P A R K
H Y E - I N c u r ato r p o r t f o l i o
ABOUT me
As an art historian and a curator, I have been seeking a way of dealing with combining a space and cultural identity through art works. I have opened many different approaches to make a creative result with new perspective by researching, writing, and curating an exhibition.
CONTENTS
CV
writing
06. curating
01. Place, the end of one’s journey Exhibition in Berlin
02. Subculture collectives Exhibition in Berlin
03. Life and Death of Urbanity Exhibition in Dessau
research
04. Refugee and home where one feels a sense of beloinging Master thesis project
05. Art and Gwanghwamun Square for Public Master research project
History of crash, melancholy of Istanbul Master research project
07. Law and disorder in Johannesburf, 2008 Essay
h y e i n pa r k born 1989 in Seoul, Rep.of. Korea lives and works in Berlin, Germany
+ 49 176 6288 6446
8ein.park@gmail.com
E D U C AT I O N 2014 - 2016 Anhalt University of Applied Sciences, Bauhaus, Dessau, Germany
Master of Monumental Heritage Management
Thesis: 'Refugee and home where one feels a sense of belonging'
2008 - 2014
Duksung Women’s University, Seoul, Rep. of Korea
Bachelor of History / Art history (Double Majors)
Thesis: ‘United States Indian policies and Indians struggle after the displacement of the American Indian’
2012 - 2013
Dickinson State University, Dickinson, United States
Exchange student program
a w a r ds a n d com p e t i t i o n
2017
Selected by GlogauAIR Berlin Open Call for curator
“Place, the end of one’s Journey”, GlogauAIR, Berlin, Germany
2016
1st Grand Prize at “Silk Road, Yesterday, today, tomorrow” exhibition
Has Sanat Gallery, Kazakhstan 2014
1st Prize at Chair Design Competition
International Graduate School, Anhalt University, Bauhaus, Dessau, Germay
sc h o l a r s h i p 2009 - 2012 Academic Achievement Scholarship
Duksung Women’s University, Seoul, Rep.of Korea
e x p e r i e n c e 2017 NUC Electronics Europe, Frankfurt am Main, Germany Exhibition manager / Sales Assistant 2016 - 2017
Subculture Collective, Berlin, Germany
Art Adviser / Curator 2016 Aanant & Zoo, Berlin, Germany Gallery internship
Masaki Yada Art Studio, Berlin, Germany
Art studio assistant
c u r at i n g E x h i b i t i o n 2017
“Place, the end of one’s journey” at GlogauAIR,2017, Berlin, Germany
curator, exhibitor
“Subculture collectives” at Blue Art Space,2017, Berlin, Germany
co - curator, exhibitor
2015
“Life and Death of Urbanity” at Bauhaus, 2015,Dessau, Germany
curator, exhibitor
e x h i b i t i o n p a r t i c i p a t ed 2016
“Flap one, Monkey dead ....” at Aanant & Zoo, Kunstsaele, Berlin, Germany
art handling, exhibition arrangement
“Skits” at Staatliche Kunsthalle Baden - Baden, Baden - Baden, Germany
exhibition arrangement, art handling, VIP guests management
“VIEW MASTER” at Aanant & Zoo, Berlin, Germany
exhibition arrangement, art handling, VIP guests management
“To lie in the Cheese, to smile in the Butter” at Kunstsaele, Berlin, Germany
exhibition arrangement, art handling, VIP guests management
P u b l i c a t i o n s 2017 The history of abstract art, Expose Magazine, 2016 Collectors tip, Framing, Expose Magazine, 2016 The art of lighting, Expose Magazine, 2016
P E R S ONA L S K I L L S AN D CO M P E T E NC E S
Language Korean Native Language English Fluent German Basic Computer
MS Office High
llustration High Photoshop High InDesign High Dreamweaver Basic
Window, MAC High
c u r at i n g
01. Pl ace, the end of one’s journey 0 2 . S u b c u lt u r e c o l l e c t i v e s 0 3 . K u r i o s i tät e n k a b i n e t t C a f é D e at h a n d l i f e o f U r b a n i t y
01.
Place, the end of one’s Journey 15 - 16 december 2017 GlogauAIR Berlin, Germany
A s e n s e of p l a c e t r a d i t i o n a l l y h a s b e e n i n t e r p r e t e d
I n J i n r a n H a ’s i n s t a l l a t i o n w o r k , “ H a u s d e r F r e m d e ( 2 ) ”
a s e x i s t i n g i n p a r t i c u l a r p h y s i c a l p l a c e s . H o w e v e r, t h e
( 2 0 1 7 ) , s h e i s c r e a t i n g a m i n i m a l i s t i c o b j e c t of h o u s e b y
i n c r e a s i n g i n t e r c o n n e c t i n g of p l a c e s a n d g l o b a l i z a t i o n h a s
transforming ever yday things as ar tistic material and
had a ver y significant impact on how we think about place
e x p l o r i n g t h e i n t e r p r e t a t i o n of b o d y a n d s p a c e i n h e r o w n
and how we feel about a physical place.
w a y t o i m p l y t h e c o n t e x t of s o c i a l a n d p o l i t i c a l r e l a t i o n s . The wheels attached on her work allow people to move
T h e a d v a n c e of t h e g l o b a l i z a t i o n , of e c o n o m i c s a n d
it around in the exhibition space, and the interactive
cultural exchange have allowed people to move beyond the
p e r f o r m i n g g i v e s t h e m o m e n t s of i n t e r n a l i z i n g t h e
i d e a of a s e n s e of p l a c e i n a p h y s i c a l s e n s e . T h e r e f o r e , a s
f e e l i n g s of p l a c e i n s i d e of a p a r t i c i p a t o r a n d e x p a n d i n g t h e
a c e n t r a l k e y t o h a v e a s e n s e of p l a c e f o r m o d e r n h u m a n
s p e c t r u m of a s e n s e of p l a c e .
being, the most, impor tant step can be finding and relating t o t h e p a r t s of f e e l i n g a n d e x p e r i e n c e s w h i c h t h e y c a n
“ Tr o u b l e ” ( 2 0 1 6 ) b y H a g i t C o h a v i i s a p h o t o g r a p h s e r i e s .
carr y around no matter where they are. In other words,
S h e s c r a p e s o u t s i d e l a y e r, a n d e x p o s e t h e e a r n e s t e l e m e n t s
i n t e r n a l i z i n g t h e f e e l i n g s of p l a c e i n s i d e t h e m s e l v e s c a n b e
t h a t c o n s t r u c t s o c i e t y a n d h u m a n l i f e l i k e : f e a r, a n x i e t y,
a p r i m a r y r e q u i re m e n t f o r p e o p l e t o e x p a n d t h e s p e c t r u m
human nature/nature, failure, potential for danger and
of a s e n s e of p l a c e .
