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4

Surisol: POVCR

2021, interactive VR, approx. 15min






At the surface level, this project entitled Surisol: POVCR features three “characters”: Sohila, Surisol, and the Storyteller. In a sense, however, the world may contain more beings besides these—beings like the world’s creators, bystanders, players, and the ones trying to rectify the imperfect world riddled with holes and errors. This project is a speculative narrative that simulates the situation of the near future—the post-pandemic era. It attempts to construct a “possible world,” which is accessible in reality by reflecting or distorting the present conditions. The project imagines a society where sustainable biofuel—marine algae fuel produced by fermenting macro-algae kelp—has become the primary energy source after human’s fossil fuel usage drove the world to climate change and accelerated resource depletion. The conversation between the character Sohaila and the AI Surisol hints at the symptoms generated by carbon credit, energy sustainability, and extreme weather. Meanwhile, “montage,” one of the unique methodologies of moving images, can hardly exist in the VR media. The distinctive magic of moving images—freely flowing into temporality through varied cameras that alter and stitch perspectives together—somehow does not work well in this medium, where the audience’s eyes become the camera and the subject’s movements equal the camera’s movement. Therefore, an active intervention of editing that transcends the subject’s motion only brings confusion in VR. But, then, where does a meaningful montage occur in this slick VR space with no montage? The project attempts to create a montage through the traverses and collisions between the external world and the VR—the conflicts and leakages of the overlapped worlds.

  • The “AWAKE” that appears in the project is the first command, a promise to set in motion the world constructed inside the game engine. The information fragments that make up the world run by object-oriented language are programmed to lift their bodies at the sound like spirits shaking the earth’s surface and rising up. A tender voice starts reciting the spell towards the game objects and you: “Awake.” Only then does the world begin.
  • POVCR can be roughly translated into “Point of View Corrosive Reality”.

︎Written, Directed and Produced by Ayoung Kim
︎Technical Director Sanghun Heo
︎Level Design B.Paul Sandoval Lopez
︎Project Manager Han Ah Kwon, Yoojin Jang, Jieun Kim, Hyebin Kim
︎Commissioned by Arko Art Center, Korea
︎Coproduced by Museum of Contemporary Art Busan, Korea

Ayoung Kim combines elements of various contemporary problems and myths, and recombines images of ancient and future blends, overlapping space-time, etc. into speculative imagination. Using storytelling devices, narrative structures, and cynical rhetoric, she deals with transport, crossing, and transboundary acts, subjects and events. Her works of video, voice, sonic fiction, images, diagrams, and texts have been exposed in the form of exhibitions, performances, performances, and publications. Ayoung Kim's solo shows and events include Oxbow Lake Time, Videobrasil, São Paulo, Brazil (2021); Porosity Valley, Ilmin Museum of Art, Seoul, Korea (2018); Porosity Valley , Portable Holes, Melbourne Festival, Melbourne, AU (2017); In This Vessel We Shall Be Kept, Palais de Tokyo, Paris, France (2016) and created a performance In This Vessel We Shall Be Kept at the National Opera House Palais Garnier, Paris, France (2016). Group shows, screenings and performances include Zero Footprint , IMPAKT Festival, Utrecht, Netherlands (2020); Frequencies of Tradition , Times Museum (Kadist Asia Program), Guangzhou, China (2020); Words at an Exhibition - an exhibition in ten chapters and five poems , Busan Biennale, Busan, Korea (2020); Forum Expanded, Berlin International Film Festival, Berlin, Germany (2020); San Diego Asian Film Festival, San Diego, US (2020); Jeonju International Film Festival, Jeonju, Korea (2020); Korea Artist Prize, MMCA Seoul, Korea (2019) etc.