The space with history is made again with the light of dance and media art

The second Won Hyeseong Media Art Show is underway at Won Hyeseong, a World Heritage Site located in Won, Gyeonggi-do. At the media art show, which will be held until October 23, you can see the media facade and media performance that shows video on the outer wall of cultural heritage.

2022 Won Hyeseong Media Art Show-Media Performance ‘New Sun Burak! Rock!’ Is hosted by the Cultural Heritage Administration (CEO Choir Luncheon), hosted by Won Cultural Foundation (CEO Kim Hyun-gwang), Won Hyeseong Media Art Show Director This is planned and proceeded.

The director was played by AHN Jimmying, Won Hyeseong Media Art Show Art Director (Second Wind Stage Art Director), and choreography by the choreographer of the information Hyung Won Hyeseong Media Art Show (CEO of Information Dance Production). Hong Yuri (CEO Wow House) participated as a media artist.

The Diet Korea and Dance Forum had time to talk with AHN Jimmying, an information choreographer, and Hong Yuri, who connect dance and media art at the media art show. The discussion was held by the editor-in-chief of the Dance Forum.

In this discussion, there was an opinion about what media arts are gained by this work, what the synergy of the two genres is, and how to accommodate more than visual pleasures in the public arts.

Soon Dressing: The second Won Hyeseong Media Art Show will be held at Won Hyeseong, a World Heritage Site in Won, Gyeonggi-do. This year, we meet the audience at Hwahongmun and Name Gate, which lasted from September 23 to October 23. The festival is showing not only media facades that project videos on the outer wall of cultural heritage, but also media performances.

Today, I’m going to talk about three people who are close to dance and media art. AHN Jimmying, an art director, an information choreographer, and Hong Yuri. From the story of this year’s work, we can talk about the synergy of the two genres, how the dance with strong cohesion as a pure art can expand the area, what media arts are gained in this process.

How can you accommodate more than visual pleasure in the realm of public art? For reference, last year, despite the Corona situation, about 310,000 visitors were looking for more than expected demand for public art. More visitors are expected this year. What can you convey more than play? First, let’s listen to yourself and talk about it.

AHN Jimmying (Won Hyeseong Media Art Show Art Director and Media Performance Direction, Second Wind Stage Art Director): Won Hyeseong Media Art Show Art Director AHN Jimmying. He has been participating as a director since last year.

Based on dance, we are leading the Second wind Stage, a group that aims for a contemporary convergence art. He started his career with pure choreography, but nowadays, he also serves as a media performance and a media art show art director.

The work of convergence with various people and the direction of my pursuit is good, and the area is naturally expanded to the good opportunities.

** Information Yong (Won Hyeseong Media Performance Choreographer, Information Dance Production Representative) Our organization is a group that pursues the total expression of all arts based on dance, and it is the purpose of establishing that we look at people through art. I am working on Korean creative dance in the contemporary category. Personally, I am also a permanent choreographer above the lip line dance. In Won Hyeseong Media Performance, I was in charge of choreography.

Hong Yuri (Won Hyeseong Media Art Show Participation Media Artist, Wow House CEO): I am Hong Yuri. She is working on media art and runs a multimedia studio called Wow House. It’s been a long time since I started my career, but it’s been about seven years since I made a studio.

As a result of the company, the client’s commission arts are often commissioned, and you can think of it with the public. In addition to the Won Hyeseong Media Performance, media facade and lighting show will be held in Gwanghwamun Square at the end of the year.

Won Hyeseong Media Art Show was the director of the media facade last year and was invited as a writer this year. I like my work. It would have been worrying if I was commissioned for a media facade, but I volunteered for this work because of the media performance.

Soon Dressing: Let’s listen to ‘2022 Won Hyeseong Media Art Show’ first. It is part of the World Heritage Media Art, which applies media technology to the World Heritage Site. Is the World Heritage Festival, Won Hyeseong Cultural Festival, and Congo Great King’s Joint Recycling?

AHN Jimmying: Won Hyeseong Media Art Show is a World Heritage Media Art Festival held in eight regions selected by the Cultural Heritage Administration. This year’s theme of Won Hyeseong Media Art Show, which was selected as a series of consecutive year, was ‘Reform New Town Won Hyeseong’ and the 1.1 km section of Luncheon, which runs from Hwadongmun to Name Gate, was used as a large canvas.

Directors in the directing production team design and direct the festival together. As an art director, I have the development of storytelling, artist curation, and the design, story of the Hwahongmun Media Performance Space.

As you mentioned, four festivals are held at the same time in Won, and each is conducted as an individual festival, so it is not related to each other. However, I know that it is being branded as ‘Healing Pauling Won Hyeseong’ by tying four festivals together to announce the autumn festival in Won.

Today’s media performance will be done in Won Hyeseong CWA Hong mun. After last year’s second Won Hyeseong Media Performance, I was worried about how to make a performance this year, but I would like to work together to make a choreographer to make a convergence work of artists rather than a specific organization. It came out, and I, the Cultural Foundation, and the Director Production Team, sympathized together, so I worked with two people.

Won Hyeseong Media Performance is a bit special this year. Experts in each field gather together to collaborate together and work together. There were also a lot of concerns about the place of cultural property. Since my role as a director is a good role in designing a performance space, I have a lot of concerns about performance topics.

Since last year, I have been researching Won Hyeseong and Congo, so I think that ‘Seonyurak’, which was performed at the time of the poems of Jungle’s mother, Hyegyeonggung Hong, is the best fit with the place of the cultural property called Hwahongmun, where Won Stream flows. It has been set as the motif of media performance.

Sun Burak was a dance that the common people in each region originated from Villa’s stomach play, and it was a beautiful royal court that has been beautifully continued as it was first performed as ‘Seonyumak’ in the Jinking Hong’s Jin Canyon. I wanted to reinterpret the meaning of ‘Seonyumak’ with contemporary win-win and conglomerate.

In addition, I wanted to produce a performance that can only be seen in the World Hyeseong Hwaseongmun, the World Heritage Site of Hwaseong, to fusion with the media facade of Hong’s media. In the past and the present, I am making the choreographer’s media art artist with the heart of the brilliant dream and the future of all things, and I am making a new Sun Burak! Rock!

Hong Yuri: I know that it was the desire of Congo to create a better world through win-win. As he was considered the best king after King Sejong, he interpreted Won Hwaseongsong by creating an ideal city for the people in addition to the purpose of strengthening the kingship.

I thought I would have pursued a new system that wasn’t just good for the authority, but it would have been a utopian that wanted to harmonize with nature and people in it. I also reinterpreted the topic and made the title as Neotropic: The platform of all things. In the ideal place, it expresses things that go beyond all things, thoughts, materials and time and space. It is our common goal to add such interpretation to show the movement of choreography and performers so that it can be shown well.

Information Hyung: As you can see from the picture, dancers appear in the waterway. The waterway is a blocked space, a space where water passes, and a secret small passage that dancers do not recognize each other. There are seven dancers there.

The focus of the dancers was injected into the dancers, such as the energy of water and the power of water. There is a scene where you can’t see each other, but hold your hands together. We all mean that we are all connected together and are invisible, but we combine each other with flowing energy. In the case of Soho’s room, the dance is harmonized, and the dance is harmonious, and the hearts of our hearts are harmonized, and the audience is choreographed with the idea that the audience will feel the happiness of the meaning of life together.

The texture is very energetic. I’m rehearsing my first on-site this Friday. In the meantime, I choreographed the space and the environment in my imagination, but I also envisioned some alternatives that could change the choreography because I thought it would be burdensome if I put it up. When I actually project Hong’s media facade and rehearsed, I wonder how the overall picture will come out.

The gap between the media, the dance and the space is rather inspired

Run Dressing: There seems to be inevitably gap between media facades and dancers. To reduce the gap, you will need a close work. It is quite common to introduce media and digital technologies in dance performances, so it is impossible to classify the usual venue as a wide range of media performances. If so, can you see the differentiated nature of this work as a close contact with the main dance of the media facade?

AHN Jimmying: The difference is the spatially of outdoor cultural assets. There is a peculiarity that it is a task that requires in-depth to think about both ‘dance’ and ‘media’ and ‘space’. In particular, this project is to create a story in the historical space of the World Heritage designated by UNESCO, and the artist’s personality and color are the convergence results.

When the place of media performance was determined by Hwahongmun with seven waterways connected to Luncheon, it was a skeptical reaction to the stage in front of the CWA Hong mun due to safety problems. So I insisted that I wanted to make a stage even in the number. The two gathered here also supported me and supported me, and eventually the Cultural Foundation decided to make the stage.

The special identity of Hwadongmun in Won Hyeseong is a floodgate, and the stage will be set on a natural flowing waterway.

Of course, I think the limits are obvious in the meantime. The limitations are already admitted and working. Since the theater is an indoor space, it can control lighting, but the space called Hwahongmun is an outdoor cultural property, so if the lighting is not good, the media facade may not be seen. But on the contrary, if you emphasize only the media facade, you may not be able to see the dancer too much.

In particular, after the on-site inspection, I was concerned that the media texture would not be seen if the lighting was shot in the water space, and we talked to the artist when we rehearsed our own rehearsal. I did.

Hong is so proud of his work, so he judged that the direction was right. There is still an issue in the pavilion. Because dancers appear on the pavilion, I told you that it should be seen together in the field. Anyway, performance and media art must be combined. If you do something wrong, one will die completely, so the issue of it should be discussed and solved in the field.

In fact, the weight and energy of the world’s heritage cultural property are so great that the gap can be created. It may not be perfect. I have to overcome that part with the energy we are with. In addition, the stage of the pavilion on both sides of the waterway is about 1.2 m, and the movement using a giant object that expresses phoenix and flowers in the space, giving the meaning of two objects that symbolize the space, people and all things together. The background teacher in charge is working hard. The goal is to allow visitors to see this performance and keep them in their minds. After all, this is the beauty of the actual media performance.

Hong Yuri: In a limited space, it is possible to technically recognize the movement of the performers, but Won Hyeseong is not a situation that can be. Normally, when you perform media performances, the video can be buried in the body of the Performer and leads to each other. That’s why I’m very worried about how to do it.

I’m thinking about where to give it to what kind of brightness to give. You have to collaborate with choreography. For example, media arts are dancing with the pillars flowing down. In the industry, the so-called ‘기’. The key is how well you can dance and media.

Soon Dressing: Is there enough time to rehearse in the field?

AHN Jimmying: On-site rehearsal is only caught for only four times. The most important thing in the outdoor media performance is the feeling of the field, but everyone is still imagining the scene (laughs).

As I said before, I installed seven stages in Hwahongmun, but I was worried that it was impossible to install when the first rehearsal was. Fortunately, the Foundation and the director of the production team have considered and respected various variables for the performance, so that they could accelerate the installation of the stage.

However, since the media performance rehearsal is not only proceeded in the field, and the rehearsal of four media facades must be carried out, there is a difficulty to focus on the time and check many things together. So I think it would be the most important to meet and communicate together in the field from the rehearsal period to the first performance.

Three media facades of the entire CWA Hong mun Media Art Show Program are about 15 minutes each for 5 minutes each work, and the media performance is performed for 5 minutes and 10 seconds as a finale work. If you communicate well to go out, the situation will be overcome.

After the first rehearsal, there will be many issues. Of course, there are some concerns that I am worried about the first time when I am the first rehearsal of the Giant of the system.

