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BP艺术家丨金赞颂 Chansong Kim

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金赞颂拥有韩国首尔国民大学美术学院绘画学士学位。作为韩国新生代绘画代表之一，金赞颂感兴趣于“边界“的概念，在她以身体风景为主题的绘画中，主体被消解为形变的不可辨认的客体，与其他有生命的陌生的自然介入物一起，形成了通过某种干预而建立的变化过程，并让观者思考我们的身体——每个本体作为边界的立场和情绪。

她的作品曾受邀展出于全球各大艺术机构，近期重要展览包括个展 “皮肤的边界”，米梅西斯艺术博物馆，首尔，韩国（2023）；“发现：12位韩国当代艺术家”，洛克菲勒中心，纽约，美国（2023）；“塞纳河畔沃的夏天”，李应鲁美术馆，大田，韩国（2023）；“Casatopia”，德拉波特别墅，卡萨布兰卡，摩洛哥(2023)；金赞颂曾获得张旭镇美术馆绘画奖、郑敾美术馆“明日之星艺术家奖”、GAMMA“年度青年艺术家奖“。她的作品被全球重要美术馆及公共机构收藏，包括首尔市政府、清州美术馆、朴栖甫基金会、米梅西斯艺术博物馆、张旭镇美术馆、韩国百庆出版集团、南大出版集团等。

Chansong Kim graduated from Kookmin University with a Bachelor of Fine Arts in Painting. A featured artist of Korean new generational painting, she is keen on exploring the concept of “boundary”. In her paintings of themes centered on corporal landscape, subject is dissolved into an unrecognizable object, forming a process of transformation established through certain intervention along with other living and unfamiliar natural intruder, invites the viewers to ponder on body - the position and emotion of each entity as a boundary.

Her works have been invited to exhibit in various art organizations, recent selected exhibitions include solo exhibition “Border of Skin”, MIMESIS Museum, Seoul, Korea (2023); “Discovery: 12 Contemporary Artists from Korea”, Rockefeller Center, New York, USA (2023); “Summer at Vaux-sur Seine”, Lee Ungno Museum, Daejeon, Korea (2023); “Casatopia”, Villa Delaporte, Casablanca, Morocco (2023); She has won the Drawing Award, Chang Ucchin Museum of Art; “Tomorrow’s Artist Prize”, Kyumjae-Jeongseon Art Museum; “2020 Young Artist of the Year'', GAMMA Young Artist Competition. Her works have been collected by Seoul City, Cheongju Museum of Art, Park Seobo Foundation, MIMESIS Art Museum, Chang Urchin Museum of Art, Pakyoung Publishing Company, Nanda Publishing Company, and etc..

