창작자의 공간 Published in 2024 by ALDA Collective for the Creators Spaces project.
Editor – Sun Chung, Jimin Lim
Design – Sun Chung
Translation – OpenAI ChatGPT
Translation Proof – Sun Chung, Jimin Lim
Cover image – David Clode from Unsplash
Back image – Kier in Sight Archives from Unsplash
Contributions - Boeyon Park, Eunseong So, Cheyon Woo, Areum Parkkang
Note to editing - Minimal editing has been done in order to preserve the tone and the integrity of the individual’s writing.
Note to translation – All translations from Korean to English and English to Korea are by Open AI ChatGPT. No major modifications during proofing process unless the meaning was significantly altered from its original text.
© ALDA Collective 2024
The artists contributing to Creators Spaces retain copyright on their individual works (writings and works of art) presented in this collection.
This publication is licensed under CC BY-NC-ND 4.0 (Creative Commons Attribution-NonCommercialNoDerivatives 4.0 International). To view a copy of this license, visit https://creativecommons.org/ licenses/by-nc-nd/4.0/
Table of Contents Table of Contents Table of Contents 감염과 공생의 돌봄 Care in the Form of Contamination and Collaboration
정선희 / Sun Chung 예술과 공감으로 만들어가는 이민자들의
Creating Fine Roots Through Art and Empathy by Migrants
임지민 / Jimin Lim
내 속, 안 Inside of My Insides
박보연 / Boyeon Park
미술하지 않고 창작하기 Creating without Making Art
우채연 / Cheyon Woo
움직이는 글쓰기 Writing in Motion
소은성 / Eunseong So
나, 몸, 카메라 I, Body, Camera
박강아름 / Areum Parkkang
PersonandHuman ‘Aperson,bydefinition,holdsmembershipinaninvisible,moralcommunity. Beingapersonisthusakindofqualification,requiringtherecognitionof others.Thisiswhatdistinguishesa"person"froma"human."Furthermore, foranindividualtobecomeaperson,theymustenterintosocietyandhave theirsocialmembershipacknowledged.Associetyexistsinspecific locations,theconceptofpersonhoodisinherentlytiedtoplace.The momentweleaveaparticularspace,wemayloseourstatusasaperson. Whenwestepoutsidethespacewherewearerecognizedaspersons,we ceasetoberegardedassuch.Inessence,societyreferstothisspaceofrecognition.’1
InPerson,Place,andHospitality(2015),HyunKyungKimarguesthatthehospitality orsocialmembershipextendedtoforeignersisconditional.Sheassertsthatthis conditionalhospitality,oritswithdrawal,isoftenjustifiedbythenotionthat foreigners"havesomewheretoreturnto."However,this"otherplace"impliedwithin theterm"foreigner"isfrequentlyafictionalconstruct,asinthecaseofZainichi Koreans’connectiontoJoseon,aplacethatnolongerexistsinreality.2Therefore, Kimemphasizesthatnoqualificationsshouldberequiredforaforeignertodemand socialmembership.Justasanewborniswelcomedintosocietyuponbirth,themere factthataforeignerisphysicallypresentwithinsocietyshouldbeenoughtogrant themmembership.Thisrightshouldnotbecontingentontheirassimilationor adaptation.3Theirpresencewithinasocietyisproofofthestrugglesandhardships theyhaveenduredtoreachthatpoint.
Thereasonswhyanindividualleavesaspecificsocietyforaforeignlandareas variedasthenumberofimmigrantsthemselves.Whethervoluntaryorinvoluntary, migrationoftensignifiesaseverancefromfamiliarcultural,social,linguistic, economic,andpoliticalenvironments,heraldinganewbeginninginanunfamiliar society.Unfortunately,manymigrantsfirstandforemostexperiencediscrimination asoutsidersandminorities,overshadowingthepotentialfornewopportunitiesand growth.Thisrepeatedexperienceofmental,emotional,social,andeconomic marginalizationpushesindividualstotheperipheryofsociety.Thecontinuous demandtodemonstrateone’sutilityinordertoberecognizedasapersonpersists throughoutlife,compoundedbythefearthatthetemporaryhospitalitygrantedmay bewithdrawnatanymoment.
WomenandMigrants Traditionally,womenhavebeenseenastied-moversmigratingalongsidemenfor thefamilyreunification.However,sincethe1980s,withtheriseofgenderand feministtheories,theresearchonfemalemigrationhasexpandedalongwiththe numberofwomenmigratingindependentlyaslabormigrants.Despitethisincrease, itisimportanttonotethatthegendergapininternationalmigrationhasfurther widened.4Thisislargelyduetomigrationbeingstructured,depicted,andshapedby
Care in the Form of Contamination and Collaboration patriarchalnorms,muchlikehowsocialrolesareassignedbasedonbiologicalgenderin broadersociety.Moreover,theintersectionalformsofdiscriminationfacedbydiverse migrantgroupsoftenremaininvisible.Hence,itiscrucialtounderstandmigrants' decisions,trajectories,andexperiencesmorecomprehensivelyinordertoreflect intersectingfactorssuchasgenderinmigrationinitspoliciesandframeworksto representallmigrantsinclusively.5
HyunKyungKimexpandsonthediscriminationandviolenceassociatedwiththe categorizationof"women"and"immigrants"throughtheconceptof“purity”.She highlightshow"anobsessionwithpurityimpliesthattheobjectinquestionisbeyond thecontrolofthedominantclass."Inessence,this“dirtiness”impliesadeephatredand fearoftheotherandbynegatingtheirexistence,theyparadoxicallyacknowledgetheir subjectivitythroughtheactofnegation.6Similartowomenunderpatriarchalsystem, immigrants,areoftenrenderedinvisible,silent,andmarginalized—thusbecomingthe "clean"and"pure"immigrants,muchlikethemodelminoritymyth.However,when immigrantsdemandvisibilityandasserttheirrights,theyarequicklybecomelabeledas "dirty,""radical,""aggressive,"or"intrusive."7Thisdynamicrevealsthestructural inequalitiesingrainedinracial,social,historical,andneoliberaldevelopments,forcing marginalizedgroupslikeimmigrantsandrefugeestobearthebruntofthesesystemic sacrifices.8
Thesocialspace,resources,andopportunitiesavailabletofemalemigrantsare extremelylimited.Inparticular,restrictiveandconfiningmigrationpathwaysexacerbate thevulnerabilityofgenderedmigrantlabor,creatingsignificantbarrierstowomen's participationinsociety.9Economicinstabilitycausedbyinvoluntarycareer interruptions—suchasthefailuretorecognizetheirskillsorprofessionalexperience— makesself-sufficiencydifficultformostmigrants.Additionally,theresponsibilityfor pregnancy,childbirth,andchildcareisoftendisproportionatelyplacedonmigrant women,intensifyingcarework.This,inturn,severelylimitingtheirabilitytodevelop careersorexpertiseintheirhostcountry.Asaresult,manymigrantwomenareforced torelyonlow-wageservicejobsortemporaryemployment.Theunstableproject-based natureofculturalandartisticworkcannotescapetheselimitations,creatingavicious cyclethatfurtherrestrictstheircreativeworkandprofessionaldevelopment.
Aboveall,migrantsfacediverseformsofalienationfromtheirsociocultural environment,includingtheirlocalcommunity,duetolanguagebarriersandcultural differences.Inasocietywheretheyfeelunwelcomed,itisexceedinglydifficultfor womentofindsafespaceswheretheycanexistwithoutfeelingthreatened.Thissocial exclusionseverelydiminishesthelanguageandspaceinwhichtheycanfullyexpress themselves,thusstructurallylimitingthepotentialofmanydiasporawomen.Therefore, theneedforaspaceofcareandcommunitiesofsolidaritywhereonecanfreelyexpress feelings,possibilitiesandpotentialswithoutjudgementorcriticismhasneverbeen greater.
Whileconditionsmayvaryineachhostcountry,alternativeculturalandartisticpractices
thataddresstheneedsofmigrantwomenanddiasporacommunitiesarenotably scarce.TakingFranceasanexample,ahandfulofinstitutionallysupportedassociations focusprimarilyonhostingone-timeevents,whileinstitutionsthemselvesoftenorganize diplomaticculturaleventsalignedwiththehomecountry'sdiplomaticstrategiesfor foreignaudiences.Asaresult,theattentionandresourcesallocatedtodiaspora communitiesincludingmigrantwomenarelimited.Althoughtheemergenceofloosely connectedculturalandartisticgroupsinrecentyears,theseinitiativesoftenworkwith limitedresourceswhichleadstoissueswithsustainabilityandaccessibilityforthewider public.
Inthiscontext,theALDACollectivewasanexperimentandattempttoexplorehow diversegroupsandindividualswithintheAsiandiasporacommunitycanform rhizomatic,mycelialnetworksofcare.Inlieuofhierarchicalorlinearrelationships,the collectiveseekstofostermutuallysupportiveconnectionswhereparticipants collaborate,share,andthrivetogether.Thefocusisoncreatingaffectivespacesfor artisticexchangethatarebasedonempathy,positivereinforcementandmutual respectwhereeachindividual’sexistentialuniquenessisrecognizedandrespected.
