Michael Vince Kim (Buenos Aires, Argentina)


Nikolai Shin, 1928-2006 (Tashkent, Uzbekistan)



Y David Chung (Bonn, Germany)



Himan Sok, 1941-2003 (Manchuria)

Himan Sŏk (石熙滿; 1914–2003) was born on August 20, 1914 in Musan, Northern Hamgyŏng Province, the second of Mr. and Mrs. T’aejun Sŏk’s six children. Sŏk’s life can be generally categorized into six phases: childhood in Northern Hamgyŏng Province (1914–1931), migration to Manchuria when he developed an interest in art (1931–1935), studies abroad majoring in Western Art at the Tokyo School of Fine Arts (1935–1938), art-related activities and teaching in China before the Cultural Revolution (1939–1965), banishment in a work camp during the Cultural Revolution (1966–1976), and post-Cultural Revolution art-making and teaching activities as an art professor at Yanbian University in the aftermath of the Cultural Revolution (1978–2003). It is widely believed that his entire body of work before 1966 was confiscated and assumed destroyed before he was sent off to a work camp in the countryside for ten years during the Cultural Revolution.


Self Portrait, 1997, Yanbian University

Jun Ch’ae (Japan)

Jun Ch’ae (蔡峻; b. 1926– ) was born in Sangam Village of Ch’angwŏn City in South Kyŏngsang Province. Ch’ae left Korea indefinitely at the age of two with his parents, who were tenant farmers in Ch’angwŏn so he has little to no recollection of his homeland. Ch’ae never returned to South Korea until the age of 81, when he held a solo survey exhibition at the Gyeongnam Art Museum, a show that came to fruition after he had donated some forty-nine paintings and more than fifty cartoons to the museum. Ch’ae became a member of the General Association of Korean Residents in Japan established in 1955 (hereafter, Ch’ŏngryŏn), the North Korean-affiliated Zainichi community, and worked as a cartoonist for Ch’ŏngryŏn’s newspaper Chosŏn shinbo (Chosŏn daily) for some fifty years, and visited North Korea twice—all of which aligned him with North Korean political ideology. Given this background, both Japan and South Korea deemed Ch’ae dangerous, and Ch’ae received a passport as a South Korean national and traveled back to his birthplace only in the twenty-first century, during the “Sunshine Policy” era, which brought about a thawing of Cold War rhetoric and a warming of relations between the two Koreas.


Glass Marbles, 2002, Gyeongnam Art Museum

Dai Sil Kim-Gibson (Boston, MA)

Dai Sil Kim-Gibson is a Korean-American documentary filmmaker and author. Her films and writing focus on issues of human rights, overlooked periods in history, and Asian-American diaspora. She is well known for her book and film of the same name, Silence Broken: Korean Comfort Women. Both the book and the film are award-winning historical accounts of Korean women forced into sexual servitude by the Japanese army during World War II. She has been recognized and funded by The Rockefeller Fellowship, the Corporation for Public Broadcasting, and the MacArthur Foundation. Her awards and honors include the Asian American Media Arts Award, the Kodak Filmmaker Award, and CINE Golden Eagle.


Interview with Dai Sil Kim-Gibson

Jane Jin Kaisen (Copenhagen, Denmark)

Jane Jin Kaisen is a visual artist and filmmaker born in Jeju Island, South Korea and adopted to Denmark in 1980. She is based in Berlin and Copenhagen. Working with film, video installation, photography, performance, and text, Kaisen’s artistic practice is informed by extensive interdisciplinary research and engagement with diverse communities. Recurring themes involve memory, migration, and translation at the intersection of personal and collective histories. Through non-linear layered montages of image, sound, voice, and archive, she creates distinct modes of storytelling that gesture towards sites of emergence and embodied memories that linger at the margins of the seen and the said. Kaisen has an MFA in Interdisciplinary Studio Art from the University of California Los Angeles, an MA in Art Theory and Media Art from The Royal Danish Academy of Fine Arts, and participated in the Whitney Museum of American Art Independent Study Program. She is currently a PhD candidate in artistic research at the University of Copenhagen / The Royal Danish Academy of Fine Arts and serves as a member of the Danish Arts Foundation Committee for Visual Arts Project Funding. She will represent Korea at the 58th Venice Biennale together with siren eun young jung and Hwayeon Nam in the exhibition “History Has Failed Us, but No Matter” curated by Hyunjin Kim


AJ Kim (Vancouver, Canada)

“Learn anything from my surroundings; Love everything around me; and  Live right now with no regrets of the past nor fears of the future.”Welcome to my universe, explore my world and yours through the frames.”


Jin-me Yoon (Vancouver, Canada)

Jin-me Yoon (born 1960) is a South Korean-born internationally active Canadian artist, who immigrated to Canada at the age of eight. She is a contemporary visual artist, utilizing performance, photography and video to explore themes of identity as it relates to citizenship, culture, ethnicity, gender, history, nationhood and sexuality.

Yoon’s work is known for its use of humour and irony in its visual juxtapositions to the complex subject matter she examines. Her major works include Souvenirs of the Self (1991), a photographic series challenging stereotypical constructs of Canadian identity, and The Dreaming Collective Knows No History (2006), a video installation exploring the interrelationships of body, city and history.

She received her BA from the University of British Columbia in 1985, a BFA from Emily Carr College of Art in 1990, and an MFA from Concordia University in 1992. Currently she lives and works in Vancouver, B.C., and teaches at Simon Fraser University’s School for the Contemporary Arts


Kimura Byol-Nathalie Lemoine (Belgium; Korea)



Kim Yun Shin (Buenos Aires, Argentina)

Kim Yun Shin is a Korean-Argentine artist, 83 years old. Much of her art reflects the roots of her story, from leaving post-war Korea to setting up a new free-spirited life in Buenos Aires, and she describes it as an expression her thoughts and soul. The result is a vibrant and abstract collection of contemporary paintings and sculptures with many references to her Buddhist background coming through in the natural themes and materials used.