Two Women

  • Real-time audio/video and kinetic sculpture Installation

Project Description:
Two Women is a poetic narrative based on the invisible crisis of my grandmother who committed a suicide about 8 years ago. Though the motivation of her suicide is unknown, the work searches for possible reasons to understand her death. The imagery of Two Women invokes themes of repression, resistance, submission, resignation, power, melancholy, death, and violence.

+ Fig.1 Two Women Installation Diagram

The installation appears in two parts.(Fig.1) Part one consists of two videos projected on the surfaces of rolls of paper hanging from the wall. Part two is a pair of identical kinetic sculptures with a filmic set background. The sculptures borrow from the visual vocabulary of tabulating machines and weaving looms.

+ Fig.2 Tabulating mechanism detail and old paper mill factory picture

One element of the kinetic sculptures functions like old census recording equipment.(Fig.2) It produces an archival record by recording the suicide death toll through violent punches on translucent rolls of paper. The suicide data will derive from various real-time and non-real-time sources, such as Korean census records, social media, and search engines; however, data visualization is not the main concern. The actions of the machines are choreographed with the narrative progression. The second element of the sculptures focuses on metaphorical gestures, reviving, and creating a history by performing a distressing/weathering process of the rolls of paper. The paper passes through a deep tray of murky water. Overhead, projectors project down through the water onto the paper. The tray is sized to accommodate a life-sized image of a woman submerged beneath the water in a slumbering position.

+ Fig.3 Reference to wall paper and texture

+ Fig.4 Early collage work with wall paper

The walls of the gallery will be treated to create the atmosphere of a somewhat ruined domestic room.(Fig.3) The physicality of the penetrating punching sound, water drip, crumbling dried paper, along with spoken word and an ambient musical score interplay to create a cinematic atmosphere similar to my previous works (e.g. Vestiges part II).


Bismuth, Pierre, Mike Sperlinger, and Ian White. Kinomuseum: Towards an Artists'
Cinema. Köln: Verlag der Buchhandlung Walther König, 2008.

Casetti, Francesco, Inside the Gaze: The fiction film and its spectator. Bloomington and Indianapolis: Indiana University Press, 1996.

Connolly, Maeve. The Place of Artists' Cinema: Space, Site and Screen. Bristol, UK:
Intellect, 2009.

Costa, Pedro, Catherine David, and Chris Dercon. "From black box to white cube".
Symposium at Jan Van Eyck Academie. 26 May 2007.

Chion, Michel, The Voice in Cinema, translated by Claudia Gorbman, New York: Columbia University Press, 1999.

Galt, Rosalind, and Karl Schoonover. Global Art Cinema: New Theories and Histories. New
York: Oxford University Press, 2010.

Landsberg, Alison, Prosthetic Memory: The Transformation of American Remembrance in the Age of Mass Culture, New York: Columbia University Press, 2004.

Hansen, Miriam Bratu, Cinema and Experience, Berkely and Los Angeles, California: University of California Press, 2012.

Leighton, Tanya. Art and the Moving Image: A Critical Reader. London: Tate Pub. in
association with Afterall, 2008.

Kristeva, Julia, Black Sun: Depression and Melancholia, New York: Columbia University Press, 1989. Chapter 8: The Malady of Grief: Duras

Sobchack Vivian, The Address of the Eye: A phenomenology of Film Experience. New Jersey: Princeton University Press, 1992.

Sobchack Vivian, Carnal Thoughts: Embodiment and Moving Image Culture, Berkely and Los Angeles, California: University of California Press, 2004.

Steinbrügge, Bettina. "Modes of Curatorial Practices: Moving between art, Cinema, and
performance." Keynote Lecture for 'The Shape of Things'. the symposium of 4th
Auckland Triennial, 22 May 2010. Retrieved from