Joeun Kim Aatchim joins the 14th edition of the Taipei Biennial 2025 titled Whispers on the Horizon, which brings together 54 artists from 35 cities worldwide, curated by Sam Bardaouil and Till Fellrath
Drawn during a quiet period the artist calls “Sinking Inward,” Aatchim gently departs from the labor intensive refinement of traditional Korean silk painting and treats silk organza as a draft, an intimate surface for daily meditative gestures.
For Minimally Invasive: Chapter 침 Crush, the silk is stitched at the corners to double layered glass sheets, an anchor just strong enough to keep the drawing afloat. The installation seals the silk between plexiglass, protecting it from humidity and preserving the daily drawings as if they were frozen in time and space.Aatchim explores memory and emotion through silk painting, writing, and audiovisual installation. She calls her method “Transparentism,” a drawing philosophy that unfolds like visual essays of woundedness, strength, and recovery.
——
Joeun Kim Aatchim participa en la 14.ª edición de la Bienal de Taipéi 2025, titulada Whispers on the Horizon, que reúne a 54 artistas de 35 ciudades de todo el mundo, comisariada por Sam Bardaouil y Till Fellrath.
Dibujada durante un período de tranquilidad que el artista denomina «Sinking Inward» (Hundirse en el interior), Aatchim se aleja del laborioso refinamiento de la pintura tradicional coreana sobre seda y trata la organza de seda como un boceto, una superficie íntima para gestos meditativos cotidianos.
Para Minimally Invasive: Chapter 침 Crush, la seda se cose en las esquinas a láminas de vidrio de doble capa, un ancla lo suficientemente fuerte como para mantener el dibujo a flote. La instalación sella la seda entre plexiglás, protegiéndola de la humedad y conservando los dibujos cotidianos como si estuvieran congelados en el tiempo y el espacio. Aatchim explora la memoria y las emociones a través de la pintura sobre seda, la escritura y la instalación audiovisual. Ella llama a su método «transparentismo», una filosofía del dibujo que se despliega como ensayos visuales sobre el dolor, la fuerza y la recuperación.
1.11.25 - 29.03.2026
#taipeibiennial
❗️Last days to visit Joeun Kim Aatchim’s Minimally Invasive: Chapter 침 Crush at Taipiei Biennial at Taipiei Fine Arts Museum s part of the 14th edition of the Taipiei Biennial titled Whispers on the Horizon.
🧵Drawn during a quiet period the artist calls “Sinking Inward,” Joeun Kim Aatchim gently departs from the labor-intensive refinement of traditional Korean silk painting. Instead, she treats silk organza as a draft—an intimate surface for daily meditative gestures.
Aatchim explores memory and emotion through silk painting, writing, and audiovisual installation. She calls her method “Transparentism,” a drawing philosophy that unfolds like visual essays of woundedness, strength, and recovery.
On view until 29.03.2026
@aatchim@tfam_museum
#taipieibiennial
Afterimage, from the Hoxton Hotel LA (Agathe), 2024
Watercolor, colored pencil, genuine gold paint on silk, two-way acrylic mirror, black walnut frame
13 x 11 inches
Willa, 2024-2025
Mineral pigment in shellac, watercolor, and genuine
white gold on silk, mounted on soot-ink-treated wood,
artist’s frame with copper foil, linen cord, sterling
silver cast needle
13.5 × 11 inches
And My Wishes— I Wish I Had Told Him That He Did What He Had to Do for Her and the Girls, 2022
Earth & mineral pigment watercolor, casein, resin, wax on linen
13 x 18 x 3/4 in 33 x 45.7 x 2.5 cm
Still life with An Alone time, A Candy Bar, an Ember Cup, and Poet’s Daffodil, Over Mother’s Poem (Item Found in Her Pocket by a Child Detective), 2022
“조율이 필요한 피아노 처럼”
Mineral & earth pigment suspended in glue on silk, ink on cotton
24 x 20 x 1 in 61 x 50.8 x 2.5 cm
“You’re My World.” (Yul & Momo’s
Last Nap Together)
2023-24
52.1 x 41.9 cm | 20.51 x 16.5 in
Stone pigment,shellac ink, walnut
ink, pastel, colored pencil on silk
over colored pencil on canvas, black
walnut frame
From <Old Habit Theater> Solo
@travesiacuatro Guadalajara
