When arranged in time sequence, Kim Ku-lim’s world of experimental works emanate an even more strange and unusual fascination, revealing its key factor—a third kind of temporality drawn from borderline experiments as a contemporary investigation into the west and Japan’s contemporaneity. Yet, it is indeed mysterious that such reminiscent scenes seem as a caricature looking just like Korea’s capitalist society which went through ultra-speed compressed growth. Though the experimental art of this contemporary who arrived in Korea too early was never directed at realism, a remarkable reality is perceived in the scenes of time (occasionally intentional and inevitable anachronism) that are cultivated by his works.