个人展览

2023

皮肤的边界，米梅西斯美术馆，韩国坡州

Casatopia, 德拉波特别墅，摩洛哥卡萨布兰卡

2022

蓝色时光，Pipe画廊，韩国首尔

姿势和诗歌，CL艺术, 韩国首尔

2021

触手可及, TEMI艺术家驻留，韩国大田

城市漫游者, Artertain, 韩国首尔

2019

恰当的姿势, Karas画廊，韩国首尔

2017

雾的重量, Aile画廊，韩国首尔

2016

无法定位的风景，4walls画廊，韩国首尔

2015

不可思议的间隙，4walls画廊，韩国首尔

2014

漂浮森林，Alternative Space Noon, 韩国水原

2012

粘滞的房间，The K画廊，韩国首尔

群展

2023

发现：来自韩国的12位当代艺术家，洛克菲勒中心，美国纽约

塞纳河畔沃的夏天，李应鲁美术馆，韩国大田

隐喻的风景，Carin画廊，韩国釜山

重新诠释，Seojung艺术，韩国首尔

2022

身外之躯，BROWNIE Project，中国上海

大步走, 斯帕玛奇画廊，日本东京

秘密内阁，The Stroll画廊，中国香港

FOCUS，PBG，韩国首尔

生动的自传，Dohing艺术，韩国首尔

固化剂，Eulji艺术中心，韩国首尔

喜悦：升起的名字，Lotte画廊，韩国首尔

2021

边界，Artside画廊，韩国首尔

难以辨认的地图，3艺术空间，韩国首尔

香草天空，Azulezo画廊，韩国首尔

预览，TEMI艺术家驻留，韩国首尔

世界上所有的绘画，Artertain，韩国首尔

2020

转变，Pakyoung画廊，韩国坡州

非典型开采，KC艺术空间，韩国城南

线的美学，Aile画廊，韩国首尔

Public 画廊 x 钟路塔，钟路塔，韩国首尔

2019

青春，绘画的力量， Artertain，韩国首尔

粉色外表，Dohing艺术，韩国首尔

媒介属性，K空间，韩国果川

上升：各式各样，Lina画廊，韩国首尔

2018

李应鲁巴黎驻留，李应鲁美术馆，韩国大田

反射：某种湍流，李应鲁驻留，法国巴黎

新兴画布5，Lalit Kala Akademi，印度钦奈

她的故事，Aile画廊，韩国首尔

十二，LJA画廊，韩国首尔

2017

之间，Sophis画廊，韩国首尔

莫纳德，Kimi艺术，韩国首尔

皮肤，Hoard画廊，韩国首尔

新绘画计划，张旭镇美术馆，韩国扬州

看见未来，Aile画廊，韩国首尔

2016

文献，Cheongju艺术工作室，韩国清洲

丽水国际艺术节，韩国丽水

Majoongmool, Kimreeaaa画廊，韩国首尔

2015

就在那里，Miboo艺术中心，韩国首尔

2014

韩国青年群体，Shine艺术家画廊，英国伦敦

涂鸦4，Unofficial Preview画廊，韩国首尔

2011

明日艺术家，Kyumjae-Jeongseon美术馆，韩国首尔

教育

2011

韩国首尔国民大学美术学院绘画学士

奖项

2016

绘画奖，张旭镇美术馆，韩国扬州

2011

明日艺术家奖，Kyumjae-Jeongseon美术馆，韩国首尔

Solo exhibition

2023

Border of Skin, MIMESIS Art Museum, Paju, Korea

Casatopia, Villa Delaporte, Casablanca, Morocco

2022

The Blue Hour, Pipe Gallery, Seoul, Korea

Gestures and Poem, CL Art, Seoul, Korea

2021

At a Moment’s Touch, Artist Residency TEMI, Daejeon, Korea

Flaneur, Artertain, Seoul, Korea

2019

Proper Gestures, Karas Gallery, Seoul, Korea

2017

Weight of the Fog, Gallery Aile, Seoul, Korea

2016

The Scenery Which Couldn’t Be Situated, Gallery 4walls, Seoul, Korea

2015

Uncanny Gap, Cheongju Art Studio, Cheongju, Korea

2014

Floating Forest, Alternative Space Noon, Suwon, Korea

2012

Sticky Room, The K Gallery, Seoul, Korea

Group exhibition

2023

Discovery : 12 Contemporary Artists from Korea, Rockefeller Center, New York, USA

