Archive for the ‘interviews’ Category

Zin Ki jong Interview

June 17, 2008

The Canadian Media critic Marshall McLuhan proposed that the media itself, not the content they carry, should be the focus of study. Popularly quoted as “the media is the message”, McLuhan’s theory was that a medium affects the society in which it plays a role; not by the content delivered over the medium, but by the characteristics of the medium itself.

Zin Kijong’s installation works looks like criticism of the mass media fabrication. But he is not criticizing and judging the media via its broadcasting system. Be that as it may, he does not believe blindly in mass media either. He is just attracted by the virtual reality that mass media produced.

In the late afternoon of a rainy day, I visited the house he uses as his studio and living quarters in Yonhidong. He said it is not organized yet because he moved here not long ago. But it was well organized and I can feel a delicate and tidy personality. I also recognize some astronaut figures from his recent solo exhibition ‘On Air’. He has some plastic models and miniatures of warships, tanks, as well as replica arms. Drinking hot hub tea, I asked about his past works. He is a prominent young artist at the age of 28. It is an exceptional case in Korea Art field, as he also works with Arario Gallery. He came into the spotlight at his graduation exhibition ‘the world corps map’ in Kyungwon University. This installation used line tracer and CCTV camera. It is a fragmentary portrait of a bloody world war and a global village full of corpses. His motif of work is the Iraq war on the TV news and documentaries. Most of his themes are from of mass media. He says, we are already too deeply involved with mass media in our daily lives.

His deep attachment to media started from his part time job making television documentary programs. He noticed that even documentaries, which deliver historical fact, distort and manipulate information. He witnessed the power of mass media with his bare eyes. His ‘On air’ projects started from the National Geography channel. It was extended to CNN and History Channel when he got new inspiration from television program. The brilliant idea, in sense, is making a screen module hat seems like an advertisement channel.

He loves Michel Gondry’s movies and video works, and he listenes techno and electronic music. He is one of the young generations who live in the media world. He has the sentiment of young “M” generation (mobile, media). Moreover, he has insight and a mature vision with his judge standard. His past works are also interesting. When he was a student, he did performance at the former West Gate Prison in Seoul. The West Gate Prison was used during the Japanese occupation to detain leaders of the independence movement, and later it was used for social criminals. He could find lots of scribbles on the cell walls. In the small room, the past days and the present time is coexisting. He stayed there for 15 days, and studied the meaningless scribbles on the bottom and wall; he made new history on the wall. Those scribbles were also filmed by a line tracer camera.

He has traveled quite lot as well. He has been to a US residency program and also been invited to Biennales and other media exhibitions. When he was traveling, he was not under an obsession of his art works. He just enjoyed the traveling and new experience in another country. In his residency program, he did not make a lot of works, instead the experience of meeting other artists, drinking beers and chatting about each others works became an essential experience.

He has traveled across Europe twice and visited Japan a few times. His replica model was purchased in adult-kid toy shop in Japan. He says, that lately the Korean art scene offers a good environment for artists. If the artist has talents, there are a lot of residency programs and grants in Korea and also internationally. “I am not a genius or a hard worker”, he says. “I am just a little bit clever and have had good luck.” He is object of envy among the young artists who work under much poorer conditions. I think in the recent art world, the power of success is getting a lot of information, using publications and being able at communicating with other art people. He said just ‘luck’ but in my opinion, he was well prepared for the art world. He is a professional, a worldly wise man and he knows what his special talents are. In this complicated and crowded art world, young artist have to know how to present themselves in front of the public.

KIM Jihee

 

 

Gimhongsok Interview

June 17, 2008

at Kukje Gallery on May 16

 

Gimhongsok had his solo exhibition titled “In Through the Out Door” at Kukje Gallery from April 17th through May 19th, 2008. The beginning of this exhibition was quite noisy due to a controversial performance conducted at the opening reception: the artist hired a prostitute at 600,000 Korean won and had her attend the party as an anonymous guest. Then, the artist announced that he would give 1.2 million Korean won to the person who recognized the prostitute. The performance succeeded as Gim had planned and the guest who noticed the prostitute was paid the money. The incident received some negative reviews from media, which accused Gim of being unethical.

 

Gim was supervising a photographic session with a professional photographer and a female model, when I met him at Kukje Gallery for an interview. My first question was naturally about the work that he was doing.

 

“The female model is actually an actress who acted as the prostitute in the opening night. I had to hire her because it was so hard to get a real prostitute, and I had been keeping this in secret until yesterday. Today’s photographic session has been organized to make records of this exhibition. I invited the people I had worked with, including the actors and actresses, and will have their photographs taken.”

