제2회 아시아 필름앤비디오아트 포럼
2nd Asian Film & Video Art Forum2017. 8. 30. ― 10. 8.

Contents프로그램 행사

Program Events

목차

개막식

Opening Ceremony

상영시간표

5

Screening Schedule

7

Venue

MMCA Film and Video서문

10

Introduction

Kim�Eunhee11��Like We Are Not Here

16

Section 1. Hitomi Hasegawa

17일시2017. 8. 30. �수� 오후 4시개막작<스타일의 의미>� <탄광 수레>�장소강연MMCA필름앤비디오

<우리는 없는 것처럼>일시�

2017. 9. 2 �토� 오후 2시강연자타카야마 아키라

장소

진행�

심포지엄

MMCA필름앤비디오
하세가와 히토미

일시�

2017. 9. 2 �토� 오후 4시패널�하세가와 히토미� 저우 신� 인티 게레로�장소

MMCA필름앤비디오위왓 러트위왓웡사� 김은희� 아난드 팟와르드한�

Date

Opening�Film�

LectureDate�

9��3��일��오후�2시<신의 이름으로>� <우리는 원숭이가 아니다>－아난드 팟와르드한

9��6��수��오후�5시<밤섬해적단 서울불바다>－정윤석9��9��토��단편 프로그램 7� <클린 미>�

9��13��수��오후�5시동두천�VR�－김진아

9��15��금��오후�2시단편 프로그램 4� <크리스 프로젝트 I>

9��16��토��오후�3시�<입석부근>－장민승9��20��수��오후�4시�����

<공동정범>－이혁상오후�6시�30분<우리는 없는 것처럼>－강상우－아오 싸오이

The Meaning of Style� A Cart of Coals

MMCA Film and Video

Moderator��

Hitomi Hasegawa

Lecturer

Symposium
Date�

Venue

Panels��레벨�7�feat��내일의�신화��단편 프로그램 2� 관찰�기록
�양곤의�손�

Inti Guerrero� Wiwat Lertwiwatwongsa�

Bamseom Pirates, Seoul Inferno－Jung Yoonsuk

Arcadia－Jang Minseung�Hands�Around�in�Yangon

24�Old�People�s�Values
�A�Cart�of�Coals�On�the�Road

�Three�Wheels

섹션 2. 인티 게레로

31

Section 2. Inti Guerrero32단편 프로그램 3

35

Short Program 335�신성한�땅�

－Kang Sang�woo

Sep��16��Sat��3�00�p�m��

Short Program 2� Observation�Documentation29

신의 이름으로 + 우리는 원숭이가 아니다

Short Program 7� Clean Me�
Like We Are Not Here

Short Program 4� Kris Project I－Au Sow�Yee

24

�The�Educational�System�of�an�Empire

Realm of Reverberations우리는 살아있다

－Anand Patwardhan

Sep��15��Fri��2�00�p�m���Friends�of�Minamata�Victims�‒�Video�Diary

29

잔향세계�

In the Name of God�We Are Not Your Monkeys

Bloodless �VR�－Gina Kim

�Spring�in�the�Sewer�인재로상�
�미몽�

18

�Freedom�Farming�탄광�수레�

Akira Takayama

13

�The�Story�of�Making�Lies�노인의�가치�

Kim Eunhee� Anand Patwardhan�Sep��13��Wed��5�00�p�m��

�Level�7�feat��Myth�of�Tomorrow�미나마타�희생자의�친구들－비디오�다이어리�
�제국의�교육�제도�

Hitomi�Hasegawa

Short Program 1� Intervention�Interaction��시궁창�속�봄�

Hitomi Hasegawa� Xin zhou�Sep��9��Sat��6�30�p�m��

18�자유농장�

MMCA Film and Video

Sep��6��Wed��5�00�p�m���

12�거짓말을�만드는�이야기��

Sep. 2� 2017 �Sat� 4�00 p.m.

Sep��3��Sun��2�00�p�m����하세가와�히토미단편 프로그램 1� 개입�상호작용�

Akira Takayama

Artist Talk김은희�섹션 1. 하세가와 히토미

Sep. 2� 2017 �Sat� 2�00 p.m.

Venue타카야마 아키라

아티스트 토크

Aug. 30. 2017 �Wed� 4�00 p.m.

30

33

We are Alive

In the Name of God + We Are Not Your Monkeys
�On�Sacred�Land�스타일의�의미�

�차이니즈�캐릭터�

30

33

�The�Meaning�of�Style
��Chinese�Characters

Sep��20��Wed��4�00�p�m�������The Remnants－Lee Hyuk�sang커버 이미지 � <크리스 프로젝트 I� 마리아� 주석 광산� 향신료� 그리고 호랑이의 끝이 없는 이야기>� 아오 싸오이

Cover Image � Kris Project I: The Never Ending Tale of Maria, Tin Mine, Spices and the Harimau� Au Sow�Yee23상영 시간표
2017. 8. 30. ― 10. 8.
섹션 3. 저우 신

38

모방생활

41

15시간

새로운 해

단편 프로그램 4�무제��아이모�카메라�

40
42
43

Section 3. Xin Zhou

39

Life Imitation41

15 Hours

Another Year

Short Program 4

�Untitled��Eyemo�Rolls��크리스�프로젝트�I��

40
42
43

�폐허정보국�

�오프�테이크스�

�Hong�Kong

Tongpan

53

52
54

56

Boundary

Short Program 5� Subalternity

�The�Purple�Kingdom

�Letters�from�Panduranga

Short Program 6� Political Subject
�Dreamscape�눈물을�마시기��마음을�고치기��

52
54

맥도날드�라디오�유니버시티�프로젝트

�비디오�다이어리

관한�비디오와�필름

6

15�00 ⑫ⓀⒺ
통판 �63min�

17�00 ⑮Ⓔ
밤섬해적단 서울불바다
�120min�

7

15�00 ⑮ⓀⒺ
경계에 서다 �96min�

815�00 ⑮ⓀⒺ
모방생활��82min�

314�00 ⑮ⓀⒺ
신의 이름으로 +우리는 원숭이가 아니다
�80min�아티스트 토크�아난드 팟와르드한

58

Section 5. Kim Eunhee

59

공동정범

61

The Remnants

61

62
63

Bamseom Pirates� Seoul Inferno
Bloodless

Short Program 7

�Carlos�of�Cockayne�미궁과�크로마키�

60
62
63

�Clean�Me
66

Arcadia

�Like�We�Are�Not�Here�드림스케이프

10

15�00 ⑮ⓀⒺ
우리는 살아있다��101min��영원한�방울�마시기
�미스터�제로

아티스트 토크� 정윤석

18�30 ⑮Ⓔ
단편 프로그램 7 �56min��몽유도원가

�미궁과�크로마키
�클린�미�

�우리는�없는�것처럼

13

14

15

�레벨�7�feat��내일의�신화

�신성한�땅

�무제��아이모�카메라�

14�00 ⑮ⓀⒺ
단편 프로그램 1 �66min��거짓말을�만드는�이야기
�자유농장�

�시궁창�속의�봄

66

4

14�00 ⑲ⓀⒺ
단편 프로그램 3 �40min��스타일의�의미

�차이니즈�캐릭터

�미나마타�희생자의�친구들－��필름앤비디오�중층

�크리스�프로젝트�I��마리아��주석�광산��
�향신료��그리고�호랑이의�끝이�없는�
�이야기�오후의�무도회

16

15�00 ⑫Ⓚ
입석부근��50min��아티스트 토크� 장민승
19�00 ⑮ⓀⒺ
잔향세계 �101min��

17

15�00 ⑮Ⓔ
단편 프로그램 7 �56min��몽유도원가

�미궁과�크로마키�
�클린�미�

�우리는�없는�것처럼

�오프�테이크스�

�제국의�교육�제도�

14�30 � 17�30 ⑮
동두천 �VR�

14�00 ⑮ⓀⒺ
단편 프로그램 4 �110min��폐허정보국

�비디오�다이어리

17�00아티스트 토크� 김진아

�Chroma�key�and�Labyrinth�클린�미�

14�00 ⑮ⓀⒺ
단편 프로그램 6 �71min�아티스트 토크� 강상우

�Mr��Zero60

9�눈물을�마시기��마음을�고치기��

56

섹션 5. 김은희�우리는�없는�것처럼�

14�00
강연� 타카야마 아키라

두드림－아시아�사회참여예술의�계보에��Drink�Everlasting�Drop��Spun��미스터�제로�

입석부근

2

16�00
AFVAF 심포지움�미나마타�희생자의�친구들－�Drinking�Tear��Mending�Heart���영원한�방울�마시기

�몽유도원가�

일요일�시궁창�속의�봄

�자유농장�

�판두랑가에서�온�편지

53단편 프로그램 7

15�00 ⑫Ⓔ
공동정범 �117min��거짓말을�만드는�이야기

�Oﬀ�Takes

통판

동두천

9.1

토요일

�보랏빛�왕국

50밤섬해적단 서울불바다

�레벨�7�feat��내일의�신화

16�00 ⑮ⓀⒺ
단편 프로그램 5 �66min�

Section 4. Wiwat Lertwiwatwongsa

�드림스케이프�

14�00 ⑮ⓀⒺ
단편 프로그램 1 �66min�

�Ruins�of�the�Intelligence�Bureau

49�판두랑가에서�온�편지

�탄광�수레

31금요일�제국의�교육�제도�

섹션 4. 위왓 러트위왓웡사단편 프로그램 6� 정치적 주체�스타일의�의미

목요일

자막
Ⓚ 한국어
Ⓔ 영어

�Letter�to�the�Young�Intellectuals�of��홍콩의�젊은�지식인들에게�보내는�편지�

�보랏빛�왕국�개막작 �28min�

�An�Afternoon�Ball�오후의�무도회�단편 프로그램 5� 서발터니티

16�00
개막식

�Maria��Tin�Mine��Spices�and�the�Harimau�호랑이의�끝이�없는�이야기경계에 서다

8.30

�우리는�없는�것처럼

�Kris�Project�I��The�Never�Ending�Tale�of��마리아��주석�광산��향신료��그리고�

수요일등급Ⓖ 전체 관람가
⑫ 12세 이상 관람가⑮ 15세 이상 관람가⑲ 19세 이상 관람가�홍콩의�젊은�지식인들에게�보내는�편지

14�30 � 17�30 ⑮
동두천 �VR�아티스트 토크� 아오 싸오이��필름앤비디오�중층

5

Screening Schedule2017. 8. 30 ― 10. 8수요일20

14�00 ⑮ⓀⒺ
단편 프로그램 2 �64min��양곤의�손

목요일

21

14�00 ⑫ⓀⒺ
새로운 해 �181min��탄광�수레
�인재로상

금요일

22

15�00 ⑮ⓀⒺ
신의 이름으로 +우리는 원숭이가 아니다
�80min�토요일

23*상영 없음

일요일WED

15�00 ⑮ⓀⒺ
잔향세계 �101min�

16�00
Opening Ceremony

24

8.30

Opening Films �28min�
�The�Meaning�of�Style
�A�Cart�of�Coals�노인의�가치

�Like�We�Are�Not�Here��미몽

16�00 ⑫Ⓔ
공동정범 �117min�

THU

31

14�00 ⑮ⓀⒺ
Short Program 1 �66min��Level�7�feat��Myth�of�Tomorrow

FRI

9.1

15�00 ⑫Ⓔ
The Remnants �117min�

�The�Story�of�Making�Lies

SubtitlesⓀ KoreanⒺ English

SAT

SUN

2

14�00
Lecture�
Akira Takayama

What�is�McDonald�Radio�University��Freedom�Farming�

16�00
AFVAF Symposium�Spring�in�the�Sewer

�Friends�of�Minamata�Victims�ー���Video�DiaryKNOCK－Videos�and�Films�on�the��Empire�in�Asia

�The�Education�System�of�an�아티스트 토크� 이혁상

RatingⒼ General⑫ Under 12 not admitted⑮ Under 15 not admitted⑲ Under 19 not admitted

314�00 ⑮ⓀⒺ
In the Name of God +We Are Not Your Monkeys
�80min�Artist Talk�
Anand Patwardhan

Genealogy�of�Socially�Engaged�Art�

16�00 ⑮ⓀⒺ
Short Program 5 �66min�
�The�Purple�Kingdom

�Letters�from�Panduranga�

27

11�00 ⑮Ⓔ
15시간 Part 1
�475min�

28

10�00 ⑮Ⓔ
15시간 Part 2
�475min�

29

30

10.1

�신성한�땅

�드림스케이프

�무제��아이모�카메라�

14�00 ⑲ⓀⒺ
단편 프로그램 3 �40min��스타일의�의미

�차이니즈�캐릭터

16�00 ⑮ⓀⒺ
단편 프로그램 5 �66min��보랏빛�왕국

�판두랑가에서�온�편지

15�00 ⑮ⓀⒺ
단편 프로그램 6 �71min��눈물을�마시기��마음을�고치기��
�영원한�방울�마시기
�미스터�제로

18�30 ⑮Ⓔ
밤섬해적단 서울불바다
�120min�

6

15�00 ⑮ⓀⒺ
단편 프로그램 4 �110min�

15�00 ⑫ⓀⒺ
Tongpan �63min��크리스�프로젝트�I��마리아��주석�광산��
�향신료��그리고�호랑이의�끝이�없는�
�이야기�폐허정보국

17�00 ⑮Ⓔ
Bamseom Pirates�
Seoul Inferno �120min�

7

15�00 ⑮ⓀⒺ
Boundary �96min�

815�00 ⑮ⓀⒺ
Life Imitation��82min��오프�테이크스

14�00 ⑮ⓀⒺ
Short Program 6 �71min��Dreamscape10

15�00 ⑮ⓀⒺ
We Are Alive��101min��Drinking�Tear�Mending�Heart�Drink��Everlasting�Drop��Spun��Mr��Zero

Artist Talk� Jung Yoonsuk�오후의�무도회

918�30 ⑮Ⓔ
Short Program 7 �56min��홍콩의�젊은�지식인들에게�보내는�편지

�Carlos�of�Cockayne

�Chroma�Key�and�Labyrinth
�Clean�Me��Like�We�Are�Not�Here

Artist Talk� Kang Sang�woo

4*상영 없음

5

14�00 ⑫ⓀⒺ
통판 �63min�

16�00 ⑮ⓀⒺ
경계에 서다 �96min�

614�00 ⑫ⓀⒺ
새로운 해 �181�min�

7

15�00 ⑮ⓀⒺ
모방생활��82min�

18�30 ⑮ⓀⒺ
우리는 살아있다��101min�

8

13

14

15

�양곤의�손

�Level�7�feat��Myth�of�Tomorrow

�On�Sacred�Land

�Untitled��Eyemo�Rolls�

14�00 ⑮ⓀⒺ
단편 프로그램 2 �64min�

14�00 ⑮ⓀⒺ
Short Program 1 �66min��탄광�수레�

�The�Story�of�Making�Lies�인재로상�Freedom�Farming��노인의�가치

�Spring�in�the�Sewer�미몽

14�00 ⑲ⓀⒺ
Short Program 3 �40min��The�Meaning�of�Style
�Chinese�Characters

�Friends�of�Minamata�Victims�ー����Mezzanine�ﬂoor

6

�the�Harimau��Oﬀ�Takes

16

15�00 ⑫Ⓚ
Arcadia��50min��

Artist Talk� Jang Minseung
19�00 ⑮ⓀⒺ
Realm of Reverberations
�101min��

17

15�00 ⑮Ⓔ
Short Program 7 �56min�
�Carlos�of�Cockayne

�Chroma�Key�and�Labyrinth���Clean�Me��Like�We�Are�Not�Here

�Letter�to�the�Young�Intellectuals�of��Empire14�30 � 17�30 ⑮
Bloodless �VR�

�Tale�of�Maria��Tin�Mine��Spices�and�
�An�Afternoon�Ball

�The�Education�System�of�an�����

17�00
Artist Talk� Gina Kim

�Kris�Project�I��The�Never�Ending����Ruins�of�the�Intelligence�Bureau�Video�Diary

16�00 ⑫Ⓚ
입석부근 �50min�

14�00 ⑮ⓀⒺ
Short Program 4 �110min�

�Hong�Kong

14�30 � 17�30 ⑮
Bloodless �VR�Artist Talk� Au Sow�Yee��Mezzanine�ﬂoor

7

WED
20

14�00 ⑮ⓀⒺ
Short Program 2 �64min�
�Hands�around�in�Yangon

THU

21

FRI

22

SAT

23

SUN

24

14�00 ⑫ⓀⒺ
Another Year �181min�

15�00 ⑮ⓀⒺ
In the Name of God +We Are Not Your Monkeys
�80min�* Not scheduled

15�00 ⑮ⓀⒺ
Realm of Reverberations
�101min�

28

29

30

10.1

�On�Sacred�Land

�Dreamscape�Untitled��Eyemo�Rolls�

�A�Cart�of�Coals�On�the�Road

�Old�People�s�Values�Three�Wheels

16�00 ⑫Ⓔ
The Remnants �117min�

Artist Talk� Lee Hyuk�sang

27

11�00 ⑮ⓀⒺ
15 Hours Part 1
�475min�

10�00 ⑮ⓀⒺ
15 Hours Part 2
�475min�

14�00 ⑲ⓀⒺ
Short Program 3 �40min��The�Meaning�of�Style
�Chinese�Characters

16�00 ⑮ⓀⒺ
Short Program 5 �66min�
�The�Purple�Kingdom

�Letters�from�Panduranga

4* Not scheduled

514�00 ⑫ⓀⒺ
Tongpan �63min�

16�00 ⑮ⓀⒺ
Boundary �96min�

614�00 ⑫ⓀⒺ
Another Year �181min�

15�00 ⑮ⓀⒺ
Short Program 6 �71min��Drinking�Tear�Mending�Heart�Drink��Everlasting�Drop��Spun��Mr��Zero

18�30 ⑮Ⓔ
Bamseom Pirates�
Seoul Inferno �120min�

7

15�00 ⑮ⓀⒺ
Life Imitation��82min�

18�30 ⑮ⓀⒺ
We Are Alive��101min�

15�00 ⑮ⓀⒺ
Short Program 4 �110min��Kris�Project�I��The�Never�Ending����Tale�of�Maria��Tin�Mine��Spices�and�
�the�Harimau�

�Ruins�of�the�Intelligence�Bureau
�An�Afternoon�Ball
�Oﬀ�Takes

�Letter�to�the�Young�Intellectuals�of��Hong�Kong

8

14�00 ⑮ⓀⒺ
Short Program 2 �64min�
�Hands�around�in�Yangon
�A�Cart�of�Coals�On�the�Road

�Old�People�s�Values�Three�Wheels

16�00 ⑫Ⓚ
Arcadia �50min�

8

9

서문

MMCA필름앤비디오�MFV�가�핸드메이드필름랩�
스페이스셀과�함께�2015년�공동주최한《제1회�아시아�필름앤비디오아트�포럼�AFVAF�》은�아시아�
지역�아티스트들의�작품을�소개하고�새로운�담론을�
모색하고자�7명의�아시아�큐레이터와�협력한�공동기획�
프로그램이었다��당시�참여한�아시아�큐레이터들은�
아시아�지역에서�제작되는�여러�영화�또는�무빙이미지�
작품을�단지�아시아란�대륙의�이름으로�묶는�것은�조금�
억지스럽다고�생각했다��하지만�보이지�않는�동질감을�
갖고�있다는�사실은�분명�부인할�수�없다고�보았다��
MFV는�아시아�지역에서�제작되는�독립��실험영화��
비디오아트�등의�흐름을�소개하고�공유하고자�하는�
당시�큐레이터들의�열망에�힘입어�이�포럼을�지속적인�
담론의�장으로�발전시키기�위해�비엔날레�형식으로�
개최하기로�결정하였다��

Preface형세가�존재하는�것은�분명하다���아시아�라는�개념이�
실체가�불분명한�채로�유행처럼�쓰이기도�하지만��
유럽�공동체가�그러하듯�근접�국가�간의�복잡다단한�
역사로�연결된�보이지�않는�지점들이�있을�것이다��
이�지점들은�아시아�공동체가�허구적�개념이�아님을�
상기하고��아시아라는�지역의�현실을�보다�정밀하게�
관찰하도록�요구한다��제국주의와�식민주의의�그림자��
독재정권의�폐해와�내전의�상처�등을�각기�안고�
있는�아시아�지역에서�영화�및�무빙이미지�작품들은�
때로는�연대의�목소리로��때로는�게릴라처럼�또는�
유령처럼�다양한�사회와�정치상을�반영하고�있다��
제2회�AFVAF는�부정한�것들을�부정하고�파괴하기�
위한�저항의�행동으로써의�영화�또는�사실성에�최대한�
가까이�접근하기�위한�미학적�형식과�또�다른�참여의�
가능성을�제시하는�영화까지�다양한�시도들을�소개한다��
세계에서�가장�많은�인구를�가진�거대한�대륙인�
아시아�모든�국가의�작품들이�이번�프로그램에서�
모두�소개되지는�못한다��대부분의�작품들은�5인의�큐레이터가�태어났거나�살고�있는�한국��일본��중국��
태국�등에서�제작된�작품들이다��

2016년��MFV는�MIACA�현대�예술�무빙이미지�
아카이브�의�디렉터이자�큐레이터�하세가와�히토미와�
제2회�AFVAF�프로그램을�공동기획하기로�합의하고�
인위적인�지역�공동체의�관점에서가�아닌�인류가�
공통으로�직면한�첨예한�문제들을�영상작품들이�어떻게�
통찰하고�반영하는지�살펴보기로�하였다��각기�다른�
MMCA필름앤비디오는�비엔날레�형식으로�개최하는�
역사와�사회��정치�환경을�갖고�있지만�아시아�지역에서� 《제2회�아시아�필름앤비디오아트�포럼》이�장차�
인류의�고뇌1를�짊어진�아티스트들의�조용한�반란은�
아시아�지역에서�활동하는�아티스트와�기획자��비평가��
현재진행형이다��그런�면에서�하세가와�히토미가�
기록연구사�및�배급관계자�등의�소통의�현장이�되기를�
제안한�주제��두드림－아시아��사회참여예술의�계보에�
희망한다�관한�비디오와�필름�은�예술�매체와�실천을�통한�
－김은희아티스트의�사회적�참여란�무엇인가에�대한�오래된�
2
��� 국립현대미술관�학예연구사질문 을�다시�던진다��3명의�공동�큐레이터�인티�게레로��
저우�신��위왓�러트위왓웡사가�이번�포럼에�합류해�
그들이�발견한�중요한�작품들을�소개한다�
�아시아�의�어원은�그리스�신화에�등장하는�이름에서�
유래됐다고도�한다��고대의�아시아란�그리스와�
이집트에�비견되는�거대한�땅덩어리였다��고대로부터�
현재까지�아시아란�이름으로�불리는�사회��정치적�

12아도르노는�인류의�고뇌를�우리가�연대해야할�유일한�대상으로�보았다
예술과�도덕의�관계에�대한�오래된�논쟁들을�상기해보자��
플라톤��칸트의�도덕주의��마르크스주의와�사르트르의�앙가주망�등�

MMCA�Film�&�Video��MFV��presented�the�1st�
edition�of�Asian�Film�and�Video�Art�Forum��AFVAF��
in�collaboration�with�Hand�made�ﬁlm�lab�SPACE�
CELL�in�2015��The�ﬁrst�edition�of�AFVAF�was�co�
curated�by�seven�curators�in�Asia�to�introduce�
works�by�artists�based�in�Asia�and�to�seek�original�
discussions��The�participating�curators�agreed�that�
there�was�no�necessary�reason�to�bring�together�ﬁlms�or�moving�images�under�the�name�of�the�
Asian�continent�on�the�grounds�of�regional�aﬃnity��However��they�also�had�to�admit�that�there�was�
indeed��although�intangible��a�sense�of�similarity�
among�the�artists��With�the�ambitions�of�the�
curators�who�are�willing�to�introduce�and�share�the�currents�trends�in�Asian�ﬁlm�and�video�art��MFV�
decided�to�host�this�forum�as�a�biennial�program�with�anticipation�of�developing�it�into�a�sustained�
ﬁeld�of�discourse��In�2016��MFV�and�MIACA�s��Moving�Image�Archive�
of�Contemporary�Art�Japan��director�and�curator�
Hitomi�Hasegawa�agreed�to�co�curate�the�second�
edition�of�AFVAF��Hitomi�Hasegawa�examined�how�
ﬁlms�deliberate�and�reﬂect�the�acute�problems�
that�humanity��rather�than�artiﬁcially�identiﬁed�
local�communities��faces��Despite�diﬀerences�in�
historical��social��and�political�conditions�within�
Asia��young�artists�carry�the�agony�of�humanity1�on�
their�shoulder��unfolding�on�going�silent�rebellion��In�this�respect��Hitomi�Hasegawa�s�suggestion―<Knock –Videos and films on the genealogy of sociallyengaged art in Asia>―demands�us�to�ask�once�
more�a�long�standing�question2�of�what�artistic�
engagements�are�through�artistic�media�and�
gestures��Three�curators―Xin�Zhou��Inti�Guerrero��Wiwat�Lertwiwatwongsa―have�joined�the�forum�to�introduce�signiﬁcant�works�that�they�have�
discovered��It�s�been�told�that�the�origin�of�the�word��Asia��is�from�a�ﬁgure�in�Greek�mythology�by�the�same�
name��Asia�in�ancient�times�was�a�huge�land�mass��
and�thus�the�Greek�name��Asia��reﬂects�a�broad�concept�of�regional�contrast�to�Greece�and�Egypt�in�
terms�of�history��From�ancient�eras�to�the�present�

