Upload
jedong-yoo
View
234
Download
4
Embed Size (px)
DESCRIPTION
Photography exhibitions eMagazine PhotoView 2013. 9(September)-a download
Citation preview
PhotoView ISSUE 18 September 2013
PhotoViewIssue.18
Photography exhibitions eMagazine
2013. 9-a
www.ephotoview.com
Archival Pigment Print
010-7520-7716
PhotoView
/ Publisher : Seo, JH ([email protected])
: www.ephotoview.com
: 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.ephotoview.com
Ju
ng
, Ji-Hyu
n
, Co
nstru
ction
Site 20
, C-p
rint, 8
0 x 1
00
cm, 2
01
2
PhotoView Contents
2013.9-aJung, Ji-Hyun (Eng, Kor)
Seo, ji young (Eng, Kor)
BeomSik Won
Jordan Matter (Eng, Kor)
Seungrae leo Cho (Eng, Kor)
2013
Cheung, CheungHoi
Lee Seung-joo
Joo Yeon Woo (Eng, Kor)
Byung - Hun MIN (Eng, Kor)
Moon, Soon Woo
Cha, KyoungHee (Eng, Kor)
Hong Sung-Do (Eng, Kor)
, &
Kim Sohee (Eng, Kor)
Chanmin Park
Nathan Harger
,
Son Muk Gwang
Jung, Ji-Hyun
Construction Site
2013. 9. 6 ~ 10. 16SongEun ArtCube
947-7 1, 02-3448-0100
www.songeunartspace.org
Jung, Ji-Hyun , Construction Site 20, C-print, 80 x 100cm, 2012
Jung, Ji-Hyun , Construction Site 03, C-print, 120 x 150cm, 2012
Jung, Ji-Hyun , Construction Site 01, C-print, 80 x 100cm, 2012
Jung, Ji-Hyun , Construction Site 02, C-print, 120 x 150cm, 2012
Jung, Ji-Hyun , Construction Site 04, C-print, 120 x 150cm, 2012
Jung, Ji-Hyun , Construction Site 08, C-print, 80 x 100cm, 2012
Jung, Ji-Hyun , Construction Site 05, C-print, 120 x 150cm, 2012
Jung, Ji-Hyun , Construction Site 06, C-print, 120 x 150cm, 2012
Jung, Ji-Hyun , Construction Site 13, C-print, 120 x 150cm, 2012
Jung, Ji-Hyun , Construction Site 07, C-print, 80 x 100cm, 2012
Jung, Ji-Hyun , Construction Site Dreg 05, C-print, 60 x 80cm, 2012
Jung, Ji-Hyun , Construction Site Dreg 12, C-print, 60 x 80cm, 2012
Jung, Ji-Hyun , Construction Site Dreg 01, C-print, 60 x 80cm, 2012
Jung, Ji-Hyun , Construction Site Dreg 02, C-print, 60 x 80cm, 2012
Jung, Ji-Hyun , Construction Site Dreg 03, C-print, 60 x 80cm, 2012
Jung, Ji-Hyun , Construction Site Dreg 04, C-print, 60 x 80cm, 2012
(topos koinos) . , ,
.
.
.
, .
,
.
Construction Site .
. ,
.
.
,
, .
Construction Site Dreg .
.
, .
.
, .
, .
.
Artist Statement
These days, almost all community spaces (topos koinos) are on the blink of extinction. The essence of cities
as dwellings for human beings is being lost and instead used in the context as an economic and political
index.
People give up the spaces of living as they are dazzled by splendid blueprints for city development and by
economic benefits from climbing real estate prices. And in its place, thin steel plate walls overtake and
become a functional urbanization without human beings.
My work is about the space of urbanization which is normally not seen nor approached by the public. The
spaces portrayed in my photography are of temporal construction spaces or of abandoned buildings. Thus,
these venues can be considered as disconnected spaces which are in the temporary phase of construction or
deconstruction. I explore and focus on these isolated spaces of urban development to have us question the
reckless speed of urbanization and to reflect on our living environment.
This exhibition consists of 2 main series titled Construction Site and Construction Site Dreg.
Construction SiteThese photographs are taken at construction sites of large apartment complexes in Korea which will become
peoples "nests and shelters". The sites are the spaces where the destruction of nature conflicts with the
creation of human residence. These spaces might be non-existent in peoples mind until the construction is
completed but at the same time, they are ongoing and functional spaces under urbanization.
Through my photography work, I transformed the rational and cold feeling of the construction spaces into
personal and emotional ones. To present this, I used imaginative discoveries and installations which are
opposed to the functionality of urbanization.
With the support of the Korea Housing Corporation, the photographs were taken after studying and
exploring the construction sites at Pan-Gyo New City around Bundang district, Cheong-Ra New City in
Incheon and Sin-Nae Development District in Seoul.
