This study will examine the works of Kim Ku-lim, <From Phenomenon to Traces> (1970), with the social and political background of their time. Around the year 1970, Korean society was in turmoil. Its economy had been developing quickly during short period, and the industrialization in urban areas increased the population of cities, which brought out the collapse of traditional values and the rise of new ideas. Korean conventional artistic style had reached its limit to convey the ideas of avant-garde artists. In addition, it was at that time, when the public was under high surveillance and strict censorship which were conducted by the military regime of President Park Jeong-hui. Due to all these reasons, the artist Kim Ku-lim brought body movements, the surrounding environment, time flow, and locations into his artwork. Since the late 1960's, Kim Ku-lim had started doing unconventional paintings, for example, burning plastic on canvas, and making holes on iron plates. In 1969, he gave up any forms and structures and moved to performances, happenings, and film making. In the year of 1970, Kim produced artworks, as known as <From Phenomenon to Traces>. There were all three of them produced in 1970: setting fire to grass, placing ice cubes on floors, and wrapping the Museum of Modern Art. The first work of <From Phenomenon to Traces>, setting fire on grass is the first Earth Work executed in Korea. It introduced the urban environment into his own work, visualizing the invisible flow of time. In addition, a photograph which was taken at that day captured students in military training, marching and passing by the place, and accidently disclosed the political censorship of the period. The second work was showed at the AG Exhibition of experimental artists, and helped people to see the process of time, ice to water, water into air. People couldn't understand this work and laughed at it. The last one, wrapping museum was un-installed within 26 hours by the host sponsor, and revealed how conservative the Korean art institution was. It was the use of body movements and natural phenomenon, which was most interesting during the research on this subject. In the similar time-line, Kim was one of artists who introduced these things into his work. Lee Seung-Taek's 'Wind' series, for example, shared the same idea/ method, in which artists' job is only to set the condition of works and it is nature (wind for Lee, time for Kim) which completes the works. Kim introduced nature and body movements, and it was because of Korean social and political condition of 1970. The Korean government promoted the economic development as its national goal, so the economic wealth became regarded as more important than the traditional customs and nature. Building and houses were built quickly to hold the fast-growing population in cities without long-term planning. During this process, nature was destroyed for buildings and houses. Moreover, the regime of military government seized its power for over ten years since the May 16th Coup and controlled the public with the threat of North Korea. Under the circumstance, Kim introduced natural phenomenon into his works and tried to evoke ideas, which had been often neglected during that period. And this is the reason why the works <From Phenomenon to Traces> has its value in the Korean art history.

해방공간에서 이승만, 김구, 김규식이 차지하는 위치는 중요하다. 이들은 큰 틀에서 우익진영에 속하면서도 동시에 기독교인이었다. 이 세 사람은 귀국하면서 다같이 기독교인으로서 활동했고, 기독교를 중요한 정치적인 배경으로 생각했다. 이런 우익 3영수의 대열에서 제일 처음 이탈한 사람은 김규식이었다. 원래 중도파였던 김규식은 제 1차 미소공위 이후 미국의 좌우합작 정책에 따라 중도파의 입장을 대변하게 되었고, 이렇게 되자 김규식를 우익의 지도 자라고 따르던 조선기독교청년연합회는 김규식의 노선을 이탈하였다. 이승만과 김구는 독립촉성국민회의를 중심으로 활동하였다. 하지만 1948년 김구가 남한에 단독정부를 수립하는 것을 반대하자 기독교인들은 김구에 대한 지지를 철회하였고, 1948년 3월 이북인대회에서 김구는 강력한 비난을 받게 되었다. 이렇게 해서 우익 기독교세력은 김구에 대한 지지를 철회하고, 이승만을 지지하게 되었다. 한국 기독교는 우익 3영수가 기독교적인 정신으로 반공적인 민주주의 국가를 세울 것이라고 생각해서 이들을 지지하였다. 특별히 공산주의의 학정을 체험한 월남 기독교인들의 발언권이 센 기독교에서 김규식의 좌우합작 주장이나, 김구의 통일지상주의는 받아들여지기 어려웠다. 결국 이승만은 1948년 대한민국의 제1대 대통령이 되었다.