Clicking through artist Kim Sung-hwan’s website is like searching through an archive of materials that seem somehow relevant to each other, only their connections are not quite apparent. Each click yields yet another interesting material -- a shot of a paragraph from a book, a black-and-white photo that captures a historical moment, the artist’s own drawings and videos.

The site appears to function as a depository of Kim’s research into topics that hold his interest, which invariably means they will be turned into art in one form or another. Just reading a few sentences flagged with a Post-it marker is enough to spark one’s curiosity. In what context was this said, observed or written? It is enough to make one want to do some sleuthing on one’s own. It also builds up anticipation about how Kim will pull them together into an organic work.

An exhibition of his works, “Sung Hwan Kim: Night Crazing,” running through Oct. 30 at Barakat Contemporary in Samcheong-dong, Seoul, is an opportunity to see how this polymath of an artist takes a topic and expands on it, adding layers and branching out.

The exhibition, the artist’s largest solo exhibition in Seoul in eight years, is a mixed media installation anchored by two films -- “Washing Brain and Corn” (2010) and “Love Before Bond” (2017).

“Washing Brain and Corn” was originally a video and drawings on the wall that have since expanded architecturally. When it was shown in Munich, Germany, a prize-winning experimental radio play was added. In Basel, Switzerland, a book was added. The work was shown in its full iteration at the Tanks at the Tate Modern in London, commissioned for the opening of the new space in 2012.