<![CDATA[golden puppet]]> http://blog.paran.com/goldenpuppet ko <![CDATA[26~28 November Double Bill: Anushiye Yarnell & Geumhyung Jeong]]> http://blog.paran.com/goldenpuppet/34497750 이미지를 클릭하시면 원본크기로 보실수 있습니다.

http://www.chapter.org/17521.html

 

Thu 26 — Sat 28 Nov
8pm
Iau 26 — Sad 28 Tach

 

7 Ways by Geumhyung Jeong (Korea)

 

Also featuring in this month’s Experimentica festival, Geumhyung Jeong fuses puppetry, dance and stagecraft to create a captivating choreography of mind and body. 7 Ways brings together several recent works - a vacuum cleaner, a mannequin, a tall ship voyage and other customised objects, each engaged in a mesmerising duet. Geumhyung explores the potential for a body to transform and be transformed by desire, fantasy and possibility.

Supported by Arts Council Korea

"…a reminder of how fantastical, magical and disturbing a form (puppetry) can be" - Theron Schmidt, Real Time

 

This is…Love is…?…without props by Anushiye Yarnell (Wales)

 

"What’s Love but a second hand emotion? Who needs a heart when a heart can be broken?" Inspired by the lyrics to Tina Turner’s song, Anushiye Yarnell presents a new solo performance. One of Wales’ most idiosyncratic and visionary dancers, Yarnell creates performances which blend the everyday with extraordinary flights of invention.

£12/£8/£6

 

]]> Mon, 26 Oct 2009 05:06:00 +0900 <![CDATA[Workshop 10/22~24]]> http://blog.paran.com/goldenpuppet/34423433  

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정금형  워크샵

 

<덩어리들의 행진>

 

 여러가지 사물들이 준비되어 있습니다.  

사물들을 요리조리 만져보고 관찰하고 움직여보며  그 사물 자체가 가진 특징을 탐구해 봅니다.

이 사물 탐구 과정에서 우리는 순수시청각적 드라마를 발견하게 될 것입니다.

모든 사물은 감각 덩어리입니다. 우리 몸도 감각 덩어리입니다.  순전히 이 덩어리들만 가지고 덩어리들의 방법으로 뒤엉켜 봅니다.

어떤  사건이 일어날지 아직 아무도 모릅니다.

 

2009/10/22,23,24

목금토 1시~4시

@pPOPkki

 

 

 이 워크샵은 무료입니다.

 

 

정금형  http://blog.paran.com/goldenpuppet

 

 

]]> Wed, 21 Oct 2009 14:04:31 +0900 <![CDATA[원격조종인형]]> http://blog.paran.com/goldenpuppet/34422815 이미지를 클릭하시면 원본크기로 보실수 있습니다.

 http://cafe.daum.net/kopas2000/MF1x/33

 

 그녀는 리모컨트롤을 통해 물건들을 제어한다. 물론 우리는 리모컨을 통하여 기계들을 작동시키지만 그녀가 작동시키는 방법은 조금 특이하다. 일단 그녀는 리모컨으로 선풍기를 조작한다. 선풍기는 그녀의 조작에 따라서 움직여지고 켜졌다 꺼졌다를 반복한다. 그 후에 그녀는 난로를 조작한다. 그녀가 이번에 조작하는 난로는 콘센트 어댑터이다. 콘센트의 전류를 한꺼번에 끄고 키는 버튼으로 난로로 조작하는데 역시 놀라운 일이 아닐 수 없다. 그 다음 그녀는 외계인 인형에게 화풀이를 하듯 무엇인가를 던지더니 마지막으로 캠코더와 TV의 모니터를 향해서 간다.

