Chaeeun Lee

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	<title>Chaeeun Lee</title>
	<link>https://chaeeunlee.com</link>
	<description>Chaeeun Lee</description>
	<pubDate>Wed, 26 Feb 2025 14:56:49 +0000</pubDate>
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		<title>Homepage</title>
				
		<link>https://chaeeunlee.com/Homepage</link>

		<pubDate>Wed, 30 Sep 2020 17:38:51 +0000</pubDate>

		<dc:creator>Chaeeun Lee</dc:creator>

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		<title>We Don’t Know How To Cry</title>
				
		<link>https://chaeeunlee.com/We-Don-t-Know-How-To-Cry</link>

		<pubDate>Wed, 30 Sep 2020 17:38:50 +0000</pubDate>

		<dc:creator>Chaeeun Lee</dc:creator>

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	We Don’t Know How To Cry2025

11'40", HD video, Black and white, 5-channel audioStarring &#38;nbsp; &#38;nbsp;Chaeyoung Lee, Sunim KimTranslation&#38;nbsp; &#38;nbsp; Yujin ChoAudio installation support &#38;nbsp;&#38;nbsp; Nicolas Hoffmann, Quirin BrunhuberLiew Niyomkarn - "feel like liquidity"Thanks to&#38;nbsp; &#38;nbsp; Jihwan Suh


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 Eng


Chaeeun Lee, through her work We Don’t Know How to Cry (2025), poses a bold and provocative question: Is true understanding of the Other possible? As novelist Milan Kundera once noted, “The age of universal deafness and incomprehension will have arrived.”1 Yet, Lee does not abandon the pursuit of understanding. Extending from her previous sound installation First Wing (2023), this video work derives meaning in relation to it.


A Therian is someone who identifies with or believes they share a connection with a non-human animal. In First Wing, Lee explored their identity struggles, self-expression, and views on the Other and nature. However, the nature in her work is not untouched or unfiltered. It is reconstructed through her own artistic method.


If understanding is inherently confined to the subject’s perspective, does this mean true understanding is impossible? We Don’t Know How to Cry begins at the point where understanding collapses and reveals itself as unattainable.


Yet, affirming this impossibility does not negate the attempt. Instead, it must be seen as a steadfast devotion to the act of trying: a fundamental principle of coexistence. As Martin Heidegger observed, “here” is understood only in relation to “there,” and returning from one to the other2 is how understanding unfolds. The attempt to grasp the Therian leads through birds and ultimately returns to humans, to the self. The effort to comprehend the other inevitably brings the subject back to itself. Here, Lee underscores that understanding is fundamentally confined to perspective and, therefore, cannot exist without misunderstanding.


The impossibility of understanding, the act of attempting, inevitable failure, and reattempt: these themes unfold through the video’s ambiguous narrator. The imagery, magnified to an extreme degree, mirrors the narrow, tapered viewpoint of a subject unable to fully perceive the Other.


We attempt to define this narrator, a being that seems both avian and human. However, as noted earlier, this is impossible. Even if one were to succeed, such a definition would deliberately omit what remains undefined, relying on misunderstanding. For the narrator does not exist as a fixed entity but oscillates between the bird and the human. As it moves between the Other and the Self, we too shift between seeing it as the Other and recognizing it as part of ourselves. Within this shifting interplay of unstable and deconstructive imagery, paradoxically, meaning emerges.


The effort to understand the Other, though ultimately impossible, still holds the possibility of coexistence. This is precisely where Lee’s work derives significance, borrowing the classical question-and-answer structure to expose the contradictions within understanding.


The music which is wavering, incomplete, and imperfect drifts in like a dream. Much like the structure of reality and dreams, the latter reflects the former but never fully encapsulates it. Instead, dreams distort and exaggerate. This structure becomes particularly significant when scenes of shadow play and vocalized sound overlap, punctuated by ambiguous birdsong. It leaves us to wonder, Is this truly the sound of a bird? Holding this question in the back of our minds, we find ourselves exposed: unprotected, before the work itself.


Then, despite this vast impossibility, what keeps us lingering at the threshold of the Other? Perhaps, as mentioned earlier, it is affection or love. Just as the beginning and end of the video parallel each other, the attempt to equate the Other with the Self, and its inevitable failure, ultimately brings us back to what we know best: ourselves. And alongside us, the Other, with whom we coexist. Thus, the question posed at the outset “Is true understanding of the Other possible?” finds its response: It is not. However… In this hesitation, in incompletion, Lee’s video work finds its meaning.

