Place of Residency
IKOB, Eupen
Jungwoon Kim (*1981, Seoul, South Korea) lives and works in Düsseldorf, Germany. She studied Fine Arts at Hongik University in Seoul and at the Kunstakademie Düsseldorf under Professors Rita McBride and Martin Gostner. Since graduating in 2014, Kim has participated in a variety of projects. She has been awarded numerous scholarships and participated in several artist residencies, which have taken her to cities such as Chongqing, Detroit, and Bucharest. Kim is also a member of the artist collective Mother of Pearl.
Her recent exhibitions and projects include Fishing in Green, Living in Yellow at The Pool, Düsseldorf (2025); Und wir fangen gerade erst an at Kunsthalle Düsseldorf (2025); Worlds of Structure at Atelierhaus Aachen e.V., Aachen (2024); Waiting in Loop at Gallery Cubeplus, Kiel
(2023); 20 Jahre dHCS-Stipendium at Kunstverein für die Rheinlande und Westfalen Düsseldorf (2023); Out to Lunch part 1 Bloom in Düsseldorf (2023); Out to Lunch part 2 at 3:e Våningen, Gothenburg, Sweden (2023); Die Grosse at Kunstpalast Düsseldorf (2023); yesterday, today, tomorrow at Zero Foundation, Düsseldorf (2022); and 14. Salon der Künstlerinnen* at Museum Kurhaus Kleve (2022).
Jungwoon Kim - Anna, 2025, Bronzeguss, 19x7cm
Jungwoon Kim - Not yet titled, 2025, silicone, pigment, 40x30x90cm
Exhibition view Fishing in Green, Living in Yellow, Photo: Kai Werner Schmidt
Jungwoon Kim - Supertoys, 2025, Trembling sculpture silicone, pigment, motor Variable dimensions
Exhibition view Fishing in Green, Living in Yellow, Photo: Kai Werner Schmidt
Discipline
installation
Jungwoon Kim’s artistic practice explores the quiet resilience of materials in transitional states — between vitality and decay, the natural and the artificial, the immediate and the remembered.
Her interest in residual forms and fragile vitality also reflects her conflicted relationship with nature itself. The “nature” she has internalized — shaped by urban environments and media — is often curated, controlled, softened, and romanticized. In contrast, real encounters with nature affect her on a visceral level: spring allergies disrupt her body, unpredictable weather alters her mood, and climate anxiety casts a shadow over daily life. This dissonance — between the artificial, mediated nature she has grown up with and the overwhelming, destabilizing forces of the real — creates a generative tension that runs through her work. She sees sculpture as a way to hold and articulate this gap.
Her works do not ask to be interpreted, but to be experienced — through the skin, through emotional echoes, and through an awareness of what lingers.
Discipline
installation
Jungwoon Kim’s artistic practice explores the quiet resilience of materials in transitional states — between vitality and decay, the natural and the artificial, the immediate and the remembered.
Her interest in residual forms and fragile vitality also reflects her conflicted relationship with nature itself. The “nature” she has internalized — shaped by urban environments and media — is often curated, controlled, softened, and romanticized. In contrast, real encounters with nature affect her on a visceral level: spring allergies disrupt her body, unpredictable weather alters her mood, and climate anxiety casts a shadow over daily life. This dissonance — between the artificial, mediated nature she has grown up with and the overwhelming, destabilizing forces of the real — creates a generative tension that runs through her work. She sees sculpture as a way to hold and articulate this gap.
Her works do not ask to be interpreted, but to be experienced — through the skin, through emotional echoes, and through an awareness of what lingers.