Space Cell Lab (Seoul, South Korea)

AFW presents… Space Cell!
7:30pm Tuesday 30 July
The Brunswick Green, 313/315 Sydney Road, Brunswick.
16mm projection. 80 mins approx. $10 tix on the door.

Filmmakers Jangwook Lee and Yeongyoung Kim in-person!

AFW is elated to host a screening of new experimental work on 16mm from Space Cell artist-run film lab in Seoul, South Korea. Space Cell (founded by Jangwook Lee) opened in Seoul in July 2004, starting as a complex cultural space for exhibitions, screenings, and education, running workshops in the summer and fall, and special exhibitions in the spring and fall. It also functioned as a screening hall for the Seoul International Experimental Film Festival. Through workshops from 2004 to the summer of 2006, the need for a permanent work space and screening space emerged, and in September 2006, Space Cell converted to a handmade film lab. From this period, workshops expanded to about four times a year. The works created through the in-depth workshop that began in 2007 also created the structure of screenings in the Lab Program section of the Seoul International Experimental Film Festival (ExIS). Currently, Space Cell's main activities are expanding to education through experimental film workshops, experimental film screening, lab-based experimental film work, collaboration projects, and distribution.


Films:

To Cell by Richard Touhy and Diana Barrie |  2024 |  2min 30sec
Filmed while walking from their accommodation in Seoul to Space Cell for the workshop.

Studio Score (Part of Sensus Communis (original title)) by Hye Jeong Cho | 2024 | 5min
The circumstances of artists associated with their studios are very diverse. In an era where it is difficult to occupy even one square foot of residential space due to inequality in space due to economic and social conditions, artists who own or rent studios to produce art have continued to walk a tightrope between thinking and reality. How is it possible to do what you want to do? Depending on the type of work and socioeconomic conditions, the method of occupation, size of space, and method of utilization are very different.
- Studio Score Performers experience physical perception and movement in space and time right in the studio. The place is used, the body is treated as an important element, and the boundary between art and life is broken down, leading to new aesthetic experiments.

Zen for 100ft by JUNG JUN | 2024 |  2min 28sec 
To prevent meaninglessness from becoming imageless, the image obtained from the retina after passing through the pupil and lens must pass through the blind spot before going to the optic nerve. A dark room is a blind spot in an image.

Change By Sujin Lee | 2024 | 1min 34sec 
This short film serves as a draft, an exercise, or the first segment of a long-term project, tracing my nephew’s evolving voice as he grows older. In the film, he talks about the time he built a snowman named Snow Ice Monster, which was later broken down and rebuilt by other children. He listens to a recording of his voice and remarks that he sounds like someone named Minjung, who does not exist in real life.

Humming of a deaf by Suhyun Jeon | 2024 |  2min 04sec
This film captures the experiences of my grandfather during the COVID-19 pandemic.

Man washing the window by Yeon Gyoung Kim | 2024 | 2min 35sec
Man washes a large window, but something is not satisfactory.

Prayers Congested Space by Siyoung Song | 2024  | 3min 10sec
A believer in something, a passenger, a step in and out, an express train constantly arriving and departing. The rules break like a prayer. Derived realities that one believes in, bodies passing each other, the place, the sound, the time it creates.

Trip to 001 by Jinyoung Lee  | 2024 | 1min 50sec
Travel is a process in which numerous substances are recorded to me. In the process, receipts, tickets, and plastic packaging are easily thrown away. However, those materials contain all the time, language, and air of the city. I wanted to collect things that were recorded but not recorded and explore their properties. First, I printed some travel records such as receipts and tickets. Then, I randomly inserted audio from the videos taken at the travel destination. This work is a travel record that goes beyond the visually stimulating images of tourist attractions.

Memories Underwater by Hyerin Lee | 2024 | 1min 51sec 
I almost drowned when I was five years old during the family trip, but I don’t remember anything. I just knew, because everytime my family got together they talked about it. A few years ago, I interviewed my family and asked about the incident. And I found out my mom has a whole different memory from other family member. This is the one sequence(dance sequence) of the film.

Dreams of My Father by Jonathan Seungjoon Lee  | 2024 | 2min 30sec |
Entering from the intimate and often complicated relationships between fathers and sons, Dreams of My Father explores memories and visions from God, gods, and ghosts through a quilt work experimentation of 3D animation and family archive.

Two or Three Things I Know About Him by Boyoon Choi | 2024 | 2min 30sec  
A Woman with a Movie Camera is the result of an experiment and an exploration on the  film camera shooting, developing, and hand printing of her father.

Fotofiction by HwiHwi | 2024 | 2min 40sec (Part of 5min 30sec, 16mm and 35mm Slide Performance)
Fotofiction is a film that adds time to the photos by printing them on   using photos taken on 35mm black and white film around the hometown since 2011. It is about novel-like stories that occurred on this island, listing scenes left behind by people and nature as time passes. 

Study for Three Streams by Kyujae Park | 2024 | 5min
Study for Three Streams was shot at Hongjecheon in Seoul, Mokgamcheon in Gwangmyeong, and Gulpocheon in Incheon. It captures the impressions of three streams in three different cities. Each of the three streams intersects and overlaps with images of the filmmaker’s own body.

Slice of Time by Hyunsu Kim  | 2024 | 4mm |  16mm, 8mm mixed
A photograph of someone. They are emptied, replaced by something else. I discover the vertical side of 8mm fits with the empty   screen. I head outside holding the camera vertically. The movement I captured holds the streets we walked and the stories we shared. I travel around the streets we promised to meet with the camera, as though I’m still with her. Perhaps this is how I can share the same space with her once more.

L’arrivé de la Nu(it) by Lahi OH  | 2024 |   | 6min 8sec  
Through repetitive negative film printing, I abstracted scenes in which black and white are endlessly exchanged. Images of Lumière(;light) brothers' arrival of train, 35mm photos of train station I shot in France, and female corporal images from my experiences and memories were used for this performative process. All images are evidences of light from the past, and the night attempts a paradoxical arrival through infinite delay by repeatedly creating these footages again with light. In the French title <L’arrivé de la Nu(it)>, Nu(;nude; masculine noun) would be taken apart from its masculinity and be in the process of becoming Nuit(;night; feminine noun). Through these repeated generations using materiality of film and light, I attempted to establish a relationship between the process of night and the female body.

Gummonio by Park Kyujae  | 2024 | 6min
For my grandmother.

Field Rush by Park Kyujae  | 2024 | 3min 
A filmmaker runs through a field of flowers with his camera.

Sepmag by human infrastructure | 2023 |  2min   
Sepmag refers to the "separate magnetic track," a brown   film coated with iron oxide, itself without any image. These films were used in the process of editing sound in sync with the image track of a movie. Now 'out of sync' with the industry due to the development of digital editing software and the subsequent demise of the once de facto standard Steenbeck editors, sepmag has become superfluous and is now treated as a mere film leader among   enthusiasts. The work of human infrastructure recovers the recordings hidden in these leaders and excavates images from these imageless films by merely playing them on   projectors, albeit in very slow speeds, for which they were never meant to be played.

Surface of memory, memory on surface by Jangwook Lee | 1999 | 23min
This film is in the form of personal diary. Using the everyday images captured on film, new images are created through various surface treatments and combinations. This is a part of the act of the maker to converse with his memories and to restructure them. This work is the result of conversation between the author(various surface treatments and combinations) and fixed images on film as the memories.