Paradise Lost, 2016
Ilmin Museum of Art, Seoul, Korea, 2019
Asia Culture Center, Gwangju, Korea, 2019 Obviously Video #8, Eulji Space, Seoul, Korea, 2018
Post-Cyber Feminist International, ICA, London, UK, 2017
BIM, Centro Cultural Recoleta, Buenos Aires, Argentina, 2016
ASTERISCO, Casa Brandon, Buenos Aires, Argentina, 2016
Paradise Lost, 2016, Single channel video (04’56''). Produced by TcoET.
Performance based K-pop video connecting religion and Israel's biblical missile system. A visitor to Vatican city witnesses the apparition of Israel's biblical missile in the sky while singing to the secret dimension of religion.
Performed by HornyHoneydew
Co-directed by Dew Kim and Luciano Zubillaga
If video has historically been at the crossroads, those tensions that its influence brought into being have gradually deepened in recent years. Not just because of their immediacy and virality, video forms since the digital expansion are increasingly contaminated, evasive, and mimic more our sensorial experience. The South Korean Dew Kim and the Argentine Luciano Zubillaga, both immigrants, reduced the distance separating them by using video, as well as other practices, to create a production space where contamination is the form of collaboration, and of collision, par excellence. And if telepathy is a communicative property that goes beyond the senses and physical forms, the expansion they propose is another way of opening that intangible dimension that can only be inhabited at present by a video image that, like that which both propose, crosses the barriers of identitary belonging and faces up to the drift of plural voice and body. That temple profaned by expansion is made up as much by post-identity cyborg sex, which never renounces eroticism and sensuality, as by a documentary contemplation as a perplexed hallucination of contemporary life. In the middle of that, the stain glass of the church that they gradual construct modifies the light, and if it has K-pop colour and looks close to being a video clip, it ends up being a videocreep with freak performance included. So it is that in the meeting of Kim and Zubillaga all genre’s overflow until porn and technology devours it, until the post-human extras and their waste become a loop where everything is the vertigo of the gaze. / Written by Diego Trerotola
Through performance, architecture and moving image, TCoET encourages audiences to explore movement, time sense and sexuality within the imagination of post-human philosophies. TCoET works with performance, humour and expanded telepathy as a mode of direct knowledge in moving image as research.
Dew Kim and Luciano Zubillaga started working with the concept of TCoET for the 7th Conference From Humanism to Post and Transhumanism held at Ewha Womans University in Seoul, South Korea. The 2015 conference activated an ongoing collaboration exploring language, sexuality and religious sensibility. Their work entitled “Expanded Telepathy” will be published as a chapter in a forthcoming book, Shifting Layers: New Perspectives in Media Archaeology across Digital Media and Audiovisual Arts (Mimesis International).
In their work the rules of production are not defined, as they are in traditional filmmaking, and not set under linear protocols of collaboration. Filmmaking is approached as an invisible architecture, where entanglements of expanded telepathy (ET) could potentially undo the solid grip of language and colonial syntax. The linear matrix of montage gives way to possible assemblages of time as transdiscipline for sculpture, philosophy and space design. In fact, image movement or time-sense is only needed to access the “nth” dimension of space. The combination of feeling and thought of high tension leads to a higher form of psychic life.