개막 2일차를 맞이한 제 22회 서울국제대안영상예술페스티벌의 부대행사로 ‘칠레 VR 워크숍’(LABORATORY: VOLUMETRIC BODY: AI AND PHOTOGRAMMETRY)이 지난 8월 19일 서교예술실험센터에서 개최되었다. 칠레의 실험 아트 플랫폼 ’INVE’의 디렉터 다니엘라 릴로와 영화감독 펠리페 엘게타는, 휴대폰으로 촬영된 2D 이미지를 컴퓨터 프로그램을 통해 3D 작업물로 만드는 내용의 강의를 진행했다.
 

  펠리페 엘게타는 자신이 대규모 시위와 같은 위기 상황을 기회로 받아들였다는 점을 강조했다. 위기 속에서 일상의 생각들을 점검하며 작품을 구상하게 되었다며 창작 동기를 설명했다. 워크숍 참여자들은 강사의 지도 아래, 몸을 자유롭게 움직이며 자신의 몸, 자신이 서 있는 공간, 자신이 바라보는 물체에 관한 생각들을 정리할 수 있었다. 이어서 수십 개의 시점에서 대상을 촬영한 뒤, 사진들을 재구성하면서 입체적인 작업물을 완성했다.



글 김새흰 홍보팀 ALT루키
촬영 김새흰 홍보팀 ALT루키

 

제 22회 서울국제대안영상예술페스티벌(이하 네마프)이 ‘자연이 미디어다: 작용’라는 주제로 지난 8월 19일 메가박스 홍대에서 개최됐다. 김석범 교수(수원대 연극영화학과)와 김해나 배우의 사회로 진행된 올해 개막식에는, 김장연호 집행위원장, 설경숙 프로그래머, 강말금 홍보대사와 예선선정위원 및 선정위원이 참석해 자리를 빛냈다. 개막공연으로는 음악가 김성완과 영상작가 안정윤이 <하늘의 둘레>를 선보였다. 

메가박스 8층에 설치된 안내데스크가 네마프 관객을 반갑게 맞이하고 있다.

네마프 관계자들 역시 관객을 맞이하느라 분주하다.

올해 네마프의 공식 포스터와 트레일러는 스페인 작가 로이스 파티뇨(Lois Patiño)와 김포도 디자이너가 제작했다. 로이스 파티뇨의 작품들은 8월 19일~21일에 걸쳐 서울아트시네마 ‘로이스 파티뇨 특별전’에서 다뤄진다.

작년에 이어 올해도 네마프의 홍보대사를 맡은 배우 강말금이 축사를 진행하고 있다.

인간과 비인간 타자 사이의 상호작용을 다룬, 주제전 ‘항상 있었던, 한번도 오지 않은’은 8월 19일~21일에 걸쳐 서울아트시네마에서 상영된다. 


글 김새흰 홍보팀 ALT루키
촬영 이혜인 홍보팀 ALT루키

버추얼 리얼리티 아트전 아티스트 토크 풀버전은 네마프 유튜브에서 보실 수 있습니다.

https://youtu.be/9fHxafC5-as

촬영 김일호, 김보민, 김지나 홍보팀 ALT루키

편집 김지나 홍보팀 ALT루키

폭동 이후, 해방 전에

1.     Please introduce the director to the Korean audience

Chung Hong IU is an independent film director based in Hong Kong. After graduated, he worked in the Civil Human Rights Front for two years. Since then, he has a vocation for social movement and film-making. He is also an amateur photographer. His photography works were exhibited in numbers of galleries in Europe and Asia.

2.     Please introduce your film.

After the Riots, Before the Liberation is an independent short film about the protest in 2019 in Hong Kong. It is made with mixed media, film and digital.

3.     How was the process of creating the film?

One day in Sep or Oct 2019, there was no transport after a strike or a protest. I walked in the street. The street after protest is a mess. I found that the stuffs in the streets after protests had changed our urban landscape. Those objects recorded what had happened in the city and witnessed our beliefs. At that time, I started taking photos to record the things. I find that when we gaze at an image, but not just a glance, the image tells us more.

I thought of the Hong Kong avant-garde author Mr. Liu Yichang’s short novel, The Riot, written in 1968. It is a nouveau roman short story about the riots in Hong Kong in 1967. In the novel, the objects in the street are personified to tell about the riots. And I adopted the form in my short film.

4.     Is there a reason why you made your work with essay film rather than fiction or documentary?

It is a tough time for Hongkongers. It is complicated. It is not easy to tell with merely fiction film or documentary. I want to talk about the thoughts behind. That’s why I choose essay film.
Before working on this projection, I had written two short fiction films. But none of them can apply for funding successfully. Therefore I tried to made a film in a very low budget way and lack of resources. It is just a “one-man band”, with a camera, mobile earphones for sound recording and a laptop for editing. And all the post-production is done in my room, that’s why a critic said it was just like the “bedroom musician” in 1980s-90s.

5.     Who is the ‘I’ that is replaced by various things here?

The “I” is various objects, of cause, personalized. I wondered what if the stuffs were actually supporting the protest.

Ironically, the government cared only about objects, e.g. they always emphasized the unscrewed railings, vandalized traffic lights and ticket gates in the metro stations, etc. But how about the people?

6.The narration was written from two perspectives, was there any difficulty in writing the work? I wonder if you actually live and write in Hong Kong.

Yes, I live and write in Hong Kong. Some of the script are my daily reflection and feeling posted in my Facebook.
It is not easy to write in both perspectives. And I always question if I have written the pro-establishment camp too simple.

7.I've heard that the daily repression in Hong Kong is getting worse and organizations are disbanding. I've also heard that Hong Kong citizens are considering immigration a lot. Did this affect your work?

Yes, many people are considering immigration. It is sad but understandable.

The situation is becoming worse. Some NGOs I worked with disband. Civil society in Hong Kong is facing the biggest challenge.

And so are the art and culture. When I am answering this interview, new film censorship law is being proposed. But even without the new law, they used administrative means to prohibit screening in the past few months even the films had not been banned. And I don’t think my short film could be screened in Hong Kong.

글, 인터뷰어   김지나 홍보팀 ALT루키

심사 총평 영상은 네마프 유튜브에서 보실 수 있습니다.

https://youtu.be/N_73NYPhQUo

촬영 김지원, 송유진, 이지윤 현장기록팀 ALT루키

편집 송유진 현장기록팀 ALT루키