Mia Dahye Kim 김다혜: Video Artist/Filmmaker 비디오아티스트/필름메이커

Artist Profile:

Cindy Still

Cindy Still © Mia Dayhe Kim

Mia Dahye Kim and I met in Berlin during the summer of 2012 while we were both participating in an artist residency. After three months in Berlin, she spent 5 weeks at another residency in Bilbao, Spain. She returned to Berlin in November and stayed for a few months before returning to South Korea.

우리는2012년여름, 베를린의한아티스트레지던시프로그램에서만났다. 3개월간의베를린레지던시생활후, 김다혜는스페인빌바오로건너가그곳의한스튜디오에서 5주간머물렀고, 다시베를린으로돌아와한국으로가기전까지몇달간을머물렀다.

Cindy Still

Cindy Still © Mia Dayhe Kim

Heather: In regards to the films that you made in the latter half of 2012, you invited the influence of your environment. Is that your natural work process? Do the ideas for your films originate internally or are they derived more from your surroundings?

2012년후반에만든작품들을보면당시속했던환경에서큰영향을받은것이눈에띈다. 원래작업에서환경을담아내는데중점을두나? 주로자신내면의생각들에서출발하는가혹은주변환경에서아이디어를얻는가?

Mia: When I was started to make films in my early 20s, I pursued abstract and philosophical ideas and tried to create my own imaginary world in my work. At some point, the things I felt and thought in a real world became more important as I focused on myself more, and started to look around all the surroundings in the place I belonged to. Now, the concept of space is important in my work. It works as a framework of storytelling. In the end, I interpret and reconstruct the stories existing in a certain place through my work.

20대초반에처음으로영화를만들기시작할무렵에는추상적이고도철학적인생각들을쫓았었고, 나만의가상의세계를창조해내는것이주요목표였다. 하지만어느순간부터내자신에게집중하게되면서, 내자신이느끼고생각하는것들이중요해졌고, 자연스레내주변을둘러보게되었다. 지금나의작업에서공간이라는개념은중요하다. 공간은스토리텔링의프레임워크이다. 결국나는내작업에서하나의장소에담긴이야기를재해석하거나재구성해내는일을하고있다고생각한다.

Shrine Still

Shrine Still © Mia Dayhe Kim

Heather: In <Shrine: House of Dream>, Joseph Beuys and Nam June Paik are represented. Although you were influenced by Berlin you brought a bit of yourself, your culture to the piece. Do you find that this is often the case? That a piece of you makes its way into each of your projects; intentionally or unintentionally?

<Shrine: House of Dream> 이라는작품에서는요셉보이스와백남준이재현된다. 베를린이라는장소자체에영감을받은작품이지만자신과자신이속한문화가한데섞여있다. 의도하건의도하지않건자신을이루고있는모습중하나가작품에투영되는것을종종발견하는가?

Mia: <Shrine: House of Dream> was inspired by Berlin city itself, however, it explores my internal world. I would say Berlin brought the culture I belong to. I visually interpreted the idea into a shamanistic culture; which Joseph Beuys and Nam June Paik were attracted to and that I’m also greatly interested in. More or less, artists are represented by their works. One of the selves of the artist makes the work each time.

Shrine Still

Shrine Still © Mia Dayhe Kim

<Shrine: House of Dream>은베를린이라는공간에서영감을받았지만, 오히려내자신의내면을탐구한작품이었다. 베를린에내가속한문화를불러왔다고나할까? 요셉보이스와백남준, 그리고나역시관심이많은무속문화에중점을두고시각적으로풀어보았다. 모든작품은정도의차이일뿐결국작가자신의투영이라고생각한다. 수많은자아들중하나가그때그때각각의작품을만들어낸다.

Heather: Do you approach your work in the same way now that you’re back in Korea? Is it more difficult to find inspiration in familiar surroundings?

지금한국에서도여전히같은방식으로작업하고있는가? 익숙한환경에서는영감을받기가어려운가?

Mia: It is true in some aspects. These days, my work starts with exploring a certain place so it is easier to be inspired by new and unfamiliar environment. However, familiar surroundings also have positive features, especially in art practice itself. Because I know where to go shooting for a certain shot and where I can get things I need, I can save time.

