COLLABORATION
(Belated) Documentation forthcoming ------ >
2024 “Dream Circles,” in collaboration with Zack Nguyen, Dallas Culture of Value 2024, Ridgewood Recreation Center, Dallas, TX. [8/2/2024]
2024 “BLINK,” Co-Written and Directed with Thomas Riccio, Video Projection Designer and Lead Performer, Theatre
UTD, The University of Texas at Dallas, Richardson, TX. [Premiere, 4/18/2024-4/20/2024, 4/25/2024-4/27/2024]
2024 “Phantoms,” Guest performer for Therefore Art, Sound, and Performance Group by Dean Terry, Hilly Holsonback & Abel Flores,
Arts Mission Oak Cliff, Dallas,TX. [Premiere, 5/23/2024-5/25/2024, 5/30/2024-6/1/2024]
2023 “R.O.O.S.T (Rotundal Object Oriented Speculative Triangulation),” in collaboration with Kevin Sweet,
FW Fringe Festival, Arts Fort Worth, Fort Worth, TX. [9/9/2023]
2024 “BLINK,” Co-Written and Directed with Thomas Riccio, Video Projection Designer and Lead Performer, Theatre
UTD, The University of Texas at Dallas, Richardson, TX. [Premiere, 4/18/2024-4/20/2024, 4/25/2024-4/27/2024]
2024 “Phantoms,” Guest performer for Therefore Art, Sound, and Performance Group by Dean Terry, Hilly Holsonback & Abel Flores,
Arts Mission Oak Cliff, Dallas,TX. [Premiere, 5/23/2024-5/25/2024, 5/30/2024-6/1/2024]
2023 “R.O.O.S.T (Rotundal Object Oriented Speculative Triangulation),” in collaboration with Kevin Sweet,
FW Fringe Festival, Arts Fort Worth, Fort Worth, TX. [9/9/2023]
Ritual of Kinmagic
Performance in Collaboration with Surabhi Saraf, Digerati Experimental Media Festival, Digital Armory, Denver, CO. [9/21/2025]
Photo by James London Photography
[ PRESS RELEASE ]
Ritual of Kinmagic is a participatory performance shaped by deep listening, somatic movement, and collective care. Conceived and led by artists Surabhi Saraf and Laura Hyunjhee Kim, the work invites audiences into a shared space of attunement—where breath, voice, and movement foster a heightened sense of presence and interconnectedness.
Through guided mirroring, gentle choreography, and whole-body listening, participants become part of a living score—co-creating a quiet choreography of relational rhythm. As the room attunes to subtle gestures and sonic cues, a collective field begins to emerge—one that centers softness, care, and the possibility of connection beyond language.
Rooted in years of inquiry into how emotion and technology shape our inner and outer lives, Ritual of Kinmagic offers a moment of pause—a space to tune in, together.
[ https://denverdigerati.org/program-2025 ]
Kinmakers: Hidden Songs in Our Mother's Dreams
Multimedia Installation and Performance in Collaboration with Surabhi Saraf, Crow Museum of Asian Art, Richardson, TX. [9/28/2024-2/28/2025]
[ WALL TEXT—MULTIMEDIA INSTALLATION ]
Kinmakers is a polyphonic exploration of spiritual and world-building rituals, grounded in the concept of Quantum Listening—a practice musician and composer Pauline Oliveros described as “listening to more than one reality simultaneously.” “Hidden Songs in Our Mother's Dreams” is the opening chapter of the Kinmakers project. Visitors are invited to engage in deep relaxation and whole-body listening under a starry night sky, to melt into the tenderness of the floating pods, and to ponder, “What is it like to be you?”
Central to this quest is an amorphous, shape-shifting blob—a long-term fascination for artists and friends Laura Hyunjhee Kim and Surabhi Saraf. Porous and fluid, the blob transforms into a womb-like sounding vessel that holds intergenerational memory and desire, the unspoken yet felt dreams of our mothers, our mothers' mothers, and beyond.
From 2018 to 2023, Kim and Saraf co-created participatory projects as members of the experimental collective Centre for Emotional Materiality (CEM). Their work examined the effects of digital technologies on our bodies, emotions, and beliefs. Transitioning from CEM, they now work together to explore their diasporic experiences as daughters of Korean and Indian descent, intertwining personal narratives with their ancestral roots and cultural sensibilities.
