인공지능(AI) 융합 아티스트 김아영(Ayoung Kim)씨가 11월 6일부터 내년 3월 16일까지 퀸즈의 MoMA PS1에서 개인전 'Ayoung Kim'을 연다. 이번 전시는 김아영 작가의 대표작 '딜리버리 댄서' 3부작을 비롯, 비디오, 가상 현실, 사운드, 텍스트를 활용한 작품을 소개한다. 1979년 서울에서 태어난 김아영 작가는 국민대 시각디자인학과 졸업 후 런던 칼리지오브 커뮤니케이션(LCC) 사진학과를 거쳐 첼시칼리지오브 아트에서 순수미술로 석사학위를 받았다. 도쿄 모리미술관(2025), 멜버른 ACMI(2024), 홍콩 M+(2024), 뉴욕 현대 미술관(2024), 한국 국립현대미술관(2023), 파리 Palais de Tokyo(2016), 베를린국제영화제(2020)에서 작품을 선보였다. 2025 LG 구겐하임 어워드(LG Guggenheim Award)를 수상했다. 그의 작품은 프랑스 메츠의 프락 로렌, 카디스트 재단, 서울 리움미술관, 오사카국립미술관, 국립현대미술관, 런던 테이트갤러리 등에 소장되어 있다. 

Ayoung Kim 

November 6, 2025—March 16, 2026

MoMA PS1 (22-25 Jackson Avenue, Queens, NY)

Ayoung Kim. Delivery Dancer’s Arc: Inverse (still). 2024. Three-channel video, color, two-channel sound, lighting installation, random video playback and lighting synchronization control program, sundial sculptures, graphic sheets and circular screens (27 min). ACC Future Prize Commission. Courtesy the artist and ACC

MoMA PS1 PRESENTS FIRST US EXHIBITION OF ARTIST AYOUNG KIM OPENING NOVEMBER 6

This fall, MoMA PS1 will present a major exhibition of artist Ayoung Kim (Korean, b. 1979), featuring a suite of video installations throughout the museum’s expansive third-floor galleries. On view November 6, 2025 through March 16, 2026, the presentation marks the first time all three works from Kim’s celebrated Delivery Dancer trilogy are shown together, alongside the US debut of a major new project. Recognized as an artist on the vanguard of digital innovation, Kim uses generative AI, videogame engines, and live-action footage to create speculative narratives that collide geopolitics, synthesize mythologies, and interrogate technologies.

Seen together, her works examine the evolving relationships between data, human beings, and the environment to surface connections between biopolitics, queerness, and xenophobia.The exhibition marks the US premiere of Kim’s Delivery Dancer trilogy. Set in a fictitious Seoul, the first video in the series, Delivery Dancer’s Sphere (2022), follows female delivery drivers En Storm and Ernst Mo (whose names are anagrams of “monster”). Using generative AI and videogame engines to render an urban labyrinth, Kim sets her doppelgänger protagonists within endlessly regenerating routes, devised by an algorithm named Dancemaster. Featuring live-action footage from actors in real locations, the work—which Kim describes as a “pandemic fiction”—centers labor within the gig economy, which skyrocketed in both Korea and the US during recent years. In the cinematic sequel Delivery Dancer’s Arc: 0° Receiver (2024), Kim sets Ernst Mo and En Storm within a futurist multiverse, in which they are tasked with a new objective: delivering time. Transformed into agents who traverse calendar mechanics and astronomical technologies, Mo and Storm travel through disjointed realities within Kim’s narrative.

Blending CGI, live-action footage, and gaming engines, the three-channel video blurs space and time, self and other, in a fraught narrative of emotional entanglement. The most recent chapter in the series, Delivery Dancer’s Arc: Inverse (2024) takes place in the alternate universe Novaria, wherein Kim’s recurring protagonists must deliver lost artifacts. The monumental three-channel video installation draws attention to traditional temporalities and worldviews erased by Western modernism through the standardization of the Gregorian calendar. In the trilogy’s central deliverables—urban commodities, cultural antiquities, and time itself—Kim challenges capitalist pressures to meet increasing global demands through self-optimization.

Ayoung Kim is an artist based in Seoul who works with video, virtual reality, sound, and text. Her work has been presented at Hamburger Bahnhof, Berlin (2025, forthcoming); Mori Art Museum, Tokyo (2025, forthcoming); The Museum of Modern Art, New York (2024); M+, Hong Kong (2024); the Sharjah Biennial 15 (2023), Ars Electronica Festival, Linz (2023); HEK (House of Electronic Arts), Basel (2023); IFFR International Film Festival Rotterdam (2023); National Museum of Modern and Contemporary Art (MMCA), Seoul, Gwacheon and Cheongju (2024, 2023, 2022, 2019, 2018, 2017, 2016); Kuandu Biennial, Taipei (2022); Asian Art Biennial, Taichung (2021); Videobrasil, São Paulo (2021); Berlin International Film Festival (2020); Busan Biennale (2020); Gwangju Biennale (2018); Palais de Tokyo, Paris (2016); and the 56th Venice Biennale (2015), among others. Kim is a recipient of the ACC Future Prize, National Asian Culture Center, Korea (2024), Golden Nica Award, Prix Ars Electronica, Austria (2023), and the Terayama Shuji Prize, 37th Image Forum Festival, Japan (2023). Her works are included in the collections of Frac Lorraine, Metz, France; The National Museum of Art, Osaka; the Tate, UK; Sharjah Art Foundation, Sharjah; Kadist Foundation, San Francisco; MMCA, Korea; Seoul Museum of Art, Seoul; Leeum Museum of Art, Seoul; Busan Museum of Art, Busan; and the Joaquim Paiva Collection at Museum of Modern Art, Rio de Janeiro, among others.

https://www.momaps1.org