The Meta-Painting series explores the fundamental principles of painting and its origins. It began in 2020 at the Wanås Konst Sculpture Park in Sweden, where Kimsooja produced linen spun from flax that she had planted, cultivated, and harvested. It was later woven into a canvas surface as a form of painting that need not be painted. The project reconstructs painting as a life-generating cycle, and the unpainted canvas investigates the conceptual relationship between painting, agriculture, and textiles.


The black Meta-Paintings conceptualize and bring to reality the absence of light and surface. They take form as both a flat and a wrapped surface, continuing the formalistic trajectory of Kimsooja’s folded and unfolded Bottari. While the depth of black color absorbs nearly all light and shadow, its surface resists our discernment. The piece points toward painting as a place of not knowing, a site of vulnerability, and a moment of beginning.


As a counterpart to the Meta-Painting series, To Breathe is a site-specific installation that prismatically diffracts natural sunlight into radiating spectral bands, or concentric double-axis brushstrokes of vertical and horizontal colors. The displacement of lightwaves guides the eyes back and forth across the threshold of architecture, effectively turning the act of gazing into a form of weaving the surface.

In the Presence of Absence, Desert X AlUla 2024, Alula, Saudi Arabia
9 Feb 2024 to 23 March 2024
For more information click HERE.


To Breathe – AlUla encapsulates Kimsooja’s contemplation of the original geographical forms and elements that shaped the region’s distinct desert and volcanic landscape. The core natural elements that took shape within this topography – from cracks in the volcanic stones and monumental sandstone mountains, to the delicate leaves of grass that, with the help of the wind, brush circular forms onto the soil – draw life through a phenomenon of contraction and expansion. As the artist explains, “it is nature’s breathing that transforms the earth’s surface across a deep arc of time.” The life cycle of the Earth in space and time has been Kimsooja’s inspiration and leaves a strong impact on her artistic vision.


The movement of wind and the path of light – which reflects, refracts, and traverses through the spiral paths of To Breathe – AlUla’s glass walls – echo the conceptual and geometrical formation of the desert landscape. Coated with a special film, the glass is a translucent canvas with a microstructure of thousands of vertical and horizontal grooves that function as prisms. Sunlight refracts through this surface into an iridescent color spectrum, casting rainbow-colored shadows and circular brushstrokes onto the sandy earth. Audiences partake in a contemplative performance by walking through and gazing at the shifting light spectrums that render visible the vibrations of colors normally invisible to the naked eyes. With Kimsooja’s words, “it is a walk in and out of a contained yet open spiral path that unfolds an abstract ‘lightscape’ – at once a drawing, a painting, and a sculpture.”

To Breathe – Constellation
20 March to 2 September 2024
For more information click HERE


Her installation in the Rotunda of the Bourse de Commerce is both monumental and ethereal: an immense mirror on the floor that, as one approaches, inverts the architecture and the order of the world with it, the sky opening up in the middle of the building, beneath our feet. Kimsooja is also taking over the 24 display cases in the Passage and the lower level of the museum with works and video installations that address her favourite themes: identity, borders, memory, exile, movement, and weaving.


“I would like to create works that are like water and air, which we cannot possess but which can be shared with everyone”, Kimsooja says. Since the late 70s, her work has asserted itself on the international art scene as an essential, universal experience. After studying painting in Seoul, she distanced herself from all art teachings and practice, embracing everyday gestures such as sewing to explore the issues of identity, involvement, individual and collective memory, and the individual’s place in the world. In the performance in 1997 that made her famous, she spent eleven days travelling across Korea perched atop a lorry loaded with bottaris, the traditional, shimmering Korean fabric bundles used to mark major events in people’s lives, from birth to marriage to death.


As a nomadic artist, a “cosmopolitan anarchist” as she calls herself, Kimsooja metaphorically uses her own body like an anonymous, almost invisible presence whose immobility and verticality become a kind of needle that threads through the fabric of the world.


The mirror that she has used to cover the floor of the Rotunda of the Bourse de Commerce plays a similar role to that of the needle or of her own body.