hara shin

[harashin]

SPECULATIVE ATLAS

3 channel video, HD, color, stereo, 2020 

channel 1_Ellipse and Grid_, 3:00min. 

https://vimeo.com/449163302 

channel 2_Spiral Horn and Crystal_, 3:15min. 

https://vimeo.com/449165936 

channel 3_Map of the Image_, 3:30min. 

https://vimeo.com/449490158  

single-channel version, 9:00min. 

https://vimeo.com/449725474  

photo: 4 video stills and an installation view

_ Speculative Atlas is an unfolded and moving collection of images. This work deals with how images are collected and placed in digital space. It makes the possibility of the pseudo-archive and realizes intangible proximity and remoteness between virtual and physical materialities. The work reflects the ways of collection, display and aesthetic appreciation of images on the Cabinet of Curiosities that natural and artificial objects are displayed together with the aspiration about new experience and knowledge, and the substitute for imaginary experiences. Images in that form are found but reframed, realistic but fabricated, and public but private.

[harashin]

SPECIMEN RESEARCH #001, #002, #003 

#001_inkjet print, 60 x 45 cm, 2020 

#002_inkjet print, 40 x 65 cm, 2020

#003_inkjet print, 30 x 40 cm, 2020

free to rotate and reverse

_ Specimen Research series are photographs created through combination and alteration of various images, and accumulation of viewpoints from different angles. The ‘specimens,’ such as images suggestive of space, replicas of natural objects, graphically created water droplets, etc. merge with one another and create an unfamiliar scene.

[harashin]

CACHE 

3D-printed model, steel, memory foam, DTP on fabric, Dimensions variable, 2020

photo:  installation views

_Cache is an installation in which a digital image is rec-ognized as a three-dimensional structure. It is the prod-uct of re-summoning images, which once circulated in virtual space, into the physical territory. ‘Cache’ signifies a hideout, and is also a computer term for a high-speed memory device that temporarily stores data. Images converted into objects are deprived of the identity as digital data, and can no longer be stored permanently nor alter fluidly. Granting a ‘body’ of reality to a digital image is an attempt to remember and preserve it in al-ternative ways. The installation functions as a ‘hideout’ that connotes the identity from the digital territory.

[harashin]

HYPER-COLLECTIVE

installation, single-channel video, silent, 5:22 min., loop, digital colour-print, smartphone, 3D-printed model, acrylic box, sand, artificial grass floor decking, air pump hose, stainless steel ball, silicon, dimension variable, 2019

photo:  installation views of version 1 and 2 

https://vimeo.com/345954707

 Hyper-Collective is a synthetic image collection. It presents a synthetic landscape consisting of artificial bodies and imitations of nature. They partially mimic body and nature to perform their given roles and form a temporal collective. The ambivalence about their existential meaning and uselessness hinders contextualising as technical or organic.

[harashin]

MOUTHLESS DIALOGUE

single-channel video, HD, color, stereo, 6:07min., 2019 

Sound : Kajsa Antonsson

photos: 2 video stills

https://vimeo.com/345947013

 Technology and digital imaging allow us to optimise alternative experiences to satisfy a certain absence in reality. The optimised state is simulated in the scope of artificial alternatives such as artificial sun-lighting for light therapy, machine-made nature sounds to relax the body and mind, ASMR and cosmic and natural images, screensaver-like, on the computer screen. The human psyche encounters the vulnerable and subtle tension of reality surrounded by technical illusions.

[harashin]

SLIMY ABYSS

Installation, VR film, 2 c-prints - each 40 cm x 40 cm, 180 cm x 40 cm, 2019

This work is a slimy confluence of a sea creature and an artificial body organ.  Vilém Flusser has written a book called Vampyroteuthis Infernalis describing squid as the most opposite of human being. Materials used for artificial skin have been many advanced in technology and now have very similar textures to real skin. This slimy material, unlike human, often evokes the Uncanny Valley. In this work, the material for artificial skin is associated with a sea creature, especially squid. 

...

Slimy Abyss

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Swallower

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Alchemist

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Optimistic Messenger

…

[harashin]

IMMATERIAL MAPPING

single-channel video, HD, color, stereo, 11:11, 2018 

photos: video stills 

https://vimeo.com/337362177

As an experiment in digital topography, the scenes drift along within the cognitive space — habitats and spheres of actions in nature, cities and cyberspace. With ten assumptions for the immaterial mapping presented in this video, images of various textures such as bubble, clay, sand, stones, plastic, glass, and plants consecutively interact with real and virtual spaces to perceive spatial impression and their incomplete localisation. By reflecting on the possibility of drifting between perceived space and real space in the digital era, the work deals with an expanded sense of space and a disorientation in between those spaces.  

[harashin]

SCREEN SAVIOR

single-channel video, HD, 21:9, sound, color, 09:17 min., 2017 

English subtitle 

https://vimeo.com/308000447

Overlaid onto an image of a bird’s eye view of an empty landscape, a former US Air Force drone operator confesses to his traumatic experiences. The landscape is lent a dystopian air by virtue of his confession. The video explores the human desire to dominate in higher places. It reveals interdependence between the surveillance technology and social political motives. 

 Text 

except from “Interview: Former US Air Force Drone Operator” 

www.abc.net.au_ www.kenfm.de_ www.npr.org_ www.theguardian.com_ 

preview

https://www.youtube.com/watch?v=C3aC4aVnzL8