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CIRCA:
How do marginal lives - of exiles, refugees, and people working unnoticed across our cities - shed light on the societies we inhabit?

SOJUNG JUN:
Artists try to grasp the intrinsic order that lies within a certain sense, only to break the very order they have grasped. Creation and discovery is breaking the rules. I think about where the artist stands in the midst of these cycles.

The asylum I was referring to is close to a state that seeks not only the physical and spatial movement, but also the mental mobility. This journey or foreign-ness is also what the people in the boundary/marginal face.

The stories told by people on the border guide us out of our familiar and comfortable spaces and help us hold a critical view that resides at once in the inside and the outside. While following and sharing their lives, I attempt to discover the possibility of thinking about the subjects that exist as the void, traversing the space and time constructed in my video.

The bouba/kiki effect is a non-arbitrary mapping between speech sounds and the visual shape of objects. It was first documented by Wolfgang Köhler in 1929 using nonsense words. The effect has been observed in American university students, Tamil speakers in India, young children, and infants, and has also been shown to occur with familiar names. It is absent in individuals who are congenitally blind and reduced in autistic individuals. The bouba/kiki effect is one form of sound symbolism.