measurement on film.