sketch for shilla


Hi Gregory & Nayoungim --

So my proposal for my space in Shilla involves feathers and footsteps... The footsteps, naturally, would be pasted to the ground. I'm not thinking that many... maybe similar to the number below, but life-size. All printed on a black-and-white printer, pasted individually. (The feather part goes on the wall.) I don't think this needs to be more than 1x2.5 meter of floor space.

Can you tell me again the dimensions of the space I can use?

Thx,
Jayme
Oct.2009

Kim Kim GALLERY Button



Kim Kim Gallery Multiple
5,5 cm diameter, plastic relief
20 examples
Oct.2009

Installation view at the show
Kim Kim Gallery at Shilla
Nov. 2009

Kim Kim Gallery at Shilla: "If it works, it’s out of date"

전시 제목: Kim Kim Gallery at Shilla: "If it works, it’s out of date"
전시 장소: 갤러리 신라
대구 중구 대봉동 130-5
www.galleryshilla.com

일정: 2009년 11월 6일-29일
오프닝 2009년 11월 6일 오후 5시 (오프팅때는 특별 콘서트가 있다)

Kim Kim Gallery 김김 갤러리는 작가 김나영과 그레고리 마스가 운영하는 in situ/컨셉트 갤러리이다.
Website: www.kimkimgallery.com

기존의 전시 방법, 미술 시장에서 생기는 여러 질문들을 다른식의 접근과 유기적인 전략으로 해결하는 시도이다.
미술에 대한 열정과 작가의 선별, 전시의 주제 등을 통솔력있고 유기적인 구조로 사회화시키려고 하며,
현대미술 시장에 융통성 있는 플랫폼을 제시한다.

Kim Kim Gallery 연혁
1회 전시:2008년 3월 Kim Kim Gallery 개관전,
Market Gallery, 스코틀랜드 글라스고
2회 전시:2008년 8월 Rob-ert Showroom, 독일 베를린
3회 전시: 2009년 11월 갤러리 신라

Kim Kim Gallery의 작가는 한국의 정서영 Chung Seoyoung, 김범 Kim Beom 외에
Robert Estermann (스위스), Douglas Park (영국) Nicolai Seyfarth (독일), Jerome Saint-Loubert Bie (프랑스) 등
이번 전시에는 그래픽 디자이너 Jayme Yen(미국) 도 참가한다.

Billy 2006


La sculpture mesure 16.1 cm x 10.0 cm x 4.6 cm (exactement 1/6e d'une étagère Billy).
...
Je sais que c'est exactement le 30e anniversaire de Billy, donc ce serait en effet très approprié et je serais très content de participer à votre exposition.

À très bientôt,
Jérôme
Oct.2009

Chung seoyoung paints "To Smoke or To Sing"


울타리( 담배 피우거나, 노래하거나 / To Smoke or To Sing )
Oct.2009
Seoul

A nigh-on compulsory cliché

A nigh-on compulsory cliché about any important event is “everybody can remember where they were and what they were doing when it happened”. Unfortunately, this isn’t always so. All too often, tragedies get awarded back-seat status, despite their direct impacts on all of our lives and everything else.

The following has to be or definitely is the greatest such example.

One fine day (Around 4.30 pm, on February 26th 1994 to be exact) seemed like just another day and business as usual for the New City Cinema of Saint John Street in London. O.K, so this was no ordinary cinema, but an adult, sex or porn flea-pit; as we all know and can’t deny (but frequently take for granted) such establishments are the life-force and blood of society and humanity, the new rock n roll and the umpteenth emergency service. However, any norm is bound to have exceptions and not always run according to plan or need as expected.

Everything changed forever never to be the same again with the advent of a certain David Lauwers (34 at the time, at least partly of Dutch descent and nationality, a tailor’s pattern-cutter by trade and occupation, of no fixed abode and with severe hearing- impediments–which might’ve been at least partly behind him being known as “deaf Dave” –unless that was a coincidence and there were other reasons). As may be not uncommon, this already “boozed up” (as the prosecution later said), David Lauwers disagreed over the entrance-cost or the fact payment was required (a £7 tariff in 1994 money), claimed he’d already paid earlier, argued with those on the door, as was later admitted, got headbutted by doorman, Alfred Parsons and somewhat got slightly refused admission a bit. Sadly, this wasn’t the end of it. David Lauwers didn’t give up that easily, being made of sterner stuff.

Evidently, David Lauwers resented the price or even the sheer fact cash had to handed over and also fact he was turned away. What little is known about this David Lauwers and what went through his mind that fateful day, 1 thing is for certain: he didn’t take to or shrug off rejection lightly and could well have been the sort to bear a grudge. Alongside what turned out to be sheer folly on the part of the New City Cinema –a deadly combination and a marriage made in hell, just waiting to happen.

