Moon Kyungwon

During her stay, Moon filmed at the busy pedestrian thoroughfares of Tenjin Chikagai arcade and Kawabata arcade, near the museum. Appearing in the work are students from Hakata Technical High School and residents of the city, the result being a vibrant depiction of the city in an unprecedented large scale. After the filming, Moon also discussed new work to be exhibited at the Fukuoka City Information Plaza on the ground floor of Fukuoka City Hall, and at the exhibition "AniMate" at Fukuoka Asian Art Museum. She also attended discussions on submitting artwork for a poster advertising the Focus on Asia 2005 - Fukuoka International Film Festival, keeping Moon very busy indeed.

September 8
Arrived in Fukuoka.
September 9
Discussed content of activities with staff, including filming locations, dates and people to film.
September 15
Visited supermarket to extensively photograph food and other grocery items. Explained course of her activities during residency to the volunteer staff.
September 18
Explained course of her actividuring residency to the volunteer staff.
September 20
Visiting the Morita Kanako exhibition, held at the artist's coop San-gousoko (Studio and Exhibition space),Moon listened Morita discuss her work and the gallery space.
September 24
Held another detailed meeting about her residency project and confirmed plans to film in Fukuoka's busiest pedestrian spot, Tenjin Chikagal arcade.
October 3
Visited the Yamaguchi Center for Arts and Media. Head curator Abe Kazunao gave a run-down of the facility and its activities,and Moon later attended a symposium there.
October 16-18
Traveled to Tokyo.
October 21-26
Briefly returned to Korea to prepare for an exhibition opening in Seoul.
October 27
Visited Hakata Technical High School to meet with the 16 students who would participate in the filming at Tenjin Chikagai, explaining the objectives of her work and filming methodology. Several more students were to participate on the day of filming.
October 31
Began filming with the group of 50, comprising high school students and citizens. After filming Tenjin Chikagai early in the morning, before stores had opened, the crew relocated to Kawabata arcade. In the afternoon, filming took place inside the Fukuoka Aslan Art Museum.
November 22
With editing almost done, Moon prepared to fit the exhibition computer with the graphic board she had brought from Korea. Suddenly, vertical lines filled the computer screen and the graphic board circuit was broken.
November 25
Moon discovered that the type of graphic board she had was no longer manufactured. As a similar type would take too long to arrive, she settled for ordering an Inexpensive substitute. But even this would leave little production time.
December 3
On the eve of the exhibition, Moon tried to test-project her animation onto the three display monitors allocated for the animation. But the screen proportions were wrong and she was forced to re-edit the animation by the next day.
December 4
Cut by cut, Moon undertook the gruelling process of adjusting each image size and position, finishing the work by dawn. The work made it to the opening of the Winds of Artist in Residence 2004 Part 2 exhibition and Moon held a talk with the film casts, explaining its concept and filming methods.
December 7
Another work by Moon was slated for appearance at the Fukuoka City Information Plaza, set to open in April 2006. Moon discussed the works with the plaza staff. Later, she returned to Fukuoka Asian Art Museum to meet with curators and talk about her work's appearance at the AniMate exhibition, held in February 2006 at the museum.
December 8
Returned to Korea.

Look at me!

　Surrounded by countless images and texts from the sices of life cut, we respond, we exercise, and we breathe. images of the work walking and going to somewhere show another autonomous inside the self generating space. These moments of making movement can be thought as mirroring our present (figure).

　In my previous work "Follow me!" I tried to show a phenomenon untouchable by the body, whereas "Look at mel" describes the expanding importance of virtual experience of the body in cyberspace communication. The drawing images of people played at random and their related images generate a new kinetic in the third space, which actually cannot be called the absolute virtual because it is body oriented. Borrowing a concept from an act of , "Look at me!" tries to construct interestingly a situation wherein the virtual body (avatar) becomes the 7th sensory nerve system for the real body. Among the various spectrums/perspectives connoted in the act of shopping, the one that is significant here is that shopping exemplifies the exercising tool of immersion and accumulation of the sensory information of the body action in the brain.

　While the five sensory nerve system of the body in our real space, especially the touching sense, looks impossible to achieve in the virtual space, it can be delivered to the brain with the help of visual and auditory senses and by the accumulated touch-memory revitalization. This pseudo sense of touch converts into a residue in the brain. In this work, I am not focusing on the phenomenon untouchable by the body in virtual space communication. On the contrary, I examine how the experience of the body in virtual space signifies the real body.

Moon Kyungwon