10'45", Single Channel Sound & Video Projection, 2005
Text by Adnan Yildiz
Exhibition Catalog "An Atlas of Event", 2007, Fundação Calouste Gulbenkian, Lisbon
Before performing for an organisation that works for Afghan women’s rights, Peaches was talking about how she felt: “It’s about how you need nothing to entertain everything… I want to bring people to the party who haven’t been included.” What Peaches transmits to her audience is very similar to what Minouk Lim is highlighting in her video installation New Town Ghost (2005), and both women are particularly unique and sensitive in describing their zeitgeist. Generations that lose their understanding of definitions need heroes or heroines to reformulate their existential crises, without them neither audience nor citizens can survive.
In the video, we see a young woman as a slammer and a drummer who performs on top of a truck. Her short hair and wild eyes convey her aggressive demeanour. She is hanging around the streets of Yeongdeungpo in Seoul. For more than a century that part of the city has been an important industrial area, and recently it has been transformed into a ‘new town’. Yeongdeungpo is a symbol not only for Minouk Lim but also for other Koreans of the same generation. Lim transforms the perception of space into a dystopian form of hope, a retrospectively sarcastic belief for a better future and a sort of resistance to change. During her trip, she uses a megaphone to read a text that talks about the new mall, the housing complex and the economy of the ‘new ghost town’. New ghosts and new hosts for those ghosts…
As part of a number of collective activities and experimental collaborations (General Genius, the Pidgin Collective, etc.), Minouk Lim searches for possible positions of constructive criticism and ironic criticality. Through her works, she takes a more active stance towards the absurdities and problems of reckless development and the financially driven landscapes of our society.
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