430:"I don't see multimedia art as an artistic genre, rather a way of being, thinking, seeing and behaving. It's an open gesture, an indeterminate domain, a pluralistic manner of seeing, in other words a formless mode of approach based on a diversification of sites, prospects, languages and techniques. It's the 'movement of thought' or movement simple, its tracing. A Stroke of the Brush, the step. It ignores forms, distinctions, hierarchies yet has the capacity to change indefinitely and includes all domains and times simultaneously. This is why I like to call it 'Open media.'"
669:"Video is nothing but a 'shining empty vessel,' a 'vessel to fold time'; video is nothing but timing and energy. Video is X time of the frequency of an electron; one video image is composed of one twenty-fifth of second. Video is pure movement of timing and the life itself is nothing but how to use everyday time. Therefore video is life, use of time." Kim's linkage of video and the temporality of the living world offers an expansive understanding of the medium that moves beyond its technological functions.
258:, and performers. Kim's emphasis on openness and play dominate much of her work, allowing her to shift between and blend different references from different times and places, involve multiple participants in performances and installations, and explore the formal possibilities of both new and old mediums ranging from video to calligraphy.
298:. Kim's mother was a well-known calligrapher and painter exhibiting work under the name Sang Man, and Kim's grandfather practiced calligraphy as well. As a result, Kim studied calligraphy since early childhood, and argues that practicing calligraphy has been essential to her practice. She was also exposed to photography and
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is one example of her cross-medial work, offering a life-sized television made entirely of ice. The name of the sculpture was borne out of a misunderstanding with the employee at the ice factory who made the work, and wrote the words "empty water" instead of "video" on the piece ("vide eau," meaning
434:
Kim's linkage between newer mediums like video with artistic practices with longer histories, such as calligraphy, both allows the artist to think of multimedia art expansively, and is a direct result of technological advancesâthe accessibility and portability of camcorders fundamentally changed how
530:
Kim's solo exhibition at the U.S. Culture Center in Seoul titled "Soungui Kim Art
Festival" was her first show in the U.S. since moving to France. The exhibition featured a series of programs, including screenings and open discussions on trends and practices in contemporary artâa format unusual for
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with a 8mm movie camera, and continued to create video works with a 8mm movie camera she purchased in 1973, or video cameras she borrowed. After meeting artists like John Cage and Nam June Paik in the late 70s, and purchasing a video camera in 1983, Kim shifted towards working primarily with video.
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Kim has used the word "situation" to explain her work since 1971 when she arrived in France. Unable to utilize an existing term common in art, and drawn to the word's implication of openness and contingency, she found herself drawing on it when asked to speak about her practice. She claims that the
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In 1974, she became a professor at the Ăcole SupĂ©rieure des Beaux-Arts in
Marseille. She also taught at Ecole Nationale dâArt DĂ©coratif, Nice from 1974-5, and Ecole Nationale Superieure dâArt, Dijon from 2001-2011. Scholar Jean-Michel RabatĂ© credits Kim with showing students in cities across France
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Kim completed her undergraduate and graduate studies at the
College of Fine Arts at Seoul National University from 1966-71. Her classmates included artist Sung Wankyung and architect Chung Guyon. While attending school, she studied French through language exchange with a French Catholic priest. She
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Kim first conceived of the work in 1975, but considers each installation a new piece. The installation includes a drawn calendar on the exhibition wall covering the dates of the show. Each day of the exhibition, visitors are welcome to write in whichever language, script, and color they choose the
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For the first few decades of her career, Kim was largely unknown in the Korean art world, exhibiting primarily outside of Korea. In 1995, the
National Museum of Modern and Contemporary Art (MMCA) tried to work with Kim to take part in the exhibition for their "Artist of the Year" program, but the
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The Korean
National Center for Industrial Technology commissioned the multimedia work consisting of two components. The first was a multi-video projection that displayed a random combination of TV and satellite channel signals, and videos showing the day's weather and times across the world which
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In 1971, the Centre
Artistique de Rencontre International in Nice invited Kim, and awarded her a scholarship that allowed her to move to France at the age of 25 and study at the Ăcole Nationale d'Arts DĂ©coratifs de Nice. Upon graduating she was selected for an exhibition featuring work by select
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Art critic Hye-jin Mun describes a consistency in Kim's oeuvre exemplified by the key words" play, process, situation, the everyday, coincidence, non/sense, inaction, loss of self, and paradox. But Mun also notes the difficulty of categorizing and broadly contextualizing Kim's work given her
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A number of Kim's works involve participation from the public or invited artists and friends, keying into her desire to create open-ended works that move beyond the individual, and can take on different forms with multiple iterations. While documenting individual performances in the video
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words "yesterday," "today," and "tomorrow" under the current date. The peculiarity of Kim's calendar renders every day "yesterday," "today," and "tomorrow," thus destabilizing our notions around time, and illustrating how the passage of time is tied to both lived experience and language.
