View
234
Download
8
Category
Preview:
DESCRIPTION
Photography exhibitions eMagazine PhotoView 2013. 5(May)-B Free download
Citation preview
PhotoView ISSUE 16 May 2013
PhotoViewIssue.16
Photography exhibitions eMagazine
2013. 5-b
www.inprint.co.kr
Archival Pigment Print
inprint
010-7520-7716
/ Publisher : Seo, JH (ephotoview@naver.com)
: www.sazine.co.kr
: 070-4685-3166
: www.webhard.co.kr (ID:ufoto / PW:7777)
Monthly Photography Exhibitions eMagazine PhotoView
.
.
PhotoView , PhotoView .
facebook www.facebook.com/ephotoview
tweeter www.tweeter.com/ephotoview
naver blog blog.naver.com/ephotoview
download www.sazine.co.kr/photoview
Yo
ll Lee
, B
lue Tree
PhotoView Contents
2013.5-bYoll Lee (Eng, Kor)
Yeonju Sung
Choi, Wonrak
33
, Jaime Permuth (Eng, Kor)
Chang Nam (Eng, Kor)
() ()
Jaeman Cho
STEPHANE FERRERRO (Fr, Kor)
YongHwan Lee (Eng, Kor)
Kim, Soonin
Cha, KyoungHee (Eng, Kor)
Kook Jiwon (Eng, Kor)
Baek, Hyung Wook
Soohee Jung (Eng, Kor)
Myoung Ho Lee, Robert Overweg
Ko, jungnam (Eng, Kor)
Yoll Lee
Blue Tree
2013. 5. 30 ~ 6. 11 , Jung Art Gallery
400 B1, 02-2254-2981~2
2013. 6. 13 ~ 6. 27, Jung Art Gallery
539-1 6F, 032-329-2981~2
2013. 7. 2 ~ 7. 15, Jung Art Gallery
833 4F, 031-679-0680~4
www.jungartgroup.com
Yoll Lee , Blue Tree
Yoll Lee , Blue Tree
Yoll Lee , Blue Tree
Yoll Lee , Blue Tree
Yoll Lee , Blue Tree
Yoll Lee , Blue Tree
Yoll Lee , Blue Tree
Yoll Lee , Blue Tree
Yoll Lee , Blue Tree
Yoll Lee , Blue Tree
.
, , .
.
.
.
.
.
.
Trees have always brought me great comfort.
Trees always represent comfort, rest, and a friend to me because I spent my childhood in the countryside.
Even now, when I come upon some awesome trees, I cannot walk away and must hang around.
Trees in my work are not simply the Photographic objects; they are the theme I explore in my whole life.
While the lighting acts as make-up on the arrogant trees, it is the trees themselves that stand out as the
primary focus.
Sometimes questions come to mind; do I look at the trees or do the trees look at me? Am I the audience, or
are the trees?
(Yoll Lee)
Istituto Europeo di Design
(PhotoGroup)
Graduated from 'Chung-Ang University', Department of Photography, Seoul Korea.
Graduated from 'Istituto Europeo di Design', Department of Photography, Milano Italia.
Representative of 'PhotoGroup'
--
2009. 7. 22 ~ 2009. 8. 10 (W Gallery)
2009. 5. 4 ~ 2009. 5. 16 Number ( )
2008. 12. 3 ~ 2009. 1. 11 ()
1999. 6. 11 ~ 1999. 6. 20 . ... (Gallery May)
1998. 10. 8 ~1998. 10. 20 C'era una volta il nudo, e poi... (Famiglia Artistica Milanese)
-Solo Exhibition-
2009. 7. 22 ~ 2009. 8. 10 "The wind blows" (W Gallery) Seoul Korea
2009. 5. 4 ~ 2009. 5. 16 "Number" (Gallery Illum) Seoul Korea
2008. 12. 3 ~ 2009. 1. 11 "Flowing Flower" (KimYoungSeob PhotoGallery) Seoul Korea
1999. 6. 11 ~ 1999. 6. 20 "There was the Nude, and..." (Gallery May) Seoul Korea
1998. 10. 8 ~1998. 10. 20 "C'era una volta il nudo, e poi..." (Famiglia Artistica Milanese) Milano Italia
-Art Fair-
2010. 4. 29~ 2010. 5. 3 SEOUL PHOTO 2010 (COEX ) Seoul
2009. 9. 12 ~ 2009. 9. 16 SIPA 2009 ( ) Seoul
Ko, jungnam
Changing Opinion
2013. 5. 1 ~ 6. 15 Curiosity
412-27 1
Jungnam Ko _Changing Opinion_ 1966, 08()_Inkjet pigment print_76.2101.6cm_2012
Jungnam Ko _Changing Opinion_ (__1960 _Auguste Rodin) Inkjet pigment print_76.2101.6cm_2006
Jungnam Ko _Changing Opinion_ Paul Cezanne, 1966 (La Montagne Sainte-Victoire)_Inkjet pigment print_76.2101.6cm_2012
Jungnam Ko _Changing Opinion_ 01 ( , _ 024_1981)_Inkjet pigment print_76.2101.6cm_2006
Jungnam Ko _Changing Opinion_ 1968, 04()_Inkjet pigment print_76.2101.6cm_2012
Jungnam Ko _Changing Opinion_ 1983_Inkjet pigment print_76.2101.6cm_2006
Jungnam Ko _Changing Opinion_ (__1976, 11 _Vincent Willem van Gogh) _Inkjet pigment print_76.2101.6cm_2012
Jungnam Ko _Changing Opinion_ (__1976, 11 _Vincent Willem van Gogh) _Inkjet pigment print_76.2101.6cm_2012
Jungnam Ko _Changing Opinion_ (__1976, 11 _Vincent Willem van Gogh) _Inkjet pigment print_76.2101.6cm_2012
Jungnam Ko _Changing Opinion_ , 1967, 09()_Inkjet pigment print_76.2101.6cm_2013
Changing Opinion .
._
,
. Changing Opinion
(Philip Glass) ,
,
. .
, , , ,
, . . ,
._
._ , . _
.
. ,
. .
.
Changing Opinion
It is the most difficult to make something simply. In anything at all, perfection is finally attained not when
there is no longer anything to add, but when there is no longer anything to take away. _Antoine de Saint
Exupery
Minimalism is based on the belief that the true reality is achieved only when the artistic technique or
dramatization is minimized and when the basis the essence of a subject is expressed, allowing the gap
between the reality and the work of art is minimized. The title of Changing Opinion was derived from the
music of Philip Glass. His music also makes one think of the meaninglessness of reason and emotion by
showing or destroying the repetitiveness of language and space as it shows the minimalism of extreme
simplicity and repetitive features of simple forms. It is my way of expressing in photography as well.
Books are things that are strapped to one by being written or printed of certain thoughts, feelings or
knowledge for a certain objective, content and format and are semiologically describing humans culture,
history and etc.
There are various praises for books.
Homes without books are like houses without doors and a room without books is like a body without a
soul_Marcus Tullius Cicero
When reading a book, one must read carefully as if he was in the heart of the writer_Henry Zorro.
The window is bright and the person is calm. I read bearing the hunger_Wooam Song Si Yeol.
The theme is the communication through an objet called book. Communication has to win more sympathy
than ordinary opinions or persuasion and one must not forget to be considerate of others feelings. I was
attracted to people who created books and to the traces of lives that lived fiercely for a period of time
through the books. It was to steal daily lives of others from the old, used books.
I will look out the window, holding books for the time.
Jungnam Ko _Changing Opinion_, 1975, 10(, )_Inkjet pigment print_121.441.2cm_2013
Ko, jungnam1992 BFA in Art, Chonnam National University, Korea
2002 AD in photography, Tokyo Institute of the Arts, Japan
2004 MFA in Media Art-Photography, Tokyo Polytechnic University, Japan
Solo Exhibitions
2012 Tokyo Story_Super Normal, Gallery Beansseoul _Seoul
2011 Architectural Landscape, Gallery Bresson_Seoul
Inside another rectangle within the initial rectangle, Gallery kim, Seoul Korea
2009 Jindalrae, Gallery Bresson , Seoul Korea
2008 unlimited, Gallery kim, Seoul Korea
2007 Jindalrae, Gallery curiosity, Seoul Korea
2007 Changing Opinion, Gallery cafe miel, Seoul Korea
2005 Winter Vacation_Travelling Through the Landscape, Gallery kim, Seoul Korea
2004 On Concrete, by Ando Tadao, MOKKUMTO Gallery, Seoul Korea
2004 Summer Vacation_Travelling Through the Landscape, Gallery Bar FERRARA, Seoul Korea
2003 Ando Tadao_YUMEBUTAI, Gallery CREADLE, Yokohama Japan
2002 The House, Tokyo Story, Gallery Lux, Seoul Korea
Selected Group Exhibitions
2013 , _Gyeonggido 2012, _Cheongju
_10_space99 gallery_Seoul , _Gyeonggido (Paradise Lost),
_Pusan 2011 , _Seoul , _Pusan Social
Photography, gallery illum_Seoul 2010 _ , _Daejeon 5_
, _Seoul 2010~8 , _Seoul 2009 '1990 ,
_Gyeonggido 4_, _Seoul 2008 , Gallery
_Seoul 2007 , _Yeongwol
, _Seoul 2006 , _Seoul depositors meeting,
Gallery art &river bank_Tokyo, Japan art shopping, _Jeju 2007 newspaper, Gallery
_Seoul 2006 , _Seoul , Gallery on,
Knapp Gallery_London UK.