Kinmakers: Hidden Songs in Our Mother's Dreams marks a new chapter in the collaboration between Kim and Saraf. Driven by a shared desire to integrate art into the fabrics of life, they seek to widen the circle of kinship and care through collective thinking-through-making.
Laura Hyunjhee Kim is an assistant professor of visual and performing arts at The University of Texas at Dallas. Surabhi Saraf is a multimedia artist based in New York.
[https://crowmuseum.org/exhibition/kinmakers-hidden-songs-in-our-mothers-dreams/]
Kinmakers is a polyphonic exploration of spiritual and world-building rituals, grounded in the concept of Quantum Listening—a practice musician and composer Pauline Oliveros described as “listening to more than one reality simultaneously.” “Hidden Songs in Our Mother's Dreams” is the opening chapter of the Kinmakers project. Visitors are invited to engage in deep relaxation and whole-body listening under a starry night sky, to melt into the tenderness of the floating pods, and to ponder, “What is it like to be you?”
Central to this quest is an amorphous, shape-shifting blob—a long-term fascination for artists and friends Laura Hyunjhee Kim and Surabhi Saraf. Porous and fluid, the blob transforms into a womb-like sounding vessel that holds intergenerational memory and desire, the unspoken yet felt dreams of our mothers, our mothers' mothers, and beyond.
From 2018 to 2023, Kim and Saraf co-created participatory projects as members of the experimental collective Centre for Emotional Materiality (CEM). Their work examined the effects of digital technologies on our bodies, emotions, and beliefs. Transitioning from CEM, they now work together to explore their diasporic experiences as daughters of Korean and Indian descent, intertwining personal narratives with their ancestral roots and cultural sensibilities.
Kinmakers: Hidden Songs in Our Mother's Dreams marks a new chapter in the collaboration between Kim and Saraf. Driven by a shared desire to integrate art into the fabrics of life, they seek to widen the circle of kinship and care through collective thinking-through-making.
Laura Hyunjhee Kim is an assistant professor of visual and performing arts at The University of Texas at Dallas. Surabhi Saraf is a multimedia artist based in New York.
[https://crowmuseum.org/exhibition/kinmakers-hidden-songs-in-our-mothers-dreams/]
The opening chapter of Kinmakers, Hidden Songs in Our Mother's Dreams, unfolds through kinmaking and quantum listening—an exploration of the unspoken yet deeply felt dreams of our mothers' mothers and beyond. This immersive installation includes a three-channel video called The Hum, a video sculpture titled Song of Kin, and two participatory performances called Rituals of Kinmagic. [ https://www.surabhisaraf.com/hidden-songs ]
The opening chapter of Kinmakers, Hidden Songs in Our Mother's Dreams, unfolds through kinmaking and quantum listening—an exploration of the unspoken yet deeply felt dreams of our mothers' mothers and beyond. This immersive installation includes a three-channel video called The Hum, a video sculpture titled Song of Kin, and two participatory performances called Rituals of Kinmagic. [ https://www.surabhisaraf.com/hidden-songs ]
[ PRESS RELEASE—PERFORMANCE ]
Artists Laura Hyunjhee Kim and Surabhi Saraf invite you to the opening performance of "Kinmakers: Hidden Songs in Our Mother's Dreams." In this special world-building ritual of "Kinmagic," visitors engage with spellbinding live movement and sounds that evoke deep relaxation—a whole-body immersion to listen beyond oneself and ponder, "What is it like to be you?"