RightPlace,WrongPlaceandIdentity Morethanoften,wefindcomfortinthebeliefthatcertainplacesbelongtous,thatwe belongtothem,andthat,insomefundamentalway,weareboundtotheseplaces becausewecomefromthem.Byreaffirmingoursenseofselfthroughthese“right places”,wereflectastableidentitybacktoourselves.Incontrast,spaceswherewefeel wedonotbelong—placesweperceiveas“wrongplaces”—canappearstrange,confusing, unstable,oreventhreatening.MiwonKwonarguesthatthisunstablerelationshipwith placecandetrimentaperson'sabilitytoformaconsistentsenseofselfandtheir understandingoftheworld.10
AccordingtoLucyLippard,spacedefineslandscape,andwhenspaceisintertwinedwith memory,ittransformsintoplace.Theconceptofplaceisinherentintheideaoflocal,as aplaceis"theresonanceofaspecificlocationthatisknownandfamiliar"and“the externalworldmediatedthroughhumansubjectiveexperience.”Shefurtherarguesthat ouridentityisfundamentallytiedtoplaceandtothecultureandhistorythattheplace embodies.Thus,whenweareuprootedfromspecificculturalandspatialenvironments, whethervoluntaryorforcedmigration,itweakensourabilitytofindorredefine ourselves.Lippardalsoemphasizesthatplaceistemporal,spatial,personal,and political.Alackofasenseofplace“canbeseenasprimarycauseofourlossoftouch withnature,disconnectionfromhistory,spiritualvacancy,andestrangementfromour ownsenseofself.”Shesuggeststhatplaceisnotonlyaphysicallocationbutalsoa repositoryofmemoriesandidentity,whichshapesourunderstandingofourselvesand theworldaroundus.11
Yet,consideringtheconditionsofmodernlife-diminishingphysical,temporal,and
spatialbarriers–thatfacilitatemovement,communication,andexchange,weoftenfind ourselvesdetachedfromplaces.Today,weoccupymultiplespaces—offline,online,in virtualrealities—simultaneously.Thismultiplicityraisesquestionsaboutwhetherthe distinctionbetweentherightandwrongplaceismeaningfulforself-identityintheway itoncewas.12MiwonKwonarguesthatratherthanclingingtotheideaoffixedright places,theexperienceofdislocation—ofarrivinginwrongorunexpectedspaces—can fosterliberationbychallengingtraditionalconstructsofselfhood.Encounterswith wrongplacesrevealtheinherentinstabilityoftherightones,ultimatelyexposingthe fluidityofidentityitself.Kwonalsosuggeststhatactivelyembracingnew,even unsettlingexperiencesandrecognizingone’svulnerabilitywithinthemcanleadto profoundself-discoveryandtheexpansionofidentity.13Sheassertsthat,thoughwe mayfindaplacewherewecanlocateourselves,thisdoesnotalwaysaccuratelyreflect ourtruerelationshiptothatspace.Thepersonalconnectionbetweenhistoryandplace shapesus,butasindividualsandasacollective,wealsoshapeplacesinreturn.14 Consequently,allplacesarerightandwrongatthesametime,ever-shiftingand evolvinginnature.
"Isitpossiblethatitisnotthefamiliarbuttheunfamiliarthatrevivestheoldest memorieswithinus?WhomighthavetoldYunasomethinglikethis?Donotvaluethe houseyouwerebornin.Ifyouwanttorememberyourbirth,keepgoingfarther."15
Thelossoffamiliarityenablesencounterswithunfamiliarworldsorthosepreviously excludedfromperception.Learningandspeakingaforeignlanguage,forinstance, offersaliberatingpotentialtobreakfreefromthelimitedthoughtpatternsboundto one'snativelanguage.Thisprocessnotonlypromptsquestionsaboutexisting relationshipsbutalsoopensupdiversepossibilitiesforthenew.16
Identityisnotafixedsetofinternalqualitiesorunchangingessence.Manyoftenthink ofidentityasrootedinanimmutablecore,accumulatedovertime.However,identityis, inreality,nevercomplete;itisanongoing,ever-changingprocessofpositioningthat continuouslyshiftsandmoves.Itcannotbeasingular,finalizedstate,norwillitever be.17Oursenseofselfultimatelyoscillatessomewherebetweenspaceandplace,not asopposingforcesbutinarelationshipwhereeachsustainsandsupportstheother. Thisisnotaboutchoosingbetweennomadismandrootedness,spaceandplace,or onlinedigital"likes"andofflinehandshakes.MiwonKwonstressesthatwemust considertheseseeminglycontradictoryrealmsanddesirestogether,understanding thatoppositesultimatelyupholdandmaintainoneanother.
Inthecurrentlifeofhybridity,wherethepeople,purpose,andplacecontinuouslyshift andintersect,wecannolongeralignplace,people,andlanguageindefiningidentity. Thisdeterritorializationofplacereplacesthelimitationsofplace-boundidentitywith fluidity,introducingliberatingeffectsthatenabletheformationofdiverseidentities, solidarities,andmeaningsbasedonchanceencountersandcircumstances.Thisaligns withtheconceptoffluidsubjectivity,identity,andspatialitydescribedinGillesDeleuze andFélixGuattari’srhizomaticnomadism.18Likerootsandstemsspreadingchaotically
underground,diversepointsinterconnectanddispersewithouthierarchyorcentrality, formingadecentered,non-linear,mycorrhizal-likenetworkthatfostersnew relationshipsandconnections.
CareintheFormofContaminationandCollaboration Theholobiontisnotautopianconcept.Collaborationisalwaysablendof competitionandco-operations.Therearemanyinstanceswheretheinterestsof allthesymbiontsdon’talign….Iftheword‘cyborg’–shortforcyberneticorganism –describesthefusionbetweenalivingorganismandapieceoftechnology,then we,likeallotherlifeforms,aresymborgs,orsymbioticorganisms.Theauthorsofa seminalpaperonthesymbioticviewoflifetakeaclearstanceonthispoint.‘There haveneverbeenindividuals,’theydeclare.‘Wearealllichens.’19
Ourbodiesembodylayersofancestralknowledge,nature,trauma,andeveninvisible organismslikefungiandmicrobes.Theyarealsodeeplyintertwinedwiththehistory andevolutionofsocialsystems.Recognizingthesecomplexinterconnectionsandthe fluid,boundary-lessidentitiesofmoderntimesrevealsthelimitationsofdualistic thinking,suchasthe"us-them"dichotomy.20Considerlichens—compositeorganisms bornofthesymbiosisbetweenalgaeandfungi.Theyareneitherpurelyoneorganism northeotherbutexistasbothandneithersimultaneously,suggestingthepossibilityof new,hybridformsofexistence.Lichensembodyanexistencethatissingularandplural, partandwhole,blendinghybriditywithnon-linearinterdependence.Thiswayofbeing hintsatafoundationalapproachtocarerootedinmutualdependency,symbiosis,and relation.
Careisasocialcapacityavailabletoeveryone,yetsocietyhaslongfailedtocareforthe mostvulnerableamongus.Neoliberalism,throughthecommodificationofcare,rejects ourinherentinterconnectionsandmutualdependencies.21Sustainablecare necessitatesacircularrelationshipwherecaregiversandreceiversarenotdistinctly separate.Thatbothshouldbeabletogiveandreceivecareinturn.Furthermore,this cyclicalapproachneedstoextendbeyondhumanstoallmore-than-humanentities, advocatingforaninterconnectedcareethicacrossallformsoflife.TheCareCollective hastermedthisethicsofpromiscuouscare,where“promiscuous”signifies indiscriminateandinclusivecare.Thisexperimental,expansiveapproachdemandsthat careberecognizedandvaluedequitablyacrossvariousformsofexistence,prioritizing needsandsustainability.Beyondfamily,community,market,andstate,carepractices shouldembracemore-than-humanconnections,fosteringabroad,relationalnetwork thatsustainsallscalesofsociety.22Movingawayfromanextractivist,growth-focused neoliberalframework,wemustbegintonoticeoursurroundingsandforgeundefined, evolvingrelationshipsthatallowforco-evolution.Throughtheseinterconnected exchanges—infectingeachotherwithideas,practices,andcare—societymustadaptand evolve,pavingapathtowardinclusivityanddiversity.Inessence,theseactsof "contamination"leadustowarddiversity,enablingashared,thrivingenvironment.23
Precarityistheconditionofbeingvulnerabletoothers.Unpredictableencounters transformus;wearenotincontrol,evenofourselves.Unabletorelyonunstable structureofcommunity,wearethrownintoshiftingassemblages,whichremakeus aswellasourothers.Wecan’trelyonthestatusquo;everythingisinflux,including ourabilitytosurvive.Thinkingthroughprecaritychangessocialanalysis.A precariousworldisaworldwithoutteleology.Indeterminacy,theunplannednature oftime,isfrightening,butthinkingthroughprecaritymakesitevidentthat indeterminacyalsomakeslifepossible.24
Peopleandsocietiesoftenfeelthreatenedandanxiouswhenfacedwiththingsthatare fluid,undefinable,orresistanttostructure.Whatwecannotunderstandorcontrol seemsparticularlyunsettling.25Untilnow,valuesassociatedwithpromiscuity, instability,vulnerability,unpredictability,indeterminacy,anddisturbancehaveoften beenmarginalizedandcriticized.However,AnnaTsingemphasizesthatintoday’s unstableandprecariousworld,theseareexactlythequalitiesneededtocounteract rigidstructures.26Tsingarguesthatfluidityandunpredictabilitydriveconstant transformationacrossallformsofexistence,includinghumanadaptability.When individualsexpresstheirvulnerability,theyexposeopportunitiesformutualrecognition, support,andcollectivesurvival—highlightingagenuineembraceofeachother’sfragility. AsTsingsuggests,thesequalitiesarethennolongertobesidelined;rather,theyare indiscriminatory,experimental,adventurous,andtransformative.Theystimulatenew interactionsandspeculativepossibilities,fosteringaffectiveentanglementsandopenendedgatheringswherediversityisnotonlytoleratedbutessential.Inthissense,values onceneglectedhavebecomealternativemeansfornavigatingthelimitationsandside effectsofaneoliberalsociety,providingafoundationforresilienceandadaptive transformationintoday’suncertainera.
