Sylbee Kim’s video installations appropriate historical records and iconography to produce a parallel reality that proposes different possibilities of a future audiovisual language. Many of the motifs in the work refer to real-word references that are subtly manipulated, redesigned and re-presented in multilayered display structures. She utilizes digital image production techniques such as postproduction, modelling and animation to intervene in the widely accepted notion and reception of film and video.
At Gasworks, Sylbee plans to further investigate the capacity of religion to communicate and encourage belief, and whether any belief system can overcome its bond to power and oppression. Running parallel to this work is a connected and ongoing inquiry into biotechnological developments and how they challenge our understanding of what it means to be human.
Sylbee Kim lives and works in Berlin. She acquired B.A. at the Korea National University of Art, Seoul and Meisterschüler at the University of Arts Berlin under Maria Vedder and Hito Steyerl. Recent solo exhibitions include; Garden of Regrets, Sindoh Art Space, Seoul (2018); The Red Liquid and Narcissus, Nevan Contempo, Prague (2017); and Misread Gods, Insa Art Space, Seoul (2015). Recent group exhibitions include; Monkeys gaze at soldiers in the basement waiting for Noé, DOC, Paris (2018); I’m Every Woman, Whitney Houston Biennial, Chashama, New York (2017); Neriri Kiruru Harara, SeMA Biennale: Mediacity Seoul, Seoul Museum of Art (2016); and Give Us the Future: Berlin Senate Stipend Recipient Show, Neuer Berliner Kunstverein (2014). Kim is an awardee of the Sindoh Artist Support Program 2017.
Sylbee Kim’s residency is supported by ARKO (Arts Council Korea) and she is hosted in the Outset Residency Studio.