TO THE ONE I MISS
(2024)
author(s): Min Ji Cha
published in: Royal Academy of Art, The Hague
[SCHOOL] Thesis / Research Document of the Royal Academy of Art, The Hague, 2024.
[DEPARTMENT ] BA Interactive Media Design
[SUMMERY]
How can one unravel their relationship with a void through exploring their personal experience and knowledge of emptiness?
Starting from the long lost frustration and unfulfillment for the inner void that I entail and wanting to define and understand what this void is and gain safety and peace in mind with it. By unraveling the complicated knot of the relationship between human and inner void, looking into different experiences of “missing” in my personal life and knowledge of emptiness, such as Korean cultural background, Language gap in translation,
Definition of “Home”, Ambivalence in emotion, Moon jar, Clay and The connection in everything.
Interview with Rasmus Albertsen - the man behind "The Holy Mushroom"
(2024)
author(s): Rasmus Albertsen
published in: Stockholm University of the Arts (SKH)
Rasmus Albertsen is interviewed by Rasmus Albertsen about his film stop-motion animated film: "The Holy Mushroom". The text reflects on Albertsens thoughts about his proces: writing the story, creating the characters and the scenography. Furthermore it's about imperfect animation, nostalgia and archetypes.
Nostalgia
(2019)
author(s): Saman Samadi
published in: Research Catalogue
This exposition represents a collection of Saman Samadi's multimedia compositions, incorporating electroacoustic music and video art, evolved from various nostalgic states of the author. This project was presented at "Lethal #7" from the "Last Saturdays Salon" concert series of new music, hosted by Concrete Timbre, in Manhattan, New York, on the 19th of November, 2016. An album consisting of the audio recordings of these compositions has been published on digital music platforms on the 7th of December 2018.
Peripheries
(last edited: 2021)
author(s): Montserrat Fonseca Llach
This exposition is in progress and its share status is: visible to all.
The periphery is present in the distance, somehow the periphery finds its identity from the periphery. When the place of origin is out of reach, between signs of strangeness and marks of a foreign place, in a constant tension between “being and not being there”.
Travel, which makes the origin tangible, in a portable dimension of the landscape and its roots even in the distance. The trip implies a fixed point, from which it emerges and from there the "being in transit" becomes a primordial state of leaving and looking for a home.
The body becomes an intermediary of this space "in transit", the only constant territory, as an object that absorbs, adopting foam in constant transformation and flow. Foam that becomes tidal, goes, collects, returns, and from there as a loop, generating ties with the origin.
Analogous home video as an object of remembrance
(last edited: 2015)
author(s): Maurits Wouters
This exposition is in progress and its share status is: visible to all.
I often find myself going back to the same old things or returning to the same old places. Those are moments I want to look back upon, to make a round-up for myself. To get away from my life for just a while and consider things. I apparently need such lieux de mémoire and recollection objects to get myself into a nostalgic state. At the same time, I enjoy creating such objects and places for myself, i.e. ascribing a personal, timeless value to banal things and places. But the choice of the places and objects seems to be arbitrary. Why these objects and not those places? I cannot explain. But precisely this inexplicability fascinates me not only as a human being, but also as a maker of images. What makes an image iconic or representative for a (collective) void? This is what I want to find out in my research. Not via a theoretical approach, but via the making (and experiencing) of images of recollection. The text 'Analogous home video as an object of remembrance' is a personal reflections upon this.
'Analogous home video as an object of remembrance' is a reflection within the framework of an investigation into analogous home video. How is this domestic film practice employed to represent memory and lieux de mémoire? How can home video be applied within an artistic practice?
The film 'Son' that is referred to in this text tries to answer these questions. Each film in my research is an investigation into a line of approach (documentary, video diary, appropriation, refilming, …) and the ‘readability’ of this form.
In other words: how to visualize a memory in an intensely felt nostalgic and authentic way (such as home video) that is at the same time universal for a third party?
'Son' was screened and evaluated by colleagues, filmmakers and academics in an informal setting. The film was the basis for an open discussion about narrativity vs registration, anti-symbolic approach, the use of 'flatness' and contemporary texture. In reaction on the discussion, I remade 'Son'. This remake is not a film, it's a brainstorm.