[Participatory Performance in collaboration with Surabhi Saraf, 30-min, 9/28/2024]
Below is the performance documentation from Turk Studio for The Crow Museum of Asian Art:
[Participatory Performance in collaboration with Surabhi Saraf, Invited performers Zack Nguyen and Kristen Duong, 45-min, 2/15/2025]
[ PRESS REVIEW ]
- O’Donnell Athenaeum’s Multimedia Gallery Is Sure to Move You, Rick Vacek, Office of the Provost, UT Dallas. [11/11/2024]
- Crow Museum of Asian Art opens second location at University of Texas at Dallas, NBC DFW. [10/5/2024]
- Northern Exposure: Crow Museum Opens Within the UT Dallas Athenaeum, Nancy Cohen Israel, PATRON Magazine. [9/30/2024]
- Bass School Professor Hosts Inaugural Multimedia Exhibit At New Athenaeum, Javier Giribet-Vargas, UTD Bass School, UT Dallas. [9/27/2024]
Alice in the Archives: The Changing Shape of Knowledge
Co-Curator with Meredith Tromble, Cushing Memorial Library and Archives, Texas A&M, College Station, TX. [5/6/2024-10/13/2024]
PRESS RELEASE by Texas A&M Marketing and Communications | 06-21-2024 I
[ https://library.tamu.edu/news/2024/06/Alice ]
Cushing Exhibition Presents Research as an Antidote to the ‘Rabbit Hole’
A pair of artists view the curiosity, courage and creativity of research as a powerful means for society to grapple with a world that often feels like the frightening, yet exciting place portrayed in “Alice’s Adventures in Wonderland” in a new art installation at the Texas A&M University Cushing Memorial Library & Archives.
“Alice in the Archives: The Changing Shape of Knowledge,” designed by Meredith Tromble and Laura Hyunjee Kim, is on display through Oct. 4, 2024.
It’s a wide-ranging experience that draws from an extensive range of artistic media, items from various Cushing collections and input from Texas A&M University scholars from widely different academic disciplines.
“Finding ourselves in a new time of intellectual upheaval, with social media, digital tools, and artificial intelligence transforming our culture, we relate to ‘Alice’ author Lewis Carroll’s imagery of an unpredictable world,” said Tromble. “In this art installation, we offer a vision of research as a powerful, essential human process of meeting this unpredictability — and a touch of humor, just like Alice.”
The art installation takes visitors on a journey through a new interpretation of Wonderland, visiting five key themes: Archive, Brain, Calibrate, Digest and Epiphany. Each step of the journey invites exploration of how information is taken in and processed, becomes knowledge, and then is reinterpreted in the process of taking in more information.
“The installation mimics Alice’s travels through Wonderland and how she gains knowledge along the way,” said Jeremy Brett, Cushing curator. “At every moment along the way, you are rethinking your approach to how you, and those around you, understand the world and acquire knowledge. The art instillation is saying that we are never at the stage of ‘I know everything and every possible way to know something.’”
The designers of “Alice in the Archives” considered Cushing’s items through an artistic lens, said Beth Kilmarx, assistant university librarian for special collections.
“This art installation is a collaboration of multiple disciplines,” Kilmarx said. “Tromble and Kim used Cushing’s archival materials in a completely different way. It’s multimedia, with art, archival materials, rare books and interviews.”
Additional Contributors to the Art Installation Include:
- Kenyatta Ali, artist and model
- James R. Ball, III, Texas A&M associate professor of performance studies
- Joshua DiCaglio, Texas A&M assistant professor of English
- Rebecca Hankins, Texas A&M professor of global languages and cultures
- Allison Leigh Holt, artist and Fulbright scholar
- Srikanth Saripalli, Texas A&M professor of mechanical engineering
- Dawna Schuld, Texas A&M associate professor of modern and contemporary art history
- Angenette Spalink, Texas A&M assistant professor of performance studies
- Daniel Spalink, Texas A&M assistant professor in the department of Ecology and Conservation Biology
- Courtney Starrett, Texas A&M associate professor of visualization
- Kevin Sweet, University of Texas at Dallas assistant professor of design and interactive arts
“Strange Diagrams: Feeling Scale,” Visions of Scale symposium & exhibition, video contribution to exhibition by Meredith Tromble,
National College of Art & Design, Dublin, Ireland. [10/21/2025-10/24/2025]
Becoming Kinmakers
Becoming Kinmakers is a live, multimedia performance where notions of time, space, and self melt and re-form, shaped by the porous language of a shapeshifting blob. It is an improvised felt-rhythm between two performers—part spell, part transmission—that evokes an emergent, fluid kinship.
Developed for the Artificial environments / environmental Intelligence Festival (Ae/eI) at Columbia University’s Movement Lab, this work-in-progress performance explores the interstices of nature and technology, embodiment and abstraction.
Developed for the Artificial environments / environmental Intelligence Festival (Ae/eI) at Columbia University’s Movement Lab, this work-in-progress performance explores the interstices of nature and technology, embodiment and abstraction.
