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Art Basel in Hong Kong: Exhibitions to See Ocula Report Art Basel in Hong Kong: Exhibitions to See 23 Mar 2019 : Tessa Moldan for Ocula

For those visiting during Art Basel in Hong Kong (29–31 March 2019), the smell of fresh paint may still be in the air at the latest heritage conservation project, The Mills, which opened on 16 March to encompass the Centre for Heritage, Arts and Textiles (CHAT), joining the ranks with ex-prison complex Tai Kwun, along with Eaton HK—a retro...

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Firenze Lai Ocula Conversation Firenze Lai

Firenze Lai says that she knows her studio of a few hundred square feet intimately; from the textures of its surfaces to the way the breeze blows into the room. The spaces depicted in her paintings are equally intimate. When curators seem to be at a loss for words to discuss troubled times, fear of containment, and the feeling of being completely...

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Sharjah Biennial 14: Leaving the Echo Chamber Ocula Report Sharjah Biennial 14: Leaving the Echo Chamber 15 Mar 2019 : Stephanie Bailey for Ocula

In Meiro Koizumi's three-channel video installation, The Angels of Testimony (2019), the central frame features an interview with Hajime Kondo about his time as a solider of the Imperial Japanese Army during the Second Sino-Japanese War. The conversation centres on war crimes perpetrated in China, including the beheading of Chinese prisoners for...

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Minouk Lim

b. 1968, South Korea

Working across sculpture, performance, video, installation and public intervention, the South Korean artist Minouk Lim (임민욱) is best known for exploring themes around the human costs of modernisation and state violence. Drawing from her personal life and expanding into wider societal issues, Lim investigates the crossroads between the individual and the community, the native and the immigrant, the past and the present.

Lim's works attempt to unearth the underbelly of modernisation, particularly the unrelenting destruction and redevelopment that began in the 1970s in South Korea. New Town Ghost (2005), one of her most iconic works, documents a drive through the streets of Yeongdeungpo. A district in Seoul that the artist had been living in at the time, Yeongdeungpo was selected for massive urban renewals. As a result, the government evicted its residents to make room for high-rising apartments and new facilities. In her protest against the resulting demolition of homes and displacement of families, Lim films a slam poet who repeatedly shouts, 'I have nowhere to go. I'm a new-town ghost.'

The history of such state violence in South Korea is a frequent theme in Lim's works. With the onset of the Korean War, the South Korean government under Seung Man Lee sanctioned a massacre against a civilian population that was suspected of cooperating with the North. Three decades later, the military dictator Doohwan Chun labeled the protesters in Gwangju as communists and ordered them to be slaughtered in what came to be known as the May 18 Democratic Uprising. Both histories are seldom talked about in South Korea today and constitute a past that many people wish to forget.

Lim collaborates with survivors and families of victims of both atrocities to increase visibility and to remind her audience that such histories are hardly over. The Hole-in-Chest Nation (2014), which presents human remains made of wood, metal, and synthetic hair, references the broader history of state violence in South Korea. In Navigation ID (2014)—a performance at the 10th Gwangju Biennial—the artist commemorated the May 18 Democratic Uprising by inviting families of the victims to lead funeral processions by travelling in a bus alongside a container carrying the human remains. Lim later reused the recorded footage of Navigation ID in another work, From X to A (2015), which juxtaposed the experiences of children who lost their parents in the Korean War civilian massacres with those of parents who lost their children in the Democratic Uprising.

Lim studied Painting at Ewha Womans University in Seoul and completed her studies at École Nationale Supérieure des Beaux-Arts de Paris in 1994. Now living and working in Seoul, she has exhibited internationally in Centre Pompidou, Paris (2017); Portikus, Frankfurt (2015); PLATEAU Samsung Museum of Art, Seoul (2015); Walker Art Centre, Minneapolis (2012); and Artsonje Centre, Seoul (2008), among others. Her works have featured in numerous international exhibitions, notably Sydney and Taipei Biennials (2016); Gwangju Biennial (2014, 2008, 2006); Paris Triennale (2012); Liverpool Biennial (2010); and Istanbul Biennial (2007). In 2007 Lim received the 7th Hermès Foundation Missulsang Prize.

Sherry Paik | Ocula | 2018
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Featured Artworks

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Headset by Minouk Lim contemporary artwork Minouk LimHeadset, 2015 Wood, plastic fan, sea snail shells, steel, thorns, latex cord
175 x 45 x 40 cm
Tina Kim Gallery
Camel's Ocean by Minouk Lim contemporary artwork Minouk LimCamel's Ocean, 2015 Wood, octopus net, sea snail shells, steel, camera stand, squid bones, blue sugar, hot glue, beads, plastic tube
237 x 118 x 72 cm
Tina Kim Gallery
One Becoming Two by Minouk Lim contemporary artwork Minouk LimOne Becoming Two, 2015 Steel, LED lights, light stand
224 x 138 x 82 cm
Tina Kim Gallery
On Air by Minouk Lim contemporary artwork Minouk LimOn Air, 2015 Synthetic sponge, paraffin wax, camera stand
163 x 58 x 32 cm
Tina Kim Gallery
L'homme à la caméra by Minouk Lim contemporary artwork Minouk LimL'homme à la caméra, 2015 FRP mannequin, windbreaker, gloves, feathers, broadcast camera
225 x 68 x 58 cm
Tina Kim Gallery
Hydra by Minouk Lim contemporary artwork Minouk LimHydra, 2015 FRP mannequin, wood, synthetic hair, fishing cord
240 x 140 x 125 cm
Tina Kim Gallery
Black Hole by Minouk Lim contemporary artwork Minouk LimBlack Hole, 2015 Plywood, feathers, light stand
208 x 136 x 36 cm
Tina Kim Gallery
Parabolic Satellite by Minouk Lim contemporary artwork Minouk LimParabolic Satellite, 2015 Plywood, light stand
200 x 130 x 50 cm
Tina Kim Gallery

Recent Exhibitions

Contemporary art exhibition, Minouk Lim, Mamour at Tina Kim Gallery, New York
Closed
2 November 2017–20 January 2018 Minouk Lim Mamour Tina Kim Gallery, New York
Contemporary art exhibition, Curated by Clara M Kim, Happy Together at Tina Kim Gallery, New York
Closed
15 May–31 July 2015 Curated by Clara M Kim Happy Together Tina Kim Gallery, New York

Represented By

In Ocula Magazine

Minouk Lim Ocula Conversation Minouk Lim Artist, Korea

An artist of many forms, Minouk Lim creates works that move between and across the boundaries of different genres and media—including music, video, installation, writing, and performance—as a means of revealing and amplifying marginalised narratives within the context of South Korea's rapid democratisation and industrialisation. Born in...

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Seoul - Get, Set, Go! The Seoul Art Race Ocula Report Seoul - Get, Set, Go! The Seoul Art Race 7 Jun 2013 : Mark Waugh for Ocula

So everyone who went to the opening of the 55th Biennale of Venice knows that the art world moves at curious speeds. You see movers and shakers lost in chat and apparently blind to the works on the wall or asleep on their feet in queues for the ‘Must See Pavilion’. Well one of the slowest moving of these was for Kimsooja's Korean...

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In Related Press

MINOUK LIM:  Mamour Related Press MINOUK LIM: Mamour The Brooklyn Rail : 13 December 2017

Minouk Lim's first solo exhibition in New York introduces the South Korean artist's equally haunting and inquisitive practice with three bodies of work intertwined into a eulogy on loss and the consequential search for the missing. The Hole-In-Chest Nation (2014), Running on Empty (2014), and The Possibility of the Half (2012) occupy separate,...

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