Construction Site DregBuilding materials have their own function and usually remain as part of the building. However, sometimes
the materials are disposed, re-classified and then recycled as new materials. These remnants from the
construction sites have become a good subject for my photography. Although the residues were partly
functioning until the architecture is completed, they are disposed upon completion of construction, losing
their functionalities and then are re-classified as a different object. However, I think this is the moment
of rebirth to integral perfection. Remnants are the result of unforeseen calculation of functionalism but I
consider them not as garbage, but as objects of functionalism without any fixed formats.
1983
2012
2010
2005
2013 Construction Site, ,
2013 - 525600 , ,
, ,
2013 , , ,
14 , ,
2012 , ,
In Transit, Uropean Month of Photography Berlin, ,
Speciaal project fotografisch talent uit Korea, Breda International Photo Festival, ,
, ,
2010 Hidden Sense, , ,
Emerging Artists, ,
2013 SKOPF , KT&G ,
, ,
,
14 , ,
2012 Asian Students and Young Artists Festival Prize , ,
Jung, Ji-Hyun
1983 Born in Seoul, Korea
Lives and works in Seoul, Korea
Education
2012 M.F.A in Photography, Chung-Ang University, Seoul, Korea
2010 B.F.A in Photography, Chung-Ang University, Gyeonggi-Do, Korea
2005 B.F.A in Photography, Seoul Institute Of The Arts, Seoul, Korea
Solo Exhibitions
2013 Construction Site, SongEun ArtCube, Seoul, Korea
Group Exhibitions
2013 Baengnyeongdo 525,600 minutes: Interview, Incheon Art Platform, Incheon, Korea
Residency Now, Songwon Art Center, Seoul, Korea
2013 Platform Access, Incheon Art Platform, Incheon, Korea
2013 SAJINBIPYONG Award Exhibition, Gallery Iang, Seoul, Korea
2012 In Transit, Uropean Month of Photography Berlin, Berlin, Germany
Speciaal project fotografisch talent uit Korea, Breda International Photo Festival, Breda, Netherlands
The Art Factory Project, Sunset Janghang Festival, Janghang, Korea
Gongteo Project, Cheongju, Korea
2010 Hidden Sense, Daegu Photo Biennale, Daegu, Korea
Emerging Artists, Doosan Art Center, Seoul, Korea
Award & Project & Residency
2013 Korean Photographers Fellowship, KT&G Sangsangmadang, Seoul, Korea
Young Artist Program, Arko Art Center, Seoul, Korea
Incheon Art Platform 4th Artist Residency, Incheon, Korea
14th SAJINBIPYONG Award, Photo Space, Seoul, Korea
2012 Asian Students and Young Artists Festival Prize, ChosunIlbo, Seoul, Korea
Seo, ji young
Scent of time
2013. 9. 6 ~ 9. 28Artspace Guundol
390-23, 041-567-6871
www.artspace4.com
Seo, ji young , lisianthus, inkjet print, 80x80cm, 2010
Seo, ji young , rose, inkjet print, 40x40cm, 2013
Seo, ji young , delljiwoom, inkjet print, 40x40cm, 2013
Seo, ji young , pink peony, inkjet print, 40x40cm, 2013
Seo, ji young , pink lisianthus, inkjet print, 80x80cm, 2011
Seo, ji young , poppy, inkjet print, 60x60cm, 2011
Seo, ji young , peony, inkjet print, 50x60cm, 2012
Seo, ji young , calla, inkjet print, 50x60cm, 2012
Seo, ji young , cheunilhong, van dykebrown print, 22x28cm, 2011
Seo, ji young , tulip, van dykebrown print, 22x28cm, 2011
( )
.
.
, .
. , ,
,
. ,
. , ,
()
.
, . 2008
,
. ,
. 5 20
, .
, .
.
.
, .
. , , .
.
.
,
. , .
( ), (vanitas)
(mmento-mori) .
, .
. ,
.
. ,
. (2010) (2010) ,
.
,
.
,
. .
(2010) .
,
.
. ,
(2011).
, , (2010). ,
, .
, ,
. , ,
, .
.
.
,
. . 10
, .
, .
. ,
. .
Seo, ji young Photography Exhibition
Hye-Jeong Kang (Image Review)
Flowers are one of the most beloved subject matters among the artists from the East and the West.
Distinctively, a flower in a still-life painting has often been described as symbolically to function as a pure
ornament or imply religious amity. Ever since the Renaissance when the attention regarding the nature
was drawn in terms of humanities and science, a flower became the object of exploration about the
innate characteristics and beauty it holds. Generally, there are two varying perspectives in approaching the
flowers. The one is a scientific approach aspiring to depict the appearance, color and texture of flowers in
an accurate and lifelike fashion. The other is the naturalists approach intended to explore the inner nature
that is innate to a flower. If the former is an approach that is a formal, patternized and botanical towards
a flower, the latter stems from the process of sensory recognition of a flowers vitality and sensual beauty.
