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Ayoung Kim

Seoul, b.1979

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...

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,...

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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

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

Educations

  • 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

Exhibitions on Eazel