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Exhibition Title : Home Cinema
Artists : MIOON, Yongseok OH, Biho RYU, Hwasoo YOO, Kijong ZIN, Yeondoo JUNG, Antoine Schmitt & Delphine Doukhan, Emilie Brout & Maxime Marion, Etienne Rey, Jim Campbell, Lauren Moffatt, Mariano Pensotti, Nicolas Bernier, Nicola Maigret, Thierry Fournier
Period : Jun. 11th - Oct. 16th 2016
Venue : Daegu Art Museum Project Room
Organized by : Daegu Art Museum & Maison des Arts de Creteil

Marking the “2015-2016 France-Korea Years of Bilateral Exchange,”Daegu Art Museum will hold the exhibition Home Cinemaas part of the ongoing exchanges between the two countries. The exhibition will illuminate the contemporary art of Korea and France, with Daegu Art Museum in Korea and Maison des arts de Créteil, France, collaborating to show media works that combine diverse media and technology. The exhibition Home Cinemais based on today’s environment, where video production and filmmaking have become everyday activities for individuals and society as a whole through the development of science and technology and the propagation of digital cameras. The phenomenon of anyone’s being able to easily make a video has not only overturned the existing roles of director and spectator, but has also enabled the cinematographic process to become an important medium in contemporary art, thus enriching and diversifying art today.
 Through works that reflect and characterize the media and culture of our era while bringing out the full artistic potential of technology and engineering, this exhibition symbolically demonstrates that “the act of filmmaking” is enriching not only the diverse areas of contemporary art but the daily lives of individuals as well.

MIOON, Auditorium (Template A-Z), 2014, 5 Cabinets, Objects, DMX Controlled LED Lights, Motors, 300×120×40cm (5piece)
Consisting of five bookcases arranged in a semicircle, the work Auditoriumrepresents symbols of memory in the form of a theater. Hundreds of shadow images flicker on the bookcase surfaces, recalling historical events, figures and the artist's personal experiences. Hundreds of objects―readymades, strange objects made by the artist and devices that make sounds as they move―placed behind an opaque acrylic panel, tell unpredictable stories devoid of mutual intimacy or relations. Shadows overlap on the walls surrounding the Auditorium, reminding spectators of a magnificent shadow play.

Yongseok Oh, Siamese montage No.1-3, 2010, Two channel video, Siamese scope, Divx player, 2min
Siamese Montageis embodied through an optical device designed personally by the artist called a Siamese scope. Viewers look into the viewfinder, in the same manner as they would look through binoculars, in order to see the monitors. Each eye sees a different image: a scene from a movie on one side, and a scene from everyday life produced by the artist on the other. According to principles of visual perception, the device induces confusion of sight caused by incomplete convergence of two different spaces, thus creating the illusion or probability of the cinema and daily life scenes being in the same space. Stories of daily life, either related to the movie or unrelated, can be seen penetrating into the movie.

RYU Biho, A Reverie in the Fog, 2015, Single channel video screen, Fog, 11min 36sec
Fog Sleepadopts the Korean Mangbuseok legend and icons from the fairy tale The Little Mermaidby Hans Christian Andersen in an attempt to evoke personal and private experiences, emotions and lingering sentiments within the minds of contemporary people through a theme they can empathize with as they appreciate the work. The emotional device of waiting and the presence of fog (smog) in the exhibition space turn the work into a dramatic, lyrical scene. As they gaze at the figure of a woman from behind in the projected video, spectators experience the sensation of sharing time and space with the subject in the image.

Hwasoo Yoo, So, straight and good-looking scene #1-4-, 2016, Mixed Media, Variable Size
So, straight and good-looking, Scenes #1-4 is a new work made for the exhibition Home Cinema. The work is an installation consisting of 5 stage settings, each representing synaesthetic impressions felt by the artist after seeing specific movies. It is like a personal review of the movies by the artist. Each piece represents scenes of a movie or presents its overall atmosphere in a compressed way. Sometimes tension is expressed through a scene of the movie that contains important foreshadowing, and sometimes various scenes of a movie are laid out in a row. In this work the characters, a main element in a movie's plot, are all excluded, and spectators are encouraged to guess which movie is being revealed, or to actually become a character in the scene. The production, which was carried out in the same way that sets are constructed for actual dramas or movies, adds a sense of reality to the work.

