Memories of a Moon Jar (2025) Amanda Jung Jin Kim
Memories of a Moon Jar (2025)
Single-channel video. 1080 p. Colour. Duration: 5:34 minutes. Stereo sound. Hand-thrown porcelain moon jar. Hand-carved cedar plank. Scottish sea pebbles.
Autobiographical video installation using archival images and family photos. Memories of a Moon Jar explores the Korean Moon Jar as a container of history over three generations. The rarefied archival image stands in for disappeared collective memory and internalized trauma. Integrated with a family’s stories, the historical takes on the form of the personal. The physical presence of the moon jar invites the viewer to consider how trauma—and neocolonial experience—is embodied.
I am a Korean-Chinese video artist born in the US and based in London. My background is deeply rooted in transformative justice and grassroots organizing movements across North America. Incorporating digital video installation, performance and archival images, my artistic practice is informed by multi-disciplinary narrative and historical research of neocolonial East Asian diaspora, horizontal collaboration and intersectional frameworks. Recurring themes include Shadow work, or ancestral spiritual resilience to neocolonial trauma, transnational rehistoricization of moving image, and representing liminal spaces embodied by feminist, nonbinary/queer and disAbled movements in the diaspora.
Influenced by trauma-informed texts addressing multi-generational experiences of oppression and violence among immigrant and communities of color, especially Indigenous and Black/African Americans, I continue to ground my work and research in intersectional critical theory represented by Sara Ahmed’s and Angela Davis’ queer feminism. Currently, my video work foregrounds the role of art and moving image in transnational resistance to Western dominance, Othering and Orientalisation of historical narrative. In particular, my research delves into the shared local folk practices and etymology around moving image, or “shadow,” in East Asia and its diaspora. I am interested in the untranslatability and perpetual cycle of generational trauma across borders, languages and cultures. At the same time, I seek to engage viewers in the personal stories and collective memories of those occupying the most liminal and marginalized roles, who are the best equipped to articulate and address trauma by practicing Shadow work. By collaborating with women, nonbinary, trans, queer and disAbled image makers and storytellers, I explore how moving image expresses the embodiment of historical oppression.
vimeo.com/ecoflaneuse
@jung.jin.kim
Single-channel video. 1080 p. Colour. Duration: 5:34 minutes. Stereo sound. Hand-thrown porcelain moon jar. Hand-carved cedar plank. Scottish sea pebbles.
Autobiographical video installation using archival images and family photos. Memories of a Moon Jar explores the Korean Moon Jar as a container of history over three generations. The rarefied archival image stands in for disappeared collective memory and internalized trauma. Integrated with a family’s stories, the historical takes on the form of the personal. The physical presence of the moon jar invites the viewer to consider how trauma—and neocolonial experience—is embodied.
I am a Korean-Chinese video artist born in the US and based in London. My background is deeply rooted in transformative justice and grassroots organizing movements across North America. Incorporating digital video installation, performance and archival images, my artistic practice is informed by multi-disciplinary narrative and historical research of neocolonial East Asian diaspora, horizontal collaboration and intersectional frameworks. Recurring themes include Shadow work, or ancestral spiritual resilience to neocolonial trauma, transnational rehistoricization of moving image, and representing liminal spaces embodied by feminist, nonbinary/queer and disAbled movements in the diaspora.
Influenced by trauma-informed texts addressing multi-generational experiences of oppression and violence among immigrant and communities of color, especially Indigenous and Black/African Americans, I continue to ground my work and research in intersectional critical theory represented by Sara Ahmed’s and Angela Davis’ queer feminism. Currently, my video work foregrounds the role of art and moving image in transnational resistance to Western dominance, Othering and Orientalisation of historical narrative. In particular, my research delves into the shared local folk practices and etymology around moving image, or “shadow,” in East Asia and its diaspora. I am interested in the untranslatability and perpetual cycle of generational trauma across borders, languages and cultures. At the same time, I seek to engage viewers in the personal stories and collective memories of those occupying the most liminal and marginalized roles, who are the best equipped to articulate and address trauma by practicing Shadow work. By collaborating with women, nonbinary, trans, queer and disAbled image makers and storytellers, I explore how moving image expresses the embodiment of historical oppression.
vimeo.com/ecoflaneuse
@jung.jin.kim
Related exhibitions & events:
Exhibtion: Within Here Elsewhere 20-23 March 2025
Postgraduate Degree Shows: Goldsmiths, University of London, 17-22 July 2025
Exhibtion: Within Here Elsewhere 20-23 March 2025
Postgraduate Degree Shows: Goldsmiths, University of London, 17-22 July 2025