Uploaded February 2020 | Updated September 2026, 3 weeks ago
A conversation between the artist, Jane Jin Kaisen and Crystal Mun-hye Baik, author of Reencounters: On the Korean War & Diasporic Memory Critique (2019).
GYOPO and MOCA co-present this special screening of Community of Parting (2019) by Jane Jin Kaisen. The film traces a different approach to borders, memory, and aesthetic mediation by invoking the Korean Shamanic myth of the Abandoned Princess Bari who was exiled at birth but who becomes the goddess and mediator at the threshold of the living and the dead. Deriving from Kaisen’s extensive research into Korean shamanism since 2011 and her long-term engagement with communities affected by legacies war and division, the film is composed of imagery filmed in Jeju Island, the DMZ, South Korea, North Korea, Kazakhstan, Japan, China, the United States, and Germany. Combining shamanic ritual performances, nature -and cityscapes, archival material, aerial imagery, poetry, voiceover, and soundscapes, the piece is configured as a multi-scalar, non-linear, and layered montage.
A conversation between the artist, Jane Jin Kaisen and Crystal Mun-hye Baik, author of Reencounters: On the Korean War & Diasporic Memory Critique (2019).
GYOPO and MOCA co-present this special screening of Community of Parting (2019) by Jane Jin Kaisen. The film traces a different approach to borders, memory, and aesthetic mediation by invoking the Korean Shamanic myth of the Abandoned Princess Bari who was exiled at birth but who becomes the goddess and mediator at the threshold of the living and the dead. Deriving from Kaisen’s extensive research into Korean shamanism since 2011 and her long-term engagement with communities affected by legacies war and division, the film is composed of imagery filmed in Jeju Island, the DMZ, South Korea, North Korea, Kazakhstan, Japan, China, the United States, and Germany. Combining shamanic ritual performances, nature -and cityscapes, archival material, aerial imagery, poetry, voiceover, and soundscapes, the piece is configured as a multi-scalar, non-linear, and layered montage.
