Accidental Rectangle

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2018, foil, Installation in Skagen Odde Nature Centre, Denmark
– architectural research workshop project in Skagen

Construction began on the Hotel Strandly in the early 20 century. Over 100 years the architecture of the building itself has grown like an organic form, influenced by new wealth, economic and social changes and the human desires of Skagen. By going through this dynamic era the facade of hotel has extended and become a full filled rectangle form. In a formal language the facade has lost its connection with the environment.

Shinae Kim’s project is opening the extension again but also keeping the elements. She took the extension parts of the facade and reconstructed them as individual elements on the glass walls of the exhibition space. Two dimensional facade elements are installed in a three dimensional space, giving time experience and movement between the elements.


+z: for 59 dots by impulse signal, T 002 59.0sec



The sound is installed on the website

Basiert auf der 2-Dimensionalen Fläche des Raumplans wollen Shinae Kim, JIIIIIN und GRAYCODE in ihrem Projekt, der Fläche Zeit und Raum geben. Das Projekt ist eine Fortführung „+z : Karin Wimmer contemporary art for 59 dots by impulse signal, T.002 : 59.0 sec.“ – der erste „+z : AMADO for sine No. 01 in 240Hz, 2400Hz, T. 001 : 88.5 sec.“ hat 2016 in Seoul stattgefunden und wird nun in den Räumlichkeiten des Young Art Space weitergeführt.

Eine Skulpturengruppe aus 59 Metallkuben bildet eine Raum in Raum Konstruktion – die erst durch den Sound aufrecht erhalten wird. Um die Fläche zu realisieren hat Kim einen Plan mit allen Eckpunkten der Galerie erstellt – einschließlich des Interieurs. Die Punkte selber sind durch ihre Koordinaten definiert – sie haben keine Masse.
Mit einem Rückgriff auf die Teilchenphysik und Kosmologie erzeugen die Künstler eine synästhetische Installation aus Klang und Raum, wobei der Raum sowohl in akustischer als auch in visueller Form im Betrachter mündet. Der Besucher wird dazu angeleitet den Raum mit Sound zu erfahren und zu lesen. Kim möchte mit ihrer Arbeit einen „episodic space“ schaffen. Durch das unterschiedliche Zusammenspiels von Klang und Raum schafft Kim so eine Mehrdimensionalität des Raumes.

Das Konzept basiert auf einer sogenannten „Impulsantwort“ (auch Stoßantwort genannt). Es ist das Ausgangssignal eines Systems, welches die Raumdistanz misst, zum Beispiel kann dieses System die Meerestiefen messen. Dabei wird ein Schuss in die Tiefe gefeuert – der wiederum eine Impulsantwort gibt. Die Impulsantwort kann bestimmt werden, indem das Rauschsignal in das System hinein geführt wird (z. B. über einen Lautsprecher in einen Raum) und misst gleichzeitig die Antwort des Systems für eine Weile (zeichnet bspw. mit einem Mikrofon eine zeitlang auf). Anschließend berechnet man die Kreuzkorrelation des gesendeten und des empfangenen Signals, sie ist in diesem Fall direkt die Impulsantwort des Systems.

How to draw a hotel room


How to draw a hotel room, 2min.07sec., video loop, 2016

Hotel Mariandl “Zimmer Frei 2016”

Für die Ausstellung im Hotel Mariandl untersuche ich die Gehirnaktivität während der Schlafphase. Dafür beschäftige ich mich mit Gehirnwellen, der REM-Phase und der Aufzeichnung mit einem EEG Gerät. Diese Gehirnaktivität wird während des Schlafes in einem Zimmer des Hotel Mariandl aufgezeichnet und als eine Form wieder im Hotelzimmer präsentiert. 

Amado Art Lab 제 4회애뉴얼날레 목하진행중


+z : AMADO for sine No. 01 in 240Hz, 2400Hz, T. 001 : 88.5 sec., 2016


                                                                                                 PHOTOGRAPHY BY © Junyong, CHO

notation for AMADO Sound No.01, 88.5 sec., steel, 6 x 1200 mm, 2016

An architect’s plan has a corresponding building. This work excludes the actual exhibition space from the image plane of a plan of Amado art lab. The sound is created by measuring the length of lines and spacing of the plan from an arbitrary point within it and converting them to sound. This sound gives the spatiality and temporality in the plan and creates a constant episodic space in the exhibition room.