BeingLosttoNotice Inourmosttrivialwalks,weareconstantly,thoughunconsciously,steeringlikepilots bycertainwell-knownbeaconsandheadlands,andifwegobeyondourusualcourse westillcarryinourmindsthebearingofsomeneighboringcape;andnottillweare completelylost,orturnedround,—foramanneedsonlytobeturnedroundoncewith hiseyesshutinthisworldtobelost,—doweappreciatethevastnessandstrangeness ofNature.Everymanhastolearnthepointsofcompassagainasoftenasheawakes, whetherfromsleeporanyabstraction.Nottillwearelost,inotherwords,nottillwe havelosttheworld,dowebegintofindourselves,andrealizewhereweareandthe infiniteextentofourrelations.27
Peoplewholeavetheirhometownsareoftenseenaswanderingorlostsouls.However, oneshouldnotbequicktoconsiderthatwanderingmeanslosingone'slifeorspirit. RebeccaSolnitagreesthatwithoutexperiencingasenseofbeinglost,onecannottruly understandwhotheyareorhowtheyareinterconnected.28Thiswandering,ornonlinearwayoflife,resemblesamycelialexistence—onethatextendsboundlessly,creating
unexpectedconnectionsanddiscoveringthingsbothaccidentallyandinevitably.29The heartofthismycelialexpansionliesinaconsciousawarenessof,andcarefor,theoftenoverlookedperiphery.Deep,attentivelisteningawakensintuitionandsensory perception,fosteringsensitivitytowardsmall,hidden,orisolatedentities,encouraginga relationshipofactiveentanglement.Throughthiscareandawareness,wecometo understandourcomplexinterdependencies,expandingpossibilitiesforsymbiotic evolution.Ultimately,thisdeeplisteningandrecognitionofsubtlechangesforgea pathwaytorestoringsolidarityandnurturingessentialconnections.30
MycelialArtisticExperiment YasmineOstendorf-Rodriguezpositsthatauthenticcareisrealizedwhenboth caregiversandrecipientsengageinmutualsupport,effectivelydismantlingthepower dynamicstraditionallyembeddedintheactofhelping.Sheemphasizesthenecessityof a“networkofaffectionsandcare,”groundedinreciprocityandempathy,tofoster communityrelationshipsbeyondtransactionalinteractions.31Similarly,ElkeKrasny viewscommunity-buildingasaformofcarethatdirectlytacklescurrentsocialstruggle thatwearefacing.Krasnyfurtherlinksthisapproachtothepracticeofcurating, extendingcareintotheculturalsphereasavital,collectiveaction.32
Keepingthesevaluesofsymbioticcareandartistictherapyatthecenter,Creators Spacesorganizedfourartisticexperimentsthroughout2024reimaginingwaystothe solidarityandcommunityorganizing.Bysharingandtransformingone’sunique experiencessuchasmarginalization,isolationandboundaryasanAsianwomen diasporathroughcreativelanguageandpractice,itexploredthepotentialformutual careandhealing.Aboveall,itstrivedtoofferasafespaceandtimeforallparticipants— artists,audience,andorganizersalike—toexpressintimatefeelingsandreflectionson art,society,andmostimportantlyonself.Itfocusedinbuildinganauthentic,valuebasedcommunitythatnurturestrustforalong-termengagement,ratherthanreducing careasaone-offevent-orientedmaterialsupport.
Thisprojectattemptedtoexplorethepotentialofcarepracticewithinthecontextof culturalandcommunityorganizinginthreefolds:incuratorialform,flexibilityof mediumandthecultivationofmultidimensionalrelationships.Seekingtominimize wastedcostsandresourcestypicallyassociatedwithwhite-cubeexhibitions,the programre-evaluatestraditionalexhibitionformatsandtheirrelatedprogramssuchas studiovisits,artisttalks,andateliers.Theseactivitiesusuallyservedasunidirectional channelsforsharingtechniques,knowledge,andinformationoftenlimitingflowof interactionandcommunication.Intheattempttooverturnandresetthis marginalizationofexhibition-relatedprograms,wereimaginedtheCreatorsSpacesas aninvisibleexhibitionwheretherelationshipsandideassharedwithintheseprograms becomethefocalpoint.Embracingafullspectrumofaffectionsandemotionswhichis oftenneglectedandwithheldovertheknowledgeandreason.Thisredefinedapproach
offersanavenuetoresearchhowalternativemodesofartcanfosterlocalcommunity buildingandopenupnewpossibilitiesforsolidarity.Additionally,itexploresonhownonmateriality,mobility,hybridity,andrelationalitycanbeexpandedasanartisticmedium. Evaluatingwhatisfundamentallyatthecoreofeachone’sartisticpractice,weattempted tobroadentheirmediumastheritualisticgesturesinWritinginMotionandInsideofMy Insides,theconceptualplayinCreatingWithoutMakingArt,andrelationalityinI,Body, andCamera.Furthermore,tocreateaninvisibleandcyclicalspacetimethattranscends fixedroles:organizersbecomeparticipants,participantsbecomecreators,andcreators assumenewroles.Thismultidimensional,circulatoryrelationshipaimstofacilitatevalue creationandenrichsharedexperiences.
Composedofdiversetextsandimages,thisbookisadiary,anessay,andacatalogallat oncedocumentingtheseefforts.Nonetheless,atthesametime,itisnoneoftheabove, asweaimtostayfluidinbetweenbeings.Ratherthanpresentingpolishedartworkswith definitivemeanings,theyaretherecordsoftheirinnermostthoughtsascreators navigatingtheirjourneys.Aboveall,CreatorsSpacesseekstofosterexchangeand dialogueamongAsianwomendiasporacreators,exploringhoweachartistbreathes, responds,transformsandevolveinthespacesandplacestheyoccupy.Thissharedeverevolvingspace-timeprovidesaplatformforartiststoexpressanxieties,uncertainties,and resonanceswithinthisever-shiftingsurroundings.Andhowlosingones’familiarity becomesagatewaytonewworldsandliberatingexperiences,allowingtheseartiststo recognizeandexpresstheirunseenpotential.Asartistsgatherinthissharedspace,they addressinsecurities,andimperfections,fosteringhealingandsolidarity.Byembracing thesecommunalinteractions,theymovetowardaricherentanglementofinfinite possibilities.Nowweneedtoconsciouslynoticeoursurroundingsforthepossibilitiesof openandunpredictableencountersandrelationstofosteravalue-basedmycelial networkwithlike-mindedindividualsandorganizations.Therefore,nowmorethanever, weneedtopracticeprecarity,vulnerabilityandpromiscuity.Tofindanewsolidaritythat couldchangeus.33
SunChung
ALDACollective,IndependentCurator,CommunityOrganiser
1.HyunKyungKim,Person,Place,Hospitality,MoonjiPublishing,2015,p.45,90
2.Ibid.,p.109
3.Ibid.,p.99
4.‘Historyatteststhattherewasasteadyincreaseinthenumberofinternationalfemalemigrantsfrom1990.16 However,evidencepointstoagrowinggendergapgloballyoverthepasttwodecades.17Ashighlightedintheprevious worldmigrationreport(Figure1below),theshareoffemalemigrantshasbeendecreasingsince2000,from49.4per centto48.1percent.Thegapbetweenfemaleandmaleinternationalmigrantsincreasedfrom1.2percentagepointsin
2000to3.8percentagepointsin2020.’/‘GenderandMigration:Trends,GapsandUrgentAction’,WorldMigration Report2024,InternationalOrganizationforMigration,Switzerland,2024,p.3-4
5.Ibid.,p.31
6.HyunKyungKim,2015,p.121
7.Ibid.,p.118
8.YasmineOstendorf-Rodriquez,Let’sBecomeFungal!–MyceliumTeachingsandtheArts,ValizAmsterdam,2023, p.129-130
9.WorldMigrationReport2024,2024,p.31
10.MiwonKwon,OnePlaceAfterAnother–Site-SpecificArtandLocationalIdentity,MassachusettsInstituteof Technology,Cambridge,2022,p.160.163-4
11.LucyR.Lippard,TheLureofTheLocal:SensesofPlaceinaMulticenteredSociety,TheNewPress,NewYork,1997, p.7-10&MiwonKwon,2022,p.158
12.MiwonKwon,2022,p.156-7
13.Ibid.,p.160,163-4
14.LucyR.Lippard,1997,p.9-10
15.YunYoungChoi,Cross-Boundary,Cross-LingualandCross-NationalWritingsofYokoTawada,KoreanJournalof JapaneseStudies,SeoulNationalUniversityInstituteforJapaneseStudies,2015,p.354/YokoTawada,Schwagerin Bordeaux,KonkursbuchVerlag,2008,p.150
16.Ibid.,p.354
17.YasmineOstendorf-Rodriquez,2023,p.252
18.MiwonKwon,2022,p.165/FélixGuattari&GillesDeleuze,AThousandPlateaus,UniversityofMinnesotaPress,1987
19.MerlineSheldrake,EntangledLife–HowFungiMakeOurWorlds,ChangeOurMinds,andShapeOurFuture, PenguinRandomHouse,2020,p.103
20.YasmineOstendorf-Rodriquez,2023,p.39
21.TheCareCollective,TheCareManifesto:ThePoliticsofInterdependence,Verso,2020,p.13,23,36,45-49
22.Ibid.,p.92,95,98
23.AnnaTsing,TheMushroomattheEndoftheWorld:OnthePossibilityofLifeinCapitalistRuins,Princeton UniversityPress,2015,pp.22-3,27,29
24.Ibid.,p.20
25.YasmineOstendorf-Rodriquez,2023,p.181,236,252
26.Ibid.,p.20
27.HenryDavidThoreau,Walden,PrincetonUniversityPress,p.171
28.RebeccaSolnit,AFieldGuideToGettingLost,CanongateBooks,2006
29.YasmineOstendorf-Rodriquez,2023,p.19,29
30.Ibid.,p.30-34,166
31.Ibid.,p.82-5,93,307
32.ElkeKrasnyetal(ed.),RadicalizingCare–FeministandQueerActivisminCurating,SternbergPress,2021pp.10-27
33.“‘Achallengethatneedstobeaddressedwhentalkingaboutisthatasadecision,asa‘lifestylechoice’,itcomes fromapositionofprivilege.Thereisadifferenceiftheprecarityisbeingpracticedbychoiceornot.Practicing precarityasachoicerequiresrecognizing,acknowledging,andcomingtotermswithyourprivilegeand,therefore, shame.Andactingfromthisacceptance.Onlythencanwestartseeingthebeautyinthatwhichwedon’tunderstand, appreciatetheephemeral,recognizetheimportanceofthehereandnow,andfindhopeforthefuture,inthe possibilityofsurprise.”YasmineOstendorf-Rodriquez,2023,p.262-3
Theconstantcoexistenceandinteractionofdisparatethingswillenrichus.
-GASTONBACHELARD
Itissaidthatwhenafullyandwellgrowntreeinoneplaceistransplantedtoa newlocation,itrequiresfourtimesasmuchforcetore-establishitsroots.All thebranchesandfinerootsthatweresupportingthetreehavebeencutoff,so itwillnaturallytakeseveraltimesasmuchefforttoadapttothenewsoil.This iswhygardenersusuallygivethestrugglingtreeanutrientinjectiontohelpit settlein.Itisthesamefortheimmigrants.Weneedtheextrasupporttohelp usgetsettledinanewcountryafterallthevariousresourceshavebeencutoff.
Forthoseofuswithan‘immigrantidentity’,wehaveacommonexperienceof lossoffamiliarspaces,relationships,languageandtheselayersoflossare deeplyimprintedonanunconsciouslevel.Thisisbecausenomatterhowwell weadaptandlivehappilyinaforeigncountry,wewillalwaysbestrangersand minoritiesinthelandwehavemovedto.
