Paik Jong-kwan

Stacking three different Trios extracted from modern dance history on the screen. Staring back a certain archiving process within movements as ‘ruins of illusion’.

In the midst of old days and nights, strangers gather and disperse.

Here is an actor, one who has been asked to dwell in the perilous gap between text and image. In the voids where traces of the past have been erased by an unknown error, she begins to assemble her own script.

Spanish choreographer Lali Ayguade is unable to enter Korea and to give scheduled performances due to the spread of COVID-19. In a situation where it is impossible to meet the dancers in person, Lali creates movements one by one with the dancers in Korea through online video conferences.

No synopsis available yet.

Film has covertly been calling out to the blind crowd. The audience–crowd that had been pulled in and bound by the illusionary vanishing point of the theater's giant screen, seem to have been freed at last. They themselves have come to perform the functions of production, reproduction and propagation as the carriers of image such as film/pixel, and with the ubiquity of small luminous screens, the darkness of the 'old' theater is gradually fading.

Stacking three different Trios extracted from modern dance history on the screen. Staring back a certain archiving process within movements as ‘ruins of illusion’.

In the midst of old days and nights, strangers gather and disperse.

Here is an actor, one who has been asked to dwell in the perilous gap between text and image. In the voids where traces of the past have been erased by an unknown error, she begins to assemble her own script.

Here is an actor, one who has been asked to dwell in the perilous gap between text and image. In the voids where traces of the past have been erased by an unknown error, she begins to assemble her own script.

Here is an actor, one who has been asked to dwell in the perilous gap between text and image. In the voids where traces of the past have been erased by an unknown error, she begins to assemble her own script.

Spanish choreographer Lali Ayguade is unable to enter Korea and to give scheduled performances due to the spread of COVID-19. In a situation where it is impossible to meet the dancers in person, Lali creates movements one by one with the dancers in Korea through online video conferences.

No synopsis available yet.

Film has covertly been calling out to the blind crowd. The audience–crowd that had been pulled in and bound by the illusionary vanishing point of the theater's giant screen, seem to have been freed at last. They themselves have come to perform the functions of production, reproduction and propagation as the carriers of image such as film/pixel, and with the ubiquity of small luminous screens, the darkness of the 'old' theater is gradually fading.

As the spread of COVID-19 intensifies, dance schools perform all classes online. Both professors and students barely observe each other's bodies moving on a small monitor, and it is difficult to follow the rhythm of each other's performance. Regular performances are canceled, and they set out to find time and space to connect their movements, in replacement of the stage.

In 1999, one year before ‘Second Impact’ and SAT, I received a postcard with a drawing of the ‘Neon Genesis Evangelion’ from ‘Y-Sang’. In 2015, the year of ‘Third Impact’, he wrote back to ‘Y-Sang’. ‘Y-Sang’ suggested a discussion about Kant, Nietzsche and Gramsci, but I didn’t know them well. I just called to mind some images related with their name. What connection does exist between the “names” and the “images” I recalled? It’s a weird diceplay about what we can name image(or film).

“You’re looking For me in the demonstration Well I have already lost patience You might find me sitting by On the pavement” (“I Saw Her in the Anti-War Demonstration” by Jens Lekman)

The time is out of joint. The ghost appears again in the dark of the night.

It’s radio broadcast. Pigs refuse to appear in the film 'The Day A Pig Fell Into The Wall' and Seoul is constantly redeveloping. Once a film projector starts rolling, a servant falls into the fire. Military dictatorship makes campus song festival and Caetano Veloso sings a song. “In teeth, legs and flags. Bombs and Brigitte Bardot”.

On the evening of November 16, 2019, they were accidentally trapped in a black wave of demonstrators around central Paris. In Korea in 2020, they rewrote the memory and rearranged the movements and sounds to organize other forms of protest. People begin to gather, and smoke rises. Sometimes it is necessary to sense the subjects of “the process of being someone else” rather than just us who are united. To recall beings, such as shadows and echoes, who were endowed with individuality even in the waves of the masses. The attempt itself was intended to be made into a video form again.