Show the possibility of dance as a public art

Soon Dressing: The genre of dance is classified as pure art. Normally, the dance that expresses a popular and intuitive theme in a five-minute dance, rather than an artistic work, has been neglected in the sense of events and side jobs.

There is only 20 to 30 minutes of implicit awareness of the work, and even if you participate in the Olympics, you have been in the title, but the choreography does not even make the work as a masterpiece. The concept or role of dance as a public art is not yet established. How is the media art field? Is publicity emphasis compared to that?

Hong Yuri: You may be asking for a project for an individual, but ultimately, I think it’s a work that makes it a good thing for everyone to enjoy. In fact, I started this work against it. All generations can enjoy easily. He said that a work should be pure for more than 30 minutes, but in my standards, I think that the work can be more and difficult, but the field of art is more public.

I think it is important to know how easy to communicate with people with their own philosophy. Although we are working for 5 minutes, we have a great vision that this multimedia art and performance will ultimately be the foundation that can be fully developed in Las Vegas.

Soon Dressing: How do you find artistic satisfaction in it? Not long ago, I saw a book that looked at art as a utility. It was a book that defined art as a function while pointing to the error of art for art, and one of them was to sublimates emotions with elegant beauty.

At this time, the word elegant was more than beauty. The magic of everyday life is a noble and sophisticated magic. It seems that the explanation of the dignity has been stimulated because it has been felt in the art experience that I have lost my strength in front of it.

In addition, there was this advocacy about beauty. It is necessary to have a beautiful work because of hardship in life. Why, usually you are wary of the beauty that is far from reality. The concept of Beauty, which has changed around art history, has concluded that the aesthetic is dealt with, which means that the discussion about beauty has been widened as a concept that encompasses ugly and bizarre.

But the fantastic experience of media art or media performance at these festivals is closer in some sense with classic beauty. Pretty is also an area that is devalued as an art in modern times. But the book mentioned argues that this beauty is worth it to reflect on the hope as a way to overcome life.

I have heard several examples to explain the question. As an artist who mainly works on public work, I think you have been worried about finding artistic justice. How do you find artistic satisfaction in the work of satisfying all ages?

Hong Yuri: I think it’s my philosophy after all. If the World Heritage Hyeseong is a historical manner made by Congo, and it took 8 days from Changdeokgung Palace and held a banquet for mothers, it is a documentary, not art. It will be. But we find and show what happened in this ideal city, and the story of the world of thought and material as a visual language.

The Won Hyeseong work found the motif itself from the artistic point of view. Congo was the person who led the Renaissance in the late Jose on Dynasty, and the folk painting is a practical use of unnamed people in the Jose on Dynasty. I feel a lot of fun and fun. We do not borrow the image as it is, but uses the area of the oriental painting.

We are familiar with the perspective of Western paintings with one vanish point, and people like Picasso have emerged since the impressionist. However, our folk painting ignored the point of view earlier and placed different aspects of what I wanted to draw, so that it was not seen from one angle. It’s funny to say that it is an Oboe, but it’s fun to see the still life. The technique of the small picture that the people of Jose on have been drawn is deployed to make the video on the seven pages of Hwahongmun.

The choreographer is also looking for her interpretation of how she can breathe together in her space called Neo Topic. She did not have a typical traditional dance, but modernly released it. I feel artistic satisfaction and dignity in a different interpretation.

Information Hyung: There are many things I agree. If you say a five-minute dance, I don’t think it’s a work. It’s a very short time, so you can think that the narrative or image implementation that can be put in that time will be somewhat difficult.

But I think this work can be overturned. I was much harder than the 30-minute and one hour of this five-minute work. It was especially difficult to concentrate on thoughts, abbreviate and melt, find what to emphasize in it, and give dynamic. When we first sent media sampling, we had a lot of concerns about how we could exist in this splendor.

It was a time to explore what scented dancers should exist in so beautiful, colorful, and colorful visual colors. I learned a lot by going through a different process from the existing work. The next time of trouble was music.

