A Familiar Yet Strange Scene Unfolds in Kim Taedong's Photographs - K-ARTNOW
Kim Taedong (b.1978) Seoul, Korea

Kim Taedong graduated from Chung-Ang University’s Department of Photography (2007) and obtained a Master’s Degree in Photography from the same graduate school (2013).

Solo Exhibitions (Brief)

The solo exhibition ‘Day Break’ (2011~) shooting people who’ve met by chance in urban spaces at late-night was held at Gallery lux(2012, Seoul, Korea) and Ilwoo Space(2013, Seoul, Korea).

The exhibition held at Amado Art Space(2019, Seoul, Korea) and UARTSPACE(2020, Seoul, Korea) was showcased the series of ‘Rifling’ (2015~), one of the war-related works, and ‘PLANETES’ (2017~) that show consideration of the stars and shaky targets.

Group Exhibitions (Brief)

Kim Taedong has participated in a wide range of group exhibitions held at Culture Station Seoul 284(Seoul, Korea), National Museum of Modern and Contemporary Art(Seoul, Korea), Hara Museum(Tokyo, Japan), Ullens Center for Contemporary Art(Beijing, China), Art Sonje Center(Seoul, Korea), and Buk Seoul Museum of Art(Seoul, Korea).

Awards (Selected)

Kim Taedong was awarded at the 6th Amado Photography Award(Amado Art Space, Korea), the 4th Ilwoo Photography Award(Ilwoo Foundation, Korea),and was selected the final artist of the year of the 4th KT&G SKOPF(KT&G Sangsangmadang, Korea).

Collections (Selected)

His works are in collections of various museums such as Gyeonggi Museum of Modern Art(Ansan, Korea), Smith College Museum of Art(Massachusetts, USA), SK Ecoplant(Seoul, Korea), ILWOO Foundation(Seoul, Korea), Australian War Memoria(Canberra, Australia) and the National Museum of Contemporary Art(Gwacheon, Korea).

Originality & Identity

The artist, Kim Taedong, makes an effort to capture extreme situations and the ordinary daily life of the people in an unusual atmosphere. He does not use special materials or subjects for his art. However, he just puts attention to what he sees around in daily life, contemplating how to present the artworks.

He captures various boundary areas like between city centers and the outskirts as well as the time between days and nights. Similarly, he demonstrates the divided border area between North and South Korea or the history between the past and the future. In any kind of place, there exists an uneasy and awkward atmosphere floating on the border. In this state, people always exist like endless stars.

“It is still valid that uniqueness of perspective, even if there is no original photograph itself.
It may be the exact same photograph or a completely different one.”

Kim Taedong has received a lot of attention for his ‘Day Break’ (2011~ ) series, which expresses the strange atmosphere evoked by the urban space at dawn. After midnight the city illuminated only by artificial light becomes a stage different from the lively daytime routine. He wanders around Seoul at nighttime for filming inspiration, selects an appropriate place, and invites passerbies who suddenly appear in his filming and asks them for a pose. The people who come out in his photography are normal people who pass by during his art activities.

In the ‘Day Break’ series, the characters and spaces in the photos form an unbalanced confrontation, and a gap is widened so that unfamiliar tension and discomfort prevent premature understanding. The sleek sense of the perfectly tight confrontation does not deliver any meaning to the audience, but it catches the eye intensely. Even though the people’s poses are fixed, the photos of them seem to look around the city and out of the city with their shimmering eyes making them vivid portraits at night.

In the ‘Rifling’ (2015~ ) series, which Kim Taedong has worked on as part of the DMZ project, he recorded the lives of people in the Gyeongwonseon area and the scars of the Korean war. Once ‘Rifling’ recorded the unknown daily life after the war, the ‘Planetes’ (2017~ ) series poetically documented the quiet podium of the ruins of the war together with the stars in his work. When a photo is taken in line with a setting that tracks the motion of the celestial body, the stationary object vibrates as much as the moving trajectory of the stars, and the moving star stops. The photograph, in which the eternal universe and the traces of finite human beings are taken together, superimposes the countless times of determination on one screen.