METABOLISM: A Happening
Video, 2min 30sec, The School of Performance, Visualization & Fine Arts, Texas A&M University, College Station, TX.
[collaboration with Meredith Tromble & Charissa N. Terranova, 6/12/2023-6/15/2023]
Featuring. James R. Ball III, Dawna Schuld, Joshua Dicaglio, Kristen Duong, Damian Probity Enyaosah, Tiffany Evans, Kacie Ging, Laura Hyunjhee Kim, Stasha Kraguljac, John Moeller, Evleen Nasir, Zack Nguyen, Merve Sahin, Jinsil Hwaryoung Seo, Angie Spalink, Courtney Starrett, Mandy Stark, Mary Takalou, Charissa N. Terranova, Meredith Tromble, Tianna Uchacz, Glen Vigus, Andersen Wood, Tong Yao.
[collaboration with Meredith Tromble & Charissa N. Terranova, 6/12/2023-6/15/2023]
Featuring. James R. Ball III, Dawna Schuld, Joshua Dicaglio, Kristen Duong, Damian Probity Enyaosah, Tiffany Evans, Kacie Ging, Laura Hyunjhee Kim, Stasha Kraguljac, John Moeller, Evleen Nasir, Zack Nguyen, Merve Sahin, Jinsil Hwaryoung Seo, Angie Spalink, Courtney Starrett, Mandy Stark, Mary Takalou, Charissa N. Terranova, Meredith Tromble, Tianna Uchacz, Glen Vigus, Andersen Wood, Tong Yao.
A glimpse into the embodied improvisatory, iterative, and messy process of collective (un)doing through life-ing, breath-ing, co-convene-ing, co-mingle-ing, en-tangle-ing, (re)make-ing, tinker-ing to trouble body, space, place, and time.
In this video, we share part of this aforementioned process—the art is still metabolizing:
Art is experience.
Art is non-fungible.
Art is everything.
Art is life.
Art is energy.
Art is ______— .
Art is.
Below is a mini-documentary about "Metabolism: A Happening."
CREDIT: Shot and edited by Texas A&M / Anderson Wood
CREDIT: Shot and edited by Texas A&M / Anderson Wood
Towards the Love of Missing Out (LOMO)
Participatory Performance, Workshop, and Keynote Address with Centre for Emotional Materiality (CEM)
The Ammerman Center Biennial Symposium on Arts and Technology,
Connecticut College, New London, CT, Nov. 10-11, 2022
http://artsandtechsymposium.digital.conncoll.edu/keynote-commissions/
The Ammerman Center Biennial Symposium on Arts and Technology,
Connecticut College, New London, CT, Nov. 10-11, 2022
http://artsandtechsymposium.digital.conncoll.edu/keynote-commissions/
The Ammerman Center 2022 Biennial Symposium on Arts and Technology will be held at Connecticut College in New London, CT, November 10-12, 2022. The aim of the Symposium, now in its 36th year, is to create an inclusive forum for multidisciplinary dialogue at the intersection of arts, technology, and contemporary culture in a variety of formats. This year’s theme is CONTACT: In the contemporary vocabulary, “contact” is something to be avoided in physical interactions or something perhaps just out of reach in our remote relationships with others. Contact contains the promise of new and continued engagement within communities, among disparate institutions and so-called disciplines.
In lieu of a standard keynote address and in keeping with our focus on Contact, affect, and collaboration, our featured speakers will be the members of the Centre for Emotional Materiality: Surabhi Saraf, Laura Hyunjhee Kim, Marcus Brittain Fleming, and Mariah Hill.
Images from "Inter-blobbing Towards the Love of Missing Out" in collaboration with Surabhi Saraf (Visual + Sound), Photo by Connecticut College
WORKSHOP
Towards the Love of Missing Out (LOMO): ATTUNEMENT
Join us at the Arboretum to explore how attunement can act as a balm to nourish a grounded connection with technology. Attunement is the act of bringing gentle awareness to our bodies, feelings, and thoughts in real and online spaces. Through herbal remedies, movement exercises, and play, participants will explore exactly what we are missing when we are missing out.
PERFORMANCE
Towards the Love of Missing Out (LOMO): LISTENING
A collective journey into “Inter-blobbing Towards the Love of Missing Out.” We offer this movement as an embodied antidote for when an obscured sense of fear starts crawling inside, crowding our sense of self-worth with messy feelings, clouding our pathway towards love.
