bnn21
이행준, 홍철기 - 확장된 셀룰로이드, 연장된 포노그래프

1. 균열의 몫
2. 사운드의 형이상학적 채집


supplement. live performance at Kunst Doc

소책자 포함


running time:69:20


released date

format

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price

2008.6

DVD (NTSC 16:9 STEREO All REGIONS)

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20,000원

이행준: 필름
홍철기: 턴테이블

디자인: 류한길

video samples


균열의 몫


사운드의 형이상학적 채집

이행준
실험영화작가이며 주로 필름 푸티지를 수집하여 이들 필름 표면의 이멀전을 산화시키는 방식의 케미컬 작업과 기존의 필름을 빈 필름에 다시 복사하는 과정에서 이미지를 변형/왜곡시키는 컨택트 프린팅 작업을 해오고 있다. 또한 두 대 이상의 영상기를 사용하는 멀티 프로젝션과 이를 통한 영상 퍼포먼스 작업도 병행하고 있다. 서울독립영화제, 프랑스 현상 랩 l'abominable에서 초청되었고, 그 외에도 다수의 국제실험영화제에 초청된 바 있다. 주요작품으로는 <지하철 프로젝트>, <완전한 사육>, <낮꿈>이 있고, 현상 랩 스페이스 셀에서 실험영화워크샵 강사로도 활동하고 있으며. 이외에도 실험영화무크지 <나방N'Avant>의 편집위원이다. (http://www.hangjunlee.com)


홍철기
1996년 이래로 노이즈 뮤지션, 즉흥연주자로 활동을 하며 국내의 첫 노이즈음악 프로젝트인Astronoise를 만든 장본인이기도 하다. 각종 음향 기기(턴테이블, MD플레이어, 컴퓨터)의 증폭장치를 이용해 발생하는 피드백을 연주의 도구로 사용하여 귀와 뇌를 자극하는 소리를 만들어오고 있다.. 2007년에는 턴테이블 연주를 담은 솔로 음반인 'Surface & Feedback'과 'without cartridge, with cartridge'를 발표하였고, 진동과 피드백을 이용한 설치작품을 선보이기도 하였다. 국내 실험영화의 음악작업을 꾸준히 해오고 있으며, 노이즈음악과 전자즉흥음악 이론에 관한 연구와 저술활동도 병행하고 있다. (http://www.balloonnneedle.com/chulki.html)

소책자에서 발췌
감정적 접촉의 지속 동안 일어나는 시각적 이탈의 순간에 이미지들은 멈춰 버리는데, 이것들은 응고된 빛의 산화된 잔류물이며 살아있는 유기체들로부터 변형된 화학 원소다.
- Carl E. Brown

그들처럼 음악이나 영상을 만드는 사람이 나오기를 나는 20년 이상 기다려왔다. 그들은 영상과 소리의 시작 지점에 존재하는 문제에 정면으로 도전하고 있는 것이다.
- Otomo Yoshihide

김곡의 “공유된 균열: 어떻게 시각-청각적 관념을 물질화할 것인가?”에서 발췌
이행준과 홍철기가 2006년부터 공동작업을 해온 것은, 매체 자체의 물질성에 관심 덕택이었던 것은 사실이다. 이행준은 카메라를 통해 대상의 액션 등을 포착하는 것보다는 필름 자체를 물리-화학적으로 변형시키는 소위 케미칼 작업을 하고 있었고, 홍철기는 미리 구성되어 있는 곡을 악기로 연주한다기보다는 이펙터나 턴테이블 등을 이용해서 송신자도 수신자도 없는 피드백 연주 내지 즉흥협연을 하고 있었다. 두 작가 모두 매체가 지시하는 것 혹은 매체로부터의 표상과는 구분될 매체 자체의 잠재성, 매체에 내재한 본유적 힘을 탐구하고 있었다.

