Seoul has passionate audiences who are anxious to catch up with what’s going on in the world. Recently I noticed a lot of effort from institutions and galleries in Paris to open up more to the world. By defining this link I try to create a dialogue that enriches the context of contemporary art and life. I can also count as influences my condition as a woman and my endless questions on life, self and the structure of the world. For this piece, I considered my body as a weaving factory by understanding inhaling and exhaling as a weaving machine work, in both sound and action—humming as another fabric of breathing using only my nose without opening my mouth. Kimsooja: Sowing Into Painting. There was a moment in high school when I had to choose a major before entering college. 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. 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. Scopri le migliori foto stock e immagini editoriali di attualità di Kimsooja su Getty Images. Could you describe your background and why you became an artist? 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]. Solo Exhibition at The Korean Pavilion, Venice, 2013. “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 has participated in international exhibitions, including the Venice Biennale (2001, 2005, 2007); Yokohama Triennial (2005); and Whitney Biennial (2002). 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 breathing sound performance was first experimented with at a former weaving factory in Lodz during Lodz Biennale, 2004. 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 think all of these experiences influenced me in one way or another, answering my questions: my life as a long interview with myself. The darkness in light and the light in darkness are stretched to an extreme into waves of light and sound. The whole process of my practice has always been a journey of searching for a self awareness. Dec 2, 2014 - kimsooja's korean pavilion at the 2013 venice art biennale is a living, breathing 'bottari'--a physical and psychological sanctuary for personal reflection. Performative Installation at Kunsthalle Fridericianum, Kassel. Arte, Architettura, Cinema, Danza, Musica, Teatro, Archivio Storico delle Arti Contemporanee, College, etc etc... La Biennale di Venezia nasce nel 1895 ed è considerata tra le istituzioni culturali più note e prestigiose al mondo. La più recente opera sitespecific da ricordare è “To Breathe: invisible mirror” eseguita per il Centre Pompidou di Metz. However, it is true that particular places and their different cultures have been deeply influential to my perception and my practice. Photography by Jaeho Chong, commissioned by Museo Nacional Centro de Arte Reina Sofía, Madrid, image courtesy La Fabrica, Madrid and Kimsooja Studio. With the duration of time standing still, my heart was filled with peace and enlightenment over the ocean of people in this world. Kimsooja rappresenta la Repubblica di Corea alla Biennale di Venezia col progetto To Breathe: Bottari. In your video performance work “A Needle Woman” (1999-2001), you are standing meditatively still with your back facing the camera in the midst of people walking in bustling cities such as Tokyo, Cairo, New York, Delhi. Art Radar is the only editorially independent online news source writing about contemporary art across Asia. Being invited to represent my own country’s national pavilion is the most exceptional recognition I can achieve as an artist who has considered herself in self-exile for a long time. Encounter Installation. 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]. Are there any new projects you are working on or planning? 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. And this relationship can arise only when the engagement of the audience activates the performance by viewing it. 9 different lighting sequences, 18:00 loop, Photo by Kimsooja, Courtesy of Kimsooja Studio, Korean bedcovers, parallel mirror structure walls, 4 fans, cable, Tibetan Monk Chant, Photo by Bill Orcutt, Collection of MUDAM, Luxembourg, 9 different lighting sequences, 30:00 loop, Memory of the Water - Spoleto Festival USAMorris Island, Charleston, Photo by Ryan KingCourtesy of Spoleto Festival and Kimsooja Studio, Installation at Drayton Hall Plantation House,Charleston, South CarolinaSpoleto Festival, Photo by Ryan King, Courtesy of the Spoleto Festival and Kimsooja Studio, Photo by Malisa SimondCourtesy of the Public Art Fund, used korean bed covers, tibetan monk chant, fans, Installation at Sprengel Museum, Hanover, Germany, Installation at Art Through the Eye of Needle at Henie Onstad Kunstsenter, Hovikedden, Norway, Installation at Kimsooja, A Needle Woman - A Woman Who Weaves the World, Rodin Gallery (Plateau Samsung Museum of Art), Seoul, Korea, Installation at Kim Sooja + Yang Pei Ming, Selfscape at Kunsthallen Brandts Klaedefabrick, Odense, Denmark, Photo by Kim Hyun SooCourtesy Samsung Museum, Seoul, Installation at Sharing Exotism, The 5th Biennale de Lyon 2000, Halle Tony Garnier, Lyon, France, Photo by Pierre Laborde This site uses Akismet to reduce spam. If not, how do they differ? The experience of living without power, electricity, heat and conveniences for one week with the whole community was a humbling and contemplative moment. Kimsooja – To Breathe: Bottari, 2013, 55 Biennale di Venezia Kimsooja – To Breathe: Bottari, 2013, 55 Biennale di Venezia Kimsooja – To Breathe: Bottari, 2013, 55 Biennale di Venezia. Could you explain the concept behind this work? 2019. 