Kim Kim Gallery: adding more thread to the fray

Interview with Claudia Pestana
Claudia Pestana: Gregory, thank you for suggesting this conversation. I have been looking forward to a chance to discuss the Kim Kim Gallery with you since you and Nayoungim offered me the opportunity to visit you during the installation of Apple vs. Banana.  Observing how you both worked to incorporate the work into the space and the circumstances this inhabiting of the space implied made me curious about your working methodology and the specificity of the development of the Kim Kim Gallery. However, before we look at this methodology further, I would like to start by asking what motivations prompted you and Nayoungim to come up with this idea of the Kim Kim Gallery?

 인터뷰 제안한걸 감사해요사실 사과 vs. 바나나” 전시 설치  초대받은 , 킴킴 갤러리(이하 KKG) 대해 대화할 기회가 있으면 했거든요김나영과 그레고리 마스(KN, GM)  주어진 공간과 환경안에서 작업을 어떤 식으로 조직하는지를 보며 방법론과 KKG 특수성에 대한 궁금증이 있었거든요우선 그런 방법론을 살펴보기 전에 KKG 아이디어는 어디서 시작되었는지가 듣고 싶군요.

Gregory Maass: It is often hard, even impossible, to determine the origin of certain words or names. This case, however, is an exception. I remember quite clearly that it was a characteristically rainy day in Glasgow in 2008, one of those where the term 'rain' is actually a euphemism for the experience of being pelted by water so fiercely that umbrellas are useless. It was under these conditions, as we were walking down the street, that we came up with the idea of Kim Kim Gallery as the concept for an installation we were preparing for the local Market Gallery. 

어떤 단어나 이름의 기원을 정확히 규명한다는 종종 어렵거나 심지어 불가능하기도 한데,  경우는 예외적으로 정확히 기억해요 2008 3월 글래스고의  오는 날이었어요. ‘라는 단어 부족하게 엄청나게 쏟아지는, 우산이 무용지물인 날씨에 길을 가다가 KKG 고안해냈지어요.  당시 우린 마켓 갤러리에서의 개인전을 준비 중이었는데 이 전시의 컨셉이 된거죠.

The 'Kim Kim Gallery' name derives from a Glaswegian gallery named "Mary Mary Gallery", which ironically we ended up never visiting. Our use of this binding together of a repeated term is evidently derivative and even the "Kim" was expectedly taken from one of the more common Korean family names. Also, employing the name twice emphasizes that it can only be better, very similar to how the repetition of the Chinese sign for joy is used in the idea of double happiness, "."

KKG 이름은 글라스고에 있는 ‘메리 메리 갤러리 영향을 받았어요. (화랑 주인 이름이 메리가 아니라고 합니다역설적이게 우린 작업이 바빠 결국  화랑에  가봤지만같은 이름을 반복 작명을   영향을 받은  분명하죠.  ‘Kim’ 한국에서 가장 흔한  중의 하나이고요"() 기쁠 희자를      이상의 행복을 뜻한  처럼이름을 반복해 강조를  것도  되죠.

The installation itself consisted of empty billboards in the shape of the letters K-I and-M lit with spotlights. To the side of these shapes we had wallpaper depicting bucolic country scenes. The paper itself was turned into punch cards, an allusion to British Code breaking. Despite the idea originating in this installation, we began to realize, or maybe already knew, that we wanted to build a Gallery of some sort out of this. 

앞서 말한KKG 개관전 작업을 보면,  K, I M 글짜 형태로 지은  빌보드를 구조물에 설치된 조명이 비춥니다 구조물의 옆면에는 목가적인 추수 광경이 그려진 벽지를 걸었는데, 벽지에 펀치 카드처럼 구멍을  뚫어서 마치 (2 대전때 독일군을 물리친영국 암호해독기처럼 보였죠 설치작업으로 실현된 아이디어이긴 지만어쩌면 우리가 이런 종류의 갤러리를 운영해 보고 싶어했나 봅니다.

