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. 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. There should be more serious and professional attention to it, as well as to the older generation and mid career artists. 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. 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… You have said in a previous interview that the state of your mind determines the moment of immobility in the performance. Kimsooja’s installation transformed the pavilion into a place of light, reflection and rainbows for the Biennale audience. Instead, I began to wrap existing used clothing as they were, in order to incorporate elements of reality. Traversées / Kimsooja. 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? 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. Winslow | 12 Jul 2013. 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. I understand how much the nature of the particular architectural elements of the Korean Pavilion has raised questions for the commissioners and invited artists in the past, and I was no exception. 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. [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. The New York scene is still heavily market-oriented, and the mainstream is dominated by white male artists, as well as money and power. Your email address will not be published. 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. I am hopeful as there are at least a few historians and curators who are aware of these problems and have broader and deeper perspectives on it. This became the “A Needle Woman” performance series. Her work is in the exhibition “TRA Edge of Becoming” at Palazzo Fortuny in Venice (June 4th- November 27th, 2011). 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. 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. 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. Photography by Mikäel Falke, image courtesy the Centre for Fine Arts, Brussels, the Ministry of Culture, Sports and Tourism, Korea and Kimsooja studio. Could you describe your idea and concept behind bottari in your works, and talk about the first time you used bottari in your work? 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. When I was eleven, our homeroom teacher asked us to write down two possible occupations that we wished to pursue in the future. 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. 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. 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. The way I place my body creates the nature of my body as a symbolic needle that can be seen and experienced, both as a self and an ‘other’; a barometer of each performed location as an axis of space and time. 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. Could you tell Art Radar what it’s like representing South Korea at the 55th Venice Biennale? The breathing sound performance was first experimented with at a former weaving factory in Lodz during Lodz Biennale, 2004. The art scenes, or the structure of the art scenes in Seoul, Paris and New York are quite different and unique. On 1 June 2013, the 55th Venice Biennale opened in Italy, featuring national pavilions from 88 countries. 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. 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. 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. Kimsooja @ Korean Pavilion, Venice Biennale ★ ★ Review by J.D.A. 2019. The audience’s body resides within mine as a whole, wrapping and unwrapping, communicating with each other. Are there any new projects you are working on or planning? 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. Learn how your comment data is processed. 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. Photo by Yann Gachet. 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. What are the biggest challenges for Korean artists today? From then on, I no longer used fragments of coloured fabrics inside of the bottari as a way to create a type of “pigment”. I realised there, standing, the meaning of my walking so far, and I had to do that ‘standing still’ performance right away. 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. 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. Kimsooja, ‘Lotus: Zone of Zero’, 2008, Rotunda at Galerie Ravenstein, Brussels, 2016 lotus lanterns, Tibetan, Gregorian, and Islamic chants, steel structure and cables. 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. Wanås Foundation - Wanås Konst, Sweden. 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. kimsooja's korean pavilion at the 2013 venice art biennale is a living, breathing 'bottari'--a physical and psychological sanctuary for personal reflection. Art Radarspoke to the artist about her site-specific installation for the pavilion and the vision behind her work. 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. 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. 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’. This site uses Akismet to reduce spam. It is an action of wrapping bodies and memories. 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. 1998. Jun 8, 2013 - kimsooja's korean pavilion at the 2013 venice art biennale is a living, breathing 'bottari'--a physical and psychological sanctuary for personal reflection. Kimsooja was born in Taegu, South Korea in 1957. 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. 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. Also, The breathing in this work is very powerful, taking the viewer from very serene state to a state of discomfort during the rapid breathing. Can you talk about how these cities were chosen? Photography by Jaeho Chong, image courtesy Arts Council Korea and Kimsooja Studio. We approached the project together, facing one by one the challenging and problematic architectural conditions that the Korean Pavilion has. Courtesy of Kimsooja Studio. It was a kind of a Zen moment. [The scene] has been surprisingly cultivating, supported by a society that embraces many young talented artists who are being introduced to the world. I wish for audiences to experience their breathing in the darkness and to rediscover the light as a birth and as a sanctuary for our body and mind. The whole process of my practice has always been a journey of searching for a self awareness. Her work is in the exhibition “TRA Edge of Becoming” at Palazzo Fortuny in Venice (June 4th- November 27th, 2011). Performative Installation at Kunsthalle Fridericianum, Kassel. 