Iniva is delighted to present two solo exhibitions of selected work by Swedish artist Lina Selander and Korean artist and film-maker Park Chan-kyong, juxtaposed for the first time, from 14 January to 21 March 2015, at Rivington Place.
The exhibition is curated by Binna Choi and Lisa Rosendahl, initiators along with Grant Watson of Practice International, an EU-Culture-funded research project exploring what internationalism might be, based on practices of trans-national ethics and politics and the legacy of various colonial periods in the context of contemporary art. The exhibition is the second public showing of work presented by Iniva as part of this project.
Park Chan-kyong and Lina Selander will show work through two solo presentations alongside each other, bringing together synergies within the artists' practices. Both artists move between documentary forms and the structure of the visual essay as a way to investigate the construction of collective imaginations. In recent works they have explored different manifestations of the utopian aspirations of modernity, political trauma and the role that image-making and the media of film and photography have played in the development of modern society through presentation, depictions, visual control and surveillance.
Park Chan-kyong: Pa-Gyong - Last Sutra Recitation curated by Binna Choi
This first solo presentation of works by South Korean artist Park Chan-kyongpresents a series of his latest film and documentary works that offers a new perspective on folk religious practices such as shamanism and utopian religious communities, from the period of colonisation and the cold war to the present time.
Lina Selander: Open System - Silphium and Other Works curated by Lisa Rosendahl
This exhibition comprises three recent films by Lina Selander together with a selection of materials from the artist's working archive. Characteristic of Selander's work is the use of film to build dense layers of images and meaning, through which contemporary society is connected with history and the pre-historic. At the core of her enquiry lies a continuous questioning of the concept and materiality of the image. Selander's work repeatedly asks us to reconsider the status of the image - as representation, memory, object, imprint or surface - and our relationship to it.