KIM DEMUTH 킴 데무스

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갤러리 쿤스트콤플렉스

GALERIE KUNSTKOMPLEX Hofaue 54 D-42103 Wuppertal Germany tel +49 202 39 31 24 94 info@kunstkomplex.net www.kunstkomplex.net Director: Nicole Bardoh

Kim Demuth utilises images of both his own but also found, often resourced from old albums that bare little to no trace of their origins. He became interested in vernacular photography from early on, as a means of exploring the space, the worlds of others, but from a distance. Because there is little other than what we see in an unknown image, we have to contribute our own imagination to it. He has developped an optical device to drive his imaginary into the realm of illusion, oscillating between 2D and 3D points of perception – creating an interspace; neither here or there, an ’in between world’ of sorts. The illusionary photographic image is mainly a way of examining and portraying a reflection of the outer world. Like a distorted mirror, his photographic images stare back and query our own skewed perceptions, not to provide answers, but to encourage questions. Most of his practice has been focused upon the notion of escape, as in a way out off where we find ourselves. He never saw visual art as a way out, but more a means to build or create a perceptual route – and to finally realize that.we are trapped within an illusion.. 영국에서 출생한 킴 데무스는 10대때 그의 가족과 함께 호주에 정착하기 전까지 전세계를 누비며

유년시절을 보냈다. 1999년에 그는 호주의 퀸즐랜드공과대학에서 Visual Art(학사)를 전공하여

졸업하였다. 데무스의 작품 대다수는 탈출이란 화두에 근원을 두고 자기 자신을 찾는 곳으로부터

벗어나려 한다. 그는 예술을 탈출구가 아닌 지각적 경로를 쌓는 도구로 보았으며, 그 환상은 그의

예술적 관습에 지속적으로 영향을 미친다. 그의 작품들은 마치 우리가 아는 것보다 더 거대하고,

위대한 것이 있다는 약속과도 같다. 작품 내에는 memento mori (죽음을 기억하라) 라는 자의식이

자리잡고 있어, 불가피한 우리의 ‘출발‘은 우리의 ‘시작‘을 하고자 하는 욕망과 함께 영원히

혼란스럽게 공존하고 있다는 것을 그려낸다. 그는 그가 직접 제작한 이미지와 찾은 이미지를

사용하지만, 공통점이 있다면 결과물이 본래의 모습과는 판이하게 다르다는 것이다. 작가는

이미지들을 능란하게 조작하여, 완성품이 디지털 회화라고 보일 수 있을 정도로 바꾸지만, 그의

작품의 중요성은 기법도 원산지도 아닌, 결실이다. 데무스가 어떤 재료나 기법을 사용했던지 간에,

관객 안에 ‘타자‘의 존재의 믿음을 심어주는 것이 관건이다. 작가는 관객이 자신이 시각적으로

속았다는 것을 이해하면 그 이해가 외부 세계에도 작용을 한다고 믿는다. 이로써 우리는 모두 환상의

세계에 갇혀있는 것이다.

Hotels, motels, pensions and so forth offer a place to rest for a price. We pay for this how we can , but whatever the comforts may be, the adorning artworks are mainly decorative features to fill negative space. However, when enclosed in these rooms with few windows, our attentions are drawn towards these works in a kind of futile attempt to penetrate the walls that contains us. In our age of money, the artworks within these spaces often determine their prestige and for that honour we pay a hefty price. Fine furniture and comfort surely must be accompanied by sufficient visual treats. Even the most modest of temporary accomodation provides visual stimuli such as cheap prints, ikea paintings and general knick-knacks, all aiding the perception that we are actually cared for by the staff and its management. Hotels in particular are much like a transient human hive creating temporary, generic spaces wih little evidence of the thousands of lives that haved passed through them. In many ways it is only the artwork within that in some meager attempt, personalizes them. And for that matter, artworks become essential components within these depersonalized rooms, creating a sense of the human mark and gesture upon them. The television or radio may provide a temporary distraction from the loneliness held in these spaces, but they leave us – pictures don’t – we leave them.

