377:. The work stages these clips across two screens, adjoined at a right angle. Rapidly repeated, the clips of the families' emotional gestures of (such as waving or embracing) not only accentuates their effusive-yet-distraught reactions, but also the brevity of their long-awaited reunions. Similarly paradoxical, the work's running time is very short (only 50 seconds) despite the artist's labor-intensive editing process, which is underscored by the installation's soundtrack of what sounds like a whirring hard-drive.
265:
monitor on a pedestal with a light hanging above it. The work begins with the monitor showing clouds serenely floating in the sky, until a hammer appears in the foreground and begins to move back and forth, readying to strike the monitor's screen. The hammer then begins repeatedly striking the screen. Each time, the screen goes black, a loud "bang" resounds, and the plinth rocks back and forth. When the image flickers back, cracks appear on the screen.
243:. In the year 2000, Kim participated in the first Seoul Mediacity Biennial and moved to Seoul, where he is currently based. In the past two decades, his works have been presented in the context of seven solo exhibitions as well as group exhibitions of media art globally, and been included in several exhibitions of the National Museum of Modern and Contemporary Art's video art collection.
140:. One of the only Korean artists who has remained active in media art from the late 1980s to the present, Kim has consistently pursued video installations that bridge experience of virtuality and physical reality, often in ways that, according to the art theorist Min Huijeong, stood outside contemporaneous conceptions of video as a purely imaginary or cognitive realm.
304:. The work presented several video monitors arranged throughout a gallery space (some stand against the walls, others are face-up on the floor). At the center is a brush that stands before an audio speaker, with a video camera recording their interaction. Over the course of work, the brush vibrates with the music emitted by the speaker—a recording of
264:
is the video installation for which Kim Haemin not only first gained wider recognition as a media artist, but has also been described by the curator and art theorist I Yunhui as "one of the most outstanding works in the history of media art in Korea" It is composed of a video installation of a CRT
334:
was a video installation of two screens with red and blue lightbulbs suspended between them. Over the course of the work, Kim Haemin appears wearing different costumes, from traditional robes of
Confucian scholars and Buddhist monks to a modern-day suit and tie. Over the course of the work, these
163:(1992). As his practice matured, Kim has evoked the lived experience of Korean society across multiple moments, from the 1990s through the present. All the while, he has brought together video, lighting, and sound to set the stage for his examinations of social and historical concepts.
272:
challenges audiences' perception of the video medium by seeming to break the boundary between the virtual realm of video and the physical realm the audience occupies. Furthermore, incorporating a device that responded to sound by rocking the pedestal back and forth,
158:
Over three decades of video works, Kim's works have differently entered into conversation with history. Pioneering methods for dismantling the screen as the division between video and its audience, Kim gained initial recognition in Korea's art scene for
226:
In 1992, Kim participated in a short-term artist residency in
Germany, where he presented installations of video and materials in outdoor settings. After returning to South Korean and gaining wide recognition for his work
314:
bridges conceptions of the brush as a tool for communication and the candle as a medium between man and the divine in religious and ritual practices. (monograph, 68) It also demonstrates Kim Haemin's early interest in
335:
different versions of the artist appear to interact with each other across the screens and also respond to the lightbulbs that hang between them and turn on or off in concert with the figures' seeming interaction.
218:
with video, Kim's early performances perturbed the boundaries between genres. Having realized that such performances required complex, collective effort, Kim began working more independently as he turned to
281:
and facilitated live interaction between its elements. It also stands as an early instance in which Kim Haemin used humor to hook his audience, a tactic he would employ across several later works.
606:
458:
350:). It also illustrated Kim's deep and longstanding interest in the worldviews that have fundamentally shaped modern-day Korean society. Created in the wake of the
712:
664:
591:
240:
191:
painting's dominance in postwar Korean art) and Im
Dongsik (who had spent a decade in Germany). In particular, Im Dongsik was a mentor to Kim and exposed him to
319:—particularly in how an artist is akin to the shaman by mediating the real and the imaginary—which he continued to explore across many later works.
151:, Kim experimented with media performance in the late 1980s. Thereafter, he turned his focus to video; from making works of video installation with
231:(1992), Kim Haemin participated in several video and media related exhibitions in Germany and Japan, as well as in South Korea, including the 1993
308:. The video camera records these movements, which are in turn displayed live upon the various monitors and look like a flickering candle flame.
508:. Isik Myeong, Hwasu Mun, 명이식, 문화수, Gungnip Hyeondae Misulgwan, Seoul Kolleksyeon, 국립현대미술관, 서울콜렉션. Gwacheon: Gungnip Hyeondae Misulgwan. 2019.
741:
688:
640:
567:
513:
342:
staged a conversation of cultural symbolism across its different costumes and its red and blue lights (which allude to the dualities such as
338:
Carrying forward Kim's the staging techniques for multiple channels of video and use of light bulbs that Kim explored throughout the 1990s,
484:
442:
74:
786:
559:
Paek Nam-jun ihu : midiŏ at'isŭt'ŭ waŭi int'ŏbyu = Post, Nam Jun Paik : interview with 15 media artists in Korea
781:
351:
260:
716:
537:
374:
433:
Min, Hŭijŏng, I yŏngsŏn, I yunhŭi, Ch'iaro
Minatto, Chŏng Yongdo, Kim Hangnyang, Ryu Byŏnghak, Kim Haemin (2019).
