Phantom vertiginous audiovisual performance work addresses the Yeosu-Suncheon Rebellion (1948), one of South Korea’s dark historical traumas whose immediate aftermath (the number of casualties overall is estimated to reach 10,000) and long-term repercussions in effectively establishing the ‘red scare’ or anti-communism proved vital, or rather, lethal to many lives as well as the egalitarian imaginary in post-war South Korea. The fact that the portrait photographs in the film are not those of actual victims but of people taken later in the same area –which Lee got hold of from a local photo studio– further complicates the question of “recognition”. One is thus tempted to suggest that Phantom paradoxically serves to forget these faces, along with the historical trauma of the massacre, in seeking to remember them. (Yung-Bin Kwak, Fireworks and Massacre in Grey (Spasmodic) Room)
Phantom vertiginous audiovisual performance work addresses the Yeosu-Suncheon Rebellion (1948), one of South Korea’s dark historical traumas whose immediate aftermath (the number of casualties overall is estimated to reach 10,000) and long-term repercussions in effectively establishing the ‘red scare’ or anti-communism proved vital, or rather, lethal to many lives as well as the egalitarian imaginary in post-war South Korea. The fact that the portrait photographs in the film are not those of actual victims but of people taken later in the same area –which Lee got hold of from a local photo studio– further complicates the question of “recognition”. One is thus tempted to suggest that Phantom paradoxically serves to forget these faces, along with the historical trauma of the massacre, in seeking to remember them. (Yung-Bin Kwak, Fireworks and Massacre in Grey (Spasmodic) Room)
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