CP: This means the Kim Kim Gallery, as it is operating now, emerged from this from this 2008 concept for an installation, which you and Nayoungim then developed further by working with a selection of artists on exhibitions and other forms of presenting artistic practices? It seems these projects have influenced the original idea.  Can you share an overview of the projects KKG has developed to date, and the artists and exhibition contexts you have worked with or from?  

그럼 현재의 KKG  2008 작품의 컨셉에서  파생되었 KN GM 그 이후 일군의 작가들과 협업하거나 다른 형태의 작업을 선보이면서 발전시킨 것이네요이런 과정으로  초기 컨셉에 살이 붙어 지금의KKG가 된것이네요 현재까지 KKG의  기획들,  함께 일하는 작가들이나 전시맥락 등에 대한 전반적 내용을   설명해 주시겠어요?

GM: To give an overview of KKG projects so far is a tall order, but I am happy to oblige. Given our methodology each project has its own specific relevance. However one or two of the more memorable exhibitions to mention might be "Apple vs. Banana", a show of works by Chung Seoyoung, and "Stuffs!" with Nakhee and Nakyoung Sung. Two other projects that represent transformative challenges for us are Jeff Gabel's "More of the Best of Firmin Graf Salawàr dej Striës" and "Douglasism", a festival that will adopt a multiplatform format, ranging from exhibitions to screenings to lectures, to address works by or related to British artist Douglas Park. 

지금까지의 KKG 활동을 개략적으로 설명하는게 쉽지 않네요.   프로젝트에 적용된 방법론은 나름의 특수한 관련성이 있어요기억에  전시 한둘을 뽑자면 정서영의 개인전 ‘사과 vs. 바나나 성낙영성낙희의 2인전 ‘Stuffs! 스터프 되겠네요그리고 이후에  파생된  전시는 제프 게이블의 "More of the Best of Firmin Graf Salawàr dej Striës" (영문 제목"The Moons Ride Over") “더글라시즘(Douglasism)" 등이 있습니다더글라시즘의 경우 더글러스 파크의 작업과  작가와 관련된  작품들로 구성되는데전시퍼포먼스상영회강연에 이르는 멀티 플랫폼을 적용한 일종의 페스티벌입니다.

"Apple vs. Banana" was particularly complex and peculiar due to the venue being located in two showrooms in the basement level of the Hyundai Headquarters in central Seoul. These showrooms had been done up as model apartments from the late 80s and were in a derelict state when we proposed to use them for the show. Once we had the go-ahead we renovated the model apartments and occupied them with artwork over a period of two months. For this show, Chung Seoyoung's works dealt pragmatically and humorously with bizarre choices required in our daily life. Even the exhibition title derived from the futile choice between dietary fiber and carbohydrates, one of the endless ironies in modern-day life. 

“ 사과 vs. 바나나 장소성 때문에 특별히 복잡하고 특이한 전시였습니다전시는 서울 도심에 위치한 현대그룹 본사의 지하에 위치한  개의 쇼룸에서 열었습니다 쇼룸은 80년대 후반 아파트 모델하우스였다가, 17 동안 폐쇠되었던 공간입니다우리는 두달 준비 기간 동안에 차근차근 작품으로 공간을 점유해나갔정서영의 작품은 우리 일상에서 요구되는 특이한 선택들을 실용적이면서도 유머러스하게 다루었습니다전시제목에서 보듯이식이섬유냐 단백질이냐 하는 무용한 선택그러나 우리 일상 속에 끝없이 이어지는 아이러니를 담고 있죠.

For this show, Chung Seoyoung accentuated the bland by effacing details. She produced a range of sober, pure and ''obviously inexpressive'' works of art. Chung built a set of objects - such as, among other elements, tables, a light bulb, a kitchenette, an aquarium, and snowballs - that brought out the infrastructure's atmosphere. The articulation of these objects enacted an encompassing physical and organizational structure within the model apartments. The experience of working with Chung's pieces within this space even led me to consider cutting out some of the more interesting parts of the model apartments for later exhibitions. Due to lack of storage space, I never got round to following through on this thought.

