Room, bricks and mortar, two screens, Nylon tarpaulin. Two-channels video installation, site-specific installation.

The movie rolls into a long day of a pregnant woman wandering around in the fictional year of 2080 when 77 percent of world population has been resided to planet Mars. Soft stillness scenes and the ruined Gwangju City is the background throughout the movie. Her wandering goes from the room onto the empty streets; a futuristic story put together by remnants of history in order to trace back the identity of the past.

The installation is to channel one into the artist’s surreal realm of her present artist residency where most passers-by on the streets, in the metro and on Mount Mudeungsan are faces of old people. It seems to mark her mind with wrinkles and renders an image of herself in a different body and a different scene. Coming from her uncertainty about human identity she speculates future and past - the “timezones” consisted of one’s own political and social opinions. The world she and her millennial generation living in is the world of modern technology and fragmented stories or images of the parallel post-war past.

Expecting to see a tangerine will be fruitless since in this 60-year time, there is neither any farmer nor land to grow a tangerine tree. Yet the only consolation lies at last in the fragrant and sweet piece of the fruit. The freedom people need to live in a world of fixed rules, the freedom no laws can govern, is the fleeting moment of freshness tasting the tangerine on Mount Mudeungsan. The artwork is the un-united as a unit, a sense of the non-sense.