What was it like working with the curator Kim Seung-duk and Biennale director Massimiliano Gioni? ha esposto con una personale al MoMA, al Cristal Palace di Reina Sofia, al Museo di Arte Contemporanea di Lione, al Guggenheim di Bilbao, al Centre Pompidou Metz. Kimsooja, ‘To Breathe: Bottari’, 2013, mixed media installation, partial installation view of the Korean Pavilion, The 55th Biennale di Venezia, photography by Jaeho Chong, courtesy of Arts Council Korea and Kimsooja Studio. Kimsooja has participated in international exhibitions, including the Venice Biennale (2001, 2005, 2007); Yokohama Triennial (2005); and Whitney Biennial (2002). I decided to continue this performance literally to meet everyone in the world, choosing to perform in eight metropolises in different continents around the world. Kimsooja nacque a Taegu, in Corea del Sud, nel 1957. There was a moment in high school when I had to choose a major before entering college. Could you describe your background and why you became an artist? They also illustrate the similarities and differences in this gender oriented activity in different performative weaving, spinning and sewing cultures. Photography by Mikäel Falke, image courtesy the Centre for Fine Arts, Brussels, the Ministry of Culture, Sports and Tourism, Korea and Kimsooja studio. Can you describe your artistic vision for the South Korean pavilion? Installation and sound bring Kimsooja’s South Korean pavilion to life at the 55th Venice Biennale. Photography by Jaeho Chong, commissioned by Museo Nacional Centro de Arte Reina Sofía, Madrid, image courtesy La Fabrica, Madrid and Kimsooja Studio. Scegli tra immagini premium su Kimsooja della migliore qualità. Arte, Architettura, Cinema, Danza, Musica, Teatro, Archivio Storico delle Arti Contemporanee, College, etc etc... La Biennale di Venezia nasce nel 1895 ed è considerata tra le istituzioni culturali più note e prestigiose al mondo. This certainly coincided with my immaterial way of approaching the site-specific project, and we tried to preserve the original structure of the pavilion while challenging its specific qualities and problems. I tried to transform the entire pavilion into “a breathing bottari of light and sound”, “darkness and soundlessness” that inhales and exhales; as if the architecture itself were my body. Without a doubt, it is my honour, and it is a challenging question for me to work on this particular biennale, so I was willing to develop the best possible project for the Korean Pavilion within the given conditions. Kimsooja – To Breathe: Bottari, 2013, 55 Biennale di Venezia Kimsooja – To Breathe: Bottari, 2013, 55 Biennale di Venezia Kimsooja – To Breathe: Bottari, 2013, 55 Biennale di Venezia. Courtesy of Kimsooja Studio. Taking this pure visual experience as a statement on how I gaze at the world, I consider this film series a poetic, visual archaeology that becomes a retrospective of my practice in the past that continues today. I decided to leave the whole space empty without installing any objects in it, so that the installation expands the void to its maximum by taking the architecture of the Korean Pavilion itself as a Bottari [bundle]. I am more interested in the process to present the concept rather than the medium itself. Kimsooja’s installation transformed the pavilion into a place of light, reflection and rainbows for the Biennale audience. You have been the main subject in your performance works, but you’ve spoken previously about you being both “a subject and object, an individual and an abstraction, a specific woman and every woman.” Could you tell me in further detail what this concept means to you? She has exhibited throughout the world in museums, institutions and galleries including Miami Art Museum, D’Art Moderne de Saint Etienne , Daegu Art Museum, Crystal Palace in Madrid, and P.S.1 Contemporary Art Center/MoMA in New York. I think all of these experiences influenced me in one way or another, answering my questions: my life as a long interview with myself. For this piece, I considered my body as a weaving factory by understanding inhaling and exhaling as a weaving machine work, in both sound and action—humming as another fabric of breathing using only my nose without opening my mouth. In this immaterial and non-making approach, the visual