KIMSOOJA 金守子
KIMSOOJA 金守子
KIMSOOJA 金守子 Mumbai: A Laundry Field 孟买: 洗衣场 Opening: September 4th 2008年9月4日
KIMSOOJA Mumbai: A Laundry Field
...Shifting freely from one perception to the next clear your mind of all that bothers you no thoughts that can distract you from reality or your personal being... No thought, image or sensation is considered an intrusion. The meditator, with a ‘no effort’ attitude, is asked to remain in the here and now. Using the focus as an ‘anchor’... brings the subject constantly back to the present, avoiding cognitive analysis or fantasy regarding the contents of awareness, and increasing tolerance… i The artist Kimsooja (Born 1957, Taegu, Korea) acts as a visual and spiritual mediator through a metaphor for life which viewers are invited to contemplate. Since the early ‘80s, Kimsooja began to include colourful popular and used fabrics in her artistic work. Her fascination with textiles specifically began in 1983. It was a very precise moment in her life, when she was sewing a Korean bedspread with her mother. At that time, she was questioning the concept of “painting’s surface dimension”. When she first placed a needle into the structure of a fabric, she felt thrilled and joyful, as if a ray of immeasurable energy penetrated through her fingers and into her whole body, reaching to the needlepoint where it met the surface of the fabric. Life’s essential components, Yin and Yang, have become fundamental elements in Kimsooja’s work since this very particular experience, and have evolved on a number of levels in her art. Made of bright colours and decorated with traditional and symbolic embroideries, the textiles are habitually used as bedcovers, but also to wrap into a bundle (in Korean language Bottari) to carry personal belongings when moving from one town to another. This very typical and modest way of trek, very well operated by Nomads; it represents a choice of living for many populations. In Kimsooja’s life, since childhood until present, Nomadism has been an important philosophical and practical school and belief, which became also the main language she uses to articulate her artistic work: the detachment from any sort of affection and materialistic things. This is a concept that we find very deeply expressed in Buddhist thoughts, where the attachment to worldly pleasures, and the clinging to this existence and to our “self” is the main cause of “suffering”. “Suffering” ends when craving ends, when the complete detachment from our “self” and “desires” succeed and we become conscious free enlighten minds, as Buddha’s its self.
Disconnected from a utilitarian context, the colourful fabrics become universal symbols of life. While the character of the object was featured foremost at first, the human body became the object in space and time in the installation “Sewing into Walking” (1994), in which the artist moved her body as a symbolic ‘needle’, connecting between the bedcovers. The work “Mumbai: A Laundry Field”, showing at Galleria Continua, Beijing, in a 4 channel video format, evolved from the series “A Needle Woman” (1999-2001 and 2005) and a “Laundry woman” (2000). The series was filmed in cities and other locations around the world. The artist, in a featureless outfit, has her back to the camera, almost like a silhouette. The central figure is recognizable as an unknown and common person, an “everywoman”, constantly portrayed as a fixed point in the flow of the passing crowds, or lying still while clouds pass overhead. In this video series, Kimsooja’s body is always an anonymous presence moving into a phase of meditation, immersing in contemplative scenarios, breaking through the world’s surface and deep into its soul, “like a needle in a haystack”. The eye of the camera corresponds to that of the artist, standing apart, watching from a detached perspective. It is as if in a pure act of concentration the world vision would appear clearer and undisturbed through the narrow needle’s “eye”.
