Most of the dominant western art world is still not willing to fully acknowledge the practices of the minorities that are left behind, although there are a few curators who are supportive in their curatorial practices. However, it is true that particular places and their different cultures have been deeply influential to my perception and my practice. These non-descriptive and non-narrative documentary films, (although they are narrative compared to “A Needle Woman” or my other video pieces) were conceived after being inspired in Bruges, Belgium in 2002, by traditional lace-making and its performative elements. Filipino artists you need to know now – The Spot, General Services Administration Art in Architecture Program, Love in a Caucasian Climate: Central Asian art at the Venice Biennale 2013 – picture feast, Young Korean painters return to traditional painting styles in New York exhibition, Korean Artist Project adds 21 curator-select artists to website – resource alert, Emerging Korean artist Rim Lee exhibits new surrealist works in Chicago, “Korean Eye: Fantastic Ordinary” exhibition tours London, Singapore, and Seoul, Sunday Morning Coffee [Things I’ve been meaning to read/write about] – Kate Korroch, Kim Sooja | Interviews by Brainard Carey from Yale radio WYBC, Kate Korroch » Blog Archive » Sunday Morning Coffee [Things I've been meaning to read/write about]. Kimsooja, ‘Thread Routes – Chapter 1’, 2010, stills from 16mm film transferred to HD format, 26m51s, sound, courtesy of Kukje Gallery, Seoul and Kimsooja Studio. You have said in a previous interview that the state of your mind determines the moment of immobility in the performance. After a couple of hours of walking, wrapping people in my mind by walking and passing by, I became increasingly overwhelmed by the oceans of humanity, until I finally arrived at Shibuya area where hundreds of thousands of people were coming and going. Without a doubt, it is my honour, and it is a challenging question for me to work on this particular biennale, so I was willing to develop the best possible project for the Korean Pavilion within the given conditions. 1999. Photography by Thierry Depagne, image courtesy Kimsooja Studio. Photo by Mattias Givell. Kimsooja is currently exhibiting a site-specific installation for the world’s leading art’s festival, the 54th Venice Biennale. collectors, dealers, museums, galleries, funds, critics, students and Asian art enthusiasts. I must say, although global influences tend to blend ways of living and perceptions and make all cities feel more and more similar to each other, there are still particular ways of living, perceptions, art scenes, cultures and histories that are unique to each city. Seoul has passionate audiences who are anxious to catch up with what’s going on in the world. The skin of the glass windows is wrapped with the diffraction grating film fabric which diffuses the sunlight into a rainbow colour spectrum. ha esposto con una personale al MoMA, al Cristal Palace di Reina Sofia, al Museo di Arte Contemporanea di Lione, al Guggenheim di Bilbao, al Centre Pompidou Metz. By wrapping fragments of colourful traditional clothing with a colourful bedcover, I discovered it [the fabric] could become a wrapped two-dimensional “tableau” that was transformed into a three-dimensional sculpture simply by tying one knot and holding all the contents inwardly, as if hugging them all or being pregnant. Performative Installation at Kunsthalle Fridericianum, Kassel. With this film series, I demonstrate the hidden reality of the diverse forms of textile construction while contextualising the relationship between textile-making and architecture practices alongside natural geographical forms. I tried to transform the entire pavilion into “a breathing bottari of light and sound”, “darkness and soundlessness” that inhales and exhales; as if the architecture itself were my body. 2019. I realised there, standing, the meaning of my walking so far, and I had to do that ‘standing still’ performance right away. Kimsooja is currently exhibiting a site-specific installation for the world’s leading art’s festival, the 54th Venice Biennale. Your works have involved performance, video, sound and installation. She has exhibited throughout the world in museums, institutions and galleries including Miami Art Museum, D’Art Moderne de Saint Etienne , Daegu Art Museum, Crystal Palace in Madrid, and P.S.1 Contemporary Art Center/MoMA in New York. Also using the different problematics of the architectural elements in the Korean Pavilion I could experiment with double sided mirror reflections using both floor and ceiling, which created infinite reflections of different bottaris of spaces and self, positioning the audience’s body in a different sense of space and time. Is there a medium that you believe best expresses your ideas or you would like to explore further? Taking this pure visual