Publication
3_LOVE, 2012 4_ photonet , 2007
Collection
2012 ,
2011
2010
2009
, 2Myoung Ho Lee, Robert Overweg
Down the Rabbit Hole
2013. 5. 23 ~ 6. 30 101
309-3, 02-739-3093
www.gallery101.co.kr
Robert Overweg, The End of the Virtual World 1
Myoung Ho Lee, , Ink on Paper, (H)1190x(W)1850mm, 2012
101 4 2 . Down the Rabbit Hole (
), 1
2 .
.
. .
, .
. .
.
. ,
. , . ,
. ,
.
, ,
.
.
.
. . .
. .
. .
4 .
. (
2012) 3D .
.
, (Robert overweg)
. .
( ) .
. .
.
, .
.
.
.
,
.
. ,
,
.
.
, () () .
, .
, .
,
,
. , . , ,
.
Robert Overweg, , Game, satin print on dibond, (H)82 x (W)144 cm, 2010
Robert Overweg, The End of the Virtual World 3
Robert Overweg, The End of the Virtual World 4
Robert Overweg, The End of the Virtual World 5
Robert Overweg, The End of the Virtual World 7
Robert Overweg, , Game, satin print on dibond, (H)92 x (W)164 cm, 2013
Robert Overweg, , Game, satin print on dibond, (H)92 x (W)164 cm, 2013
Robert Overweg
Robert Overweg
( 2012)
.
, .
(NIMK, ) ,
, . ArtFZ (ArtEZ Arnhem)
2009 . AvBA
(Academie van Bouwkunst Arnhem) (MediaLAB Amsterdam)
.
Robert Overweg
Robert Overweg
Born in Amsterdam, The Netherlands
2011 Artist in residence @ NIMK (Dutch institute for media arts), Amsterdam, The Netherlands
2010 Artist in residence @ TAG / Todays Art, The Hague, The Netherlands
2008 ArtEZ academy for visual arts (Graphic design), Arnhem, The Netherlands
Solo Exhibition
2011 The Prologue, NIMK, Amsterdam, The Netherlands
2010 Robert Overweg: photographer in the virtual world, Concrete, Amsterdam, The Netherlands
2009 SHOT: documenting current spaces, Luxor, Zutphen, The Netherlands
Group Exhibition
2012 Media City Seoul, Seoul Museum of Art, Seoul
2011 Game-city, CBK, s-Hertogenbosch, The Netherlands
2010 Art Festival PLATINE, Art festival PLATINE, Cologne, Germany
2010 Breda Photo, International photo festival, KOP, Breda, The Netherlands
2009 City limits, Galerie 48, Breda, The Netherlands
2011 NIMK , ,
2010 TAG / Todays Art , ,
2008 ArtFZ , ,
2011 The Prologue, NIMK, ,
2010 Robert Overweg: photographer in the virtual world, Concrete, ,
2009 SHOT: documenting current spaces, Luxor, ,
2012 , ,
2011 Game-city, CBK, ,
2010 Art Festival PLATINE, Art festival PLATINE, ,
2010 Breda Photo, International photo festival, KOP, ,
2009 City limits, Galerie 48, ,
Myoung Ho Lee, , Ink on Paper, (H)620x(W)520mm, 2009
Myoung Ho Lee, , Ink on Paper, (H)620x(W)520mm, 2011
Myoung Ho Lee, , Ink on Paper, (H)620x(W)520mm, 2011
Myoung Ho Lee, , Ink on Paper, (H)1040x(W)1520mm, 2012
Myoung Ho Lee, , Ink on Paper, (H)1040x(W)2160mm, 2013
Myoung Ho Lee, , Ink on Paper, (H)360x(W)360mm, 2010
Myoung Ho Lee
Birth. 10th July 1975, Seoul, Korea
Occupation
Artist. Photography / Related Media
Professor. Dept. of Photography, Kyungil Univ., Kyungsan, Korea
Education
2012. Studying Ph. D. Course, Dept. of Photography, Graduate School of Joong-Ang Univ., Seoul, Korea
2006. MFA, Dept. of Photography, Graduate School of Joong-Ang Univ., Seoul, Korea
2003. BFA, Dept. of Photography, College of Arts, Joong-Ang Univ., Seoul, Korea
Solo Show(Selected)
2013. 10. 17 11. 08. 798 Photo Gallery, Beijing, China
2012. 06. 07 07. 08. Jungmiso, Seoul, Korea
2010. 05. 05 06. 06. Sungkok Art Museum, Seoul, Korea
2009. 03. 19 04. 18. Yossi Milo Gallery, New York, USA
2009. 02. 03 02. 05. National Art Studio, Seoul, Korea
2008. 10. 16 11. 19. Zandari, Seoul, Korea
2007. 05. 25 06. 20. Factory, Seoul, Korea
Group Show/Project(Selected)
2013. Venice Biennale, Venice, Italia
2013. Seoul Photo, Seoul, Korea
2013. Garosoogil Project, Seoul, Korea
2013. Sungkok Art Museum, Seoul, Korea
2012. National Museum of Contemporary Art, Seoul, Korea
2012. Images, Vevey, Swiss
2012. Art Link, Tel-Aviv, Israel
2008. Take Out Drawing, Seoul, Korea
2008. Space Dot One, Jeju, Korea
2012. Moran Museum of Art, Namyangju, Korea
2012. Gwangju Museum of Art, Gwangju, Korea
2012. National Museum of Contemporary Art, Seoul, Korea
2011. Lima University Museum of Art, Lima, Peru
2010. Seoul Museum of Art, Seoul, Korea
2011. Pohang Museum of Steel Art, Pohang, Korea
2011. Yossi Milo Gallery, New York, USA
2011. Gyeonggi Museum of Modern Art, Ansan, Korea
2011. J. Paul Getty Museum, Los Angeles, USA
2010. Seoul National University Museum of Art, Seoul, Korea
2010. National Taiwan Museum of Fine Arts, Taipei, Taiwan
2010. Seoul Museum of Art, Seoul, Korea
2010. Kyoung Book National University Art Museum, Daegu, Korea
2010. Daegu Culture and Arts Center, Daegu, Korea
2010. Palais Rameau Museum, Lille, France
2010. Fuglsang Kunst Museum, Odense, Denmark
2010. Jeju Museum of Art, Jeju, Korea
2010. Incheon Art Platform, Incheon, Korea
2009. PPP, Phnom Penh, Cambodia
2009. Brandt Museet for Fotokunst Odense, Denmark
2009. Seoul Museum of Art, Seoul, Korea
2009. National Art Studio, Seoul, Korea
2009. James Cohan Gallery, Shanghai, China
2009. The Museum of Photography, Seoul, Korea
2008. Kumho Museum of Art, Seoul, Korea
2008. Take Out Drawing, Seoul, Korea
2008. Kiyosato Museum of Photographic Arts, Kiyosato, Japan
2007. Seoul City Gallery Project, Seoul, Korea
2007. Dong-Kang Museum of Photography, Dong-Kang, Korea
2007. The Central Academy of Fine Arts, Beijing, China
Award/Grant/Artist-In-Residence-Program(Selected)
2013. Culture & Arts Fund, The Arts Council Korea
2012. Culture & Arts Fund, The Arts Council Korea
2011. Culture & Arts Fund, The Arts Council Korea
2010. Artist Support Program, Seoul Foundation for Arts & Culture, Seoul, Korea
2009. Artist of Tomorrow, Sungkok Art Museum, Seoul, Korea
2008. National Art Studio, The National Museum of Contemporary Art Korea
2007. Culture & Arts Fund, The Arts Council Korea
2006. Photograph Critique Award, The Committee of Photograph Critique Award
Collection(Selected)
J. Paul Getty Museum, Los Angeles, USA
Kiyosato Museum of Photographic Arts, Kiyosato, Japan
The Royal Library, Copenhagen, Denmark
Seoul Museum of Art, Seoul, Korea
National Museum of Contemporary Art, Seoul, Korea
Hermes, Paris, France
Air France, Paris, France
BES(Banco Espirito Santo), Lisbon, Portugal
Progressive Insurance Corporation, Cleveland, USA
Fidelity Investment Group, New York, USA
Statoil Art Collection, Oslo, Norway
Gyeonggi Museum of Modern Art, Ansan, Korea
Sungkok Art Museum, Seoul, Korea
Seoul National University Museum of Art, Seoul, Korea
First College Museum of Art, Suncheon, Korea
Kyungil University Library, Daegu, Korea
Byul Collection, Seoul, Korea
Kolon Group, Gwacheon, Korea
Eagon Industry, Seoul, Korea
Hana Bank, Seoul, Korea
Deutsche Bank, Hongkong
Louis Vuitton, Paris, France
Paranoia Film Production, Los Angeles, USA
Amana Holdings, Tokyo, Japan
KPX, Seoul, Korea
Art Bank, Seoul, Korea
(Myoung Ho Lee)
' ' ,
'FOAM' . 2006 ''
, 2007 '' (2009),
(2010), (2012) . 798
. LA (2011) ,
.
