Colorful procession

what is the meaning? There is not a fixed entity in the meaning. Complying just with the consciousness, it newly created from the anchored moment of consciousness, modified, and updated all the time. The meaning is flowing as streams of consciousness. So, after back to wriggling people (women?) of head stuck in the ground and the legs in the air, a group of animals is moving as a busy pace. Animals? They just look like animals, but it is suggested of a reminiscent of class(The artist's work appeared on lively tracks that re-attached after it was cut off the neck, it looks like a taxidermy animal and a zombie), just only for some unknown species to confirm the prejudices. Reminding of Jeanne d’Arc or the Statue of Liberty is being led by satyr as like perhaps one of those races with a formal leader of the tribe. Exodus? The book of Exodus? Noah's Ark? Escape from a planet? Surviving races finding of the new world after the fall races? A satire on reality? The fable alluding to the animal for human life? Mythology? The vision of apocalypse? Warning for civilization? Clearly, there is nothing. It could mean all of this, none of this may not mean. Or the meaning may not be so important or critical. Anyway, according to the call of the unconscious, there is a sense in which it was drawn as leading by conscious. This series of paintings are reminiscent of a kind of hypertext. It can start anywhere and end anywhere in and no start and no end. There are waiting for countless byways, and leading to different conclusions each side roads. The difference of conclusions doesn't have special meaning; as well multitude of relations, there is not applicable to the Vanishing Point, the climax, the premise, and the subject, collecting to one point from the different relationship.
Thus, the artist draws allegory which is such existence things or not, in a way familiar (well-known motifs), something strange things (unknown narration with the combination, arrangement, and relationship of motifs)

  • Dabal Kim
    Director
  • Dabal Kim
    Writer
  • Dabal Kim
    Producer
  • Project Title (Original Language):
    화려한 행렬
  • Project Type:
    Animation
  • Runtime:
    5 minutes 30 seconds
  • Completion Date:
    January 15, 2020
  • Production Budget:
    30,000 USD
  • Country of Origin:
    Korea, Republic of
  • Country of Filming:
    Korea, Republic of
  • Shooting Format:
    Digital 4K
  • Aspect Ratio:
    16:9
  • Film Color:
    Color
  • First-time Filmmaker:
    No
  • Student Project:
    No
  • Savina Museum
    Seoul
    Korea, Republic of
    January 15, 2020
Director Biography - Dabal Kim

Dabal Kim
b. 1975
Pratt Institute, Communication Design M.S. New York
Current Profession: Visual artist
Visiting professor of painting at Yongin University
Dabal is an artist who was born and is currently based in Korea. After graduating from the Pratt Institute (M.S.), New York, Dabal participated in various art residency programs and projects worldwide including the United States, China, India, Mongolia, Costa Rica, Germany, Austria, Australia, Spain, Morocco and Norway. She has been active in art activities by planning workshops and art projects in various media such as painting, photography, motion graphic, performance, fashion, and installation.
Dabal has been actively engaged in art activities by planning art projects and desert projects. She was selected as the global eye project START.art platform by PCA and Saatchi Gallery in the UK in 2021, in addition to the selection of excellent exhibitions by Arts Council Korea in 2022,
In 2005, she published the book "Dreamtime Story; Tracing" and selected as Siggraph animation film U.S.A. in 2005. She has held 18 solo exhibitions including the Savina Museum of Contemporary Art (2019), SOMA Museum of Art Drawing Center (2012), Space-can Foundation (Beijing 798, 2012), POSCO Art Museum (2010).

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Director Statement

Dabal Kim's works feature a variety of genres and materials, but the artist herself takes her place as the main axis. There are very few works that reveal the artist's face itself, but many icons are an extension of the ego. In this respect, they fall under self-portrait. Even the landscape is no exception. Drawings, photos, videos, and objects containing landscapes leave traces of the artist in various ways. If the expansion of the subject becomes severe, it becomes fragmented and dismantled, but it is tied together through a dense form. This is a characteristic of the artist. Dabal Kim's representative form is thought to be drawing. Drawing based on surrealistic free association is transformed into animation, and installation. Drawing takes its place as a work within a work and often becomes another place of creation. The drawing by Dabal Kim is a process for creation and variation rather than an exact reproduction of something. This is related to subjectivity in the process. The recent exhibition at the Oil Tank Culture Park puts gender identity on the stage of experimentation on the boundaries of the subject. Strange costumes that imply male/female bisexual mythology are also often worn by the artist. The self-portrait mixed with various images of animals and plants, including red stockings and shoes known as the artist's trademark, asks about the boundaries of the subject.
In Dabal Kim's work, it is the numerous others that achieve the identity. For example, nature, animals and plants, monsters, ruins such as deserts or historic sites, and unknown old objects may at first glance seem like a collection of miscellaneous images without any unity, but all of them can be said to be various images of others outside the subject. The artist expresses herself loosely and freely while making a rhizomatic connection with them. This method is implemented by referring to shamanism, animism, mythology and religion as well as art history through the artist's various cultural experiences. Through this, Dabal Kim expresses not the dogmatic subject typical of modern times, but the mutual subject that is open like a festival through dialogic imagination. Purity is nothing but the ideology of modernism. Dabal Kim actively utilizes modern means such as photography and video, but the ultimate vision is toward the pre-modern or post-modern. Quasi-archaeological images emphasized in the history of disconnection are the inner landscape of the artist and form a unique aura. The world of an artist named Dabal Kim shows that modernism is overcome through embodied language, not through any creed or ideology.