Wolsik Kimhis collaborating artists have done a number of projects collectively in daily places such as markets, streets, squares, residential buildings in their local including Anyang for many years. Their project title for the 3rd APAP, Seems like Community became the name of the artist collective, which is operated by the self-organized artistshim as the ector. Seems like, which contains subversive identification against to the homogeneous domainnotion of community in modern Korea, reveals their attitude artistic strategy engaging with the people situations to keep individual pleasure inside of the collective identity. Being together as a seems-like community, they position themselves as each of singularity opens possibility to be related with other singular figures such as children elderly people, who are losing their social hegemony as productive generation earning money for living by collecting discarded papers in the streets. Collaborating with the neglected people in community, Seems like Community has produced their potential into an archival exhibition, a recycling shop, hand-made workshops, lunch time symposium, village festival, public performance,a publication, *Seems like Community Story Book*, distributed to their neighborsaudience.
After the project in Anyang, he has moved over to work with people who are categorized as intellectually handicapped persons, in a series of situation alimprovisational performances. In the set of theatre with multiple screens of its live video installation of artistic-made tennis tables, they re-enact their non-communicable languages using every senses in front of the encountered public. Overall difficulty of this performance, titled *Difficulty Play*, interrogates the notion of humanistic communication through its possibility of interpretation between abnormal normal. Reflecting those artistic practices, Wolsik Kim has written confessions after each project finished. The self-confessed proposition of an artist, who has been engaged with people within society, is a dramaturgy re-mapping transgressions negotiation of so called public art practicesthe cultural practitioners. With help of elderly peopleothers, who cooperatively sent cardboard boxes, they presented the dramaturgy as a paper Buddha that dedicated for the people wishes. For *Living as Form (The Nomadic Version)* hosted by the 4th APAP, they built a constellation of their previous practices with their confessional manifestothe various archival materials using the discarded papers as well as educational workshop.