Summer at Vaux-sur-Seine, Lee Ungno Museum, Daejeon, Korea

Metaphoric Scenery, Carin Gallery, Busan, Korea

Reinterpretation, Seojung Art, Seoul, Korea

2022

The Body of Non-body, Brownie Project, Shanghai, China

Stride, Galerie Supermarkt, Tokyo, Japan

The Secret Cabinet. The Stroll Gallery, Hong Kong, China

FOCUS, PBG, Seoul, Korea

Lively Autobiography, Dohing Art, Seoul, Korea

Hardener, Eulji Art Center, Seoul, Korea

Rejoice : Rising Names, Lotte Gallery, Seoul, Korea

2021

Boundary, Artside Gallery, Seoul, Korea

Illegible Map, Artspace 3, Seoul, Korea

Vanilla Sky, Azulezo Gallery, Seoul, Korea

Preview, Artist Residency TEMI, Daejeon, Korea

All the Drawings in the World, Artertain, Seoul, Korea

2020

The Shift, Gallery Pakyoung, Paju, Korea

Atypical Mining, Artspace KC, Sungnam, Korea

Aesthetics of the Line, Gallery Aile, Seoul, Korea

Public Gallery X Jongro Tower, Jongro Tower, Seoul, Korea

2019

Youth, Paintings in Power, Artertain, Seoul, Korea

Pink Facade, Dohing Art, Seoul, Korea

Media Attribute, Space K, Gwacheon, Korea

Step-up : Various, Lina Gallery, Seoul, Korea

2018

Lee Eungno Residence in Paris, Lee Eungno Museum,

Daejeon, Korea

Reflet : une certaine turbulence, Paris Lee Eungno Residence, France

Emerging Canvas 5, Lalit Kala Akademi, Chennai, India

Her Story, Gallery Aile, Seoul, Korea

Douze, LJA Gallery, Seoul, Korea

2017

Between, Sophis Gallery, Seoul, Korea

Monad, Kimi Art, Seoul, Korea, Korea

Flesh, Gallery Hoard, Seoul, Korea

New Drawing Project, Chang Ucchin

Museum of Art, Yangju, Korea

Seeing the Future, Gallery Aile, Seoul, Korea

2016

Document, Cheongju Art Studio, Cheongju, Korea

Yeosu international art festival, Yeosu, Korea

Majoongmool, Kimreeaa gallery, Seoul, Korea

2015

Out There, Miboo Art Center, Busan, Korea

2014

Young Korean Collective, Shine Artist Gallery, London, England

Scribbles 4, Unofficial Preview Gallery, Seoul, Korea

2011

Tomorrow’s Artist, Kyumjae-Jeongseon Art Museum, Seoul, Korea

Education

2011

School of Fine Arts, B.F.A Painting, Kookmin University, Seoul, Korea

Award

2016

Drawing Award, Chang Ucchin Museum of Art, Yangju, Korea

2011

Tomorrow’s Artist Prize, Kyumjae-Jeongseon Art Museum, Seoul, Korea

有一天，我给自己拍照。当我按下计时器时，碰巧屏幕上只拍到了身体。没有面孔的身体像个陌生人一样凝视着我。有时我觉得这具身体就像一个团块，那时却超越了某种界限。那个把我从最了解自己的人变成陌生人的瞬间让我体验到一种陌生、不适和着迷的感觉。

那就是我，镜头外的拍摄对象。照片中陌生的身体动摇了主体，它是异质且不定的。为了获得确定的主体，它把威胁迫近镜头内，被推向镜头中的团块仍聚集在模糊的边界上。那些被驱逐的不断试图打破边界，主体则不断抵抗；这种对抗守住了边界，主体历经威胁，坚定了立场。

此时，我用绘画再次形变身体，将镜头内外的身体分离。首先，创作的第一步是拍上几百张照片。这一过程中，主体被消解为镜头的客体-客体的角色而不是身体-和开始不同。有时切割，有时部分变形，身体仍是身体，但逐渐变得不可辨认。主体和镜头内的身体交织在一起，我们意识到，这种完全分离的尝试失败了。这具身体仍像一个悬而未决的时刻，主体附着在模糊的边界上。这时，其它焦虑的和潜在的开始涌现，模糊了界限。

— 金赞颂

One day, I photographed myself. As I put the timer and photographed myself, by chance only the body remains on the screen. And the faceless body gazed at me like a stranger. Sometimes this body seemed to me only a mass. It then seemed to be beyond a certain border. The experience of the moment when I felt like a stranger to myself as I believed I was the closest being gave a sense of strangeness, discomfort and fascination.

There is me, the object of the shot outside the screen. And the foreign body in the photo is an object that shakes the subject. It is heterogeneous and unstable. In order to acquire a stable subjectivity, it expels what threatens him inside the screen. And the masses pushed inside still remain around ambiguous borders. Those who are expelled constantly try to destroy the borders, while the subject keeps pushing back these attempts; which maintains the borders, and through this threat, the subject takes a more solid position.