Yeondoo Jung, B-Camera Playtime, 2015, artwork on two panels, photos on form board, 245×280×510cm
B Camera - Playtimeis a diptych in which the first image appears to be shot during the making of a film while the other appears to be a scene from the film itself. They are separate images that are only related through visual means. Having nothing else to do with each other, they obscure the distinction between documentary and film. The title B camera suggests use of not the main camera on the set, but a different perspective of the movie scene based on the artist’s new idea. He is recontextualizing the movie itself by documenting this space and creating a fictional story other than the narrative of the film itself. The first picture, which appears at a 90 degree angle, shows the layers within the scene of the apparent making of camera angle. For Home Cinema, Jung yeondoo created a new diptych inspired from Jacques Tati’s playtime.

Yeondoo Jung, Drive in Theatre, 2014, Installation video interactive (car, camera, mic, panel board, LEDs, video-projection, sound system, Variable size
The Drive In Theaterinvites the audience to go behind the scenes of image making, allowing them to realize that the imaginary world of film is an extension of real life, not far removed from everyday experiences.The public must get into the car and they will become the actors in a make-believe movie car scene, watching themselves on screen in real-time in the style of a drive-in theatre from the 1930s.

Kijong Zin, MISE EN SCENE, 2013, 2 channel Video Installation, Variable size
Mise en Scenewas produced by using the slow zoom-in and zoom-out effects of the camera in shooting two intersecting stories about a man and a woman on a movie set. In the installation, the recorded footage is repeatedly played and rewound on two monitors, thus giving the impression that the two videos are different situations even though they are actually the same scene. According to the movement of the camera, situations of encountering, departing, waiting and leaving are shown on the two monitors as video images that may be reinterpreted according to spectators' subjective views. Moreover, the significance and intention indwelling in the objects placed on the set lead to exquisite and dramatic scenes through the perspective of the moving camera. In the scenes portrayed in Mise en Scene,distinctions between future, present and past are obscure, and time is expressed only through the effects of the camera, the lighting in the movie set and the filmed objects.

Delphine Doukhan &Antoine Schmitt, Fractal Film, 2013, Installation video generative (computer, program, video-projection, sound system), Infinite
The generative video installation Fractal film aims to provide every possible point-of-view for a film scene. an autonomous, programmed camera explores and shows us the same scene indefinitely, each time from a new perspective. projected in a wide-angle format, the short cinematographic scene plays over-and-over in a loop, each time revealing new, previously unforeseen elements. The scenario, written and filmed by Delphine Doukhan, is a short but complex drama with several layers of meaning - a story without words involving six characters during a dance party, with implications of an underlying, troubled ritual. This precisely choreographed scene was shot in high definition (5k) using eight different camera angles. During the exhibition of the work, a software camera designed and programmed by antoine Schmitt, zooms and navigates within the source video material to explore and show the scene of infinite variety of ways.The computer program follows movement rules defined and written by the artistes (some of which explicitly allow the machine a certain degree of freedom) using the languages of film, animal behavior, mathematics and physics. each time the scene passes, the programmed camera chooses a random movement rule to apply, resulting in an infinitely variable exploration of the same scene. fractal film cross-pollinates the concepts of generative art with the language of cinema.

Emilie Brout &Maxime Marion, Hold On, 2012-2013, Installation video interactive (desk, computer, program, joystick, video-projection, sound system)
Somewhere between film and video-game, the interactive installation Hold-on allows you to navigate your way through famous scenes from movies like The Shining, The way of the Dragon or Saturday night fever. Thanks to an arcade type device, you can choose and control sequences from video-game like movies. paradoxically using contemporary interactivity processes and old recording practices, the spectator can control the movements of the main actor (turned into an avatar). The spectator can break the logical rhythm of the movie and lengthen the action using the joystick. He or she can delay the inevitable sequence of events, playing both with and against time. while machinimas are currently using video games to reproduce the cinematic experience, Hold-on, on the contrary, develops a playful and dynamic experience based on cinema.

