São Paulo, 1965. Lives in Berlim
The appeal of apparently unappealing situations is a staple of Lina Kim’s work. Her artist’s eye finds something of interest in featureless places, in the subtle chink that reveals its own brand of detail. These openings, with their brittle visuality, demand the dilated, dragged-out, protracted time of a keen listening, as in this dysfunctional litany of verbs.
In her vast research on the architecture of Brasília, for example, which results in a photographic archive of empty spaces where time has all but stood still, the artist lets us see what does not, of itself, yield to the eye. The series of drawings presented at Frestas resulted from her anatomical observations of the swans that live on the canals of Berlin, Germany. In an extensive and meticulous endeavour, Lina Kim deploys strand-like lines imbued, like sheet music, with sound and—why not?—hearing. The organic forms of the birds’ bodies are conjugated with geometrical shapes spawned from concrete roots. Once set into interaction, these supposedly antagonistic forms achieve a strange constructive balance.
[U.C.]
Obras
Swanswanswan Series – Livelihood [Série Swanswanswan – meios de sobreviviência] , 2017
colagem, grafite, lápis de cor e nanquim sobre papel
