DCSIMG

MMCA Hyundai Motor Series 2016: KIMSOOJA – Archive of Mind

July 27, 2016 - February 5, 2017
MMCA Seoul, Gallery 5 and Courtyard

Archive of Mind, 2016, participatory site specific installation consisting of clay spheres, 19 m elliptical wooden table, with sound performance Unfolding Sphere, 2016, 15’31”.

The Third Exhibition of the Hyundai Motor Series

Kimsooja

Photo by GAHYUNBAIK@edgerank

‘The third Hyundai Motor Series’ at the Museum of Modern and Contemporary Art(hereafter MMCA) has been unveiled. Kimsooja, an internationally active conceptual artist takes center stage in this iteration of the exhibition. Born in Daegu, Korea in 1957, the conceptual multimedia artist has participated in exhibitions at distinguished art museums including LACMA(Los Angeles County Museum of Art), the Solomon R. Guggenheim Museum, and the Hirshhorn Museum. She was also invited to international events such as the ‘Yokohama Triennale’ and the ‘Whitney Biennial’, and presented the Korean Pavilion at the ‘55th Venice Biennale’.
Kim introduces traditional sewing materials such as needle, thread, cloth, and Bottari(fabric) with the action of sewing. Based on the materials and actions, she gives substance to metaphysical concepts across genres such as performance, video presentation, and installation art.

Kimsooja's works with the Bottari(bedsheet-like cloth used for packing personal belongings) has earned her the epithet 'Bottari artist'. The Bottari, which can gather items but also be the means to carry them over distances, is used by the artist as a philosophical metaphor for her works. Her works embody the pain and sorrow of displaced people who had to wander about with all their livelihood on their backs; her works kindled a contemporary understanding that transcended both history and borders.
Through <Hyundai Motor Series 2016: Kimsooja - Archive of Mind>, the artist takes a new approach to the past three decades of inquisitive meditations and experiments on life and art. This exhibition features a large-scale installation work that requires audience participation, also involving multiple media such as video, installation, and sculpture, which the artist herself claimed to be “a project that will be a meaningful juncture for developing work.”

Bottari, and the post-Bottari

Archive of Mind, 2016, participatory site specific installation consisting of clay spheres, 19 m elliptical wooden table, with sound performance Unfolding Sphere, 2016, 15’31”.

MMCA is the first place that the participatory installation <Archive of Mind> is installed and opened to the public. Examining the implied regularity within the “act of creating”, the artist began her work after being inspired by the act of wrapping in her previous bottari series. Visitors are encouraged to roll a handful of clay into a spherical ball to be placed on a wooden table. Participants experience clay at multiple levels of interaction, from experiencing the inherent properties of soil to simultaneously altering its form into something particular. The collection of spherical clay balls placed by the sound installation <Unfolding Sphere> forms a rhythmical and contrasted juxtaposition. Also presented are works of her continuing work series such as <To Breathe>, <Thread Routes - Chapter Ⅴ>, addressing issues of displacement, expulsion, violence and other social issues through her unique artistic grammar.

<To Breathe>

Kimsooja's earlier works were paintings and drawings. As she expanded the spectrum of her works to performance and video presentations, those issues consistently returned to be told. <To Breathe> disconnects the in from the out, while drawing the participants' gaze to the spectrum film applied to the connecting glass which changes from material(brushstroke) to immaterial(light). The projection of light sheds new perspective on the surrounding objects, connecting to the work <Deductive Object> installed in the courtyard, and can appear to be an endlessly changing work. These works are notable in terms of them being the fruit of the artist's earlier contemplations. It is part of Kimsooja's site specific installation work, first presented at the 2006 Madrid's Crystal Palace. Later it was shown at the Korean Pavilion at the ‘2013 Venice Biennale’, and then at Centre Pompidou-Metz, but this is the very first time being opened to visitors in Korea.

Deductive Object, 2016, painted steel, 2.45 x 1.5 m (dia.), mirror panels, 10 x 10 m

<Deductive Object>

Alongside the film-installation <To Breathe>, <Deductive Object> is the first open-air sculpture to be installed in the outdoor exhibition space of the museum. It appears to be a large oval-shaped sculpture floating above a reflective pedestal. The mirror panel in the lower section is itself a sculpture and simultaneously a pedestal for sculpture. It was inspired by the “Cosmic Egg”, known in Indian traditional culture as the “Brahmanda Stone.” The scattered sunlight from <To Breathe> touches upon the obangsaek(cardinal colors) surface to create geometric shapes. Bottari structure and concept is also redefined in this piece. The rectangular mirror floor represents empty space, the fact clearly revealed by the corresponding obangsaek bands composing the abstract Bottari sculptures. The implied thoughts of the artist are contained in the geometric structures in distinct fashion.