Themomentwebecomeaminority,weareconstantlyquestionedaboutwho weareandwhywearehere,anditbecomesourmissiontoproveourreason forbeinghereandourvalue.Ajustificationtoexist.Notonlywedon'thavea twigandbranchestoleanonintimesoftrouble,butalsowehavetodealwith thisconstantapprovalwhilestrugglingtomakeendsmeet!Asanimmigrant,it istotallynaturalthatwegothroughtheidentitycrisis,feelingvulnerableand adrift.Butifwedon'tspeakourmindtosomeoneandputitintowords,these minorfeelingsjustkeepslippingawayandbuildingupinourunconscious,just likethesedimentinawinebottle.
ProbablythemostcommoncommentI'veheardwhileorganizingthe programsastheALDACollectiveandasapsychologistis,“IthoughtIwasthe onlyonegoingthroughthis.”Haven'tweallthoughtatonepointoranother, “Whyisitsohardformewheneveryoneelseseemstobeadaptinganddoing sowell?”(Sofar,Ihaven’tmetanyonewhosaysit'snotdifficultlivingabroad).
Accordingtoaresearch,immigrantstendtohavebettermentalhealthand higherlevelofeducationthantheaveragenative,whentheyfirstarriveina newcountry.However,theirmentalhealthdeterioratesrapidlyduringthe acculturationprocess.1Itissadbutnotsurprising.Thestressofacculturation andlanguagebarriers,thelackofconfidencethatcomeswithanunrecognized degreeandcareer,thedisillusionmentandthedisappointmentwiththenewly settledcountryandthefeelingthatleadtothequestionof‘whatamIdoing here?’oftenturnsintodepression.
Creating Fine Roots Through Arts and Empathy by Migrants Puttingwordstofeelingsiscrucialtoreducingdepressionforimmigrants.In psychology,wesaythatthewaytohealwoundsbeginswith‘verbalizationofaffects’ (affectlabelling)2.Itmaynotseemlikeabigdeal,butthereasonwhyitisimportantis thatbyacknowledgingyourfeelingsastheyare,ratherthandenyingorrepressing them,youareabletomovethemfromtheinstinctivefieldtotherationalfield.Putting yourfeelingsintowordsallowsyoutodelayimmediateaction(impulses).Forthis reason,verbalizationisthefirststepinhealing,asitisonlythenthatyouareableto perceiveyourconditionobjectively.
Meanwhile,thisverbalizationdoesn'tnecessarilyhavetobeexpressedin‘words’.As children,wealldrewpictures,playedwithclayanddanced-andartisticexpressionis themostprimitiveanddirectstartingpointoftheverbalization.Whenthisprimordial sensationisrecalledandfeltagain,wecanconnectwiththeunconscious,whichhas beensubmergeddeepdownandhasn'tsurfaced.
CreatorsSpacesshowcasedthisincrediblepowerofverbalization:auniqueprogram thatallowedparticipantstovisittheworkspacesofdiversediasporacreatorsto experiencetheirworkingprocessandtofeelthepowerofartandculture.Itprovided suchauniqueandintenseemotionalexperience,whereparticipantswereabletobring outtheirownpersonalitiesandhistoriesandconnectwitheachotherintheprocessof creating.Liketalkingtoastrangeraboutthethingsthatweusuallykeeponlyto ourselves,perhapsconnectingthroughartissimilartotherapyasitallowsustofeel liberated.
Whenwesharedaboutarts,itdoesn'tmatterwhywecametothiscountry,whatwedo foraliving,howlongwe'vebeenhere,howoldweare.Weareallalikeandweexchange equally.Likewhenwewerekidsplayingtogetherintheplayground,withoutjudgment. Duringthecreativeprocess,itwasincrediblycomfortingandreassuringtoseethat‘it wasn'tjustme,itwasn'tjustbecauseIdidn'tfitin,itwasn'tjustbecauseIwasweak’.It gaveusthewilltokeepgoingandliveanotherday.
ThereisaconceptcalledLiebig'slawofminimum,whichstatesthataplantcannot growproperlyifitisrelativelydeficientinonenutrient,nomatterhowabundantand plentifultheothernutrientsare.Forimmigrants,nomatterhowmanyqualifications theyhave-education,languageskills,job,etc.-iftheystrugglewithmentalhealth,their overallqualityoflifecannotbehigh.Ifyoufindyourselffeelingemptyandfrequently irritable-evenwhennothingisreallygoingwronginyourlife-itmaybeasignthatyou needtoverbalizeyouremotions.Inotherwords,inpsychology,it'snotwhatwefeel,but howweexpressandshareitthatisthekeytohealing.Furthermore,theartsarea creative,non-violentandnon-destructivewaytochannelouraccumulatedemotions. Throughempathygroundedintheartsandculture,ifonecanbothestablishone’sown rootsandsupportintherootingofsomeoneelse,mightwethenfeelasenseof stability,thinking,"Lifehereisquiteworthliving"?
JiminLIM ALDACollective,ClinicalPsychologist
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1.«Désillusiongrandissante»,dépressionetanxiétéchezlesnouveauxarrivants,January02,2024.https://ici.radio-canada.ca/ nouvelle/2038351/sante-mentale-immigrants-canada-emploi
2.PuttingWordstoFeelings,November4,2024. https://www.psychologytoday.com/intl/blog/great-kids-great-parents/201806/putting-words-feeling
Creators Spaces - Boyeon Park, Aterlier view, 2024 © ALDA Collective
박보연 Boyeon PARK Inside of My Insides ItwasquiteanexperiencetostartthenewyearwithALDACollective’sfirst CreatorsSpaces.Sharingmypersonalspaceandthoughtspubliclyhasnevercome easily,andIhadreachedapointwhereIfeltfrustratedbymyhesitancytosellor exhibitmywork.Iwasalsoseekinganopportunitytostartaprojecttoconcretize onthebeliefthat“meaningfuldialogueandexchange”fostercreativityand ultimatelyenhancequalityoflife.Seizingthischance,Iopenedmystudiowithout hesitation.
Inessence,creationislessaboutproducingtheextraordinaryandmoreabout givingformtotheartist’sownemotions.Artworksare,ineffect,imprintsof capturedsentiments,whilemuseumsandgalleriescollectivelyserveas repositoriesofhumanity’semotionalheritage.Mystudiorepresentsanintensely privatespaceforthisprocess—whereIexcavatemypersonalnarrativesand emotions.Here,Iconfrontclayasifitwereamirror,engaginginaprofound, extendeddialoguethatmirrorsmyinnerreflections.
Inthedualidentityofceramics—adisciplinestraddlingfineartandcraft—I recognizereflectionsofmyself,asundeniableasmyresemblancetomymother. Despiteourchallengingrelationship,Inowrealizethatmydecisiontopursue ceramicsincollegewaslikelyshapedbyadesiretoconnectwithher,tofeelher acceptance.Aftercompletingmyundergraduatestudies,Iintendedtostepaway fromceramicsentirely.Ileftmyhomeland,mydiscipline,andmyparentstostudy culturalprojectsinFrance,and,uponreturningbrieflytoKorea,eventookonan administrativeroleunrelatedtoceramics.Yet,uponmyreturntoFrance,Ifeltthe callofclayoncemore.Resumingceramicsaftermorethanadecade,Ifound myselfstillconfinedwithintheframeof“practicality”—creating“forothers.”That thingsmustserveapurpose,befunctional,andmeetsomeexternalstandardof value.Embracingtheideathatanobject,oraperson,holdsbeautyinsimply existing—withoututility,validation,orapproval—feltunnaturaltome.Neitherthe claynorIcouldacceptit.Hence,itwaschallengingtosurrenderfullytothe emotionsarisingfromwithin.
Asmyrelationshipswithmyhusbandandparentsshifted,followedbycouple’s therapyandpersonalcounseling,myinneraxisbegantorealign.Thisledmeto approachceramicsdifferently,focusingnotonthecontentsdictatedbythe mediumbutonmeltingcontentinthemediumitself.Moreover,myfocused shiftedtowardsthetrueidentityhiddenatthebaseofthepottery,afundamental aspectofitsnature.Ceramics,traditionallycraftedforusabilityandefficiency, typicallyrequireseventhicknessandfullglazecoverage.However,theirbaseis usuallyunglazedtoavoidstickingtothekilnfloor,exposingitsrawessence—clay’s naturalcolor,theglazetype,andoftenthecreator’ssignature.Hence,thisbare surface,directlyincontactwiththeground,revealsthepiece’sidentity,accessible onlybyengagingwithitphysically.
Escaliers, Porcelain and matte transparent glaze, 2020 © Boyeon Park
Inmywork,Ileaveextraclayonthebaseintentionally,carvinggeometricshapeswith varioustoolstocreatestructuralcomplexity.Suchpieces,pronetowarping,mustdry graduallyoverweekstoavoidcracking,withnoguaranteetheywillemergeunscathed fromthekiln.Thislabor-intensive,low-efficiencyprocessspeakstomycore,diverging fromproductiveprecisionandmarkingthepathtowarddeepernarrativediscovery.This weight,whichcannotbeformedhastily,servesasaguidingarrowtothepathto discovery.However,ifoneisunwillingtobeartheeffortandrisksofengagingwiththe work,thatarrowremainsunseen.Sincemostpeoplelackcuriosityandareunwillingto enduretheeffortofseekingunderstanding,Ifindmyselfhidingmyinnermostfeelings withintheconcealeddepthsofthepiece.Indoingso,Ifeelasenseofsafetyinthat whichcannotbeeasilyjudgedatfirstglance.Itbeganwithsmallcupsfrom2018to 2021,graduallyexpandingtolargerpieceslikeritualvesselsandplates,whichoffered moresurfaceforbasecarving.By2023,thisexplorationextendedtothetopportions, sometimesintentionallydisruptingfunctionaluse.
Throughthisprocess,Ihavebegunexperiencingmomentswherethenarrative overshadowsthemediumitself,freeingmetostepbeyondtheboundariesofceramics— those“ropesaroundanelephant’sankle.”Workingonawheelinherentlytiesformto circularity,compellingeachshapeintorotationalsymmetry.Aftercraftingathreedimensionalpiece,Ioftenreimagineitintwodimensionsbymentallyslicingitinto cross-sections.Conversely,Iexplorethepotentialforthree-dimensionalitybybuilding upontwo-dimensionalpiece.Mycollagematerialsforthese2Dcross-sectionsinclude ceramicdust,watercolor,pastels,andcoloredpencils.
