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Jinsoo Kim

Februrary 9 - March 8, 2005

Artificial intelligence, digital technology, and genetic engineering have already altered our perception of the natural world. Artists today are exploring the possibilities of re-ordering or re-inventing reality while accepting its simulacra as a natural consequence. Jinsoo Kim's installations investigate realities of all sorts while challenging traditional assumptions about the space, the world, and its contents. Kim creates alternative often-improved worlds in his constructions that sometimes result in fictional images, which nevertheless appear plausible. Kim's apertures for example, which seem like shutter panels are partially open but can also be understood as being on the verge of closing.

Entering/Exiting, I, 2005, 32 Piece Painting. 11 x 11"


Entering/Exiting, II, 2005, Sculpture Hard Board, Ply Wood, Tape, Thread, 6 x 8", left. Model standing in front of Entering/Exiting IV, 2005, 44 3/4 x 44 3/4", center.

 Kim conjures up fantastic although possible spatial scenarios that find their relevance in current aesthetic tendencies that due to new technologies are seeking to examine new possibilities for the future of art. While the idea of reality and experience have become fluid, Kim is expanding reality's scope by investigating the limits of space, mass and physical matter for the purpose of expanding his sculptural means as well as his perceptual doors. As rigid notions of identity, reality and space are being challenged, Kim is working to more broadly define reality in consideration of simulated space as anything from void to computer generated simulacrum.
 The Exiting/Entering series is an installation consisting of thirty-two paintings, four drawings and two monumental constructions. The thirty-two paintings depict concave apertures in neutral colors that vary in tone and that appear to recede spatially. Each of the paintings comprises sixteen smaller pieces that together make up a panel and appear as one. The two sculptural works utilize large scored and threaded squares that when collated represent two shutters that can be read as partially open doors or windows. Kim's immaculate, serene white surfaces are scored into squares lined with thread that at once allude to tiled walls, while simultaneously appearing like doors or windows. Because he conflates the two; wall and door he broadens our reading as well as our perception. As humans we are shaped by our unconscious apprehension of our physical environment because it is experienced subjectively or as it is felt. Newly constructed spaces outside the normal expectations and not read in a linear fashion can provide a place that allows for conceptual expansion three dimensionally yet extended in paradoxical combinations that n potentially lead to shifts in mental awareness.

  Although Char Davies writes about virtual environments and cyberspace, her ideas can be applied to Kim’s re-ordering of space also. In conveying her insights she quotes Gaston Bachelard’s words “By changing space, by leaving the space of one's usual sensibilities, one enters into communication with a space that is psychically innovating. For we do not change place, we change our nature.[1] Davies discusses the psychological effects of "changing space" which according to her are “echoed by psychologists documenting the effects of traditional contemplative practices in terms of altering states of consciousness.” Char also agrees with Arthur Deikman's claim in "Deautomatization and the Mystic Experience," that “the conditions fostered by such practices involve a dehabituating or "deautomatizing" of perceptual sensibilities. This process would break the shackles of linear perception to result in the synthesis of fresh materials allowing for new readings. Deikman asserts “...Deautomatization is here conceived as permitting the adult to attain a new, fresh perception of the world by freeing him from a stereotyped organization built up over the years by allowing adult synthetic functions access to fresh materials.” [2] The idea of constructed space can also be associated with Jean Badrillard’s simulacra of the “real that no longer has to be rational, since it is no longer measured against some ideal or negative instance…. It is no longer real at all. It is a hyperreal: the product of an irradiating synthesis of combinatory models in a hyperspace without atmosphere.”[3]

 Kim’s constructions are made of disposable materials consisting of paper, pencil crayons, and thread that due to their ephemerality, overturn the modernist notion of an artwork's timelessness to become synonymous with contemporaneous coordinates. Kim deflates the notion of the artwork’s durability confronting us in its stead with disposable commodities that reference society’s market driven, profit seeking, self- promotional considerations.

Thalia Vrachopoulos
Exhibitions Director

For Further Information Please Contact:
Thalia Vrachopoulos

[1] Gaston Bachelard, The Poetics of Space (Boston, Mass.: Beacon Press, 1966) p. 206 in Changing Space: Virtual Reality as an Arena of Embodied Being, (1997) by Char Davies published in Multimedia: From Wagner to Virtual Reality, New York, New York: W.W. Norton & Company (2001). Pp. 293-300
[2] Arthur Deikman, "Deautomatization and Mystical Experience" and "Experimental Meditation," in Altered States of Consciousness, Charles Tart, ed., New York: HarperCollins, 1990, pp. 50, 262-3
[3] Jean Baudrillard, "Simulcra and Simulations" in The Visual Culture Reader, Nicholas Mirzoeff, Ed., (Routledge Press, London and New York: 2002) pps. 145-146

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