p a s s i n g of t i m e . T h e w o r k i s c o m b i n e d b y d i f f e r e n t m e d i u m s , p h o t o g r a p h y, r e d a n d b l u e p a i n t l a y e r e d o n
I n t h i s s e n s e , i t c a n b e s e e n t h a t a s e n s e of p l a c e f o r u s
t h e p h o t o g r a p h i c w o r k s , w i t h t h e i n t e n t of e x a m i n i n g t h e
does not remain as one geographical place, but as stories
reciprocal relation between the given image and the space
built up with our experiences in ever y moment. Ever yone
i t s e l f.
h a s a h i s t o r y a n d t h e h i s t o r y c a n b e c o m e a p l a c e of o u r r o o t a n d a s e n s e of p l a c e f o r u s . A s e n s e of p l a c e i s
Through the installation and per formance, “Ephemories”
conjured up in our rich memories images and feelings, and
(2015), Laura Mascarenhas transforms the memories
remains as a stor y with us.
of a t r i p w h i c h a r e e p h e m e r a l a n d b l u r r y i n t o p h y s i c a l souvenirs. In her work, she captures not only the
T h e g r o u p e x h i b i t i o n i n G l o g a u A I R , “ P l a c e , t h e e n d of
individuals’ personal memories, but also proposes a
o n e ’s j o u r n e y ”, b r i n g s w o r k s b y t h e a r t i s t s J i n r a n H a ,
different concept for memor y preser vation in the future.
Hagit Cohavi and Laura Mascarenhas. They share the
The works provides an abstract and tangible way to play
interest for space and represent a diverse cultural context
with the senses and the memories.
a n d t h e i r o w n p a r t i c u l a r s e n s e of p l a c e b y e x p l o r i n g t h e t h e m e s t h r o u g h t h e i r p e r s o n a l i n t e r p r e t a t i o n of t h e u r b a n environment both public and private. In their works, they a r e s e e k i n g a n e w w a y of t h e f i n d i n g o n e ’s o w n p l a c e beyond the physical.
Floor Plan
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11 10
9
8 8 7
6
5
4
3
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1
1_ Hagit C o h a v i Trouble# 11 2016 archiv al pi g m e n t p r i n t 25.19x 29.33c m 2_ Hagit Co h a v i Trouble# 07 2016 archiv al pi g m e n t p r i n t 22.95x 30.3 c m 3_ Hagit Co h a v i Trouble# 04 2016 archiv al pi g m e n t p r i n t 32.52x 24.94 c m 4_ Hagit C o h a v i Trouble# 01 2016 archiv al pi g m e n t p r i n t 24.78x 22.3 2c m 5_ Hagit Co h a v i Trouble# 13 2016 archiv al pi g m e n t p r i n t 24.78x 32.8 2c m 6_ Hagit Co h a v i Trouble# 08 2016 archiv al pi g m e n t p r i n t 23.5x 27.2c m
7_ H a gi t Co h a vi Un t i t l ed ( A f t er Th e S t o rm) 2015 i n j ekt pr i n t 1 0 0 x 70 cm 8 _ L a u r a M a s ca ren h a s S pa ces / ( B o di es ) / Tr a ces 2015 pi gmen t pr i n t o n pa per 1 6 x 2 3 cm 9_Jinran Ha H a u s der Fremde (2 ) 2017 i ro n , s ca ffo l d mes h , w h eel s 1 0 0 x 1 0 0 x 2 0 0 cm 10_ Jinran Ha H a ppen i n g w i t h o u t h a ppen i n g (s er i es ) 2017 c-pr i n t 1 8 x 1 3 cm 1 1 _ H a gi t Co h a vi Un t i t l ed# 1 2015 mi x medi a o n pa per 2 9 . 7x 4 2 cm 1 2 _ H a gi t Co h a vi Un t i t l ed # 2 2015 mi x medi a o n pa per 2 9 . 7x 4 2 cm 1 3 _ L a u r a M a s ca ren h a s E ph emo r i es 2015 ma t t res s , gl o w i n g pi l l o w, w h i t e s h eet s , pl a n t va s e, S o u ven i r s (t r a n s pa ren t a n d i r i di s cen t pa per, bu bbl e w r a p, mi n i CD s , edi bl e pa per, 7x 7, 5 cm pr i n t ed ph o t o gr a ph s ), V R G ea r va r i a bl e di men s i o n s
P l a c e , t h e e n d o f o n e ’s j o u r n e y Installation view
Tr o u b l e s e r i s e : H a g i t C o h a v i
P l a c e , t h e e n d o f o n e ’s j o u r n e y Installation view
Tr o u b l e s e r i s e : H a g i t C o h a v i
P l a c e , t h e e n d o f o n e ’s j o u r n e y Installation view
Spa c e s / (Bo die s ) / Tra c e s : L a u r a Mas c are nhas
P l a c e , t h e e n d o f o n e ’s j o u r n e y Installation view
Spa c e s / (Bo die s ) / Tra c e s : L a u r a M a s c a re n h a s
P l a c e , t h e e n d o f o n e ’s j o u r n e y Installation view
Ha u s de r Fre mde (2 ) : J i n r a n H a
P l a c e , t h e e n d o f o n e ’s j o u r n e y Installation view
Ha u s de r Fre mde (2 ) : J i n r a n H a
P l a c e , t h e e n d o f o n e ’s j o u r n e y Installation view
Ha ppe n in g wit h o u t h a ppe n in g (s e rie s ) : J i n r a n H a
P l a c e , t h e e n d o f o n e ’s j o u r n e y Installation view
U n ti tled s e r i s e : H a g i t C o h a v i
P l a c e , t h e e n d o f o n e ’s j o u r n e y Installation view
U n ti tled s e r i s e : H a g i t C o h a v i
P l a c e , t h e e n d o f o n e ’s j o u r n e y Installation view
E ph e mo rie s : L a u r a M a s c a re n h a s
P l a c e , t h e e n d o f o n e ’s j o u r n e y Installation view
E ph e mo rie s : L a u r a M a s c a re n h a s
P l a c e , t h e e n d o f o n e ’s j o u r n e y Installation view
E ph e mo rie s : L a u r a M a s c a re n h a s
02.