1 Milan Kundera, The Book of Laughter and Forgetting (1979)

2&#38;nbsp;Martin Heidegger, Being and Time (1927).
Text&#38;nbsp; &#38;nbsp; Jihwan Suh

Kor

 이채은은 &#38;lt;우리는 우는 방법을 모른다&#38;gt; (2025)를 통해 도발적이며 동시에 대범한 질문을 화두에 던진다. ‘타자에 대한 진정한 이해는 가능한가?’라는 질문이 바로 그것이다. 밀란 쿤데라가 언급한 것처럼 ‘전 세계적인 난청과 몰이해의 시간이 도래’1 하는 세상에서 이채은은 이해의 시도를 놓지 않는다. 이 영상 작업은 이전의 음향 설치 작업인 &#38;lt;First Wing&#38;gt; (2023)의 연장 선상에 놓여 이해될 때 비로소 의미를 확정할 수 있다. 테리언(Therian)은 자신의 영혼의 일부가 동물(이라고 믿는)인 사람 일반이다. 이채은은 &#38;lt;First Wing&#38;gt;에서 테리언들의 정체성에 대한 고민, 자기 표현, 타자와 자연을 바라보는 관점에 대해 주목하여 ‘자연’을 표상했다. 그렇지만 이 ‘자연’ 은 이채은의 방식대로 ‘재조립된 자연’이다.


만약 이해라는 행위 자체가 이해를 시도하는 주체의 관점에서 벗어날 수 없는 한계를 갖는다면 진정한 의미로써의 이해는 불가능한 것일까? 이채은의 &#38;lt;우리는 우는 방법을 모른다&#38;gt;는 바로 이 지점, 이해가 처절히 실패하고 불가능하다고 인식되는 지점에서 비로소 시작한다.


 이해의 불가능을 긍정하는 것은 이해의 시도를 부정하는 게 아니다. 오히려 불가능에 대한 긍정은 이해의 시도에 기꺼이 머무르는 견고한 애정, 공존에 대한 열망의 코드로 이해되어야 할 것이다. 마르틴 하이데거가 특기한 것처럼, ‘여기’ 는 ‘저기’에 기초하여 이해되며, 그 ‘저기’에서 ‘여기’로 돌아오는 것은2 &#38;nbsp;테리언에 대한 이해의 시도는 테리언과 새를 지나 인간, 즉 자기 자신으로 돌아오게 된다. 타자에 대한 이해의 시도는 오히려 이해를 시도하는 주체로 귀착된다. 이채은은 바로 이 지점에서 이해는 근본적으로 주체의 시각을 벗어날 수 없으며, 따라서 몰이해와 동시에 존재할 수밖에 없다는 점을 환기한다.


앞서 논의된 이해의 불가능성, 이해의 시도, 근본적 실패와 재시도는 영상 작업의 모호한 화자를 따라가며 변주된다. 무언가를 크게 확대한 듯한 영상은 타자의 전체적인 모습을 조망하지 못 하는 편협한 주체의 시각을 닮았다.


 우리는 새와 인간의 특성을 모두 가진 것 같은, 아직 확정되지 않은 화자를 규정하려고 시도하지만 앞서 지적한 것처럼 근본적으로 불가능하며, 혹여 규정에 성공한다고 하더라도 그것은 규정되지 않은 것의 특성을 애써 무시한 몰이해에 기반한 것이다. 왜냐하면 화자는 테리언이기도 하지만 동시에 새와 인간이기 때문이다. 테리언이 새-타자-와 인간-주체-을 오가며 말하는 동안, 우리는 테리언-타자-와 우리-주체-를 오가게 되는데, 불규칙하며 불분명한 해체적 이미지의 이중구조의 변주 속에서 역설적으로 의미를 확정하게 된다.


공존을 위해서 시도했던 타자에 대한 이해는 불가능하지만 이해의 시도 자체에 공존의 가능성이 있다는 게 바로 그것이다. 이채은은 이러한 지점에 이르렀을 때 작업 내에서 문제-정답의 고전적 문제 풀이 방식을 빌려 작업적으로 말하고 있다. 


끊길 듯 끊기지 않는, 불완전하게 울리는 음악은 영상 속에서 꿈결처럼 다가온다. 현실-꿈의 구조처럼 꿈은 현실의 반영이지만 현실을 모두 담지 않는다. 꿈은 오히려 원형을 왜곡하고 과장하는 재해석에 가까운 것이다. 이 구조는 그림자 놀이를 하는 장면과 누군가 소리를 내고 있는 장면이 중첩되는 지점에서 새소리가 들리는 것을 의미심장하게 만든다. ‘이 소리가 정말 새소리가 맞는가?’ 에 대한 의문을 한 켠에 품은 채로 우리는 무방비하게 작업 앞에 노출된다.


