exhibition

《Research on Digital Media Art (and Cultural Heritage)》

작성자:

https://arthub.co.kr/sub01/board05_view.htm?No=55762

https://archivist.kr/exi?i=1775008001

https://www.daljin.com/?WS=21&BC=gdv&GNO=D108284

《Research on Digital Media Art (and Cultural Heritage)》_Daha Kim

The exhibition *Research on Digital Media Art* explores the intersection of digital media art and analog media. The artist archives digital data outside the algorithmic platform by printing and installing it, while simultaneously deconstructing the dichotomy between digital and analog by juxtaposing it with hand-drawn watercolor sketches. Among the digital works on display, the virtual reality art piece *Clone App* presents the artist’s 3D-scanned, replicated bodies.

Today, virtual, augmented, and mixed reality technologies are frequently utilized in digital art and film. In virtual reality (VR) art, where viewers wear head-mounted displays, the viewer’s body possesses a unique duality: physically present in the real world, yet perceptually situated in a virtual space. Under these conditions, is the viewer’s corporeality lost or expanded? This question is central to understanding the medium-specific characteristics and strategies of virtual reality art. Existing discussions are divided into two camps: one focusing on the “ghosting” of the virtual body and the other emphasizing the expansion of “digital corporeality”; however, there is a lack of writing that synthesizes this dichotomy. This paper presents four elements to analyze the duality of bodily loss and expansion, and through this, argues that corporeality in virtual reality art varies depending on the direction. According to the phenomenological tradition, corporeality is a concept that emphasizes that the experience of the world originates through the body. The virtual reality art discussed in this paper is broadly divided into two types based on the viewer’s mode of physical engagement. First, cinematic experiential virtual reality is based on 360-degree video, minimizes the viewer’s physical interaction, and pursues narrative immersion. Second, participatory experiential virtual reality refers to interactive virtual reality or virtual reality performances in which the viewer’s movements and choices directly influence the composition of the work.

Discussions regarding the corporeality of digital art using virtual reality technology are divided into two opposing arguments. One argument posits that the medium’s distinctive significance arises from the fluid transformation and ghosting of the viewer’s corporeality within the virtual space, while the other argues that the expression of identity is possible by maintaining and extending the viewer’s subjective corporeality even within the virtual space. This contrast is significant because, while both positions emphasize the importance of the viewer’s body in the use of virtual reality as a medium, they hold opposing views regarding the nature of that body’s existence. The loss of corporeality signifies the absence of the physical body as the source of experience in virtual space, whereas expansion implies the maintenance and extension of the body’s perception- and action-centered functions as the source of experience. The concept of the loss of corporeality has been explored by scholars such as N. Katherine Hayles (her concept of “disembodiment”), Michael Heim (the dematerialization of the body), and Oliver Grau. According to Hayles, disembodiment refers to the reduction and dispersion of the body into information patterns. In this way, the body, as information, becomes dematerialized and is flexibly reconfigured to fit the virtual space. Heim views the body within virtual space as being transformed into information. In addition, various theorists have observed that the viewer’s body becomes more flexible or minimized in digital virtual space. This prompts reflection on the relationship between the human body and technology.

Virtual space can serve as a condition that either diminishes or weakens physicality, or one that expands it. However, it would be superficial to simply conclude that physicality exists solely in a state of loss or expansion by synthesizing these two perspectives. Therefore, it is necessary to divide the physicality of virtual reality art into physical visibility, agency, spatial mobility, and tactile feedback. These elements draw upon research on avatar embodiment and related topics. Each of these elements varies independently. Bodily visibility refers to how the viewer’s body is represented in the virtual space. It ranges from the body being completely invisible to partial representation or full bodily reproduction. Agency refers to the extent to which the viewer actively engages with the virtual environment. It spans from passive observation through limited manipulation to extensive interaction. Spatial mobility refers to the degree of freedom with which the viewer can move within the virtual space. It ranges from experiences confined to specific locations to partial movement and exploration over a wide area. Haptic feedback refers to the extent to which physical feedback of bodily sensations is provided. It ranges from no feedback to feedback involving vibrations, impacts, and other sensations. These elements can serve as an analytical framework for researchers to evaluate and contextualize virtual reality works. Virtual reality artists can strategically choose their approach to embodiment design based on the nature of the experience they wish to create.

