against the elements in a personal and existential fight against normative values. In the film, across multiple screens, Kang Seung Lee is seen breaking ground in each of their coveted and poignantly charged gardens. Drawings on sheepskin parch- ment, made at each site, are carefully torn and buried under soil taken from the corre- sponding garden in a gesture of posthumous exchange and kinship. Traces from each now exist as a physical embodiment of the others’ struggle, offering the possibility of sprouting seeds and cross-contamination as an act of solidarity and ongoing resistance. There is an ephemer- ality to the work that belies the strength of the gesture; in time, the parchment will compost down and disappear, but it will in turn enrich the soil, producing the conditions of growth and renewal as it does, taking with it, in any new growth, the companionship of a transnational, transtemporal ally. This somatic gesture steers commemoration away from historical telling and toward an embodied, continual being.
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