|
< PERFORMANCE/SCREENING > Expanded Celluloid Extended Phonograph MULLAE ART SPACE 2F BOX THEATER 19 AUGUST 2011 (FRI) 6:30pm SCREENING - LEE HANGJUN : NEBULA RISING, THE CRACKED SHARE 20 AUGUST 2011 (SAT) 7:30pm 16MM MULTI PROJECTION PERFORMANCE - AFTER PSYCHO SHOWER (90 MINUTES) ADMISSION FEE : 1 DAY 10,000WON, RESERVATION FOR 2 DAYS 15,000WON presented by LEE HANGJUN, in collaboration with BALLOON & NEEDLE Expanded Celluloid Extended Phonograph 'Goo(球/口) of 24fps/15Hz' THE CORNER GALLERY FROM 11 AUGUST TO 18 SEPTEMBER (5pm~10pm) |
|
ABOUT 'EXPANDED CELLULOID, EXTENDED PHONOGRAPH' “Expanded Celluloid, Extended Phonograph” as a collaborative project between Lee Hangjun and Hong Chulki since 2004 is also the title of the DVD(www.balloonnneedle.com/bnn21en.html) released by them in 2008. Its starting point was the common interest in the materiality, and its consequent expansiveness, indeterminacy, and the improvisational in the audio-visual recording-playback media. Hong’s longtime collaborator in noise, Choi Joonyong’s joining up to this collaboration has pushed it further towards the direction of building more unstable and precarious relation between sound and visual. The programs planned for the year 2011 including exhibition, screening and live performance is focused on our investigation on the fundamental layers of audio-visual relations. The first day (19 August) of the performance program starts by the screening of Lee Hangjun’s works, “Nebula Rising” and “The Cracked Share”, which reflects his interest in film not as an accepter of image but as a medium with materiality that emanates image from itself. Those works will be screened in unconventional format. After the screening, Lee’s “Film Walk”, the first part of the main performance program follows. This piece revitalizes 16mm film as optically recording/playing-back medium of sound by the body not of the projector but of the projectionist’s motion/movement. The “bounce.befall”, the second performance by Choi Joonyong, whose investigation in noise arrived at his interest in so-called ‘inferior sound’, reveals the contrasts between high and low, beauty and ugliness, and ultimately superiority and inferiority in sound through the audio-visual experience caused by the things’ motion of freefall. Finally, the first day’s program will be concluded in Hong Chulki’s “Levitation/Vibration” which tries to violate against the hierarchy between highness and lowness in sound by the vibration throughout the whole space. The second day’s programs opens with 16mm multi-projection performance, “After Psycho Shower”, which deconstructs the famous shower-murder scene from Hitchcock’s “Psycho”, frame by frame, and concludes in melting and burning of film itself after the obsessive repetition of it, aiming at renewal of the cultural memory of this well-known images into audio-visual ‘experience’. The soundtrack of this expanded ‘horror’ cinema performance consists of noise music, which unconsciously ambushes the audience. Historically, noise music and horror film has retained the close mutual relationship. Or rather, it can be said that horror film soundtrack was the pre-history of noise music. Horror films had wanted simultaneously artificial and supernatural sound effects and noise music had to remain as a parasite to its host, horror films, until it enabled itself to stand alone. However, due to the development of visual special effects, horror films doesn’t need uncanny sound effects any longer and at the same time, due to the dissemination of electronic music technology, noise music doesn’t need moving images and narratives any longer to present itself to the audience. “After Psycho Shower” is the piece that (dis)unites the relation between sound and image in horror cinema, previously severed by digitalization of the both, in an indeterminate and contingent way of improvised audio-visual performance. It will be performed in various formats, at London’s Vision Sound Music Festival in September, Brussel’s Bozar Electronic Music Festival in October and at the other venues in Rome and Venice in November as well. The exhibition in the same title at The Corner Gallery in Seoul, which opens on 11 August, also reflects these three artists’ common interest in audio-visual medium’s materiality into the form of installation. |
|
