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I was lucky enough early last summer to see a certain video installation by filmmaker Park Chan-Kyong, called Gathering. The exhibit was comprised of a collection of short films shot in the negative, as well as a towering widescreen triptych film, Citizen’s Forest. Happens that he is Park Chan-Wook’s lesser known (but way cooler) little brother. The name rang a bell very fast because I used to watch Chan-Wook’s movies quite a lot in my early teens, but Stoker was so bad I think it sobered me up. In hindsight I regret not taking videos of Gathering because I think of it often. I always tell myself, “be in the moment—everything’s online, you’ll find it later.” But everything is in fact not online, and while the impermanence is sad, it is also so necessary. It makes the experience all the more special and it tells us to go out and do. That we are missing things. It’s imperative that we see art without the presumption that we’ll ever see it again. That the internet should not facilitate certain things. I think it’s just splendid. That exhibit was the only exhibit I refrained from filming that day—that one piece that puts you in a mood, that you leave the museum with and it sticks to you forever. It sucks that you can’t find much of his work online but I’m happy with the memory.
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Jan 8, 2025

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