In this case, the flower either implies the organic harmony of the birth and growth of all the nature, and
their changes, or symbolizes the beauty and transience of all the sensitive life existing in the natural world;
which reminds of the old expression no red-hot flower can sustain ten days (: loosely translated
as beauty is often short-lived).
The flowers Series by Ji-Yeong Seo well depicts the spiritual vitality of flowers via dynamic lines, colors and
vivid sculptural textures. Started from 2008, the still-life flowers enable viewers to perceive the allegorical
implications of flowers the innate nature of flowers as the symbolic language and the universal order in
it. The artist has avoided depicting a flower like the one in a vase or an ornamental one in a bouquet, but
strived to shape the momentary life of a flower that fully blooms, and then, withers away. The pinhole
camera was exposed for at least five up to 20 days to record the daily scenes the bouquet goes through and
turned them into imageries via the technique that leverages facts. All the beginnings of her works exist in
time and the long-time exposure is the most common method to recognize the target object. Therefore,
the image recreated by photos symbolically display the transience of life through the layers of long time
where the past becomes the present and the future becomes the present. In other words, the associated
reactions by images recreated by an array of photos can be referred to as the portrait of ours. As every life
has its fate, obedience to the predestined life is to go with the ways of nature. Some said a human is born
with the aggregate amount of hours. and he/she is bestowed to spend through the entire life. Every human
is born, grows and is supposed to follow the given path of their destiny according to their wheel of fortune
at one point. Here, the time is some kind of an object of essence hidden in the area that we cannot perceive
with our naked eyes. In this note, Seos the flowers Series visualizes the existence of this invisible being
through photographic images based on the condensed flows of sustaining time.
Distinctively, her latest Series is remarkable in its classical yet contemporary
composition, colors and the beauty of austere moderation. Notably, the new objects such as insects,
butterflies and birds, which could not be seen in her previous works, appear near her flowers. Typically,
flowers, mirrors (a convex mirror reflected on the surface of a glass vase), critters like insects and butterflies
symbolize vanitas or mmento-mori. Flowers provide the transient beauty, and then, soon shrivel, which
makes them the object that signifies the transience of life, momentary discontinuance, and any type of
futility and ephemeralities. Also, insects and butterflies are born as a caterpillar, which makes them a symbol
of a human entangled in greed, futility or sin, or the resurrection. These objects stir up a sense of self-
examination in a philosophical way about time, life and death from artists. Yesterday cannot be the same
as tomorrow. Everything is futile towards the force majeure of time. Seo desired to express the beauty and
life of a flower and the principles of the nature through the aesthetic distance of the pinhole camera. In her
other works (2010) and (2010), viewers can feel the motions of time that pass through
the petals with the breezy winds making petals head lower, cause crispy sounds or make withered flowers
fall off. She managed to demonstrate the thoughts of changes in objects and impermanence of life by
meticulously recreating the even the littlest details of flowers blooming, wilting, falling off and scattering
away.
For all intents and purposes, we tend to believe a camera should describe the target object in a rational and
analytical way and record the materialistic being in a realistic fashion. That is because of its propensity for
disclosing the innate nature of the object by exposing its hidden part. Her other work (2010)
shows a bunch of flowers scattered in a glass vase with half-full water. In its surroundings, a stuffed
butterfly and flower patterns look as if the artificial flowers are fixed on a screen, and they visually seem
protruded outside the screen. The beauty of live flowers is locked in the weight of time. Meanwhile, the
bogus (flowers) have been baptized by the light to show off their shadows confidently. It makes it difficult
to discern which is truly genuine. The layered times offer deep and diverse color effects, while the endless
and dynamic lines manifest the sensual beauty of life in a sensory way. (2011) Moreover, the still-
life designs and patterns drawn on the background are the tool to imply the beauty and life of flowers in
a contrasting way. , , (2010) These works blurs the boundaries
between the genuine and the bogus, the foreground and the background, and the realities and fiction to
cause a sense of poetic fantasy. The flower inside the vase signifies the tubular way of life, but its a real. In
the same way, insects and butterflies imply the wandering soul or hidden desire that explores the honey of
a flower, but here, its just a stuffed objet that has lost its life. As such, the artist desired to put a spotlight
on the irony coming from the genuine and the bogus, subsistence and absence, and existence and non-
existence, and yet another resemblance to emphasize the life and existentiality of flowers. Recreating them
in photographs, in the end, is to create the new illumination between the boundaries of realities and fiction.
The aesthetic issue that is facing the contemporary artists is how much earnest and careful they should be to
transform the object in real life. They seem to regard the realistic nature of photos as something associated
with the narrow-minded academism, and to believe the denial of reality is the most contemporary form
of art. The most suitable medium to satisfy such crave is, without a doubt, the digital system. For the last
decade, Seo has been consistent in her works where she uses only the pinhole camera not with any
mechanical aids but a beautiful one itself. To her, the mechanical beauty of this primitive form of a camera
has been challenging her to put an aesthetic brake in the era of destructive speeds. As her confession
shows, it is the important aesthetic tool that can express the distance in time and aesthetic perspectives in
the most realistic way.