Subculture Collectives, launching exhibition 10 - 12 MARCH 2017 Bluc Art Space Berlin, Germany
Good ar t is hard to find, this is true for the first t i m e a r t b u y e r t o t h e s e a s o n e d a r t c o l l e c t o r.
by creating interest in new ar tists and ar t forms. Changing the art world one artwork at a time.
This is why we launched our Subculture Collective G r o u p E x h i b i t i o n s e r i e s . T h e S U B C U LT U R E C O L L E C TIVE is all about wiping away the intimidation by teaming up with local artists and collectors for i n f o r m a l g e t t o g e t h e r s . T h e g o a l To p e e k i n s i d e the mind of the ar tist and discover their drive and inspiration. All while talking through the ins and outs of star ting your ver y own collection, developing your own taste and style and having a bit of fun with one of our ar t collectors.
T h i s t i m e , S U B C U LT U R E C O L L E C T I V E i n v i t e s B e r l i n based ar tists, Laura Mascarenhas, Mia Gour vitch, B a r t R e e k m a n s a n d D a n i e l Pe a c e t o o u r f i s r t e x h i b i tion for a select group of ar t enthusiasts.
P r i v a t e a r t c o l l e c t o r s s t a r t b u y i n g f r o m y o u n g a r tists long before they are recognized by the big institutions. The art scene needs a new generation of collectors in order to maintain a vital ar t scene i s n o t j u s t b y i n v e s t i n g i t i n f i n a n c i a l l y, b u t a l s o
Floor Plan 8
9
10
7 6
3
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1_ Mia G o u r v i tc h Triangles 2012 Inkjet pri n t 60X60cm
8 _ M i a G o u r vi t ch Fi l m n o i r a ffa i r 2015 I n kj et pr i n t 4 7x 70 cm
2_ Danie l Pe a c e Untitled 2016 pigment p ri n t 84.1 x 118.9c m
9 _ D a n i el Pea ce Un t i t l ed 2016 pi gmen t pr i n t 8 4 . 1 x 1 1 8 . 9 cm
3_ Danie l Pe a c e Untitled 2016 pigment p ri n t 84.1 x 118.9c m
1 0 _ L a u r a M a s ca ren h a s E l bl a n co I n fi n i t o ( S er i s e) 2015 pi gmen t pr i n t va r i a bl e di men s i o n s
4_ Bar t R e e k m a n s Ex pandin g H o r i z o n ta l 2016 China ink , c h a rc o a l , Pi e rre N o i re o n Fabriano Ac c a d e m i a 200 g r 100 x 70 c m 5_ Bar t Re e k m a n s Atm osph e re 2015 China ink , c h a rc o a l , Pi e rre N o i re o n Fabriano Ac c a d e m i a 200 g r 100 x 70 c m 6_ Bar t Re e k m a n s O v al ex pa n d i n g to C u r l y S e x y M o v e s 2016 China ink , c h a rc o a l , Pi e rre N o i re o n Fabriano Ac c a d e m i a 200 g r 100 x 70 c m 7_ Mia G o u r v i tc h Self por t r a i t 2015 Inkjet pri n t 40x 60cm
Subculture Collectives Installation view
At mo s ph e re , O va l e xpa n din g to C ur l y S e x y Mo v e s : Ba r t R e e k ma n s
Subculture Collectives Installation view
Film n o ir a f fa ir : M ia G o u r vit ch
Subculture Collectives Installation view
Se lf po r t ra it , Film n o ir a f fa ir : Mi a Go ur v i tc h
Subculture Collectives Installation view
U n t it le d : D a n ie l Pe a c e
Subculture Collectives Installation view
E l bla n c o I n fin it o (Se ris e ) : L a u r a M a s c a re n h a s
Subculture Collectives Installation view
E l bla n c o I n fin it o (Se ris e ) : L a u r a M a s c a re n h a s
03.
Kuriositätenkabinett Café,
Death and life of Urbanity Come in, Drink or Think 16 - 17 july 2015 Bauhaus Dessau, Germany
While sitting at this small café, you will have a time to enjoy this show of a collection of students’ art works and little research like pieces from local Newspapers found on the streets of different cities around the world. We decided to bring them together in this evenings of urban salon meetings for a better understanding what urbanity means, demonstrating the different meanings of urbanity through fragments of certain processes.
While the studio, all students have focused to create video, drawing, and graphic with artistic view about complicity of life and death of urbanity in the world and tried to bring a new light on this topic. The main concern for this exhibition is how to make link between the art works from student link and a concept of the exhibition and how to expand the elements by cooperating with artist Lena.
‘Kuriositätenkabinett’ is German and means cabinet of curiosities or cabinet of wonder, which was quite popular in the end of renaissance. They collected objects included as belonging to natural history, geology, ethnography, archaeology, religious or historical relics, works of art and antiquities. It was a microcosm of theater of the world. The cabinet conveyed symbolically the patron’s control of the world. They tried of bring all the oddities together and bring them to higher meaning or connection.
A location of three monitors for video art work and extra art works is decided from a main characteristic of the exhibition structure.
This exhibition may introduce you our strange view of the urbanity through the art works. But is not so easy, as you probably trying to understand the process of urbanity, is not so clear as maybe you though before. Our artistic view tried to bring a new light on something that before was lured and murky, we hope that we succeed, but it’s up to you judge. Judge not mere us and our work, but the reality in which you choose to live, rip off the blinders and look the real urban life that is all around you. Our work could be, and we will be flattered if it would be like that, a kind of new lens to use for discover a part of the urbanity. you should remember that the city, whatever would be, represents an ensemble of small universes mixed together, and sometimes is not so simple to understand it just with a quick look, you should stop and start to live in it.
For the concept of the exhibition which is a café, we decide to create additional elements, such as newspaper, poster, coasters and so on, and display on the exhibition place.
Additionally, a circulation for audiences for the exhibition is decided from the structure of the place as well, and based on the circulation the audiences would be invited to different steps from the beginning to the end of the exhibition.
Floor Plan
1 _ Displaying printed art work 2015 di gi t a l pr i n t 8 4 . 1 x 1 1 8 . 9 cm
2
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2 _ Monitors for video art work 2015 s creen , P C 3 _ M i n i ba r 2015 Displaying elements for the exhibition concept which is a cafĂŠ, for example three tables, 12 chairs, mini bar and so on.
research
04. Refugee and home where one feels a sense of beloinging 0 5 . Ar t a n d G w a n g h w a m u n S q u a r e f o r P u b l i c
04.
