Kim’s works recount memories of everyday encounters such as sceneries, movies, and books. With ordinary scenes and popular images as his source, the artist constructs a subjective archive.

Work, the result of a 2 year-long project, is the artist’s record of contemporary culture. Each work is an interpretation of a popular image, such as the famous dancing scene in the Academy- winning film La La Land, the scene in Haruki Murakami’s novel 1Q84 in which the protagonist looks up at the moon, and the lamppost in the C. S. Lewis series The Chronicles of Narnia.

Kim's works show simplicity, sincerity, and authenticity like Milton Avery and Philip Guston. The materials he uses; oil pastels and oil sticks give viewers intimate feelings. This work shows how contemporary film and literature with distinct characteristics are reduced down to uniform colors when processed through a consumer.

Untitled

From the series, "One Of Us Cannot Be Wrong," monochromes and reds, architecture and flowers, a stroll alongside Leonard Cohen. Collage and acrylic on 8"x10" wood gallery panel, inset into 12"x16" wood panel. "I'm coming now, I'm coming to reward them"

They Sentenced Me To 20 Years Of Boredom

Acrylic on canvas 

100x100cm

2020

Germany

The clearing sky, deep in the sea and an amethyst somewhere downthere

Acrylic on canvas

40 cm x 50 cm

2020

No. 106

C’era una volta il West (2018)
electric hotplates, flute kettles (stainless steel), water, automatic timers 
120 x 75 x 40 cm (H x W x D)

Two flute kettles stand on two individual hot plates and are heated at regular intervals by automatic timers. When the water begins to boil, the kettles emit a characteristic whistling sound. this creates a kind of dialogue in which the sounds partially overlap and can be heard at different volumes. In addition, the hotplates also emit an acoustic signal. As soon as the maximum temperature is reached, they are automatically switched on and off with an audible “click”.
​
[...] C’era una volta il West is Nicolas Vionnet’s installation, which plays with the idea of the (im)possibility of communication, i.e. of establishing dialogues in unusual conditions. In an attempt to create a dialogue between cookers, the author wittily addresses the fact that even impossible communication conditions can sometimes result in a harmonious dialogue – even when the dialogue in question is established between mere kitchen implements. [...]
Leila Topic, senior curator at Zagreb Museum of Contemporary Art (MSU)

Video-Documentation: https://vimeo.com/264383114


C’era una volta il West

Yohana Oizumi is a Brazilian visual artist who lives and works in São Paulo. In 2019 she graduated from the University Center of Fine Arts in São Paulo. 

Artist of The Month ArtConnect Magazine February 2021 (Berlim).
Contemplated by the residency FAMA MUSEUM Meios e Processos 2020
Finalist of the DASARTES PRIZE 2021.
Participates in exhibitions as in (BRAZIL) SUBSOLO, MuBA,  Goethe Institut, Instituto and Tomie Ohtake Núcleo de Cultura.(PORTUGAL) Galeria Ocupa and CAAA Centro para os Assuntos de Artes e Arquitectura.(GERMANY) NextMuseum io.(ITALY) Millepiani. (CUBA) FIVAC. (SOUTH KOREA) CICA MUSEUM. 

Her research is focused on the resistance of some materiality, through the clash between "bodies"until the
exhaustion of matter and or self She is attentive at visceral aspects. 
"Getsemani", 2020/ "Sub Versões", 2019 and "After the Seventh Day", 2019 are performance that questions social control systems and their physical and psychological consequences by deconstructing, reconstructing, accepting and reframing marks and molds.

In "Inside Out", 2020 she crumpled a paper with her hands dirty with ink, until its fibers were exhausted and then she watched the light through the grooves and veins of this paper, i n this context, in "Flesh of My Flesh", 2020,  she reflected on discovering the inside out and on the internal possibilities that are similar to all people the visceral. The first work is a crumpled paper, the second is a sweet potato. The artist observes her daily life looking for aspects of the human body that characterize the visceral psychological.

Photography Credits:
"Getsemani", 2020 | Isadora Falcão. 
"After the Seventh Day", 2019 | Isadora Falcão, Raquel Cutin and Sophia Donadelli.


