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Rimbawan Gerilya  Ming Wong Heaven Baek Vuth Lyno Simon Soon and Munirah Mansoor Sim Chiyin Yee I-lann Nayoung Jeong Yeoreum Jeong Jason Wee Daejin Choi Tada Hengsapkul Cloud projectFyerool Darma Pio Abad
 


백현주 
Heaven Baek

‹외로움이 없단다, 우리들의 꿈속엔›,
2022
There shan’t be loneliness in our dreams, 2022

2채널 비디오
15분 37초
Two-channel video
15 min 37 sec


피오 아바드의 ‹반제국주의적 평화와 연대 그리고 우정을 위하여›는 1989년 평양에서 개최된 제13차 세계청년학생축전 현장을 담은 컬러 사진 연작으로 구성되어 있다. 사진은 필리핀 대표로 참가했던 작가의 아버지가 촬영한 것이다. 아바드의 작품이 보여주는 아마추어스럽고 보다 친밀감 있는 장면들은 축전의 거대한 장관과 대비된다. 작가에게 이 이미지들은 “집단주의와 개인주의의 대립이 극적인 지정학적 연대와 역사의 종언이라는 잘못된 주장을 낳았던 중요한 해의 역사적 태피스트리의 일부”이다. 이런 역사적 상상은 베를린 장벽 붕괴로 인한 세계 역사의 ‘종언’이라는 프랜시스 후쿠야마(Francis Fukuyama)의 비약적인 주장과는 거리를 두고있다. 작가의 아버지가 남긴 이 가족 아카이브는 “미시적이고 세심한 설명을 통해 국가적 차원에서 단순화한 역사에 질문을 던지고 서로 다른 종류의 역사적 서술이 우리와 역사, 우리와 역사적 상상의 관계를 형성하는 여러 이해관계와 그 영향을 보여줄 수 있도록” 다양한 범주의 ‘역사 서술하기’를 장려한다.

With her new video installation, Heaven Baek follows the traces of her father, an architect who refurbished and renovated the Busan Sports Stadium for the East Asian Games in 1997. Weaving together personal memories and historical events, There shan’t be loneliness in our dreams builds on a series of interviews the artist conducted with her father’s Southeast Asian friends, who were young, ambitious professionals in the 1990s. Oscillating between the past and the present, their accounts of personal achievements and a shared sense of optimism reveal how the future of Asia was envisioned during a period of accelerated economic development and globalization—a period when “everything seemed possible.” Their stories are narrated with the 90’s sampling hit, namely Stravinsky’s orchestra hit, while track-and-field runners sprint across two adjacent screens. Their forward trajectory and the passing of trophies from one hand to another allude to the rhetoric of progress and growth that continue to guide national policies and global diplomacy today.



Heaven Baek’s practice investigates how people work, gather and play in various situations or during particular occasions, forming groups and outlining territories. She uses staged-reality to finalize her videos and installations to magnify society through its continuum of micro history. And how the mechanism of system gets involved to form our selves. Her recent research illustrates divisions and ideological territories, particularly How Korean war can be used in capitalistic situation in South Korea and its relation to a swing towards conservative politics over successive generations. She studied Media Arts in Royal Melbourne Institute of Technology, Australia, and received her MFA at Glasgow School of Art, UK. Her projects has been shown internationally at Abu Dhabi, Frankfurt, Hanoi, Glasgow, Tokyo, Paris, Seoul, Reykjavik, Barcelona and more. She has participated and invited in residency programs including at Alserkal Avenue, Dubai (2020), Real DMZ Project (2019), MAP project, Hanoi (2017), Museum of Modern and Contemporary Art, South Korea (2015), Arts Maebashi, Japan (2014) and Hangar, Spain (2011) and among others. Her works are collected at numerous museums and collections which including Seoul Museum of Art, Museum of Contemporary Art Busan, ARARIO Museum, city of Seoul and Art council of Korea Museum Archive.


Heaven Baek, There shan’t be loneliness in our dreams, 2022, film still. Courtesy of the artist.