Sanghyun Kim (b. 1998, Seoul, Korea) is currently living and working in Japan. He mainly works on kinetic art installations, utilizing various technology-based media such as metal materials, programming, and electronic circuits in his work. He received his BA and BS degrees in Digital Art from Yonsei University, Wonju Campus in Korea. He is currently pursuing his MFA in Global Art Practice at Tokyo University of the Arts.
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Sanghyun Kim is an artist and engineer whose practice crosses the boundaries between art and engineering, exploring the relationships among humans, machines, and entities of both life and non-life. His work begins with a pure technical curiosity about machines and reconstructs the relationships and boundaries of human-machine beings within the dimension of immaterial perception in an era of unprecedented technological advancement. He departs from the perspective that regards machines merely as tools or inanimate objects, instead considering even other presences—such as stones, branches, or atmospheric phenomena—as “targets (objects)” for inter-action. For him, what matters is not whether something conforms to the traditional definition of “life,” but how significance emerges through the process of interaction and mutual experience. Encounters in his work expand into a network of interactions that blur the boundaries between life and non-life, the human and the non-human. Meaning is not fixed within an individual entity but is continually generated through sensation, engagement, and interpretation. He contemplates the conditions of existence and meaning, as well as the ways in which different beings form relationships, seeking to explore how all entities can generate meaning on equal terms with humans. Based on this perspective, his work reveals the flow of relationships through technological mediation, offering a contemplative space that questions the origins of perception, agency, and significance.
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Sanghyun Kim is an artist and engineer whose practice crosses the boundaries between art and engineering, exploring the relationships among humans, machines, and entities of both life and non-life. His work begins with a pure technical curiosity about machines and reconstructs the relationships and boundaries of human-machine beings within the dimension of immaterial perception in an era of unprecedented technological advancement. He departs from the perspective that regards machines merely as tools or inanimate objects, instead considering even other presences—such as stones, branches, or atmospheric phenomena—as “targets (objects)” for inter-action. For him, what matters is not whether something conforms to the traditional definition of “life,” but how significance emerges through the process of interaction and mutual experience. Encounters in his work expand into a network of interactions that blur the boundaries between life and non-life, the human and the non-human. Meaning is not fixed within an individual entity but is continually generated through sensation, engagement, and interpretation. He contemplates the conditions of existence and meaning, as well as the ways in which different beings form relationships, seeking to explore how all entities can generate meaning on equal terms with humans. Based on this perspective, his work reveals the flow of relationships through technological mediation, offering a contemplative space that questions the origins of perception, agency, and significance.