Lim started showing her work inSouth Korea in the late 1990s. In 1998, she created the installationBus Stop for the exhibition City and Image: Food, Clothing, Shelter. The work was centered around the bus stop billboards in South Korea after the 1997 Asian financial crisis. Many of the billboards were left blank. Lim placed non-commercial images in the billboards with the attempt to draw attention to the types of images consumed by the public. Lim's video work New Ghost Town focuses on Yeongdeungpo and the redevelopment project set in place by the Seoul Metropolitan Government. The New Ghost Town was a single-channel video that publicized her as an artist. She explored the idea of solitude, solidarity and the individuals of each other in South Korea. With the video taken place in Yeongdeungpo, a lot of representation was shown. Redevelopment was taken place by the former Seoul mayor Lee Myung-back under his failed new town policy. The redevelopment was promoted to improve standards of living, but it displaced many existing residents. In the video, a slam poet shouts lines such as, "Oh, my complex... Oh my housing commercial complex... I have nowhere to go. I'm a new-town ghost." S.O.S-Adoptive Dissensus is a site-specific video work by Lim; it chronicles a ferry's trip down the Han River. The ferry passes three different events, protesters resisting urban development around the river, lovers taunting the ferry, and a political prisoner signaling S.O.S.. Lim received residency from Hyde Park Art Center in 2013; she worked on the project, FireCliff 4_Chicago, during her one-month residency. She collaborated on the project with the Chicago-based organist Chris Foreman.
Themes
Much of Lim's work is concerned with the silent or invisible aspects of various topics such as, industrialization and language. Some of her work investigates concepts of language, its fragile nature, and miscommunication. Her work is critical of society's rapid development and its impact on political and social aspects of life as well as the personal displacement and loss one feels in an urban environment. Lim developed a body of work that critiques the social and political conditions of a contemporary society fueled by growth and development. She calls it "the ghosts of modernization," in which she responds to the loss of belonging and place. Her work is displayed with the lines of aesthetics and politics. And in recent years, Lim discovered a distinct visual language that combines her interest in performance, video and documentary. Lim has the ability to take mass media and subculture in her art to challenge her audiences about the history of South Korea. She brings forth a revolutionary aspect for the social change in which she internalizes criticism. In which she attacks modern culture, social constructs, historical loss and loss memories. By doing so, she retains her revolutionary mindset through tactics in video image. Her videos are not only documentaries, but videos that are staged performances. In which her style is shown in her work The Weight of Hands in 2010. Her intended meanings behind her work are sometimes behind the philosophy of the impossible to become possible. She strives for the idea in that everything is speaking. Sometimes things can consist of sayability yet some things are to be unsayable. But that is her perspective in communication that she wants to portray towards her audiences. With this, she has the ability to freely express her thoughts and the ability to say no.