It was very different from the music work we usually did. When I first listened to the song I composed according to the media work, it took quite a while to interpret unfamiliar effects or nuances. But if you look at anything and look at it, you can interpret another sense. This task is that the paintings that are expressed through analysis, drawing, and reinterpretation can be overthrowing the idea that artistic can be weak because of its boastfulness.

The vitality of the emptiness of the media is synergy

Soon Dressing: How did you find the presence in a gorgeous and huge video?

Information Hyung: The breath of a person, the only small but sometimes the energy of strong breath. Where are our energy heading? I chose energy that can be concentrated, not sporadic, and explored the numerous energy in the direction of water flowing even when I worked on researching dancers. Water flows. I think it attracted a lot of energy in it, including buoyancy and gravity in the water.

Hong Yuri: To attach more, that was why I wanted to work on media performance. Not only the digital art, but also the light, the sound, and the way people make, but the way it is expressed is electronic equipment. It’s fun to make, and it’s good for people to cheer, but sometimes it’s empty. The work of people together has different energy and vitality. In that sense, I think the meaning of this work is great.

AHN Jimmying: After all, everything seems to be completed. In the case of last year’s media performance, I set up a stage in front of the spacious space of Hwaseomun, and each work was integrated in the field. In addition to the work of the media art artist, he played the dance of the dancers as a live cam and used the laser art to create a dance drama.

But this year, I’m working on communicating with another direction. Media art is mostly visually colorful. There are so many things that I feel as I work with the artists as I proceed with the media art show. I also thought a lot, ‘What is a work of art?’ As the choreographer said earlier, I am opposed to the opinion that the performance is not art just because it is five minutes. These parts seem to be felt more in the field.

Nowadays, street dance and practical dance are exposed to the broadcast, so the public’s understanding is high. However, I felt a lot in the field that the public’s response was so good when the media performance was fused together.

Like media art, media performances are as much as human energy as much as creating more than an hour of work, even if it is only 5 minutes. And when only media art was performed, the vitality of the pure energy of the person and the factor of dance with the movement led to a better response. I think it is necessary to see the view of the public, not just the eyes of the same field.

Through this work, I agree with the choreography that I will be able to overturn the preconceived notion that it is art and not art. As each artist’s energy, space, people, and media art, the media performances are combined, and the reactions of the audience are harmonized in many ways.

Not long ago, San Misusage Media Art Fest also worked with Lee Wonk as a choreographer as a performance director. I conveyed it. After all, I don’t think that a work of art is not a long or short running time.

Soon Dressing: You talked about the value of a person. It may be a bit of a nasty question, but I’m talking about the utility of the dance. In terms of economic logic, media performance is far from low-cost efficiency. This seems to have increased the cost as people entered rather than just media facades.

For example, if you reduce costs, you can draw pictures in media art to create a dancing shape, and AI choreography can use technology like a word. How do you see the difference between the video dancing in the media facades and the actual dancing? I want to ask Hong first.

Houri: There are things that can be done with motion capture enough, and you can implement rigging, but there is nothing that can be as impressive as people come out. I mentioned the Las Vegas performance for a while, but even though I set up hundreds of billions of equipment, I finally came out and did everything, and I was very impressed with it.

In the corona period, we talked about meth uses as a means of replacing reality, but in the end, as we learned that it is only a new version of World, it is why we live in confrontation, communicating, giving and interacting with each other. I want to.

Soon Dressing: I told you that any energy and sympathy that can be explained in words happen between people. What if you think about it? If the dance shows the dance of 3D, can we approach the same energy as people? It is not intentional, but we do not define the different reality and aura in language, so we need a more explicit question.

The relatively recent work of Anti-Mu-mu, ‘Dragons’, was performed with ‘Hologram’ because of the difficulties of entering and out of multinational dancers because of Corona. Korean dancers actually appear, but other dancers are expressed as holograms. What if the technology is more sophisticated and can be implemented like a real person with a hologram? Can human dances impress it?