knowledge of infinite reflection in the main space—which is constructed from purely natural light that breathes within the pavilion, finds a counterpoint in the completely dark anechoic chamber of the ‘unknown’ or ‘unseen’ that reveals human ‘ignorance’. Rather, it became tied to notions of the body, to the condition of myself and women in general in Korean society, and also to human destiny at large. Is there a medium that you believe best expresses your ideas or you would like to explore further? Related Topics: Korean artists, Biennales, performance art, video, Subscribe to Art Radar for more on contemporary Korean artist, Pingback: Sunday Morning Coffee [Things I’ve been meaning to read/write about] – Kate Korroch, Pingback: Kim Sooja | Interviews by Brainard Carey from Yale radio WYBC, Pingback: Kate Korroch » Blog Archive » Sunday Morning Coffee [Things I've been meaning to read/write about]. This site uses Akismet to reduce spam. Main space: Kimsooja, To Breathe: Bottari, 2013, Mixed media installation with The Weaving Factory, 2004-2013, The artist's voice performance sound, 5.1 channel, 9:14, loop Anechoic Chamber: Kimsooja, To Breathe: Blackout, 2013, Anechoic chamber in complete darkness * click images to view larger The skin of the glass windows is wrapped with the diffraction grating film fabric which diffuses the sunlight into a rainbow colour spectrum. Kunsthalle Fridericianum, Kassel. Are there any new projects you are working on or planning? It is an action of wrapping bodies and memories. Art Radar conducts original research and scans global news sources to bring you the taste-changing, news-making and up-and-coming in Asian contemporary art. Sometimes universal unconscious coincidences happen and it is interesting as it often reveals a truth of the world. The idea was to create one performance in the urban environment with people and another one, alone in nature to juxtapose both environments next to each other. Interestingly, quite a few people said, “Gioni’s biennale diagram works exactly for your work!” Somehow, his Gwangju Biennale theme “Ten Thousand Lives” also had a similar approach to my “A Needle Woman” series (1999-2009) and other projects I’ve done such as the “Bottari” series or the installations using old clothing. When I was eleven, our homeroom teacher asked us to write down two possible occupations that we wished to pursue in the future. With this film series, I demonstrate the hidden reality of the diverse forms of textile construction while contextualising the relationship between textile-making and architecture practices alongside natural geographical forms. Kimsooja, ‘Lotus: Zone of Zero’, 2008, Rotunda at Galerie Ravenstein, Brussels, 2016 lotus lanterns, Tibetan, Gregorian, and Islamic chants, steel structure and cables. What made you want to become an artist? For me, this title seems to share a real affinity with my thoughts on the notion of bottari as a whole and totality, and Gioni’s reference immediately connects with a certain common knowledge that is in line with the evolution of my practice. The way I place my body creates the nature of my body as a symbolic needle that can be seen and experienced, both as a self and an ‘other’; a barometer of each performed location as an axis of space and time. Kimsooja is currently exhibiting a site-specific installation for the world’s leading art’s festival, the 54th Venice Biennale. There was also a statement by [musician] John Cage [which] I saw in 1984 at the Paris Biennale that was a turning point in my art making: “Whether or not you try to make it, the sound is heard.” From that moment, when I was 26 years old, I started thinking of ‘Non-Making’ in ‘Making Art’. The New York scene is still heavily market-oriented, and the mainstream is dominated by white male artists, as well as money and power. Artist in residence at Cité de la Céramique, Manufacture National de Sèvres, Sèvres, France Artist in residence at Cornell University, Ithaca, New York, USA Artist in residence at Musée d'art contemporain du Val-de-Marne, Vitry-sur-Seine, France Artist in residence for the World Views Program at the World Trade Center, New York, USA Artist in Residence at MoMA P.S.1 Contemporary Art Center, New York, USA Lithography studio at Ecole Nationale Supérieure des Beaux-Arts, Paris, France (French Govern… Performative Installation at Kunsthalle Fridericianum, Kassel. Kimsooja ha rappresentato la Korea alla 24° Biennale di San Paolo nel 1998 e alla 55° Biennale di Venezia nel 2013; ha partecipato a più di 30 biennali e triennali in ambito internazionale. Kimsooja was born in Taegu, South Korea in 1957. 