To conclusion, her aesthetic sensitivity is exposed by translating and suggesting the reality through the
ironical relations between the medium called a pinhole camera and the time. What differentiates her
still photos from still-life paintings is that she recreated the existence and life of flowers in a direct way,
reinforcing the symbolical allegory. Through the flowers serise, she manifests her own aesthetic talents and
propensity in the most sensory way.
(Seo, ji young)
2013: ( Scent of time ) ( ),
2011: (Dreaming flowers) (),
2008: (Dreaming flowers) (),
2008: (The water of chaos) ( ),
2005: (The image of mundane scenes) ( ),
1999: (In Harmony ) ( ),
1996: (In The Stopped Time) ( ),
2011: The Blank' (, )
2010: Seen & Unseen' (, ) 25
: , ,
: 2005, , ,
2003, , ,
2001, , ,
: , ,
BeomSik Won
Archisculpture
2013. 9. 13 ~ 11. 11TOYOTA PHOTO SPACE
299 , 051-731-6200
www.toyotaphotospace.org
BeomSik Won , Archisculpture 001, Photographic Print, 2010
2010
, .
.
2013
2011 .
3 ,
.
.
,
. .
.
.
.
.
?
BeomSik Won , Archisculpture 002, Photographic Print, 2010
BeomSik Won , Archisculpture 004, Photographic Print, 2011
BeomSik Won , Archisculpture 006, Photographic Print, 2011
BeomSik Won , Archisculpture 008, Photographic Print, 2012
BeomSik Won , Archisculpture 009, Photographic Print, 2012
BeomSik Won , Archisculpture 010, Photographic Print, 2012
BeomSik Won , Archisculpture 011, Photographic Print, 2012
BeomSik Won , Archisculpture 012, Photographic Print, 2012
BeomSik Won , Archisculpture 013, Photographic Print, 2012
BeomSik Won , Archisculpture 014, Photographic Print, 2013
Archisculpture
, []
.
,
.
[] .
. [] .
,
. . ,
.
.
[] . , ,
, ,
,
. ,
.
BeomSik Won , Archisculpture 015, Photographic Print, 2013
BeomSik Won , Archisculpture 016, Photographic Print, 2013
BeomSik Won , Archisculpture 017, Photographic Print, 2013
BeomSik Won , Archisculpture 018, Photographic Print, 2013
,
.
/ .
,
. ,
.
, , ,
.
. ()
, ,
.
.
.
, .
.
. ,
. ,
.
,
.
, ? .
,
.
.
. surface
.
, .
, . .
()
BeomSik Won
2012 UCL, M.F.A. , ,
2008 , M.F.A. , ,
1998 , B.F.A. , , ,
2013 Archisculpture, , ,
2013 Archisculpture, , ,
2008 Dimension Finder, , ,
2006 On a Journey, , ,
2013 Dark to Light by Karen Marr and Laurence Dreyfus, , ,
2013 The Secret Garden, CHOI&LAGER , ,
2013 Other Spaces: Re-imagining Architecture, , ,
2013 Candid Arts Exhibition, , ,
2012 Now X Here : 5 , , ,
2012 The Salon Art Prize 2012, , ,
2012 BRUSH-, , ,
2012 The Recent Graduates Exhibition by Jessica Hall, , ,
2012 The Salon Art Prize 2012, , ,
2012 53 Degrees 2012, , ,
2012 The AOP Students Awards 2012, , ,
2012 Place Not Found, , ,
2012 4482, , ,
2011 Slade Interim Show, , ,
2008 Post-Photo, , ,
2007 Post-Photo, , ,
2005 40 , ,
2013 , , ,
2013 , , ,
2012 , Now X Here : 5 , ,
2012 , The Salon Art Prize 2012, ,
2012 , The AOP Students Awards 2012
Jordan Matter
Dancers among us
2013. 7. 24 ~ 9. 22Savina Museum of Contemporary Art
159, 02-736-4371
www.savinamuseum.com
: 8,000 6,000
Jordan Matter, Dancers Among Us
Taken/ Ricardo Graziano, Ricardo Rhodes, Danielle Brown, Octavio Martin/ Sarasota, FL, 2011
/ , , , / , , 2011
( ) 2013 (Jordan Matter, 1966, )
.
.
, 2012 ,
4 ().
2013 .
.
Savina Museum of Contemporary Art presents Jordan Matter's(1966, born and work in NY) first solo
exhibition in Korea. He transformed ordinary life activities such as crossing the street and shoveling snow
into artistic experiences using dancers as his muses and subjects. The photos are breathtaking and almost
unbelievable, but there is no computer manipulation to this work.
