出生日期：1982年11月
出生地点：韩国首尔
性别：男
工作生活在：韩国首尔&中国北京
个人网站：kim-1854@hanmail.net
关于艺术家：金镇宅，出生于韩国首尔的木匠家庭，自小跟从长辈学习传统的木作技艺，在他就读国民大学艺术学院修习雕塑之前，已经练就了建造家屋、制作家具的娴熟技艺。可以说，金镇宅对木头的情感是与生俱来的，带有信仰般的虔诚和神启。这成为了他介入当下语境展开独立创作的原点，同时，在艺术学院雕塑专业从本科到研究生的求学经历，让他看到了自己在同侪间的独特与差异。在冷静认知自我与环境的同时，金镇宅并没有被完全淹没在观念艺术的弥彰中，经过一系列激进的实验之后，他依旧选择了使用自己最擅长的语言和别人沟通、与时代对话。
惠子曾对庄子说：“我有棵大树，人们都叫它‘樗’。它的树干却疙里疙瘩，不符合绳墨取直的要求，它的树枝弯弯扭扭，也不适应圆规和角尺取材的需要。虽然生长在道路旁，木匠连看也不看。庄子说：“你有这么大一棵树，却担忧它没有什么用处，怎么不把它栽种在什么也没有生长的地方，栽种在无边无际的旷野里，悠然自得地徘徊于树旁，优游自在地躺卧于树下。” （原出《逍遥游》）
两千年前，庄子就告诫过世人，“人皆知有用之用，而莫知无用之用也。”精神领域、人文领域的很多东西是“无用之用”，譬如艺术，譬如一切老的、破的、旧的、褪却功能性的物什。金镇宅因对现代城市化扩张对老旧文明的摧毁和蚕食而深恶痛绝，于是四处收集从老房子上拆除下来的旧房梁，以与我们生活最亲近无间的家具形象为创作媒介，借用家具的形式来尝试开展对事物的“机能恢复”，意图以形态转换来赋予那些被视如敝屣的老旧事物崭新的力量，以接续其生命力。这种恢复，在金镇宅看来，可以由物而人，他希望在这里完成自我的恢复和人性的恢复。无疑，金镇宅决绝地选择了以一人之力展开对消费主义和现代价值体系的逆袭。（戴卓群）
履历及代理
履历：
2012 攻读国民大学艺术学院美术系雕塑专业硕士学位，韩国
2011 毕业于国民大学艺术学院美术系雕塑专业，获学士学位，韩国
2010 THE 11TH Sculpture EXHIBITION FOR COLLEGE STUDENTS IN KOREA DAEKYO文化财团 韩国首尔
2010 第5届 Junk， Transformer 大展 韩国首尔
2006 大韩产业美术家协会 韩国首尔
展览：
个展经验
2012.07.07－2012.07.30 无用之用（Use of the useless） 白盒子艺术馆 北京 中国
参展经历
2012.07.14.－2012.07.22 2012 工厂美术节（The Art Factory Project 2012） 韩国
2012.04.26.－2012.04.29 ART EDITION 2012展 gallery 2 COEX 韩国首尔
2012.04 中韩雕塑展 国民大学美术馆 韩国首尔
2011.09 中韩雕塑展 鲁迅美术学院美术馆 中国沈阳
2011.02 新进雕塑家展-我是未来 金钟瑛美术馆 韩国首尔
2010.03 Star & Blue Artist Hotel 艺术博览会 Hilton hotel 韩国首尔
2010.03 疏通展 韩国文化艺术振兴院 韩国首尔
2008.03.24－2008.04.18 Cheng-ju 国际工艺双年展 韩国
Jin Taek Kim
Born in Seoul ， Korea， 1982Now lives in Beijing and Seoul
E-MAIL：kim-1854@hanmail.net
Education
2012 Attending M.F.A Program in Sculpture， Kookmin University， Seoul.
2011. B.F.A program in Sculpture， College of Art， Kookmin University， Seoul.
Award
2010 THE 11TH Sculpture EXHIBITION FOR COLLEGE STUDENTS IN KOREA DAEKYO Cultural foundation Seoul Korea
2010 THE 5TH Junk， Transformer Seoul Korea
2006 Korea Industrial Artist Association Seoul Korea
solo Exhibition
2012.07.07-2012.07.30 "Use of the useless" 798 white box Museum of Art Beijing China
Selected Exhibition
2012.07.14.-2012.07.22 "The Art Factory Project 2012" Korea
2012.04.26.-2012.04.29 "ART EDITION 2012" gallery 2 COEX Seoul Korea
2012.04 "China-Korea sculpture Exhibition" Kookmin University Seoul Korea
2011.09 ”China-Korea sculpture Exhibition" LUXUN Academy of Fine Arts Art Museum Shenyang，China
2011.02 "I Future" young artist Kimjongyoung Museum of Art Seoul Korea
2010.03 Star & Blue Artist Hotel Art Fair Seoul Korea
2010.03 “Moolcco Tda” KACES Seoul Korea
2008.03.24-2008.04.18 Cheng-ju international craft biennale Cheng-ju Korea
Kim jintaek was born in a traditional carpenter family in Seoul Korea， and he learned his wood crafting skills from his elders ever since he was a child. Before he enter the people’s academy of fine art and learn sculpture， he already obtain the skill of building a house and making furniture.as a matter of fact Kim jintaek was born with the love of wood， and it became his origin of creation under the modern concepts， at the same time， the experiences that he had during the years of bachelor to post graduate made him found out the differences and uniqueness between he and his mates. Under his consciousness towards the environment， Kim jintaek never drawn in the concepts of art， after a series of progressive experiments， he still choose to use his most effective skills to communicate with people， and the generation.
Hui zi once told Zhuang zi：“I have a tree， they called it “Chu”， its branches were curved and full of knot， which made it hard to have the qualities of making a straight material or a ruler. While growing next to the road， carpenters wouldn’t even look at it.” However， Zhuang zi said：“if you got a tree like this and worried about what’s the use of it， why don’t you just plant it in a place where nothing was grown， plant it in a vast deserted land， so you can walk and sleep under the trees with great ease.”---“Xiao Yao You”
Two thousand years ago， Zhuang zi told us that “everyone has his own use， and we don’t know whether is useless or useful.” Under the spiritual fields， there are a lot of things are the “use of useless”， such as art， and old， broken， useless objects. Kim jintaek hated the rapid developments of the city that is destroying our old civilizations， so he went to all the places to collect the old roof beams， and use the furniture as a creation media to develop the recovery of its function， in order to use the figurative change to give those old things new energies and strength to continuing its life. Under Kim jintaek’s view， this “recovery” can be done from things to man， and he hopes that he can recover the humanities for himself and for the world. It’s undeniable that Kim jintaek chooses to fight the materialistic world and contemporary values with his own strength. （by Dai zhuoqun）
（编辑：符素影）