experience as a statement on how I gaze at the world, I consider this film series a poetic, visual archaeology that becomes a retrospective of my practice in the past that continues today. Learn how your comment data is processed. Jun 16, 2013 - kimsooja's korean pavilion at the 2013 venice art biennale is a living, breathing 'bottari'--a physical and psychological sanctuary for personal reflection. I chose the busy metropolis [of] Tokyo to place my body in the flow of humanity, initially thinking of a walking performance. Installation at Kimsooja: Sowing into Painting at Wanas Konst, Wanas, Sweden, Installation at Traversées\Kimsooja at the Tour Maubergeon, Poitiers, France, Installation at Traversées\Kimsooja at the Palais des ducs d'Aquitaine, Poitiers, France, Installation at Traversées\Kimsooja at the Cloître des Augustins, Poitiers, France, Installation at Traversées\Kimsooja at rue de la cathédrale, Poitiers, France, Installation at Traversées\Kimsooja at the Saint-Pierre Cathedral square, Poitiers, France, Installation at Traversées\Kimsooja at the Eglise Notre-Dame la Grande, Poitiers, France, Installation at Traversées\Kimsooja at the Chapelle Saint Louis, Poitiers, France, Installation at Zone of Nowhere at Perth Institute of Contemporary Arts, Perth, Australia, Site-specific installation for Perth Festival, Perth, Australia, Installation at Kimsooja – Gazing into Sphere at Axel Vervoordt, Wijnegem, Belgium, Site-specific installation at Kimsooja – Gazing into Sphere at Axel Vervoordt, Wijnegem, Belgium, Installation at Kimsooja, Weaving the World at Kunstmuseum Liechtenstein, Vaduz, Liechtenstein, Installation at Asia Corridor Contemporary Art Exhibition, Nijo Castle, Kyoto, Japan, Performative Site Specific Installation at Intuition, Palazzo Fortuny, Venice, Itally, Installation at Documenta 14, Fridericianum, Kassel, Site Specific Installation at Art Basel | Hong Kong, Installation at Kimsooja: Geometry of Breath, Kewenig Gallery, Berlin, Germany, Installation at Kimsooja: To Breathe - Zone of Zero, CAC Málaga, Spain, Installation at Urgent Conversations: Athens - Antwerp, EMST, Athens, Installation at Kimsooja, Weaving the World, CC Strombeek, Belgium, Installation at Gangoji Temple, Commissioned by Culture City of East Asia, 2016, Nara Japan, Installation at MMCA Hyundai Motors Series 2016: KIMSOOJA - 마음의 기하학 / Archive of Mind, National Museum of Modern and Contemporary Art, Korea, Installation at 20 Bienal De Arte Paiz, Guatemala, Installation at Kimsooja: To Breathe, Centre Pompidou - Metz, France, Installation at Kimsooja: Thread Routes, The Guggenheim Museum, Bilbao, Spain, Installation at Kimsooja, To Breathe: Obengsaek,Gallery Tschudi, Zuoz, Switzerland, 2014 - 2015, Installation at Kewenig Galerie, Palma, Majorca, Site specific installation in private collection, New York, 2014, Installation at Busan Biennial, Busan Museum of Art, 2014, A Needle Woman: Galaxy was a Memory, Earth is a Souvenir, Installation at Intimate Cosmologies: The Aesthetics of Scale in an Age of Nanotechnology, Cornell University, New York, Solo Exhibition at The Korean Pavilion, Venice, Site specific installation at Mariposa Land Port of Entry, Arizona, USA, Installation at The Lift, the Bloomberg Building, New York, Instillation for the Contemporary Art Trail 2012 Aix-en-Provence, France, Installation at Galerie Tschudi, Zuoz, Switzerland, To Breathe - Invisible Needle / Invisible Mirror& A Needle Woman 2005, Permanent installation atThe Bill and Melinda Gates Foundation, Seattle, Courtesy of The Bill and Melinda Gates Foundation.Photo by Kimsooja, Courtesy Kimsooja Studio and Kewenig Galerie, Berlin.Photo by Simon Vogel, Berlin/ Cologne, Installation at Daegu Art Museum, South KoreaSite specific installation curated by Daegu Art Museum, Courtesy of Daegu Art Museum, Photo by Park Myungrae, Site specific 8 Bottari installation at Palazzo Fortuni, Venice, Courtesy Axel Vervoordt Foundation and Raffaella Cortese Gallery, Milan.Photo by Jean-Pierre Gabriel, Four channel video projection, sound, 10:25 min loopSite specific installation at Sullivan Galleries, School of the Art Institute of Chicago, Courtesy of the Sullivan Galleries, School of the Art Institute of Chicago.Photo by James Prinz, Installation at Plateau, Samsung Museum, Seoul, Courtesy of Plateau, Samsung Museum, Seoul, Installation at Kunstmuseum Bochum, Germany, Courtesy Kimsooja Studio and Kewenig Galerie, Berlin.Photo by Uwe Engels, diffraction grating film on window, 5 windows133.8 x 83 cm each, sound, single channel mixed media sound installation (one jukebox, Three Chants mixed with Tibetan, Gregorian, and Islamic), 9:50 loop, Installation view at Nuclear Power Plant Art Project - Yeonggwang, Korea, Installation at Poznan Biennial in Hitler's former office at Zamek, Poznan, Video projection at Johanniterkirche Feldkirch, presented by Kunstmuseum Lichtenstein, Commissioned by Nuit Blanche