Sub Versões, 2019

Concrete, Plaster, Spray Paint, Ink

25cm x 20cm x 5cm

Zone, 2021

Twilight comes crawling through the gaps 

This work explores the fascinating & curious characteristics of various feathers. As with many of Gromoll’s works the foundation stems from a large collection which is displayed on the second floor. Connected through only a hole in the ceiling, the underlying room is the stage for a brief 5 minute performance.
A selection of feathers is intuitively chosen and released to the lower room. Detached from their natural purpose to serve flight, the feathers are now able to show their own unique personality. As they dance down from the ceiling a magnificent and ethereal play reveals itself. The feathers’ descent is guided by what once was its natural function, its remaining form as a separated entity in combination with what seems like the will to express its newfound identity.
Eventually this play comes to conclusion as an image on the floor shaped by the chosen feathers and their paths.


Feathers

Do Not Call Me Painting Again! (2013)
patterned fabric on canvas, lacquer, paint splashes (wall and floor) 
210 x 100 x 30 cm (H x W x D)

The work Do Not Call Me Painting Again! imitates a painting, but in the proper sense it is a site-specific, installative work. A large-scale canvas is covered with an industrially manufactured fabric. The design shows a typical retro floral pattern on a light blue background. Paint splashes of the same characteristic blue colour can be found on the wall and on the floor. 

On the one hand the work deals with the topic of deception - only a closer second look will show that the pattern is not painted. On the other hand, it examines the boundaries between design and art, mass product and original.

Do Not Call Me Painting Again!

Within cocoon a selection is shown of an ongoing process in which deceased insects are gathered throughout daily life. A fragile husk is all that remains from many of these creatures, yet upon closer inspection immense beauty may be found in their transient physical presence.
Through adopting the insects into this colony of unseen passing, a new stage in the post-lifecycle is set in motion. Encased in a thin and vulnerable glass cocoon, they are offered temporary protection & preservation from outside influences, human or natural alike.
The glass cocoon as an intervention allows for the short life of each of these individuals to resonate beyond their own time. An opportunity for us to take a more attentive look at these tiny beings which account for the majority of life on the planet.


Cocoon

Frozen months

28cm x 23cm x 5cm 

Concrete, Plaster, Found Plastic, Ink, Spray Paint

Layers of manmade material, resembling an abstract landscape or layers of geology; embedded with found plastic. 

Upside Down & Slightly Wonky, 2020

Yohana Oizumi is a Brazilian visual artist who lives and works in São Paulo. In 2019 she graduated from the University Center of Fine Arts in São Paulo. Contemplated by the residency FAMA MUSEUM Meios e Processos 2020 and finalist of the DASARTES PRIZE 2021. Participates in exhibitions as in (BRAZIL) SUBSOLO, MuBA Goethe Institut, Instituto and Tomie Ohtake Núcleo de Cultura.(PORTUGAL) Galeria Ocupa and CAAA .(GERMANY) online NextMuseum io.

Her research is focused on the resistance of some materiality, through the clash between "bodies"until the
exhaustion of matter and or self She is attentive at visceral aspects. 
"Getsemani", 2020/ "Sub Versões", 2019 and "After the Seventh Day", 2019 are performance that questions social control systems and their physical and psychological consequences by deconstructing, reconstructing, accepting and reframing marks and molds.

In "Inside Out", 2020 she crumpled a paper with her hands dirty with ink, until its fibers were exhausted and then she watched the light through the grooves and veins of this paper, i n this context, in "Flesh of My Flesh", 2020,  she reflected on discovering the inside out and on the internal possibilities that are similar to all people the visceral. The first work is a crumpled paper, the second is a sweet potato. The artist observes her daily life looking for aspects of the human body that characterize the visceral psychological.

Photography Credits:
"Getsemani", 2020 | Isadora Falcão. 
"After the Seventh Day", 2019 | Isadora Falcão, Raquel Cutin and Sophia Donadelli.


Inside Out | Entranhas, 2020

We (Dongyan and Effie) started this project on the 9th of October 2020. It is an ongoing mailing art project between Singapore and Shenzhen City. Started from Effie in Shenzhen City, by mailing over two paper plaster sculptures made by herself. We are going to take the turn to rework and make changes to the objects and sending them over to each other again and again.

We used to work with different kinds of media, (Dongyan used to work more with videos and  Effie used to work more with 3D sculptures and installations.) But we would like to see what can we create by working on the same piece. During the process, there were and there are going to be a lot of problems and changes, as it is an ongoing project. Our ideas keep changing, as we have no idea of how these objects were being modified by another person. Meanwhile, we are also trying to explore the different ways of documenting and archiving (such as through writing, drawings, photographs…) to record down the whole process. We would like to experiment with various types of installations by creating different kinds of art atmospheres in different countries.

