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kimsooja venice biennale

Posted on January 12th, 2021

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. I’ve been experimenting with different media as, initially, they were exactly what inspired me in the revelation of my notion of tableau. How do you see the Korean contemporary art scene developing in the next five years? 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. I chose the busy metropolis [of] Tokyo to place my body in the flow of humanity, initially thinking of a walking performance. Kimsooja was born in Taegu, South Korea in 1957. 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. What was it like working with the curator Kim Seung-duk and Biennale director Massimiliano Gioni? 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. In this interview for Art Radar, Kimsooja talks about the ideas behind her projects and her current artwork, “Thread Routes.”. 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. Is there a medium that you believe best expresses your ideas or you would like to explore further? Encounter Installation. When I was eleven, our homeroom teacher asked us to write down two possible occupations that we wished to pursue in the future. Kimsooja, ‘Deductive Object’, 1996, used bedcovers and used clothes, dimensions variable, installation at Akira Ikeda Gallery, Taura, Japan. 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. 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. Representing her native South Korea, Kimsooja created To Breathe: Bottari, ‘bottari’ being a Korean word for a cloth in which small objects can be bundled up and carried. 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. Kimsooja: Sowing Into Painting. 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. The skin of the glass windows is wrapped with the diffraction grating film fabric which diffuses the sunlight into a rainbow colour spectrum. Her work is in the exhibition “TRA Edge of Becoming” at Palazzo Fortuny in Venice (June 4th- November 27th, 2011). 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’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. Can you explain in more detail this state of mind? I can also count as influences my condition as a woman and my endless questions on life, self and the structure of the world. 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. How does living in three countries influence you as an artist? Kimsooja rappresenta la Repubblica di Corea alla Biennale di Venezia col progetto To Breathe: Bottari. Kimsooja, known for her performance, video and installations based on displacement and humanity, is representing South Korea at the Venice Biennale 2013. Could you tell Art Radar what it’s like representing South Korea at the 55th Venice Biennale? Photography by Thierry Depagne, image courtesy Kimsooja Studio. These non-descriptive and non-narrative documentary films, (although they are narrative compared to “A Needle Woman” or my other video pieces) were conceived after being inspired in Bruges, Belgium in 2002, by traditional lace-making and its performative elements. 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. [The scene] has been surprisingly cultivating, supported by a society that embraces many young talented artists who are being introduced to the world. Could you tell me how this piece came about? 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. Courtesy of Kimsooja Studio. 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. 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. Similar and distinctive elements of visual phenomena are woven and merged together as equal visual and cultural vocabularies. Kimsooja has participated in international exhibitions, including the Venice Biennale (2001, 2005, 2007); Yokohama Triennial (2005); and Whitney Biennial (2002). For example, I have been evolving and deepening notions of ‘sewing’ and ‘wrapping’ in a broad range of different media for many years. “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. The whole process of my practice has always been a journey of searching for a self awareness. 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. 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. 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. Photo by Yann Gachet. Fondazione Nuto Revelli: nasce il Museo dei Racconti tra le baite… progetto. 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. She has exhibited throughout the world in museums, institutions and galleries including Miami Art Museum, D’Art Moderne de Saint Etienne , Daegu Art Museum, Crystal Palace in Madrid, and P.S.1 Contemporary Art Center/MoMA in New York. There should be more serious and professional attention to it, as well as to the older generation and mid career artists. 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. 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. 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. Your email address will not be published. Image courtesy Kimsooja Studio. Photography by Mikäel Falke, image courtesy the Centre for Fine Arts, Brussels, the Ministry of Culture, Sports and Tourism, Korea and Kimsooja studio. 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. 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]. 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. I had to stop right at that moment and in that place, screaming inwardly. This site uses Akismet to reduce spam. 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. 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. 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. To Breathe: Bottari. The art scenes, or the structure of the art scenes in Seoul, Paris and New York are quite different and unique. You are of South Korean heritage, living and working in New York, Seoul and Paris. 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 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. She graduated from Hong-Ik University with a degree in painting, and a Masters in Fine Arts. In the end, I chose painting because I see it as a lifelong activity of contemplation on life and the world. Instead, I began to wrap existing used clothing as they were, in order to incorporate elements of reality. 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. Photo by Luca Campigotto, Courtesy of Kimsooja Studio. 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. 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. 2019. Your works have involved performance, video, sound and installation. 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. Inaugural biennale in the city of Poitiers, France. Kimsooja is currently exhibiting a site-specific installation for the world’s leading art’s festival, the 54th Venice Biennale. 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. 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. Kimsooja, ‘Thread Routes – Chapter 1’, 2010, stills from 16mm film transferred to HD format, 26m51s, sound, courtesy of Kukje Gallery, Seoul and Kimsooja Studio. From then on, I no longer used fragments of coloured fabrics inside of the bottari as a way to create a type of “pigment”. 