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Kim has worked across a wide-range of media, including video, drawing, painting, performance, installation, photography, sculpture, and calligraphy. She stated in a 2019 interview that she only chooses the medium for work after deciding the concept.
388:(2005-ongoing) showing changing stock prices exemplify the fluctuation of movement in her work. In this particular work, Kim's emphasis on process and continued variation allows her to critically look at the rapid pace of change in a hyper-modern
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graduates from art colleges in the area. The show was held at L'Institut d'Environnement. She then went on to study semiology, philosophy, and aesthetics at the
Université d'Aix-en-Provence and the Université de Nice. While studying
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project fell through during negotiations. While Kim exhibited in other venues in Korea, Korean audiences had little exposure to the broad scope of her oeuvre until the 2019-2020 solo exhibition "Soungui Kim: Lazy Clouds" at MMCA.
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to create her work. Her expansive practice is conceptually-driven, leading her to use a wide range of mediums to explore ideas in philosophy, engage with political and social issues, and collaborate with a wide range of thinkers,
313:, where she could meet artists from across the world. The idea that moving abroad could expose one to other cultures later propelled Kim in adulthood to move to France. In addition to drawing and calligraphy, Kim learned
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she published in France, and a self-assigned nickname the artist has used since college. The title also hints at the positive connotations of laziness as a means of engaging in philosophical and creative play.
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with the
Association of the Mediterranean Institute of Research and Creation (IMEREC). The festival titled "Video and Multimedia: Soungui Kim and Her Invitees" included John Cage, Nam June Paik, Ko Nakajima,
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Kim's wide array of references to thinkers across time and the world reveals a deep investment in the connections between art and other fields. She draws heavily from philosophy, citing figures like
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From 1983 to 1984, she researched the medium at CIRCA, and later at Studio
National Des Arts Contemporains (SNAC). Soon after, she often turned to and traveled with video cameras and homemade
1163:(Philadelphia: Slought Foundation, 2022), 495-500, originally presented for a conference titled "Transatlantic Cage" (UniversitĂ© Paris 3 and UniversitĂ© Paris 7, September 20â22, 2012).
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Kim's conception of multimedia art moves beyond medium-specificity and the limits that it might impose, and rather offers the artist a new way of interacting with the world:
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450:"empty water," is pronounced the same as "vide" "O"). Kim liked the accidental name, and stuck with it given that the sculpture showed a video monitor that was empty.
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of the 1960s, and distinguishes her work from them in both context and approach. By the end of the 70s, she was able to use the term "installation" to label her work.
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1230:(Philadelphia: Slought Foundation, 2022), 177-8, originally published as a note for the exhibition "Korean Contemporary Art-Time" at Hoam Art Center, Seoul.
686:, who lived in her neighborhood in France, and she became familiar with the artists' work through the head of Ecole de Nice Jacques Lepage. Kim first met
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900:"Soun-Gui Kim: Lazy Clouds" (National Museum of Modern and Contemporary Art (MMCA), Seoul, 2019-2020; ZKM Center for Art and Media, Karlsruhe, 2022-2023)
650:. Kim blends philosophy and artistic practice together in her description of painting, bringing in references to the origins of Chinese writing, Shitao,
514:), Kim and the participants flew kites that the artist made with cloth from Korea while participants took turns shooting the group with a video camera.
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Kim's interest in the philosophical aspects of art extends to her conceptions of medium forms as well. When discussing her work "Dream of
Butterfly (
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344:(1970) for her graduate school degree show. For the work, Kim hung up a ripped piece of cloth that she had submerged in paint on a piece of wood.
1269:(Philadelphia: Slought Foundation, 2022), 39, originally published in "Temps de la vidéo et temps de la performance," in N° Spécial Vidéo-Vidéo,
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and work on a project titled "Multimedia and Namjune Paik." She photographed, taped, and wrote about Paik's preparation for his solo show at the
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Kim's interest in form and modes of engagement with art do not preclude directly addressing political, social, and economic issues. Works like
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to help attach pieces of cloth and balloons to stones, and then sever the connections, allowing over 300 balloons to float away and disappear.
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Kim emphasizes the openness of her work, stating that words like "situation," "play," and "gesture" best describe her artistic practice.
