Photosynthesis prologue

This film is an experiment on editing, deconstructing and reconstructing, a game of collision between frames. As a narrative body disintegrates, it gradually becomes possible for viewers to pay attention to the phenomena of intra-frame intervals.

Performed with multiple film projectors and improvised sound, this live film of variable duration is an act of exploring multi-layered memories on landscape. Institutional, historical and personal approaches will be applied at the same time. Personal memory, which collides with historical context, may reveal fragments of innermost secrets.

This film is made of footages shot on the rooftop of my friend's house at Kathmandu, Nepal. Lazimpat is a name of the street where the house locates. It's a portrait of people, sunshine, flowers, and etc. (Lee Jang-wook)

The music film for Lee Minhwi's song "The Station."

"Emotional memories that had formed the ambiguous boundaries between reality and fantasy began to divide exactly in two, and at the same time there was no emotion left on either side of reality and fantasy." Chang Gyeong is the name of a palace in central Seoul - a palace that was turned into a zoo by the occupying Japanese.

Changgyeong Palace was converted into a zoo in the Japanese colonoial period and continued to operate as such for some time after liberation.

2014/variable duration/sound/16mm multi projection performer:Na, Yeonwu opening performance at Namjun Paik Art Center

When reading out loud, sometimes it is hard to tell who between the reader and the text penetrates the other. Archives are not much different, since they are always perceived through their present utility. Two young female readers invited by Jangwook Lee discover as they read – in a careful, faltering voice – various articles from the “Sunday Seoul”, a typical magazine from the 1970s, devoted to supposed female archetypes: time, bodies, voices and texts echo one another. (Nicolas Feodoroff)

Images out of their intended context create new context, and also provide us the perception to be able to see which were there but not seen in its own context. This work is a process of research on the world which is familiar, but at the same time full of mysteries. This film is based on the abandoned images with variable reasons. I hoped the images would be free from the logic of selection. At the same time, I was curious about the world which is full of mysteries, always richer than the personal perception. (Lee Jangwook)

Double projection with two 16mm projectors. The images begin with two parallel screens. They consist of fragments of light flashing like bursts in the darkness. As the process progresses, each projector moves simultaneously and overlaps. The sound actively utilises optical sound. In the latter part, Lee Minhwi's "The Light of Silence" is inserted.

A short film by Lee Jangwook

On a clear afternoon, a small garden at home is surrounded by a silence that seems to last forever. Only the gestures of the cats let me experience the time of this small garden. In the garden, something is being built up, cleared away, destroyed, created. This film is an experience of garden time, which fades as the layer gets thicker.

Masarap Na Kanta begins like an impressionist painting. A man sits at a table outdoors, which makes the scene look like another uneventful day in the suburbs.

Sometimes, the void becomes a passage to the invisible. The film is a journey in pursuit of that which saturates the forest yet eludes human perception. Flashes and darkness, punctuated by fleeting hues, conspire to capture presences that linger between the present and the yet-to-come. Surrendering to the film's orchestrated rhythm rewards viewers with unprecedented imagery. (Sung MOON)

This film is inspired by a moment of one autumn day in my childhood. The moment I experienced was impossible to be measured or represented. I became curious about this ‘Image of Time’. This film is the first step on the journey.

This film is based upon the form of an individual’s diary. Jangwook created new images using several chemical treatments on the film surface while using footage of his daily life. These serial works begun from trials that Lee had communicated, seeking to re-construct his own memories, where the ‘mind’s eye’ become connected with the ‘camera’s eye’ and with film itself. In doing so the film is a conversation with personal documentary and everyday practice at the darkroom.