“ A needle being an extension of the body, and a thread being the extension of the mind. The traces of the mind stay always in the fabric, but the needle leaves the site when its mediation is complete. The needle is a medium, a mystery, a reality, a hermaphrodite, a barometer, a moment a Zen”. ii In this “materialistic” society of which we are part, where “individualism” prevails, and people are feed by the “desire to consume”, Kimsooja minimalist and conceptual work and attitude toward life represent a brave tentative of removal, of detachment from all predominant and corrupting attitudes. Most of Kimsooja’s works seem to belong to a place where time is indefinable. They have in common universality, a timelessness that encapsulates both past and present. The present tense is then symbolised by the artist’s body itself. The body becomes a medium or a void that the audience is invited to stare at. With her back to us, she invites viewers to an introspective journey, inside the crowd, inside our minds, inside the earth. Her silhouette becomes a void, as if the void could be filled by any of our bodies. Her body has not identity but at the same time represent a strong physical existence, its difference brakes the flow like a blade, its silent interrupts any noise, we are welcome to take an invaluable trip into the incognito, into ourselves, through others, into a universal world. Always on the move, Kimsooja explores the indefinable properties of fabric through video, sculpture, installation and performances. Her works often merge Eastern and Western traditions, observing and juxtaposing cultures and human conditions, investigating the common ground between the intimate and the universally global. It is significant to many artists who’s country’s culture and history have been particularly “intense”, to
assume its own traditions and turn over its meaning, as a depart from past that finds its natural connection with contemporary needs. It avoids arguments or direct collision, and develops a transversal dialogue, which becomes universal, therefore belonging to all cultures. Bedcovers and used clothes that once belonged to a very specific time and person in Kimsooja’s works are consecrated to a universal role. Once cancelled their previous belongings they are not longer ”specific” but “universal”. They become part of the artwork, part of the contemporary world, the world of the viewer. The images of the video work “Mumbai: A Laundry Field” are a mesmerizing experience. They have an incredibly powerful impact on the viewer, making one sway between a sense of enchantment and a deep dismay, constantly obliging one to question the hardship and tragedy of life while enjoying its aesthetic appeal. The Laundry in Hinduisms culture, is not just an everyday domestic