Jeamin Cha

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Jeamin Cha's new essay-film examines the complex relationship between mental health, new technologies, ethics, and efficiency through the use of original and found material. Its namesake, Ellie, is a virtual avatar developed by the University of Southern California's Institute for Creative Technologies that is capable of interpreting human speech and gesture to reveal psychological distress. The film questions what it means to see, be seen, and be seen through in the face of disembodied artificial intelligence.

Chroma-key and Labyrinth is a short video made using the Chroma key compositing technique and delicate camera movements. This video juxtaposes two kinds of "hand movements": a cable- worker's hands installing cables and the same hand movements removed out of their work context, thereby stripped of any value of labor.

It is difficult to distinguish between fog and smoke. But if you go inside and feel the particles sink over your head, the fog will be cold and the smoke will be hot. There was something very shocking about the foggy things, the fence-covered things, the deported things from the city, and the things that suddenly turned into useless trash. "Fog and Acting" is a work that focuses on the idea that meaning should be found from such objects. I stare at the fear I encountered in the middle of acting, the ultimate fear. Smoke rises in places where human imbalance, hatred, and aggression are suppressed. No, the fog descends.

There are people cleaning the stadium, where excitement and cheers pass by. When the difference in their cleaning skills and speed is revealed, it looks like walking on the seats is a sport or competition. As these scenes are shown, the collected conversations are read out.

Three-channel video installation based on and re-enacting the content of the South Korean Minimum Wage Committee's 2015 meeting, referencing various documents and actual records.

Almost One focuses on the children’s subtle and instinctive facial expressions of refusal captured during the class. This work reflects on the responses to persuasive attempts to disguise ignorance as intelligence, and the will to escape ignorance.

The video shows magnified images of Youngchun Hur’s investigative materials he studied and his handwritings, while two different narrators tell a story. (The script was made based on my conversation with Mr. Hur about his struggles, in which he went against the state’s cracking down on his attempt to unearth the truth over the last 30 years. The topics of conversation also include politics and key life events of the time, and the forensic evidence he found.) The two alternating narrators are Mr. Hur himself and a man in his early twenties. The work attempts to reflect the “voice” of the others through reading the material only with eyes, reading aloud, and re-reading by a different person’s voice.

There are women who suffer from an unknown disease that causes unexplained pain. The film conveys their physical, mental, and social suffering through narration citing various texts. The director says that the narration is “a structure made of sentences collected” that she encountered during her research.

Hovering. The actions taken or strategies made while maneuvering in place. Performing wrong or false actions at a standstill.

Nameless Syndrome concerns the constant reduction of the self through digitization. Often unidentifiable illnesses are dismissed as trivial or psychological, yet there is a growing number of women suffering from conditions that are overseen by society that holds medical science as the ultimate truth.

It Is Not a Question but a Balloon stems from my inquiry into a controversial political figure Sukyung Lim, best known for her illegal visit to North Korea in 1989.