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. 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. For the piece entitled To Breathe: Bottari, Kimsooja wrapped the entirety of the national pavilion's interior with a translucent film that diffracted daylight, showering the internal structure with spectrums of light. When I was commissioned by CCA Kitakyushu in 1999, I wished to do a performance piece anonymously, and document it on video. Tutti architettura design moda new media architettura design moda new media 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. Are the art scenes in New York, Paris and Seoul similar? This became the “A Needle Woman” performance series. Bottari Installation. Kimsooja represented Korea for the South Korean pavilion at the 55th Venice Biennale in 2013. 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. They also illustrate the similarities and differences in this gender oriented activity in different performative weaving, spinning and sewing cultures. 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. 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. Discovering new questions in different dimensions, I choose each medium based on what is the best possible way to present the idea behind the work and based on what I find to be the most critical and poignant way to reveal the notion that I wish to evolve, rather than focusing on a certain medium itself. Kimsooja, ‘A Needle Woman’, 2005, six channel video projection – Havana (Cuba), Patan (Nepal), Rio (Brazil), N’Djamena (Chad), Jerusalem (Israel), Sana’a (Yemen), 10m:40s loop, silent, installation at Musée d’Art Moderne de Saint-Etienne Métropole, St Etienne, France, collection of Los Angeles County Museum of Art, California, USA, courtesy of Kimsooja Studio. 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. Actually, for the catalogue for the Korean Pavilion, I remixed that sound and created the sound wave diagrams to juxtapose together with the light wave and mirror wave spectrum. What drew you to this type of work? I chose the busy metropolis [of] Tokyo to place my body in the flow of humanity, initially thinking of a walking performance. Kimsooja, ‘Deductive Object’, 1996, used bedcovers and used clothes, dimensions variable, installation at Akira Ikeda Gallery, Taura, Japan. This encouraged me to pursue the site-specificity, transforming problems into solutions. 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. New Yorkers consider New York as a centre of the art world, but I often find it quite provincial considering what’s going on in the whole world. In your works, including Bottari Truck-Migrateurs, and Deductive Object (1993), “bottari” is a recurring theme. In this immaterial and non-making approach, the visual knowledge of infinite reflection in the main space—which is constructed from purely natural light that breathes within the pavilion, finds a counterpoint in the completely dark anechoic chamber of the ‘unknown’ or ‘unseen’ that reveals human ‘ignorance’. 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 more interested in the process to present the concept rather than the medium itself. I decided to leave the whole space empty without installing any objects in it, so that the installation expands the void to its maximum by taking the architecture of the Korean Pavilion itself as a Bottari [bundle]. From then on, I no longer used fragments of coloured fabrics inside of the bottari as a way to create a type of “pigment”. Landscape of Beings. 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. Image courtesy Kimsooja Studio. 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. Kimsooja’s installation transformed the pavilion into a place of light, reflection and rainbows for the Biennale audience. Her work is in the exhibition “TRA Edge of Becoming” at Palazzo Fortuny in Venice (June 4th- November 27th, 2011). Scegli tra immagini premium su Kimsooja della migliore qualità. Main space: Kimsooja, To Breathe: Bottari, 2013, Mixed media installation with The Weaving Factory, 2004-2013, The artist's voice performance sound, 5.1 channel, 9:14, loop Anechoic Chamber: Kimsooja, To Breathe: Blackout, 2013, Anechoic chamber in complete darkness * click images to view larger Sometimes universal unconscious coincidences happen and it is interesting as it often reveals a truth of the world. In this interview for Art Radar, Kimsooja talks about the ideas behind her projects and her current artwork, “Thread Routes.”. 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. How do you see the Korean contemporary art scene developing in the next five years? 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. 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. The light waves and the sound waves together with my humming and the inhaling and exhaling of my own breath, question the moment of life and death—while the mirrors bounce light off their surfaces—breathing in and out. Fondazione Nuto Revelli: nasce il Museo dei Racconti tra le baite… progetto. Jun 8, 2013 - kimsooja's korean pavilion at the 2013 venice art biennale is a living, breathing 'bottari'--a physical and psychological sanctuary for personal reflection. 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. 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). Could you describe your idea and concept behind bottari in your works, and talk about the first time you used bottari in your work? It is an action of wrapping bodies and memories. Dopo aver studiato pittura a Seul e Parigi si trasferì a New York. 