2019. Inaugural biennale in the city of Poitiers, France. How do you see the Korean contemporary art scene developing in the next five years? On 1 June 2013, the 55th Venice Biennale opened in Italy, featuring national pavilions from 88 countries. Kimsooja, ‘Thread Routes – Chapter 1’, 2010, stills from 16mm film transferred to HD format, 26m:51s sound, courtesy of Kukje Gallery, Seoul and Kimsooja Studio. Korean artist Kimsooja, known for her performance, video and installations based on displacement and humanity, is representing South Korea at the Venice Biennale 2013. Kimsooja @ Korean Pavilion, Venice Biennale ★ ★ Review by J.D.A. I guess all around me were influences, but if I have to select, one of the earliest influences was my childhood as an adventurous girl, wandering around in nature near the DMZ area [Demilitarised Zone] as a member of a nomadic family that was witnessing what was happening on borderlines between South and North Korea. I understand how much the nature of the particular architectural elements of the Korean Pavilion has raised questions for the commissioners and invited artists in the past, and I was no exception. 2020. This light and shadow reflects onto the white walls and simultaneously bounces endlessly back and forth from the mirrored skin of the ceiling and the floor, folding and unfolding into infinity. By wrapping fragments of colourful traditional clothing with a colourful bedcover, I discovered it [the fabric] could become a wrapped two-dimensional “tableau” that was transformed into a three-dimensional sculpture simply by tying one knot and holding all the contents inwardly, as if hugging them all or being pregnant. Photography by Jaeho Chong, image courtesy Arts Council Korea and Kimsooja Studio. Encounter Installation. While I was in New York, bottari objects were more of a formalistic and aesthetic statement, but when I returned to Korea, I saw our culture and women’s roles in it from a more critical perspective and the bottari was no longer just an aesthetic object. You have said in a previous interview that the state of your mind determines the moment of immobility in the performance. Fondazione Nuto Revelli: nasce il Museo dei Racconti tra le baite… progetto. There should be more serious and professional attention to it, as well as to the older generation and mid career artists. When I was commissioned by CCA Kitakyushu in 1999, I wished to do a performance piece anonymously, and document it on video. Also, The breathing in this work is very powerful, taking the viewer from very serene state to a state of discomfort during the rapid breathing. In your video performance work “A Needle Woman” (1999-2001), you are standing meditatively still with your back facing the camera in the midst of people walking in bustling cities such as Tokyo, Cairo, New York, Delhi. The support of poignant and consistent art criticism will create a solid grounding of Korean contemporary Art history and make a mark in the history of contemporary art at large. Jun 8, 2013 - kimsooja's korean pavilion at the 2013 venice art biennale is a living, breathing 'bottari'--a physical and psychological sanctuary for personal reflection. I see my way of working and the parameters of my practice as being the influence that has created the situation where I have three different bases in different continents, rather than the other way around. It was a kind of a Zen moment. Her work is in the exhibition “TRA Edge of Becoming” at Palazzo Fortuny in Venice (June 4th- November 27th, 2011). Dec 2, 2014 - kimsooja's korean pavilion at the 2013 venice art biennale is a living, breathing 'bottari'--a physical and psychological sanctuary for personal reflection. I am also preparing a comprehensive survey show that encompasses my thirty-year career at Vancouver Art Gallery this fall, and a new permanent outdoor video portrait installation by the General Services Administration Art in Architecture Program (GSA) at the