Ayoung Kim (born in and based in Seoul, South Korea) weaves reality anew through a tapestry of hybrid fictions, integrating geopolitics, biopolitics, mythology, technology, technoprecarity, and speculative temporalities into her work. Kim often depicts nonconformists or technoprecarious entities whose resistance or misalignment leaves behind strange and singular traces as they deviate from prescribed trajectories. Kim’s synthesized narratives result in far-reaching speculation, establishing connections between biopolitics and border controls, the memories of stones and virtual memories, and ancestral origins and imminent futures across various media. Her practice incorporates discourses on optical and post-optical media, machine vision, performativity, game simulation, and the narrativity of fiction.
She is a recipient of the Chanel Next Prize (2026), the LG Guggenheim Award (2025), the ACC Future Prize (2024), the Golden Nica Award at Prix Ars Electronica (2023), and the Terayama Shuji Prize at the Image Forum Festival, Japan (2023), and was a supported artist for the Korea Artist Prize (2019). She was also named in ArtReview’s 2025 Power 100 list, which ranks the most influential people in the art world.
Kim’s works have been presented at MoMA PS1, New York (2025); Performa Biennial, New York (2025); M+, Hong Kong (2025, 2024); Hamburger Bahnhof, Berlin (2025); Tate Modern, London (2025); The National Museum of Art, Osaka, Osaka, (2025); Atelier Hermès, Seoul (2025); Copenhagen Contemporary, Copenhagen (2025); Mori Art Museum, Tokyo (2025); ACMI, Melbourne (2024); MoMA, New York (2024); Sharjah Biennial (2023); International Film Festival Rotterdam (2023); Berlin International Film Festival (2020); Palais de Tokyo (2016); and the Venice Biennale (2015), among others.
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