Remembering our mothers
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Honoured in Venice, south Korean artist Im Heung-Soon, sets out to spur interest in working women
Im Heung-soon, winner of the Silver Lion Award at this year’s Venice Biennale, hopes his work “Factory Complex” will spur interest in the lives of working women in Korea and around Asia.
“In the ’60s, ’70s, and ’80s women worked in physically demanding jobs. After the ’80s, they became focused on service and emotional labour. I thought about what happened to all of those labourers, and realised that they were our mothers, our sisters, the people around us,” Im said during a recent press conference held at the Art Nine Theare in Seoul.
“Factory Complex” brought South Korea the country’s first Silver Lion, the second-highest honour given at the annual art festival and the highest ever received by any Korean artist. The accomplishment was doubly significant for 46-year-old Im, as the festival generally honours artists under 35.
In the 108-minute film, a montage of interviews intermingles with video art scenes. Interviews include those with women recollecting their experiences working in factories of the past, and women who are working today in call centres. The artistic scenes depict women often standing still, their eyes or faces covered by scarves.
The project originally began as a visual artwork, but expanded to touch upon the medium of film, Im says. “I like to work at boundaries (between categories). I believe that allows for the expression of a more diverse array of perspectives on life.”
“When I did the interviews, it wasn’t just to gather information. The impressions of those interviews collected inside of me, and I reflected those impressions in my own way,” he explains.
“Covering the women’s faces and eyes was symbolic of the environment in which these women worked, in dusty factories where they had trouble breathing or even opening their eyes. It also symbolises the anonymity of the women who worked to bring us where we are today.”
The film is set to open in local theatres in the latter half of the year.
Although Im admits that the experimental nature of the film may make it difficult for audiences to follow, he hopes that many young people will see the movie.
“Particularly young people seeking employment and women in their 30s and 40s. I believe they will be able to relate to the film the most.”
“We often forget about where the clothes and shoes we wear come from. I hope audiences will think about what the past was like, the essence of the work they do today, and how they want to live their lives in the future.”
And the winners are …
The jury of the 56th International Art Exhibition of la Biennale di Venezia made up of Naomi Beckwith (USA), Sabine Breitwieser (Austria), Mario Codognato (Italy), Ranjit Hoskote (India), and Yongwoo Lee (South Korea), noted the increased participation in the exhibition along with a particular sensitivity to current geopolitical urgencies.
The Golden Lion for Best National Participation went to the Republic of Armenia for its exhibition, “Armenity,” featuring a group of artists from the Armenian diaspora.
The Golden Lion for the Best Artist in the international exhibition “All the World’s Futures” went to American Adrian Piper’s “The Probable Trust Registry: The Rules of the Game #1–3”
- The Silver Lion for a promising young artist in “All the World’s Futures” went to Im Heung-Soon’s “Factory Complex.
Special mentions were also awarded to the Abounaddara collective from Syria; the German filmmaker Harun Farocki, who died last year; and Massinissa Selmani, who was born in Algiers and lives in France.
American artist Joan Jonas received a special mention for her evocative video and sound installation for the United States pavilion, “They Come to Us Without a Word”.
The Nation
