Category Archives: Chang-Soo Kim


Posted by on November 1, 2010 at 4:15 pm.

Curiculum Vitae

Posted by on November 1, 2010 at 4:14 pm.


  • Graduated from Hochschule fuer Gestaltung Offenbach am Main in Germany with Diplom Designer degree in February 1990
  • Graduated from Dept. of Applied Art, Seoul National University in Korea with B.F.A degree in February 1986

Solo Exhibition (selected)

  • Stadtbilder, HfG(Hochschule fuer Gestaltung Offenbach am Main) Gallery , Offenbach am Main, Germany
  • Trek & Tracking, Fukuoka Prefectural Museum of Art, Fukuoka, Japan
  • the track, Hanmi Gallery, Seoul, Korea
  • the 2nd tracking, Asian Art Museum, Fukuoka, Japan
  • Chang-Soo Kim & Maria, Hun Gallery, New York, USA
  • 10th International Biennial of Drawing and Graphic Arts, Municipal Museum of Arts in Gyor, Hungary
  • Solo Exhibition of Chang-Soo Kim: Winner of the main prize of the former biennial

Group Exhibition (selected)

  • Modern Art from Korea-Japan, Silk Gallery by Japanese Culture Centre, Seoul
  • 2000 Moderne Malerei Koreas Ausstellung, Perchtoldsdor bie Wien, Austria
  • International Print Triennial – Krakow 2003(MTG), Bunkier Sztuki Contemporary Art Gallery, Krakow, Poland
  • Kunst aus Korea, Goethe Institut Gallery in Frankfurt am Main, Germany
  • Open Print – RWA(Royal West of England Academy) Gallery, Bristol, England
  • De-Sign, SADI Space Gallery, Seoul, Korea
  • the 13th Tallinn Print Triennial, Estonia, Rotermann Salt Storage Arts Centre, Tallinn, Estonia
  • MATRICES 2004, Vasarely Museum, Budafest, Hungary
  • AniGma 2005- The 2d Novosibirsk International Festival of Digital – Exhibition of Digital prints, Novosibirsk State Art Museum, RUSSIA
  • 8th International Biennial of Drawing and Graphic Arts, Municipal Museum of Arts in Gyor, Hungary
  • Tokyo International Mini-Print Triennial 2005, Tama Art University Museum, Tokyo, Japan
  • “Puzzle Project – the first exhibition” , pon2kau2 art space, Osaka, Japan.
  • In-Form, Dong-Duk Art Gallery, Seoul, Korea.
  • MediaEdge, SADI Space Gallery, Seoul, Korea.
  • International Prints Network in Heyri, Geumsan Gallery in Heyri, Paju, Gyunggi-do, Korea
  • Dual Scenery, Artcom Centre, NJ, USA
  • International Print Triennial – Krakow 2006 – Main EXhibition(MTG), Bunkier Sztuki Contemporary Art Gallery, Krakow, Poland
  • 4th International Artist’s Book Triennial Vilnius 2006, Gallery “Arka”, Vilnius, Lithuania
  • R_EVOLUTION 1956-2006, 1st International SpanishFlu Mail Art Biennial, SpanishFlu @rt webroom, Miskolc, Hungary
  • Print Spectrum 2006, Sun Gallery, Seoul, Korea
  • FURTHER;Artists from Printmaking at the Edge, Exchange Print Portfolio Exhibition, Galleria Harmonia, Jyväskylä,Finland
  • International Print Triennial – Krakow 2006 in Oldenburg, Horst-Janssen-Museum/Gallerie Kunststueck etc. Oldenburg, Germany
  • Further; Artists from Printmaking at the Edge INTERNATIONAL PORTFOLIO EXHIBITION, Frans Masereel Centrum, Kasterlee, Belgium
  • The awarded artists of „MATRICES 2004″, Képíró Gallery, Budapest, Hungary
  • MATRICES 2007, Duna Gallery , Budapest, Hungary
  • Further; Artists from Printmaking at the Edge INTERNATIONAL PORTFOLIO EXHIBITION, Galerie Wohlleb, Vienna, Austria
  • Falun Triennial 2007, Dalarnas museum, Falun, Sweden
  • 9th International Biennial of Drawing and Graphic Arts, Municipal Museum of Arts in Gyor, Hungary
  • Edge, Hamni Photography Museum, Seoul Korea
  • Contemporary Korean Prints 1958-2008, National Museum of Contemporary Art, Gwacheon-si, Gyeonggi-do, Korea
  • beyond Further, 5IVE & 40RTY, Winston-Salem, North Carolina, USA
  • Edition-Aesthetics of Printmaking in the Era of Reproduction, Gyeongnam Art Museum, Changwon, Gyeonam-do, Korea
  • EPI 2008, Edmont, Canada
  • 1st Kulisiewicz International Graphic Arts Triennial in Warsaw IMPRINT 2008, Warsaw, Poland
  • 5th International Artist’s Book Triennial Vilnius 2009, Vilnius, Lituania / Art Centre Silkeborg Bad, Denmark /
  • Gallery “Hübner Bokform”, Halmstad, Sweden
  • The 8th Lessedra World Art Print Annual – Mini Print 2009, Sofia, Bulgaria
  • Interpret/Inter-print Korean-Hungarian Printmaking Exchange Exhibition, Gallery 9, Budapest, Hungary
  • International Print Triennial – Krakow 2009(MTG), Bunkier Sztuki Contemporary Art Gallery, Krakow, Poland


