KIM ByoungHo

My work is an approach toward the rationality that was spontaneously generated with the progression of civilization such as systems, standards and modules. The unitized and systemized material/immaterial elements become the material of my work. The output created from my materials poses questions on the essence of life as well as being a study on human nature.

The contemporary system is what creates my works. Through the specialized production system, rather than the artist’s studio, various types of machines and the engineers who handle these machines produce parts of the artwork. I refer to these as ‘components’ and to the output created from these components as ‘products.’ Ultimately, my work is the output produced through collaboration with the contemporary production system.

Thorough planning is necessary to produce solid products. Therefore, the mapping stage is most important in the production of work, having value beyond the drawing of the artist. In fact, a considerable part of the drawing is recomposed in the mapping stage. This is because it must satisfy various aspects including material suitability, international production standards, efficient structures and contract method. Engineers think and act only according to the given blueprint. The blueprint is another way to communicate with the world regardless of the art world.

I, too, exist within a thoroughly specialized production system. In other words, I participate in a part of the several stages in which the works are created. The emotional intervention of the artist ended in the drawing stage, and afterwards a few rules were established to minimize intervention. As a result, the works came to have visual characteristics in their own way.

One of the “materials” I like to use is sound. The essence of sound is the vibrations of frequency, and these vibrations are often seen as geometric patterns to the eye. Through the process of changing these geometric patterns, namely modulation, they become sounds for the artworks. A small device is necessary to produce the sounds; computer programming source codes are saved to this device, which operates on direct current (DC) power.
In the case of three-dimensional works, the structure, contract method and geometric modulation of sounds are planned together.

Byoungho Kim, 2013

KIM ByoungHo                                          
Born in 1974, Seoul, Korea

EDUCATION
2004    M.S, in Major of Technology Art, Graduate School of Advanced Imaging
              science, Multimedia & Film, Chungang University, Seoul, Korea
2000    B.F.A, in Dept of Printmaking, College of Fine Arts, Hongik University,
              Seoul, Korea

SELECTED SOLO EXHIBITION
2013    Garden in the Garden, Arario Gallery, Cheonan, Korea
2011    A System, Arario Gallery, Seoul, Korea
2010    Invisible Object, SOMA Museum of Art, Seoul, Korea
              Fantastic Virus, Touchart Gallery, Paju Heiri, Korea
2009    Two Silences, Gastatelier der Stadt Frankfurt am Main, Frankfurt am
              Main, Germany
2008    Assembled Fantasy, Weibang Gallery, Seoul, Korea

SELECTED GROUP EXHIBITION
2014    Sound sculpts the space, Pohang Museum of Steel Art, Pohang, Korea
              APMAP 2014, Jeju, Korea
2012    TINA B. Contemporary Art Festival, Prague, Czech
              Jing’an International Sculpture Project, Jing’an Sculpture Park, Shanghai, China
              Korean Eye, Saatchi Gallery, London, UK
2011    Moving Museum 2, Kumho Museum of Art, Seoul, Korea
2009    Outside the box – 6th Cheongju International Craft Biennale, Cheongju, Korea
              Inaugural exhibition for Jeju Museum of Art – Breathing Voice,
              Jeju Museum of Art, Jeju, Korea
              Inaugural exhibition for Melanie Rio Gallery- Polarity , Nantes, France
              Art and synesthesia, Seoul Museum of Art, Seoul, Korea