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Kim enjoyed drawing and painting as a child, with one elementary school teacher telling her that she could become an artist, and move to
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665:)" (1992) centered on the funeral for a Buddhist monk, Kim compares video as a medium to the Daoist and Buddhist concept of "emptiness":
547:(1975, 1998). However, the works included in the show are now all gone, and are available only through video and written documentation.
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574:. For the 1975 of this performance, she recorded the movements of participating performers with drawings. The 2008 version at
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lessons at the National Music Center. Archery and the colors related to it would appear in her work in the early 70s, such as
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from 2022-3. The show title "Soungui Kim: Lazy Clouds" refers to the title of a poem Kim wrote, the name of the book of
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Soojung Yi, "About the 'Work Meeting the Everyday Together with Following the Moments, Using What is Not There,'" in
891:"Beating the market: Soun-Gui Kim in dialogue with Cage, Derrida, and Nancy" (Slought Foundation, Philadelphia, 2013)
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in 1979 through Cage. Kim received at research grant in 1982 from the Cultural Ministry of France to stay in
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presented the first major retrospective of Kim's work in Korea from 2019-2020 that later traveled to the
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Kim Soun-gui, interview with Hye-Jin Mun, September 11, 2019, cited in "Video--O Time--One's Place," in
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Kim Soun-Gui, "Emptiness of Emptiness" (presentation, University of Adelaide, Adelaide, AU, 1994).
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776:
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Kim Soun-Gui, "Play as a life-form," interview by JĂ©rĂŽme Sans, trans. Marc Froment Meurice, in
876:"Stock Exchange III" (La Maison de lâArt et de la Commnication de Sallaumine, Sallaumine, 2001)
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Kim created a performance for the festival celebrating the 100th issue of the Korean magazine
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860:"Stock Exchange I" (La Maison du Livre dâArtiste Contemporain, Domart en Ponthieu, 1999)
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Jean-Michel Rabaté, "Soun-Gui Kim and the Sympathy of Things," trans. Sofia Rabaté, in
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For the joint performance, Kim wrote poetry on silk with the pattern of TV color bars.
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Hye-Jin Mun, "In Search of an Origin, Neither Here Nor There," trans. Jei Min Kim, in
206:. She began teaching in 1973 as a professor at the Ăcole SupĂ©rieure des Beaux-Arts in
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775:'s journals to perform on the day of Kim's birthday at a festival she organized at
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Contemporary art festival, Space 75" (National Theater of Myeongdong, Seoul, 1975)
539:(1970) which she installed in an alley near the exhibition space. In addition to
475:(1971-3), Kim expanded the scope of her performances with large-scale works like
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1187:(Philadelphia: Slought Foundation, 2022), 311-322, originally published in
1117:(Philadelphia: Slought Foundation, 2022), 285-91, originally published in
894:"Lunes, OĂč, Par-dessus le marchĂ©, Silence" (Art Sonje Center, Seoul, 2014)
1302:(Philadelphia: Slought Foundation, 2022), 101-3, originally published in
1243:(Philadelphia: Slought Foundation, 2022), 113-7, originally published in
1213:
Kim Soun-Gui, "About multimedia art. (from a letter to Jean-Luc Nancy),"
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850:"0 Time" (MusĂ©e dâArt Moderne et dâArt Contemporain de Nice, Nice, 1991)
610:(1999) consider issues around the market and labor, while iterations of
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Kim Soun-Gui, "A big image has no form," trans. Maxime Dagaud-Fons, in
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While in New York, Kim became acquainted with figures associated with
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Kim Soun-Gui, "Emptiness or silence," trans. Maxime Dargaud-Fons, in
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from 1974 until 2000, and then the Ecole Nationale Superieure dâArt,
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Hye-Jin Mun, "Video--O Time--One's Place," trans. Jei Min Kim, in
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and aesthetics more broadly, Kim continued her artistic practice.
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885:"Soun-Gui Kim" (Platform Seoul, Gallery Ye Mec, Seoul, 2008)
847:"Passages" (Centre dâArt Contemporain, Troyes, France, 1989)
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uniqueness in relation to the Korean and French art scenes.
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Kim has also discussed the work of dancers, and poets like
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at a young age due to her uncle who studied photography in
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Media City Seoul 2010" (Seoul History Museum, Seoul, 2010)
949:, New Hampshire; Hanover Peeler Art Center, Hanover, 2005)
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Kim collaborated with both artists for video works titled
841:"Ten thousand ugly ink dots" (Galerie DAAD, Berlin, 1985)
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in 1971, she moved to France to pursue further study in
835:"Soun Gui Kim" (American Cultural Center, Seoul, 1975)
418:(which she termed her "foolish camera") for her work.