 

Before I met Gim, I thought that he was paying homage to the artists who produced similar kind of works, such as Santiago Sierra, by the performance. But after a conversation with him, it turned out that he was actually presenting his critical view on such work and, at the same time, suggesting his own idea. He said:

 

“I see myself as a coward, and always feel that I am disadvantaged. So, through my work, I am seeking neutrality where no one can exert their influence or power on others. I don’t believe that art can enlighten people or do a mercy job. Suppose that an artist produced a work hiring hundreds of deprived people. Then, what did they get from it? What contribution can the artwork make to those people? Nothing. Those kinds of projects are only for the artists. I want people to get out of all the plots that a society or the world has created.”

 

No wonder that there are many twists in his work. He wants to look at everything the other way round, just as the exhibition title “In Through the Out Door” suggests. I could not help asking whether he was following with interest the hottest news in our society on the mad cow disease and Korea-US Free Trade Agreement (FTA).

 

“Yes. I think the whole thing is nonsense. We should not react to the hopeless government’s daily administration. Both the government and people need to learn patience, and observe things with a broader and long-term view.”

YOO Seungeun Euna

 

Kim Sora interview

June 17, 2008

May 14, 2008, at Kim Sora’s Studio in Itaewon, Seoul

 

When one observes the installations and sculptures of Kim Sora, it is difficult to grasp the personality of the artist as the work appears detached and distanced, almost as though the presence of the artist has been taken away. For this reason, I was most intrigued to interview Kim Sora.

Often, artists are asked questions such as “so what made you decide to become an artist”, in the case of Artist Kim, Sora the answer for such a clichéd question actually sparked some interesting facts about her decisions to pursue a career as an artist. In Korea, if a child is accepted to Seoul National University[1] on taking the national entrance examination, the parents become ecstatic, as such an outcome in the Korean society is an emblem of pride and success. Kim Sora did just that. She was accepted into the nation’s best university, to the department of sculpture. But was this significant to her, did it mean anything? Once she began attending classes, Kim Sora was disappointed and confused. She felt trapped and soon she had to find a way to survive. What may have been considered as a satisfying achievement to others, meant very little to her.

According to Kim Sora “an artist is created by the artist’s own self and not by educational background or other circumstances, you really have to be willing to develop yourself into an artist”. Looking back to how she began as an artist, she states that the best thing she had ever done in her life was to drop out from Seoul National University and allow herself to lead an independent life in France. Of course the decision could not have been easy, yet she was brave enough to realize her needs and above all she was true to herself. Perhaps this is what it requires to become an established artist.

The eight years that Kim Sora spent in France, permitted her to discover more about herself and her abilities. In the first few years she hardly did anything but eat chocolates. She said that she never ate that much chocolate in her entire life. This was a way of addressing what she wanted and also a means to find out about things that she liked. Such idle times gave her space to break away from existing notions and to discover new ones. It seems that Kim Sora needed time to find her own voice.

She says, “I can only do things that I like to do most, so I just do things that I like”, and this mentality is reflected in her artworks. All the projects that she has allowed herself to do were done only because she liked them. When questioned about the direction of her work, she replied by saying that her main interest comes from people, not the actual observation or interaction with them but rather how people are participated to co-ordinate her installations. She considers her project as people’s project, a collaborative result of many hands. In this respect, her working process is interesting as she seeks for a participatory process. She starts with an idea and then she thinks it through carefully only to seek for ways to execute it. She likes to collaborate with other artists and naturally the interview touched upon Kim Sora’s collaborative work with Gimhongsok.

The collaborative method of working between the two artists is most interesting because the two never agreed on anything. She enjoyed and included the tension created by one another. “OH, we were so different, Gimhongsok is calculative and structured, at the same time he is weary of situations while I like to play around, improvise and react. But I like this, I like the fact that we could hardly communicate, perhaps this is the essence of our collaborative work”. The two have worked on many installation projects since the year 2000, including C.H.I.S. Chronic Historical Interpretation Syndrome, for the 50th Venice Biennale, and Antartica, at Artsonje, Korea.

Kim Sora treats each of her exhibitions as a process contributing to her personal artistic development and currently she is in the process of inspecting her past works to combine the essence that are present in them to condense into her next solo exhibition. The “Hansel and Gretel”, exhibition was her first solo show in Korea. The exhibition divided space into three sections, “No Secret”, “No Regrets” and “No Return”, almost like a subjective statement on the artist’s own life and work using images, sounds, prints, furniture, sculptures and drawings.  Kim Sora seemed to be assessing her present standpoint. She states that she is never satisfied with the outcome of her artworks.

Similar to her installations and the images that she uses in her work, her studio was clean and organized, with parts of her work from previous exhibitions placed here and there. Nothing is intended and nothing is structured, yet within this openness and oblivion, there exists structure and a subjective core. She was once influenced by the Russian Futurist poet Velimir Khlemnikoff and the linguistic experimentation in sound symbolism of Zaum.

