Video Digital Commons

Symposium Contributor

Ma Jung Yeon
Born in 1980, Seoul. She graduated from the Graduate School of Film and New Media, Tokyo University of the Arts, with her doctoral dissertation on the social implications of art and media technologies. The doctoral dissertation was later published as A Critical History of Media Art in Japan (Artes Publishing, 2014). Her recent publications include Seiko Mikami: A Critical Reader (NTT Publishing, 2019: co-editor), “Exhibition Spaces Emitting Light and Sound: Contemporary Art and Image Media” (in Doing Screen Studies in Japan, University of Tokyo Press, 2019), “Power of Language” (in Zero Gravity World, exh. cat., Seoul Museum of Art, 2019), “The Operating Method of a Panoramic Imagination” (in To the Wavering, exh. cat., Seoul Museum of Art, 2020), Paik-Abe Correspondence (Nam June Paik Art Center, 2018: co-translator) and Koki Tanaka: Reflective Notes [Recent Writings] (Art Sonje Center + Bijutsu Shuppansha, 2020: co-translator). She is currently working as an associate professor at the Department of Film and Media Studies, Kansai University, Japan.

Park Sang Ae
Sang Ae Park is an archivist and Head of the curatorial department at Nam June Paik Art Center, Korea. Her areas of practice are art museum archive, media art archive, and Nam June Paik. Park manages and researches Nam June Paik Art Center archives. Among her recent projects are Paik’s archive and video archive management, Nam June Paik Art Center Interviews, videotape analysis, research monograph publication, and among others. She obtained her Ph.D. from Yonsei University, Seoul, for her dissertation A Study on Factors in Type-Specific Use of Video as an Information Source. She co-curated Extraordinary Phenomenon, Nam June Paik (2017), and Humor Has It (2021). She has edited research monographs, including Paik-Abe Video Synthesizer (2011), Nam June Paik Art Center Interviews (2012-2020), and Paik-Abe Correspondence (2018). She is interested in media art archive, single-artist museum archive, digital museum practice as well as Nam June Paik.

Wolfgang Ernst
Dr. Wolfgang Ernst Having been academically trained as a historian and classicist with an ongoing interest in cultural tempor(e)alities, Wolfgang Ernst grew into emergent technological media studies and is now Full Professor for Media Theories at Humboldt University Berlin. His research focus covers media archaeology as a method, theory of technical storage, technologies of cultural transmission, micro-temporal media aesthetics (chronopoesis), critique of history as the master discourse of the cultural and technological time, and sound analysis from a media-epistemological point of view (time objects and time signals). Among his recent books are Technológos in Being (Bloomsbury, 2021), The Delayed Present: Media-Induced Tempor(e)alities & Techno-traumatic Irritations of “the Contemporary” (Sternberg Press, 2017), Sonic Time Machines. Explicit Sound, Sirenic Voices and Implicit Sonicity in Terms of Media Knowledge (Amsterdam University Press, 2016), Stirrings in the Archives: Order From Disorder (Rowman & Littlefield Publishers, 2015), and Digital Memory and the Archive, edited and with an introduction by Jussi Parikka, Minneapolis / London (University of Minnesota Press, 2013).

Alexandra Juhasz
Dr. Alexandra Juhasz is a Distinguished Professor of Film at Brooklyn College, CUNY. She makes and studies committed media practices that contribute to political change and individual and community growth. She has a Ph.D. in Cinema Studies from NYU and is the author/editor of AIDS TV (Duke, 1995), Women of Vision: Histories in Feminist Media (Minnesota, 2001), F is for Phony: Fake Documentary and Truth’s Undoing with Jesse Lerner (Minnesota, 2005), Learning from YouTube (MIT Press, 2011), A Companion to Contemporary Documentary Film with Alisa Lebow (Wiley-Blackwell, 2016), Sisters in the Life: A History of Out African-American Lesbian Media-making with Yvonne Welbon (Duke 2018), AIDS and the Distribution of Crises with Jih-Fei Cheng and Nishant Shahani (Duke 2020), and Really Fake with Nishant Shah (U MN Press, 2021). She is the producer of educational videotapes on feminist issues from AIDS to teen pregnancy and the feature films The Watermelon Woman (Cheryl Dunye, 1997) and The Owls (Dunye, 2010). Her current work is on and about feminist Internet culture.

