작업 소개

아시아의 예술이란 무얼까요?
’동시대 ‘예술은 무엇일까요?
 이런 질문들을 포용한다는 건 어떤 의미인가요? 
왜 이 질문들이 필요할까요?

느림은 나의 저항을 표현할 수 있는 최상의 방법을 선사해 주었다.
– 차이밍량

신체를 이해하기 위해, 신체라는 지도 바깥으로 나간다
– 수웬치

재난은 어딘가에서 늘 일어나고 있는 누군가의 일상이다.
– 야마시타 잔

<아시아 예술극장 개관 페스티벌>의 홍보 영상 시리즈를 기획, 제작하였다.

프로젝트 내용

아시아의 예술이란 무얼까요?
’동시대 ‘예술은 무엇일까요?
이런 질문들을 포용한다는 건 어떤 의미인가요?
왜 이 질문들이 필요할까요?

아시아는 전통이 어우러지는 역동적인 변화의 장입니다. 다차원적인 개념으로서의 ‘아시아’의 의미는 끊임없이 바뀝니다. 그것은 스스로를 수정하고 재정의하며 재창출하는 유기체입니다. 스스로에 도전하는 ‘사유의 방식’이랄까요. ‘아시아’는 창의성을 위한 하나의 수행적이고 유기적인 프레임이기도 합니다.
2015년에 개관하게 될 아시아예술극장은 ‘예술’을 고민하고, ‘무대’를 질문하며, ‘오늘’을 사유합니다. 예술극장은 이러한 성찰과 담론을 지지하고 창출합니다. 제작, 공동제작, 초청 및 레지던시 등이 그 방식입니다. 그 무대는 ‘아시아’가 아니라, 전 세계입니다. 동시에 일상적삶입니다. 아시아예술극장은 광주의 심장부에 자리 잡은 ‘국립아시아문화전당’의 한 부분입니다. 예술극장의 비전은 아시아를 넘어 전 세계의 교류의장이 되는 것입니다. ‘오늘’을 이야기하는 가장 진취적인 작품의 기획과 제작 그리고 순환이 총체적으로 이루어지는, 국제적인 허브가 되는 것입니다. 그런 면에서 어쩌면 우리나라의 예술 영역에서 구상된 가장 큰 꿈일 것입니다.

출처 : 아시아예술극장 홈페이지

Tsai Ming-liang (The Monk from Tang Dynasty)

Slowness gave me the best way to express my resistance.

I think it is mainly one thing that many artists are trying to say: it is about the moon in the sky. Seeing the moon, who would ask: What does it mean? Nobody wonders why the moon looks like this, either. We all think about different things when we see it, and thought about different things the first time we did.

Romeo Castellucci Le Sacre du Printemps (The Rite of Spring)

1,200°C Bones of 75 cows crushed Machines become our gods – our fate.

For this Rite of Spring, I chose not to work with dancers but with several tonnes of bone meal. In particular, bone meal implies the industrial idea of sacrifice, of sacrificed animals. Equally important is the idea of a very strong connection to the earth. Bone meal is an industrial product that is used as a fertiliser. But all of this filtered through the banality of our industrial relationship to nature.

Marlene Monteiro Freitas de marfim e carne – as estátuas também sofrem (of ivory and flesh – statues also suffer)

A dance ball of statues.
Is it desire of statues which cannot move?
Is it dancers’ obsession who have to move?

Araya Rasdjarmrearnsoo k (Yummayoo shi)

Stuffed animals from real animals.
Coming to understand the positive and negative of life.

Ricardo Bartís La Máquina Idiota (The idiotic machine)

Maradona, Eva Peron. Real actors are mere extras in this world where superstars and politicians are more outstanding than actors.

Apichatpong Weerasethakul (Cemetery of Splendour)

The gentlest of war cries.

The piece reflects the situations where the country is seemingly going downwards with the political situation in Thailand under the military dictatorship. In the work, it’s about two people who share a dream and a man is tapping into a woman’s consciousness and memories, because he is looking for light. Where he came from, there’s no light. He’s part of a special unit that taps into people’s dreams and harvest their memories, the light from their memories for energy in the future.

Kim Jisun (Climax of the next Scene)

“Climax of the Next Scene” started from a question about what it would be like to put the world in a box and stand outside of it – looking at it this way and that way, and wondering if we can shake it or even break it.

Mark Teh (Baling)

Baling Talks shows how Malaysia was being formed after the colonial times. Reconstructing this event, Baling looks at questions on nation formation with politicians, activists and researchers.

Sakaguchi Kyohei (ZERO re:public)

He founds ‘Zero Republic’ with Gwangju resident, reconstructing the relationships between labor, capital and space.

Brett Bailey (Macbeth)

War-ravaged DRC The cause of tragedy is the natural resources – the vital ingredients of mobile phones.

how many of us know that over the past 17 years there have been more deaths in the eastern DRC than in any conflict since World War II. The cost of a large proportion of the cellphones, gaming consoles, laptops and jewellery that we crave and consume is the carnage and misery that occur in the shadows cast by the bright lights of the First World.

Su Wen-ch

Going off the map of body in order to understand it.

Sung Hwan Kim, David Michael DiGregorio (피나는 노력으로 한[A Woman Whose Head Came Out Before Her Name])

What is the impetus that makes one move from one place to another? What does it mean to live in that place again?

