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Minjung Kim’s first solo museum show outside
of Korea was held in the summer of 2003 at the Museo
Comunale d’Art Moderna Ascona, Switzerland.
This event followed on the 2002 publication of Antonio
d’Avossa’s Skira monograph, Minjung
Kim. Kim’s works are held in the public
collections of the Bibliothèque Nationale,
Paris and the Bibliothèque Municipale, Colmar,
France, the Societe Banche Svizzere Collection, London,
England, and the Modern Art Museum of Ascona. Kim’s
first solo museum exhibition was held in 1991 at
the Injae Art Museum, Gwangju, Korea. Her works have
also been exhibited at the Hong Ik and Kwanhoon museums,
Seoul, and the National Museum of Modern Art, Kwachun.
Minjung Kim holds an MFA from Hong Ik University
where she mastered the both refinements of traditional
East Asian painting and the fundamentals of classical
Western art. Beginning in 1991, Kim attended the
Brera Academy, Milan, Italy, where she studied the
work of modern European artists. Minjung Kim’s
art is primarily concerned with the expression of chi in
Chinese, Ghee in Korean (life force energy)
through a synthesis of Eastern and Western forms
and techniques, and those of her own invention.
With her arrival at the
Brera Academy and Bottarelli's school, Minjung
Kim revised- not repudiated - her relationship
with visible nature. Placing emphasis
on the contribution made by marks and materials,
Minjung Kim animated her landscapes - always produced
on paper panels - and transformed them into large
curled surfaces in which one is able to recognize
waves and rocks. In another series of works, she
made close-up studies of flowers, reducing them to
pools of color diluted with water.
— Giacomo
Agosti, Minjung Kim, Milan, 1995
In her most recent work Minjung Kim creates chrysanthemum
like rosettes via collage, using a candle flame to
shape colored rice paper rings
…that once concentrically laid one upon the
other, generate chronological tunnels or ploughs
which make it possible to perceive and cross the
transience of time…Furthermore, time has a
suggestive possibility of representation through
the combustion of the paper itself. The fire
represents effectively the quick passing of the facts
and their going back to the emptiness.
— Roberto Borghi, curator
of Event: Process of
Artwork by Minjung Kim at the Museo Comunale
d’Art Moderna Ascona, Switzerland, July 13 – August
31, 2003
The pyrotechnic system
of the image used by Minjung Kim renders the
energy of the fire visible in natural images
of fire roses, flaming flowers, biological thermal
forms, cosmic constellations, galaxies of paper
and fire, the small celestial fruits of a hanging
garden; they are empty pools in the centre and
at the edges of a map of the sidereal spaces
of painting… the most
surprising aspect to be seen in this analytical
correspondence lies in a form of paintings produced
without traditional tools – brush and ink – and,
at the same time, without the matter that forms
it. The invisible flame and the paper, which being
burned is only present by its complete absence.
It is this extraordinary and expressive capacity
of not being, of the Great Absence, attained, discharged,
presented and not represented that constitutes
the Great Presence in the art of Minjung Kim.
— Antonio d’Avossa, Minjung
Kim, Skira,
2002
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