“my work throws into question the relationship of memory faded by speed, resistance from it, and the relationship between human beings and nature inside the city. this rapidly changing environment erases our memories and we have to prepare ourselves to let go of the memories without making them.”

20/08/2012 § Leave a comment

minouk lim, the weight of hands (film still) (2010)

 

playing on the popular experience of taking a sightseeing bus tour in so-called destination cities, ‘the weight of hands’ offers an alternative perspective on seoul’s urban landscape.  in this case, its usual heritage sites and tourist traps are shunned for a pilgrimage to secured construction zones.  this staged action, which commemorates the lss of place and memory, firmly channels funerary rituals through its haunting soundtrack of a lone drummer’s solemn beat set against a singer’s personal lament.

for lim, the work is a means to reclaim locations that have become privatized and ultimately inaccessible to the city’s inhabitants because of pervasive proprty development.  at the same time, it attempts to purposefully reinsert the body into these vacant spaces.  through the use of thermal imagery, captured with infrared technology that is often used in surveillance systems, lim maps the literal and immediate environmental shift that occurs as a consequence of human presence.  the heat emitted by the trespassers tangibly articulates the incompatibility of living, breathing subjects with a physcial void that waits to be filled by inanimate, “cold” and ahistorical buildings.

 

the heat of shadows

a young hare

 

 

notes:

[title + text]     the above text and title are taken from the gallery pamphlet accompanying minouk lim’s exhibition at the walker.

 

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