At this point, I transform the body again by means of painting so as to separate the body in the screen and the one outside. First, I take hundreds of photos for the first step of the job. Through this process, the subject is consumed as the object of the photo - the role of the object rather than the body - unlike the beginning. Sometimes cutting itself, sometimes deforming itself partially, the body gradually remains with a body which we ignore who it belong to. Although the subject and the body inside the screen are intertwined, we manage to realize that this complete separation attempt was unsuccessful. And this body remains like a moment in suspense with the subject somewhere on these ambiguous borders. In this process, another, anxious and immanent begins to appear, blurring the boundaries.

— Chansong Kim

冰墙

Ice Wall

2023

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金赞颂

冰墙

2023

布面油画

162.2 x 130.3 cm

Chansong Kim

Ice Wall

2023

Oil on canvas

63.86 x 51.3 in

眼

The Eyes

2023

金赞颂

眼

2023

布面油画

130.3 x 193.9 cm

Chansong Kim

The Eyes

2023

Oil on canvas

51.29 x 76.34 in

物

The Object

2023

金赞颂

物

2023

布面油画

130.3 x 193.9 cm

Chansong Kim

The Object

2023

Oil on canvas

51.29 x 76.34 in

细微差别

Nuance

2023

金赞颂

细微差别

2023

布面油画

162.2 x 130.3 cm

Chansong Kim

Naunce

2023

Oil on canvas

63.86 x 51.3 in

皮肤与绿影

Skin and Green Shadow

2023

金赞颂

皮肤与绿影

2023

布面油画

162 x 260 cm

Chansong Kim

Skin and Green Shadow

2023

Oil on canvas

63.78 x 102.36 in

午间之物

Midday Object

2023

金赞颂

午间之物

2023

布面油画

162.2 x 130.3 cm

Chansong Kim

Midday Object

2023

Oil on canvas

63.86 x 51.3 in

徘徊表情

Wandering Expression

2021

金赞颂

徘徊表情

2023

布面油画

162 x 260 cm

Chansong Kim

Wandering Expression

2023

Oil on canvas

63.78 x 102.36 in

雨天回忆

The Memory of Rainy Day

2023

金赞颂

雨天回忆

2023

布面油画

193.9 x 130.3 cm

Chansong Kim

Ice Wall

2023

Oil on canvas

76.34 x 51.3 in

雾

Mist

2023

金赞颂

雾

2023

布面油画

130.3 x 130.3 cm

Chansong Kim

Ice Wall

2023

Oil on canvas

51.3 x 51.3 in

金赞颂的观察始于身体，绕过外界的约束，然后回到身体。构成身体的众多元素被外在的目光束缚，只要我们留在身体内，就不能被解放。金赞颂的探索始于她拍摄到的一张身体摇摆运动的照片。这种新鲜而陌生的视角，由重叠的、有时分叉的笔触画出身体部分的放大视角，己经成为她关于边界的独特语言。

Chansong Kim's gaze begins with the body, circumvents the constraints of the external world, and then returns to the body. The multitude of elements that comprise the body are bound by the external gaze and cannot be liberated as long as we remain within it. Kim's exploration began with her encounter with a photograph capturing the swaying movement of a body. This fresh and unfamiliar perspective, of the magnified view of a body part painted by the overlapping, and at times bifurcating, strokes of paint, has become a unique language about boundaries for the artist.

匿名身体习作

Study for Anonymous Body

2022

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金赞颂

匿名身体习作

2022

纸上水彩

46.8 x 36.8 cm

Chansong Kim

Study for Anonymous Body

2023

Watercolor on paper

18.43 x 14.49 in

作品近期展览

个展：米梅西斯个展17: 身体边界

MIMESIS SE 17 Border of Skin

2023年8月23日 - 2023年9月24日

@MIMESIS Art Museum, Seoul, Korea

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金赞颂试图不通过提及这一点来束缚边界。她的作品就像诗歌，不定义任何东西。她在柔和而坚决的颜料调和中留下的痕迹，让我们想起艺术家的形象置于内外之间，难以辨别。金赞颂意识到她所经历的法式花园和摩洛哥自然中的植物实际上来自其它地方，并感到新事物通过干预到来，模糊了旧事物并再次创造新的界限。这些陌生的介入物大多是有生命的东西，这导致了什么连接什么和什么之间的混淆，并重新定义了这种关系。脚是她作品中经常出现的元素，似乎可以衡量在混乱中行走的程度。眼睛、手、脚以及比实物放大的身体的画作，强调了与身体密不可分的心灵情感。这些看起来像身体风景的作品，捕捉了通过某种干预而建立的变化过程，并让我们思考我们的身体，这是这个过程的通道。对于以自然材料为代表的身体的绘画来说也是如此。关注在人际关系中交换的所有刺激和反应的过程，以及当不熟悉的事物经过我们的身体时我们感受到的感觉和情绪。到最后，金赞颂漂浮的表面不就意味着我们每个人都是一条通道，作为一个边界而存在吗？

