Truemmefrauen Series

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 history

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 possibility, potential.

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 unemployed.

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.  
Text by Baruch Gottlieb