TV의 모니터에는 일본에서 많이 볼 수 있는 여자의 풍선 인형이 보이는데 그것은 그녀의 리모컨트롤에 의해 숨을 쉬듯 부풀려지고 쪼그라들기를 반복한다. 그녀가 이번에 쓴 조정기는 캠코더이고 캠코더로 화면을 조작할 수 있다는 것은 누구나 다 아는 사실이다. 인간과 기계의 소통은 리모트 컨트롤로 가능하다. 차가운 바람은 자연스럽게 조정하고 , 그리고 뜨거운 난로는 전체를 끄고 켜는 분리된 제어장치로 방향과 온도를 조절하며 화면은 우리에게 알려진 그대로의 방법으로 조정한다는 사실을 알려준 그녀는 차분한 무표정으로 우리에게 기계와 인간이 교류하는 방법을 알려준 듯하다

]]> Wed, 21 Oct 2009 13:34:49 +0900 <![CDATA[Remote Control Puppet]]> http://blog.paran.com/goldenpuppet/34422141 이미지를 클릭하시면 원본크기로 보실수 있습니다.

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]]> Wed, 21 Oct 2009 13:11:21 +0900 <![CDATA[Vampyre Love Ball]]> http://blog.paran.com/goldenpuppet/34421317 이미지를 클릭하시면 원본크기로 보실수 있습니다.

VAMPYRE LOVE BALL
C.Snatch.ZLes Fermières Obsédées Skeena Reece Geumhyung Jeong
 
Saturday October 31,  8:00 pm - 12:00 am
At Chapel Arts, 304 Dunlevy Avenue,  $10 / $5 members and students
Patron: URBANOVA CENTRE OF ART AND DESIGN
Co-produced by Centre A and LIVE Biennale 2009In conjunction with Heart of the City Festival
 

Centre A will close the LIVE Biennale 2009 with an evening of performance art in the cabaret atmosphere of Chapel Arts. Vampyre Love Ball will feature outrageous and risqué performances by local and international artists. Headlining the evening is the star of the Kyoto underground, Norico Sunayama, aka C.Snatch.Z. She will be joined by Vancouver’s own very popular and provocative Skeena Reece (who has just been booked to play the prestigious Sydney Biennale 2010). Also on the bill are Les Fermières Obsédée, (Desperate Farmwives), the hilarious and inventive girl group from Québec City, and topping it off is new hit sensation from Seoul, Korea, Geumhyung Jeong, on her way to a performance tour of the UK. This will be hot. You’ve seen Burning Man – are you ready for Burning Woman?Empowerment, celebration of the female body, social engagement and inter-cultural and inter-generational collaboration will provide the conceptual framework for the Vampyre Love Ball.
The performances will make reference to the sexual politics of life on the Downtown Eastside and can be expected to be sensational and provocative.
As well as providing the closing event for LIVE, (expect a dressed up Halloween crowd) this event will be Centre A’s contribution to the 2009 Heart of the City Festival.


C.Snatch.Z is the stage name of Norico Sunayama, one of Japan’s top performance artists. She is spending several weeks in Vancouver as the Mark Allison and Stephanie Holmquist artist-in-residence, with the support of the Foreign Visiting Artist program of the Canada Council. She will present a two-day “live installation” of one of her most celebrated works, a giant red dress called A Sultry World, at Centre A, Friday October 30 and Saturday October 31 from noon to 6:00 pm.  Born in Yokohama and living in Gifu, Japan, Sunayama is a dancer and a performance artist who has presented her work in many cities around the world. She studied under Mika Kurosawa, one of the most famous contemporary dancers in Japan and in 1990 joined Dumb Type, an internationally-acclaimed multi-media performance group. Sunayama has also founded several collectives and performance units, including The OK Girls, The Biters and Killling Your TV in Singapore. Norico Sunayama comes to Vancouver direct from a highly successful presentation at The Scotia Bank Nuit Blanche 2009 in Toronto.


