This entry follows the Revised Korean Romanization. Kim Haemin (, born 1957 in Daejeon, South Korea) is a media artist currently living and working in Seoul, South Korea. One of the only Korean artists who has remained active in media art from the late 1980s to the present, Kim has consistently pursued video installations that bridge experience of virtuality and physical reality, often in ways that, as the art theorist Min Huijeong, stood outside contemporaneous conceptions of video as a purely imaginary or cognitive realm. After gaining early experience in scenography while working in theaters in his hometown of Daejeon, Kim experimented with media performance in the late 1980s. Thereafter, he turned his focus to video; from making works of video installation with CRT monitors in the 1990s, Kim later staged multi-channel video projections—and continues to do so today. Over three decades of video works, Kim's works have differently entered into conversation with history. Pioneering methods for dismantling the screen as the division between video and its audience, Kim gained initial recognition in Korea's art scene for TV Hammer (1992). As his practice matured, Kim has evoked the lived experience of Korean society across multiple moments, from the 1990s through the present. All the while, he has brought together video, lighting, and sound to set the stage for his examinations of social and historical concepts. Biography When he began his artistic career in Daejeon, Kim Haemin first worked at a local theater, where he gained experience in scenic and lighting design as part of what in South Korea is known as "stage art" (mudae misul). He became friends with the artists I Geonyong (who protested Informel painting's dominance in postwar Korean art) and Im Dongsik (who had spent a decade in Germany). In particular, Im Dongsik was a mentor to Kim and exposed him to environmental art via the group he led (called Ya Tu), as well as provided information on and anecdotes about media art in Germany. Kim began working with video following his exposure in the mid-1980s to works by and articles on the artist Nam June Paik. Kim's first experiments were a series of media performances, which he staged between 1987 and 1990 as part of art festivals in Daejeon, Seoul, and Japan. (monograph, 219) Combining live dance and music with video, Kim's early performances perturbed the boundaries between genres. Having realized that such performances required complex,