This article has explained how, in virtual reality art, physicality is constructed in a multilayered manner through a strategic combination of four elements, transcending the dichotomy between the loss and expansion of the audience’s physicality. This implies that the creator’s choices in design and direction play a pivotal role. The future of virtual reality art depends on how creatively this fluidity is utilized. This exhibition offers a glimpse into that creative utilization.

Reference

Kim, Jin-ah. (2025). Voluntary Exile: The Experience of Becoming a Ghost. Korean Film Database.

https://www.kmdb.or.kr/story/896/8653

Park, Young-wook. (2014). Digital Art and Bodily Intervention: Focusing on a Critical Review of Mark Hansen’s Theory. Drama Research (DR), 44, 5–31.

Park Eun-kyung. (2019). A Study on the Transformation of “Corporeality” in Digital Art. Hongik University Graduate School.

Breathing with the Chaos, 2026, Data-driven Single Channel Video with Sound

작성자:

https://www.p61gallery.com/en/kunstausstellung/atmen-mit-dem-chaos

http://totalmuseum.org/exhibition/current-exhibition/%e3%80%8abreathing-with-the-chaos-berlin-edition%e3%80%8b-ai-art-x-ayako-rokkaku/

Kim Daha

Daha Kim, <Breathing with the Chaos>, 2026, Data-driven Single Channel Video with Sound,.approx. 18 min.

-Overview

《Breathing with the Chaos》 is a single-channel video generated using actual visitor counts recorded during the exhibition period (December 5, 2025–January 22, 2026), weather data, and color data extracted from images of the exhibited works. It consists of six video recordings organized into three categories: art game, data visualization, and 3D visualization. Each video interprets the same data in a different way.

This work originates from the artistic practice of Ayako Rokkaku, who paints by tapping the canvas directly with her hands. Instead of a brush, Rokkaku uses her hands to apply paint, directly expressing the energy emitted by the human body onto the canvas. The video *Breathing with the Chaos* is an attempt to translate that tactile sensation and the offline creative process into a digital environment. In this video, the artist’s actions—such as clicking, dragging, and adjusting the screen—correspond to the gestures of applying paint by hand, visualizing invisible energy through data and algorithms. The mouse cursor functions as an extension of the finger and a key visual element in this process.

The video *Breathing with the Chaos* begins with the premise that “energy” already exists in the form of data. Among the exhibition data—“statistics on visitors to the exhibition space, weather data, and colors and information extracted from images of all the works”—all of these are living data and traces of existence.

The elements of focus are breathing, chaos, and the tactile sensation of painting by hand mentioned earlier. In the video, the artist does not interpret this data as statistics but treats it as a material that fights, draws, and moves. The mouse cursor becomes a finger, the algorithm becomes paint, and the screen becomes a canvas. The chaos within the video is like breathing—a living structure that breathes as the physical actions of the artist, the weather over dozens of days, and the various visitors intermingle.

The artist chose a format that involves creating six web-based works using data and recording the process of manipulating them. The reason for this was to demonstrate how the screen is completed through the confrontation between the data—that is, the environment and energy of the exhibition space—and the artist. The composition of the six videos reveals the diversity of the exhibition in a different way.

-Video Composition

Part 1 — Art Game

This video takes the form of a deck-building roguelike game. The number of visitors is treated as enemies, weather data as the main character’s stats, and colors extracted from the artwork are translated into layers of paint accumulating in the background and visual chaos. The artist personally selected a single day during the exhibition period (January 14, 2026) to play the game, with the goal of starting on the B1 level of the exhibition hall and working their way up through the floors. The video is a record of that gameplay itself.

Climate data is mapped to the Five Elements—Wood, Fire, Earth, Metal, and Water—to form the main character’s stats and skill deck. Enemies appear in numbers corresponding to that day’s visitor count, and the eight primary colors extracted from Ayako Rokkaku’s works accumulate on the screen like layers of paint as battles continue. The artist traverses the space while directly confronting the energy generated by the data. This video is not merely a record of gameplay, but a record of the artist’s actions as she faces this invisible energy head-on.

