La più recente opera sitespecific da ricordare è “To Breathe: invisible mirror” eseguita per il Centre Pompidou di Metz. Kimsooja, ‘To Breathe: Bottari’, 2013, mixed media installation, partial installation view of the Korean Pavilion, the 55th Venice Biennale. And this relationship can arise only when the engagement of the audience activates the performance by viewing it. I see my way of working and the parameters of my practice as being the influence that has created the situation where I have three different bases in different continents, rather than the other way around. The difference between the Crystal Palace piece and the Korean Pavilion is that for To Breathe: Bottari, I could create the relationship between light and darkness, which was a new evolution, and I was able to juxtapose visual knowledge with the unknown [and] unseen, by creating an anechoic chamber in complete darkness, which is called: To Breathe: Blackout. collectors, dealers, museums, galleries, funds, critics, students and Asian art enthusiasts. How did the idea for this work come about? Her work is in the exhibition “TRA Edge of Becoming” at Palazzo Fortuny in Venice (June 4th- November 27th, 2011). Arte, Architettura, Cinema, Danza, Musica, Teatro, Archivio Storico delle Arti Contemporanee, College, etc etc... La Biennale di Venezia nasce nel 1895 ed è considerata tra le istituzioni culturali più note e prestigiose al mondo. While I was in New York, bottari objects were more of a formalistic and aesthetic statement, but when I returned to Korea, I saw our culture and women’s roles in it from a more critical perspective and the bottari was no longer just an aesthetic object. The installation, Lotus: Zone of Zero (2008) transforms the space into a place of meditation for the audience with Gregorian, Islamic and Tibetan chants coming together at the centre. At the same time, this special moment gave me an insight into the Korean pavilion project by encouraging me to construct an anechoic chamber to explore a state of complete darkness and soundlessness. Also, The breathing in this work is very powerful, taking the viewer from very serene state to a state of discomfort during the rapid breathing. Performing the world’s poetry with “Thread Routes”. In the video for PBS Art21, you spoke about “finding transcendental moment and space” in your works in relation to the installation To Breathe at the Crystal Palace in Madrid. Installation and sound bring Kimsooja’s South Korean pavilion to life at the 55th Venice Biennale. Three Channels sound installation with jukebox, mixed sound from Tibetan monk chant, Gregorian chant, and Islamic chant. Kimsooja’s Venice Biennale installation, ‘To Breathe: Bottari’ allows nature to permeate the walls of an interior space transforming it into a physical and psychological sanctuary. Kimsooja, ‘Deductive Object’, 1996, used bedcovers and used clothes, dimensions variable, installation at Akira Ikeda Gallery, Taura, Japan. Kimsooja ha rappresentato la Korea alla 24° Biennale di San Paolo nel 1998 e alla 55° Biennale di Venezia nel 2013; ha partecipato a più di 30 biennali e triennali in ambito internazionale. Photography by Thierry Depagne, image courtesy Kimsooja Studio. The art scenes, or the structure of the art scenes in Seoul, Paris and New York are quite different and unique. What are the biggest challenges for Korean artists today? Can you talk about how these cities were chosen? By wrapping fragments of colourful traditional clothing with a colourful bedcover, I discovered it [the fabric] could become a wrapped two-dimensional “tableau” that was transformed into a three-dimensional sculpture simply by tying one knot and holding all the contents inwardly, as if hugging them all or being pregnant. Jun 8, 2013 - kimsooja's korean pavilion at the 2013 venice art biennale is a living, breathing 'bottari'--a physical and psychological sanctuary for personal reflection. Photography by Mikäel Falke, image courtesy the Centre for Fine Arts, Brussels, the Ministry of Culture, Sports and Tourism, Korea and Kimsooja studio. In each city I stood still as a symbolic needle to reveal the human conditions in existential, geo-cultural and socio-political dimensions, as an axis of both space and time. kimsooja's korean pavilion at the 2013 venice art biennale is a living, breathing 'bottari'--a physical and psychological sanctuary for personal reflection. The whole process of my practice has always been a journey of searching for a self awareness. Although the Korean art world is still narrow, there’s a lot of positive energy in Seoul, which I think is promising if only they would reflect a little more on the reality of where they are. The grandness and the beauty of this palace enabled me to create the void, without installing any objects in it, by pushing the void of the palace all the way to the skin of the building, emptying it and reflecting the structure as a whole using the same translucent film on the glass of the windows, and creating a bottari of sound and light, filled with my breathing voices. The breathing sound performance was first experimented with at a former weaving factory in Lodz during Lodz Biennale, 2004. This light and shadow reflects onto the white walls and simultaneously bounces endlessly back and forth from the mirrored skin of the ceiling and the floor, folding and unfolding into infinity. In your video performance work “A Needle Woman” (1999-2001), you are standing meditatively still with your back facing the camera in the midst of people walking in bustling cities such as Tokyo, Cairo, New York, Delhi. Kimsooja, ‘Thread Routes – Chapter 1’, 2010, stills from 16mm film transferred to HD format, 26m:51s sound, courtesy of Kukje Gallery, Seoul and Kimsooja Studio. Quite nationalistic transforming problems into solutions more interested in the city of Poitiers, France to be present at time... What was it like working with 16mm film and a team kimsooja venice biennale, as well as to world... 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