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intro


Phantom Schoolgirl army

with Phillipp Ernsting(NL)

 

Film Walk

with Jérôme Noetinger(Fr)

 

 

 sound//vision 2017 IFFR

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intro


Phantom Schoolgirl army

with Phillipp Ernsting(NL)

 

Film Walk

with Jérôme Noetinger(Fr)

 

 

 sound//vision 2017 IFFR

This principle of improvisational performativity should be formulated as the disorganization of sound against the associational definition of (electronic) music, and it needs to be translated into audiovisual experiences.

” 

 

film performance

Film Walk (2011~ )

 

Optical Sound Head

 

Film Strip

 

Projectors

“A possible statement of this work will be ‘if you produce this kind of noise, you have only to mount a filmstrip on to the sound reader, instead of relying on the standard instruction of operating the projector, and to pull it out.’ This might sound meaningless now, but it can be a document of film’s history and materiality when the social memory of film will disappear someday.”

"We need rooms of various characters, including the inventory, the meeting place, the production studio, the theater, and the exhibition space, all of which are sometimes invisible but exist individually for the limitations and possibilities of film. These rooms are juxtaposed side by side (sometimes they need to be invisible or visualized), and are completely open to always being arranged in new ways."

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PERFORMANCE

& RELATED ACTIVITIES

 

2017

After Psycho Shower & Phantom Schoolgirl Army with Hong Chulki

museo nitsch napoli, 22 june, 2017, Italy

Optical Sound Workshop & Performance

ERG séminaire/atelier_after empire : melancholia or convivial culture, 31 Jan, 2017,Brussels

Film Walk & Phantom Schoolgirl Army
with Jérôme Noetinger & Phillipp Ernsting

Rotterdam Film Festival, 28 Jan, 2017,Rotterdam

 

2016

Lecture & Workshop

Beijing film academy, dec, 2016,beijing,china

Lecture

Central fine art academy(cafa) beijing, Dec, 2016, china

Film walk with Jérôme Noetinger

PERPETUAL MOTION, SAN FRANCISCO CINEMATHEQUE, 22 Nov, USA

Phantom schoolgirl Army with Alan Courtis

BIM, MUSEO DE ARTE MODERNO DE BUENOS AIRES, 4 NOV, ARGENTINA

A Lecture & The Film Prayer with Yoo, Un-Seong 

Korean film Archive, South Korea

EXPANDED CELLULOID, EXTENDED PHONOGRAPH

ISSUE Project Room, 25 JAN, NY, USA

Film Walk & Phantom Schoolgirl Army with Hong, Chulki
Co-presented by the Smart Museum of Art and Lampo

Logan Center for the Arts,23 Jan, Chicago,USA

Multiple Projection Films and Performance with Martin Tétreault

Double Negative Collective, La Sala Rossa, 19 Jan, Montreal, Canada

 

2015

Lecture

LUX MRes Public Lecture,Lux, 21 sep, London, uk

The Film Prayer with Yoo, Un-Seong (안무사회展)

Nam June Paik Art Center, 11 July, South Korea

Film Walk with Will Guthrie & Hong, Chulki

Cafe oto, 19 May, London, uk

 
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info


info


EXHIBITION

 

solo exhibition, gallery factory 2013,seoul

400 years in 4 minutes

 

solo exhibition, kunstdoc gallery 2013, seoul

Siting Cinema

 

solo exhibition,christine park gallery, 2015, london

Nebula Rising

 

Group Exhibition, Ilmin museum of art, 2014, seoul

Total Recall

 

Group exhibition, Sema Blue, Seoul Museum of Art, 2014, Seoul

Malfunction Library

 

Group Exhibition, Audio visual Pavilion, 2015, Seoul

Megastudy

Film is an extended medium of either 16mm or 35mm diameters in width. Each film has a specific weight, thickness and length that depends on its duration. To measure the mass and volume of film, we can use gallons (gal), kilograms (kg), milligrams (mg), grams (g), and litres (l). Measurements of filmic material are technological realities but do not necessarily define what we call the cinematic; we only need a projector to see (like mammals) that which has been growing every day on para-filmic material since the 13th century, as Hollis Frampton briefly wrote in For a Metahistory of Film (1971). It is not only the celluloid but many materials that pass through the projector, however. The perforations used for transporting and steadying the images are a clue to show that this is film material.

The Nebula Rising series is about tensile strengths of base and thickness of emulsion of film material. In the history of artisanal cinema we increasingly find meaningful practices like the Schmelzdahin group in Germany; erosion and permeation of chemical agents such as potassium and sodium produce a relentless archaeological and alchemical object of visual reference. The visual textbook is profound; we can see cracked and reticulated patterns, separations and concretions like mud cracks and salt lakes, and old handmade paper from mulberry trees. But this is just one element of the massive undertaking of making film (though I do not wish to mystify the universal image of the filmmaker). It is however, more like the science of dust, the rule of all time-consuming acts, which I cannot stop pursuing.

Filmmakers and archivists convert the thickness, length and weight of film into time. Through filmmaking and archiving a feeling for film’s physical substance develops, time-conscious becomes tangible; observing the material is the same as watching the clock. As per Gilbert Simondon’s text, Du Mode D'existence des Objets Techniques (1958), the enslavement of labour(ers) through repetitive practice has contributed in making the manipulation of material and shape in natural accordance more ambiguous. Repeated futile efforts and the chain reaction of experience through time meet in an antiphonal action whereby material and shape become transparent. The abstracted images revealed despite the velocity of the chemical agents are residual of the labourer’s experience. - Hangjun Lee, February 2015