— 米梅西斯艺术博物馆高级策展人郑熙拉

Chansong Kim tries not to tie the boundary by mentioning it. Her works are like poetry, so they do not define anything. Her traces in the soft yet resolute blending of paints remind us of the artist's image placed between the inside and the outside, which is difficult to distinguish. Chansong Kim realizes that her experience of French gardens and plants in Moroccan nature actually came from other places. Through intervention, new things arrived, blurred existing ones and created new boundaries. This unfamiliar interventions are generally alive, connecting what and what, creating chaos and rebuilding relationships. Feet, often seen in her works, seem to wander between chaos, measuring the degree. The enlarged images of the eyes, hands, feet, and body reveal the inner emotions that the body cannot escape. These seemingly physical landscapes document the process of stabilizing change through some intervention, allowing us to think about the body as a pathway for the process. The same applies to paintings that have natural materials equivalent to the body. Paying attention to the stimuli and reactions of communication in relationships, the sensations and emotions felt when unfamiliar things come, all through our physical processes. In the end, wouldn't Chansong Kim's floating surfaces mean that each of us, a passageway, exists as a boundary?

— Senior Curator of MIMESIS Art Museum Heera Jeong

当空气接触皮肤

When the Air Touches the Skin

2021

金赞颂

当空气接触皮肤

2023

布面油画

112.1 x 162.2 cm

Chansong Kim

When the Air Touches the Skin

2023

Oil on canvas

44.13 x 63.86 in

匿名的脚

Anonymous Feet

2022

金赞颂

匿名的脚

2022

布面油画

Chansong Kim

Anonymous Feet

2023

Oil on canvas

作品近期展览

群展：发现：来自韩国的12位当代艺术家

2023年7月18日-2023年8月27日

@Rockefeller Center, New York, USA

金赞颂在画作中捕捉熟悉经历转变为陌生感觉的瞬间。计时摄像机偶然记录下她走到镜头前的一张照片;没拍到脸,身体的部分像碎片一样散落开。

将这些身体部位转移到画布的过程中,发生的扭曲和断裂最终诞生了一个“陌生人”——无法辨认它属于谁。于此，金赞颂记录了最亲密的存在,她自己的容貌,蜕变成令人不安的迷恋,居于现实和非现实之间的新创造。

— Artue策展团队

Chansong Kim captures in her paintings the moments when familiar experiences transition into unfamiliar sensations. A picture taken by chance as she casually walked in front of a timed camera; a face missing, with fragments of the body parts scattered like debris on the ground.

In the process of transferring these body parts onto the canvas, the distortions and interruptions that occur ultimately birth a 'stranger' - unrecognizable to whom it belongs. Thus, Chansong Kim records the moments when the most intimate existence, her own visage, metamorphoses into a disconcerting fascination, a new creation blooming in the interstice between reality and unreality.

— Artue Curatorial Team

诗与空气

Poem and Air

2023

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金赞颂

诗与空气

2023

布面油画

130 x 190 cm

Chansong Kim

Poem and Air

2023

Oil on canvas

51.18 x 74.8 in

当我感受你

When I Feel You

2023

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金赞颂

当我感受你

2023

布面油画

130 x 190 cm

Chansong Kim

When I Feel You

2023

Oil on canvas

51.18 x 74.80 in

纸上水彩

Watercolor on Paper

2023

金赞颂

纸上水彩

2023

56.2 x 43.6 cm

Chansong Kim

Watercolor on paper

2023

22.13 x 17.17 in

作品近期展览

个展：Casatopia

2023年3月2日-2023年3月16日

@Villa Delaporte, Casablanca, Morocco

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金赞颂的工作室位于韩国大田。从大田到卡萨布兰卡，艺术家的旅程始于她以友好之姿迎接自己的影子，并跨越边界寻找寻其它友好的影子。你会带什么去卡萨布拉卡？对于金赞颂来说，铅笔可以画下边界，画笔可以质疑边界，而她的身体可以作为感知的空间。