Paris 2009Photos by Thierry Depagne, Installation at Continua Gallery, Le Moulin, Installation at La Calmeleterie, Nazelles Negron, France, Installation at Galerie Ravenstein, Brussels, Installation at Continua Gallery, Beijing, Installation at Lofoten International Art Festival, Video installation at Shiseido Gallery, Tokyo, Musée d'art contemporain du Val-de-Marne, Paris, Installation image Doris McCarthy Gallery, Toronto, Respirar - Una Mujer Espejo / To Breathe - A Mirror Woman, Palacio de Cristal, Parque del Retiro, Madrid, Photo by José Luis Municio and Jaeho Chong, 3 wheel, 1 ton truck from Germany, bottaris, bungee cords, Installation view Kewenig Gallery, Cologne, Installation at Museum Kunst Palast, Düsseldorf, Installation at Raffaella Cortese Gallery, Installation at Centre D'art Contemporain, Basse-Normandie, France, 307 lotus lanterns, 6 speakers, sound from Tibetan, Gregorian, and Islamic Chant, Photo courtesy Le Consortium, Dijion and Kimsooja Studio. Could you describe your recent work “Thread Routes”, in which you are working with 16mm film and a team? Jan 22, 2017 - Kimsooja’s Venice Biennale installation, ‘To Breathe: Bottari’ allows nature to permeate the walls of an interior space transforming it into a physical and psychological sanctuary. Kimsooja: Sowing Into Painting. The problem is that Asian, African, or Middle Eastern countries and other minorities are not paid much attention when it comes to the writing of art history. The audience’s body resides within mine as a whole, wrapping and unwrapping, communicating with each other. Inside the pavilion, what we see is the unfolded sunlight that diffracts from the shadows of nature onto the skin of the architecture and then showers into the pavilion and is translated into a colour spectrum. It is an action of wrapping bodies and memories. Artist in residence at Cité de la Céramique, Manufacture National de Sèvres, Sèvres, France Artist in residence at Cornell University, Ithaca, New York, USA Artist in residence at Musée d'art contemporain du Val-de-Marne, Vitry-sur-Seine, France Artist in residence for the World Views Program at the World Trade Center, New York, USA Artist in Residence at MoMA P.S.1 Contemporary Art Center, New York, USA Lithography studio at Ecole Nationale Supérieure des Beaux-Arts, Paris, France (French Govern… I become a neutral point and at the same time, my body functions as a hermaphroditic tool that encompasses the nature of reality and abstraction, masculine and feminine, and thus subject and object. This light and shadow reflects onto the white walls and simultaneously bounces endlessly back and forth from the mirrored skin of the ceiling and the floor, folding and unfolding into infinity. I am more interested in the process to present the concept rather than the medium itself. Kimsooja’s installation transformed the pavilion into a place of light, reflection and rainbows for the Biennale audience. Can you explain in more detail this state of mind? Apr 6, 2019 - kimsooja's korean pavilion at the 2013 venice art biennale is a living, breathing 'bottari'--a physical and psychological sanctuary for personal reflection. I think all of these experiences influenced me in one way or another, answering my questions: my life as a long interview with myself. There should be more serious and professional attention to it, as well as to the older generation and mid career artists. kimsooja's korean pavilion at the 2013 venice art biennale is a living, breathing 'bottari'--a physical and psychological sanctuary for personal reflection. Kimsooja, ‘To Breathe: Bottari’, 2013, mixed media installation, partial installation view of the Korean Pavilion, The 55th Biennale di Venezia, photography by Jaeho Chong, courtesy of Arts Council Korea and Kimsooja Studio. [The scene] has been surprisingly cultivating, supported by a society that embraces many young talented artists who are being introduced to the world. The darkness in light and the light in darkness are stretched to an extreme into waves of light and sound. 1998. Kimsooja, ‘Thread Routes – Chapter 1’, 2010, stills from 16mm film transferred to HD format, 26m:51s, sound, courtesy of Kukje Gallery, Seoul and Kimsooja Studio. Art Radar spoke to the artist about her site-specific installation for the pavilion and the vision behind her work. Kimsooja, known for her performance, video and installations based on displacement and humanity, is representing South Korea at the Venice Biennale 2013. It was a kind of a Zen moment. Representing her native South Korea, Kimsooja created To Breathe: Bottari, ‘bottari’ being a Korean word for a cloth in which small objects can be bundled up and carried. The curator Seung-duk Kim understood and discussed with me the possibility of creating an architectural project in an immaterial way, knowing that I have developed similar projects in the past. We approached the project