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Denmark

Albania

This short film embraces the culture of a small minority in Tirana, making them feel more seen and included.

Albania

The Skanderbeg Square is a beautiful place and space for inclusion in daily life in Tirana. The site welcomes you the way you are, the way you move, the way you sound and the way you appear. When I first came to the square I was overwhelmed by its diversity and complexity. I got inspired to use the inclusive concept of football to get in contact with locals in Tirana and create the Dreamteam of Skanderbeg Square.

United Kingdom

The Milk Float was conceived by Global Generation, Jan Kattein Architects and young people from Somers Town. The left side of the vehicle is equipped with a kitchen featuring a gas stove, lighting, storage and running water. The right side is equipped with hand tools for gardening. The rear has a micro gallery displaying projects and artefacts made during community workshops. The electric float is being deployed in the ‘Knowledge Quarter’ across Somers Town, West Euston and Kings Cross. It unfolds on arrival, embraces its location and calls for attention with its brightly coloured canopies and electric lights. Global Generation run community programmes out of the float including ‘Lunch and Learning,’ ‘Twilight Gardening’ and various making programmes. Working in schools and housing estates and with community groups, the float can service allotments, gardens and neighbourhood parks and support the planting of tree saplings pre-grown in a local community nursery. At the end of each day, the tools go back in to the float, the canopy is folded up and the float moves on to its next destination leaving behind the legacy of a communal meal, a joint building effort or seeds for a new season. The activities inaugurated around the float eventually take root. Adopted by neighbours, citizens, residents, workers, constituents and playgroups they develop a permanent presence, becoming centrepieces of truly public spaces.

Austria

The increasing use of digital technologies and the gigantic amounts of data collected in the process sparked my artistic interest in the question of how we can reclaim these technologies and use them in the artistic disciplines. The starting point for digital and analog processes was the cellular automaton, which was introduced around 1940 as a universal computational model and was considered the essential basis for artificial life. In this video, I used some footage from my smartphone and combined it with a Game of life interface algorithm pattern based on the cellular automaton. On the one hand the situation of a romanticized real nature and on the other hand a digital development of artificial life contrasts and connects both worlds clearly showing the dependence.

Korea South

The other path that Shin presents us with in Acrobat (2021) is one that draws us in from outside the stage. This is not the sort of route we find on a navigation device, which guides us toward our destination based on measurements and calculations. This route is a long way away from recorded data volumes and efficiency. It guides us into a place where years of dust drift, a place that exudes the characteristic damp odors we find underground. In Acrobat, Shin proposes ways of interpreting space through the senses. Both videos are set around intake stations, which were used in the past to store water but are no longer employed today. Dried up and (seemingly) fated to remain unvisited by anyone, they call to mind enormous time capsules that remain sealed past their scheduled opening date, their whereabouts unclear. They also resemble stones that were raised to commemorate something in the past that no one visits anymore. Inside this discontinued intake station is a person – a person who feels, measures, and seeks. There is no defined route. Yet he moves nimbly and constantly, keenly sensing the floors, the walls, and the structure. In the world in which he perceives, the once-solid order of the “named” takes on a flexible quality. In a sense, the staircase is not a staircase to him. Named things are reinterpreted like, length of stride, body width, and grip strength: a tread-board for the feet, and a railing to stop the body from falling. These experiments suggest that with his physically based explorations, Shin Jungkyun sought to open up new structures and paths as he diluted the meaning of each individual element. The Acrobat suggests a more roundabout path to those of us who firmly believe that we are already predicting the path toward tomorrow, or who balance between anxiety and helplessness as we wonder how valid the paths we have established will remain. It also poses a question for us: what should we be latching on to as we proceed toward the future? The bright light of a lamp that whites out whatever clue we’ve managed to find? Or a finger capable of sensing all the roughness and quivering of a surface? Sometimes, the things that we view as the most obviously reliable are the ones that lead us to ambiguous places. It is in this context that Shin Jungkyun reactivates the expired time capsule, entreating us to move along its length, width, and depth – setting today in motion in the process. Most of all, he asks us to be awake in this place where no path to the future can be found.