Shin il Kim, Into

Preview 11 February, 6:30 pm
11 February – 2 April 2010
Essay by Cristiana Perrella




The gallery’s programme for 2010 opens with Into, the second exhibition by Shin il Kim, a Korean artist resident in New York: a continuation of the journey on which he started in 2007 with his first one-man show in Italy, Active Anesthesia.
Shin il Kim’s research remains concentrated on the pursuit of an active state of being in the conditions of passivity and inactivity, which he regards as substantial part of daily life.
In this exhibition the artist focuses his research on the inner form and structure of bodies, in order to go deeply into the contemplation of the idea of activity as the generator of matter. As in all his works, even the new ones, the influence of Buddhist philosophy is evident, and in particular the practice of analytical meditation, which he uses to examine the importance of the relationships that define existence, exploring its most delicate balances. It is, in fact, the missing, invisible elements that allow perception of the work and make it legible from an internal view point as opposed to an external vision of the world. The elements of the microcosm, such as atoms, quarks, nerves, veins, bones and blood, become protagonists, assuming the guise of a contemporary classicism and tracing a connection between the archaic roots of humanity and their persistence in the present. 
The aesthetic character of the work tends in most cases toward minimalism. The unstable boundary between material and immaterial, visible and invisible, finds a correspondence in the contamination of the expressive media employed: drawings and lights that are transformed into sculptures, as in Duration to Intuition, or static images into pure movement, as in the work Inner Echo.
In Duration to Intuition, the light produced by the monitor and the projection is broken down, creating a visual fragmentation that expands outwards from the various video sources. The light becomes an active part of the work and offers completely new points of view and signifiers for the viewer, who in turn is led to play an active part in the understanding of the work.