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ARARIO GALLERY
2008.04
All artists have their own world. Commonly referred to as the artist’s ‘art world’, it shows the life the artist has lived, the way his work has come to life, and the stories that can only be told by the artist. The audience comes to understand an artist’s work and the artist himself through looking into the art world of the artist. A mid-career artist in his 40s usually has a definite art world of his own, and even if it isn’t definite, it is naturally formed by other factors.
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Kim.Jinhye Gallery
2008.10
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Tokyo-gallery+BTAP
2008.09
In contemporary art, with its guaranteed unfettered freedom, it seems that the order of Neoclassical expression, the world of David or Ingres, will continue to wither away. This is not to say that grace has completely abandon of artistic thought makes it now more difficult to perceive.
Perhaps for this reason, when we attempt to depict divinity our understanding is often limited to use of motifs we are familiar with from the bible, such as halos.
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Centre Culturel Francais
2007.08
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Avanthay Contemporary, Zurich
2008.06
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Hakgojae Gallery
2009.09
2006 heralds a new stage in Dong-Yeon Kim’s oeuvre. Dong-Yeon Kim’s circumstances foster his artistic development and demand that he realise his ideas on a grand scale. Within a brief period of time Kim makes numerous series of ceramic and aluminium objects, accompanied by drawings and paintings, systematically enlarging his artistic vocabulary and establishing new self-evident impulses.
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Kunsthalle darmstadt
2006.03
Dong-Yeon Kim’s “The Holy City” consists of schematized model buildings. The miniaturized structures, partly made of aluminum, give the effect of elements from a modular building-block system. They neither possess an individual character nor do they appear to refer to any sort of spiritual meaning in the sense of the title.
The buildings are empty, only silhouettes. They are stretched out, giving the impression of a system of transitions, tunnels, shafts, never static, comforting shelter. The buildings are often combined into larger architectural complexes, for example forming a square around an open courtyard, thus actually evoking a ‘holy’ cloister.
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Riccardo Crespi Gallery
2010.02
For his second solo exhibition at Riccardo Crespi, the artist of Korean origin Shin il Kim presents Active Anesthesia-Into, an evolution of the project with the same title shown at his first exhibition in Milan two years ago.
Starting out from a reflection on the state of passivity, of numbness of the senses, that in many ways characterizes our daily life and in particular our relationship with the media, the artist seeks to reawaken an active condition, to stimulate us to look at the world in a more conscious and participatory way.
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Smack Mellon
2008.09
A silent film, “The toll of the sea”, the first color feature film made in Hollywood in 1922, is about a biased love story that is similar to Puccini ‘s “Madame Butterfly”.
It is a very perplexed and unbalanced love story in which I found some kind of unsolved codes with hidden orders and power game between the powerful man and the obedient woman in the film. This coded love story in place of pure love story has the same aspect as the massive power that tends to control the world by war under the name of ‘peace’ and lopsided power structure in society. In a conventional view, ‘love’ should be pure without hidden purposes and ‘peace’ should not generate war.
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Gallery SPACE
2008.12
To exist is to communicate with the things before our eyes. At the moment we see something, our awareness, preconception, and knowledge turns into the memory of a concrete experience. ‘To forget the name,’ as the French symbolist-poet Paul Valery remarked, refers to an act of moving ideas from the sphere of reason to the domain of internalized-sensibility, including wounds and reminiscence, through a process of communication, like ‘seeing’. Extinction, generation, and emotional intervention, derived from ‘seeing’, are critical clues to engage Kim Seung-young’s work.
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ARARIO SEOUL
2007.06
One could describe Shine Kong’s recent works as a ‘situation play of objects’. Such theatrical tendency present in the series Ribbing Room and Good Morning that were in her 2007 solo show at Arario Gallery, Seoul, play an important role in laying the foundation for her recent works. The objects the artist conceives herself become the symbol of the meaning she bestows upon them, and the relationship among the objects creates the narrative in the work. The objects such as the cloud, ladder, tree, paper airplane, and camel with a lifeboat around its neck, are all made with clay at first, then they are arranged on a stage and are given a role according to the direction of the stage conductor, the artist herself. Her work is not complete until the staged scene is manifested into a flat still life painting.
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Koto art center
2008.09
At first glance, fragments of plastic and wooden scraps appear to have been arranged at random. However, after closer observation, some sort of order is detectable. Rhythm and repetition exist in a way quite similar to those generated by a city under construction. Individual items do not resemble actual buildings or plants, but when grouped together, they appear to form a city.
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