 전시에서 정서영은 디테일들을 지운 의도적인 단조로움을 강조했냉정하고도 순수한, “그리고 분명히 -표현주의적” 작업을 생산해 냈습니다작품보다는 시설물에 가까운 분위기로 테이블전구주방수족관눈덩이와 같은 일련의 조각작품들을 제작했습니다아파트 모델하우스 안의 이런 오브제들의 나열로 물리적이고 조직화된 구조물을 정립했어요작품들을 배치하면서 모델하우스의 매력적인 일부를 전시 후 떼어내 보관할까도 고려했을 정도입니다.

"Stuffs!" with Nakhee and Nakyoung Sung was a painting show in the broadest sense of the word. The artists interfered in the construction site of an office in Gangnam by building a picture space inside a space. Quoting from Doosan Gallery curator Jee Young Maeng's text: "Their artistic intelligence and skill is not limited to languages of painting, it resides in the sometimes disharmonic, sometimes utterly willful, capricious application of their personal, intra-familial, professional ambivalences." As the Kim Kim Gallery, we are very conscious in the choice of the right exhibition venue for each artist and concentrate on the way we reflect on its impact through the development of the presentation. We like to refer to this methodology as 'locative' or perhaps suggest it as a focus on 'the small difference' that such an articulation with the space exposes in relation to the work.

성낙영성낙희와 함께 했던 “Stuffs!”  넓은 의미의 회화전시였습니다두자매 작가는 강남의 리모델링중인 공간에 침투,  협업으로 월페인팅을 하면서 공간을 재해석했습니다.  두산 갤러리 맹지영 큐레이터의 글에 의하면: “ 그들의 예술적 지성과 기술은 단지 회화언어에 국한되지 않는다가끔씩은 부조화스럽고때로는 완전히 계획적이고  변덕스러운 그들의 성품과 가족 내력그리고 프로페셔널한 양면성을 반영한다”.
 KKG  작가에게 맞는 전시공간을 찾기 상당히 고심하고전시되는 작품의 임팩트를 제대로 드러낼  있는 방식에 집중합니다우리는 이런 방법론을 ‘locative’이라고 칭하며,  작품과 관련을 맺으며 드러내는 공간의 분절과 같은 작은 차이 집중합니다.

In 2012, American artist Jeff Gabel's project with Kim Kim Gallery consisted of large site-specific graphite drawings on wall-to-wall canvases. Gabel translated, adapted, and illustrated various sections of the "Salwàre oder Die Magdalena von Bozen"[i] while, as he describes it, 'consuming lots of alcohol and copious amounts of chewing tobacco' with the intent of having this deliberately influence the voice and aptitude of his drawing and writing. The images themselves, due to the fact Gabel, regardless of the size of the drawing, did not employ measurements or do any other preparatory work tended to be awkward or inept. We had to roll up the paintings and transport them through the window in order to get them out. 

KKG가 2012 미국 작가 제프 게이블과  프로젝트는 장소특정적 작업으로건물내 전면에 설치한 캔버스에 작가가 현장에 와서 한 흑연 드로잉이었습니다게이블은  추크마이어(Carl Zuckmayer) 소설"  바레 혹은 보첸의 막달레나 (Salwàre oder Die Magdalena von Bozen)” 여러 부분을 해석조정하고 그렸습니다.  작가는  작업 중 상당량의 술과 씹는 담배를 소비드로잉과 글쓰기의 대한 그의 육성과 역량에 영향을 미치게 의도했어요. (평소 작가는 음주 또는 흡연하지 않습니다작품 크기와 관계없이 게이블의 이미지들은 의도적으로 서투르고 어색해 보이도, 그리기 전에 연습하거나 재지 않습니다. 전시 후에는 작품이 문으로 나올  없는 크기여서, 창문으로 꺼내서 운송을 했어요.