China National Peking Opera Company (Legend of the Red Lantern)

‘Use the tradition for today. Utilize the West for China.’ -Mao Zedong
A unique historical invention from Cultural Revolution and modernism.

Chinese Opera is an important spiritual legacy of more than 200 years and an old form of art. “The Legend of the Red Lantern,” which will be presented in Gwangju, has also been 50 years already. I hope you like our history and our Chinese Opera.

Zhao Liang (Zhao Liang Project)

Drastic changes going from Cultural Revolution to liberalism – The urgency lies in reflection on history itself.

Azade Shahmiri (Damascus)

It is very challenging for me to speak about a city where I have never been to.. and that I have never seen to write about a city that. I don’t expect anyone to rely..on the image of Damascus that individual experiences of Damascus..

Chandralekha (Sharira)

Breath. Expelled. going and merging, with the universal cosmic breath, Prana. All these are areas related to body, and it… it seems to me that it’s.. it has to do with life. It has to do with way of life. What are we here for? What ‘s the purpose of life? what’s the function of life? I’m not even bothered about finding the answers. But to me, all these questions are crucial questions. Day to day questions. Year after year, the questions continue from Angika to Sharira. The question continues..Where does the body begin?

Raya Martin (How he died is controversial)

Pedro Dungoc, hero of resistance movements against Marcos How is it fabricated and politicized?

Kawaguchi Takao (About Kazuo Ohno)

Copying the founder of Butoh – Is Kawaguchi dancing as him? Is he dancing him? Or is he dancing with him?

copies his dance from the videos, the so-called ‘dance of dance’ to which he dedicated his life and spirit. In trying to copy his dance completely, there are overlap on one hand but inevitable differences due to physical differences, for example. The more I tried to suppress myself and adapt to another person, the more differences I saw, an interesting paradox which revealed more of ‘me.’

Brett Bailey (Exhibit B)

The nonwestern body, stripped naked, displayed, and exploited Can we say this has really gone in today’s world?

Yamashita Zan Daikoushin (A Grand March)

Disaster is always happening somewhere in someone’s daily life.

Adachi Masao (Artist of Fasting)

Arguably the most radical ‘revolutionary’ in the entire history of cinema, he explores the last remaining means of the resistance.

It’s necessary for us, people of today, to look back again what kind of situations we are having today. I hope you can experience different kinds of thoughts stirring your brain when you see watch this film while trying to connect it to the present. You know, I can’t go anywhere because I’m locked in Japan. But my works can go even if I can, so I really want to finish this film at least to fulfill my basic responsibility.

Talgat Batalov (Uzbek)

Batalov unfolds his history of numerous migrations across the border, where nationalities can be traded for cigarettes.

Hello, dear Koreans, My stand-up performance «Uzbek», that comes to the Festival, is about a process of relocation of a man from a country to
country. When one moves to another country, he sticks on a neutral territory. He is already foreigner in the country he left and not yet an inside man in the country he came to. He can feel very lonely. But it’s the perfect case, when one can invent himself anew.

Wael Shawky (Cabaret Crusades)

The narratives of the Crusades seen from Arab perspective.

Konstantin Bogomolov (An Ideal Husband)

The controversial Konstantin Bogomolov on Russia’s current situations which is about to explode. Sharp satires and unyielding eruptions

Abbas Kiarostami Looking at Ta’ziyè (The Spectators)

Stories about the Kabbalah war of the Middle Ages continue to evoke sorrow and anger, if not indifference, for today’s audiences.

Lee Leenam, Seo Hyun-Suk (Lee Leenam: Second Edition)

Lee Leenam takes “classical paintings,” Western and Eastern, and gives ‘life’ to them. Now he renders himself as an ‘artwork.’

Okada Toshiki (God Bless Baseball)

How to look at Korea, Japan and the US through the subject of baseball.

There are not many countries in the world that love baseball. I assume the US has played a role in making baseball so popular in Korea and Japan. I see it as an historical product of the relationships between the US and two countries, too. So I wanted to explore our relationships to the US – the US behind us, above us, and inside us.

Ho Tzu Nyen (Ten Thousand Tigers)

They were killing so many workers in the plantations that tigers had to be eliminated. The British started a bounty system and every tiger killed could be exchanged for cash. But this physical destruction of tigers also led to the destruction of the myth, which is the entire kind of cosmology built around the figure of tiger. For the people of Malayan world, the tigers were always seen as kind of a vehicle or medium for ancestral spirits. So with the elimination, destruction of tigers and deforestation, you also had basically the destruction of the cosmological
system. The project in a way was about this destruction but also the return of the tiger in different forms.

Claude Régy (Interior)

Master Claude Régy’s new piece at the age of 90. The power of silence. Looking at the existence itself to shed a softly revealing spotlight on the darkest sides of human mind.

Tim Etchells (That Night Follows Day-A Rehearsed Reading)

What are adults like in the eyes of children? Orders, advice, lies and excuses are exposed on stage, naked. ‘Language’ becomes the weapon of children

Looking at the ways that parents, perhaps, or teachers, next-door neighbors, other adults in the family, or even adults in the sense of people
in the media, might control or lay down the kind of frames that children and young people have to operate inside. So it’s about power. The idea of the pieces is that the group of 16 young people on stage would speak a text which somehow tries to describe or to map that relationship and they would perform it to an adult audience.