Part 2 — Data Visualization (DATA VISUALIZATION)

Climate data and visitor counts are translated into flow and density on a p5.js-based sketch. The act of moving the mouse cursor and adjusting the screen, much like in the art game mentioned earlier, is a digital translation of Ayako Rokkaku’s hand movements as she spreads paint. The cursor’s path intersects the flow of data.

Here, “Chaos” is not mere disorder. It refers to the organic and complex structures (fractal patterns, clusters of particles, overlapping waves, etc.) generated through the interaction of data and repetitive human actions. The artwork’s color palette is overlaid onto fractals—which symbolize the repetition of order within chaos—and the density and speed of the particles vary according to visitor numbers. The visualized chaos is a retrospective form of the energy that filled the exhibition space.

Part 3 — 3D Visualization

Through mouse manipulation, sculptures that would be heavy in reality are controlled with a single finger. The 3D space unfolds the temporal axis of the data in a three-dimensional manner. It compresses the duration of the exhibition into a single space, creating a sensation as if the viewer were floating within the data.

Daha Kim Solo Exhibition; Research on Digital Media Art and Cultural Heritage

작성자:

Exhibition Title: Daha Kim Solo Exhibition, <Research on Digital Media Art and Cultural Heritage> (The Deconstruction of Boundaries and Fluidity)

Exhibition Dates: March 30, 2026 (Mon) – April 11, 2026 (Sat)

Hours: Weekdays 9:00 AM – 9:00 PM / Saturdays 9:00 AM – 6:00 PM (※ Closed on Sundays and public holidays)

Venue: Commonz Field Daejeon (1st Floor, 85 Jungang-ro, Jung-gu, Daejeon; next to the former Chungnam Provincial Government Building)

The exhibition ‘Research on Digital Media Art and Cultural Heritage’ explores the intersection of digital media art and analog. The artist archives digital data outside algorithmic platforms by printing and installing it, while simultaneously juxtaposing it with hand-drawn watercolor sketches to deconstruct the dichotomy between the digital and the analog. Among the digital works on display, the virtual reality art piece ‘Clone App’ features the artist’s 3D-scanned, cloned bodies.

김다하 개인전 │ Research on Digital Media Art

전시명: 김다하 개인전 《Research on Digital Media Art and Cultural Heritage》 (부제: 경계의 해체와 유동성)

전시 기간: 2026. 03. 30. (월) ~ 2026. 04. 11. (토)

관람 시간: 평일 09:00 – 21:00 / 토요일 09:00 – 18:00 (※ 일요일 및 공휴일 휴관)

장소: 커먼즈필드 대전 (대전광역시 중구 중앙로 85 1층, 옛 충남도청사 옆)

이번 전시 《Research on Digital Media Art and Cultural Heritage》는 디지털 미디어 아트와 아날로그가 교차하는 지점을 탐구한다. 작가는 디지털 데이터를 출력·설치하는 방식으로 알고리즘 플랫폼 바깥에 아카이빙하며, 동시에 손으로 그린 수채 드로잉 등을 병치함으로써 디지털과 아날로그 사이의 이분법을 해체한다. 전시된 디지털 작업물 중 가상현실 아트 Clone App은 작가의 3D 스캔된, 복제된 신체들을 전시한다.