together, facing one by one the challenging and problematic architectural conditions that the Korean Pavilion has. Art Radar is the only editorially independent online news source writing about contemporary art across Asia. Recently I noticed a lot of effort from institutions and galleries in Paris to open up more to the world. I am also preparing a comprehensive survey show that encompasses my thirty-year career at Vancouver Art Gallery this fall, and a new permanent outdoor video portrait installation by the General Services Administration Art in Architecture Program (GSA) at the US/Mexico borderline right on top of the Mariposa Main Entry Port revolving door; as well as many other ideas to follow up. I can also count as influences my condition as a woman and my endless questions on life, self and the structure of the world. [The centre] is the place where everything is absorbed without occupying space and gravity, as a zero point that has nothing but a location—open and connected to a whole different dimensionality (sic) of the universe—the centre of harmony. 1998. Three Channels sound installation with jukebox, mixed sound from Tibetan monk chant, Gregorian chant, and Islamic chant. This became the “A Needle Woman” performance series. The whole process of my practice has always been a journey of searching for a self awareness. 2020. “Thread Routes” is my first film series made from 16mm film, and it is divided into six chapters, each of which takes place in a different cultural zone around the world. Kimsooja @ Korean Pavilion, Venice Biennale ★ ★ Review by J.D.A. However, it is stimulating to live in New York and maintain critical distance by keeping myself at the edge of all that. For me, this title seems to share a real affinity with my thoughts on the notion of bottari as a whole and totality, and Gioni’s reference immediately connects with a certain common knowledge that is in line with the evolution of my practice. I am sure I’ve also been influenced by many pieces I’ve seen whether they were good or bad, witnessing the human condition in this violent and ephemeral world that we live in. However, all of those elements of spinning, weaving, wrapping and juxtaposing the structure of agricultural and natural landscapes have been explored in my sewn pieces since the 1980s; in that sense “Thread Routes” is a retrospective gaze towards my past practices and how I view the world. I guess all around me were influences, but if I have to select, one of the earliest influences was my childhood as an adventurous girl, wandering around in nature near the DMZ area [Demilitarised Zone] as a member of a nomadic family that was witnessing what was happening on borderlines between South and North Korea. Kimsooja’s Venice Biennale installation, ‘To Breathe: Bottari’ allows nature to permeate the walls of an interior space transforming it into a physical and psychological sanctuary. By defining this link I try to create a dialogue that enriches the context of contemporary art and life. What drew you to this type of work? I must say that I am quite positive about the projections for the future of the Korean art scene at this point. What are your major artistic influences and how do they relate to your work? Winslow | 12 Jul 2013. Le Confort Moderne, as part of Traversées\Kimsooja, Poitiers, France. It was significant that Hurricane Sandy happened in New York right at the moment when the commissioner of the Korean Pavilion and I were discussing this project. The grandness and the beauty of this palace enabled me to create the void, without installing any objects in it, by pushing the void of the palace all the way to the skin of the building, emptying it and reflecting the structure as a whole using the same translucent film on the glass of the windows, and creating a bottari of sound and light, filled with my breathing voices. I see my way of working and the parameters of my practice as being the influence that has created the situation where I have three different bases in different continents, rather than the other way around. I’ve always been fascinated by all kinds of creative activities and full of curiosity ever since I was a little girl. Kimsooja, ‘Respirar – Una Mujer Espejo / To Breathe – A mirror woman’, 2006, mixed media installation, The Crystal Palace, Madrid. The difference between the Crystal Palace piece and the Korean Pavilion is that for To Breathe: Bottari, I could create the relationship between light and darkness, which was a new evolution, and I was able to juxtapose visual knowledge with the unknown [and] unseen, by creating an anechoic chamber in complete darkness, which is called: To Breathe: Blackout. I decided to continue this performance literally to meet everyone in the world, choosing to perform in eight metropolises in different continents around the world. The art scenes, or the structure of the art scenes in Seoul, Paris and New