It’s highly likely that David Lauwers could well have been what experts would diagnose as sub-clinically or even terminally fed-up, possibly in a tertiary or terminal phases of a bad mood. Possibly even then, plots were hatching themselves. He can’t have got too far before coming across a convenient petrol station. Once there, he bought a tin of fuel (unless he stole it –because he didn’t seem prepared or able to pay for the entrance-cost at the New City Cinema). Its unrecorded whether anything seemed memorable or amiss to the staff wherever that was.

Once fully equipped, David Lauwers returned to the New City Cinema. Perhaps after some disturbance or even confrontation, unless he chose his riposte to be an unexpected sweet surprise sprung onto the unsuspecting unawares –he well and truly fired, took aim and retired –or rather scarpered –unless he stayed around to gloat and cheer and remind his targets of their plight.

Many hands on deck went down. Still more came to grief. A few escaped –mostly scoring injuries. Apparently, 1 sucked clean air through a cracked wall (not a gloryhole). The Fire Brigade (unless it was the Royal National Lifeboat Association or Meals-On-Wheels or something) must’ve taken the job on for a laugh, found it difficult or even impossible to keep straight faces and not fall around and piss themselves. They later got medals for bravery though, so it wasn’t all in vain or only for fun. The names of those who fell for us on black what eversday appeared on teletext. Despite that being tailormade for the cast or credits on a war memorial monument, theres still no permanent reminder in their memory and honour. An obelisk with balls at the base would be ideal. Epitaphs like: “Lest We Forget”, “What A Way To Go” and “Better Luck Next Time” seem in order.

Not long after his faux-pas, David Lauwers visited an unnamed friend, where upon seeing newsfootage about his handiwork, remarked: “Christ, I never knew it was as bad as that. I could be in for a murder charge here”. Realising he’d hit the jackpot and struck lucky and wanted to claim his prise, David Lauwers reported to some police station. When charged and sentenced right up the Old Bailey, for reasons of “understanding” (whatever that means in legal terms), David Lauwers got some discount-tariff of only 3 deaths, not the full 11. The prosecutor was a certain, John Nutting. Sign-lingo infested what were otherwise “hearings”. Another odd thing was the court-case trial happened over a year after black whateversday. David Lauwers went down for life and doesn't seem to have been heard of since -unless I've lost the bet there on that one.

Even at the time the event went dismissed, apart from exchanges like: “so you / I / we got out o.k”, “that’s the last time anybody dares turn you / me / us away”, “serves them right” and “that should teach them” etc. For all I know, there were no services, questions in parliament, speeches, 1 minute’s silence or anything like that.

Apparently, the New City Cinema reopened at the same place or nearby, under the same or another name. No other known episodes seem associated with it.

None of those customary headlines that get regurgitated and dusted-off for such occasions neither. “How Did It Happen?”, “A Community Scarred And Torn Apart”, “Could This Spell The End Of Our Love-Affair With The Sex-Cinema?”, then later “1 Year On: Could It Happen Again? / Lessons That Just Haven’t Been Learned?”.

Bit too late for any of that now though. As well as that war memorial monument idea, what would be nice are things like a star-studded action-packed feature flick (a la the ‘Towering Inferno’, ‘The Poisidon Adventure’, ‘The Titanic’ etc) and a hit-musical set to run and run.

However, we should never rule out the possibility of conspiracies, cover-ups and media-blackouts. Was David Lauwers set up and framed and knowing on more than he let on? Notice how little there is online and in print about it. Coincidence? Whatever, as far as I’m concerned this ere file should never be closed –and I promise never to rest or give up until the many can finally say: “justice at last!”

© Douglas Park, 2009

Zones de Productivités Concertées


Year: 2007
Publisher: MAC/VAL Musée d’Art Contemporain du Val-de-Marne, Vitry-sur-Seine, France
Editor: Julie David
Graphic design: Marie Auvity
Essay by Stéphanie Airaud
French and English

Book, 22 x 16.5 cm [8 5/8 x 6 1/2 in.], 32 pages.

The artist's book/catalog “Zones de Productivités Concertées” is a montage of the nineteen other artists’ catalogs of the same series published by MAC/VAL. Seeking out a sequence that works visually, it comprises reprints of one page from each catalog with the constraint of maintaining the original page number. Page 1 is a superposition of the print files for the first page of all nineteen catalogs. This publication also contains an interview in which my responses are entirely a montage of quotes from the responses of nineteen other artists in their interviews. The essay by Stéphanie Airaud is the only thing that does not come from another artist's catalog. In using files that were already prepared for print and in remixing the words of other artists, this publication sought to fully exploit the theme of Economy set out by the curator of this series of solo shows.