Jordan Matter will show about 50 images from his project titled Dancers Among Us working with dancing
companies all over the United States. The exhibition also includes his new release series titled Athletes
Among us .Jordan Matter's photography reminds us of the challenging spirit and passion of life that we've
forgotten.
.
,
. ? ? ?...
. Dancers Among Us .
.
. .
.
.
.
-
Jordan Matter, Dancers Among Us
Self Portrait, Francisco Graciano/ San Francisco, CA/ 2013
, / , / 2013
Jordan Matter, Dancers Among Us
Light as a Cloud/Jason Macdonald/ New York, NY/ 2012
/ / , / 2012
Jordan Matter, Dancers Among Us
She Said Yes/ Ricky Ruiz, Carrie Nicastro/ Chicago, IL/ 2011
/ , / , / 2011
Jordan Matter, Dancers Among Us
Double Take/ Angela Dice, Demetrius McClendon/ Chicago, IL/ 2011
/ , / , / 2011
Jordan Matter, Dancers Among Us
Broadway Bound/ Michael Cusumano/ New York, NY/ 2010
/ / , / 2010
Jordan Matter, Dancers Among Us
Stroller Boogie/ Karin Wentz and her dauther/ New York, NY/ 2010
/ / , / 2010
Jordan Matter, Dancers Among Us
Under the Boardwalk/ Jill Wilson, Jacob Jonas/ Santa Monica, CA/ 2012
/ , / / 2012
Jordan Matter, Athletes Among Us
Window Light/ Jacob Jonas, Jill Wilson/ New York, NY/ 2013
/ , / , / 2013
Jordan Matter, Athletes Among Us
Wainting to Cross/ Jackie Carlson/ New York, NY/ 2013
/ / , / 2013
-
(Francisco Graciano),
(Evan Kasprzak) , ,
.
,
.
- !
. 1000 1
. .
.
- ,
, , .
.
Jordan Matter
1966, born and work in NY
.
B. , ,
.
. .
,
.
.
Jordan Matter comes from a long line of accomplished artists. He is the great-grandson of paintr Arthur
B. Carles, grandson of renowned photographer Herbert Matter and painter Mercedes Matter, and son
of filmmaker Alex Matter. Jordan Matter began his career as a baseball player, but after seeing a Henri
Cartier-Bresson exhibit he picked up a camera and discovered his true passion. Matter has become a world-
renowned photographer whose images have been celebrated on television and in print and blogs across the
globe.
Jordan Matter
.
.
.
He has seized dance as a metaphor for various moods and endeavors common to us all. These lyrical
gestures have been thoughtfully orchestrated against a rich variety of settings. ken alone, these fascinating
backdrops add a layer revealing the diversity of American life"
T. ( )
, , .
.
.
G. ( W. , )
, .
, ,
. . ...
.
M. (, , )
Seungrae leo Cho
Ice for Healing (father's letter)
2013. 9. 9 ~ 9. 30Gallery tis
26-2(146), 017-203-7144
www.gallerytis.com
Seungrae leo Cho , Ice for Healing 2009 02 27 60X90
Seungrae leo Cho , Ice for Healing 2009 02 17 40X60
Seungrae leo Cho , Ice for Healing 2008 03 21 40X60
Seungrae leo Cho , Ice for Healing 2008 03 18 40X60
Seungrae leo Cho , Ice for Healing 2009 02 07 40X60
Seungrae leo Cho , Ice for Healing 2009 03 06 40X60
Seungrae leo Cho , Ice for Healing 2009 02 07 40X60
Seungrae leo Cho , Ice for Healing 2008 03 19 40X60
Seungrae leo Cho , Ice for Healing 2009 02 18 40X60
Seungrae leo Cho , Ice for Healing 2009 02 24 40X60
Ice for Healing - father's letter
.
.
.
.
.
10 . .
. .
.
, .
. .
. .
.
.
. .
.
.
Ice for Healing -The father's letter
The Artists note
The Ice for Healing project was started with the joyfulness of receiving letters from nature.Through the
project, the sickness of my soul was cured. During the time when I was working for the project, I was
touched by the letters from nature because of the formless words of love on the letters. Taking the pictures
of ice crystals comforted me and made me fall into the state of joyfulness. I approached to ice crystals
with my heart before I pressed the shutter of the camera. Also, I felt the bond of unity with ice crystals by
inserting my feeling inside of them. My heart was full of the joys when I could capture the enchanting colors
made from the shapes of ice crystals and lights of nature.
The moments I worked for the project was the time of healing that filled up my heart with love. I have
taken the pictures of ice crystals for 10 years to cure the inside of my heart. I think that there is truth with
the pictures that can tell something about my life. I have not exhibited even once, but I was happy for the
project with ice crystals.
Because it was the process that cleaned my soul. Dont just take a picture when you are happy. Taking a
picture will make you happy.
