Kimsooja's Current and Upcoming Exhibitions


Kimsooja: Planted Names, Axel Vervoordt Gallery, Antwerp, Belgium

Kimsooja, Planted Names, 2002. Woven Carpets. Courtesy Axel Vervoordt Gallery and Kimsooja Studio. Photo by Jan Liegeois

Kimsooja, Planted Names, 2002. Woven Carpets. Courtesy Axel Vervoordt Gallery and Kimsooja Studio. Photo by Jan Liegeois

Kimsooja: Planted Names
October 21, 2020 - January 9, 2021

Axel Vervoordt Gallery

Human rights, justice, and the state of displacement have long been one of the central themes to the work of Korean artist Kimsooja. Her practice involves constant travel, putting her in touch with various cultures and occasionally sites haunted by extreme violence. Such was the case when she produced the works Bottari - Alfa Beach (2001) and Planted Names (2002), which respond to sites historically associated with the transatlantic slave trade. These works are shown in the context of a summer of racial reckoning, during which global Black Lives Matter protests have continued the movement to fight institutional racism and address the afterlife of slavery.
Bottari-Alfa Beach depicts the horizon of the Atlantic, seen from an island in South-West Nigeria which was once a slave port. The video, shot on a dissonantly bright, sparkling day, shows a vast ocean horizon inverted. The ocean moves in the upper portion and the sky in the lower, invoking an unsettling sense of the loss of natural cohesion.
“The inversion happened when I saw the horizon from the Alfa Beach in Nigeria where African slaves were sent across the Atlantic ocean—this was the saddest horizon line I had ever seen in my life, thinking of the destiny of the slaves and their deprived freedom. Thus the flipped horizon was, for me, a disturbed horizon, a disorientated sense of gravity and of the slaves' psychological return I perceived in the curls of the waves reaching the same shore from which they had left," Kimsooja said.
The inversion calls to mind the words of Black feminist scholar Hortense Spillers, who, writing on the Middle Passage, describes “African persons […] suspended in the ‘oceanic,’ [...] removed from indigenous land and culture and not-yet ‘American’ either, [they] were in movement across the Atlantic, but they were also nowhere at all. [...] they were culturally ‘unmade,’ thrown in the midst of a figurative darkness that ‘exposed’ their destinies to an unknown course.” The disrupted horizon image reflects this cultural unmaking, the loss of home and identity through an institution whose violence continues to this day.


Kimsooja, Bottari - Alfa Beach, 2001. Single Channel Video, 6:18, Silent. Courtesy of Axel Vervoordt Gallery and Kimsooja Studio. Photo by Jan Liegeois

A year later, Kimsooja found herself on the other side of the Atlantic ocean in Charleston, South Carolina, to join in an exhibition entitled Memory of the Water at the Spoleto Festival USA 2002. Echoing Bottari - Alfa Beach video, the four carpets she produced for the exhibition, Planted Names, bear the slave names of hundreds of people of African origin kept in captivity at Drayton Hall, the oldest plantation mansion still standing in America. The names appear in stark white thread against black backgrounds, allowing the violence of such an archive to speak for itself. The names recorded in such a property log are monikers imposed by the enslaver, mostly single words and often cartoonish nicknames such as “Pringles” or “Prince”. These names, along with the knowledge of the horrific violence with which they were bestowed, produces a sense of discordance in the viewer in regard to the utility of the archive. While the use of such names is in fact an act of violence in and of itself, they refer to people whose stories must be remembered and recognized. It functions, as Saidiya Hartman writes in Venus in Two Acts, “at the limit of the unspeakable and the unknown [...] mim[ing] the violence of the archive and attempt[ing] to redress it.” Speaking on her decision to use the form of a carpet, Kimsooja has said :
“I immediately saw this plantation site as a vast woven carpet where enslaved bodies were embedded. There are so many sad and inhumane stories behind these colonial places. Carpets are not about the beauty of an artist’s design, but about the labour of the carpet weaver, so I chose carpets as the form to celebrate both the slaves’ and the carpet weavers’ labour and time,” Kimsooja stated.

Visitors can see three Bottari sculptures which were made in Perth, Australia using locally sourced used clothing and blankets wrapped by traditional Korean bed covers. A bottari (the Korean word for bundle) is usually employed during times of movement, used to transport domestic possessions connected to daily life. Situated at the intersection of sculpture, painting, and installation, the works represent the very idea of displacement and itinerancy. A physical embodiment of ‘home’ uprooted, it is an object laden with experience, memory, and social and existential meaning. By using bed covers to wrap the Bottaris, the objects become sites unto themselves; they are “the underlying theatre for birth and death, one that each and every one of us regards as our own place,” as said by curator Harald Szeemann. At the same time, Bottaris are intimate works that organise the disorder of existence on a micro level, responding aesthetically to the turbulence and chaos of migration. Kimsooja wraps Bottaris in the pursuit of co-existence, love, harmony, non-violence, and a utopia in this troubled world. The embrace of the “other,” the transcultural idea that we are all “woven” together, is foundational to her work, indeed the reason why she adopted a one-word name was that it “refuses gender identity, material status, socio-political or cultural and geographical identity”. Kimsooja offers us an interpretation of today's world, promoting metaphysical, cultural, and political awareness through art.

Kimsooja: Sowing into Painting, Wanas Foundation, Sweden

Kimsooja, Sowing into Painting, 2020. Work in progress at Wanås Konst. Courtesy Wanås Konst and Kimsooja Studio. Photo by Mattias Givell

       Sowing into Painting, 2020. Work in progress at Wanås Konst. Courtesy Wanås Konst and Kimsooja Studio. Photo by Mattias Givell

Kimsooja: Sowing into Painting
May 9, 2020 - November 1, 2020

Wanås Foundation - Wanås Konst, Sweden
Artistic Direction: Elisabeth Millqvist & Mattias Givell

The Wanås Foundation presents Sowing Into Painting, a solo exhibition with site-specific installations, film, sculpture and painting by Kimsooja. Wanås Konst is a unique cultural foundation in Southern Sweden, composed of a sculpture park and art galleries on the site of a medieval castle and an organic farm. Kimsooja’s exhibition will incorporate the diversity of the location with newly-conceived works investigating the conceptual relationship between painting, agriculture, and textiles.

"Kimsooja’s approach to stillness has made her an artist we have long wanted to work with as a part of our interest in the qualities of the site and highlighting nature (...). The exhibition takes place during the Covid-19 pandemic, a time of emergency and restrictions. With the body as our basis for being in the world, the exhibition gives room for inaction and meditation on life and art. Her orientation as an artist naturally establishes a dialogue with everything that is going on; the artworks give space for introspection and spirituality beyond religion. She creates a focus on the present that we need right now." - Elisabeth Millqvist

The title for the exhibition, Sowing into Painting, is also the title of Kimsooja’s new planting project. With this new work, Kimsooja expands her perspective on the (agri)cultural, conceptual, and material significance of painting and textiles. Taking advantage of something unique to the site that most art museums cannot offer—the possibility of farming the land, she uses the agricultural planting field surrounding the Wanås Foundation to experiment and cultivate a field of flax plants, a gesture referencing her decades-long exploration into painting as a conceptual art form.

Kimsooja plants two different local varieties of flax that are used to generate linseed oil and linen. Growing flax pulls us back within art history to the flax fibers that were used to manufacture textiles including canvas and linseed oil that is the classic binding agent in artists’ oil paints. By planting a field of flax plants, she metaphorically encapsulates the entire cycle of material production and considers the interplay of impermanence and perpetuity, and of life and art. These plants, which are grown and harvested in a period of several months, will transform into paintings that could last for centuries. Sown at the end of April, the flax fields will grow and change over the course of the exhibition from green sprouts to stalks with sky-blue flowers and seeds. As well as being a physical source of painting materials, the field becomes a fluid tableau, covering the ground in a pattern akin to weaving the earth. 

Sowing into Painting is an expansion of the artist’s long fascination with agriculture and painting, evident in her series of Deductive Object works made in the early 90s by wrapping traditional farming tools from Korea and the US in fragments of used clothing, as well as her 1988 painting Agriculture, in which sewn and painted sections allude to abstraction and agrarian land plots simultaneously, and the word 'Agriculture' is written on the surface.

Kimsooja, Meta-Painting, 2020

Meta-Painting, 2020. Raw linen canvas. Courtesy of Wanas Konst and Kimsooja Studio

In the Art Gallery space, Kimsooja presents Meta-Painting, a new series of large scale conceptual paintings, through raw canvases of linen, both stretched and folded like bottari, the Korean cloth bundles used to wrap belongings and that have become a characteristic element of her oeuvre with references to migration, displacement, and urgency, as well as a formalistic form that is a three dimensional painting, a sculpture, and an object. Relating to the Sowing into Painting planting project in the nearby fields, these works show the product of the textile process, embodying the full life cycle from seed to flax plant, then transformed into linen canvas and art object. These minimalist paintings link the materiality and structure of the canvases to Kimsooja’s early work as a painter, as seen in sewn and painted works of the 80s and early 90s, to her continuously evolving later work as a conceptual artist using principles of non-doing and non-making

In the centuries-old hay barn, Kimsooja presents To Breathe, a mirrored floor installation, reflecting and inverting the space. The high vaulted characteristic ceiling and its myriad of supporting beams are converted into a deep chasm, creating a disorienting effect as one walks across its surface. This installation comes out of an inquiry into mirrors as a conceptual investigation going back over twenty years in Kimsooja’s practice, since the 1999 Venice Biennale. On the other side of the building, which is more than 50 meters long, she has worked with stuffing fabrics in cracks and holes in the stone wall, tracing back to her Deductive Object made in conjunction with her residence at MoMA PS1 1993. Her works both occupy the room and leave it empty—the entire space becomes an experience, with this experience being her artwork. She allows the sensorial and conceptual dynamics latent in the architecture to come forward, inviting visitors to look far away and up close.

Kimsooja, Thread Routes Chapter II, 2011

Thread Routes - Chapter II, 2011. Video still from 16mm film transferred into HD format. Courtesy of Kimsooja Studio

Referencing the century-long practice of the agricultural and textile production at Wanås Foundation, three of the six non-narrative chapters of Kimsooja’s first 16mm film series Thread Routes are shown in the Art Gallery. Started in 2010 and shot on five different continents, the films use textiles as a point of investigation into human life, culture, and the natural world. 

In the nearby sculpture park, Kimsooja creates A Laundry Field, a new installation extending from her A Laundry Woman series. Kimsooja’s oeuvre is associated with traditional South Korean bedcovers, which she has used in several installations since 90’s. Here, she has instead chosen to work with old-fashioned white sheets that in Sweden are traditionally embroidered with a monogram or decorated with lace—a frame of life that are a part of creating a home and that display care and reflection. Harald Szeeman has described the sheets in Kimsooja’s oeuvre as a "theater for birth and death, our ephemeral condition". In the beech wood forest, the installation becomes a field of memories, of textiles imbued with the body, the couple, the family.


Traversées\Kimsooja


To Breathe, 2019. © Yann Gachet Ville de Poitiers

 

Traversées\Kimsooja
October 12, 2019 - January 19, 2020
Poitiers, France

Artistic Direction: Emma Lavigne and Emmanuelle de Montgazon


Kimsooja presents one of her most challenging and inspiring projects at a brand new artistic and cultural event - Traversées - lead by two artistic directors, Emma Lavigne and Emmannuelle de Montgazon. Placing Poitiers on the international art map, this is a new kind of project, a city-wide "carte blanche" offered to one artist.

 

As part of the event, Kimsooja has invited some fifteen fellow artists, to include Tadashi Kawamata, Lee Mingwei, Min Tanaka, Thomas Ferrand, Subodh Gupta, Jung Marie, Stephen Vitiello and Rirkrit Tiravanija, amongst others, to observe the city and to contribute their own perspectives.

 

 "To symbolically hand over the keys of Poitiers to Kimsooja is to accept that the city’s memories will be transformed into a space in which to imagine the future. But it is also to offer the artist the opportunity to re-frame her work, to imbed it in a new time and space, that of a city steeped in history" - E.L and E.dM



Thread Routes VI, 2019. © Ville de Poitiers

 

In the majestic Palace of the dukes of Aquitaine, a center of spirituality and contemporary culture, Kimsooja's Archive of Mind is conceived as a crossing of the City based on the very principles of co-existence and harmony that have inspired her work for over thirty years.

 

Inspired by Michel Foucault, who is native of Poitiers, and his definition of heterotopia, Kimsooja disperses space using light diffraction and mirrors in the different variations of her work To Breathe, transforming historical sites such as the Tour Maubergeon or the cloister of the Chapelle des Augustins into a sensory experience.

 

For an artist in a state of perpetual motion like Kimsooja, and living in a society increasingly sensitive to migratory patterns, Poitiers also takes on the role of a place of refuge, somewhere to unpack her Bottari, the Korean bundles that she uses to transport her miniature world – whether made from fabric, or in the form of a shipping container.


Bottari Truck, 2019. © Yann Gachet Ville de Poitiers

 

Co-produced by the City of Poitiers, Kimsooja presents, for the first time, her sixth chapter of Thread Routes, filmed in Morocco this year. After Peru, Europe, India, China, and North America, traveling is viewed as an experience of alterity and hospitality, echoing the “thoughts on borders and those living on the other side” that have led Kimsooja to “question the relationship between myself and the Other”.

 

"These 'traversées' will open our eyes to new paths and will write a new chapter in this rich story, one that will not only be recounted but lived and shared, turning local residents and visitors alike into wanderers, following the paths left by the artists, routes that fork and multiply into a disorienting infinity." E.L and E.dM

Emma Lavigne is a curator and art historian, the former director of the Centre Pompidou-Metz and now the President of the Palais de Tokyo, Paris. Emmanuelle de Montgazon is an independent international curator, born in Poitiers.

Traversées was initiated by Alain Claeys, mayor of the City of Poitiers, and Henri Loyrette, former director of the Louvre and Orsay museums.


Kimsooja on site in the Palais des ducs d'Aquitane, 2019. © Thierry Depagne, kimsooja Studio

 

INVITED ARTISTS

Sammy Baloji, Democratic Republic of the Congo / Belgium / Myriam Boucher, Canada / Compagnie l’Homme Debout, France / Ensemble 0, France / Taylor Deupree, USA / Thomas Ferrand, France / Subodh Gupta, India / Jung Marie, South Korea / Lenio Kaklea, France / Greece / Tadashi Kawamata, Japan / France / Kimsooja, South Korea / USA / France / Lee Mingwei, Taiwan / France / Min Tanaka, Japan / Tomoko Sauvage, France / Japan / Achilleas Souras, United Kingdom / Greece / Stephen Vitiello, USA / Rirkrit Tiravanija, Germany / Thailand

 

SITES IN POITIERS

Palais des ducs d’Aquitaine / TAP - Théâtre Auditorium de Poitiers / Maison de l’Architecture / Chapelle Saint-Louis / Atelier Canopé - Chapelle des Augustins / Eglise Notre-Dame-la-Grande / Halles du Marché Notre-Dame / Rue de la Cathédrale / Place de la Cathédrale / Baptistère Saint-Jean / Musée Sainte-Croix / Eglise Sainte-Radegonde / Confort Moderne

 

 

 


Kimsooja - Geometry of Breath, Kewenig Gallery


A Laundry Woman, 2017, Site Specific Installation, 7 Used Artst's Clothes, Clothesline and clothespins, 1 Bottari made of used clothing and black bedcover, installation dimensions variable, bottari 48 cm x 59 cm dia

Kimsooja - Geometry of Breath
April 28 - June 30, 2017
Kewenig Gallery, Berlin
Brüderstraße 10, 10178 Berlin, Germany


Kewenig is pleased to open the exhibition "Geometry of Breath" by Kimsooja on the occasion of the Gallery Weekend. The exhibition was planned by Michael O. Kewenig together with Kimsooja. Due to his recent passing away Kimsooja dedicates her exhibition at the Kewenig Gallery Berlin in commemoration of the gallerist.

The conceptual artist Kimsooja (born in 1957 in Daegu, South Korea) lives in New York, Seoul and recently in Berlin. For more than thirty years, she has dedicated her oeuvre to the themes of migration, the human condition, and issues of the displaced self. In site-specific installations, performances, sculptures, videos and photographic works, she responds to the human condition with investigations into current cultural and political phenomena such as migration, cosmopolitanism and transculturalism in an increasingly globalized yet destructive world.

The exhibition "Geometry of Breath" contextualizes Kimsooja's last 10 years of work that focus on the corporeal aspect of her practice. The exhibit begins with the installation "To Breathe: Mandala" (2010), a readymade American jukebox, which amplifies the artist's breathing sound performance, "The Weaving Factory" (2004). The jukebox is presented on a painted wall, together with the breathing and humming sound, the speaker symbolizes and becomes the artist's body, mandala. Kimsooja leads us to a hypnotic and meditative outer space and timelessness.

The black "Bottari" (2017) line the historical stairway leading to the upper level of the exhibition. Kimsooja first tied together Bottari (Korean for "bundles") in 1992 during her time as artist- in-residence at MoMA PS1; since then, she has repeatedly taken them up anew as an artistic evolution and as a signature, each time in a site-specific manner in response to the personal and social condition around her. Traditionally in Korea, until well into the twentieth century, Bottaris were constructed by gathering a person's most important possessions into a wrapping cloth (in Kimsooja's work, used bedcovers) often when a native place had to be left behind. According to Kimsooja, "Homeland is not a topographically definable place but a state of consciousness and belonging." Wherever Kimsooja finds herself to be, her body is simultaneously her studio and her home. In these new body of works, the borders between her body – as the space where new ideas arise – and the works themselves become increasingly blurred.

In the vestibule of the upper floor of the exhibition Kimsooja exhibits a selection of her recent print series "Topology of Time" (2016), which are produced from a collection of the artist's hair since the early 90s. The hair functions in the pictorial space simultaneously as a drawing and an instrument for measuring time. "Geometry of Body" (2013-2016) are abstracted from fingerprints taken for security clearance at the American-Mexican border crossing Mariposa Land Port of Entry. In the framework of the U.S. GSA Art in Architecture Program in 2013, Kimsooja installed large-format outdoor LED screen video portraits of border residents of Mexican descent living in the US – directly above the high-security zone of the controversial borderline – to offer a gesture of greeting to migrants who passed through the border daily. The abstracted fingerprints, once symbols of identity, now reference the lines of a topographic map.

The adjacent room contains "A Laundry Woman," (2017) where the artist's clothing, which after many years of wear show traces of her body, are installed on a clothesline. Next, a visitor reaches the print and video work "An Album: Havana" (2007), a panning shot in which bodies of anonymous passersby are blurred and disappear into the wind as the focus softens.

In the third room on the upper floor, one encounters the sculpture "Deductive Object" (2016), Kimsooja's first plaster-cast of the artist's arms and hands exhibited on an antique wooden table. The casting captures the artist's hands as her index fingers meet her thumb constructing a void within the hand. This work is installed alongside "One Breath" (2006 / 2016), a digital embroidery of the sound waves of a single breath from the artist's "The Weaving Factory" (2006) sound performance, as well as "Geometry of Body" (2006 – 2015), a yoga mat that the artist had used for nine years until it held the impression of her body as a painting. The three works correspond to the clay spheres – relics, "Deductive Object" (2016), which reference the major work "Archive of Mind" (2016) at Kimsooja's solo exhibition at the MMCA Hyundai Motor Series 2016. In what is the artist's first interactive installation, over the course of the exhibition visitors are invited to sit around a 19-meter-long elliptical table and shape balls of fresh clay between the palms of their hands, accompanied by a sound performance "Unfolding Sphere" of rolling clay spheres and gurgling sounds by the artist.

In the final room of the exhibition, the video work "An Album: Hudson Guild" (2009), inquires into the changes and subjective conditions of spatial and temporal perception in old age. In the video recordings of the senior citizens from the Hudson Guild center in the Chelsea district of New York, the artist focuses on the phenomena of memory loss and detachment from reality, while remembering her deceased father, who suffered a stroke. The portrayed individuals are immigrants from Latin America, Europe and Asia, who are increasingly being forced out of Chelsea due to rising rents. In the photograph produced on the occasion of the exhibition and titled "An Album: Hudson Guild" (2009/2017), they gather into a group portrait of America – as a country of immigrants.