49th Venice Biennale, Arsenale, Venice. 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. 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. Traversées / Kimsooja. Learn how your comment data is processed. Could you describe what this means to you, and what this centre represents to you? What are your major artistic influences and how do they relate to your work? 1998. Wanås Foundation - Wanås Konst, Sweden. Tutti architettura design moda new media architettura design moda new media Are the art scenes in New York, Paris and Seoul similar? 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). 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. The audience’s body may be embraced by ‘void’ and the sound of my breathing. 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. Dec 2, 2014 - kimsooja's korean pavilion at the 2013 venice art biennale is a living, breathing 'bottari'--a physical and psychological sanctuary for personal reflection. There was a moment in high school when I had to choose a major before entering college. 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. 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 breathing sound performance was first experimented with at a former weaving factory in Lodz during Lodz Biennale, 2004. 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. 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, ‘Lotus: Zone of Zero’, 2008, Rotunda at Galerie Ravenstein, Brussels, 2016 lotus lanterns, Tibetan, Gregorian, and Islamic chants, steel structure and cables. 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. 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 Seoul has passionate audiences who are anxious to catch up with what’s going on in the world. Art Radar is the only editorially independent online news source writing about contemporary art across Asia. Performing the world’s poetry with “Thread Routes”. 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. The New York scene is still heavily market-oriented, and the mainstream is dominated by white male artists, as well as money and power. 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. Are there any new projects you are working on or planning? Scegli tra immagini premium su Kimsooja della migliore qualità. Landscape of Beings. 2020. Solo Exhibition at The Korean Pavilion, Venice, 2013. Continuing the “Thread Routes” six-chapter film series is the most challenging project at the moment. Performative Installation at Kunsthalle Fridericianum, Kassel. 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. Winslow | 12 Jul 2013. What are the biggest challenges for Korean artists today? Could you describe your background and why you became an artist? 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. 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’s installation transformed the pavilion into a place of light, reflection and rainbows for the Biennale audience. 1998. 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. When I was commissioned by CCA Kitakyushu in 1999, I wished to do a performance piece anonymously, and document it on video. However, it is stimulating to live in New York and maintain critical distance by keeping myself at the edge of all that. 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. 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. Photo by Jan Liegeois. Could you explain the concept behind this work? 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]. 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. 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. Photography by Jaeho Chong, image courtesy Arts Council Korea and Kimsooja Studio. 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. 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 encouraged me to pursue the site-specificity, transforming problems into solutions. Bottari Installation. I wrote one as a painter and the other as a philosopher. What drew you to this type of work? Can you describe your artistic vision for the South Korean pavilion? I realised there, standing, the meaning of my walking so far, and I had to do that ‘standing still’ performance right away. Photo by Mattias Givell. Kimsooja (Taegu, 1957) è un'artista sudcoreana.. Biografia. Scopri le migliori foto stock e immagini editoriali di attualità di Kimsooja su Getty Images. 1999. 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… 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. 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. 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. 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. Could you describe your works at the Biennale? There was also a statement by [musician] John Cage [which] I saw in 1984 at the Paris Biennale that was a turning point in my art making: “Whether or not you try to make it, the sound is heard.” From that moment, when I was 26 years old, I started thinking of ‘Non-Making’ in ‘Making Art’. Courtesy of Kimsooja Studio. 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. 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. Korean artist Kimsooja, known for her performance, video and installations based on displacement and humanity, is representing South Korea at the Venice Biennale 2013. Art Radarspoke to the artist about her site-specific installation for the pavilion and the vision behind her work. 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 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. Parisians still have a genuine broad enthusiasm and appreciation for art, although they are still nostalgic and quite nationalistic. 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. 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. Korean artist Kimsooja, known for her performance, video and installations based on displacement and humanity, is representing South Korea at the Venice Biennale 2013. Kimsooja nacque a Taegu, in Corea del Sud, nel 1957. 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. collectors, dealers, museums, galleries, funds, critics, students and Asian art enthusiasts. 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. They also illustrate the similarities and differences in this gender oriented activity in different performative weaving, spinning and sewing cultures. Kunsthalle Fridericianum, Kassel. kimsooja's korean pavilion at the 2013 venice art biennale is a living, breathing 'bottari'--a physical and psychological sanctuary for personal reflection. I must say that I am quite positive about the projections for the future of the Korean art scene at this point. Could you describe your idea and concept behind bottari in your works, and talk about the first time you used bottari in your work? 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. On 1 June 2013, the 55th Venice Biennale opened in Italy, featuring national pavilions from 88 countries. Kimsooja is currently exhibiting a site-specific installation for the world’s leading art’s festival, the 54th Venice Biennale. The artist’s view as an omnipresent gazing point enables these multiple roles to be present at one time. 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. 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