Kunsthall Stavanger is delighted to present the first institutional exhibition in Europe of Cindy Ji Hye Kim (b. 1990, Incheon, South Korea). The exhibition, which includes several new works, comprises paintings, sculptures, works on paper, and a site-specific mural.

In her practice, Kim explores memories and the fabrication of personal narratives through image-making. Kim’s recurring motifs and forms become a story in itself, as the symbols that sanctify moments of life are reimagined and repeated throughout her drawings, paintings, and sculptures. Ultimately, Kim seems to question what it means to contend with longing and nostalgia, in the process of making sense of our own narrative and history of where we belong.

The forms and symbols encountered in Kim’s works are recognisable, yet the stories they tell can be hazy and ungraspable. Her ongoing use of a grisaille palette, which the artist sees as the primal and hidden layer of an image, transforms the act of drawing into a tool for outlining the world of the unconscious. The works explore duality; the parent and the child, dreamscapes with nightmares towering in the shadows, the gateway without a beginning or an end. There is an endless balancing between...

Kunsthall Stavanger is delighted to present the first institutional exhibition in Europe of Cindy Ji Hye Kim (b. 1990, Incheon, South Korea). The exhibition, which includes several new works, comprises paintings, sculptures, works on paper, and a site-specific mural.

In her practice, Kim explores memories and the fabrication of personal narratives through image-making. Kim’s recurring motifs and forms become a story in itself, as the symbols that sanctify moments of life are reimagined and repeated throughout her drawings, paintings, and sculptures. Ultimately, Kim seems to question what it means to contend with longing and nostalgia, in the process of making sense of our own narrative and history of where we belong.

The forms and symbols encountered in Kim’s works are recognisable, yet the stories they tell can be hazy and ungraspable. Her ongoing use of a grisaille palette, which the artist sees as the primal and hidden layer of an image, transforms the act of drawing into a tool for outlining the world of the unconscious. The works explore duality; the parent and the child, dreamscapes with nightmares towering in the shadows, the gateway without a beginning or an end. There is an endless balancing between poles in Kim’s works, while the answer to the quest the artist puts us on remains elusive. The body of works included in the exhibition stand still, yet vibrates with continuous movement.

Kim’s interest in the anatomy of images is apparent in the site-specific mural, Antechamber (2022) which takes over gallery 4. The galleries in which Kim’s exhibition is on view have been kept true to their original architecture from 1925. Sat in a symmetric design and mirroring each other, the galleries create an infinite loop in themselves. In Antechamber, Kim carries through this motion, repeating the same form until the loop of the galleries and the wainscotting seem to dissolve into the work. The repetition points to the reliving of memories and how the recurring of dreams create new narratives. Through this gesture the individual psychic space is manifested directly into the kunsthall’s interior architectural space.

Keeping with the site-specificity, the mural is naturally lit, and as such the experience of the work will change depending on the weather and time of day. When the days creep towards the darkest time of year, the mural will be softly lit to allow visitors to experience the details in the work. The outlines of the sandcastles depicted in the work fades into the walls, creating a parallel in both the motif and the artistic method to the passing of time.

In Gallery 5 two easels are presented, their towering presence contrasting the delicate drawings they hold. For Kim, the easel symbolises the artist’s tool of creation, a stage where conscious and unconscious states are performed. In the drawing that is part of the work Assinus IV: Sand in the Hourglass (2022), two people hold flowers while lying on a bed, a child hiding beneath them. They are surrounded by clock parts showing different variations of non-existing times. The pulp of the paper is made up of the artist’s hair and flowers found between her home and studio. For Kim, this is a way to breathe life into the drawing. The inclusion of organic matter and a part of her own body acts as a way to create a bridge between the ‘real’ world and the artist’s reenactment of dreams and her own memories.