For the most recent update of this project, please visit: https://dongyanchen.com/189-Mailing-Art
2020年发生了太多的事，许多原本计划好的事情都被迫中断。我们（陈东彦与李宛怡）想要通过一种不同的方式，在这个特别的时候做一个特别的合作。一位在新加坡，一位在深圳，由于疫情的原因，跨国旅行变成了一件遥不可及的事情，但是包裹可以。在一次语音谈话中，我们聊到了邮寄“意识”的这个想法。

于是这个远距离合作的邮寄艺术项目，就在深圳跟新加坡之间开始了。

在这个网络发达的年代，除了快递，人们已经不再通过写信来表达自己的想法，情感了。长期隔离在一个地方会让我们的精神开始放空，枯竭。我们相信，思想是需要碰撞的，意识是需要流动的，这样才会有更多新的灵感迸发出来。但是除了网络，通过这种邮寄的古老手段，是否还能够用来表达一段思想，一段感情，一段想法呢？ 我们这个包裹在运输过程当中，其实代替了我们本身去旅行，在这来来回回的过程中，我们不断地对这个包裹进行重组，改造，这不仅是我们自身主动进行的改造，还有在邮寄的过程中，受到的一些震动，一些不可抗力的摩擦，甚至破坏。当我拿回这个包裹的时候，它已经不是跟我寄出的时候一样的包裹了。

这个作品由2020年10月9日开始从深圳寄出，目前已经到了第三个来回。作品的走向由一开始的一个简单石膏雕塑，进化成了我们一开始也想不到的东西。由于是一个合作项目，我们之间对作品不同的想法，也会在这个作品上渐渐体现出来，这是一种碰撞，也是一种融合。在这个过程中，我们也在探索不同的记录方式，我们尝试着用照片，用文字，用影片，社交媒体等方法，把这个过程记录下来，因为这也是这个作品最重要的一部分。这个包裹所经历的一切，也正是我们所经历的。

在接下来日子里，我们也会继续在两地之间不断地邮寄这个作品，我们希望这会是一个长期的项目，随着时间的推移，它或许会慢慢演变成各种各样的形式，这也是这个作品最令人期待的部分，就像是我们想要重新规划的路线，在2020年的疫情发生之后，思考着如何重新开始。



189 Mailing Art, (Ongoing)

This series of photographs show people from Adana looking at objects which have been placed on a plinth.

 

Since leaving St Martins, I have thought a lot about the role of contemporary art in different societies and cultures. These concerns come to the foreground when I go back to my hometown in Turkey. I find it difficult to tell my family about what I do in London. The contemporary issues I explore seem less relevant to their lives and its difficult for them to relate to the work I produce.

 

I wanted to explore the idea of contemporary sculpture and my family. The relationship between the object and a person creates a symbolic status and a social structure which links to my background. People left their habitual identities and ordinary circumstances to achieve an anonymous simplicity by participating in a studio setting. This meeting describes an intriguing relationship between the power of an object and the objectification of the figure.

Extraneous Objects

Participation at Chart Fair Copenhague with works in stainless steel and brass: 

COUNTERPOINT
64 x 40 x42 cm, polished brass and granite block
A polished brass and granite piece that explores the relationship between 2 independent forces in order to obtain the balance.

LIGHTNING
135 x 85 x45 Polished stainless steel

SOL Y LUNA
Sol : 60 x 60 x 60 cm, polished brass, 2019
Luna: 40 x 40 x 60 cm, polished stainless steel, 2019
This work is about the existence of cycles in life, cycles formed by the interplay of complementary opposites, mutually constituted and moving spirally. 

Chart

Off/On

The Still Life works are fully digital, and by that I mean every pixel has only ever existed inside the digital realm (no textures, bump maps etc are from photographs or scans). The reason for this was to point out that the human eye can no longer tell the difference between the fabricated or the real, going one step further the scene and all that is in it mimics a our reality, further undermining our ability to tell the difference. I ask the viewer to look strong and hard at the image, the harder one looks the more convinced they are that it is real. Whereas the opposite used to be true of digital imagery, where the more you looked the less you believe it to be real.

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