초록
This paper analyzes Jane Jin Kaisen’s multi-channel moving-image installation Ieodo (Island Beyond the Sea) (2024)-presented for MMCA’s Korea Artist Prize 2024-through Deleuze and Guattari’s concept of becoming-woman. It examines how the work’s visual strategies-radical slow motion; close-up and a haptic gaze that compose smooth space; the spiral disposition of the multi-channel installation; and looping-disrupt the linear temporality of official historiography and call into sensory presence the occluded memories of women and other minoritized subjects. The seven videos are grouped into three clusters: liberation of sensation/perception (Portal, Core); the linkage of death and life (Halmang, Offering, Wreckage); and futural orientation (Guardians, Burial of This Order). Each articulates possibilities of alternative temporalities and communal formations-through primordial vitality and geologic time; the cycle of life and death mediated by the sea and sochang (traditional unbleached cotton cloth); children’s play among ancestral graves; and a non-normative funeral performance.
Formally, slow motion severs the narrative timeline, summoning past deaths and spectral traces into the present; close-up and the haptic gaze deterritorialize the striated space organized by nation and logos, opening new relational sensoriums within smooth space; and the looping, multi-channel arrangement yields an expanded montage in which viewers, through their movements and gazes, chain and rechain fragments of non-represented memory. Through these strategies, becoming-woman in Ieodo is realized as artistic becoming enacted through concrete female subjects and bodies through the place-specificity of Jeju, and within the histories of colonialism, division, and state violence. By integrating form and content via becoming-woman, the study critiques memory regimes grounded in the male-centered “universal Man” and nonlinear modern time, while demonstrating the political-aesthetic capacity of contemporary moving-image art to call suppressed women’s histories and vanished memories into the sensorial present.
출처: KCI 논문 상세 페이지