그렇다면 이 거대한 불가능성에도 불구하고 우리를 대상에게 머무르게 하는 원동력은 무엇일까. 그것은 앞서 잠시 언급했던 것처럼 애정이나 사랑일 것이다. 영상 작업의 시작과 끝이 비슷한 것처럼, 타자와 주체의 동일화에 대한 시도와 필연적인 실패에서 우리가 만나게 되는 것은&#38;nbsp; 우리가 가장 잘 알 수 있는 존재인 우리이다. 그리고 우리와 공존하는 타자이다. 작업을 통해 우리가 가장 먼저 접했던 질문인 ‘타자에 대한 진정한 이해는 가능한가?에 대한 대답은 다음과 같다: 가능하지 않다. 그러나…. 이 지점에 이채은의 영상 작업은 의미를 갖는다.

1밀란 쿤데라,  『웃음과 망각의 책』 (1979)
2마르틴 하이데거, 『존재와 시간』 (1927)

글&#38;nbsp; &#38;nbsp; 서지환
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		<title>field</title>
				
		<link>https://chaeeunlee.com/field</link>

		<pubDate>Sat, 15 Feb 2025 13:15:13 +0000</pubDate>

		<dc:creator>Chaeeun Lee</dc:creator>

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		<description>
	Field201801'23", HD video, Color, SoundThe video begins with the scene where a door opens and an artist pops out like a game character.&#38;nbsp; She appears on the ground and digs the ground. Field is a video of what is happening in the fields.Today, fields are not just empty spaces but spaces with various ideologies. We don't always see only good things happening here, and we don't know what's good and what's evil.
	
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		<title>The Elevator Ghost Story</title>
				
		<link>https://chaeeunlee.com/The-Elevator-Ghost-Story</link>

		<pubDate>Wed, 26 Feb 2025 14:56:49 +0000</pubDate>

		<dc:creator>Chaeeun Lee</dc:creator>

		<guid isPermaLink="true">https://chaeeunlee.com/The-Elevator-Ghost-Story</guid>

		<description>The Elevator Ghost Story
2024

24'13", HD video, Color, Sound,&#38;nbsp;
Mirror, projection, installationDimensions variable
Voiceover&#38;nbsp; &#38;nbsp; Naho Matsuda
Translation&#38;nbsp; &#38;nbsp; Youngil Hong
Photo documentation&#38;nbsp; &#38;nbsp; Bokyoung Jeong
Thanks to&#38;nbsp; &#38;nbsp; Jianling Zhang
Part of the Jahresausstellung 2024 Klasse Rosefeldt

The Elevator Ghost Story explores the theme of otherness through women in horror films who often face erasure. These women, upon escaping the patriarchal system, become invisible, trapped in a cycle of disappearance and re-emergence.

The piece envisions a moment when these women reclaim their existence, dissolving the boundaries between past and future, time and space, "you" and "I." Sensation becomes paramount, creating a fluid experience where distinctions blur.

Projected onto a mirror facing another, the work creates an uncanny atmosphere by infinitely repeating the image. The Elevator Ghost Story adopts elements of the horror genre, presenting a "film without film" composed solely of old family photographs and the ephemeral glow of a projector’s light. In the darkness, the audience follows the story through voice-over narration and eerie soundscapes, filling the absence of visuals with their imagination.

Honoring women who have broken barriers and those who have vanished, the work bridges the past and the future. Through the shifting presence and absence of visual elements, the experience transforms, inviting the audience to engage deeply with their senses.

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		<title>Freedom</title>
				
		<link>https://chaeeunlee.com/Freedom</link>

		<pubDate>Wed, 30 Sep 2020 19:59:46 +0000</pubDate>

		<dc:creator>Chaeeun Lee</dc:creator>

		<guid isPermaLink="true">https://chaeeunlee.com/Freedom</guid>

		<description>Freeedom2019&#38;nbsp;

02’43”,&#38;nbsp;HD video, Color, Sound


Freeedom is a video performance where the artist explores how free she is in these times by dancing in various types of spaces.

We are free enough to go anywhere, see anything and own anything in the world with just a click and it feels like only arms and legs are stretched out abnormally. The artist asks if we are truly free in modern society.