In the warehouse of the gallery in the district of Moabit, Kewenig is installing Kimsooja's video-performance "Bottari Truck – Migrateurs" (2007), in which the artist was conveyed through the streets of Paris as a journey which commemorated the 'Sans Papier' Movement at Eglise Saint Bernard where immigrants without papers protected themselves in the early 90s. Upon the loading area of the warehouse, the pick-up truck complete with her paradigmatic Bottaris is installed. The work was conceived at the Artist-in- Residence Program at the MAC/VAL (Musée d'art contemporain du Val-de-Marne) in an outlying district of Paris, where immigrants from Asia, North Africa and Southern Europe live.

Kimsooja's works have been displayed in numerous solo exhibitions at international museums including MoMA PS1, New York (2001); Crystal Palace, Museo Nacional Centro de Arte Reina Sofía, Madrid (2006); Musée d'Art moderne et contemporain St. Étienne (2012); Pérez Art Museum Miami (2012); Vancouver Art Gallery (2013); Guggenheim Bilbao (2015); Centre Pompidou-Metz (2015); National Museum of Modern and Contemporary Art, Seoul (2010, 2016/17) and CAC Málaga (2016). In 2013, Kimsooja represented the Korean Pavilion at the 55th Venice Biennial. Furthermore, her works have been exhibited at the 5th Istanbul Biennale (1997), São Paulo (1998) and Venice (1999, 2001, 2005, 2007). She was recently honored with the Ho-Am Prize (2015) and the Asia Society Arts Award in Hong Kong (2017).


Kewenig Gallery, Berlin




Upcoming: Intuition, Palazzo Fortuny, Venice


Archive of Mind, 2016, participatory site specific installation consisting of clay balls, 19 m elliptical wooden table, and sound performance Unfolding Sphere, 2016, Installation at Kimsooja - 마음의 기하학 / Archive of Mind at MMCA, Seoul, Photo by Jeon Byung Cheol, Courtesy of MMCA, Hyundai Motor Co., Axel Vervoordt Gallery, Antwerp and Kimsooja Studio

Intuition
May 13 - November 26, 2017
Palazzo Fortuny
Palazzoa Fortuny, San Marco 3958-San Beneto, Venice, Italy

To coincide with the 2017 Venice Art Biennale, the Axel & May Vervoordt Foundation and the Fondazione Musei Civici di Venezia will present their sixth, and final, exhibition: Intuition.  Curated by Axel Vervoordt and Daniela Ferretti, Director of the Palazzo Fortuny, and co-curated by Dario Dalla Lana, Davide Daninos and Anne-Sophie Dusselier, the exhibition will explore how intuition has, in some form, shaped art across geographies, cultures and generations. It will bring together historic, modern and contemporary works related to the concept of intuition, dreams, telepathy, paranormal fantasy, meditation, creative power, hypnosis and inspiration.

Intuition will be the last in a highly acclaimed series at the Palazzo Fortuny co-curated by Axel Vervoordt and Daniela Ferretti, which include Artempo (2007), In-finitum (2009), TRA (2011), Tàpies. Lo Sguardo dell’artista (2013) and most recently, Proportio (2015).

Intuition is the ability to acquire knowledge without proof, evidence, or conscious reasoning: a feeling that guides a person to act in a certain way without fully understanding why.

Some of the earliest works on display in the exhibition will reveal the role of intuition in encouraging artists to connect the two worlds, first attempts by man to create an immediate link between the sky and the earth: from the erection of totems to shamanism and mystical ecstasy; and from religious iconography describing illuminations (Annunciation, Visitation, Pentecost…), to classical works capturing the divine revelation of dreams.

Modern works by Vassily Kandinsky, Paul Klee, Hilma af Klint and more will highlight the intuitive experience and feeling that drives the creative process, and led to the rise of abstract art. The importance of the spatial and temporal research undertaken by the Gutai, Cobra, Zero, Spazialismo and Fluxus groups will be illustrated with works by Kazuo Shiraga, Pierre Alechinsky, Günther Uecker, Lucio Fontana, Mario Deluigi and Joseph Beuys.

The Surrealists interest in the unconscious will also be an important focus of the exhibition. Their fascination with dreams, automatic writing and drawing, collective creations and the state of alteration of the ego will be represented with the ‘dessins communiqués’ and ‘cadavres exquis’ of André Breton, André Masson, Paul Eluard, Remedios Varo, Victor Brauner amongst others, along with the experiments of camera-less photography of Raoul Ubac and Man Ray, and the works on paper by Henry Michaux, Oscar Dominguez and Joan Miró.

This legacy will be reflected in a number of works by contemporary artists such as Robert Morris, William Anastasi, Isa Genzken, Renato Leotta and Susan Morris who, since the 1960s, have revived, developed and modernised the Surrealists’ interest with automatism, leading to new formal and technical results. Other contemporary works by artists including Marina Abramović, Chung Chang-Sup, Ann Veronica Janssens and Anish Kapoor, are inspired by striking subjective experiences or states of mind, and the artists’ concern and preoccupation with the viewer.

During the opening days visitors will be invited to explore and experience the paranormal fantasy of artists through four performances related to dreams, telepathy, and hypnosis – of the mind and body –by young artists Marcos Lutyens, Yasmine Hugonnet, Angel Vergara and Matteo Nasini.

Intuition aims to provoke questions about the origins of creation, and is intended to be viewed as a ‘work in progress’, with leading contemporary artists creating a dialogue with the historic works and with the unique character of Mariano and Henriette Fortuny’s former home. Kimsooja, Alberto Garutti, Kurt Ralske, Bruna Esposito and Nicola Martini will all create site-specific installations as part of the exhibition – a direct, and intuitive, response to the spaces of Palazzo Fortuny.

Palazzo Fortuny





Socle Du Monde Biennale 2017
HEART - Herning Museum of Contemporary Art, Herning


Deductive Object, 2016, site specific installation consisting of painted welded steel, aluminum mirror panels, Sculpture: 2.45 x 1.50 m, Mirror: 10 x 10 m, Installation at Kimsooja - 마음의 기하학 / Archive of Mind at MMCA, Seoul, Photo by Aaron Wax, Courtesy of MMCA, Hyundai Motor Co., Axel Vervoordt Gallery, Antwerp and Kimsooja Studio

Socle Du Monde Biennale 2017
April 21 - August 27, 2017
HEART - Herning Museum of Contemporary Art
Birk Centerpark 8, 7400 Herning, Denmark

The Socle du Monde Biennale was founded in 2002, making it the oldest Danish biennale focusing on contemporary art. It is named after Piero Manzoni’s groundbreaking sculpture Socle du Monde, one of the main masterpieces in the HEART collection.

Socle du Monde 2017 presents a wide range of works. Paintings, installation art, sculptures and performances – from colourless paintings, shit in a can and live chickens to art exchanges and a dancing light robot.

The biennale celebrates Piero Manzoni by turning its gaze partly towards the past, partly to the future as it presents a carefully chosen selection of exciting artists. It also presents a wide range of works that have never before been shown in Scandinavia.

The 2017 Socle du Monde Biennale  – to challenge the Earth, the Moon, the Sun & the Stars  is the 7th instalment of the biennale.

The 2017 Socle Du Monde Biennale takes place at HEART – Herning Museum of Contemporary Art, Herning Højskole, Carl-Henning Pedersen & Else Alfelt’s Museum, The Geometric Gardens and HEART’s Sculpture Park.

The Socle du Monde Biennale will be presenting a number of internationally renowned curators headed by Mattijs Visser, founding director ZERO foundation, with curators Olivier Varenne, Jean-Hubert Martin, Daniel Birnbaum and Maria Finders . Assisting the team are Holger Reenberg, director at HEART and founding Director of The Socle du Monde Biennale , the director at Carl-Henning Pedersen & Else Alfelts Museum, Lotte Korshøj and Chief curator at HEART Michael Bank Christoffersen. Each of the 5 curators will create their individual chapter, based on a work by Manzoni, while the ‘outdoor’ chapters with permanent installations will be curated by the complete team.

Socle Du Monde Biennale





Person in the Crowd, Barnes Foundation, Philadelphia


A Beggar Woman - Cairo, 2001, single channel video, Tibetan Monk Chanting (sound), 8:53, Courtesy of Kimsooja Studio

Person in the Crowd: The Contemporary Art of Flânerie
February 25 - May 22, 2017
The Barnes Foundation, Philadelphia
2025 Benjamin Franklin Parkway, Philadelphia, PA 19130, United States

Person of the Crowd: The Contemporary Art of Flânerie features work by more than 50 international artists who have taken to the street to play detective, make fantastic maps, scavenge and shop for new materials, launch guerrilla campaigns, and make provocative spectacles of themselves to speak to issues as diverse as commodity fetishism, gentrification, gender politics, globalization, racism, and homelessness. The exhibition is on view February 25 through May 22, 2017, and features works, new performances, and historical pieces by Marina Abramović, Vito Acconci, Eleanor Antin, Constant, David Hammons, and Zhang Huan, among many others.

While much of the exhibition will be presented in the Barnes Foundation's Roberts Gallery, Person of the Crowd will also reach into the city of Philadelphia. A series of performances—by artists including Sanford Biggers, Tania Bruguera, Ayana Evans, Zachary Fabri, and Wilmer Wilson IV—will take place on the streets of Philadelphia, and billboard and street poster projects will activate the city throughout the exhibition run.

The Barnes has also commissioned New York-based artist Man Bartlett to create a project site and digital artwork exploring themes related to the exhibition and the concept of "cyberflânerie." Bartlett will act as a flâneur by documenting the street performances taking place throughout the run of the exhibition and inviting the general public to step into the position of the flâneur and share their perceptions of everyday urban life via social media using the hashtag #personofthecrowd. He will also work with teens in the Philadelphia region to develop videos documenting their own experiences as flâneurs inspired by their engagement in the public spaces of the city.

Bartlett will weave together this rich digital content—his documentation of the performances, the public's social media posts as interpreted by a custom-built machine learning application, and Philadelphia students' videos—to create the final piece which will live on a project site and will be projected inside the Barnes Foundation's Annenberg Court.

Artists: Marina Abramović, Vito Acconci, Franz Ackermann, Francis Alÿs, Eleanor Antin, Arman, Man Bartlett, Sanford Biggers, Slater Bradley, Stanley Brouwn, Tania Bruguera, Ingrid Calame, Sophie Calle, Papo Colo, Constant, Guy Debord, Allan Espiritu, Ayana Evans, Daphne Fitzpatrick, Zachary Fabri, Guerrilla Girls, Kendell Geers, Adler Guerrier, David Hammons, Keith Haring, Hi Red Center, Jenny Holzer, Tehching Hsieh, Zhang Huan, Allan Kaprow, Kimsooja, Moshekwa Langa, Lynn Hershman Leeson, Virgil Marti, Lee Mingwei, Annette Messager, Ivan Cardoso / Hélio Oiticica, Jefferson Pinder, Adrian Piper, William Pope.L, Robert Rauschenberg, Martha Rosler, Christy Rupp, Ed Ruscha, Carolee Schneemann, Dread Scott, Jean Shin, Mierle Laderman Ukeles, Gillian Wearing, Wilmer Wilson IV, Brett Day Windham, David Wojnarowicz


The Barnes Foundation, Philadelphia 





Tous, des sang-mêlés, MAC/VAL Musée d'art Contemporain du Val-de-Marne


To Breathe - The Flags, 2012, single channel video, Single Channel Video, 40:41 min loop, silent, Courtesy of Kimsooja Studio

Tous, des sang-mêlés
April 22 - September 3, 2017
MAC/VAL Musée d'art Contemporain du Val-de-Marne
Place de la Libération, 94400 Vitry-sur-Seine, France

The Val-de-Marne Contemporary Art Museum is happy to present a group show entitled “Tous, des sang-mêlés” (“All, mixed-bloods”) around the universal and burning issue of cultural identity. This original proposal echoes previous curatorial projects conducted by the MAC VAL over the last few years.

In tune with the current world affairs, this exhibition explores the notion of cultural identity through various artistic visions and experiences: what is our common denominator? How do we build a shared culture in spite of more and more diverse/opposite origins? Those are some of the current global issues. Under the co-patronage of French historian Lucien Febvre and his book We are all mixed-bloods: a manual on the history of the French civilization (1950), and that of Stuart Hall, founding father of Cultural Studies, this exhibition highlights the fictional dimension of the concept of cultural identity. Our curators have build an exhibition around different proposals that raise questions and shed light on what relates and sets us apart, on transfer of knowledge and future, on power and resistance, on individuals and communities…

Through the voice of about sixty international artists and around one hundred artworks, the exhibition investigates the topics of cultural, national and sexual identities. They all revolve around the notion of being, yet some are obvious, others bring up –often passionate, always political- debates, and others call up memories of the past, sensitivity, experiences, and existence itself, from survival instinct to the notion of living together.

The works gathered in this exhibition tackle these topics from a real-life standpoint in a spirit of exchange and dialogue. If cultural identity is a fiction, artists have different ways to interpret, investigate and question it…while taking distance with the –all too reductive- identity perspective.

How do we shape ourselves in regard to our tongue, territory, family, History, story, and stereotypes?

The exhibition proposes several elements to establish a common ground on which alterities could develop together and in regard to one another.

Through the story, sensitivity, words and commitment of artists from all horizons, ages and nationalities, each visitor can grow his own understanding of the notion of “Identity”. Set up in the very heart of the exhibition, “De quoi j’me mêle?” offers a space of encounters, debates, reading and relaxation all throughout the duration of the show. Its goal is to take time to think together or individually about the issues raised by the exhibition and the reality of today’s world. Singular voices will speak up to share opinions as well as personal and collective experiences.

These encounters organized by everyone who collaborated in the organization of the event, are free of charge and open to all audience on Sunday, 30 April, 7 May, 14 May, 21 May, 28 May, 4 June, 11 June, 25 June, 9 July, 27 August and 3 September at 4pm.


MAC/VAL Musée d'art Contemporain du Val-de-Marne





Thread Lines, KMAC Museum, Kentucky


Thread Routes - Chapter I, 2010, 16mm film transferred to HD format 29:31 min, sound, Courtesy of Kimsooja Studio

Thread Lines
April 29 - August 6, 2017
KMAC Museum, Kentucy
715 West Main Street, Louisville, Kentucy 40202, United States

Curated by Joanna Kleinberg Romanow
Organized by The Drawing Center, New York

This group exhibition features fifteen artists who engage in sewing, knitting, and weaving to create a wide-range of works that activate the expressive and conceptual potential of line and illuminate affinities between the mediums of textile and drawing. Multi-generational in scope, Thread Lines brings together those pioneers who—challenging entrenched modernist hierarchies—first unraveled the distinction between textile and art with a new wave of contemporary practitioners who have inherited and expanded upon their groundbreaking gestures. 

KMAC Museum





The 2nd Changjiang International Photography and Video Biennale
Changjiang Museum of Contemporary Art


Unfolding Bottari - Geometry of Possession, 1991 - 2015, Digital Slideshow of 223 Flea-Market Photographs from the artist's on going photo project around the world, 11:37 min loop, silent, Courtesy of Kimsooja Studio

The 2nd Changjiang International Photography and Video Biennale
April 28 - July 28, 2017
Changjiang Museum of Contemporary Art
Chongqing nanbing Yangtze River Art Plaza, China

It has been 2 years since the 1st Session of Changjiang International Photography &Video Biennale achieved success. And the 2nd Session is coming now! This Biennale, sponsored by Changjiang Museum of Contemporary Art, will be held in April 2017 for 3 months.

In the 2nd Session, we invite Bisi Silva (Nigeria), Cui Cancan and Wang Qingsong in China as curators. These three curators, with varied academic background, from different countries and regions, will bring us a great exhibition. Bisi Silva is the founder and art director of CCA who has devoted to the study and the plan of international contemporary art and feminine art. Moreover, she has been one of the curators for many significant Biennales. Cui Cancan, Chinese independent curator, is active in Chinese contemporary art and the joint area connected art and social movement, who stands out and gets much attention for planning experimental exhibitions and critical projects. Wang Qingsong, the Chinese artist that focus on the field of contemporary photography, has participated in many important international Biennales and also is the founder and curator-in-chief of the 1st Session of Changjiang International Biennale of Video Art and Photography. The 2ed Session of Biennale will continue to put the video art and photography as the main objective, which is just as the 1st session, and use space and halls in a broader way to explore a brand-new format for showcase. All the space and halls in Changjiang Museum of Contemporary Art will get artists, of different ages, from varied region all over the world together, whose works will form new relationship for narration and show the impact and value of video art and photography on every systems.

After a year’s discussion, the objective of this Biennale has settled as “Every Skyscraper is Built from the Ground”, which describes the process of art development during the history and emphasizes its base. The objective also metaphorizes that everything develops from nothing, symbolizes that image art are ubiquitous and influenced all trades and professions, and manifests the Biennale‘s ambition to enter into the public full-fledged.

This Biennale includes two parts: one is Theme Exhibition, the other is Special Project. Five Units makes up the Theme Exhibition, namely, “Video Art and Film Art”, “Images and Visual Communication”, “Images and books, classic magazines, network”, “Images and Local time, Self-organization, Experimental space”, “Images and Contemporary Art”. These five units focus on the wonderful relationship between image art and different systems. Image art not only activates the development and boundaries of various social fields, but also constantly changes itself in this process, adding new attributes. The units, the literature and the works, intertwining and complementing each other, form rich and complex cultural clues together.

This Biennale, just as the one in last year, sets Video Art and Photography Award and other relative awards, judged by a jury comprised 5 reviewers and curators. During the 90 days, roundtable meetings and workshops will be held with artists in multi-fields, through cruising , broadcasting and recreation, which emphasizes the objective of “Every Skyscraper is Built from the Ground” that is to bring the exhibition, transmission and application of art to the social front, and strengthen the relationship between Biennale and different regional art practices.

"Rip It Up” happens in west China, which converged as a flood of video art and photography in the upper reaches of the Yangtze River.

Changjiang Museum of Contemporary Art


 





Upcoming: The Urge to Create Vision, Centrum Rzezby Polskiej, Oronsko, Poland


A Mirror Woman: THe Sun & The Moon, Four Channel Video Projection, 12:33, Sound, Commssioned by Shiseido Foundation, Tokyo, Courtesy of Kimsooja Studio

The Urge to Create Vision
May 27 - September 17, 2017
Centrum Rzezby Polskiej
Topolowa 1, 26-505 Oronsko, Poland

International Exhibition carried out in cooperation with the Foundation Signum includes works by renowned artists of historical avant-garde and contemporary artists. In Orońsko we see, among others, the work of artists such as Laszlo Moholy-Nagy, Jesus Rafael Soto, Francisco and Stefan Themersonowie Wojciech Fangor, Kimsooja, Mikołaj Grospierre. The exhibition will be the main highlight of the summer season 2017

Curator: Grzegorz Musiał

Coordinator: Leszek Golec

Participants: Elias Crespin, Carlos Cruz-Diez, Wojciech Fangor, Paweł Grobelny, Mikołaj Grospierre, Bethan Huws, Kimsooja, Lin Yi, Michał Martychowiec, Laszlo Moholy-Nagy, Jesus Rafael Soto, Francisco and Stefan Themerson Ludwig Wilding, Chi Tsung Wu

Cetrum Rzezby Polskiej, Oronsko, Poland


 





KIMSOOJA

>>Geometry of Breath<<



April 28 - July 29, 2017
Opening April 28, 2017 6 to 9 p.m.
Special opening times at all locations: April 28-30, 2017 11 a.m. to 7 p.m.

