BIO

Dr Yiyun Kang is an artist who generates environmental moving image works and delivers spatio-temporal narratives that challenge the dualistic thoughts. She received her BFA from Seoul National University, MFA from UCLA’s Design & Media Arts, and PhD from Royal College of Art (RCA) and currently is working as a Visiting Lecturer at RCA. Kang did several residency programmes including at the Victoria and Albert Museum(V&A), National Museum of Modern and Contemporary Art, Korea (MMCA), and Seoul Museum of Art. Her works have been exhibited in CONNECT BTS, V&A, Venice Architecture Biennale, Shenzhen Biennale, Taipei MOCA, and Seoul Museum of Art. Kang’s installation at the V&A, sponsored by Samsung has been acquired by the museum, and her large-scale fulldome projection work commissioned by Max Mara has awarded the Red Dot Award.

Kang is featured in Bloomberg’s ‘Art+Technology’ series and her writings have been published in the Leonardo Journal (MIT Press) and Practices of Projections, published by Oxford University Press. She participated in several conferences and symposiums including SIGGRAPH and NEXUS Pavilion, organized by La Biennale di Venezia and continuously gives artist talks in the corporates and institutions, such as Politecnico di Milano, SOAS London, Seoul National University, Korea Advanced Institute of Science and Technology (Kaist), Sotherby’s Insitutue of Art London, and Foster+Partners.

Kang is a fellow of the RSA (Royal Society of Arts, UK) since 2019.

STATEMENT
 

The raison d'être of Kang’s work is to explore boundaries. Rather than focusing on the making of objects, her work explores the cultivation of relational environments through spatial projection mapping installations. Fundamentally, it originated from Kang’s awareness that dualistic thoughts are losing validity today as borders are constantly shifting. Through practice, Kang attempts to disrupt the opposition between a variety of concepts: materiality/immateriality, reality/virtuality, presence/absence, fact/fiction, analog/digital, art/technology, history/myth—all of which are central notions to our perceptual orientation and epistemic ordering of the world. Kang’s works do not really belong anywhere between these conflicting values; instead, her work attempts to generate mixed-reality environments, engendering perceptual ambiguity and leading the audience to reflect on this dichotomy.


Ideas often surface from the process of transporting thinking and inspiration across disciplinary boundaries. When discoveries, strategies, and practices freely move back and forth across the borders, exciting and innovative breakthroughs can occur.