Société Kim Waldron ltée – 2023–
On May 4, 2023, I founded Société Kim Waldron ltée in Quebec to become more fully involved in modelling the structure of the corporate entity. I am the president of the company, and curators Louise Déry, Michèle Magema and Anne-Marie Ninacs are the official directors. This company sells nothing and offers no services. Its sole purpose is to reflect on the structure of the company and its possible ventures in the context of producing an exhibition. It is our intention to consider this company as a place of trust.
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No Hero – 2022–
Rather than waiting for a definitive - heroic - solution to the immense problem of climate change, I think we need to see how our modest individual gestures fit into collective action. To do this, I have myself become involved in the operations of organisations that, in various segments of society and in different parts of the world (Japan, Australia, Quebec), are seeking to improve our environmental situation. The No Hero project brings together all these local actions.
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Kim Waldron Limited – 2016 to 2020
On 13 July 2016, I opened the company Kim Waldron Limited (金姆沃爾德倫有限公司) in Hong Kong, whose main product or service is Artwork. The company's address is Rm. 2107, Lippo Centre Tower 2, 89 Queensway, Admiralty, Hong Kong. Its appointed secretary is Joy Enterprise Secretary Services Limited. The work, which consists mainly of a collection of traces of the company's existence, shows that such an offshore company is usually used to house passive income, and not to conduct any real activity, even artistic activity.
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Public Office – 2014 to 2016
In the 2015 Canadian federal election, I ran as an independent candidate in the Papineau riding. After more than a decade of work using self-representation, I decided to question the use of the image in contemporary politics.
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Made in Québec – 2015
This project involved exporting myself to China to work for Chinese workers. I positioned myself as a useful Quebec commodity in a Chinese context. This gesture can be seen as a way of giving back to the Chinese some of the lifetime that their productions allow Westerners to save.
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Same Day – 2012
This work explores the pitfalls for those wishing to participate in public debate. By comparing the journalistic coverage of two key moments in the popular uprising against rising tuition fees in 2012 - the “Maple Spring” - the series of front pages objectively examines the subjectivity of the various voices reporting current events within the Canadian media. In response to the dispute, I also wrote a letter to Premier Jean Charest and sent it to six different newspapers across Canada. Montreal's The Gazette was the only one to choose to publish it, but in a heavily edited version. For my opinion piece to be published, I had to agree to have my thoughts “gazettified”.
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Beautiful Creatures – 2010 to 2013
During a month-long artist residency at the English Harbour Art Centre in Newfoundland, I put myself in the shoes of the killer, then the butcher and finally the cook to better understand the transition from animal to the meat we eat.
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Triples – 2009
This project explores the unease that arises when a third party is added to the concept of the couple. During an artistic residency in Vienna, I became this “other”. For the time it took to take a photo, I integrated couples into their daily lives at home, as if I were part of their household.
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Kim Kim (collaboration with kimura byol-nathalie lemoine) - 2008
Knowing that most interracial and international adoptions send children to Caucasian families, artist and activist kimura byol-nathalie lemoine wanted to present another vision of what interracial adoption could be. These photographs tell the fictional story of a Caucasian girl adopted into a Canadian family of Korean origin.
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The Dad Tapes / The Mom Photographs: Chronology – 2007
Taken as a whole, this photographic and video project reconstructs the chronology of thirty years of family history through images captured simultaneously: the Super 8 films and videos my father made of the moments preceding and succeeding the photographs my mother took of each event. While it bears witness to a particular personal situation, the work also captures the collective experience of a family's choreographed performance in front of the camera.
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The Dad Tapes / The Mom Photographs: Sunsets – 2007
In the second work, Sunsets, I similarly use my parent’s taping and photography to examine their repetitive preoccupation with capturing the “timeless” subject of the sunset. While the intention of the documents was to preserve these moments forever, both artworks underline the bittersweet sensation of loss and futility within the whole process of documentation
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Working Assumption – 2003
In Paris, I borrowed men's clothes and workplaces to photograph myself, questioning the role of women in traditionally male jobs.
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