PresentingmyworkfortheCreatorsSpacesandorganizingasessionwasrather transformativeexperiences.IwasthrilledtobringtolifeaworkshopthatIhad previouslyimagined.Situatedunderground,henceworkingwithoutnaturallight,usually presentsachallenge,butreversingthislimitationintoafocalpoint,weaimedtocreate auniquesensoryexperiencebyisolatingvisionandemphasizingtactileengagement withtheclay.
Participantssataroundthreevarietyofclays(porcelain,whitestoneware,andblack stoneware)laidoutinfrontofeach.Beforeweturnedoutthelights,eachcouldseethe colorsandtextures;oncethelightswereoff,however,theirsensesheightened,and touchbecametheprimaryguide.Participantspressed,cut,stretched,attached,and blendedtheclay,exploringitsuniquetexturesbyhandalone.Withsightremoved,their othersensestookover,andtheclaycapturedtheunconsciousmovementsoftheir hands,leavingtracesofinneremotions.
Whensightnolongerdominates,habitualgesturesbecomeunfamiliar,andtheclay absorbsandreflectsbackparticipants’anxieties,curiosity,andstrangeness.Thistactile experiencebecameanon-verbalexploration,avisceralwayofbringingtheirinner statestothesurface.Althoughasinglevoiceprovidedguidance,eachparticipant
producedauniquelypersonalcreation.Whenthelightsreturned,thesesixdistinct storiesemergedinclay.Onestory,sharedbyaparticipantwhorecountedpaststruggles withcommunicatingwiththeirson,remainsparticularlymovingtome.
Theparticipant’sstoryduringtheworkshoprevealedthedepthsofisolationandstruggle thatcanaccompanyraisingachildaloneinaforeignland,especiallywiththe compoundedchallengesofculturalandlinguisticdivides.Shedescribedthevisceral memoryofcaringforhertoddler,whohadaveryoddwayofexpressinghimselfwhilst rejectingdisciplinarywordsuchas"no."Inmomentsofdistress,hewouldthrowhis diapersandsmearhisordureonthewall,anactthatsheinitiallyresisted,yethe persisted,evenhidinghisexcrements.Furthergrowingthewallbetweenthem.
LivinginFrance,hersonnaturallybegantofavorFrench,makingcommunicationharder. Yet,inmomentswhenheneededtoexpresshisemotions,hesoughtouthismother ratherthanhisfather,offeringherasmallsolaceamidtheoverwhelmingchallenges.The questionofwhatthatyoungchildwishedtocommunicatetohismotherwhilehe carelesslysmearedfecesonthewallresonatesdeeply.Thefactthatshetravelledtwenty yearsbackwhilekneadingthisclaytoreflectonthatmomentfromtheperspectiveof herchildstruckbothmymindandheartwithprofoundforce.
Havingnevertrulycommunicatedemotionallywithmyparentsthroughoutmylife,I haveintentionallyclosedoffallavenuesofcommunicationwiththemasafinaldefense mechanismsincelastyear.Instarkcontrasttomyexperience—havingbeenpottytrained byeightmonthsandpassingmydiapersdowntomyyoungerbrother—Ifindmyself enviousofthatchild’sexplosiveexpressivenessashesmearsfecesonthewalltoconvey hisdissenttohismother.Simultaneously,Icouldimaginehowarduousitmusthave beenforthatmother,whodiligentlyscrubbedthewallsseveraltimesadayinanattempt todecipherthefeelingsofherson,suggestingherdailyroutineresembledagrueling spiritualdiscipline,leavingmespeechless.
Irecallreadingsomewhereaboutchildren’spsychologyregardingfeces.Itsuggested that,forpsychologicalreasons,achildmaydevelopastrongsenseofownershipover theirexcrement,feelingaversetoitsseparationfromtheirbody,asifitwereapartof themselvesthattheywanttoretainforaslongaspossible.Ifthatwerethecase,wasit thechild’sattempttoexhibithimselfonthewall?Orwashecryingoutforattention, feelingrejectedbytheword"no"?Howintenselymustthosesignsofstrugglehave remainedwithhim?Didthepersistenterasureofhiseffortsleadtoaprofoundsenseof emptinesswithinhis"small,concavechest"?WhydidIlacktheprimalcouragetoexpress myselfassuchevenonce?HadIdaredtodoso,perhapsmymotherwouldhavebeenas investedinunderstandingwhatItrulywantedandwhatIwantedtosay,ratherthan merelypraisingmeastheobedientchildwhonevercausedtrouble.
Onceeveryonehadleft,acascadeofquestionsfloodedmymind,lingeringlong
Heavy and Lacerated, White stoneware and matte black glaze, 12x12x21cm, 2023 © Boyeon Park
Heavy and Lacerated Cross Section, Construction paper, watercolour and porcelain powder, 20x20cm, 2023 © Boyeon Park
afterward.Inthatfleetingmomentofcreation,theblackclayinmyhandsfeltlikeapart ofme.Iwantedtosmearitonthewall,toleavearawandprimalmarkofmypresence. However,asIgraspedtheclumpofsoilandattemptedtomovemyhandsfreely,my muscles—stillconfinedwithintheprisonofrefinedpracticality—struggledtobreakfree fromtheirmentalconstraints.Sheddingyearsofself-censorship,cultivatedthrough academicdiscipline,isnotaneasytask.Ihavetriedtoreducemyconsciouscontrolby paintingwatercolorsabsentmindedlyintheearlyhoursofthemorning,wakingup beforedawntoconnectwithmysubconscious.Ihavesoughttoloosenmybodyby eatingmindfully,intermittentlyfasting,andrunningregularlytoclearmymind.Iwonder ifthatprimalchildstillexistswithinme,butIhopethatoneday,whenthisrigid consciousnessfinallyrecedes,myessentialselfwillbreathefreelyandexpressitsraw instinctswithoutrestraint.
우채연 Cheyon WOO Creators Spaces - Cheyon Woo, Aterlier view, 2024 © ALDA Collective
ABG (Asian Baby Girl), Video, approx 15min, 2020 © Cheyon Woo
Creating Without Making Art "Whatdoyoudo,Cheyon?"
"Oh,well,Ido…abitofartand…thisandthat."
"Ah,soyou’reanartist!Doyoupaint?"
"Notpainting,really…Idoeverythingbutthat."
"Thenisitlikemediaart?Showme!"
"Haha,Iwouldn’tquitecallitmediaart…Icanshowyou,butit'sabitembarrassing.It’s notexactlybeautifulorimpressive…(andonandonandon)."
"Oh…wow…youdosomethingveryinteresting!"
IalwaysbeginmyworkquestioningwhetherwhatIcreatecantrulybeconsideredart. BeforeIcreateaworkcompellingforanaudience,Istruggletoconvincemyselfofits value.Thischallengeseemstobesomewhatdifferentfromthequestionofselfconfidence.EvenasIsometimesreproachmyselfthinking,"I’vecreatedyetanother trash,"thereisundoubtedlyareasonwhyIcontinuetocreate.
Myworksareneitherbeautifulinitsconventionalsensenorunattractive;instead,they closelyresembleoureverydayreality.ThereasonwhyIworkthiswayisquitesimple:I simplycannotdraw(truly,Ican’t)andIdonothaveanexceptionalvisualsensibility.Yet, Istillwanttocreate,andI’verealizedthat,despitetheselimitations,creatingmeaningful workisstillfeasible.
Ioftenfindmyselffeelingbothdiscouragedandreassured,continuingmyworkwitha somewhatunfoundedbelief,asIpursue"creating"awayfrom"art."Whenpeoplehave somewhatpuzzledlooksuponencounteringmywork,whichdeviatesfromwhatmost wouldconsidertraditionalart,Ifeeluneasyandoftenembarrassed.So,whenIreceived aninvitationtoparticipateintheCreatorsSpaces,Iwasmoreexcitedthanworried thinkingthatIcanfinallyhaveanopportunitytoexplainmypeculiarartisticpractice.
Torevealsharedexperiencesthroughmywork,Ioftenstartbydelvingintomypersonal narratives.ThecoreinspirationformyworksisdrawnfromeventsandexperiencesI’ve personallygonethrough.Thisinevitablymeanstheneedtoreiteratecertainaspectsof myself—achallengingprocess.DescribinghowIappearedthroughmywork,Istillfeels uncomfortableandawkward,oftenleavingmetofeeltheurgetohideorwithdraw. However,surprisingly,eventhoughthisworkshoprequiredmetotalkaboutmycreative process,Ifoundmyselfenjoyingbeingabletoopenuptoshare.
IparticularlyrememberdiscussingABG(AsianBabyGirl),avideopieceIcreatedasa studentin2020.ThisvideocandidlyexploressomeoftheunpleasantexperiencesI’ve facedasanAsianwoman,aswellasmyhonestdesiresfeltasaheterosexualwoman. Despitemystrongattachmenttothiswork,ithasalwaysbeendifficulttoconfrontthis extremelyrawandpersonalfeelingsIlaidbareinit.However,thisprojectbyALDA CollectivethataimsforasolidarityofAsianwomendiasporacommunityofferedmethe confidencethatthispiececouldinspiremeaningfulconversations.Encouragedbymy videowork,weengagedinadeepexchangeofpersonalexperiences,reflections,and
Chambre de bonne, Video, 4:30 mins, 2019 © Cheyon Woo
empathy.GiventhefactthatitwasthisworkwhichIhidawayforthefearof judgement,openeduptheparticipantstoconnectover“sharedexperiences”and “collectivenarrative”—thekeyaspectsofmyartisticpractice—wasincrediblyrewarding.
Myapproachto"creating"and"art"beginswithfindingmeaningintheeveryday mundanerealityassigningnewsignificationtotheordinary.Thoughit’snotalways easy,there’sasurprisingenjoymentinthisprocess!Bysharingthisaspectthrough thisworkshop,Ihopedparticipantsmightthink,“Creatingisn’tsuchabigdeal—Icould dothistoo.”Duringourcollaborativetime,participantsoccupiedandengagedwith myspacethroughtheiruniqueperspectives,capturingvariousscenesandlayering themwithnewmeaningsandstoriesoftheirown.
Weoftenfindourselvesmovedbybeautiful,dazzlingworks,butIwantedtoconvey thatworkswithouttantalizingvisualaestheticscanbejustasmuchapartofart.This wasalsoamomentformetoreaffirmthisbeliefformyself.Ifparticipantsenjoyed discoveringthestoriesandmeaningsthatemergedinthiscreativeprocess—rather thanstrivingfortheaestheticallyperfectformofart—perhapsIcanspendalittleless timejustifyingmyworkgoingforward.
