Facing the Movement: Crossing/Invading/Stopping

6 January, 2022
– 6 February, 2022

6 January – 6 February 2022

THE STREAM presents Facing the Movement: Crossing/Invading/ Stopping, a screening program at ARKO Art Center. The program is organised with an aim to share different concepts on mobility through various modes within contemporary art. Each work in Facing the Movement: Crossing/Invading/Stopping is programmed in anticipation to operate as an element to trigger critical thinking and reflection and to take perspectives on the present by drawing the viewers to encounter representational methods of crossing-infiltrating-stopping in the world on the move. The screening program is organized in collaboration with LUX and coincides with an online exhibition. The offline screening takes place at ARKO Art Center with seven participating artists Sejin Kim, Minha Park, Cheol Min Lim, Sojung Jun, Hyekyung Ham, Keira Greene and Laida Lertxundi. Read more about Facing the Movement here

The online exhibition at LUX includes six works from the program:

To the North for Nonexistence, Sejin Kim, 2019 / Cosmic Kaleidoscope, Minha Park, 2018B-ing B-ing, Cheol Min Im, 2016Interval. Recess. Pause., Sojung Jun, 2017A Man From Afar, Hyekyung Ham, 2015Eustatic Drift, Keira Greene, 2018



To the North for Nonexistence

Sejin Kim


The Sámi people are the land of accumulation of time and the indigenous peoples of the polar regions of Northern Europe, which have been geographically isolated for a long time due to severe weather conditions. Nowadays, the traditional way of life of the Sámi people living in minority groups and their own identity inevitably arouse conflict with modern systems. To Anita Gimvall who is a Sámi tribe who has lived a lifetime in Lapland, it shows a cross-section of the recent arson incident in a traditional house. To the North for Nonexistence traces out a conflict and alienation at the ambiguous border between past tradition and modern life, settlement and deportation, thought and sharing, and stories of blurred boundaries and backgrounds inside and outside.

Cosmic Kaleidoscope

Minha Park


Without leaving Earth, Minha Park explores the fascination we feel throughout history for the universe in Cosmic Kaleidoscope. To find out the traces of human attempts toward another world and origin of the light, Park visited and filmed places: Human moon landing Apollo project places at NASA and Mars Life testing site called Rio Tinto in Spain. Hallucinated architectures, almost futuristic ruins, measuring and observation equipment, museums, flashes of light, mysterious landscapes, and mystical reflections-all are resonances of dreams, fantasies, and attempts by humans to understand the immense.

B-ing B-ing

Cheol Min Im


My moving date was nearing, and my camera stopped working for no apparent reason. On the way back to my hometown where my old camera was kept, I called a few friends. We talked about popular songs, machine life expectancy, and each other’s health. As I cover my blushed cheeks with my hands, the car navigator tells me that it will search for the current location again. Places I saw in my dreams appear and disappear before my eyes, and when I step on a pedal according to signals on the screen, a white ball suddenly comes up on an artificial grass. Heading back home, I imagine a giant hole in the middle of random landscapes passing by. Now, a long ride of spinning is about to begin. Let’s chant an incantation: “Disco Disco Pang Pang!”

Interval. Recess. Pause.

Sojung Jun

23’ 47”

Interval Recess. Pause. follows three voices. The voices of three Korean adoptees the artist met during their stay in France. These adoptees have very vague memories of Korea but were able to recollect their images of uncertainty and other existing memories resulting from their senses. While their memories exist clearly not of images, but of the senses in colour, sound, taste, smell and more, the artist either adds or subtracts them into images that differ in time and space, focusing on the construction of individual or collective sensory memories and their potential.

A Man From Afar

Hyekyung Ham


“Only existing in a divided nation, the demilitarized zone, or ‘DMZ’ is rather familiar to me as a location shown in newsreel or documentary than as an actual site. It is a location I know of, but it exudes a sense of immense distance. And as for myself who have not experienced the war, DMZ never felt like immediate ‘now’. However, the images of the place have reminded me of familiar stories with emotions-solitude, desire and loss-but from deep inside of myself. Someone said once, in a place where someone used to be in pain lies something that never ceases to exist. And it would leave a faint impression in the place and move the hearts of people passing by. I imagine extremely intimate scenes of the people who may have passed by the place.”

Eustatic Drift

Keira Greene


“once we were plankton slouched in the ocean but now we are code, surfaced and held in the laminae of rock like open scores.” This narrative voice comes to us from the fossils of Graptolites, our long extinct plankton ancestry. Their speculative voice speaks to us from within deep time as they coil past and future, blending evidence of our interspecies story. In Eustatic Drift we experience the real and imaginary potential of the Graptolites, as a tangible index of a once dominant species, and as a latent oracle.



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