Shakespeare Must Die

A dictator sits alone in his dark mansion, grieving for his mad, dead wife, as a mass uprising rages against him. Elsewhere in a theatre, Shakespeare’s Macbeth is being staged; its scenes intercut with his flashbacks to tell the story of an ambitious general who, prompted by witches, kills the king to crown himself.

Haegue Yang

Through this ‘dance’ of bells, Yang’s work allusively suggests the topic of sound as the beginning force that opens up the world (as it is told in many ancient myths). Such an interest in this ‘cosmology’ also manifests as a representation of ‘orbit’ in Yang’s works. The arrangement of works gives an impression that they could move along the trajectory drawn by the vinyl tape on the floor.

Nina Fischer & Maroan el Sani

The screening triggered an identification-process of the fugitives with the protagonist of Kurosawa’s movie, as they recognized their similar desperate situation. It was followed by an experimental setup of cinematic improvisations with refugees and actors, focusing on the exploration of fears and uncertainties surrounding the nuclear catastrophe and ongoing threat of radiation.

Kim In-whoe

Until the late 1960s, records of Korean shamanism were limited to materials by Japanese folklorists in the 1920s and 1930s and a small number of scholars in Korean Studies. A young educationalist in those days, Kim In-whoe felt the Western educational paradigm was limitedly applied to Korean society and became interested in Koreans’ traditional religious beliefs, or shamanism.

Nilbar G?re?

G?re?’s work focuses on the gap between the current picture, controlled by the state, and the direction of global changes. The mobile phone industry as a global force introduced mobility in access to communication. The three screen video installation Open Phone Booth (2010-2011) is about this tragicomic reality.

Trailer Project
Trailer Project

YOUNG-HAE CHANG HEAVY INDUSTRIES: MAKING SENSE WHEN THERE'S YOU, NONSENSE, AND LONELINESS / IS DOKDO OUR LAND?