Ocula MagazineContentsView All
Featured ContentView All
4th Kochi-Muziris Biennale: Possibilities for a Non-Alienated Life Ocula Report 4th Kochi-Muziris Biennale: Possibilities for a Non-Alienated Life 15 Feb 2019 : Natalie King for Ocula

'Poems are like sentences that have taken their clothes off.' Marlene Dumas' poetic and sensual refrain accompanies her figurative watercolours on view in Possibilities for a Non-Alienated Life, the fourth edition of the Kochi-Muziris Biennale (KMB) in the southern state of Kerala, India (12 December 2018–29 March 2019).Dumas' new series...

Read More
Ellen Altfest Ocula Conversation Ellen Altfest

The paintings of Ellen Altfest are ethereal in their detail. Fields of minutiae come together as pulsating images; small brushstrokes of oil paint accumulate over a series of months to single out seemingly innocuous subjects, such as a hand resting atop patterned fabric (The Hand, 2011) or a deep green cactus reaching upwards from beneath a bed of...

Read More
Colomboscope 2019: Cross Currents and Dissonance Ocula Report Colomboscope 2019: Cross Currents and Dissonance 8 Feb 2019 : Nada Raza for Ocula

On the rooftop of the former Rio Hotel complex in Colombo, it was hard to ignore the high-rise buildings, still under construction, blocking all but a sliver of what used to be an open view over Slave Island, once an island on Beira Lake that housed slaves in the 19th century, and now a downtown suburb. The hotel was set alight during the...

Read More

Gimhongsok

b. 1964, South Korea

Gimhongsok (김홍석) is a South Korean artist known for his hyper-realistic and humorous translations of one material into another. Treading a fine line between appropriation and plagiarism, Gimhongsok challenges the notion of authenticity in artworks and asks the fundamental questions of what constitutes art—materials, processes or forms.

The deceptive appearances of Gimhongsok's works reflect the artist's fascination with translation. Gimhongsok once explained in an interview with ArtAsiaPacific that he experiences 'the world secondhand', mainly through Western shows on Korean television and Korean translations of English texts in South Korea. His works are textual or non-textual translations themselves, which he begins by choosing a word or a piece of writing. Ignoring the word's original meaning, Gimhongsok associates it with objects and other words until a fictive definition emerges. In works like Material (2012) or Untitled (short people) (2017) the artist's translation manifests itself in sculptures of stacked inflated balloons. Despite their apparent fragility, the balloons stay grounded because they are made of resin and bronze respectively. Both works creates situations that betray the viewer's expectation of the behaviour of a material.

Text is rarely to be believed in Gimhongsok's works, as it poses his fictive narratives as truths. The Talk (2004)—a video he presented at the 2006 Gwangju Biennale—features a professional actor hired to play a foreign worker. Although the worker speaks of his legal rights, the English subtitles narrate the story of a successful Indonesian worker in South Korea. For Bremen Town Musicians (2006–7), the wall text informs the viewer that Gimhongsok has hired Mexican workers to pose in animal costumes for the duration of the exhibition and that he will pay them five dollars per hour. On the contrary, the artist had placed mannequins inside the suits. The discovery of the mannequins and the English subtitles offer the viewer a release from moral anxiety, though the latter comfortably disguises reality. Throughout Gimhongsok's works, realities refuse to depend on text or image—the accepted source of knowledge in the world at large.

In 2008 Gimhongsok introduced 'subsidiary construction' to his work: a concept that appoints by-products of art—discarded cardboard boxes, wrapping papers or trash bags—as the central component of the artwork. For the work A Study on Slanted Hyperbolic Constitution (2010), the artist stacked two cardboard boxes at an angle. Posing ordinary objects as art, Gimhongsok echoed Marcel Duchamp's revolutionary concept that it is the artist's intention that gives birth to an artwork.

Many of Gimhongsok's works reference other artists' works. Bremen Town Musicians, for instance, borrows the formal motif of stacked animals from Italian artist Maurizio Cattelan's Love Lasts Forever (1999) and the practice of hiring workers—though in Gimhongsok's case a fictional task—from Spanish artist Santiago Sierra. The title A Study on Slanted and Hyperbolic Constitution, on the other hand, references the form of David Smith's modernist sculptures, while the stack of boxes that forms the letters 'L O V E' from the sides recalls Robert Indiana's ground-breaking typography. Gimhongsok's appropriation of primarily Western artists highlights the ambivalent position non-Western artists occupy in the mainstream art world. Long regarded as 'the other,' contemporary Asian artists face the challenge of assimilating themselves into the Western-dominated art history while their identities become subjects for art.

Gimhongsok is also known through certain collaborative works as Xijing Men, an art collective he founded with Chen Shaoxiong (China) and Tsuyoshi Ozawa (Japan) in 2006. Xijing, which means 'Western Capital' in Chinese, is a fictional city the three artists created to reflect the contemporary world they live in. Though without physical form, Xijing materialises through exhibitions and artworks. In 2008 Xijing Men presented Xijing Olympics: a performance video wherein the three artists played various sports games with their own rules. The humorous rendition, which substituted soccer balls with watermelons and guns with loaves of bread, satirised the capitalisation of the Olympic Games simultaneous to the 2008 Beijing Olympics.