Les Fermières Obsédées, (Desperate Farm Wives) is a performance collective of four women (Annie Baillargeon, Mélissa Charest, Eugénie Cliche and Catherine Plaisance), who met at art school and discovered their shared love of fabrics, disguises and kitsch. Their wacky transgression of the quilting bee tradition has won awards for originality and innovation in textile art. This “thread” is followed through performances that question our contemporary worship of beauty. Four gorgeous women, dressed in uniforms and wigs, create a deliberate air of artifice, stylisation and exaggeration, which takes our obsession with image, fashion and conformity to an absurd conclusion. They will present a new work , “A Waltz for Puppets”, created for their recent performance at the Musée National des Beaux Arts du Québec.
http://www.fermieresobsedees.com/


Skeena Reece is a performance artist and arts organiser whose work has been presented across Canada and the US.  A riveting presence on stage, her performances are funny, risqué and political. She comes from the Tsimshian Territory, born of Metis/Cree and Tsimshian/Gitksan descent and has been working in the arts since 1996. Her multi-disciplinary practice includes performance art, spoken word, humour, “sacred clowning”, writing, singing, song writing, video art and arts administration. Like Sunayama, her work was a big hit at this year’s Nuit Blanche. Skeena Reece is one of several Canadian First Nations artists who have been invited to participate in the prestigious 2010 Sydney Biennale.
myspace.com/skeenareece


 

Geumhyung Jeong is a young Korean artist who is re-negotiating the relationship between the human body and the machines that surround it. She works with ordinary objects – everything from a vacuum cleaner to a back-hoe – bringing them to uncanny life in a highly charged and disturbing interaction with her own body. Emerging from the vibrant underground performance scene of the vast, futuristic city of Seoul, Geumhyung Jeong has transformed her training as a dancer and choreographer into a unique and riveting performance practice. On her way to her second tour of the UK, this performance will be her Canadian début.


“Puppetry doesn’t often find a place in experimental theatre festivals, but Jeong Geum-Hyung’s duet with a vacuum cleaner is a reminder of how fantastical, magical and disturbing a form it can be …. Jeong’s work addresses issues of control and manipulation and of animation and death—exactly the realm of puppetry.” – Theron Schmidt, Real Time, Australia
http://blog.paran.com/goldenpuppet


The project patron, URBANOVA CENTRE OF ART AND DESIGN, is an innovative international foundation linking Shanghai, Xian, Los Angeles and Vancouver with projects that intersect art, architecture, ecology and design.


Contact:
Makiko.Hara (Curator)  makiko.hara@centrea.org   Tel: 604-683-8326

]]> Wed, 21 Oct 2009 12:39:32 +0900 <![CDATA[Geumhyung PAMS]]> http://blog.paran.com/goldenpuppet/34273612  

2009 PAMS Booth Exhbition

Geumhyung's Booth

Booth No.18  2nd  floor lobbie of the Main Hall 'Hea' of National Theatre of Korea

Booth Exhibition will be available from Tuesday, October 13th through Thursday, October 15th (3 days)

Booths will open at 1:00PM and close at 3:30PM

 


 2009 PAMS choice showcase

7Ways

Geumhyung's Showcase

2009/10/14  Wed

8:00 pm

 @pPOPkki

 563-13. Yunnam dong, Mapo gu, Seoul

BYOV(Bring Your Own Venue) Program

 


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]]> Mon, 12 Oct 2009 05:01:03 +0900 <![CDATA[pPOPkki Map]]> http://blog.paran.com/goldenpuppet/34273346 이미지를 클릭하시면 원본크기로 보실수 있습니다.

]]> Mon, 12 Oct 2009 03:17:53 +0900 <![CDATA[about <7 Way>]]> http://blog.paran.com/goldenpuppet/34273259 이미지를 클릭하시면 원본크기로 보실수 있습니다.


 

7Ways / Geumhyung Jeong

 

The object and the body, the Movement and the Puppet:

 

 On the interface between the motion of objects and the movement of the body, Geumhyung Jeong introduces 7~8 episodes with 7~8 materials.

 

To move an object, the body has to move. The object determines the movement of the body. The puppet's movement occurs by the puppeteer and the puppeteer's movement occurs according to the puppet's movement. It becomes hard to tell which makes which move. The body becomes a part of an object and puppet becomes an extension of the body. Body is the object and object is the body.

