Kimchi Workshop
Jane Han und Seoyeong Chop
Di., 5 Mai 15.30 - 18.00 im sp ce | Muthesius
<<ENGLISH VERSION below>>
Dieser Workshop untersucht anhand von Kimchi die Koexistenz von Menschen und Mikroorganismen sowie kulturübergreifende Interaktionen.
Kimchi ist nicht nur ein Lebensmittel, sondern ein Fermentationssystem, das auf Zeit und Umgebung reagiert – ein Medium, das überliefertes Gedächtnis in sich trägt. Während der Fermentation führen Milchsäurebakterien je nach äußeren Bedingungen zu unterschiedlichen Ergebnissen, setzen ihre Aktivität im menschlichen Körper fort und gehen neue Beziehungen ein.
Dieser Workshop bietet einen experimentellen Zugang zu diesen Prozessen und lädt die Teilnehmenden dazu ein, sich mit Kimchi als lebendigem Medium auseinanderzusetzen und zu erforschen, wie verschiedene Entitäten miteinander verflochten sind.
ENGLISH VERSION:
This workshop explores coexistence between humans and microorganisms, as well as interactions across cultures, through kimchi.
Kimchi is not just food, but a fermentation system that responds to time and environment—a medium that carries inherited memory. During fermentation, lactic acid bacteria produce different outcomes depending on external conditions, continuing their activity within the human body and forming new relationships.
This workshop offers an experimental approach to these processes, inviting participants to engage with kimchi as a living medium and to explore how different entities become entangled.
@jane.9han@choiseoyeong_im
🥬 Have you ever spoken to kimchi?
Same ingredients,
but different choices.
We make kimchi together
then each participant records a message to it in their own language.
The voices are transformed into sound waves
and accompany the fermentation process.
Will it taste different?
Collective
Jane Han @jane.9han
Seoyeong Choi @choiseoyeong_im
🌶 Make kimchi
🗣️ Speak your language
🌀 Let sound meet fermentation
📅 May 5th, 3:30 PM
📍 SP CE Gallery
🥬 Hast du schon einmal mit Kimchi gesprochen?
Gleiche Zutaten,
aber unterschiedliche Entscheidungen.
Wir machen gemeinsam Kimchi
und jede*r hinterlässt eine eigene Nachricht in der eigenen Sprache.
Die Stimmen werden in Schallwellen übersetzt
und begleiten den Fermentationsprozess.
Wird es am Ende anders schmecken?
Kollektiv
Jane Han @jane.9han
Seoyeong Choi @choiseoyeong_im
🌶 Kimchi machen
🗣️ In deiner Sprache sprechen
🌀 Wenn Klang auf Fermentation trifft
📅 5. Mai, 15:30 Uhr
📍 SP CE Gallery
Last summer's project, 'Daddy', was nominated for the 30th anniversary edition of Filmfest Schleswig-Holstein. @filmfestsh For the first time, I moved beyond the audience seat to experience what it truly means to share my own story from the creator's side.
I learned that making a film is about carefully revealing the thoughts and visions I’ve kept to myself. Seeing the quiet stories from my room finally reach an audience and turn into a shared emotion was a truly moving experience one that I will keep as a 'dazzling scene' in my heart.
Thank you so much to everyone who helped and believed in me. This experience will be the fuel for my future work, as I continue to grow and find better ways to communicate through my films.
<SOFT ANIMAL OF YOUR BODY>
🗓6 Feb 2026, 18:00
📍Studio 1, Uferstudios
Uferstraße 23, 13357 Berlin
With all of their eyes, animals behold
openness. Only our seeing is
retrospective, set like traps around them.
(Rilke, The Eighth Elegy)
In this laboratory “Soft animal of your body”, we have attempted to avoid the trap of viewing the world solely through human eyes.
Obviously, we are humans. But the evolution of the eye has gone through so many interesting and unexpected turns, that it would be a shame to forget about them.
By using the interactive software Isadora Troikatronix, not as a technical tool but as our partner in perception, a prosthetic eye, and an interface, we have been experimenting with a series of choreographed relations between modes of perceptions, bodies, and actions, including goose rave.
For this event and open lab we want to share our ongoing process with you.
