Seoul, b.1979

Ayoung Kim

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Ayoung Kim's recent work considers the natural resources of the seas and deserts, reflecting on how oil has become the equivalent of gold in our contemporary era and how this phenomenon intertwines with the history of the Middle East. The artist realigns and fragments macro-histories of the Middle East alongside the modern Korean economic boom resulting from political and economic ties with the region, overlaying these with individual micro-histories from within these two countries, merging them to create a unique kind of cultural algorithm. The algorithm departs from meta-storylines and transforms into a disassembled and scattered narrative, highlighting the intersection, collision, and tension of language—librettos which Kim utilizes to create experimental chorus performances. Working in collaboration with the composer Heera Kim these compositions use unnatural sounds from a musical score...

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Biography

Ayoung Kim's recent work considers the natural resources of the seas and deserts, reflecting on how oil has become the equivalent of gold in our contemporary era and how this phenomenon intertwines with the history of the Middle East. The artist realigns and fragments macro-histories of the Middle East alongside the modern Korean economic boom resulting from political and economic ties with the region, overlaying these with individual micro-histories from within these two countries, merging them to create a unique kind of cultural algorithm. The algorithm departs from meta-storylines and transforms into a disassembled and scattered narrative, highlighting the intersection, collision, and tension of language—librettos which Kim utilizes to create experimental chorus performances. Working in collaboration with the composer Heera Kim these compositions use unnatural sounds from a musical score similar to avant-garde opera. Kim is particularly interested in the myths and history of bitumen, commonly known as the base material of asphalt and a black, dark brown solid or viscous residue of refined petroleum. The history and use of naturally occurring bitumen dates long before the discovery of petroleum, and as described in the Bible, the substance was extracted from trees and used to coat the interior and exterior of Noah’s ark.

Image copyright on Ayoung Kim
Courtesy of the artist and Kukje Gallery, Seoul
Image and Text provided by Kukje Gallery, Seoul

Artworks

Grand deuil (Deep Mourning), 2016

RELATED CATEGORIES

Capitalism / Catastrophe / Collaboration / Globalization / Hegemonism / Human and Society / Modern and Contemporary History / Modern History / Music / Narrativity / Natural Resources / Oil Issue in the Middle East / Sound / Sound Installation / South Korea / Video

CURRICULUM VITAE

Education

  • 2010

    MA, Fine Art, Chelsea College of Arts, London

  • 2007

    BA. (Hons), Photography, LCC (London College of Communication), London, UK (1st Class in Dissertation)

  • 2002

    BFA, Visual Communication Design, Kookmin University, Seoul

Solo Exhibitions

  • 2016

    In This Vessel We Shall Be Kept, Palais de Tokyo, Paris

  • 2015

    Zepheth, Whale Oil, Hanging Gardens, Shell (Lecture performance accompanied by a publication), The Book Society, Seoul

  • Zepheth, Whale Oil from the Hanging Gardens to You, Shell 2 (Music Theater), Box Theater, Seoul Art Space Mullae, Seoul

Group Exhibitions

  • 2017

    Gridded Currents, Kukje Gallery, Seoul

  • Available Light : #5. Après le miroir (Group Screening), Shakespeare and Company, Paris

  • Samramansang: New Acquisitions 2013~2016, National Museum of Modern and Contemporary Art Korea, Seoul

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Curriculum Vitae

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Education

  • 2010

    MA, Fine Art, Chelsea College of Arts, London

  • 2007

    BA. (Hons), Photography, LCC (London College of Communication), London, UK (1st Class in Dissertation)

  • 2002

    BFA, Visual Communication Design, Kookmin University, Seoul

Solo Exhibitions

  • 2016

    In This Vessel We Shall Be Kept, Palais de Tokyo, Paris

  • 2015

    Zepheth, Whale Oil, Hanging Gardens, Shell (Lecture performance accompanied by a publication), The Book Society, Seoul

  • Zepheth, Whale Oil from the Hanging Gardens to You, Shell 2 (Music Theater), Box Theater, Seoul Art Space Mullae, Seoul

  • 2014

    The Railway Traveler’s Handbook, RTO Performance Hall, Culture Station Seoul 284, Seoul

