Sesam Natuurwinkel

08/10/2026

05/10/2026

Censorship

02/10/2026

Karma (2003), Do Ho Suh. Two giant suited legs mid-stride, and a crowd of tiny figures under the raised shoe — not crushed, reaching up as if they are carrying the next step.

They are not being stepped on.
Look closer.
The giant shoe is coming down. The little figures are already there, arms up, holding the step before it lands.
This is Karma, 2003, by Korean artist Do Ho Suh.
Two enormous legs in a dark suit and polished black shoes stride across a white gallery. Under them, hundreds of tiny people move with the walk. At first it looks like power crushing the crowd. Then you see the hands. The small figures are not flattened. They are supporting the foot, anticipating the next step, carrying a body far bigger than any one of them.
Suh grew up between Seoul and the West. His work keeps asking the same hard question: who is actually holding whom up?
The suit is ordinary. Office. Authority. The figures are almost invisible until you kneel. That is the point. The people who keep a stride going are usually the ones you never notice until the shoe is already above your head.
Would you hang this feeling in a room?
Or does it only work when you have to stand under it?
Drop a word: power, support, or both.

02/10/2026

Passage