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Asian Film & Video Art Forum" (MMCA, Seoul, 2015)
263:
National Museum of Modern and Contemporary Art (MMCA)
897:"Kim Soun-gui: 0 Time" (Arario Gallery, Seoul, 2018)
882:"Soun Gui Kim/Films" (The Film Gallery, Paris, 2006)
190:. After graduating from the College of Fine Arts at
1018:볎ìŽë? Entends-tu?: PoĂšmes et Dessins de KIM SOUN GUI
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1289:(Philadelphia: Slought Foundation, 2022), 617-627.
674:Interaction with and influences from other artists
598:Interest in social, political, and economic issues
409:Kim created her first video work in 1971-3 titled
360:the potential of video art in unprecedented ways.
1300:Encounters with Soun-Gui Kim: Writings, 1975-2021
1287:Encounters with Soun-Gui Kim: Writings, 1975-2021
1267:Encounters with Soun-Gui Kim: Writings, 1975-2021
1241:Encounters with Soun-Gui Kim: Writings, 1975-2021
1228:Encounters with Soun-Gui Kim: Writings, 1975-2021
1185:Encounters with Soun-Gui Kim: Writings, 1975-2021
1161:Encounters with Soun-Gui Kim: Writings, 1975-2021
1115:Encounters with Soun-Gui Kim: Writings, 1975-2021
1089:Encounters with Soun-Gui Kim: Writings, 1975-2021
614:(1991-ongoing) consider issues ranging from the
1091:(Philadelphia: Slought Foundation, 2022), 9-12.
879:"Points de vue" (Galerie de/di/dY, Paris, 2005)
53:College of Fine Arts, Seoul National University
838:"Soun Gui Kim" (Gallery Kyeon-Ji, Seoul, 1977)
16:South Korean multimedia artist based in France
8:
1013:, exh. cat. SAMUSO & KNUA: Seoul, 2008.
844:"Soun Gui Kim" (Galerie Donguy, Paris, 1988)
516:Situation Plastique III - Octobre Ă Bordeaux
169:
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920:Rencontre Internationale de la Photographie
1179:Wan-Kyong Song, "Here, There, Everywhere:
888:"Stock+Garden," (Gallery 175, Seoul, 2008)
873:"P.A.P." (Galerie Lara Vincy, Paris, 2001)
622:(1995) centers on Korean "comfort women."
18:
1027:, exh. cat. Seoul: Arario Gallery, 2018.
855:Korean Institute of Industrial Technology
518:(1973) required over 300 art students in
57:Ăcole Nationale d'Arts DĂ©coratifs de Nice
1006:La Main Courante: La Souterraine, 2003.
988:La Main Courante: La Souterraine, 1999.
784:, Ira Schneider, and Davison Gigliotti.
694:, France, where he asked her to perform
1347:20th-century South Korean women artists
1204:, exh. cat. (MMCA: Seoul, 2019), 60-71.
1143:, exh. cat. (MMCA: Seoul, 2019), 60-71.
1121:, exh. cat. (Hong Design: Seoul, 2000).
1075:, exh. cat. (MMCA: Seoul, 2019), 19-31.
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1191:, exh cat. (Hong Design: Seoul, 2000).
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618:and French governmental policies, and
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967:Is it morning for you yet: The 58th
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306:, and worked in the film industry.
1265:Kim Soun-Gui, "Video & 0," in
1217:(Sock-Jon: Les Herbins, 1997), 87.
533:Korean Central Intelligence Agency
14:
1342:20th-century South Korean artists
1337:21st-century South Korean artists
1332:South Korean contemporary artists
939:Kemper Museum of Contemporary Art
526:"Soungui Kim Art Festival" (1975)
1181:What Does Soun-Gui Kim Play With
788:Influences from dance and poetry
642:, and engaging in dialogue with
543:, the show included works like
286:Kim was born in 1946 in Buyeo,
1306:(Sock-Jon: Les Herbins, 1997).
1247:(Sock-Jon: Les Herbins, 1997).
1183:," trans. Seoul Selection, in
1020:. Editions OâNW: Seoul, 2016.
945:, Depaul University, Indiana;
290:, South Korea. She grew up in
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931:PAUSE" (Gwangju, Korea, 2002)
466:Participation and performance
174:, b. 1946) is a South Korean
1304:Soun-Gui Kim: Monographie II
1245:Soun-Gui Kim: Monographie II
535:(KCIA) confiscated her work
377:word was not taken from the
267:ZKM Center for Art and Media
61:Université d'Aix-en-Provence
1157:Do you know how to forget?,
488:Situation Plastique II, III
384:Kim states that works like
352:'s ideas on paintings, and
217:Kim moves across different
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1357:South Korean video artists
1226:Kim Soun-Gui, "Today," in
626:Engagement with philosophy
329:Ten Thousand Ugly Ink Dots
1159:" trans. Jei Min Kim, in
340:exhibited a piece titled
192:Seoul National University
139:
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28:
1273:, Nouvelle série, n° 10.