艺术家的作品是被怀疑占据之地，梦想和印象在那里结合。在艺术家生活的地方，感觉、自然和世界上的事物也可以被看到。通过这种感觉，艺术家描绘了对卡萨布兰卡的印象，白天编织承诺，晚上撤销承诺。观察…在卡萨布兰卡行走意味着以现在为伴侣穿越时间。

— 策展人阿伊达·欧玛丽

Chansong Kim holds her studio in Daejeon, South Korea. From Daejeon to Casablanca, the artist's journey begins with welcoming her own shadow with a friendly gesture and crossing the border to search for other friendly shadows.

What can you bring in your suitcase when going to Casablanca? For Chansong Kim, a pencil can draw boundaries, a brush can question boundaries, and her body can serve as a space for sensation.

The work of an artist is a place of doubt that is dominated, where dreams and impressions are combined. In the place where artists live, feelings, nature, and things in the world can also be seen. Through this feeling, the artist provides the impression of Casablanca, weaving promises during the day and revoking them at night. Observing... Walking in Casablanca means traveling through time with the present as your partner.

— Curator Äida Omary

红

Red Something

2020

金赞颂

红

2020

布面油画

65 x 91 cm

Chansong Kim

Red Something

2023

Oil on canvas

25.59 x 35.83 in

金赞颂的身体系列通过放大身体部位来展示微妙的姿态。模糊了脸部主体的身体，似乎超越了一定的界限,随着亲密而焦虑的感觉出现，变得奇怪、不舒服和迷人。在《红》中，金赞颂用她平常粗糙的油笔来表达身体的质感。相比之下，红色球体及其平滑的表面象征着存在于主角周围的未知情绪的聚集，这些情绪无法被明确定义。

Chansong Kim's Body Series shows subtle gestures by zooming in on parts of the body. The body, which blurs the subject of the face, seems to transcend certain boundaries, becoming strange, uncomfortable and fascinating as the intimate yet anxious feeling arises. In Red Something, Chansong uses her usual thick, rough oil brushwork to express the texture of the body. In contrast, the red sphere with its smoothly traced surface symbolizes a conglomeration of unknown emotions that exist around the protagonist that cannot be clearly defined.

匿名场景

Scenes of Anonymity

2021

金赞颂

匿名场景

2021

布面油画

162.2 x 260.6 cm

Chansong Kim

Sences of Anonymiy

2021

Oil on canvas

63.86 x 102.6 in

金赞颂的双联画中描绘了一具身体。它以一种奇特的、卷曲的姿势展开，裸体、亲密，而大规模散发出一种压抑的感觉。蒸汽图像在原始的背景下模糊了它的边界，就像在世界混乱中新生的融合。

脸被舍去的画作中，该怎样辨别它的身份？这是艺术家的身体吗？这是我的身体吗？它还可能是谁的身体？

Chansong Kim's diptych lays down a body. It unfolds in a peculiar, curled-up position, naked, intimate while the large scale radiates an oppressing sensation. The vapory image blurs its boundary with the raw backdrop, like a new-born merging in the world's chaos. When the faces are eliminated, how do we differentiate from each other?

Is this the artist's body? Is this my body? Who else's body can it possibly be?