1
2

10

day��there�clearly�have�been�societies�and�political�
aﬀairs�that�can�be�recognized�as��Asia���Employed�
at�times�as�a�buzzword�with�unclear�boundaries�and�implications��there�are�indeed�invisible�points�
of�connection�between�the�neighboring�histories��Such�conjunctures�require�close�examination�not�on�a�make�believe�concept�of�the�Asian�community�but�on�the�regional�reality�of�Asia��Films�and�moving�images�from�Asian�regions��with�
histories�burdened�with�shades�of�imperialism��consequences�of�dictatorship��and�the�wounds�
of�civil�war��reﬂect�their�societies�and�politics��at�times�with�a�voice�of�solidarity��and�at�times�in�the�modes�of�guerrillas�or�specters��The�second�
edition�of�AFVAF�introduces�various�attempts��
ranging�from�ﬁlms�as�acts�of�resistance�for�the�sake�of�negating�and�destroying�the�unjustiﬁable��to�
works�suggesting�a�potential�of�another�means�of�participation�through�aesthetic�forms�that�strive�to�get�as�close�as�possible�to�reality��Unfortunately��
we�could�not�aﬀord�to�introduce�works�from�all�
Asian�countries��a�grand�continent�with�the�largest�
population�in�the�world��The�program�is�led�by�a�
limited�group�of�ﬁve�curators��born�or�based�in�
Korea��Japan��China��Taiwan��and�Thailand��MMCA�Film�&�Video�anticipates�that��2nd Asian Filmand Video Art Forum��held�in�the�biennale�form�will�
become�the�scene�of�communication�among�Asia�
based�artists��producers��curators��
critics��archivists�and�distributors�
�－KIM�Eunhee����MMCA�Curator
�According�to�Adorno��the�agony�of�humanity�is�the�only�objective�for�which�we�should�gather�in�solidarity��Let�s�remind�ourselves�of�the�old�arguments�concerning�the�relation�between�art�and�
ethics�such�as�moralism�of�Plato�and�Kant�as�well�as�Marxism�and�Sartrean�engagement��

11

두드림－
아시아 사회참여예술의 계보에 관한비디오와 필름
어떤�예술작품이든�사회적일�수�있다��자신의�내면을�
탐구하거나�순전히�상징적�또는�미적�표현만을�
추구하는�작품이더라도�말이다��그러나�커뮤니티와�
적극적으로�상호작용하거나�사회�문제를�기록한�작품은�
오로지�시각적�언어에만�집중한�작품들과는�구별될�수�
있다�

Initiative의�Social�Practice�Lab�6�정�보�교수가�
시작한�홍콩시립대학교의��중국의�사회참여예술�디지털�
아카이브�7�등이�있다��그리고�2015년�시애틀에서는�
�일본의�사회참여예술�이라는�주제로�대규모�학술대회가�
개최되기도�했다8��같은�해�도쿄에서�SEA�리서치랩이�
설립되어�2017년�도쿄에서�전시를�열었다���

최근��사회참여예술�이나��사회적�실천�이라는�
그러나�예술과�사회의�관계에�대해�생각해�보면��
용어가�동시대�예술계에서�많이�회자되고�있다��
사회참여예술은�작가와�영화감독�모두에게�전혀�
사회참여예술은��사회적�상호작용을�그�존재의�한�
새로운�것이�아니다��예술�실천을�통해�심의민주주의를�
요소로�삼는다��1�사회적이고�참여적�형태의�작업이�
추구하며�커뮤니티에�개입하거나�만들려고�했던�초기의�
협력과�함께�이루어질�때�사회참여예술이라�불릴�
사례들을�많이�찾을�수�있다��그리고�사회참여예술은�
수�있다�2�사회참여예술은�사회적�실천의�범주에�
특정한�사회적�상황에�직접적으로�관여하기�때문에�
들어가고�관계미술��커뮤니티�아트��뉴장르�공공미술��
종종�수행적인�형태를�띠며�그�결과물의�일부로서�매우�
참여예술�등�다양한�이름으로�불린다��이�유형의�예술은� 친근하게�영상을�활용한다��따라서�많은�사회적�실천의�
심의민주주의��사회통합��예술�행동주의�등의�실현과�
예술작품들이�작품의�일부로�비디오를�사용한다�
연계되어�있다��우리는�큐레이터�나토�톰슨이�2011년�
뉴욕에서�기획한《Living�as�Form��Socially�Engaged� �두드림�은�필름과�비디오�아트에�초점을�두고��
Art�From�1991�2001》에서��사회참여예술�의�초기�
아시아에서�이루어진�사회참여예술과�사회적�실천의�
사례를�볼�수�있다�3�계보를�탐구하고자�한다��1960년대에�만들어진�초기�
비디오�아트와�실험영화는�종종�비디오의�미학적�
파블로�엘게라4에�의하면���사회참여예술�이라는�용어는� 요소나�시간에�기반한�특성들에�더�집중했지만��실제의�
1970년대�중반에�등장했으며�1960년대�후반�미국에�
삶을�기록하는�데�초점을�두고�사회의�문제들을�
그�뿌리를�두고�있다��이�장르의�계보는�아방가르드와�
다룬�비디오�작품도�많았다���두드림�은�사회를�다룬�
개념미술로�거슬러�올라간다��1960년대에�나타난�
역사적인�영화뿐만�아니라�오늘날의�사회적�실천의�
사회운동은�과정과�장소특수성을�강조하는�퍼포먼스�
씨앗을�탐구하는�동시대�커뮤니티�기반�예술의�비디오�
예술과�설치미술의�등장으로�이어졌다��비디오�아트는�
작업�및�아티스트�다큐멘터리를�포함하고�있다��
바로�그�뒤인�1970년대에�나타났다��이후�많은�작가와�
영화감독들이�사회�문제에�더�많은�관심을�가지게�
이�프로젝트는�아시아의�사회참여예술�비디오�작업을�
되면서�예술은�점점�더�사회적��지역적�맥락을�바탕으로� 포괄적으로�다루는�데�목적을�두지�않는다��그보다는�
하게�되었다��이제�우리는�사회적�실천을�현대미술의�
아시아의�영화와�동시대�미술�영역에서�사회��행동주의��
구체적�영역으로�바라보고�있다���
민주주의를�다루는�영상들을�모아�공개하는�데�그�
목적이�있다��이�프로그램과�심포지엄을�실현하기�
오늘날��사회참여예술�이나��사회적�실천�은�아시아에서� 위해�영화나�예술�분야에서�활동하는�서로�다른�아시아�
일반적인�것으로�받아들여진다��관련된�수많은�토론과�
국가의�큐레이터�프로그래머�5명이�함께�협력했다�
함께�이를�보여주는�수많은�전시와�실천이�이루어지고�
있다��그�대표적인�예로�2013년�상하이�록번드�
현대미술관에서�개최된《아시아의�사회참여예술에�
관한�프로젝트》5로�필라델피아에�위치한�Asian�Arts��두드림�은�일본�작가�테라야마�슈지가�1975년에�만들어�
12논란이�된�도시�연극의�제목이기도�하다��테라야마는�
1970년에��도시�연극�을�처음�고안했으며�이�작품은�
당시�많은�논란을�일으켰다��관람객들은�지도를�
구매했고��이�지도는�그들이�도쿄�아사가와�지역�18개�장소에서�벌어지는�사건들을�찾아가도록�안내했다��
수많은�시민��일반�대중이�참여한�이�연극들은�서로�
다른�공공장소�및�사적인�공간에서�30시간�동안�
진행되었다��때로는�이런�개입이�주거�지역에서�
일어나�경찰을�긴장시키는�상황으로�이어지기도�
했다��이것은�지역�내에서�연극�예술�을�시도하면서�
많은�관객�구성원들에게�역할을�부여하려는�초기의�
시도였다��참여했던�관객이�그�의도를�알든�모르든�간에�
상관없이�이�작품은�사회적�실천과�꽤�유사한�형태를�
띠었다��작품의�제목에�드러나는�것처럼�테라야마가�
의도한�이�프로젝트의�목표는��문자�그대로�그리고�
심리적인�의미에서��지역�주민들의�닫힌�문을��두드리는�
것�이었다9�우리는��두드림��프로그램을�통해�사회와�관계�맺으며�
작업하는�아시아의�비디오�작가와�영화감독들의�
여러�작품들이�소개되기를�바라며��이�프로그램이�
사회참여예술의�느슨한�연대기와�지리적�계보를�제시할�
수�있기를�바란다��테라야마가�의도했던�것처럼�
이�프로젝트가�많은�사회��정치적�문제들을�안고�있는�
한국�관객들의�마음을�두드리기를�바란다��

1
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사회실천예술��추상성��사회의�한계」��
e-flux journal #31��2012��
http���www�e��ﬂux�com�journal�31�68204�
after�ows�social�practice�art�abstraction�and�
the�limits�of�the�social

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파블로�엘게라�『사회참여예술이란�무엇인가』��
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6http���asianartsinitiative�org�programs�social�practice�lab

35예이츠�맥키�「점령운동과�사회참여예술의�종료」�
e-flux journal #72��2016�
http���www�e��ﬂux�com�journal�72�60504�occupy�and�the�end�of�socially�engaged�art�

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�테라야마�슈지의�언더그라운드�공연장���재팬�타임스��2013��
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13

KNOCK － Videos and ﬁlms on
the genealogy of socially engaged
art in Asia
Any�artwork�can�be�social��even�if�it�explores�an�
artist�s�own�inner�emotions�or�pursues�a�purely�
symbolic�or�aesthetic�expression��However��works�
that�actively�interact�with�the�community�or�
document�social�issues�can�be�distinguished�from�
those�focusing�solely�on�visual�language�The�terms��socially�engaged�art��or��social�practice��have�recently�been�circulated�in�the�ﬁeld�
of�contemporary�art��Socially�engaged�art�relies�
on��social�intercourse�as�a�factor�of�its�existence��1�
It�requires�working�collaboratively�through�social�and�participatory�forms�2�and�can�fall�into�the�
category�of�social�practice��There�is�a�range�of�
diﬀerent�names�used�to�indicate�socially�engaged�
art��including�relational�art��community�art��new�
genre�public�art��and�participatory�art��among�others��This�type�of�art�articulates�the�realization�
of�a�deliberative�democracy��social�inclusion��art�
activism��and�other�aspects��We�can�see�early�
examples�of�socially�engaged�art�in�the�New�York�
exhibition�Living as Form: Socially Engaged Art from1991–2011��which�was�curated�by�Nato�Thompson�
in�20113�
According�to�Pablo�Helguera ��the�term��socially�
engaged�art��emerged�in�the�mid�1970s��and�
has�its�roots�in�the�United�States�during�the�late�
1960s��Its�genealogy�goes�back�to�avant�garde�and�
conceptual�art��In�the�1960s��social�movements�
led�to�the�emergence�of�performance�art�and�
installation�art��which�are�concerned�with�process�
and�site�speciﬁcity��Video�art�emerged�slightly�
later�in�the�1970s��Since�then��many�artists�and�
ﬁlmmakers�have�become�more�aware�of�social�
issues��and�art�has�become�increasingly�socially�and�regionally�context�based��We�now�see�social�practice�as�a�concrete�area�of�contemporary�art�
4

Today��socially�engaged�art�or�social�practice�is�a�part�of�the�norm�in�Asia��There�are�numerous�
discussions�surrounding�it��as�well�as�platforms�to�
showcase�it��such�as Projects on Socially Engaged Art
in Asia�at�the�Shanghai�Rockbund�Art�Museum5�in�
2013��Social Practice Lab�at�the�Asian�Arts�Initiative�

in�Philadelphia�6�and�the�Digital Archive of Chinese
Socially Engaged Art�at�the�City�University�of�Hong�
Kong��initiated�by�Bo�Zheng7��There�was�also�a�large�academic�conference��Socially Engaged Art
in Japan��held�in�Seattle�in�20158��Moreover��SEA�
Research�Lab�was�established�in�2015��and�held�an�
exhibition�in�Tokyo�in�2017�

However��if�we�think�about�the�relationship�
between�art�and�society��socially�engaged�art�is�
not�entirely�new�for�either�artists�or�ﬁlmmakers��
We�can�ﬁnd�many�early�examples�of�attempts�
to�intervene�in�or�create�a�community��seeking�a�deliberative�democracy�through�the�practices�of�art��In�addition��socially�engaged�art�is�often�
performative�because�it�engages�directly�with�a�
speciﬁc�social�situation��Thus��it�is�highly�aﬃnitive�toward�the�use�of�moving�images�as�a�part�of�its�
output��Many�social�practice�artworks�therefore�
use�video�as�a�part�of�the�works�themselves�

The�project�KNOCK�explores�the�genealogy�of�socially�engaged�art�and�social�practice�in�Asia��
focusing�on�ﬁlm�and�video�art��Although�early�
video�art�and�experimental�ﬁlms�of�the�1960s�were�often�concentrated�more�on�the�aesthetic�or�time�
based�features�of�video��there�have�historically�
been�many�video�works�dealing�with�societal�
issues��with�a�focus�on�documenting�real�life��
KNOCK�includes�both�historical�ﬁlms�that�deal�with�
society��and�contemporary�community�based�art�
videos�and�artist�documentaries�that�explore�the�seeds�of�today�s�social�practice�

Knock�is�the�title�of�a�controversial�1975�city�play�by�Shuji�Terayama��Terayama�invented�
�city�plays��in�1970��With�such�plays��audiences�
would�purchase�a�map�that�directed�them�to�
interventions�held�at�18�diﬀerent�locations�across�the�Asagaya�neighborhood�of�Tokyo��The�plays�
were�implemented�for�30�hours�in�diﬀerent�public�
private�spaces��involving�numerous�citizens�and�
members�of�the�general�public��At�times��these�interventions�occurred�in�residential�areas��which�
led�to�local�citizens�alerting�the�police��This�was�an�
early�attempt�at�putting�on�plays��art��within�the�community��and�letting�many�audience�members�
have�roles�of�the�plays��It�was�quite�close�to�social�practice��whether�the�audience�participated�with�or�
without�their�knowledge��Terayama�s�aim�for�the�
project��as�indicated�in�its�title��was�to��knock��on�the�closed�doors��in�both�literal�and�psychological�
terms��of�the�local�residents9�
We�hope�that�the�KNOCK�program�can�showcase�the�expressions�of�Asian�video�artists�and�
ﬁlmmakers�related�to�society��and�indicate�a�loose�
chronological�and�geographical�lineage�of�socially�
engaged�art��As�Terayama�intended��we�hope�that�the�project�will�knock�on�the�minds�of�audiences�in�
Seoul��where�many�social�and�political�issues�are�
continuously�presenting�themselves�－Hitomi�Hasegawa�

1
2���

3

4 �
5
6

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7����

8

9�

Pablo�Helguera��Education for Socially Engaged Art��
Jorge�Pinto�Books�Inc���2011�

Gregory�Sholette����After�OWS��Social�Practice�Art��
Abstraction��and�the�Limits�of�the�social��
e-flux journal #31��2012��
http���www�e��ﬂux�com�journal�31�68204�after�ows�
social�practice�art�abstraction�and�the�
limits�of�the�social

Yates�McKee���Occupy�and�the�End�of�Socially�Engaged�
Art�� e-flux journal #72��2016�
http���www�e��ﬂux�com�journal�72�60504�occupy�and�the�end�of�socially�engaged�art�

Pablo�Helguera��Education for Socially Engaged Art��
Jorge�Pinto�Books�Inc���2011�
http���www�rockbundartmuseum�org�en�event��
overview�e7dgrB
http���asianartsinitiative�org�programs�social�practice�lab

https���networks�h�net�org�node�22055� links�167514�
digital�archive�chinese�socially�engaged�art�
http���seachina�net�seachina�intro�html
For�some�examples�in�China��please�see��
http���arthubasia�org�project�situating�socially�
engaged�art�in��china�by�zheng�zhuangzhou
https���sites�google�com�a�uw�edu�seajapan�homehttp���www�t�time�jp�Terayama�eizo�eizo_01�html
Video��https���www�youtube�com�watch�v=WmsW51�
ew�ao
http���www�watarium�co�jp�exhibition�1307terayama�
Underground Theater��July�issue��#7��1972��Tenjyo
Sajiki��Tokyo�
Shuji�Terayama�s�underground�public�stage���Japan Times��2013https���www�japantimes�co�jp�culture�2013�09�04�arts�
shuji�terayamas�underground�public�stage��#�WPAwQlPyjp4�

This�project�does�not�aim�to�comprehensively�
cover�socially�engaged�art�videos�in�Asia��rather��it�attempts�to�collect�and�showcase�moving�
image�works�that�deal�with�society��activism��and�democracy��in�the�ﬁelds�of�both�ﬁlm�and�
contemporary�art�in�Asia�
To�realize�this�program�and�symposium��ﬁve�
curators�programmers�from�diﬀerent�Asian�countries�collaborated�together��all�of�who�are�
either�from�the�ﬁeld�of�ﬁlm�or�art�

1415

섹션 1.

�사회참여예술�은�다양한�방식으로�해석될�수�있다��
파블로�엘게라가�제시한�좁은�정의를�따르자면��
이는�사회��공동체��그리고�정치적�이슈에�작가들이�
적극적으로�개입하는�것을�뜻한다��보다�넓은�의미는�
특정한�사회적�현안을�기록하거나�사회에�대한�작가�
혹은�감독의�관점을�드러내는�것까지�포함한다��따라서�
이러한�종류의�영화는�다큐멘터리��풍경에�대한�시각적�
묘사��사회적�이슈�혹은�역사적�사건에�대한�재연�등을�
아우른다���

Section 1.

촬영한�푸티지로�만든�야우�칭의�다큐멘터리�
<우리는�살아있다>로�구성되어�있다��

There�should�be�several�ways�as�to�how�to�interpret��social�engaged�art���The�narrow�deﬁnition��suggested�by�Pablo�Helguera���includes�artists��
active�intervention�into�the�society��community��and�political�issues��The�other�would�be�broader��
including�those�that�documents�a�particular�social�
issue�or�shows�the�artist�s�or�the�ﬁlmmaker�s�
perspective�towards�the�society��Films�of�this�kind�
thus�encompass�documentries��visual�depictions�of�landscapes��re�enactments�of�social�issues�or�
historical�events�이�작품들을�통해�커뮤니티와�함께�일하는�작가와�
감독에�대해서��그리고�이들이�아시아의�사회�혹은�
현안들을�어떻게�바라보는지에�대해서�알�수�있는�
계기가�되기를�바란다��

첫�번째�단편�프로그램인��개입�상호작용�은�다양한�
하세가와 히토미
공동체에서�이루어지는�직접적인�사회적�행위를�다루고� 하세가와�히토미는�2006년에�현대�예술�무빙이미지�
있다��침↑폼이�후쿠시마�원자력�발전소�사고와�관련한�
아카이브�MIACA�의�디렉터이자�큐레이터이다��일본정부�
공적인�공간에�개입하는�한편�큔�초메는�후쿠시마�
해외프로그램의�지원을�받아�현재�홍콩�아시아�아트�
아카이브�AAA�의�객원연구원이기도�하다��
다이치�핵발전소의�노심용해�이후�조사된�출입금지�
2000년부터�도쿄�모리아트센터�존��비엔나�쿤스트뷰로��
구역으로부터�탈출한�주민들과�함께�작업했다��
스톡홀름�쿨튜르휴셋��도쿄사진미술관��스톡홀름�조각하우스��
리�빈위안의�단편�영화�두�작품은�중국의�재산권�제도에�
자임�요코하마�등에서�전시를�기획했다��MIACA에서는�의문을�제기하고��사회의��잊혀진�것�을�상징하는�작고�
《United�Nation�Plaza》같은�전시�및�차오�페이��폴�챈�
오염된�강과�관련된�활동을�기록한다��나카야�후지코의�
등과의�토크를�열었다��2009년에는�CREAM�요코하마�국제�
작품은�1960�1970년대에�독성이�강한�수은�성분을�
아트앤미디어�페스티벌의�어시스턴트�큐레이터로�활동했다��
포함한�산업�폐기물을�흘려�보내�지역�주민들의�신경�
하세가와는�1997년부터�일본�아티스트��더�그룹�1965�의�질환을�유발한��치소�사에�대항한�젊은�시위자들의�
매니저이며��2008년부터�Free�Media�Research�Lab�fmrl�과�모습을�담았다��후지이�히카루는�제2차�세계대전�
도쿄�Free�Art�and�Technology의�회원이기도�하다��
당시의�아카이브�푸티지와�한국에서�진행한�워크숍�
기록�영상을�병치하여�일본제국�치하의�교육�시스템을�
드러낸다��
프로그램��관찰�기록�에서�모우�샛은�사람들의�손을�
강조하며�양곤의�도시�풍경을�선보이고��리�샤오페이는�
중국�후난성의�비�오는�탄광을��그리고�창�차오탕은�
타이완의�풍경을�병치한다��나카야�후지코와�코바야시�
하쿠도�등은�1970년대의�노인들을�인터뷰했다��이어서�
캄보디아의�젊은�감독인�능�카빅은�프놈�펜에�사는�한�
노부부의�일상과�과거�기억에�대한�내레이션을�통해�
크메르�루즈가�저지른�학살의�여파를�암시한다��
장편�프로그램은�전�한센병�요양원�환자들의�기억과�
냉혹한�현실을�시적으로�엮어낸�천�제런의�<잔향세계>��
그리고�마카오��홍콩��일본의�소년원�청소년들이�

The�ﬁrst�short�program���Intervention�Interaction���
covers�direct�social�actions�in�various�communities��
Chim↑Pom�engaged�the�public�space�relating�to�the�Fukushima�Nuclear�Accident��while�Kyun�
Chome�worked�together�with�the�evacuees�from�an�irradiated�no�entry�zone�after�the�nuclear�
meltdown�at�the�Fukushima�Daiichi�Nuclear�Power�
Plant��Two�short�ﬁlms�by�Li�Binyuan�question�
China�s�property�regime�and�documenting�the�
action�taken�to�deal�with�the�polluted�small�river�
which�symbolizes�the��forgotten��of�the�society��Fujiko�Nakaya�s�ﬁlm�is�about�the�young�protesters�
against�the�Chisso�company�that�brought�severe�
neurological�disorder�to�the�neighborhood�in�the�
1960�s�to�the�1970�s�as�its�industrial�wastewater�
contained�highly�toxic�mercury�compound��Hikaru�
Fujii�combined�the�archival�footages�during�World�
War�II�with�the�documentation�of�workshops�in�
Korea��revealing�the�Japanese�education�system�
under�the�imperial�Japan��The��Observation�Documentation��program�
features�Moe�Satt�s�cityscape�in�Yangon�with�the�
focuson�people�s�hands��also�found�in�the�program�
are�Li�Xiaofei�s�depiction�of�the�rainy�coal�mine�in�Hunan�province�of�China��Chang�Chao�Tang�s�
juxtapositions�of�landscapes�in�Taiwan��and�Fujiko�
Nakaya��Hakudo�Kobayashi�and�other�s�interviews�
with�elderlies�in�the�1970�s��followed�by�Cambodian�
young�ﬁlmmaker�Kavich�Neang�s�narration�of�the�
everyday�life�and�past�memory�of�an�old�couple�
from�Phnom�Penh��insinuating�the�aftermath�of�the�
massacre�that�the�Khmers�Rouge�committed�

weaved�the�memory�of�and�the�harsh�reality�facing�the�patients�of�former�Han�Sen�disease�sanatorium��and�Yau�Ching�s�documentary�We are Alive��the�bulk�
of�which�consisted�of�footages�shot�by�the�juvenile�
delinquents�in�Macau��Hong�Kong�and�Japan��I�hope�these�pieces�would�make�some�sense�
of�how�artists�and�ﬁlmmakers�worked�with�
communities��and�how�they�see�society�or�social�
issues�in�Asia�

Hitomi HASEGAWA
Hitomi�Hasegawa�is�a�founder�of�Moving�Image�Archive�of�Contemporary�Art�in�Japan��MIACA�Japan���and�has�been�its�director�since�2006��Hasegawa�is�currently�a�visiting�
researcher�of�Asia�Art�Archive�in�Hong�Kong�through�a�
grant�from�the�Japanese�Government�Overseas�Program�Since�2000��Hasegawa�has�curated�several�exhibitions�in�
several�venues�such�as�the�Mori�Art�Center�Zone�in�Tokyo��
Kunstbuero�in�Vienna��Kulturhuset�in�Stockholm��Tokyo�
Metropolitan�Museum�of�Photography��Skulpturenshus�
in�Stockholm��and�ZAIM�Yokohama��At�MIACA��Hasegawa�
organized�exhibitions�such�as�United Nations Plaza�and�
talks�by�Cao�Fei��Paul�Chan��and�others��In�2009��she�
was�appointed�assistant�curator�of�CREAM��the�the�International�Festival�for�Arts�and�Media�in�Yokohama�She�has�also�been�the�manager�of�the�Japanese�artists�
The�Group�1965�since�1997��as�well�as�a�member�of�the�Free�Media�Research�Lab��fmrl��and�Free�Art�and�
Technology�Tokyo��FAT�Tokyo��since�2008�
MIACA�
http���www�miaca�org�english

For�the�feature�length�pieces��I�picked�
Chen�Chie�jen�s�Realm of Reverberations��poetically�1617

레벨 7 feat. 내일의 신화

Level 7 feat. Myth of Tomorrow거짓말을 만드는 이야기

The Story of Making Lies이�작품은��내일의�신화���즉�시부야�역에�위치한�
오카모토�타로의�벽화에�후쿠시마�원전사고를�묘사한�
그림�판을�덧붙인�게릴라성�설치이다��PVC�판에�부착된�종이에는�해골�모양으로�피어�오르는�검은�
연기의�이미지가�그려져�있다��이�이미지는�벽화와�
동일한�스타일로�그려졌고��마치�벽화의�주요한�
요소처럼�보인다��지나가던�행인들이�이에�대해�
인터넷에�글을�올리면서�벽화에�그림�판이�덧붙었다는�
소문이�퍼져�나갔다��초반에는�새로이�덧붙은�그림이�
익명의�액티비스트들의�활동으로�간주되어�논란을�
불러일으켰다��그�후��전시《리얼�타임즈》을�통해�
침↑폼의�작업이었음이�밝혀졌다��

A�guerrilla�style�installation�in�which�a�panel�
depicting�the�Fukushima�nuclear�disaster�was�
added�to�the�Myth of Tomorrow��an�existing�mural�
by�Okamoto�Taro�in�Shibuya�station��On�a�sheet�of�paper�attached�to�a�PVC�panel��an�image�of�rising�black�smoke�in�a�skull�shape�was�painted�
in�the�same�style�as�the�mural��and�appears�
to�be�an�integral�part�of�it��News�of�the�added�
panel�spread�through�Internet�posts�of�passersby��
Initially�the�new�addition�was�regarded�as�an�
anonymous�act�and�triggered�controversy��At�the
Real Times�exhibition��it�was�revealed�as�the�work�
of�Chim↑Pom�큔�초메는�후쿠시마�원전�사고로�인해�집으로�돌아갈�수�
없는�사람들과�함께�이�작품을�만들었다��이들은�사고�
후�수년이�지났음에도�불구하고�여전히�임시�주거지에�
살고�있다��작가는�대피한�주민들에게�집으로�가는�길을�
막고�있는�바리케이드를�컴퓨터�상에서�포토샵으로�
없애도록�부탁한다��이에�따라�바리케이드는�인터페이
스�속에서�사라진다��하지만�바리케이드를�지우는�동안�
나눈�대화를�통해�과거와�현재�사이에�비가시적인�
바리케이드가�존재한다는�것을�확인하게�된다�

Kyun�Chome�made�this�piece�along�with�people�
who�cannot�return�home�because�of�the�crippled�
nuclear�power�plants�in�Fukushima��After�many�
years��they�still�live�in�temporary�houses��The�artist�
asked�the�evacuees�to�remove�the�barricades�that�
block�the�way�to�their�homes�on�a�computer�using�
Photoshop��While�the�barricades�are�removed�on�the�computer�interface��the�conversation�that�took�
place�while�removing�them�shows�an�invisible�
barricade�that�exists�between�the�past�and�present�침↑폼 | 일본 | 2011 | 7min | HD | Color침↑폼 �2005년�결성된�콜렉티브��엘리��야스타카�하야시��모토무�

이나오카��토시노리�미즈노��마사타카�오카다��료타�우시로가�
참여하고�있으며�도쿄를�기반으로�활동하고�있다��침↑폼은�강력한�사회적�메시지를�통해�동시대의�사회�문제에�대응하는�

실천을�한다��여러�분야에�걸쳐�활동하지만�주로�비디오��설치�

Chim↑Pom | Japan | 2011 | 7min | HD | Color큔�초메 | 일본 | 2015 | 10min | HD | Color

Chim↑Pom
Collective�formed�in�2005��Members�include��Ellie��
Hayashi�Yasutaka��Inaoka�Motomu��Mizuno�Toshinori��Okada�Masataka��and�Ushiro�Ryuta��Live�and�work�in�Tokyo��Chim�Pom�s�practice�responds�to�contemporary�social�issues�with�a�strong�social�message��Multi�
disciplinary�in�practice��the�collective�primarily�focuses�
on�video��installations�and�performances�

Kyun�Chome | Japan | 2015 | 10min | HD | Color예술�작업을�해나가고�있다�

Kyun�Chome
Artist�unit�formed�in�2011�with�Eri�Homma�and�Nabuchi��It�was�a�year�of�their�turning�point�as�a�big�earthquake�hit�
Japan�and�a�nuclear�power�plant�exploded��That�impact�
made�them�to�make�actions�and�arts�about��escape�to�
survive����단편�프로그램�1

Short�Program�1큔�초메

2011년�에리�홈마와�나부치로�결성된�아티스트�그룹��일본�

지진과�원전�사고를�계기로��생존을�위한�탈출�에�관한�활동과�

및�퍼포먼스에�중점을�둔다��

단편�프로그램�1

Short�Program�1

18

19

자유농장 自由耕种리 빈위안 | 중국 | 2014 | 5min | HD | Color<자유농장>에서�리�빈위안은�농사�지을�권리를�받은�후�
어떻게�자신의�땅을�다시�경작하는지�보여준다��그는�
부모�세대와의�대화를�위해�물리적으로�공간을�열고자�
시도한다��둘째�날��그의�모친을�포함해�밭에�모여든�
마을�사람들은�기이한�일과�마주한다��
리�빈위안이�2시간�동안�논에서�뛰어오르고�넘어지기를�
반복하다�마침내�지쳐서�쓰러진�것이다��그는�땅�그의�
고향�으로부터�벗어나고자�도약하지만�중력�그의�
출생�을�이기지�못해�결국�실패하고�무겁게�땅에�
떨어진다��이처럼�떠나기�위한�반복적�시도와�매번�
마찬가지로�떨어지고마는�결과는�심장에�손상을�
일으키고�만다��그는�얼마간�심장에�물리적인�고통을�
겪는다��오로지�직접�고통스럽게�움직일�때�그는�비로소�
아버지의�죽음��고향�그리고�그의�농사일을�애도하는�
과정을�성공적으로�수행할�수�있는�것이다��

Freedom Farming

Li Binyuan | China | 2014 | 5min | HD | Color시궁창 속 봄 臭水沟的春天

Spring in the Sewer리�빈위안은�늘�베이징�제5�순환도로�외곽��도농�경계�
지역에�있는�시궁창을�지나다닌다��그는�악취가�나지만�
생명으로�넘쳐나는�시궁창이�모든�부조리와�비극에�잘�
맞는다고�보았다��그는�상징적인�세계가�폭파하는�것을�
보고자�시궁창에�폭죽을�터뜨린다��

The�sewer�Binyuan�always�passes�by��the�one�
situated�in�the�rural�urban�fringe�zone�outside�the�5th�Ring�in�Beijing��Putrid��yet�full�of�life��the�
artist�saw�the�sewer�as�ﬁtting�every�absurdity�and�
tragedy��Then��Binyuan�threw�in�some�ﬁrecrackers�and�other�ﬁreworks�to�watch�this�symbolic�world�
explode�

리 빈위안

있다��

LI Binyuanb��1985�in�Yongzhou��Hunan�Province��China��Lives�and�works�in�Beijing��He�graduated�from�the�Sculpture�
Department�at�the�Central�Academy�of�Fine�Arts�in�2011��
He�works�with�his�close�environment�and�the�events�
happening�around�him��He�uses�surrounding�materials�
and�improvises�with�it��단편�프로그램�1

Short�Program�1리 빈위안 | 중국 | 2013 | 3min | HD | Color

Freedom Farming�presents�how��after�being�given�the�right�of�farming��Li�Binyuan�began�to�re�
cultivate�his�land��He�attempted�to�physically�open�a�space�for�conversations�with�the�generation�of�
his�parents��On�the�second�day��villagers�gathering�in�the�ﬁeld��including�his�mother��started�to�
watch�a�strange�event��Li�Binyuan�s�jumping�and�
falling�on�his�land�for�2�hours�until�he�ﬁnally�
stopped��exhausted��He�jumped�up�to�escape�from�the�earth��his�hometown���but�being�unable�to�overcome�gravity��his�birth���fell�heavily�back�
onto�the�ground��This�repetitive�attempt�to�leave��and�the�invariant�result�of�falling�back�every�time��
somehow�gave�him�a�type�of�cardiac�injury��and�he�
suﬀered�physical�heart�aching�pain�for�some�time�
afterward��At�this�juncture��only�by�acting�directly�and�painfully��was�he�ﬁnally�able�to�accomplish�
his�process�of�mourning�his�father�s�death��his�
hometown��and�his�farming�situation��

1985년�중국�후남성�융저우�출생��2011년�베이징�

중앙미술학원�조소과를�졸업하고�현재�베이징에�거주��활동하고�

있다��그는�그의�가까운�환경과�주변에서�일어나는�사건들로�

작업하며�주변의�재료를�이용��즉흥적인�작업을�만들어가고�

단편�프로그램�1

Short�Program�1

20

Li Binyuan | China | 2013 | 3min | HD | Color

21미나마타 희생자의 친구들―비디오 다이어리

Friends of Minamata Victims―
Video Diary제국의 교육 제도

The Educational System of an Empire나카야는�비디오가�소통의�효과적인�도구라는�전제를�
소통이�심각하게�실패한�사례에�적용하여�시험해보기로�
한다��작가는�도쿄의�중심��마루노우치에�위치한�
미쓰비시�중공업�사옥��치소�사�社��앞에서�미나마타�
희생자의�지지자들이�농성하는�현장을�녹화했다��
첫날부터�녹화의�효과가�드러난다��매일�아침�시위대는�
미나마타병과�그�희생자들에�대한�진실을��치소�사�
직원들에게�알리고자�전단을�나눠준다��그런데�
나카야는�이러한�장면들을�녹화하면서�카메라가�뒤에�
숨어�있을�때는�직원들이�전단을�무시한다는�것을��
카메라가�바로�앞에�있을�때는�모두가�전단을�받아�
든다는�것을�알게�된다��자신의�행동이�모두�녹화되고�
있다는�걸�알기�때문이다��이로써�카메라가�때로는�
사람들이�행동하도록�강제하는�무기가�될�수�있다는�
점이�분명해진다��자신이�촬영된�모습을�본�시위대의�
진지한�표정은�바로�비디오의�힘��그리고�피드백�과정의�
중요성을�함의하고�있다��<미나마타�희생자의�친구들―비디오�다이어리>는�시위대에게�실제로�보여주었던�
영상을�편집하여�모은�것이다��

Working�under�the�assumption�that�video�would�be�an�eﬀective�communication�tool��Nakaya�decided�to�put�it�to�the�test�during�a�case�of�seriously�
failed�communication��and�she�videotaped�a�sit�in�
demonstration�by�the�supporters�of�the�Minamata�
victims�in�front�of�the�Chisso�Corporation�located�in�the�Mitsubishi�Heavy�Industries�building�in�Tokyo�s�central�Marunouchi�district�
The�eﬀects�of�the�videotaping�were�immediately�
apparent�from�the�ﬁrst�day��Every�morning��the�
protestors�attempted�to�hand�out�ﬂyers�explaining�the�truth�about�Minamata�disease�and�its�victims�
to�the�Chisso�employees�arriving�at�work��Nakaya�
videotaped�these�confrontations�and�found�that�
when�the�camera�was�shooting�them�from�behind��the�employees�would�ignore�the�ﬂyers��However��
when�the�camera�was�facing�them��everyone�took�
a�ﬂyer�because�they�knew�that�their�actions�were�being�recorded��It�was�clear�that�a�camera�can�
become�a�weapon�at�times��forcing�people�to�act�
The�intently�serious�expression�on�the�protestors��
faces�while�watching�themselves�was�telling��It�
revealed�the�power�of�video�and�the�importance�of�
its�feedback�process��Friends of Minamata Victims—
Video Diary is�an�edited�assembly�of�tapes�that�
were�actually�shown�to�the�protesters��이�작품은�아카이브�푸티지와�감독이�직접�촬영한�새�
푸티지를�병치하고�있다��아카이브�푸티지는�미국�
육군성의�헌병�사령관이�민정�훈련�교육에�사용하기�
위해�제작한�교육용�영화《일본의�교육�제도》에서�
발췌된�것이다��당시�미국�전역에는�적국의�사회와�
언어를�가르치기�위한�학교들이�설립된다��이�푸티지는�
보이스오버�내레이션과�함께�일본�제국이�국가적�
방침과�발맞추어�학교뿐만�아니라�일상생활에서도�
일본화를�실현하기�위한�프로그램을�진행했음을�
보여주고�있다��한편��후지이의�영상은�2015년�그가�
레지던시�프로그램에�참여했을�당시에�촬영된�것이다��
워크숍은�전쟁의�기억을�주제로�한국�학생들과�함께�
진행되었다��워크숍에서�학생들은�역사적인�사건에�
대한�아카이브�푸티지를�보고�이를�표현해보았으며��
이어서�푸티지를�보지�못한�또래들에게�이를�전달했다��

This�work�intersperses�archival�footage�with�
new�footage�ﬁlmed�by�Fujii�himself��The�archival�
footage�was�excerpted�from�The Educational System
of Japan��an�instructional�ﬁlm�produced�by�the�
Provost�Marshal�General�of�the�War�Department�of�the�United�States�for�use�in�the�Civil�Aﬀairs�Training�
Schools�that�were�set�up�across�the�country�for�
the�purpose�of�teaching�about�the�societies�and�
languages�of�enemy�countries��
The�footage�was�combined�with�a�voiceover�
narration�to�show�how�the�Empire�of�Japan�
implemented�a�program�to�Japanize�its�subjects�
in�accordance�with�national�policy�‒�not�only�in�
schools�but�also�in�the�realm�of�everyday�life��
Fujii�s�footage��on�the�other�hand��was�shot�in�2015�
during�his�participation�in�the�residency�program��
where�he�organized�a�workshop�with�Korean�
students�about�the�memories�of�war��The�students�
were�shown�archival�footage�of�historical�incidents��
and�then�asked�to�act�out�what�they�had�seen�and�
communicate�it�to�their�peers�who�had�not�viewed�
the�footage��나카야 후지코 | 일본 | 1971�1972 | 21min | SD | B&W나카야 후지코

1933년�일본�삿포로�출생��안개�조각으로�유명한�나카야는�일본�
비디오�아트의�선구자로�여겨지며��특히�정치�지향적�작업으로�
알려져�있다��안개�조각을�플랫폼�삼아�안무가�트리샤�브라운��

멀티미디어�아티스트�빌�비올라�등과�협력하였다���

단편�프로그램�1후지이 히카루 | 한국� 일본 | 2015 | 21min | HD | Color

Fujiko Nakaya | Japan | 1971�1972 | 21min | SD | B&W

Fujiko NAKAYAb��1933�in�Sapporo��Japan��Nakaya�has�long�been�
regarded�as�a�pioneer�of�video�art�in�Japan��Nakaya�
focused�on�politically�oriented�video�art��using�her�fog�
sculptures�as�a�platform�for�collaborations�with�the�
choreographer�Trisha�Brown�and�the�multimedia�artist�Bill�Viola��among�others�

Short�Program�1후지이 히카루

1976년�출생��일본�도쿄에�거주��활동�중이다��시각예술과�

영화�영역에서�일본의�사회와�정치�문제에�관한�비디오�작업을�

해나가고�있다��최근�전시와�프로젝트로는《After�the�Quake��

Thinking�about�Tohoku�III》�도쿄국립근대미술관��2014���

《After�the�Symposium》�도쿄도�정원미술관��2015��등이�
있다�

Hikaru Fujii | South Korea� Japan | 2015 | 21min | HD | Color

Hikaru FUJII �b��1976��Lives�and�works�in�Tokyo��Working�both�in�visual�art�and�cinema�ﬁelds��he�has�been�working�with�various�
media�addressing�social�and�political�situations�in�Japan��
Recent�exhibitions�and�projects�include�
After the Quake: Thinking about Tohoku III��National�
Museum�of�Modern�Art��Tokyo��2014���After the Symposium�Tokyo�Metropolitan�Teien�Musuem�of�Art��2015���etc�

22단편�프로그램�1

Short�Program�123양곤의 손

Hands Around in Yangon탄광 수레

A Cart of Coals�나는�거리나�상점에서�일하는�노동자��친구��지역�
작가�등�주변�사람들의�손동작을�촬영했다��손동작이�
슬픔이나�성공과�같은�것들을�이야기할�수�있을까��
손은�움직이고��일하고��먹고��소통한다��나는�타인의�
손을�통해�많은�이야기를�수집했다���－모우�샛�

�In�this�video��I�recorded�the�hand�movements�of�
people�around�me��from�laborers�working�on�the�streets�and�in�the�markets��to�friends�and�local�
artists��Do�you�think�hand�gestures�can�tell�a�story��
About�sadness��success��and�other�things��There�are�moving�hands��working�hands��eating�hands��
communicating�hands��I�collect�many�stories�about�the�hands�of�others���－Moe�Satt�작가는�어린�시절�한여름�오후에는�항상�큰�비가�
내렸던�것으로�기억한다��비가�그치면�그는�탄광에서�
일하는�누나에게�끼니를�배달해�주었다��갱구를�지날�
때마다�광부들은�항상�그를�얼마간�놀리곤�했다��
탄광에서�빠져�나오면�이들은�웃으며�퇴근했다��몇�
년�전��후난성에�있는�그들의�고향이�많이�개발된다��
그리고�꽤�많은�용기있는�사람들이�소규모�탄광을�
운영하여�부자가�된다��이후�이�소규모�탄광들에서�
자주�사고가�발생하였고�대부분은�문을�닫았다��결국�
뒤를�봐줄�사람을�위해�돈을�많이�쓴�곳만�살아남았다��
거의�대부분의�광부들은�그곳에서�수십�년씩�일한�
사람들이다��그래서�그들의�삶은�거의�탄광에서의�
삶이라고�해도�과언이�아니다��지금�이들�대부분은�
50대�후반이�되었고��사고가�없는�한�몇�년간�더�
일할�수�있다���

In�the�artist�s�memories�of�his�childhood��a�heavy�rain�always�came�in�the�afternoon�of�midsummer��After�the�rain��he�would�deliver�a�meal�to�his�sister�
who�worked�in�the�coal�mine��Every�time�he�went�
by�the�pithead��the�miners�liked�to�tease�and�jest�
him�for�a�while��And�once�the�coal�was�pulled�up��they�left�work�laughing��A�few�years�ago��their�
hometown�in�Hunan�province�had�become�pretty�
well�developed��Quite�a�few�courageous�people�
made�their�fortune�by�raising�money�to�operate�
small�sized�coalmines��Later�on��these�small�
coalmines�frequently�suﬀered�from�accidents�and�
most�of�them�were�closed�down�in�the�end��Those�that�remain�mostly�have�powerful�backers�who�
paid�a�lot�for�their�survival�
The�miners�have�mostly�worked�there�for�decades�and�their�lives�are�almost�all�about�the�coalmines��
Most�of�them�are�in�their�late�ﬁfties�and�can�work�a�
few�more�years�if�no�more�accidents�occur��모우 샛 | 미얀마 | 2012 | 7min | HD | Color이�작품은�몸에�깊이�밴�동작들은�거의�자동적이라는�
점을�부각한다��손은�주인과�별개로�움직이며�스스로가�
중심이�되어�원하는�활동을�해낸다��손동작이�어떤�
문화의�내부에�작동하는�것을�드러내는�열쇠가�될�수�
있을까��어떻게�만지고��놓이느냐에�따라�손의�움직임이�
결정되는�것을�보면��적어도�얼마간�그럴�수�있을�것�
같아�보인다���
�－큐레이터�로저�M��뷰어겔�
모우 샛

1983년�미얀마�출생��양곤에�거주��활동�중이다��주로�퍼포먼스�

Moe Satt | Myanmar | 2012 | 7min | HD | Color리 샤오페이 | 중국 | 2014 | 11min | HD | Color

This�video�emphasizes�the�almost�autonomous�
character�of�the�ingrained�movement�it�follows��
The�hands�are�shown�as�if�independent�of�their�owner�s�mind�and�rather�integral�to�the�activity�they�are�pursuing��Could�hand�movements�ever�be�a�key�to�revealing�the�inner�workings�of�any�given�
culture��It�seems�that�they�might��seeing�as�how�
hand�movements�are�determined��at�least�to�a�
degree��by�the�things�they�touch�and�leave�behind�����
－� Roger�M��Buergel��Curator《비욘드�프레셔》를�설립하고�조직했다��

Moe SATTb��1983�in�Myanmar��Lives�and�works�as�a�visual�and�
performance�artist�and�curator�in�Yangon��He�is�part�of�a�
new�generation�of�Burmese�artists�to�emerge�after�2000�
with�a�diﬀerent�approach�to�conception�and�embodiment��
In�2008��he�founded�and�organized�Beyond�Pressure��an�
international�festival�of�performance�art�in�Myanmar�단편�프로그램�2

Short�Program�2아티스트이자�큐레이터로�활동하며��새로운�세대의�버마인�

아티스트�중�한�명이다��2008년��국제�퍼포먼스아트�페스티벌�

24

리 샤오페이

Li Xiaofei | China | 2014 | 11min | HD | Color중이다��상하이�크릭아트센터��FCAC��젠다이�현대미술관의�

LI Xiaofeib�1973�in�Hunan��Lives�and�works�in�Shanghai�and�New�
York��Li�is�the�Co�Founder�and�Director�of�the�Creek�Art�
Center��Fei�Contemporary�Art�Center��FCAC��Shanghai��and�the�Zendai�Contemporary�Art�Exhibition�Hall�단편�프로그램�2

Short�Program�2

1973년�중국�후난성�출생��현재�상하이와�뉴욕에�거주하며�활동�
공동설립자이자�디렉터이기도�하다

25

인재로상 人在路上창 차오탕 | 대만 | 1974�2003 | 18min | SD | Color<인재로상>에는�대본도�내레이션도�없다��그저�나나�
바스콘셀로스와�랄프�타우너의�음악과�타악�연주��
그리고�시각장애인�여성의�노래와�류트�연주만이�있을�
뿐이다��대위법으로�결합된�길들은�때로는�환생과�
시간에�대해�소통하는�것�같다��출생과�죽음이�영원한�
지구와�같이�주기를�두고�움직이며�사람들은�언제나�길�
위를�걸을�수밖에�없는�것이다���
창 차오탕

1943년�대만�타이페이�출생��1960년대�대만의�보수적인�

사회에서�사회적�리얼리즘과�초현실주의�회화에�영향을�받았다��
그는�자신의�억압을�완화하고�반항적인�에너지를�방출하는�

직접적인�방법으로�카메라를�사용했다��노인의 가치

On The Road

Chang Chao�Tang | Taiwan | 1974�2003 | 18min | SD | Color나카야 후지코� 코바야시 하쿠도� 모리오카 유지 | 일본 | 1973 | 11min | SD | B&W

On the Road�has�neither�a�script�nor�a�narration��
It�only�includes�music�and�percussion�by�Nana�
Vasconcelos�and�Ralph�Towner��as�well�as�
singing�and�lute�music�by�a�blind�woman��The�
counterpoint�and�interweaving�of�these�passages�
in�time�seem�to�communicate�the�transmigration�
of�life�and�the�ﬂow�of�time��Birth�and�death�move�in�a�cycle�like�the�eternal�earth��and�people�can�
only�continuously�walk�along�the�road�

CHANG Chao�Tangb��1943�in�Banqiao�City��Taipei��Taiwan��During�the�1960s��
in�the�conservative�society�of�Taiwan��Chang�Chao�Tang�
was�a�college�student��profoundly�moved�and�inﬂuenced�
by�the�social�realist�works�in�literature�and�surrealist�
painting��He�found�the�camera�a�direct�way�to�relieve�his�
oppression�as�well�as�release�his�rebellious�energy�코바야시 하쿠도
모리오카 유지