오늘날 가상, 증강, 혼합현실 기술을 디지털 예술, 영화에서 활용하는 경우가 많다. Head Mounted Display를 착용하는 가상현실 Virtual Reality 예술에서 관람객의 신체는 물리적으로는 현실 공간에, 지각적으로는 가상공간에 존재하는 독특한 이중성을 갖는다. 이러한 조건에서 관람객의 신체성은 상실되는가, 확장되는가? 이 질문은 가상현실 예술의 매체 특성과 전략을 이해하는 핵심이다. 기존 논의는 가상현실 신체의 ‘유령화’에 집중하는 입장과 ‘디지털 신체성’의 확장을 강조하는 입장으로 양분되어 있으나, 이 대립을 종합한 글은 부족하다. 이 글은 신체 상실과 확장이라는 양면성을 분석하기 위해 4가지 요소를 제시하고, 이를 통해 가상현실 예술의 신체성이 연출에 따라 달라짐을 주장한다. 신체성(corporeality)은 현상학적 전통에 따르면 세계 경험의 근원이 신체를 통해 이루어진다는 점을 강조하는 개념이다. 이 글에서 다루는 가상현실 예술은 관람객의 신체적 개입 방식에 따라 크게 두 유형으로 나뉜다. 첫째, 시네마틱 체험형 가상현실은 360도 영상을 기반으로 하며, 관람객의 물리적 인터랙션이 최소화되고 서사적 몰입을 추구한다. 둘째, 참여적 체험형 가상현실은 관람객의 움직임과 선택이 작품 구성에 직접 영향을 미치는 인터랙티브 가상현실 또는 가상현실 퍼포먼스이다. 

가상현실 기술을 매체로 삼은 디지털 예술의 신체성에 관한 논의는 두 상반된 주장으로 나뉜다. 가상공간에서 관람객의 신체성이 유동적으로 변형되고 유령화되는 것에서 매체 특징적인 의미가 발생한다고 하는 주장과 관람객의 주체적 신체성을 가상공간에서도 유지, 확장함으로써 정체성의 표현이 가능하다는 주장이 대립된다. 이 대립이 중요한 이유는 가상현실이라는 매체 활용에서 관람객 신체를 두 입장이 다 중요시하면서도 그 존재 특성에 대해서는 상반된 입장을 보이기 때문이다. 신체성 상실은 가상 공간에서 경험 근원으로서의 물리적 육체 부재를, 확장은 경험 근원으로서의 신체의 지각/행위 중심 기능 유지 및 확장을 의미한다. 신체성 상실의 경우 캐서린 헤일즈 N. Katherine Hayles의 탈신체성 개념, 마이클 하임 Michael Heim의 신체의 탈물질화, 올리버 그라우 Oliver Grau 등 학자들에 의해 탐구되어 왔다. 헤일즈에 따르면 탈신체성이란 신체가 정보 패턴으로 환원, 분산되는 것이다. 이렇게 정보로서 신체는 비물질화되어서 가상 공간에 맞춰 유연하게 재구성된다. 하임에 따르면 가상공간 속 신체는 정보로서 변형된다고 본다. 그 외에도 여러 이론가들이 디지털 가상 공간에서 관람자의 신체가 유연화되거나 최소화된다고 보았다. 이는 인간 신체-기술 관계를 성찰하게 한다.

가상공간은 신체성을 상실, 약화시키는 조건이 될 수도 있고, 신체성을 확장하는 조건이 될 수도 있다. 다만 두 입장을 종합하여 신체성은 상실과 확장 사이라고만 결론짓는 것은 피상적이다. 따라서 가상현실 예술의 신체성을 신체 가시성, 행위 주체성, 공간 이동성, 촉각 피드백으로 나눌 필요가 있다. 이 요소들은 아바타 몸 소유감 embodiment 연구 등을 참조했다. 각각의 요소들은 독립적으로 변화한다. 신체 가시성은 관람객의 신체가 가상공간에서 어떻게 표현되는가이다. 관람객의 몸이 전혀 보이지 않는 것부터 일부만 표현하거나 완전한 신체 재현까지를 어우른다. 행위 주체성은 관람객이 가상 환경에 얼마나 능동적으로 개입하는가이다. 수동적으로 관조하는 것에서부터 제한적 조작을 지나 광범위한 상호작용까지를 어우른다. 공간 이동성은 관람객이 가상공간 내에서 얼마나 자유롭게 이동하는가이다. 특정 위치에서만 체험하는 것에서부터 부분 이동, 넓은 범위 탐색 이동을 어우른다. 촉각 피드백은 신체 감각의 물리적 피드백이 얼마나 제공되는가이다. 피드백이 없는 것에서부터 진동, 충격 등이 피드백되는 것까지를 어우른다. 이 요소들은 연구자에게 가상현실 작품을 평가하고 맥락화하는 분석틀이 될 수 있다. 가상현실 예술 창작자는 자신이 구현하고자 하는 체험의 성격에 따라 신체성 설계를 전략적으로 선택할 수 있다. 

