Schwarz/Weiss Bilder mit Tinten, Bleistift, Aquarelle.
Truemmerfrauen in Germany after Second World War
Phalanxen von Koreanische Geisha laufen durch die Ruinen deutscher Städten. In diese Bilder schmelzen zusammen die Nachkriegsgeschichte Koreas und Deutschlands.
Die Zeichungen von Jinran Kim zeigen ein fantastisch verfremdetes Berlin:
Die Trümmerlandschaften von 1945 werden zur Kulisse für Geishas, die allein oder zu zweit ihrer Wege ziehen (Beispiel: Geishas am Hackeschen Markt).
Die Surrealität der deplazierten Geishas zeigt ein beinah unwirkliches Fremdsein in der Welt und spiegelt damit Erfahrungen Jinran Kims, die 1994 im Alter von 26 nach Berlin kam - in eine Stadt, deren Geschichtsträchtigkeit sie bis heute fasziniert.
Why Geisha appear in my drawing?
The original meaning of Geisha is the person who lives with art like an
artist. In my work showing the geisha in ruins means kind of message of our
invisible hope and artistic fantasy for next vision of future, I feel innocence
laughing of Geisha in ruins
When I touch the gunshot trace on the old buildings I feel forgotten
I walk around Berlin and I start drawing with my imagination like Take
picture make into ruins which I saw. Vandalism is one of our basic instinct
even we lost many important valuable historic things moral way it should not
happen and make stop it but when I drawing ruins series I feel strange ecstasy
it awake aggressive destroying vandalism of
human basic instinct
My generation since I born I just saw everyday built new building,
renovate, restorer, fresh painted wall everywhere I wanted express the contrast
“aesthetic of ruin” the place of ruin bring the invisible hope, all kind of
Text by Jinran Kim
Phalanxes, processions and congregations of traditionally dressed Korean
Kiseng (Geisha) appear mysteriouslz in the abandoned ruined streets of Berlin. Their presence is due to a spatial distortion. In the middle of last
century, Korea and Germany were both smoldering ruins.
These Kiseng, in their traditional garb, represent the first liberated women of
Korea. They were expected to be
literate, well read and expert musicians and performers. They accessed the highest strata of Korean
society and were intimates of the powerful and distinguished.
In these images we can see Europe in ruins. Whereas Europe rebuilt itself in a utopian
socially-progressive manner, using the ravages of war to strip away much
of the cumbersome and troubling
qualities of local culture in favour of a neo-enlightenment international rationalism, Europe sought to
realize the highest ideals of humanism.
In Korea, traditions were also shed, but here, utterly, and a future was
propogated based on Western values. The Kiseng would soon be
In a way the end of the Korean war in Korea and the end of WWII in
Europe was the consummate rejection of tradition in favour of enlightenement values. The women recede into the distance, they are
free but they are also not needed anymore, there are big changes ahead.