GÉRARD LUCAS

Script 01) 00:01:00 - 00:03:14

CHAPTER 1 FLYING 나는 나는 I 팅커벨 TINKER BELL THINK ABOUT 생각해

THE RARE JAY IS IN THE IMAGINATIVE ∆ GERARD LUCAS IS IN THE REAL WORLD

WHILE I AM THERE / WHILE I AM THERE
I AM / I AM
GEAI RARE LUK AS / GERARD LUKAS
GEAI RARE / GERARD
GEAI / RARD
JAY / RARE
LUK AS / LUCAS
LUK / AS
LOOK / US

Script 02) 00:10:05 - 00:11:05

sale assistanat

        assistanat politique

        assassinat politique

sale assassinat

salle assassinat politique

[Note]

In this experimental performance film, Hani Gimna intersects how a historical neurodivergent figure named Gérard Lucas experiences and handles language with the process of an AI image generator creating images. Both practices have in common that the mediating role of the mediums takes priority over the meaning. She looks at the performance, which is mediated by choreographed camera movements and act of filming, through the lens of Gérard and AI.

Gérard experiences language as a sensation of voices echoing in his head. Gérard broke the imposed sentences(auditory hallucinations, spontaneous thought) down into phoneme units, then changed the places of each word or converted them into other words with similar pronunciation and form, reassembling the sentences into ones with completely different meanings. On the other hand, based on the GAN model, the AI image generator does not divide the image into units recognizable by humans in terms of meaning but divides the image into pixels. What is created by this process is not a single completed image, but an endless chain of similarities connected to each other imminently.

To think about the performance mediated by the camera through both Gérard's poetic practice and the way the AI image generator handles images is none other than to reflect on the configuration of the elements that make up the performance and to ask practical questions such as how one should adjust the aesthetic stakes of those elements within their interrelationships. The conventional dynamic between camera person and performers is reversed, the roles between technician-performers are switched, and The correlation between filming and being filmed is entangled. Through this, she hopes this piece will become a battleground where what its components express and the materiality of those components alternately pulsate.

[Credits]

Directed by Hani Gimna, 2023, Köln, Germany

DOP : Jiyeon Woo 
1st Assistant of Director : Mikkel Haynes Dahlberg Hansen 
Project Coordinator : Aro Han 
3D Typography Animation : Li-an Hong 
Music : Thea Soti 
Physical Director, Performer : Jimin Seo 
Costume design : Pax00100 
B Camera operator, Performer : Lukas Soboll 
1st Assistant of Camera, Performer : Ráhel Eckstein-Kovács 
Focus puller : Paul Hüpel 
Dolly grip, Performer : Chris Todd 
Gaffer, Performer : Juan Francisco Rodriguez 
Boom operator, Performer : Jan Leonid Karger 
Best boy : Sebastian Jaimes 
Electrician : Viktoria Kubitza 
Lighting crew : Erin Hong 
Set construction : Deniz Soylu, Sepp Liebisch
Re-shoot Assistant of Director: Seong Min Yuk 
Re-shoot Assistant of Director: Hey Sun Jung 
Re-shoot Camera Operator : Guram Geguchadze 
Re-shoot performer : Léo Beaudoin 
Audio system operator, Sound recording : Ting Chun Liu 
Sound recording : Jazmin Rojas Forero 
Colorist : Boris Andrejevic 
Hair stylist : Eva Von Sichart 
Key makeup artist, Sound mixing : Kimmy yong hyuk Kim 
Make up artists : Yoonah Song, Eunji Kim , Seongen Yoo , Hyunji Seo, Hyunju Lee 
Props master : Dagmar Buchenthal 
Catering : Mengting Xing, Tanja Licheuskaya, Aida Alimadadi, Ivonne Sheen Mogollón, Caroline Weyers
Transportation : Juho Lee 
Sound Design : Joreng Jung
Translation advice : Mathild Hawkins, Jong Hun Park