After graduating from Seoul National University in 1987, Gimhongsok completed his postgraduate studies in Germany. He is a frequent presence at international biennales and art fairs including Gwangju (2012, 2006, 2002), Lyon (2009), Istanbul (2007), Art Basel (2007), Venice (2005, 2003) and Taipei (2000). The artist currently works and lives in Seoul.

Sherry Paik | Ocula | 2018
Read More

Featured Artworks

View All (27)
Surrender - Kim by Gimhongsok contemporary artwork GimhongsokSurrender - Kim, 2018 High-strength grout cement
97 x 40 x 30 cm
Tina Kim Gallery
Surrender - Miller by Gimhongsok contemporary artwork GimhongsokSurrender - Miller, 2018 High-strength grout cement
120.5 x 41.5 x 22 cm
Tina Kim Gallery
Untitled (Short People)
Yellow, Yellow, Pink, Yellow by Gimhongsok contemporary artwork GimhongsokUntitled (Short People) Yellow, Yellow, Pink, Yellow, 2018 Cast bronze, stone
125 x 36 x 40 cm
Tina Kim Gallery
Untitled (Short People)
Red, Pink, Pink, Red by Gimhongsok contemporary artwork GimhongsokUntitled (Short People) Red, Pink, Pink, Red, 2018 Cast bronze, stone
115 x 52.5 x 30 cm
Tina Kim Gallery
Untitled (Short People)
Light Blue, Blue, Green, Gold, Silver by Gimhongsok contemporary artwork GimhongsokUntitled (Short People) Light Blue, Blue, Green, Gold, Silver, 2018 Cast bronze, stone
128 x 50 x 32.5 cm
Tina Kim Gallery
Untitled (Short People)
Yellow, Pink, Cream, Blue, Orange by Gimhongsok contemporary artwork GimhongsokUntitled (Short People) Yellow, Pink, Cream, Blue, Orange, 2018 Cast bronze, stone
112 x 35.5 x 36 cm
Tina Kim Gallery

Recent Exhibitions

Contemporary art exhibition, Gimhongsok, Dwarf, Dust, Doubt at Tina Kim Gallery, New York
Closed
25 October–22 December 2018 Gimhongsok Dwarf, Dust, Doubt Tina Kim Gallery, New York
Contemporary art exhibition, Gimhongsok, EVERY, DAY, ACTS, LIKE, LIFE at Perrotin, Tokyo
Closed
21 September–7 November 2018 Gimhongsok EVERY, DAY, ACTS, LIKE, LIFE Perrotin, Tokyo
Contemporary art exhibition, Gimhongsok, Subsidiary Construction at Perrotin, Hong Kong
Closed
17 November–22 December 2017 Gimhongsok Subsidiary Construction Perrotin, Hong Kong

Represented By

In Ocula Magazine

In Memory of a Free Public: Harbour Arts Sculpture Park Ocula Report In Memory of a Free Public: Harbour Arts Sculpture Park 16 Mar 2018 : Hera Chan for Ocula

It was at Tamar Park that the initial sit-ins took place around the Legislative Council in Hong Kong, sparking the Umbrella Movement in 2014. Thousands of students advocated for universal suffrage in the response to electoral reforms enacted on Hong Kong by China's Standing Committee of the National People's Congress. It was here, on 26 September...

Read More

In Related Press

Asian artists meet in 'City of Xijing' Related Press Asian artists meet in 'City of Xijing' Kwon Mee-yoo : 3 June 2015

Visitors are required to go through some procedures to enter an imaginary city of Xijing at the National Museum of Modern and Contemporary Art (MMCA) Seoul's Gallery 5.At "the port of entry," all visitors have to oblige to at least one of the three regulations — wear a bright smile, sing a tune from a song or do a charming...

Read More
REVIEWED: GIMHONGSOK: GOOD LABOR BAD ART Related Press REVIEWED: GIMHONGSOK: GOOD LABOR BAD ART ArtworldNow : 4 June 2013

In Gimhongsok's new exhibition Good Labor Bad Art at PLATEAU, Samsung Museum of Art, one should be cautious about believing what one sees. The viewer first encounters Canine Construction (2009) just outside the gallery entrance and this fabrication of stuffed black plastic bags is an unmistakable appropriation of Jeff Koons's Balloon Dog...

Read More
Gimhongsok's Canine Construction Related Press Gimhongsok's Canine Construction QAGOMA : 10 April 2013

Recently acquired for the Collection, _Canine Constructio_n 2009 by South Korean artist Gimhongsok is both likeable and enigmatic. The sculpture features in 'The 7th Asia Pacific Triennial of Contemporary Art' (APT7) which closed Sunday 14 April.Gimhongsok's work is characterised by a deadpan humour. His references to art history and contemporary...

Read More

Be among the first to know when new artworks and exhibitions by Gimhongsok are added to Ocula.

WeChat

Scan the QR Code via WeChat to follow Ocula's official account.

iCal GoogleYahooOutlook