, , ,
LA .
1975 .
, .
Yeonju Sung
Wearable Food 1x1qx17x1=1
2013. 5. 15 ~ 6. 8gallery imazoo
20 12 AAn Tower b1, 02-557-1950
www.imazoo.com
YEONJU SUNG , Cheese
< Wearable Food 1x1qx17x1=1 > 2013 5 15 6 8
.
.
,
. -
.
.
.
.
.
,
( )
. ,
.
.
. .
, ,
.
.
.
.
, ,
,
, ,
, .
- , ,
.
YEONJU SUNG , Jamong2
YEONJU SUNG , Crab stick, Pigment Print
YEONJU SUNG , Spinach, Pigment Print
YEONJU SUNG , Red beet, Pigment Print
YEONJU SUNG , Bamboo shoot, Pigment Print
YEONJU SUNG , Oriental melon, Pigment Print
YEONJU SUNG , Pasta, Pigment Print
YEONJU SUNG , fragrant mushroom, Pigment Print
1986
2010 .
2013 Wearable Food 1x1qx17x1=1 ,
2012 Art Process_ CSP Art space
Wearable foods by Yeonju Sung_STUDIO AKKA IN H PROJECTs_Milan, Italy
Earthly Paradise : Displaced Realities _Pacific Design Center, LA, USA
2011 Romantic Winter with Artist Yeonju Sung_ Gallery Bandi Trazos
2009 Wearable Food_ ,
_ ,
2013 _ the K ,
2012 _
Knock! Knock! _Bandi Trazos Shanghai, China
2011 Wearable Food | Be Artistic_
Ahn-nyung | Hello_ Lebasse Projects gallery in culver city, LA
Gem_LAAA 825 gallery, LA
Momentum_ LeBasse Projects gallery in China town, LA
[Food: Food]_,
Edition Pop-up_,
Art fair
2010 _ ,
KIAF_ ,
ART EDITION_ ,
2011 Shanghai Art fair_ Shanghai, China
KIAF_
ART EDITION_SETEC.
2012 Palm Springs Fine Art fair VIP Lounge, CA, USA
Kunstart21, Bolzano Art fair, Italy
Asia top gallery hotel art fair, Westin Chosun, Seoul, Korea
/ / / 500 /
YEONJU SUNG
09.29.1986 Seoul, South Korea Born in Seoul,
2010 . B.F.A. Dep. of Painting, College of Arts, HongIk University, Seoul, Korea
[Solo Exhibitions]
2013 Wearable Food 1x1qx17x1=1 , Gallery Imazoo, Seoul
2012 ART PROCESS_csp111 gallery, Seoul
Wearable foods by Yenju Sung_Studio AKKA in H PROJECTs_ Milan, Italy
Earthly Paradise : Displaced Realities_ Pacific Design Center, Los Angeles, USA
2011 Romantic Winter with Artist Yeonju Sung, Gallery Bandi Trazos, Seoul
2009 "Wearable Foods", Gallery Young, Seoul
"The Image Between Reality and Non-Reality", Mok-Ho Cultural Center, Ulsan, Korea
[Group Shows]
2012 Tasty World, Yang Pyeong National museum, Yang Pyeong, Korea
Knock! Knock!, Bandi Trazos Shanghai, China
Yummy Yummy, Gallery Golmok, Itaewon Seoul, Korea
Fashion Holic, Galleria centercity Department store, Chun An, Korea
2011 Wearable Foods| Be Artistic_Sheraton Walkerhill Hotel
Ahn-nyung | Hello_ LeBasse Projects gallery in culvercity, LA
gem_LAAAA 825 gallery, LA
"Momentum"_ LeBasse Projects gallery in Chinatown, LA
[Food : Food]_Lina Gallery, Seoul
"Edition Pop-up", Interalia, Seoul
[ Art fair ]
2010 Asia Top Hotel Art Fair,The Shilla Hotel Seoul
Korea International Art Fair, Coex, Seoul
Art Edition, Bexco, Busan
2011 Shanghai Art Fair 2012_Shanghai mart, Shanghai, China
KIAF_ Coex, Seoul
ART EDITION_ SETEC, Seoul
2012 Palm springs artfair_CA
Kunstart21, Bolzano Art fair, Italy
Asia top gallery hotel art fair, Westin Chosun, Seoul
[Collections]
The National Museum of Contemporary Art, Korea / Crown Hatae / The Classic 500 / Konkuk University
Choi, Wonrak
II
2013. 5. 17 ~ 5. 29BAEDARI Photo Gallary
14-10, 070-4142-0897
www.uram54.com
Choi Wonrak
5, 6, 7
.
.
.
.
.
.
.
?
.
( 5 .)
KTX .
.
,
.
6~7 .
.
----
?
?
.
.
.
.
...
,
.
. .
.
.
.
.
Choi Wonrak
Choi Wonrak
Choi Wonrak
Choi Wonrak
Choi Wonrak
Choi Wonrak
Choi Wonrak
Choi Wonrak
Choi Wonrak
Choi Wonrak
Choi Wonrak
.
, .
.
,
.
.
.
.
. .
. .
.
.
.
.
?
,
,
,
.
.
.
.
.
CHOI WONRAK
1955
, , , ,
2010 ()
2012 ()
2006 ()
2007 Gallery bit()
2008 6 ()
2008 Festival ()
2009 7 ()
2009 ()
2011 ()
2011 ()
33
2013. 5. 18 ~ 7. 31(1), (2)
, , , , ,
, , , , ,
462-1, 02-396-8744
www
, series - 4, Pigment Print, 1996
5.18 , . .
5. 18 33 . 33 .
, . . 33
. 1980 ' ' '
' .
,
. 1980
5. 18 , , .
.
. 5. 18 ,
.
11
.
, . ' '
5. 18 " ", "
" .
.
.
.
,
.
1
. 5. 18 ( ), ( )
.
,
. 5. 18
.
5. 18 20 ,
,
, ,
5. 18
.
. .
5. 18 ' '
.
2 5. 18 .
| .
,
.
.
1
.
,
, ''
, .
.
.
, 5. 18 .
, 5. 18 1980 ,
'' | 5. 18
. , , .
, , Pigment Print, 1996
, Configurated_in_Accumulative_Space- , Archival Pigment Print, 150x189cm, 2007
, Configurated_in_Accumulative_Space- , Archival Pigment Print, 150x189cm, 2007
, - , Archival Pigment Print, 2011
, - 1-1 , Archival Pigment Print, 2011
, series - Forgetting Machines # II-01, Archival Pigment print, 65x90cm, 2009
, series - 1953.5.9 - 1980.5.23, Archival Pigment Print, 2006_2011
, Gwangju Story Plate. 43 , 1995 9 28
, Gwangju Story Plate. 48 , 1995 9 28
, seires, , Gelatin Silver Print, 1990
, seires, , Gelatin Silver Print, 1991
Curators Choice-Joanne Junga Yang
, Jaime Permuth
(Yonkeros)
2013. 5. 21 ~ 6. 2Ryugaheon,
7-10 / 3 4 , 02-720-2010
www.ryugaheon.com
Jaime Permuth, Untitled from the series YONKEROS, 2010
1 _
,
Curators Choice( ) 5 .
,
.
Curators Choice ,
.
(Jaime Permuth).
, The School of Visual Arts
ICP .
5 21 (Queens) (Willets Point)
.
. Junk()
, .
3
, 1
3 .
. .
, .