Further exhibtion venue during Gallery Weekend Berlin

Kimsooja >>Bottari Truck - Migrateurs<<
at Kewenig warehouse, Wilhelmshavener Str. 7, 10551 Berlin-Moabit

 


Bottari Truck - Migrateurs, 2007






D-10178 Berlin Brüderstr. 10 t +49.30.3988 038-0 gallery@kewenig.com



Kimsooja's feature on Bloomberg's Brilliant Ideas is now available online


Click here to View the Video
 


Kimsooja Studio


Kimsooja will be featured on Bloomberg's Brilliant Ideas, which is scheduled to premiere on Friday January 13, 2017 in the U.S. at 9pm EST, in Europe at 7:30pm GMT, and in Asia at 6:00 pm UTC + 8


Current Exhibitions: 

Kimsooja - Archive of Mind is on view at MMCA, Seoul
July 27, 2016 - February 5, 2016

Dancing with Myself: Self-portrait and Self-invention Wroks from the Pinault Collection at Museum Folkwang, Essen
October 7, 2016 - January 15, 2017

Uncertain States - Artistic Strategies in States of Emergency, Akademie der Künste, Berlin
October 15, 2016 - January 15, 2017

Urgent Conversations: Athens-Antwerp, National Museum of Contemporary Art - EMST, Athens
October 31 - 2016 - January 29, 2017
 


Kimsooja Studio


Peace & Love to the World

 

Kimsooja will be featured on Bloomberg's Brilliant Ideas, which is scheduled to premiere on Friday January 13, 2017 in the U.S. at 9pm EST, in Europe at 7:30pm UTC, and in Asia at 6:00 pm UTC + 8


Current Exhibitions: 

Kimsooja - Archive of Mind is on view at MMCA, Seoul
July 27, 2016 - February 5, 2016

Kimsooja, To Breathe - Zone of Zero at CAC Magala
October 7, 2016 - January 8, 2017

Enacting Stillness at The 8th Floor Gallery, New York
September 21, 2016 - January 13, 2017

Dancing with Myself: Self-portrait and Self-invention Wroks from the Pinault Collection at Museum Folkwang, Essen
October 7, 2016 - January 15, 2017

Uncertain States - Artistic Strategies in States of Emergency, Akademie der Künste, Berlin
October 15, 2016 - January 15, 2017

Urgent Conversations: Athens-Antwerp, National Museum of Contemporary Art - EMST, Athens
October 31 - 2016 - January 29, 2017
 

Archive of Mind, 2016, participatory site specific installation consisting of clay balls, 19 m elliptical wooden table, and sound performance Unfolding Sphere, 2016, Installation at Kimsooja – Archive of Mind at MMCA, Seoul, Courtesy of MMCA and Hyundai Motor Co. and Kimsooja Studio



Kimsooja - Archive of Mind at MMCA, Seoul


Kimsooja, Archive of Mind, 2016, participatory site specific installation consisting of clay balls, 19 m elliptical wooden table, and sound performance Unfolding Sphere, 2016, Installation at Kimsooja – Archive of Mind at MMCA, Seoul, Courtesy of MMCA and Hyundai Motor Co. and Kimsooja Studio

MMCA Hyundai Motor Series 2016: Kimsooja
Archive of Mind
July 27, 2016 - February 5, 2017
National Museum of Modern and Contemporary Art, Korea
30 Samcheong-ro, Jongno-gu, Sogyeok-dong, Seoul 03062, Korea


MMCA Hyundai Motor Series 2016: Kimsooja - Archive of Mind is being held at the National Museum of Modern and Contemporary Art, Korea (Seoul). Selected by MMCA to be featured as the third artist for MMCA Hyundai Motor Series, Kimsooja brings together a conceptual, existential, aesthetic, and structural investigation of performance through immobility that inverts the notion of the artist as the predominant actor. 

MMCA Hyundai Motor Series is long-term annual project inaugurated in 2014, sponsored by Hyundai Motors Company to support solo exhibitions of distinguished Korean artists. By providing a pivotal opportunity of commissioning new large-scale works to the artists with distinctive practices, the series instills fresh invigorating possibilities into the field of Korean contemporary art.  

Kimsooja’s work deals with universal issues of restoration and regeneration, transcending beyond the regional boundaries to embracing the contemporary age through relationships between self and others. Kimsooja is praised for her steady practice which encompasses elements of Korean tradition and modernity, and particularity and universality.

This exhibition presents for the first time to the public a major performative installation Archive of Mind, a new sculpture installation Deductive Object, the new and fifth chapter of Kimsooja’s ongoing film series "Thread Routes," and a series of recent works that mark an evolution in the artist’s practice. MMCA Hyundai Motor Series 2016: Kimsooja - Archive of Mind presents works which have never been shown before, including her large-scale installation work constructed on-site, which transforms with the audience participation throughout the exhibition period, and an outdoor installation work in the courtyard. We hope this exhibition offers the audience the opportunity to delve into the ideas of duality and balance which have fascinated the artist since her early works until today.

National Museum of Contemporary Art Korea




Kimsooja, To Breathe - Zone of Zero at CAC Málaga


Kimsooja, Lotus: Zone of Zero, 2016, site-specific installation at CAC Málaga consisting of 708 lotus lanterns, Tibetan, Gregorian, and Islamic chants, photo by José Luis Gutiérrez, Courtesy of CAC Málaga and Kimsooja Studio

Kimsooja, To Breathe - Zone of Zero
October 7, 2016 - January 8, 2017
CAC Malaga
Calle Alemania, S/N, 29001 Málaga, Spain

The title of the exhibition To Breathe – Zone of Zero is an amalgam of the two works that comprise it. The installation Lotus:  Zone of Zero (2016) has turned the exhibition space at the CAC Málaga into a place of contemplation and meditation. A total of 708 lotus lanterns cover the ceiling of the room, but instead of the circular mandala design used in previous presentations of this work, here they are arranged in a rectangular pattern as a minimalist tableau. Gregorian, Islamic and Tibetan chants flood the hall and wash over spectators, inviting them to turn their thoughts inwards. Although this project was conceived in 2003 in response to the Iraq War, today it is still a relevant proposal, providing a safe haven where people of different cultures and religions can come together. That zone is a place of respect, reflection, dialogue and harmony—a place of concord. This installation explores the notion of unity and totality, according to which mind and body are spiritually joined.

The artist uses the exhibition space of the CAC Málaga as a sanctuary, an isolated refuge in which to meditate or dream. She makes the building’s architectural structure one with her work. The artist invites us to experiment with our minds and activate our senses, imagination and sensory perceptions; her work appeals to body and mind in equal measure, composing a visual poem. Kimsooja achieves the maximum effect with a minimum of elements.

This is apparent in her video To Breathe – The Flags (2012), in which 246 national flags are slowly superimposed, one by one, in alphabetical order, without hierarchy or political bias, putting all nations on the same level: a visual experience in which differences and conflicts between nations can fuse and blend together as one. The piece was originally created for the 2012 London Olympics to reflect the unifying spirit of the games, although that first version only included the flags of participating countries. The flags added later represent nations which are not accepted or officially recognised by the authorities. Overlapping the flags is a gesture of understanding, of fraternity among equals, of respect for differences.

The works of Kimsooja, the most influential Korean conceptual artist active today, show a commitment to engage with the audience and inspire solidarity and respect for others by appealing to the sense of humanity we all possess.

Kimsooja was born in Daegu, the third largest city in Korea, famous for its textile industry. As the daughter of an army officer, she lived in the demilitarised zone in South Korea, and her childhood was spent constantly moving with her family from city to city. The artist is keenly aware of the problematic issues of borders, otherness (the relationship between self and the other), gender inequality and nomadism. Today Kimsooja is still a nomad, constantly travelling to share her vision of the world.

During the exhibition, visitors will also be able to admire two bottaris from the collection of Carmen Riera in the show Passion II (Kimsooja, Installation of 2 Bottaris, 2005), now on display at the CAC Málaga. These bottaris are made of used fabrics, and for Kimsooja they contain the memories, desires, experiences and spirits of their former owners.

CAC Malaga




Kimsooja, Weaving the World at CC Strombeek


Kimsooja, Thread Routes - Chapter II, 2016, site-specific installation at CC Strombeek, Site II, Photo by Sophie Nuytten, Courtesy of CC Strombeek and Kimsooja Studio

Kimsooja, Weaving the World
November 18, 2016 - December 18, 2016
CC Strombeek
Gemeenteplein, 1853, Belgium

From November 18 to December 18, 2016, Museum Culture Strombeek / Ghent Kimsooja, Weaving the World , a solo exhibition of the Korean artist Kimsooja. This artist living in New York is considered as one of the leading Korean artists of her generation. 

Her concept for CC Strombeek, conceived as an extension of the presentation and between 2010 and 2016 came about film series Thread Routes , is extremely fragile and feminine, and appeals to a mix of (handmade) textiles, architecture and elusive cosmos.

The exhibition Kimsooja, Weaving the World is an 'experience' in which textile is the reason for a human philosophical and colorful outlook on life.

In addition to the presentation in CC Strombeek shows Kimsooja at the Korean Cultural Center 's recent work Bottari - to the victims of violence Brussels . It is a variant of the brightly colored and richly decorated clothes bundles that she presented under that name in different contexts and constellations since 1992. Kimsooja made this 'monument' in memory of the victims of the attacks in Brussels on March 22 2016, using clothes from anonymous people in Brussels as well as the artist's bedsheet.


CC Strombeek



Kimsooja at Enacting Stillness, The 8th Floor Gallery


Kimsooja, A Needle Woman – Kitakyushu, 1999, single channel video, silent, 6:33 loop, video still, Courtesy of Kimsooja Studio

Enacting Stillness
September 21, 2016 - January 13, 2017
The 8th Floor
17 West 17th Street, New York, NY, United States


Enacting Stillness is an exhibition that considers the political potential of slowing down and stopping as forms of resistance, protest, and refusal. An international group of artists in the exhibition engage in practices that challenge and upend our expectations for the continuity of performative compositions, lines of movement, and thought. Working with the disciplines of choreography, theater, moving image, sculpture and performance, the exhibition presents a multivalent reflection on political histories from the Americas to Europe and Asia, with projects that employ a range of gestures and time-based practices to question what unexpected ruptures like meditation, contemplation, rest, and the reversing of movement and time might mean to both the artist and the viewer. The exhibition will be on view September 21, 2016 to January 13, 2017 at The 8th Floor, the exhibition and programming space for The Shelley & Donald Rubin Foundation, located at 17 West 17th Street, New York City.

Enacting Stillness features artists John AhearnRehan Ansari, Nicolás Dumit EstévezBrendan FernandesAlicia GrullónYoko InoueJoan JonasClaudia JoskowiczKirsten JustesenKimsoojaCarlos Martiel, Bruce NaumanClifford OwensKameelah Janan RasheedEmily Roysdon, and Roman Štětina. Together, the artists in this exhibition reveal the parallel connections between art and political engagement, between stillness and activation. Each of the artists works with an economy of means to test the limits of performance – for the performer, the viewer, and the participant – provoking us to question how our own positions, whether still or in motion, connect to larger social and political concerns.

The 8th Floor


Kimsooja at Minus Ego, Renouncing - Disappearing - Sharing, Goethe Institute Barcelona


Kimsooja, An Album: Havana, 2007, still from single-channel video projection, 6:57, loop, silent, Courtesy of Galeria La Fabrica, Madrid, Kewenig Gallery, Berlin and Majorca, and Kimsooja Studio

Minus Ego, Renouncing - Disappearing - Sharing
October 7 - December 22, 2016
Goethe Institut Barcelona
Roger de Flor 224, Barcelona


In the era of the narcissist selfie it is both urgent and necessary to reflect on the nature of Ego, on how it influences and affects our existence. As stated by Alejandro Jodorowski: “The ego is a cage with no bird that believes it’s a bird with no cage”. Surface and appearance become the system and rules that drive our actions. Egotism permeates political and social life and egos grow as strong, unsustainable and destructive entities that benefit neither the individual nor the collective. 


Ideologies, propaganda, seductive corporate messages, hyper-productivity and the astute architecture of capitalism, compose the elements of that cage which oppresses the essence and enhances the ego. 


Kaja Silverman, a psychoanalytic theorist who has studied the links between the ego, the gaze, the look and image, considers Lacan and Freud’s well-known perspective on the ego: “Lacan proposes that the ego comes into existence the moment when the infant subject first apprehends the image of its body within a reflective surface, and is itself a mental refraction of that image. Thus, the ego is the representation of a corporal representation”. She also underlines: “In The Ego and the Id, Freud maintains that the ego is ‘first and foremost, a bodily ego; it is not merely a surface entity, but is itself the projection of a surface’”. 


How can we free ourselves from the ego’s cage? How can we move from optical consciousness, the threshold of the visible, the material surface towards the imperceptible self, the essence, mind consciousness? What’s behind our mirror-image? 


Minus Ego is an exhibition addressing universal and timeless questions of “ego”, focusing on the challenging aspects of its reduction as well as on a search for the contemplative essence. 

What do we refer to when talking about “ego reduction”? Is it about renouncing? Is it about disappearing? Perhaps, sharing? Is it related to silence? Is it about creating different relationships with people, ideas and contexts? 



The complexity and diversity of the ego is a central issue in the life of every human and has been analysed from the perspective of philosophy, psychology, ethics, mysticism, religion, politics and culture in different times and spaces. The exploration of ego goes hand in hand with the evolution of humankind and thinking: from the psychic apparatus [id, ego and superego] defined by Sigmund Freud; or the radical individual autonomy proclaimed by Max Stirner; to the multiple senses of annihilation, fading, fusion, dissolution or illusion that we could find in different spiritual beliefs, rituals and practices. 



The transient passage of life, the concept of impermanence, the Buddhist Anicca, the Fanaa vision in Sufism, the Hindu concept of Samadhi, the Pali term Nekkhamma, the active nihilism of Nietzsche’s philosophy, Heidegger’s Mitsein or Vattimo’s ‘weak thought’, all deal – in one way or another – with the idea of renouncing and disappearing. 



These main notions – renouncing, disappearing and sharing – compose the reflections on ‘Minus Ego’, dig into the idea of essence and raise different questions and thoughts concerning the structure, definition, position and composition of ego. 



The ‘Minus Ego’ project explores both the convergences and divergences of ego, its dependency and independency, its eternity and impermanence. Reflecting on this from within artistic contexts — themselves often filled with egotism — will provide an opportunity to explore the spirit and nature of ‘I’, ‘Self’, ‘Ego’ from different perspectives and their relationships with the ‘We’, the ‘Other’ and different ‘systems and superstructures’. 


The different works forming the exhibition reveal the many possible interpretations of the ‘Minus Ego’ concept. Envisioned as a research and exhibition project, ‘Minus Ego’ will be developed through several steps in different places and times, changing and transforming itself just as egos and identities do. 

PARTICIPATING ARTISTS 
Marko Schiefelbein (Berlin preview), and in Barcelona: Thilo Droste, Christoph Schwarz, Jordi Tolosa, Toni Serra, Abu Ali,  Jakob & Manila Bartnik, Kimsooja, Susanne Bosch, Michael Wesely, and Antoni Tàpies.  

Curated by: Herman Bashiron Mendolicchio
Herman Bashiron Mendolicchio holds an International PhD in “Art History, Theory and Criticism” from the University of Barcelona. He is a faculty member and core advisor at Transart Institute (NY-Berlin) and has worked as a Postdoctoral Visiting Researcher at United Nations University - Institute on Globalization, Culture and Mobility (UNU-GCM). He is invited Professor of the Cultural Management Programme of the University of Barcelona.



His current lines of research involve the subjects of intercultural processes, globalization, participation and mobility in contemporary art and cultural policies; the concepts of utopia, journey, mysticism and nomadism; the interactions between artistic, educational, media and cultural practices in the Mediterranean and the cultural cooperation between Asia and Europe.



He has participated in several international conferences and developed projects and research residencies in Europe, Asia, USA and the Middle East. As an art critic, editor and independent curator he collaborates with international organizations and institutions and writes extensively for several magazines and journals. He is Editorial contributor at Culture360 – Asia-Europe Foundation (ASEF), Managing Editor at ELSE – Transart Institute, and co-founder of the Platform for Contemporary Art and Thought, InterArtive.


Goethe Institut Barcelona


 

 


Kimsooja at Dancing with Myself: Self-portrait and Self-invention Works from the Pinault Collection, Museum Folkwang


Kimsooja, A Needle Woman, 1999 – 2001, 4 channel video projection, 6:33 loop, silent, Collection of François Pinault Foundation, Courtesy of Kewenig Gallery, Berlin, and Kimsooja Studio

Dancing with Myself: Self-portrait and Self-invention Works from the Pinault Collection
October 7, 2016 - January 15, 2017
Museum Folkwang
Museumsplatz 1, 45128 Essen, Germany


From October 7, 2016, to January 15, 2017, the large exhibition hall in the Museum Folkwang will be given over to an artistic examination of the self. The thread that links the pieces together is the multifaceted presence of the artists in their own work. It will be the first time that such a substantial number of the outstanding group of works acquired by Francois Pinault is to be put on display in Germany. Dancing with Myself is a playful, poetic, poltical, and wild dance through contemporary art moving from the 1960s up to our own time.

In Dancing with Myself the artists themselves play a major part in the show. They are both actors and raw material in their own work—their bodies, their biographies, their social and sexual identities, their humor, their melancholia. Moving beyond the classical self-portrait, the exhibition plays on the themes of artistic temperament and attitude.

At the same time Dancing with Myself is also a vibrant media crossover. Large-format paintings come face to face with huge video installations; bodies turned into photographs encounter sculptural fragments. The artists have inscribed themselves in diverse ways—in the photographic apparatus, the video or film camera, the screen, the space, the conceptual gesture. The body becomes a natural Dadaist tool with childlike qualities; the performative is made into the primary form of representation. In the late twentieth and early twenty-first centuries, images turn into productive (distorting) mirrors for bodies and identities.

Dancing with Myself is also a wild ride through the art history of the last fifty years. What still had truth and validity in the 1970s other than the experience of one’s own body? The postmodern irony and challenge of self-images and stereotypes of the time now come into contact with the attitudes of young artists who once again have a fixed social and political position, and use their own biographies and bodies to take a stand among the fault lines of a globalized and unequal world.

Dancing with Myself is a collaboration between the Museum Folkwang and the Pinault Collection, supported by the program Jeunes Commissaires of the Bureau des arts plastiques et de l’architecture of the Institut français.

Artists: 
Adel Abdessemed, Alighiero Boetti, Claude Cahun, Maurizio Cattelan, John Coplans, Urs Fischer, LaToya Ruby Frazier, Lee Friedlander, Gilbert & George, Robert Gober, Nan Goldin, Félix González-Torres, Rodney Graham, David Hammons, Roni Horn, Kimsooja, Martin Kippenberger, Kurt Kranz, Urs Lüthi, Steve McQueen, Boris Mikhaïlov, Bruce Nauman, Paulo Nazareth, Helmut Newton, Roman Opalka, William Pope.L, Arnulf Rainer, Charles Ray, Lili Reynaud-Dewar, Ulrike Rosenbach, Allan Sekula, Cindy Sherman, Jo Spence, Hito Steyerl, Rudolf Stingel, Alina Szapocznikow

Museum Folkwang

 

 


Kimsooja at Uncertain States - Artistic Strategies in States of Emergency, Akademie der Künste


Kimsooja, Deductive Object, 2007, bottari installation, 19th Century French Baguette Cart, used Korean bedcovers and clothing, 100cm high x 97cm wide x 73cm deep, 106cm high x 100cm wide x 63cm deep, and a single bottari, Photo by Simon Vogel, Courtesy of Kimsooja Studio

Uncertain States - Artistic Strategies in States of Emergency
October 15, 2016 - January 15, 2017
Akademie der Künste
Hanseatenweg 10, 10557 Berlin, Germany


UNCERTAIN STATES is an exhibition which investigates the significance of memory and narrative within processes of social and cultural transformation. In an era of grave uncertainty fueled by the destabilizing state and social order in the eastern Mediterranean region as well as terrorism and new forms of nationalism and racism in Europe, artists take up the responsibility for the “History of the Other”, for communicating in an open and differentiated way where our own artistic position is located in relation to the other. This involves dealing with such concerns as collective traumatization, the loss of identity, empathy and the attempt to understand, and the experience of profound precariousness. Through their works, visual artists offer a platform not just for sharing and exchange, but also with the potential to transform experience. For this reason, the exhibition is structured around two equally essential elements – political, social and cultural studies research and debates as well as a series of remarkable documents and objects from the Akademie archives presenting artists’ memories during conditions of states of emergency in Germany between 1933 and 1945. Together, in the media of film, video, photography, sculpture and painting, these elements create an interplay of discursive, documentary and narrative contributions.