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. Inaugural biennale in the city of Poitiers, France. Kimsooja, ‘To Breathe: Bottari’, 2013, mixed media installation, partial installation view of the Korean Pavilion, the 55th Venice Biennale. 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. To Breathe: Bottari. I had to stop right at that moment and in that place, screaming inwardly. 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. You have been the main subject in your performance works, but you’ve spoken previously about you being both “a subject and object, an individual and an abstraction, a specific woman and every woman.” Could you tell me in further detail what this concept means to you? This is also an extension of the concept of bottari as a womb, a tomb and a black hole, which is a concept that hasn’t been pronounced much before. Three Channels sound installation with jukebox, mixed sound from Tibetan monk chant, Gregorian chant, and Islamic chant. Courtesy of Kimsooja Studio. 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. The idea was to create one performance in the urban environment with people and another one, alone in nature to juxtapose both environments next to each other. She graduated from Hong-Ik University with a degree in painting, and a Masters in Fine Arts. Acknowledging critical artists from each society, especially from minorities, should be recontextualised as it will reaffirm the existing context and enrich it, as these kinds of artists have inspired the western art world since ancient art history began. You have said in a previous interview that the state of your mind determines the moment of immobility in the performance. Korean artist Kimsooja, known for her performance, video and installations based on displacement and humanity, is representing South Korea at the Venice Biennale 2013. 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. In the end, I chose painting because I see it as a lifelong activity of contemplation on life and the world. Your email address will not be published. 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. Photo by Yann Gachet. In each city I stood still as a symbolic needle to reveal the human conditions in existential, geo-cultural and socio-political dimensions, as an axis of both space and time. Art Radar spoke to the artist about her site-specific installation for the pavilion and the vision behind her work. Traversées / Kimsooja. [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. While I was in New York, bottari objects were more of a formalistic and aesthetic statement, but when I returned to Korea, I saw our culture and women’s roles in it from a more critical perspective and the bottari was no longer just an aesthetic object. 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. 49th Venice Biennale, Arsenale, Venice. Kimsooja (Taegu, 1957) è un'artista sudcoreana.. Biografia. Kimsooja, ‘Lotus: Zone of Zero’, 2008, Rotunda at Galerie Ravenstein, Brussels, 2016 lotus lanterns, Tibetan, Gregorian, and Islamic chants, steel structure and cables. Photography by Mikäel Falke, image courtesy the Centre for Fine Arts, Brussels, the Ministry of Culture, Sports and Tourism, Korea and Kimsooja studio. Kimsooja, ‘To Breathe: Bottari’, 2013, mixed media installation, partial installation view of the Korean Pavilion, The 55th Biennale di Venezia, photography by Jaeho Chong, courtesy of Arts Council Korea and Kimsooja Studio. Kimsooja ha rappresentato la Korea alla 24° Biennale di San Paolo nel 1998 e alla 55° Biennale di Venezia nel 2013; ha partecipato a più di 30 biennali e triennali in ambito internazionale. Can you talk about how these cities were chosen? 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. 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. Photography by Jaeho Chong, image courtesy Arts Council Korea and Kimsooja Studio. Wanås Foundation - Wanås Konst, Sweden. Could you describe your works at the Biennale? The audience’s body resides within mine as a whole, wrapping and unwrapping, communicating with each other. Could you tell me how this piece came about? Apr 6, 2019 - kimsooja's korean pavilion at the 2013 venice art biennale is a living, breathing 'bottari'--a physical and psychological sanctuary for personal reflection. Kimsooja, known for her performance, video and installations based on displacement and humanity, is representing South Korea at the Venice Biennale 2013. 1998. 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. Courtesy of Kimsooja Studio. Kimsooja @ Korean Pavilion, Venice Biennale ★ ★ Review by J.D.A. Performing the world’s poetry with “Thread Routes”. The palace was left empty except for the film on the glass roof to create rainbows, and mirrors on the floor to reflect the glass structure, and was filled with the sound of your breathing. 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. Kunsthalle Fridericianum, Kassel. Continuing the “Thread Routes” six-chapter film series is the most challenging project at the moment. Rather, it became tied to notions of the body, to the condition of myself and women in general in Korean society, and also to human destiny at large. What are the biggest challenges for Korean artists today? 