1202:Lazy clouds--Soungui Kim
1141:Lazy Clouds--Soungui Kim
1073:Lazy Clouds--Soungui Kim
746:Bonjour Nam-June-Paik II
1189:Bonjour -- Soun-Gui Kim
1119:Bonjour -- Soun-Gui Kim
857:, Cheonan, Korea, 1996)
620:Sans nom (Without Name)
435:Kim created video art.
973:Carnegie Museum of Art
969:Carnegie International
757:John Cage: Empty Words
739:John Cage: Empty Words
708:Whitney Museum of Art.
678:Kim first heard about
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496:Situation Plastique II
477:Situation Plastique II
432:
319:(Korean flute) at the
1000:Montagne câest la mer
735:Bonjour Nam-June-Paik
667:
428:
321:National Gugak Center
866:Stock Exchange II" (
771:Cage used text from
608:Lottery Neighborhood
113:Revised Romanization
975:, Pittsburgh, 2022)
714:, and artists like
663:Songe dâun papillon
606:(2005-ongoing) and
1352:Multimedia artists
1271:Revue d'Esthétique
937:Past in reverse" (
853:"Station 0 Time" (
825:Select exhibitions
812:Critical reception
566:(1975, 2008, 2019)
506:, November, 1972;
354:Eastern philosophy
182:. Kim was born in
65:Université de Nice
986:Nuages Paresseux.
947:Dartmouth College
905:Group exhibitions
777:La Vielle Charite
490:(1971-1973, 1973)
483:(1971â73, 1973).
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980:Further reading
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728:Ira Schneider
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510:, July 1973;
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379:Situationists
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43:, South Korea
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806:Tao Yuanming
802:Steve Paxton
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724:John Sanborn
695:
692:Sainte Baume
677:
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656:Wittgenstein
629:
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554:(1975, 1998)
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239:installation
221:, including
216:
162:Kim Soun-Gui
161:
160:
23:Kim Soun-Gui
1327:1946 births
943:Hood Museum
737:(1984) and
716:Ko Nakajima
712:The Kitchen
684:Ben Vautier
594:Kim Mihwa.
578:featured a
294:, and then
251:calligraphy
243:photography
235:performance
188:South Korea
168::
151:.kimsoungui
91:Korean name
1316:Categories
1031:References
1002:, exh. cat
941:, Kansas;
632:Guy Debord
612:Colpoteurs
564:Space Time
447:Vide&O
440:Vide&O
282:Early life
204:aesthetics
200:philosophy
176:multimedia
71:Occupation
688:John Cage
405:Video art
335:Education
271:Karlsruhe
247:sculpture
208:Marseille
196:semiology
133:Kim Sunki
119:Gim Sungi
49:Education
741:(1986).
704:New York
636:Zhuangzi
616:Gulf War
582:priest,
580:Buddhist
520:Bordeaux
457:(1996-7)
331:(1982).
288:Chungnam
231:painting
993:Bonjour
652:Vattimo
588:cellist
584:curator
369:Process
292:Daejeon
256:artists
227:drawing
219:mediums
144:Website
1025:0 Time
804:, and
767:(1986)
748:(1984)
726:, and
696:0',00"
680:Fluxus
654:, and
640:Daoism
592:shaman
586:, and
512:Monaco
508:Grasse
479:, and
442:(1989)
396:Medium
350:Shitao
275:poetry
249:, and
202:, and
180:France
166:Korean
97:Hangul
74:Artist
572:Space
552:Today
545:Today
325:danso
316:danso
311:Paris
304:Japan
296:Seoul
223:video
212:Dijon
184:Buyeo
41:Buyeo
761:and
646:and
634:and
541:Sori
537:Sori
504:Nice
494:For
390:Asia
364:Work
342:Sori
300:film
261:The
153:.com
37:1946
34:Born
971:" (
481:III
269:in
171:êčìêž°
149:www
104:êčìêž°
29:êčìêž°
1318::
1278:^
1168:^
1148:^
1126:^
1096:^
1080:^
1038:^
808:.
800:,
796:,
730:.
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658:.
392:.
245:,
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63:,
59:,
55:,
1004:.
965:"
959:"
953:"
935:"
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917:"
911:"
864:"
498:(
164:(
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