Uferstudios, Studio 1
06 Feb 2026
18:00
Lina Akrami @lina_akrami1
Lilly Altmann @lillyfranzaltmann
Seoyeong Choi @choiseoyeong_im
Mariama Danso @mariama_dns
Katharina Fedde @katharinafedde
Miriam Flick @miriamflick.art
Sana Gharany @sana_gharany
Jane Han @jane.9han
Johanna-Marie Lösche @jona.mai_
Habeen Park @habeenbee_
Jieon Sun @seonpancake_
Clara Thorslund
Vanessa von Appen @vanni_vo
Developed from a seminar by Vera Shchelkina @moving_touch done in collaboration with Annika Larsson & Reza Ghadyani
Time Based Media - Zentrum Für Medien @timebasedmedia_mkh , DLC Art Lab, Muthesius Kunsthochschule, Kiel
<Disposable Wedding: Get ready with me, photo, video 0:17, 2025>
Disposable Wedding traces how the bride is endlessly produced in Las Vegas, Germany, and Korea.
The rituals differ, but each place assigns women fixed roles long before marriage becomes a matter of personal choice.
The work stages scenes drawn from real wedding imagery, showing how marriage functions as a predesigned form shaped by accumulated expectations.
Across cultural contexts, the bride’s image is reproduced with striking similarity, revealing how persistently the institution positions women within prescribed roles.
By exposing these repetitions, Disposable Wedding questions why this image survives and why women continue to be framed inside a system that claims to celebrate them while simultaneously limiting them.
<Virgin Road, 2025, Performance, Video 02:01>
“Virgin Road” is a marketing term coined by the Japanese wedding industry in the early 1980s.
It was created by combining the concepts of “virgin” and “road” to emotionally stage the bride’s entrance, in which she is escorted by her father and handed over to the groom.
This term is not used in English speaking countries and is considered a culturally specific expression used only in Japan and South Korea, where Western style weddings were restructured through East Asian emotional staging.
In the late 1990s, the term was introduced into the South Korean wedding industry.
To this day, wedding halls in South Korea explicitly refer to the bride’s entrance path as the “Virgin Road.”
This staging frames the bride as a person to be transferred and validated within the ceremonial format.
The term “Virgin Road,” together with the white color of the wedding dress, traditionally associated with purity, functions as a visual device that emphasizes the virginity of unmarried women.
It reproduces a sexist structure that evaluates a woman’s worth based on her sexual history and internalizes moral judgment surrounding virginity within the wedding ritual.
🎬 <Unsere Basis Klasse, 2025>
A story of our first year together in Basisklasse 23/24 at art university.
This documentary captures the final three months we spent side by side
our first steps in university life
our first group exhibition
and all the moments we laughed, struggled, and grew together.
Each day was special in its own way
and I didn’t want to forget a single one
So I held onto them through film.
This is my very first documentary
a small love letter to our shared beginnings.
📅 Screening: Wednesday, July 16, 2025 at 19:00
📍 Hörsaal at Muthesius Kunsthochschule
Everyone is welcome to join and share this memory with us 💙
<Daddy, 2025,09:31>
'Daddy' is an experimental film in which I reconstruct an imagined final conversation with my father, who passed away in 2020 while I was studying abroad.
Due to the COVID-19 pandemic, I couldn’t even visit Korea, not even for a short farewell.
I remained alone in Germany, unable to be by his side and witness his final moments.
This absence became a silent weight I carried for five years.
In this work, I engaged in an actual dialogue with an AI system. I fed it prompts based on my memories of my father, his regional dialect, the nickname he used for me, and the way he spoke. The responses generated from this process formed the foundation of the script used in the film. Though the conversation never took place in real life, it expressed something I had long needed to say.
Rather than attempting to replicate or revive my father, this project explores how AI can engage with personal memory and emotion, how it can serve as a medium for mourning, for absence, and for the unresolved process of farewell.
For me, this work marked an emotional turning point.
It allowed me to finally give voice to emotions I had kept unspoken since his passing.
Daddy is not a conversation that truly happened, but it is one I needed in order to move forward.
Director: Jane Han
Editing: Jane Han
<Überleben in Deutschland, 2025, 02:42>
Regie & Drehbuch: Jane Han
Kamera & Ton: Jane Han
Darstellerin (Fee): Lara Meise @ducksindeepsea
In meinem Video „Überleben in Deutschland“ symbolisieren die Szenen, in denen die Fee die „drei Überlebensrezepte“ erklärt, die Überlebensstrategien, die westliche Medien asiatischen Frauen aufzwingen. Ich plane, diese Szenen in einer Medienarbeit zu verwenden, um die visuelle Botschaft zu verstärken. Die Banane, das Ei und die Milch sind Metaphern für eine untergeordnete Ehe, die Löschung der Identität und parasitäre Strukturen. Dadurch wird das durch die Medien strukturierte Selbstobjektivierungs- und Anpassungsmechanismus aufgezeigt.
Mittwoch, 3. April 2024, 18:00 Uhr
Basisprojektraum
Legienstraße 35, 24103 Kiel
In dieser Ausstellung gibt es auch eine Performance. Kommen Sie und trinken Sie frische Milch.🐮
