In a place where everyone is forced to have the same idea, the same action, and the same face, and where every kind of individuality disappears, in what form can the words of each one exist? How do these words emerge from this place? At Seodaemun Prison in Seoul, there is a space called “Kyohwajang.” During Japanese colonial rule, it housed a program for the ideological and political rehabilitation of detainees. In my video work, the ceiling of this “Kyohwajang” begins to shake. The old floor slowly rises, and the wooden materials, bricks, and things that once composed the place vibrate. The big and small frames that comprise prison cells connected to the “Kyohwajang” are slightly twisted, which represents bodies and words that, after experiencing oppression, ultimately oppose the imposed direction.

차미혜

 이미지, 사운드, 텍스트 등을 실험한다. 서로 다른 세계들의 간극과 만남에 관심이 있다. 개인전 <비스듬>(공간 형, 2017), <가득, 빈, 유영>(케이크 갤러리, 2015) 등을 비롯하여, <Remembering or Floating>(Atelier Nord ANX gallery, Norway, 2017), <Interdisciplinary Art Festival Tokyo>(Japan, 2016), <소실.점>(스페이스오뉴월 이주헌, 2016), <Osmosis Audiovisual Media Festival>(Taiwan, 2016), <아시아 필름 앤 비디오아트 포럼>(국립현대미술관, 2015), <랜덤 액세스 2015>(백남준 아트센터, 2015)등 다수의 그룹전, 영상페스티벌에 참여했다.

CHA Mihye

 Mihye CHA experiments image, sound, text, etc. She is interested in the gap and the encounter between different worlds. Her recent solo/group shows/festivals include <Oblique>(Art Space Hyeong, Seoul, 2017), <Full, Empty, Floating>(Cake gallery, Seoul, 2015), <Remembering or Floating>(Atelier Nord ANX gallery, Norway, 2017), <Interdisciplinary Art Festival Tokyo>(Japan, 2016), <Vanishing Point>(Space Onewall, Seoul, 2016), <Osmosis Audiovisual Media Festival>(Taiwan, 2016), <Asia Film and Video Forum>(National Museum of Modern and Contemporary Art, 2015), and <Random Access 2015>(Nam June Paik Art Center, Korea, 2015).