195:
via the group he led (called Ya Tu), as well as provided information on and anecdotes about media art in
Germany.
373:
by clipping television footage of North and South Korean families who reunited upon the 50th anniversary of the
206:. Kim's first experiments were a series of media performances, which he staged between 1987 and 1990 as part of
776:
88:
771:
347:
706:
658:
585:
531:
452:
220:
747:
737:
694:
684:
646:
636:
573:
563:
519:
509:
480:
438:
192:
155:
in the 1990s, Kim later staged multi-channel video projections—and continues to do so today.
236:
152:
180:
111:
358:
is a self portrait of the artist that evokes the broader identity conflicts of its time.
765:
207:
203:
176:
144:
129:
343:
683:. Yeon Shim Chung, Sŏn-jŏng Kim, Kimberly Chung, Keith B. Wagner. London. 2020.
297:
278:
232:
188:
137:
125:
202:
following his exposure in the mid-1980s to works by and articles on the artist
751:
698:
650:
523:
435:
Kim Haemin bidioyesul chakp'umjip (Kim Haemin: Media
Installations, 1987–2019)
577:
316:
199:
175:, Kim Haemin first worked at a local theater, where he gained experience in
731:
678:
630:
503:
557:
330:
Among Kim's first works to use projection instead of CRT video monitors,
305:
172:
148:
121:
635:. Hyŏng-gyŏng Chang, 장 현경 (Ch'op'an ed.). Kyŏnggi-do Sŏngnam-si.
632:
Han'guk midiŏ at'ŭ ŭi hŭrŭm : midiŏ at'isŭt'ŭ 37-t'im ŭi int'ŏbyu
79:
301:
58:
215:
211:
133:
733:
Modŭn kyŏnggyeenŭn kkoch'i p'inda (On Every Border Flower Blooms)
187:). He became friends with the artists I Geonyong (who protested
680:
Korean art from 1953 : collision, innovation, interaction
268:
Mining the basic relationship between video and the viewer,
354:
in South Korea and just before the turn of the millennium,
93:
183:
as part of what in South Korea is known as "stage art" (
241:
87:
73:
57:
52:
40:
28:
21:
300:that was once designated an early capital of the
736:. Daejeon, South Korea: Daejeon Museum of Art.
210:in Daejeon, Seoul, and Japan. Combining live
147:while working in theaters in his hometown of
8:
457:: CS1 maint: multiple names: authors list (
115:
64:
711:: CS1 maint: location missing publisher (
663:: CS1 maint: location missing publisher (
590:: CS1 maint: location missing publisher (
18:
437:. Seoul, South Korea: Kim Haemin Studio.
386:
704:
656:
583:
529:
450:
607:"Pivotal Moments in Korean Video Art"
428:
426:
424:
422:
420:
418:
416:
414:
412:
410:
171:When he began his artistic career in
16:South Korean media artist (born 1957)
7:
624:
622:
620:
551:
549:
547:
498:
496:
477:Yukkam matsaji (Sixth Sense Massage)
470:
468:
408:
406:
404:
402:
400:
398:
396:
394:
392:
390:
479:. Seoul, South Korea: Nabi Press.
296:was named after the area south of
143:After gaining early experience in
14:
132:currently living and working in
116:
65:
1:
629:Kang, Mi-jŏng; 강 미정 (2020).
605:Yi, Wonkon (February 2020).
94:
80:
803:
562:(1-p'an ed.). Sŏul.
101:
48:
556:Yi, Ŭn-ju; 이 은주 (2016).
375:1953 Armistice Agreement
198:Kim began working with
613:– via The Artro.
536:: CS1 maint: others (
505:Hanguk bidio ateu 7090
475:Ryu, Pyŏnghak (2011).
292:A video installation,
715:) CS1 maint: others (
787:South Korean artists
369:Kim Haemin composed
223:in the early 1990s.
75:Revised Romanization
35:Daejeon, South Korea
782:People from Daejeon
371:50-second Rendering
363:50-second Rendering
356:Unreasonable Alibi
340:Unreasonable Alibi
332:Unreasonable Alibi
324:Unreasonable Alibi
221:video installation
743:978-89-92017-33-6
690:978-0-7148-7833-1
642:978-89-6324-706-9
569:978-89-968146-2-7
515:978-89-6303-227-6
193:environmental art
105:
104:
89:McCune–Reischauer
794:
756:
755:
730:I, Jiho (2009).