As feel light more though there is darkness, find a genuine delight in sorrow. As light is felt brighter when
there is darkness, you can find a true delight in sorrow. Happiness is found in hardships. The true value of
soul is discovered when we have nothing to show off about our bodies. The true love of God is discovered
when we have nothing to depend on in this world. Light, which always appears in the Ice for Healing
project, means the love of God who cures the pains from losses and hardships.
Ice makes its shapes in a blink of an eye and being a part of nature, it melts down and disappears. It is same
as our life that disappear into the soil without any possession. What I saw were the spiritual ice crystals that
were jeweled by receiving the light, not the ice crystals from the world. If ones life is receiving love, his/her
soul will become a bright jewel. I presented my feelings with my heart to show that I was fascinated in the
spiritual feelings of the ice crystals created by the light with their ambiguous states of being ice. Ice became
a symbol of love to myself throughout the processes of the project.
Photographer Seungrae leo cho
(Seungrae leo cho)
( ),
(Photo-Communication ) . , ,
, . 1993
.
. , , ,
, , , , 19
, 1, 2 , .
[]
-2013[Ice for Healing project] gallery Tis
-2001 [Artist project] - PhotoI gallery
-1989 [] ,
[]
-2010 12 soli Deo gloria
-2005.9 [ ]- [ ]
-2000 (Urban scape Seoul), ,
-1998 , -
-1998, 98 ,
-1997, 97 ,
-1996, 96 ,
-1995 50 DMZ,
-1995 -
-1994, - ,
-1994, ,
-1994 ,
-1993 ,
-1992 - ,
[]
-2013
-2011
-2009
5 KT&G
2013, ,
2013. 8. 10 ~ 10. 30SongEun ArtCube
1 37 10, 051-744-3933
www.goeunmuseum.org
, , (), Pigment Print, 2010
SKOPF !
1. - ,
/ / ? .
, / ()
. /- ()
, (Morpheus) .
,
. SKOPF
.
, , , 4
. .
. .
. ,
.
, - ()/(
) . ,
.
2. - ,
.
.
. , .
. .
. , ,
.
.
. / .
4 . 4
, ,
.
, .
,
/ . () . /
. .
. .
,
/() .
, /
/ .
. .
. , .
(typology) ,
.
. ,
.
.
3. - ,
.
/ ,
.
? ?
, .
.
.
,
. -
.
.
,
. , () .
(, )
, , (), Pigment Print, 2012
, , (), Pigment Print, 2010
, , (), Pigment Print, 2009
, , - , Gelatin Silver Print, 2011
, , - , Gelatin Silver Print, 2011
, , - , Gelatin Silver Print, 2011
, , - , Gelatin Silver Print, 2011
, , #02, Pigment Print, 2012-13
, , #05, Pigment Print, 2012-13
, , #07, Pigment Print, 2012-13
, , #11, Pigment Print, 2012-13
1999
1992
2012 - , ,
2010 Paradise in Seoul, Lexus ,
2008 , ,
2008 Paradise in Seoul, ,
2007 Paradise in Seoul, ,
2006 , ,
2006 , ,
2005 , ,
1999 , ,
2012 The Flag Station,Photography, Kunstdoc,
- , ,
, ,
2012, ,
2011 -(), ,
2010 , ,
2009 2009 , ,
, , ,
Art in Busan 2009: , ,
: , ,
2008 , , ,
2007 , ,
: - , ZKM ,
,
2006 , ,
2004 , ,
2001 , , ,
1999 , ,
(2010), The Prix pictet 2009 - Earth, (2009), (2007)
2010
2013 , KT&G, ,
2012 Joy Castle, 1839,
2009 Joy Castle, ,
2013 , ,
2012 , 1839,
, ,
2008 , ,
, ,
, ,
2007 , ,
, ,
, ,
2006 , ,
KT&G (), ()
5 KT&G
2009
2013 : -, ,
2012 Breda International Photo Festival homo emparhicus , , ,
2009 , ,
2008 , ,
2008 , ,
2006 , ART OUTSIDE GALLERY, ,
Cheung, CheungHoi
2013. 8. 10 ~ 10. 30Goeun Museum of Photography,
452 16, Tel. 051-746-0055
www.goeunmuseum.org
, , Gelatin Silver Print, 1980
: >( )
, .
> ,
.
. 1
100 , > , >
. , 2
.
, 40 .
, .
> .
, ,
. , 1970~80
.
, 1950
.
1970
.
. > ,
. >
.
.
.
1970~80 .
.
. .
, .
.
,
.
.
, .
,
, ,
. ,
. ,
. , ,
.
.
. .
.
. ,
. .
.
.
. .
, ,
5 .
, .
. , .
.
.
.
, .
.
. (
) () .