Episodic space means the space which occurs and disappears when one of the numerous inherent spatialities in the space is shortly fixed as a form or concept by recognising it.

위옆옆아래 upsidesidedown

Project Space SARUBIA, Seoul, Republic of Korea

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slightly out of tune, aluminium board, one board: 636 x 939 mm, Junji(korean paper size), 2015

Grids divide planes and make standard of the position. As a line doesn’t exist in our reality, the plane doesn’t exist either. Planes exist just as a layer in a space that we see. The terrazzo on the floor in Sarubia (Gallery) makes an invisible layer of aplane. Each tile is not of equal length, so the grid is uneven. This work is a line drawing on this plane. The line, which cannot be drawn, happens between the two planes of folded aluminium board. This line is the same length as the tile it is placed upon. The work is given three dimensions by it’s volume as a sculpture. In the two different dimensions coinciding at the same time, lines occur. Everything doesn’t really exist. They are just little accidents in a recognition world. The audience can sit and watch the exhibition, or they can go in to the theatre and experience the space. 



Arpeggio/broken chord, 2015, A7,A5,A4,A3,A2,A1 paper size


Project Space SARUBIA 24911cm,2015, color print on paper, A1 paper size




artist catalogue 2015

A to B

Parts of 2014“unbetiteltes Buch” were incorporated into the structure of this publication, in order to create not only the frame for the space of the book but also to define the format space of the sheets. Thus the concept of the work “Unbetiteltes Buch” here assumes an independent, active role and is therefore part of an exchange with other works which – in the space of this book – break free from their original format and are able to move freely.


Exhibition view

Photography by Jayhyung Kim

0.03 sec., 2015, wall painting, lacquer

Behind the lines there are three more grids dividing the wall. The grid gets one third smaller in the middle. The lines are drawn on that Grids. These Grids make their own layer and construct a plane. These lines are drawn with gloss lacquer lack, as a different material than the wall. This makes a floating image on the hidden screen. The colour defines construction of the Grids. 0.03 sec is the time when we see some video, the maximum time to perceive the video as a smoothly moving image. If it is longer than 0,03 sec, we can see it as stopped image. I made abstract of a layer of seeing in daily life.   

45° und 0° on paper

Angles of paper, 2015, paper collage on paper, 29.7 x 21, 15 x 21 cm

color of perspective

Angles of color, 2015, pencil and watercolor on paper, 15 x 21 cm

Angles of Color and Angles of Paper, 2015

Pencil and watercolour on paper, A5, 6 sheets,

Using studies of perspective as a starting point, in the groups of work entitled “Angles of Color” and “Angles of Perspective”, Shinae Kim assigns colour to the angles of a room, according to the refraction of light by a prism and defines these as shapes characterised by differing shape and length. Thus she translates colour first into a spatial representation which she subsequently transforms into the two-dimensionality of a sheet of paper. In “Angles of Paper” she radicalises this approach by renouncing any kind of graphic representation of space. The sheet of paper and its format take up the role of space in which the colours assume their roles of independent, two-dimensional forms.

perspective of a pillar

perspective of a pillar, 2015, pencil on paper, 15 x 21 cm

Arpeggio/broken chord

arpeggioFoto 1

Arpeggio/broken chord, 2015

Metal, lacquer, acrylic pins, A7 – 4A0, edition of 3 + 1AP

Arpeggio is a musical term for a series of notes in which the single notes are not played at the same time, but one after the other in a sequence. This interplay can also be regarded as broken or dissolved. The sculptural group “Arpeggio/Broken Chord” assigns this state to the line in three-dimensional space: The line can only happen in this space, but it cannot actually be drawn in it. Shinae Kim investigates this observation by transporting the line from the standardised paper format into the dimensions of the surrounding space: Lines take form as objects, made of coloured metal, leaning against or floating on a wall. In this case, the colours refer to certain standardised formats which assemble into new ones in a colourful sequence.


