A walking tour through Rivington Place building with Swedish artist Lina Selander and Korean artist and film-maker Park Chan-kyong. About the artists’ selected body of work presented at Iniva:
Park Chan-kyong’s Sindoan (2007) is a ‘fantasy-documentary’ that marks a point of transition for Park’s focus on political structure to religious subjects. The title of the work refers to the name of a mountainous area where divergent religious communities established their bases when Korea was occupied by Japan at the turn of the last century. Widely different religions, including shamanism, Confucianism, and Protestantism co-existed in this place for decades under the Gyeryong Mountain. The history of ‘Sindoan’ as presented in the film, tells the history of various forms of oppression, and despite of all these of surviving beliefs, they practice ways of co-existence between human beings and the (super)natural throughout the time of dictatorship and the persisting cold war condition.The exhibition is contextualised by the presentation of various materials that punctuate Park’s research trajectories, and as a consequence highlight his practice not only as an artist but also as an activist, writer and curator.
Lina Selander’s Silphium (made with Oscar Mangione, 2014) begins by telling the story of the ancient plant Silphium and the connection between the fate of the now extinct plant and the Greek colony Cyrene. The story serves as an entry point into an open-ended visual journey. In the film, methods of power and their symbolic representation are put into question through moments of vulnerability and the loss of visual control. Model of Continuation (2013) is based on the invisible core of the visible inscription; the image as an interior object and its relationship to seeing and reproduction technologies. A camera is disassembled in a studio in front of another camera whose images are then projected in the same studio, and re-filmed. The film stages a circular encounter between experience and technology, which interferes with that which the camera does not contain: the images. Anteroom of the Real (2011) takes its starting point in the deserted town of Pripyat, located within the zone of the Chernobyl nuclear disaster. A pair of hands flip slowly through a pile of photographs comprising: images of a model of reactor 4, buildings in Pripyat, books in deserted offices, trashed interiors, pictures of a TV monitor showing a documentary about Chernobyl. As the timelines of the still and moving images intersect, the film raises questions about what an editing room is and can be, and about narrativity, time and images.
Park Chang-kyong (b. 1965) is an artist and a filmmaker based in Seoul. His subjects have extended from the Cold War to traditional Korean religious culture, from ‘media -oriented memory’ to ‘regional utopian imaginations.’ He is currently working as an artistic director of ‘MediaCity Seoul 2014′ (International Media Art Biennale). He has produced media based works such as Sets (2000), Power Passage (2004), Flying (2005), Sindoan (2008), Radiance (2010), Anyang Paradise City (2011), Night Fishing (2011, co-directed with Park Chan-wook) and Manshin (2013).His works have been exhibited in international venues, such as Gwangju Biennale in Korea, De Appel in Amsterdam, RedCat Gallery in Los Angeles, Kunstverein in Frankfurt and many others. He has won various prizes including Hermès Korea Misulsang (2004), Golden Bear Prize for short films of the Berlin International Film Festival (2011) and Best Korean Film of the Jeonju International Film Festival (2011).
Lina Selander (b. 1973) lives and works in Stockholm, Sweden. Selander’s work has been shown at Index – The Swedish Contemporary Art Foundation, Moderna Museet Stockholm, Kunsthall Trondheim and in international group shows such as Seoul MediaCity Biennale 2014, Manifesta 9 in Genk, Belgium, the Bucharest Biennale 2010 and at Haus Kulturen der Welt, Berlin. Selander will represent Sweden at the 2015 Venice Biennale.
This event is free, please book your place in advance via: