Merry Go Round, 2017, revolving platform, deer taxidermy,
door, artificial plant, ballons, guide rope, 240 x 240 x 280 cm
The second retrospective of the South Korean artist MyeongBeon Kim is taking place at the Paris-Beijing Gallery until 17th June. Under the name Amphibology, the exhibition refers to the meaning of the word: a sentence or a phrase that can be interpreted in both ways.
MyeongBeon Kim takes dailyobjects and transfigures them into artworks that he later exhibits. Embracing Duchamp’s methods, MyeongBeon blends two apparently different circuits converting the space gallery into a dreamy space where intellect meets the public sphere. Objects are inserted in a context where they lose their purpose to become part of an aesthetic project.
Untitled, 2017, mixed media, dimensions variable
© MyeongBeom Kim/ Courtesy of the artist / Galerie Paris-Beijing
Aside from this unorthodox mixture, MyeongBeong evokes the importance of language in his work. Focusing once again in the ambivalent nature of the word “amphibology” the artist’s intention is to shed light on the multiple readings, on the multiple perceptions and thus the universes created in other people’s mind.
Presenting new creations at the gallery, MyeongBeong Kim will be challenging and inviting its audience to question à prioris and other pre-acquired formulations.
Untitled (Shovel) 2017, stainless steel, wood, 24 x 5 x 113 cm
© MyeongBeom Kim/ Courtesy of the artist / Galerie Paris-Beijing
Untitled (Pickaxe), 2017, stainless steel, wood, 86 X 6 X 96 cm
© MyeongBeom Kim/ Courtesy of the artist / Galerie Paris-Beijing
Chiharu Shiota: Life’s Requiem
Japanese artist Chiharu Shiota immerses her audiences in her installations employing only two colours, red and black, she examines the life and death circle.
Venice Biennial: Viva Arte Viva