Curators Contemporary Art: Anke Hervol, Johannes Odenthal in cooperation with Katerina Gregos, Diana Wechsler; Archive: Werner Heegewaldt, Anneka Metzger

Akademie der Künste


 

 


Kimsooja at Urgent Conversations: Anthens-Antwerp, National Museum of Contemporary Art - EMST, Athens


Kimsooja, Bottari, 2005, Site Specific Installation, Dimensions Variable, Courtesy of National Museum of Modern Art Athens (EMST), Greece and Kimsooja Studio

Urgent Conversations: Athens - Antwerp
October 31, 2016 - January 29, 2017
National Museum of Contemporary Art - EMST, Athens
Kallirrolis Avenue & Amvr. Frantzi Str., Athens 11743, Greece


Urgent Conversations: Athens – Antwerp is the first temporary exhibition in the long overdue public unfolding of the Greek National Museum of Contemporary Art, Athens (EMST). The project offers a reflective dialogue between the collections of EMST and M HKA, the Flemish Contemporary Art Museum, based in Antwerp. This exhibition commences the program EMST in the World.

The impulse of both Urgent Conversations: Athens – Antwerp and EMST in the World is the necessity of cultural dialogue on a global scale, also within multifaceted Europe. Societies nowadays tend to polarize in 49 % versus 51 % camps, negotiations start from antagonistic positions as a default position, introversion and individualism became entrenched states. There may be loftier aspirations than the capacity of conversation, but its recent fragility often reached critical levels and can be described as an urgent situation.

Urgent Conversations: Athens – Antwerp has been developed bottom up, each time starting from work of a Greek and a Belgian artist, that resonate, searching a notion that arises from this resonance, then adding a third artist from elsewhere in one of the two collections. In this way the exhibition was structured around 22 notions with each time work of three artists in a dialogue around it, the total consisting of more than 70 works from 66 artists.

This exhibition enacts the belief of both museums that works of art may constantly emanate new meanings, open questions and initiate a much desired dialogue, that basic ground for human culture. This project is therefore also a counter-proposal to cultural and curatorial sameness, opting instead for a multitude of convincing constellations of subjects, impossible to exhaust, leading up to discussions concerning both individual and collective realizations, and to actions.

Athens and Antwerp seem to represent two extremes of Europe today, but at the same time Greece and Flanders are both regions of Europe that added many crucial threads to its cultural fabric. Institutions like EMST and M HKA may further cultivate that. EMST in the World will develop in the same vein further dialectical relations between EMST and institutions elsewhere with corresponding aims and practices, geared to the research and curation of contemporary art and other contemporary cultural manifestations.

National Museum of Contemporary Art - EMST, Athens


 

 



 

Kimsooja at Museum Folkwang, Essen, Germany


Kimsooja, A Needle Woman, 1999 – 2001, 4 channel video projection, 6:33 loop, silent, Collection of François Pinault Foundation, Courtesy of Kewenig Gallery, Berlin, and Kimsooja Studio

Dancing with Myself: Self-portrait and Self-invention Works from the Pinault Collection
October 7, 2016 - January 15, 2017
Museum Folkwang
Museumsplatz 1, 45128 Essen, Germany

From October 7, 2016, to January 15, 2017, the large exhibition hall in the Museum Folkwang will be given over to an artistic examination of the self. The thread that links the pieces together is the multifaceted presence of the artists in their own work. It will be the first time that such a substantial number of the outstanding group of works acquired by Francois Pinault is to be put on display in Germany. Dancing with Myself is a playful, poetic, poltical, and wild dance through contemporary art moving from the 1960s up to our own time.

In Dancing with Myself the artists themselves play a major part in the show. They are both actors and raw material in their own work—their bodies, their biographies, their social and sexual identities, their humor, their melancholia. Moving beyond the classical self-portrait, the exhibition plays on the themes of artistic temperament and attitude.

At the same time Dancing with Myself is also a vibrant media crossover. Large-format paintings come face to face with huge video installations; bodies turned into photographs encounter sculptural fragments. The artists have inscribed themselves in diverse ways—in the photographic apparatus, the video or film camera, the screen, the space, the conceptual gesture. The body becomes a natural Dadaist tool with childlike qualities; the performative is made into the primary form of representation. In the late twentieth and early twenty-first centuries, images turn into productive (distorting) mirrors for bodies and identities.

Dancing with Myself is also a wild ride through the art history of the last fifty years. What still had truth and validity in the 1970s other than the experience of one’s own body? The postmodern irony and challenge of self-images and stereotypes of the time now come into contact with the attitudes of young artists who once again have a fixed social and political position, and use their own biographies and bodies to take a stand among the fault lines of a globalized and unequal world.

Dancing with Myself is a collaboration between the Museum Folkwang and the Pinault Collection, supported by the program Jeunes Commissaires of the Bureau des arts plastiques et de l’architecture of the Institut français.

Artists: 
Adel Abdessemed, Alighiero Boetti, Claude Cahun, Maurizio Cattelan, John Coplans, Urs Fischer, LaToya Ruby Frazier, Lee Friedlander, Gilbert & George, Robert Gober, Nan Goldin, Félix González-Torres, Rodney Graham, David Hammons, Roni Horn, Kimsooja, Martin Kippenberger, Kurt Kranz, Urs Lüthi, Steve McQueen, Boris Mikhaïlov, Bruce Nauman, Paulo Nazareth, Helmut Newton, Roman Opalka, William Pope.L, Arnulf Rainer, Charles Ray, Lili Reynaud-Dewar, Ulrike Rosenbach, Allan Sekula, Cindy Sherman, Jo Spence, Hito Steyerl, Rudolf Stingel, Alina Szapocznikow

Museum Folkwang


 

 


Kimsooja, To Breathe - Zone of Zero
CAC Málaga


Kimsooja, Lotus: Zone of Zero, 2008, Rotunda at Galerie Ravenstein, Brussels, Approx. 2000 lotus lanterns, Tibetan, Gregorian, and Islamic chants, Steel structure and cables, photo by Mikäel Falke.  Courtesy of The Centre for Fine Arts, Brussels and the Ministry of Culture, Sports and Tourism, Korea, Kewening Gallery, Berlin and Majorca, and Kimsooja Studio

Kimsooja, To Breathe - Zone of Zero
October 7, 2016 - January 8, 2017
Centro de Arte Contemporáneo de Málaga (CAC Málaga)
C/ Alemania, s/n 29001 Malaga Spain

The CAC Málaga is pleased to present the exhibition To Breathe Zone of Zero by Kimsooja, the most influential conceptual Korean artist of her generation. The title of the show is an amalgam of the two works that comprise it, a site-specific intervention in the central space and a video work in Espacio 5. Both works invite us to reflect on profound aspects of the human condition and alter our perception of the world by embracing a different cultural sensibility. 

The visual language of Kimsooja (b. Daegu, South Korea, 1957) is rooted in Korean cultural traditions. She has transformed and redefined the concept of painting in the course of her career, and her oeuvre ranges from installations, photographs and performances to videos and site-specific interventions. Cloths, sequences of light and sound, mirrors and the sound of her own breathing are resources that she uses and have become identifying characteristics.

In the 1980s, she began her multidisciplinary practice with textiles, creating geometric patchwork compositions by sewing scraps of used cloth together. Kimsooja uses sewing as a metaphor and as an activity in itself. The bottari, bundles stuffed with clothing and other personal belongings – very common in Korean culture and suggestive of mobility as they are used to transport household goods – are feature prominently in many of her works and are presented in many different ways. Brightly-coloured traditional Korean bed covers are another characteristic element. In the 1990s she started to document and record her performances on video. The video series A Needle Woman, begun in 1999, in which the artist filmed herself, back to the camera, on the crowded streets of some of the world's most populous cities, brought her international fame. In it Kimsooja reverses the notion of the artist as the main actor through non-action in order to reveal a critical attitude, a mindset linked to Zen Buddhism and eastern philosophies.

Over time the artist has acquired a universal, nomadic quality. Kimsooja's art directly addresses profound questions of human existence through reflection and self-awareness. It explores gender (women and the problems they face in different places), identity in the face of change and social flux, time, memory and the human body's relationship with the material world. Concerned by experiences of cultural dislocation in her native land, she also reflects on socio-political issues we face today, such as migration, exile and violence, exposing art's complicated connections to political life. The themes she addresses transcend the local context and are globally relevant.

Her works show a commitment to engage with the audience and inspire solidarity and respect for others by appealing to the sense of humanity we all possess. This is apparent in her video To Breathe The Flags(2012), in which 246 national flags are slowly superimposed, one by one, in alphabetical order, without hierarchy or political bias, all nations on the same basic level; creating a visual experience in which differences and conflicts between nations can fuse and blend together as one. The piece was originally created for the 2012 London Olympics to reflect the unifying spirit of the games, although that first version only included the flags of participating countries. The flags added later represent nations which are not accepted or officially recognised by the authorities. Overlapping the flags is a gesture of understanding, of fraternity among equals, of respect for differences.

The installation Lotus: Zone of Zero (2016) has turned the exhibition space at the CAC Málaga into a place of contemplation and meditation. Some 700 lotus lanterns cover the ceiling of the room, but instead of the circular mandala design used in previous presentations of this work, here they are arranged in a rectangular pattern. Gregorian, Islamic and Tibetan chants flood the hall and wash over spectators, inviting them to turn their thoughts inwards. Although this project was conceived in 2003 in response to the Iraq War, today it is still a relevant proposal, providing a safe haven where people of different cultures and religions can meet. This zone is a place of respect, reflection, dialogue and harmony – a place of concord.


CAC Málaga


 

 


Kimsooja at Enacting Stillness

 

Please Join Us for the Opening of

Enacting Stillness

Wednesday, September 21
from 6 to 8pm

The 8th Floor
17 West 17th Street, 8th Floor

Click here to RSVP
 




Kimsooja, A Homeless Woman - Cairo, 2001, single channel video, silent, 6:33 loop, Courtesy of Kimsooja Studio.

Enacting Stillness will be on view from Wednesday, September 21 to Friday, January 13, 2017. The exhibition considers the political potential of slowing down and stopping as forms of resistance, protest, and refusal. An international group of artists engage in practices that challenge and upend our expectations for the continuity of performative compositions, lines of movement, and modes of thought. Working with the disciplines of choreography, theater, moving image, sculpture and performance, Enacting Stillness presents a multivalent reflection on political histories from the Americas to Europe and Asia, with projects that employ a range of gestures and time-based practices to question what unexpected ruptures like meditation, contemplation, rest, and distortions of movement and time might mean to both the artist and the viewer. 

Enacting Stillness features artists John AhearnRehan AnsariNicolás Dumit EstévezBrendan FernandesAlicia GrullonYoko InoueJoan JonasClaudia JoskowiczKirsten JustesenKimsoojaCarlos Martiel,
Bruce NaumanClifford OwensKameelah Janan RasheedEmily Roysdon, and Roman Stětina. Together, the artists in this exhibition reveal the parallel connections between art and political engagement, between stillness and activation. 
 

Please find more details about the exhibition here.
 

For further information, please contact:
William Furio
The 8th Floor
646.839.5903
wfurio@rubinfrost.com


Join the converstation with hastags #The8thFloor, #RubinFoundation, #EnactingStillness, and #ArtandSocialJustice

 

The 8th Floor, 17 West 17th Street, 8th Floor, New York, NY 10011

 


Kimsooja at Gangoji Temple in Nara


Kimsooja, Deductive Object, 2016, black casted aluminum on mirror, 1.83m x 1.1m (sculpture), 8m x 5m (mirror). Gangoji Temple, Nara, Japan. Commissioned by Culture City of East Asia 2016, Nara. Photo by Keizo Kioku. Courtesy of Art Front Gallery Co., Ltd. and Kimsooja Studio.


Kimsooja, To Breathe - The Flags, 2012, Single Channel Video, 40:41 min. loop, silent, Gangoji Temple, Nara, Japan. Photo by Keizo Kioku. Courtesy of Art Front Gallery Co., Ltd. and Kimsooja Studio.

Latest work by Kimsooja realized at Nara

2016.9.3(Sat) - 10.23(Sun)


Gangoji Temple
11 Chuincho, Nara 
Nara Prefecture 630-8392
Japan


Nara city has launched "Culture City of East Asia 2016" this April by having the ancient ship made from the project by Cai Guo-Qiang. For its core event period, all the art installation will be open to public from 3rd September. One of the installation site, Gango-ji has been accompanied by the world known Korean artist, Kimsooja.

On the occasion of Art Celebration in Nara, a Korean artist Kimsooja exhibits her work in this historical site. The artist has been on view in leading art scene such as Pompidou Metz or Guggenheim Bilbao with her solo show last year. She represented her cultural identity or roots through the installation and video using fabrics and other objects from daily life. Kimsooja at Nara for the first time tried to visualize the time which lasted in the specific site distinguishing what is visible now from what has vanished through the historical events. Her egg-like work made from black cast aluminum is reflected against the mirror on the pedestal Ishibutai, which induces the visitors’ introspection: the cyclic time, an Eastern concept, will be associated with the birth and rebirth of the lives.

Kimsooja exhibits another work using video in Shoushibo, inside the Gangoji temple. The stay or residency of the artist herself bring about something reminiscent of the ancient travelers between the city of Nara and of the foreign countries such as Korea and China, where many Buddhist monks or craftsman were traveling. Their experience searching for different culture seems to have prepared the base for the contemporary version of exchange. The event starts on September 3 through October 23 which should attract a broad audience.



Culture City of East Asia 2016, Nara



MMCA HYUNDAI MOTOR SERIES 2016: KIMSOOJA – 마음의 기하학 / ARCHIVE OF MIND


Kimsooja, Archive of Mind, partial installation view, with sound performance Unfolding Sphere, 2016. Courtesy of MMCA and Hyundai Motors Co.

MMCA HYUNDAI MOTOR SERIES 2016: KIMSOOJA – 마음의 기하학 / ARCHIVE OF MIND

July 27, 2016 – Feb 5, 2017

National Museum of Modern and Contemporary Art
30 Samcheong-ro, Jongno-gu, Seoul
03062, South Korea
Hours: Tue, Thu, Fri, Sun: 10am – 6pm
            Wed, Sat: 10am – 9pm
T +82 2 3701 9500
www.mmca.go.kr

MMCA HYUNDAI MOTORS SERIES 2016: KIMSOOJA – 마음의 기하학 / ARCHIVE OF MIND is being held at the National Museum of Modern and Contemporary Art, Seoul. MMCA has selected internationally-acclaimed artist Kimsooja for the third year of MMCA HYUNDAI MOTOR SERIES. An Exhibition shedding light on her recent works will be on display from July 27th, 2016 through February 5th, 2017.

MMCA HYUNDAI MOTOR SERIES is a long-term annual project inaugurated in 2014, sponsored by Hyundai Motors Company to support solo exhibitions of distinguished Korean artists. By providing a pivotal opportunity for new large-scale works to artists with distinctive practice, the series instills fresh invigorating possibilities into the field of Korean contemporary art.

The exhibition presents for the first time to the public a large-scale performative installation, 마음의기하학 / Archive of Mind; a new sculpture installation, Deductive Object; the new and fifth chapter of her ongoing film series, Thread Routes; and a series of recent works that mark an evolution in Kimsooja’s practice.

마음의기하학 / Archive of Mind offers the artist's reflections on the canonical problem of the act of making and will transform with audience participation throughout the exhibition period. Expanding on the artist's concept of Bottari as a method of wrapping, this participatory workshop invites the audience to roll a lump of clay into spherical forms on a 19-meter-long elliptical wooden table, which doubles as a canvas. The cyclical act introduces a polarity between symmetrical forces of the participants' palms that transpose their state of mind into matter and matter into void. A new sound performance piece titled Unfolding Sphere presents an acoustic counterpart to the rhythmic constellation of the clay spheres.

Presented in the museum’s courtyard is Deductive Object, a large-scale ovoid sculpture suspended on a mirrored plinth. Light diffracting films installed along the courtyard window unfold sunlight into a radiant color spectrum, while the sculpture’s ‘obangsaek’ (Korean traditional colors) surface enfolds the visible spectrum back into a geometric definition. This work is inspired by the Indian tradition of brahmanda stones, also known as "cosmic egg," signifying the birth of totality. 

The artist also premieres the new chapter of her ongoing film series, Thread Routes V. Comprised of six chapters, Thread Routes juxtaposes performative elements of textile culture with parallel structures in nature, architecture, agriculture, and gender relationships. It is conceived as a non-narrative visual poem and a visual anthropology. The new chapter the fifth in the series, takes place in the native cultures of America’s Navajo and Hopi lands against the backdrop of geological wonders, such as Shiprock and Canyon de Chelly, Arizona, and the architectural ruins of the Chaco Culture in New Mexico. These bold monumental forms contrast with primordial acts of weaving and purified forms of Native American crafts, marking the height of the artist’s anthropological inquiry into the birth of gestures that weave, wrap, and unwrap the fabric of the world.

This exhibition also showcases a number of works related to the concept of corporeal geometry that Kimsooja has developed over the span of her career.

For the last 30 years, Kimsooja has worked on an ever-evolving tableau, a continuation of the artist’s early work with painting and re-contextualizing daily objects, actions, as well as confronting urgent social issues such as migration, exile, and violence. The works presented at MMCA further her commitment to creating an encounter with the public and continue the artist’s early meditation on non-doing and non-making as a form of art practice. Kimsooja’s enduring examination of dualism in life and art transforms elements of performance into a pursuit of totality.

Kimsooja (1957- ) was born in Daegu, South Korea, and lives and works in New York, Paris, and Seoul. She has had major solo exhibitions at the Centre Pompidou, Metz (2015); Guggenheim, Bilbao (2015); Vancouver Art Gallery (2013); Korean Pavilion at the Venice Biennale (2013); Perez Art Museum, Miami (2012); Baltic Center, UK (2009); Museo Nacional Centro de Arte Reina Sofía, Madrid (2006); Magasin 3, Stockholm (2006); National Museum of Contemporary Art, Athens(2005); MIT List Visual Arts Center, Cambridge (2005); Museum Kunstpalast (2004); Contemporary Art Museum, Lyon (2003); PAC, Milan (2003); Kunsthalle Bern(2002); P.S.1/MOMA (2001); ICC, Tokyo (2001); Plateau, Samsung Museum of Art, Seoul (2000), among other institutions.  Kimsooja has participated in international group exhibitions, including the Venice Biennale (1999, 2001, 2005, 2007, 2013); Gwangju Biennale (2012, 2002,1995); Busan Biennale (2014, 2002); Moscow Biennale (2009); Whitney Biennial (2002); Lyon Biennale (2000); Sao Paulo biennale (1998); Istanbul Biennale (1997); Manifesta 1 (1995), among many others.

MMCA, Seoul




Jameco Exchange at No Longer Empty


Kimsooja, Deductive Object, 2002, Antique Macy’s Department Directory Board from the 1950s, 41 x 26 x 2 inches, Courtesy of Kimsooja Studio

Jameco Exchange
No Longer Empty
89-62B 165th Street, Queens 11432
May 21 - July 17, 2016
Opening: Saturday, May 21, 12 - 6pm

 

No Longer Empty is pleased to present Jameco Exchange, a site-responsive exhibition and socially engaged education platform that revolves around the art of storytelling about a place: Jamaica, Queens. Located on 165th Street in the heart of downtown Jamaica–between the old trail and the former Beaver Pond–Jameco Exchange interweaves themes of commerce, movement, and travel, considering how both objects and stories create resonant forms of communication and exchange.

 

Jameco Exchange takes its name from the etymology of “Jamaica” (Queens)–a distortion of the name of the Jameco Indians–and the first settlers' purchase of Jamaica for two guns, a coat, powder and lead. From its origins as an ancient trade route to a rural village, today's downtown Jamaica is a vibrant commercial and intermodal corridor. With a plush history of trade and commerce, jazz and hip-hop; Jamaica’s rich political heritage includes the abolitionist spirit of 18th-century New York Senator Rufus King; the activism of 19th-century farmer, abolitionist and publisher Wilson Rantus; and the political activism of former Black Panther Assata Shakur. “The Green,” an African-American homestead from the 1800s that once ran parallel to Jamaica Avenue is now concealed by concrete, industrial buildings and garages, weathering the next crux of significant change. Featuring site-responsive artworks informed by Jamaica’s global urban setting, Jameco Exchange is inspired by the retail vernacular of the two-story storefront and the cobblestone pedestrian mall in which it is situated, the social culture of Jamaica Avenue, and the histories of Jamaica, Queens, through the lens of collective narrative.

