Lee Hangjun, rather than capturing the actions of the object through the camera, has been working on chemical process, transforming film itself physically and chemically; Hong Chulki has been working on feedback playing or collaborative improvisation, wit
I have been waiting for those who create music and visual just like them for more than 20 years. They confront and challenge the problem at this departing point of audio and video. - Otomo Yoshihide
Seized in moments of visual detachment during periods of emotional contact, these images are oxidized residues of fixed light and chemical elements of transformed from living organisms. - Carl E. Brown
Lee Hangjun, rather than capturing the actions of the object through the camera, has been working on chemical process, transforming film itself physically and chemically; Hong Chulki has been working on feedback playing or collaborative improvisation, without transmitter or receiver, using effect pedals or turntable. So to speak, the two artists have been exploring what the medium signifies, the potentiality of the medium itself distinguished from the representation or the power immanent in the medium. But we must not forget that their collaboration is worth more than just reflective research on the medium, the material itself. When Lee Hangjun was hammering the film strip to break silver grains inside it in "Cracked Share," and Hong Chulki was doubly mixing the sound footage of "Metaphysics of Sound," neither artist aimed to hear or see materials but instead the crack between them. They came close to finding not materials, but the relation between them, so to speak, the principle or power of the materials
Lee Hangjun: film
Hong Chulki: turntables
Composed and edited by Lee Hangjun and Hong Chulki
Design by Ryu Hankil
Produced by Choi Joonyong
Comes with a 20 page booklet with photos and texts in english / korean.
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