Solo Exhibitions (Brief)

Lim has held solo exhibitions including 《About One Thing》 (Artotéka, Prague, 2026), 《Heather or Ulcer》 (Space Seoro, Seoul, 2025), 《Finches》 (Gallery DOS, Seoul, 2024), and 《Station and Station》 (2/W + Weekend, Seoul, 2019).

Group Exhibitions (Brief)

Lim has also participated in numerous group exhibitions, including 《Undulating Boundary》 (Space 458, Seoul, 2026), 《Primeval Water》 (Galerie 1, Prague, 2025), 《DOOSAN Art Lab Exhibition 2024》 (DOOSAN Gallery, Seoul, 2024), 《The Part In The Story Where Our Accumulating Dust Becomes A Mountain》 (Seoul Museum of Art, Seoul, 2023–2024), 《Kak》 (HITE Collection, Seoul, 2022), 《10 Pictures》 (WESS, Seoul, 2020), and 《Surmountable Podium》 (SeMA Storage, Seoul, 2019).

Residencies (Selected)

Lim Jeong Soo has participated in international residency programs such as NCCA Art Residence Kronstadt (St. Petersburg, Russia, 2018), Zaratan – Arte Contemporânea (Lisbon, Portugal, 2018), ARE Holland (Enschede, Netherlands, 2017), and Bitamine Faktoria (Irun, Spain, 2016).

Collections (Selected)

Lim’s works are held in the collection of the Yangju City Chang Ucchin Museum of Art.

Originality & Identity

Lim Jeong Soo’s practice begins with questions about how humans perceive and classify the world, particularly the conditions under which the subject “I” is formed. She explores why certain actions are regarded as right while others are not, and what criteria make such judgments possible, revealing that the subject is not a fixed entity but a fluid state formed through relationships. This line of inquiry extends into a sculptural language that places everyday objects and nonhuman entities on an equal plane, as seen in early works such as Garden Background(2017) and Background background(2017), where she already departs from an anthropocentric perspective.
 
This perspective gradually expands toward blurring the boundaries between objects and humans, nature and the artificial. Using decorative fabrics, artificial plants, and animal-patterned objects, the artist rearranges things that mimic nature to construct a third type of entity. This is not merely a formal experiment but an attempt to unsettle the very categories through which humans understand the world. In her first solo exhibition 《Wall, Ground, Atmosphere》(Kim Chong Young Museum, 2017), the act of assigning names of natural elements such as “butterfly,” “animal,” and “cloud” to everyday objects dismantles the connection between familiar things and concepts, proposing a new structure of perception.
 
In the 2019 solo exhibition 《Station and Station》(2/W + Weekend, Seoul, 2019), this inquiry deepens through its relationship with the body. Through forms referred to as “shell objects,” the artist treats bodies and objects as equivalent entities, erasing hierarchies between humans and things on stage. Here, the subject is no longer fixed to the human, but emerges as something continuously reconfigured through names, sensations, and relationships.
 
In more recent works, this interest expands further into language and narrative. Works such as Heather or Ulcer(2025) and The Legs of a Whale(2025) take literary texts as their starting point, addressing hybrid states that arise in moments when names and memories fall out of alignment. In this context, the subject is no longer clearly defined but appears as a provisional condition formed within scenes where objects, language, and bodies intersect.

Style & Contents

Lim Jeong Soo’s practice is centered on sculpture, but unfolds through the organic integration of installation, performance, and video. She engages with objects not through their conventional functions or meanings, but through their surfaces—color, texture, and form—establishing relationships with them on this basis. This approach is clearly evident in Wall, Ground, Atmosphere(2017), where everyday items such as carpets, fences, drying racks, and blankets are combined to form new sculptural structures.
 
Spatial composition is also a crucial element. The artist presents individual objects as distinct sculptures while simultaneously constructing the entire space as a single sculptural scene. Rather than viewing works from a fixed point, the audience is encouraged to move through the space, experiencing the scene from multiple perspectives. In this way, the work operates not as a fixed form but as a structure that shifts according to the viewer’s movement and gaze.
 
The integration of performance further expands this sculptural concept. In Becoming your street tree or becoming your fence of veranda(2017), plant-like decorative objects, the performer’s bodily movements, and language come together to form a single scene. Instruction-based sentences guide the performer’s actions, which in turn alter the relationships between space and objects, generating events. Through this process, sculpture extends beyond a purely material structure to encompass temporality and action.
 
Video work forms another layer within this process. While documenting performance, it also functions as another “site” where the installation and event are realized, and can be understood as a flattened form of sculpture. This movement between media leads to experiments that traverse the boundaries between plane and volume, vision and tactility—as seen in the group exhibition 《10 Pictures》(WESS, Seoul, 2020)—ultimately expanding sculpture into a mutable structure rather than a fixed genre.

Topography & Continuity

Lim Jeong Soo has continuously developed a practice that extends sculpture into installation, performance, and video, crossing the boundaries between media. Rather than remaining within a single formal category, her work unfolds through relationships in which objects, bodies, and language interact with one another. In this sense, sculpture is approached not as a material object but as a “situation” or “scene.”
 
While many contemporary artists combine objects, installation, and performance, Lim’s work is distinguished by its focus on the “surface” and “decorative qualities” of objects. She prioritizes sensory attributes over function or symbolism, revealing the character of specific places and social contexts through material choices. This approach leads her to treat objects not merely as materials, but as subjects in their own right.
 
She also dismantles the boundaries between human and nonhuman, subject and object, and embodies this in sculptural structures. Works such as Everything is superstition(2024) and Galapagos finches(2024), which combine forms of diverse beings, propose new modes of perception through entities that lack fixed identities. Here, sculpture functions not as a representation of a specific form, but as a device that reveals relationships and states of being.
 
More recently, by actively incorporating literature and language into her practice, she has further expanded the scope of sculpture. The process by which images derived from text are reconfigured through bodies, objects, and space allows sculpture to be understood not as a fixed outcome but as an ongoing process of generation and transformation. This trajectory suggests that her work does not converge toward a single form, but continues to evolve by connecting different layers of sensation and media in fluid and dynamic ways.