York are quite different and unique. The installation, Lotus: Zone of Zero (2008) transforms the space into a place of meditation for the audience with Gregorian, Islamic and Tibetan chants coming together at the centre. I had to stop right at that moment and in that place, screaming inwardly. Although the Korean art world is still narrow, there’s a lot of positive energy in Seoul, which I think is promising if only they would reflect a little more on the reality of where they are. Kimsooja, ‘Bottari Truck – Migrateur’, 2007, production still from single channel video, silent, 10m:00s, loop, performed in Paris, commissioned by Musée D’Art Contemporain du Val-De-Marne (MAC/VAL). Kimsooja has participated in international exhibitions, including the Venice Biennale (2001, 2005, 2007); Yokohama Triennial (2005); and Whitney Biennial (2002). Kimsooja nacque a Taegu, in Corea del Sud, nel 1957. Interestingly, quite a few people said, “Gioni’s biennale diagram works exactly for your work!” Somehow, his Gwangju Biennale theme “Ten Thousand Lives” also had a similar approach to my “A Needle Woman” series (1999-2009) and other projects I’ve done such as the “Bottari” series or the installations using old clothing. At the same time, this special moment gave me an insight into the Korean pavilion project by encouraging me to construct an anechoic chamber to explore a state of complete darkness and soundlessness. I had never done a performance piece in real time before, although I had done a few performative photographic pieces in the late 70s and another one in the early 80s for a series of serigraphy using the structure of my body as an axis of spatial dimension. The support of poignant and consistent art criticism will create a solid grounding of Korean contemporary Art history and make a mark in the history of contemporary art at large. Related Topics: Korean artists, Biennales, performance art, video, Subscribe to Art Radar for more on contemporary Korean artist, Pingback: Sunday Morning Coffee [Things I’ve been meaning to read/write about] – Kate Korroch, Pingback: Kim Sooja | Interviews by Brainard Carey from Yale radio WYBC, Pingback: Kate Korroch » Blog Archive » Sunday Morning Coffee [Things I've been meaning to read/write about]. There was a moment in high school when I had to choose a major before entering college. In the end, I chose painting because I see it as a lifelong activity of contemplation on life and the world. The New York scene is still heavily market-oriented, and the mainstream is dominated by white male artists, as well as money and power. Art Radar conducts original research and scans global news sources to bring you the taste-changing, news-making and up-and-coming in Asian contemporary art. Traversées / Kimsooja. What was it like working with the curator Kim Seung-duk and Biennale director Massimiliano Gioni? I can say that the Korean Pavilion was an extension of my To Breathe: A Mirror Woman (2006) installation at Crystal Palace, which was commissioned by Reina Sofia and curated by Olivia Maria Rubio. Courtesy of Kimsooja Studio, Installation at The 3rd Asia - Pacific Triennial of Contemporary Art, Brisbane, Australia, Installation at Kim Sooja + Jeannett Christensen, Inaugural Exhibition at Kunsthalle Feldbach, Feldbach, Austria, 2.5 ton truck stacked with Bottaris,20m x 6.5m mirror structure, Photo by Luca Campigotto, Courtesy of Kimsooja Studio, Performative Installation at Kunsthalle Fridericianum, Kassel, Cities on the Move - 11633 miles Bottari Truck, 2 ton truck from Korea, bottaris, bungee cords, Installation view Sao Paolo Biennale, Brazil, Installation at Oakville Gallery, Toronto, Ontario, Canada, Courtesy of Oakville Gallery and Kimsooja Studio, Deductive Object - Dedicated to My Marriage, Installation at the 5th Istanbul Biennale, Installation at Akira Ikeda Gallery, Nagoya, Installation at Manifesta 1 at Museum Boymans Van-Beuningen, Rotterdam, The Netherlands, Installation at Roles of the Couple at Akira Ikeda Gallery, Taura, Deductive Object - dedicated to my neighbors, Installation at The Korean Culture and Arts Foundation, Seoul, Korea, Sewing Into Walking - dedicated to the victims of Kwangju, Installation at Tiger's Tail National Museum of Contemporary Art, Kwacheon, Korea, Installation at Information and Reality at Fruitmarket Gallery, Edinburgh, Scotland, Installation at Women - The Difference Hankook Gallery, Seoul, Korea, Sewing into Walking - Multi Channel Video Installation, 3 channel video, multiple monitors, fabric installation, Installation at Ise Art Foundation, New York, Installation at Trade Routes at The New Museum, New York, installation details, dimensions variable, Photos by Andrew KearneyCourtesy of PS1 and Kimsooja Studio, Installation at Triangle Workshop at Pine Plains, New York, Installation at Kim Soo-Ja, Gallery Hyundai, Seoul, Korea. 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