kimsooja venice biennale

I can also count as influences my condition as a woman and my endless questions on life, self and the structure of the world. 1999. 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. There should be more serious and professional attention to it, as well as to the older generation and mid career artists. The whole process of my practice has always been a journey of searching for a self awareness. 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. In the end, I chose painting because I see it as a lifelong activity of contemplation on life and the world. Encounter Installation. You are of South Korean heritage, living and working in New York, Seoul and Paris. Kimsooja: Sowing Into Painting. 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 The experience of living without power, electricity, heat and conveniences for one week with the whole community was a humbling and contemplative moment. Tutti architettura design moda new media architettura design moda new media I am more interested in the process to present the concept rather than the medium itself. May 25, 2017 - kimsooja's korean pavilion at the 2013 venice art biennale is a living, breathing 'bottari'--a physical and psychological sanctuary for personal reflection. Installation and sound bring Kimsooja’s South Korean pavilion to life at the 55th Venice Biennale. I’ve been experimenting with different media as, initially, they were exactly what inspired me in the revelation of my notion of tableau. Kimsooja … 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. Are the art scenes in New York, Paris and Seoul similar? Recently I noticed a lot of effort from institutions and galleries in Paris to open up more to the world. It is an action of wrapping bodies and memories. 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. We approached the project together, facing one by one the challenging and problematic architectural conditions that the Korean Pavilion has. 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 must say that I am quite positive about the projections for the future of the Korean art scene at this point. I think all of these experiences influenced me in one way or another, answering my questions: my life as a long interview with myself. By wrapping fragments of colourful traditional clothing with a colourful bedcover, I discovered it [the fabric] could become a wrapped two-dimensional “tableau” that was transformed into a three-dimensional sculpture simply by tying one knot and holding all the contents inwardly, as if hugging them all or being pregnant. Kimsooja, ‘Thread Routes – Chapter 1’, 2010, stills from 16mm film transferred to HD format, 26m51s, sound, courtesy of Kukje Gallery, Seoul and Kimsooja Studio. 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. Three Channels sound installation with jukebox, mixed sound from Tibetan monk chant, Gregorian chant, and Islamic chant. I wrote one as a painter and the other as a philosopher. 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. The skin of the glass windows is wrapped with the diffraction grating film fabric which diffuses the sunlight into a rainbow colour spectrum. How did the idea for this work come about? Could you tell me how this piece came about? Can you talk about how these cities were chosen? Bottari Installation. 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. However, it is stimulating to live in New York and maintain critical distance by keeping myself at the edge of all that. In your works, including Bottari Truck-Migrateurs, and Deductive Object (1993), “bottari” is a recurring theme. This site uses Akismet to reduce spam. 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's korean pavilion at the 2013 venice art biennale is a living, breathing 'bottari'--a physical and psychological sanctuary for personal reflection. 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. They also illustrate the similarities and differences in this gender oriented activity in different performative weaving, spinning and sewing cultures. 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. 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 has participated in international exhibitions, including the Venice Biennale (2001, 2005, 2007); Yokohama Triennial (2005); and Whitney Biennial (2002). Her work is in the exhibition “TRA Edge of Becoming” at Palazzo Fortuny in Venice (June 4th- November 27th, 2011). Kimsooja was born in Taegu, South Korea in 1957. 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. Kimsooja, known for her performance, video and installations based on displacement and humanity, is representing South Korea at the Venice Biennale 2013. Kimsooja, ‘Deductive Object’, 1996, used bedcovers and used clothes, dimensions variable, installation at Akira Ikeda Gallery, Taura, Japan. 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 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. Kimsooja’s installation transformed the pavilion into a place of light, reflection and rainbows for the Biennale audience. 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. Winslow | 12 Jul 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. 2019. 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’. 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… 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. Kimsooja, ‘Respirar – Una Mujer Espejo / To Breathe – A mirror woman’, 2006, mixed media installation, The Crystal Palace, Madrid. Courtesy of Kimsooja Studio. The audience’s body resides within mine as a whole, wrapping and unwrapping, communicating with each other. 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. 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. Courtesy of Kimsooja Studio. 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. 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. Kimsooja, ‘Lotus: Zone of Zero’, 2008, Rotunda at Galerie Ravenstein, Brussels, 2016 lotus lanterns, Tibetan, Gregorian, and Islamic chants, steel structure and cables. 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. 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. It was a kind of a Zen moment. I realised there, standing, the meaning of my walking so far, and I had to do that ‘standing still’ performance right away. Her work is in the exhibition “TRA Edge of Becoming” at Palazzo Fortuny in Venice (June 4th- November 27th, 2011). 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. She graduated from Hong-Ik University with a degree in painting, and a Masters in Fine Arts. Photography by Jaeho Chong, image courtesy Arts Council Korea and Kimsooja Studio. The audience’s body may be embraced by ‘void’ and the sound of my breathing. 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. Performing the world’s poetry with “Thread Routes”. 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]. Could you tell Art Radar what it’s like representing South Korea at the 55th Venice Biennale? Scegli tra immagini premium su Kimsooja della migliore qualità. Continuing the “Thread Routes” six-chapter film series is the most challenging project at the moment. 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. This encouraged me to pursue the site-specificity, transforming problems into solutions. 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. 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. 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. Scopri le migliori foto stock e immagini editoriali di attualità di Kimsooja su Getty Images. This became the “A Needle Woman” performance series. In this interview for Art Radar, Kimsooja talks about the ideas behind her projects and her current artwork, “Thread Routes.”. 2019. Could you describe what this means to you, and what this centre represents to you? Sometimes universal unconscious coincidences happen and it is interesting as it often reveals a truth of the world. 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. 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. 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 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. What made you want to become an artist? Art Radar is the only editorially independent online news source writing about contemporary art across Asia. Art Radarspoke to the artist about her site-specific installation for the pavilion and the vision behind her work. However, it is true that particular places and their different cultures have been deeply influential to my perception and my practice. collectors, dealers, museums, galleries, funds, critics, students and Asian art enthusiasts. 2020. 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. 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. 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. Le Confort Moderne, as part of Traversées\Kimsooja, Poitiers, France. Kimsooja rappresenta la Repubblica di Corea alla Biennale di Venezia col progetto To Breathe: Bottari. 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. Your email address will not be published. If not, how do they differ? The breathing sound performance was first experimented with at a former weaving factory in Lodz during Lodz Biennale, 2004. 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]. 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. Seoul has passionate audiences who are anxious to catch up with what’s going on in the world. What are your major artistic influences and how do they relate to your work? I chose the busy metropolis [of] Tokyo to place my body in the flow of humanity, initially thinking of a walking performance. 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. Kimsooja nacque a Taegu, in Corea del Sud, nel 1957. I’ve always been fascinated by all kinds of creative activities and full of curiosity ever since I was a little girl. 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. When I was commissioned by CCA Kitakyushu in 1999, I wished to do a performance piece anonymously, and document it on video. 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. What was it like working with the curator Kim Seung-duk and Biennale director Massimiliano Gioni? Learn how your comment data is processed. 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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