Refugee and home where one feels a sense of beloinging Master thesis project
QUESTION “Who is a refugee?” “What is home for a refugee?”
Conflict, persecution, generalized violence and violations of human right continued to cause of forced displacement around the world. Fighting across parts of the Middle East and sub-Saharan Africa have continued into 2016, resulting in millions of individuals being forced to fell either within resulting in millions of individuals being forced to flee either within or outside their country. In response to a worldwide displacement of refugees, some of the questions possibly arising here are: who is refugee? And what is home for a refugee?
Wars, conflict and persecution have forced more people into displascement. - 59.5 million (2015) They are not able to go back to their home.
They are recognized as someone else in new place. Over 95% of refugees have waited for the date to go back to their Home.
For this subject theoretical tools and a variety of statistics presenting the current refugees’ situation will be closely looked at in this study to define who is a refugee? And what is home for the refugee? In advance, an institution running art projects as public participation will be considered as a proposal for this subject.
REFUGEE REFUGEE Internattional definition of refugee An agreement defining refugee by international law based on states, UNHCR and relevant organizations has as well as co-related with IOM’s one; they have addressed refugees as people who are outside their country of origin because of feared persecution, conflict, violence, or other circumstances that have seriously disturbed public order, and who, as a result, require ‘international protection’ nonetheless of the different of interpretation of persecution. In the other words, according to the definitions which are internationally accepted, a person can be called as a refugee who is outside of country of his or her nationality by persecution, and who is unable to go back their country safely. However, there is a missing point which can bring a question about ‘border’.
REFUGEE Re-defining refugee A common theme going through documentaries from people who have refugee background proves as well the inefficiency of national border as an element to define refugee. Based on the data presenting refugees’ personal experiences, it can be found that there is a gap between an international refugee definition and how refugees define themselves. In reference to their writing works and interviews, it can be seen that refugees are carrying a question about home rather than national border with them; “is it home for them where they fled from?”, “is it home for them where they are now?”, or “is it home for them where they want to go?” In other words, refugee can be a person who has two homes where he or she can’t go; one is the home where they can’t go physically (a place of origin), and the other one is the home where they can’t go mentally as someone else (new place of arrival). Beyond the question about home it brings an identity issue on the absence of two homes to them. As a refugee who has two homes where he or she cannot belong to, it can be seen that they have to deal with feeling of living with questions about home and find their different ideals of home.
HOME by Warsan Shire no one leaves home until home is a sweaty voice in your ear saying leave. REFUGE by JJ Bola
Ahmet Cemal. 12
They called us refugees So we hid ourselves in their language Until we sounded just like them. Changed then way we dressed To look just like them Made this our home Until we lived just like them WE REFUGEES by Benjamin Zephaniah
Ahmet Abdulkadir, 17
We can all be refugees We can all be told to go, We can all be hated by someone For being someone.
AFGHANISTAN, WHERE GOD ONLY COMES TO WEEP, p.231 by Siba Shakib “What is a country? they ask?“ “What dose home mean?” “Where is my home?” “What is a border?” “Is home a place where I was born? “Where my father was born?” “Where my sister is?“ Esma El-Gureyb, 18 * “Young Syrians dream of home”, Umit Bektas, 15 January 2015
“Is home where I get stones thrown at me, where I am mocked and humiliated?” “The home is everywhere.“
HOME HOME A meaning of home for refugee Home is not just a structure or a shelter, but a mental place having psychological and social meaning. A building or a place provides a function as home not necessarily as a place that gives people with a physical space to live and accommodate for safety and security, but a place that one feels a sense belonging as a psychological or an immaterial place. Additionally, home as a mental place is influenced by the social and cultural environment and individual experiences, not only from the physical environment surrounding them. In other words, home can be said to be a product or as a result of many immaterial factors in addition to physical settings; it is related with complicated consequence of external factors which are social and cultural factors surrounding individuals. Thus, the meaning of home has to be considered as a place which is accumulated with individual’s experience and social and cultural interactions. There are a variety of ways to analyze the different meanings of home and a common agreement of a meaning of home is that home has a psychological and mental meaning for most people. Additionally, home remains in people’s mind rather than as a physical place or an object. Following the analysis, these discussions about meanings of home as a mental and an immaterial place can be applied for refugee situation to understand their special perspective of home.
Home? : home has a psychological and mental meaning and it remains in people’s mind rather than as a physicla place or an object. These discussions about meanings of home as a mental and an immaterial place can be applied for refugee situation to understand their special perspective of home.
Home for current refugee?
mass displacement unique movement psychological trauma
Discussing about their home from an immaterial perspective should be a priority step. Duration, Transision and A sense of belonging
Despite the importance of both material and immaterial aspects about home, a need of supporting home from psychological perspective for refugees has been frequently forgotten. However, for their mass displacement and psychological trauma as refugee, discussing about their home from an immaterial perspective should be a priority step as well. To discuss refugees’ meaning of home, special factors, duration, transition and a sense of belonging, that affect their home need to be analyzed since refugees have had unique experiences.
HOME A meaning of home for refugee and Duration
Duration: Time vs. Quality of Experience Home is not just attachments built up with physical place, but also with the personal history about his or her memories of sounds and smells, activities piled up over time.
Duration
Duration is the most powerful factor to contribute to people’s feelings or senses of home. Home as a spiritual place or a sense of home is built through daily life, day to day experiences; walking to the park with a dog, or a little crack in the wall of their house. However, these experiences are not a singular factor which constructs a strong sense of home or mental home. Those who have the ‘most experience’ could have the strongest sentiments of home, but a particularly intensive experience can suddenly produce a potent sense of home as well. In other words, many years in one place may leave only few memories.
Time
On the other hand, an intense experience for a short duration can be a strong factor which affects one’s perception of home within one’s mental space. Thus, it cannot be simply the duration of time, but the quality of times (the best or the worst times) as well that contribute.
Quality of Experience
In accordance with that, humble events which refugees went through to arrive to third country for safety and security can contribute to a strong sense of home. In other words, refugees’ intensive experiences could build a strong sense of home; mass displacement, daily violence, poverty, and the death of loved ones. refugees have fled from terrifying situations they are faced as well with familiar surroundings on the way to escaping poverty, the lack of basic needs, human rights issues, violence, exploitation discrimination and uncertainty about the future.
All of these humble events of the refugees play a strong role in their mental outlook which contributes to their perspective of home.
