Ali, Hiba. “Essays on Art–Cecilia Kim When the body becomes dust and settles around you.” Easy City Art, Jul 31, 2022.  https://www.eastcityart.com/reviews/ali/

Weinger, Mackenzie. “DC’s Kreeger Museum features new exhibit ‘Doing the Work’ thru Aug. 5.” The Washington Diplomat, Jun 22, 2023.
https://washdiplomat.com/a-review-of-doing-the-work-a-new-exhibition-in-dc/

“The Kreeger Museum and Hamiltonian Artists present Doing the Work.” East City Art, May 9, 2023. https://www.eastcityart.com/openings-and-events/kreeger/

Jenkins, Mark. “In the galleries: Doing the Work.” The Washington Post, July 28, 2023. https://www.washingtonpost.com/entertainment/art/2023/07/28/art-gallery-shows-dc-area/

Ugincius, Leila. “’Transnational nomadic lifestyle’ inspires alum’s award-winning work.” VCU News, Mar 4, 2022. https://news.vcu.edu/article/2022/03/transnational-nomadic-lifestyle-inspires-alums-award-winning-work

Jenkins, Mark. “In the galleries: Autobiographical pieces prevail at the Trawick Prize.” Washington Post, Sep 24, 2021. https://www.washingtonpost.com/entertainment/museums/art-gallery-shows-dc-area/2021/09/23/dacfafc0-1a28-11ec-a99a-5fea2b2da34b_story

Jenkins, Mark. “In the galleries: Paintings reflect light's luminous effects.” Washington Post, Jan 12, 2022. https://www.washingtonpost.com/entertainment/museums/art-gallery-shows-dc-area/2022/01/12/02716cf6-7250-11ec-b202-b9b92330d4fa_story

Kennedy, Colleen. “’new. now’ Unveils a Keliedoscopic Portfolio of Emerging Artists.” District Fray Magazine, Jan 5, 2020.
https://districtfray.com/articles/new-now-showcases-promising-artists/

Hamiltonian Artists Presents 2021-2023 Fellows new. now.” East City Art, Dec 13, 2021.
https://www.eastcityart.com/artist-talks/hamiltonian-artists-presents2021-2023-fellows-new-now/
 
new. now. Hamiltonian Alumni Group Show.” Bmore Art, Dec 2021. https://bmoreart.com/event/new-now-hamiltonian-alumni-group-show

Hamiltonian Gallery new. now.” Artforum Artguide, Dec 2021. https://www.artforum.com/artguide/hamiltonian-gallery-19960/new-now-199765

Smith, Jiana. “‘The Cardinal Club’ exhibition celebrates Asian stories, highlights VCU’s Asian community.” The Commonwealth Times, Oct 20, 2021. https://commonwealthtimes.org/2021/10/20/the-cardinal-club-exhibition-celebrates-asian-stories-highlights-vcus-asian-community/

“2020 Trawick Prize Award Winners Announced.” East City Art, Sep 14, 2021. 
https://www.eastcityart.com/art-news/2021-trawick-prize-award-winners-announced/

“The Trawick Prize.” Bethesda Urban Partnership, Sep. 2021. https://www.bethesda.org/bethesda/trawick-prize


Trawick Prize Announces 2021 Finalists.” CultureSpotMC.com, Aug 04, 21. 
https://www.culturespotmc.com/stories/features/trawick-prize-announces-2021-finalists/

Those Spaces Between Us, Target Gallery, Torpedo Factory Art Center, Alexandria, VA. Exhibition Catalogue.https://spark.adobe.com/page/C0z8zFUSOVMpR/

The Remarkable Women Behind The Immigrant Artist Biennial Share Their Curatorial Process.” Art Zealous, Nov 6, 20.
artzealous.com/pivots-and-collaboration-the-remarkable-women-behind-the-immigrant-artist-biennial-share-their-curatorial-process/

Editor’s Picks: New York, October 9–October 16, 2020.” Cultbytes, Oct 9, 20. cultbytes.com/editors-picks-new-york-october-9-october-16-2020/

Phantom Border.” Neolook, Sep 19, 20. neolook.com/archives/20200919d

Korea Art Week, Exhibition Listing, Sep. 20. artweek.kr/2020/room/01_view.php?num=20

Seoul Art Guide. www.daljin.com/?WS=21&BC=gdv&GNO=D069792

Bae, Byeong-Oh. “Searching for a Way to Sympathize in a Changing Era–Thoughts on Cecilia Kim’s Echo.” Openarts Space MERGE blog, Feb 9, 21.
https://blog.naver.com/openartsmerge/222237891973

Openarts Space MERGE <Soonhwan/Cycle> - 2020 Busan International Openarts Residence Artists Exhibition.” Openarts Space MERGE blog, Dec 1, 20.  https://blog.naver.com/openartsmerge/222159755289

Cecilia Kim: Home, Where My Heart Rests.” The Visualist. Aug 11, 17. www.thevisualist.org/2017/08/cecilia-kim-home-where-my-heart-rests-2

“Home, Where My Heart Rests” The  Chicago Reader, Exhibition Listing. www.chicagoreader.com/chicago/cecilia-kim-home-where-my-heart-rests/Event?oid=28640977