Information Hyung: I have worked when I was serious. It was an Arc Partner of Arc and Diehard Arts Theater. As the spreading situation became serious, he said that he would give up the performance when he was offered to switch to a video after three days of leaving three days. I thought it was meaningless unless I made a living performing art. If you have to be alive, there must be a person, and people must breathe. In our work, the dancers are breathing in the artist’s media, and the beautiful things are embodied. You will know.

Possibility of permanent performance of specific media performance

AHN Jimmying: Most media performances are within 10 minutes. In fact, the regret of five minutes for two people was told to continue as a work that could be expanded if it was a good opportunity. Of course, this work is a strong personality of a place specific media performance. But there is a story that exists in it, so it can be another direction to embody it.

There is a desire to expand the good contents that are made into a performance that can convey both artistic and popular sensibility to the audience, such as a large performance in the same place as Las Vegas. In fact, if you want to make such a performance, resources and the environment should follow. There is a limit to investing by an individual.

Currently, the costumes and objects that are currently produced will also give us a lot of meaning in many ways, and it is important to continue to develop good content in many ways, but we are already worried about scalability because it is important to continue to develop good content. It is not uncommon for three artists with firm colors to collect energy like this.

Fortunately, there is no big hit yet. Even if there is a bump, I think that a perfect artist is a person who can communicate and combine it together to produce good results. And I said before, but I was so grateful that I was always worried about the information that I was making the work we are working together for five minutes so that we can break the prejudice of not the art. In fact, media art is already popular.

And I personally think that art that can be best matched and fused with the arts of media art is a dance. Dance is an art that speaks in the language of the body, and the expression is maximized when it is harmonized with music, and media art is also a very contact because it is an art that is close to music and visually. As a result, media performance work with media art is more desire to continue and develop in sustainable directions.

** Run Dressing: The biggest reason for being discarded once is a place of place and an actual performance. To save the identity of the place is that it is not meaningless or meaningless. Since it is a performance that is designed to fit the Hwahongmun, it is necessary to have the meaning of the world’s heritage and to be permanently developed as a repertoire. In terms of media facade, the meaning will be reduced.

Hong Yuri: I work according to the nature of the place and the building. Everything is a new production. It’s a custom by pulling out the things that fit the best. This is what I aim. If you go to Hangzhou, China, there is a place called West Lake.

There is a permanent operation. There are a lot of performers, the media is associated, and the night show is presented. In Korea, I dream of creating such results and do this media performance. If there is a Cultural Heritage Administration or an awake public institution, it seems to be able to make these plates.

I have been thinking for more than a decade that I want to settle a permanent performance using the media in Korea. I finally tried this, and I want to give our people a chance to develop a little further and see a perfect performance and art. Furthermore, I hope to be a cultural resource that can come from abroad to see this.

Information: Domestic in Korea has a low understanding of site-specific. There were quite a few performances that pursued it, but there are not many success stories. The audience’s understanding is low, and I don’t think such a real environment was created. Since there are so many beautiful spaces in Korea, there is an expectation that if it is realized, it will be a K-art performance that represents Korea.

Soon Dressing: You told me about making permanent performances with tourism products. There is a risk for outdoor actual performances.

AHN Jimmying: Actually, it is very difficult to prepare for the weather. In the case of Won Hyeseong CWA Hong mun, there is a waterway where water in Luncheon flows, so when it rains a lot, the water level increases, so you can’t perform due to safety problems. There are some places where you can prepare for variables depending on the place, but most of the outdoor actual performances are very unfortunate, but there is a limit to canceling the rainy season.

Hong Yuri: Faced is not a big problem except for a situation where the equipment is wet even in the rain. There is a dangerous situation because of the rainstorm, but it is easy to proceed.

Run Dressing: In order to continue the media performance work, financial resources are important. Does this media art show receive the support of the Cultural Heritage Administration?

