With addresses without names, Ju Young Kim continues her engagement with states of transition, mobility, and belonging, while turning more closely toward the intimate and bodily experience of temporary spaces. Airplanes, trains, waiting rooms, hotels, and temporary apartments situate the body for a limited time without becoming permanent points of reference.
Kim focuses on the peculiar familiarity of these interiors, which is largely shaped by their visual language. Seat fabrics or curtains can feel immediately familiar without being tied to a specific memory. She describes this condition as “anonymous familiarity”, the recognition of something whose origin can no longer be clearly located.
Alongside works from AEROPLASTICS, Kim develops a group of glass works for her first solo show at the Munich gallery, based on textile structures and patterns found in both public transportation and domestic settings. Familiar forms of upholstery and lace begin to blur the distinction between collective and private environments. A pattern may recall the interior of a train as much as a childhood blanket at home. By translating these soft surfaces into glass, Kim transforms them into something rigid and fragile while retaining a sense of touch and bodily proximity.
In addresses without names, transit shifts from a geographical condition toward an embodied one. Memory emerges through material impressions and sensations that remain after a place itself has disappeared. Kim approaches home less as a fixed address than as something repeatedly reconstructed from such fragments, a temporary sense of familiarity carried from one place into the next.