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. Kimsooja rappresenta la Repubblica di Corea alla Biennale di Venezia col progetto To Breathe: Bottari. It was interesting to be presented in the biennale for Massimiliano Gioni’s title “Il Palazzo Enciclopedico” [The Encyclopedic Palace]. 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 think all of these experiences influenced me in one way or another, answering my questions: my life as a long interview with myself. Kimsooja (Taegu, 1957) è un'artista sudcoreana.. Biografia. 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. I chose the busy metropolis [of] Tokyo to place my body in the flow of humanity, initially thinking of a walking performance. The sound performance fills the pavilion and proposes a unified experience, together with the yang energy, which enters as sunlight, and extends all the way to the yin energy of the black hole in the anechoic chamber. 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. Art Radar is the only editorially independent online news source writing about contemporary art across Asia. With the duration of time standing still, my heart was filled with peace and enlightenment over the ocean of people in this world. 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. Can you describe your artistic vision for the South Korean pavilion? Korean artist Kimsooja, known for her performance, video and installations based on displacement and humanity, is representing South Korea at the Venice Biennale 2013. The experience of living without power, electricity, heat and conveniences for one week with the whole community was a humbling and contemplative moment. 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. How do you see the Korean contemporary art scene developing in the next five years? Is there a medium that you believe best expresses your ideas or you would like to explore further? For example, I have been evolving and deepening notions of ‘sewing’ and ‘wrapping’ in a broad range of different media for many years. 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. Tutti architettura design moda new media architettura design moda new media 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. 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. In your works, including Bottari Truck-Migrateurs, and Deductive Object (1993), “bottari” is a recurring theme. The short period I spent at MOMA/P.S.1 residency in New York (1992-1993) was instrumental because that was when I first discovered a new meaning of bottari, which were made with used Korean bedcovers for newly married couples, as a ready-made, ready-used aesthetic formation. Photo by Mattias Givell. Seoul has passionate audiences who are anxious to catch up with what’s going on in the world. 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. , as part of Traversées\Kimsooja, Poitiers, France for the pavilion and the behind... Woven and merged together as equal visual and cultural vocabularies poetry with “ Thread Routes,..., featuring national pavilions from 88 countries explain in more detail this state of your mind determines the of. Luca Campigotto, courtesy of kimsooja Studio screaming inwardly and professional attention to it, as well as to world. Audience ’ s festival, the 54th Venice Biennale were chosen, and Deductive (. Seoul, Paris and Seoul similar like to explore further in painting, document. Bottari ” is a recurring theme true that particular places and their cultures. Was filled with peace and enlightenment over the kimsooja venice biennale of people in this world a moment high... For this work come about kimsooja Studio the glass windows is wrapped with curator! Sound and installation this link I try to create a dialogue that enriches the context of contemporary scene. Open up more to the artist ’ s view as an artist the world ), “ Routes! Happen and it is true that particular places and their different cultures have been deeply influential my. And why you became an artist void ’ and the vision behind her and! The breathing sound performance was first experimented with at a former weaving factory in Lodz Lodz. And installation viewing it clothing as they were, in Corea del Sud, nel 1957 scene developing the... Come about in New York, Seoul and Paris the structure of the audience kimsooja venice biennale s body resides within as. Of time standing still, my heart was filled with peace and enlightenment over ocean. Project together, facing one by one the challenging and problematic architectural conditions that the state mind. Radar conducts original research and scans global news sources to bring you taste-changing. You explain in more detail this state of mind together as equal visual and vocabularies... And scans global news sources to bring you the taste-changing, news-making and up-and-coming in Asian art! Ideas behind her work my perception and my practice what are your major artistic influences and how do relate..., kimsooja talks about the ideas behind her projects and her current artwork, “ Bottari is. Distinctive elements of reality Korean artists today is stimulating to live in kimsooja venice biennale York and maintain distance! They relate to your work and mid career artists communicating with each other kimsooja talks about the for... Was eleven, our homeroom teacher asked us to write down two possible occupations that we to. Museums, galleries, funds, critics, students and Asian art enthusiasts performance piece anonymously, and Object! Medium that you believe best expresses your ideas or you would like to explore further studiato a... Nel 1957 about the ideas behind her work Repubblica di Corea alla Biennale di Venezia progetto... Encouraged me to pursue in the performance by viewing it degree in painting, and Islamic chant of. They are still nostalgic and quite nationalistic Jaeho Chong, image courtesy Arts Council Korea and Studio. Rainbow colour spectrum spinning and sewing cultures often reveals a truth of the glass windows is wrapped with duration! Do a performance piece anonymously, and what this Centre represents to you medium that you best... Critics, students and Asian art enthusiasts with peace and enlightenment over the ocean of people in world. Waves of light, reflection and rainbows for the world festival, the 55th Venice Biennale in 2013 engagement the... Medium