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Biography

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Kim Kulim 




Born in 1936 in Sangju, Gyeongsangbuk-do, Kim Kulim holds a significant status in Korean contemporary art history as the founder of Korean experimental art. Retaining a rebellious attitude towards existing values and customs, Kim has produced a wide scope of experimental works ranging from paintings, prints, sculptures, installations and performances to land art, video art and mail art. He has also been involved in experimental plays, films, music and dance. In 1969, he released Relics of Mass Media, considered Korea's first mail art and also produced The Meaning of 1/24 Second, a seminal work in the history of Korean experimental film. Kim was a founding member of AG(Korean Avant-Garde Association), through which he led avant-garde artistic practices that emphasized concept and process. In the 1970s, he founded The Fourth Group, an avant-garde art group consisting of young artists and intellectuals in various fields, pursuing intermedia art combining art, play, film, fashion and music. Later in the decade, he set off to Japan to begin experimentation with print and video art, and in the 1980s, he traveled to the United States to seek new ways of artistic practice. Kim's major exhibitions and performances include Korean Historical Conceptual 1970-80s: Jack-of-All-Trades (Gyeonggi Museum of Modern Art, 2011), Like You Know It All (Solo retrospective, Seoul Museum of Art, 2013), A Bigger Splash: Painting after Performance (Tate Modern,2012), From Death to Birth (Performance,Asia Culture Center, 2015), and The Song Within the Heart, The Resonance Within Poetry (Experimental music recital, London, 2019).His works are owned by more than 30 museums including the MMCA and Tate Modern.


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Kim Kulim, known as Korea’s first avant-garde artist, has worked in film, light, performance, and land art, often stretching the limits of a given medium. Primarily self-taught, he moved to New York after he dropped out of college and became involved with the Art Students League of New York, participating in a number of group exhibitions. Back in Korea, he held his first solo exhibition in 1958 at Daegu Information Center, and soon expanded his artistic practice beyond painting. In the 1960s Kim began to emphasize the materiality of painting in a radical way. For his artistic “deconstructions” he often used burned plastics, vinyl, and metal bits alongside oil paint. He incorporated ready-made objects in his painted canvases, created installation art, and staged performances. He played a leading part in several artist collectives (Painting 68, A.G. Group, The Fourth Group) and brought many firsts to the Korean art world. He filmed Korea’s first experimental movies Munmyeong, Yeoja, Don (Civilization, Woman, Money, 1969); and 1/24 (Cho) ui Uimi (The Meaning of 1/24 Second, 1969), staged the nation’s first body painting performance, initiated the first Korean mail art Maeseu Midieo ui Yumul (The Relics of Mass Media, 1969), and was responsible for Korea’s first examples of land art Chujeog e Hyeonsang Eseo (From Phenomenon to Traces, 1970). 

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