소은성 Eunseong SO Creators Spaces - Eunseong So, Aterlier view, 2024 © ALDA Collective
Excusesnottobeginarealwayswithinreach.WhenIfirstreceivedtheinvitationfor theCreatorsSpaces,Ifoundmyselfcraftingseveralreasonstodecline.Atthetime,I wasspendingmydaysnotasawriter,largelybecauseIwasn’tactuallywriting.Here aresomeofthejustificationsIclungto.Forthosewhofindthemselvesweigheddown bythepersistentthought,“Ishouldbewriting…,”Ihopethesereflectionsofferabitof comfort.
First,nooneknowsI’mawriter.
Foryearsnow,I’vebeenlivinginastateof“bodyinFrance,mindinKorea.”Eachdayin France,IreceivewritingsfromKoreanwomenbyemail,whichIreflectonthensend backmyfeedback.Simplyput,theysendlettersandIreply.Sometimesweconnect overvideocallsonSkypeforawritingclass.BythetimeI’mfinishedwithwork,thesun isalreadydippinglow.ItmakesitalltooeasytoignoretheambitionsIhadfortheday. Thelibraryinmysmall,medievaltown—astonishingly—closesupbefore6p.m., politelyusheringeveryoneout.Andthateveningsunsethere,castingitsrosyhues overtheoldtown,hasawayofglossingovereventheloftiestambitionswithagentle, rose-coloredhaze.
AsIpourahoney-coloredbeerasanaperitif,allthethoughtsandfeelingsfromthe day—thejoysandstrugglesI’dplannedtowriteabout—tendtoslipawaydownmy throatwiththeeasypromiseof“I’llwriteittomorrow.”Inthissmalltown,afterall, hardlyanyoneknowsmeasanessayist.It’salifethatfeelsbothfreeandsolitary,and thebalancebetweenfreedomandlonelinessseemstosetthetoneformymoodeach day.Ultimately,whetherIwritethatdayornot,it’sonlymewhowouldnotice,andI’ve becomeaveteranatignoringmyself.
Writingisapeculiarcalling—moreanidentitythanaprofession,perhaps.Beinga foreignermeansIalwayshavetointroducemyself,andeachtime,I’vecalledmyself eitherajournalistorawritingteacher.OntherareoccasionsIfeltcloseenoughto someonetoexplainwhoIreallyam,I’dtrytotellthemI’manessayist.But“essayist” doesn’ttranslatesmoothly;inFrench,it’satermmanypeopledon’tquiteunderstand. Once,peopleevenmistookmeforanovelist.AfriendfromaFrenchclassfor immigrationandintegrationoncetoldme,“Listeningtoallthesestoriesfromother immigrantswillbehelpfulforyournovel.Eachofourlivesisalreadyanovel!”
Second,there’snospaceformeasacreatorinFrance.
InKorea,myemotionalspaceforwritingwasmywritinggroup,whilemyphysical spacesweresharedstudiosorcafes.“It’suncomfortableworkingoutsideherein France,”afriendoncesaid,explainingwhyshealwaysworkedathome.Asshesether beerdown,thetablewobbledunsteadily,andwebothburstintolaughter.“Tableshere
arealwaysunevenononeside—orthey’resotinythatyouhavetoscrunchyour shouldersupjusttosit.”Frenchcafes,beautifulastheymaylookinimages(with notebooksandpenselegantlyplacedontablesonPinterest),turnedouttoberather uncomfortableforlongstretchesofwriting.Andwhilesharedworkspacesexist,they’re fewerhereandfarmoreexpensivecomparedtothoseinKorea.
Andso,Ioftenfoundmyselfwritingontrains.Foratime,my“creator’sspace”wasthe trainitself:anexternalspacefreefromthememoriesandstressesofhome,aplace wheretheflowofstrangerscomingandgoingofferedarefreshingchangeofscenery. Thevibrationsandambientnoiseseemedtofueltheactofwriting.I’doftenimagine gatheringpeopleonatrainforawritingworkshop.
Third,thefactthatIliveinthesouthofFrance,closertoBarcelonathanParis.
AfterpicturingParis,thatdistant,almostmythicalplacefarfromhome,Isimplyreplied, “I’llbethere.”Writinginmotion.Forwrites,thereisnosuchthingasadedicated “creator’sspace.”Ifanything,perhapsit’sjustafewcentimetersinsidethefrontallobe. Icarrythisbrainwithmeandmovemybodywhereverittakesme.AndasImove,I write.
IoftenthinkofthefinaleoftheBritishdramaYearsandYears,wheretheprotagonist, exposedtoradiationandfacedwithphysicaldeath,wantstoliveonbyuploadingher consciousnesstoAI.StoredwithinasmallAlexa-likedevice,shesendshergreetingsto herfamilyinherfinalscene:“Hello,it’sme.”There’sthemeinKorea,themeinasmall Europeantown,themeinParis.Perhaps,forsomeonewhowrites,thespacesfor creationareinfinite.
Withabackpackslungovermyshoulder,Itransferredfromasmalltraintoalargeone, andthenontothesubway,headingtoaParisiancafétomeetmyfriendsfromALDA Collective.
OnedayinMarch,wegatheredontheterraceofaPariscaféfortheCreatorsSpaces. Thecaféitselfwasaselegantlycharmingascouldbe,butIfeltasubtlestrangeness thatday.Herewewere—severalKoreanwomen—abouttoreadourwritingaloudinour nativelanguageinacafébrimmingwithlocals.WhenIledwritingworkshopsbackin Korea,wealwaysmetinclosedspaces,ensuringprivacyforthesedeeplypersonal readings.Rememberingthis,Ifeltasenseofease;solitudeisalsoaformoffreedom, afterall.Nomatterwhatwoundsweresharedthatday,noonearounduswould understand.Weexchangedgreetings,thenbeganreadingmyessay,IBecamea CowardofCommunication,takingturnsaswewent.ItwasapieceIhadwrittenabout thelinguisticsolitudeIfeltasanimmigrantduringmyfirstyearhere,shapedby encounterswithimmigrantsfromothercountries.Iwasmyfirsttimehearingitread
aloudinothers’voiceswasanentirelynewexperience—oneIthoroughlyenjoyed.
"Couldyou,justforonce,imagineforme?Thatahumancanlive withoutlanguage.Thattolivewithoutlanguageistoexistinacold, darksolitude,likeacave,wherenooneunderstandsawordyousay. Picturethefacesofthosewhofrowninconfusioneverytimeyou speak,andfeeltheconstantcorrectionofyourpronunciationuntilit pushesyourtonguetocurlbackinonitself.”
Afterthereading,everyonewrote.Ouractualwritingsessionsareintentionallybrief— meanttofosteruninhibited,spontaneouswriting,asifsendingamessagetoatrusted friend.Thegoalistowritefreely,withoutsecond-guessingorcensoring.Evenifdoubtor hesitationarises,wedonotletourhandsstopmoving;weevenputthehesitationitself intowords.Oncethetimergoesoff,weliftourhandsandletgo,leavinganylingering attachmenttothetextbehind.Onthisday,weeachpickedahappymemorytoillustrate withbothimagesandwords.
Afterward,eachofusbecamethe“firstreader”forthepersonsittingonourright, readingtheirpiecealoud.Listeningtosomeoneelsereadmywordsgavemethe opportunitytohearmyownwritingforthefirsttime,totuneindeeplytotherhythm andexpressionofeachline.Byreadingitoutloud,mywordstookonatangible existenceintheworld.Whatmemoriesandmomentsofhappinesseveryonecaptured thatdayremainasecret;thewritingsfromtheseworkshopsarefleeting,spontaneous. EvenI,oftenforgetwhatparticipantswrote.Thesepiecesarealotlikeajazzjamoran improvisedplay—auniqueandephemeralcreationshapedbytheatmosphere,the peoplepresent,andthemoodofthemoment.
Ibelievethatthesewritingexperienceshelpusnavigateouranxietiesanduncertainties. Theyallowustoendurethefeelingof“itwasrightthen,butit’swrongnow.”Therewas amomentofimmersionthatflewby,apreciousinstantwherewedon’thaveto remembereverydetailorholdontoeverything.It’senoughtosimplyexperienceitand knowthatitmattered.
Irememberatimewhensuchambiguitywaslessprevalent,backinmycountry,whereI livedandcommunicatedsolelyinmynativelanguage.Therewasasingularplaceanda singlelanguage,oneexpressionforeachaction.Lifefeltsimplerthen.Now,Ifindmyself navigatingmultipleplacesandlanguages,alongwithanincreasingarrayofexpressions. MymothertongueoftenshiftstoresemblesomethinglikeGoogleTranslate,awkward anddisjointed.WhenItrytowritemomentscraftedinFrenchinmynativelanguage, everythingfeelsoddlyfoggy.Sometimes,themyriadexperiencesfrommyhome countryfeellikedistantechoes,almostlikeapastlife.Eachmomentfeelsdizzying;this dizzinesshasaname:anxiety.Forsomeonelikeme,whojugglesKorean,French,and Englishindailylife,writinghasincreasinglybecomeasourceofunease.Irecognizethat thisanxietyandambiguitylieattheheartofthecreativeprocessforimmigrants.
“IfeellikeI'mgraduallyforgettingKorean,andit’smakingitharderformetowrite. WhatshouldIdo?”
ThisisaquestionIfrequentlyreceivefromfellowKoreanimmigrantsatourwriting workshops.Here’smyresponsetothatconcern.
Immigrantsmaywritetheirdiariesintheirnativelanguages,butthoseentriesoften incorporatethestructures,expressions,andrhythmsoftheforeignlanguagestheyuse throughouttheday.(Ifthatweren’tthecase,yourinhibitoryfunctionsofthefrontallobe wouldsurelybeamongthetopofhumanityitself!)Whileconductingonlinewriting classes,Ireviewtheessaysofimmigrantslivinginvariouscountrieseachweek.With justafewminutesofreading—withahintofexaggeration—Icanoftenguesswhich foreignlanguagetheyareusingintheirdailylives.Thisspeaksvolumesabouthow foreignlanguageusageleavesbothsubtleandsignificantmarksonone’smother tongue.