 

A puppeteer is an actor and observer at the same time. He/she who operates the puppet acts it's role and also becomes a special kind of audience, forming a dual relationship with the puppet. The puppeteer splits his/her role into two and concentrate in both ways. He/she can be one person and two persons at the same time. However this fragmented concentration exists not only on stage but also quite often in our everyday life. Masturbation is a good example. When concentrating on the virtual assumption that 'somebody is touching me', the situation is little different from the puppeteer's training method. And, it is true that some people use dolls to enlarge their pleasure. What an unnaturally natural choice! Actually, it's not easy to make a definite division between sex by oneself and the sex between two or more people. In masturbation, the person is alone but not alone, while during sex among two or more people the pleasure of orgasm is limited to a single individual body, even if it occurs by interactions among them.

 

A puppet show questions 'what the features of the living creatures are'. ‘What is different between the alive and the dead?’'How is it possible to be a 'living' puppet?''What does it make them look alive?''What and where does the audience pay attention to?''How do we create fantasy and then destroy it?'These questions are again linked to the thinking of 'what movements are', 'what can a body be' and 'what a performance-making means'. The questions continue. 'What is the smallest unit consisting a living creature?''What are different and similar between the existing things?''What are the fundamentals that move the universe?'

 

The initial title of <The seven ways> was <A golden puppet: 'Six ways to stick to orgasm'>(2008). But the next spring when I changed the structure of the piece, I focused on a new title that would reflect the change, as 'The six ways'. It was chosen to have a new title that isn't totally new from the original. Then, another episode was added and made <The seven ways>. The actor of this 'new way' was a robot vacuum cleaner. This one can be said as a reply or some kind of a revenge towards the previous piece <Vacuum cleaner>, which is relatively well-known.(However, this piece ended up as a failure and I am preparing for a new version of this piece). The change from 6 to 7 gives a feeling of progress. The problem is, that another unpredicted way was added during the work to now form 'the eight ways'.


 

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]]> Mon, 12 Oct 2009 02:58:12 +0900 <![CDATA[<7가지 방법>에 대해서]]> http://blog.paran.com/goldenpuppet/34186128

 

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7가지 방법/정금형

 

 

오브제와 몸, 움직임과 인형

 

 어떤 물건을 움직이기 위해서는 몸을 움직여야 한다. 또 그 물건으로 인해 몸의 움직임이 결정된다. 인형극도 마찬가지이다. 인형 조종자에 의해서 인형의 움직임이 생성되는데 그 인형에 의해 인형조종자의 움직임 역시 정해진다. 도대체 무엇이 무엇을 움직이게 하는 것인지 규정할 수 없는 상태가 된다. 몸은 사물의 일부일 뿐이며 인형은 몸의 연장이 된다. 몸이 사물이고 사물이 곧 몸이다.

 

 인형극에서 배우는 '행위하는 자'이면서 동시에 '바라보는 자'이다. 인형 조종자는 인형을 연기하면서 동시에 인형을 바라보는 자가 되어 다시 인형과 관계를 맺는다. 자신의 역할을 둘로 나누어서 각각의 역할에 집중하는 인형극 배우는 한 명이면서 두 명이고 두 명이면서 한 명이다. 그런데 이러한 분열적 집중은 인형극이 아닌 일상에서도 자주 행해진다. 바로 자위행위가 그렇다. 자위 행위 과정에서 제 몸에 손을 얹으며 '누군가가 나를 만지고 있다'는 가상적 상황에 집중하는 경우, 이것은 인형 조종자의 연기 훈련과 크게 다를 것이 없다. 그리고 어떤 이들은 자위행위에 인형을 동원하기도 한다. 사실 혼자서 하는 성행위와 누군가와 함께 하는 성행위는 명확하게 구분할 수 없다. 자위를 할 때에는 혼자이면서도 혼자가 아니라면 누군가와 함께하는 성관계에서도 쾌락의 순간은, 그것이 주고받음을 통해 이루어진다 하더라도 결국 각자의 몸에서 일어나는 것이기 때문이다.

