New Yorkers consider New York as a centre of the art world, but I often find it quite provincial considering what’s going on in the whole world. In 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. Performing the world’s poetry with “Thread Routes”. 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, ‘Thread Routes – Chapter 1’, 2010, stills from 16mm film transferred to HD format, 26m:51s, sound, courtesy of Kukje Gallery, Seoul and Kimsooja Studio. Parisians still have a genuine broad enthusiasm and appreciation for art, although they are still nostalgic and quite nationalistic. Continuing the “Thread Routes” six-chapter film series is the most challenging project at the moment. 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. Bottari Installation. 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 Mattias Givell. 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. Inaugural biennale in the city of Poitiers, France. 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. Could you tell me how this piece came about? Kimsooja nacque a Taegu, in Corea del Sud, nel 1957. 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). Photography by Mikäel Falke, image courtesy the Centre for Fine Arts, Brussels, the Ministry of Culture, Sports and Tourism, Korea 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. What was it like working with the curator Kim Seung-duk and Biennale director Massimiliano Gioni? 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]. Tutti architettura design moda new media architettura design moda new media 2020. Could you describe your idea and concept behind bottari in your works, and talk about the first time you used bottari in your work? Photography by Jaeho Chong, image courtesy Arts Council Korea and Kimsooja Studio. 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. If not, how do they differ? 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. 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. 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. Could you describe your recent work “Thread Routes”, in which you are working with 16mm film and a team? 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. Is there a medium that you believe best expresses your ideas or you would like to explore further? However, it is stimulating to live in New York and maintain critical distance by keeping myself at the edge of all that. Kimsooja’s installation transformed the pavilion into a place of light, reflection and rainbows for the Biennale audience. The experience of living without power, electricity, heat and conveniences for one week with the whole community was a humbling and contemplative moment. By defining this link I try to create a dialogue that enriches the context of contemporary art and life. 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's korean pavilion at the 2013 venice art biennale is a living, breathing 'bottari'--a physical and psychological sanctuary for personal reflection. 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. Le Confort Moderne, as part of Traversées\Kimsooja, Poitiers, France. I’ve always been fascinated by all kinds of creative activities and full of curiosity ever since I was a little girl. 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 can also count as influences my condition as a woman and my endless questions on life, self and the structure of the world. 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. 2019. 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 breathing sound performance was first experimented with at a former weaving factory in Lodz during Lodz Biennale, 2004. 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 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. Winslow | 12 Jul 2013. 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’. Image courtesy Kimsooja Studio. ha esposto con una personale al MoMA, al Cristal Palace di Reina Sofia, al Museo di Arte Contemporanea di Lione, al Guggenheim di Bilbao, al Centre Pompidou Metz. In this interview for Art Radar, Kimsooja talks about the ideas behind her projects and her current artwork, “Thread Routes.”. 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. 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. 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. 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 decided to continue this performance literally to meet everyone in the world, choosing to perform in eight metropolises in different continents around the world. Could you describe your background and why you became an artist? Rather, it became tied to notions of the body, to the condition of myself and women in general in Korean society, and also to human destiny at large. 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. I realised there, standing, the meaning of my walking so far, and I had to do that ‘standing still’ performance right away. 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. 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. The artist’s view as an omnipresent gazing point enables these multiple roles to be present at one time. 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). 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. “Thread Routes” is my first film series made from 16mm film, and it is divided into six chapters, each of which takes place in a different cultural zone around the world. 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. For this piece, I considered my body as a weaving factory by understanding inhaling and exhaling as a weaving machine work, in both sound and action—humming as another fabric of breathing using only my nose without opening my mouth. Kimsooja @ Korean Pavilion, Venice Biennale ★ ★ Review by J.D.A. Courtesy of Kimsooja Studio. They also illustrate the similarities and differences in this gender oriented activity in different performative weaving, spinning and sewing cultures. 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. It is an action of wrapping bodies and memories. 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. The darkness in light and the light in darkness are stretched to an extreme into waves of light and sound. 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. 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. Wanås Foundation - Wanås Konst, Sweden. Kimsooja, ‘To Breathe: Bottari’, 2013, mixed media installation, partial installation view of the Korean Pavilion, the 55th Venice Biennale. 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. I had to stop right at that moment and in that place, screaming inwardly. Art Radar is the only editorially independent online news source writing about contemporary art across Asia. This site uses Akismet to reduce spam. 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]. 49th Venice Biennale, Arsenale, Venice. 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. Art Radar spoke 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. Sometimes universal unconscious coincidences happen and it is interesting as it often reveals a truth of the world. She graduated from Hong-Ik University with a degree in painting, and a Masters in Fine Arts. Similar and distinctive elements of visual phenomena are woven and merged together as equal visual and cultural vocabularies. Kimsooja, ‘Lotus: Zone of Zero’, 2008, Rotunda at Galerie Ravenstein, Brussels, 2016 lotus lanterns, Tibetan, Gregorian, and Islamic chants, steel structure and cables. 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. I wrote one as a painter and the other as a philosopher. 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 (Taegu, 1957) è un'artista sudcoreana.. Biografia. Photo by Yann Gachet. This certainly coincided with my immaterial way of approaching the site-specific project, and we tried to preserve the original structure of the pavilion while challenging its specific qualities and problems. Being invited to represent my own country’s national pavilion is the most exceptional recognition I can achieve as an artist who has considered herself in self-exile for a long time. 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. 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