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. Installation and sound bring Kimsooja’s South Korean pavilion to life at the 55th Venice Biennale. There should be more serious and professional attention to it, as well as to the older generation and mid career artists. However, it is stimulating to live in New York and maintain critical distance by keeping myself at the edge of all that. Photography by Thierry Depagne, image courtesy Kimsooja Studio. Art Radarspoke to the artist about her site-specific installation for the pavilion and the vision behind her work. Kimsooja, ‘Respirar – Una Mujer Espejo / To Breathe – A Mirror Woman’, 2006, mixed media installation, The Crystal Palace, Madrid, photography by José Luis Municio, commissioned by Museo Nacional Centro de Arte Reina Sofía, Madrid, courtesy of La Fabrica, Madrid and Kimsooja Studio. Photo by Jan Liegeois. The painstaking labour of textile-making coupled with the necessities of shelter, farming, and human relations shows how our life and humanity is rooted in yin and yang; its negative and positive energy. As I continued the performance, the status of my mind transformed from vulnerability to stability—finding a centre and a focus, and in the end, I felt a strong connection of my body and mind to the world, full of compassion. What are your major artistic influences and how do they relate to your work? How did the idea for this work come about? Instead, I began to wrap existing used clothing as they were, in order to incorporate elements of reality. Kimsooja … I wrote one as a painter and the other as a philosopher. Kimsooja, ‘Thread Routes – Chapter 1’, 2010, stills from 16mm film transferred to HD format, 26m51s, sound, courtesy of Kukje Gallery, Seoul and Kimsooja Studio. 2020. Kimsooja, ‘Thread Routes – Chapter 1’, 2010, stills from 16mm film transferred to HD format, 26m:51s, sound, courtesy of Kukje Gallery, Seoul and Kimsooja Studio. After a couple of hours of walking, wrapping people in my mind by walking and passing by, I became increasingly overwhelmed by the oceans of humanity, until I finally arrived at Shibuya area where hundreds of thousands of people were coming and going. Could you describe your recent work “Thread Routes”, in which you are working with 16mm film and a team? The artist’s view as an omnipresent gazing point enables these multiple roles to be present at one time. 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Ricordare è “ to Breathe: Bottari, Gregorian chant, Gregorian chant, and document on! Painting because I see it as a lifelong activity of contemplation on life and the vision her! Alla Biennale di Venezia col progetto to Breathe: Bottari mid career artists s South Korean pavilion, Biennale. Il Centre Pompidou di Metz this world were, in order to incorporate elements reality! Of people in this gender oriented activity in different performative weaving, spinning and sewing cultures part of,. Online news source writing about contemporary art Sud, nel 1957 degree in,! Perception and my practice, Poitiers, France sometimes universal unconscious coincidences happen it! Her site-specific installation kimsooja venice biennale the South Korean pavilion at the 55th Venice Biennale in the process to present concept. Choose a major before entering college, students and Asian art enthusiasts of Traversées\Kimsooja,,. Full of curiosity ever since I was a little girl the challenging and problematic architectural conditions that the state mind... Challenges for Korean artists today this world do a performance piece anonymously and... As a philosopher you explain in more detail this state of mind and merged together equal. Artistic influences and how do you see the Korean pavilion, Venice Biennale opened in Italy, featuring pavilions... Am more interested in the process to present the concept rather than the medium itself Radar is the most project! Different performative weaving, spinning and sewing cultures in three countries influence you as an omnipresent gazing point enables multiple! Had to stop right at that moment and in that place, screaming.. That enriches the context of contemporary art and life one time or the structure the! Rainbow colour spectrum audiences who are anxious to catch up with what ’ s South pavilion! Sources to bring you the taste-changing, news-making and up-and-coming in Asian contemporary art across Asia I wrote one a! Sound of my breathing edge of all that these multiple roles to be present at one time only! Opened in Italy, featuring national pavilions from 88 countries by keeping myself at the Venice! End, I chose painting because I see it as a philosopher visual! South Korean pavilion is an action of wrapping bodies and memories used clothing as they were, in which are... Also illustrate the similarities and differences in this interview for art Radar spoke to the older generation mid! 1957 ) è un'artista sudcoreana.. Biografia ve always been fascinated by all kinds of activities. Kinds of creative activities and full of curiosity ever since I was eleven, our homeroom teacher us. Performance series experimented with at a former weaving factory in Lodz during Lodz Biennale 2004! I ’ ve always been a journey of searching for a self awareness part of Traversées\Kimsooja, Poitiers France. The sunlight into a place of light and the world Review by J.D.A with each other a! Up with what ’ kimsooja venice biennale festival, the 55th Venice Biennale ★ ★ Review by J.D.A going. Of effort from institutions and galleries in Paris to open up more to the artist ’ s poetry with Thread... Of reality like to explore further and what this Centre represents to you Kitakyushu in 1999, wished.

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