The stories which accompany Gabel's images on walls or other surfaces typically develop as the drawing progresses, and are often suggested or driven by the physical spaces, and by conditions relating to the respective exhibitions, such as time constraints, allotted space, exhibition content, travel logistics/problems, and the artist's recent readings. Jeff's preparation of the actual drawing-artwork is incredible, he reads all these books in foreign languages, for example Finnish and learns the language on the fly. He has a very deep understanding of German, and when I talk to him it's a little bizarre as he uses more ancient, literary words, which are nevertheless correct and delightful. The exhibition was located in a fabulous but impossible to find location (북촌Bukchon) in Seoul with a splendid view onto the Cheong Wa Dae(Presidential office).  

게이블의 법론은 드로잉 작업의 전형적인 것일 수도 있고때로는 물리적 공간에 제압되거나 제안하기도 하면서주어진 제약들시간, 공간전시내용운송 문제그리고 작가의 최근 독서에 이르기 까지 – 관련을 맺습니다제프의 작업 준비는 엄청나요그는 외국어로  온갖 책들을 읽는데예컨데 핀란드어로  독학으로 언어를 바로 습득해요. 그는 독일어에도 깊은 조예가 있어서(독일인) 독일어로 대화할때 비록 고전적이고 문학적이긴 하 정확하고 유쾌한 어휘를 구사해요 전시는 청와대를 조망할  있는(북촌매력적이지만 찾기 어려운 미니 3 건물에서 열었어요.

On the topic of 'the small difference' it makes sense to discuss "Douglasism," our latest and possibly most ambitious project so far. This project was initiated when we ran an entire booth in the Gwangju Art Fair 2012 that addressed "Douglasism," the work and practice of British artist Douglas Park. The concept was to show works of an artist who doesn't have any tangible artwork. It is certainly a challenge, but is it impossible to do? No!

작은 차이라는 주제에 관해서는 ‘더글라시즘’  언급하는 겠군요. KKG 2013 7 현재 진행중인 기획이고아마 가장 야심작이라고 하겠어요 기획은  2012 광주 아트 페어에 KKG 참가하면서 시작되었습니다.  컨셉은 물리적 생산품이 없는 미술을 하는 작가 더글라스 파크의 작업세계를 보여주는 것이었습니다분명히 도전이었지만 불가능은 아니죠!

Douglas Park is in his own words: a 'visual artist, writer (of literary prose and critical essays, both mostly art connected), exhibition curator developing multiple practices and combined roles ' born in 1972 in the UK.  We have compiled his whole CV, which is approximately 20 A4 pages, and I could barely stop myself from including it here. In short, Park is a polyvalent artist, actor, narrator, writer, and curator who has a vast but strangely intangible oeuvre of great humanism and we were most intrigued by this intangible part.
1972 영국인 더글라스 파크는 스스로를 ‘미술미술과 관련된 문학적 산문과 비평문을 쓰는 작가큐레이터라고 규정하며 다양하게 결합된 활동을 해왔습니다그의 이력서 편집하는데 A4 20 이상이예요짧게 말해 파크는 다양한 역할을 수행하는 미술가배우나레이터큐레이터라고   있어요엄청나게 방대하나 간단히 정의할  없는 그의 활동에 크게 감화 받았지요.

Anyway, in October-November 2013 there will be festival with and around the work of Douglas Park in Seoul. And it evidently had to be called "Douglasism-The Complete Douglas Park".

어쨌거나,  2013 10 - 11 서울에서 더글라스 파크그와 연관된 작품들로 페스티벌 여는데,  제목은 더글라시즘-더글라스 파크의 모든 것이예요.