코바야시�하쿠도��나카야�후지코와�함께�일본�Experiments�in�Art�and�Technology�E�A�T��의�멤버였다��

Short�Program�2

26

Fujiko Nakaya� Hakudo Kobayashi� Yuji Morioka | Japan | 1973 | 11min | SD
| B&W

Old People's Values�is�a�prototype�video�archive�<노인의�가치>는�랜덤�액세스�컴퓨터�모델을�바탕으로�
based�on�the�model�of�a�random�access�computer��한�프로토타입�기록�영상이다��이�작품은�윗세대의�
It�was�an�attempt�to�collect��store��and�share�the�경험과�지혜를�문화�DNA의�형식으로�모으고��보관하며��
experiences�and�wisdom�of�older�generations�나누고자�한�시도이다��가족�사이에서�지혜는�보통�
as�a�form�of�cultural�DNA��In�families��wisdom�부모에서�자녀나�손주들에게�세대를�걸쳐�전달된다��
is�typically�transmitted�across�generations�from�
parent�to�child�or�grandchild��This�project�suggests�이�프로젝트는�지식을�모두가�임의로�공유할�수�있는�
a�method�of�conveying�wisdom�laterally��as�a�집단�사회자원으로�보고�이를�수평적으로�전달하는�
collective�social�resource�for�everyone�to�share�at�방식을�제안한다��
random�작가들은�퇴직자�시설��문화회관��공공�행사를�방문하여� The�artists�visited�retirement�houses��community�
centers��and�public�events��interviewing�elderly�노인들을�인터뷰하고�영상으로�담았다��인터뷰�중에�
people�through�video��They�were�asked�to�talk�세�가지�구체적인�주제를�다뤘는데��일상생활에�대한�
about�three�speciﬁc�topics��their�wisdom�or�tips�
지혜나�팁��삶에�대한�관점이나�원칙��그리고�미래에�
on�everyday�life��their�outlook�and�life�principles��대한�꿈이었다��노인들은�경쟁적인�현대�사회로부터�
and�their�dreams�for�the�future��The�elderly�live�
outside�of�the�reach�of�competitive��contemporary�유리되어�있으며��그들의�경험을�기꺼이�공유해준다��
society�and�are�willing�to�share�their�experiences��이들의�자발적인�친절이�사회의�위대한�자원이�될�수도�
Their�spontaneous�generosity�can�be�a�great�있다�《73�컴퓨터�아트》라는�전시는�컴퓨터�활용의�
resource�for�society��The�exhibition��Computer Art범위를�넓히고자�동시대�미술가들을�초대했다��그러나�
'73��invited�contemporary�artists�to�participate�in�전시�당시인�1973년에�컴퓨터는�랜덤�액세스를�위하여�
the�expansion�of�computer�applications��In�1973��
설계되지�않았다��이�프로젝트를�위해서�과거의�시스템�� at�the�time�of�the�exhibition��however��computers�
were�not�designed�to�provide�random�access��For�
즉�미리�선택된�테마에�의해서�비디오를�선정하는�
this�project��older�systems�based�on�videos�chosen�방식이�사용되었다��
according�to�pre�selected�themes�were�utilized�
1944년생��1972년�결성된�그룹�Video�Hiroba의�주요�멤버�

단편�프로그램�2

Old People�s Values단편�프로그램�2

Hakudo KOBAYASHIb�1944��He�was�a�central�ﬁgure�in�Video�Hiroba��a�
collective�founded�in�1972��

Yuji MORIOKA
He�was�a�member�of�Experiments�in�Art�and�Technology�
�E�A�T���in�Japan��together�with�Hakudo�Kobayashi�and�
Fujiko�Nakaya��

Short�Program�2

27

미몽

Three Wheels잔향세계 残響世界

Realm of Reverberations한�외로운�밤��툭툭�운전사인�나트는�그의�과거를�
회상하게�하는�한�여성을�만난다��집으로�돌아왔을�
때��그는�아내에게�이사하고�싶다고�고백한다��이러한�
자각은�크메르�루즈�정권까지�거슬러�올라가�결혼에�
대해�말하지�못한�현실까지�드러나게�한다�

On�a�lonely�night��tuk�tuk�driver�Nath�meets�a�
woman�who�reminds�him�of�his�past��When�he�
returns�home��he�confesses�to�his�wife�that�he�
wants�to�move��This�realization�will�help�them�
reveal�unspoken�realities�of�their�marriage�dating�from�the�Khmer�Rouge�regime�르어셩�요양원의�70%가�파괴된�2014년��남아있는�
건물과�MRT�창고�건설�현장이�마치�큰�두�개의�상처�
혹은�상처와�발전에�대한�소망의�상징이�함께�놓인�
모습처럼�보인다��<잔향세계>는�이미�적응된�듯한�
과거의�사건이�과연�실제로�종결되는가의�문제를�네�
가지의�서로�다른�관점��즉��트리�플랜터스�의�오랜�
거주자���키핑�컴퍼니�의�입주인들과�함께�했던�젊은�
여성��대만의��서스펜디드�룸�으로�오기�전에�중국의�
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to�being�a�poet��She�is�a�founding�member�of�Nutong�
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and�public�education��Let’s Love Hong Kong�is�her�feature�
debut��

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문화적��역사적�함의들에�깊이를�더한다��이러한�혐오는�
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중요한�작업에서�개입이라는�행위는�작가의�세미�
누드가�주류�백인��게이�포르노의�장면�위에�나란히�
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속에�퍼져있는�비가시성의�느낌과�게이�아시아�남성이�
욕망의�정치를�어떻게�경험하는지를�묘사한다��
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향한�지각의�전환을�더�집중적으로�다룬다��이들은�
길들여지고�놀림�받는�호주�원주민들의�모습을�담은�
아카이브�푸티지와�자기�표상��사회적�이동성��그리고�
춤을�현대사를�쓰는�매체로서�정당화하고자�하는�
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스킨헤드�그룹은�쿠알라룸푸르의�전원적인�공간에서�
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그리고�그들의�몸에�그려진�다채로운�나비의�외형이�
개입하면서�육감을�더한다��
31

Section 2.

The�short�ﬁlms�in�this�selection�share�the�act�of�intervention��The�artists�and�ﬁlmmakers�behind�the�camera��and�in�the�editing�room��carry�out�interventions�that�expand�the�documentary�genre��
further�accentuating�the�social�and�psychological�
tensions�found�within�each�of�these�social�groups��
and�their�relationship�to�the�wider�society�in�which�
they�are�located��In�some�cases��the�author�even�orchestrates�an�action�within�the�frame��causing�a�shift�to�the�forms�in�which�we�conceive�the�
portrayal�of��real�life���These�orchestrations�do�not�
jeopardize�the�veracity�of�the�societal�struggles�and�anxieties�of�individuals�on�the�screen��on�the�contrary��they�widen�one�s�perception�on�the�
impulses�of�desire�and�eﬀect�that�drive�the�psyche�
of�people�sharing�an�identity��The�curation�of�this�program�is�therefore�not�thematic��It�rather�brings�together�works�that�share�cinematic�forms�
of�social�engagement�that�intervene�homogenous�
forms�representing�the�social�body�throughout�
Asia�and�its�diasporas��and�the�many�identities�and�
struggles�found�there������

In�the�ﬁlmography�of�Anand�Patwardhan��poetry��
music��and�mythology�intervene�the�narrative�to�
deepen�the�cultural�and�historical�unpacking�of�hatred�toward�Muslims�in�India��which�continues�
to�be�the�deﬁning�rhetoric�for�Hindu�nationalism�
in�the�South�Asian�country��In�the�seminal�video�
production�on�identity�politics�by�Richard�Fung��the�act�of�intervening�takes�place�when�the�
artist�s�semi�nude�body�appears�juxtaposed�onto�
scenes�of�mainstream��white��gay�porn��Fung�s�practice�portrays�a�shared�feeling�of�invisibility�and�the�politics�of�desire�within�gay�international�
culture�experienced�by�Asian�gay�men��Shifts�
of�perception�toward�speciﬁc�social�groups�are�
further�explored�in�early�experimental�videos�by�Peter�Kennedy�and�John�Hughes��Their�work�brings�
archival�footage�showing�patronized�and�ridiculed�Aboriginals�in�Australia��together�with�their�own�
footage�of�Aboriginal�communities�claiming�self�
representation��social�mobility��and�vindicating�dance�as�a�medium�for�writing�modern�history��Lastly��the�most�subtle��yet�radical��intervention�
appears�in�a�video�by�Phil�Collins�shot�in�Malaysia��
A�group�of�young�Muslim�skinheads�appear��hanging�out�hedonistically�in�a�bucolic�interior�신의 이름으로

In the Name of God이�영상은�무장�단체인��비슈와�힌두�파리샤드�VHP��가�인도의�최초�무굴�황제인�바바르가�16세기�아요디아에�
지었다고�알려진�모스크를�파괴하고자�한�활동을�
집중적으로�다룬다��VHP에�의하면�이�모스크는�힌두의�
�람�신이�태어난�곳에�축조되었다고�한다��바바르가�
원래�있던��람��신전을�쓸어버린�뒤�만든�것이�지금�서�
있는�사원인�것이다��이들은�동일한�장소에��람�신을�
기리는�새로운�신전을�짓고자�했다��이와�같은�논쟁적인�
이슈는�연이은�정부들로부터�백안시�되었고�이에�따라�
발생한�종교�폭동들로�수천�명의�인명�피해를�낳았다��
결국�1992년�12월�사원은�힌두교도들에�의해�파괴되고�
만다���이에�따른�종교적�폭력은�즉각적으로�인도��
파키스탄��방글라데시�등지로�퍼져�나갔으며�이로�인해�
5천명이�죽고�수천�명이�삶의�터전을�잃는다��이�사건의�
파급효과는�지금까지도�인도�아대륙에�울려�퍼지고�
있다�<신의�이름으로>는�모스크가�파괴되기�이전에�
촬영되었다��힌두�무장세력의�극단적인�행동을�낳은�
원인��신의�이름으로�자행되어�인도를�뒤덮은�종교적�
무관용��그리고�증오에�맞서�싸우고�있는�다양한�신념의�
세속�인도인들의�노력을�살펴본다��

This�ﬁlm�focuses�on�the�campaign�waged�by�the�
militant�Vishwa�Hindu�Parishad��VHP��to�destroy�
a�16th�century�mosque�in�Ayodhya��said�to�have�
been�built�by�Babar��the�ﬁrst�Mughal�Emperor�of�
India��The�VHP�claim�the�mosque�was�built�at�the�birth�site�of�the�Hindu�god�Ram�after�Babar�razed�
an�existing�Ram�temple��They�are�determined�to�build�a�new�temple�to�Ram�at�the�same�site��This�
controversial�issue��which�successive�governments�have�refused�to�resolve��has�led�to�religious�riots�
that�have�cost�thousands�their�lives��culminating�in�the�mosque�s�destruction�by�the�Hindus�
in�December�of�1992��The�resulting�religious�
violence�immediately�spread�throughout�India��
Pakistan��and�Bangladesh��leaving�over�5�000�
dead�and�thousands�homeless��The�repercussions�reverberate�to�this�day�in�the�sub�continent�Filmed�prior�to�the�mosque�s�demolition��In theName of God examines�the�motivations�that�would�
ultimately�lead�to�the�drastic�actions�of�Hindu�
militants��as�well�as�the�eﬀorts�of�secular�Indians�of�all�creeds��to�combat�the�religious�intolerance�and�
hatred�that�seized�India�in�the�name�of�God�아난드 팟와르드한 | 인도 | 1992 | 75min | SD | Colorin�Kuala�Lumpur��Their�immediate�aggressive�
iconography�is�sensualized�by�the�intervening�
appearance�of�colorful�butterﬂies�that�lay�on�the�
bodies�of�these�young�men��who�are�in�fact�anti�
racist�punks�rather�than�tropical�fascists�

Inti GUERRERO
Inti�Guerrero�is�a�curator�based�in�Hong�Kong��He�is�the�
Estrellita�B��Brodsky�Adjunct�Curator�of�Latin�American�
Art�at�Tate�in�London��From�2011�to�2014��he�was�the�
Associate�Artistic�Director�and�Curator�at�TEOR�éTica��an�
independent�not�for�proﬁt�art�space�founded�in�1999�in�
San�José��Costa�Rica�He�has�curated�exhibitions�at�Tate�Modern��London���
Para�Site��Asia�Art�Archive�and�Spring�Workshop��Hong�
Kong���Minsheng�Musuem��Shanghai���FRAC�Lorraine��Metz���Kadist�Foundation��San�Francisco���the�Museum�of�Modern�Art�of�São�Paulo�MAMSP��Sao�Paulo���and�the�
Fondazione�Sandretto�Re�Rebaudengo��Torino��among�other�institutions�in�Latin�America��Europe��and�Asia��His�
texts�have�been�published�in�Afterall��London���Art�Asia�
Paciﬁc��Hong�Kong���Ramona��Buenos�Aires��Manifesta�
Journal��Amsterdam���The�Exhibitionist��Berlin���and�
ArtNexus��Bogotá���He�is�currently�co�curator�of��Aún�Yet��
Still���the�44th�Salón�Nacional�de�Artistas���Pereira��
Colombia��

32

Anand Patwardhan | India | 1992 | 75min | SD | Color33우리는 원숭이가 아니다

We Are Not Your Monkeys

신성한 땅

On Sacred Land�달릿�이라는�단어는�산스크리트어에서�비롯되었다��
본래는�말�그대로��부수어�열다��혹은��찢어서�
벌리다�라는�뜻이다��하지만�그�함의는�19세기를�살았던�혁명가이자�사회개혁가인�마하트마�조타리오�
풀레로�거슬러�올라간다��그는�이�표현을�통해�추방�
당한�사람이나�불가촉천민�가장�낮은�카스트에�속한�
자�을�표현했다��70년대에�들어서야��달릿�팬서�운동�의�
추종자들이�이�단어를�흔히�쓰는�말로�만들었다��
그들은��달릿�이�오랫동안�이어진�억압에�대한�기억을�
표현한다고�보았다��오늘날까지도�이�표현은�인도의�
시위�운동에서�흔히�쓰인다��아난드�팟와르드한의�
작품은�현대�인도의�정치적��종교적�그리고�사회적�
정체성을�다룬다��<우리는�원숭이가�아니다>에서는�
시인인�다야�파와가��람�신과�그의�아내인�시타가�
등장하는�라마야나의�전설을��달릿�의�관점에서�
분석한다��

The�word�dalit�comes�from�Sanskrit��Its�stem�
literally�means��to�break�or�split�open���However��
the�underlying�meaning�mainly�goes�back�to�
the�revolutionary�and�social�reformer�Mahatma�
Jotirao�Phule��who�lived�during�the�19th�century��
He�used�the�term�to�describe�the�outcastes�and�
untouchables��members�of�the�lowest�caste���It�was�
not�until�the�1970s�when�the�followers�of�the�Dalit�
Panther�Movement�made�it�a�common�word��They�saw�dalit�as�an�express�remembrance�of�their�age�
long�oppression��Still�today��the�term�is�popular�
with�Indian�protest�movements��In�his�works��
director�Anand�Patwardhan�examines�the�political��religious��and�social�identity�of�modern�India��In�We
are not Your Monkeys��he�lets�the�poet�Daya�Pawar�
analyze�the�Ramayana�legend��dealing�with�the�God�Ram�and�his�wife�Sita��from�the�perspective�of�the�dalits�이�영상은�1980년대에�펼쳐진�토지권에�대한�논쟁과�
토착민의�자결권�투쟁의�맥락에서��토착성�을�재현하는�
문제에�대해�비평적으로�접근한다���융고라��족이�서부�
호주에�위치한�눈칸바의�탄광을�봉쇄한�사건을�다룬�
올리버�하우즈�감독의�<신성한�영토>�1980���브룸�
지역에서�있었던�학예회�기록�영상�1981��그리고�
토착민들을�묘사한�19세기�아카이브�스튜디오의�기록�
사진과�토착민�작가인�토미�맥크레이가�동일한�시기에�
그린�드로잉�등을�담고�있다��

The�video�critically�engages�representations�of��aboriginality��in�the�context�of�1980s�contestation�
of�land�rights�and�indigenous�self�determination�
struggles��It�includes��among�other�aspects��
footage�from�Howes�s�On Sacred Ground��1980���a�ﬁlm�on�the�Yungngora�people�s�mining�blockade�
in�Noonkanbah��Western�Australia��documentation�
of�a�school�performance�in�Broome��1981���19th�
century�archival�studio�photographs�depicting�Aboriginal�people��and�drawings�of�the�same�
period�by�the�indigenous�artist�Tommy�McCrae��아난드 팟와르드한 | 인도 | 1996 | 5min | SD | Color

Anand Patwardhan | India | 1996 | 5min | SD | Color피터 케네디� 존 휴즈 | 호주 | 1983�84 | 14min | SD | Color피터 케네디

1945년�호주�브리즈번�출생��현재�멜버른에�거주��활동�중이다��
마이크�파와�함께�Inhibodress�콜렉티브로�활동하면서�

1970년대에�시드니에�개념�미술을�소개했다��1970년대�후반�

그의�실천은�실제�정치적�사건들을�탐구하고�질문하면서�정치�
참여와�활동�쪽으로�더�기울었다��존 휴즈다큐멘터리�분야에서�작가��감독�및�프로듀서로�활동하며�주로�

호주의�예술��문화정치�및�역사에�관해�작업한다��그의�작업은�

사회적�참여로�시작해�창조적인�탐구로�이어진다���아난드 팟와르드한

1950년�인도�뭄바이�출생��미국�유학�중이던�1970년부터�72년�사이에�베트남전�반대�운동에�참여했고��인도에�돌아온�후에는�
자유와�민주적�권리��도시�빈민의�주거권�그리고�공동체의�
화합을�위한�운동에�동참해왔다��

Peter Kennedy� John Hughes | Australia | 1983�84 | 14min | SD | ColorPeter KENNEDY �b��1945�in�Brisbane��Lives�and�works�in�Melbourne��
He�is�with�Mike�Parr�under�the�Inhibodress�collective��
introduced�conceptual�art�to�Sydney�in�the�1970s��In�the�late�1970s�his�practice�became�more�politically�engaged�
and�activist�in�nature��exploring�and�interrogating�actual�political�events�

John HUGHESAs�a�writer��director�and�producer�mainly�in�creative�
documentary��John�Hughes��work�is�usually�Australian�in�orientation��examining�art��cultural�politics�and�history��
The�work�begins�with�engagement�in�the�social�world��
and�is�driven�by�creative�exploration�

Anand PATWARDHAN
b��1950�in�Mumbai��Anand�has�been�making�political�
documentaries�for�over�four�decades�pursuing�diverse�and�controversial�issues�that�are�at�the�crux�of�social�and�political�life�in�India��Anand�has�been�an�activist�ever�since�he�was�a�student�―�having�participated�in�the�anti�Vietnam�War�movement��Since�then�he�has�been�active�
in�movements�for�housing�rights�of�the�urban�poor��for�
communal�harmony�
34단편�프로그램�3

Short�Program�335스타일의 의미The Meaning Of Style차이니즈 캐릭터

말레이시아�페낭주의�스킨헤드족과�함께�촬영한�이�
작업에서는�기호와�신호�그리고�나비에�대한�사색적인�
판타지가�펼쳐진다��나아가�이�작품은�영국의�식민�
역사와�동남아시아�대중문화의�관계에�대한�날카로운�
통찰을�제시한다��감독은�이에�대해�호세�다�실바의�
말을�빌려�이렇게�말했다���알�게�뭐야��아름답잖아��

Shot�using�Malaysian�skinheads�in�Penang��this�is�a�
meditative�fantasy�on�signs��signals��and�butterﬂies��
leading�to�pointed�reﬂections�on��the�relationship�
between�British�colonial�history�and�popular�
culture�in�South�East�Asia���says�its�maker��and�to�
quote�Jose�Da�Silva���Fuck��it�s�beautiful��<차이니즈�캐릭터>는�아시아의�게이�남성과�백인�게이�
포르노의�모호한�관계를�살핀다��이�작품은�연출된�
인터뷰��고전적인�조�게이지의�포르노�장면에�대한�
유머러스한�재연��그리고�공상적인�보이스오버를�통해�
게이의�욕망에�대해�관객이�갖고�있는�좁은�정의에�
의문을�제기하도록�한다���음식과�성애는�인간의�
본성�이라고�한�공자를�인용하며�<차이니즈�캐릭터>는�
황허강의�근원을�찾아�떠나는�중국의�전설과�게이�
포르노를�통해�쾌락을�찾으려는�동시대의�아시아계�
캐나다인�게이를�평행하게�그려낸다��이�때�더�큰�
쾌락과�재간을�공상하고�경험하게�하는�포르노의�
긍정적인�면모를�더�발전시켜��섹슈얼한�모험의�절정의�
순간에�개인적인�기술들이�드러나고�또�활용된다���
30년이�지난�지금도�펑의�재현은�주류�게이�문화에서�
이미지를�소비하고�욕망을�구성하는�과정에서�작동하는�
인종주의를�다룰�때�여전히�유효하다��필 콜린스 | 싱가포르� 말레이시아 | 2011 | 5min | HD | Color필 콜린스1970년�영국�런콘�출생��현재�베를린에�거주��활동�중이다��그의�

가장�잘�알려진�작품은�청소년이�등장하는�비디오�작업이다��
2006년�터너상�후보에�올랐을�때�테이트�미술관은��그는�

다양한�사회적�그룹과�연관된�사진��비디오�설치�작업을�하며�

사람들이�자신의�개성을�드러내도록�섬세하고�사려�깊게�

격려하는�촉매�역할을�한다�고�언급했다�

Phil Collins | Singapore� Malaysia | 2011 | 5min | HD | Color리차드 펑 | 캐나다 | 1986 | 21min | SD | Color

Phil COLLINSb��1970�in�Runcorn��England��Lives�and�works�in�Berlin��His�best�known�works�are�video�art��often�featuring�
teenagers��Nominated�for�the�Turner�Prize�in�2006��The�
Tate�Gallery�describes�his�work�as��engaging�photographic�and�video�installations�involving�diverse�social�groups��
Acting�as�a�catalyst��he�encourages�people�to�reveal�their�
individuality��making�the�personal�public�with�sensitivity�and�generosity���리차드 펑단편�프로그램�3

Short�Program�3작품은�아시아�남자�동성애자들의�역할에서부터�식민주의��
이민��인종차별��동성애�혐오��그리고�자신의�가족�역사를�

36

Chinese Characters�examines�the�ambiguous�
relationship�between�gay�Asian�men�and�white�gay�porn��Through�fantasy�voice�overs��staged�interviews��and�humorous�re�enactments�of�
scenes�from�Joe�Gage�porn�classics��the�tape�forces�viewers�to�question�their�own�narrow�deﬁnitions�of�what�constitutes�gay�desire��Quoting�Confucius��that��food�and�sex�are�human�nature���Chinese�Characters�builds�a�parallel�between�the�
Chinese�legend�about�the�search�for�the�source�
of�the�Yellow�River�and�contemporary�Asian�Canadian�gay�men�s�search�for�pleasure�through�their�relationship�to�gay�pornography��Advancing�the�positive�value�of�pornography�as�a�way�to�
help�fantasize�and�experience�greater�sexual�
pleasure�and�ingenuity��personal�techniques�are�
demonstrated�and�deployed�in�a�High�Noon�dream�
of�sexual�adventure��Three�decades�later��Fung�s�
representation�is�still�pertinent�to�the�question�of�racism�within�the�consumption�of�images�and�the�constructs�of�desire�in�mainstream�gay�culture�아우르는�다양하고�도전적인�주제를�다룬다��

비디오�아티스트��작가��이론가��그리고�교육자이다��그의�

Short�Program�3

Richard Fung | Canada | 1986 | 21min | SD | Color

Richard FUNG
b��1954�in�Trinidad��Richard�Fung�is�a�Toronto�
based�video�artist��writer��theorist�and�educator��His�
work�comprises�of�a�series�of�challenging�videos�on�
subjects�ranging�from�the�role�of�the�Asian�male�in�gay�pornography�to�colonialism��immigration��racism��
homophobia��AIDS�and�his�own�family�history��His�tapes��
which�include�My Mother’s Place��1990���Sea in the Blood��2000��and�Uncomfortable �2005���have�been�widely�
screened�and�collected�internationally�

1954년�트리니다드�출생��리차드�펑은�토론토에서�활동하는�

단편�프로그램�3

Chinese Characters37섹션 3.

Section 3.

