Dew Kim Solo Exhibition

듀킴 개인전

January 17 – 21, 2018
M Gallery, CICA Museum


My work is mainly expressed through sculpture, installation, moving image, and performance. I often utilize the forms of each medium to undo its normalizing patterns, in terms of symbols, languages and processes. To me, work is something difference than routine. The idea of my work begins at a boundary point, a moment of indeterminacy. The things that happen there do not fall into any category of normalising logic or language systems. I think that the starting point of art, religion, and theology is also at this boundary point. Objects in (hyper)space —people and things, speak different languages, use different syntaxes or expressions, generating conflict. We search for knowledge and a new consensus. Knowledge and consensus becomes structured, crystallized, turning into domination. Agreement cannot be an answer or a conclusion. It collides again and produces new changes. Movement should be preserved at all costs. I attempt to interpret and tune to the language of objects in these structures. In the process, they create a modified structure rather than a structure made up of existing consensus points. Such as in my recent work entitled ‘Afternoon Tea Time’, which plays with the social structure of tea in Britain. Also in my work about communities created by dating applications entitled ‘I’m Your Baby Tonight’. In ‘Take Me to Church’, the structure of religion is questioned by conflicts and relationships. In my work ‘Take Me To Church’, I investigate the hidden architectures between body, religion and sadomasochistic sexuality. Bataille says that the inner experience of eroticism demands from the subject sensitiveness to the anguish at the heart of the taboo no less great than the desire which leads him to infringe it. This is religious(mystic) sensibility, and it always links desire closely with terror, intense pleasure and anguish. I am interested in a type of energy that when harnessed to a devotion to something or someone, gives the devotee, the submissive, the masochist, the martyr, an ability to do something special, to step outside the accepted limitations of the human. I try to explore three dimensions in my recent work. First, to create non-binary gender politics within post-phallocentric technologies. Second, to explore hidden architectures between the human body and religious experience. Lastly, as an ethical and political process my work disarticulates the dominant narratives about religion by reinventing ‘religious(mystic) sensibilities’ as an aspect of submission within the practice of sadomasochism. The work in collaboration with London based artist filmmaker Luciano Zubillaga involves performance, moving image and installation. Set under the collective name of The Church of Expanded Telepathy(TcoET), the work reconsiders aesthetic practices based on questions of borders and fixed subjectivities. TcoET seeks new forms of thinking, doing and collectivising collaboration. We work with sexuality, performance and expanded telepathy™ as a mode of direct knowledge in moving image as research. In the work the rules of production are not defined as in traditional filmmaking and not set under rational protocols of collaboration. Filmmaking is approached as an invisible architecture. The linear order of montage gives way to possible assemblages of time as a field of sculpture, philosophy and space design. In fact, image movement or time-sense is only needed as a mode of exploring hyperspace philosophies and debates. Finally my intention is to explore and expand further on the subject of religion and its intersection with society and contemporary art. In my current artistic preoccupations, I am interested in liberating contemporary art from its neoliberal grip and reconnect it with religion, mysticism and develop new politics of collectivity. The work I intend to do is collaborative and expand the indeterminate potential of both art and the religious practices.

Dew Kim (듀킴)

Dew Kim is an artist based in Seoul and London. He works with sculpture, installation, moving image, and performance. His practice involves sexuality, religion, and the body as forms of knowledge and research. He exhibited work at Camden Arts Centre, London, Institute of Contemporary Arts, London, and Buenos Aires Biennial of the Moving Image, Buenos Aires. He graduated from Royal College of Art, MA Sculpture, and completed the residency program at Cité Internationale des Arts, Paris.

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