Whilerunningthewritingworkshops,IoftenthinkoftheauthorTheresaHakKyung ChaandherbookDictée.Init,sheblendsLatin,ClassicalChinese,English,French,and Koreantocreateanexophonictext—whichreferstothepracticeofwritingorspeaking inalanguagethatisnotone'snativetongue.Throughthisapproach,thespeakeror writertranscendslinguisticandculturalboundaries,gainingnewperspectivesand sounds.However,exophonycanalsobeperplexing,akintoa“stateofilliteracy."Such wouldhavebeenthefeelingsthatAmericansinthe1970smusthaveexperiencedwhen encounteringCha’swork.TheperplexityfeltbylocalstowardanartworklikeDictéeis somethingthatimmigrantsormultilingualspeakersencounterdailyintheirlives.It makestheimmigrantexperienceseemfascinatingandmystical.Ireflectonhowthe boundariesofwhatIthoughtIunderstoodcrumbleandsometimesexpandeachday. WhenIexpressmyfeelingsinaforeignlanguageratherthanmymothertongue,I encounternewlayersofemotionandopinion,oftenconveyedinwaysInever anticipated.IunearthunknownaspectsofmyidentityandhiddenemotionsthatIwas previouslyunawareof.Thestruggletoexpressmyselfinaforeignlanguagecanbeboth frustratingandexhilarating.Alloftheseexperiencesenrichandliberatemywritingin Korean.
Ibelievethateventranslationesecanbecomeafascinatingaspectofmywriting, servingasevidenceofthetrajectoryofmylife.
WhatweengageinduringtheCreatorsSpacesisexpressivewriting.Itisanintensely personalandemotionalprocess,whereIwritemyheartoutasnaturallyasbreathing.At thismoment,theperfectstructureofsentencesorcorrectspellingisnotwhatmatters. WhatisimportantaretheeventsthathaveoccurredandtheemotionsIfeltatthat moment.Similartopsychotherapy,theemphasisisnotontheaccuracyofthenarrative,
butratheronhowIfeelaboutthatnarrative.Thetherapeuticeffectsofexpressive writingarebestencapsulatedintheresearchofJamesW.Pennebaker.Inhisbook, ExpressiveWriting:WordsthatHeal,hestates,“Thesimpleactofdisclosingorexposing one’sexperiencescanalleviatesuffering.Disclosureisapowerfulremedythatexplains muchofthehealingoutcome.”Writingservesasbothanactofsharingandreleasing, aswellasorganizingandregulatingmythoughtsandfeelings.Whilewriting,Iintegrate mypastexperienceswithmypresent,reinterpretingthemthroughmyownlens. Furthermore,byarticulatingeventsinmyownlanguage,Icometofeelthatthese eventsare“manageable”.Inthisway,writingbecomesanactofreclaimingagencyand controlovermyownnarrative.
Iknowalltheseeffects,yettherearedayswhenIturnawayfromwriting.I,too, experiencethis.OndayswhenIshoutslogansofcheerfulnesstomyself,tryingto concealallmysadness,loneliness,andangerwithinthoseveryslogans.Suchmoments aretooofteninthelifeofanimmigrant.TherearedayswhenImustmasquerade strength,ignoreinequalities,andhidemyragejusttogetby.Inthosetimes,Iavoid writinganditbecomesmygreatestenemy.Everyday,Istrivetofunctionasahealthy andcapableperson,andrevealingmytruefeelingscanbeterrifying.Thisavoidance servesasawarningsign—alitmustest—indicatingthatImaynotbelivingauthentically asmyself.
Writingisa“movement”.Mywordsmovewithme,andIfindcomfortinknowingthey willchangealongsidemyownjourney.Nomatterwheremybodygoes—beitnearorfar, tomyhomelandorthecountryI’veimmigratedto—Icanalwayscarrymywritingwith me.Whetherit’swithapenonpaper,typingonmyphoneorcomputer,oreven mutteringtomyselfandlisteningtothewordsastheyform,itisstillwriting.So,evenon dayswhenIlacktheenergytorisefrommybed,Icanstillengagewithmywriting.It remainsapowerfulally,aneternalfriend,andtheonethatwillaccompanymeuntilthe veryend.
박강아름 Areum PARKKANG Creators Spaces - Areum Parkkang, Aterlier view, 2024 © ALDA Collective
Body, Camera Acreator'sspace—whatdoesitmeantome,andwheredoesitreside?
Ihavesetupa160cm-widedeskinonecornerofmylivingroom.Abookshelfbehind thedeskdelineatesthisareafromthediningspace.Inthisdividedspace,Iengagein variouscreativeendeavors.AsIconsidermyselfacreator,thisareaisunequivocallymy creativesanctuary—mystudio.
Oneday,IwasinvitedtoparticipateinaprojectbyALDACollectivetitled"Creators Spaces,"whichledmetoopenmylivingroomtoothers.There,Iproposedabrief creativeexperienceforparticipantscalled"I,Body,Camera."Forme,thecameraisan extensionofmybody,andattimes,mybodyfeelslikeacamera.Whileitmayresemble asimpleselfievideo,thekeydistinctionliesinexperiencingthecameraalone.This aspectwascrucialtome.Beingalonewiththecamerafostersanintuitiveencounter withoneself,facilitatedthroughitslens.
Isetupatripodinthelivingroom,positionedthecamera,andprovidedparticipants withabriefexplanationofitsoperation.Theinstructionsweresimple,consistingofjust threesteps:
1.Turnonthecamera.
2.Presstherecordbutton.
3.Stoprecording.
Aftertheintroduction,onlyoneparticipantremainedinthelivingroomwhiletherestof us—includingtheotherparticipants,theorganizer,andmyself—movedtotheterrace. Leftaloneintheroomweretheparticipantandthecamera.Besidethecamera,Iplaced athree-minutehourglasstoindicatethetime,andtohelpparticipantswhomightfeel uncertainaboutwhattoexpress,Iprovidedalistofsuggestedtopics.Thesewere themesIcameupwithspontaneously.
1.Themeaningofmyname
2.Thecharacteristicsofmyhair(e.g.,straight,curly,thick,fine,etc.)
3.ThetimeIwasmostunwell
4.ThefoodIwanttoeatrightnow
5.Myrecentsleeppatterns
6.Aboutmyvoice
7.Myfavoriteshoes
8.ThescenesorpeopleIpassedonmywaytoNanterretoday
9.WhyI’minFrancerightnow
10.RandomthoughtsorwordsIfeellikesaying
11.Asongthatcomestomindrightnow
Afterallfourparticipantsfinishedtheirrecordings,wegatheredtowatchthevideos theyhadcreated.Inthedarklivingroom,welaughedandreactedtogetheratsimilar moments.Surprisingly,the15minutesspentwatchingeachother’svideosbroughtus
closerthanthehourwehadpreviouslyspentintroducingourselves,sharingameal,and chatting.
Thiswasmyfirsttimeinvitingstrangersintomystudio.Forme,thisspaceisnotonly private—aplacewhereIspendtimewithmyfamily—butalsoasanctuaryinaforeign countrywhereInavigatelifeasanoutsider.UnlikeinKorea,myhomecountry,where invitingpeopleoverismorecommon,suchgatheringsarerareformehereinFrance. Assuch,hostingpeopleinmystudioandsharinginsightsaboutmyfilmmakingprocess wasanunfamiliaryetmeaningfulexperience.
Unfamiliarityoftenbringsamixoftensionandfreshemotions,sparkingnewthoughts. Thatday,mylivingroomtransformed,forabriefmoment,intoasharedstudiowhere ourstoriesintertwined.Thisexperiencereaffirmedtheprofoundpowerofthesolitary interactionbetweenacreatorandacamera—acornerstoneoftheautobiographical documentaryformIhavechosentopursue.
Areum, Documentary, 93 mins, 2016 © Areum Parkkang
About Creators Education
2013-2014Master’sDegree(Research)inCulturalMediation, UniversitéSorbonneNouvelleParis
2009-2011Master’sDegree(Professional)inCulturalExpertiseandMediation
UniversitédeLorraineMetz
2008-2009Master’sLevel(Year1)inAesthetics,Arts,andSociologyofCulture UniversitédeLorraineMetz
2007-2008Bachelor’sDegree(Year3)inCulturalProjectPlanningandManagement UniversitédeLorraineMetz
2001-2005Bachelor’sDegreeinFineArts,specializinginCeramicArt EwhaWomen’sUniversity,Seoul,SouthKorea
Exhibition
2023<5InterpretationsofNature>groupeexhibition, CarrédesCoignard,NogentsurMarnes, France
2005<SeletedgraduationprojectsofVisualArtfromkoreanuniversities>groupeexhibition, DanwonMuseum,Ansan,SouthKorea
2003<GOODCERA>Exhibition,OrganizerandArtist,BlueGallery,Seoul,SouthKorea
ProfessionalExperience
2016-2023
IndependentCeramicArtist,AOLOParisIndependentCeramicStudio 2011-2013
InternationalProjectManager,KoreaArts&CultureEducationServiceSeoul,SouthKorea
2010
CulturalEventsCoordinator,OrganizingCommitteeofthe2ndUNESCOWorld ConferenceonArtsandCultureEducationSeoul,SouthKorea
#Email:park.boyeon@gmail.com
#Instagram:@boyeonpark
Cheyon WOO Education
2022MA,UniversitéParisIPanthéon-Sorbonne
2020BA,UniversitéParisIPanthéon-Sorbonne
2016SeoulInstituteoftheArts,Photography
GroupExhibitions
2024"Parallexe",SeeGallery,Paris,France,Curator:LinaKIM
2024"Laformeàvenir",59Rivoli,Paris,France
2024"BiennaleofContemporaryArt",MaisonDesArtsPlastiques,Champigny-sur-Marne, France
2023"TheThirdPlace",KoreanCulturalCenter,Paris,France
2023"RegardsCroisés:LeSalon",LaVillaAdesArts,Paris,France
2023"Sol,Mur,Temps/Intrication",EspaceIcare,Issy-les-Moulineaux,France
2023"Exhibitionforthe40thAnniversaryofAJAC",SpaceSazic,Seoul,SouthKorea
2023"Exhibition 불혹.유혹",KimboseongArtCenter,Seoul,SouthKorea
2022"ÊtreetParaître",KoreanCulturalCenter,Paris,France,Curator:Sang-AChun
2022"PrixParis1Pourl’ArtContemporain",BastilleDesignCenter,Paris,France
2021"JardindesIgnorances",Galerie89,Paris,France
2021"PartoutetNullepart",Galerie89,Paris,France
SoloExhibitions
2021"Justelà",Galerie89,Paris,France,Curator:JaeyoungKim
Performance/Conference
2023"WhatIWantedtoTalkAbout",KoreanCulturalCenter,Paris,France
Screening
202413thLeFestivalOODAAQ,"ABG(AsianBabyGirl)",Rennes,France
Selection/Awards
202413thLeFestivalOODAAQ
2024Finalist,19theditionoftheBiennaleofContemporaryArt,Champigny-sur-Marne
2022Finalist,6theditionofPrixParis1Pourl’ArtContemporain
#Email:woocheyon@gmail.com
#Instagram:@cheyon.woo
Areum PARKKANG AreumPARKKANGwasbornin1982inYeongman,SouthJeollaProvince,SouthKorea.Whenshe turned15,shescreenedafilmatachurchthatcriticizedthechurch,andthismarkedthebeginning ofherfilmmakingcareer.ShestudiedfilmatCheongjuUniversityandYonseiUniversityGraduate SchoolofCommunicationandArts,andlaterontaughtfilmtostudentsinmiddleschoolandhigh school while making her own. Her first feature film "Areum" (2016) was invited to the First Appearance Competition section at the International Documentary Film Festival Amsterdam (IDFA). The same year, the film was nominated as one of 10 best documentaries directed by femalefilmmakerseligiblefortheAWFJEDAawardedbytheAllianceofWomenFilmJournalists.
