从一个大陆到另一个大陆，从美国到韩国，Kimsooja在普瓦捷停留，住在一个集装箱里，集装箱上画着明亮而充满活力的线条，是韩国传统的五角色。在普瓦捷大教堂(Poitiers Cathedral)的脚下，有一个巨大的bottari，里面装满了Kimsooja在纽约东村公寓里积累了20多年的私人物品。面对宏伟的大教堂，波塔利1999-2019看起来就像它所引用的布捆一样小。它闪闪发光的颜色与这个礼拜场所的矿物质地形成对比，代表着选择国家的自由和流动的维度，正如主色光谱所示。虽然通常由打结的织物制成，但这种钢制bottari成为了Kimsooja永恒运动的隐喻，用艺术家的话来说，它构成了一个“独立的身体，一个可以容纳一切的自主世界，就像一艘船”，可以关闭而不暴露其内容。

(从左到右:)

01- 03: Kimsooja, Bottari: 1999- 2019,2019，公共艺术装置，由涂有银色的集装箱组成，包含艺术家在纽约公寓中的所有个人物品。圣皮埃尔教堂的安装图，2019年。由普瓦捷市和Kimsooja工作室提供。Yann Gachet和Sebastien Laval的照片。

Moving from one continent to another, from the United States to South Korea, Kimsooja makes a stop in Poitiers to inhabit a shipping container painted with bright and vibrant lines in the traditional Korean colors of the Obangsaek. A monumental bottari, filled with Kimsooja’s personal belongings accumulated in the artist’s East Village apartment in New York over twenty years, sits at the foot of Poitiers Cathedral. Facing the imposing cathedral, Bottari 1999-2019 seems as small as the cloth bundles it references. Its shimmering colors contrast with the mineral quality of this place of worship, representing the freedom of choosing ones country and the dimension of mobility, as indicated by the cardinal color spectrum. Though usually made of knotted fabric, this steel bottari becomes a metaphor for Kimsooja’s perpetual movements and constitutes in the artist’s words, a “separate body, an autonomous world that can contain everything, like a ship” that can be closed without revealing its contents.

(Left to right:)

01- 03: Kimsooja, Bottari: 1999-2019, 2019, site-specific installation consisting of shipping container painted the colors of obangsaek, containing all of the artist's personal posessions from her New York apartment. Installation view at Cathédrale Saint-Pierre, 2019. Courtesy of the City of Poitiers and Kimsooja Studio. Photos by Yann Gachet and Sebastien Laval.