이 글은 가상현실 예술에서 관객의 신체성에 대한 상실 대 확장의 대립을 넘어 신체성이 4가지 요소의 전략적 조합을 통해 다층적으로 구성됨을 설명했다. 이는 창작자의 연출 설계 선택이 핵심적 역할을 한다는 것을 의미한다. 가상현실 예술의 미래는 이 유동성을 얼마나 창조적으로 활용하느냐에 달려 있다. 이 전시는 그 창조적 활용의 한 단면이다.

Reference

김진아. (2025). 자발적 유배:유령되기의 체험. 한국영화 데이터베이스.

https://www.kmdb.or.kr/story/896/8653

박영욱. (2014). 디지털 예술과 몸의 개입-마크 핸슨의 이론에 대한 비판적 검토를 중심으로.드라마 연구 (DR), 44, 5-31.

박은경. (2019). 디지털 예술에서의 ”신체성 (corporeality)” 변화에 대한 연구. 홍익대학교 대학원.

Daha Kim, Parking in a restricted area

작성자:

김다하, 금지된 구역에 주차하기, 2022, 디지털 프린트, 43x31x3cm.

DahaKim, Parking in a restricted area, 2022, Digital Print, 43x31x3cm.

2025.09. 공간 노토 Space NOTO 전시 전경 Installation View

Space located in Seonhwa-dong, Jung-gu, Daejeon, South Korea ‘NOTO’ is a cultural space that unravels the coexistence of empty and filled with design. Located at 32-1, Daejong-ro 521beon-gil, Seonhwa-dong, it is a place where various activities that combine art and design are held, such as pop-up bookstores, project exhibitions (for example, we will hang anything for you), and cultural events.

전시 포스터 Exhibition Poster

전시 확인서 Exhibition Confirmation

전시 도록 Exhibition Catalogue

25.김다하 Daha Kim

Daha Kim, The face of the Buddha

작성자:

김다하, 부처의 얼굴, 2024, 소조(찰흙, 아크릴), 16x25x9cm.

Daha Kim, The face of the Buddha, 2024, Modeling(clay, acrylic), 16x25x9cm.

This work aims to understand how Intangible Cultural Heritage (ICH) is educated as a topic of learning, inspiration, and enjoyment at a local site of cultural reproduction and how ICH transmission education is shaped by the stakeholder-shareholder relationship, including 1) the local citizens, 2) a holder of the ICH element, certified trainers, successors as teachers, and 3) administrators. The artist as a local citizen, I learned ‘Buddha sculpture making skill’ from a holder of ‘the Buddha sculpture making ICH element.’ This work is the result of it. As previous studies have focused less on the transmission education place of older listings on the list, it is necessary to study the topic at the most ground level. Adopting the qualitative ethnographic method, participant observation and interviews would be utilized, to present a detailed analysis. Findings would be helpful not only to the local element, but for other types of sound heritage that transcend the place that it played.
The inventory of ‘Intangible Cultural Heritage’ (hereafter ICH) is an important vehicle in promoting cultural diversity and is significant for livelihood, communal geographical identities, and cultural rights. The elements in the inventory of ICH are inscribed on the standard setting system of the ‘United Nations Educational, Scientific, and Cultural Organization’ (hereafter UNESCO). The government of the Republic of Korea ratified ‘the 2003 Convention for the Safeguarding of the Intangible Cultural Heritage’ (hereafter the Convention) of UNESCO. The benefits ‘cultural diversity’ and ‘variability’ are promoted particularly through a ‘Representative List of the Intangible Cultural Heritage of Humanity’ (hereafter RL) among the three types of lists provided in the Convention. As the elements in RL are well-safeguarded, its time-tested usefulness is certified. The focus of this study is variability and contextualization by roles through the tertiary transmission of education participation.

2025.09. 공간 노토 Space NOTO 전시 전경 Installation View

전시 확인서 Exhibition Confirmation

전시 포스터 Exhibition Poster

전시 도록 Exhibition Catalogue

25. 김다하 Daha Kim