In populating the physical space with interpersonal connections, narrative threads, natural elements and digital technologies, the installation builds on Koo’s oeuvre while exposing the artist’s work to a broader global audience.

Ahead of the unveiling of “Odorama Cities”, Koo spoke to the Post about scent memories, new-found self-care rituals and the pragmatic luxury of a timeless wardrobe.

How a whiff of pastries, books, roses and even rot can bring Vienna to mind

“Odorama Cities” creates a “scent journey” with fragrances representing different Korean cities. How did you come up with this concept?

I wanted to talk about a transnational, more inclusive concept of the nation, by representing the Korean peninsula with scents collected in the form of scent stories through an open call.

It all started with a question about scent memories of Korea, not only limited to Koreans but also people who visited Korea, spent time there, or those who were adopted or live outside Korea but still have a story to tell about the scent of Korea. These stories are from very long ago to the recent past, and we received 600 submissions from June to September 2023.

Was this your first time working with scent? What was the creative and production process like, and what was rewarding and challenging about the medium?

My first exhibition with scent was in 1996, when I was living in a small studio on the top of a building in the centre of Paris. This show exhibited mothballs over three days in my studio whilst I was moving out to celebrate the moment of change.

Since the early 1990s, I have been making immersive installations that transform spaces such as apartments, galleries or subway stations into environments that appeal to all the senses. The immersion comes from various elements to engage an audience on multiple sensory levels.

I often incorporate light, sound, scent and digital features alongside timely imaginaries [values and symbols that make up a society] with the capacity to transform into large-scale sculpture and painting. I also use film and animation to reinvent architectural spaces to create environments that envelop viewers in a unique atmosphere.

This approach allows for deeply personal and intersubjective phenomena as each individual’s experience of the artwork is shaped by their own perceptions and sensations.

What are you hoping visitors to the Biennale will take away from the installation and experience?

What role does scent play in this experience?

Scent can unify a world, a remarkable vision, building layered personal connections. One cannot create new knowledge without a foundation of memories. Memory is dynamic, it does not have a precise place in the brain.

What fragrances, if any, do you wear? Do you have any daily rituals?

I do not wear scent day to day, because I like the natural scent that comes from my daily practice. I do pay attention to a rainy-day tree smell or wet dog smell, there are endless options.

Scent is also tied to ritual and routine. Most of mine are performed in the early morning – I take notes and stretch, it gives [me] a focused daily output.

You featured in Loewe’s pre-autumn 2023 campaign. I would love to know about your approach to fashion and dressing, and whether it overlaps with your artistic process.

I love timeless designs – my favourite items are made of natural fabric and can be wearable daily but also [professionally].

I recently discovered washing my hair with rock salt. I am also working with a fashion collaborator for a [project] that I would like to launch alongside my public outdoor skatepark project at Neue Nationalgalerie in Berlin, Germany, this year.