727:
721:
720:
710:
702:
675:
669:
668:
662:
654:
626:
615:
614:
602:
596:
595:
589:
581:
553:
542:
541:
535:
527:
500:
491:
490:
472:
463:
462:
456:
448:
430:
247:Notable artworks
237:Gwangju Biennale
119:
118:
97:
83:
68:
67:
19:
802:
801:
797:
796:
795:
793:
792:
791:
762:
761:
760:
759:
744:
729:
728:
724:
703:
691:
677:
676:
672:
655:
643:
628:
627:
618:
611:Art and Culture
604:
603:
599:
582:
570:
555:
554:
545:
528:
516:
502:
501:
494:
487:
474:
473:
466:
449:
445:
432:
431:
388:
383:
367:
328:
290:
257:
249:
181:lighting design
169:
120:, born 1957 in
69:
36:
33:
24:
17:
12:
11:
5:
800:
798:
790:
789:
784:
779:
774:
764:
763:
758:
757:
742:
722:
689:
670:
641:
616:
597:
568:
543:
514:
492:
485:
464:
443:
385:
384:
382:
379:
366:
360:
327:
321:
302:Joseon dynasty
289:
283:
256:
250:
248:
245:
168:
165:
103:
102:
99:
98:
91:
85:
84:
77:
71:
70:
63:
61:
55:
54:
50:
49:
46:
45:
42:
38:
37:
34:
30:
26:
25:
22:
15:
13:
10:
9:
6:
4:
3:
2:
799:
788:
785:
783:
780:
778:
777:Living people
775:
773:
770:
769:
767:
753:
749:
745:
739:
735:
734:
726:
723:
718:
714:
708:
700:
696:
692:
686:
682:
681:
674:
671:
666:
660:
652:
648:
644:
638:
634:
633:
625:
623:
621:
617:
612:
608:
601:
598:
593:
587:
579:
575:
571:
565:
561:
560:
552:
550:
548:
544:
539:
533:
525:
521:
517:
511:
507:
506:
499:
497:
493:
488:
486:9788995472859
482:
478:
471:
469:
465:
460:
454:
446:
444:9791195955510
440:
436:
429:
427:
425:
423:
421:
419:
417:
415:
413:
411:
409:
407:
405:
403:
401:
399:
397:
395:
393:
391:
387:
380:
378:
376:
372:
364:
361:
359:
357:
353:
349:
345:
341:
336:
333:
325:
322:
320:
318:
313:
309:
307:
303:
299:
295:
287:
284:
282:
280:
276:
271:
266:
263:
262:
254:
251:
246:
244:
242:
239:, and at the
238:
235:, the second
234:
230:
224:
222:
217:
213:
209:
208:art festivals
205:
204:Nam June Paik
201:
196:
194:
190:
186:
182:
178:
174:
166:
164:
162:
156:
154:
150:
146:
141:
139:
135:
131:
127:
123:
113:
109:
100:
96:
92:
90:
86:
82:
78:
76:
72:
62:
60:
56:
51:
47:
43:
39:
31:
27:
20:
732:
725:
679:
673:
631:
610:
600:
558:
504:
476:
434:
370:
368:
362:
355:
348:Korean flags
344:yin and yang
339:
337:
331:
329:
323:
311:
310:
293:
291:
285:
277:extended to
274:
269:
267:
259:
258:
252:
233:Daejeon EXPO
228:
225:
197:
184:
170:
160:
157:
153:CRT monitors
142:
130:media artist
107:
106:
44:Media artist
772:1957 births
346:as well as
298:Gyeryongsan
279:kinetic art
255:(1992/2002)
185:mudae misul
145:scenography
138:South Korea
126:South Korea
114::
53:Korean name
766:Categories
752:1012736200
699:1140152367
651:1243302983
524:1236776786
381:References
352:IMF crisis
108:Kim Haemin
95:Kim Haemin
81:Gim Haemin
41:Occupation
23:Kim Haemin
707:cite book
659:cite book
586:cite book
578:954039352
532:cite book
453:cite book
317:shamanism
275:TV Hammer
270:TV Hammer
261:TV Hammer
253:TV Hammer
229:TV Hammer
167:Biography
161:TV Hammer
306:gayageum
189:Informel
312:Sindoan
294:Sindoan
286:Sindoan
173:Daejeon
149:Daejeon
128:) is a
122:Daejeon
750:
740:
697:
687:
649:
639:
576:
566:
522:
512:
483:
441:
365:(2003)
326:(1999)
288:(1994)
177:scenic
112:Korean
59:Hangul
216:music
212:dance
200:video
134:Seoul
748:OCLC
738:ISBN
717:link
713:link
695:OCLC
685:ISBN
665:link
647:OCLC
637:ISBN
592:link
574:OCLC
564:ISBN
538:link
520:OCLC
510:ISBN
481:ISBN
459:link
439:ISBN
214:and
179:and
32:1957
29:Born
117:김해민
66:김해민
768::
746:.
709:}}
705:{{
693:.
661:}}
657:{{
645:.
619:^
609:.
588:}}
584:{{
572:.
546:^
534:}}
530:{{
518:.
495:^
467:^
455:}}
451:{{
389:^
136:,
124:,
754:.
719:)
701:.
667:)
653:.
594:)
580:.
540:)
526:.
489:.
461:)
447:.
110:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.