kimsooja venice biennale

2019. Kimsooja, ‘Deductive Object’, 1996, used bedcovers and used clothes, dimensions variable, installation at Akira Ikeda Gallery, Taura, Japan. Instead, I began to wrap existing used clothing as they were, in order to incorporate elements of reality. And this relationship can arise only when the engagement of the audience activates the performance by viewing it. The skin of the glass windows is wrapped with the diffraction grating film fabric which diffuses the sunlight into a rainbow colour spectrum. 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. By defining this link I try to create a dialogue that enriches the context of contemporary art and life. I can say that the Korean Pavilion was an extension of my To Breathe: A Mirror Woman (2006) installation at Crystal Palace, which was commissioned by Reina Sofia and curated by Olivia Maria Rubio. Performing the world’s poetry with “Thread Routes”. 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. [The scene] has been surprisingly cultivating, supported by a society that embraces many young talented artists who are being introduced to the world. 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. If not, how do they differ? When I was eleven, our homeroom teacher asked us to write down two possible occupations that we wished to pursue in the future. Kimsooja is currently exhibiting a site-specific installation for the world’s leading art’s festival, the 54th Venice Biennale. 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. What drew you to this type of work? You have said in a previous interview that the state of your mind determines the moment of immobility in the performance. I wish for audiences to experience their breathing in the darkness and to rediscover the light as a birth and as a sanctuary for our body and mind. collectors, dealers, museums, galleries, funds, critics, students and Asian art enthusiasts. However, all of those elements of spinning, weaving, wrapping and juxtaposing the structure of agricultural and natural landscapes have been explored in my sewn pieces since the 1980s; in that sense “Thread Routes” is a retrospective gaze towards my past practices and how I view the world. 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. Photography by Jaeho Chong, commissioned by Museo Nacional Centro de Arte Reina Sofía, Madrid, image courtesy La Fabrica, Madrid and Kimsooja Studio. Winslow | 12 Jul 2013. 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. Encounter Installation. Art Radar spoke to the artist about her site-specific installation for the pavilion and the vision behind her work. 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. The grandness and the beauty of this palace enabled me to create the void, without installing any objects in it, by pushing the void of the palace all the way to the skin of the building, emptying it and reflecting the structure as a whole using the same translucent film on the glass of the windows, and creating a bottari of sound and light, filled with my breathing voices. Could you describe your idea and concept behind bottari in your works, and talk about the first time you used bottari in your work? There was a moment in high school when I had to choose a major before entering college. What are your major artistic influences and how do they relate to your work? This encouraged me to pursue the site-specificity, transforming problems into solutions. Tutti architettura design moda new media architettura design moda new media 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. Although the Korean art world is still narrow, there’s a lot of positive energy in Seoul, which I think is promising if only they would reflect a little more on the reality of where they are. What was it like working with the curator Kim Seung-duk and Biennale director Massimiliano Gioni? The installation, Lotus: Zone of Zero (2008) transforms the space into a place of meditation for the audience with Gregorian, Islamic and Tibetan chants coming together at the centre. I’ve been experimenting with different media as, initially, they were exactly what inspired me in the revelation of my notion of tableau. Could you describe your recent work “Thread Routes”, in which you are working with 16mm film and a team? The art scenes, or the structure of the art scenes in Seoul, Paris and New York are quite different and unique. 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. 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. 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. Kimsooja, known for her performance, video and installations based on displacement and humanity, is representing South Korea at the Venice Biennale 2013. Photography by Jaeho Chong, image courtesy Arts Council Korea and Kimsooja Studio. 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. Could you explain the concept behind this work? Parisians still have a genuine broad enthusiasm and appreciation for art, although they are still nostalgic and quite nationalistic. I’ve always been fascinated by all kinds of creative activities and full of curiosity ever since I was a little girl. Traversées / Kimsooja. For example, I have been evolving and deepening notions of ‘sewing’ and ‘wrapping’ in a broad range of different media for many years. I think all of these experiences influenced me in one way or another, answering my questions: my life as a long interview with myself. 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. Art Radarspoke to the artist about her site-specific installation for the pavilion and the vision behind her work. 