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É«¿Ø´«Ã½ Exhibition

Sung Hwan Kim

18 July – 18 November 2012

The Tanks will showcase a new installation by Sung Hwan Kim, one of the key artists of his generation working in an interdisciplinary way with video and performance art. In his work, the artist takes on the role of director, editor, performer, composer, narrator and poet, collecting and collaging encounters, sounds, sculptures and images from his changing homes of Seoul, Amsterdam and New York. Drawing on a rich history of performance and film, inspired and taught by artists such as Joan Jonas, alongside cultural influences from Korea, his work is a unique form of story-telling.

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The Tanks: Sung Hwan Kim Preview

Sung Hwan Kim was born, in 1975 in Seoul, South Korea, and lives and works in New York. He initially studied architecture at Seoul National University, followed by a BA Mathematics and Art, Williams College, Williamstown (2000), followed by a Master of Science in Visual Studies at MIT and a residency at the Rijksakademie in Amsterdam (2004–5). Recent solo exhibitions include Line Wall, Kunsthalle Basel (2011), From the Commanding Heights…, Queens Museum, New York (2011), Golden Times, Haus der Kunst, Munich, Germany, (2010) and Witte de With, Centre for Contemporary Art, Rotterdam, The Netherlands (2009).

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The Tanks: Sung Hwan Kim

É«¿Ø´«Ã½

Bankside
London SE1 9TG
É«¿Ø´«Ã½

Dates

18 July – 18 November 2012

Supported by

Sotheby's

The Tanks logo

The Tanks logo

Find out more

  • Sung Hwan Kim

    A new installation by Sung Hwan Kim to inaugurate Tank 1, the new venue space at É«¿Ø´«Ã½, July - November 2012

  • Taking a story for a walk

    Laura McLean-Ferris

    The first commission for the East Tank is by the notable South Korean artist Sung Hwan Kim (born 1975), who combines video, music, sculpture, light and drawing in his installations and performances. His work is often a form of subtle and engaging storytelling that interweaves recent personal experiences, Korean culture, folklore and history

  • Playing in the Shadows

    This deconstructed symposium expands the notion of projection as performance, touching concepts of phantasmagoria and our primal connection to the play of light and shadows

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