procedure, it is a specific ritual that is left to the lower cast as an act of purification for their own karma. Through the law of karma, the effects of all deeds actively create past, present, and future experiences, thus making one responsible for one’s own life, and the pain and joy it brings to him/her and others. Hindus believe that everything in the Universe is in a state of creation, maintenance, or destruction. Similarly, the mind creates a thought, maintains or follows it for some time, and the thought ultimately vanishes to be replaced by another thought. In addition to the three states of consciousness, there’s a fourth state of pure consciousness, where the mind is not engaged in thinking but just observes the thoughts. Actions in this state do not create karma. Meditation is a practice aimed at giving individuals the experience of being in this objective state. Staring at Kimsooja’s work, the viewer is invited to perform meditation and to enter a state of observation external to judgement, and mental corruption. While we get more and more engaged in this way of perceiving life, in an attempt to get beyond the conditioned, “thinking” mind into a deeper state of awareness, life responds with beautiful attracting colours, shapes and fatal situations as traps. The viewer is passive, but his mind is active, like clouds that pass by but never stops, like a needle, like a train which goal is the journey its self. i Perez-De-Albeniz, Alberto; Jeremy Holmes (March 2000). “Meditation: concepts, effects and uses in therapy”. International Journal of Psychotherapy. ii Kimsooja in an interview with Nicolas Bourriaud, Contemporary Art Museum, Lyon, 2003
Kimsooja (1957, Taegu Korea) lives and works in New York, since 1999. She studied at the Painting Department of Hong-Ik University & Graduate School in Seoul. Her numerous solo-exhibitions include Kimsooja at Magasin 3, Stockholm, Musèe d’art contemporaine de Lyon, Museum Kunst Palast, PAC Milan, and P.S.1/MOMA, New York. In addition, she realized several site-specific projects, most recently at Crystal Palace, Museo Nacional Centro de Reina Sofia, Madrid; and Teatro la Fenice, in conjunction with a joint solo exhibition at Fondazione Bevilacqua la Masa. You may find detailed information about her works, projects, texts, and catalogues on her website, (www.kimsooja.com). 金守子 (1957年 韩国大邱) 自1999年起在美国纽约工作和生活。 曾就读于香港大学油画系和首尔研究生学院。 艺术家举办过数目众多的个展，作品的展览地点分布在世界各地，其中包括：斯德哥尔摩的Magasin 3艺术 馆、里昂当代艺术博物馆、Kunst Palast博物馆、米兰当代艺术馆（PAC）、纽约PS1当代艺术中心、纽约现代艺 术博物馆(MOMA)等。 此外她还完成了多个特定地点项目，此类作品最近曾在水晶宫、马德里的索菲亚皇后国家艺术中心展出，在威 尼斯凤凰大剧院配合了威尼斯玛萨基金会也举办了同类展览。 登录艺术家的个人网站(www.kimsooja.com)即可以获得作品、制作、文献以及和系列有关的相关信息。
金守子 孟买: 洗衣场
