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GALLERY ARTSIDE
2005.10
The shape emerging in Kim’s picture, despite associations for any specific animals such as goat and bird, is not unlike white paint splotches or irregularly done brushstrokes. Nothing is palpable in its form and meaning. And then, why did the artist let them remain obscure, instead of defining them apparently? Kim asks viewers to see the woods without prejudice and bias. In other words, what he demands is to see her as nature not judged by any knowledge, transcendental nature and nature as an archetype. If removing the covering of knowledge, the forest turns entirely unfamiliar to us.
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gallery DOLL
2003.06
Accusing indifference and weakness of the miserable and uncontrollable human in god’s province, the Superman Series, one of Sung Nam Kim’s early works, exhibited endless pursuit of essence of existence. Since then, Kim has exposed not only wildness and violence that is inherent in nature but also the world of desires and purification by juxtaposing animals or body parts associated with sacrificial offerings such as cattle, goat, or dead duck against the black and white background.
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Sungkok Art Museum
2000.10
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SOMA Museum
2010.12
“What on earth is this device for?” Our response to Byoungho Kim’s work begins with this question. In his work, sleek, shining metallic materials run in a line, or spread in four directions. These seem like novel installations, representing parts of an enormous piece of mechanical equipment. His work can be also referred to as sound art. Or the arts of sound that makes sound.
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Gastatelier der Stadt Frankfurt am Main, Germany
2009
A French psychoanalystJacques Lacan says that human desire is a chain of empty spiral rings that lacks perfect signification, and ceaselessly obscures the actual meanings. His comments imply that the objects of human desire appear to exist, but are just illusionary images in reality, which thereby forcing it to end up being a signifier without perfect signification. But does it also apply to our awareness of desire?
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Hangaram Art Museum
2007.06
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Stadtmuseum Beckum, Germany
2005
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Busan Museum of Art
2004.09
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Galerie Maria Luise Fellner von Feldegg, Krefeld, Germany
2007
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Gallery Gaby Kraushaar, Dusseldorf, Germany
2005
The sculptures of Don-Yeon Kim elicit from me a smile with a touch of bitterness, arousing deep pain in my innermost being. And suddenly inner disquiet about what is to come creeps over me.The allegory of his works gives wing to the eyes of my imagination. All at once I become aware of how my senses are awakened out of the daily round.
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Gallery Januar, Bochum, Germany
2005
Dong Yeon Kim develops highly concentrated works of typological character. The sculptures as well as the painted images are carefully and thoughtfully balanced: Every element has it’s justified place. The works are models, quotes and paraphrases of contemporary constructions and deal with matters of exclusiveness and concentration, reduction and clarity.
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Total Museum of Contemporary Art
2006
In his work Dong-Yeon Kim, who is extremely open towards all new tendencies in art, also follows traditional aspects of sculpting. He mainly gains his motives from the elements of Korean architecture. Four work groups mark the commence of his individual progress: The first two, vessels made of copper and especially the low, hollow tunnel made of popular wood, direct our attention to the voluminous space.
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