In2015,PARKKANGmovedtoFranceandcompletedabachelor'sdegreeattheFineArtsSchool of Nord-Pas de Calais. Her second feature documentary,"Areum Married" (2019), explores her marriageinFranceandwontheOckRangCulturalPrizeattheSeoulInternationalWomen’sFilm Festival.ItwasalsoscreenedatprestigiousfestivalssuchasCPH:DOXandDOKLeipzig.
CurrentlybasedinNanterre,France,sheworksasatravelguideandphotographerwhilepursuing a master’s degree in film theory at Paris 8 University. Her thesis, titled"The Emergence of the Director'sBodyinTwoFilmsbyDominiqueCabrera:Demainetencoredemain,journal1995(1997) andGrandir(2013)" (L’émergence du corps de la réalisatrice dans deux films de Dominique Cabrera:Demainetencoredemain,journal1995(1997)etGrandir(2013)),ishermainfocusforthe nexttwoyears.
After"Areum Married,"she began working on a short animated film,"Voyage in Paris,"though productionhasbeensuspendedduetoalackoffunding.Theprojectissettoberevivedalongside her upcoming works, including the feature documentaries"Bori and Chouchou"and"Hye-
sok"(working title), as well as video performances"Looking for Kangaroo"and"You Will Not Disappear."
Inrecentyears,PARKKANGhassustainedherlivelihoodasatravelguideanddocumentedher slowacademicprogressthroughamailingservicetitled"Areum'sTwoYearsLater"
Filmography
AsDirector
«AreumMarried»(2019,documentary,HD,86minutes)
20228thPeloponneseInternationalDocumentaryFestival,GenderEquality(Patras,Greece)
20213rdChristianFilmFestivalForEveryone,Feature-length(Seoul,SouthKorea)
20217thSeoulInternationalFoodFilmFestival,NewFlavors(Seoul,SouthKorea)
20216thLondonEastAsiaFilmFestival,Documentary(London,UK)
202120thTaiwanInternationalEthnographicFilmFestival,NewNormalsofGender (Taipei,Taiwan)
202142ndDurbanInternationalFilmFestival,OfficialSelectionDocumentary (Durban,SouthAfrica)
202018thFestivalFilmDokumenter,InternationalFeature-lengthCompetition (Yogyakarta,Indonesia)
202063rdDOKLeipzig,TheGoldenSectionCompetitionfortheAudienceAward (Leipzig,German)
20209thDharamshalaInternationalFilmFestival(Dharamshala,India)
20208thDiasporaFilmFestival,DiasporainFocus(Incheon,SouthKorea)
202011thIksanWomen’sFilmFestival(Iksan,SouthKorea)
20208th SeoulGuroInternationalKidsFilmFestival,EyesonGrown-up(Seoul,SouthKorea)
20202nd PyeongchangInternationalPeaceFilmFestival,SpectrumK (Pyeongchang,SouthKorea)
202019thDoxaDocumentaryFilmFestival(Vancouver,Canada)
202011thCPH:DOX,Next:WaveAward(Copenhagen,Denmark)
201945th SeoulIndependentFilmFestival,Specialinvitation(Seoul,SouthKorea)
20198thWomen’sFilmFestivalinGwangju(Gwangju,SouthKorea)
201910thDaeguWomen’sFilmFestival(Daegu,SouthKorea)
201921stSeoulInternationalWomen'sFilmFestival,DocumentaryOckRangAwardFilm (Seoul,SouthKorea)
«Areum»(2016,documentary,HD,93minutes)
20171stTheFestivalofFilmFestivals,AudienceChoice,(Seoul,SouthKorea)
20167thDaeguWomen’sFilmFestival(Daegu,SouthKorea)
201621stSeoulHumanRightsFilmFestival,NewKoreanCurrents,(Seoul,SouthKorea)
201616thSeoulIndependentDocumentaryFilm&VideoFestival,NewKoreanCurrents, (Seoul,SouthKorea)
201629thInternationalDocumentaryFilmFestivalAmsterdam(IDFA),Competitionfor FirstAppearance,Amsterdam,Netherlands
201516thWomen'sFilmFestivalinJeju,MajesticWomen,Jeju,SouthKorea
201511thWomen'sFilmFestivalinIncheon,ClosingFilm,Incheon,SouthKorea
201520thIndependentFilm&VideoMaker'sForum,NewKoreanCurrents,Seoul,SouthKorea
«MyHairisCurly»(2007,documentary,DV,7minutes)
20091stOFFandFreeFilmFestival,OffinFocus,Seoul,SouthKorea
«Asking,You»(2000,documentary,DV,25minutes)
20015thDonggukYouthFilmFestival,Seoul,SouthKorea
20001stDankookHighSchoolFilmFestival,Seoul,SouthKorea
«Sex»(1999,experimental,DV,9minutes)
20004thDonggukYouthFilmFestival,Seoul,SouthKorea
20003rdGwangjuBiennial,Participatedinthe«Viewing,Reading,Thinking»ofVideoProgram asYouthCinemaClub,Gwangju,SouthKorea
Asactor
«Mr.Right»(fiction,HD,30minutes,DirecorJonJOST)
200938thRotterdamInternationalFilmFestival,Spectrum,Rotterdam,Netherlands
200910thJeonjuInternationalFilmFestival,WorldCinemascape,Jeonju,SouthKorea Awards
20208th SeoulGuroInternationalKidsFilmFestival,GUKIFriendsAward(AudienceAward) (Seoul,SouthKorea)
201820thSeoulInternationalWomen'sFilmFestival,DocumentaryOckRangAward (Seoul,SouthKorea)
20171stTheFestivalofFilmFestivals,AudienceAward(Seoul,SouthKorea)
201520thIndependentFilm&VideoMaker'sForum,BreakthroughofTheYearAward (Seoul,SouthKorea)
#Email:areum.parkkang@gmail.com
#Instagram:@areum.parkkang
소은성 Eunseong SO EunseongSoisanessayistwhorunsthetherapeuticwritingworkshop“Sogeul.”Shevalues themomentswhendiverseculturesandexperiencescometogethertoformnewnarratives, listeningcloselytoothers'storiesandhelpingthemexpresstheirinnerthoughtsthrough writing.Accompanyingindividualsontheirjourneytofindingtheiruniquevoice,she documentsstoriesofcommunitieswherevariousculturescoexist.
PublishedBooks:
-"HowtoExpressLoveWithoutAwkwardness"(EmotionalExpressionEssay)
-"IWroteMyHeartandGotBetter"(Self-healingWritingGuide)
-“ToMyFriendsatClubA"(NeurodiversityEssay)
'Sogeul'WritingWorkshop:
-Planningandconductingwritingtherapyprogramsforimmigrants
-Conductingvariousworkshopsincludingself-narrativewriting,illnessnarratives,senior writing,bookclubs,andsentenceimprovementprograms
-Conductingjournalismwritingworkshops
-Podcast"IWroteMyHeartandGotBetter"
#Instagram:sogeul.kr
#Twitter:sogeul_ws
#Email:sogeul.ws@gmail.com
ALDACollectiveisacommunityofsolidarityandcollaboration,unitingwomenofAsiandiaspora fromdiversebackgrounds.Anchoredinthesharingofart,cultureandknowledge,thecollective examinessocietalnormswhilereimaginingafuturerootedincoexistence,inclusivity,andmutual growth.Weembracediversityasacatalystforexpandedperspectivesandnarrativeforshared understanding.Committedtofosteringanenvironmentofwhereindividualscanexistsafelyasa wholewithoutjudgements,weprioritizetheamplificationofindividualnarratives,ensuringthat novoiceismarginalizedoroverlooked.Basedonthemutualrecognition,respect,andcare, ALDACollectiveaspirestocultivateaspacewhereauthenticitythrives,andcollectiveflourishing ispossible.
#Instagram:@alda.collective
#Email:alda.collective.fr@gmail.com
Sun CHUNG LivinginFrance,sheisfirstandforemostawomancaringforachild,amanandmanyother humanandnon-humanbeings.Overtheyears,shehasheldvariousroleswithinculturaland artisticorganizationsacrossEuropeandKorea,whichincludescurator,gallerist,and administrator.Currently,sheworksasaindependentcuratorandcommunityorganiser.Witha keeninterestinsocietyandartsfromtheperspectiveofanAsianwomandiasporalivingin Europe,shefocusesonrevitalizingmarginalizedlocalcommunities,buildingregionalsupport systems,andadvocatingforcareintheformofcontaminationandcollaborationasindicatedin herwriting.Sheisdedicatedtoresearchingwhatartisticactionsarenecessaryforalittlemore inclusiveandalittlelessisolatedmore-than-humanworld.
#Instagram:@atyipiquesummer
#Email:summershchung@gmail.com
Currently,sheworksasaclinicalpsychologistandALDACollectiveinParis,France.Hopingthat theemotionsandvoicesofimmigrantswillbeexpressedthroughvariouschannels,sheisdeeply interestedinthesolidarityandexchangebetweenscatteredindividualsthroughcultureandarts.
#Homepage:http://linktr.ee/cabinet.bonnevie