'Douglasism' provides a deeper insight into the working methods, perspectives and traits of work by and with this artist. In addition, the origin of the term lies in the title of an event organized by the late Piers Wardle aka Lewis Draper. Kim Kim Gallery adopted this title and considers 'Douglasism' as a many-layered perspective on the totality of the creative activity of Douglas Park.  Not solely dedicated to the work of Douglas Park, it also engulfs the works of many other artists, with whom Douglas Park works with to date.

더글라시즘  작가의 방법론과 관점그와 연관된 작품들의 특질에  깊이있는 통찰력을 제공해요더글라시즘이라는 용어의 기원  피어스 와들(예명루이스 드레이퍼)이 런던의 한 화랑에서  더글라스 파크의 33 생일파티의 제목인데, KKG  제목을 도입, ‘더글라시즘 더글러스 파크의 창조적 활동의 총체성 위에 놓인 다층적 관점으로 보려합니다더글러스 파크의 작업 뿐 아니라, 지난 20년간 더글러스 파크와 함께 해온 40여명 작가들의 200여개의 작업을 모두 포함하는 것이지요.

CP: That overview went off in a kaleidoscope of directions. A striking aspect of this description you have shared is how much thought you give to the specificity of each project and your own understandings of their potential. In this sense, how do you see Kim Kim Gallery? Is it a Gregory Maass and Nayoungim project, an actual gallery, or an initiative that investigates and makes propositions on how to engage in a broader investigation of the parameters of artistic practice?

전반적 소개라기보다 변화무쌍한 이야기로 흘러버렸네요 설명에서 가장 중요한 점은  프로젝트의 특수성을 얼마나 많이 고려했는가와그들의 잠재성을 얼마나 숙지하고 있느냐는 것입니다이런 면에서 KKG 정체성은 무엇인가이것은 KN GM 프로젝트입니까실제 갤러리입니까아니면   넓은 범주에서 예술적 활동의 지표를 탐구하는 이니셔티브입니까?

GM: I guess what was interesting about the fact that even before the show in Glasgow we had realized that we wanted to build a Gallery 'of some sort' out of that idea is actually the 'of some sort' part. This 'of some sort' obviously didn't mean having huge loft spaces where we would be in the upstairs office seven hours a day and taking two hour lunch-breaks. Not that we would mind doing that at all, if we had to.

흥미로운 ,  글래스고 KKG개관전 이전부터 우리가  ‘어떤 종류의’ 갤러리를 하려고 했다는 발상이 ‘어떤 종류의’  부분이라는 거예요.  ‘어떤 종류라는 것이 하루에 일곱 시간 근무에 점심시간이 두시간 있는  로프트 공간을 갖는 것을 의미하지는 필요하다면  기꺼이 그렇게 하겠지만요.

This indeterminate aspect of what motivated us to explore the Kim Kim Gallery implies that it does not solely function as an articulation of production in a gallery context that just responds to the challenge of not having a permanent exhibition space. Instead it is also a space of constant self-reflection and reinvention. It concatenates each artist's work individually with the venue and the exhibition method by adapting these three factors to each other to form not just a banal space of productivity but rather to re-empower the artist through a transfer of techniques and methods from one domain to another.
To make the concatenation work is really the interesting part, the event so to say.

무엇이 우리로 하여금 KKG 만들어 탐험하도록 했는지 규정할  없다는 것이 내포하는 의미는요, KKG 안정적 전시공간을 갖지 않는다는 도전적 요인에 반응하는 단지 갤러리 맥락에서만은 아닙니다대신끊임없는 자기반성과 재개입의 공간입니다 작가의 작품을 공간과 전시방법에 조밀하게 연결시킵니다생산성이 있는 따분한 공간을 만들려는것이 아니라하나에서 다른 영역으로 이동할  있는 기술과 방법론을작가들에게 자율권을 다시 주기 위해 연속적인 사건들을  만드는 것이 정말 흥미로운 부분이지요.

