Ayoung Kim (b.1979, Seoul) lives and works in Seoul, South Korea.

Ayoung Kim synthesizes the outcome of far-reaching speculation, establishing connections between biopolitics and border control, the memory of stone and virtual memory, ancestral origins and imminent futures. These narratives take the forms of video, VR, sonic fiction, image, diagram and text, and are exposed as exhibitions, performances, theatrical projects and publications.

Kim idiosyncratically synthesizes geopolitics, mythology, technology, and futuristic iconography, and retroactively collects the speculative time to infiltrate the present. Her interest in synthesis, hybridization, and the coexistence of heterogeneous time led to an interest in all kinds of intersections, transfers, transpositions, and interchanges of time, space, structure, and syntax.

Kim has presented her works internationally in numerous biennials, festivals, and institutions, including Hamburger Bahnhof, Berlin (2025); Tate Modern, London (2025); Mori Art Museum, Tokyo (2025); National Asian Cultural Centre, Gwangju (2024-2025); Museum of Modern Art, New York (2024); Sharjah Biennial 15 (2023); Ars Electronica Festival, Linz (2023); and the 56th Venice Biennale (2015).

In September, 2025, M+ announces a new Facade commission, Dancer in the Mirror Field (2025), by Ayoung Kim. Set in a futuristic city, the animated film explores society’s obsession with optimisation and efficiency through a mysterious annual competition. Commissioned by M+ and Powerhouse, Sydney, Dancer in the Mirror Field will be shown on the M+ Facade every night from 3 October to 28 December 2025.

Ayoung Kim is a recipient of the LG Guggenheim Award, New York (2025); ACC Future Prize, Gwangju (2024); Golden Nica Award, Prix Ars Electronica, Linz (2023); and Terayama Shuji Prize, 37th Image Forum Festival, Tokyo (2023), among others.