Park Chan-Kyong’s film Citizen’s Forest draws on two works for which the artist has a particular fondness: The Lemures, an incomplete painting by Korean artist Oh Yoon, and Colossal Roots, a poem by Korean poet Kim Soo-Young. The Lemures (1984) is a panoramic sketch depicting a procession of victims from major events in modern Korean history, including the Donghak Peasant Revolution, the Korean War, and the Gwangju Uprising. Colossal Roots (1974) is an intellectual text taking into account the multiple layers of unconditional acceptance of traditions while subverting the Orientalist perspective. Citizen’s Forest serves as a contemporary platform conjuring the interests shared by these works with regard to historical trauma and ‘Asian Gothic’ imagination. Formally derived from shan-shui (landscape) painting mounted on scrolls or from haunted houses in amusement parks, this work invites the audience to walk along a dark corridor while ghosts of the forest appear as video and sound. Without having the ghosts act out dramatic situations, the work testifies to a certain “ghostness” through the conventional actions performed by characters. The ghosts or citizens in Citizen’s Forest, whether a metaphorical allusion to history or tradition, act as if they are fully aware of the contemporary apathy to their existence.