“I gnaw on my cursed wings and crash down on an untouched land, where I take up the life of a hidden monster. Because you bent my eyes with your pliers, my gaze is inflected and emanating a blurred identity. The starting point here is an assembly of the body, the voice and everyday objects. These materials are often misused, disarticulated and curved, their clattering causes a truncated transmutation. It is an inaccurately monstrous solo that conjures up an aggregate of performative elements embodying rotting, crappy images, as an interruption in the middle of a process. This set of practices and speculations reveals the hypothetical potential of human physicality, which absurdly dodges normativity, as a distortion of legitimacy and as a joke about society’s unconscious biases. With the recurring theme of monsters, I intend to explore an ambiguity that subverts the prosaic, because these fantastic creatures represent the margins of society, my unconscious and my inner repression. FUNKENSTEIN propagates a confused perception and disseminates an affective ambivalence.” – Kim Kidows
grew up in a South Korean satellite town on the outskirts of Seoul. After having completed his graphic design studies in Korea, he moved to Paris and studied contemporary dance at the CNDC in Angers. He followed this up with research-based studies in the context of an Exerce Master’s degree at the National Choreographic Centre in Montpellier from 2018 to 2020.
His works create an intimate cosmogony in the form of a dictionary of fantastic creatures. The first chapter is his strange and monstrous solo FUNKENSTEIN (2021), and the second one will be called CUTTING MUSHROOMS (2022).