Taery Kim   Curriculum Vitae  

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Three-part installation consisting of two performances on video and C-print photograph series
When we speak there are no voices series (Part 1-3; 2012-2015) stages the temporality of tradition, born in time, that is constantly and continuously remade, rewritten, re-contextualized along the linearity of time. The traditional round-top Korean table is here contemplated as a vessel, vehicle, metaphor, communicator and container that unbinds from linear time. I both challenge and activate the object as a site, during which it becomes a silent vessel. How does it communicate with the body, with the space and with the time of the everyday? The performances are active contemplations of the reciprocity and non-linearity of the timeless rituals of tradition performed in time. Part 1 is a video document composed of several layers. The first layer shows a top-view of a contemplative dance performed over a round-top Korean table. The tabletop itself is empty, but immediately the dance transforms it into a stage and portal, through which a video showing the various stages of Kimchee-making surfaces as a second layer. The third layer is the physical canvas on which the performance is shown, its circular shape reflecting the round-top Korean table, the top-view of appearing and disappearing heads and the round kitchen tools used during the preparation of Kimchee. Part 2 is a performance on video that further contemplates the round-top Korean table as a physical site. Performed at Lake Daechungho, the slow and deliberate movements of the body reflect the wind and slight currents of the waters, contemplating the presence of the body against the linearity of time. Part 3 is a series of photographs that investigates the table motif, using the metaphor of light and dark (and shadow).

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When We Speak There Are No Voices (Part 1) (2012-2015)
When We Speak There Are No Voices (Part 1) (2012-2015)