1998. 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’. 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. Three Channels sound installation with jukebox, mixed sound from Tibetan monk chant, Gregorian chant, and Islamic chant. Your works have involved performance, video, sound and installation. Photography by Jaeho Chong, commissioned by Museo Nacional Centro de Arte Reina Sofía, Madrid, image courtesy La Fabrica, Madrid and 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. I consider this approach as a ‘visual poem’ and a ‘visual anthropology’ in juxtaposing and presenting structural similarities in performative elements of textile culture with the structures in nature, architecture, agriculture and gender relationships in different cultures. Your email address will not be published. Can you explain in more detail this state of mind? 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. 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. Kunsthalle Fridericianum, Kassel. The whole process of my practice has always been a journey of searching for a self awareness. By defining this link I try to create a dialogue that enriches the context of contemporary art and life. Parisians still have a genuine broad enthusiasm and appreciation for art, although they are still nostalgic and quite nationalistic. 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. Photography by Jaeho Chong, image courtesy Arts Council Korea and Kimsooja Studio. 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. You have said in a previous interview that the state of your mind determines the moment of immobility in the performance. Can you describe your artistic vision for the South Korean pavilion? Kimsooja @ Korean Pavilion, Venice Biennale ★ ★ Review by J.D.A. Kimsooja nacque a Taegu, in Corea del Sud, nel 1957. 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. Dopo aver studiato pittura a Seul e Parigi si trasferì a New York. The art scenes, or the structure of the art scenes in Seoul, Paris and New York are quite different and unique. Kimsooja, ‘Thread Routes – Chapter 1’, 2010, stills from 16mm film transferred to HD format, 26m51s, sound, courtesy of Kukje Gallery, Seoul and 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. 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. Fondazione Nuto Revelli: nasce il Museo dei Racconti tra le baite… progetto. 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. She graduated from Hong-Ik University with a degree in painting, and a Masters in Fine Arts. collectors, dealers, museums, galleries, funds, critics, students and Asian art enthusiasts. We approached the project together, facing one by one the challenging and problematic architectural conditions that the Korean Pavilion has. 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 scene] has been surprisingly cultivating, supported by a society that embraces many young talented artists who are being introduced to the world. 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. From then on, I no longer used fragments of coloured fabrics inside of the bottari as a way to create a type of “pigment”. 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. 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. The skin of the glass windows is wrapped with the diffraction grating film fabric which diffuses the sunlight into a rainbow colour spectrum. 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. 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? 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. Photography by Thierry Depagne, image courtesy Kimsooja Studio. 2020. There was a moment in high school when I had to choose a major before entering college. 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. 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 works at the Biennale? In the video for PBS Art21, you spoke about “finding transcendental moment and space” in your works in relation to the installation To Breathe at the Crystal Palace in Madrid. Her work is in the exhibition “TRA Edge of Becoming” at Palazzo Fortuny in Venice (June 4th- November 27th, 2011). When I was commissioned by CCA Kitakyushu in 1999, I wished to do a performance piece anonymously, and document it on video. 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 darkness in light and the light in darkness are stretched to an extreme into waves of light and sound. Photography by Mikäel Falke, image courtesy the Centre for Fine Arts, Brussels, the Ministry of Culture, Sports and Tourism, Korea and Kimsooja studio. This site uses Akismet to reduce spam. 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. Kimsooja is currently exhibiting a site-specific installation for the world’s leading art’s festival, the 54th Venice Biennale. Traversées / Kimsooja. Photo by Yann Gachet. Kimsooja’s installation transformed the pavilion into a place of light, reflection and rainbows for the Biennale audience. Image courtesy Kimsooja Studio. 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]. 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. Kimsooja, ‘Lotus: Zone of Zero’, 2008, Rotunda at Galerie Ravenstein, Brussels, 2016 lotus lanterns, Tibetan, Gregorian, and Islamic chants, steel structure and cables. Sometimes universal unconscious coincidences happen and it is interesting as it often reveals a truth of the world. To Breathe: Bottari. 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. 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 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. 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 am more interested in the process to present the concept rather than the medium itself. 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. Bottari Installation. 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. What are the biggest challenges for Korean artists today? 1999. I’ve been experimenting with different media as, initially, they were exactly what inspired me in the revelation of my notion of tableau. Kimsooja is currently exhibiting a site-specific installation for the world’s leading art’s festival, the 54th Venice Biennale. 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 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. I chose the busy metropolis [of] Tokyo to place my body in the flow of humanity, initially thinking of a walking performance. Could you tell Art Radar what it’s like representing South Korea at the 55th Venice Biennale? Landscape of Beings. Instead, I began to wrap existing used clothing as they were, in order to incorporate elements of reality. This encouraged me to pursue the site-specificity, transforming problems into solutions. Is there a medium that you believe best expresses your ideas or you would like to explore further? 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. Performing the world’s poetry with “Thread Routes”. Kimsooja represented Korea for the South Korean pavilion at the 55th Venice Biennale in 2013. And this relationship can arise only when the engagement of the audience activates the performance by viewing it. Encounter Installation. 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. Similar and distinctive elements of visual phenomena are woven and merged together as equal visual and cultural vocabularies. 2019. Are there any new projects you are working on or planning? However, it is stimulating to live in New York and maintain critical distance by keeping myself at the edge of all that. I wrote one as a painter and the other as a philosopher. Wanås Foundation - Wanås Konst, Sweden. 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. How did the idea for this work come about? Kimsooja has participated in international exhibitions, including the Venice Biennale (2001, 2005, 2007); Yokohama Triennial (2005); and Whitney Biennial (2002). It was a kind of a Zen moment. Art Radar spoke to the artist about her site-specific installation for the pavilion and the vision behind her work. Scegli tra immagini premium su Kimsooja della migliore qualità. 2019. 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 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. 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… It is an action of wrapping bodies and memories. 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]. Photo by Jan Liegeois. 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. 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. 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. 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. Could you explain the concept behind this work? The breathing sound performance was first experimented with at a former weaving factory in Lodz during Lodz Biennale, 2004. This became the “A Needle Woman” performance series. On 1 June 2013, the 55th Venice Biennale opened in Italy, featuring national pavilions from 88 countries. 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. The New York scene is still heavily market-oriented, and the mainstream is dominated by white male artists, as well as money and power. Can you talk about how these cities were chosen? 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. 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