Recalibration 00:00:00:00
Assemblage of Sound
Cities Breathe
Invisible Protection
Cavity
(coming soon)
About
pitapitakim@gmail.com
Recalibration 00:00:00:00, 2025
Installation / Steel, Galvanized steel scaffold poles, acrylic sheet, acrylic tube, bulb, LDR (Light Dependent Resistor), DC motor, Arduino, Touchdesigner, Sound system
2025
Recalibration 00:00:00:00 is an installation that explores the relation between embodies presence, perception, and technological systems. Subtle shifts in light and shadow are detected by a feedback loop of light sensors. Some of these shifts are introduced by the viewer’s own movements, some are generated autonomously by the machines. These disruptions are translated to audio in real time, giving form to a continuous dialogue between body, environment and system.
The title’s timecode, “00:00:00:00,” marks a symbolic threshold—a point of perceptual reset where the viewer enters what the artist describes as a state of Mu-a-ji-gyeong, a Korean term for immersive presence beyond self-awareness. Influenced by the Buddhist notion of ksana (찰나), or an indivisible moment of change, the work highlights the fragility of attention and the ongoing nature of perceptual reconstruction.
By proposing conditions rather than dictating paths, the installation invites each visitor to experience the space as a site of sensing, interference, and interdependency.
Print on Tracing Paper
29,7 X 21,4 cm
A score that recomposes and reinterprets the language of light transmitted through wavelengths. When light meets a transparent material, it creates a phenomenon called caustics which is the most bright point of the transparent material. By placing a light-sound translate circuit in its path, listening the sounds from these phenomena and at the same time, I captured the shapes formed by light. These shapes, traced from the interaction between a cup and light, become symbols of sound—an outcome of their encounter. Listening back to these sounds, I recognize them as the result of an interaction, a form of communication between the cup and light as they pass through matter. I record their particles, marking the ephemeral occupation of time and space—an intangible, invisible moment.
I imagine the cognitive assemblage of non-human materials in this fleeting exchange. They embrace, dance, and do not greedily claim the empty spaces but instead remain humble, fully immersed in their spatial existence.
Within this network of the non-human, I reflect on the role and presence of the human. As I navigate the hierarchy between human and non-human within these material interactions, I question whether the non-human can hold value beyond being mere tools. Through this, I voice my feelings of shame, regret, and sorrow—the emotions that arise from being human in a world where non-human entities are often overlooked.
Cities Breathe, 2023
Steel, 3 Chanel Audio
96 X 96 X 52 cm, Variable installation
By contrasting a garage being demolished and a penthouse being built at a construction site, the project navigate the boundary between past and future, documenting the flow of time in the gentrification area Katendrecht, Rotterdam. Phenomena of gentrification in this construction site, where remnants of the past meet visions of the future, provides a space to find new value through noise, waste, and the unstable time felt within it.
A sound piece is made from the sounds of the machines on the site. The score of this piece is then engraved on to the circular metal using a sound-image extraction process. Through the three different types of speakers included in the installation, creating an immersive experience.
Invisible Protection, 2024
Agar-agar, PVC
Variable installation
Artificial chemical materials have deeply penetrated our lives, and we use them daily. We know they are harmful to the environment, but to what extent? The impacts are often invisible. Perhaps my immediate concern is staying clean. Moreover, convenient materials also support our health. For instance, Gore-Tex hiking boots are comfortable. The dilemma between what is harmful and beneficial, or between protecting nature and immediately protecting ourselves, will persist. These issues are entangled with complex interests and cannot all be quantified. The pollution in Biesbosch affects our daily lives. Eggs harvested near Dordrecht are distributed to local supermarkets, and although swimming near Biesbosch is discouraged, the water keeps flowing somewhere. Even if non-stick baking paper and pans no longer contain PFAS, we have used pans and baking paper with PFAS for decades. On rainy days, we still need waterproof materials.
Therefore, this project transforms the mud texture of Biesbosch Swamp into natural materials like agar-agar and SCOBY to show bacterial growth. Clothes we wear daily, such as underwear and shoes that protect our bodies, are made by mixing agar and PVC. Agar is a plant-based, edible material that contains nutrients suitable for bacteria. Additionally, agar petri dishes display the collection of body bacteria from human-being gathered from Biesbosch.
#When I was walking in the Biesbosch in January, the snow on the ground neither melted nor froze. Muddy slush covered most of the Biesbosch. As I took my first steps, I felt a mix of fear and hesitation.
- Is it okay to step here?
- Will my shoes get wet? I don’t want to dirty my shoes.
- What if I sink into the swamp?
#I was somewhat relieved that my leather boots kept my feet from getting directly wet, but I regretted not wearing Gore-Tex waterproof shoes.
#I enjoyed walking in nature, breathing fresh air, listening to birds, and gazing at the vast wetlands. I wanted to immerse myself more deeply into nature, but not to the point of actually sinking into it.
#At the same time, I disliked getting dirty.
#As I pondered these thoughts, I saw the Chemour Factory across the Biesbosch, emitting smoke like clouds. They developed Teflon, a fabric material known for being waterproof and resistant to dirt, stains, and spills.
#Ironically, what I needed now was a product from the chemical factory next to Biesbosch Park. The Chemour Factory is also actively researching its environmental impacts.
Party balloons, Mirror
78 x 220 cm
The project started from explore of two key elements: calcium, which is an essential ingredient in our bodies, and calcium carbonate, a raw material used to produce stalactites in caves. Just as sedimentation and elevation occur naturally in the environment, natural weathering also occurs within our bodies. The project expresses the feelings that arise when by-products grown from our bodies are exposed outside the body. When we look in the mirror and see the integration of these byproducts, we experience these feelings.
Pitakim/ 김유빈
Pita Kim is a visual designer based in Seoul and Rotterdam. Focusing on spatial installation, her practice explores how algorithmic systems mediate the relation between human perception and machine logic. She orchestrates sensorial systems between light, sound, and presence—turning intangible conditions into embodied spatial experiences.