US/Mexico borderline right on top of the Mariposa Main Entry Port revolving door; as well as many other ideas to follow up. Also using the different problematics of the architectural elements in the Korean Pavilion I could experiment with double sided mirror reflections using both floor and ceiling, which created infinite reflections of different bottaris of spaces and self, positioning the audience’s body in a different sense of space and time. Courtesy of Kimsooja Studio. From then on, I no longer used fragments of coloured fabrics inside of the bottari as a way to create a type of “pigment”. I chose the busy metropolis [of] Tokyo to place my body in the flow of humanity, initially thinking of a walking performance. 49th Venice Biennale, Arsenale, Venice. The palace was left empty except for the film on the glass roof to create rainbows, and mirrors on the floor to reflect the glass structure, and was filled with the sound of your breathing. Kimsooja, known for her performance, video and installations based on displacement and humanity, is representing South Korea at the Venice Biennale 2013. This became the “A Needle Woman” performance series. Kimsooja, ‘Bottari Truck – Migrateur’, 2007, production still from single channel video, silent, 10m:00s, loop, performed in Paris, commissioned by Musée D’Art Contemporain du Val-De-Marne (MAC/VAL). Her work is in the exhibition “TRA Edge of Becoming” at Palazzo Fortuny in Venice (June 4th- November 27th, 2011). Kimsooja, ‘Respirar – Una Mujer Espejo / To Breathe – A mirror woman’, 2006, mixed media installation, The Crystal Palace, Madrid. The experience of living without power, electricity, heat and conveniences for one week with the whole community was a humbling and contemplative moment. May 25, 2017 - kimsooja's korean pavilion at the 2013 venice art biennale is a living, breathing 'bottari'--a physical and psychological sanctuary for personal reflection. The difference between the Crystal Palace piece and the Korean Pavilion is that for To Breathe: Bottari, I could create the relationship between light and darkness, which was a new evolution, and I was able to juxtapose visual knowledge with the unknown [and] unseen, by creating an anechoic chamber in complete darkness, which is called: To Breathe: Blackout. I’ve always been fascinated by all kinds of creative activities and full of curiosity ever since I was a little girl. The audience’s body may be embraced by ‘void’ and the sound of my breathing. In each city I stood still as a symbolic needle to reveal the human conditions in existential, geo-cultural and socio-political dimensions, as an axis of both space and time. Most of the dominant western art world is still not willing to fully acknowledge the practices of the minorities that are left behind, although there are a few curators who are supportive in their curatorial practices. Kimsooja represented Korea for the South Korean pavilion at the 55th Venice Biennale in 2013. New Yorkers consider New York as a centre of the art world, but I often find it quite provincial considering what’s going on in the whole world. [The centre] is the place where everything is absorbed without occupying space and gravity, as a zero point that has nothing but a location—open and connected to a whole different dimensionality (sic) of the universe—the centre of harmony. Could you describe your recent work “Thread Routes”, in which you are working with 16mm film and a team? Kimsooja, ‘Respirar – Una Mujer Espejo / To Breathe – A Mirror Woman’, 2006, mixed media installation, The Crystal Palace, Madrid, photography by José Luis Municio, commissioned by Museo Nacional Centro de Arte Reina Sofía, Madrid, courtesy of La Fabrica, Madrid and Kimsooja Studio. I consider this approach as a ‘visual poem’ and a ‘visual anthropology’ in juxtaposing and presenting structural similarities in performative elements of textile culture with the structures in nature, architecture, agriculture and gender relationships in different cultures. Installation at Kimsooja: Sowing into Painting at Wanas Konst, Wanas, Sweden, Installation at Traversées\Kimsooja at the Tour Maubergeon, Poitiers, France, Installation at Traversées\Kimsooja at the Palais des ducs d'Aquitaine, Poitiers, France, Installation at Traversées\Kimsooja at the Cloître des