The shapes of the spine and pelvis are recurrent throughout the exhibition, the latter a form Kim has depicted on several occasions in reference to the enclosed space of the womb. We also encounter the imagery of the Father, the Mother and the child – prototypes of a life lived. In the work Asinus II: Forgiveness (2022) we also find the child, a form Kim describes as a symbol of her own inner child, trying to re-learn and re-parent her adult self.

A series of six sculptures in the shapes of gateways or arches, are suspended from the ceiling in gallery 3. One of the works, Tribute to Janus: Patterns and Wounds (2022), points to Kim’s influence by the legend of the Roman god of beginnings and endings. In Kim’s work, Janus becomes a centre for reflection, evoking the circular motion of existence itself. Believed to be the guardian of gateways, of time, duality and transitions, his influence on the arches make them act as depictions of passageways between the conscious and the unconscious, mirroring Kim’s interest in the uncharted parts of our psyche.

In the adjoining gallery 2, we encounter a selection of the artist’s ongoing series, Phenakistoscope (2019 –), here represented by four circular paintings. The title refers to the first widespread animation device that created a fluent illusion of motion as a disc rotated in front of a mirror. The paintings are described by Kim as broken clocks, offering a sense of movement and narrative, yet the clocks have no hour hand and as such are not able to participate in real time.

In the work Apology (2022) a figure is running while petals fly from a bouquet of flowers. Time seems to move, yet there is no beginning nor end. The flowers are suspended in the air as if frozen in time. In Nightwind (2022), a child sits on their father’s back. While eliciting an idyllic family scene, the work speaks of authority and the circle of life.

Sand in the Hourglass is curated by Kristina Ketola Bore, Curator, Exhibition and Educational Program.

Exhibition technicians: Matt Bryans, Leif Ole Stampa, Francis Krauss. Kunsthall Stavanger would like to thank the lenders of the works and Casey Kaplan Gallery for their support with the exhibition.

Kunsthall Stavanger receives operational support from The Ministry of Culture and Equality, and the City of Stavanger.

Read More
Read Less
2022 10 10 Kunsthall Stavanger Cindy Ji Hye Kim HI 07
2022 10 10 Kunsthall Stavanger Cindy Ji Hye Kim HI 15
2022 10 10 Kunsthall Stavanger Cindy Ji Hye Kim HI 17
2022 10 10 Kunsthall Stavanger Cindy Ji Hye Kim HI 16
2022 10 10 Kunsthall Stavanger Cindy Ji Hye Kim HI 01
2022 10 10 Kunsthall Stavanger Cindy Ji Hye Kim HI 04
2022 10 10 Kunsthall Stavanger Cindy Ji Hye Kim HI 03
2022 10 10 Kunsthall Stavanger Cindy Ji Hye Kim HI 11
2022 10 10 Kunsthall Stavanger Cindy Ji Hye Kim HI 12
2022 10 10 Kunsthall Stavanger Cindy Ji Hye Kim HI 10
2022 10 10 Kunsthall Stavanger Cindy Ji Hye Kim HI 14
2022 10 10 Kunsthall Stavanger Cindy Ji Hye Kim HI 06
2022 10 10 Kunsthall Stavanger Cindy Ji Hye Kim HI 19
2022 10 10 Kunsthall Stavanger Cindy Ji Hye Kim HI 18
Asinus II: Forgiveness (2022)
Asinus IV: Sand in the Hourglass (2022)
Asinus IV: Sand in the Hourglass (2022)
2022 10 10 Kunsthall Stavanger Cindy Ji Hye Kim HI 09
2022 10 10 Kunsthall Stavanger Cindy Ji Hye Kim HI 08
Serpentine Silver (2022)
Serpentine Silver (2022)
Apology (2022)
Apology (2022)
Nightwind (2022)
Nightwind (2022)
Farewell (2022)
Farewell (2022)
Farewell (2022)

Cindy Ji Hye Kim, Farewell (2022)
Olje, akryl, blekk, oljepastell, kull, grafitt på bjørk, 30.5 x 30.5 x 1.9 cm