KEYNOTE ADDRESS
Towards the Love of Missing Out (LOMO)
In this talk, the members of the CEM will help reframe the idea of FOMO (fear of missing out), transforming FOMO from a shameful reaction into an indicator of our most vital needs: to be validated, to be loved, to belong. CEM believes that we can morph FOMO into something more nourishing and generative that centers care and connection. We hope that this shift helps attendees navigate the pitfalls of online spaces in healthier ways.
Photo by Surabhi Saraf
Towards Pigeonology: Flocks as Emergent Turn in Narrative
Video Performance Lecture, Sound by Chris Corrente, 2022
"Towards Pigeonology" is a multimedia performance project developed by Kevin Sweet and Laura Hyunjhee Kim. Their performances, workshops and performance lectures serve as a speculative methodology that disorients and reconfigures popular representations of (non)human entities as a means to recognize their inseparable role as active participants and witness to anthropocentric narratives.
Iterations of this practice-based research project has been presented in exhibitions and academic conferences. Exhibitions include Flocks as Emergent Turn in Narrative at Udstillingsstedet M.I.S., Jutland Art Academy, Aarhus, Denmark (01.21-02.02.2022); Martha: A Pigeonological Study for an Endling at Matters of Lives, Meta Forte, Venice, Italy (09.03-09.28.2022), and Matter of Pigeons at Future Forging: Mythos of the Cybernaut, CU Denver Experience Gallery, Denver, Colorado, USA (09.17-10.31.2022). We have presented our work at "The Art and Science of Species Revival Symposum" at the Leverhulme Center for Anthropocene Biodiversity, The University of York, UK (12.14.2022) and will be presented in the panel Hybridity and Praxis: The Artist as Researcher in the 111th College Art Association annual conference, New York, USA (02.16.2023). More information is available at kimandsweet.com
EXHIBITION + PERFORMANCE + RESIDENCIES :
“Flocks as Emergent Turn in Narrative: A Case Study in Practice-Based Research,” College Arts Association, New York, USA, 2023
“Towards Pigeonology" Matters of Lives: Notes and Records on the Pluriverse, publication by Association Kokoschka Revival, Milan, Italy, 2023
The Art and Science of Species Revival, Leverhulme Centre for Anthropocene Biodiversity, The University of York, UK, 2022
Matter of Pigeons, CU Experience Gallery, University of Colorado Denver, Denver, USA, 2022
Matters of Lives, Venice Art Projects, Venice, Italy, 2022
Flocks as Emergent Turn in Narrative, Jutland Art Academy, Århus, Denmark, 2021-2022
“Flocks as Emergent Turn in Narrative: A Case Study in Practice-Based Research,” College Arts Association, New York, USA, 2023
“Towards Pigeonology" Matters of Lives: Notes and Records on the Pluriverse, publication by Association Kokoschka Revival, Milan, Italy, 2023
The Art and Science of Species Revival, Leverhulme Centre for Anthropocene Biodiversity, The University of York, UK, 2022
Matter of Pigeons, CU Experience Gallery, University of Colorado Denver, Denver, USA, 2022
Matters of Lives, Venice Art Projects, Venice, Italy, 2022
Flocks as Emergent Turn in Narrative, Jutland Art Academy, Århus, Denmark, 2021-2022
Beyond All Polarities, We Are _____
Participatory Performance Installation with Centre for Emotional Materiality (CEM)'s Surabhi Saraf and artist Ashwini Bhat
San Francisco Museum of Modern Art, Gina and Stuart Peterson White Box,
4–7 p.m., Thursday, July 7, 2022
sfmoma.org/event/beyond-all-polarities-we-are-_____/
San Francisco Museum of Modern Art, Gina and Stuart Peterson White Box,
4–7 p.m., Thursday, July 7, 2022
sfmoma.org/event/beyond-all-polarities-we-are-_____/
Surabhi Saraf and Laura Hyunjhee Kim of the Centre for Emotional Materiality (CEM) invite you to a multisensorial experience, Beyond All Polarities, We Are _____.