Curators Choice ,
. : 02-720-2010
Artist Statement
Jaime PermuthYonkeros
Yonkeros is a popular term for businesses that strip wrecked cars and sell them as scrap metal or for parts.
The term is a Spanglish derivative of junk, conjugated grammatically to refer to people who engage in this
line of work.
Yonkerosis a lyrical exploration of first world consumerism, waste, and obsolescence as they intersect with
third world ingenuity and survivalist strategies in the no-mans-land of Willets Point, Queens.
This series of photographs is both an appeal and a eulogy; the City of New York is determined to erase the
existence of this small enclave, not withstanding that it continues to provide an essential service to the
community and that it constitutes a source of income and employment to a segment of the citys immigrant
working class.
But above all, Willets Point is a vast inventory of parts, and like all catalogues it is also a poem.
Jaime Permuth, Untitled from the series YONKEROS, 2010
Jaime Permuth, Untitled from the series YONKEROS, 2010
Jaime Permuth, Untitled from the series YONKEROS, 2010
Jaime Permuth, Untitled from the series YONKEROS, 2010
Jaime Permuth, Untitled from the series YONKEROS, 2010
Jaime Permuth, Untitled from the series YONKEROS, 2010
Jaime Permuth, Untitled from the series YONKEROS, 2010
Jaime Permuth, Untitled from the series YONKEROS, 2010
Jaime Permuth, Untitled from the series YONKEROS, 2010
Jaime Permuth, Untitled from the series YONKEROS, 2010
Jaime Permuth, Untitled from the series YONKEROS, 2010
Jaime Permuth, Untitled from the series YONKEROS, 2010
Jaime Permuth
(Jaime Permuth) . 1991
Hebrew University , 1994 The School of Visual Arts
, 2009 .
MoMA, , , , , El
Museo del Barrio, , , Casa del Lago,
. The Polaroid Corporation, ,
, , , ,
.
The School of Visual Arts ICP: The International
Center of Photography , The Center for Creative Aging,
el Museo del Barrio, ICP, , , Maine
Photographic Workshops, .
Jaime Permuth is a Guatemalan photographer living and working in New York City where he teaches in the Master of Professional Studies in Digital Photography at the School of Visual Arts.
His photographs have been shown at several venues in New York City, including The Museum of Modern
Art, The Queens Museum of Art, TheBronx Museum of the Arts, The Museum of the City of New York, The
Jewish Museum, El Museo del Barrio, and The Brooklyn Museum of Art. He has also exhibited internationally
at the MuseoNacional de Arte Moderno in Guatemala, Casa delLago in Mexico City, and the Israeli
Parliament. Among others, his work is included in the collections of The Museum of Fine Arts Houston, The
Brooklyn Museum of Art, The Museum of the City of New York, Yeshiva University Museum, State University
of New York New Paltz, Art Museum of the Americas (DC), Fullerton Art Museum (CA) and Museum of Art
Ft. Lauderdale (FLA). He has received commissions from El Museo del Barrio, The Queens Museum of Art,
The Jewish Museum, and Queens Theater in the Park.
His first monograph entitled YONKEROS was published in 2013 by La Fabrica Editorial (Madrid).
Chang Nam
- The Sea and I The Inter-space
2013. 5. 22 ~ 5. 27INSA ART CENTER (1) 188, 02-736- 1020
www.insaartcenter.com
Chang Nam , Digital Pigment Print on Matte Canvas. 2012
Chang Nam , Digital Pigment Print on Matte Canvas. 2013
Chang Nam , Digital Pigment Print on Matte Canvas. 2013
Chang Nam , Digital Pigment Print on Matte Canvas. 2013
Chang Nam , Digital Pigment Print on Matte Canvas. 2013
Chang Nam , Digital Pigment Print on Matte Canvas. 2013
Chang Nam , Digital Pigment Print on Matte Canvas. 2013
Chang Nam , Digital Pigment Print on Matte Canvas. 2013
Chang Nam , Digital Pigment Print on Matte Canvas. 2013
Chang Nam , Digital Pigment Print on Matte Canvas. 2013
Chang Nam , Digital Pigment Print on Matte Canvas. 2013
Chang Nam , Digital Pigment Print on Matte Canvas. 2013
- --
- .
.
.
-
.
, .
.
.
.
-
.
. ,
.
.
.
The Sea and I The Inter-space -Chang Nam-
The Sea and I - To the physical inter-space, the roaring furious waves soon turn into the foams and scatter
into the air. The self-destructive waves conceived from the abyss of a huge sea tangled with the fierce
storms and the blizzards, like the absurdity of the Sisyphe, rise sky-high and struggle again with a great
desire then soon disappear into the infinite space. I have to draw the things, unknown and difficult to
express in words that surround the roots of life, from the silence and, as if Id talk to them, contemplate the
constantly changing and expanding nature and retrace the fading memories of the abyss.
The sea and I The inner inter-space, producing the poetic vision and the abundant satisfaction, brings out
the skein of the memories which are tangled with the desire drifting endlessly in the middle of the abyss
and the language of silence that made them swirl. Magic of the space, shelters me always, wakes me up
to the unknown feelings, and makes me to wonder endlessly with the new questions, that is the inter-
space. The sea flowing in the darkness is reproduced as the symbols of the irreducible senses through my
uncontrollable consciousness. Now, the sea existing in my sight is already beyond the physical reality, reveals
the images that are more decisive and concise, or rather metaphysical. The distorted colours, derived from
the consciousness, became pure and unique which are even incomparable with any intense light - some as
the sadness and the anger, some as the excitement and the passion, and sometimes as the comfort and the
peace diffuse with its own language.
The sea and I The close inter-space brings out the sediment of the memories which was compressed in the
inside and at the same time, unties the skein of insoluble consciousness such as a desire or an aspiration,
maybe lingering regrets or longings. And such a space requires me the incessant transformation of the
consciousness. The sea makes me to question endlessly to myself and encourages me with a sort of magical
power which enables me to find out invisible myself. Im perceiving the incessant existence of life and
dreaming of the future, and I encounter my another me who exists in between the undeniable reality and
the eternity of time. Thus, the sea unfolds the multi-facetted aspects of undisguised myself and the multi-
layered pieces of memories.
- - -
.
,
.
( )
.
.
?
. .
(re-presentation)
(imago) .
. , , , , , -,
.
.
.
,
.
.
.
() .
.
.
() ,
(Paul Klee)
(Francis Bacon) .
. (index)
.
-
. .
.
. .
(a a t)
. ,
,
.
.
.
.
.
.
. :
-
. .
,
. (...) .
.
.
-(sign-stimuli) .
-
.
.
,
.
(indexation) .
.
.
( )
. Paris, Perpignan (1990~1996)
France
2013 - , (, )
2010 , (, Gallery M )
2010 , (, )
2008 (, )
2007 (, )
2013 SOAF (, COEX))
2012 SOAF (, COEX)
2010 (, 315 )
2010 (, )
2010 1 - ()
2010 (, Hancock University Art &Design Center)
2009 (, )
2009 Seoul photo
2009 (, COEX)
2009 (, )
*
2010 ()
CHANG NAM
MFA in Photography, Chung Ang University Graduate School of Arts. Korea
Focused on Painting in France(1990-1996)
University of Perpignan. France
BFA in Panting, Kyung Won University. Korea
Studied at Kunst Doc Art Gallery & Institute. Korea
Instructor at Dan Guk University. Korea
Solo Exhibition
2013 "The Sea and I The Inter-space" ( Insa Art Center, Seoul, Korea )
2010 "I Saw the Sea" Invitation Exhibition (Gallery M, Seoul, Korea)
2010 "Speculative Sea'' Patronized Exhibition (Art Sagan Gallery, Seoul, Korea)
2008 "Illusion" (Cydream Photo Gallery, Seoul, Korea)
2007 "Hidden" (Bit Gallery, Seoul, Korea)
Group Exhibition & Art Fair
2013 SOAF (Coex, Seoul, Korea)
2012 SOAF (Coex, Seoul, Korea)
2010 Kyung Nam International Photography Festival (315 Center, Chang Won, Korea)
2010 Pingyao International Photography Festival (Pingyao, China)
2010 Korea-Russia Exhibition of Exchange(Russia)
2010 East Meets West (Hancock University Art &Design Center, L.A, USA )
2009 Portfolio Preview Beijing (Beijing, China)
2009 "In That Place" Seoul Photo
2009 (Coex, Seoul, Korea)
2009 "Dream" (Seoul Contemporary Art, Hangaram Art Museum Arts Center Seoul, Korea)
Award 2010 The Photographers of The Year
() ()
2013. 5. 22 ~ 5. 28gallery Now
192-13 3, 02-725-2930
www.gallery-now.com
Min Ja Chung ,Temptation01,115x106cm,Pigment Ink on Archival Paper,2011
:
.