Emilie Brout &Maxime Marion, Derives, 2011-2014, Installation video generative (computer, program, video-projection, sound system)
Derives (Drifts) is an infinite film, in the form of a video installation, composed of thousands of short cinematographic extracts, each one featuring water in a different way. The editing of these sequences creates an entirely new film in which water becomes the main subject and, in addition, offers to the spectator a journey through its cinematographic history: from The Waterer Watered by the freres Lumiere (1895) to Titanic by James cameron (1997) through Knife in the Water by roman polanski (1962). according to Heraclitus, you could not step twice into the same river; for other waters are ever flowing on to you. water is constantly moving and changing shape; it is a type from which everything can rise. In a similar way, Derives proposes an innovative approach to narrative thanks to an infinite, automatic editing system.Each chosen sequence has first been categorized according to different criteria such as year of release, degree of intensity or typology (violent water, calm water, loving water according to the distinction of Gaston Bachelard). In using these data, a software program indefinitely re-editsthese micro-sequences in real time and pertinently links them up through different stylistic processes (ruptures, contrasts, crescendos). These fluctuating edits convey meaning and offer a constantly renewing cinematographic experience, a kind of meta-narration. Here, water plays different roles (calming, terrifying, maternal, etc.) in turn, as the computer subtly alternates its different dramatic degrees. Water becomes an independent plot feature, no longer relegated to the scenery. It is both realistic and symbolic, an omnipotent and polymorphic entity: protective, majestic and terrible. Water transcends and overpowers the films that feature it, relegating humans into the background.

Etienne Rey, Space Odyssey, 2015, Installation audiovisual production, projections, mist (computer, machine for smoke, video-projection, sound system), Variable size
Space Odyssey, an immersive installation, takes us to the heart of a light beam. Between environment and immaterial architecture, this installation places us in a space where our references become mobile, where the distances are elastic, and where balance is precarious. A stroboscopic journey to the heart of the luminous matter, the Space odyssey journey, in reference to Stanley kubrick’s movie, is a sensory, mental and conceptual threshold, a passage which lies at the confluence of physics and experiments on perception, and carries on the work done by artists in kinetic art.

Jim Cambell, Home Movies, 2008, Installation video, electronic, 1040 LEDs, 305×213×18cm
Home Moviesuses widely spaced strands of individual LEDs to project footage of old home movies of typical family gatherings and children playing. It reintroduces the flicker- like experience of being visually aware of the projection apparatus while simultaneously viewing the expressive image in mechanized time. The apparatus adds its own degree of expressiveness, affecting the viewer’s emotions, if only by creating obstacles to receiving a single channel of denotation. The inescapable presence of the projection system blocks the given clarity of the image, reducing low resolution to a degree still lower. (Richard Shiff, Look to See by Looking)

Lauren Moffat The Unbinding, 2014, Video projection stereoscopic (disk player, video projection, 3D glasses, sound system)
The Unbindingpresents a world made up of fragments of archived images. conceived in the form of an installation, this stereoscopic video work reveals a figure whose face, hands and hair change with each of her movements, never leaving what is a constantly reconfiguring loop. Inspired by cubist portraits, Surrealist collages, philip k. Dick’s scramble suit and time loops (or time machines), this work offers an allegory of our everyday activities of appropriation and sampling. It raises the question of how we construct our own worlds through different media.

Mariano Pensotti, El Paraiso, 2014, Intallation video on miniature (model, LCD screen, multi-media player, sound system), 70×100×50cm (3piece)
Some stories will never be told. Think about all those artworks that have flit through the minds of the artist but never became reality. What do those untold stories say about the artist or about the society that never had the opportunity to experience them? Theatre maker Mariano pensotti, fascinated by the way stories influence our everyday lives, has created the installation El paraiso in conjunction with designer Mariana Tirantte. El paraiso (paradise in Spanish) is a boulevard of broken films in movies houses that were designed by renowned architects (such as frank Lloyd wright and oscar niemeyer) but never built. In these model cinemas, the scripts are projected, recounting the plots of screenplays written by famous directors (such as Ingmar Bergman and Michael Haneke) that were never made into films. The spectator can meander through those unfinished artworks and bring them a little closer to completion with his or her presence.