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		<title>I promise</title>
				
		<link>https://chaeeunlee.com/I-promise</link>

		<pubDate>Wed, 30 Sep 2020 19:59:40 +0000</pubDate>

		<dc:creator>Chaeeun Lee</dc:creator>

		<guid isPermaLink="true">https://chaeeunlee.com/I-promise</guid>

		<description>I Promise I won’t swallow2020 – Ongoing&#38;nbsp;


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		<title>~ You Are Limitless ~ 10 Minute Guided Meditation</title>
				
		<link>https://chaeeunlee.com/You-Are-Limitless-10-Minute-Guided-Meditation</link>

		<pubDate>Wed, 01 Feb 2023 21:45:20 +0000</pubDate>

		<dc:creator>Chaeeun Lee</dc:creator>

		<guid isPermaLink="true">https://chaeeunlee.com/You-Are-Limitless-10-Minute-Guided-Meditation</guid>

		<description>
	~ You Are Limitless ~ 10 Minute Guided Meditation2022&#38;nbsp;
15’36’’, HD video, Color, Sound

with &#38;nbsp; Mathias Enrique Hettmann
	
	I used to realize I was dreaming while still in the dream, able to reshape its narrative at will. It was thrilling to have such control, and I was able to fulfill desires that I couldn't satisfy in reality.

While researching lucid dreaming, I came across a man whose story led me to explore astral projection. Faced with difficult circumstances, he turned to virtual reality and practiced astral projection as a way to escape from reality. Through sustained meditation, he aimed to leave his physical body and access a state where the boundary between self and the cosmos seemed to disappear.


Today, we live in a world shaped by desire, where the line between the virtual and the real is increasingly difficult to define. Technology now provides experiences that were once only accessible through meditation or spiritual practice. When we turn inward, we may encounter a state that feels expansive and detached from the body, allowing access to other realities.


If we can mentally or sensorially immerse ourselves in different realms, whether through virtual reality or meditative practices, and distance ourselves from physical awareness, then what does it mean to have a body? How should we relate to and manage our physical existence?


In &#38;lt;~ You Are Limitless ~ 10 Minute Guided Meditation&#38;gt;, I explore these questions, focusing on how we relate to desire, immersion, and the role of technology in shaping our inner and outer experiences.

&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/f535f88ba1ed59951934aed02da68f40a4967c37bce7331c5286f46303358914/Sequence-01.00_11_24_12.Still042.png" data-mid="166943497" border="0"  src="https://freight.cargo.site/w/1000/i/f535f88ba1ed59951934aed02da68f40a4967c37bce7331c5286f46303358914/Sequence-01.00_11_24_12.Still042.png" /&#62;

&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/818469ad547f042bd48782de88e02416177f13ec5e9ecda26ffba3fb56f2bbe1/Sequence-01.00_13_06_07.Still043.png" data-mid="166943498" border="0"  src="https://freight.cargo.site/w/1000/i/818469ad547f042bd48782de88e02416177f13ec5e9ecda26ffba3fb56f2bbe1/Sequence-01.00_13_06_07.Still043.png" /&#62;


</description>
		
	</item>
		
		
	<item>
		<title>Fort in the air</title>
				
		<link>https://chaeeunlee.com/Fort-in-the-air</link>

		<pubDate>Fri, 08 Mar 2024 15:30:39 +0000</pubDate>

		<dc:creator>Chaeeun Lee</dc:creator>

		<guid isPermaLink="true">https://chaeeunlee.com/Fort-in-the-air</guid>

		<description>
	Fort in the Air2023
24’09’’, HD video, Color, Sound

Starring&#38;nbsp; &#38;nbsp; Bokyoung Jeong, Eunjin Yoo, Kay YoonVFX&#38;nbsp; &#38;nbsp; Yoonseo LeePhoto documentation&#38;nbsp; &#38;nbsp; Mara Pollak

	
	Changes in Public confidence* in the economy seem dynamic, as if winds or air pressure are shifting. People also describe Recovery, Pessimism, or other inclination as" in the air." ¹ 
Likewise, a narrative spreads in the air and affects us in various ways, whether true or not. 
"Fort in the Air" is a video inspired by the true story of Chaeeun's mother with AI stock fraud. 
She collects audio footage and voice records between her mother and explores the theme of belief, from everyday life to true religions and the environment surrounding religions, like economy and society.
"Fort in the Air" raises questions about the nature of belief in contemporary society and how it's created with different narratives from individual ideas.