...自由地从一个感知转向下一个，清除您心中的一切困扰，没有任何想法可以使你从现实或你的个人存在分 散注意力... 没有思想，形象或者感觉，被认为是一种入侵。 冥想者，持有一种’不努力’的态度，被要求继续留在现在和这里。使用这一焦点作为一个’标记’...带来这 一主题，不断回到现在，避免关于内容的认识的认知分析或幻想，并且增进宽容... 艺术家金守子(出生于1957年，大邱市，韩国）作为一个视觉和精神的中介人，通过一个对生活的隐喻，邀请 参观者进行思索。 自从80年代早期，金守子开始将彩色的织物引入她的作品。她对纺织品的关注具体始于1983年，那是她生 命当中一个非常具体的时刻，当时她正和她的母亲一同缝制床单。 在那个时期，她正对”绘画的表面尺寸”的概念提出质疑。当她第一次将针扎入织物结构时，她感到了一种 兴奋和愉悦，似乎有一股无限的能量透过她的手指进入她的整个身体，到达触及织物表面的针尖。 自从有了这个非常特别的经历，生命的主要内涵，阴阳，成为了金守子的作品里的基本元素，并且发展到了 她的艺术的很多层面。 这些织物由明亮的色彩组成并且由符号形式的刺绣装饰，人们传统上将它们用作床单，在从一个城镇迁移 到另一个的时候，也用作包袱（韩语里的“波脱丽”）来盛装个人物品。这种非常典型的和温和的跋涉方式，被 游牧民族很好的运用着;它代表很多人类一种生活的选择。在kimsooja的生命里，自童年起，直到目前，流浪一 直是一种重要的哲学和实用的学校和信仰，这也成为她所使用的主要语言，以清楚有力地表现她的艺术作品： 脱离任何形式的感情和物质的东西。这是一个概念，我们认为非常深刻地体现在佛教的思考，对世俗享乐的依 恋，和紧守着这种存在与我们的“自我”是“苦难”的主要原因 。当欲望结束时，就如同为佛陀自身一样，当我 们完全从“自我”和“欲望”脱离成功，并成为我们的自觉自由的启蒙思想时， “苦难”亦结束。 从实用性中脱离出来，这些花俏的织物产生出自己的美感，成为生活本身的一个通用符号。当这些物品的特 点在一开始被特定为首要时，人类的身体成为“缝入行走” （1994）这一装置作品移动在时间和空间的物品，在 这一作品中，艺术家移动她自己的身体作为一个符号上的“针”，连接与那些床单之间。 在北京常青画廊展示的作品“孟买：洗衣场”，以一个四通道的影像形式，发展于“针线女”系列作品(19992001 and 2005)。这一系列拍摄于全世界各地的城市和地点。艺术家身着毫无特色的服装，背对着摄像机，几 乎像一个影子。主要人物是一个未知的普通的存在， “一个普通女人”，不断地在过往行人的人流中扮演着一个 固定的点，或者当人流经过时静卧其中。在这一影像系列里，金守子的身体一直匿名出现进入一种深深的沉思状 态，沉浸在沉思的场景中，冲破了世界的表面而深深进入它的灵魂， “好像大海里的一根针”。相机的镜头相当 于艺术家的眼睛，远远地，从超然地角度观察着。似乎在一个纯粹的专注的行为中，透过狭窄的针“眼”，世界 视觉将呈现地更为清晰和静止。
“一根针成为身体的延长，一根线成为思想的延伸。思想的轨迹永远留在织物上，但是当思索完成时针离开 了现场。针是一种媒介，是一个谜，一个现实，一个两性体，一个晴雨表，一个禅的片刻”。
金守子的大部分作品似乎都属于一个时间不确定的地点，它们有着共同的一般性，一种包括过去和现在的 永恒。艺术家的身体本身成了现在时的象征。身体成为了观众受邀注视的一个媒介或者一种虚空。随着她背对 着我们，她邀请观众进入一段内省之旅，在人群内，在我们的思想中，在地球内部。她的人影，成为虚空的，似乎 成为一个可以被我们当中的任何一个身体填充的空壳。她的身体没有身份，但在同一时间，代表一个强大的实 际存在，其差异像刀片静止在人流中，其静默中断了任何噪音，我们欢迎这种宝贵的旅行，进入一种隐匿，进入 我们自己，通过他人，进入到一个普遍世界。 金守子总是不停地通过影像、雕塑和装置作品来发掘织物不计其数的性能。她的作品常常合并了东西方的 传统，观察和融合了不同的文化和人文状况，并且探究着在私密的个人方面和全球层面之间的共同点。 对很多艺术家来说，很重要的是谁的国家的文化和历史曾经特别得“激烈”，承担其自己的传统和传承它的含 义，对于过去的偏离，发现其自然结合当代的需要。它避免了辩论，或直接的碰撞，并且发展了一种横向对话， 这种对话变得很普遍，因此，它属于所有的文化。 床单和旧衣服，曾经属于一个很具体的时间和一个很具体的人，在金守子的作品里被圣化成为一个普遍角 色。一旦取消其先前的”所有物”性，他们不再是“具体的”，而成为“普遍的”。他们成为作品的一部分，当代 世界的一部分，观众的世界的一部分。 影像作品“孟买：洗衣场”的画面是一种进入到绚丽色彩当中的迷人的经历。它们对观看者有一种强大的冲 击，使他从一种迷人的感觉摇摆到一种极度的、可感知的沮丧中，不断地迫使他在享受生活美学上的吸引人的价 值魅力同时，对生活的艰难和悲剧性提出疑问。 洗衣在印度教文化里，不只是在日常生活中的家庭程序，它是一个具体的仪式，这是留给低阶级一种净化自己的 因果报应的行为。 通过因果报应律，所有的行为的影响积极地创造过去，现在和未来的经验，从而使人对自己的生活负责，还 有它所带给他/她和其他人的痛苦和喜悦。 印度教徒认为，宇宙中的一切都是一个创造、维护，或毁灭的状态。相似的，心灵创造一个想法，保持或跟 随一段时间后，这个想法最终消失，被另一个想法取代。除了意识的这三种状态之外，还有第四种纯意识状态， 在这种状态下心灵并不忙于思索而只是观察想法。行为在此状态下并不产生因果报应。冥想是一种实践，目的 是给于个人体验这种状态的经验。注视着金守子的作品，观众是应邀冥想，并进入一种观察状态，对外判断和 精神上的堕落。 当我们通过这种感知生活的方式获取越来越多地时候，尝试得到超过某种情况限制的， “思想”的心灵成为 一个更深刻的意识状态，生活回应着美丽诱人的色彩、形状和如同陷阱的致命的情景。观众是被动的，但他的 心灵是积极的，像云经过，但从未停止，像一根针，一列火车，其目标是其自我的旅程。
The Heaven and the Earth 1984 Thread, ink, and acrylic on used cloth 190 x 200 cm Photo by Lee Dong Keun 天空和大地
1984 在旧布上使用线绳, 墨水, 和丙烯酸酯 190 x 200厘米 摄像: 李东根
Portrait 1991 Used clothing fragments acrylics, thread, Chinese ink on canvas cloth 274 x 182 cm 画像
1991 在画布上使用旧衣服碎片 丙烯酸酯, 线绳, 中国墨 274 x 182厘米
Deductive Object 1990 Used clothing fragments, copper line, Chinese ink 30 cm diameter 演绎对象