AHN Jimmying: If you look at the percentage of total resources as 10, the Cultural Heritage Administration and Suwon-si support 5 to 5 each. The Cultural Heritage Administration is a way to select local and cultural assets by holding a competition for local governments all over the country.

It has been in progress for two years since last year, and until this year, it is limited to UNESCO World Heritage Site. It is increasingly expanding because it is a project that helps visitors and citizens to respond to the sustainable value of cultural assets, but also helps to revitalize the local economy.

Last year, five regions were selected, and a total of eight regions were selected this year, and media art festivals were held until November. In particular, Won Hyeseong is the only place in the metropolitan area, so many people will find it this year.

As an art director who loves media art, I am positively seeing the direction of expanding media art shows. He is also a dancer who majored in dance and a media performance director, and is more serious about the direction that dance art can meet media art and move into a content that can cause sustainable synergy.

Hong Yuri: The characteristics of Won Hyeseong are clear among the cultural heritage media art projects. There are many cases where the ruins have been completely preserved until now, and there are only the minds of the ruins. If you go, there are only a top of the top, or you have to imagine reality. Won Hyeseong, on the other hand, is built in the 18th century and remains a very good condition, allowing media work to fully utilize cultural heritage. The response was even better because good legacy and good work could be combined.

AHN Jimmying: As there is a support, Won seems to be a little willing to permanently manage the media facade in four seasons. In fact, when people enter, labor costs naturally rise, so I think there are times when people will be able to avoid their own performance.

This is because there are more issues such as safety issues and operations, not just by making a performance where people enter. The media facade also contains the energy of a lot of people until it is made and performed, but once it is completed and stabilized, it is often operated by the field personnel.

That’s why we need to accumulate and accumulate know-how about how these issues to overcome in the future. What is certain is that the fusion of media art and various arts is expanding these days, and it is the role of our artists to consider these parts because it is a contemporary flow. I want to be a person who can connect this in a sustainable direction.


I feel a lot of charms in the same work as media performances that make public works of art. Instead of simply enthusiastic with the trend of the moment, you should develop the power to sustain the work and work that encompasses all generations as Hong said.

Hong Yuri: Media Art is a task that costs a lot of initial investment, but once you do it, it doesn’t cost any additional costs. But when you start to permanently, you need to worry about how to change the content. If you don’t want to be bothered, you have to replace it up to 4 months term, and the cost of entering each time is high. The budget and will have public institutions are required.

Soon Dressing: Persistence is important. Is the Media Art Project in Won next year?

AHN Jimmying: Yes. The Media Art Project, the Cultural Heritage Administration, was selected through the competition every year, and Won Hyeseong was selected next year. I don’t know what will change in the crew next year (laughs).

Anyway, next year, media art shows will be held in eight regions including San Maitreya, including Won Hyeseong. I don’t know how media performance can move in, but I’ll try to create a meaningful connection next year.

To increase the completeness, you need to share the different tasks

Soon Dressing: I think there are some things that I would like to complement it in the finishing stage or the next work. Do you want to reflect some dancers or dancers? The same goes for the opposite case. What if you give advice for those who work later?

Hong Yuri: Actually, I was curious about the process of choreography. How to deploy them, what rules for the performer, and what they do. In our case, for example, even if a choreographer is in the video, it draws everything in a picture.

It would have been better if I had met the dance costume and explained our intentions. Now, the designer is looking at the storyboard and making a costume. I just delivered opinions that it would be nice to have a Lion King. I’m a visual person, and I thought it would be nice to breathe a bit more closely because it was the same as the costume, but I think it was not enough time.

Information Hyung: As you said, I keep sharing the intermediate process but not making it together. In the environment, dancers are not able to see the media work, so they are giving and receiving the results.

The costume is done by a background teacher who has a lot of dance. I met you first and told me about the direction of work. It is not a traditional dance, but a contemporary work, so if you wear a Korean costume, you will be heterogeneous and unexpected.

