Natural Amagoi No Taki #7
Kim Boske (Hilversum 1978 - )
2021, Inkjet print on washi paper in artist's frame, 163,5 x 110,5 cm
Kim Boske’s work has been exhibited extensively in museums including Foam Fotografiemuseum Amsterdam; Fotomuseum Winterthur, Switzerland; Museum Moscow House of Photography, Russia; Shanghai Himalayas Museum, China; Nizhny Novgrorod State Art Museum, Nizhny Novgrorod, Russia; Galerie LUMC, Leiden; Museum Hilversum, the Netherlands; Hyères fashion and photography festival at the Villa Noailles; the Nederlands Fotomuseum, Rotterdam; Three Shadows Photography Art Centre, Beijing and the Singapore International Photography Festival.
In 2021 she was invited to the group exhibition ‘La Photographie à l’Epau’ in Le Mans. In the same year she participated in ‘Garden of Delight’, a group exhibition commissioned by the Netherlands Embassy in Budapest and curated by Claudia Küssel. Her work was selected the same year by Jenny Smets for a show exploring a dialogue between ceramics and photography at Usine Kugler, Geneva, Switzerland from 6 – 17 October 2021.
Kim Boske (The Netherlands, 1978) studied at the Royal Academy of Art in The Hague, from which she received her BA in 2005. In 2011 she was a finalist at the Hyères Photography Festival in France. She has received several grants from the Mondriaan Fund, the Amsterdam Fund for the Arts (AFK) and multiple times an artist-in-residence in Kamiyama, Japan.
By going beyond the photographic media, which captures the “now”, Boske collects fragments of reality that are then layered into intricate and mesmerising compositions which tribute the incredible complexity of the natural element, undisputed protagonist of her work.
Guided by the fascination over the passing of time and how this affects the natural element, Boske’s attention is on the process rather than the final outcome, on the becoming rather than the being. The philosopher Deleuze and the theory introduced in his “Rhizome” serve here as the ideological ground on which the foundation of Boske’s practice is based. Rather than sequencing history into a straight narration of facts, the Rhizome presents it as a map of attractions, a living mnemonic system
that resists chronology and ramifies like a root structure.