In his photographs, there is always an eerie tension, and a slightly nervous mood as if something is about to happen. The image looks like a ghost that suddenly appears and wanders on a still screen while running away or chasing after something. The distance between the audience and the work is also not easy to narrow. This means that the lives of the people are hidden in the photos, standing far away, which leaves keen-sighted people to their own imagination.

Style & Contents

Though pre-preparation is an important task for photographers, trial and error cannot be entirely avoided. However, not only due to Kim Taedong’s sensual pursuit of the image but also because his work is so intuitive that it is difficult to describe the tenacious working plan he had anticipated.

The artist draws his maps or unfolds maps to plan specific travel routes, collects multiple images of destinations, and examines as much information as possible about historical sites. Also, he writes working notes meticulously, and records and organizes the process of filming and results in detail.

However, the determinants which define the working direction come from the visual feeling. The artist follows many inspirations such as many reference images, including works by foreign artists, pre-taken photos, and even from real places. He chases the feeling that he wants to get. It is not a specific work, but an inspiration for what he looks at.
What we can easily overlook due to the strong presence of the characters is that places, not people, are built up in Kim Taedong’s photo. The artist has focused on spaces from the beginning of his works. 〈 Tank 〉 (2007), which photographed an indoor aquarium, 〈 Man-Made 〉 (2008), which contains huge artificially created spaces and 〈 Symetrial 〉 (2010) which filmed the scenery and people of a Korean town, called Flushing, New York. These are a series of captured works found somewhere in space.

“I would like to observe the meaning of the space I live in and what its essence looks like.”

However, when he started working in Flushing also the characters included in his works in the space started to become more important. “As most of the things in the city are for human beings,” he naturally started taking portraits. Also, Kim Taedong says, ‘sometimes a single portrait photo becomes a ‘breakthrough’ showing complex contents and situation at once. The artist’s ceaseless view penetrates deeply into the nature of the city and the people captured by the photograph.

Constancy & Continuity

The artist, Kim Taedong, is a photographer who possesses expressive capabilities basis on a solid filming style. In his new visual experiences, Kim Taedong occupies a distinctive position among the leading contemporary photographers. The artist accurately grasps the space that is the stage of the photo, boldly approaches a stranger or place, and drives the scene in the direction how he wants.

The visualizing power in his photographs’ tense is outstanding. It shows the artist’s technique to capture ‘nothing’ in a straight line and turn it into a scene with a bizarre story in an outstanding mood.

About 10 years ago, some promising artists were selected as ‘outstanding’ at the National Museum of Modern and Contemporary Art, at the regular exhibition named 《Young Mosquito 2013》. It reflected the perspective of contemporary art using various art forms and approaches including installations and video art. Among the nine artist participants, Kim Taedong was the only one who worked with purely authentic photography as a medium. It shows the inference of his art and workpieces are established not only in the Korean Photography industry but also in the wholistic transforming art world strongly.

The young writer who made a fresh impact with the representative works 〈 Day Break 〉 and 〈 Break Days 〉 now became a senior-level artist in his middle age (mid-40s). Further, the way he presents his work remains provocative. Hence, it is the ultimate reason why the audience is looking forward to the “new city” that the artist Kim Taedong will show us.

A Familiar Yet Strange Scene Unfolds in Kim Taedong's Photographs
A Team

The images in Kim Taedong’s photographs might appear familiar at first sight. Kim’s works depict stars floating in the night sky, suburban landscapes unfolding in the frame, and people encountered on the street. Nonetheless, the artworks have a somewhat eerie atmosphere that induces anxiety and tension.


Artist Kim Taedong. © 월간VDCM

Through these visible images, Kim attempts to capture the boundaries underlying in those images. In this context, the boundary may be the outskirts of a city; the dawn between day and night; the divided border areas between North and South Korea; or the dividing line between the past and present at historic war sites.


Kim Taedong, 'Symmetrical-005,' 2010, Archive Pigment Print. Courtesy of the artist.

Among these boundaries, the artist has long been fascinated by the city’s borders. An example is the Symmetrical series, which has been going on since 2010. Kim began this series while working in Flushing, New York, a neighborhood in north-central New York City where many Korean and Asian immigrants reside. The region is located in one of the world’s largest cities, but the outdated sign designs and old buildings are the exact opposite of what many people associate with New York City, and to South Koreans, the area is reminiscent of Korea in the 1980s. By photographing the Flushing area and its inhabitants, Kim captures the subtle contrast between what we imagine a metropolitan city to be and what it actually is.


