collective effort, Kim began working more independently as he turned to video installation in the early 1990s. In 1992, Kim participated in a short-term artist residency in Germany, where he presented installations of video and materials in outdoor settings. After returning to South Korean and gaining wide recognition for his work TV Hammer (1992), Kim Haemin participated in several video and media related exhibitions in Germany and Japan, as well as in South Korea, including the 1993 Daejeon EXPO, the second Gwangju Biennale, and at the National Museum of Modern and Contemporary Art, Korea. In the year 2000, Kim participated in the first Seoul Mediacity Biennial and moved to Seoul, where he is currently based. In the past two decades, his works have been presented in the context of seven solo exhibitions as well as group exhibitions of media art globally, and been included in several exhibitions of the National Museum of Modern and Contemporary Art's video art collection. Notable artworks TV Hammer (1992/2002) TV Hammer is the video installation for which Kim Haemin not only first gained wider recognition as a media artist, but has also been described by the curator and art theorist I Yunhui as "one of the most outstanding works in the history of media art in Korea" It is composed of a video installation of a CRT monitor on a pedestal with a light hanging above it. The work begins with the monitor showing clouds serenely floating in the sky, until a hammer appears in the foreground and begins to move back and forth, readying to strike the monitor's screen. The hammer then begins repeatedly striking the screen. Each time, the screen goes black, a loud "bang" resounds, and the plinth rocks back and forth. When the image flickers back, cracks appear on the screen. Mining the basic relationship between video and the viewer, (monograph, 66) TV Hammer challenges audiences' perception of the video medium by seeming to break the boundary between the virtual realm of video and the physical realm the audience occupies. Furthermore, incorporating a device that responded to sound by rocking the pedestal back and forth, TV Hammer extended to kinetic art and facilitated live interaction between its elements. It also stands as an early instance in which Kim Haemin used humor to hook his audience, a tactic he would employ across several later works. (2009 Blooms, 7) Sindoan (1994) A video