  • Profile of contemporary art – the latter 90′s in Japan and Korea, International Art Center of Kyoto, Japan
  • Art Korea, Seoul, Korea
  • Icon Data-World Print of International Print Triennial, Cracow, Poland
  • Printmaking at the edge, Richard Noyce, B & C Pub., England
  • UM:DRUCK Zeitschrift für Druckgrafik und visuelle Kultur, Nummer 5 September 2007, Furher in Printmaking – Digital CIty_S17-18, Wien, Austria.
  • Grapheion No. 21, INTERNATIONAL REVIEW OF CONTEMPORARY PRINTS, the Future of Printing ? Binary and Aura, Prague, Czech Republic
  • ÉLET ÉS IRODALOM, introduced at the exhibition “interpret/inter-print”, 3 Jul. 2009

Symposiums (international) and Presentation

  • The 2007 Southern Graphic Conference (SGC 2007), FUTHER in Printmaking – Digital City, Kansas City, USA 2007
  • 10th International Biennial of Drawing and Graphic Arts, Municipal Museum of Arts in Gyor, Hungary
  • Inner City and Flickering – Lost and Hope


  • International Print Triennial – Krakow 2003 ‘Regular Award of the MTG’, Krakow, Poland
  • OPEN PRINT ‘Sponsor Prize’, RWAGallery, Bristol, England
  • MATRICES 2004 Special Prize – Picture Gallery of Municipal Museum of Arts in the city Gyor, Hungary
  • Grand Prix – 9th International Biennial of Drawing and Graphic Arts, Municipal Museum of Arts in Gyor, Hungary

Artist Statement

Posted by on November 1, 2010 at 4:09 pm.


Flickering is a conceptual Keyword for today’s popularized way of visual cognition which comes with the expansion of electronic and digital media. As traditional forms of the way in cognition are gradually changing to instantaneous and intuitive impression, the existing value system also experiences a serious internal and/or visual change. This represents intrinsic change.

I am not talking about just a simple outward form of change, a development of media, nor an expansionary phenomenon. Marshall McLuhan’s Equation, ‘Media=Message’ in a more visual form, leads to the change of our intrinsic value system or cognition. As such, Flickering is more than just a method of electronic media expression represented by the flicker.

It represents the change of value system resulting from the change in visual cognition. At the same time, it represents the loss of our traditional value through our consumption of flicker.


In addition to Flickering, another newly used expression is Synthespians. It is a compound word or a new word meaning “a new technology made by linking the actual movements of humans or animals with the computer image.” On the other hand, Synthespians is also used as a meaning of ‘synthesized figure’.

The expression is a comprehensive proposition of a question, with a premise of the existence of Flickering cognition, about the loss of Identity by modern human being.

It is also a description of the characteristics in the method of visual expression resulting from the work approach which creates a totally different figure by overlapping figures, that are not related to each other in any way, photographed in the street or by repetitive use of them. In this kind of approach, we must ask ourselves the following questions: Sharing countless number of physical, human, spatial environment at the same time, who are we to ourselves and others? What meaning does the self have?

In the process, an attempt at re-illumination about the necessity of intrinsic inquiry the above two questions present is made. In this sense, Synthespians is a designation of modern men and women as a new breed of humankind in a tribal sense.


The penumbra is the region in which only a portion of the occulting body obscures the light source. An observer in the penumbra experiences a partial eclipse. In my recent exhibition, attention has been paid to what we have lost and ignored so far by shunning advertisement or exaggerated visual phenomena.

In terms of the way expression is considered in the penumbra works, there is a repeated interlacing or layered overlap. ‘Interlace’ is a whole progressive expression method, a biased concept which substitutes insecurity with mechanical complement. This is a method of implementing an image which is widely used in electronic media and at the same time a visual phenomenon that expresses the contemporary paradigm. …

… In the dictionary, the meaning of ‘interlace’ is a method of interlaced scanning image implementation. This new concept was introduced with the emergence of CRT TV. With this method, an image is created by displaying dots on even- and odd-numbered lines in turn instead of making an entire complete image at once. Because of the time difference, however, mild flickering can occur on the screen. To configure an image, therefore, two interlaced scanning frames (even- and odd-numbered) are needed. These two incomplete frames complement each other and each interlaced image is dependent on the other, which reminds of us ourselves, that we tend to view things based on our own perspective or prejudice.

All pieces presented in my recent exhibition have been made using digital print technology from the beginning to the final completion because it suggests a new possibility as an art paradigm. With regard to my view on digital print technology, I would like to quote what I wrote for the 21st issue of the Grapheion.

“… The main attributes behind the concept of digital is the notion of non-visualization expressing information in forms of non-materialism and in an electronic pulse, the existence of art in the form of materialism, and value expressing traditional thinking expanding from the limitations of simple materials.

Therefore, recognizing digital art as a revolutionary mechanism innovating traditional artistic foundations under the following conditions will be the most appropriate conceptual understanding of digital technology in the 21st century: If it is understood and viewed as a concept which transcends the boundaries of time and space; if it is viewed as a supplementary mechanism and relative expansionism concept; if digital technology is no longer regarded simply as a traditional industrial artistic value and evaluation tool, and if we expand its artistic value; if we expand the fundamental merits of digital art and provide the necessary environment to realize its true value …”


-The Future of Printing ” Binary and Aura, Prague, Czech Republic

Chang-Soo Kim