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VECTORS

OF

OPPRESSION

14th Busan International Video Art Festival

2020년 부산국제비디오아트페스티발이 14회를 맞이했습니다. 12회 [10월, 세계의 어둠을 걷는 자들 October, The People walking in DARKNESS ], 13회 [인체측정학: 반복과 실패를 위한 Anthropometry : For repetition and failure]에 이어 올해 주제는 [억압의 벡터 vector of oppression]로 김한량 큐레이터와 함께 기획을 진행했습니다. 14회 공모에는 총 158편의 작품이 출품되었고, 그중 선정작 3편, 경쟁작 3편이 선정되었습니다. 심사는 공모 주제와 연관성을 기준으로 두고, 김한량 큐레이터와 호경윤 선생님이 함께 해주셨습니다. 해외 작품으로는 5편이 초정되어, 총 11편의 국내외 영상 작품을 선보일 수 있게 되었습니다. 올해는 지원금 감소로 인해 12회, 13회에 비해 선보이는 작품 수와 강의 수가 줄어들었지만, 내용만큼은 최대한 내실 있게 준비하고자 노력했습니다.


부산국제비디오아트페스티발은 매년 주제 중심의 영상기획을 선보이기 위해 노력하고 있고, 지역에서 활동하는 분들을 중심으로 네트워크를 만들기 위해 애쓰고 있습니다. 앞으로도 많은 관심 부탁드립니다.

 
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Following the 12th edition[topic - October, The People walking in DARKNESS] and the 13th edition[topic – Anthropometry : For repetition and failure], I’ve organized this year’s festival with a topic of [Vector of oppression], together with hanryang Kim, a curator of the festival. 158 works in total were submitted through this year’s entries, and among them 3 works were chosen at the selective section while other 3 works chosen at the competitive section. As for selection of the works, hanryang Kim(curator) and Kyung-yun Ho(Art Journalist) have been engaged in the process as juries, which have been made based on the relevance to the topic of the this year’s festival. Thus, together with overseas work invited this year, 11 video works in total, both here and abroad, will be able to be introduced this year. Although the number of works to be exhibited and lectures to be held have decreased due to the reduction of subsidy this year, we would like to say we have tried our best to organize this year’s edition substantially in terms of contents as much as possible.


 
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Curator Statement

Incident and Image, the coordinate system of the variables

The Image comes by constantly setting value within the coordinate system. The appearance of the image is suggested together with variables(external actions) due to the operation of the geopolitical location where image is taken place, the direction of the institution as well as the dominant power. Since the value resulted out of image sensitively reacts to temporality, it can change given location, direction and power, organizing multiple coordinate system. That is, the action of value within the coordinate system is the process of rearranging existing recognition and interpretation by resetting elements of the incident. The reason why the coordinate system of the image holds multiple levels while being reestablished by variables is that a chain of incidents expresses the social orbit, transcending individual matters. In that the composition of social orbit is not in ‘same’ line constantly, The point that coming image is connected into multiple incidents and images without being subordinated into a single incident provides the criterion to analyze the coordinate system.


Incident- Image / Order-Image

The image provided with the a series of orders arrives as an Order-Image itself. The series of incidents included within the Order-Image draws a complicated ‘Vector’ at the coordinate system. The connection among images in the ‘temporary’ order shows the inner aspect of Incident-Image divided from time, while reestablishing the coordinate system. Image doesn’t hesitate to show the incident and order further develops the action of image’s visualization. As Jacques Lacan pointed out that "the only thing one can be gulity of is giving ground relative to one's desire." 1) Not refusing its desire as a means of satisfaction while binding and pushing it into death, but the image and the order embodied in itself continuously combine multiple incidents caused by image, not yielding to secretly ask the reasons why specific values and universal ones are connected or contradicted.


“By transforming the principle of man’s delay before truth into a poetic process and renouncing the guarantees of truth for love of transmissibility, art succeeds once again in transforming man’s in-ability to exit his historical status, perennially suspended in the inter-world between old and new, past and future, into the very space in which he can take the original measure of his dwelling in the present and recover each time the meaning of his action.” 2)

Giorgio Agamben


‘Vector of oppression’ which is named to organize Order-Image, builds active relationship with variables which take action by connecting with Order-Image, the disparate elements that take place within the ‘Incident-Images’. The vector of Order-Image connected to the chain of Incident-Image(the immaterial class structure that have been formed since the world were faced, the materialism which produces the situation where labor given by fixed gender role have to be conducted, the occurrence of existence recognized as the passive one with a social burden, the question toward the object that has been shunned due to the hatred, the notion of recognizing specific characteristics of the other world as objects of enlightening categorial imperative, the scar caused by measures of carrying out ideology, the formal freedom guaranteed by states, the inconsistency that the development are conducted at the incompatible places) touches issues and hidden things that existing dominant scenario has brought about.


“A child in the dark, gripped with fear, comforts himself by singing under his breath. He walks and halts to his song. Lost, he takes shelter, or orients himself with his little song as best he can. The song is like a rough sketch of a calming and stabilizing, calm and stable, center in th heart of chaos. Per-haps the child skips as he sings, hastens or slows his pace. But the song itself is already a skip: it jumps from chaos to the beginnings of order in chaos and is in danger of breaking apart at any moment. There is always sonority in Ariadne’s thread. Or th song of Orpheus.” 3)


Footnote

1) Jacques Lacan, 『The Seminar of Jacques Lacan: The Ethics Of Psychoanalysis 1959-1960 (Vol. Book Ⅶ), ed., Jacques-Alain Miller, trans. Dennis Porter, (New York: W.W.Norton, 1997)』, p. 321

2) Giorgio Agamben, 『The Man Without Content (Stanford University Press, 1999), trans. Georgia Albert』, p. 114

3) Gilles Deleuze, Félix Guattari, 『A Thousand Plateaus(Iniversity of Minnesota Press, 1987), trans. Brain Massumi』, p. 311

Hanryang Kim(The 14th Busan International Video Art Festival Curator)