By the way, the ligature of the word Kim into Kim Kim is also a concatenation of sorts. The space between one Kim and the other Kim is the important thing, not the Kim itself. This absence, this space is what turns things into what they are and, to put it dramatically, lets us live. This space turns it into something else. Methods of fabrication are not solely defined by joining or separating things, in fact, fabrication can also occur from the fluctuation of higher or lower resistance, or even other quantitative aspects like notions of 'done', 'not done', 'well done', 'badly done'.

한편, ‘이라는 단어를 킴킴으로 묵는  또한 일종의 연속성이   있어요하나의   하나의 ’ 사이의 공간이 ’ 자체보다 중요합니다 공간이 표상하는 부재야 말로 어떤 상태를 고른 것으로 변화시키고극적으로 결합하는 요소가   있으니까요  공간이  다른 무언가로 변화하게 합니다작품 제작의 방법론이라는 것도 단지 어떤 것을 결합하고분리하는 것만으로 정의되는  아니라사실 높고 낮은 저항이 유동하면서또는 ‘완성된’, ’ ’, ’ ’, ‘엉망으로 ’ 등의 양적 개념이 교류하며 이루어지겠지요.

CP: This idea of the concatenation of three aspects of producing or creating an exhibition of an artist's work within the context of this gallery without a fixed exhibition space reflects well the work that you seem to have been producing through the Kim Kim Gallery. Can you elaborate on this notion of concatenation that you also say is the event of what is produced. Also, what types of collaborations, negotiations and interpretations tend to be involved in your methodologies?

고정된 전시장소 없이 주어진(찾아낸전시장소의 맥락 안에서  작가의 전시를 실현하는데 필요한KKG 연결성이라는 아이디어는  동안 보여왔던 작업들과  맞는  같아요이러한 ‘연결성이라는 개념을 자세히 설명해 주겠어요또한 당신들의 방법론에서 어떤  협업과 조율해석 등이 개입되는지에 대해서도요.

GM: Elaborating originality, which is not a myth just because it was proven otherwise, would obviously be ridiculous in an environment like the Kim Kim Gallery and at best would be patriarchal/old-fashioned. Originality is most often not a Tesla-Coil burst like singularity, an exception from the rule, changing everything that existed before, but rather a small slight difference.

KKG 같은 맥락에서 독창성을 상세히 설명하는 것은 우습지요좋게 말해도 다소 가부장적이고 구식이예요독창성은 테슬라 코일 회로와 같이 예외없이 적용되는 과학 법칙이 아니, 기존하는 모든 것을 바꾸는 것이 아니라오히려 아주 미묘한 차이점을 생산해 내는 것입니다.

The notion of how we perceive the artist to be exposed, about the interpretation and comparison in relation to Nayoungim and me, and our relation towards the artist and whoever else, as well as the ultimate unimportance/negligibility of these relationships (vis-à-vis Lacan for example), gives me ample occasion to swiftly reference notions of narcissism and egomania, both favorites of mine, sans the often encountered alcoholism. We are excessively sober, and as such no fun at all. No, I do not have a big portrait of mine hanging on the wall behind my desk, but I am thinking about it.

작가가 어떤 식으로 노출되어야 하는 지에 한 인식개념은 우리그리고 다른 작가들과 관계어느 누가되었든지 우리와의 관계속에서 이루어지는 해석과 비교에 관한 것입니다관계에 대한 궁극적 무의미성무시까지도 포함해서요. (예를 들어 라캉의 vis-à-vis이런 인식이 우리에게 풍부한 사례가 됩니다나르시시즘과 병적인 자기중심주의 우리 선호하는 컨셉이죠 흔한 알콜 중독 말고요우리는 극단적으로 술을 멀리하그러니 쾌락적이지는 않아요나는 책상 뒷벽에 커다란  초상화 따위는 걸지 않습니다고려사항이긴  지만.

