2017,

SOMA Art Gallery

2017,

2014

SOMA 700

Monumentenstraße

24

Berlin

10965

somaartspace.com

Kahee Jeong, Unmyth, 2021, Foto: Nabi Nara

Kevin Groen, Boys don’t cry, 2020, Foto: Nabi Nara

Für viele hat die Pandemie die Wichtigkeit der künstlerischen Tätigkeit in den Vordergrund gerückt trotz der Vernachlässigung der Kultur durch die Politik. Die Wichtigkeit der Vor-Ort-Präsenz, des „analogen Sehens“, der analogen Auseinandersetzung gegenüber den digitalen Formaten ist in den Vordergrund gerückt.Art has the power to make people think and feel differently. Art has the power to activate change.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.