  • 2013

    The Railway Traveler’s Handbook, Box Theater, Seoul Art Space Mullae, Seoul

  • 2012

    Crossings, 16 Bungee, Seoul

  • PH Express, Künstlerhaus Bethanien, Berlin

  • 2010

    Minima Memoria, Street Level, Glasgow

Group Exhibitions

  • 2017

    Gridded Currents, Kukje Gallery, Seoul

  • Available Light : #5. Après le miroir (Group Screening), Shakespeare and Company, Paris

  • Samramansang: New Acquisitions 2013~2016, National Museum of Modern and Contemporary Art Korea, Seoul

  • Metropolis of Desire: Visible and Invisible, Busan Museum of Art, Busan, Korea

  • 2016

    Festival Manca Sound Art Festival, CIRM(Centre National de Création Musicale), Nice, France

  • OVNi(Objectif Vidéo Nice) Video Art Festival, Hotel Windsor, Nice, France

  • Fraud Tectonics (Performance) in 30 Years 1986-2016: As the Moon Waxes and Wanes, National Museum of Modern and Contemporary Art, Gwacheon, Korea

  • La rumeur des naufrages, Palais Garnier, Paris

  • Urban Legends, Seoul Museum of Art, Seoul

  • Harsh Landscape: Sonic Cartography, Mcaulay Studio Foyer, Hong Kong Art Center, Hong Kong (Co-presented by CMHK: Contemporary Musiking Hong Kong)

  • 2015

    Secret Cinema (Group Screening), A4 Space, Alserkal Avenue, Dubai

  • All the World's Futures, La Biennale di Venezia: 56th International Art Exhibition, Venice

  • Film Montage, Coreana Museum of Art, Seoul

  • 2014

    Malfunction Library, Seoul Museum of Art, Seoul

  • 2012

    The Shade of Prosperity (Group Screening), Rivington Place, London

  • Theater of Sand in Playtime, Culture Station Seoul 284, Seoul

  • Artspectrum 2012, Leeum, Samsung Museum of Art, Seoul

  • 2011

    Korean Eye: Energy and Matter, Museum of Arts and Design (MAD), New York

  • Future Map Prize, 176/Zabludowicz Collection, London

  • 2009

    The Cinematic-Montage, Seoul Museum of Art, Seoul

  • 2008

    T.error: Your Fear Is an External Object, Menupont Galeria, Műcsarnok (Kunsthalle) Budapest, Budapest

Grants & Awards

  • 2017

    International Cultural Exchange Grant, Arts Council Korea, Korea

  • 2015

    Young Artist of the Year Award, Ministry of Culture, Sports and Tourism, Korea

  • Grant for a participation in 56th Venice Biennale, Arts Council Korea, Korea

  • SeMA Emerging Artist Grant, Seoul Museum of Art, Korea

  • 2014

    MAP: Multidisciplinary Art Grant, Seoul Art Space Mullae, Seoul Foundation for Arts and Culture, Korea

  • 2013

    Project Grant, Seoul Foundation for Arts and Culture, Korea

  • 2012

    Project Grant, Seoul Foundation for Arts and Culture, Korea

  • 2010

    Finalist, Future Map Prize, 176/Zabludowicz Collection & University of the Arts London, UK

  • The British Institution Award, Royal Academy of Arts, UK

  • UK Winner, Flash Forward - Emerging Photographers 2010, Magenta Foundation, Canada

  • Shortlisted, Bloomberg New Contemporaries, UK

  • 2009

    Young Art Frontier Grant, Arts Council Korea, Korea

  • 2008

    Finalist, Critical Mass 2008, Photo Lucida, US

  • 2nd Prize, 30th Joong-Ang Fine Arts Prize, Korea

  • NArt Grant, Seoul Foundation for Arts and Culture, Korea

Collections

  • MMCA (National Museum of Modern and Contemporary Art), Korea

  • Platform L, Seoul, Korea

  • Seoul Museum of Art, Korea

  • Leeum, Samsung Museum of Art, Korea

  • The Joaquim Paiva Collection/Museum of Modern Art of Rio de Janeiro, Brazil

  • Art Bank, National Museum of Modern and Contemporary Art, Korea

  • Joong-Ang Daily, Korea