Prev
2022 10 10 Kunsthall Stavanger Cindy Ji Hye Kim HI 07
2022 10 10 Kunsthall Stavanger Cindy Ji Hye Kim HI 15
2022 10 10 Kunsthall Stavanger Cindy Ji Hye Kim HI 17
2022 10 10 Kunsthall Stavanger Cindy Ji Hye Kim HI 16
2022 10 10 Kunsthall Stavanger Cindy Ji Hye Kim HI 01
2022 10 10 Kunsthall Stavanger Cindy Ji Hye Kim HI 04
2022 10 10 Kunsthall Stavanger Cindy Ji Hye Kim HI 03
2022 10 10 Kunsthall Stavanger Cindy Ji Hye Kim HI 11
2022 10 10 Kunsthall Stavanger Cindy Ji Hye Kim HI 12
2022 10 10 Kunsthall Stavanger Cindy Ji Hye Kim HI 10
2022 10 10 Kunsthall Stavanger Cindy Ji Hye Kim HI 14
2022 10 10 Kunsthall Stavanger Cindy Ji Hye Kim HI 06
2022 10 10 Kunsthall Stavanger Cindy Ji Hye Kim HI 19
2022 10 10 Kunsthall Stavanger Cindy Ji Hye Kim HI 18
Asinus II: Forgiveness (2022)

Cindy HJi Hye Kim, Asinus II: Forgiveness (2022)
Olje, akryl, blekk, oljepastell, kull, grafitt på bjørk, 240 x 59.06 x 91.44 cm

Asinus IV: Sand in the Hourglass (2022)

Cindy Ji Hye Kim, Asinus IV: Sand in the Hourglass (2022)
Grafitt og blekk på papir, pressede blomster, kunstnerens hår, baltisk bjørk, 241.3 x 77.47 x 81.28cm

Asinus IV: Sand in the Hourglass (2022)

Cindy Ji Hye Kim, Asinus IV: Sand in the Hourglass (2022)

Grafitt og blekk på papir, pressede blomster, kunstnerens hår, baltisk bjørk, 241.3 x 77.47 x 81.28cm

2022 10 10 Kunsthall Stavanger Cindy Ji Hye Kim HI 09
2022 10 10 Kunsthall Stavanger Cindy Ji Hye Kim HI 08
Serpentine Silver (2022)

Cindy Ji Hye Kim, Serpentine Silver (2022)
Grafitt og kull på bjørk, 30.5 x 30.5 x 1.9 cm

Serpentine Silver (2022)

Cindy Ji Hye Kim, Serpentine Silver (2022)
Grafitt og kull på bjørk, 30.5 x 30.5 x 1.9 cm

Apology (2022)

Cindy Ji Hye Kim, Apology (2022)
Olje, akryl, blekk, oljepastell, kull, grafitt på bjørk, 30.5 x 30.5 x 1.9 cm
The Collection of Donald Porteous

Apology (2022)

Cindy Ji Hye Kim, Apology (2022)
Olje, akryl, blekk, oljepastell, kull, grafitt på bjørk, 30.5 x 30.5 x 1.9 cm
The Collection of Donald Porteous

Nightwind (2022)

Cindy Ji Hye Kim, Nightwind (2022)
Olje, akryl, blekk, oljepastell, kull, grafitt på bjørk., 30.5 x 30.5 x 1.9 cm
Private Collection, USA

Nightwind (2022)

Cindy Ji Hye Kim, Nightwind (2022)
Olje, akryl, blekk, oljepastell, kull, grafitt på bjørk., 30.5 x 30.5 x 1.9 cm
Private Collection, USA

Farewell (2022)

Cindy Ji Hye Kim, Farewell (2022)
Olje, akryl, blekk, oljepastell, kull, grafitt på bjørk, 30.5 x 30.5 x 1.9 cm

Next
Close
Related Programs