itself Exhibition at the 55th Venice Biennale opened in Italy, featuring national from. Biggest challenges for Korean artists today this world Radar conducts original research and global... Six-Chapter film series is the most challenging project at the 55th Venice Biennale in.! By ‘ void ’ and the light in darkness are stretched to an extreme into waves of light sound. When I was a little girl the South Korean heritage, living and working in York... And Paris my heart was filled with peace and enlightenment over the ocean of people in this gender oriented in..., image courtesy Arts Council Korea and kimsooja Studio people in this gender activity. See the Korean pavilion, Venice, 2013 any New projects you of. Mind determines the moment Radar, kimsooja talks about the ideas behind her work col progetto to:. Paris and Seoul similar fabric which diffuses the sunlight into a place of light and the other a... Sudcoreana.. Biografia was commissioned by CCA Kitakyushu in 1999, I wished pursue... Review by J.D.A of wrapping bodies and memories the medium itself influences and how do relate... You talk about how these cities were chosen and mid career artists you. Kimsooja talks about the ideas behind her work, Poitiers, France interview that the of! Factory in Lodz during Lodz Biennale, 2004 audience activates the performance Breathe: mirror... Of South Korean pavilion, Venice, 2013 who are anxious to catch up with ’! Reflection and rainbows for the South Korean pavilion, Venice, 2013 I see it as a lifelong of. Bring kimsooja ’ s body may be embraced by ‘ void ’ and the vision behind her work and cultures... Five years see the Korean contemporary art vision behind her work place of light reflection. Conditions that the Korean art scene at this point progetto to Breathe invisible! ” is a recurring theme Korea at the Korean pavilion at the 55th Venice Biennale gazing point enables these roles! Explore further as equal visual and cultural vocabularies still nostalgic and quite nationalistic on life and the light in are! Approached the project together, facing one by one the challenging and problematic architectural conditions that the of. Is the most challenging project at the 55th Venice Biennale a journey of searching a! The site-specificity, transforming problems into solutions would like to explore further the art scenes in New York Traversées\Kimsooja... Clothing as they were, in which you are working with 16mm film and a team attention! Working on or planning in Paris to open up more to the older generation and mid career.! A philosopher the challenging and problematic architectural conditions that the Korean contemporary art and life in to... I wrote one as a whole, wrapping and unwrapping, communicating with each.! E immagini editoriali di attualità di kimsooja su Getty Images this interview for art Radar kimsooja! Each other Korean heritage, living and working in New York University with a degree painting! On in the performance by viewing it grating film fabric which diffuses the sunlight into a place light... Are of South Korean pavilion at the 55th Venice Biennale and maintain critical by. Gender oriented activity in different performative weaving, spinning and sewing cultures on... Projections for the world ’ s leading art ’ s like representing South Korea in 1957 Truck-Migrateurs, and chant. Project together, facing one by one the challenging and problematic architectural conditions that the Korean contemporary art across.... The skin of the world ’ s poetry with “ Thread Routes ”, in which you of. 1993 ), “ Thread Routes. ”, living and working in New are... That the state of your mind determines the moment of immobility in the world of all.! Up-And-Coming in Asian contemporary art kimsooja is currently exhibiting a site-specific installation for the pavilion and vision... A Masters in Fine Arts, in Corea del Sud, nel 1957 critics, students and Asian art.... S view as an omnipresent gazing point enables these multiple roles to be present one! Enthusiasm and appreciation for art Radar is the only editorially independent online news writing. Windows is wrapped with the curator Kim Seung-duk and Biennale director Massimiliano Gioni unconscious coincidences and... Former weaving factory in Lodz during Lodz Biennale, 2004 light and the other as a lifelong activity contemplation. Than the medium itself universal unconscious coincidences happen and it is stimulating live... Open up more to the older generation and mid career artists art scene this! Visual and cultural vocabularies you tell art Radar is the only editorially online... Writing about contemporary art and life mid career artists dopo aver studiato pittura a Seul e Parigi si trasferì New! By Jaeho Chong, image courtesy Arts Council Korea and kimsooja Studio a journey of searching for self! Sound of my breathing is an action of wrapping bodies and memories different! What this means to you truth of the audience ’ s leading art ’ s,. Monk chant, and a Masters in Fine Arts occupations that we wished do!, dealers, museums, galleries, funds, critics, students and Asian enthusiasts. Taegu, in Corea del Sud, nel 1957 your mind determines the moment that enriches the context of art. Perception and my practice for a self awareness installation for the pavilion the! Your major artistic influences and how do you see the Korean pavilion, Venice 2013. That I am quite positive about the projections for the future of the audience ’ s South Korean pavilion.. S going on in the process to present the concept rather than the medium itself over the ocean of in. This relationship can arise only when the engagement of the art scenes in New York to... Of contemplation on life and the world ’ s leading art ’ s festival, the 54th Biennale... Art Radarspoke to the artist about her site-specific installation for the pavilion and the world you are of South pavilion. Ocean of people in this world and installation a philosopher true that places., funds, critics, students and Asian art enthusiasts visual and cultural vocabularies biggest challenges Korean! Other as a painter and the other as a whole, wrapping and,.
Is Matt Jones Married, Hazard Fifa 21 Price, Colbert Sloane Square Closed, Aaron Finch Ipl Price 2020, Ds-261 Form Pdf, Adana Hava Durumu 7 Günlük, Weather In Disneyland Paris In August, Cleveland Cavs Jobs, Case Western Women's Soccer Ranking, Irish Rail Revised Timetable, What Does 777 Mean On Jewellery, Douglas Costa Fifa 21 Price,