그러한면이있는것은사실이다. 요즘나의작업은하나의장소를탐색하는데서시작하기때문에익숙한환경보다는새롭고낯선곳들이더영감을준다. 하지만작업자체에있어서는쉬운면이많다. 어느장면을위해어디로가서촬영해야하는지, 필요한것은어디서사면되는지잘알고있으니까시간이절약된다.

A Room of One's Own

A Room of One’s Own © Mia Dayhe Kim

Heather: How did you come to work in video? What is it that originally attracted you to the medium? Did something come before that? (drawing, painting, writing?)

어떻게비디오를매체로삼게되었나? 이전에는다른매체로작업을했었나?

Mia: When I majored in film directing in university, I dealt with 16mm films. However, I’m technically deficient in film work so I can’t work alone. Also, it film costs a lot and it takes a comparatively long time to get the result. I naturally chose video as a main medium because it’s faster and handier than film.

대학에서영화연출을전공하면서 16mm 필름을다루었었다. 하지만필름에있어서는내가기술적으로미숙하고, 그래서혼자서작업할수없다. 또한필름은비용도많이들고결과물을얻기까지의과정도긴편이다. 그래서자연스레비디오를주매체로하게되었다. 필름보다빠르고간편하니까.

Heather: Do you consider yourself a multimedia artist? I say this because of the sets, costumes, writing, installations – everything that goes into this world that you create and then capture.

자신을 멀티미디어 아티스트라고 생각하나? 표현방식에 있어서 다양한 형식들이 보인다.

Mia: I may be a multimedia artist. Film/video is multi art in its production. Also, my work is not limited to the moving image itself but explores a way to be connected to the physical space. It is represented in the combination of different mediums. Personally, I would like to be an artist dealing with various mediums.

그럴수도. 영화 자체가 종합예술이다. 또한 상영하는 영상에서 그치지 않고, 그 영상이 실제 공간과 관계 맺는 방식을 탐구하다 보니 다양한 것들을 끌어오게 되는 것 같다. 그리고 개인적으로도 다양한 매체들을 아우르는 예술가가 될 수 있었으면 좋겠다.

321-4

Heather: You work with multiple screens and also with frames split into 2 or 3- how do you decide to present a piece?   Does the work dictate the format? I’m thinking specifically of <The Violent Thing> and <One Two, Three> – can you talk about the pacing? How the different pieces of the story synch with each other is so interesting. At first the rhythm seems disorientating (at least for me) but then it becomes a dance – visually and emotionally; it’s very compelling.

두개이상의화면들을설치하거나화면분할방식을많이사용하는편인데이는어떻게결정되는가? 내용이형식을결정하는가? 특히<The Violent Thing>이나<One Two, Three>를 보면 속도나 리듬에 대해 생각해보게 된다. 서로 다른 이야기들이 속도를 맞추어 동시에 이루어지는 방식이 흥미롭다. 처음에는 그 리듬이 혼란스럽지만 점차 시각적으로나 감정적으로 춤처럼 어우러진다.

Mia: I’ve always been interested in non-linear story structures so I came up with multi or split screens. Compromising different time and spaces, and the way they are arranged in order are important parts in my work. They are the processes that I concentrate on the most. It should be satisfied not only in a visual aspect but also in a systemic structural aspect. I plan the story structure in advance and adjust during editing according to the overall flow of the recorded images.

항상 비순차적인 이야기 구조에 관심이 있었고, 자연스레 분할화면이나 복수의 화면을 통한 이야기 구성을 생각하게 되었다. 서로 다른 시간과 장소가 어우러지는 일, 혼란스럽지만 나름의 질서로 배열되는 일은 내 작업에서 중요한 부분이고, 때문에 이야기 구성에 대한 고민을 많이 한다. 시각적으로도 보기 좋아야 하고 이야기 구조 면에서도 체계적이어야 한다. 이야기 흐름을 사전에 미리 계획해 놓고 편집단계에서 전체적인 흐름을 보며 수정해 나간다.

3, 2, 1

3, 2, 1 © Mia Dayhe Kim

Heather: The stories that you tell are so nuanced, the viewer really needs to watch each piece more than once. The viewer is completely drawn into this alternative space. Do you think the decision to eliminate sound from your work strengthens this dialog between the viewer and the work?

작품에서들려주는이야기들은아주함축적이라관객들로하여금작품을한번이상되풀이해서보게만든다. 관객들을영상에완전히몰입하게만드는데, 사운드를배제하는것이작품과관객사이에서이루어지는대화에더욱도움이된다고생각하는가?