No Longer Empty

Ordinary / Extraordinary: The Democratization of Art or the Will to Change Things, 20 Bienal de Arte Paiz

Kimsooja, Unfolding Bottari - Geometry of Possession, Single Channel Video 11:19, Silent, Looped, from the artist's on going archive of fleamarket photos from 1991 - 2014, Courtesy of Kimsooja Studio


Ordinary / Extraordinary: The Democratization of Art or the Will to Change Things
20 Bienal de Arte Paiz
Historic Center, Guatemala City
June 4 to July 3, 2016

The 20 Bienal de Arte Paiz, celebrates 40 years of supporting the Guatemalan visual arts by the Fundación Paiz for art and culture. The twentieth edition aspires to greater inclusiveness by bringing the public closer to contemporary art, through the promotion of a simple and direct dialogue as a first step for a better understanding of the art of our time. In the historic center of Guatemala City, the Bienal de Arte Paiz will endeavor to close the gap that exists between the public and the work of art through participatory works and other works inspired by the idea of art and life. The works, created by national and international artists, span from the sixties to the present. The 20 Bienal de Arte Paiz will also explore the notion of the everyday through various themes: Deconstructions, Obsessions, and the Exercise of Collecting Objects; Environments (Observation, Space and Place); Individual and Social Identity; Politics and Activism; and the Ordinary Unconscious.

20 Bienal de Arte Paiz

Public to Private at National Museum of Modern and Contemporary Art, Korea
Kimsooja, Cities on the Move - 2727 km Bottari Truck, 1997 - 2001, Duraclear Photographic print in Lightbox, 188.5 x 128 x 25.5 cm, Courtesy of Kukje Gallery, Seoul and Kimsooja Studio


Public to Private: Photography in Korean art Since 1989
National Museum of Modern and Contemporary Art, Korea
May 4 - July 24, 2016

This exhibition sheds light on how photography has been blazing its new path forward while interacting with a range of various other contemporary visual languages in the past three-decade history of contemporary Korean art.

1957 saw the first photography exhibition in Korea entitled The Family of Man, which was a traveling exhibition organized by MoMA, New York. Focusing on the nature and harmony of "Man" after World Wars I & II, it had a huge bearing on Korean photography. Since the exhibition, the Korean photography scene had been dominated by realism-based documentary and journalism photography. This exhibition directs attention to the development of the medium of photography in the history of Korean art: from realism-based public images in its beginning to the conceptual expression and aesthetic language of individual photographers in the second half of the 1980s and onward.

Especially, the year 1989 is of great importance with respect to globalization. Brought about by the Tiananmen Square protest in China (June), Perestroika in the Soviet Union (August), and the breakdown of the Berlin War in Germany (November), the end of the Cold War transformed the values of international society. Korean society contributed to the rapidity of globalization through the hosting of the 1988 Olympics and the 1989 liberalization of overseas travel, and the views and attitudes of photographers underwent a tremendous change.

In the international contemporary art scene the photographic works of Jeff Wall and the Dusseldorf school rose to prominence, and this change induced Korean photographers' and artists' contemporary participation in the formation of a new horizon of photography.

Public to Private reveals how those photographers and contemporary artists have appropriated, used, and reformatted into their own visual languages the medium of photography in the global art scene. At this point when the generation of digital revolution has witnessed changes for the past 30 years and is facing the new possibilities of photography, it commits itself to reading into the context in which a photographer is an artist.


The National Museum of Modern and Contemporary Art

La Terre, La Feu, L'Esprit: Chefs D'Ceuvre De La Ceramique Coréenne at Grand Palais
Kimsooja, Aire de Tierra / Air of Earth, 2009, 6:25 loop, sound, still from Earth - Water - Fire - Air, Commissioned by Hermes Foundation, Paris, Courtesy of Kukje Gallery, Seoul and Kimsooja Studio


La Terre, Le Feu, L'Esprit: Chefs-d'œuvre de la Céramique Coréenne
Grand Palais, Paris
April 27 - June 20, 2016

Kimsooja, Earth-Water-Fire-Air

The work of Kimsooja, Earth-Water-Fire-Air, which is based on the four elements of nature and their organic combination, seems to consist only of typical natural landscapes of a volcanic area, when seen in just a visual context. These landscapes capture the "natural phenomenon" itself, without any deliberate intervention, artificial transformation or staging on the artist's part. The artist silently brings the spectators in front of the nature.

It is a world of principles in nature, origins of matter, essence of human life, mutuality and coexistence of all such qualities. The four elements of nature – earth, water, fire and air – are the roots of western philosophy, but also related to the five elements of creation (earth, water, fire, wind and void) according to Buddhist philosophy. Such elements, which are the core of Eastern and Western thoughts, and the energy created by their mutual combination enable us to think about the recurrent structure of circulation known as the birth and dearth of all things, to realize the mysterious relationship between nature (matter) and humans, and to ponder on the life of humans.

The minimum intervention and minimum action in Kimsooja's work, her aesthetics of the least in her work process is a kind of meditation, "making nothing and being nothing." Making nothing but revealing something more powerful, visualizing perpetuity through extinction, and telling the most with the least – this is her work.

(from the essay by Sung Won Kim, "About nothingness: being nothing and making nothing," Earth, Water, Fire, Air" for the catalogue for the Atelier Hermes solo show in Seoul, 2009.)

Grand Palais

Architecture of Life at The UC Berkeley Art Museum and Pacific Film Archive
Kimsooja, Thread Routes - Chapter II, 2011, 16mm film transferred to HD Format, 23:40, 5.1 sound, Courtesy of Kukje Gallery, Seoul and Kimsooja Studio


Architecture of Life
The UC Berkeley Art Museum and Pacific Film Archive (BAMPFA), California
January 31 - May 29, 2016

Architecture of Life, the inaugural exhibition in BAMPFA's landmark new building, explores the ways that architecture—as concept, metaphor, and practice—illuminates various aspects of life experience: the nature of the self and psyche, the fundamental structures of reality, and the power of the imagination to reshape our world. Occupying every gallery in the new building, designed by Diller Scofidio + Renfro, the exhibition comprises over two hundred works of art in a wide range of media, as well as scientific illustrations and architectural drawings and models, made over the past two thousand years. Boundary-breaking, innovative, and radically interdisciplinary, the exhibition presents visually exquisite, rarely seen works in ways that suggest new connections and meanings.

The UC Berkeley Art Museum and Pacific Film Archive (BAMPFA)

Rever D'Un Autre Monde at Centre D'histoire de la Résistance et de la Déportation
Kimsooja, Bottari Truck - Migrateur, 2007, Single Channel Video Projection, silent, 10:00, loop, performed in Paris, Commissioned by Musée D'Art Contemporain du Val-De-Marne (MAC/VAL), Still Photo by Thierry Depagne, Courtesy of Kimsooja Studio


Rever D'Un Autre Monde
Centre D'histoire de La Résistance et de la Déportation
Februrary 4 - May 29, 2016

The CHRD presents a group exhibition delivering different writings on the theme of travel and exile of non-European migrants, through a selection of artistic proposals.

The project is a continuation exhibitions commuters and Chechens Travel aboveground, which addressed the theme of departure, suffered or voluntary. Rely on art works, rather than photojournalism traditionally chosen by the museum to address contemporary themes, is to bet on the aesthetic experience as a means of access to knowledge of painful problems, which media coverage paradoxically intense just ignore.

A constant phenomenon in the history of mankind, migration is always linked to economic or geostrategic context. To address this, the CHRD is interested in representation that give contemporary artists and photographers. The fields they explore, they emphasize the courses deliver sensitive chronic, sometimes metaphorical, one of the major events of the last thirty years.

Centre D'histoire de La Résistance et de la Déportation

The Vertigo Effect at MAC/VAL
Kimsooja, Bottari Truck - Migrateur, 2007, Single Channel Video Projection, silent, 10:00, loop, performed in Paris, Commissioned by Musée D'Art Contemporain du Val-De-Marne (MAC/VAL), Still Photo by Thierry Depagne, Courtesy of Kimsooja Studio


The Vertigo Effect
MAC/VAL Musée d'art Contemporain du Val-de-Marne
October 24, 2015 - October 24, 2016

This new hanging, titled "L'Effet Vertigo", is guided by the artists' individual relations to history in a double, reverse movement which implies a concomitant closing-in and distancing. This filmic process was invented by Alfred Hitchcock in Vertigo in 1958, in order to suggest the dizziness felt by Scottie (James Stewart) on the famous stairs of the tower. It is designed to dramatize the subject by keeping them in the frame, so they don't go out of view, by means of a simultaneous forward and backward oscillation.

This can be taken as a metaphor for reading history in the present and for the stratagems and various attitudes adopted in its regard, from the distancing vital to visual focus to the displacements and changes of scenery that are sometimes needed to get closer to the subject.

"I was and remain persuaded that the role assigned to creators is out of proportion compared to the one allowed to viewers. There is a whole history of art that needs to be rewritten here." François Morellet.

With his customary insolence, François Morellet illumines this new hanging of the collection by questioning the notion of artistic genius and asserting the creative role of the interpreter. For it is the interpreter who gives and creates meaning, based on the narrative of the works. It is the beholder who adds, valorises, questions, and turns into music the story, notes, words, objects and time itself. Today, the museum is inviting visitors to question what constitutes their relation to the artwork and to history, what feeds and orients their gaze, this dimension of creativity, this space of thought that belongs to each one of us.

To this end, the exhibition sequence is deployed like a narrative in which the works embody and explore the questions of the gaze, the model, interpretation, reinterpretation, and revisiting. The artists brought together here reread, remake, replay or reinterpret historical facts, the use of materials, themes and subjects; they thus bring them into the light of a present that metamorphoses (them), either through the filter of their personal experience, or by sampling parts of this real past — objects, archives and stories — and projecting them into a universe that is other, a different situation, and towards a new meaning.

The hanging sets up a dialogue between works that relate the history of recent conflicts and explorations, episodes from scientific history, from the history of colonialism and decolonisation of which these artists are the products, that tell of traditions and rites, the history of objects, part of our own cultural history.


MAC/VAL



Kimsooja at Grand Palais




Kimsooja, Aire de Tierra / Air of Earth, 2009, 06.25 loop, sound, still from Earth - Water - Fire – Air, Commissioned by Hermes Foundation, Paris, Collection of LEEUM Samsung Museum, Seoul, Courtesy of Kukje Gallery, Seoul and Kimsooja Studio


Kimsooja, Earth-Water-Fire-Air The work of Kimsooja, Earth-Water-Fire-Air, which is based on the four elements of nature and their organic combination, seems to consist only of typical natural landscapes of a volcanic area, when seen in just a visual context. These landscapes capture the "natural phenomenon" itself, without any deliberate intervention, artificial transformation or staging on the artist's part. The artist silently brings the spectators in front of the nature.

It is a world of principles in nature, origins of matter, essence of human life, mutuality and coexistence of all such qualities. The four elements of nature – earth, water, fire and air – are the roots of western philosophy, but also related to the five elements of creation (earth, water, fire, wind and void) according to Buddhist philosophy. Such elements, which are the core of Eastern and Western thoughts, and the energy created by their mutual combination enable us to think about the recurrent structure of circulation known as the birth and dearth of all things, to realize the mysterious relationship between nature (matter) and humans, and to ponder on the life of humans.

The minimum intervention and minimum action in Kimsooja's work, her aesthetics of the least in her work process is a kind of meditation, "making nothing and being nothing." Making nothing but revealing something more powerful, visualizing perpetuity through extinction, and telling the most with the least – this is her work.

(from the essay by Sung Won Kim, "About nothingness: being nothing and making nothing," Earth, Water, Fire, Air" for the catalogue for the Atelier Hermes solo show in Seoul, 2009.)




Kimsooja's 'Earth-Water-Fire-Air' Screening
The Temple in Beijing


Kimsooja, Aire de Tierra / Air of Earth, 2009, 06.25 loop, sound, still from Earth - Water - Fire – Air, Commissioned by Hermes Foundation, Paris, Courtesy of Axel Vervoordt Gallery, Antwerp and Kimsooja Studio


From May 16 onwards, Kimsooja's video installation Aire de Tierra / Air of  Earth (2009) will be screened in the courtyard of The Temple in Beijing. Aire de Tierra / Air of Earth is one chapter of the artist's 8-channel video installation  Earth – Water – Fire – Air. The title as well as the main concept of this multi-channel performance video are based on the four fundamental elements of nature. They constantly interrelate to one another as they continue to merge, transform and extinct while organically embracing and excluding one another. Video footages taken in Lanzarote Island and Guatemalan volcanoes are  featured as the artist's visual manifestation of nirvana in which all four basic elements reincarnate; burning lava flow became rocks and dust that blew in the air. According to eastern philosophy, such as Zen Buddhism and Taoism, each element's property is created by the other, as is reflected in each chapter's title (Fire of Earth, Water of Earth, Earth of Water, Air of Fire, Air of Earth, Air of Water, Fire of Air and Water of Air.
 

Kimsooja's outdoor projection will be on view every evening between 6:30 pm and 11:00 pm, until May 1. Located in Beijing, this venue is a forgotten Qing Dynasty temple that has been restored and transformed into a boutique hotel and art space. The antique structure—known to the faithful as Zhizhusi, the Temple of Wisdom—was one of three Tibetan Buddhist temples built in the mid-18th century near the Imperial Palace. Battered and charred by fire, the edifice was hardly promising for development. But years of restoration has transformed it into an art hotel with eight luxury rooms, a gallery, a restaurant, a sculpture courtyard. Stripped of its bleak Communist facade, the near-ruined temple today has a new life, subtly blending Eastern spirituality with contemporary Western style. Today, The Temple is known as the only venue in China that houses a skypace installation of James Turell, 'Gathered Sky'. 


The Temple Hotel
23 Shatan Beijie
Dongcheng District
Beijing, China 


www.thetemplehotel.com
templecollection@thetemplehotel.com
WeChat ID Temple东景缘


More information about The Temple can be found here.




Architecture of Life

Kimsooja, Thread Routes - Chapter II, 2011, 16mm film transferred to HD Format, 23:40, 5.1 sound, Courtesy of Kukje Gallery, Seoul and Kimsooja Studio

Architecture of Life

University of California, Berkeley Art Museum & Pacific Film Archive
January 31 – May 29, 2016
Curated by Lawrence Rinder


Architecture of Life, the inaugural exhibition in BAMPFA's landmark new building, explores the ways that architecture—as concept, metaphor, and practice—illuminates various aspects of life experience: the nature of the self and psyche, the fundamental structures of reality, and the power of the imagination to reshape our world. Occupying every gallery in the new building, designed by Diller Scofidio + Renfro, the exhibition comprises over two hundred works of art in a wide range of media, as well as scientific illustrations and architectural drawings and models, made over the past two thousand years. 

Architecture of Life is the U.S. premere of Kimsooja's Thread Routes - Chapter II. Thread Routes is the first 16-mm film series produced by multi-disciplinary conceptual artist Kimsooja (b. 1957, Daegu, Korea). This ongoing project consists of six chapters, each shot in a different part of the world, and together they form a mosaic of common performative elements that unite different textile cultures.

These films uncover the structural continuity between textile, architecture, nature, agriculture, and gender relations through the framework of a non-narrative documentary, plunging the viewer into the realm of poetry and visual anthropology. The artist first conceived this series in 2002 after visiting Brugge and experiencing the process of lace making.

Kimsooja established her multidisciplinary practice in the beginning of 1980s. Taking yibulbo (Korean bedcover) as a tableau and as a frame of life, her work evolved through the use of textiles and performance. Bottari (traditional Korean cloth bundle), as an extension of this idea, has been an essential feature in many of her works. Thread Routes is directly related to her earlier sewn pieces, wrapped objects, and A Needle Woman performance videos, in which she placed herself in the middle of vibrant urban fabrics of metropolises around the world.

View a trailer of Thread Routes - Chapter II

BAMPFA

Where Do We Migrate To?

Kimsooja, A Needle Woman, 2009, still from video performed and filmed in Paris, Silent, 25:00 min loop, Commissioned by Nuit Blanche Paris 2009, Collection of FMAC, Paris, Courtesy of Kimsooja Studio

Where Do We Migrate To?

Värmlands Museum, Karlstad
September 19, 2015– February 22, 2016
Curated by Niels Van Tomme


Where Do We Migrate To? explores contemporary manifestations of required mobility as well as experiences of displacement and exile, and examines how intensified situations of transition inexorably undermine our cultural and personal notions of settlement and belonging. In establishing an imaginative framework that allows artworks to inspire new insights about such conditions, the exhibition also questions notions of inherence and destiny.

View a trailer of A Needle Woman

Värmlands Museum


Fear Nothing, She Says
November 17, 2015 - February 28, 2016
Kimsooja, A Needle Woman – Kitakyushu, 1999, single channel video, silent, 6:33 loop, video still, Courtesy of Kimsooja Studio

Fear Nothing, She Says

Museo Nacional de Escultura, Valladolid, Spain
November 17, 2015 – February 28, 2016
Curated by Rosa Martinez

Organised in connection with the 5th Centenary of the Birth of Saint Teresa of Jesus, the aim of this exhibition is to explore the meaning of spiritual searches at the onset of the third millennium, establishing the need to find their common anthropological thread and endorsing their connection with creative languages.
 
The exhibition title Fear Nothing, She Says. When Art Reveals Mystic Truths revises the verse by Teresa of Jesus, transforming 'Let nothing perturb you, nothing frighten you,' into the simpler 'fear nothing', which it relates to the novel Détruire, dit-elle by Marguerite Duras, another great authoress and sufferer for love. The afterthought 'she says' reaffirms the fact that the invitation to overcome obstacles and fears is conveyed in the words of a woman, and therefore opens up to the new developments of global ethical and aesthetic awareness that demands, as Saint Teresa herself often did, the inclusion of women as subjects of knowledge and power.

The twenty-one contemporary artists have been chosen for their thematic, conceptual, existential or political affinities with the figure and the legacy of Teresa of Avila: Marina Abramovic, Anila Quayyum Agha, José Ramón Ais, Pilar Albarracín, Francis Alÿs, Miquel Barceló, Louise Bourgeois, Dora García, Anish Kapoor, Waqas Khan, Kimsooja, Cristina Lucas, Bruce Nauman, Nikos Navridis, Rivane Neuenschwander, Cai Guo-Qiang, Eglė Rakauskaitė, Soledad Sevilla, Josefa Tolrà, Eulalia Valldosera and Bill Viola. Works designed specifically for the show complement others that coexist with unique pieces from the museum's historical collections.

View a trailer of A Needle Woman - Kitakyushu


Museo Nacional De Escultura


Remember Lidice
September 12, 2015 - February 13, 2016
Kimsooja, Deductive Object - Father's Grave, 2008 / 2015, Digital C-Print, 22 x 29.3 inches, Courtesy of Kimsooja Studio

Remember Lidice at Edition Block, Berlin, Germany
September 12, 2015 – February 13, 2016
Curated by René Block


The year 2017 will mark the 75th anniversary of the massacre of Lidice that was committed by the National Socialists. In commemoration of this incident the two previous Lidice exhibitions »Hommage à Lidice« (1967) and »Pro Lidice« (1997) will be continued by a third project »Remember Lidice« (2015). In response to an appeal issued in 1967 by Sir Barnett Stross, head of the "Lidice-shall-live" committee, René Block invited, both in 1967 and 1997, young artists that were representative of the current German art scene to donate a work for a museum to be built in Lidice. The resulting collection distinguishes itself by high artistic quality and a cross section of the respective contemporary art production. For the project »Remember Lidice« artists have been invited for the third time to donate works for Lidice. With this chapter, the frame of reference will once more be broadened: What started out as a German-Czech issue with the contributions of 21 West-German artists in 1967 (»Hommage à Lidice«), and continued in 1997 as a project of a united Germany with contributions from 31 artists (»Pro Lidice«), will in 2015 become an international subject matter, with the participation of 44 international artists. The wish to expand the collection in Lidice, which is currently exhibited in the former community centre now reconstructed as a museum, by the newly donated works is meant to be a renewed gesture of solidarity. Beginning in September, the works will successively be collected in the exhibition space of Edition Block and can be seen there until February 2016. The once completed collection will also be shown at the Kunsthalle Mannheim before it will officially be handed over to Lidice.

