At the Surisol Underwater Lab & Porosity Valley, Portable Holes
30.10—17.11.2022
Exhibition text
TICK TACK proudly presents the solo screening of 2 works by the Seoul-based artist Ayoung Kim.
Ayoung Kim synthesizes (1979, Seoul) the outcome of far-reaching speculation, establishing connections between biopolitics and border control, the memory of stone and virtual memory, ancestral origins and imminent futures. These narratives take the forms of video, VR, sonic fiction, image, diagram and text, and are exposed as exhibitions, performances, theatrical projects and publications.
Ayoung Kim has held solo shows and events at various venues, including Gallery Hyundai, Seoul, Korea (2022); Kuandu Museum of Fine Arts, Taipei, Taiwan (2022); Videobrasil, São Paulo, Brazil (2021); Ilmin Museum of Art, Seoul, Korea (2018); Melbourne Festival, Melbourne, AU (2017); and Palais de Tokyo, Paris, France (2016).
Her group shows, screenings and performances include Sharjah Biennial, Sharjah, UAE (2023, forthcoming); STRP Festival, Eindhoven, Netherlands (2022); Asian Art Biennial, Taichung, Taiwan (2021); Aargauer Kunsthaus, Aarau, Switzerland (2021); IMPAKT Festival, Utrecht, Netherlands (2020); Busan Biennale, Busan, Korea (2020); Berlin International Film Festival, Berlin, Germany (2020); Korea Artist Prize, MMCA Seoul, Korea (2019); Gwangju Biennale, Gwangju, Korea (2018); and Venice Biennale, Venice, Italy (2015).
At the Surisol Underwater Lab
2020
Created for Busan Biennale 2020, this speculative fiction is a simulation of the near future, around a decade after the COVID-19 global pandemic of 2020. As a sort of ‘creative sabotage of the future, the project delves into a possible world, reflecting and distorting the conditions of the current world.
Porosity Valley, Portable Holes
2017
“Petra Genetrix from Porosity Valley. Date of birth unknown, gender not applicable. Welcome to the Immigration Data Center (IDC).”
As a speculative fiction, Porosity Valley, Portable Holes (2017) unfolds narratives that encompass imaginary subterranean geologies as live things, in which a quasi-mythical entity named “Petra Genetrix” encounters practical problems while trying to migrate to another rocky platform.
Ayoung Kim synthesizes (1979, Seoul) the outcome of far-reaching speculation, establishing connections between biopolitics and border control, the memory of stone and virtual memory, ancestral origins and imminent futures. These narratives take the forms of video, VR, sonic fiction, image, diagram and text, and are exposed as exhibitions, performances, theatrical projects and publications.
Ayoung Kim has held solo shows and events at various venues, including Gallery Hyundai, Seoul, Korea (2022); Kuandu Museum of Fine Arts, Taipei, Taiwan (2022); Videobrasil, São Paulo, Brazil (2021); Ilmin Museum of Art, Seoul, Korea (2018); Melbourne Festival, Melbourne, AU (2017); and Palais de Tokyo, Paris, France (2016).
Her group shows, screenings and performances include Sharjah Biennial, Sharjah, UAE (2023, forthcoming); STRP Festival, Eindhoven, Netherlands (2022); Asian Art Biennial, Taichung, Taiwan (2021); Aargauer Kunsthaus, Aarau, Switzerland (2021); IMPAKT Festival, Utrecht, Netherlands (2020); Busan Biennale, Busan, Korea (2020); Berlin International Film Festival, Berlin, Germany (2020); Korea Artist Prize, MMCA Seoul, Korea (2019); Gwangju Biennale, Gwangju, Korea (2018); and Venice Biennale, Venice, Italy (2015).
At the Surisol Underwater Lab
2020
Created for Busan Biennale 2020, this speculative fiction is a simulation of the near future, around a decade after the COVID-19 global pandemic of 2020. As a sort of ‘creative sabotage of the future, the project delves into a possible world, reflecting and distorting the conditions of the current world.
Porosity Valley, Portable Holes
2017
“Petra Genetrix from Porosity Valley. Date of birth unknown, gender not applicable. Welcome to the Immigration Data Center (IDC).”
As a speculative fiction, Porosity Valley, Portable Holes (2017) unfolds narratives that encompass imaginary subterranean geologies as live things, in which a quasi-mythical entity named “Petra Genetrix” encounters practical problems while trying to migrate to another rocky platform.