2017,

CargoCult

2017,

2012

Initiative

cargocult.de

Blinde Winkel, Kunstverein am Rosa-Luxemburg Platz, 2020

parrot in a colemine, Kunstpunkt, 2018

Marktorientierung spielt für mich keine Rolle, mich interessiert entweder ein spezielles Thema und dazu lade ich Künstler*innen ein oder ich erarbeite mit Künstler*innen und anderen Gruppen spartenübergreifende neue Konzepte.Kunst verliert ihre gemeinschaftsstiftende Qualität, sobald sie zum Privileg wird. Diese Qualität können im Besonderen Projekträume und inklusive Formate gewährleisten.Answering this question seems to be the most difficult and an endless process for me because I have to ruminate on the past decade or so in which I have gone through Berlin as a female artist, a Korean artist, the founder and chief of an Asian contemporary art platform, and a mother. Since the very beginning, I have been interested in seeking a kind of universal identity, spanning the various backgrounds of Berlin-based contemporary artists in order to examine the question of identity as it is often perceived from the outside: according to gender, nationality, and cultural milieu. So I have created a space where the dichotomous logics about those issues could be discussed, proceeding with many projects. Above all, I had dreamt of creating a self-supporting space, based on an independent profit model. Recognizing limitations in workforce, culture, and the market of the art scene, however, I have experienced some moments of great suffering. But what has enabled me to endure those moments of suffering was not money but people, so that I would answer sincerely that a project space no longer means a physical space for me. It is a non-physical space, comprising people like artists, users and agents, or sometimes a network.