Edition Block


30 Years Galerie Tschudi
December 19, 2015 - March 19, 2016
Kimsooja, To Breathe: Obangsaek, 2014, Site Specific installation at Gallery Tschudi, Zuoz, Courtesy of Galerie Tschudi, Zuoz, Switzerland and Kimsooja Studio

30 Years Galerie Tschudi. Zuoz, Switzerland
December 19, 2015 – March 19, 2016


In celebration of the gallery's 30 year anniversary Galerie Tschudi will be exhibiting the work of Ulrich Rückriem, Alan Charlton, Richard Long, Mario Merz, Carl Andre, Niele Toroni, Hamish Fulton, Martina Klein, Melissa Kretschmar, Dan Walsh, Balthasar Burkhard, Petra Wunderlich, Callum Innes, Bethan Huws, Not Vitals, Stanley Brouwn, Kimsooja, Su-Mei Tse, and Julian Charrière.




Galerie Tschudi



Journées internationales du film sur l'art
Louvre
 
January 31, 2016


a.p.r.e.s Gilles Coudert is invited to the 9th International Days of Films on Art, held in the Auditorium of the Louvre Museum January 22 to 31, 2016. 

A projection of his films is scheduled Friday, January 29th at 14:30 and will be followed by a discussion with John Paul Fargier, director, producer and critic.

Screening of "Daniel Buren, Monumenta 2012" (2013/52 min.), "Tadashi Kawamata , Scheiterturm" (2014/34 min.), and "Kimsooja , Le Voyage immobile" (2012/26 min.)


Daniel Buren, Monumenta 2012 (2013 / 50 min.) A film by Gilles Coudert This documentary reflects the latest edition of the Monumenta at the Grand Palais in Paris in 2012 dedicated to Daniel Buren. Interviews with key stakeholders (Daniel Buren, artist, Patrick Bouchain, architect Marc Sanchez, Commissioner; Alexandre Meyer, musician Guy Lelong, critic and writer; etc.) intersect views on this project and shed light on the issues of this work. The film attempts to show the dark side of the exposure and the human dimension of such an undertaking through the portraits of people with investees for installation but also its practice by the public and finally dialogue between the proposal of Daniel Buren and various artistic events scheduled throughout the duration of the exhibition.
> See an Extract... 

Tadashi Kawamata Scheiterturm (2014/34 min.) A film by Gilles CoudertTadashi Kawamata responds to the invitation of the Kunstmuseum Thurgau in the heart of the Charterhouse Ittingen in Switzerland with students by building a tower made ​​up of thousands of firewood logs from the forest area. The people, students, organizers and project stakeholders share with us this adventure and give us their impressions.
> Available in book-DVD 
> See an Extract... 

Kimsooja, Le Voyage Immobile (2012/26 min.) A film by Gilles Coudert Over an interview conducted by Gilles CoudertKimsooja discusses her artistic journey through many projects and film archives. Its first facilities to its most recent projects, it focuses its work over his personal journey. It evokes its traditional fabric -based works such as bottaris video in the series of her "Needle Woman" or more recent projects like Mumbai and remarkable installation in the Crystal Pavilion of Reina Sofia.
> Available in DVD Collection WORKS & PROCESS
> See an Extract...


Download full program here: http://mini-site.louvre.fr/trimestriel/2015/brochure_Jifa_2016/#1 
Practical Information: http://www.louvre.fr/rencontre-avec-gilles-coudert?cycle=120178



Kimsooja Studio


Happy New Year!

 

Peace & Love

Kimsooja Studio

 

 

Kimsooja - To Breathe is on view at the Centre Pompidou Metz until January 4, 2016

 


To Breathe, 2015, site-specific installation consisting of video projection To Breathe: Invisible Mirror, Invisible Needle, 2005, mirror, diffraction grating film, and sound performance The Weaving Factory 2004, at Centre Pompidou-Metz, photograph by Jaeho Chong. Commissioned by Centre Pompidou-Metz, Courtesy of Institut français/Année France Corée, Kukje Gallery, Seoul and Kimsooja Studio



Art21
Kimsooja: Collaboration on Campus -
Nanotechnology & Contemporary Art

Kimsooja, A Needle Woman: Galaxy was a Memory, Earth is Souvenir, 2014, 46 x 4.5(diameter) feet, mixed media installation, courtesy of Kimsooja Studio

Art21
Kimsooja:Collaboration on Campus - Nanotechnology & Contemporary Art


In this ART21-produced special feature, artist Kimsooja collaborates with scientists and nanotechnologists to create an iridescent steel and polymer sculpture for the Cornell University campus in Ithaca, NY. Developed in collaboration with architect Jaeho Chong and Cornell nano material engineer Ulirich Wiesner, Ph. D., the 46-foot-tall needle-shaped structure A Needle Woman: Galaxy was a Memory,u Earth is a Sovenir (2014) is the result of the artist's first-ever collaboration with scientists. "This tradition of bringing art and science together precedes modernism," says Stephanie Owens, director of Cornell Council for the Arts. "So [Kimsooja] and [Wiesner] working at a similar interface related to light and objects was a definite continuation of this tradition.

The sculpture's plexi-glass panels are coated with an nano polymer film—molecularly engineered by Cornell materials scientists in Wiesner's lab—to produce experiences inspired by naturally-occurring light phenomenon. "We use iridescence as a principle in order to mimic the effect of the butterfly wing," says Wiesner.

A Needle Woman: Galaxy was a Memory, Earth is a Souvenir was created as part of the artist's residency for the Cornell Council for the Arts 2014 Biennial.


Art21

Kimsooja - To Breathe
Centre Pompidou-Metz
October 26, 2015 - January 4, 2016
Kimsooja, To Breathe, 2015, site-specific installation consisting of video projection, mirror, diffraction grating film, and sound, at Centre Pompidou-Metz, photograph by Jaeho Chong. Commissioned by Centre Pompidou-Metz, Courtesy of Institut français/Année France Corée, Kukje Gallery, and Kimsooja Studio

Kimsooja - To Breathe

Centre Pompidou-Metz, France
October 26, 2015 – January 4, 2016


To mark France's Korean year, a site-specific installation by the multidisciplinary conceptual artist Kimsooja invites viewers to partake in a transformative performance of light, sound, and the architecture of Centre Pompidou-Metz.

For the past thirty years, Kimsooja has conceived a body of work often described as conceptual, humanist, and ethical. It transcends current issues of identity, migration, ideological and physical divide across people and borders, to find expression in a visual poetry and a life-performance resting beyond material conditions and the act of making.

To Breathe is an invitation to contemplate. Its unfolding and mirroring of light into a fully visible iridescent spectrum establish a tri-dimensional tableau, a revelation of one's body in space and time that defies horizontality and verticality. Kimsooja's enduring examination of dualism in life and art transforms elements of painting into a new language of light, sound, and reflections in pursuit of totality.


Centre Pompidou-Metz

Fear Nothing, She Says
November 17, 2015 - February 28, 2016
Kimsooja, A Needle Woman – Kitakyushu, 1999, single channel video, silent, 6:33 loop, video still, Courtesy of Kimsooja Studio

Fear Nothing, She Says

Museo Nacional de Escultura, Valladolid, Spain
November 17, 2015 – February 28, 2016

Organised in connection with the 5th Centenary of the Birth of Saint Teresa of Jesus, the aim of this exhibition is to explore the meaning of spiritual searches at the onset of the third millennium, establishing the need to find their common anthropological thread and endorsing their connection with creative languages.
 
The exhibition title Fear Nothing, She Says. When Art Reveals Mystic Truths revises the verse by Teresa of Jesus, transforming 'Let nothing perturb you, nothing frighten you,' into the simpler 'fear nothing', which it relates to the novel Détruire, dit-elle by Marguerite Duras, another great authoress and sufferer for love. The afterthought 'she says' reaffirms the fact that the invitation to overcome obstacles and fears is conveyed in the words of a woman, and therefore opens up to the new developments of global ethical and aesthetic awareness that demands, as Saint Teresa herself often did, the inclusion of women as subjects of knowledge and power.

The twenty-one contemporary artists have been chosen for their thematic, conceptual, existential or political affinities with the figure and the legacy of Teresa of Avila: Marina Abramovic, Anila Quayyum Agha, José Ramón Ais, Pilar Albarracín, Francis Alÿs, Miquel Barceló, Louise Bourgeois, Dora García, Anish Kapoor, Waqas Khan, Kimsooja, Cristina Lucas, Bruce Nauman, Nikos Navridis, Rivane Neuenschwander, Cai Guo-Qiang, Eglė Rakauskaitė, Soledad Sevilla, Josefa Tolrà, Eulalia Valldosera and Bill Viola. Works designed specifically for the show complement others that coexist with unique pieces from the museum's historical collections.

Museo Nacional De Escultura


Exhibition from the Collection MAC/VAL, Paris

October 24, 2015 - January 2016
Kimsooja, Bottari Truck - Migrateur, 2007, Single Channel Video Projection, silent, 10:00, loop, performed in Paris, Commissioned by Musée D'Art Contemporain du Val-De-Marne (MAC/VAL), Still Photo by Thierry Depagne, Courtesy of MAC/VAL & Kimsooja Studio

Exhibition from the Collection, MAC/VAL, Paris
October 24, 2015– January 2016
Opening Reception: Friday October 23, 2015

Kimsooja's video piece records a performance in Paris in which she evokes the constant state of migration that characterizes our global society. The Bottari Truck loaded local immigrants' bedcovers and used clothing donated from all over Paris on top of an old Peugeot pick-up truck. Kim started her "migration" from Place de la Liberation, where Musée MAC/VAL, which commissioned the piece, is located, and which is also on the border of the area of Paris where many immigrants from China, the Middle East, Africa and Eastern Europe live. The truck moved through the neighborhoods of Paris, each containing a different history of immigrants to France: Ivry (where there is a Chinese community), Place d'Italy, Bastille, Place de la Republic, Canal Saint-Martin (which used to have homeless people's tents along the canal), Gare du Nord, Goutte d'Or (where there are African, Middle Eastern, Indian communities), and finally to Église Saint-Bernard, where in 1996 many illegal immigrants fought for their rights to live in France.

MAC/VAL



Art_Textiles
The Whitworth at The University of Manchester
October 10, 2015 - January 31, 2016
Kimsooja, Sewing Into Walking - Kyungju, 1994, 19:40, silent, loop, video still, Courtesy of Kewenig Galerie, Berlin and Kimsooja Studio

Art_Textiles, The Whitworth at The University of Manchester
October 10, 2015 – January 31, 2016

Since the 1960s, a growing body of contemporary art demonstrates a new engagement with the materials and techniques of crafts, particularly textiles, raising questions about the value of the handmade in the digital age. This show will include artists such as Magdalena Abakanowicz, Tracey Emin, Grayson Perry, Ghada Amer and Kimsooja who use textiles as a powerful tool for expressing ideas about the social, political, and artistic.

Art_Textiles - runs 10 October to 31 January 2016. Free Entry.

The Whitworth at The University of Manchester


Remember Lidice
September 12, 2015 - February 13, 2016
Kimsooja, Deductive Object - Cemetery, 2008 / 2015, Digital C-Print, 22 x 29.3 inches, Courtesy of Kimsooja Studio

Remember Lidice at Edition Block, Berlin, Germany
September 12, 2015 – February 13, 2016


The year 2017 will mark the 75th anniversary of the massacre of Lidice that was committed by the National Socialists. In commemoration of this incident the two previous Lidice exhibitions »Hommage à Lidice« (1967) and »Pro Lidice« (1997) will be continued by a third project »Remember Lidice« (2015). In response to an appeal issued in 1967 by Sir Barnett Stross, head of the "Lidice-shall-live" committee, René Block invited, both in 1967 and 1997, young artists that were representative of the current German art scene to donate a work for a museum to be built in Lidice. The resulting collection distinguishes itself by high artistic quality and a cross section of the respective contemporary art production. For the project »Remember Lidice« artists have been invited for the third time to donate works for Lidice. With this chapter, the frame of reference will once more be broadened: What started out as a German-Czech issue with the contributions of 21 West-German artists in 1967 (»Hommage à Lidice«), and continued in 1997 as a project of a united Germany with contributions from 31 artists (»Pro Lidice«), will in 2015 become an international subject matter, with the participation of 44 international artists. The wish to expand the collection in Lidice, which is currently exhibited in the former community centre now reconstructed as a museum, by the newly donated works is meant to be a renewed gesture of solidarity. Beginning in September, the works will successively be collected in the exhibition space of Edition Block and can be seen there until February 2016. The once completed collection will also be shown at the Kunsthalle Mannheim before it will officially be handed over to Lidice.

Edition Block


Experiments with Truth: Gandhi and Images of Nonviolence
April 15 - January 3, 2016

Some of Gandhi's last possessions, ca. 1948-50. Photographer unknown. James Otis/GhandiServe

Experiments with Truth: Gandhi and Images of Nonviolence, Crescent Museum, Geneva, Switzerland
April 15, 2015 – January 3, 2016


Nonviolence immediately calls to mind a face, a smile, an easily recognizable figure: Mahatma Gandhi.

In 1927 Gandhi published an autobiography entitled “My experiments with truth.” The title refers to satyagraha, the “force of truth,” the cornerstone of civil disobedience that he championed and exemplified throughout his life. A milestone of nonviolent thought and action, Gandhi’s life story was the natural choice for the guiding principle and title of an exhibition on the art of nonviolence.

Gandhi’s personal, spiritual, ethical and political journey is illustrated in its entire complexity through a large number of documents, which include a remarkable series of photographs by Henri Cartier-Bresson. The exhibition also reveals, however, the extent of his legacy: Experiments with Truth presents nonviolence as a powerful inspirational force in the visual arts. With around one hundred items on display, the exhibition initiates a dialogue between cultures, the arts and techniques: tantric paintings, Koran parchments, Jain sculptures, Byzantine icons. Contemporary artists such as Marlene Dumas, Dan Flavin, Amar Kanwar, Kimsooja, Yves Klein, Robert Rauschenberg, and Ai Weiwei also take up the messages of nonviolence.

Experiments with Truth. Gandhi and Images of Nonviolence is organized by The Menil Collection, Houston.



Red Crescent Museum, Geneva


Chambres d'enfants
September 26, 2015 - May 29, 2016
Kimsooja, Deductive Object: Obangsaek, 2014, wallpaper roll, 70 x 5 cm [dia.], Courtesy of Galerie Tschudi, Zuoz, Switzerland and Kimsooja Studio

Chambres d'enfants at Musée du Papier Peints, Mézières, Switzerland
September 26, 2015 – May 29, 2016


In collaboration with the Museum wallpaper Rixheim (F) and the works of Hugo Brülhart, Vincent Kohler, Isabelle Krieg, Ursula Palla, Kimsooja, Gerda Steiner & Jörg Lenzlinger and theatrical performances videos of our children

The exhibition is dedicated to the realm of children in the context of the universe of nature. In the 19th century, the perception of the early years have seen a change towards a new "culture of sentiment". An enriched bourgeoisie treats health and children's education. This one gets in the bourgeois homes, a room of its own. The designers are beginning to provide furniture and decorations that combine education and fun to feed the imagination of the child. From the introduction of compulsory schooling in the last quarter of the 19th century, the children of the working classes have the chance to see an education. However, the workers and peasants communities, parents and children are often crowded into one or two rooms with little privacy. From the first third of the 20th century, the nursery moved at progressively in all areas of society. Today in our era of globalization, thousands of people are moving, homeless without home, without individual room. The migration peaked akin to that of the second world war.

The exhibition presents a selection of wallpapers from the 18th to the 20th century children's room from the Wallpaper Museum Rixheim. One can also discover inter interventions by contemporary artists on the theme of nature, a venture of intimacy, the childlike and playful spirit that we all carry within us. It also involves our contemporary reality with a major focus on global migration.

Musée du Papier Peint



Instagram

Kimsooja - To Breathe
Centre Pompidou-Metz

October 26, 2015 - January 4, 2016



Kimsooja, To Breathe, 2015, mixed media site-specific installation, Centre Pompidou-Metz, photograph by Jaeho Chong. Courtesy of Centre Pompidou-Metz, Institut français/Année France Corée, Kukje Gallery, and Kimsooja Studio


Kimsooja - To Breathe


Centre Pompidou-Metz, France
October 26, 2015 – January 4, 2016


To mark France's Korean year, a site-specific installation by the multidisciplinary conceptual artist Kimsooja invites viewers to partake in a transformative performance of light, sound, and the architecture of Centre Pompidou-Metz.

For the past thirty years, Kimsooja has conceived a body of work often described as conceptual, humanist, and ethical. It transcends current issues of identity, migration, ideological and physical divide across people and borders, to find expression in a visual poetry and a life-performance resting beyond material conditions and the act of making.

To Breathe is an invitation to contemplate. Its unfolding and mirroring of light into a fully visible iridescent spectrum establish a tri-dimensional tableau, a revelation of one's body in space and time that defies horizontality and verticality. Kimsooja's enduring examination of dualism in life and art transforms elements of painting into a new language of light, sound, and reflections in pursuit of totality.


Centre Pompidou-Metz






Kimsooja

Kimsooja - To Breathe, Centre Pompidou-Metz

October 26, 2015 - January 4, 2016
Kimsooja, To Breathe: Bottari, 2013, mixed media installation, partial installation view with the artist at the Korean Pavilion, The 55th Biennale di Venezia, photograph by Jaeho Chong, courtesy of Kukje Gallery, Seoul, Arts Council Korea, and Kimsooja Studio


Kimsooja - To Breathe, Centre Pompidou-Metz, Metz, France
October 26, 2015 – January 4, 2016

To Breathe and its latest installment at Centre Pompidou Metz seeks to be the sum of the artist's early meditation on painting, where the surface of the canvas is intuited to become a mirror that wraps identity, space, and time; and where brushstrokes are destined to dematerialize into a splitting of light.

For this exhibition Kimsooja takes on the spaces of Centre Pompidou Metz's ingenuous architecture to create a three-dimensional tableau that transforms a long span of the museum's gallery and its bay windows into a liquid-like mirrored surface, that the artist expressed to be in previous installations an ever-expanding "fabric that is sewn by our gaze1."

Thinking of mirrors as an opportunity to fold and unfold spaces (A continuation of the artist's involvement with the Korean tradition of wrapping belongings into travel bundles known as Bottari in Korean), Kimsooja first made use of mirrors for Harald Szeemann's 1999 Venice Biennale where she reflected a loaded truck onto a wall sized mirror that provided a virtual exit for the vehicle. The piece was dedicated to the refugees of Kosovo. She further explored infinite spaces by installing mirrors on the walls of a laundry installation of abandoned Korean bedcovers for A Mirror Woman (2002), and pointed to the migratory perspective opened by mirrors while reflecting the sky on the ground of her mirrored installation The Ground to Nowhere (Honolulu City Hall, 2003). Always in search of wrapping space and time, Kimsooja enveloped the transparent building structure of the Palacio de Cristal in Madrid with mirrors and diffraction films (To Breathe/Respirare, 2006); and the Korean Pavilion in Venice with diffracting spectrums and reflective surfaces (To Breathe: Bottari, 2013) that invited the audience into a journey inside and outside of themselves, and into a poetic space where our perception of light, color and orientation is deconstructed and exposed as an unfolding plane.

To Breathe, performed for the Centre Pompidou Metz spans the museum's entrance forum area, the 80 meters long Gallery 2, and the breadth of the opposite ends of two bay windows. The space of the museum's gallery will find its utmost expression as a tableau: from the windows light is split, to be reflected on an almost liquid surface and reunited inside the projection of the artist's video piece To Breathe: a series of digital monochromes accompanied by the sound of a chorus of the artist's inhalation and exhalation.

Kimsooja's everlasting examination of the dualism of light and surface, sewing and weaving, wrapping and unwrapping; her transposition of the concept of point as the pin of a needle and that of line as a thread, and of plane as the reflecting surface of a mirror, questions the foundation of materiality as it pertains to migration and exile, and exposes the complex relations of art and humanity, cultural and political existence.