&#60;img width="1559" height="877" width_o="1559" height_o="877" data-src="https://freight.cargo.site/t/original/i/0317381e2ac1c46e9174ec1ecf2b6c6ef5d285562744001485a23a10a89019d3/fort-in-the-air_5.jpg" data-mid="206339255" border="0"  src="https://freight.cargo.site/w/1000/i/0317381e2ac1c46e9174ec1ecf2b6c6ef5d285562744001485a23a10a89019d3/fort-in-the-air_5.jpg" /&#62;

&#60;img width="1063" height="709" width_o="1063" height_o="709" data-src="https://freight.cargo.site/t/original/i/8ecf6998d8c3a00bfb5db2e86aec1ebb0bc38d541ca018de11c7e2dce72cf5d3/ce_Sterling-Darling_1.jpg" data-mid="206339254" border="0"  src="https://freight.cargo.site/w/1000/i/8ecf6998d8c3a00bfb5db2e86aec1ebb0bc38d541ca018de11c7e2dce72cf5d3/ce_Sterling-Darling_1.jpg" /&#62;

&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/2e5b58a37ed64659811dad93ecc7cf17118bb3208b96ba6af527bcbaf5d1c326/fort-in-the-air_1.png" data-mid="206339014" border="0"  src="https://freight.cargo.site/w/1000/i/2e5b58a37ed64659811dad93ecc7cf17118bb3208b96ba6af527bcbaf5d1c326/fort-in-the-air_1.png" /&#62;

</description>
		
	</item>
		
		
	<item>
		<title>Ritual</title>
				
		<link>https://chaeeunlee.com/Ritual</link>

		<pubDate>Fri, 08 Mar 2024 16:01:07 +0000</pubDate>

		<dc:creator>Chaeeun Lee</dc:creator>

		<guid isPermaLink="true">https://chaeeunlee.com/Ritual</guid>

		<description>
	Ritual for indigestion2023
Performance, 10 min

Performer&#38;nbsp; &#38;nbsp; Barbara Altmann, Hella Dräger, Lukas May-Floor, Mira MazumdarSound&#38;nbsp; &#38;nbsp; Kai Bae

&#38;lt;Ritual for indigestion&#38;gt; is my part of a multi-media performance project &#38;lt;Office for unsolved issues&#38;gt; curated by five artists including me.


	A woman with an unknown disease visits a shaman who can mediate communication with spiritual beings to discover the source of her suffering. The woman and shaman become mediums for the souls of each other and the frog, allowing them to comprehend the pain of other beings from their perspectives. The performance centers around the bodies of both human and non-human, contemplating on the immateriality of their connections. 
The characters include a shaman, a woman who killed a frog for her pleasure, and two beings existing on the boundary between human and non-human. Through these characters, the &#38;lt;Ritual for indigestion&#38;gt; explores mythical, magical feminine power, and female violence, drawing attention to ruptures in existing structures.
The performance deliberately disrupts immersion with such as comical sound effects and unnecessarily long background music. The show concludes with performers disappearing into the audience, and the space filling up with frog sounds. This deliberate interference emphasizes various elements and the intricate network constituting the performance. Furthermore, it encourages imagination about magical ruptures in the traditions of modern self-obsession, anti-ecological sentiment, and male-centric humanistic norms.

&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/8e4d862bf722bfbce3355b542a99171a19aa67572895c4e0def7bf07bbfcd2b7/2.1.20_level-edit.png" data-mid="206340045" border="0"  src="https://freight.cargo.site/w/1000/i/8e4d862bf722bfbce3355b542a99171a19aa67572895c4e0def7bf07bbfcd2b7/2.1.20_level-edit.png" /&#62;


