2024
Acoustic Territories(The Shoemaker’s Guest)
Situated Listening Modes in an Ecological Place
Song of Old Ones
An Ethnography of Chasing the Wind
Soundwalk: A Short Story of the Wind
Land, Ghost and the Rumors(2024)
Into the (re)wild(Essay)
2023
Anthropocene Sonnet
Land, Ghost and the Rumors(2023)
Re-shaping t/dunes(2023)
2022
My Neighbor K; The Peculiar Garden
Moving Air
Re-shaping t/dunes(2022)
Acoustic Territories(Fragile Lines)
2021
Inscription
Listening Performance: Flashback session / The other’s sonic experience; Bus22
2020
Aural Tectonics / Feedback Devices
2018
Fall in/out
Place: Busan Museum of Contemporary Art, South Korea
Date: 12/4/2025 - 1/6/2025
Format: Exhibiton and performance
The residency culminated in the exhibition Aquatic Soundscapes (1 March to 1 April 2025), where visitors encountered site-specific installations combining underwater recordings, spectrograms, and vibrational playback systems. The exhibition opened an imaginative space for questioning the human impact on underwater sonic environments shaped by shipping, turbines, and cleansing infrastructures around the Oosterdok.
Alongside the exhibition, Kim hosted a listening workshop, guiding participants through field recording techniques and situated listening practices. Participants explored both the ecological soundscape of the site and its layered socio-political contexts, reflecting on how listening can shift perception and open forms of accountability toward more-than-human worlds.
Through Aquatic Soundscapes, Minji Kim extended her broader research on Low Listening, an artistic and ecological engagement with infrasound in coastal environments, following earlier work in Sihwa (South Korea) and connecting it to Amsterdam’s waterfront.