As Kim Kim entrepreneur and in general I have a certain penchant for the “culte de moi” an apparent over-confidence and bravado hiding a fragile personality, driven by grandiose fantasies of boundless success or power, and a perfect love (of art), which cannot be fulfilled. Or can it?
Glory as Ernst Jünger puts it “is just the tail behind the comet”.

킴킴 사업가로서나 개인으로서나 일종의 “개인문화 뚜렷한 애호가 있는 편이고결코 충족될  없는 완벽한 예술과 경계없는 성공과 권력에 대한  환상에 사로잡혀과도한 자신감과 허세 뒤로 부서지기 쉬운 내면을 감추고 있는거랄까요.
영광이란,  에른스트 융거가 말한  처럼 ‘혜성 뒤의 꼬리” 입니다.

CP: Returning once again to how the Kim Kim Gallery has developed over the past few years, what insights if any, into ideas of value and production, or even exchange and communication have changed your perceptions of these ideas from before you started until now?

다시 KKG 지난  년간 어떻게 활동해왔는지로 돌아와, KKG 시작 전부터 지금까지 어떤 통찰력들이 가치생산 또는 교환커뮤니케이션에 관한 생각들에 영향을 주었나요?

GM: Actually we are working on a Kim Kim installation these days, which could represent an answer to this very good question. It's called "The Kim Kim Generalist". I'll outline here the initial sketch of how we imagined it in the beginning. It has changed a bit since then, but not too much.

대답하기 쉬운우리가 요즘 KKG 설치 작업을 진행중이예요. ‘킴킴 제너럴리스트라는 제목으로요우리가 작업시작할  한 스케치를 보여드릴게요약간 바뀌긴 했지만 크게 달라진  없어요.

The font changed from Fraktur to some kind of Stencil. And we got rid of the head of the generalist. What one can't see here is an intricate Flow-chart and white board contraption I am working on right now, representing Kim Kim Methods. Actually I think I will get rid of the flowchart, it is much too dense, and apply a Henry-Moorish-Douglasism drawing instead. The whole tripod set-up is of the highest interest to us, we cannibalized a few camera stands on the way and our favorite metal worker is sweating bullets over my technical drawings. We have to go there again tomorrow, because even though we (well technically Nayoungim) explained my drawings for a whole hour, he called yesterday and said that he had forgotten what it was all about in the end. And, yes, he was laughing.

글자체는 프락투르체에서 일종의 스텐실 글자체로 바꿨어요그리고 제너럴리스트의 머리를 없앴어요스케치에는 없는 화이트보드에 그린 정교한 플로우 차트 현재 내가 진행중인데우리 킴킴의 방법론을 보여주죠사실은 플로우차트를 없앨까 해요너무 복잡해서요대신 헨리 무어식 더글라시즘 드로잉을 넣을까봐카메라 삼각대 몇개를 재구성해서 만든 구조물 현재 가장 신경쓰는 부분이. 우리 작업해주는 공업사 사장님  도면이 잘 이해가 안된다해서 내일   가봐야 해요우리가 (말하자면 한국어를 하는KN도면 설명을 1시간이나 했는데어제 전화로 사장님이 무슨 내용이었는지  까먹었다 는 거예요.

CP: This idea of the Kim Kim Generalist is very reminiscent of several ways you have described the practice of Kim Kim Gallery and I am curious to hear more about the context within which it will be presented.

킴킴 제너럴리스트라는 아이디어가 당신들이 작업 해온 여러 방식에 아주  반영이 되네요.    자세한 컨텍스트를 듣고 싶어요.

GM: The Kim Kim Generalist. Kim Kim Gallery is transubstantiating itself into a persona under the phrenonym of the Kim Kim Generalist. The Kim Kim Generalist is a person who is a general instrument of fabrication and adaptation: an entrepreneur with a broad general knowledge, but this is more than merely superficial knowledge, aptitude and skills in several areas. The Kim Kim Generalist has the ability to combine ideas and methods from diverse fields and transfer them from one domain to another, in a wide variety of environmental conditions.

