Last year, whilst in New York, i came across Korean photographer Sook Kim’s first solo show.
It was a polished and sophisticated combination of architectural documentation, thoughtful staging and manipulation, and layers of rich conceptual ideas, all delivered in large scale, object quality works.
All of the works in this exhibit dissect the process of seeing and looking, pulling the viewer (who is also looking remember) directly into the frame, to peer through the brightly lit glass walls and windows of modern apartment buildings, hotels, museums, and storefronts at night. The geometries of the structures provide self contained boxes and boundaries for the interior action, like carefully controlled dioramas or theaters stacked together in grids, where cool antiseptic voyeurism meets the luridness and obsessiveness of the peep show. The boundaries of public and private are mixed and unraveled; people inhabit the buildings and fill the spaces, transforming them along the way.
Saturday Night is the focal piece in this show, reaching floor to ceiling at roughly 10×15 feet. Each room in the hotel depicts a different nocturnal vignette, each drawn from actual newspaper stories and staged in candy-colored light. Boredom and loneliness compete with sexual perversion and violence; pleasure, pain, and emptiness are all on view, separated into isolated fragments.
The viewer’s eye travels from story to story, frantically jumping from titillation to sadness and back again – NY Times