1990 旧衣服碎片, 铜丝, 中国墨 直径30厘米
Deductive Object 1992 Used American clothing rack, used clothing fragments, acrylics 107 x 70 x 63 cm 演绎对象
1992 美国旧衣架, 旧衣服碎片, 丙烯酸酯 107 x 70 x 63厘米
Deductive Object 1993 Clothes fragments, wall Dimensions variable Installation view at PS1 Contemporary Art Center (Installation detail) Photo by Andrew Kearney 演绎对象
1993 碎布片, 墙 可变尺寸 在PS1当代艺术中心的装置 (装置细节) 摄影: 安德鲁·科尔尼
Deductive Object 1997 Used Korean bedcovers Installation view at Setagaya Museum of Art, Tokyo
Deductive Object 2002 Used Korean bedcovers Installation view at Central Park, New York City Whitney Biennial
演绎对象
1997 韩国旧床单 在东京世田谷美术馆中的装置
演绎对象
2002 韩国旧床单 在纽约中央公园, 惠特尼双年展上的装置
Untitled 1991 Cloth, copper line, thread and iron ring 185 x 4 cm each (7 parts) Photo by Lee Dong Keun 无题
1991 布, 铜丝, 线, 铁环 每部分185 x 4 厘米(7部分) 摄影: 李东根
Sewing into Walking - Kyungju 1994 Single channel video installation 19’40” loop 缝入行走 - 庆州
1994 单频道视频装置 19’40” 回放
缝入行走
-献给光州的遇难者 1995 旧床单和旧衣服 扬声器播放约翰·列侬的《理想世界》 在第一届韩国光州双年展上的装置 摄影: 福冈荣
Sewing Into Walking - Dedicated to the Victims of Kwangju 1995 Used bedclothes and used clothes Speakers playing “Imagine” by John Lennon Installation view at The 1st KwangJu Biennial, Korea Photo by Fukoka Sakae
Cities on the Move 1997 2727 km Bottari Truck Lightbox 188.5 x 128 x 25.5 cm 移动中的城市
1997 2727公里, 运包袱的卡车 灯箱
188.5 x 128 x 25.5厘米
Bottari (on the beach) Yongyou Island, Korea 1995 Iris Print on somerset velvet paper 63.5 x 50.8 cm Photo by Ju Myung Duk 包袱(在海滩上) 韩国永和甬岛
1995 萨默塞特天鹅绒纸上的数字墨喷印画 63.5 x 50.8厘米 摄像: 炬明博
Cities on the Move - Bottari Truck 2000 2.5 ton truck stacked with Bottaris Installation view at Rodin Gallery, Seoul Photo by Kim Hyunsoo 移动中的城市 - 运包袱的卡车
2000 2.5吨卡车堆满包袱 在韩国首尔罗丹画廊的装置 摄影：金贤秀
Bottari - waiting for the sunrise 2001 Single channel video 4’53” loop 包袱 - 等待日出
2001 单频道视频 4’53” 回放
Bottari - Alfa Beach 2001 Single channel video projection 6’18” loop 包袱 - 阿尔法海滩
2001 单频道视频投影 6’18” 回放
Bottari 2007 Used bedcovers and used clothes Installation view at Kewenig Galerie Photos by Simon Vogel 包袱
2007 旧被面和旧衣服 在Kewenig画廊的装置 摄影: 西蒙·傅高义
A Laundry Field 1997 Used bedcovers Installation view at Oakville Galleries 洗衣场
1997 旧床单 在奥克维尔画廊中的装置
Encounter - Looking Into Sewing 1998 - 2002 Vivachrome print 213 x 126 cm Photo by Lee Jong Soo 邂逅 - 查看缝纫
1998 - 2002 Vivachrome印刷 213 x 126厘米 摄影: 李钟洙
d’Apertutto, or Bottari Truck in Exile 1999 2.5 ton truck stacked with Bottaris 2000 x 650 cm mirror structure Installation view at Arsenale, 49th Venice Biennial Photo by Luca Campigotto 向所有人开放或流亡中的运包袱卡车
1999 装满包袱的2.5吨卡车 2000 x 650厘米的镜子结构 在阿森那49届威尼斯双年展的装置 摄像: 卢卡·坎皮戈托
A Needle Woman - Kitakyushu 1999 Single channel video projection 6’33” loop 针线女 - 北九州
1999 单频道视频投影 6’33” 回放
A Needle Woman 1999 - 2001 Video still from Shanghai (China) 8 channel video installation 6’33” loop 针线女
