뉴 타운 고스트
10분45초, 영상설치, 2005
1 DVD 프로젝터, 1TV 모니터, 1 컴퓨터, 1 DVD 플레이어, 1인용 소파, 카펫트, 긴 의자

이 영상작업은 영등포로터리를 기점으로 영등포시장 로터리를 통과해서 신화병원, 중마루공원으로 그려지는 삼각구도의 재개발대상지구를 확성기를 들고 한 명의 랩퍼가 드러머와 함께 타이탄 트럭을 타고 공회전을 하면서 개발에 부응해야 하는 유령의 명령처럼 때로는 탄식처럼 슬램을 하는 내용이다. 설치는 최소 3미터 높이의 프로젝션 벽면에서 <뉴타운 고스트>가 상영된다. 그리고 이와 평행하게 1미터 50센티 정도의 카펫을 바닥에 깐다. 그 위에는 푹 꺼져 들어가서 앉을 수 있는 일인용 팔걸이 소파와 TV수상기가 헤드셋과 함께 설치되어 있다. 이 모니터를 통해서는 TV프로듀서가 편집한 버전의 <뉴타운 고스트>를 헤드셋으로 귀를 막은 후 시청하게 한다. 이와 평행하게 1미터 50센티 정도의 간격으로 여러 명이 동시에 앉을 수 있는 긴 의자가 설치되어 있어서 위의 풍경을 포함해서 프로젝션을 바라보도록 한다
평행하는 삶은 안으로부터 솟구치는가, 밖으로부터 숨어들어 가는가……
분단국가에서 살고 있다는 데서 비롯되는 정치적 의식으로의 연관성보다 작가의 생존방식, 현실과의 결합 등에서 비롯된 경제와 예술 곧 일상의 구속성 혹의 공회전으로 질문은 옮아갔다. 나의 직장이자 작업장이 자리하고 있는 영등포는 서울시의 뉴타운 사업개발지구로 선정되어 영등포시장을 둘러싼 일대는 공업국가로 출발하는데 기여한 이래 개발에 대한 희망과 동시에 지역주민들의 무관심이 교차하는 상징적인 지역이다

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New Town Ghost
10'45", Video Installation, 2005
1 DVD projector, 1 TV monitor, 1 computer, 1 DVD player, armchair, carper, long chairs

This media art work shows a rapper who is doing slam poetry through a megaphone in a way that suggests a ghost’s command to obey the development sometimes and, at other times, a sigh, riding with a drummer in an idling truck which goes round the triangle Yeondeungpo Market Rotary and Shinhwa Hospital, and to Jungmaru Park. New Town Ghost is presented on a projection wall of minimum 3m height. Paralleling with it at a distance of 1.5 meter, a carpet 2 by 3.5 meters is spread, on which a deep armchair, a TV set and a head set are placed. The TV monitor displays another version of New Town Ghost edited by a TV producer and viewers can watch it, stuffing their ears with the head set. And again, paralleling with this, long chairs for several people are put at the intervals of 1.5m for viewers to see the projection including all these mentioned above.

Does “Parallel Life” shoot up from the inside or crawl in from the outside…?
Our question gradually moved from the political consciousness that we are living in the divided country to the problem of economy and art, that is, the constraints of everyday, life or fruitless efforts (or idling) which is caused by the way of life as an artist, the closeness to reality and so on. Appointed as one of the ‘new towns’ of the Seoul metropolitan Government’s New Town Project, Yeongdeungpo, where my office and studio is located, is a symbolic place where both hope for development and local residents’ indifference has coexisted since the district around Yeongdeungpo Market contributed to the early industrial development in korea.

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Text by Adnan Yildiz
Exhibition Catalog "An Atlas of Event", 2007, Fundação Calouste Gulbenkian, Lisbon

Before performing for an organisation that works for Afghan women’s rights, Peaches was talking about how she felt: “It’s about how you need nothing to entertain everything… I want to bring people to the party who haven’t been included.” What Peaches transmits to her audience is very similar to what Minouk Lim is highlighting in her video installation New Town Ghost (2005), and both women are particularly unique and sensitive in describing their zeitgeist. Generations that lose their understanding of definitions need heroes or heroines to reformulate their existential crises, without them neither audience nor citizens can survive.

In the video, we see a young woman as a slammer and a drummer who performs on top of a truck. Her short hair and wild eyes convey her aggressive demeanour. She is hanging around the streets of Yeongdeungpo in Seoul. For more than a century that part of the city has been an important industrial area, and recently it has been transformed into a ‘new town’. Yeongdeungpo is a symbol not only for Minouk Lim but also for other Koreans of the same generation. Lim transforms the perception of space into a dystopian form of hope, a retrospectively sarcastic belief for a better future and a sort of resistance to change. During her trip, she uses a megaphone to read a text that talks about the new mall, the housing complex and the economy of the ‘new ghost town’. New ghosts and new hosts for those ghosts…

As part of a number of collective activities and experimental collaborations (General Genius, the Pidgin Collective, etc.), Minouk Lim searches for possible positions of constructive criticism and ironic criticality. Through her works, she takes a more active stance towards the absurdities and problems of reckless development and the financially driven landscapes of our society.