.
.
.
.
.
.
.
.
.
.
power .
.
.
.
.
.
.
,
reality
.
.
.
.
.
.
.
.
.
Metonymy .
.
. ,
.
.
,
.
.
.
.
Min Ja Chung ,Temptation03,115x106cm,Pigment Ink on Archival Paper,2011
Yoon Hee Kim ,Drawing of Time II-Fish2,100x67.6cm,Inkjet print,2009
Yoon Hee Kim ,Drawing of Time II-Fish3,100x67.6cm,Inkjet print,2009
Jong Ok Kim , ,100x75cm,Inkjet print pine art papar,2012
Jong Ok Kim , ,100x75cm,Inkjet print pine art papar,2012
Yoon Hee Kim
1983.2
2001.2 ()
2011.2
2013 ,
2012 '2012 Contemporary Photography Program', ,
2011 SEOUL PHOTO 2011, ,
2010 ( ) , ,
2007 , ,
1980 Finders Family , ,
Jong Ok Kim
2011 , ,
2013 ,
2012 2012 "Contemporary Photography Program" ,
2011 2011 SETEC,
2010 ,
2009 NEW START (),
2009 ,
2008 ,
2007 ,
2006 ,
2005 ,
2004 ,
2003 ,
Min Ja Chung
2011 'Temptation' ,
2013 ,
2012 '2012 Contemporary Photography Program' ,
Jaeman Cho
Happy Underground
2013. 5. 22 ~ 6. 4Able Fine Art NY Gallery
127-3 1F , 02-546-3057
www.ablefineartny.com
Jaeman Cho , Gay 434, 120 x 80cm, Pigment Print on Fine Art Paper, 2008
Jaeman Cho , Gay 243, 120 x 80cm, Pigment Print on Fine Art Paper, 2008
Happy Underground _
Happy
Underground 5 22 Able Fine Art NY Gallery Seoul .
,
.
Happy Underground
.
Jaeman Cho , Gay436, Pigment Print on Fine Art Paper, 2008
Jaeman Cho , Transgender 531, 120 x 80cm, pigment Print on Fine Art Paper, 2011
Jaeman Cho , Transgender 433, 120 x 80cm, Pigment Print on Fine Art Paper, 2011
Jaeman Cho , Transgender 551, Pigment Print on Fine Art Paper, 2011
. ,
, .
,
. , ,
, .
, ,
.
. , ,
.
. . .
, .
. ,
. . .
, . ,
. .
, .
. ,
. .
,
. ,
. , ,
, .
, .
, .
.
, , .
.
-
Jaeman Cho
1983
1987
1998
1983 Graduated from Kyewon High School of Arts, GyeongGi-Do
1987 B.F.A in Drama & Film Chung Ang University, Seoul
1998 Studied in International Center of Photography, New York
Solo Exhibition
2013 Happy Underground, Able Fine Art Gallery, Seoul
2010 Another Scene behind Scene, Jangeunsun Gallery, Seoul
2008 In Plain Sight, F.T Art Gallery, Los Angeles
2007 Snap Life, Small Works Gallery, Las Vegas
2005 Small Wonder, White Room Gallery, Los Angeles
2003 Face of America, Yoshida's Gallery, Portland
Group Exhibition
2013 Special Exhibition , Able Fine Art Gallery, Seoul
2012 10 Curators & 10 Futures, Seoul Arts Center, Seoul
2011 Heaven, Earth , Man, Absinthe Gallery, Seoul
Touth, Kepco Art Center, Seoul
2010 Bling Bling Breeze, CSP 111 Art Space, Seoul
2009 Silence & Arrogance, C.T Gallery, Seoul
2006 Festival, Meyer Gallery, Park City, Utah
2005 Passion & Fashion, Philips Gallery, New York
2004 Asian Contemporary, Arthur Leggett Gallery, Vancouver
2002 America American , What's New Gallery, Seattle
Art Fair
2010 Seoul Photo, Seoul
2007 Palm Spring Photo Festival , CA
2005 Santa Barbara Art Fair, CA
2002 Photo LA, Los Angeles
STEPHANE FERRERRO
Intimit Urbaine / Urban intimacy
2013. 5. 22 ~ 6. 29Kyungpook National University Art Museum
80 , 053-950-7968
artmuseum.knu.ac.kr
Stephane Ferrerro, AT A GLANCE
STEPHANE FERRERROS PHOTOGRAPHY - Urban intimacy
. Urban
intimacy (2) , ,
. , ,
.
Urban intimacy At a glance 25 .
Urban intimacy .
Stephane Ferrerro, AT A GLANCE
Stephane Ferrerro, AT A GLANCE
Stephane Ferrerro, URBAN INTIMACY
Stephane Ferrerro, URBAN INTIMACY
I : Intimit Urbaine / Urban intimacy
, (Stphane Ferrero) (Urban)' .
2 (, , )
, . , , ,
. .
, .
, ,
(, , ) .
,
.
,
. ,
.
.
La ville pntre l'intimit de nos vies Nos histoires fantasmes ou relles sont crites en profondeur dans le
labyrinthe urbain, o les lignes des structures rpondent aux courbes des corps.
Avec sa srie de diptyques, Stphane Ferrero invite le public se promener travers trois des villes les
plus urbanises du monde chinois (Shanghai, Hong Kong et Taipei) et regarder travers les faades qui
composent la vie quotidienne de leurs habitants.
Ces villes hyper-matrialises peuvent encore donner un peu d'espace l'imagination et nous permettre de
pntrer dans l'intimit des vies subtilises derrire les murs.
"Intimit urbaine" nous questionne sur notre relation avec l'urbanit, dressant un parallele entre les
esthtiques corporelle et urbaine. L'exposition attire galement notre attention sur la part d'interprtation
inhrente la photographie puisque certains des modles fminins posant sont rels et d'autres sont des
mannequins-poupes. Cette astuce permet l'artiste de rappeler que la vracit des histoires devines n'est
pas un probleme...
II : Un regard / At a glance
,
. , : ?,
?
, -
, , , - .
.
.
. .
, .
Bas sur des instantans combins en triptyques, il s'agit d'une tentative d'exprimer ma vision du monde
chinois - principalement la Chine continentale, Hong Kong et Taiwan - un monde o je vis depuis de
nombreuses annes et que j'essaie toujours de saisir.
Avec ces triptyques, j'essaie de donner une forme visuelle mes sentiments.
Rassembler trois cadres autour d'un seul sujet ou emplacement me permet, partir de dtails, dapporter
une vision trs personnelle.
Les trois cadres interagissent afin dincliner vers diffrentes perceptions et de traduire divers sentiments de l
environnement urbain.
En un regard peut aussi tre vu comme un concept influenc par le cinma et le journalisme. Ces deux
domaines ont certainement affect mon travail comme dune part, je suis cinphile et que dautre part, jai
exerc le mtier de journaliste pendant plusieurs annes.
Un projet de photographie de Stphane Ferrero
, . 2007
, , , ,
. , (
).
Exhibitions
2013
King Gallery, Taipei, Taiwan, United in differences, group exhibition
2012
O-Gallery, Shanghai, China, Urban Intimacy, solo exhibition
2010
Zhejiang International Arts Exchange Museum, Yiwu, China, China-France Arts Exchange Exhibition, group
exhibition
Alliance Franaise, XiAn, China, At a glance, solo exhibition
Casa de Portugal, Macau, 2010 Borderless Arts members Exhibition, group exhibition
Alliance Franaise, Chonqqing, China, At a glance ... China-s, solo exhibition
Dada Bar, Shanghai, China, Shanghai Photographer Night 3rd Edition, Shanghai feeling, group exhibition
Alliance Franaise, Jinan, China, At a glance ... China-s, solo exhibition
2009
Osteria, Shanghai, China, At a glance ... , solo exhibition
Alliance Franaise, Dalian, China, At a glance ... China-s, solo exhibition
Alliance Franaise, Hangzhou, China, At a glance ... China-s, solo exhibition
St Paul Corner Gallery, Macau, 2009 Borderless Arts members Exhibition, group exhibition
2008
B H Gallery, Macau, 2008 Spring group, group exhibition
Soohee Jung
Nameless Places
2013. 5. 22 ~ 5. 28GALLERY LUX
185 3F, 02-720-8488
www.gallerylux.net
Soohee Jung , Nameless Places #1 50x50cm Archival Pigment Print 2010
.
tv ,
. .
.
, , ,
. ,
. .
.
I was born and raised in the city but it's strange to me.