HOME A meaning of home for refugee and Transition The questions about home have been arising from many different circumstances and there are the efforts to answer these questions by searching concepts of identity, belonging and the implications of being caught between more than one home from a political, emotional and intellectual point of view. Searching home becomes more of a challenge on the refugees’ circumstance. Home for them is not simply defined as one place but as a combination of multiple experiences, people, places and things. To deduce what is home for refugees, we must firstly track their escaping journeys to third counties since there is no doubt about the strong co-relation between refugee’s home and their multiple experiences related with places where they have been through to reach a third country.
Transition Home for a refugee is not simply defined as one place but as a combination of multiple experiences, people and places.
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A number of obstacles refugees have faced on their way to Europe.
1. Turkey, Human Trafficking
2. The Mediterranean, Rough seas and sinking ships
3. Greece, waiting to get refugee status
4. Macedonia and Serbia, Not the E.U., but on the way
5. Hungary, Xenophobia and lack of hope
6. Bulgaria, facing death in the hands of smugglers
7. Closing borders to E.U.
While escaping, they have been suffering with an absence of physical and mental home, this can affect their perspective, and sense of home.
In response to that, refugees will probably struggle to stabilize their situation and face integration issues in trying to adapt or belong to a new home. Escaping is not an easy journey for them, they have to face hardships and lose of homes, daily life and people who they love to reach a safe heaven, but there are other struggles awaiting them. While escaping, they have been suffering with an absence of physical and mental home, this can affect their perspective, and sense of home.
HOME A meaning of home for refugee and A sense of belonging Home is the most powerful place of all. A place where one belongs or feels a sense of belonging. It can be a shelter, a place of rest, and a place where one can be oneself. Today, there is no doubt to say that ‘a sense of belonging is a human need’. In other words, it is as important as being human to be a particular group of individuals. From refugees’ mass displacement, some of the questions possibly arising here are; what is belonging for refugees who are in displacement and have belonged nowhere from both a physical and a psychological perspectives?
A sense of belonging Being a member of group by particular requirements from the group There are different ways of belonging by family, ethnicity, gender, religion, lifestyles, place, culture and economic.
What is belonging for refugee who is in displacement and has belonged nowhere from both a physical and a psychological perspectives?
A sense of belonging traditionally has often been tied to existing and particular a physical place and it defines the limits of what they can call home. However, traditional definition of belonging is no longer for the 21st century. As the increasing interconnecting and globalization has had a very significant impact on how we think about belonging in a physical place. The advance of globally connected digital technology and the globalization of economic and cultural exchange have allowed people to move beyond the idea of belonging in a physical sense. In other words, there is possibility of creation of a place to belong with a new tool within one’s mind. In this sense, it can allow those who have lived in two or more places physically and psychologically to feel a sense of belonging in immaterial place. Therefore, as a central key to have a sense of belonging for refugees, the most important step can be finding and relating to the parts of feelings and experiences which they can carry around, no matter where they are. In other words, internalizing the feelings of being safe and belonging inside themselves can be a primary requirement for refugees to build their home to belong to. In this sense, it can be seen that home of refugee does not remain as one geographical place, but as stories built up with his or her experiences in the unique situation. Everyone has a history and the history can become a place of refugee’s root and a place of belonging for them. In other words, their home is conjured up in their rich memories, images and feelings and remains as a story within them. A sense of home is not only inherent to the duration of residence and the physical place itself, but also people in interpretations of personal history with place, with memories of senses, and with experiences accumulated though their journeys; that is to say ‘story’. According to that, a sense of home can last as stories, and it remains even when places change radically or vanish. Consequently, it is possible to say that home stays as a story within refugees.
Home stays as a story within refugees.
HOW TO MAKE REFUGEE’S SENSE OF HOME Home of refugees is a story about their personal history that is interacting with memories, feelings and places. Refugees feel home or belonging not necessarily from material places where they are from or where they are staying and whether they choose to or they are temporarily provided by the state, but rather from their personal history; built up by memories, stories, senses and places through their escaping journey. If this is proven to be the case, a proposal for preservation of refugees’ home possibly can be concerned not only on physical space, but on mental space within them as stories about their own history. Therefore, the effective tools to deal with their home as an immaterial place can be considering about their sensory relations with places, experiences and memories in an inner space of them.
Preservation of home for refugee
HOW TO MAKE REFUGEE’S SENSE OF HOME Three aspects for perservation of home Explicit sensory planning has been done mostly in middle-class area, affluent cities, or tourist region. However, concern with feeling of place is not limited to wealth; a sense of a place can be more important for someone who is more exposed to lesser means. Therefore, designing sense of home needs not only to consider objects or buildings, but also interactions with users and places. Kevin A. Lynch asserts on his ‘Managing the Sense of a Region’ that planning sense of place should be “open, attentive to the users, helping to understand their relation to the landscape and making it increasingly possible for them to control It”. In connection with that, it will be concerned with three aspects for preserving sense of home for refugees; interaction, open and control for my thesis project.
‘Managing the Sense of a Region’ that planning sense of place should be “open, attentive to the users, helping to understand their relation to the landscape and making it increasingly possible for them to control It.” Kevin Lynch, “Managing the sense of a Region”, July 9 1980, pp. 73 Interaction, Open and Control
Interaction: experiene of new place Interaction with physical setting of a place can provide strong attachment between a place and a user by feeling and collecting knowledge about a place.
Interaction with a new place, having experience and knowledge about geographical setting of host country, can produce an opportunity for refugees to have a strong attachment and a sense of belonging to a place.
Open: Social experience At home, experiences are social; the primary content of home is not material landscape but people.
Designing an open place for social experience between refugees and host communities can make them feel a sense of belonging by having social interaction. Refugees can have the necessary requirements to belong or to be part of the host communities; language skill, cultural understanding and so on.
Control: rebuilding daily life When people control a place, it can bring positive activities from people and produce strong attachment with a place.
The chance of controlling a place and their daily life pattern by positive interacting among refugees and communities of host country can be effective solution for refugees’ mental health issue.
HOW TO MAKE REFUGEE’S SENSE OF HOME Preservation of home
In correspondence with uncountable number of refugees continuously rising, numerous projects have been running to support or supply for refugee’s home worldwide. By looking at projects about refugees from different art fields it could be possible to search for an effective approach to preserve their home from different point of view.
Prevervation of Monument preservation or restoration of existing monumental objects or what we can call monumental heritages has been used as a powerful method to manage a sense of place and bring a sense of belonging to members of particular communities BUT.
Only a few can have experiences of monumental heritages and There is little possibility for metamorphosis and adaption.