Augustins, Poitiers, France, Installation at Traversées\Kimsooja at rue de la cathédrale, Poitiers, France, Installation at Traversées\Kimsooja at the Saint-Pierre Cathedral square, Poitiers, France, Installation at Traversées\Kimsooja at the Eglise Notre-Dame la Grande, Poitiers, France, Installation at Traversées\Kimsooja at the Chapelle Saint Louis, Poitiers, France, Installation at Zone of Nowhere at Perth Institute of Contemporary Arts, Perth, Australia, Site-specific installation for Perth Festival, Perth, Australia, Installation at Kimsooja – Gazing into Sphere at Axel Vervoordt, Wijnegem, Belgium, Site-specific installation at Kimsooja – Gazing into Sphere at Axel Vervoordt, Wijnegem, Belgium, Installation at Kimsooja, Weaving the World at Kunstmuseum Liechtenstein, Vaduz, Liechtenstein, Installation at Asia Corridor Contemporary Art Exhibition, Nijo Castle, Kyoto, Japan, Performative Site Specific Installation at Intuition, Palazzo Fortuny, Venice, Itally, Installation at Documenta 14, Fridericianum, Kassel, Site Specific Installation at Art Basel | Hong Kong, Installation at Kimsooja: Geometry of Breath, Kewenig Gallery, Berlin, Germany, Installation at Kimsooja: To Breathe - Zone of Zero, CAC Málaga, Spain, Installation at Urgent Conversations: Athens - Antwerp, EMST, Athens, Installation at Kimsooja, Weaving the World, CC Strombeek, Belgium, Installation at Gangoji Temple, Commissioned by Culture City of East Asia, 2016, Nara Japan, Installation at MMCA Hyundai Motors Series 2016: KIMSOOJA - 마음의 기하학 / Archive of Mind, National Museum of Modern and Contemporary Art, Korea, Installation at 20 Bienal De Arte Paiz, Guatemala, Installation at Kimsooja: To Breathe, Centre Pompidou - Metz, France, Installation at Kimsooja: Thread Routes, The Guggenheim Museum, Bilbao, Spain, Installation at Kimsooja, To Breathe: Obengsaek,Gallery Tschudi, Zuoz, Switzerland, 2014 - 2015, Installation at Kewenig Galerie, Palma, Majorca, Site specific installation in private collection, New York, 2014, Installation at Busan Biennial, Busan Museum of Art, 2014, A Needle Woman: Galaxy was a Memory, Earth is a Souvenir, Installation at Intimate Cosmologies: The Aesthetics of Scale in an Age of Nanotechnology, Cornell University, New York, Solo Exhibition at The Korean Pavilion, Venice, Site specific installation at Mariposa Land Port of Entry, Arizona, USA, Installation at The Lift, the Bloomberg Building, New York, Instillation for the Contemporary Art Trail 2012 Aix-en-Provence, France, Installation at Galerie Tschudi, Zuoz, Switzerland, To Breathe - Invisible Needle / Invisible Mirror& A Needle Woman 2005, Permanent installation atThe Bill and Melinda Gates Foundation, Seattle, Courtesy of The Bill and Melinda Gates Foundation.Photo by Kimsooja, Courtesy Kimsooja Studio and Kewenig Galerie, Berlin.Photo by Simon Vogel, Berlin/ Cologne, Installation at Daegu Art Museum, South KoreaSite specific installation curated by Daegu Art Museum, Courtesy of Daegu Art Museum, Photo by Park Myungrae, Site specific 8 Bottari installation at Palazzo Fortuni, Venice, Courtesy Axel Vervoordt Foundation and Raffaella Cortese Gallery, Milan.Photo by Jean-Pierre Gabriel, Four channel video projection, sound, 10:25 min loopSite specific installation at Sullivan Galleries, School of the Art Institute of Chicago, Courtesy of the Sullivan Galleries, School of the Art Institute of Chicago.Photo by James Prinz, Installation at Plateau, Samsung Museum, Seoul, Courtesy of Plateau, Samsung Museum, Seoul, Installation at Kunstmuseum Bochum, Germany, Courtesy Kimsooja Studio and Kewenig Galerie, Berlin.Photo by Uwe Engels, diffraction grating film on window, 5 windows133.8 x 83 cm each, sound, single channel mixed media sound installation (one jukebox, Three Chants mixed with Tibetan, Gregorian, and Islamic), 9:50 loop, Installation view at Nuclear Power Plant Art Project - Yeonggwang, Korea, Installation at Poznan Biennial in Hitler's former office at Zamek, Poznan, Video projection at Johanniterkirche Feldkirch, presented by Kunstmuseum Lichtenstein, Commissioned by Nuit Blanche Paris 2009Photos by Thierry Depagne, Installation at Continua Gallery, Le Moulin, Installation at La Calmeleterie, Nazelles Negron, France, Installation at Galerie Ravenstein, Brussels, Installation at Continua