Although we usually feel happy through the actors from TV, watching TV is actually the absence and
severance of communication like illusion. Because we often face with this situation in the city. City is newly
and conveniently developing everyday. On the other hand, we can see the pressure of modern people who
are afraid of the late preparation for tomorrow.
The shouting of many signs, artificial light brightened in the night like in the daytime and the deep shadow
which is made by fancy and high buildings. All of these make a hard life. I had to find out my own place for
healing myself and standing against my living foundation where I cannot be away easily. The project, is started from finding little breaks through walking in the city. And I hope it makes the
urban people, who is living in the same age, happy.
Soohee Jung , Nameless Places #2 50x50cm Archival Pigment Print 2010
Soohee Jung , Nameless Places #3 50x50cm Archival Pigment Print 2010
Soohee Jung , Nameless Places #4 50x50cm Archival Pigment Print 2013
Soohee Jung , Nameless Places #5 50x50cm Archival Pigment Print 2013
Soohee Jung , Nameless Places #6 50x50cm Archival Pigment Print 2012
Soohee Jung , Nameless Places #7 50x50cm Archival Pigment Print 2012
Soohee Jung , Nameless Places #8 50x50cm Archival Pigment Print 2012
Soohee Jung , Nameless Places #9 50x50cm Archival Pigment Print 2011
Soohee Jung , Nameless Places #10 50x50cm Archival Pigment Print 2012
Soohee Jung , Nameless Places #11 50x50cm Archival Pigment Print 2013
Soohee Jung , Nameless Places #12 50x50cm Archival Pigment Print 2013
Soohee Jung , Nameless Places #13 50x50cm Archival Pigment Print 2013
Soohee Jung , Nameless Places #14 50x50cm Archival Pigment Print 2013
Soohee Jung , Nameless Places #15 50x50cm Archival Pigment Print 2013
Soohee Jung , Nameless Places #16 50x50cm Archival Pigment Print 2013
Jung soo hee
2012
2008
2013 ,
2012 post photo,
2010 post photo,
2012 Photograhpic design, Hongik Universty Graduate school of Industrial Art Korea
2008 Visual communication design, KyungwonUniversity
Solo Exhibition
2013 Nameless Places, Gallery Lux, Seoul
Group Exhibition
2012 Post Photo, Topohouse Gallery, Seoul
2010 Post Photo, Topohouse Gallery, Seoul
YongHwan Lee
2013. 5. 23 ~ 6. 2 & V
YongHwan Lee , 65x43cm, Civilization series, Pigment print, 2009
YongHwan Lee , 156x110cm, Political landscape series, Pigment print, 2011
(trompe-l'oeil)
.
(acte photographique) .
,
.
, ()
YongHwan Lee , 90x90cm, Political landscape series, 2013
YongHwan Lee , 120x90cm, Political landscape series, 2013
YongHwan Lee , 65x43cm, Civilization series, Pigment print, 2009
YongHwan Lee
2010
, , 2011
, , 2000
, ,1996
, -,1995
Selection, , 1983
() .
.
.
. .
, .
.. .
Political Landscape intends to present the aimed spot where peoples relative relationship and the ways of
desire meet each other. A political agenda is not realized by using a direct order but interest groups make
them obey by themselves for their own desire.
One day I found the fence screen for subway construction in front of my house was covered with a
landscape photo. This long forest running through the city started filling every space of the city in an
instant. Such virtual space became to be deployed in the real world and coexist with it. Now, as virtual space
becomes a daily life in the reality, artificial nature begins replacing the real nature in every urban space. My
photos are standing at the point where they are giving interference each other in the social, political and
economic aspects including my personal daily life.
Kim, Soonin
Sensibility-inside
2013. 5. 23 ~ 6. 5GALLERY illum
2 51-13 2 , 02-2263-0405
www.galleryillum.co.kr
, . .
. .
. ,
, .
. 2~3 .
.
. .
, - .
, .
. ,
. ,
.
, , . ,
.
.
. , . ,
. ()
-. , ,
. , .
. ,
. , .
TOYOTA PHOTO SPACE
Cha, KyoungHee
,
2013. 5. 24 ~ 7. 15TOYOTA PHOTO SPACE
299 ,051-731-6200
www.toyotaphotospace.org
KyongHee Cha , , , , pigment print, 125x150cm, 2007
2010
, .
.
. 2013 1 4 .
,
.
.
.
. 2013 4
, , .
2013 .
, , .
. 2002
, , ,
.
, . ,
. ,
. . .
.
,
. , ,
.
.
. ?
?
.
. .
. .
, . , ,
.
. ,
.
.
KyongHee Cha , , , , pigment print, 100x120cm, 2007
.
.
.
. .
.
: TOYOTA PHOTO SPACE
KyongHee Cha , , , , pigment print, 100x120cm, 2007
KyongHee Cha , , , , pigment print, 125x150cm, 2011
KyongHee Cha , , , , pigment print, 125x150cm, 2006
KyongHee Cha , , , , pigment print, 100x120cm, 2008
KyongHee Cha , , , , pigment print, 100x120cm, 2012
KyongHee Cha , , , , pigment print, 125x150cm, 2011
KyongHee Cha , , , , pigment print, 125x150cm, 2007
KyongHee Cha , , , Pigment Print, 100x120cm, 2004
KyongHee Cha , , , Pigment Print, 125x150cm, 2004
KyongHee Cha , , , Pigment Print, 100x 120cm, 2004
KyongHee Cha , , , Pigment Print, 125x150cm, 2004
KyongHee Cha , , , Pigment Print, 100x120cm, 2004
KyongHee Cha , , , Pigment Print, 100x120cm, 2006
KyongHee Cha , , , Pigment Print, 100x120cm, 2004
KyongHee Cha , , , Pigment Print, 100x120cm, 2006
,
,
,
. .
,
.
.
.
. .
.
, .
.
.
,
.
.
,
.
,
.
2013
,
, .
.
.
,
.
,
. .
5,
.
?
?
.
.
,
,
.
2006
The Ground
It might be that if we love someone beyond
measure,then even death falls in that love and
forgetshis own duty, leaving the person whomhe
ought to perish alive, as vividly as the person was
in his lifetime. And this might be what you call the
photographic image.
Excerpt from Kim JinyoungsSilent Days.
The series named The Ground began with my
effort to comfort myself after losing my sister. His
death was an accident that taught me that how to
take a step forward in everyday life could determine
life and death. I have no choice but to miss the time
that we shared together, but on the other hand, it
remains in my memory as a different being, telling
me that death is not disappearance but another
form of being alive. What was it that was shown to
her lying in her last bed? Was our house seen by her
eyes?When man dies, he returns to the dust. I left
for the natural landscape that includes the dust in
which the deceased is living.
During working on this project, I found that the
natural scenery, living space, and the space of death
in each region arejoined together as one. In this
sense, I tried to observe the objects in nature from
the point where I could show them equally, rather
than to focus on only one of them. I was attracted
by none of them. I just looked into and conform to
every capillary vessel of nature. And by representing
the four seasons in elegant colors, I tried to unite
nature, the living space of the survivors, and the
grave as the residence of the dead. In my works,
the term Ground,here, means both the abode of
the deceased and the place of living, and the grave
placed in Groundworks as a mediator between the
living and the dead. This series,The Ground, was
intended to show that life and death, or the world
of life and that of death, are neither separated nor
walled; but rather, there is a continuation between
them, for both are living together by picking out
their own Ground. 2013.
Foreshore
Even several years ago, there used to be a mudflat
here where fishermen were catching fish at high
tide and women were gathering shellfish at ebb
tide. One day, a great number of life forms in this
place suddenly disappeared with the sea. However,
these dry and cracked vestiges of the sea, where
nothing seems to survive, began to be inhabited
once again by new life forms: small sea crabs dig
holes to build their home andthe populations of
Suaeda japonica, a plant that grows on salt marshes,
put forth flowersassiduously.In springtime, it rises
again and again no matter how harshly you trample
upon them, and easily crumbles to pieces even by
the most careful step when summer is over and fall
comes. And then, it waits for spring again.
I came here for the first time in last May when spring
is almost gone, and stayed here watching the last
season. Did this place offer the shelter of comfort to
me who had been trampled upon by the heavy foot
of life? How much time and oblivion will be needed
to be able to wait for beauty after once losing it? I
learned the tremble of life and what waiting is from
all the living things in this barren land, or the mere
vestiges of the sea. I found the beauty of life in
them who are week but proudlypay for their life. As
the thrown-away gloves, boots, and shells tell you
about the past time of this land and the life forms
living here about today, these photographs will talk
about the time of my youth in which I aspired to live
as passionately as any other person. 2006.
. .
.
. . .
, ,
. .
.
,
. .
.
.
. , , , .
. ,
, . , ,
, . , ,
.
