About the duo
Displaced Nostalgia is a multidisciplinary art project by JeeMin Kim and Sheung-King that interrogates feelings of nostalgia. While JeeMin sees potential in its displacement, Sheung-King questions it as a hindrance to change. We are curious as to what will arise from this tension.
Displaced Nostalgia: Entries (2024)
Displaced Nostalgia: Rituals (2024) with Bad Timekeepers
Bad Timekeepers
20 November - 24 November 2024
TINC(This is Not a Church), Seoul, Korea
𝘽𝙖𝙙 𝙏𝙞𝙢𝙚𝙠𝙚𝙚𝙥𝙚𝙧, a series of public events where our invited Bad Timekeepers explore labor, time, technology, and decolonial strategies, challenging and dismantling the oppressive systems inherited from colonial rule. They focus on reclaiming cultural practices, knowledge systems, and narratives that have been erased or marginalized. Through the perspectives of Black, Indigenous, People of Color, immigrants, and LGBTQ+ communities, these strategies aim to reimagine power structures, promote self-determination, and center voices historically excluded. Our narrative is an insurgent tapestry woven from speculative yet familiar alternatives.
The program will feature a constellation of visionary thinkers and creators, including Nobutaka Aozaki, Julie Chen, Sun-ha Hong, Hobin Kim, Kwang-Suk Lee, Inkang Lee, Seam Lee, Yutong Lin, Casey Mecija, Ying Sze Pek, Ryan Persadie, Sarah Sharma, Mindy Seu, Su Yu Hsin, Asmita Bustani Vij, Choonhee Woo, Yufeng Zhao, Sheung-King Aaron Tang & JeeMin Kim, and Diasporic Futurism (Vanessa Godden and Adrienne Matheuszik).
Our journey begins in Toronto and Seoul, with a constellation of thinkers and creators shaping these new temporal realities. Grateful for the support of InterAccess, Charles Street Video and the Jackman Humanities Institute at the University of Toronto that make this work possible.
Displaced Nostalgia: Ritual
23 November 2024
TINC(This is Not a Church), Seoul, Korea
As part of 𝘽𝙖𝙙 𝙏𝙞𝙢𝙚𝙠𝙚𝙚𝙥𝙚𝙧𝙨, 𝘿𝙞𝙨𝙥𝙡𝙖𝙘𝙚𝙙 𝙉𝙤𝙨𝙩𝙖𝙡𝙜𝙞𝙖: 𝙍𝙞𝙩𝙪𝙖𝙡 uses the ability of rituals to escape accelerated time to interrogate nostalgia. The artist begins by laying bricks on the floor to create a sandbox, with a light hanging from the ceiling. The artist’s structure, influenced by ancient Roman compluvium and impluvium, represents time, mimicking how sunlight shines through the roof and onto the sand. But our ritual takes place at night. There is no sun. Here, the JeeMin Kim is the “Badtimekeeper.” When she feels an hour has passed, she adjusts the light that hangs from the ceiling. The positioning of the light that shines on the sandbox reflects the artist’s perception of an hour. Each hour, the writer composes a piece of writing on nostalgia, which is projected onto the sand. This process will be repeated five times over. Accompanying the performance are wall texts and booklets responding to the term "𝘿𝙞𝙨𝙥𝙡𝙖𝙘𝙚𝙙 𝙉𝙤𝙨𝙩𝙖𝙡𝙜𝙞𝙖."