“Feeling-through-sensing into your body, we invite you to slow down. Make your emotions tangible into a blobby sense of interbeing. In this feelosophical journey, we will melt into a vibrant portrait of togetherness. We explore our collective identities as peoples living in uncertain times. We ask ‘who we are’ beyond what we (dis)like, beyond categories of on/offline affinities, and beyond our fears and anxieties.”
In collaboration with Bay Area artist Ashwini Bhat, Saraf and Kim invite you to a special immersive interactive performance installation spoken through presence, embodied through practice, and experienced through participation.
Centre for Emotional Materiality (CEM) is a collective of multidisciplinary artists and researchers who examine the algorithmic conditioning of emotions and its effects on our bodies and beliefs. We devise strategies in the form of workshops, study circles, toolkits, rituals for holistic thinking, feeling, and acting in the digital era. CEM embraces the Blob and its fluid potential as an organizing principle. We morph, shift, and adopt as needed. CEM is organized by Surabhi Saraf, Laura Hyunjhee Kim, Caroline Sinders, Marcus Fleming, and Mariah Hill.
(Time-lapse Documentation)
(Front and Back of Postcard, Handout)
Blue Jelly
Assistant Director, Projections Designer, and Performer (Vurt)
Original performance written and directed by Thomas Riccio.
8:00 p.m. Thursday, Feb. 17–Saturday, Feb. 26, 2022,
University Theatre, The University of Texas at Dallas.
Original performance written and directed by Thomas Riccio.
8:00 p.m. Thursday, Feb. 17–Saturday, Feb. 26, 2022,
University Theatre, The University of Texas at Dallas.
Photo by Charissa Menken
"Welcome to Blue Jelly. Like reality, the performance is an ongoing experiment searching for understanding and stability. The events of
our last few years have been monumental, mythic and planetary in dimension, intensive, challenging, accelerating and often overwhelming in new and unexpected ways. We are participant observers, capable and self-aware, engaged yet haplessly stumbling, adjusting and adapting to so many unprecedented twists and turns of potentially catastrophic events. Our world is upending, provoking questioning and reevaluation.
Another way of being is in the process of emergence. How do we respond?
We are foggy and ADHD frantic, resorting to a cacophony of tired tropes, savoring distractions, sensual pleasures, mindless entertainments of war, gore and violence, fantasy projections of aliens, religious salvations, authoritarian delusions, and the momentary comforts of social media. Fragmented,
jagged and incomplete narratives are the way of the world, recombing and remixing disconnected remains searching for a response. Our thinking reflects the world, hyper-aware, pattern recognizing processor of a jumble. The narrative of Blue Jelly is as disjointed as Instagram, Tik-Tok and Twitter, offering sound bite revelations of puzzled, desperate expressions of our metaphysical moment that we must put together.
Blue Jelly is an organic entity. A symbolic planetary mind-body feeling and form of the collective us. Humans are no longer the center of the world but only one among others, including flora, fauna, environment, climate, ancestors and spirits is what the Blue Jelly offers. The Blue Jelly, inspired by the jellyfish—one of the first living organisms on earth—is the forgotten, communal us that has floated, impassive and constant on the waves of time and space. It has absorbed and holds all planetary events that have been and ever will be. Now the Blue Jelly, like our world, is full, overstuffed and collapsing under its own weight. Is this a massive déjà vu? Are we at the end of one history and the beginning of another? Are we at some willfully suicidal end or amidst a process? Do we ignore and resist or transcend into another way of being?" — Thomas Riccio, Writer / Director’s Note, 2022
our last few years have been monumental, mythic and planetary in dimension, intensive, challenging, accelerating and often overwhelming in new and unexpected ways. We are participant observers, capable and self-aware, engaged yet haplessly stumbling, adjusting and adapting to so many unprecedented twists and turns of potentially catastrophic events. Our world is upending, provoking questioning and reevaluation.
Another way of being is in the process of emergence. How do we respond?
We are foggy and ADHD frantic, resorting to a cacophony of tired tropes, savoring distractions, sensual pleasures, mindless entertainments of war, gore and violence, fantasy projections of aliens, religious salvations, authoritarian delusions, and the momentary comforts of social media. Fragmented,
jagged and incomplete narratives are the way of the world, recombing and remixing disconnected remains searching for a response. Our thinking reflects the world, hyper-aware, pattern recognizing processor of a jumble. The narrative of Blue Jelly is as disjointed as Instagram, Tik-Tok and Twitter, offering sound bite revelations of puzzled, desperate expressions of our metaphysical moment that we must put together.