Art project There are a number of projects running for refugees from different art fields to suggest effective methods in multiple ways BUT,
Most of art projects are not continuous for many different reasons. (financial and the lack of participation, too abstract to bring enough understanding from refugees)
Instituions in Berlin Institutions offer well-organized programs which help refugees effectively. The current refugee situation is an issue that also concerns institutions BUT,
Projects by institutions are for few refugees. (who are qualified; high educated person, German speaker and English speakers. a person who has a clear status or documents to prove their status and education level)
Combining an art project with institution could result in a partnership that would see the resolution of the short comings of both parties.
A PROPOSED IDEA: ART INSTITUTION A PROPOSED IDEA: ART INSTITUTION ‘Building Home through Art’
Cooperation with institutions implementing the concept of ‘Building Home through Art’ project can be proposed as a proposal idea.
Art + Institution Three aspects, integration, open and control, can be considered as a hypothesis to address a proposed idea of this study which is an art institution.
The mission of ‘Building Home through Art’ The mission of the art project ‘Building Home through Art’ is preserving and recovering refugee’s home from artistic approach by working with an institution.
Community (Participant): Refugee and Artist Refugee Middle East: 50% Africa: 40% Other region: 10%
Artist
Total: 100% (persons, 200)
- Visual art: visual art group will be divided into painting, photography and architecture group. - Performing Art: this group will be divided into dance, music and theatre. - Literary: Literary group will be divided into poetry, novel and short story group.
Space: Institution University of Arts Berlin - Project for refugees: since February 2015, University of arts Berlin has offered art classes for refugees who are on the professional artist level and it is expected to create education and network between refugees and regional artists from many different art fields; film, music, design, fine art, journalism, media art and so on. - Program: since this institution has been opening art programs from variety of fields; visual art, performing art and literary. Cooperating with this institution would be effective to have contact with artists and to implement their institutional structure which would be helpful to this project success.
Cooperating with University of Arts Berlin will be the most powerful option for this project and locating the project place.
Basic structures: faculty,Timeline and Curriculum
Organizational Structure sample
Faculty of Arts Visual Art Painting Photography Architecture Performing Art Dance Theatre Children Music Teenage Literary Poetry Adult.1 Novel Adult.2 (Professional level) Short story
Timeline - General Dates Summer program 2017 Winter program 2017/18 Start of semester April 1, 2017 October 1, 2017 First day of class April 11, 2017 October 17, 2017 Last day of class July 22, 2017 February 10, 2018 End of semester September 30, 2017 March 31, 2018
- Deadlines Summer program 2017 Winter program 2017/18 Enrollment Deadline Courses of study online February 1-March 11, 2017 August 1-October 7, 2017 Courses of study offline February 22-March 11, 2017 September 6-October 4, 2017 Application Deadline September 12-October 11, 2017 March 7-April22, 2017 - Events Date Orientation event February 2, 2017 Field trip May Exhibition date July 22, 2017
THE POTENTIAL EFFCIENCY AND CHALLENGES Since we are at the beginning phases of implementation of this project and suggesting contribution from art communities and institution communities to preserve and recover a sense of home for the refugees. There are many circumstances and challenges which create obstacles to the complete implementation of the art program and its continued sustainability. So, there are extra features required to be added on the system such as financial support, the system to network with other universities, mentoring with experts from different art field in order to enhance the future career of the refugees.
Art program coordinated via the institutional system which makes this project efficient and sustainable.
By having a safe and secure place refugees can have strong attachment and a sense of belonging and home.
‘Building Home through Art’
Controlling a place and their daily life which they used to have in the past by producing positive activities can be an effective solution for their mental health issue and rebuilt their home From a broad social communication and relationships, refugees can feel a strong sense of belonging with communities of the host country and each other.
The system for financial support Network with other universities Mentoring with experts from different art field in order to enhance the future career of the refugees.
05.
Art and Gwanghwamun Square for Public Master research project
PUBLIC SQUARE & GWANGHWAMUN SQUARE Traditional open space of Korea : was related with rural living and formed by natural environment as playground, event place and temporary market.
Public Square of Western Europe : is formed and loacted by urban planning as open space.
THE FEATURE OF GWANGHWAMUN SQUARE Joseon Dynasty -1910 : working as an access of the palace.
Japan Invasion Period 19101945 : working as a display place of power.
Military Dictatorship Period 1961-1987 : working as a display place of power and a tool of nationalism. Today 1987: In 2009, reconsturction project was finished to re-discover the historical value of the place.
Japan Invasion Period 1910-1945 Military Dictatorship Period 1961-1987
The statue of Admiral Yi Sun-sin has been a representative of nationalism and political ideology from 1960s 1987- Today
MAIN ELEMENT OF K WANGWHAMUN SQUARE Gwanghwamun: which is the gate of palace of Joseon dynasty. The statue of King Sejong: which is located at the square since re-opening of Gwanghwamun square at 9th of October on 2009 and showing the political ideology. The statue of Admiral Yi Sun-sin: which has been working to show the power of the Korean government and nationalism since military dictatorship period. View of Gwabghwamun square: which is offering urban landscape, and after reconstruction of the square the place has been expected to offer the view of Gwanghwamun.
Events
Several events: which are opened on the square by governments, ice link, Glover snowboard championship, flower carpet and music festival and so on. Main user: who is 30-41 years old and working as office with bachelor degree.
But, the elements of the square have made several conflict. Events The way of using : Every season there are events by the South Korean government, for example flower carpet, snowboard championship, ice rink and music concert and so on. Since Japan invasion period, the square was planned as display place of political power, and the erection of the statue of Admiral Yi Sun-shin(1968) and King Sejong(2009) strength the characteristic of the square as an exhibition or showing place.
The purpose of the square ::The main aim of the restoration project of Gwanghwamun Square was rediscover the historical values and use of the place in 2009; as the access of the palace, the square is supposed to give the view of the palace.
The way of using the square is being obstructions of the view of the historical area.
The main elements of the square :The main elements of the square were the two statues, but they have worked to display nationalism and showing political ideology.
The main user of the square :The main user of the square is New Generation which is 30-40 years who spend his or her break time there and has antipathy of nationalism or the sort of political ideology.
The main elements of the square have made the crash with main users and uncomfortable feeling to them.
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The most important reason of Gwanghwamun square's problem is the lack of cultural identity and the lack of cultural identity of the square is caused by several conflicts.