Sera Jung
Sera Jung is the founding director of The Stream (www.thestream.kr), a digital archive platform of Korean video arts. Her researches and curations are concerned with public archives of video and media arts and the expansion of art criticism. As a guest curator of Film & Video, the National Museum of Modern and Contemporary Art (MMCA), she planned the exhibition Video Symphony: An Overture of Connection, Disjunction and Conjunction as part of the event Dear Cinema: difference and repetition (2019). She also curated several exhibitions for the mapping of contemporary Korean video arts; Video Portrait (2017), Video Landscape (2018), Video/Spectrum/Dance (2019), and Video Acts (2020). She lectured at Hongik University, Pusan National University, Konkuk University, and Seoul Institute of the Arts. She has worked as a committee member of the Video Art and Experimental Film Archive, the Asia Culture Center (ACC), the advisory committee member of UNESCO Media Arts Creative City Gwangju, and as an editorial member of AliceOn, a media art culture channel.

CAMP
CAMP is a Mumbai-based collaborative studio. It has been producing provocative new works in a practice characterized by a hand-dirtying, non-alienated relation to technology. CAMP’s projects have entered many modern social and technical assemblies: energy, communication, transport and surveillance systems, ports, ships, archives – things much larger than themselves. These are shown as unstable, leaky, and contestable “technology,” in the ultimate sense of not having a fixed-function or destiny, making them both a medium and stage for artistic activity. CAMP’s work has been shown in global venues, as well as India, including MoMA New York, Tate Modern, Serpentine Galleries, HKW Berlin, Ars Electronica, Anthology Film Archives, Sharjah Biennial, Kassel Documenta and Skulptur Projekte Münster, and also in the streets and markets of cities around the world. From their home base in Chuim village, Mumbai, they co-host the online archives Pad.ma and Indiancine.ma, and run a rooftop cinema for the past 14 years.

Hanna B. Hölling
Dr. Hanna B. Hölling is an Associate Professor in the Department of History of Art, University College London, and Research Professor at Bern University of the Arts. Her research, publications, and teaching focus on the art and cultural developments since the 1960s and 70s and on aspects of time, change, materiality, and archive in relation to how we conceive of artworks in terms of objects that endure. Her publications include two monographs: Paik’s Virtual Archive: Time, Change and Materiality in Media Art (University of California Press, 2017) and Revisions-Zen for Film (Bard Graduate Center, 2015), and three edited volumes: Object—Event—Performance: Art, Materiality and Continuity since the 1960s (Bard Cultural Histories of the Material World series, expected in 2021), Landscape: Institute for Land and Environmental Art (co-edited with Johannes M. Hedinger; Vexer Verlag, 2020) and The Explicit Material: Inquiries on the Intersection of Curatorial and Conservation Cultures (co-edited with Francesca Bewer and Katharina Ammann; Brill, 2019).

Hyun Seewon
Hyun Seewon is a director of Audio Visual Pavilion and an independent curator. She launched the independent publication Walking Magazine with Inyong An and Sara Hwang in 2006 and published seven issues of the magazine. As a curator, Hyun curated exhibitions including Museum Route (2016) at the National Museum of Modern and Contemporary Art in Gwacheon, Human Scale (co-curator, 2014) at Ilmin Museum of Art in Seoul, and Chunsoo Mart 2nd Floor (2011 and 2012) at National Theater Company of Korea and Festival Bom in Seoul. Hyun has also published several books on curating and contemporary art and image, such as Extremes of Design (2010), Object Excursion (2014), and Speaking with Empty Hands (2017).