Le discours et la peur, 2011-2016
vidéo, 13’
vidéo, 13’
Témoignage de Sheng-Geum, natif de Corée du Nord réfugié au Sud.
Loin du documentaire, l’installation se construit sur deux récits symboliques écrits par Sheng-Geum lui-même. Le premier est le rêve impossible d’une personne voulant devenir artiste en Corée du Nord. Le second nous parle crument de cannibalisme. Au fil d’une traduction spontanée réalisée par une amie de Sheng-Geum, les histoires se saccadent et se hachent, parfois butant sur l’emploi décalé d’un mot, d’autres fois sidérantes par l’horreur qu’elles dévoilent.
Dans l’installation, deux écrans de taille différente s’alignent par charnière pour créer un espace unique où l’image de Sheng-Geum est dédoublée, comme prise dans un miroir. Les jeux de regards, rapides et nerveux, tournés vers le spectateur ou baissés vers la feuille, semblent dessiner dans l’espace des lignes invisibles, empreinte muette de ce que Sheng Geum a traversé.
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The speech and the fear, 2011-2016
video, 13’
Testimony of Sheng-Geum, a native of North Korea who fled to the South.
Far from being a documentary, the installation is based on two symbolic stories written by Sheng-Geum himself. The first is the impossible dream of someone who wants to become an artist in North Korea. The second tells us bluntly about cannibalism. Through a spontaneous translation by a friend of Sheng-Geum's, the stories are jerky and choppy, sometimes stumbling over the unusual use of a word, other times shocking us with the horror they reveal.
In the installation, two screens of different sizes are aligned with hinges to create a single space where Sheng-Geum's image is doubled, as if caught in a mirror. The rapid, nervous glances, turned towards the viewer or lowered towards the sheet of paper, seem to draw invisible lines in the space, a silent imprint of what Sheng Geum has been through.
video, 13’
Testimony of Sheng-Geum, a native of North Korea who fled to the South.
Far from being a documentary, the installation is based on two symbolic stories written by Sheng-Geum himself. The first is the impossible dream of someone who wants to become an artist in North Korea. The second tells us bluntly about cannibalism. Through a spontaneous translation by a friend of Sheng-Geum's, the stories are jerky and choppy, sometimes stumbling over the unusual use of a word, other times shocking us with the horror they reveal.
In the installation, two screens of different sizes are aligned with hinges to create a single space where Sheng-Geum's image is doubled, as if caught in a mirror. The rapid, nervous glances, turned towards the viewer or lowered towards the sheet of paper, seem to draw invisible lines in the space, a silent imprint of what Sheng Geum has been through.