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PROPOSAL Gwanghwamun Square Cultural Innovation Gwanghwamun square does not have enough strength to develop cultural identity, so the concept of ‘Cultural Innovation’ could be applied as proposal. People are willing to spend their money and time to get special cultural content or identity from products; we can bring Starbucks, Apple and Coca-Cola as examples. The cultural content or identity of the product becomes the main part of the marketing and competition with other companies. This place is not an exception. So, as a point of view of ‘Cultural Innovation’, we would start to consider the proper cultural strategy and marketing research to put on this place. The proposed plan would certainly aim to establish cultural and artistic ideology.
Public Art Displaying public art instead of the two statues which have been representing old political ideology for a long time would be first step for applying concept of ‘Cultural Innovation’. The meaning of public art is a social object which can restore and fill up public space. Public art is not independent object for appreciation, because the purpose of public art is sustainably communication in social system and invading the environment. So, by establishing public art on the square, this would explore the place’s potential of communication with people.
Searching for new way of displaying public art in Gwanghwamun square which is able to represent new generation's culture and identity.
The monument statues have been traditionally placed on plinth. The reason for the placing of statues is to suggest them to take a place in the observer’s mind as something to be revered.
By looking at the monument with the perspective which is like looking at people at the same eye level makes the monument interactive in the public realm, and it allows the observer to access the idea and emotion on the statues at an equal level.
“ Changing the main statues' location would offer possibility of communication with people as social area. �
Having the view of palace : opening access of view to palace. restoration of historical area.
Integrating with people : no longer device for showing political ideology. : offering opportunity for communication between open area and visitor.
writing
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06.
History of crash, Melancholy of Istanbul Master research project
1 History of Crash, Melancholy
What images could we get when we type ‘Istanbul’ on Google? We would able to have all the attractive pictures, like Hagiasophia, Blue mosque and so on, for tourists, and all the images which I got from google during researching Istanbul were not different with the images of Istanbul in my mind before I started work. Actually when I started to think about Istanbul at the very beginning of this project, I only had one thing in my head that Istanbul would have the sort of ‘Crash of Culture’ between the East and the West because of its special location making it a bridge between Europe and Asia. We can bring Hagiasophia as an example of this. But while I had been researching what is going on in Istanbul, I could find deeper and wider history of crash; not only from between the East and the West, but also from between what it was and what it is now.
‘How can I understand the city on the diversity of crash?’ ‘What is the real face of Istanbul?’ ‘How can I understand Istanbul on this special circumstance?’ ‘What is the culture of Istanbul?’ ‘How can I understand the Identity of Istanbul?’ ‘How do they build their own culture?’
There are so many different faces of Istanbul and history of crash existing there as the city being both Europe and Asia and both the ancient and the modern city. “There is history of glory, on the other hand poverty and ruins. There is tradition, but at the same time, new global culture.” Hagiasophia has erected in the middle of crowd tourists, and cover by unidentifiable events and shops. Renaissance and classics European style residential buildings have mixed with concrete buildings filled Zara, H&M, GAP, Nike, Adidas, Mcdonald and Starbucks which are international brand branches. While walking the streets stretching from Taksim square in Beyoglu, I could quest myself about culture and identity of Istanbul;
To answer the sort of questions which I casted, I choose my project title as ‘The History of Crash, Melancholy of Istanbul’. The title of my writing would be the answer of my curiousness, and it would be the beginning of my work and, at the same time, the conclusion of my own decision about Istanbul.
2 The history of crash
As we know, Istanbul is the famous city as the gate for both contnents of Europe and Asia, and the geographical feature as a region of meeting point Istanbul has had frequent contact with other mass cultures and the city has worked as central city by exchanging culture and products, academically knowledge and so on in the long history. Since Istanbul’s dynamics of its civilization are constituted by the constant interfaces between Europe and Asia in the history, it is necessary to look the history of Istanbul to understand the cultural identity of the city. The history of crash of Istanbul would be summarized like below; in the long history, Istanbul served as The capital of the Rome Empire (330-395) The capital of the Byzantine Empire (395-1204) The capital of the Latin Empire (1204-1261) The capital of the Ottoman Empire (1453-1922) The city of European capital of culture (2010)
This Istanbul’s history and culture of crash is apparent in its buildings’ style. European style buildings surrounded by new modern concrete building area and mosques have represented the history of crash in Istanbul by being themselves in Istanbul through the long history of crash. People are facing the ‘Crash’ by living in their life. Where they wake up, have break first, walk and work till they go to bad, they are on the history of crash.
”The History of Crash is still going on Istanbul through their life.”
3 Orhan Pamuk ‘Istanbul : memories and the city’
Istanbul has the conflicted history of crash. In addition, we can still see the
buildings as an evidence of that and people live in the evidence of crash. To go back to early questions, we can think how people living in Istanbul built their identity in the long history of crash. While I was wondering I found one book which would help to answer my questions; Orhan Pamuk, ‘Istanbul: memories and the city’ I can summarize the book like the memory of writer Pamuk who is searching his cultural identity in the ruins of Istanbul.
So how is he answering all my questions and how he defines the identity of Istanbul in the book?
The answer for the all the questions would be ‘Melancholy’ which is Pamuk’s main topic in his book and my main topic of my writing. In this book, Pamuk is discussing the melancholy as the central characteristic of Istanbul by using his whole book. For Pamuk, the melancholy of Istanbul is connected with ruins and the history of the city after the collapse of the Ottoman Empire. The melancholy of Istanbul is coming from what they do not have any more now which they used to have before. The crash between what Istanbul was and what Istanbul is now has been bring the sense of loss into the residents who are living in the ruins of glory of history and facing the poverty of Istanbul at the same time. And the sense of loss or the melancholy is shared with millions of people. Pamuk’s melancholy is
not about individual feeling; it is about common feeling which is shared by the community. However, his melancholy is not negative feeling it is about poetic sadness like we can feel from black and white picture or old abundance building or we can feel when we are laying down under the tree and memory of our childhood. In Istanbul, the loss sinks into the present and becomes the part of their life. The history of glory turn to a story that needs to be told and the history continue in the present through their life as like the stones which they take from the old building and add for building new one. They look at their loss, the pieces of stone from old building, in their daily life as like looking at the old portrait of their grandfather and father of grandfather on the wall.
So the sense of loss becomes melancholy, not just sadness not just negative feeling.
And the melancholy becomes the identity of the people.
