Apocalypse Kiss, 2021

Exhibited at Fragment Gallery, Moscow, Russia, 2021
Performed at BOAN1942, Seoul, Korea, 2021




Lunacide, 2018, laser cutting on sheet iron, 45x25cm.





Purple Kiss ♡, 2018, single channel video (03’56” / link: https://youtu.be/vDcsrFmC4IY)



The Messenger of the Underworld, 2021, laser cut stainless steel, subsidiary materials, 35x50cm.








Kiss of Chaos ☆, 2020, Single channel video (04'18" / link: https://youtu.be/cKS-wWDNCwE). Commissioned by MMCA, Korea.



Prometheus, 2021, a beer bottle, laser cut stainless steel, 3d printed pelvis, dimensions variable.





Honbaek: cloud spirits & white spirits (Queer Talisman), 2019, digital printed on traditional Korean mulberry paper, a globe, skewer, 20x20x43cm.







(from top to bottom)
To Find the Missing Horn or Tail, 2018, digital printing on acrylate polymer, 50x35cm.
Analufo No.33, 2018, digital printing on paper, frame, 59x85cm.








Love-in, 2021, silicone casting, silicone tubes, horse pipes, a rubber ball, a led light. dimensions variable.







Photo by Fragment Gallery






진묘수 Armored Evolver, 2020, industrial material, chains, plastic sheet, fishing line, laser cut stainless steel, dimensions variable. Costume design Dehan Hka Son. Commissioned by MMCA, Korea.





내가 조금 더 설렐 수 있게 ♡ Purple Kiss (Apocalypse Kiss Ver.), 2021, Single channel video (03'56").
우리의 밤이 미래가 될 때까지 ☆ Kiss of Chaos (Apocalypse Kiss Ver.), 2021, Single channel video (04'18").



Dancing In The Night Of Kiss, 2020, mixed media, 270x150x30. Costume design Dehan Hka Son. Commissioned by MMCA, Korea.




Singing In The Purple Rain, 2018, digital printing on polyurethane synthetic fiber. Costume design Miyoun Kim & Jae Yoon Lim.



Performance <Apocalypse Kiss> from the exhibition «VU JADE» at BOAN1942

Photo by ⒸYoo Yongjin

Dew Kim’s (a.k.a Huh, Need-you) artistic practice is built on studying various forms of social conflicts. Kim thinks the starting point of art, religion, and identity lies in the critical point of change and collision. The process of destruction, in masochistic terms, is both pain and pleasure. His artwork explores issues of sexuality, queerness, feminism, sadomasochism, pop culture, religion, mysticism, and the body as forms of knowledge and research.

Dew Kim has done queer sci-fi works since 2018. Dew Kim’s project, presented at the exhibition, is dedicated to a simultaneous moment in which the destruction of mankind and the birth of a new species occur simultaneously. A previously non-existent posthuman species replace homo sapiens with non-binary gender identity. The exhibition talks about a queer practice trying to make or coordinate these changes and conflicts into a new form and erase existing normative boundaries.


Dew Kim views the concepts of 'queerness' and ‘gender’, the boundaries of which become blurred as they get more fragmented and expand along a spectrum, through the lens of Shamanism. As a shaman plays a role in creating flow in the gaps of two separate objects, time, and space, he visualizes queer narratives and attempts to transcend confrontational states through the process of mutating the body by objectifying himself. The exhibition and performance Apocalypse Kiss talks about a way to reveal the desires of the failure who is out of the orbit of normality. This newly born, objectified self stands at an intersecting and marginal point in the dichotomous world, using its body as a tool. Through this, he tries to transcend the confrontational state and serve as a subject that escapes the dualistic way of thought. After all, it talks of a chaotic world that continues to expand through a being which constantly divides itself.


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Dew Kim