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MinJi Kim

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My research is to develop and concrete the artwork’s language over the artist’s and the interpreters’ intentions-- in other words, to re-define the will of artwork in between interpretations. As Nietzsche said, “There are no facts, only interpretations”, all kinds of phenomena are under the omnipotent subjectivity in which truth is often distorted. Obsession with the content/intention has supported the status of art as if art is believed the embodiment of imagination. If excessive interpretation is caused by ambiguity as one of art’s attributes, then there may be needed something of common language to appreciate art. I am not trying to create another version of Esperanto for art that can be poisonous to a fundamental property of art. Yet, at least, I collect cipher keys to grasp the whole among post-modern debris. The language of artwork is ironical: it speaks against itself, negating Ding an sich. In doing so, it creates a magical absence in which its concept can be displaced, and the modified content thus produces another illusion of artwork that can be more substantial than what is presented. In my work, form has taken a bigger role than before so the intention or concept can speak more free from what is supposed to be. The dialectic of form and content is a basic structure of interpretation of my work, which can lead to an easier access to translation. I need a good translation to communicate with the others even though I am aware that no translation is successful in art. Yet nothing is definite—nor is the artist’s text, nor is the viewer’s interpretation, nor is artwork’s will; and, therefore, the process of efforts to understand each subjectivity is able to find a way, hopefully, to reach to the substance. Although the materials may vary depending on environment, I would like to concrete my own symbolic vocabularies within their collision. Such as size, volume, color, shape, materiality, a degree of manipulation, configuring, space and so on, every degree and corner of element can be a vocabulary; each word makes naked sound; each naked sound makes scream. The concept/content turns screams into one voice but it is sometimes hallucinating, and yet it is unpredictable to listen to the voice of artwork because our consciousness comes always late. My investigation is interpretations on not only representation but the content, including personal and social text in present tense. Even though we have been trying to forget/avoid discomfort, it is always here with us. History in the ruins needs to be re-written for us not to clean it up but to be free from it, on condition that new interpretations should be able to elicit any kind of a smile in the end


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