4 Pamuk’s Melancholy and Picturesque
Discussion of Melancholy is from ancient period from Greece, and I could analyse the main stream of melancholy as three categories which is related with Pamuk’s melancholy. =Romanticism melancholy: the feeling when you are watching the leaf falling from tree; and is connected with the Pamuk’s poetic melancholy. Clinical melancholy: as mental disease when you lose something and could not over the sadness from the sense of loss; and the sadness from the sense of loss is connected with the sad- ness from loss of glory in the history. Philosophical melancholy: the sadness from the frustration when you realize human’s finite nature; and frustration form human’s finite nature is connected with the glory’s finite nature. However, Pamuk describes the melancholy of Istanbul like the feeling when ‘a child feels looking though steamy window outside’.
For the Parmuk’s description of melancholy, we can think his melancholy is related picturesque. He is watching the real faces of Istanbul; poverty and ruins; by being one step out like the child who is watching the struggling with hunger and intensity of surviving though steamy window. As like Walter Banjamin said, Pamuk is the one of the people who is from outside a city and seeks picturesque features of Istanbul. So I would like to say Pamuk’s melancholy is picturesque melancholy, as a middle class who are looking at poverty of Istanbul, as a man who was living in Istanbul of 1950th. If he were the one who is suffering from hunger, If he were the one who is facing the problem of surviving, If he were the one who is living in nowadays Istanbul which is on capitalism, If he were the one who is watching the losing of tradition by modernization, Is it able to accept Pamuk’s melancholy as a major feeling of Istanbul?
5 Doubt of Pamuk’s melancholy Pamuk’s melancholy has limitation to cover all Istanbul, or explain all people’s melancholy in Istanbul. I was wondering if I am able to say that his melancholy is the main characteristic feeling of Istanbul or do I have to find something else? So, I want to introduce new concepts of melancholy which would be able to suggest for the limitation of Pamuk’s melancholy. First of all, it is melancholy of Zizek. In his book ‘Did somebody say to totalitarianism’ he explains that melancholy is the feeling from the sense of loss which is brought from crash between capitalist modernization and tradition. On the system of capitalism, we are forced to follow modernization on the globalism, and we are afraid to lose our cultural identity and tradition. Zizek says that actually before we lose our own tradition, we feel the sense of loss. We feel scared of losing our own tradition, even though it does not happen yet. The feeling is Zizek’s melancholy. The melancholy is shared with the community having same traditional or cultural identity. “Crash between Tradition and New global culture”
Secondly, we can see the phenomena of melancholy epidemic. In the capitalism, society sees the people as a group, not as individual person. On these phenomena, we are called consumer. In this society system, we are existed to spend our money and we can have meaning of our life by spending money in the system. So individual attempt, passing and effort are denied, and what is only accepted is following the system in the group. The crash between wanting to be individual and following social system brings the melancholy epidemic phenomena. It is like virus; it is spread within the whole explain new phenomena in Istanbul when I was there.
“Crash between Individual and Society on the global capitalism”
6 Last quiestion
We have been seeing several different definitions of melancholy which I think it is happening in Istanbul. Now I want to cast last question ‘what we can say about cultural identity of Istanbul?’ After Pamuk published his book, a lot of tourists from Europe have been visiting to see and feel Pamuk’s melancholy. Pamuk’s melancholy has become one part of main stream when people define the identity of Istanbul. But I think Pamuk’s melancholy has many things which is not able cover or explain melancholy of Istanbul, his melancholy needs to be wider and deeper.
Not as a middle class who are looking at poverty of Istanbul Not as a man who as on Istanbul of 1950th
I think now Istanbul needs deeper and wider meaning of melancholy. Istanbul’s geographical and historical feature attracts global investment. In this saturation, Zizek’s melancholy and the melancholy as phenomena could be
added on Pamuk’s melancholy. Since Istanbul has so many different layers from unique features, the melancholy of Istanbul also has many different layers as well. On my work, I would like to analyse of the spectrum of melancholy as an Identity of Istanbul. It could be based on different kind of projects, for example design building, city plan or curating and so on. Recently, people have said identity of place or consider cultural identity as trend for selling the place or for nationalism and so on. On the wave, I think people are talking about identity too easy to figure out the identity of the place without enough understanding. While I had worked for my project, I tried to fide the way of researching Identify of Istanbul with different perspective. Finding identity of place is the first step of many different fields’ project, so if we try to take different perspectives, we would have more opportunities to understand the place and to work for creative project.
07.
Movie essay, Law and disorder in Johannesburf, 2008 Essay
So, there is a question arising here about the sustainability of urban systems; “Does the urban system always protect a resident?”.
‘Law’ and ‘Disorder’, the two words would be the most suitable descriptions which represent a current situation of Johannesburg which we can witness through a documentary, ‘Law and Disorder in Johannesburg’ directed by Louis Theroux. The documentary is showing that disorder in a private security industry in Johannesburg, South Africa. A private security is an industry offering security services such like a state security system, but to private individuals and companies who desire security-related services, for example guarding, escorting, monitoring and investigating. Over the years this industry has grown radically in Johannesburg in correspondence with the high rate of crime. According to South Africa’s victims of crime survey, 57% of residences felt afraid of house break ins, burglary and so on. And it has fueled the production of a South African private security industry which is the largest in the world with 9,000 private security companies registered in 2012. The scale of a private security industry is more than the police and army combined. In other words, as an alternative mean this private security industry has been chosen and has become a big part of the social systems of Johannesburg as a result of an absence of a proper security system like a capable police force. Since the industry of private security has been rapidly growing and functioning as the biggest part of the security system, residents in Johannesburg have been facing a new kind of social issues, like crime committed by the private security companies.
According to a CNN report, “the security officers are well armed. They carry semi-automatic weapons and hand guns and they are trained in how and when to use them. And while only the police have the power of random stop and search in public places, security companies also stop people that they regard as suspicious”. But it is actually the same issue which the victims of crime and the residents have suffered from. From this phenomenon we can observe that Johannesburg is trying to design in new urban system to solve a social issue, however there are doubts about the sustainability of a such and ad hoc arrangement. Since diversity of values and interests from many people have been tangled and making different kind of urban issues, people have been trying to build a stable system to solve urban problems, for example, traffic system, security systems, economic systems, social systems and so on. But ironically the systems for the urban issues are resulting in a variety of social problems which can result in ruining individual’s life, like the residents who are living in Johannesburg have made a security system for their safety, but the private security system has been ironically threatening their safety. Recently, there have been an innumerable number of urban systems proposed in cities, but at the same time the systems have trapped people under their control and produced unexpected issues. There have been so many things which have made people perceive the systems as tools to keep their safety and right, however, the situation of Johannesburg says something difference as we can see in the documentary.
P A R K
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c u r ato r p o r t f o l i o
+ 49 176 6288 6446 8ein.park@gmail.com