Mia: I don’t use any sound to deliver the story only the visual. Also, it is an open narrative so that the audience can actively interpret the visual images and construct the story in their own ways. I don’t use any background music, either because it can force the audience to feel in a certain way. My work is an experiment of storytelling with visual images and leaves room for audience to complete the story with their own interpretation.

이야기가 온전히 시각적으로만 전달 될 수 있도록 사운드를 쓰지 않는다. 또한 열린 형식으로 관객들 각자가 적극적으로 이야기를 해석하고 구성해야 하기 때문에 어떠한 배경음악도 사용하지 않는다. 음악은 자칫 주관적인 생각을 적극적으로 주입시키는 도구가 될 수 있기 때문이다. 내 작품은 시각이미지의 스토리텔링 기능에 대한 실험이고, 관객 각자의 주관적 해석이 중요하다.

Heather: Are there any artists who have had a particularly strong influence on your work or your practice?

작품에크게영향을끼친아티스트들이있다면?

Shrine: House of Dream

Shrine: House of Dream © Mia Dayhe Kim

Mia: Nam June Paik directly influenced me when I chose video and entered the contemporary art field. Now I am inspired by various works; paintings, photos, music videos and films.

영화에서비디오로매체를바꾸고또한현대미술의영역으로들어서게한직접적인영향을준아티스트는백남준이다. 그리고지금은그림, 사진, 뮤직비디오, 영화등다양한매체에서영감을얻는다.

Heather: Your work appears in a few collections – could you talk about that?

작품이속해있는곳들에대해이야기해보자.

The Violent Thing

The Violent Thing © Mia Dayhe Kim

Mia: I’ve been exhibiting and screening my work in Europe but last year, my work <The Violent Thing> was selected for Arko Art Center’s video archives. Arko Art Center selects video works for their archives through competition every year. I share the distribution right with Arko Art Center and my portfolio is also included in their artist portfolio archives. They selected only 4 videos last year and I’m just glad that my work is one of them.

그동안유럽에서전시나스크리닝을해왔는데, 작년에한국의아르코미술관비디오아카이브콜렉션에내작품<The Violent Thing>이선정됐다. 아르코미술관은매년공모전을통해아카이브작품들을선정한다. 작품에대한배급권을 5년동안아르코미술관과나눠가지게되었고, 작품뿐만아니라내포트폴리오도아르코미술관포트폴리오아카이브에포함되었다. 작년에는 4작품만이선정되었는데그중하나가내작품이라는사실이기쁘다.

Heather: What projects do you have in the works?

지금작업하고있는프로젝트는?

Mia: I’m working on a collaboration project with Japanese artist Kyougo Matsumoto. We called the project “video letter”, which is conversation between two of us through videos like the way people in distance talk through letters. The concept is that two artists talk about art. The differences in languages and artistic styles make the work difficult but at the same time make interesting, too. It is still in an early stage but I look forward to the outcome.

일본 작가 쿄우고 마츠모토와 함께 계획한 프로젝트들 중 하나를 작업 중이다. 우리가 비디오 레터 라고 부르는 프로젝트인데 서로 편지를 주고받듯 비디오로 대화를 주고 받는 것이다. 두 아티스트가 예술에 관해 이야기한다는 컨셉이다. 언어의 장벽과 서로 다른 작품 스타일이 작업을 어렵게도 하지만 동시에 더 재미있게도 만든다고 생각한다. 아직 초기이지만 앞으로 결과물이 기대된다.

Heather: Is there a list of past/upcoming exhibits that you would like included in the article?

Mia: A presentation by Arko Archives is happening now in Seoul. It’s called <2014 Arko Archive Project>, which introduces their newly archived videos. Encounter my work <The Violent Thing> there. The show is until April 27th.

아르코 미술관 아카이브에서 <2014 아르코 아카이브 프로젝트> 라는 이름으로 그들이 새로 아카이브한 작품들을 공개하고 있다. 나의 작품 <The Violent Thing>이 그곳에서 전시되고 있다. 대학로 아르코 미술관 2층 아카이브실에서 만나볼 수 있으며 4월 27일까지이다.

The Violent Thing

The Violent Thing © Mia Dayhe Kim

 

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