This memory protocol (also available in Korean) is a preview from the 2017 catalogue of Pink Factory (분홍공장), which is currently in print and will be available in January 2018. Once again, resident artists from Korea and abroad created wonderful works of art in Hongcheon, Gangwon-do. The exhibition opened on Sept. 9 with several performances: Lee Seiseung’s choreography “To Be and Not to Be,” performed by Anima Singh (안무: 이세승, 출연: 어니마 싱), and Hur Yunkyung’s piece “Implicitly Anywhere” (허윤경, 은근어디든) , both in front and partly inside Hongcheon Art Museum, followed by dinner and Koh San Hong’s DJ Party “Geumsung Record” (고산홍, 금성 레코드) uphill at Pink Factory. Once again bi-lingual (Korean-English) and in full color, Pink Factory’s 2017 catalogue includes all artworks on show, impressions from the workshops and lectures given in the course of the residency program, as well as writings and images from the exhibition “Moving Shadows” and the community program “Floating Ferry, Buzzing Market” (둥실둥실 나룻배, 와글와글 중앙시장) that was conducted in parallel.
Impressions from the Pink Factory Exhibition Opening 2017
Leaving the museum, we slowly turn around. On top of the balustrade, Hur Yunkyung captures our attention, appropriates the whole place, but her time has not come yet.
A woman in white, Anima Singh, steps up the stairs. She brings along a white pillar of her own size, hollow but certainly no light luggage. The empty pedestal follows her, supports her, wears her down, almost crushes her, and together they draw long shadows across the parking. ‘Who’s there,’ she whispers. To be and not to be? A question of perspective.
No time to ponder the relativity of time and space, as a green spot approaches, from the mountains, up a tree, through the gutter into the museum. Hur Yunkyung is back – and already gone again. But she returns, guides us through steel and water, past the camouflaged cabin, like a dog in search for answers written on the wall, between the steady beats of a drum, to dark, blue water dripping on paper, the crack growing wider as she navigates the crowd, within and without. We then go different ways.
Choreographed by Lee Seiseung, Anima Singh projected a life in motion onto the parking space. Hur Yunkyung mapped the museum and showed us its invisible core just by moving. Now the stage is set for the DJ! Koh San Hong plays songs from Seattle to Shibuya, mixed with sounds of steel and beats that grip our pulses together. We eat and dance and talk and drink, standing, sitting, still in motion. Do urbanites dream of star-spangled skies? The shadows have long moved, the night can come, even to Hongcheon.
Text: Jan Creutzenberg
— 9 Sept. 2017 (土)