:
, , Gelatin Silver Print, 1974
, , Gelatin Silver Print, 1981
, , Gelatin Silver Print, 2011
, , Gelatin Silver Print, 1970
, , Gelatin Silver Print, 1975
, , Gelatin Silver Print, 1971
, , Gelatin Silver Print, 2011
, , Gelatin Silver Print, 2012
, , Gelatin Silver Print, 2013
, , Gelatin Silver Print, 2011
, , Gelatin Silver Print, 1979
, , Gelatin Silver Print, 1974
, , Gelatin Silver Print, 1980
, , Gelatin Silver Print, 1979
(, Cheung, CheungHoi)
1939
1961
2007 - , ,
2006 , ,
2005,
2004, ,
2002 , ,
1999, , , ,
1999, , , ,
1984, Pine Hill Gallery,
1977, ,
2001 , ,
1998 , , ,
, ,
, ( LA)
2007 - ,
2002 ,
1999 - , , ,
2007
2003
2002
1998 ~ 2007
1994 ~ 1999
() ,
Lee Seung-joo
Common People
2013. 8. 23 ~ 9. 4175 GALLERY 175
175-87 B1, 02-720-9282
blog.naver.com/175gallery
Lee Seung-joo , Common People, Inkjet print , 60x120cm, 2013
,
sns .
.
. .
,
. ,
. . .
?
'Common People'
' ' . ,
' ' .
.
. SNS ,
.
Lee Seung-joo , Common People, Inkjet print , 60x120cm, 2013
Lee Seung-joo , Common People, Inkjet print , 80x160cm, 2013
Lee Seung-joo , Common People, Inkjet print , 60x120cm, 2012
Lee Seung-joo , Common People, Inkjet print , 30x60cm, 2012
Lee Seung-joo , Common People, Inkjet print , 30x60cm, 2013
Lee Seung-joo , Common People, Inkjet print , 80x60cm, 2013
Lee Seung-joo , Common People, Inkjet print , 60x120cm, 2013
Lee Seung-joo , Common People, Inkjet print , 30x60cm, 2013
Joo Yeon Woo
Traveler's Cup
2013. 8. 29 ~ 9. 24trunk gallery
128-3, 02-3210-1233
www.trunkgallery.com
Joo Yeon Woo , Travelers cup #1_Digital Pigment Print on Archival Paper _67x100cm_2013
Joo Yeon Woo , Travelers cup #2_Digital Pigment Print on Archival Paper _67x100cm_2013
Joo Yeon Woo , Travelers cup #3_Digital Pigment Print on Archival Paper _67x100cm_2013
Joo Yeon Woo , Travelers cup #4_Digital Pigment Print on Archival Paper _67x100cm_2013
Joo Yeon Woo , Travelers cup #5_Digital Pigment Print on Archival Paper _67x100cm_2013
Joo Yeon Woo , Travelers cup #6_Digital Pigment Print on Archival Paper _67x100cm_2013
Joo Yeon Woo , Travelers cup #7_Digital Pigment Print on Archival Paper _67x100cm_2013
Joo Yeon Woo , Travelers cup #8_Digital Pigment Print on Archival Paper _67x100cm_2013
Artist Statement
(cultural displacement) .
.
,
. Drinking Your Surroundings .
,
. ,
.
8
,
.
2012 Travelers Cup
. , Travelers Cup
, . Travelers Cup
, , .
, ,
.
, .
I have addressed creative discourses on issues of blurred boundaries not just in the geographical sense, but
also in the virtual and physical sense. My creative works explore the blurred boundaries of todays nomadic
life style. Todays nomadism is not that of unrestricted wandering; it is based on a global nomadic culture.
Our nomadic lifestyle redefines the meaning of home as something that one may carry only in ones mind
or in ones own character. In addition, our experiences are now multi-cultural, transcending geographic
locations and the ethnic characteristics of our living environments.
As a culturally displaced artist, I have been drawn to the theme of cultural displacement and identity, and to
social psychological and cross-cultural studies that are heavily influenced by immigrant experiences and by
the interaction between people and space. My most recent projects have adopted a documentary approach
and artistic archives to present my experiences of dislocation and rootlessness in our contemporary nomadic
culture.
Drinking Your Surroundings (2004~ongoing) and Travelers Cup (2012~ongoing) comprise over hundred
digital pigment prints that represent the places I have lived in and visited. These works embody my desire
to come to terms with my origins and to create an artistic archive of my cultural displacement and the
attendant sense of instability and sense of alienation. I have been collecting images of my different
surroundings and arranging them, per place, within the water glass that I drink from every day, in order
to absorb that place visually and conceptually. These portraits of place convey my thoughts and feelings
about the places where I have not constructed an identity and therefore am unable to retrieve spatial
memories and stories.
Joo Yeon Woohttp://www.spacekite.net
RESEARCH INTERESTS
Research interests include drawing, painting, installation involving experimental video, and digital
photography- more specifically, the fusing of these media, such as painting on a digital pigment print,
video from a still image, and interactive installation with video footage. My creative works deal with cultural
displacement and identity, and to social psychological and cross-cultural studies heavily influenced by a
global nomadic culture.