DSC_9823 copy



I cannot see it. There is a hole. I see too much


I cannot see it. There is a hole. I see too much, 2014

Pencil and watercolour on paper, A5, 3 sheets

The work in three parts entitled “I cannot see it. There is a hole. I see too much.” refers to “Flatlands”, a novella published in 1884 by Edwin A. Abbott about a society living in a two-dimensional world and its perception of further dimensions. These are graphic studies of the contradictions between the day-to-day and the mathematical-conceptual dimension, as well as the perception resulting from one’s own position and the points of view resulting from this position.

Four sides-variation

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4 sides varation

Four Sides-Variation, 2014

Colour prints on paper, A4, 20 portfolios with five different motives each, printed on three different kinds of paper (70g, 100g, 150g), unique copies

For Shinae Kim, the line is something that “happens”, that emerges out of the connection of two conceptual borders, be it only thought or drawn, be it on paper or beyond it. Here a sheet of paper is equivalent to a room which is – just like every other format – structured in a linear way by its borders. Shinae Kim makes these lines visible by using colour and describes the length and the width of a sheet of A4 paper. The lines cut from this paper are subsequently copied into the space of a sheet of A4 paper in a random manner where again and again they find themselves in new constellations.

Unbetiteltes Buch

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Photography by © Veronika Galli

6. Unbetiteltes Buch, 2014

Pencil on paper, DIN A5, 36 sheets of paper, cover

Shinae Kim perceives a book as space, as a large entity containing various smaller, subordinate spatial units. Of course it always remains an object which itself exists in space. Furthermore it serves as a stand-in for the concept of time via the sequence of pages, its structures. “Unbetiteltes Buch” is the concept to create a book which carries these various dimensions within itself, but contains neither images nor text and which can be read based solely on its spatial aspects.

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Gut Häusern 2

L18  zusammen

Gut Häusern 2, 2013

Pencil on paper, A5, 18 sheets

The work is analogous to a walk across an 18-hole golf course. Shinae Kim separates this course as space into 18 A5 sheets of paper, each containing one fairway. She divides the length of the fairways by their par, i.e. the respective ideal number of strokes one should need to complete play of the hole. The artist then translates the resulting data into drawings of cubes whose appearance is shaped by the peculiarities of the fairway in question: Some are exact and complete, some are unfinished, incomplete or even expanded. Thus Shinae Kim, using lines, portrays distance and character in spatial forms which she transforms into another layer: the two-dimensionality of the paper. The installation of the sheets on a wall add up to the complete space of the golf course.

79.853 cm, Sparkassenstraße 3, 80331 München


Shinae Kim veranschaulicht mathematisches Denken am Ausstellungsort. In einer digitalen Hand-Zeichnung, abgedruckt auf der Einladungskarte , werden die in den Kunstarkaden vorhandenen im Lot stehenden Raumachsen zu einem Dreieck ergänzt. Diese Verbindungslinie könnte als Hypotenuse nach dem Satz des Pythagoras genau bestimmt werden. In Ihrer Wandarbeit „Drei Ecken“  wird der in den konkreten Raum eingeschriebene, in zwei Hälften geteilte Text, entlang dieser exakten, imaginären Linie lesbar.  Der Text ist räumliches Vehikel und reflektiert gleichzeitig durch seinen Inhalt potentiell sich darin  positionierenden Menschen. In „79.853 cm“  hat Shinae Kim alle in den Räumen vorhandenen Linien, an denen zwei Flächen zusammenstoßen, addiert und als fortlaufende Linie auf eine Fläche von 1m Breite übertragen. Die Gesamtheit der Raumlinien der Kunstarkaden kann der Besucher als Ausdruck mitnehmen. Auf drei Ebenen besetzen Kims minimale Eingriffe den Ausstellungsort mittels einer universellen Grammatik:  als Zeichen, in Form der Einladungskarte, als Insert, das den Raum visuell und imaginär dynamisiert, und als Übertragung in ein mobiles, multiples Objekt.

Jenny Mues, Gleisdreieck, Kunstarkaden 2013


close up

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