. ,
.
,
. , .
.
.
, . ,
.
,
. .
. ,
.
.
, , R. .
. ( ).
. , .
,
.
. . .
. ,
. ,
, .
.
.
. .
. . ,
. , ,
. . , . ,
. . . .
. , ,
. .
. , . ,
. ?
. .
. .
. ,
.
. .
. , .
, .
.
, , .
, .
. ,
, .
.
.
. .
.
. . .
. , , , , .
. , .
, .
(Acedia) (Vita Nova) .
. ,
, . .
.
. .
The Ground A Long-distance Gaze or the Alchemy of a Grave
The series titled by Cha Kyounghee features photographs of graves. It is not uncommon
for photographers to choose graves as their subject matter, for so many photographs of graves have been
so far taken with various themes. Nevertheless, there is still something unusual in this photographers eye
capturing the image of graves with the lens. She does not shoot them at close range: rather, her subjects
are photographed from a distance as long as possible. The graves trapped by that long-distance gaze are
almost covered by or sink into the landscape filling up the entire frame, not standing out as in other pictures
of graves. Inotherwords, she intentionally De-subjectizes the subject with the long-distance gaze. This gaze
of de-subjectificationseems to closely relate to the artists unique way of not only approaching the subject,
but also composing the framethat is, how to make the photographic space multi-layered. The gaze, in her
pictures, transforms the photographic space into a dialectical one in which the subject is at once covered
and revealed and therefore, in this complicate space, her graves go far beyond the level of a mere visual
subject to become a polysemous sign that requires careful reading. In this sense, the understanding of this
photographic series would be a matter of understanding of this polysemy of her sign. Then, what does this
sign of a grave mean?
I would like to first read her pictures of graves from the ontological perspective. And I am attracted by her
new gaze on the interrelationship between life and death. In her gaze, the grave is no longer the abode
of death, or the outside of life, as is commonly believed. Rather, it comes into the very inside of life and
experiences all that life undergoes. As life goes passes the seasons, so the grave passes spring with peach
blossoms pink on the branches, and winter covered with snow. As life is present in all spaces, so the grave
is also domiciled in a field, on the seashore, or near someones house. Occasionally, for example, a grave,
placed on the top of a slope on one side of the road, looks like a house built by someone who is living there
and watching passersby through the window. Nevertheless, the ontological peculiarity of these photographs
does not found only in the internalization of the grave in life. With a closer look at them, you may found
that the grave, looking like a trivial detail in the landscape, shows itself as a dominating element. The
images, in which the screen of the mountain mist evokes the ancient memory, may lead you to think, not
that the landscape includes the grave, but that the former is being created from the latter. If these pictures
could be regarded as ontological, it is a paradoxical ontology.
Next, I look at her pictures of graves from the psychoanalytic perspective. And the graves captured by her
long-distance gaze read as the sign of Mourning. Freud, who rounded out the concept, explains mourning
as the libidinal movement in which the grief of bereavement, or losing a loved one, gradually returns to life
and completes healthy detachment from the deceased. However, the photographers grave seems to be
connected with some other type of mourning: it seems closer to Proustian mourning than to Freudian one.
For Proust, mourning is not to achieve a parting from the deceased, but the work of memory to incorporate
the deceased within it for the purpose of not forgetting him, or to put it another way, burying him not in
the grave under the ground but in that in the heart. Chas sign of a grave carries out the similar function.
Her graves that seem to become entirely part of nature, living together with the living in the time and space
of life, resemble more the image of recollection and forgetfulness to keep the deceased in our life, than that
of parting and oblivion. If is mourning photography, her graves would not to be found in
natural space but be the ones in her heart that she personally built inside of herself.
Finally, I read Chas sign of a grave from the meta-theoretical perspective that deals with the photographic
image itself. As is widely known, it was Ronald Barthes who delved into the intimate relationship between
the photograph and a grave more than anyone else. He understands the photograph as the image that has
a double relationship with death. The photograph is essentially the image of death (death is the eidos of
that photograph), for it is the result of transforming what is living and moving into the image of death,
as still as a dead body. On the other hand, it also represents the Return of the dead. The photograph as
an indexical image is the visual record of Being alive then and there, or the image of the reviving past, or
the return of Having been alive then in the gaze of the beholder. This persuades us to read Chas sign of
a grave as a signifier that implies another special meaning. The photographer takes pictures of graves, and
by doing this, she represents the grave space as the photographic one. This representation, however, does
not simply mean the conversion of the object to the image. If is mourning photography, her
photographic practice will have another special meaning. This is because, if the photograph is the space
of the living past, the grave that turned into a photograph is no more the space of death and recollection,
but a magical space in which the dead is still alive and returns to the present. In a sense, her photographic
behavior may be described as the practice of alchemy to change the grave into the abode of the living,
not that of the dead. But this alchemy of grave and photography is not allowed to everyone. It is only the
gaze of love to build a grave in the heart and keep the deceased in it that makes the alchemy possible. The
photographers love seems to be still ongoing.
Foreshore From Acedia to Vita Nova
The series titled by Cha Kyounghee features look like those of acedia: the dreary and dry
landscape of mind. This may be why all things are low in her photographic space divided into three sections
such as the sky, the ground, and the in-between space. The ground is low; the leaden sky is low; even the
grass is low, as if it stopped growing. These low spaces are empty. Not only the sky, but also the ground, is
empty. While you can see the grass coming out, it is too small to fill the space. An empty space tells no tales.
Of course, the photograph, by nature, tells no tales, for the image has no mouth. However, the reason of
the silence of her photographs seems to be different: it feels not as having no words to say, but as being
at a loss for words, possibly because of its empty desolateness and dryness. Then, is it only an auditory
hallucination that you can hear from her pictures? An auditory hallucination is another kind of hearing to
hear the inaudible. If you are to hear the silence of the speechless photograph, you can hear it only as an
auditory hallucination. So, it also seems that there are some sounds in her photographs. But what are they
at all?
My first auditory hallucination is the Sound of erasing. This emptiness is regarded, not as something that
has been so from the beginning, but as the result of erasing and removing things placed on the ground.
This is particularly true of the white clay ground. The white plane, of course, may be attributed to the
geological feature. However, if presents the landscape of acedia, this white ground appears to
be a bleached surface, not because of the particular kind of soil, but because the shapes and colors that had
been there were destroyed and wiped out. The same goes for the sky. The gray sky looks like the
empty air that is left by erasing and bleaching the clouds that may have been there. The next sound that I
hear is the Cracking sound. The white ground is not only bleached, but also cracked, or broken. This may
be also due to the barrenness of the land or the effects of the climate, but the cracks and splits still seem
to be resulted from some action applied on the surface. It is the black holes made between the cracks that
help you to guess what the action was. The fissures were not created of their own accord, but made by
someone who made holes on the dry land, or who dug into the ground to go under it. So, I subsequently
hear the Digging sound. The subtle and grotesque shapes of chasms suggest that the work of digging and
boring should be a painstaking and persistent task. The shapes are read and understood, not as images,
but as hieroglyphic characters, and perhaps because of this, the next sound that comes to my ears is the
Bubbling sound. You can hear it only after you perceive water streams in the frame. And only after that,
you can grasp the relationship between the image of the white land marked by dry cracks and that of damp
ground with streams of running water. The chasms and pores on the white ground may remind you, not of
a mere natural phenomenon, but of the creeping motion of a thirsty earthworm that tries to move through
the dry surface of the ground to get back to the underground swamp area. For the photographer, a river
may not be a stream of water running on the ground. Rather, it may be underground water that you meet
after boring into the dry land and getting down to the bottom. If so, it would be quite natural that the
image of the white ground with persistent holes is followed by that of a wet land with running water on it.
Finally, I hear the Sound of growing up. This becomes louder and louder. The sound of weeds that grow in
poverty on the dry white land is followed by that of wet ground with running water going here and there,
and again followed by that of weeds and flowers on a green field. The sounds of erasing, cracking, digging,
bubbling, and growing. In this way, her landscape photography of becomes full of sounds: it is
the landscape photography of sound.
Nevertheless, there is still another sound in her landscape. It is the one heard from the inside of the sounds,
that is, the sound of the various sounds changing and moving. If is landscape photography
of sound, the understanding of it would be the matter of recognizing the path of the movement of these
sounds. As far as I comprehend, the path leads from acedia to vita nova: the course of life from the dried
and dreary land of acedia to the land of vita nova where new life is discovered and grows. It seems that,
for some unknown reason, the photographer may have been seriously ill and therefore, gathered the
landscapes of the white ground, swamps, and grassland with her camera. Possibly, while collecting those
landscapes, she may have unconsciously walked along the path of the hurting heart, that is, the lifes
trajectory from acedia to vita nova. And could there be anyone who is ignorant of this path on which the
human life walks?