�리얼리티의�붕괴에�대한�수사는�리얼리티를�무너뜨려�
그로부터�이익을�취하고자�하는�사람들에게만�도움이�
될�뿐이다��그러므로�전위적인�다큐멘터리에서는�
관찰의�생존력에�대한�철저한�회복이�필요하다��
「리얼리티�기반의�공동체」�
�에리카�발섬��『� 이플럭스�저널�#83』��2017년�6월�

�The rhetoric of a collapse of reality only serves those
who seek to further and benefit from it, and there
must therefore be a thorough rehabilitation of theviability of observation in vanguard documentaries.��저우 신저우�신은�현재�홍콩을�기반으로�활동하는�연구자이자�필자��
큐레이터이다��그는�뉴욕�앤솔러지�필름아카이브��보스턴의�
카펜터�시각예술센터와�ICA��브루클린의�유니언닥스��

중국�선전의�OCT�Loft��뉴욕�퍼포밍�개러지�등에서�공공�

�The�Reality�based�Community���Erika�Balsom��
e-flux journal #83��June�2017��

프로그램과�영화�시리즈를�기획했다��저우는�최근�보스턴�
ICA에서의《Monsoon��Prayers��New�Routes��Urban�
Islam�Across�the�Indian�Ocean》과�상하이�META�

최근�영화와�현대미술�사이에�있는�중국�작품들에�
프로젝트�스페이스에서의《Ode�to�Infrastructure》등과�
대해�진보적이고�독립적인�영화제들의�폐지와�극심한�
같은�프로젝트를�진행하였다��또한『아트�포럼』�『브루클린�
레일』�『필름�코멘트』와�같은�국제적인�잡지와
정부�통제의�결과로�인해�영화적�대상을�미술과�전시의�
《사회�공장》이란�타이틀로�개최된�제10회�상하이�비엔날레�
맥락으로�다시�전환해야만�하는�정치적인�시급성에서�
전시회의�카탈로그�등에�글을�게재하였다��그는�뉴욕대학교에서�
비롯되었다고들�한다��중국의�상황에�비춰볼�때��
영화학�석사학위를�받았고��현재�홍콩�폴리테크닉�대학교�
독립영화�혹은�독립�다큐멘터리란�한때�국가에�대한�
중국문화학부의�연구원이다�
상징적�저항으로�최전선에�섰으며��프로파간다�등에�
맞서�진실을�되찾으려는�투사였으나�이제는�정처�없이�
떠도는�난민�혹은�문자�그대로�백지처럼�주변화되었다���
정치적�차원과�나란히�놓고�보면��그러한�작품들에�
담긴�개념적이고�미학적인�진보주의는�사실성에�대한�
양가적이고�반성적인�매개를�제공한다��영화학자�
에리카�발섬은�최근『이플럭스�저널』에�기고한�글에서�
�이러한�매개에�대한�눈에�띄는�사례는�실제성에�대한�
그들의�주장을�약화시키기보다는�강화시키는��구조에�
대한�다양한�주장들에서�분명히�확인할�수�있다�고�
언급한�바�있다������

It�has�been�said�that�recent�works�between�cinema�and�contemporary�art�in�China�have�come�out�of�a�political�urgency�to�redirect�cinematic�objects�
back�into�the�art�exhibition�context��largely�as�a�result�of�the�disappearance�of�liberal�and�or�
independent�ﬁlm�festivals�and�a�stronger�state�
control��In�the�Chinese�context��independent�
cinema��or�documentaries��once�at�the�threshold�of�the�frontline�as�a�symbolic�resistance�to�the�state��as�well�as�a�champion�for�reclaiming�reality��against�
propaganda��etc����has�been�actively�marginalized��
like�a�refugee�left�in�limbo��or�literally��in�a�white�
box��

XIn ZHOU
Xin�Zhou�is�a�researcher��writer��and�curator�currently�
based�in�Hong�Kong��He�has�curated�public�programs�
and�various�ﬁlm�series�including�at�the�Anthology�Film�Archives��NYC���Carpenter�Center�for�the�Visual�Arts��Boston���Institute�of�Contemporary�Art��Boston���
UnionDocs�Center�for�Documentary�Art��Brooklyn���OCT�
Loft��Shenzhen���and�the�Performing�Garage��NYC���His�
recent�projects�include�Monsoon, Prayers, New Routes:
Urban Islam Across the Indian Ocean�at�the�Institute�
of�Contemporary�Art�in��and�Ode to Infrastructure�at�the�META�Project�Space�in�Shanghai��His�writing�has�
appeared�in�Artforum, The Brooklyn Rail, Film Comment,
and Social Factory: 10th�Shanghai�Biennale�exhibition�
catalogue��among�other�publications��He�has�a�MA�in�
cinema�studies�from�New�York�University��and�is�currently�
a�research�associate�in�the�Department�of�Chinese�
Culture�at�Hong�Kong�Polytechnic�University�http���zhouxin�coIn�parallel�to�the�political�dimension��the�conceptual�and�aesthetic�progressivism�embedded�
in�such�works�oﬀers�an�ambivalent�and�reﬂective�
mediation�of�the�facticity��to�echo�ﬁlm�scholar�
Erika�Balsom�s�recent�text�in�e-flux journal���an�
obtrusive�acknowledgement�of�mediation�is�
discernible�in�strong�yet�varied�assertions�of�
structure�that�intensify��rather�than�erode��their�
claims�on�actuality��

The�feature�ﬁlms��by�Chen�Zhou��Wang�Bing��and�
Zhu�Shengzhu��that�I�have�chosen�to�present�at�the�2nd Asian Film and Video Art Forum�are�a�glimpse�
into�what�has�come�out�of�this�impulse��Meanwhile��to�deconstruct�its�self�aware�sinocentrism��what�
follows�is�a�shorts�program�that�includes�tales�from�a�CIA�intelligence�bureau�along�the�Thai�Myanmar�border��and�a�1978�capitalist�critique�of�the�intellectual�youth�in�Hong�Kong��제2회�아시아�필름앤비디오아트�포럼에서�소개하게�
된�천�저우��왕�빙��주�셩저의�장편영화는�모두�이�
리얼리티�충동에서�비롯된�것들임을�엿볼�수�있게�한다��
한편��그�뒤를�잇는�프로그램은�자기중심적�중화사상을�
해체하는�작품들로��태국�미얀마의�국경에�위치한�CIA�정보국의�이야기�<폐허정보국>과�1978년�홍콩의�젊은�
지식인들에�대한�자본주의적�비평을�담은�단편영화�
<홍콩의�젊은�지식인들에게�보내는�편지>�등으로�
이루어져�있다���

3839

15시간 15小时

15 Hours모방생활 模仿生活Life Imitation이�작품은�약�3만�명의�이주노동자와�1만�8천개의�소규모�생산�라인이�집약된�의복�가공�시설에서�
촬영되었다��이곳에서�노동자들은�매일�오전�8시에�근무를�시작해�11시부터�12시까지�소고기와�밥으로�
점심�식사를�한�뒤�12시부터�5시까지�일을�하고�저녁을�
먹은�후�다시�밤�11시까지�일을�한다��이들은�주로�
토요일과�일요일에도�일한다��급여는�도급으로�받는다��
모든�노동자들은�마치�기계처럼�전속력으로�일한다��
이�작품은�오전�8시부터�한�노동자�그룹을�추적하기�
시작해서�일이�끝나는�밤까지�하루�동안�이들의�삶과�
일을�충실히�기록하고�있다��

The�ﬁlm�is�shot�in�a�centralized�garment�processing�
facility�consisting�of�18�000�small�production�units�employing�a�total�of�around�300�000�migrant�
workers��They�start�work�every�day�at�8�am��break�from�11�to�12�for�a�lunch�of�beef�and�rice��then�
work�from�12�to�5��and�again�after�dinner�until�
11�pm��They�also�usually�work�on�Saturdays�and�
Sundays��Pay�is�on�a�piecework�basis��Every�worker��
like�every�machine��works�at�top�speed��We�started�
to�shoot�before�8�am�and�followed�one�group�of�
workers�until�they�clock�oﬀ�at�night��faithfully�
recording�their�life�and�work�throughout�this�one�
day�����

이�작품은�실제�삶과�게임의�가상현실을�병치한다��
게임�속에서�한�여성�킬러는�어두운�밤�LA의�길거리를�
거닌다��경찰�사이렌이�사방에�울려�퍼진다��사람들이�
길거리에�드러누워�있다����죽은�것일�수도��자는�
것일�수도�있다��현실에서는�한�여성이�애정�생활과�
사회적인�역할�때문에�겪는�어려움과�우울증에�대해�
소셜미디어로�채팅을�한다��이때�여성의�정신장애�
증상이�드러난다��우리는�상하이�청년들의�서로�다른�
삶의�에피소드들도�볼�수�있다��이를�통해�젊은이들이�
대도시에서�사회적인�역할을�위해�어떤�수행을�
해내는지��편재하는�스크린과�새로운�기술��과잉�매개된�
세계를�어떻게�다루고�있는지��어떻게�타인과�소통하며�
동시에�고독�속에�사는지�그리고�시간과�우리가�형성한�
시공간의�구성을�어떻게�경험하고�있는지가�드러난다��
가상�공간��꿈의�공간��일상�공간��도시�공간��몸의�공간��
핸드폰의�공간��사회적�공간����
이�젊은이들은�서로�다른�공간�속에서�길을�잃었거나�
아니면�그들의�리얼리티�안�각자의�레이어�속에�
존재하고�있는지도�모르겠다��

This�ﬁlm�parallels�real�life�with�a�virtual�game��In�
the�game��a�female�killer�wanders�the�streets�of�
Los�Angeles�on�a�dark�night��Police�sirens�wail�
all�around��There�are�people�lying�in�the�streets����possibly�dead��possibly�asleep��In�real�life��a�
woman�expresses�her�suﬀering�and�depression�
over�her�love�life��the�roles�she�plays�in�social�life�using�a�social�media�chat��revealing�the�symptoms�
of�a�mental�disorder��We�also�see�diﬀerent�episodes�
of�young�people�s�lives�in�Shanghai��and�how�they�
give�performances�to�try�and�ﬁll�their�social�roles�
in�this�big�city��how�they�deal�with�ubiquitous�
screens��new�technologies��and�a�hyper�mediated�
world��how�they�communicate�with�others��how�
they�live�in�solitude��and�how�they�experience�the�
space�time�construction�created�by�our�time�and�
ourselves��Virtual�space��dream�space��daily�space��urban�space��bodily�space��cellphone�space��social�
space���these�young�people�get�lost�in�diﬀerent�
spaces��or�maybe�they�exist�in�each�layer�of�their�
reality��왕 빙 | 중국� 프랑스� 독일 | 2016 | 950min | HD | Color왕빙

1967년�중국�산시성�시안�출생��사진과�영화를�전공했다��

1999년부터�독립영화�작업을�시작해��<철서구>�2003�로�데뷔했으며��대표작으로�<중국�여인의�연대기>�2007���<원유>�2008���<이름없는�남자>�2009���<바람과�모래>�2010��
등이�있다��제70회�로카르노�국제영화제에서�

<미세스�팡>�2017�으로�황금표범상을�받았다��

Wang Bing | China� France� Germany | 2016 | 950min | HD | Color천 저우 | 중국 | 2016 | 82min | HD | Color

WANG Bingb�1967�in�Xi�an��Shannxi�Province��China��Graduated�from�Film�Academy�Beijing��Photography�department�
in�1996��His�debut�as�a�director�came�with�Tie Xi Qu :West of the Tracks��2003���a�nine�hour�documentary�in�
three�parts�entitled�Rust, Remnants and�Rails��He�makes�
installations�as�well��such�as�Crude Oil��2008���Recipient�of�the�2017�EYE�Art�&�Film�Prize��Amsterdam�and�his�recent�
documentary�Mrs. Fang�won�the�Golden�Leopard�award�
at�the�70th�Locarno�Film�Festival�천 저우1987년�중국�저장성�출생��상하이를�기반으로�활동한다��

천은�필름과�비디오에�내재된�모순에�매료되어��일관성�없는�

이야기를�이루는�이미지들�사이의�불일치를�드러낸다��그의�첫�
장편�<모방생활>은�CPH�DOX에서�뉴�비전�상을�수상했다�

40

Chen Zhou | China | 2016 | 82min | HD | Color

CHEN Zhoub��1987�in�Zhejiang��Lives�and�works�in�Shanghai�as�an�
artist�and�ﬁlmmaker��His�practice�encompasses�painting��
print��sculpture�and�installation��but�primarily�he�focuses�
on�video��Chen�is�fascinated�by�contradictions�inherent�to�ﬁlm�and�video�and�frequently�stages�incongruous�
relationships�between�images�that�create�a�disjointed�
narrative��His�ﬁrst�feature�Life Imitation�has�been�awarded�
by�New��Vision�Award�in�the�CPH�DOX�ﬁlm�festival��41새로운 해 又一年

Another Year무제 �아이모 카메라�Untitled �Eyemo Rolls�이�작품은�14개월에�걸친�이주노동자�가족의�열�번의�
식사를�담았다��식사는�13개의�정적인�롱테이크를�통해�
실시간으로�전개되고��어떻게�일상적인�것이�시간의�
흐름에�따라�신비롭고�아름답게�보일�수�있는지를�
강조한다��극적이기도�하고�사소하기도�한�임의의�
사건들은�서로�이어지면서�의미를�부여받는다��
이�작품은�가족�삼대�三代�의�기쁨��불만��한�해�동안�
경험한�변화와�그들이�바꿀�수�없었던�것들을�놀라운�
디테일과�함께�제시하고�분석한다��시골�지역에�있는�
조상들의�고향을�떠나�더�나은�삶을�위해�도시로�왔지만�
여전히�도시�사회의�변두리에�갇혀버린�이주노동자의�
삶을�살피면서�중국의�경제�발전과�대규모�도시화에�
대한�묵상을�유도한다�

The�ﬁlm�captures�13�dinners�of�the�family�of�a�
migrant�worker�over�the�course�of�14�months��The�
meals�unfold�in�real�time�through�13�static��long�
takes��highlighting�how�the�mundane�can�appear�
mysterious�and�beautiful�with�the�passage�of�time��
A�series�of�random�occurrences��some�dramatic�and�some�trivial��are�all�given�meaning�by�their�
proximity�to�each�other��The�joys�and�frustrations�
of�the�three�generation�family��as�well�as�the�changes�that�they�experience�over�the�course�of�the�year�and�the�things�they�cannot�change��are�
presented�and�analyzed�with�remarkable�detail��
Through�examining�the�lives�of�migrant�workers��
who�left�their�ancestral�homeland�in�rural�areas�to�seek�a�better�life�in�cities�but�remain�trapped�
at�the�margins�of�urban�society��the�ﬁlm�aims�to�
craft�a�meditation�on�China�s�economic�boom�and�
massive�urbanization�나는�2011년부터�여러�나라를�여행하기�시작했고��여행하면서�

In�2011��I�began�travelling�with�a�Bell&Howell�
Eyemo�35�mm�ﬁlm�camera��shooting�in�diﬀerent�
countries�where�I�had�lived�for�a�time��More�and�
more��my�memories�and�experiences�of�works�is�
being�colored�by�the�places�and�people�with�whom�
I�have�encountered��Untitled (Eyemo rolls)�is�an�
ongoing�project�exploring�the�temporary�linkages�
between�diﬀerent�places��times��and�people��
inviting�connections�and�blurring�boundaries�
between�disparate�territories��The�project�is�a�way�
to�think�about�entanglement�and�the�cinema�as�a�
locality�between�places��The�project�is�being�built�
from�short�camera�rolls�ranging�from�40�seconds�
in�length�to�1�min�and�20�seconds��These�camera�
rolls�ﬁt�onto�a�100�ft�daylight�spool�of�the�Eyemo�
camera��Between�December�2011�and�January�2017��I�shot�128�rolls�for�this�project��However��
these�rolls�were�designed�only�to�be�shown�
through�dialogue�along�with�works�drawn�from�places�where�I�have�lived�interspersed�with�other�selected�rolls�from�this�project��Each�work�is�drawn�
from�a�particular�geography�but�also�blurs�the�line�between�them��－George�Clark�주 셩저 | 중국 | 2016 | 181min | DCP | Color주 셩저 �

1987년�중국�출생��사진작가이자�프로듀서��촬영감독으로�
몇�편의�영화에�참여했으며�양�쩡판과�함께�제작사�Burn�

The�Film을�만들었다��<아웃�오브�포커스>�2014�는�장편�

데뷔작이며��<새로운�해>�2016�는�두�번째�장편�다큐멘터리다��

Zhu Shengze | China | 2016 | 181min | DCP | Color조지 클라크 | 뉴질랜드� 홍콩� 멕시코� 필리핀� 타이완� 태국� 미국 | 2011�진행중 |35mm | Color | 무성ZHU Shengzeb��1987�in�China��She�is�initially�a�photographer�and�has�
served�as�producer�and�cinematographer�for�several�ﬁlms��She�co�founded�Burn�The�Film�in�2010�with�
Zhengfan�Yang��Out of Focus��2014��is�her�directorial�debut�
and�Another Year��2016��is�her�second�feature�ﬁlm���머문�곳에서�벨앤하월사의�아이모�35mm�필름카메라로�작품을�
촬영해왔다��촬영된�작품들에�대한�내�기억과�경험들은�점점�더�

내가�방문한�곳과�내가�만난�사람들의�색채를�띠어간다��<무제��아이모�카메라�>는�여전히�진행�중인�프로젝트로�다른�장소와�

시간��사람들의�일시적�결합을�탐구하고�그것들의�연관성을�

찾고��이질적인�지역들�사이의�경계를�희미하게�하는�작업이다��

이�프로젝트는�장소들�사이의�로컬리티로써의�영화란�무엇이며�

서로�얽힘이란�무엇인지를�생각하는�방법이기도�하다��그리고�
이�프로젝트는�40초부터�1분�20초�길이의�짧은�필름�롤들로�
제작되고�있는데��이�필름은�아이모�카메라의�100ft�주광�장전식�스풀에�딱�맞다��나는�2011년�12월부터�2017년�

1월까지�이�프로젝트를�진행하며�128개의�롤을�사용하였다��

하지만�이러한�롤들은�내가�머물렀던�장소에서�촬영한�작품들과�

함께�대화를�통해서만�보이도록�의도되었고�다른�종류의�롤들도�

섞어�편집했다��각�작품은�특정�지역에서�만들어졌지만�그러한�
지역�간의�경계를�희미하게�만든다��－조지�클라크조지 클라크

1982년�영국�출생��아티스트이자��큐레이터이며�작가이다���

클라크의�작업과�큐레토리얼�실천은�필름에�특히�중점을�두며��

이미지의�역사�그리고�이미지들이�어떻게�문화와�기술�그리고�
사회�정치적�조건에�영향을�받는지�탐구한다��작품으로는�

<A�Distant�Echo>��<On�The�Planters�Art>��
<Sea�of�Clouds>�등이�있다��

George Clark | Aotearoa New Zealand� Hong Kong� Mexico� Philippines�
Taiwan� Thailand� USA | 2011 ‒ ongoing | 35mm | Color | Silent

George CLARKb��1982�in�United�Kingdom��He�is�an�artist��curator��and�
writer��His�work�bridges�art�and�curatorial�practice�with�a�particular�focus�on�ﬁlm��exploring�the�history�of�images�
and�how�they�are�governed�by�culture�and�technology�
as�well�as�social�and�political�conditions��Recent�projects�
include�A Distant Echo��On The Planters Art�and�Sea of
Clouds�상영 리스트 Screening List

Eyemo�Rolls�#56��#86�|�USA��Taiwan�|�2min�20sec
Eyemo�Rolls�#81�84�|�Philippines�|�4min�20sec
Eyemo�Rolls�#87�91�|�Taiwan�|�4min�30sec
Eyemo�Rolls�#1��#3�|�USA�|�2min�40sec

Eyemo�Rolls�#16�17��#74��#15�|�Hong�Kong�|�3min�30sec

42단편�프로그램�4

Short�Program�443크리스 프로젝트 I� 마리아� 주석 광산�향신료� 그리고 호랑이의 끝이 없는 이야기
克里斯計劃I：瑪利亞、錫礦、香料與虎Kris Project I� The Never Ending Taleof Maria� Tin Mine� Spices and theHarimau전설적인�가수�그레이스�창�거�란�의�흥겨운�노래�
�하나의�가족이�된�세계�는�<크리스�프로젝트�I>�의�
전주곡이다��작가는��멩케랑�프로젝트�의�갈래들을�
따라가며�상상적인�필름�스튜디오를�작품의�기반으로�
삼았다��이를�통해�말레이시아와�이웃�나라들의�
�문화적�주체성�에�대해�상상하고��탐구하고��살펴보고��
탐험하면서�1950�1960년대의�아시아�및�말레이시아의�
영화�산업�MP&GI��카싸이�그리고�쇼브라더스�등�과�
냉전의�역사�사이의�미묘한�관계를�포착한다��이�작품은�
�영화�를�방법으로�활용하여�다양한�시공간의�영화�
이미지를�병치하고�이로써�타자에�대한�낯선�서사들을�
도입하여�단선적인�역사적�서사에서�벗어나�역사적�
기억의�가장자리에�닿고자�한다��<크리스�프로젝트�I>�
는�인도의�서사시��라마야나�를�비롯한�다수의�전승된�
이야기들을�해체한다��나아가�사운드와�이미지를�
분리하고�시간과�공간을�뒤섞으며��감독�라비�이�모은�
문서와�이미지까지�덧붙여��유사�영화�를�만들어낸다��
이를�통해�관객들은�이미지들에�대한�의식을�스스로가�
구축하고�역사에�대한�개인적인�독해를�도모한다��

A�joyous�song�by�the�iconic�singer�Grace�Chang��Ge�Lan���The World as One Family��serves�as�a�
prelude�to Kris Project I��Continuing�on�with�the�
threads�in�the�Mengkerang Project�and�using�an�imaginary�ﬁlm�studio�as�it�s�base��the�artist�continues�to�imagine��explore��examine��and�
explore�the�issues�of��cultural�subjectivity��of�
Malaysia�and�its�neighboring�countries��In�so�
doing��it�brings�out�the�subtle�connections�between�the�1950s�and�1960s�Asian�Malaysian�ﬁlm�industries��such�as�MP&GI��Cathay��and�
the�Shaw�Brothers��and�the�history�of�the�Cold�
War��Using��ﬁlm��as�a�method��it�juxtaposes�ﬁlm�
images�from�various�times�and�places��attempting�to�escape�from�linear�historical�narratives��and�
arrive�at�the�margins�of�historical�memories�by�means�of�estranging�narratives�about�the�other��
Kris Project I�deconstructs�the�narratives�of�Indian�
epic�Ramayana�along�with�many�other�folklores��It�
creates�a��pseudo�ﬁlm��by�separating�sound�and�
images��displacing�time�and�space��and�adding�found�documents�and�images�collected�by�the�
director��Ravi���thereby�allowing�viewers�to�build�an�awareness�of�images�on�their�own�and�to�seek�
out�personal�readings�of�history��아오 싸오이 | 말레이시아 | 2016 | 15min | HD | Color－『이야기하기��지역성과�서사들』프로그램북에서�발췌�아오 싸오이

1978년�말레이시아�출생��타이페이에�거주��활동�중이다��주로�

비디오와�개념미술��설치미술을�포함한�하이브리드�형식을�통해�

무빙�이미지의�생산이�역사��정치��권력에�관한�더�큰�질문과�

어떻게�연결되는지�확장하고�또�탐색한다��

단편�프로그램�4폐허정보국 廢墟情報局

Ruins of the Intelligence Bureau<폐허정보국>은�역사적인�장소인�화이�모�마을에서�
촬영되었다��정보국의�본래�건물은�이제�더�이상�
존재하지�않지만�그�터는�태국�군대의�관리하에�
있다��작가는�아직�근처에�살고�있는�정보국�장교들을�
초대하여�촬영에�참여하도록�하고�정보국�터를�
태국�전통인형극을�위한�무대로�탈바꿈한다��영상의�
내레이터는�화이�모�추�치앙�하우스의�책임자로��
정보국에서�39년간�근무했다��내레이션을�녹음한�과정�
또한�영상에�그대로�드러난다��

Ruins of the Intelligence Bureau�was�ﬁlmed�at�a�
historical�site�in�Huai�Mo�Village��The�original�
building�of�the�Intelligence�Bureau�no�longer�exists��
yet�the�foundation�slab��now�governed�by�the�
Thai�army��still�remains��The�artist�invited�former�
intelligence�oﬃcers��who�still�live�in�this�area��to�
participate�in�the�ﬁlming��The�foundation�slab�was�
turned�into�a�stage�for�a�traditional�Thai�puppet�show��The�narrator�in�this�video�is�the�head�of�the�Huai�Mo�Tzu�Chiang�House�who�served�as�an�
intelligence�oﬃcer�for�thirty�nine�years��The�video�
also�reveals�the�process�of�recording�narration�쉬 지아웨이 | 프랑스 | 2015 | 14min | HD | Color

Au Sow�Yee | Malaysia | 2016 | 15min | HD | Color쉬 지아웨이

Hsu Chia�Wei | France | 2015 | 14min | HD | Color발굴한�다음��신화와�현실��역사적�기록�그리고�허구적�전개를�

HSU Chia�Wei
b��1983�in�Taichung��Taiwan��Hsu�is�an�artist��ﬁlmmaker��and�curator�whose�work�merges�the�language�of�
contemporary�art�and�ﬁlm��In�his�practice��Hsu�unearths�
histories�of�the�Cold�War�in�Asia�buried�in�precise�
geographical�locations�and�brings�them�back�to�life�
through�narrative�and�visual�sequences�that�blend�
myth�and�reality��historical�documentation�and�ﬁctional�developments��단편�프로그램�4

Short�Program�4

1983년�대만�타이중�출생��쉬는�현대미술과�영화의�언어를�

병합하는�작가이자�영화감독��큐레이터이다��작업을�통해�그는�

특정한�지리학적�위치에�묻혀�있는�아시아�냉전�시대의�역사를�
혼합한�내러티브와�시각적�시퀀스를�통해�되살린다��

�excerpted�from�the�program�book�of�Tell Me a Story: Locality andNarratives�at�Shanghai�Rockbund�Art�Museum��co�curated�by�Amy�
Cheng�and�Hsieh�Feng�Rong�AU Sow�Yeeb��1978�in�Malaysia��Lives�and�works�in�Taipei�and�Kuala�Lumpur��Through�hybrid�forms�that�primarily�involve�
videos��conceptual�and�installation�art��Au�Sow�Yee�s�
works�explore�and�expand�on�how�the�moving�image�
relates�with�the�production�of�the�moving�image�as�well�as�larger�questions�of�history��politics��and�power��

Short�Program�4

44

45

오후의 무도회 下午场

An Afternoon Ball오프 테이크스 正片之外Oﬀ Takes<오후의�무도회>는��베이징�무도회장�프로젝트�의�
일부이다��이�프로젝트는�베이징에�있는�
무도회장에서부터�시작된�세�개의�영상�작업으로�
구성되어�있으며��50년대와�80년대에�있었던�사교댄스�
열풍을�다룬다��이�작품은�이미지를�역사를�서술하는�
수단으로�활용하는�다양한�접근들을�시도한다��
<오후의�무도회>는�무도회장을�관찰하고�기록한다��
평범한�무도회장이�재현되는�동안��이�작품은�
무도회장의�사람들��이들의�공간적�관계��시선의�방향과�
마주침�그리고�사람들�사이의�심리적인�관계를�통해�
형성된�추상적인�공간을�드러내고자�한다��개인적이고�
집단적인�묘사를�엮어가면�기억과�역사가�어떤�
모양으로�나타나게�될까��

An Afternoon Ball is�a�part�of�the�Beijing Ballroom
Project��This�project��which�consists�of�three�
video�pieces��starts�from�the�existing�ballrooms�in�
Beijing��and�recounts�two�social�dance�crazes�that�
appeared�in�the�1950s�and�1980s��respectively��It�
attempts�various�approaches�to�apply�images�as�a�means�of�narrating�history��An Afternoon Ball is�an�
observation�and�documentation�of�the�ballroom��While�representing�a�regular�ball��it�attempts�to�
present�the�abstract�space�formed�by�the�people�
in�the�ballroom��their�spatial�relationships��the�
directions�of�their�lines�of�sight��their�eye�contact��and�the�psychological�relationship�among�them��In�
such�weaving�of�individual�and�collective�portraits��
in�what�shapes�will�memories�and�history�show�
themselves��내가�푸티지들을�실망시킨�걸까��아니면�푸티지들이�
나를�실망시킨�걸까��이론적으로�말하자면��진부한�
이미지란�없고�그저�보는�사람이�무능할�뿐이다���

�Is�it�me�that�failed�the�footage��or�the�footage�that�
failed�me��That�is�to�say��theoretically��there�are�no�banal�images��only�incompetent�viewers��하오 징반 | 중국 | 2013 | 26min | HD | Color

Hao Jingban | China | 2013 | 26min | HD | Color하오 징반 | 중국 | 2016 | 22min | HD | Color�베이징�무도회장�프로젝트�라는�프로젝트에서�나는�꽤�
많은�푸티지를�촬영하고�모았다��프로젝트�막바지에는�
버린�푸티지의�양이�작업에�사용한�푸티지의�양을�거의�
추월했다��하지만�내가�해석해내지�못했던�이미지들은�
오랫동안�내�마음�속에�머물렀다��이�작업에서는�
독해에�실패했던�지점에서�시작해�이�이미지들을�다시�
보고자�했다��이�이미지들과의�경험을�통해서�이미지와�
그�이미지가�지니는�정보�그리고�정서의�관계를�
살펴보고자�한다��－하오�징반�하오 징반참여하고��인정하며��묘사하는�이미지의�능력을�강하게�믿는다��

단편�프로그램�4

Short�Program�4하오�징반은�그녀의�작업에서�대상과의�오랜�기간의�교류를�

통해�이미지에�내재된�역사적인�서사들과�연결될�수�있다는�

가능성을�받아들인다��그녀는�아티스트의�헌신과�현실에�

Short�Program�4

46

I�ﬁlmed�and�collected�a�great�amount�of�footage�
during�my�project�Beijing Ballroom��At�the�end�of�the�project��the�leftover�footage�largely�exceeded�the�amount�I�used�in�the�work��However��those�
images�that�I�failed�to�interpret�lingered�in�my�mind�for�a�long�time��In�this�work��I�try�to�re�look�at�these�images�by�starting�from�my�failure�in�
reading�them��I�wish�I�could�reﬂect�through�my�
experiences�with�these�images��the�relationship�
between�images�and�the�information�and�aﬀection�they�carry��－Hao�Jingban

HAO Jingbanb��1985�in�Shanxi��Lives�and�works�in�Beijing��In�her�
practice��Hao�Jingban�takes�on�board�the�potential�that�
long�term�exchange�with�one�s�subjects�has�for�engaging�with�historical�narratives�inherent�in�images��She�believes�strongly�an�artist�s�devotion�and�the�abilities�of�image�to�
participate��acknowledge�and�describe�the�reality��

1985년생��베이징에�거주��활동�중인�감독이자�작가이다��

단편�프로그램�4

Hao Jingban | China | 2016 | 22min | HD | Color47홍콩 젊은 지식인들에게 보내는 편지
給香港的文藝青年목 치우위� 리 칭 | 1978 | 홍콩 | 15min | SD | Color� B&W<홍콩의�젊은�지식인들에게�보내는�편지>는�매우�
독창적이고�독특한�작품으로��홍콩에서�잘�재현되지�
않는�급진적�좌파에�관해�토론하기�위해�일부러�홍콩의�
대중영화�제작기법을�사용하지�않았다��상업적��개인적��
실험적�영화들의�특성들을�자르고�붙여�만든�
<홍콩의�젊은�지식인들에게�보내는�편지>는�영국�
통제하의�홍콩에서�일어난�반제국주의�운동에�관한�
소중한�기록이다��이�작품은�홍콩미술관에서�열렸던�
헨리�무어�전시회에�관한�다큐멘터리에서�삭제된�
장면들처럼�보이는�장면들로�시작하여��추가�더빙과�
필름에�직접�그리기와�같은�일련의�미학적�조작들로�
구성된�영상들을�보여준다��이를�통해�목�치우위는�
자신의�영화적�재료들을�홍콩의�젊은이들에게�보내는�
선동적인�편지로�변화시킨다��홍콩�전역에서�행해진�
예술�공연의�다큐멘터리들뿐만�아니라��보헤미안들의�
모임을�촬영한�새�장면들이�삽입된�이�작품은�목�
치우위의�정치적�활동을�기록한�체제�전복적�일기이며�
자신의�세대를�그린�독특한�초상화이다��목 치우위목�치우위는�홍콩에서�연극과�사회운동으로�잘�알려진�

작가이며��우�중시안과�함께『70s�Bi�weekly』라는�잡지를�
창간하였다��홍콩�Asian�People��s�Theatre�Festival�

Society의�창립�멤버로�여러�연극�및�퍼포먼스를�공연하고�

섹션 4.

Letter to the Young Intellectuals ofHong Kong

Mok Chiu�Yu� Li Ching | Hong Kong | 1978 | 15min | SD | Color� B&W

Letter to the Young Intellectuals of Hong Kong�is�a�highly�original�and�unique�work��eschewing�the�production�methodologies�of�the�popular�
Hong�Kong�ﬁlm�industry�in�order�to�address�the�
territory�s�under�represented�radical�Left��The�ﬁlm�
cuts�and�pastes�aspects�of�commercial��personal��
and�experimental�cinema��resulting�in�an�invaluable�
record�of�the�anti�imperialist�movements�in�British�
controlled�Hong�Kong��Beginning�with�what�appear�to�be�outtakes�from�a�documentary�about�a�Henry�
Moore�exhibition�at�the�Hong�Kong�Museum�of�Art��the�ﬁlm�progresses�through�a�series�of�aesthetic�
maneuvers��for�example��over�dubs�and�painting�directly�onto�the�ﬁlm��through�which�Mok�turns�
the�material�into�an�incendiary�missive�to�Hong�
Kong�s�youth��Intercut�with�newly�ﬁlmed�material�of�bohemian�gatherings�as�well�as�documents�of�artistic�interventions�across�the�city��the�piece�is�a�
subversive�diary�of�Mok�s�political�activities�and�an�
idiosyncratic�portrait�of�his�generation�MOK Chiu�Yu
Mok�Chiu�Yu�is�best�known�in�Hong�Kong�for�his�work�in�
theater�and�social�activism��and�as�the�co�founder�of�the�magazine 70s Bi-weekly�with�Wu�Zhong�Xian��He�was�a�
founding�member�of�the�Asian�People�s�Theatre�Festival�
Society�in�Hong�Kong��with�whom�he�performed�and�co�
produced�many�plays��공동�제작했다���

서발턴의 영화는 가능한가�
80년대에�절정을�맞이했던�서발턴�연구는�언어학�
영역에서�숙고할�만한�주장을�제기했다��그�논거는�
대략�다음과�같이�전개된다��서발턴이�진정으로�이해�
받을�수�있으려면�그들의�언어를�타자�아카데미��백인��
식민지�개척자��혹은�국외자�등�의�언어를�따라야�한다��
그렇게�하지�않으면�그들의�목소리는�영원히�동물의�
울음소리에만�그치고�말�것이다��이들이�무능해서가�
아니라�서구가�이해할�수�없는�언어를�구사한다는�
이유로�발화될�수�없는�것�뿐이다��그래서��서발턴은�
말할�수�없다�라는�명제는�단지�설명이�아니라�그들을�
�위해서�발화�할�수�없다는�점을�상대편에�상기시키는�
것이다��우리의�이해는�언어적�한계에�의해�협소하게�
형성된�관점에�묶여�있기�때문이다����
영화는�그�자체로�하나의�언어이다��영화의�언어는�
국가�혹은�가족에�의존하는�언어관과�양립할�수�없는�
동시에�이를�초월한다��영화�또한�배제�당하거나�
누군가�대신하여�발화해주는�상태에�있으며�언어�없는�
상태로�내몰리는�이들을�연구하는�식민지�연구자�혹은�
외부의�학자와�같이�작동한다��적어도�영화감독들은�
침해�당하면서도�국가��시민��빈곤�그리고�과거의�
업보로�인해�벌�받아�마땅함을�명분으로�삼아�그러한�
상태를�지속하는�서발턴의�다양한�양상을�기록하고자�
한다��1976년에�나온�장편�영화이자�의도치�않게�그해�
탐마삿대학의�10�6�학살로�이어진�<통판>에서부터�
시작해보자��이�흑백영화는�댐�공사를�위해�자리를�
내놓을�것을�반복적으로�강요당하는�마을�주민들의�
삶을�서술한다��또한�이�주민들을�구출하고�그들에게�
목소리를�돌려주려�하지만�실패하는�대학생들의�
이야기를�다룬다��

한편��<보랏빛�왕국>과�<판두랑가에서�온�편지>는�
관객들을�국가로부터�인정받지�못해�스스로�목소리를�
낼�수�없는�소수민족과�대면하게�한다��각�작품은�
3년�동안�카렌족�마을에서�사라진�활동가의�아내�
그리고�강제로�쫓겨난�베트남의�무슬림�참족�공동체에�
주목한다��
또한�<드림스케이프>는�사회에서�소외된�사람들의�
꿈과�대화할�수�있도록�우리를�이끌면서��국가주의�뿐만�
아니라�정치적으로�발화할�수�없는�존재들을�다룬다������
<눈물을�마시기��마음을�고치기��영원한�방울을�
마시기>는�HIV�감염자로�낙인되어�사회적으로�매장된�
한�여성의�실제�이야기를�서술한�노래와�초국가적인�
사업으로부터�축출되었다가�이후에�스스로�공장을�
세운�여성�노동자의�이미지를�병치한다��마지막으로�
<미스터�제로>는�모독죄로�기소되었으나�스스로를�
보호할�수�없었던�한�노작가의�삶을�추적한다��그에게�
문학작품은�아무도�이해할�수�없는�것들을�표현하는�
유일한�창구이다��그는�작품을�직접�낭독하고�영화는�
그의�목소리와�일상을�교차시킨다��
이�프로그램은�새로운�영역을�향한�하나의�실험이다��
감독들이�수행하는�빗나간�독해��누군가를�위해서�
발화하는�것�물론�이렇게�하지�않을�수�없겠지만�이�
아니라�보기��만지기�그리고�말하기�필요�없을지도�
모르는�다른�언어처럼�우리의�언어와�다른�방식의�
발화를�전달하기��

이�영화에서�영감을�받은�논타왓�눔벤차폴은�
수년�후�그의�다큐멘터리를�통해�도시의�관객들을�
태국과�캄보디아의�국경�양쪽으로��불러들인다��두�
나라의�국경에서�그는�관객들이�국가적��초국가적�
차원의�정치적�제도에�영향을�받는�주민들을�마주할�수�
있게�했다��
단편�프로그램�4

Short�Program�4

48

49

Section 4.

Can the subaltern ﬁlm�One�of�the�thought�provoking�arguments�from�the�subaltern�studies��that�enjoyed�its�peak�in�80�s��is�the�linguistic�one��The�argument�the�subalterns�to�be�truly�understood�they�have�to�comply�their�language�with�the�language�of�the�other�s��be�it�scholar��white��colonizer�or�outsider���If�not��their�
voice�would�be�forever�heard�merely�as�a�cry�of�an�animal��They�cannot�speak�not�due�to�their�
inability�to�speak�itself��but�because�they�only�
speak�in�the�language�that�the�West�couldn�t�comprehend���The�Subaltern�cannot�speak��is�not�simply�an�explanation�but�a�reminder�to�the�
opposite�direction�that�we�also�cannot��speak�for��
them�because�our�understanding�too�is�bounded�
within�our�own�perspective�narrowly�shaped�by�the�linguistic�restrain�Cinema�is�itself�a�language��The�language�of�cinema�simultaneously�is�barred�from�and�
transcends�the�idea�of�language�being�tied�to�the�
nation�or�family��These�ﬁlms�as�well�work�like�the�colonial�master�or�an�outside�scholar�who�studies�the�lives�of�those�excluded��those�spoken�for��those�rendered�language�less��The�ﬁlmmakers��at�least��
try�to�document�a�wide�range�of�subalterns�who�
both�are�violated�and�allow�the�condition�of�being�
violated�to�continue�under�the�name�of�nation��
citizen��being�poor�and�those�who�deserve�to�be�
punished�due�to�bad�karma�in�the�past�We�start�with�Tongpan�a�feature�length�ﬁlm�from�
1976�that�inadvertently�was�one�of�the�several�
inciting�causes�leading�to�6th�Oct�massacre�at�
Thammasat�University�in�the�same�year��The�B&W�
ﬁlm�narrates�the�lives�of�the�villager�asked�and�
repetitively�forced�by�the�state�to�sacriﬁce�their�
homes�to�pave�way�for�dam�construction��The�ﬁlm�
also�features�the�story�of�university�students�who�
attempt��in�vain��to�rescue�the�villagers�and�let�
them�speak�for�themselves�

On�the�other�hand��The Purple Kingdom andLetters from Panduranga�take�spectators�to�meet�the�ethnic�minorities�who�are�unable�to�express�
themselves�as�their�languages�are�not�recognized�
by�the�state��Both�Muslim�Cham�community�in�Viet�Nam�facing�the�forced�eviction�and�a�wife�of�Bwa�
G�Naw�activist�whose�husband�has�disappeared�
from�their�village�for�3�years�

In�addition��not�only�nationalism�but�also�inability�
to�speak�politically��Dreamscape�brings�us�into�
dialogues�with�dream�of�marginalized�people�of�the�society��Drinking Tear, Mending Heart, Drink
Everlasting Drop�combines�a�song�describing�a�
true�story�of�a�woman�who�is�socially�banished�as�
she�s�taken�as�HIV�infected�person�with�the�image�of�a�female�worker�expelled�from�transnational�
business��later�setting�up�her�own�factory��
Concluding�with�Mr.Zero�following�the�lie�of�an�
elderly�writer�unable�to�defend�himself�against�
the�unspeakable�charge�of�Lèse�majesté��His�daily�
life�is�intersected�with�his�voice�reading�his�own�
literature��the�only�mean�he�could�express�things�
nobody�understands�위왓 러트위왓윙사

위왓�러트위왓윙사는�1978년에�태어났으며�푸켓을�기반으로�
활동한다��그는�시네필이자�블로거이며���필름바이러스�의�

프로그래머이다���Kafe�Lumiere�라는�이름으로�영화�비평에�

관한�페이스북을�운영하며��NIFF�치앙마이��리좀�방콕��

일본국제교류기금�필름�프로그램�등에�참여했다���
필름바이러스

필름바이러스�두앙카몰�필름�하우스�는�1995년에�손타야�

수비엔에�의해�설립되었다��이�단체는�세콘�광장�몰의�DK�서점에서�당시�구하기�힘든�영화들을�상영하는�것으로�

시작했다��이러한�상영회는�수많은�시네필들에게�서로�만날�

수�있는�계기를�제공하는�동시에�느슨한�모임이�만들어지는�

데�기여했다��그들은�서로의�상영�기획을�도왔을�뿐만�아니라�

글쓰기��세미나�기획��영화와�문학�관련�책을�출판하고�심지어�

영화를�만들기도�했다��

필름바이러스는�여전히�활발하게�영화�상영을�진행하고�있으며��
동남아시아의�여러�다른�영화�단체들과�협력하기도�한다��

리딩룸과�탐마삿대학교�그리고�태국�전역의�영화�프로그램에�
참여하고�있다��

Wiwat LERTWIWATWONGSA
Born�in�1978�and�based�in�Phuket��Wiwat�
Lertwiwatwongsa�is�a�cinephile��blogger��ﬁlm�
programmer��FilmVirus��and�moderator�of�a�
Facebook�page�on�ﬁlm�criticism�called�Kafe�Lumiere�
Lertwiwatwongsa�has�contributed�to�many�ﬁlm�programs��
including�NIFF�Chiangmai��Rhizhome�Bangkok�and�the�Japan�Foundation�ﬁlm�program�among�others���
FilmVirus
FilmVirus��Duangkamol�Film�House��was�founded�in�
1995�by�Sonthaya�Subyen��Initially��it�was�an�activity�by�
DK�Bookstore�in�Secon�Square�Mall�to�screen�rare�and�
hard�to�ﬁnd�ﬁlms��Such�screenings�have�allowed�many�
cinephiles�to�meet�each�other�and�form�a�loose�group�who�help�each�other�program�ﬁlms�showings��write�
articles��organize�seminars��and�publish�books�on�ﬁlm�
and�literature��They�have�even�produced�a�ﬁlm�
Filmvirus�is�still�active�in�screening�ﬁlms��and�
collaborates�with�other�groups�of�cinephiles�around�South�East�Asia��contributing�to�a�ﬁlm�program�at�The�
Reading�Room��Thammasart�University��and�all�around�
Thailand�

This�is�an�experiment�in�the�new�ﬁeld��Reading�against�the�grain�by�ﬁlmmakers��Not�to�speak�for��even�though�it�s�impossible�not�to�do��but�to�
convey�the�speech�in�forms�distinct�from�our�own�
language�such�as�looking��touching�and�other�languages�that�probably�require�no�speaking�

Many�years�go�by��Nonthawat�Numbenchapol�is�inspired�by�the�same�ﬁlm�and�brings�urban�
audiences�through�his�documentary�to�both�sides�
of�Thailand�Cambodia�border��At�the�border��he�
lets�the�audiences�to�confront�with�the�residents�
who�are�aﬀected�by�the�political�schemes�of�both�
national�and�transnational�level�5051경계에 서다

Boundary통판Tongpan논타왓은�2010년에�태국�영화�제작사의�스틸�기사로�
일했다��이때�그는�캄보디아와�국경을�맞대고�있으며�
유명한�프레아�비헤아르�사원이�있는�시사켓�지역�
출신인�24살�아오드를�만난다��그는�미술팀에서�
촬영장�세트를�짓는�일을�하고�있었다��그는�이곳에서�
일하기�전��즉�그가�태국의�남쪽�지방인�나라티왓�
주에서�병사로�생활했을�때의�이야기를�들려주었다���
그는�고향인�시사켓을�떠나야�했고��내란으로�인해�
불안정한�남쪽으로�배치되었다��2010년�초��아오드는�
방콕의��붉은�셔츠파��시위대를�흩어�놓으라는�임무를�
받았다��하지만�결정적인�상황이�오기�전에�제대하게�
된다��아오드의�삶은�논타왓의�새�작품의�영감이�
되었다��2011년�논타왓은�촬영팀을�데리고�시사켓에�
있는�아오드의�집에�갔다��당시에�태국과�캄보디아�
군인들�사이에�충돌이�있었다��프레아�비헤아르�사원의�
소유권을�두고�벌어진�분쟁은�예전부터�두�국가�간의�
정치적인�갈등의�원인이�되었다��그리고�이�낡은�갈등은�
태국�내��붉은�셔츠파�와��노란�셔츠파��간의�내분으로�
인해�표면으로�드러났다��이로써�두�국가의�경계에서�
벌어지는�논타왓의�여정이�시작된다��

In�2010��Nontawat�worked�as�a�still�photographer�for�a�Thai�ﬁlm�production��During�the�production��he�met�Aod��a�24�year�old�workman�from�Sisaket�
province��which�borders�Cambodia�and�the�famous�Preah�Vihear�Temple��The�art�crew�hired�him�to�
build�the�set��He�stated�that��before�working�here��he�used�to�be�a�soldier�in�Naratwat��a�province�in�
the�Southern�region�of�Thailand��He�had�to�leave�his�hometown�in�Sisaket�province�and�was�sent�of�to�the�southern�area��which�is�a�dangerous�place�
because�of�the�insurgency��In�early�2010��Aod�
was�ordered�to�disperse�the�Red�Shirt�protesters�
in�Bangkok��but�he�was�discharged�before�the�decisive�point�of�the�event��Aod�s�life�inspired�
Nontawat�to�make�a�new�ﬁlm�
In�2011��Nontawat�went�to�Aod�s�home�in�Sisaket�
with�his�own�ﬁlm�crew��At�that�time��clashes�
were�breaking�out�between�Thai�and�Cambodian�soldiers��The�lengthy�dispute�over�ownership�of�Preah�Vihear�Temple�has�caused�a�political�conﬂict�
between�the�two�countries��and�political�conﬂict�in�
Thailand�between�the�Red�Shirts�and�Yellow�Shirts�
has�made�this�ghost�from�the�past�arise�again��The�
journey�of�Nontawat�along�the�boundary�of�the�two�countries�has�begun���<통판>은�흑백�극영화이다��가난에�시달리는�태국�북동�
지역의�한�농부의�실제�경험을�바탕으로�제작되었다��
통판과�그의�가족은�집�근처에�댐이�건설되는�바람에�
우기에는�홍수��건기에는�가뭄에�시달려�보금자리를�
떠나고만다��이들은�메콩강�인근에�라오스와�국경을�
맞대고�있는�작은�도시에�정착하게�된다��그곳에서�농부�
통판은�삼륜�택시기사��삼류�권투�선수��닭장지기로�
일을�하며�가족을�부양하려�애쓴다��

Tongpan�is�a�black�and�white�theatrical�ﬁlm��based�
on�the�real�life�experience�of�a�farmer�from�the�poverty�stricken�Northeast�region�of�Thailand��
Tongpan�and�his�family�were�forced�oﬀ�their�land�
when�a�dam�built�nearby�caused�their�farm�to�be�
ﬂooded�during�the�wet�season�and�allowed�it�to�
become�parched�during�the�dry�season��
They�moved�to�a�small�town�bordering�Laos�on�
the�Mekong�River��There��Tongpan�the�farmer�is�
struggling�to�support�his�family�as�Tongpan�the�
pedicab�driver��Tongpan�the�small�time�boxer��and�
Tongpan�the�keeper�of�someone�else�s�chickens��논타왓 눔벤차폴 | 태국 | 2013 | 96min | HD | Color논타왓 눔벤차폴

