Using at the same time the video and the performance, which she uses on fictional and/or documentary purposes, the artist works mainly around the question of the memory. In “63 years later” or “Walls”, the artist investigates the history of her country, Korea, and the difficult and complex relations with Japan, which she envisages in her narrative work as two social and political fictions which cross themselves. Through the instrumentalization of the political power and the manipulation of the History which both countries replay, Hayoun Kwon asks the question of the memory, the borders and the interpretation of the History.
These videos are loans of a strong emotional load. This concentrated film shape which the artist qualifies as “moment-poem” allows her to activate at the short time — 1 minute on average — and with a reduced vocabulary at least — an action, a place, an idea — simplified playlets which in spite of their visible obvious fact spread in reality a range rich in feelings. Her uninhibited written form allows Hayoun Kwon to realize microfilms mixing images, documentaries and faction and the various levels of approach and language of which testify of the freedom of analysis of the artist