Blue Jelly is an organic entity. A symbolic planetary mind-body feeling and form of the collective us. Humans are no longer the center of the world but only one among others, including flora, fauna, environment, climate, ancestors and spirits is what the Blue Jelly offers. The Blue Jelly, inspired by the jellyfish—one of the first living organisms on earth—is the forgotten, communal us that has floated, impassive and constant on the waves of time and space. It has absorbed and holds all planetary events that have been and ever will be. Now the Blue Jelly, like our world, is full, overstuffed and collapsing under its own weight. Is this a massive déjà vu? Are we at the end of one history and the beginning of another? Are we at some willfully suicidal end or amidst a process? Do we ignore and resist or transcend into another way of being?" — Thomas Riccio, Writer / Director’s Note, 2022
Embodied Emotional Resilience
Pioneer Works, NY
(This workshop was rescheduled from 3/23 to 5/18. This class will take place via Zoom)
6:30 PM 8:30 PM, Monday, May 18, 2020
(This workshop was rescheduled from 3/23 to 5/18. This class will take place via Zoom)
6:30 PM 8:30 PM, Monday, May 18, 2020
In a techno-capitalist economy that thrives on the quantification of nature and computation of our innermost lives, we ask: What are the gaps between how machines read our emotions and how emotions actually feel in our bodies?
In this workshop, we will collectively explore the emotional resilience of the body towards platforms that surveil, manipulate, and automate the human experience. To do so, we will delve into the emotional materiality of the body by using “the blob” metaphor as a lens and a tool to investigate and appreciate the complexities of human emotion. Feeling and sensing through a series of choreographed explorations and discussions, we will create and hold a space for blobby emotivity to emerge—an embodied experience where we embrace the inexplicable and the non-quantifiable, the slow and messy.
The workshop will be led by Surabhi Saraf and Laura Hyunjhee Kim and is part of Fruits of the Pluralist program series at PIONEER WORKS. Encouraging non-binary perception and embracing contradiction broadens communication to the world and to ourselves. Would it be possible for the real and the imaginary, start and finish, the articulate and the inarticulable, to not be oppositional? Fruits of the Pluralist is a program series that explores technological systems and practices that recognize many different kinds of identities, structures, and forms of communication. The series will showcase workshops and activations centered in spatiality and non-binary complexity.
For more information, readings, and related materials, please visit https://www.are.na/fruits-of-the-pluralist.
Sharing Turtle
Project-based multimodal collaborations with libi rose striegl, 2018 - Current
Projects by sharing turtle, 2018 - ongoing
sharing turtle is the brainchild of art-trepreneurs Laura Kim and libi rose. With a thoughtful yet irreverent attitude towards the modern cyborgian state, Laura and libi interrogate the fragile balances maintaining symbiotic human-tech relationships and investigate human and computational behavior. Incorporating critique and interpretations of contemporary thinkers, modern scientific and technological advancements, and engaging with the vast potential of the post-digital art world, their collaborative work embraces (departs from?! And defies?) both the cynical and the hopeful.
Disrupting and reimagining technology-driven modern lifestyles through subversive satirical humor and multifaceted means of creative expression, the collaborative duo’s culminating projects challenge conversations around the Next Big Thing and intends to add a humanistic touch and dosage of sincere awareness to the hype fused technocultural landscape.
www.sharing turtle.com
we solve technological solutions
and make disrupting disruption easy
"no home," Electrofringe and Electrocities, Sydney, Australia, 2019
A Prairie Dog Companion, Boulder Public Library, Boulder, CO, 2018
EXHIBITION + RESIDENCIES :
Electrofringe, Sydney, Australia, 2019
ElectroCities, Online Digital Residency, 2019
sharing turtle, Welcome to My Homepage, Digital Artist Residency, 2018
PODS by sharing turtle, Museum of Human Achievement, Austin, TX, 2018
A Prairie Dog Companion, Canyon Gallery, Boulder Public Library, Boulder, CO, 2018 - 2019
Promontory Project: A Case Study I 2018
Partial NEST grant awardee for project in collaboration with human-computer interaction researcher Jen Liu
Promontory Project: A Case Study on the Annihilation of Time and Space is a joint collaboration between multimedia artist Laura Hyunjhee Kim and human-computer interaction researcher Jen Liu that re-examines the visual, cultural, and social history of the technological wild west. Golden Spike National Historic Site, located in Promontory Summit, marks the point where the Transcontinental railroad was completed in 1869. Bridging the American East and West Coast across mountains, prairies, deserts and forest, this railroad marks an “annihilation of space and time,” a popular catchphrase from the 19th century used to describe how new communication and transportation technologies, such as the railway and telegraph, can rapidly influence a society.
