Anyang, Paradise City

A life documentary of a woman who was shunned for being possessed by spirits as a girl, oppressed for following superstitions as an adult, how she grows to be a great shaman who embraces the pain of all people, and how she comes to be honored as a national treasure of Korea with her outstanding artistic talents throughout Korea's tumultuous history.

Over 98 days from August 20th to November 25th 2013, 2821 people from around the world sent 11,852 video featuring many different faces of Seoul. 154 were selected, edited, and made into a movie.

A master and his student visit a mountain to practice pansori (a musical storytelling performed by a singer and a drummer) after a music competition which outcome has left the trainee disappointed.

A man casually sets up for a fishing trip at the water's edge. Evening comes and a tug on his line presents him with the body of a woman.

A gangster in Busan is caught having an affair with his boss' mistress and the two run off with their organization's money.

For the work Decades Apart commissioned by the Fondation Cartier pour l'art contemporain for the exhibition Highlights, PARKing CHANce has conceived an original immersive 3D sound and image installation. Based on the set of Joint Security Area (JSA) (2000), a movie by Park Chan-wook, new images were filmed for the work and sound treated in a very surprising way to give the visitor a total experience.

Over many years of division, North and South Korea have become like a hall of mirrors where it is difficult to tell the real from the false. Inspired by real people who have traveled between North and South amid this division, this film depicts a relationship between the two that is so deeply skewed that it is impossible to tell what anyone is working to achieve.

This is a juxtaposition of images of the works of Japanese photographer Kagaya Masamichi and the botanist Mori Satoshi’s photographic images of the autoradiographs of diverse organisms and products, combined with Park Chan-kyong’s photo works taken in Fukushima in 2019. The autoradiographs and Park Chan-kyong’s photographs, alike, attempt to unravel the truths of the radioactive accident and the post-disaster reality. However, both constantly fail to reach their goals completely; the former because of the non-present-ness of its x-ray images, the latter because of the invisibleness of the radioactivity. Nevertheless, the audiences may be able to have a glimpse of the overall image of the disaster through their encounter with these images. This is the experience that the artist calls “the deadlock between images and textual information.” (MMCA)