Kim Taedong, 'Day Break-044,' 2011, Archival Pigment Print. Courtesy of the artist.

Day Break, which began in 2011, and Break Day, which started in 2013, also capture the unusual features of the cities. Instead of New York, the two series capture the landscapes of Seoul.

Even one of the busiest cities rests from midnight to sunrise. The Day Break series depicts the deserted city at dawn and the wandering strangers who inhabit it. By photographing these individuals in the city’s darkened slumber, Kim emphasizes a peculiar and unusual urban scene.

On the other hand, the Break Day series depicts urban environments during the day. Yeonsinnae is ​​a border neighborhood of Seoul where the artist spent his childhood. It is a place where old and new cityscapes collide, as urban redevelopment projects are taking place in Yeonsinnae, which is more of an old town than a metropolitan city. Along the city’s perimeter, the artist captures bizarre landscapes, strangers, and objects.


Exhibition view of "Kim Taedong: DAY-BREAK-DAYS" at Ilwoo Art Space, Seoul. Oct. 31, 2013 - Dec. 24, 2013. Courtesy of the artist and Ilwoo Art Space

In 2014, Kim created the Club S series during his visit to Tokyo, Japan. After discovering a small K-pop bar, he frequently visited to collect information about the city. Later, he realized that the location was frequented by Korean tourists, Koreans living in Japan, Korean-Chinese, Japanese, and other foreigners who appreciated Korean culture. Kim thought that this small bar was like a crack in the city or a tiny island where people from all walks of life could gather. To capture this in his artwork, Kim took photographs of the people he met at a bar in downtown Tokyo.

Later, with the Rifling and Planetes series, he expanded the concept of boundaries from cities to war zones.

In the Rifling series, artist Taedong Kim took pictures of the bizarre countryside along the war sites near the Gyeongwon Line (Dongducheon to Baekma Highlands) or the DMZ area. In the nighttime photograph, bullet fragments, a woman in a military uniform, and a broken wall in a village adjacent to a US military base create a scene unique to the region. As implied by the title of the series, Kim attempts to convey the tension in the DMZ region by unraveling images resulting from the division between North and South Korea.


Partial exhibition view of "Kim Taedong: Planetes" at Amado Art Space/Lab. Nov. 19, 2019 - Dec. 20, 2019.
Kim Taedong, 'ΠΛΑΝΗΤΕΣ, PLANETES project,' AU-007 67cm x 50cm Archival Pigment Print.

The Planetes series began in 2017, and the works have since spread to numerous war zones across the nation. When a camera is set to focus on the stars, the landscape is left with as many ridges as the star’s path. In comparison to the sky, the war ruins, decommissioned weapons, and village landscapes are blurry in the photographs, creating tension and a sense of urgency. Kim states, “As a still image of the stars has been turned into one moment by multiple points in time, I wanted to capture the passing of time in human civilization as embodied in these shaken traces of history.”


Kim Taedong. Courtesy of the artist.

Kim Taedong (b. 1978) decided to pursue a career as an artist after being chosen as one of the top three artists in the 4th KT&G SKOPF Artist of the Year competition (KT&G Sangsangmadang, Korea). Since then, he has won the 4th Ilwoo Photography Award of the Exhibition Division (Ilwoo Foundation, Korea) and held his solo exhibition at Ilwoo Space (Seoul, Korea) in 2013 as part of the award. Kim was also the recipient of the 6th Amado Photography Award (Amado Art Space/Lab, Korea) in 2019 and held his solo exhibition at the space in the same year.

Kim has also participated in group exhibitions held at the Culture Station Seoul 284 (Seoul, Korea); the National Museum of Modern and Contemporary Art (Seoul, Korea); the Hara Museum of Art (Tokyo, Japan); the Ullens Contemporary Art Center (Beijing, China); the Art Sonje Center (Seoul, Korea); and the Buk Seoul Museum of Art (Seoul, Korea).

References

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