Installation view of 《report》 © Gallery Purple

Kim Taedong captures in his photographs the taut tension generated by the collision between hidden narratives beneath urban history and the visible images of the city. Through his lens, he presents the suspended urban spaces and figures of the metropolis at dawn (‘Day Break’, 2011–), the peculiar urban tones of Seoul’s peripheries shaped by cycles of development and destruction (‘Break Days’, 2013–), unfamiliar spaces in the outskirts of New York (‘Symmetrical’, 2010–), Koreans encountered in Tokyo’s entertainment district Kabukicho (‘Club Sistar’, 2014–), and the landscapes of border villages where ordinary air and the atmosphere of impending conflict coexist (‘Gangseon’, 2015–). Rather than offering clear-cut depictions of events, his work constructs ambiguous and condensed scenes of everyday life through partial staging.
 
This exhibition presents works related to nocturnal journeys, including the ‘Day Break’ series, which captures figures and spaces in downtown Seoul photographed within the specific and limited timeframe of night; the ‘Gangseon’ series, which traces the remnants of war sites; and the ‘TIME TREE’ works, which record the passage of seasons and time.

The ‘Day Break’ series, which portrays figures in the city at midnight, captures strangers encountered by chance while wandering through Seoul at a time when its functions are suspended. The artist discovers spaces that evoke a surreal atmosphere entirely different from daytime and photographs individuals he encounters there within a single frame. Beneath bridges, in front of overpasses, on wide roads, or at skating rinks, passersby moving through vast artificial structures are spontaneously approached and photographed.

While portrait photography typically begins by selecting a subject and then choosing a background, Kim deliberately reverses this process by first selecting a space and then introducing a chance encounter with a person. Through his distinct formal strategy, neither space nor figure becomes a mere background; instead, both emerge equally within the frame, generating a palpable tension.
 
The ‘Gangseon’ series, exhibited alongside urban scenes of Seoul, is an ongoing project initiated with the DMZ Project in 2015. It consists of photographs taken while tracing, almost like an investigation, the bullet marks remaining at war heritage sites.

Following the Gyeongwon Line—from Dongducheon Station to Baekmagoji Station, beyond which trains can no longer pass—the series captures silent rural landscapes where traces of tragic history persist, documenting the ordinary lives of those who continue to inhabit these areas. From Dongseong Terminal, the northernmost bustling district, to a woman in a military-patterned costume selling hamburgers to U.S. soldiers, and the lingering bullet marks from wartime, the series reveals the unique tensions embedded in the political and cultural specificity of the region.

Alongside these unfamiliar nocturnal landscapes, Kim also photographs the paradoxically beautiful night sky shining above them. Unlike his previous series, the ‘Gangseon’ works separate space and figure, focusing on each independently. In particular, the portraits are composed within horizontal frames, with figures placed prominently in the foreground, allowing viewers to read their surrounding environments. By arranging images that hold limited and ambiguous relationships in a sensorial manner, Kim’s distinctive artistic aura comes to dominate the space.
 
Also on view is the ‘TIME TREE’ project, which records a space over a two-year period, capturing the changing seasons and the differing times of day and night. This work succinctly reveals the artist’s method, shaped through long-term observation and recording of time and space.
 
Working with the medium of photography, Kim Taedong explores alternative spatiotemporal conditions produced by the specific circumstances of nighttime. He collects images through repeated, fleeting encounters—photographing what he comes across—and seeks to capture the subtle energies embedded within everyday life and urban space.

References