未固定的场景

Unfixed Scenery

2019

金赞颂

未固定的场景

2019

布面油画

80.3 x 116.8 cm

Chansong Kim

Unfixed Scenery

2019

Oil on canvas

31.61 x 45.98 in

匿名的脚

Anonymous Feet

2022

金赞颂

匿名的脚

2022

布面油画

72.7 x 72.7 cm

Chansong Kim

Anonymous Feet

2022

Oil on canvas

28.62 x 28.62 in

匿名的手

Anonymous Hands

2022

金赞颂

匿名的手

2022

布面油画

72.7 x 72.7 cm

Chansong Kim

Anonymous Hands

2022

Oil on canvas

28.62 x 28.62 in

凝视

Gaze

2022

金赞颂

凝视

2022

布面油画

72.7 x 72.7 cm

Chansong Kim

Gaze

2022

Oil on canvas

28.62 x 28.62 in

作品近期展览

群展：身外之躯

The Body of Nonbody

2022年11月8日-2023年2月12日

@BROWNIE Project, Shanghai, China

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空气颂

Song of Air

2022

金赞颂

空气颂

2022

布面油画

193.9 x 130.3 cm

Chansong Kim

Song of Air

2022

Oil on canvas

76.34 x 51.3 in

当你看向我

When You Look at Me

2022

金赞颂

当你看向我

2022

布面油画

80.3 x 116.8 cm

Chansong Kim

When You Look at Me

2022

Oil on canvas

31.61 x 45.98 in

匿名的脚

Anonymous Feet

2022

金赞颂

匿名的脚

2022

布面油画

72.7 x 72.7 cm

Chansong Kim

Anonymous Feet

2022

Oil on canvas

28.62 x 28.62 in

蓝色侧写

Blue Portrait

2023

金赞颂

蓝色侧写

2023

布面油画

130 x 162 cm

Chansong Kim

Blue Portrait

2023

Oil on canvas

51.18 x 63.78 in

作品近期展览

个展：The Blue Hour

2023年7月15日 - 2023年8月12日

@Pipe Gallery, Seoul, Korea

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金赞颂关于身体，人体外部的画作，其实始于内在的情绪。她觉得她想要逃离她所面临的状态，重回那个某天会拥抱她的原始空间。这些想法由发源地转移到画布上，这是一个不会被任何人拒绝的场所。作画时，身体作为一种既熟悉又陌生，既陌生又熟悉的东西有趣地存在。金赞颂调研了许多相关书籍，她尤其对符号学家和哲学家 Julia Kristeva的讨论感兴趣。她的概念是，人类会主观地通过卑贱的观念排斥外来的事物而创造出边界。

金赞颂对于熟悉与陌生、陌生与熟悉的兴趣，转化为了对于身体的凝视。这开始于她在家里设置了一台计时器，以及偶然间看到了一张没有拍到脸的身体照片。根据她的笔记，在那张照片中：“脸消失的照片，她像一个陌生人一样盯着我。有的时候身体就好像一个块状物。在那时，身体就好像在某个边界之外。”金赞颂相信她是自己最亲密的人，但那种片刻的陌生的经历让她感觉到既不舒服，又对之着迷。基于她给自己的身体拍的这张照片，她开始画以她熟悉的房子为背景的，快照一般的画作。

— 艺术评论家金韩德

Chansong Kim's drawing of the body, the exterior of a person, actually started from the emotions of the interior. As I passed through my early twenties, I began to feel depressed and it lasted for some time. She felt that she wanted to escape from the situation in front of her and return to the original space that would have embraced her someday. The thoughts were transferred to the canvas in the form of the womb, a circular space that cannot be denied to everyone. While drawing, the uterus appeared interesting as an object that was both familiar and unfamiliar, and unfamiliar yet familiar. She searched for relevant books and was particularly interested in discussions by semiotician and philosopher Julia Kristeva. The content was that humans create subjectivity or boundaries by pushing out foreign things through the concept of abjection.

The artist's interest in things that are familiar yet unfamiliar, unfamiliar yet familiar, shifted his gaze to the body. This was after setting a timer at home and accidentally seeing a body with its face cut off while filming itself. According to the artist’s note, in the photo “… . The body whose face had disappeared was staring at me like a stranger. Sometimes the body felt like just a lump. At that time, the body felt like it was outside a certain boundary. “She believed that she was the closest person, but the momentary experience of feeling unfamiliar was an uncomfortable unfamiliarity and at the same time fascinating.” Based on the photos she took of her own body, she started drawing pictures like snapshots with a familiar house as the background.

— Art theorist Kim Handeul