Staged in the historic Aula of the Academy of Fine Arts Vienna, Fans, Fans disperses acrylic mirrors, porcelain plates and coffee cups, a white-noise machine, a smoke detector, and three wooden sculptures across a monumental floor. Reflection turns the institution back onto itself while domestic fragments meet ceremonial architecture. Comfort and surveillance operate on the same surface, producing an atmosphere in which human presence is held, watched, and quietly managed.

Taking the EA FIFA video game series as a point of departure, freekick, non-freekick examines how football culture converts the body into a readable and tradable unit. Player ratings, interface graphics, scores, and repeated gestures organize the installation as an economy of comparison and metric control. Bodies and technical systems do not simply reflect one another; they actively produce one another through display and spectatorship.

near the well is a seven-minute video essay projected onto a folding screen and doubled by an acrylic mirror, accompanied by continuous white noise. Taking the intensified body-shaming of Kim Jong Un as one of its entry points, the work traces how a figure named evil through his violence is then stabilized as a consumable image, as political condemnation slides into caricature, ridicule, and visual simplification.

The body becomes one of the media’s most efficient surfaces, onto which fear, disgust, hatred, and moral certainty can be projected at once. Shape-shaming appears not as an isolated insult but as one axis within a broader machinery of demonization. Projection, reflection, furniture, and sound form an apparatus in which the body appears only after being filtered through media and display.

In aftercrop, two IKEA furniture pieces are opened, tipped over, and stacked with a wooden sculpture, while uncooked rice settles in an open drawer. A loaf of bread rests on the head of a floor lamp. Staple food and flat-pack furniture meet as parts of the same domestic supply system.

happymeal projects a machinima environment onto PVC scaffolding net in a subterranean parking space in Mainz. Chickens, pigs, and cattle move through rendered barns, transport cages, and feeding lines while the net acts simultaneously as fence, filter, and screen. The surrounding concrete, artificial light, and ventilation extend the barn into the underside of the city, revealing care, capture, and consumption as parts of one continuous logistical surface.

Equinox was made for 17(Joy) Intermission: Joy as Resistance at Lombardi—Kargl, Vienna. A smartphone camera interface is projected across a gridded surface through which a performer, wrapped in plastic, is seen lying below, so that the body appears through the controls of the device that records it.

Emerging from an unreal terrain of staged murder scenes, a woman in a black motion-capture suit pushes a cart of videotapes into the forest. There, she encounters a green motion-capture room crowded with oversized white tracking balls.

At her grandmother’s funeral, Mijin reunites with her mother after a long separation. While sorting through her grandmother’s belongings, fragments of a past summer begin to return. The presence of the frogs she once caught starts to permeate the present landscape, and Mijin moves slowly between the dead and what remains.

A Korean family’s online worship is interrupted by an unknown error. From that rupture, ohayo drifts through blue skies, kebabs, and the hidden logic of a cactus positioned by the window. Domestic belief, interface failure, and more-than-human observation fold into one another as the home becomes shrine, screen, and malfunctioning system. The plant is not a decorative object but a witness that changes how the household can be perceived.

atopos project is an interdisciplinary theatre work at Art Space Mullae, Seoul, for which Gim directed the video. Taking atopos—Greek for “no place” or “impossible to categorize”—as its point of departure, and in dialogue with Judith Butler’s Gender Trouble and Julia Kristeva’s notion of poetic language, the production explores how performance produces meaning through instability, rhythm, and presence.