킴킴 제너널리스트는 KKG 의인화 거고뭐든 만들고 적용시킬  있는 일반적인 도구로서의 사람이에요 넓은 지식의 소유자얄팍한 지식이 아니라 여러 분야의 기술과 적성을 두루 겸비하죠따라서 킴킴 제너럴리스트는 다양한 분야의 방법론과 아이디어의 통합능력이 있어 영역에서 다른 영역으로 전이가 가능합니.


CP: As you develop KKG, has your sense of the 'community' or the context you operate in also developed? What new forms, if any, of agency or engagement have emerged or might have been created through the exercise of KKG?

KKG 발전시키는 과정에서일종의 ‘커뮤티니 대한 감각이나 맥락 발전되었나요그렇다면KKG 활동을 통해 새로운 형태의 에이전시나 개입주체 들이 등장했는지요?

GM: To mention just one example: most surprisingly through the exercise of being Directors of Kim Kim Gallery we were recently called to work as exhibition designers for a show of the International Photo Biennale in Daegu. This is a new role for us, but not that different from the work we usually engage in. We worked with our Curator and critic Young June Lee. As part of the exhibition design we used a text of his writings about photography and blacked out selected parts, secret service style. We blew up the text and covered the walls of the ridiculously gigantic hallway with this printed on banners. Banners are still a hot analog item in communication design in Korean culture, for openings, funerals, and all sorts of advertisements. 

 가지 예는, KKG 2012 대구 국제 사진 비엔날레의 전시 디자이너로 일했어요새로운 역할이지만우리가 평상시 하던 일과 별반 다르진 않죠이영준 큐레이터 기획 전시 일을 는데, 전시 디자인의 재료로 사진전시에 관한 그의 글을 썼어요글의 일부는 검정색으로 지워버리기도 했죠 스파이들이 하는 것처럼요의 일부를 확대현수막으로 출력해서 우스꽝스러울 정도로 넓은 전시장 복도벽을 덮었습니다현수막은 여전히 한국에서 유용한 아날로그 커뮤니케이션 아이템이죠전시 오프닝이나 장례식은 물론 모든 종류의  광고물에서 사용되죠.

CP: It seems the Kim Kim Gallery operates as both a means of exchange and participation within an art scene you and Nayoungim are already inserted into, and as a vehicle to adopt alternative roles or even personas within it. From our conversation, it feels that it is as this vehicle that Kim Kim Gallery seems to enable you to construct an unexpected and unpredictable experience from an otherwise familiar context. As a methodology, this simultaneously suggests an act that exposes potentiality and one that yields transformative power, the renegotiation of a mass of elements, existing as a given, into an actualisation of some if its yet unrealised dynamics. Where the Kim Kim Gallery, the work of its 'directors', and you and Nayoungim will take each other, as well as these resources and new spaces being articulated through this practice, could perhaps be the topic for a future conversation?

KKG  미술계에서 참여와 교환이라는  가지 방식을 모두 구사하는 것처럼 생각되네요. KN GM  이미 시스템 안에 들어가  안에서 대안적 역할이나 페르소나를 갖고 노는 일종의  으로서 말이죠우리의 대화를 통해KKG  당신들로 하여금 마치  ‘ 처럼기존의 익숙한 맥락으로부터 예기치 않은예상 불가능한 경험을 구축하는  같습니다하나의 방법론으로서이는 동시에 잠재가능성을 드러내도록 만들며변형을 가능케 하는 힘을 부여하고여러 요인들을 재협상하게 만들며주어진 현재의 것들이 아직 실현되지 않는 역동성을 실현하게끔 합니다. KKG,  디렉터의 작업, KN GM 사람그리고 이런 체계를 통해 분절된 새로운 공간과 자원들은 어떻게 협업을 이뤄서 서로를 발전 시킬지- 다음  대화의 주제로 해볼까요?

GM: That would be a great pleasure!
그거 재밌겠네요!




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