1In An Interview with Kimsooja, Olivia Maria Rubio, 2006, on the occasion of To Breathe/Respirare, Palacio de Cristal, Parque del Retiro, Madrid


Centre Pompidou-Metz


Exhibition from the Collection MAC/VAL, Paris

October 24, 2015 - January 2016
Kimsooja, Bottari Truck - Migrateur, 2007, Single Channel Video Projection, silent, 10:00, loop, performed in Paris, Commissioned by Musée D'Art Contemporain du Val-De-Marne (MAC/VAL), Still Photo by Thierry Depagne, Courtesy of MAC/VAL & Kimsooja Studio

Exhibition from the Collection, MAC/VAL, Paris
October 24, 2015– January 2016
Opening Reception: Friday October 23, 2015

Kimsooja's video piece records a performance in Paris in which she evokes the constant state of migration that characterizes our global society. The Bottari Truck loaded local immigrants' bedcovers and used clothing donated from all over Paris on top of an old Peugeot pick-up truck. Kim started her "migration" from Place de la Liberation, where Musée MAC/VAL, which commissioned the piece, is located, and which is also on the border of the area of Paris where many immigrants from China, the Middle East, Africa and Eastern Europe live. The truck moved through the neighborhoods of Paris, each containing a different history of immigrants to France: Ivry (where there is a Chinese community), Place d'Italy, Bastille, Place de la Republic, Canal Saint-Martin (which used to have homeless people's tents along the canal), Gare du Nord, Goutte d'Or (where there are African, Middle Eastern, Indian communities), and finally to Église Saint-Bernard, where in 1996 many illegal immigrants fought for their rights to live in France.

MAC/VAL


Kimsooja, A Beggar Woman - Cairo
Smith College Museum of Art, Massachussets

October 9 - November 8, 2015
Kimsooja, A Beggar Woman – Cairo, 2001, single channel video, Tibetan Monk Chanting (sound), 8:53, Courtesy of Smith College Museum of Art and Kimsooja Studio

Kimsooja, A Beggar Woman - Cairo, Smith College Museum of Art, Northampton, Massachusets
October 9 – November 8, 2015

A Beggar Woman - Cairo is one of three videos in the Beggar Woman series of 2000–2001, including performances on the streets of Mexico City and Lagos.

A Beggar Woman - Cairo was purchased with the gift of Jungkoo An and Ae Young Han, in honor of their daughter, Sabina An, class of 2016; an anonymous gift; and funds from the Contemporary Associates. 

This video is the inaugural work shown in the Museum's New Media Gallery on the lower level.

Smith College Museum of Art


Art_Textiles
The Whitworth at The University of Manchester

October 10, 2015 - January 31, 2016
Kimsooja, Sewing Into Walking - Kyungju, 1994, 19:40, silent, loop, video still, Courtesy of Kewenig Galerie, Berlin and Kimsooja Studio

Art_Textiles, The Whitworth at The University of Manchester
October 10, 2015 – January 31, 2016

Since the 1960s, a growing body of contemporary art demonstrates a new engagement with the materials and techniques of crafts, particularly textiles, raising questions about the value of the handmade in the digital age. This show will include artists such as Magdalena Abakanowicz, Tracey Emin, Grayson Perry, Ghada Amer and Kimsooja who use textiles as a powerful tool for expressing ideas about the social, political, and artistic.

Art_Textiles - runs 10 October to 31 January 2016. Free Entry.

The Whitworth at The University of Manchester


Current Group Shows

Kimsooja at Proportio

May 9 - November 22, 2015
Kimsooja, A Needle Woman: Galaxy was a Memory, Earth is a Souvenir, 2014, C-Print, 32.5 x 46.25 inches, with collaboration from Jaeho Chong (architect), Professor Ulrich Wiesner (nanomaterials sceince and engineering), photo by Aaron Wax, Courtesy of Axel Vervoordt Gallery, Antwerp, Cornell Council for the Arts, Ithaca, New York, Axel Vervoordt Gallery, Antwerp, and Kimsooja Studio

PROPORTIO, Axel and May Vervoordt Foundation, Palazzo Fortuni, Venice
May 9 – November 22, 2015

The exhibition PROPORTIO examines the role that proportion plays in our lives and the complex universe in which we live. By examining wide-ranging and diverse representations found in art, nature, physics, economics, history, science, music, medicine, and many other subjects, the study of proportion uncovers the natural patterns that are used to create everything in the material world. Proportion is not only a question of numbers. Nor is it a simple comparison of measurements and dimensions in relation to a whole. According to Plato, the definition of proportion is the transition from duality to unity. It's the investigation of how elements and patterns are connected and interconnected across disciplines. It's the investigation of how we, as humans, perceive those patterns through our senses, as well as through our intuition. It's also an exploration of how universal proportions guide our understanding of creation and the dynamic dance between order and chaos. 

Throughout the course of known human history, the knowledge of proportions and sacred geometry in particular, has been applied across many civilizations for thousands of years. The sophisticated knowledge of sacred geometry, especially the golden ratio, was considered highly advanced and closely related to secretive spiritual wisdom and religious traditions. As a result, its use was controlled, because it was thought that it's misuse might have undesirable consequences. In the Western world, the knowledge of sacred geometry was so secret that it was intentionally guarded for hundreds of years and may have been purposefully forgotten or discarded. 

What was known? How was this knowledge used in the past? How can it help us to understand the world around us today? As an exhibition, the aim of PROPORTIO is to re-start a contemporary dialogue surrounding the lost knowledge of proportions and sacred geometry. 

PROPORTIO features specially commissioned artworks by contemporary artists, 20th century masterpieces, Old Master paintings, archaeological artifacts, as well as architectural models and a large library of historical books on proportions. All these works provide a lens to help us see what proportion can teach us about the essential design of the present and how we can use this knowledge to create a blueprint for the future. This exhibition is an opportunity to explore universal proportions and an invitation to reflect upon the interconnectedness of our universe. 

Axel and May Vervoordt Foundation


Experiments with Truth: Gandhi and Images of Nonviolence

April 15 - January 3, 2016
Some of Gandhi's last possessions, ca. 1948-50. Photographer unknown. James Otis/GhandiServe

Experiments with Truth: Gandhi and Images of Nonviolence, Crescent Museum, Geneva, Switzerland
April 15, 2015 – January 3, 2016


Nonviolence immediately calls to mind a face, a smile, an easily recognizable figure: Mahatma Gandhi.

In 1927 Gandhi published an autobiography entitled “My experiments with truth.” The title refers to satyagraha, the “force of truth,” the cornerstone of civil disobedience that he championed and exemplified throughout his life. A milestone of nonviolent thought and action, Gandhi’s life story was the natural choice for the guiding principle and title of an exhibition on the art of nonviolence.

Gandhi’s personal, spiritual, ethical and political journey is illustrated in its entire complexity through a large number of documents, which include a remarkable series of photographs by Henri Cartier-Bresson. The exhibition also reveals, however, the extent of his legacy: Experiments with Truth presents nonviolence as a powerful inspirational force in the visual arts. With around one hundred items on display, the exhibition initiates a dialogue between cultures, the arts and techniques: tantric paintings, Koran parchments, Jain sculptures, Byzantine icons. Contemporary artists such as Marlene Dumas, Dan Flavin, Amar Kanwar, Kimsooja, Yves Klein, Robert Rauschenberg, and Ai Weiwei also take up the messages of nonviolence.

Experiments with Truth. Gandhi and Images of Nonviolence is organized by The Menil Collection, Houston.



Red Crescent Museum, Geneva


We are proud to announce that KIMSOOA is awarded the HO-AM PRIZE 2015 IN ARTS (Ho-Am Foundation in Seoul).

We congratulate Kimsooja for this deserving prize and recognition.

The Prize Award Ceremony will take place on 1 June 2015, at 3:00 pm, at Ho-Am Art Hall, in Seoul.
For further information please visit: http://hoamprize.samsungfoundation.org/eng/award/thisyear.asp

Kimsooja, Thread Routes - Chapter II, 2011, Single channel 16mm film transferred to HD, 23:40, sound, Installation at Galerie Tschudi, Courtesy of Galerie Tschudi, Zuoz, and Kimsooja Studio

Kimsooja at PROPORTIO, Palazzo Fortuni, Venice

Kimsooja, A Needle Woman: Galaxy was a Memory, Earth is a Souvenir, 2014, C-Print, 32.5 x 46.25 inches, with collaboration from Jaeho Chong (architect), Professor Ulrich Wiesner (nanomaterials sceince and engineering), photo by Aaron Wax, Courtesy of Axel Vervoordt Gallery, Antwerp, Cornell Council for the Arts, Ithaca, New York, and Kimsooja Studio

PROPORTIO, Axel and May Vervoordt Foundation, Palazzo Fortuni, Venice
May 9 – November 22, 2015


The exhibition PROPORTIO examines the role that proportion plays in our lives and the complex universe in which we live. By examining wide-ranging and diverse representations found in art, nature, physics, economics, history, science, music, medicine, and many other subjects, the study of proportion uncovers the natural patterns that are used to create everything in the material world.
Proportion is not only a question of numbers. Nor is it a simple comparison of measurements and dimensions in relation to a whole. According to Plato, the definition of proportion is the transition from duality to unity. It's the investigation of how elements and patterns are connected and interconnected across disciplines. It's the investigation of how we, as humans, perceive those patterns through our senses, as well as through our intuition. It's also an exploration of how universal proportions guide our understanding of creation and the dynamic dance between order and chaos.

Throughout the course of known human history, the knowledge of proportions and sacred geometry in particular, has been applied across many civilizations for thousands of years. The sophisticated knowledge of sacred geometry, especially the golden ratio, was considered highly advanced and closely related to secretive spiritual wisdom and religious traditions. As a result, its use was controlled, because it was thought that it's misuse might have undesirable consequences. In the Western world, the knowledge of sacred geometry was so secret that it was intentionally guarded for hundreds of years and may have been purposefully forgotten or discarded.

What was known? How was this knowledge used in the past? How can it help us to understand the world around us today? As an exhibition, the aim of PROPORTIO is to re-start a contemporary dialogue surrounding the lost knowledge of proportions and sacred geometry.

PROPORTIO features specially commissioned artworks by contemporary artists, 20th century masterpieces, Old Master paintings, archaeological artefacts, as well as architectural models and a large library of historical books on proportions.  All these works provide a lens to help us see what proportion can teach us about the essential design of the present and how we can use this knowledge to create a blueprint for the future. This exhibition is an opportunity to explore universal proportions and an invitation to reflect upon the interconnectedness of our universe.


LIST OF PARTICIPATING ARTIST
Marina Abramovic, Carla Accardi, Josef Albers, Carl Andre, Rodolfo Aricò, Ida Barbarigo, Massimo Bartolini, Domenico Bianchi, Cristiano Bianchin, Alberto Biasi, Bae Bien-U, Alighiero Boetti, Otto Boll, Agostino Bonalumi, Michaël Borremans, Sandro Botticelli, Lucia Bru, Markus Brunetti, Jean-Marie Bytebier, Pierpaolo Calzolari, Francesco Candeloro, Antonio Canova, Vincenzo Castella, Eduardo Chillida, Chang-Sup Chung, Niccolò Codazzi, Viviano Codazzi, Gianni Colombo, Dadamaino, Hanne Darboven, Berlinde De Bruyckere, Raoul De Keyser, Riccardo De Marchi, Marta Dell'Angelo, Gabriele Devecchi, Maurizio Donzelli, Jan  Dries, Arthur Duff, Luciano Fabro, Philippe Favier, Giorgia Fiorio, Henri Foucault, Anne-Karin Furunes, Alberto Giacometti, Ando Gilardi, Fernanda Gomes, Antony Gormley, Kees Goudzwaard, Gotthard Graubner, Aldo Grazzi, Franco Guerzoni, Chong Hyun Ha, Erwin Heerich, Michael Heizer, Samantha Holmes, Sadaharu Horio, Akiko Horio, Ryoji Ikeda, Norio Imai, Robert Indiana, Ann Veronica Janssens, Francesco Jodice, Ilya et Emilia Kabakov, Anish Kapoor, Ellsworth Kelly, William Kentridge, Anselm Kiefer, Kimsooja, Harry Kivijärvi, Susan Kleinberg, Wolfgang Laib, Edoardo Landi, Le Corbusier, Sol Lewitt, Richard Long, Nino Longobardi, Heinz Mack, Brice Marden, Agnes Martin, Christian Megert, Richard Meier, Fausto Melotti, Marisa Merz, Mario Merz, Amedeo Modigliani, Giorgio Morandi, François Morellet, Shuji Mukai, Rei Naito, Yuko Nasaka, Shirin Neshat, Louise Nevelson, Ben Nicholson, Renato Nicolodi, Mario Nigro, Gioberto Noro, Hans Op de Beeck, Marie Orensanz, Mimmo Paladino, Pablo Palazuelo, Izhar Patkin, Masaomi Raku, Kurt Ralske, Robert Ryman, Lucio Saffaro, Fred Sandback, Giuseppe Santomaso, Tomás Saraceno, MariaTeresa Sartori, Stéphane Sautour, Nobuo Sekine, Conrad Shawcross, Yasuhiro Shimakawa, Kazuo Shiraga, Gabriel Sierra, David Simpson, Bosco Sodi, Ettore Spalletti, Dominique Stroobant, Takis, Antoni Tàpies, Marco Tirelli, Gunther Uecker, Camiel Van Breedam, Koen Van den Broek, Dom Hans Van der Laan, Koen Vanmechelen, Grazia Varisco, Victor Vasarely, Jef Verheyen, Nanda Vigo, Bill Viola, Rachel Whiteread, Maaria Wirkkala, Hyong-Keun Yun, Gianfranco Zappettini and Raphaël Zarka.

Axel and May Vervoordt Foundation




 

Kimsooja - Thread Routes, Chapter III, Axel Vervoordt Gallery, Antwerp, Belgium

Thread Routes - Chapter III, 2012, 17:35, 16mm film transferred to HD Format, 5.1 sound, courtesy of Axel Vervoordt Gallery, Antwerp and Kimsooja Studio

Axel Vervoordt Gallery, Antwerp, Belgium
April 30 – June 13, 2015


Axel Vervoordt Gallery is pleased to announce Kimsooja's first exhibition in our gallery in Antwerp presenting her most recent film and installation Thread Routes - Chapter III. This film and installation will make its Belgium premiere. The screening will be accompanied for the first time with a new experimental video that depicts the lightwaves of the film, as well as an installation of Indian block printing-table covers that the artist collected for this exhibition.

Thread Routes: Chapter lll (2010) is the third installment of the six-chapter film series produced by multidisciplinary conceptual artist Kimsooja (°1957, Daegu, Korea). The films were shot in different continents and reveal the artist gazing at the intimate link between each region's textile culture and its people, gender relations, architecture, nature and agriculture. These non-narrative films invite the viewer into a realm that explores the boundaries of poetry and visual anthropology.

Thread Routes: Chapter lll was filmed in India in 2012. It features traditional dyeing, knitting, embroidery, block printing, and tattooing; the archeological sites and the temporary dwellings belonging to nomadic communities in the state of Gujarat; as well as two landmarks of Indian architecture: the Queen's Stepwell and the Modhera Sun Temple, near the city of Ahmedabad.

For this exhibition at Axel Vervoordt Gallery, Kimsooja has collected the under layers of the block print tables where Indian workers have repeatedly stamped patterns of indigo ink. These textiles bear the marks of repetitive labor and their patterns exposing an intricate layer of ink that ties to the artist's early experiments with painting. The intimate relationship between these acts of labor and the patterns of the fabrics parallels the carved stones of archeological sites filmed in Thread Routes- Chapter lll, and also recall Kimsooja's previous laundry installations and film-work shot in Mumbai called "Mumbai: A Laundery Field." The sound track of the film's protagonists in the act of printing and stamping echoes throughout the installation, where the light data of the film is digitally woven in a new experimental video piece composed of spectral lightwaves.

Thread Routes reveals how the artist gazes at the world: unfolding visual patterns that intimately tie humans to their land. Kimsooja investigates questions relating to the human condition such as nomadism, migration, interpersonal relationships, and women's role in society. She also engages her audience with a reflection on the relations of aesthetics and global politics through a system of beliefs that defies mobility and the act of making. All these themes are present in her multidisciplinary art practice, which includes performance, video, photography, drawing, sculpture, and site-specific installations, that are all linked towards their relational use of light and sound.

Axel Vervoordt Gallery



Kimsooja: Thread Routes, Guggenheim Bilbao, Spain

Thread Routes - Chapter III, 2012, 16:34, 16mm film transferred to HD Format, 5.1 sound, courtesy of Axel Vervoordt Gallery, Antwerp, Gallerie Tschudi, Zuoz, La Fabrica, Madrid, Galerie Kewening, Berlin and Majorca, Kukje Gallery, Seoul, and Kimsooja Studio

Guggenheim Bilbao, Spain
Curated by Alvaro Rodriguez Fominaya
March 12 – July 12, 2015


From March 12 through July 12, 2015, Kimsooja's Thread Routes will make its Spanish premiere at the Guggenheim Museum Bilbao, becoming the fourth installation showcased in the Museum's Film & Video gallery. The gallery opened in 2014 and is dedicated to video art, video installation, and the moving image.
 
Thread Routes (2010–) is a 16-mm film series produced by multidisciplinary conceptual artist Kimsooja (b. 1957, Daegu, Korea). This six chapter project functions as an epic poem that closely contemplates the handiwork of weavers as the seminal structure of all that is labored, built, imagined and witnessed through the artist's silent gaze. The three chapters from the series showing at Guggenheim Bilbao were shot on three different continents and reveal the artist's fascination with the unfolding of space, the piercing gesture of the weaving hands as the genesis of agriculture, architecture and gender relations. These non-narrative films invite the viewer into a realm of poetry and visual anthropology, and carry out Kimsooja's earlier meditations on sewing and wrapping.
 
A site-specific triangular installation was created by the artist for the Guggenheim Bilbao, and will feature the first three chapters of the six-chapter-long series, filmed in Peru, Europe, and India, respectively. The first film, shot in 2010, follows weavers from the Sacred Valley of the Incas in the Peruvian Andes to the villages of Taquile Island, and quietly unfolds the immensity of the mountainous land as a possible man-made patchwork. The second chapter, filmed in 2011, focuses on the handcrafting of bobbin lace in Bruges, Belgium; Lepoglava, Pag and Hvar, Croatia; Burano, Italy; as well as the industrial lace production in Calais, a town in northern France. These images of European lacemakers are paralleled to architectural structures such as the Sedlec Ossuary in Kutná Hora, Czech Republic; the Eiffel Tower in Paris; the Milan Cathedral; and the Alhambra in Granada, with its Islamic geometric motifs. The third chapter was filmed in India in 2012 and features traditional dyeing, knitting, embroidery, block printing, and tattooing, intercut with images of archeological sites and the temporary dwellings belonging to nomadic communities in the state of Gujarat; as well as two landmarks of Indian architecture: the Queen's Stepwell and the Modhera Sun Temple, near the city of Ahmedabad.
 
Thread Routes reveals how the artist gazes at the world: unfolding patterns that intimately tie humans to their land. The series' remaining three chapters will feature the Miao, Tong, and Yi minorities in China, and the native tribes of North America and Northern Africa.
 
Kimsooja for the last thirty years has investigated questions relating to exile and migration, interpersonal relationships within a global network, and women's role in society. She also engages her audience through a body of performances that defies mobility and the act of making. All these themes are present in her multidisciplinary art practice, which includes performance, video, photography, drawing, sculpture, and site-specific installations, that are all linked through their relational use of light and sound.

Thread Routes stands as the artist's ultimate worldview. One that unites anthropology and animism, human and non-human forms, and brings a highly attentive gaze to the manifold that inhabits the movement of all that ties and animates the fabric of our world.

