Korean Cultural Centre, (KCCUK)
Until 3 November 2018
The Korean Cultural Centre, London (KCCUK) is pleased to announce Dawns, Mine, Crystal the first UK solo exhibition from South Korean artist Yunchul Kim. The exhibition marks Kim’s nomination as ‘2018 Artist of the Year’, KCCUK’s major annual award programme.
Working within the realms of contemporary art, science and visual effects, the exhibition comprises installations, drawings and sketchbooks and premieres the new work Cascade (2018), a joint commission by KCCUK, FACT (Foundation for Art and Creative Technology, Liverpool) and Arts at CERN (the arts programme of the European Organization for Nuclear Research, Geneva).
Kim’s work focuses on the research of new materiality and the artistic potential of fluid dynamics and metamaterials (synthetic materials that exhibit properties not commonly found in natural materials). Creating objects and installations which transfer cosmic radiation, acoustic, and/or vibrating impulses into ever-changing, fascinating yet puzzling images, spectators are given a glimpse into the worlds of alchemy, astrophysics and new technologies: strange, unfamiliar and, at the same time, captivating.
The exhibition at KCCUK takes its departure point from the central work Cascade, a fluid kinetic installation resulting from Kim’s two-month residency at Arts at CERN and one-month at FACT as part of the Collide International Residency Award. Suspended in the gallery space, Cascade consists of 18 meter-long interconnecting transparent tubes containing fluid in constant circulation. Exploring the artistic potential of fluid dynamics (the science of liquids and gases in motion), the work investigates the possibility of controlling the propagation of light through suspended photonic crystals.
The exhibition title Dawns, Mine, Crystal– a direct reference to the work of Raymond Roussel, a pioneer of experimental writing – establishes an intersection of a ‘world of materials’ with complex layers of metaphors and symbols. For Kim, material is not merely a basis for creating forms and images, but a main protagonist for creation itself. Through works such as ARGOS (2018), the artist examines fundamental changes evoked when the relationship between matter and force is reassembled. Describing his mode of practice as “psychological, sensual and symptomatic”, Kim seeks to materialise the realm of the imaginary.