South Korean media artist Kim A-young is capturing an era of monumental change with her latest exhibition, 'Plot, Block, Plot,' currently showcased at Hermes Atelier in the heart of Cheongdam-dong, Gangnam-gu, Seoul. The exhibition delves into the historical context of the Korean workforce in the Middle East during the 1970s and 1980s, specifically through the lens of her father's experiences as a construction worker.
During this transformative period, many Korean families had fathers who ventured to the Middle East to seek opportunities following the oil boom. Kim’s father, an employee of Hanyang Construction, was among those who took part in groundbreaking projects, including the construction of the Al Mather residential complex in Riyadh. This significant development became known as the first large-scale apartment complex in Saudi Arabia, affectionately nicknamed 'Hanyang Apartment' by Korean expatriates.
Kim’s multimedia work, particularly the featured piece 'Al Mather Plot 1991,' connects the dots between her father's legacy and the greater geopolitical narratives influenced by oil resources. Driven by the Gulf War's aftermath, the complex later provided refuge for Kuwaiti refugees before evolving into a middle-class housing area.
The exhibition opened its doors on March 20, 2025, and Kim passionately elucidated her artistic inspirations during a press preview. "The Al Mather project is intertwined with significant historical contexts, including the energy crisis that drove Korean construction companies to the Middle East and the pivotal role of the Gulf War that transformed Al Mather into a haven for displaced people," she explained. Through a video installation that weaves together interviews with her father's colleagues and memories associated with date palm trees in Saudi Arabia, Kim reconstructs a poignant narrative around the Al Mather complex.
In her works, the artist frequently explores multiple dimensions of time. "I am deeply engaged with the ancient and mythological aspects while also looking ahead to futuristic themes," Kim notes. Her exhibition showcases not only the personal stories behind the Al Mather complex, but also broad themes surrounding the geopolitical tensions around oil, positioning the work as a reflective homage to the past that also comments on present and future realities.
Reflecting on her extensive body of work, Kim mentioned that her current exhibition aligns with past projects, including a notable trilogy—'Zepete, the grief of that public park drips, sibilant'—which she presented from 2014 to 2015. This series examined 20th-century history primarily through the lens of oil, with the third installment showcased at the Venice Architecture Biennale.
Kim A-young's innovative approach embodies the fusion of traditional and cutting-edge techniques. Incorporating elements from her family album alongside generative AI and animation technology, she emphasizes the collision between optical and non-optical media in her creative process. "I consider myself an artist from before the digital generation, preferring to work with video editing and traditional media. The way I perceive optical media is considerably different from digital natives, engendering unique tensions in my work," she remarked.
This year, Kim has emerged as one of the most influential voices in the Korean art scene. She was honored with the 'LG Guggenheim Award' for artists employing advanced technology, with the awards ceremony set to take place in New York this May. Her schedule is filled with global exhibitions, including a solo event at Hamburger Bahnhof in Berlin, followed by a spot at the Tate Modern 25th Anniversary Exhibition in May as well. Looking ahead, she will present a video piece at the M+ Museum in Hong Kong in October and partake in the New York Performa Biennale, coinciding with her solo exhibition at MoMA PS1 in November.
Artistic Director of Hermes, Ahn Soyeon, expressed enthusiasm regarding Kim's expansive vision. "While she is a local artist working in a Korean context, her thematic interests span from ancient mythology to futuristic concerns. The layers of her worldview are rich, suggesting limitless potential in her future projects," Ahn commented.
The exhibition runs until June 1, 2025, and entry is free, providing a unique opportunity for the public to engage with this thought-provoking exploration of personal history intertwined with larger global narratives surrounding the impactful era of Korean construction in the Middle East.