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&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/7ba001c782ed19a63164c65ad42d80c26a1504355dc6671d130f8cc84b89a50f/buero_screenshots_1.1.14.png" data-mid="206345570" border="0"  src="https://freight.cargo.site/w/1000/i/7ba001c782ed19a63164c65ad42d80c26a1504355dc6671d130f8cc84b89a50f/buero_screenshots_1.1.14.png" /&#62;
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/4142b24bc93b8d491e3dd286fdaef0e3c0cb4ddd720b8c07ea3004b5756f1d7f/2.1.19_2.1.19.png" data-mid="206345581" border="0"  src="https://freight.cargo.site/w/1000/i/4142b24bc93b8d491e3dd286fdaef0e3c0cb4ddd720b8c07ea3004b5756f1d7f/2.1.19_2.1.19.png" /&#62;
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/9be85f98d9c068801e7e7ab162a650e5d371821dfe40c931425ae3db0dda2a4d/buero_screenshots_1.1.9.png" data-mid="206345575" border="0"  src="https://freight.cargo.site/w/1000/i/9be85f98d9c068801e7e7ab162a650e5d371821dfe40c931425ae3db0dda2a4d/buero_screenshots_1.1.9.png" /&#62;
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/f7883305bcdaf3cf62546bc8c4e67cb5c9d659c361e593c1ffef1d548d44a7d1/buero_screenshots_1.1.33.png" data-mid="206345585" border="0"  src="https://freight.cargo.site/w/1000/i/f7883305bcdaf3cf62546bc8c4e67cb5c9d659c361e593c1ffef1d548d44a7d1/buero_screenshots_1.1.33.png" /&#62;
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/65931ed8279a7b90eb3387e7861a96a8d1d80ee68504a23d43ef80ca11bea822/buero_screenshots_2.1.37.png" data-mid="206345597" border="0"  src="https://freight.cargo.site/w/1000/i/65931ed8279a7b90eb3387e7861a96a8d1d80ee68504a23d43ef80ca11bea822/buero_screenshots_2.1.37.png" /&#62;
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/7a0c5c55c054af356f59361209cdcabede2ce71eb05901d34cb178d081510e1b/buero_screenshots_2.1.25.png" data-mid="206345588" border="0"  src="https://freight.cargo.site/w/1000/i/7a0c5c55c054af356f59361209cdcabede2ce71eb05901d34cb178d081510e1b/buero_screenshots_2.1.25.png" /&#62;
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/aea3dd09104087b96577d1e9cff0c3d700982441c0585ab60680d555b9642aab/buero_screenshots_1.1.41.png" data-mid="206345594" border="0"  src="https://freight.cargo.site/w/1000/i/aea3dd09104087b96577d1e9cff0c3d700982441c0585ab60680d555b9642aab/buero_screenshots_1.1.41.png" /&#62;


</description>
		
	</item>
		
		
	<item>
		<title>how to make tonkatsu</title>
				
		<link>https://chaeeunlee.com/how-to-make-tonkatsu</link>

		<pubDate>Tue, 11 Feb 2025 22:53:28 +0000</pubDate>

		<dc:creator>Chaeeun Lee</dc:creator>

		<guid isPermaLink="true">https://chaeeunlee.com/how-to-make-tonkatsu</guid>

		<description>
	How to make Tonkatsu
2018


02'05”, HD video, Color, Sound
The artist becomes a cooking Youtuber and introduces how to make Tonkatsu. It illustrates the images of violence in the form of a YouTube video with found footages, building up tension along with the cooking instructions.

	
&#60;img width="2400" height="1350" width_o="2400" height_o="1350" data-src="https://freight.cargo.site/t/original/i/da8cbbf7479e6f9d45b8ec858e80c548ad1574549e17c3b7f9f45bbe3814285a/1.png" data-mid="226445715" border="0"  src="https://freight.cargo.site/w/1000/i/da8cbbf7479e6f9d45b8ec858e80c548ad1574549e17c3b7f9f45bbe3814285a/1.png" /&#62;


&#60;img width="2400" height="1350" width_o="2400" height_o="1350" data-src="https://freight.cargo.site/t/original/i/04c36289d494b11ed1731f925901e302b3d3b157e1f2d51323d97da23564d08d/8.png" data-mid="226445712" border="0"  src="https://freight.cargo.site/w/1000/i/04c36289d494b11ed1731f925901e302b3d3b157e1f2d51323d97da23564d08d/8.png" /&#62;
&#60;img width="2400" height="1350" width_o="2400" height_o="1350" data-src="https://freight.cargo.site/t/original/i/5cb2e8f05f7b3b5d78ef1b98d12ba4e86c7914eb85ea7ff502737c69556feb04/10.png" data-mid="226445713" border="0"  src="https://freight.cargo.site/w/1000/i/5cb2e8f05f7b3b5d78ef1b98d12ba4e86c7914eb85ea7ff502737c69556feb04/10.png" /&#62;

&#60;img width="2400" height="1350" width_o="2400" height_o="1350" data-src="https://freight.cargo.site/t/original/i/5115746a7eea84fe7c91d55329a64391ec3563a3908b85f56786e6e2e04d52ad/2.png" data-mid="226445711" border="0"  src="https://freight.cargo.site/w/1000/i/5115746a7eea84fe7c91d55329a64391ec3563a3908b85f56786e6e2e04d52ad/2.png" /&#62;


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