Each image has been sourced from various guest’s personal pictures of hotel rooms. To emphasize the cell-like nature of these spaces, each image has been manipulated to create a monochromatic surveillance camera aesthetic. An artwork in each room remains in colour, eluding to a window or connection to the outer world. The perceptual illusion of depth in these works stimulates the viewer’s sense of physical space, encouraging the experience of an unknown memory.

KIM DEMUTH Born in the UK, Demuth continually moved around the world as a child before his family eventually settled in Australia when he was a teenager. he graduated from Queensland University of Technology (Australia) in 1999 with a BA (Honours) in Visual Arts (First Class). GRANTS & AWARDS 2015 THE SOVEREIGN ASIA ART PRIZE (Nominated by Gael Newton) 2014 GRACEVILLE SUBURBAN PROJECT (Short listed For Public Artwork-TBA) 2011 ROYAL BRISBANE & WOMENS HOSPITAL BUSWAY STATION (Platform: Public Art Installation) 2010 ARTS QUEENSLAND GRANT (Career Development) 2009 METRO ARTS (Permanent artwork commission) 2009 CLAYTON UTZ TRAVELLING ART PRIZE (Short-listed) 2008 SYDNEY THEATRE COMPANY Artistic imagery for the theatre production of Manna 2008 QUEENSLAND STATE ARCHIVES (Public Artwork for building extension, Brisbane) 2007 DURACK FIRE STATION (Public Artwork for new building) 2006 OLD MUSEUM OF BRISBANE (Public Artwork) 2005 AUSTRALIA COUNCIL GRANT (Barcelona Residency) 2004 CHURCHIE CERTIFICATE OF COMMENDATION 2004 QLD MUSEUM'S NEW ENTRANCE (Short listed For Public Artwork) 2003 ARTS QUEENSLAND GRANT (New Work) 2001 AUSTRALIA COUNCIL GRANT, Collaborative Project for Apostrophe Ess Project, WebSite & Art Space 2001 ARTS QUEENSLAND GRANT (Professional Development) 2000 CHURCHIE CERTIFICATE OF COMMENDATION 1998 OBJECT MAGAZINE AWARD COLLECTIONS Artbank Artspace, Mackay Daryl Hewson Photographic Collection Metro Arts, Brisbane Old Museum of Brisbane Paul Greenway Gallery, Adelaide Queensland Centre for Photography Queensland State Archives Ryan Renshaw Gallery, Brisbane Van Halen Family Collection, USA

GROUPSHOWS 2015 SCOPE MIAMI, Miami, USA 2015 SPOON ARTFAIR, Seoul, Korea 2015 PREVIEW, Galerie Kunstkomplex, Wuppertal, Germany 2015 ART EDITION, Seoul, Korea 2015 INCIDENCE, Lmtdspace, Southport, Australia 2015 KIAF, Seoul, Korea 2015 BLOOOM / art.fair, Cologne, Germany 2015 CHEONGJU, Korea 2015 AHAF, Seoul, Korea 2015 SCOPE BASEL, Switzerland 2015 Photo Contemporary (with QCP), Los Angeles, USA 2015 photo la (with QCP), Los Angeles, USA 2014 Group, Galerie Kunstkomplex, Wuppertal, Germany 2014 View from the Window, Wallflower Photomedia Gallery, Mildura 2014 View from the Window, Edmund Pearce Gallery, Melbourne 2014 Dusk to Dark, Queensland Centre for Photography, 2014 Dusk to Dark, Toowoomba Regional Gallery, QLD 2014 photo la (with QCP), Los Angeles, USA 2013 Works on Paper, Dirty Linen Gallery, Bundaberg, QLD 2013 Treasures: the art of collecting, Queensland Centre for Photography, Brisbane 2013 photo la (with QCP), Los Angeles, USA 2012 North by Northeast, Depot Gallery,Sydney 2012 Flipside: Australian Photography, Project A7 Gallery, Santa Monica, USA 2012 Orientation, Beam Contemporary, Melbourne 2012 photo la (with QCP), Los Angeles, USA 2011-12 Synchronicity, Grafton Regional Gallery, NSW 2011 Just Ideas, Dirty Linen Gallery, Bundaberg, QLD 2011 Turn Around, Schwartz Gallery, London, UK 2011 Fast Friends (Pace Project), Brisbane Institute of Art 2011 Open Sky, Metro Arts, Brisbane 2011 photo la (with QCP), Los Angeles, USA 2010 Public Sale, Kunst Pavilion, Munich, Germany 2010 Interactive Reactions, Glow Gallery/City Studios, 2010 Brave New World, Queensland Centre for Photography,