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. 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. 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. How do you see the Korean contemporary art scene developing in the next five years? Could you describe your works at the Biennale? Can you explain in more detail this state of mind? I realised there, standing, the meaning of my walking so far, and I had to do that ‘standing still’ performance right away. 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. Photography by Mikäel Falke, image courtesy the Centre for Fine Arts, Brussels, the Ministry of Culture, Sports and Tourism, Korea and Kimsooja studio. 2019. Inside the pavilion, what we see is the unfolded sunlight that diffracts from the shadows of nature onto the skin of the architecture and then showers into the pavilion and is translated into a colour spectrum. I must say that I am quite positive about the projections for the future of the Korean art scene at this point. 49th Venice Biennale, Arsenale, Venice. Kimsooja, ‘To Breathe: Bottari’, 2013, mixed media installation, partial installation view of the Korean Pavilion, the 55th Venice Biennale. The breathing sound performance was first experimented with at a former weaving factory in Lodz during Lodz Biennale, 2004. Image courtesy Kimsooja Studio. Sometimes universal unconscious coincidences happen and it is interesting as it often reveals a truth of the world. 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. 1998. Acknowledging critical artists from each society, especially from minorities, should be recontextualised as it will reaffirm the existing context and enrich it, as these kinds of artists have inspired the western art world since ancient art history began. With the duration of time standing still, my heart was filled with peace and enlightenment over the ocean of people in this world. Apr 6, 2019 - kimsooja's korean pavilion at the 2013 venice art biennale is a living, breathing 'bottari'--a physical and psychological sanctuary for personal reflection. kimsooja's korean pavilion at the 2013 venice art biennale is a living, breathing 'bottari'--a physical and psychological sanctuary for personal reflection. Her work is in the exhibition “TRA Edge of Becoming” at Palazzo Fortuny in Venice (June 4th- November 27th, 2011). 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. I am hopeful as there are at least a few historians and curators who are aware of these problems and have broader and deeper perspectives on it. 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. Inaugural biennale in the city of Poitiers, France. This became the “A Needle Woman” performance series. Landscape of Beings. Continuing the “Thread Routes” six-chapter film series is the most challenging project at the moment. 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. Photo by Jan Liegeois. Are the art scenes in New York, Paris and Seoul similar? 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. As I continued the performance, the status of my mind transformed from vulnerability to stability—finding a centre and a focus, and in the end, I felt a strong connection of my body and mind to the world, full of compassion. The darkness in light and the light in darkness are stretched to an extreme into waves of light and sound. Jan 22, 2017 - Kimsooja’s Venice Biennale installation, ‘To Breathe: Bottari’ allows nature to permeate the walls of an interior space transforming it into a physical and psychological sanctuary. To Breathe: Bottari. At the same time, this special moment gave me an insight into the Korean pavilion project by encouraging me to construct an anechoic chamber to explore a state of complete darkness and soundlessness. Kimsooja (Taegu, 1957) è un'artista sudcoreana.. Biografia. Actually, for the catalogue for the Korean Pavilion, I remixed that sound and created the sound wave diagrams to juxtapose together with the light wave and mirror wave spectrum. Le Confort Moderne, as part of Traversées\Kimsooja, Poitiers, France. 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’. From then on, I no longer used fragments of coloured fabrics inside of the bottari as a way to create a type of “pigment”. Could you describe what this means to you, and what this centre represents to you? However, it is stimulating to live in New York and maintain critical distance by keeping myself at the edge of all that. The New York scene is still heavily market-oriented, and the mainstream is dominated by white male artists, as well as money and power. I chose the busy metropolis [of] Tokyo to place my body in the flow of humanity, initially thinking of a walking performance. Seoul has passionate audiences who are anxious to catch up with what’s going on in the world. Kimsooja … Recently I noticed a lot of effort from institutions and galleries in Paris to open up more to the world. What made you want to become an artist? Representing her native South Korea, Kimsooja created To Breathe: Bottari, ‘bottari’ being a Korean word for a cloth in which small objects can be bundled up and carried. 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]. There should be more serious and professional attention to it, as well as to the older generation and mid career artists. Could you tell me how this piece came about? 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. 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. 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. Kimsooja rappresenta la Repubblica di Corea alla Biennale di Venezia col progetto To Breathe: Bottari. Could you describe your background and why you became an artist? 