Four Months, Four Million Light Years
€10 / €7
English → NL, FR
Four Months, Four Million Light Years takes the colonial print “Shaman or Devils Priest from the Tungus” by the Dutchman Nicolaes Witsen as the starting point for a spiritual journey through time. The seventeenth-century print is the first Western image of a shaman. This caricatural image was later used by missionaries to marginalize shamanism. It is also the start of racialized and infantilizing descriptions of Asian people by white Europeans. Through text, film footage, watercolours and drum playing, artist Sara Sejin Chang presents a story about those who were forced to leave their families. The “Four Months” in the title refer to the time it took to make a Korean child available for the lucrative transracial adoption industry. An industry that still lives off the same imagery as that of 300 years ago. As the artist reconnected with her culture, shamans told her that if she had not been forced to migrate, she herself would have become a shaman. They help to create a ritual that pays homage to those who have been cut off from their mothers, fathers, family, ancestors, land, culture and spirits.
Confronted with the SARS-CoV-2 crisis, we had to cancel this project
Presentation: Kunstenfestivaldesarts-Charleroi danse
Artist / director: Sara Sejin Chang
Sound: Céline Gillian
Singing, drumming: Yan Vandenbroucke
Drumming: Leslie Maes
Costumes: Lila John
Film editing + colorgrading: Paul Millot and Sara Sejin Chang
Budget and production support: Katrien Reist
Supported by: The Mondriaan Foundation, Kunstenwerkplaats De Pianofabriek, GRIMONSTER
Coproduction: Kunstenfestivaldesarts, Berlin BiennaleBack to top
Sara Sejin Chang (Sara van der Heide)
Born in 1977, Busan, South Korea
Lives and works in Amsterdam and Brussels
Visual artist Sara Sejin Chang (Sara van der Heide) was a former resident of De Ateliers, Amsterdam (1999-2001), and an artist in residence at ISCP, New York (2007); at WIELS, Brussels (2016).
Sara Sejin Chang’s (Sara van der Heide) drawings, installations, performances, films and interventions examine patriarchal and western imperialist ideas about linearity, gender, nation state, materiality, spirituality and world making.
Chang (Van der Heide) negotiates biased views on histories and societies by offering an ongoing series of propositions that reimagine and re-appropriate methods, historical and political happenings and sites. Often, presenting, these works as poetic and intimate gestures that centralize meta-cosmic and inclusive approach to modernity. In many of her works Chang (Van der Heide) draws from her historiography and reflects paradoxically on these artistic processes and interventions as acts of historical repair, healing and belonging.
Sara Sejin Chang (Sara van der Heide) recent shows and performances took place at/include:
Dhaka Art Summit, Dhaka, Bangladesh; Stedelijk Museum Amsterdam, Amsterdam; the Van Abbemuseum, Eindhoven; Sharjah Biennial 13, Beirut; the 1st Asia Biennial/the 5th Guangzhou Triennial, Guangzhou; The School of Kyiv: Leipzig Class. Seminar: Politics of Form, Part of the Kyiv Biennial; the 19th Biennale of Sydney, Sydney; the 11th Incheon Women Artists’ Biennale, Incheon; KIOSK, Gent; M HKA, Antwerp; If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution, various locations; De Pont, Tilburg; Fondazione Giuliani, Rome; De Appel, Amsterdam; Marres, Maastricht; Walker Art Center, Minneapolis; Temporary Gallery, Cologne; De Vleeshal, Middelburg; 44th International Film Festival Rotterdam; Het Concertgebouw, Amsterdam; Argo, Brussels; Kunstverein Amsterdam; Espai d'art Contemporani de Castelló, Spain; WIELS, Andalusian Center for Contemporary Art, SevillaBack to top