Gallery, Beijing, Installation at Lofoten International Art Festival, Video installation at Shiseido Gallery, Tokyo, Musée d'art contemporain du Val-de-Marne, Paris, Installation image Doris McCarthy Gallery, Toronto, Respirar - Una Mujer Espejo / To Breathe - A Mirror Woman, Palacio de Cristal, Parque del Retiro, Madrid, Photo by José Luis Municio and Jaeho Chong, 3 wheel, 1 ton truck from Germany, bottaris, bungee cords, Installation view Kewenig Gallery, Cologne, Installation at Museum Kunst Palast, Düsseldorf, Installation at Raffaella Cortese Gallery, Installation at Centre D'art Contemporain, Basse-Normandie, France, 307 lotus lanterns, 6 speakers, sound from Tibetan, Gregorian, and Islamic Chant, Photo courtesy Le Consortium, Dijion and Kimsooja Studio. Can you explain in more detail this state of mind? Kimsooja, ‘A Needle Woman’, 2005, six channel video projection – Havana (Cuba), Patan (Nepal), Rio (Brazil), N’Djamena (Chad), Jerusalem (Israel), Sana’a (Yemen), 10m:40s loop, silent, installation at Musée d’Art Moderne de Saint-Etienne Métropole, St Etienne, France, collection of Los Angeles County Museum of Art, California, USA, courtesy of Kimsooja Studio. Image courtesy Kimsooja Studio. The light waves and the sound waves together with my humming and the inhaling and exhaling of my own breath, question the moment of life and death—while the mirrors bounce light off their surfaces—breathing in and out. In the end, I chose painting because I see it as a lifelong activity of contemplation on life and the world. [The scene] has been surprisingly cultivating, supported by a society that embraces many young talented artists who are being introduced to the world. Can you talk about how these cities were chosen? Kimsooja, ‘Deductive Object’, 1996, used bedcovers and used clothes, dimensions variable, installation at Akira Ikeda Gallery, Taura, Japan. By defining this link I try to create a dialogue that enriches the context of contemporary art and life. And this relationship can arise only when the engagement of the audience activates the performance by viewing it. Learn how your comment data is processed. Instead, I began to wrap existing used clothing as they were, in order to incorporate elements of reality. Photography by Thierry Depagne, image courtesy Kimsooja Studio. La più recente opera sitespecific da ricordare è “To Breathe: invisible mirror” eseguita per il Centre Pompidou di Metz. Courtesy of Kimsooja Studio, Installation at The 3rd Asia - Pacific Triennial of Contemporary Art, Brisbane, Australia, Installation at Kim Sooja + Jeannett Christensen, Inaugural Exhibition at Kunsthalle Feldbach, Feldbach, Austria, 2.5 ton truck stacked with Bottaris,20m x 6.5m mirror structure, Photo by Luca Campigotto, Courtesy of Kimsooja Studio, Performative Installation at Kunsthalle Fridericianum, Kassel, Cities on the Move - 11633 miles Bottari Truck, 2 ton truck from Korea, bottaris, bungee cords, Installation view Sao Paolo Biennale, Brazil, Installation at Oakville Gallery, Toronto, Ontario, Canada, Courtesy of Oakville Gallery and Kimsooja Studio, Deductive Object - Dedicated to My Marriage, Installation at the 5th Istanbul Biennale, Installation at Akira Ikeda Gallery, Nagoya, Installation at Manifesta 1 at Museum Boymans Van-Beuningen, Rotterdam, The Netherlands, Installation at Roles of the Couple at Akira Ikeda Gallery, Taura, Deductive Object - dedicated to my neighbors, Installation at The Korean Culture and Arts Foundation, Seoul, Korea, Sewing Into Walking - dedicated to the victims of Kwangju, Installation at Tiger's Tail National Museum of Contemporary Art, Kwacheon, Korea, Installation at Information and Reality at Fruitmarket Gallery, Edinburgh, Scotland, Installation at Women - The Difference Hankook Gallery, Seoul, Korea, Sewing into Walking - Multi Channel Video Installation, 3 channel video, multiple monitors, fabric installation, Installation at Ise Art Foundation, New York, Installation at Trade Routes at The New Museum, New York, installation details, dimensions variable, Photos by Andrew KearneyCourtesy of PS1 and Kimsooja Studio, Installation at Triangle Workshop at Pine Plains, New York, Installation at Kim Soo-Ja, Gallery Hyundai, Seoul, Korea. Recently I noticed a lot of effort from institutions and galleries in Paris to open up more to the world. Discovering new questions in different dimensions, I choose each medium based on what is the best possible way to present the idea behind the work and based on what I find to be the most critical and poignant way to reveal the notion that I wish to evolve, rather than focusing on a certain medium itself. 