Miru Kim is a New York-based artist who has explored various urban ruins such as abandoned subway stations, tunnels, sewers, catacombs, factories, hospitals, and shipyards.
For her new series that examines the relationship between pigs and humans, she has visited various industrial hog farms. She was featured as one of America’s Best and Brightest 2007 in Esquire magazine.
Miru was born in Stoneham, Massachusetts in 1981 and was raised in Seoul, Korea. She moved back to Massachusetts in 1995 to attend Phillips Academy in Andover, and moved to New York City in 1999 to attend Columbia University. In 2006, she received an MFA in painting from Pratt Institute. She is an avid cook and a rat lover.
Her work has been spotlighted in countless other international media such as The New York Times, The Financial Times, , NY Arts Magazine, La Stampa, Berlingske Tidende, VanityFair.de, Korea Herald, Vogue Girl and others.
Public collections of her work include Leeum, Samsung Museum of Art and Hana Bank. Her work has been shown in various galleries, museums, and art fairs (Gallery HYUNDAI in Seoul, Queens Museum of Art in New York, National Museum of Visual Art in Montevideo, Miami International, Lodz Biennale in Poland, etc).
She was also invited to present her work at the Entertainment Gathering in Monterey, CA (2008), and the World Culture Forum in Dresden, Germany (2009).
A 30-year old artist is now widely known for her provocative work. In her interview with AOL Weird News Miru Kim explained why she had chosen such kind of art.
“I have always been timid since childhood,” she said. “Most people may think I’m joking considering my work, but it’s true. [When I spoke at theÂ TED technology, entertainment and design conferenceÂ in 2008], I had to cross my leg and my arms both because they were shaking so much… I couldn’t even say my name during interviews a few years back.”
Kim admits that at first getting nude in front of people was challenging. “Now I’m used to it, but when I first tried to be nude in front of camera in 2004 I was very nervous,” she said.
“I remember, in order to get used to being nude for my project’s sake, I modeled for a nude portrait for a painter in Berlin, who was my studio mate at the time, and I got so nervous I couldn’t stand still.
“This was a mortifying and humiliating experience at the time. I had to force myself because I had decided on a project using myself naked in photographs. At first, it was for sheer practicality that I was doing it myself, but the performance aspect became increasingly important.”