It seemed to have been worried because the dance and videos had to be designed to implement the story as much as possible. Working with Media Facade is challenging everyone who has been working on dance.

AHN Jimmying: If you made a media performance in the form of a free individual project, you would have been able to find a lot closer connections. It’s hard to match the action of the media art. If you have a chance later, you may be greedy to make a more precise work.

I had a lot of discussions in the process of making a giant object with the costumes with the background teacher. I am looking forward to how the dance, media art, costumes and objects will be harmonized in the field.

Hong Yuri: One of the things that was a bit disappointing in last year’s performance was that the costume was so traditional. I have a doubt about whether it is perfect to reproduce the Bake era as it tells the story of Bake. As it is an art work, not a testimony, you can say that you should talk about tradition and history with a modern sense.

Soon Dressing: Did you have any erotic? It’s a part of the media artist.

Information Hyung: I was rather difficult to music. The choreographer listens to music and comes out with speed, but this time, the music is not well measured. There are slow music, fast music, and middle fast, which was unfamiliar with what it was. I needed more time to adapt because I had to match the exact timing with the video.

At first, the music reference came once in the middle while imagining the image of the space and how to make the media. I started to match the music with a pounding heart, but I had a lot of unfamiliar sounds and effects.

Everyone was somewhat embarrassed, but when I looked at the scene repeatedly, the music was soaked in movements at some point. The dancers suddenly said that the music was so good while experiencing the scenes where movements fell to the sounds. I remember laughing for a while.

Hong Yuri: Music was done by a producer who worked with me. At the event last year, I worked with the Korean traditional music, and this time I asked the producer SEO, who had a contemporary style, to add a tradition.

As a result, there are different music that matches the four-story structures for 5 minutes. It’s a song, but it’s more likely to have more troubles from the choreographer because tone and manners are harmonized almost every minute. Media art is a short time because it is a work that satisfies vision and hearing.

Information 경: Dance should flow, but when you try to get a flow, the music is cut off. Various colors of music were made short, so I used tone and manners, and I thought the breathing of the scenes was too bad. But there’s a special charm in it, so it’s fun to do something new. It’s a really fun task, you can expect it (laughs).

Soon Dressing: How was the studio rehearsal a few days ago?

Hong Yuri: I was very good. I’m too powerful, and I’m sure it’s beautiful in the field. But my homework has increased. It’s not a task in which everything is controlled in real time, so I have a lot to worry about.

Since the performance of the performance should be revealed, it seems to be a hard time to modify and modify it. Since the picture is drawn one by one, 30 is entered every second, so it enters a lot of places to rehearse and adjust in a short time.

Soon Dressing: Thank you for this in the face of the performance. I’m curious about what kind of performance it will be. Lastly, I will hear the words that I can’t do one by 1. See you at Won Hyeseong CWA Hong mun, where you can finish the field rehearsal next week and have a media performance.

Hong Yuri: In a historic space, each genre of players gathers to interpret the World Heritage with its own philosophy. I hope you will find a lot of good autumn nights, saying that you have worked to breathe with the visitors, not just by the artist, but not only the artist’s ONG Ram.

AHN Jimmying: I think that you can work with people with good minds. I hope many people see the World Heritage Won Hyeseong where people live together in that alive. Since art is not a fixed time and framework, I hope you will find your own meaning, 5 or 10 minutes.

Won Hyeseong Media Art Show will be held for a month from September 23 to October 23, and media performance will be performed at 7:40 and 9:00 on September 24 and October 8, October, October, 15, and 22. Please come to see Won Hyeseong Media Performance a lot (laughs).

Personally, I will do my best in various roles in the future because we are attracted to the development of historic and publicity stories with the direction of connecting the dance and media art that moves in the language of the body.

Information: Don’t think that you reinterpret the tradition, and I hope that young artists with the spirit of the present era are focused on how they look at the tradition. Thank you