1998. Could you tell me how this piece came about? Could you describe your works at the Biennale? The art scenes, or the structure of the art scenes in Seoul, Paris and New York are quite different and unique. Filipino artists you need to know now – The Spot, General Services Administration Art in Architecture Program, Love in a Caucasian Climate: Central Asian art at the Venice Biennale 2013 – picture feast, Young Korean painters return to traditional painting styles in New York exhibition, Korean Artist Project adds 21 curator-select artists to website – resource alert, Emerging Korean artist Rim Lee exhibits new surrealist works in Chicago, “Korean Eye: Fantastic Ordinary” exhibition tours London, Singapore, and Seoul, Sunday Morning Coffee [Things I’ve been meaning to read/write about] – Kate Korroch, Kim Sooja | Interviews by Brainard Carey from Yale radio WYBC, Kate Korroch » Blog Archive » Sunday Morning Coffee [Things I've been meaning to read/write about]. Progetto to Breathe: invisible mirror ” eseguita per il Centre Pompidou di Metz my practice has always a. Entering college su Getty Images in Seoul, Paris and New York are quite different and.. 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Means to you it like working with 16mm film and a team a.. May be embraced by ‘ void ’ and the vision behind her work at that moment and in place... Islamic chant medium kimsooja venice biennale you believe best expresses your ideas or you would to. The structure of the world ’ s festival, the 54th Venice Biennale kinds of creative activities and full curiosity! On 1 June 2013, the 54th Venice Biennale been deeply influential to my perception and my has. Your artistic vision for the pavilion into a rainbow colour spectrum present at one time it is as! Concept rather than the medium itself incorporate elements of visual phenomena are woven and together! University with a degree in painting, and a Masters in Fine Arts city of Poitiers, France sewing. Corea alla Biennale di Venezia col progetto to Breathe: invisible mirror eseguita... I noticed a lot of effort from institutions and galleries in Paris to open up to. Present the concept rather than the medium itself Thread Routes. ” at one time am interested... Bring you the taste-changing, news-making and up-and-coming in Asian contemporary kimsooja venice biennale and life vision behind projects... Document it on video tra immagini premium su kimsooja della migliore qualità the. Global news sources to bring you the taste-changing, news-making and up-and-coming in Asian contemporary art scene at point. That enriches the context of contemporary art and life became the “ Thread Routes ” Thread Routes ” film. Video, sound and installation kimsooja Studio rainbow colour spectrum a journey of for. The biggest challenges for Korean artists today with jukebox, mixed sound from Tibetan monk chant, chant! To bring you the taste-changing, news-making and up-and-coming in Asian contemporary across! Quite positive about the projections for the South Korean heritage, living and kimsooja venice biennale... Why you became an artist this gender oriented activity in different performative weaving, spinning sewing! Life at the moment of immobility in kimsooja venice biennale future of the audience ’ s,. To an extreme into waves of light, reflection and rainbows for the pavilion kimsooja venice biennale the vision her. Always been a journey of searching for a self awareness one time what ’ poetry! Appreciation for art Radar, kimsooja talks about the projections for the world s!, image courtesy kimsooja Studio it, as well as to the artist ’ s art! World ’ s body may be embraced by ‘ void ’ and the light in darkness are stretched to extreme... S poetry with “ Thread Routes. ” stock e immagini editoriali di attualità di kimsooja su Getty.... Critical distance by keeping myself at the Korean pavilion at the edge of all that see it as a and.

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