Kim Beom at Unconquered. Critical Visions from South Korea


Museo Tamayo Arte Contemporáneo presents Unconquered. Critical Visions from South Korea, an exhibition exploring criticality as a creative tool in contemporary aesthetic strategies. The exhibition includes artwork by five artists from Seoul –Park Chang-Kyong, Lim Minouk, Beom Kim, Young Whan Bae and Sangdon Kim. Unconquered is organized by Museo Tamayo in Mexico City and Insa Art Space in Seoul.

In the 1980s, a number of social movements and a more profound sense of a collective political consciousness from the masses contributed to a process of democratization in South Korea. This process peeked in 1992 with the end of a 30-year military dictatorship. That decade, South Korea flourished. Exportation of information technologies, and heavy industries, among other goods, began to play a fundamental role, and established South Korea as an advanced economy in the world.

The artists in Unconquered mostly emerged in the 1990s. While they were partially influenced by the 1980s generation directly associated to Minjung Art–a politically oriented arts movement in South Korea characterized for its imagery of the common people, its critique of authoritarianism and imperialism, and its struggle for democratization–this younger group of artists also looked at politically sensitive artistic movements abroad, particularly at new developments in public art. Respectful yet doubtful of the current impact of populist themes and formal strategies in art, the artists in Unconquered created a new, more personal, visual language to make their work. Through a language of reflection rather than reaction, they challenge the political instrumentalization of art.

Unconquered is guest-curated by Heejin Kim, who as the artists is also based in Seoul. She has selected artworks that mostly address on every day events, and that speak from an individual standpoint about the self as a political subject. This self-reflexivity subtlety provokes a new sensibility towards the everyday and a critical vision of one's surroundings.

Museo Tamayo Arte Contemporáneo
Reforma y Gandhi s/n
Bosque de Chapultepec
Mexico City, 11580
(+52) 5286 6519

http://www.museotamayo.org

kim Kim Gallery at shilla ad




design; Jayme Yen
oct.2009

art and the city


Group Show with Sean Synder, Philip Parreno, Chosil Kil, Nayoungim & Gregory Maass, Jun Yang
Gallery 175, Seoul
28th Sep.-18th Oct. 2009

Trucker's Restroom, 2008
Tiles, Formboard, glass

chung seoyoung studio




Oct.2009
Seoul

Kim Kim Gallery

Kim Kim Gallery is an enterpreneurial model building a gallery business on the grounds of manageraly cybernetics. Giving solutions to all kind of problems in displaying art, through its unique approach to the formation of organizational strategies, the design of organizational structure, the selection of artists, themes, localities, socialisation and evaluation of personnel and the ongoing process of leadership and motivation, an ongoing passion for art, which never failed us. A unique visualized concept, giving an adaptable platform to contemporary art inside contemporary business.

NURSERYWORLD at Galerie Jennifer Flay, Paris, 2003


Somewhere, way beyond the furthermost surviving and rejected leftovers from the recently departed past, it is known full well and often played upon (but kept top-secret, never discussed openly) that there lie remnants of a long since lost pre-era, been and gone even before then, occurring in a non-space, apart from all others, by now just about completely forgotten, only almost barely remembered –and yet learnt off by heart, forever thought of and felt for, no matter how faraway. Despite justified preferability and every single universal desire, dream, urge, hope and wish being really always about them –they are not necessarily innocent, safe and enjoyable by any means; although the pragmatic and functional desperate need to escape and abandon this side and end of things, in favour of reaping benefits and improvement offered elsewhere, far outweighs any mere threat or real risk. However, enforced terms of STRICTLY NO THOROUGHFARE/ALL ENTRY FORBIDDEN/OUT OF BOUNDS/OFF LIMITS/KEEP OUT apply inflexibly throughout -as well as it being nearly impossible or at least severely difficult to find and return to this earliest time and distant place again, whether for short-term visits or a permanent one-way-trip; anyway, such expeditions themselves are fraught with treacherous conditions, problematic setbacks and threatening dangers, plus, an outcome of empty-handed disappointment is a sure likelihood, if nothing worse, rather than anything else more adverse happening. When and wherever they actually went to and are hidden, banished into exile, how and if that can ever be reached, the seductive haunting attraction and irresistible lure is infectious and addictive; all those who get involuntarily drawn, held and caught by the grip and clutches of this imprisoning embrace, fall into and stay put under unbreakable and reversal-proof charmed curse magical spell damnation enchantment. Constantly, optimistic hope and belief in promises of closeness to hand, waiting around the next corner, any moment now –prove to be near miss after near miss. Nonetheless, reliable evidence suggests everything there has stayed the same, well preserved, without change, as they were left -but, also, probable certainty that upon discovery and arrival, instead of the customary warm and generous welcome-back and homecoming reception expected, entry and membership is subject to selective and conditional acceptance policies, still, not without loopholes, of course….
Douglas Park, 2003

New Estermann Studio


Alte Spinnerei
CH-5430 Wettingen, Switzerland