1999 - 2001 上海(中国)视频截图 8频道视频投影 6’33” 回放
From left to right Video stills from Tokyo (Japan), Mexico City (Mexico) London (England), Delhi (India) Cairo (Egypt), Lagos (Nigeria) 由左至右 视频截图 东京(日本), 墨西哥城(墨西哥) 伦敦(英国), 新德里(印度) 开罗(埃及), 拉各斯(尼日利亚)
From left to right Video stills from Havana (Cuba), Jerusalem (Israel), N’Djamena (Chad), Patan (Nepal), Rio de Janeiro (Brazil), Sana’a (Yemen) 由左至右 视频截图 哈瓦那(古巴), 耶路撒冷(以色列) 恩贾梅纳(乍得), 帕坦(尼泊尔) 里约热内卢(巴西), 萨那(也门)
A Needle Woman 2005 Video still from Patan (Nepal) 6 channel video installation 10’ 30” loop 针线女
2005 帕坦 (尼泊尔 )视频截图 6频道视频装置 10’ 30” 回放
A Laundry Woman - Yamuna River, India 2000 Single channel video projection 10’30” loop 洗衣女- 印度亚穆纳河
2000 单频道视频投影 10’30” 回放
A Beggar Woman - Cairo 2001 Single channel video projection 8’50” loop 乞讨女 - 开罗
2001 单频道视频投影 8’50” 回放
A Laundry Woman 2002 Used Korean bedcovers, Tibetan monk chant, 10 fans Installation view at Kunsthalle Wien Photo by Christian Wacher 洗衣女
2002 韩国旧被面, 藏经, 10个风扇 在维也纳艺术馆的装置 摄影: 克里斯汀·威克
A Mirror Woman 2002 Korean bedcovers, parallel mirror structure walls 4 fans, cable, Tibetan monk chant Installation view at Peter Blum Gallery, New York Photo by Bill Orcutt 镜子女人
2002 韩国被面, 平行的镜子结构墙, 4个风扇, 电缆, 藏经 在纽约彼得百隆画廊装置 摄影: 比尔·奥克特
Epitaph 2002 Digital c-print Performed at Greenlawn Cemetery, Brooklyn, New York Photo by Jason Schmidt 墓志铭
2002 数码彩色相片 纽约布鲁克林Greenlawn墓园现场 摄影: 贾森·施密特
Solarscope 2002 Installation view at Solares - The 2nd Valencia Biennial 9 different lighting sequences 18’00” loop Photo by Kimsooja 太阳投影仪
2002 在索拉雷斯 - 第二届瓦伦西亚双 年展的装置 9种不同灯光顺序 18’00” 回放 摄影: 金守子
A Lighthouse Woman, Memory of the Water 2002 9 different lighting sequences 30’00” loop Installation view at Morris Island, Charleston, Spoleto Festival USA photo by Ryan King 灯塔女人, 记忆中的水
2002 9种不同灯光顺序 30’00” 回放 在查尔斯顿的莫里斯岛, 美国史波雷多 艺术节的装置 摄影师: 瑞恩·金
Planted Names 2002 Woven Carpet Installation view at Drayton Hall Plantation House, Charleston, Spoleto Festival USA 种植的名字
2002 编织地毯 在查尔斯顿市德雷顿大厅的种植屋, 美 国斯博莱托艺术节的装置
A Mirror Woman - the ground of nowhere 2003 Aluminum ring, fine gauze cotton, mirror, wood 1737 x 640 cm diameter Installation view at Honolulu City Hall Crossings 2003: Korea/Hawaii In commemoration of the centennial of Korean/Hawaiian immigration Photo by Hal Lum 镜子女人 - 偏远空地
2003 铝环, 纱绵, 镜子, 木头 1737 x 直径640厘米 在火奴鲁鲁市议会厅装置 跨越2003: 韩国/夏威夷 韩国/夏威夷移民一百周年纪念 摄影: 海尔·卢姆
Lotus: Zone of Zero 2003 307 lotus lanterns, 6 speakers Sound from Tibetan, Gregorian, and Islamic Chant Installation view at Palais Rameau, Flower Power - Lille 2004 莲花: 零度空间
2003 307个莲花灯笼, 6个扬声器 藏经, 教皇合唱团和伊斯兰经的声音 在法国拉摩宫, 花的力量 - 里尔2004的装置
Mandala: Zone of Zero 2003 3 jukebox speakers Sound from Tibetan, Gregorian, and Islamic chant 9’50” loop Installation view at Projectile Gallery, NYC Photo by Erma Estwick 曼荼罗: 零度空间