reviews

[review on Vital Weekly 641 by Frans de Waard]
Before I must have reported about the fact that cinema and art film are not my cup of tea to review. Not because I don't like it, but because I don't know much about it. I do watch films (see my review of 'Here's To Love' from a few weeks back), and when it comes to experiments with media such as film I do very much like Stan Brakhage's work. But its hard to place that in any sort of category or write some intelligent words, offering insight. But since I like this one, I'll give it a try. Hong Chulki we met before. This Korean musician plays with feedback, turntables, laptop and minidisc. Here he works with film maker Lee Hangjun, also from South-Korea. He treats his film with chemicals and always has at least two screens to project on. Despite Chulki's laptop, this seems to me foremost a work of analogue media. You can't sprinkle chemicals over windows media player and see what the outcome is. But you can do over physical film. I am not sure if Hangiun uses films he made himself, or that he is using old film. The mixture of hectic noise based sounds, the feedback mixes with surface of the record player (that most likely has no records spinning) along with the rapid flickering of two images at the same time, create an almost hallucinating affair. It's that Brakhage already made a film called 'Loud Visual Noise', otherwise it would very appropriate to this. Noise as such is something which I don't like very much at the moment, but when its presented like this, not noise made visual, but a combination of noise as music, and noise as image, combined together its something that I certainly am willing to see and hear, or hear and see. (FdW)

[review by Brian Olewnick]
Both of Lee's videos use a similar format: twinned screens displaying generally abstract imagery (though often infiltrated by footage from various sources) based on film stock that appears to have been treated chemically including, one guesses, by "natural" processes like heat, elemental exposure, maybe biological growth) then reprocessed digitally. The film origin manifests in that upward movement I've mentioned before, something I find a little distracting. The images are usually formally related to each other, at least by a like corroded quality, occasionally more directly via reflected, out-of-phase use of the same image. The overall tone is in the brown/ocher range with flashes of other colors and sometimes opposition of, say, bluish and flame orange aspects of otherwise similar footage (very effective). There's an enormous sense of speed enhanced by Hong's brutalist turntable, especially in the first piece, "The Cracked Share" (think Yoshihide at his most violent); Hong's work is pretty great throughout. The second piece, "Metaphysics of Sound", is somewhat more contemplative, the imagery revolving around film sprocket holes, Hong using actual records as a prime sound source (how old-fashioned! ;-)) and perhaps all the more effective for pulling back a tad.

Do I like it? Well, yes but most often when I'mm able to really immerse myself, something difficult to do via TV screen. Imagining the works performed in a larger room, the images projected on walls (perhaps being run in duplicate so one is surrounded), I think it would be quite the experience. The supplemental track gives hints of just that and, again to the extent you can place yourself in situ, it appears pretty fantastic.

[review on Paris Transatlantic by Dan Warburton]
Scratching the surface is what Lee Hangjun and Hong Chulki do very well, the former playing with degraded, scuffed and generally fucked-up film stock (shades of the Cellule d'Intervention Metamkine), the latter with his turntables. Expanded Celluloid, Extended Phonograph features two half hour pieces, The Cracked Share and Metaphysics of Sound, plus footage of a live performance in February this year (well you don't actually see Hong Chulki manhandling his gear but you get some idea of what the event might have looked like from the back of the gallery), and comes with a beautifully produced 20-page booklet complete with still photographs and stillborn (though well translated, it seems) text courtesy filmmaker Kim Gok. Lee Hangjun's films split the screen into two, drawing the eye inevitably to the vertical line that separates left and right, as images scatter and splatter on either side. Most of them are abstract, rips, gashes, holes, burns and all manner of corroded degradations flying past at high speed, but from time to time recognisable images – cars, faces, clouds – appear. Hong Chulki's ferocious turntablism, itself a corrosive mix of feedback squeals and disturbing crunches and scratches (Otomo fans will love it) makes no attempt to follow the film (how could it?), even when the images take an occasional break – Metaphysics falls into distinct chapters – leaving more room for viewers / listeners to make the connections themselves. Which is as it should be.–DW