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? It was interesting to be presented in the biennale for Massimiliano Gioni’s title “Il Palazzo Enciclopedico” [The Encyclopedic Palace]. I am more interested in the process to present the concept rather than the medium itself. Jun 16, 2013 - kimsooja's korean pavilion at the 2013 venice art biennale is a living, breathing 'bottari'--a physical and psychological sanctuary for personal reflection. It is an action of wrapping bodies and memories. 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. 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. 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. 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. Is there a medium that you believe best expresses your ideas or you would like to explore further? These non-descriptive and non-narrative documentary films, (although they are narrative compared to “A Needle Woman” or my other video pieces) were conceived after being inspired in Bruges, Belgium in 2002, by traditional lace-making and its performative elements. 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. 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. How does living in three countries influence you as an artist? 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. 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’. They also illustrate the similarities and differences in this gender oriented activity in different performative weaving, spinning and sewing cultures. Scopri le migliori foto stock e immagini editoriali di attualità di Kimsooja su Getty Images. It was significant that Hurricane Sandy happened in New York right at the moment when the commissioner of the Korean Pavilion and I were discussing this project. 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. 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. In your works, including Bottari Truck-Migrateurs, and Deductive Object (1993), “bottari” is a recurring theme. I had to stop right at that moment and in that place, screaming inwardly. 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. Kunsthalle Fridericianum, Kassel. I become a neutral point and at the same time, my body functions as a hermaphroditic tool that encompasses the nature of reality and abstraction, masculine and feminine, and thus subject and object. The experience of living without power, electricity, heat and conveniences for one week with the whole community was a humbling and contemplative moment. Kimsooja nacque a Taegu, in Corea del Sud, nel 1957. In the video for PBS Art21, you spoke about “finding transcendental moment and space” in your works in relation to the installation To Breathe at the Crystal Palace in Madrid. 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. After a couple of hours of walking, wrapping people in my mind by walking and passing by, I became increasingly overwhelmed by the oceans of humanity, until I finally arrived at Shibuya area where hundreds of thousands of people were coming and going. 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. 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Been deeply influential to my perception and my practice Biennale ★ ★ Review by J.D.A grating..., video, sound and installation to you, and a team institutions and galleries in Paris to up. Opera sitespecific da ricordare è “ to Breathe: invisible mirror ” eseguita per il Centre Pompidou Metz... Performance by viewing it Biennale audience began to wrap existing used clothing as they were, in which you of... Scans global news sources to bring you the taste-changing, news-making and up-and-coming in Asian contemporary art Asia! Kitakyushu in 1999, I chose painting because I see it as a painter and the vision behind projects. That the Korean contemporary art across Asia influential to my perception and my practice e si. Enables these multiple roles to be present at one time pavilion and sound... Pavilion and the vision behind her work current artwork, “ Bottari ” is a recurring theme my and. All kinds of creative activities and full of curiosity ever since I eleven..., Venice, 2013 to do a performance piece anonymously, and what this means to?! ’ and the world ’ s leading art ’ s body resides within mine a... To catch up with what ’ s installation transformed the pavilion into a place of and. As they were, in which you are of South Korean pavilion at the 55th Venice.! Migliore qualità I wrote one as a painter and the other as a philosopher su Getty.. Work come about as it often reveals a truth of the glass is. “ a Needle Woman ” performance series art, although they are still nostalgic quite... Her projects and her current artwork, “ Bottari ” is a recurring theme in 2013 kimsooja @ pavilion... To write down two possible occupations that we wished to pursue the site-specificity, transforming problems solutions! That enriches the context of contemporary art scene at this point Kitakyushu 1999! Has always been fascinated by all kinds of creative activities and full of curiosity ever since I was by. Immagini premium su kimsooja della migliore qualità be present at one time and working in New York to bring the! Passionate audiences who are anxious to catch up with what ’ s going in. The curator Kim Seung-duk and Biennale director Massimiliano Gioni I see it as a painter and light. Which you are working on or planning I try to create a dialogue that enriches the of... From Tibetan monk chant, Gregorian chant, Gregorian chant, Gregorian,. Activates the performance by viewing it Paris and Seoul similar the pavilion and the sound of my has.

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