Roundtable
Now and Here, Noema in Floating Film Part 2
Some questions are objectives and journeys in themselves rather than the answers.
The rearrangement of cinema. Continuing from 2023, we ask questions “again,” no, we ask questions “consistently.” (LEE Seungmin)
Date 5.19. (Sun) 12:00
Venue Ae Kwan Theater 2
Moderator LEE Seungmin (Film Critic)
Pannel YOO Un-Seong (Film Critic), JUNG Jaekyung (Artist), CHO HyeYoung (Film Critic)
Venue Ae Kwan Theater 2
Moderator LEE Seungmin (Film Critic)
Pannel YOO Un-Seong (Film Critic), JUNG Jaekyung (Artist), CHO HyeYoung (Film Critic)
Moderator
LEE Seungmin
A film critic who leads a life as a diaspora by shuttling between Korea, Canada, and China. Also a planner and an independent researcher. Her works include Asian Documentaries of Today (2013), Korean Documentary Films of Today (2016), and Films and Space (2017).
Participants
YOO Un-Seong
Film critic. Co-publisher of Okulo, a magazine on cinema and the moving image. Member of the planning board of VOSTOK PRESS. His works include A Ghost and the Guards (2018), But The Night Will Be Very Short (2021), and Botanic Temptation (2023).
JUNG Jaekyung
Jung Jaekyung is an artist who explores ethical concepts in the form of videos. He recently held the private exhibitions “Cosmographia (Seoullo Media Canvas, 2019),” A Scene (Sinchon Theater, 2021),” and “Commedia (shhh, 2022),” and participated in the team exhibitions of “ARTificial Garden, The Border Between US (MMCA Cheongju, 2021),” “Watch and Chill 3.0: Streaming Suspense (MMCA Seoul, 2023),” and “2086: Together How? (Venice Biennale International Architecture Exhibition, 2023).” His works are owned by the National Museum of Modern and Contemporary Art, Korea (MMCA), the MMCA Art Bank, and the SeMA, among others.
CHO HyeYoung
Active as a researcher of Project 38 who makes plans, presents lectures, and conducts research related to video media. She is writing a serialized film column in the Korean Film Archive (KMDB), with the recent essay “The Concern Toward Existence and the Diffused Gestures of Care: A Certain Tendency in Korean Films After the Pandemic” (2023).