View More Installation Images Here

Guggenheim Bilbao




Earth-Water-Fire-Air, The XIV Biennial of Photography of Cordoba, Spain

(left) Aire de Tierra / Air of Earth, 2009, 06:25 loop, sound, (middle) Fuego de Aire / Fire of Air, 2009, 9:37 loop, (right) Tierra de Agua / Earth of Water, 2009, 7:09 loop, installation view from Sala Orive, Cordoba, Spain, Commissioned by Lanzerote Biennale, Spain and the Museo Internacional de Arte Contemporáneo (MIAC) courtesy of La Frabrica, Madrid and Kimsooja Studio

Sala Orive, Cordoba, Spain
Curated by Oliva Maria Rubio
March 14 – May 17, 2015


In the video installation Earth-Water-Fire-Air, 2009-2010, Kimsooja addresses four elements, used by various philosophers since ancient times, the last designated entities that constitute the material reality, both Western and Eastern tradition: earth, water, fire, air, as a source of energy and life. Always linked to a symbolic, these four elements, dating from the time of the Presocratics, receiving its most precise formulation Empedocles, persist through the Middle Ages to the Modern Era, profoundly influencing culture and European thought . Also coincide with the Indian and Japanese traditions, which, as did Aristotle added a fifth element, ether (or continent cosmos), and the Buddhist tradition. In some Asian countries such as Korea or China, wind replaces the air.

The six videos that make up the installation, which are titled Fuego de Tierra / Fire of Earth, Agua de Tierra / Water of Earth, Fuego de Aire / Fire of Air, Tierra de Agua / Earth of Water, Aire de Fuego / Air of Fire, and Aire de Tierra / Air of Earth, were filmed on the island of Lanzarote in 2009. In nature and oceanic volcanic island, the artist has found strength and inspiration from these elements, the energy that is: elements of life, we depend on all living beings, but also invitation to fantasy, source of activity creator. Kimsooja makes us see fire in the water, land on water, wind in the water and therefore also the opposite: water in the wind, water in the soil, water on the fire. In a way, as the artist says, the water would suffice to represent the four elements even though you might think that each of these elements only supports a single and separate representation.

The exhibition is complemented by a series entitled The Sun Unfolded, 2008, a set of 6 photographs in which the sun displays the color spectrum light rays extending in concentric waves around.

Cordoba

La Fabrica


Experiments with Truth: Gandhi and Images of Nonviolence, International Red Cross and Red Crescent Museum, Geneva, Switzerland

Some of Gandhi's last possessions, ca. 1948-50. Photographer unknown. James Otis/GandhiServe


International Red Cross and Red Crescent Museum, Geneva, Switzerland
April 15, 2015 – January 3, 2016


Nonviolence immediately calls to mind a face, a smile, an easily recognizable figure: Mahatma Gandhi.

In 1927 Gandhi published an autobiography entitled "My experiments with truth." The title refers to satyagraha, the "force of truth," the cornerstone of civil disobedience that he championed and exemplified throughout his life. A milestone of nonviolent thought and action, Gandhi's life story was the natural choice for the guiding principle and title of an exhibition on the art of nonviolence.

Gandhi's personal, spiritual, ethical and political journey is illustrated in its entire complexity through a large number of documents, which include a remarkable series of photographs by Henri Cartier-Bresson. The exhibition also reveals, however, the extent of his legacy: Experiments with Truth presents nonviolence as a powerful inspirational force in the visual arts. With around one hundred items on display, the exhibition initiates a dialogue between cultures, the arts and techniques: tantric paintings, Koran parchments, Jain sculptures, Byzantine icons. Contemporary artists such as Marlene Dumas, Dan Flavin, Amar Kanwar, Kimsooja, Yves Klein, Robert Rauschenberg, and Ai Weiwei also take up the messages of nonviolence.

Experiments with Truth. Gandhi and Images of Nonviolence is organized by The Menil Collection, Houston.

The Menil Collection

International Red Cross and Red Crescent Museum



Kimsooja: Thread Routes, Guggenheim Bilbao, Spain


Thread Routes - Chapter I, 2010, 29:31 (Top).Thread Routes - Chapter II, 2011, 23:40 (Middle). Thread Routes - Chapter III, 2012, 17:35 (Bottom), 16mm film transferred to HD Format, 5.1 sound, courtesy of La Fabrica, Madrid, Galerie Kewening, Berlin and Majorca, Kukje Gallery, Seoul, and Kimsooja Studio

Guggenheim Bilbao, Spain
Curated by Alvaro Rodriguez Fominaya
March 12 – July 12, 2015


From March 12 through July 12, 2015, Kimsooja's Thread Routes will make its Spanish premiere at the Guggenheim Museum Bilbao, becoming the fourth installation showcased in the Museum's Film & Video gallery. The gallery opened in 2014 and is dedicated to video art, video installation, and the moving image.
 
Thread Routes (2010–) is a 16-mm film series produced by multidisciplinary conceptual artist Kimsooja (b. 1957, Daegu, Korea). This six chapter project functions as an epic poem that closely contemplates the handiwork of weavers as the seminal structure of all that is labored, built, imagined and witnessed through the artist's silent gaze. The three chapters from the series showing at Guggenheim Bilbao were shot on three different continents and reveal the artist's fascination with the unfolding of space, the piercing gesture of the weaving hands as the genesis of agriculture, architecture and gender relations. These non-narrative films invite the viewer into a realm of poetry and visual anthropology, and carry out Kimsooja's earlier meditations on sewing and wrapping.
 
A site-specific triangular installation was created by the artist for the Guggenheim Bilbao, and will feature the first three chapters of the six-chapter-long series, filmed in Peru, Europe, and India, respectively. The first film, shot in 2010, follows weavers from the Sacred Valley of the Incas in the Peruvian Andes to the villages of Taquile Island, and quietly unfolds the immensity of the mountainous land as a possible man-made patchwork. The second chapter, filmed in 2011, focuses on the handcrafting of bobbin lace in Bruges, Belgium; Lepoglava, Pag and Hvar, Croatia; Burano, Italy; as well as the industrial lace production in Calais, a town in northern France. These images of European lacemakers are paralleled to architectural structures such as the Sedlec Ossuary in Kutná Hora, Czech Republic; the Eiffel Tower in Paris; the Milan Cathedral; and the Alhambra in Granada, with its Islamic geometric motifs. The third chapter was filmed in India in 2012 and features traditional dyeing, knitting, embroidery, block printing, and tattooing, intercut with images of archeological sites and the temporary dwellings belonging to nomadic communities in the state of Gujarat; as well as two landmarks of Indian architecture: the Queen's Stepwell and the Modhera Sun Temple, near the city of Ahmedabad.
 
Thread Routes reveals how the artist gazes at the world: unfolding patterns that intimately tie humans to their land. The series' remaining three chapters will feature the Miao, Tong, and Yi minorities in China, and the native tribes of North America and Northern Africa.
 
Kimsooja for the last thirty years has investigated questions relating to exile and migration, interpersonal relationships within a global network, and women's role in society. She also engages her audience through a body of performances that defies mobility and the act of making. All these themes are present in her multidisciplinary art practice, which includes performance, video, photography, drawing, sculpture, and site-specific installations, that are all linked through their relational use of light and sound.

Thread Routes stands as the artist's ultimate worldview. One that unites anthropology and animism, human and non-human forms, and brings a highly attentive gaze to the manifold that inhabits the movement of all that ties and animates the fabric of our world.

Guggenheim Bilbao



Earth-Water-Fire-Air, The XIV Biennial of Photography of Cordoba, Spain

Aire de Fuego / Air of Fire, 2009, 05:02 loop, sound, still from Earth - Water - Fire - Air, 8 channel video projection, Commissioned by Lanzerote Biennale, Spain and the Museo Internacional de Arte Contemporáneo (MIAC) courtesy of La Frabrica, Madrid and Kimsooja Studio

Sala Orive, Cordoba, Spain
Curated by Oliva Maria Rubio
March 14 – May 17, 2015


In the video installation Earth-Water-Fire-Air, 2009-2010, Kimsooja addresses four elements, used by various philosophers since ancient times, the last designated entities that constitute the material reality, both Western and Eastern tradition: earth, water, fire, air, as a source of energy and life. Always linked to a symbolic, these four elements, dating from the time of the Presocratics, receiving its most precise formulation Empedocles, persist through the Middle Ages to the Modern Era, profoundly influencing culture and European thought . Also coincide with the Indian and Japanese traditions, which, as did Aristotle added a fifth element, ether (or continent cosmos), and the Buddhist tradition. In some Asian countries such as Korea or China, wind replaces the air.

The six videos that make up the installation, which are titled Fuego de Tierra / Fire of Earth, Agua de Tierra / Water of Earth, Fuego de Aire / Fire of Air, Tierra de Agua / Earth of Water, Aire de Fuego / Air of Fire, and Aire de Tierra / Air of Earth, were filmed on the island of Lanzarote in 2009. In nature and oceanic volcanic island, the artist has found strength and inspiration from these elements, the energy that is: elements of life, we depend on all living beings, but also invitation to fantasy, source of activity creator. Kimsooja makes us see fire in the water, land on water, wind in the water and therefore also the opposite: water in the wind, water in the soil, water on the fire. In a way, as the artist says, the water would suffice to represent the four elements even though you might think that each of these elements only supports a single and separate representation.

The exhibition is complemented by a series entitled The Sun Unfolded, 2008, a set of 6 photographs in which the sun displays the color spectrum light rays extending in concentric waves around.

Cordoba

La Fabrica


To Breathe: Obangsaek, Galerie Tschudi, Zouz, Switzerand

To Breathe - The Flags, 2012, single channel video animation, 40:41 loop, silent, instillation at Garlerie Tschudi, Zuoz, Courtesy of Galerie Tschudi, Zuoz, and Kimsooja Studio

Galerie Tschudi
Zuoz, Switzerland
December 23, 2014 – March 14, 2015


Obangsaek is the Korean color field that represents the nature of the universe. Signifying the four cardinal points and the center, the five colors of Obang (directionality) and Saek (color) draw from the philosophies of the cultures that originally formed the Ural-Altaic linguistic family. The theory of the colors derives from the relationships of Yin and Yang, Confucianism and Taoism. Obangsaek assigns elements of nature, flavors, wishes, desires and characteristics of human nature to each of the colors. Yellow at the center, signifies universe, earth, power and dignity. East (blue) represents wood, spring and happiness. West (white) is metal, autumn, innocence and truthfulness. South (red) is known as the color for summer, fire, creativity and passion. North (black) is water and winter, intelligence and wisdom. The color spectrum presented in this exhibition is a secondary color spectrum associated with the symbolic Obangsaek color field.

Galerie Tschudi is pleased to present To Breathe: Obangsaek by acclaimed multi disciplinary conceptual artist, Kimsooja. The exhibition, which is the artists' second solo at Galerie Tschudi, includes several new works and many others that have never been shown in Europe. To Breathe: Obangsaek explores the artist's ongoing questions as a painter and Obangsaek theory, which has led her to move beyond the surface to the activation of space as an experience of light in such site-specific installations as The Crystal Palace in Madrid, the Korean Pavilion at the 55th Biennale di Venezia and most recently in A Needle Woman: Galaxy was a Memory, Earth is a Souvenir at Cornell University, New York.

The exhibition title comes from the site-specific installation, To Breathe: Obangsaek which was first realized as part of "The Lift" elevator wallpaper project, organized by Art21 at the Bloomberg building in New York in 2013. In this installation, wallpaper printed with obangsaek pattern envelops the viewer, activating the body as the fifth element of directionality—the center. In other rooms Deductive Object: Obangsaek (2014) carpets—similar to those used in Korean weddings—roll up or stretch out, leading directionality in relation to bodies and their journeys. Similarly, the Seven Wishes (2004) print portfolio translates the cardinal points of Obangsaek into wishes that connect to the sensory and emotional experience of humanity as a symbolic frame of human life.

Moving from an autobiographical approach to reach universality in her use of bedcovers, Kimsooja expands her exploration to a global context in To Breathe - The Flags (2012), as a frame of nationhood that leads to transnational status. In this video piece, 246 national flags dissolve in a continuous loop, their iconic surfaces morphing into one another. In the first iteration of this work, which was commissioned by the IOC Olympic Museum, Lausanne for the 2012 London Olympic Games, the artist layered the flags of all the participating countries in a reflection of the unifying spirit of the games. In To Breathe – The Flags, this proposition is expanded to include all of the world's national flags in alphabetical order without hierarchy or political prejudice, in the hope of creating a visual experience whereby national difference and conflicts can be merged and harmonized as one.

Drawing us back from the symbolic to the essence of humans and life, the video works Fire of Air (2009) and Mirror of Air (2010) are extracts from the artist's explorations of the elemental forces of nature and their relationship of mutual circulation and connection. This powerful presence of matter is questioned by the tiny voids in sand created by crabs' regurgitation on a beach near the Yonggwang nuclear power station, as depicted in the Architecture of Vulnerability (2010-2013) lightbox series. These images of an elemental structure of presence and absence created by nature, recall the relationship of Yin and Yang to the human body, which has been a central concern of Kimsooja's work for many years.

An Album: Hudson Guild (2009) simultaneously evokes a sense of past, present and future through video portraits of elderly people at Hudson Guild Community Center in New York. The figures—who appear at times facing the viewer and at times with backs turned, respond by turning to face the camera when the artist calls their names, recalling the memory of her deceased father.

Deductive Object: Unfolding Bottari (1991-2014) includes 223 images taken by the artist at flea markets around the world. Accumulated, the vulnerability of objects in a moment of transition questions the destination of human desire and that of possession.

All of Kimsooja's investigations are contextualized from the processes of mundane daily acts such as sewing, weaving, wrapping and unfolding that begin with her gaze as a painter and expands towards all possible directionalities.

The multiple directionality of the artist's gaze actively draws the delicate thread that she follows so compellingly in the Thread Routes series. In this series, the films function as a structural investigation into the similarities in performative elements of textile construction and their relationship to nature, architecture, agriculture and gender relationships across cultures and geographic zones.

For the first time in Europe, Kimsooja will present Thread Routes – Chapter II (2011) which is the second in the six part series of films shot on 16mm. Filmed in various European cities, the film depicts a wide variety of lace making techniques, woven together with images of delicate yet grand European structures such as the Duomo in Milan, the Eiffel Tower in Paris, Sedlec Ossuary in Kutna Hora and La Alhambra in Granada. The bold, masculine and power-oriented monumental architectural forms and structures are juxtaposed with the delicate, feminine and ephemeral lace making alongside the structure of local flowers and vegetation.

Since the late 70s, Kimsooja has transformed and redefined the notion of painting into object/sculptural pieces, performance, video, and site-specific sound and light installations. Her innovation has been to question the surface/tableau, self and the other; dealing with existential, natural, cultural and political borders from the concept of obangsaek and its dimensionality with relation to the artist's body in the world; contextualizing her own concepts in parallel to Western art history.


Galerie Tschudi
Chesa Madalena | Somvih 115 | 7524 Zuoz | Switzerland 
 Tel. +41 81 850 13 90 | www.galerie-tschudi.ch

 


To Breathe: Obangsaek

Image 4
Kimsooja, To Breathe - The Flags, 2012, single channel video animation, 40:41 loop, silent, Installation at Museum of Contemporary Art, Taipei


Galerie Tschudi
Zuoz, Switzerland
December 23, 2014 – March 14, 2015

Opening Saturday, December 20, 4 - 6.30pm

     
Obangsaek is the Korean color field that represents the nature of the universe. Signifying the four cardinal points and the center, the five colors of Obang (directionality) and Saek (color) draw from the philosophies of the cultures that originally formed the Ural-Altaic linguistic family. The theory of the colors derives from the relationships of Yin and Yang, Confucianism and Taoism. Obangsaek assigns elements of nature, flavors, wishes, desires and characteristics of human nature to each of the colors. Yellow at the center, signifies universe, earth, power and dignity. East (blue) represents wood, spring and happiness. West (white) is metal, autumn, innocence and truthfulness. South (red) is known as the color for summer, fire, creativity and passion. North (black) is water and winter, intelligence and wisdom. The color spectrum presented in this exhibition is a secondary color spectrum associated with the symbolic Obangsaek color field.


Galerie Tschudi is pleased to present To Breathe: Obangsaek by acclaimed multi disciplinary conceptual artist, Kimsooja. The exhibition, which is the artists' second solo at Galerie Tschudi, includes several new works and many others that have never been shown in Europe. To Breathe: Obangsaek explores the artist's ongoing questions as a painter and Obangsaek theory, which has led her to move beyond the surface to the activation of space as an experience of light in such site-specific installations as The Crystal Palace in Madrid, the Korean Pavilion at the 55th Biennale di Venezia and most recently in A Needle Woman: Galaxy was a Memory, Earth is a Souvenir at Cornell University, New York.

The exhibition title comes from the site-specific installation, To Breathe: Obangsaek which was first realized as part of "The Lift" elevator wallpaper project, organized by Art21 at the Bloomberg building in New York in 2013. In this installation, wallpaper printed with obangsaek pattern envelops the viewer, activating the body as the fifth element of directionality—the center. In other rooms Deductive Object: Obangsaek (2014) carpets—similar to those used in Korean weddings—roll up or stretch out, leading directionality in relation to bodies and their journeys. Similarly, the Seven Wishes (2004) print portfolio translates the cardinal points of Obangsaek into wishes that connect to the sensory and emotional experience of humanity as a symbolic frame of human life.

Moving from an autobiographical approach to reach universality in her use of bedcovers, Kimsooja expands her exploration to a global context in To Breathe - The Flags (2012), as a frame of nationhood that leads to transnational status. In this video piece, 246 national flags dissolve in a continuous loop, their iconic surfaces morphing into one another. In the first iteration of this work, which was commissioned by the IOC Olympic Museum, Lausanne for the 2012 London Olympic Games, the artist layered the flags of all the participating countries in a reflection of the unifying spirit of the games. In To Breathe – The Flags, this proposition is expanded to include all of the world's national flags in alphabetical order without hierarchy or political prejudice, in the hope of creating a visual experience whereby national difference and conflicts can be merged and harmonized as one.

Drawing us back from the symbolic to the essence of humans and life, the video works Fire of Air (2009) and Mirror of Air (2010) are extracts from the artist's explorations of the elemental forces of nature and their relationship of mutual circulation and connection. This powerful presence of matter is questioned by the tiny voids in sand created by crabs' regurgitation on a beach near the Yonggwang nuclear power station, as depicted in the Architecture of Vulnerability (2010-2013) lightbox series. These images of an elemental structure of presence and absence created by nature, recall the relationship of Yin and Yang to the human body, which has been a central concern of Kimsooja's work for many years.

An Album: Hudson Guild (2009) simultaneously evokes a sense of past, present and future through video portraits of elderly people at Hudson Guild Community Center in New York. The figures—who appear at times facing the viewer and at times with backs turned, respond by turning to face the camera when the artist calls their names, recalling the memory of her deceased father.

Deductive Object: Unfolding Bottari (1991-2014) includes 223 images taken by the artist at flea markets around the world. Accumulated, the vulnerability of objects in a moment of transition questions the destination of human desire and that of possession.

All of Kimsooja's investigations are contextualized from the processes of mundane daily acts such as sewing, weaving, wrapping and unfolding that begin with her gaze as a painter and expands towards all possible directionalities.

The multiple directionality of the artist's gaze actively draws the delicate thread that she follows so compellingly in the Thread Routes series. In this series, the films function as a structural investigation into the similarities in performative elements of textile construction and their relationship to nature, architecture, agriculture and gender relationships across cultures and geographic zones.

For the first time in Europe, Kimsooja will present Thread Routes – Chapter II (2011) which is the second in the six part series of films shot on 16mm. Filmed in various European cities, the film depicts a wide variety of lace making techniques, woven together with images of delicate yet grand European structures such as the Duomo in Milan, the Eiffel Tower in Paris, Sedlec Ossuary in Kutna Hora and La Alhambra in Granada. The bold, masculine and power-oriented monumental architectural forms and structures are juxtaposed with the delicate, feminine and ephemeral lace making alongside the structure of local flowers and vegetation.

Since the late 70s, Kimsooja has transformed and redefined the notion of painting into object/sculptural pieces, performance, video, and site-specific sound and light installations. Her innovation has been to question the surface/tableau, self and the other; dealing with existential, natural, cultural and political borders from the concept of obangsaek and its dimensionality with relation to the artist's body in the world; contextualizing her own concepts in parallel to Western art history.

 

Galerie Tschudi
Chesa Madalena | Somvih 115 | 7524 Zuoz | Switzerland 
 Tel. +41 81 850 13 90 | www.galerie-tschudi.ch