Kang Sunkoo is a brilliant artist and the nicest person you would hope to meet. All of Framed’s team was intrigued by Sunkoo’s upcoming exhibition, so – each one of us, wrote a question or two for Sunkoo and he was so kind to send us his answers. We hope you’ll enjoy it:
It’s quite interesting (and faltering) that the story of our salon became a trigger for your new exhibition. How did you come up with the concept of ‘windows’?
I was at Framed during the first event on Simplonstraße when Yael Nachshon Levin asked me if I would like to exhibit my work there. I had been looking at the smashed windows the whole evening – I replied yes and that I already would know that I would like to show the windows. I asked Yael if that would be ok and she said yes if I remember correctly. During my work on this exhibition, I also came to the assumption that I might have always had some affinity for vandalism. I like reacting to a found situation.
How would you define your artistic work? it’s quite obvious that it’s political and related to actual things in reality, but there is always more than that, what would that be for you?
I try to take actions in my work which I see as a certain necessity for myself and the reality I assume.
Who are your favorite artists?
I will try to answer this with an incomplete list in more or less chronological order of influence on me:
René Magritte, The Beatles, Run DMC, NWA, Akira Toriyama, Katsuhiro Otomo, Mode 2, Max Ernst, The Grateful Dead, Jimi Hendrix, John Coltrane, Futura 2000, DJ Krush, Andy Warhol, David Bowie, Ai Weiwei, Cannibal Ox, Chris Marker, Hsieh Tehching, Hans-Christian Schink, Kalouna Toulakoun.
Since we always combine art with music at Framed events, we wonder whether music has some part in your creative process?
There was a period around the turn of the century during which I spent about half of my productive time with making music, a quarter with drawing and another quarter with studying architecture. Last week, my friend and favorite artist Kalouna Toulakoun played a Mini Disc with a recording of my old music which I had forgotten. It was not as terrible as I judged it in my memory. I might continue where I left off.
What music do you listen to lately?
Due to the above-mentioned memories, I recently rediscovered some of the music I had been listening to around 1998, 1999. For example DJ Krush‘s album Milight – there are little skits in between the tracks in which different artists answer the question of what the future is.
One of my favorite recent memories is being in a Richard Serra echo space between steel plates and listening to my daughter repeatedly sing „Halt dich, an deiner Liebe fest!“(ca. „Hold on to your love“) the chorus of a song from the German band Ton Steine Scherben from 1975.
We love your PR photo, where your face is being painted, could you tell us about this pic and why you chose it?
Thank you. I am glad to receive this question as I have a chance to give credit to the artists who produced this image: Maya Kang, Ophelia de Toth, and Jennifer Schmachtenberg. They are my daughter and her friend, who painted on my face together and my wife who was the photographer.
I chose this image because it contains aspects I find interesting for an image of this function for my identity. I also thought it is fair to publicly show my face painted over by others as I like painting over other people’s faces in images.
Berlin is quite a political city. Do you find Berlin inspiring?
Not so much anymore but again a little bit now that I recently moved away.
You are Korean in Origine, but you grew up in Germany, how would you define your roots?
I have spent time in Korea, Germany, the US, Austria, Switzerland, France, China, and some other places. Instead of roots, I have feet like a lot of other animals. One advantage I can see over root type beings (plants?) is that we can change our point of perception voluntarily.
You decided to do your exhibition on the 9th of November, the night of the November Pogroms. Could you explain this choice?
I asked Framed’s director Yael Nachshon, if it was possible after I saw that this year the date falls on a Saturday which I understood is Framed‘s usual weekday for the opening dates of the exhibitions and musical performances. The November Pogroms are referenced in the works which I am showing at the exhibition.
November was also attractive as I wanted to show the windows in an exhibition as soon as possible before they were replaced. Now I have learned that this might not happen anytime soon anyway which makes the situation even more interesting.
What would you hope for our audience to experience in this exhibition?
What the audience hopes to experience.