Thread Routes V, 2016, stills from 16mm film transferred to HD format, 21:48, with sound

<Thread Routes - Chapter Ⅴ>

'Thread Routes' is a video series started in 2010. The artist found new possibilities to be introduced to her work when visited Belgium in 2002, where she was inspired by a woman weaving lace in the streets, and the urban architecture among other things. The 6-part series filmed on 16mm features footage from 6 different cultural groups including Europe, India, and China. This work is called “visual poetry” or “visual anthropology”, and provides insight into the nature, architecture, agriculture, and gender relationships across different cultures. All videos contain footage of the architectural characteristics of each region, and the performance-aspects of the general textile culture in each region, comparing and contrasting the regions. The latest part of the series, <Thread Routes Chapter V> was filmed in the territory of the Navajo and Hopi Indians in Arizona and New Mexico in the U.S.A. The Native Indians' braiding and weaving baskets run parallel to the streets and highways that symbolize metropolitan areas, all the while revealing the present trajectory of the thread. ■ with ARTINPOST

  • Deductive Object, 2016

    plaster casting of artist’s arms and antique wooden table, 152 x 74.5 x 76 cm

    Deductive Object, 2016, plaster casting of artist’s arms and antique wooden table, 152 x 74.5 x 76 cm
  • Geometry of Body, 2006 – 2015

    artist’s yoga mat, 185 x 63.5 cm

    Geometry of Body, 2006 – 2015, artist’s yoga mat, 185 x 63.5 cm
  • One Breath, 2004 / 2016

    digital embroidery on satin, abstract from The Weaving Factory sound performance by the artist, 2004, 180 x 61 cm

    One Breath, 2004 / 2016, digital embroidery on satin, abstract from The Weaving Factory sound performance by the artist, 2004, 180 x 61 cm
  • A Study on Body, 1981

    a series of five silkscreen prints on paper based on the artist performance photos, 54.5 x 55.5 cm

    A Study on Body, 1981, a series of five silkscreen prints on paper based on the artist performance photos, 54.5 x 55.5 cm
  • A Study on Body, 1981

    a series of five silkscreen prints on paper based on the artist performance photos, 54.5 x 55.5 cm

    A Study on Body, 1981, a series of five silkscreen prints on paper based on the artist performance photos, 54.5 x 55.5 cm
  • A Study on Body, 1981

    a series of five silkscreen prints on paper based on the artist performance photos, 54.5 x 55.5 cm

    A Study on Body, 1981, a series of five silkscreen prints on paper based on the artist performance photos, 54.5 x 55.5 cm
  • A Study on Body, 1981

    a series of five silkscreen prints on paper based on the artist performance photos, 54.5 x 55.5 cm

    A Study on Body, 1981, a series of five silkscreen prints on paper based on the artist performance photos, 54.5 x 55.5 cm
  • A Study on Body, 1981

    a series of five silkscreen prints on paper based on the artist performance photos, 54.5 x 55.5 cm

    A Study on Body, 1981, a series of five silkscreen prints on paper based on the artist performance photos, 54.5 x 55.5 cm
  • Archive of Mind, 2016

    participatory site specific installation consisting of clay spheres, 19 m elliptical wooden table, with sound performance Unfolding Sphere, 2016, 15’31”.

    Archive of Mind, 2016, participatory site specific installation consisting of clay spheres, 19 m elliptical wooden table, with sound performance Unfolding Sphere, 2016, 15’31”.
  • Archive of Mind, 2016

    participatory site specific installation consisting of clay spheres, 19 m elliptical wooden table, with sound performance Unfolding Sphere, 2016, 15’31”.

    Archive of Mind, 2016, participatory site specific installation consisting of clay spheres, 19 m elliptical wooden table, with sound performance Unfolding Sphere, 2016, 15’31”.
  • Deductive Object, 2016

    painted steel, 2.45 x 1.5 m (dia.), mirror panels, 10 x 10 m

    Deductive Object, 2016, painted steel, 2.45 x 1.5 m (dia.), mirror panels, 10 x 10 m
  • Thread Routes V, 2016

    stills from 16mm film transferred to HD format, 21:48, with sound

    Thread Routes V, 2016, stills from 16mm film transferred to HD format, 21:48, with sound
  • Thread Routes V, 2016

    stills from 16mm film transferred to HD format, 21:48, with sound

    Thread Routes V, 2016, stills from 16mm film transferred to HD format, 21:48, with sound
  • Thread Routes V, 2016

    stills from 16mm film transferred to HD format, 21:48, with sound

    Thread Routes V, 2016, stills from 16mm film transferred to HD format, 21:48, with sound
  • Thread Routes V, 2016

    stills from 16mm film transferred to HD format, 21:48, with sound

    Thread Routes V, 2016, stills from 16mm film transferred to HD format, 21:48, with sound

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