I would like to uncover what kind of energy drove the Yeosung Gukguek players to be able to make a very narrow crack in socially acceptable conventions.I would like to investigate how these encounters can be effective to resistance, history, and even politics. I am now considering the artistic form of ‘publishing’ because I would like to textually develop the concept and actively distribute the project.”
The title of the book is Imaging, queering, politicizing (working title)1st part/ Oral-imaging: is to develop the micro-history of about 30-40 Yeosung Gukguek lived players to create a macro-history of this world. It also could analyze and match images and storytelling from player’s memories. It is a sort ofwriting of a meta-oral history.2nd part/ Poetic-imaging: It re-locates a place where non-verbal emotions, passions, affects, and gestures result in a poetic place. In this place, events even when non- verbalized, remain as voices and float in a world of images.
3rd part/ Politic-imaging: iWill investigate why the players want to be on-stage playing a different gender, and how they effect society as subversive or queer subjects in Korea. It will examine how their gestures perform within a political sphere.
About the artist
Artist siren eun young jung (born in Incheon city in south Korea in 1974) uncovers feminism’s political nature through the conceptual attributionsof linguistic mediums, establishing her own aesthetics with sensuously refined visual imagery. She has addressed themes such as gender performativity with serious consideration of and introspection on the subjects represented. Her works engage concepts, such as gender, performativity, Homo Sacer, unrepresentablity, community, hospitality, and womad.