I was very impressed with the openness of Kim, Sora, “what you see is what you get, and I do not know how I will change the next time”. Perhaps this applied to everything and everyone as situations are always changing and nothing ever remains the same, for most things in life are ephemeral, and there is nothing wrong with that.

CHO Haeyoung

 

 

About Kim, Sora


Born 1965 in Seoul, Korea
Studied in Seoul National University and in Ecole Nationale Supérieure des Beaux Arts de Paris
Lives and works in Seoul, Korea

■ SOLO EXHIBITIONS
2007 Melting Alaska, BALTIC Centre for Contemporary Art, Gateshead, UK

■ SELECTED GROUP EXHIBITIONS
2007 World Factory, Walter & Mc Bean Galleries, San Francisco, U.S.A.
Somewhere in Time, Artsonje Center, Seoul, Korea

2006 A Tale of Two Cities, Busan Biennale 2006, Contemporary Art Exhibition, Busan, Korea
Through the Looking Glass, Asia House, London, UK

2005 Hermès Korea Misulsang, Artsonje, Seoul, Korea
Art Circus-Jumping from Ordinary, International Triennale of Contemporary Art, Yokohama 2005, Japan
Seoul-Until Now!, Charlottenborg Udstillingsbygning, Copenhagen, Denmark
Secret Beyond the Door, Korean Pavilion, 51st Venice Biennale, Venice, Italy
40×40Project, SpaceLoop, Seoul, Korea

2004 Cosmo Vitale, REDCAT Gallery, Los Angeles, U.S.A.
You are my sunshine: Korean Contemporary Art 1960-2004, Total Museum of Art, Seoul, Korea
Z.O.U. Zona D’Urgenza, SENSI Contemporanei, Villa Zerbi, Reggio Calabria, Italy
Stranger than Paradise, Total Museum of Art, Seoul, Korea
Antarctica, Artsonje Center, Seoul, Korea

2003 Zone of Urgency, Dreams and Conflicts, 50th Venice Biennale, Venice, Italy
Echigo-Tsumari Art Triennale, Niigata, Japan
Everyday: Contemporary Art from Japan, China, Korea and Thailand, Kunstforeningen, Copenhagen, Denmark

2002 Archivio Attivo, Centro Per L’Arte Contemporanea Carbognano, Carbognano, Italy
Under Construction, Tokyo Opera City Art Gallery, Tokyo, Japan
Three Young Artists from Korea, MDS Gallery, Tokyo, Japan
Pause: Gwangju Biennale 2002, Gwangju Metropolitan Museum of Arts, Gwangju, Korea
BLINK, Artsonje Center, Seoul, Korea
Fantasia, East Modern Art Center, Beijing, China
ASIANVIBE, Espai d’Art Contemporani de Castelló, Spain

2001 Fantasia, space imA, Seoul, Korea
My Home is Yours, Your Home is Mine, Tokyo Opera City Art Gallery, Tokyo, Japan
POST-PRODUCTION, Galleria Continua, San Gimigniano, Italy

2000 My Home is Yours, Your Home is Mine, Rodin Gallery, Seoul, Korea
Leaving the Island, PICAF, Pusan Metropolitan Museum of Arts, Busan, Korea
Museum_City Project, Fukuoka, Japan
City_Vision: 2000 Media_City Seoul, Seoul, Korea
Construction in Process 2000, Bydgoszcz, Poland
Text & Subtext, LaSalle SIA-Earl Lu Gallery, Singapore
From Here to There, Akademie Schloss Solitude, Stuttgart, Germany

1999 Asian Exhibition, Mattress Factory Museum of Art, Pittsburgh, U.S.A.
Media in Residence, Art Center Seoul, Korea
No Parking, Artsonje Center, Seoul, Korea
Phobia, Ilmin Museum of Art, Seoul, Korea

1998 Food, Clothing and Shelter, Seoul Metropolitan Fine Arts Museum, Seoul, Korea
Personal Touch, Art in General, New York, U.S.A.
Sites of Desire: 1st International Taipei Biennial, Taipei Fine Arts Museum, Taiwan

MAIN COMMISSIONED PROJECTS

2007 BALTIC Centre for Contemporary Art, Gateshead, UK
2003 Cite International des Arts, Paris, France
2000 Akademie Schloss Solitude, Stuttgart, Germany
2000 Museum_City Project, Fukuoka, Japan
1999 Mattress Factory, Pittsburgh, P.A., U.S.A.
1997 Art/Omi Artists in Residency, New York, U.S.A

 

Cho Haeyoung

 

 

 

 



[1] The most renowned university in Korea, it is considered the best.