 

 인형극은 '살아있는 개체의 특징은 무엇인가'라는 질문을 하게 한다. '살아있는 것과 죽어있는 것은 어떻게 다른가'. '살아 있는 인형되기는 어떻게 가능한가' '무엇이 살아있다고 믿게 하는가', '관객은 무엇을, 어디를 보는가' '어떻게 환영을 창조하고 또 어떻게 그것을 깨뜨릴 것인가'에 대한 질문을 고민하는 과정에서 다시 '움직임이란 무엇인가' '몸은 무엇이 될 수 있는가' '공연을 만든다는 것은 무엇인가' 라는 고민을 하게 되고 동시에 '생명체를 이루는 최소한의 단위는 무엇인가' '존재하는 사물들의 공통점과 차이점은 무엇인가' '우주의 원리는 무엇인가' 라는 질문까지 마주하게 한다.

 

<7가지 방법>의 2008년 첫 번째 제목은 <금으로 만든 인형 : “오르가즘에 집착하는 6가지 방법”>이었다. 그 뒤 (2009년 봄) 작품의 구조를 변경하게 되었는데 이를 반영한 새로운 제목으로 “6가지 방법”에 주목했다. 제목을 바꾸지 않으면서도 새로운 제목이 될 수 있어야 한다는 생각에서였다. 그러다가 6가지 방법에 한 가지를 덧붙이기로 하여 <7가지 방법>이 되었다. 새로이 등장한 인물은 로봇 청소기였다. 이는 다른 작품에 비해 상대적으로 많이 알려진 <진공청소기>에 대한 스스로의 화답이자 일종의 복수라고 할 수 있었다.(그러나 이는 실패로 끝났고 현재는 새로운 버전의 로봇청소기 작품을 선보일 예정이다.) <7가지 방법>은 6에서 7로 늘어났기 때문에 앞으로 나아간 느낌을 준다. 문제는 <7가지 방법>의 작업 과정 중 예기치 못한 새로운 한 가지가 더 붙여지면서 실재로는 8가지 방법이 되었다는 것이다.

 


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]]> Mon, 5 Oct 2009 00:51:49 +0900 <![CDATA[about <Oil Pressure Vibrator>]]> http://blog.paran.com/goldenpuppet/34185953

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 <Oil Pressure Vibrator>

 Geumhyung Jeong/ 60min/Lecture performance

 

A woman tells her story how she brought a heavy oil pressure equipment into her life, and shows the process she went through

 

This performance introduces the making of a puppet show using an excavator, through a film d0cument, how it began and progressed. It follows a form of lecture, and crosses the border between reality and fiction. While explaining how she fell in love with an excavator, she talks about her past, and things become ambiguous whether the real artist Geum-hyeong Jeong is introducing her piece or the character inside the story is confessing her sex life. Fuzzy, puzzling and interesting performance unfolds on stage.

 

Seoul New Media Festival 2009<Excellence Award for Alternative Vision>: Critic’s Commentary

If death is the only desire to be accomplished, we who are ‘alive’ are surrounded by desires that cannot be fulfilled. Jeong’s movements are desperate struggles to fill up our empty spirit. Though it may seem bold and ludicrous, various attempts revealed by her transforming body are enough to inspire our imagination. This piece includes a film about the artist’s work, followed by her own narration, and a live performance. The elements of theater, dance, drama film and d0cumentary film appear on one stage, mixed up altogether. Even in the moments of ambiguity and distraction, we notice that these are the very moments we stick to true thinking


2008.Nov  Seoul Marginal Theatre Festival

 

2009.Feb  Arco Theare Presents (Korean Arts Council Theatre)2009  

 

2009.Aug  Won the <Excellence Award for Alternative Vision> Seoul New Media Festival.

 

2009.15thNov  Experimantica09 (The annual live art and time-based festival) Chapter Art Centre, Cardiff, UK

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