Kim Jinyoung Art Critic, Chairman of the Standing Committee ofAcademy of Philosophy
Cha Kyounghee
1973
2008
2005
2003
2013 , , ,
2009 10 , ,
2009 21C , , ,
2008 The 809 International New Image Art Festival,
the 809 international art residencies,
,
2007 , ,
2007 , ,
2006 , ,
2005 7 , ,
2005 View-point, ,
2005 , ,
2005 7 ,
2002 1 ,
2009 , ,
ACADEMIC DEGREES
2003 Photography, Paekche Institute of the Arts
2005 B.F.A Fine Art Photography,
Chungang University
2008 M.F.A Fine Art Photography, Graduate School
of Chungang University
SOLO EXHIBITIONS
2013 The Ground of Living, The Space of the
Inbetween,
Cheongsajin Project for Supporting Young
Photographers, Toyota Photo Space, Busan
GROUP EXHIBITIONS
2003 Femininity in the Photographs planned by
Yeonggwang Gallery, Seoul, Korea
2005 View-point planned by Seoshin Gallery,
Jeonju, Korea
2005 Sajinbipyong Awards Exhibition, Gallery Lux,
Seoul, Korea
2006 Central University for Nationalities Exchange
Exhibition,
Museum of Art Central University for
Nationalities, China
2007 Chungang Art Festival, Gallery Hyun, Seoul,
Korea
2007 Portraits of the Big Cities planned by Seoul
Guarantee Insurance Co., Ltd. Seoul, Korea
2008 The 809 International New Image Art Festival,
The 809 International Art Residencies,
Yichang, China
2009 21C New Silk Road, The Korean Cultural
Center, Beijing, China
REWARDS
2002 Grand Prize, The 1st National College Photo
Contest hosted by Bingrae
2005 The 7th Sajinbipyong Awards-Iphos
COLLECTION
2009 Korea Center for Korean Embassy, Beijing,
China
Kook Jiwon
Tree, Tree
2013. 5. 30 ~ 6. 5Morris Gallery
397-1, 042-867-7009
www.morrisgallery.co.kr
Kook Jiwon
Kook Jiwon
Kook Jiwon
Kook Jiwon
Kook Jiwon
Kook Jiwon
Kook Jiwon
Kook Jiwon
Kook Jiwon
Kook Jiwon
Kook Jiwon
( , )
. .
.
? .
. ."
. . .
.
, .
.
. ,
.
. .
. 2005, .
,
.
.
! .
.
. ?
.
.
. .
,
( ) .
45 . (, Equivalent)
,
.
. ,
.
, , .
, .
,
. ,
.
.
.
.
,
. ,
, .
.
() . .
, .
, ,
.
.
Tree Not Losing Its Way
By Cho Sang-young, Ph.D. in Fine Arts & Art Critic
I
A man loses his way at times because his body is dominated by his idea. In other words, if his idea spreads
to his mind, his body is moved by the energy. The following are some lines from a drama that caused quite
a stir in Korea a few years ago.
What would you like to do if you were born again? Id like to be a tree. I would be a tree that never moved
again once rooted. And so, I would not part with anyone again.
The tree does not lose its way since it never moves once it takes root. The place where it was born becomes
its cradle and grave. The tree does not need to look for something to eat as men and animals do. If a seed
falls in the place where the tree is dead, a new tree comes into being with the compost of the dead tree.
This can be referred to as the resurrection of the tree.
The general public may feel the tree is a fool standing vacantly without thinking. They can not think that
the tree communicates and collaborates with other trees to defeat the enemy, feeling some emotions.
However, if trees are in an eco-system through which they communicate, think, and act. If trees have to
live on weather forecasts as humans do, just one of the trees could not survive. The trees have survived for
many years without losing their way.
II
Artist Kook Ji Won photographs such trees. Her first solo show titled Reason for Coexistence took place
in 2005. The works exhibited at the show were black-and-white photographs featuring those standing
vacantly before the models enlarged images entirely displayed over department stores and busy streets,
typical spaces of consumption. With these works, Kook intended to encapsulate her observation and
intuition in her angles and printing paper, conveying her messages. The photographs were the results of
her first attempt to seriously consider human existence and identity in consumer society. While her previous
photographs captured those standing vacantly by the enlarged images of the models, her recent pieces
feature trees or woods. Works on display at her second solo exhibition are titled Tree, Tree. Her works
remind viewers of those losing their eternity between the tree of life and the tree of the knowledge of
good and evil. Her eyes toward the trees seem to be something special.
It is hard to photograph a momentary situation, and photography itself often involves endless waiting.
Pressing the shutter of a high-priced camera is not all that is required of photography. Explorations of many
sites and comprehensive viewpoints are necessary for photographing. With this the expression of fashioning
photographs is more often used than taking photographs. Photographers aspire to capture the mind and
become a spiritual mirror for viewers (or consumers), transcending the stage of empathy through the
camera.
Four or five years ago Kook came to have common feelings with the tree. Her equivalent empathy with the
tree -that is, her identifying herself with the tree--signifies her endeavor to communicate with the others
alongside her respect for the place where each tree stands. This equivalency accounts for the perspective
she has before a tree is chosen as the subject of her angle. This feature now seems to be an element easy
to apply to her work as her specific artistic possession. In her work, a tree appears as her altar ego, so we
may consider that the tree sees her, instead of her seeing the tree. Kook captures the contrasts of mountain
ridges and lines of trees and forests after going around the Daecheong Dam, mountains and seashores of
the Jeolla area, thereby stimulating viewer sensibility.
Living men, animals, and plants are all in the continuous moments of choice. The number of trees she
captures in photography gradually increases, which is interpreted as a phased expansion to a forest. Some
trees are set on the background of clouds or under bright light, and others are intentionally out of focus.
This seems to be a reflection of her solid will to internalize her unperturbed independence, signifying her
self-pity and questioning about her own identity. The two trees resembling human faces and the rough
spread of a hypnotically shaking forest may be metaphorical representations of an aspect of human affairs
and the moment of communion humans undergo when they overcome a rainstorm through mutual
reliance. The tree whose bright color stands out among the forest of other trees seems to connote some
momentary attraction that someone who is entrusted with a spherical mission in our gloomy lives goes
through when he navigates toward a significant life.
III
All activities of the tree are derived from the hormone secreted in accordance with the intellectual signal
system rather than being carried out by chance. Even though the tree undergoes the inconvenience of
immovability and sufferings by the seasons, it never stops communicating with the earth, the sky, and the
atmosphere. The tree is thus replete with its will for life and ampleness to form a forest, a complete world.
The tree is abounding with soulful movements, moving beyond its biological growth. This means the tree
has sufficient wisdom. The artist learns humbleness from the tree, willingly reflecting the trees will for life
and ampleness. As if extracting formative order from the woods densely entangled with trees, she wants
to experience the beginning and end of the order, posing the question as to why she is dominated by the
order. Through this exhibition, it is hoped her existence becomes a tree not losing its way while growing
into a forest.
Difference
2013. 5. 15 ~ 5. 21gallery Now
,,,,,
192-13 3, 02-725-2930
www.gallery-now.com
, ,Inkjet print,2012
, The underground,Inkjet print,2012
2012 , 3.15
2012
2012 ,
2011 ,
1960
2012
2012 ,
2011 ,
, ,Inkjet print,2012
,
/ ()
2012 , 3.15
2012 ,
2011 ,
, Love and Death,80x50cm,Inkjet print,2013
1976
2012 , 3.15
2012 ,
2011
2011 ,
, ,Inkjet print,2013
2012 , 3.15
2012 ,
2011 ,
, Object,Inkjet print,2013
2012 , 3.15
2012 ,
2011 ,
.
mimesis .
. 20
, .
motto .
.
. .
.
.
Difference' .
. .
.
.
. .
.
.
. .
, ,
. .
.
. .
.
. .
.
. .
. spectacle
. .
.
.
.
.
.
. .
.
.
.
.
.
. .
.
.
. 20
.
. .
.
21 .
. .
(reaction).
Baek, Hyung Wook
ME IN THE MIRROR
2013. 5. 15 ~ 5. 21GALLERY LUX
185 3F, 02-720-8488
www.gallerylux.net
,
,
,
,
,
?
?
?
, , .
,
.
, ,
.
, .
.
? .
,
- ?, ?
?, ?
, .
.
?
, ?
?
- , ?
2013 , ,
2012 ASYAAF, 284,
2012 postphoto, ,
2011 postphoto, ,
www.inprint.co.kr
Archival Pigment Print
inprint
010-7520-7716
Recommended