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다큐멘터리�작업을�주로�한다��<경계에�서다>는�그의�첫�장편�

영화이며�2016년�10대�소녀��요조�의�얘기를�담은�하이브리드�
다큐�픽션�<#BKKY>를�만들었다��

Nontawat Numbenchapol | Thailand | 2013 | 96min | HD | Color유타나 무크다사닛� 파이종 라이사군 | 태국 | 1976 | 63min | SD | B&W유타나 무크다사닛
1952년�태국�출생��영화�감독이자�시나리오�작가��차트리찰레름�
유콘�감독과�함께�1970년대�사회�문제에�초점을�맞춘�영화를�

제작한�감독�그룹에�속했다��<통판>은�사회주의적�주제�때문에�

처음에는�태국에서�상영이�금지되었다��

Euthana Mukdasanit� Paijong Laisagoon | Thailand | 1976 | 63min | SD |B&W

Euthana MUKDASANIT
b��1952�in�Thailand��He�is�a�Thai�ﬁlm�director�and�
screenwriter��As�a�contemporary�of�Chatrichalerm�Yukol��
Euthana�was�among�a�group�of�directors�that�during�the�1970s�made�ﬁlms�that�focused�on�social�problems��
Tongpan�was�initially�banned�in�Thailand�for�its�socialist�
themes��Nontawat NUMBENCHAPOLb��1983�in�Bangkok��He�is�a�Thai�ﬁlm�director�and�
television�screenwriter�who�is�widely�recognized�for�his�
documentary�work��In�2013��Numbenchapol�ﬁnished�
his�ﬁrst�documentary�ﬁlm Boundary and�he�created�a�
hybrid�docu�ﬁction�#BKKY��a�story�of�a�teenage�girl���Jojo���questioning�life�and�identity���5253보랏빛 왕국핌파카 또위라 | 태국 | 2016 | 31min | HD | Color이�영화는��빌리�라고�불리는�포르라지�
락촌차로엥이라는�카렌족�활동가로부터�영감을�
받았다��그는�태국�방콕에서부터�100마일�가량�남쪽에�
있는�페차부리�주에�위치한�깽�크라짠�국립공원에서�
실종되었다��공원�관계자는�2014년�4월�17일에�벌집과�
야생꿀�6병을�소지한�혐의로�빌리를�붙잡았으나�경고만�
하고�풀어주었다��그러나�그는�그�직후에�사라졌다�
2012년��빌리가�이끌었던�카렌�그룹은�깽�크라짠�
공원과�야생�동물�및�식물�보호와�천연자원과�환경부를�
고소했다��이�소송은�깽�크라짠�국립공원의�책임자가�
2011년에�삼림을�침해하는�사업을�벌이면서�카렌족의�
집�스무�채를�불태운�사실에�초점을�맞추었다��빌리는�
이�소송을�위해�증거를�모으고�증인들을�인터뷰했다��
이�작품은�정의를�실현하기�위해�빌리의�아내가�들인�
노력을�다룬다��빌리의�아내�역할은�그의�실제�아내가�
맡았는데��극�중에서는�밀림�지대에서�헬리콥터�사고로�
죽고�만�남편의�시신을�찾는�중산층의�여성과�병치된�
구조가�전개된다��핌파카 또위라

1967년�태국�람빵주�출생��1988년부터�여성에�관한�이슈를�

다루는�단편�실험영화와�다큐멘터리를�만들어왔다��태국�전통�

귀신�이야기를�해체주의적으로�재조명한�<매낙>�1997�을�비롯해�주로�여성�문제를�다루는�단편�실험영화를�만든�
태국�독립영화계의�선구적�존재이다��동료인�아핏차퐁�

위라세타쿤과도�협업하였다��

단편�프로그램�5

The Purple Kingdom

Pimpaka Towira | Thailand | 2016 | 31min | HD | Color

Letters from Panduranga

이�에세이�영화는�한�남자와�한�여자가�편지를�주고�
받는�형식으로�구성되었다��첫�핵발전소�두�개를�닌�
투언�옛�지명��판두랑가��지역에�건설하고자�하는�
베트남�정부의�계획이�이�작품의�주요한�계기가�된다��
이�지역은�토착�세력인�참족의�영적인�중심에�해당한다��
정부의�발전소�건설�추진으로�인해�2천�년간�이어져�온�
고대�힌두교�모계�사회가�위기에�처한�것이다��
이�작품은�다큐멘터리와�허구�사이의�경계�위에서�
전경과�배경��내밀한�묘사와�거리감�있는�풍경�사이에서�
관객의�주목을�이동시키며�현지�조사��민족지학��미술��
그리고�예술가의�역할을�사유하도록�한다��과거��현재��
미래의�상황을�엮음으로써�이�작품은�다면적인�역사와�
현재�진행형인�식민주의에�대한�경험을�펼쳐내며�일상�
속의�권위와�이데올로기라는�주요한�문제에�천착한다�

This�essay�ﬁlm��made�in�the�form�of�a�letter�
exchange�between�a�man�and�a�woman��was�
inspired�by�the�fact�that�the�government�of�Vietnam�plans�to�build�the�country�s�ﬁrst�two�
nuclear�power�plants�in�Ninh�Thuan��formerly�
known�as�Panduranga���right�at�the�spiritual�heart�
of�the�Cham�indigenous�people��threatening�the�survival�of�this�ancient�matriarchal�Hindu�culture�
that�stretches�back�almost�two�thousand�years�
At�the�border�between�documentary�and�ﬁction��
the�ﬁlm�shifts�the�audience�s�attention�between�
the�foreground�and�background��between�
intimate�portraits�and�distant�landscapes��oﬀering�
reﬂections�around�ﬁeldwork��ethnography��art��and�
the�role�of�the�artist��Intertwining�circumstances�of�the�past��present��and�future��the�ﬁlm�also�unfolds�
a�multi�faceted�history�and�the�on�going�experience�
of�colonialism��and�looks�into�the�central�ideas�of�power�and�ideology�in�our�everyday�lives�응우옌 트린 티 | 베트남 | 2015 | 35min | HD | Color

The Purple Kingdom�is�inspired�by�the�story�of�an�
ethnic�Karen�activist�Porlajee�Rakchongcharoen��a�k�a��Billy��who�went�missing�in�Thailand�near�
Kaeng�Krachan�National�Park�in�Phetchaburi�
province��100�miles��161�km��south�of�Bangkok��Park�authorities�arrested�the�Karen�activist�on�April�17��2014�for�possessing�wild�honeycomb�and�six�
bottles�of�wild�honey�but�released�him�after�giving�him�a�warning��He�disappeared�shortly�afterward��
In�2012��Billy�led�a�Karen�group�that�ﬁled�a�complaint�with�the�Central�Administrative�Court�
against�the�Department�of�National�Parks��Wildlife��and�Plant�Conservation�and�the�Natural�Resources�
and�Environment�Ministry��The�case�focuses�on�the�actions�of�the�Kaeng�Krachan�National�Park�
chief�and�other�forestry�oﬃcials��who�burned�down�
20�Karen�houses�in�a�2011�operation�to�deal�with�
forest�encroachment��Billy�had�been�collecting�evidence�and�interviewing�witnesses�to�press�his�
case��The�ﬁlm�explores�the�attempt�by�Billy�s�wife��
played�by�Billy�s�actual�wife�in�reality��to�seek�
justice��and�is�juxtaposed�with�the�search�for�the�body�of�a�middle�class�woman�s�dead�husband��
who�was�killed�in�a�helicopter�crash�in�the�jungle��
Pimpaka TOWIRAb�1967�in�Lampang�Province��Thailand��Lives�and�
works�in�Bangkok��She�has�been�making�experimental�
short�ﬁlms�and�documentaries�mainly�dealing�with�
issues�concerning�women�since�1988��Among�her�more�
important�works�is�Mae Nak��1997���a�deconstruction�of�a�famous�Thai�ghost�legend��She�has�acted�as�director��
screenwriter�and�producer�on�all�her�ﬁlms�to�date��

Short�Program�5판두랑가에서 온 편지54

응우옌 트린 티

1973년에�베트남�출생��하노이에서�독립영화�감독이자�

Nguyen Trinh Thi | Vietnam | 2015 | 35min | HD | Color재설정해왔다��응우옌은�하노이닥랩의�디렉터이기도�하다��

NGUYEN Trinh Thib��1973�in�Vietnam��Lives�and�works�in�Hanoi�as�an�
independent�ﬁlmmaker�and�artist��Her�diverse�practice�has�consistently�investigated�the�role�of�memory�
in�the�necessary�unveiling�of�hidden��displaced�or�
misinterpreted�histories��and�examined�the�position�of�artists�in�the�Vietnamese�society��Nguyen�is�founder�and�
director�of�Hanoi�DOCLAB��an�independent�center�for�
documentary�ﬁlm�and�the�moving�image�art�in�Hanoi�
since�2009�단편�프로그램�5

Short�Program�5예술가로�활동한다��그녀는�다양한�실천을�통해�숨겨지고�

대체되고�잘못�해석된�역사들을�밝히는데�있어�기억의�역할을�

끊임없이�탐구하면서��베트남�사회에서�예술가들의�위치를�

55

드림스케이프

왓타나훔 라이수완차이 | 태국 | 2015 | 25min | HD | Color현재�태국에서는�표현의�자유가�제한되고�있다��태국의�
현�상황은�상대적으로�불안정하며��군사적�통제�
속에서�자유가�위협당하고�있다��공적인�공간에서�
무언가를�표현하는�것이�어렵고�이로�인해�체포당할�
위험까지�감수해야�한다��상징적인�시위를�펼쳤다는�
이유만으로�몇몇�사람들이�체포된�일도�있었다��
이처럼�불안정한�상황에서�우리는�예술이�대중과�
함께�비판적이면서�절묘한�대화를�가능하게�하는�
희망과�자유의�영역이라고�믿는다���꿈�이란�복원하는�
일이자�상상가능한�리얼리티��즉�우리가�꿈꾸는�
리얼리티이다��어떤�순간이든�나란히�놓여�갑작스럽게�
서로�맞붙게�되는�몽타주를�만들어가는�과정인�것이다��
�드림스케이프�프로젝트�는�사람들이�소통하거나�
자유롭게�표현할�수�있는�긍정적인�방식을�보여준다��
따라서�이�프로젝트는�사람의�꿈을�특정한�형식이나�
구체적인�조건�아래�가시화하면서�생각을�발전시키도록�
한다��이는�대중의�정신에�작지만�중요한�과정인�것이다��
현재도�진행�중인�이�프로젝트는�평범한�사람들의�
드림스케이프를�탐구하는�새로운�방식들을�발견하고�
혁신해낼�것이다��
왓타나훔 라이수완차이

1988년�방콕�출생��영화��뮤직비디오��시각예술�분야에서�

활동한다��소통하고�표현하는�힘을�가진�도구로서의�영화�

매체에�관심을�갖고�동시대의�기억��시간��관계��자아�연결�등의�

아이디어를�탐구한다��왓타나훔은�그의�친구들과�함께�현재�

태국에서�가장�유명한�무빙�이미지�그룹인��아이드롭퍼�필�로�

활동하고�있다����

단편�프로그램�6

Dreamscape

Wattanapume Laisuwanchai | Thailand | 2015 | 25min | HD | Color

The�people�in�Thailand�currently�experience�
restrictions�when�it�comes�to�freedom�of�
expression��The�current�situation�in�Thailand�is�
relatively�unstable��we�are�under�military�control��and�our�freedom�is�being�undermined��Expressing�ideas�in�public�can�be�hard��with�a�risk�of�arrest��
For�example��some�people�have�been�arrested�
simply�for�practicing�symbolic�protests��In�such�a�
precarious�situation��we�believe�that�art�is�a�sphere�
of�hope�and�freedom��in�which�we�are�allowed�to�
create�a�critical�yet�subtle�dialogue�to�the�public�
A��Dream��is�a�reconstruction��an�imaginable�
reality��the�reality�that�we�imagine��It�is�the�
making�of�a�montage��where�any�moment�may�
be�juxtaposed��and�suddenly�made�adjacent��
with�another��The�Dreamscape�Project�facilitates�
a�positive�way�for�people�to�communicate��or�
simply�to�express�themselves�freely��This�project��
therefore��has�made�people�s�dreams�appear�under�
a�certain�form�and�speciﬁc�condition��to�keep�their�mind�moving���a�small�but�important�step�of�the�
public�mind��This�project�is�an�on�going�process��and�thus�we�will��re�invent�a�new�way�to�explore�a�
dreamscape�of�ordinary�people��
Wattanapume LAISUWANCHAIb�1988�in�Bangkok��Thailand��Wattanapume�is�a�young�
Thai�ﬁlmmaker��music�video�director�and�visual�artist��
He�is�interested�in�the�ﬁlm�medium�by�means�of�its�
communicative�and�expressive�power�to�explore�the�idea�
of�memory��time��relationship�and�self�connection�to�
contemporary�society��Currently��Wattanapume�and�his�
friends�are�working�in�a�one�of�the�most�popular�moving�
image�group�in�Thailand�called�Eyedropper�Fill�

Short�Program�656

눈물을 마시기� 마음을 고치기�영원한 방울 마시기

Drinking Tear Mending Heart Drink
Everlasting Drop�TRYARM�여성�노동자를�위한�운동���멤버들이�노래를�
부르는�장면이�이어진다��이들은�쿠데타에�반대하며�
정치적�활동을�하는�이들이다��푸티지와�함께�흐르는�
서글픈�노래는�삶을�노래하며�국가�권력과�싸우는�
것으로�유명한�태국의�싱어송라이터가�만든�것이다���

Footage�of�a�song�sung�by�TRYARM�members��movement�for�female�workers��who�are�on�the�same�side�in�anti�coup��political�activities��The�sad�song�was�written�by�a�well�known�composer��녹 빡사나빈 | 태국 | 2015 | 6min | HD | Color녹 빡사나빈

1978년��태국�남부�나콘�씨탐마랏�출생��꼬�야오�섬에서�의사로�
일하며�작가로�활동중이다��본명은�마룻�랏펫��녹�빡사나빈은�
필명이다��2008년부터�영화계에�입문해�고인이�된�한�태국�

작가를�추모하기�위한�첫�단편�영화�<The�Trail�of�Puﬀ�Made�Nok Paksanavin | Thailand | 2015 | 6min | HD | Color

Nok PAKSANAVINb�1978�in�Nakorn�Srithammaraj��Thailand��Lives�and�
works�at�Koh�Yao�Island�near�Phuket�as�a�creative�writer��Marut�Lekphet�is�his�real�name�and�N��Paksnavin�is�his�
pen�name�since�1997��He�starts�a�ﬁeld�as�ﬁlmmaker�in�
2008��ﬁrst�short�ﬁlm�The Trail of Puff Made for Remains
Project�as�a�remembrance�to�one�pass�away�Thai�writer�

for�Remains�Project>를�만들었다��미스터 제로

Mr. Zero반딧�아라니야는�태국의�작가이자�번역가이다��
그는�법률�제�113호��즉�왕실모독죄에�의해�네�
차례�기소되었다��정신병�환자로�취급되어�두�차례�
풀려났으며�나머지�두�기소는�여전히�미결�상태이다��
이�이야기는�사실과�가상의�경계를�넘나들며�그의�
작업과�개인적인�역사를�따라�전개된다��

Bandhit�Arneeya�is�a�Thai�writer�and�translator��
He�has�been�charged�under�Act�112��Thai�Lèse�
majesté��four�times��He�was�released�twice�having�
been�treated�as�a�mental�patient��Two�charges�are�
still�pending�in�the�courts��This�story�is�narrated�
cross�the�boundary�between�fact�and�ﬁction��from�
his�work�and�his�personal�story�낫챠 탄티위따야피탁 | 태국 | 2016 | 40min | HD | Color낫챠 탄티위따야피탁

1993년�태국�방콕�출생��첫�다큐멘터리�<미스터�제로>로�

2016년�태국단편필름앤비디오영화제에서�다큐멘터리상을�

수상했다��사하몽콜필름�인터내셔널에서�시나리오�작가로�

시작해�현재는�온라인�신문『파라차탄』의�기자로�일한다��

Nutcha Tantivitayapitak | Thailand | 2016 | 40min | HD | Color

Nutcha TANTIVITAYAPITAKb��1993�in�Bangkok��Thailand��Her�ﬁrst�documentary�
ﬁlm�that�she�directed�for�her�Thesis�Mr. Zero�won�the�
documentary�Prize�of�Thai�Short�Film�and�Video�Festival�
2016��After�she�graduated��she�started�working�as�a�
scriptwriter�at�Sahamongkolﬁlm�international��Now�she�
is�a�journalist�at�Prachatai�which�is�the�online�newspaper�눈물을�마시기��마음을�고치기��영원한�방울�마시기�
Drinking�Tear�Mending�Heart�Drink�Everlasting�Drop미스터�제로�Mr��Zero단편�프로그램�6

Short�Program�657

섹션 5.

Section 5성난 얼굴로 돌아보라한�해변이�붉은�피로�물들어야�했다
일본��미국��그들�누구의�것도�아닌�해변이�
그들은�말한다��서로�죽이라�강요받았다고�
그래�나는�믿는다��믿고�말고�
그러나�딱�하나�물어보자��누구로부터��
��베르톨트�브레히트�『전쟁교본』�앵그리�영맨�의�대표�작가�존�오스본의�
<성난�얼굴로�돌아보라>가�영국�극단에�새로운�충격을�
줄�수�있었던�것은�이�작품이�새로운�문학의�지평을�
제시해서라기보다는�당시�영국�사회와�젊은이들의�
무기력함과�분노를�솔직하게�묘사했기�때문일�것이다��
현실에�대한�자동기술적�반영을�시도하는�작가들은�
많을�수�있으나�영화�속에�반영된�현실의�모습을�저항의�
기술로�환원하는�작가들은�많지�않다��그런�면에서�
강상우�감독의�<클린�미>나�<우리는�없는�것처럼>은�
전복을�꿈꾸는�것이�아니라�단지�억압된�상태를�
거부하기�위한�몸짓으로�자전적�일화를�재현하고�
있다��김실비�작가의�<몽유도원가>는�저화질�푸티지를�
이용한�가난한�편집�영상의�아이러니를�구현한다��
동시대�사회환경의�독소를�퍼뜨리고�있는�것이�
누구인지�모두가�명백히�알고�있지만�언제나�사건은�
증거�부족으로�종결된다��실재하는�전쟁의�광기는�
그렇게�유저들만의�게임으로�전락한다��노동하는�
인류의�몸�또한�그렇게�허구적으로�변질된다��차재민�
작가의�<미궁과�크로마키>는�살아있는�몸이�사라지고�
움직임만이�남은�현대�자본주의�사회의�노동을�
은유한다��장민승�작가의�<입석부근>은�감히�저항할�수�
없는�거대한�계곡의�표면에�황석영�작가의�첫�단편소설�
<입석부근>의�텍스트를�흘려보낸다��텍스트는�표면의�
움직임에�잠복해�있는�무형의�기운을�끌어낼지도�
모른다��

2000년대�이후�국내에서�만들어지고�있는�독립영화�
및�무빙�이미지�작품들을�보면�폭풍전야의�공포와�
긴장감을�연상하게�된다��1950년대�전후�영국의�젊은�
작가들이�절망과�공허�안에서�억압된�기성세대에�
도전했던��앵그리�영맨��운동과�같은�전복적이지만�
연대되지�않는�공허한�울림이�떠오른다��마치�서로�
연대해�적극적인�메시지를�전달하기에는�점검해야�할�
것들이�너무나�많은�것처럼��작가들은�공통의�절망에�
대응하는�각개전투식�방법론을�터득하는�중인지도�
모른다��좌우�진영의�문제가�아니라�재현을�통한�
윤리적�행위에�대한�자기검열이�우선되는�시기일�수�
있다��작가들의�무의식�속에�자본주의�시대의�막바지에�
펼쳐진�이상한�답보�상태가�투영되는�것�같다��
용산참사의�비극이�일어난�현장의�기록을�담았던�
<두�개의�문>의�김일란�감독은�이혁상�감독과�망루에�
쫓겨�고립된�투쟁의�결과로�투옥되어야�했던�평범한�
가장들이�그날의�기억으로부터�다시�고통받아야�
하는�현실을�취재한�<공동정범>을�만들었다��명백한�
김은희사회악에�대해�비판하는�것으로�현실의�문제가�
국립현대미술관�학예연구사
해결되지�않기�때문에�감독들은�사건�이후�피해자들�
사이의�혼란과�상처를�보여주고자�한다���정윤석�감독의�
<밤섬해적단�서울불바다>의�주인공인�펑크�밴드�
밤섬해적단은�북한을�메타포로�사용한�앨범을�발표한다���
그리고�앨범의�프로듀서는�국가보안법�위반으로�
재판에�회부된다��영화는�자본에�종속되기를�거부하는�
인디밴드의�작은�반란을�보여준다��실화��실존�인물들을�
취재한�이�두�작품은�영화가�현실의�아이러니를�어떻게�
전달할�수�있을�것인가에�초점을�맞추고�있다��반면�
실화를�바탕으로�제작된�김진아�감독의�<동두천>은�
VR�영화가��타인의�고통�을�공유하기�위한�도구가�될�수�
있는지를�실험한다���

58

Look Back in Anger
�And with their blood they were to colour red
A shore that neither owned. I hear it said
That they were forced to kill each other. True.
My only question is: who forced them to?
���Bertolt�Brecht��War Primer

��
Independent�ﬁlms�and�moving�images�in�Korea�
since�the�2000s�remind�us�of�the�terror�and�tension�that�occur�in�the�calm�before�a�storm��They�also�
bring�up�movements�such�as��Angry�Young�Men��in�
1950s�Britain�when�young�artists�challenged�the�older�generations�who�were�oppressed�in�despair�and�emptiness��in�a�hollow�cry�that�was�subversive�
yet�not�prone�to�solidarity��Because�there�were�too�
many�things�to�examine�before�bonding�together�and�delivering�a�positive�message��the�artists�
are�perhaps�self�taught�strategies�of�engaging�
individual�combat�against�a�common�despair��This�is�not�about�choosing�between�right�and�left��it�is�
more�a�time�for�self�censorship�of�ethical�acts�in�
representation��Perhaps�a�strange�standstill�in�the�ﬁnal�stage�of�capitalism�is�reﬂected�on�the�artists��
unconsciousness��Following�the�documentary�Two Doors��which�recorded�the�tragedy�of�the�
Yongsan�disaster��directors�Kim�Il�rhan�and�Lee�
Hyuk�sang�present�The Remnants��This�ﬁlm�covers�
the�painful�reality�of�ordinary�breadwinners�
who�are�tormented�by�the�memories�after�being�sent�to�jail�as�a�result�of�an�isolated�strike�at�the�watchtower��As�problems�of�reality�are�not�solved�
by�criticizing�obvious�social�evils��the�directors�
attempt�to�manifest�the�confusion�and�pain�among�the�victims��Jung�Yoonsuk�s�Bamseom Pirates, Seoul
Inferno�focuses�on�a�punk�band�Bamseom�Pirates�
who�released�an�album�full�of�metaphors�of�North�
Korea��In�addition��the�producer�of�the�album�was�
brought�to�trial�on�charges�of�violating�the�National�
Security�Act��The�ﬁlm�demonstrates�a�small�
rebellion�of�an�indie�band�that�refuses�to�submit�
itself�to�capital��These�works�follow�real�stories�and�
ﬁgures��focusing�on�how�these�ﬁlms�can�deliver�
reality�s�ironies��On�the�other�hand��Kim�Gina�s�Bloodless��a�VR�ﬁlm�based�on�a�true�story��attempts�
to�see�if�a�VR�ﬁlm�can�be�a�means�of�sharing��the�
pain�of�others��

The�archetypal�member�of�the��Angry�Young�Men��
John�Osborne�s�Look Back in Anger�was�such�a�
shock�in�the�British�theatre�not�because�it�opened�up�a�new�prospect�of�the�literature�but�because�it�
let�out�the�helplessness�and�anger�of�the�younger�
generation�in�an�honest�tone�We�see�many�artists�who�have�attempted�to�reﬂect�
reality�by�means�of�automatism��However��we�
don�t�see�many�artists�who�convert�the�reﬂected�
reality�in�the�screen�into�the�art�of�resistance��In�
this�respect��Kang�Sang�woo�s�Clean Me�and�Like
We Are Not Here�represent�realistic�anecdotes�as�a�gesture�of�refusing�the�oppressive�conditions�
instead�of�dreaming�of�a�subversion��Kim�Sylbee�s�Carols of Cockayne realizes�poor�image�editing�with�low�resolution�footages��It�becomes�clear�to�
everyone�who�is�spreading�the�toxin�of�the�present�
day�social�environment��but�the�cases�are�always�
closed�for�a�lack�of�evidence��The�actual�madness�
of�war�falls�into�a�game�only�for�the�users��The�
body�of�the�laboring�humanity�also�degenerates�
into�ﬁction��Cha�Jeamin�s�Chroma-key and Labyrinth�
takes�a�ﬁgurative�approach�to�present�the�labor�
of�contemporary�capitalism��where�the�living�bodies�are�gone�and�only�gestures�are�left��Jang�
Minseung�s�Arcadia lets�the�passages�of�the�writer�
Hwang�Sok�yong�s�ﬁrst�short�story�of�the�same�
title�ﬂow�across�the�surface�of�an�enormous�and�
irresistible�valley��The�text�just�might�draw�out�the�formless�and�latent�energy�embedded�within�the�
surface�s�movements�
KIM Eunhee
MMCA�Curator��

59밤섬해적단 서울불바다

정윤석 | 한국 | 2017 | 120min | DCP | Color

Bamseom Pirates� Seoul Inferno
Jung Yoonsuk | South Korea | 2017 | 120min | DCP | Color

1981년�서울�출생��90년대에�일어난�살인집단�지존파�사건을�
다룬�첫�번째�장편�다큐멘터리�<논픽션�다이어리>�2013�로�2013년�부산국제영화제�BIFF�메세나상을�비롯해�2014년�

The Remnants

2015년�10월�경찰관을�죽였다는�이유로�억울하게�
수감되었던�철거민들이�6년�전�용산참사�이후�처음으로�
한자리에�모였다��부당한�재개발�정책에�맞서�함께�
망루에�올랐고�농성�25시간�만에�자행된�경찰특공대의�
폭력�진압에�저항했던�그들��그�과정에서�발생한�원인�
모를�화재로�동료들은�죽고��남은�그들은�범죄자가�
되었다��반가움도�잠시��오랜만에�만난��동지들�은�
서로를�탓하며�잔인한�말들을�쏟아낸다��그동안�
그들에게�무슨�일이�있었던�걸까�

In�October�2015��the�evicted�residents�who�had�
imprisoned�on�a�false�charge�of�killing�a�policeman�assembled�in�a�place�for�the�ﬁrst�time�after�the�
Yongsan�Disaster�six�years�ago��They�had�occupied�a�watchtower�against�unreasonable�redevelopment�
policies�and�in�protest�against�violent�suppression�used�by�riot�police�in�25�hours�of�their�sit�in�
demonstration��Their�colleagues�had�died�from�an�unknown�ﬁre��and�they�became�criminals��The�
delight�of�meeting�again�lasts�only�brieﬂy��The�
�comrades��rip�out�cruel�words�while�blaming�each�
other김일란� 이혁상│한국 | 2016│117min│DCP│Color

The�Bamseom�Pirates�from�Korea�make�music�지난�날�한국에서�빨갱이라는�낙인은�이데올로기에�
appropriate�to�our�sick�society��a�hundred�songs�in�대한�문제이기보다�언제나�공포의�대상이었다��그러나�
ten�minutes��that�kind�of�thing��This�at�times�noisy��우리에게�북한은�극복해야�할��대상�이�아니라�언제나�
but�also�sparkling��activist�and�often�humorous��감각�의�문제였다고�주장하고�싶다��한국의�권위주의를�
documentary�reports�on�the�resistance�oﬀered�by�비판하는��밤섬해적단�의�가사들이�전면에�북한을�
these�punk�musicians�to�hypocritical��conservative�money�grabbers�and�their�often�violent�hold�on�내세우고�있는�것은�바로�위와�같은�맥락에서�이해될�
society��수�있을�것이다��영화는�뮤지션으로서의�밤섬해적단과�
저항의�상징인�펑크에�주목한다��이들은�유명�클럽이�
�Whereas�other�bands�smash�up�expensive�guitars��아니라�대한민국�사회를�풍미한�굵직한�사회운동의�
we�use�rubbish���says�one�of�the�members�of�
controversial�duo�Bamseom�Pirates�while�picking�현장에서�공연을�하며�우리�사회의�소외된�사람들의�
up�an�old�printer�lying�amongst�the�junk�in�an�이야기를�듣는다��그�과정�속에서�음악가로서의�
abandoned�university�building��They�prefer�to�play�정체성과�하고�싶은�음악��돈�안�되는�음악을�어떻게�
here�rather�than�in�Seoul�s�hip�concert�venues��지속적으로�함께�할�수�있을지�고민해�나간다��모두가�
With�heavy�irony��they�announce�their��relaxing��
music��a�blast�of�noise�called�Grindcore��They�play�세상에�대해�무기력함을�이야기할�때��무기력함을�
bass�and�drums��but�use�also�anything�they�can�get�무기로�세상을�향해�일갈하는�밤섬해적단의�음악은�이�
their�hands�on�to�make�music��Their�angry�punk�시대�청춘들의�보편적인�딜레마와�함께�소외된�약자를�
attitude�is�aimed�against�the�established�order�in�향해�노래하려는�뮤지션의�현재를�그린다��현실의�South�Korea��Many�of�their�numbers�have�led�to�한계를�인정하면서도�새로운�음악을�추구하려는�이들의� controversy�and�rows��which�they�warmly�welcome�여정을�통해�이�시대�청춘들을�위로하고��오늘날의�
JUNG Yoonsuk청년문화가�정치와�어떻게�조우할�수�있는지�
b�1981�in�Seoul��He�is�a�visual�artist�and�ﬁlm�director��그�가능성을�모색해본다�
His�ﬁrst�ﬁlm��Non-Fiction Diary �2013���which�deals�with�
정윤석

공동정범

Korea�s�ﬁrst�serial�murder�case�in�the�1990s��won�various�international�awards�including�the�Oﬃcial�Noves�Visions�Best�Feature�Length�Non�Fiction�Film�at�SITGES�IFFF�of�
Catalonia�and�NETPAC�Award�at�Berlinale�김일란1972년�한국�출생��성적소수문화인권연대�연분홍치마에서�
활동�중이다��다큐멘터리�<마마상���Remember�Me�This�
Way>�2005�로�데뷔�후�<3xFTM>�2008�을�연출했다��

용산참사를�다룬�<두�개의�문>�2011�을�연출하고�후속작�

<공동정범>을�공동연출했다�
������������

이혁상

1974년�서울�출생��성적소수문화인권연대�연분홍치마에서�
활동�중이다��데뷔작�<종로의�기적>�2010�으로�부산국제영화제�메세나상과�한국독립영화협회�선정�올해의�

독립영화상을�수상했다��2011년�<두�개의�문>의�크리에이티브�
디렉터로�참여했다�

Kim Il�rhan� Lee Hyuk�sang│South Korea | 2016│117min│DCP│ColorKIM Il�rhanb��1972�in�South�Korea��A�member�of�PINKS��Solidarity�for�
Sexually�Minor�Cultures�&�Human�Rights��After�debuting�with�Mamasang: Remember Me This Way��2005���Kim�made�
3xFTM��2008��and�Two Doors��2011���Together�with�Lee�
Hyuk�sang��she�co�directed�The Remnants��the�sequel�to
Two Doors�
LEE Hyuk�sangb��1972�in�South�Korea��A�member�of�PINKS��Solidarity�for�
Sexually�Minor�Cultures�&�Human�Rights��Lee�garnered�attention�after�receiving�the�Mecenat�Award�from�the�
Busan�International�Film�Festival�for�his�debut�ﬁlm�
Miracle on Jongno Street��2010���In�2011��he�served�as�a�
creative�director�on�the�documentary�Two Doors��2011��

베를린국제영화제�넷팩상��시체스국제판타스틱영화제�오피셜�

놉스비전�논픽션�부문�최우수작품상을�수상했다�

60

61

동두천

Bloodless몽유도원가

Carols of Cockayne<동두천>은�1992년�미군에�의해�살해당한�한국�여성�
성노동자에�관한�VR�다큐멘터리이다��지난�25년간�영상매체를�통해�이�사건에�대해�이야기하고�싶었지만�
관음을�전제로�한�쾌락을�제공하는�매체의�속성상�
폭력의�재현은�또�다른�폭력에�다름없다는�재현�윤리의�
한계를�극복하지�못해�번번이�좌절하고는�했다��그러나�
기존의�영화와�달리�주체화된��체험�을�가능케�하는�
VR�매체를�접하게�되었을�때�비로소�실마리가�풀리기�
시작했다��주한미군�범죄라는�논쟁적�이슈를�개인적�
감정적�경험으로�체험할�수�있게�함으로써�지면으로만�
받아들여지던�역사를�감각의�영역으로�재조명하는�
것이다��

Bloodless�is�a�ten�minute�VR�ﬁlm�that�deals�with�
camp�town�sex�workers�for�US�army�stationed�
in�South�Korea�since�the�1950s��The�ﬁlm�traces�the�last�living�moments�of�a�real�life�sex�worker�
who�was�brutally�murdered�by�a�US�soldier�at�
the�Dongducheon�camptown�in�South�Korea�in�
1992��Portraying�the�last�hours�of�her�life�in�the�
camp�town��the�VR�ﬁlm�transposes�a�historical�
and�political�issue�into�a�personal�and�concrete�
experience��This�ﬁlm�was�shot�on�location�where�
the�crime�took�place��bringing�to�light�ongoing�
experiences�at�the�96�camp�towns�near�or�around�the�US�military�bases��<몽유도원가>는�먼�곳의�전쟁터와��이곳�을�연결하는�
가상�무기의�사용설명서이다��유튜브에서�전쟁에�
직간접적으로�연관된�영상들을�가져와�재편집한�
작업이다��여러�층위의�가짜�서사는�전쟁을�키워드로�
겹쳐지면서�미디어를�통한�우리의�전쟁�인식을�현실과�
꿈�사이에�위치�짓는다��상상을�통과하며�평화로운�
이곳과�전쟁중인�저곳의�연결점은�보다�분명해지며��
어떤�평화도�전쟁에�빚지고�있음이�드러난다�

Footages�from�YouTube�are�rebuilt�into�a�ﬁctive�
user�s�manual�for�a�war�toy�that�connects�the�
viewer�to�the�remote�sites�of�war��The�script�
evolves�around�diﬀerent�quotations�on�war�and�its�
techniques��memories�and�fantasies��Experiences�of�war�are�reconstructed�through�images�
circulating�on�web�and�popular�media��Overlaying�
diﬀerent�ﬁctions��the�notions�of�war�are�displaced�
somewhere�between�the�reality�and�dream��The�
act�of�imagining�ﬁnally�exposes�that�every�peace�is�
indebted�to�war�김진아 | 한국� 미국 | 2017 | 12min | VR | Color김진아

1973년�서울�출생��그녀의�장편영화�5편은�80개�이상의�

국제영화제에서�상영되었다��<두번째�사랑>은�한국과�미국의�
첫�공동제작�작품이며�프랑스��한국��미국에서�개봉되었다��

<파이널�레시피>는�중국�3�000�여개�극장에서�개봉되었다��
UCLA�대학�필름&텔레비전�학과�교수로�재직�중이다�

Gina Kim | South Korea� USA | 2017 | 12min | VR | Color김실비 | 독일 | 2010 | 7min | SD | Color

Gina KIMb��1973�inS�eoul��Her�ﬁve�feature�length�ﬁlms�have�
screened�at�more�than�80�prestigious�international�ﬁlm�
festivals�and�venues�all�over�the�world��Never�Forever�was�the�ﬁrst�co�production�between�the�US���Korea�and�
theatrically�released�in�France��Korea�and�the�US��
Final Recipe�was�wide�released�in�China�over�3�000�
theaters���She�is�a�professor�at�the�UCLA�School�of�
Theater��Film�and�Television�

62

김실비

1981년�서울�출생��한국예술종합학교�미술원�졸업�후�

베를린예술대학에서�미디어아트�마이스터슐러�학위를�

취득하였다��2005년�이래�베를린과�서울을�기반으로�영상��

설치��평면��퍼포먼스�중심의�작업을�전개하고�있다��현실비판적�

사유를�바탕으로�한�비선형적�서사를�다층적인�시공간으로�

구현한다��

단편�프로그램�7

Sylbee Kim | Germany | 2010 | 7min | SD | Color

Sylbee KIM
b��1981�in�Seoul��She�acquired�B�A��at�Korea�National�
University�of�Arts��Seoul��Meisterschüler�in�Experimental�
Media�at�Universität�der�Künste�Berlin��Since�2005�Kim�
has�been�working�between�Berlin�and�Seoul�employing�
primarily�digital�videos�combined�with�installations��
prints�and�performances��Critical�thinking�around�our�
current�reality�is�presented�through�conceptual�and�
spatial�layers�of�contradictory�elements�to�form�a�non�
linear�narrative��

Short�Program�763미궁과 크로마키

Chroma�key and Labyrinth클린 미

Clean Me<미궁과�크로마키>는�섬세한�카메라�움직임과�
크로마키�기법을�이용한�영상�작업이다��이�영상은�
케이블을�설치하는�손과�설치�동작은�같지만�
노동가치가�거세된�손을�병치하고�있다���손�이라는�
은유는�노동�소외를�가장�극대화하면서�동시에�
전문가��장인이라는�미명�아래�노동을�신성화한다��
요컨대�손노동의�과정은�노동의�결과물로부터�도외시�
된다��그러나�때로�손노동은�숙련된�기술이자�자아를�
실현하는�활동으로�여겨지기도�한다��이렇게�양쪽으로�
찢어진�극단의�추상성은�노동을�인격으로부터�분리하고�
노동을�통제할�수�있다는�환상을�불러일으킨다��
이�작업은�우리가��노동�이라는�단어를�사용하면서��
�노동�을�제대로�감각하고�있는지를�질문한다��또한��
실제적인�노동과정을�가려버리는�추상화의�장막을�
거둬�낼�가능성을�발견하고자�했다�

Chroma-key and Labyrinth�is�a�short�ﬁlm�made�
using�the�Chroma�key�compositing�technique�
combined�with�delicate�camera�movements��This�ﬁlm�juxtaposes�two�kinds�of��hand�movements���
First��a�cable�worker�s�hand�movements�untangle�
cables�on�site�for�installation��and�second�the�
worker�mimics�the�movements�he�would�normally�
perform��but�he�does�so�without�the�actual�objects�
in�hand��Therefore�he�performs�labor�without�value��In�the�ﬁlm��the�analogy�of��manual�work��can�be�
mythologized�as�noble��However�manual�workers�
are�isolated�from�each�other�by�compartmentalized�
processes��The�process�of�handwork�is�removed�
from�the�ﬁnal�product�of�labor��though�is�
sometimes�perceived�as�an�activity�that�can�bring�
about�self�realization�as�well�as�a�highly�skilled�
activity��This�extreme�abstraction�could�create�the�illusion�that�labor�can�be�removed�from�the�
individual�laborers�and�that�the�quality�of�labor�
could�be�controlled�without�consideration�of�the�people��This�ﬁlm�questions�how�we�perceive�the�word��labor��and�what�truths�are�conveyed�through�the�word��The�ﬁlm�attempts�to�unveil�the�process�of�abstraction�that�occludes�the�real�eﬀects�of�
physical�labor�교도소에서�출소한�병철은�바깥에서의�첫�하루를�
보낸다�

Byungchul�spends�his�ﬁrst�day�outside�prison�차재민 | 한국 | 2013 | 16min | HD | Color차재민

1986년�부산�출생��한국예술종합학교�예술사��

영국첼시예술대학에서�예술석사�학위를�받았다��두산갤러리�

서울�2014�과�두산갤러리�뉴욕�2015�에서�개인전�

《히스테릭스》를�개최했고��베를린국제영화제�2017���미디어시티�서울�2016���광주비엔날레�2016���전주국제영화제�2015���일민미술관�2014���국제갤러리�2013��
등의�그룹전�및�페스티벌에�참여하였다�

Jeamin Cha | South Korea | 2013 | 16min | HD | Color강상우 | 한국 | 2014 | 22min | HD | Color

Jeamin CHA
b��1986�in�Busan��South�Korea��Lives�and�works�as�an�
artist�and�ﬁlmmaker�in�Seoul��She�graduated�from�the�
Korean�National�University�of�Arts�in�Seoul��BFA��and�
Chelsea�College�of�Design�and�Arts�in�London��MFA���She�
has�held�solo�exhibitions�and�been�part�of�numerous�
group�exhibitions���나는�출소한�뒤�취업�교육을�받기�위해�
법무보호복지공단을�드나들었다��형기를�마친�뒤에도�
돌아갈�곳이�마땅치�않은�사람들이�이곳에서�생활하고�
있었다��아무도�자신의�과거에�대해�쉽게�이야기를�
나누려�하지�않았고��상당수가�청소업계에서�
임시직으로�일하고�있었다��범죄자들이�나오는�수많은�
영화들이�떠올랐고��이�영화의�시나리오를�
쓰기�시작했다���－강상우�

Like We Are Not Here광주일고와�화순고�야구부가�경기를�펼치고��교보생명�
보험설계사는�월풀세탁소�주인에게�전화를�건다��
연기학원에�다니는�소년들은�스마트폰에서�흘러나오는�
음악을�듣는다��영화�스태프들은�그�모습을�촬영한다�

The�baseball�teams�of�Gwangju�Jeil�High�School�
and�Hwasun�High�School�play�a�game��and�an�
insurance�planner�from�Kyobo�Life�Insurance�
makes�a�call�to�the�owner�of�Whirlpool�Laundry��Boys�of�an�acting�school�listen�to�music�from�a�
smart�phone��The�ﬁlm�staﬀ�shoots�the�scenes��클린�미�Clean�Me우리는�없는�것처럼�Like�We�Are�Not�Here강상우

KANG Sang�woob��1983�in�Seoul��South�Korea��He�studied�ﬁlm�theory��
physics��and�computer�science��While�working�as�a�
computer�programmer��he�started�to�create�ﬁlms��He�is�
now�making�a�feature�length�documentary�titled�Mr. Kim��
So�far��he�has�made�Like We Are Not Here��2016���Clean Me��2014���Anmado��2014���A Silk Letter��2010��and�Death of a
Gay Teenager��2009��

강상우 | 한국 | 2016 | 12min | HD | Color공부했고�컴퓨터�프로그래머로�일하다�영화를�만들기�시작했다��
현재�장편�다큐멘터리�<김군>을�제작하고�있다��<우리는�없는�것처럼>��2016���<클린�미>�2014���<안마도>�2014���<백서>�2010���<어느�게이�소년의�죽음>�2009��등을�연출했다��
Short�Program�764

�After�being�released�from�prison��I�went�to�the�
Korean�Rehabilitation�Agency�for�employment�
education��People�who�had�no�place�to�go�back�to�after�getting�out�of�prison�stayed�there��No�one�
wanted�to�tell�about�their�past��and�most�of�them�
were�working�on�a�part�time�basis�in�the�cleaning�
services�ﬁeld��Films�featuring�criminals�sprung�to�mind��and�I�started�to�write�a�scenario���－Kang�Sang�woo�

우리는 없는 것처럼

1983년�서울�출생��영화�이론과�물리학��컴퓨터�과학을�

단편�프로그램�7

Kang Sang�woo | South Korea | 2014 | 22min | HD | Color단편�프로그램�7

Kang Sang�woo | South Korea | 2016 | 12min | HD | Color

Short�Program�765입석부근 立石附近

장민승 | 한국 | 2017 | 50min | HD | Color장민승의�시네마토그래피�<입석부근>은�
한국을�대표하는�문인�황석영�작가의�등단�작품��
『입석부근』�1962�을�근간으로�하고�있다��한국�
등반사의�성지인�설악산�토왕성�폭포에서�2015년�
겨울에�촬영된�<입석부근>은�억겁의�시간이�만든�
기암�奇巖�과�일시적으로�형성된�빙벽이�대비되는�
자연의�위용��아름다움을�발견하고자�하는�인간의�
정직한�도전과�그�숭고함을�담고�있다��한�소년의�
실존적�성장을�통해�정의와�우정��죽음과�휴식을�
담담하게�묘사하는�소설의�문장들은�장민승의�영상을�
통해�시청각적으로�번역되었다�
이번�영화는�아트디렉터�이경수�워크룸�와의�협업을�
통해��1962년�출판�당시의『입석부근』�원본�활자와�
표현을�인용하였으며�음악감독�정재일의�협업으로�
청각에�의한�서사�전달을�극대화하였다�
장민승

1979년�한국�출생��대학에서�조각을�전공하고��가구제작자와�

디자이너로��그리고�20여편의�상업영화의�음악�코디네이터와�
프로듀서로�활동하였다��그는�분야를�가리지�않고�방법론을�

빌리고�여러�장르를�오가는�협업을�시도한다��2014년�

<voiceless>로�에르메스재단�미술상을�수상했다�

Arcadia

Jang Minseung | South Korea | 2017 | 50min | HD | Color

Jang�Minseung�s�cinematography�Arcadia�is�
originally�conceived�from�a�representative�ﬁgure�in�
Korean�literature�writer�Hwang�Sok�yong�s�debut�
novel�Ipsuk Bugeun��1962���It�was�ﬁlmed�in�the�
winter�of�2015�at�Towangseong�Waterfall��a�sacred�
place�in�the�history�of�Korean�mountaineering�
located�in�Mt��Sorak��Arcadia�represents�the�stark�
beauty�of�nature��created�by�the�transiently�shaped�
ice�walls�against�the�elaborately�forged�rocks�
formed�through�time��and�human�s�genuine�and�
sublime�pursuit�to�witness�the�artistry�and�splendor�
of�nature��The�lines�excerpted�from�the�novel�
which�depicts�a�boy�s�existential�grow�through�encountering�moments�of�justice��friendship��death�and�rests�in�a�composed�matter�are�translated�
synesthetically�into�Jang�s�video��Collaborated�
with�art�director�Lee�Kyungsoo��workroom���the�original�typeface�from�the�1962�s�Ipsuk Bugeun�was�
adapted�to�the�ﬁlm�and�music�direction�by�Jung�
Jaeil�enhances�the�narrative�experience�of�the�
viewer�appealing�to�auditory�sense�
JANG Minseungb��1979�in�Seoul��He�has�been�working�as�a�maker�and�
designer�of�furniture�and�also�as�a�coordinator�and�
producer�of�music�for�commercial�ﬁlm�productions��
He�obliterates�distinctions�between�genres��borrowing�
methodologies�of�one�art�and�applying�them�to�another�and�always�looking�for�opportunities�to�join�diﬀerent�
forms�of�art�in�collaboration��In�2014�he�was�awarded�the�
Hermés�Foundation�Missulsang�for�his�work�voiceless�

66포럼�주제�및�텍스트

하세가와�히토미

큐레이터김은희��하세가와�히토미

협력�큐레이터

인티�게레로��저우�신��

프로그램�코디네이터

김신재포럼�코디네이터

윈드웰러스필름��주�

번역�감수�

서미혜��유지원��

기술담당

류원규

위왓�러트위왓웡사

크리스토퍼�맥고완

그래픽�디자인�

개미그래픽스

Curatorial�Theme�and�Text

Hitomi�Hasegawa

Co�Curators

Inti�Guerrero��Xin�Zhou��
Wiwat�Lertwiwatwongsa
�Kim�Shinjae�Curators�

Program�Coordinator
Forum�Coordinators

Translation�and�Revision
Technical�Manager
Graphic�Design

Kim�Eunhee��Hitomi�Hasegawa

Windwellers�Films�Co���Ltd
Suh�Mee�hae��Yu�Jiwon�
Christopher�McGowan
Ryu�Wonkyu

Ant�Graphics

67

관람시간
월��화��목��금��일��10am―6pm
수��토��10am―9pm

국립현대미술관 서울관
03062�서울시�종로구�삼청로�30�
02�3701�9500

입장료서울관�통합관람권��4�000원대학생�및�만�24세�이하�또는�만�65세�이상�무료
수��토�야간개장�시�무료관람�6pm―9pm�

www�mmca�go�kr
newsletter�mmca�go�kr
youtube�com�mmcakorea
twitter�com�mmcakorea
facebook�com�mmcakorea��Kor�
facebook�com�nmmcakorea��Eng�

MMCA필름앤비디오 관람시간목��금��일��10am―6pm
수��토��10am―9pm주차운영시간�매일���8am―11pm
시간당�2�000원
주최 국립현대미술관

Opening Hours
Mon��Tue��Thu��Fri��Sun��10am―6pm
Wed��Sat��10am―9pm

MMCA Film & Video Opening Hours
Thu��Fri��Sun��10am―6pm
Wed��Sat��10am―9pm
Admission Fee
Entrance�Ticket��4�000�won
Under�24s�or�over�66s��Free
Free�admission�every�Wednesday�&�Saturday�from�6pm―9pm
Parking
Daily�Hours��8am―11pm
2�000�won�per�hour

Organized by
National�Museum�of�Modern�and�
Contemporary�Art��Korea
Supported by

National Museum of Modern and Contemporary Art� Seoul
03062�30��Samcheong�ro��Jongno�gu��Seoul��Korea+82�2�3701�9500