Editor-in-Chief: Kim, Cecilia Hankyeol. Dahm-so Magazine, Issue 9, 2017. pp 1-64.  https://digitalcollections.saic.edu/islandora/object/islandora%3A19799#page/1/mode/2up

Editor-in-Chief: Kim, Cecilia Hankyeol. Dahm-so Magazine, Issue 8, 2016. pp 1-56.  https://digitalcollections.saic.edu/islandora/object/islandora%3A19797#page/1/mode/2up



Things that slide down the borders


The artist Hankyeol KIM exists as ‘Hankyeol KIM’, and as ‘Cecilia KIM’ at the same time. I, the writer, would like to refer to her as ‘the artist’ or ‘she1’, instead of her name in ‘a certain language2’, here in the preface of her exhibition. However fastidious these precautious thoughts and measures may seem, one would realize their gravity once they take into account KIM’s focus in the exhibition.

KIM deals with the “linguistic” barrier and invisible “borders” in this exhibition, among the subjects she experiences “as a female Asian artist-filmmaker3”. Some may consider KIM’s choice of subject too obvious for someone who has lived and experienced cultures from more than one country. But the moment one thinks “that’s typical for who lives abroad,” he/she falls into a trap that KIM never designed. Because the misconception of using the ‘same language in ‘a common culture’ is what confines us the most, to the barrier of language and lose the things that slip and slide through the gaps between “languages”. In this exhibition, the ideas that cannot be seized by “languages”, “conventions”, “memories”, and “time” await us, filling the gallery space and crossing between borders.

The “Borders” take a “Phantom” form and “welcome” us (Translator’s Note: A Korean wordplay: Phantom and Welcome are pronounced alike).  Inside the entrancing videos, someone’s voice, and silent subtitles, these ‘Borders’ exist as invisible ‘Phantoms’. At the same time, they become transparent screens that separate inside and out, like a mosquito net, “welcoming” us in the space. Of utmost importance is that KIM is welcoming us, instead of setting up solid barriers. Borrowing Kim’s words, they permeate each other through osmosis4.

- Kaweon KIM, 0 GALLERY

1 KIM is referred to as ‘she’, as per KIM’s introduction of herself ‘as a female.’ 2 Korean and English will be paralleled in descriptions preserve contexts from both languages. 3 Direct quotation from KIM’s introduction. (Prime lexis used by KIM in the interview are specifically notated within “”). 4 Bio-chemistry term.  (i.e.) Water passes into the roots of a plant by osmosis.


경계를 타고 미끄러지는 것들


작가 김한결은 ‘김한결’인 동시에 ‘Cecilia KIM’이다. 나(글쓴이)는 그녀의 전시 첫 머리에 소개될 이 글에서 한 “언어1”의 이름보다는 ‘작가’ 또는 ‘그녀2’로 대신하여 지칭하고자 한다. 이런 고민과 행동이 유난스러워 보일지라도, 그녀가 이번 전시에서 집중하고 있는 부분을 염두에 두고 본다면, 이는 중요한 고민이다.

이번 전시 <환영하는 경계, Phantom Border>에서 그녀는 “As a female Asian artist-filmmaker3” 로서 경험하고 있는 주제들 중 특히 “언어”의 한계와 보이지 않는 “경계”에 대해 이야기한다. 어쩌면 누군가는 이 주제가 하나 이상의 나라에 거주하며 다양한 문화를 경험한 그녀에게 당연한 것으로 치부할지도 모른다. 그러나 오히려 ‘외국에 살면 다 그렇지’ 라고 생각하는 순간 우리는 오히려 그녀가 의도하지 않은 함정에 빠지고 만다. 왜냐하면 사실 ‘같은 언어’를 쓰고 ‘같은 문화’ 속에 있다는 그 착각이야말로 우리를 보다 더 언어의 한계에 가두고 “언어”들 사이로 미끄러지고 있는 것들을 놓치게 만들기 때문이다. 이번 전시에서는 바로 이 “언어”로, “형식”으로 그리고 “기억”과 “시간”으로 잡히지 않는 것들이 공간을 메우고 경계 사이를 넘나들며 우리를 기다린다.  

전시장 속에서 “경계-Border”들은 “환영-Phantom”적인 모습으로 우리를 “환영-Welcome”하고 있다. 빨려 들어가는 영상 속에서, 누군가의 목소리 속에서, 소리없는 자막 속에서 ‘경계-Border’들은 보이지 않는 ‘환영-Phantom’으로 존재한다. 동시에 그것들은 공간 속에서 모기장과 같이 안과 밖을 나누며 투시되는 장막이 되어 우리를 ‘초대-Welcome’한다. 중요한 것은 그녀가 경계를 세우는 것이 아니라 초대하고 있다는 사실이다. 그녀의 표현을 빌리면, 오히려 그것들은 서로를 넘나들며 침투(Osmosis4)한다

- 김가원, 0갤러리

1 한글 또는 영어 고유의 맥락을 유지하기 위해 두 언어를 병행한다. 2 ‘그녀'라는 지칭은 작가가 자신을 소개하는 글에서-‘As a female’ 이라고 한 부분에서-차용했다. 3 작가의 소개글에서 직접 인용하였다. 그녀가 인터뷰에서 언급한 중요 어휘는 직접인용(“”)으로 표기한다. 4 생물학적 어휘로 ‘삼투현상'을 말한다


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