LEE HANGJUN www.hangjunlee.com Lee Hangjun is a filmmaker and independent curator. Lee was programmed a monthly artist film & video screening events in Seoul from 2007 to 2009 and curated special screening program for several gallery space around world. Lee has edited the books Carl Brown:Visual Alchemy Ocular Alkahest(2008) and an anthology on issues in Asian experimental media(2009). His recent works are distributed by Lightcone in Paris. He has attended Artist-in-Residence programs such as LIFT in Toronto, Nowhere in London. His film performance & screening works has been presented in various venues around the world include: Netmage10(Italy), Lacasaencendida(spain), Espace Multimédia Gaunter(France), cafe OTO(UK), Scratch Expanded(France), etc. My practice is based on the physical/chemical processing of the film surface and the particular materiality registering the dissolution of the well-ordered relationship between light and particle. This has left me a question how to form an alternative relationship between the projection event on a screen and the real time-space in its exhibition/screening site. I began exploring the structural and temporal issue in my works by using chance and improvisation in the dark room to construct a limitless database for endlessly repeating the disturbance and displacement of the entire process of film(art) making. The time(duration) captured in the original film is transformed into a spatial formation-the logic of the color and light transformed into the brown movement of chaotic particles. This ‘open’ film is constructed of short film strips before being presented to the audience with multiple projectors in real time-space. Each time I stand in front of the same-yet never same-work within real time-space. Each time I stand in front of the same-yet never the same-work within real time-space, I ask where such a work begins and ends. I explore this question outside the(not-yet matured) system of art installation which doesn’t go beyond a pictorial boundary preferring to work inside a system of cinema that from the very beginning was considered as a type of art with no future. |
|
HONG CHULKI www.hongchulki.com Hong Chulki is a founding member of the first Korean noise music group Astronoise (1997~), and of one of few Korean experimental/noise/improvised music labels, Balloon and Needle (2000~) as well. Since 2004 when he first involved in free musical/ improvisational collaborative practice, his main interest in music has been focused on the difficult middle ground between extremely loud noise music and the ascetic aesthetics in free improvisation (or rather, non-improvisation). Although his current main instrument is acoustic turntables (or “turntables without cartridge”), his instrumentation always tends to reflect instability and precariousness of the musical and the physical matter. He has actively collaborated with musicians and artists in noise and improvisation like Choi Joonyong, Lee Hangjun, Ryu Hankil, Jin Sangtae, Otomo Yoshihide, Sachiko M, Joe Foster, Takahiro Kawaguchi, Jason Kahn, Tetuzi Akiyama and Zbigniew Karkowski. He also have been invited to the several international festivals such as Netmage, All Ears, Kita Kyushu Biennale and Against. My instrumentation of turntables was neither in the context of music listening nor of DJ culture. I started to play music with guitar and it was prepared CD rather than turntables that I chose immediately in order to play noise/improvised music with everyday recording/ playback devices. My starting point with turntables was only inspired by the interest in solid vibration. And then my exploration of turntable went mainly either to the direction of with cartridge but without spinning movement of platter (for example, making feedback of various types) or to without cartridge but with platter against any objects that became abrasive and screeching acoustic noise machine. |
|
CHOI JOONYONG www.balloonnneedle.com/joonyongen.html Choi Joonyong lives in Seoul, South Korea. He founded Astronoise with Hong Chulki in 1997 focusing on amplification and physical aspect of sound, and has been playing noise/experimental music participating in Bulgasari and Relay(the concert series for improvised music in Seoul) since 2003. He is involved in collaborations with other artists such as Hong Chulki, Ryu Hankil, Jin Sangtae, Joe Foster, Otomo Yoshihide, Sachiko M, Jason Kahn and released many albums including five solo albums. He also does audio-visual performance with Lee Hangjun. He played at festivals like Kita-Kyushu Biennale, All Ears Festival, Pauze Festival in Japan and Europe. He runs a label called ‘Balloon & Needle’ releasing experimental music from Korea and does the cover design for most of the releases. With artists from the label a 3-day event called ‘Balloon & Needle: The New Korean Avant Garde’ was held in London in January 2011. Instead of building a sound, he usually finds sounds with playback devices such as CD-player, reel tape player, MP3-player, and loud-speaker by utilizing the fallacy to expose their innate sounds from the mechanism. Especially he made several albums with CD and CD-player using their both digital and analog aspects. He is interested in control and failure of playing through improvisation and composition. Recently he is working on solo performances questioning the perception of sound which changes according to the surrounding environment and the act of listening. |