Nicolas Bernier, Frequencies (Light quanta), 2014, Installation sound and light (computer, program, sculpture(metal on pvc), LED, sound system), 360×160×60cm
Frequencies (LIGHT Quanta) is the latest audiovisual installation by Montreal sound artist nicolas Bernier. putting forward his ever-growing fascination with science, light, and basic sound generation processes, the artist pursues his research by focusing on the quantum the smallest measurable value of energy. The project is based on the conceptual relationships between basic quantum physics principles applied to the audiovisual creative process: particles, probabilities, wave/particle duality and discontinuity.Structured around these notions, the audiovisual composition stems from 100 sounds and lights fragments that are developing themselves randomly, generating an ever expending, yet disruptive, form in time and space. as photons (or light quanta) are emitted by electrons, one can think of the installation’s electrical sounds as being the trigger of the light signals. The sound composition itself relies fundamentally on the use of microsounds or clicks,which are the shortest audible sounds that human can hear. The click is also the sound emitted by the photomultiplier - a tool used to detect photons - according to the physicist richard feynman in his book The Strange Theory of Light and Matter. The architectural structure of Frequencies (LIGHT Quanta) is a poetic reading of those machines and electronic circuits that are bringing a better understanding and visualization of the infinitesimal world. In this structure are 100 acrylic sheets on a black monolith, each one engraved with graphic forms made of lines and dots that form a moving animation when lit up. This physical apparatus allows a singular, multidimensional visualization of sound, enabling the creation of audiovisual patterns.

Nicolas Maigret, The Pirate Cinema, 2012-2013, Installation video generative (computer, program, video-projection, sound system), Infinite
In the context of omnipresent telecommunications surveillance, The Pirate Cinema makes the hidden activity and geography of peer-to-peer (p2p)* file-sharing visible. The project is presented as a monitoring room, which shows p2p transfers happening in real time on networks using the BitTorrent protocol. The installation produces an arbitrary cut-up of the files currently being exchanged. This immediate and fragmentary rendering of digital activity, with information concerning its source and destination, thus depicts the topology of digital media consumption and uncontrolled content dissemination in a connected world. The Pirate Cinema uses data interception software to reveal, through a simple diversion, different aspects of exchange platforms, such as the global and multisituated nature of p2p networks, the potential for viral transmission, and alternative social models. The video installation of The Pirate Cinema relies on an automated system that constantly downloads the most viewed torrents. The intercepted data is immediately projected onto a screen, and then discarded.* p2p is much more than file sharing - it is about how computers and people are relationally organized in a dynamic distributed network. It is a network in which everyone has the freedom to act and to engage in semior even non-consensual relationships, allowing individuals to produce, to distribute, to share, even to work together, without asking permission. (Michel Bauwens)

Thierry Fournier, Depli, 2013, Installation video(computer, program, video-projection, sound system)
DEPLI is conceived as dialogue between cinema and the visual arts that offers a unique experience for the viewer. Using the same footage, the director pierre carniaux and visual artist Thierry Fournier have co-created the film Last Room and an interactive ipad-based work D?pLI. Shot in Japan by pierre carniaux the film Last room is both fiction and documentary. Love and capsule hotel guests cross paths, creating intimate, dream-like stories that are interspersed with landscape shots. as the narrative progresses, these personal stories resonate with the larger collective Japanese history, specifically that of Gunkanjima - the abandoned ghost island off the coast of nagasaki. created for ipad, Depli is an interactive piece that offers a new cinema experience: a navigation through Last Room - a playable and sensual film in which the viewer can recreate an endless journey by choosing and mixing the perspective, direction and speed. played on ipad alone, with a TV, in a movie theater or as part of an exhibition, Depli offers the unique experience of rewriting a film through touch.

Thierry Fournier, Pr?cursion, 2014, Installation video(computer, program, video-projection, sound system)
The network installation Precursion uses the notions of event and disaster to question the fictionalization of the real that brings to life collective narratives. It summons the languages of reality shows, breaking news and blockbuster films, exposing their hidden relationships and inter-dependencies. A generative program randomly assembles in real-time different RSS news feeds, clips of film soundtracks and video footage shot on-site with smartphones. The video produced is infinite: the installation continuously generates its own new content through real-time editing that combines these three elements. precursion highlights the tension between the internet (the text), cinema (the sound) and television (the image). The layers of meaning that result - sometimes comical, sometimes tragic - highlight a general and social storytelling about the imminence of certain events, even the probability of disasters. The work is presented in the form of a large video projection.

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