Cartes Flux 2010 Catalogue
Cartes Flux 2010 Catalogue
Cartes Flux 2010 Catalogue
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SCREENING<br />
NAVI LEE (KR/FR)<br />
PHONE TAPPING<br />
10:20 min. / 2009<br />
64<br />
PART II / SELECTION BY LILY DIAZ<br />
The film is built up from that single, imperceptible instant that signals<br />
the shift from day to night, a fl eeting moment in which what was, is<br />
no more, where things might acquire fresh signifi cance. A voiceover<br />
guides us through the city, while the camera seems to be searching for a<br />
specifi c plot of land, for the coincidence between narrative and image.<br />
The topography of the site continues to advance, while in parallel there<br />
emerges a second topography – mental this time, – until, perhaps,<br />
they meet, somewhere here, in a new psychical space. Using the city of<br />
Seoul, it is a personal story that is being told. Our role is to follow it<br />
and select a locus of interpretation: truth, (urban) folktale…<br />
Born 1978 in South Korea. Aft er studying visual communication at the Ecole<br />
Nationale Superieure d’Art de Nancy, Hee Won ‘Navi’ The LEE includes Fresnoy –<br />
Studio National des Arts Contemporain. His research and practice various artistic<br />
blend clothing infl uences ranging from cinema to graphics, sound installation. His<br />
works are moving and using more and more new media across a digital world.<br />
WWW.NAVILEE.BLOGSPOT.COM<br />
WWW.VIDEOOUT.CA<br />
PART II / SELECTION BY LILY DIAZ<br />
SCREENING<br />
ROBERT HAMILTON (CA)<br />
WINONA<br />
A day spent at the Winona Peach Festival in Winona, Ontario.<br />
A series of visual studies of people at a crowded fair.<br />
05:45 min. / 2008<br />
I am interested in the moment when a person is lost in thought in a public space.<br />
The technique used in this piece is time-lapse animation, which allows me to speed<br />
up or slow down images. It was shot over a period of six years at four fairs with<br />
ordinary digital still cameras. A digital still camera does not invade privacy in the<br />
same way as a video camera. The audio is recorded separately from many sources<br />
and stands in a contrapuntal relations to the images.<br />
Robert Hamilton’s current series of video works addresses human movement in<br />
public spaces. He is particularly interested in densely populated cities. Through<br />
stop-motion photography he is able to survey the crowds, the environment<br />
and how one informs the other. He lives in Hamilton, Ontario and teaches at<br />
McMaster University.<br />
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