The House of Sorrow

    27/05  | 22:00 - 23:20
    28/05  | 22:00 - 23:20
    29/05  | 22:00 - 23:20
    30/05  | 20:00 - 21:20
    30/05  | 22:00 - 23:20

€16 / €13
1h20
Korean, English → NL, FR

The myth of “El Dorado” – according to which gold objects were immersed in a river in the course of a ritual – could also be read as the restoration of matter to its source. Extracted from nature, gold was melted to create sculptures before being returned to nature. However, if what is to be restored is a thought, then how can that thought be restored to its source? During a trip to Colombia, artist Jisun Kim happened to meet a man named Min, who handed her a USB stick containing various games. The video games were developed by Min herself. Each of these games could be read like a book, in which one can get lost in Min’s thoughts and memories. But why did Min want to tell her stories in video games that can be experienced and reinterpreted over and over again? Jisun Kim invites a professional gamer to fully unravel, together with the artist, Min’s stories and thoughts. Together they inhabit the virtual sculpture The House of Sorrow and invite the audience to dive into Min’s world with them. 

Confronted with the SARS-CoV-2 crisis, we had to cancel this project

Presentation: Kunstenfestivaldesarts-KANAL – Centre Pompidou

Conception and direction: Jisun Kim
Assistant director: Yoonzee Kang
Dramatization: Jisun Kim, Gukhee Kim
Technical director: Jimmy Kim
Game development: Doohyun Park, Gigang Moon
Illustration: Chaewon Oh
Translation: Yoonzin Kang

Coproduction: Kunstenfestivaldesarts

Supported by: Ministry of Culture, Sports and Tourism; Seoul Metropolitan Government;
Seoul Foundation for Arts and Culture

Performances in Brussels supported by the Korean Cultural Center of Brussels

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Can we fundamentally rethink our system? This question constitutes the core of Jisun Kim’s works; In the earlier version of <Climax of the Next Scene>, Kim traced the changes of sensations through which we perceive the world by juxtaposing online games and travel experiences in the real world from a perspective of armchair anthropology. And she created a developed version of <Climax of the Next Scene>, seeking after the exit of this system to imagine the world beyond. Extending this trajectory, <Deep Present> placed ‘outsourcing’ as the key engine of our system and saw Artificial Intelligence as its ultimate product. This replica of our intelligence was presented as a mirror to spark fundamental, yet pressing questions about ourselves and the present society.

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