2010 Transfusion, PS Gallery, Brisbane 2010 photo la (with QCP), Los Angeles, USA 2009 Synchronicity, Toowoomba Regional Gallery, QLD 2009 She's a Tough Old Broad – A Social History of Metro Arts, Brisbane 2009 Second Skin, Queensland Centre for Photography, 2009 photo la (with QCP), Los Angeles, USA 2008 Netzwork’s Changed Conditions Ahead, Jugglers Gallery, Brisbane 2008 photo la (with QCP), Los Angeles, USA 2007 Topsy, Metro Arts, Brisbane 2006 Top Ten, Gadens Law Firm, Brisbane 2005-06 High Light, Blindside Gallery, Melbourne, Ipswich Art Gallery, Metro Arts, Brisbane 2005 Art, Design & Craft Biennial, Brisbane City Hall 2005 Journey, the block, QUT, Brisbane SOLOSHOWS 2016 SOLO, Galerie Kunstkomplex, Wuppertal, Germany 2015 Industrial Zen, Ipswich Art Gallery, Brisbane 2012-13 Camino, Queensland Centre for Photography, Brisbane 2012 Industrial Zen, Beam Contemporary, Melbourne 2011-12 Camino, Art Space, Mackay 2010 Camino, Beam Contemporary, Melbour+.ne 2010 Second Hand Pose: Portraits of the Unknown, Jan Manton Art, Brisbane 2008 Time Date Space, Jan Manton Art, Brisbane 2006 Signs of Life, Jan Manton Art, Brisbane 2004 4D, Esa Jaske Gallery, Sydney 2004 Over and Out, The Farm, Brisbane 2003 Perception Deception, GALLERY 482, Brisbane 2003 Seeing You Seeing Me Seeing You, IMA, Brisbane

CREDITS

PAGE 4 CONNIE QUAKES, 2014, 40x95 cm

PAGE 6 KITTY, 2010, 69x95 cm

PAGE 7 RUTH, 2010, 83x53 cm

PAGE 8 FRANCIS, 2010, 49x49 cm

PAGE 9 JOSEPHINE, 2010, 40x40 cm

PAGE 10 O’CEBREIRO 11.13pm 24.06.2008, 2010, 55x81 cm

PAGE 11 MIRANDA, 2010, 49x70 cm

PAGE 12 MOTHER MOON, 2015, 50x93 cm

PAGE 13 SKINS OF OTHERS II, 2015, 70x58 cm

PAGE 14 ADAMA, 2010, 54x90 cm

PAGE 15 EVA, 2010, 54x90 cm

PAGE 16 HER, 2015, 40x31 cm

PAGE 17 HIM, 2015, 40x31 cm

PAGE 18 PAMPLONA 2.37 - 2.49am 22.05.2008, 2010, 60x60 cm

PAGE 19 TORRE DE HERCULES 10.22 14.07.2008, 2010, 55x81 cm

PAGE 20 NOCTURNE IV, 2015, ∅ 28 cm

PAGE 21 NOCTURNE VI, 2015, ∅ 42 cm

PAGE 22/23 HIVE, 2010, 80x224 cm

FRONTCOVER HIVE, 2010, 80x224 cm

BACKCOVER HIVE (detail)

GALERIE KUNSTKOMPLEX Hofaue 54 D-42103 Wuppertal Germany tel +49 202 39 31 24 94 info@kunstkomplex.net Director: Nicole Bardohl www.kunstkomplex.net

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