Promontory Project: A Case Study on the Annihilation of Time and Space is a joint collaboration between multimedia artist Laura Hyunjhee Kim and human-computer interaction researcher Jen Liu that re-examines the visual, cultural, and social history of the technological wild west. Golden Spike National Historic Site, located in Promontory Summit, marks the point where the Transcontinental railroad was completed in 1869. Bridging the American East and West Coast across mountains, prairies, deserts and forest, this railroad marks an “annihilation of space and time,” a popular catchphrase from the 19th century used to describe how new communication and transportation technologies, such as the railway and telegraph, can rapidly influence a society.
Essay and artifacts on view at NEST Studio for the Arts, Boulder, CO, 2018
Meta-Force 4
Collaboration with Peter Max Lawrence
Video(Single-Channel), 4min 47secs, 2015
Meta-Force is the resulting documentation of a spontaneous and impulsive video/performance collaboration between the artists Peter Max Lawrence & Laura Hyunjhee Kim. It is infused with several of the duo's shared inspirations from pop-culture, high/low art and academic decompression. The want and need to create a Saturday morning cartoon with cocktails resulted in this project which is currently being expanded in to other episodes that will later be consolidated for a feature length video.
Video(Single-Channel), 4min 47secs, 2015
Meta-Force is the resulting documentation of a spontaneous and impulsive video/performance collaboration between the artists Peter Max Lawrence & Laura Hyunjhee Kim. It is infused with several of the duo's shared inspirations from pop-culture, high/low art and academic decompression. The want and need to create a Saturday morning cartoon with cocktails resulted in this project which is currently being expanded in to other episodes that will later be consolidated for a feature length video.
Facial Media Network
Live interactive performance with spectators accompanied by video projection and sound
In collaboration with Chris Corrente,
The Sub, San Francisco CA, 2014
Documentation by Alex Ember and Daniel Morgan
In collaboration with Chris Corrente,
The Sub, San Francisco CA, 2014
Documentation by Alex Ember and Daniel Morgan
Art World
Video (single-channel), 2min 32sec, 2011
In Collaboration with Chris Corrente
In the vein DIY retro-MTV-kitsch music videos, the piece collapses what is perceived as hi-brow and lo-brow culture. With the synergy of lo-fi pop and colorful visuals, the work borrows tropes from 80s campy video production aesthetics and pays an irreverent homage the Art world.
In Collaboration with Chris Corrente
In the vein DIY retro-MTV-kitsch music videos, the piece collapses what is perceived as hi-brow and lo-brow culture. With the synergy of lo-fi pop and colorful visuals, the work borrows tropes from 80s campy video production aesthetics and pays an irreverent homage the Art world.
Points of Concussion
Live performance with video projection and sound,
In collaboration with Murat Adash,
Steven Wolf Fine Arts, San Francisco CA, 2012
In collaboration with Murat Adash,
Steven Wolf Fine Arts, San Francisco CA, 2012
Limbo Something
A collaborative project with Cristina Victor, Laura Onsale, Miami, Tabernacu and Kushingo
http://vimeo.com/limbosomething
http://vimeo.com/limbosomething
Limbo Something 1
Video (Single-Channel), 3min 53sec, 2011
Limbo Something 2
Video (Single-Channel), 5min 49sec, 2011
Gu-moon-go (거문고)
Live performance with video projection and shredder,
In collaboration with Joshua Selman and Colin Van Winkle,
Seoul, Korea, 2010
In collaboration with Joshua Selman and Colin Van Winkle,
Seoul, Korea, 2010
Back 2 Basics
Live performance with video projection and sound,
A collaboration with Reo Fordecor,
Madison WI, 2010
A collaboration with Reo Fordecor,
Madison WI, 2010
I am open to collaborations!
DM me, maybe?
DM me, maybe?