2003 3个自动唱片点唱机 藏经, 教皇合唱团和伊斯兰经的声音 9’50” 回放 在纽约Projectile画廊的装置 摄影: 埃尔玛·埃斯特威克
The Seven Wishes 2004 Iris Prints 80 x 114 cm each 七个愿望
2004 数字墨喷印画 每幅80 x 114厘米
The Seven Wishes 2004 Iris Prints 80 x 114 cm each 七个愿望
2004 数字墨喷印画 每幅80 x 114厘米
The Seven Wishes 2004 Iris Prints 80 x 114 cm each 七个愿望
2004 数字墨喷印画 每幅80 x 114厘米
The Seven Wishes 2004 Iris Prints 80 x 114 cm each 七个愿望
2004 数字墨喷印画 每幅80 x 114厘米
To Breathe: Invisible Mirror/Invisible Needle 2006 Sound from Kimsooja’s A Weaving Factory (2004) Installation view at Teatro La Fenice, Venice Photo by Luca Campigotto 呼与吸: 无形的镜子/无形的针线
2006 金守子在《织布厂》的声音 (2004) 在威尼斯凤凰大剧院的装置 摄影: 卢卡·坎比高图
Kimsooja, To Breathe – A Mirror Woman 2006 Diffraction grating film, mirror Sound from Kimsooja’s A Weaving Factory (2005) Installation view at The Crystal Palace, Madrid Photo by Jaeho Chong, José Luis Municio 金守子, 呼吸 – 镜子女人
2006 衍射光栅胶片, 镜子 金守子在《织布厂》的声音 (2005) 在马德里, 水晶宫的装置 摄像: 郑在浩, 何塞·路易斯·穆尼西奥
An Album: Havana 2007 Inkjet (giclée) prints on Ultrasmooth Epson paper 56 x 79 cm 像册: 哈瓦那
2007 爱普生超光滑美术纸上的数字墨喷印画 56 x 79厘米
A Wind Woman 2007 Unique archival giclée canvas print 137.2 x 205.8 x 2.54 cm 风中女人
2007 独版的存档性数字墨喷印画 137.2 x 205.8 x 2.54厘米
Mumbai: A Laundry Field 2007 - 2008 5 channel video projection 10’30” loop Photo by Niteen Kasle
孟买: 洗衣场
2007 - 2008 5频道视频投影 10’30” 回放 摄像: 普拉第普·巴蒂亚
Mumbai: A Laundry Field 2007 - 2008 5 channel video projection 10’30” loop Photo by Niteen Kasle
孟买: 洗衣场
2007 - 2008 5频道视频投影 10’30” 回放 摄像: 普拉第普·巴蒂亚
editorial coordination Federica Beltrame graphic concept Shine Gao text Federica Beltrame editing and translation Federica Beltrame Li Yunbo Shen Yan Lisa Zhang
画册设计 高杉 文章 白飞德 编辑与翻译 白飞德 李蕴波 沈燕 张世英 展览安排
setting up Federica Beltrame Li Yunbo Liu Haichen Qin Haibo Shen Yan Koma Wan Wang Jianming Lisa Zhang Zhang Mingxin
展览制作
special thanks Massimo Billi Alice Fontanelli Kimsooja studio, Karen and Allie Enzo Ragazzi and OTIM Lubi Reboani Luca Zordan
MUDAM, Luxembourg
白飞德
exhibition coordination Federica Beltrame Kimsooja Kimsooja Studio Lorenzo Fiaschi
all images © the authors all courtesy to kimsooja studio
Art & Public, Geneva
编辑协调
Crossings 2003: Korea/Hawaii Kewenig Galerie, Cologne Kunsthalle Wien Le Consortium, Dijion Museo Nacional Centro de Arte Reina Sofía, Madrid Oakville Galleries, Toronto Peter Blum Gallery, New York PS1 Contemporary Art Center, New York Samsung Museum of Art, Seoul Spoleto Festival USA The Bevilacqua La Masa Foundation, Venice Venice Biennial Whitney Biennial
日内瓦艺术与公共画廊 卢森堡大公现代美术馆 跨越2003: 韩国/夏威夷 科隆Kewenig画廊 维也纳艺术馆 法国第戎财团艺术馆 马德里索菲皇后国家艺术中心博物馆 多伦多奥克维尔画廊 纽约彼得百隆画廊 纽约PS1当代艺术中心 首尔三星美术馆 美国史波雷多艺术节 威尼斯玛萨基金会 威尼斯双年展 惠特尼双年展
白飞德 金守子 金守子工作室 洛伦佐·飞亚斯其
白飞德 李蕴波 刘海臣 秦海波 沈燕 宛利杰 王建明 张世英 张明信 图片提供 © 作者 金守子工作室提供图片 特别鸣谢 马西莫·比利 爱丽斯·方达内里 金守子工作室, 卡伦, 艾丽 恩佐·拉卡其和欧惕目 露碧·雷博阿尼 路卡·佐丹
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