From then on, I no longer used fragments of coloured fabrics inside of the bottari as a way to create a type of “pigment”. However, it is true that particular places and their different cultures have been deeply influential to my perception and my practice. I had to stop right at that moment and in that place, screaming inwardly. The audience’s body resides within mine as a whole, wrapping and unwrapping, communicating with each other. 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 Scopri le migliori foto stock e immagini editoriali di attualità di Kimsooja su Getty Images. Kimsooja … 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. Bottari Installation. The artist’s view as an omnipresent gazing point enables these multiple roles to be present at one time. 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. Kimsooja (Taegu, 1957) è un'artista sudcoreana.. Biografia. 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. I’ve always been fascinated by all kinds of creative activities and full of curiosity ever since I was a little girl. Her work is in the exhibition “TRA Edge of Becoming” at Palazzo Fortuny in Venice (June 4th- November 27th, 2011). In the end, I chose painting because I see it as a lifelong activity of contemplation on life and the world. What are your major artistic influences and how do they relate to your work? Learn how your comment data is processed. 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. How does living in three countries influence you as an artist? 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. 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. 2019. 2019. 49th Venice Biennale, Arsenale, Venice. 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. 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? Art Radarspoke to the artist about her site-specific installation for the pavilion and the vision behind her work. 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. The breathing sound performance was first experimented with at a former weaving factory in Lodz during Lodz Biennale, 2004. 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. Photo by Jan Liegeois. By defining this link I try to create a dialogue that enriches the context of contemporary art and life. Encounter Installation. Similar and distinctive elements of visual phenomena are woven and merged together as equal visual and cultural vocabularies. 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. 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. We approached the project together, facing one by one the challenging and problematic architectural conditions that the Korean Pavilion has. There was a moment in high school when I had to choose a major before entering college. 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. 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. It is an action of wrapping bodies and memories. 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. Sometimes universal unconscious coincidences happen and it is interesting as it often reveals a truth of the world. Your works have involved performance, video, sound and installation. [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. 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. 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. When I was commissioned by CCA Kitakyushu in 1999, I wished to do a performance piece anonymously, and document it on video. What made you want to become an artist? Dopo aver studiato pittura a Seul e Parigi si trasferì a New York. Can you talk about how these cities were chosen? Scegli tra immagini premium su Kimsooja della migliore qualità. Kimsooja @ Korean Pavilion, Venice Biennale ★ ★ Review by J.D.A. Courtesy of Kimsooja Studio. Her work is in the exhibition “TRA Edge of Becoming” at Palazzo Fortuny in Venice (June 4th- November 27th, 2011). Could you describe what this means to you, and what this centre represents to you? Kimsooja, ‘To Breathe: Bottari’, 2013, mixed media installation, partial installation view of the Korean Pavilion, the 55th Venice Biennale. It was interesting to be presented in the biennale for Massimiliano Gioni’s title “Il Palazzo Enciclopedico” [The Encyclopedic Palace]. 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. This site uses Akismet to reduce spam. The skin of the glass windows is wrapped with the diffraction grating film fabric which diffuses the sunlight into a rainbow colour spectrum. Performing the world’s poetry with “Thread Routes”. I can also count as influences my condition as a woman and my endless questions on life, self and the structure of the world. 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… 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. Most of the dominant western art world is still not willing to fully acknowledge the practices of the minorities that are left behind, although there are a few curators who are supportive in their curatorial practices. Could you describe your background and why you became an artist? 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. Landscape of Beings. In your works, including Bottari Truck-Migrateurs, and Deductive Object (1993), “bottari” is a recurring theme. Kimsooja’s installation transformed the pavilion into a place of light, reflection and rainbows for the Biennale audience. Image courtesy Kimsooja Studio. 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. Your email address will not be published. Photography by Thierry Depagne, image courtesy Kimsooja Studio. 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. 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. Kimsooja, known for her performance, video and installations based on displacement and humanity, is representing South Korea at the Venice Biennale 2013. 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. Photo by Luca Campigotto, Courtesy of Kimsooja Studio. Traversées / Kimsooja. What drew you to this type of work? Continuing the “Thread Routes” six-chapter film series is the most challenging project at the moment. What are the biggest challenges for Korean artists today? 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. 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