Miru Kim. 104 Hours


I Like Pigs and Pigs Like Me (104 Hours) - PERFORMANCE STILL

Two pigs and I, each weighs about the same. We eat roots and grains, food of the soil. We drink together.  We sleep together. We act with our instincts, nose to nose. I cannot read.  I cannot talk. I cannot leave the zoo box. After one hundred and four hours, perhaps we will see what it’s like to be a pig, and what it’s like to be a human. Perhaps the difference is blurred, mingling through skin on skin, in the mud where all ends and begins. - Miru Kim

Miru Kim was born in Stoneham, Massachusetts in 1981 and was raised in Seoul, South Korea. She attended the Phillips Academy in Andover, Massachusetts. She received her BA in French and Romance Philology from Columbia University in 2003 and an MFA in Painting from the Pratt Institute in 2006. Solo exhibitions of Kim’s work have been held at the DOOSAN Gallery, Gestarc Gallery and The Cell Theatre in New York, the SODA Gallery in Istanbul and Gallery HYUNDAI Gangnam in Seoul. Group exhibitions including Kim have been held at the National Museum of Visual Art in Montevideo, the Coreana Museum of Art in Seoul, the Queens Museum of Art in New York and at SCOPE Basel/Miami (Waterhouse & Dodd Contemporary, London) and the 2010 Fokus Łódź Biennale in Łódź, Poland. Coverage of Kim’s work has appeared in the Financial Times Magazine, La Stampa, the Korea Herald, NY Arts Magazine, the New York Times Magazine and the New York Times. Kim was a subject at the 2008 EG Conference with Kim is held in the permanent collections of the Samsung Museum of Art in Seoul, the Embassy of the Republic of Korea in Montevideo, the Museum of the City of Łódź and the Fountainhead Residency in Miami.

Kim lives and works in New York. There’s no clean deREMOVEion of the works or artists, themselves. This is quite literal with Miru Kim’s performance piece of “I Like Pigs and Pigs Like Me”, as she comes into intimate, often dangerous, contact with a caged throng of live pigs. A self-professed hygiene freak, the performance becomes a catalyst and nightmare for the 30 year-old photographer, lauded and decried for photographs placing her naked body set against forgotten industrial and urban landscapes.