installation, Sindoan was named after the area south of Gyeryongsan that was once designated an early capital of the Joseon dynasty. The work presented several video monitors arranged throughout a gallery space (some stand against the walls, others are face-up on the floor). At the center is a brush that stands before an audio speaker, with a video camera recording their interaction. Over the course of work, the brush vibrates with the music emitted by the speaker—a recording of gayageum. The video camera records these movements, which are in turn displayed live upon the various monitors and look like a flickering candle flame. Sindoan bridges conceptions of the brush as a tool for communication and the candle as a medium between man and the divine in religious and ritual practices. (monograph, 68) It also demonstrates Kim Haemin's early interest in shamanism—particularly in how an artist is akin to the shaman by mediating the real and the imaginary—which he continued to explore across many later works. (Monograph 9, 26) Unreasonable Alibi (1999) Among Kim's first works to use projection instead of CRT video monitors, Unreasonable Alibi was a video installation of two screens with red and blue lightbulbs suspended between them. Over the course of the work, Kim Haemin appears wearing different costumes, from traditional robes of Confucian scholars and Buddhist monks to a modern-day suit and tie. Over the course of the work, these different versions of the artist appear to interact with each other across the screens and also respond to the lightbulbs that hang between them and turn on or off in concert with the figures' seeming interaction. Carrying forward Kim's the staging techniques for multiple channels of video and use of light bulbs that Kim explored throughout the 1990s, Unreasonable Alibi staged a conversation of cultural symbolism across its different costumes and its red and blue lights (which allude to the dualities such as yin and yang as well as Korean flags). It also illustrated Kim's deep and longstanding interest in the worldviews that have fundamentally shaped modern-day Korean society (passages, 1990). Created in the wake of the IMF crisis in South Korea and just before the turn of the millennium, Unreasonable Alibi is a self portrait of the artist that evokes the broader identity conflicts of its time. 50-second Rendering (2003) Kim Haemin composed 50-second Rendering by clipping television footage of North and South Korean families