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Seungyoung Kim - Flowers of the World 

Weibang Gallery 2007.12

In Flowers of the World, Kim Seung-young approaches life in a fragmented way from the perspective of communication. As with his previous work, his interest in interpreting eternal conflicts, or confronting situations from a humanistic, cultural, or anthropologic perspective, is striking.

Seungyoung Kim - Gyeonggi, National Highway No.1 

Gyeonggi Museum of Modern Art 2007.11

A compass points to north and south only. This is correlated with the division of the Korean peninsular. The artist sets thousands of compasses on the floor, and forms the word ‘peace’ with dozens of compasses. Interestingly, the compasses lose their direction, due to electronic jamming signals spreading from the floor.

Seungyoung Kim - Space Project 

Cyan Museum of Art, Yeongcheon 2006.11

In Reflection a drop of water makes a sound from the moment it lands on standing water and soon disappears. The trace of this waterdrop is revived by the shadow on the ceiling. A beautiful wave unfolding on the ceiling suggests the conflicting aspect that this waterdrop undergoes.

Seungyoung Kim - Wind Art Festival 

Cave in Songaksan, South-JejuGun, Korea 2005.08

Around the time that World War Two was about to come to an end, Japanese soldiers built up 15 cave fortresses on a Jeju beach, near the Songhak mountain to prevent the US Army from landing on mainland Japan.

Seungyoung Kim - Picnic on the Ocean 

Youngeun Museum of Contemporary Art 2004.10

Picnic on the Ocean is the project of two artists, Murai Hironori and Kim Seung-young who met, planned and executed the work in New York. In 1999 the two artists met as artists-in-residence at PS 1. To mark their meeting, they planned a joint project. They organized the Forest Exhibition, a Korean and Japan art exchange exhibition, as their preliminary exhibition.

Seungyoung Kim - 5th Gwangju Biennale 

Gwangju Biennale Exhibition Hall, Gwangju 2004.09

<memory room> realized as a living being but fragmented language makes the audience experience the meditative moment, which the nature, time and the self become all in one. All the subject matters from his past work such as the calm surface of water, the water drops from the cylinders of the sealing, the concentric circle on the water surface, lights, and the water dropping sounds are emanating powerful inner echo.

Seungyoung Kim - Room of Memory 

ART FACTORY 2003.10

Kim Seung-young’s aesthetic concern, and primary motif leave traces. In The Memory, Kim makes the nameplates of those who he has met so far, and then puts them into transparent bricks, shaping 'a wall of memory' with them.

Seungyoung Kim - Korean Air France 

Ssamzie space 2002.07

Seungyoung Kim - P.S.1 Report Exhibition 

KEUMSAN GALLERY 2001.12

This self-portrait by the video installation artist KIM Seung Young, who has worked with a wide variety of themes such as immortality, the cycle of existence, and communication, stems from his experience of putting a photo of Joseph Beuys on the wall every morning.

Seungyoung Kim - Paper Plane Project 

Harlem, New York, USA 2000.06

The first time I visited Harlem, a neighbourhood whose image is plagued by prejudice and fear, it was six months into my stay in New York. A few days after that first visit I went back, and on a grass field in a local park I started to make paper airplanes.

Seungyoung Kim - The Room of Memory 

Won seo Gallery, Seoul 1999.06

As a recipient of an award for the three dimensional installation section in 1997 at the Gongsan Art Festival, Kim Seung-young was invited to hold a solo show. Unlike his other exhibitions where he would explore the nature, civilization and the corporeality surrounding him, Kim chose to shed light on the men around him in minute detail.

Shinil Kim - Shinil Kim Solo Exhibition 

Kunstlerhaus Bethanien, Berlin 2006.01

In society, there are rules and regulations enforced by the powers that be, designed to impose a so-called “order” in, or rather on, our lives. As these systems enforce their control on us, it would seem that our minds have adapted by becoming less chaotic, and that we sometimes even go as far as to rely on those very systems to make life easier, disregardful of the fact that they actually narrow our choices in terms of life styles and blind our reason.

Shinil Kim - Seoul International Media Art Biennale 

SEOUL MUSEUM OF ART 2008.09

Shinil Kim - Faces & Facts: Korean Contemporary Art in New York 

Queens Museum of Art, New York 2009.12

Shinil Kim - Shinil Kim Solo Exhibition 

Insa Art space, Seoul 2004.03

My motivation for making artwork is to realize the history of art in terms of its limitations. I am equally concerned with the human condition and mankind’s attempts at achieving balance in life. These themes intermingle in my work as I try to transcend their restrictive barriers.