EDUCATION
MFA 2005 Drawing and Painting College of Arts and Architecture
(Related Area Study in Media Art) The Pennsylvania State University, USA
MFA 2003 Painting College of Fine Arts & Design Hongik University, Korea
BFA 2000 Visual Arts College of Music & Visual Arts Kyungpook National University, Korea
ACADEMIC APPOINTMENTS
2007 - present Assistant Professor of Painting and Drawing, University of Colorado, Boulder
2006 - 2007 Visiting Assistant Professor of Painting and Digital Media,
Oklahoma State University, Stillwater
INVITED SOLO SHOWS & TWO PERSON SHOWS
2013 The 18 Souvenirs
Truck Gallery, Seoul, Korea, Aug 29~Spe 24(scheduled)
2012 Travelers Cup
Class of 1925 Gallery, University of Wisconsin-Madison, Madison, WI,Jun 1 ~ July 17
2011 Landscape
The Great River Gallery, Anoka-Ramsey Community College, Coon Rapids, MN, Dec 1 ~ Jan 21
Skyscape1
The Mark A. Chapman Gallery, Kansas State University, Manhattan, KS, May 25~July 15
2009 Recent Works: Drinking Your Surroundings
DAMI gallery, Daegu, Korea, Aug 11~28
The Glass Bead Game: Two-person show with Myungho Lee
Gallery Television 12, Seoul, Korea, Mar 20~Apr 10
2007 Drinking Your Surroundings_Korea
Art Museum of Kyungpook National University, Daegu, Korea, Jun 19~29
Thousand of Hands
The Misciagna Family Center, Altoona, PA, Jan 18~25
2005 Drinking Your Surroundings_USA
West Hall, Penn State University, State College, PA, Jan 20~Mar 1
Byung - Hun MIN
RIVER
2013. 8. 31 ~ 11. 3The Museum of Photography, Seoul
45 19, 20, 02-418-1315
www.photomuseum.or.kr
Byung-Hun MIN , RT017, 2012
( ) 8 31 11 3
River . WeedDeep FogTreeSnowland
Waterfall .
.
. .
.
.
1987
(straight) 1990
Weed
.
.
River 1987 .
(straight) .
.
.
.
.
Nude . 12
3 Nude 2 (2013 8 31 ~
9 15). River
.
Byung-Hun MIN , RT133, 2012
Byung-Hun MIN , RT003, 2012
Byung-Hun MIN , RT038, 2012
Byung-Hun MIN , RT243, 2013
Byung-Hun MIN , RT114, 2012
Byung-Hun MIN , MG186, 2010
Byung-Hun MIN , MG199, 2010
Byung-Hun MIN , MG089, 2009
1955 30 .
.
.
. 1984
(1999) (2004) Jan Kesner Gallery(
19961999)Galerie Baudoin Lebon(2001)La Galerie Particuliere(2011)
.
FotoFest(2000)Australian Centre for Photography(2001), The Contemporary
Museum, Honolulu(2003)The Museum of Fine Arts(2009)Santa Barbara Museum
of Art( 2010, 2012) . (
1987) (1991) Islandscape(1993) ( 2005) (2006)
SNOWLAND(2007)Deep Fog(2011) Waterfall (2011)
(2012) .
Byung-Hun MIN
Moon, Soon Woo
cach dans la fort
2013. 9. 3 ~ 10. 4gallery NUDA NUDA
597 BF, 070-8682-6052
cafe.daum.net/NUDA
Moon Soon Woo
Moon Soon Woo
.
.
, , .
.
.
.
9 3 10 4 NUDA .
Moon Soon Woo
Moon Soon Woo
Moon Soon Woo
Moon Soon Woo
Moon Soon Woo
Moon Soon Woo
Moon Soon Woo
Moon Soon Woo
Moon Soon Woo
, , , , , , , .
. .
. .
, , , , , ,
. . , .
. , , .
, . .
1989 1 , ,
1989 2 , ,
1990 3 , ,
1991 4, ,
1997 , ,
2002 , ,
2002 33, ,
2004 , ,
2008 East of Eden, ,
2013 , ,
1994 1
1999 2
Moon Soon Woo
Cha, KyoungHee
,
2013. 9. 4 ~ 9. 17GALLERY LUX
185 3, 02-720-8488
www.gallerylux.net
Cha, KyoungHee , , , Pigment Print,125x150cm, 2011
Cha, KyoungHee , , , Pigment Print 100x120cm 2007
Cha, KyoungHee , , , Pigment Print, 100x120cm, 2011
Cha, KyoungHee , , , Pigment Print, 100x120cm, 2011
Cha, KyoungHee , , , Pigment Print, 100x120cm, 2012
Cha, KyoungHee , , , Pigment Print, 100x120cm, 2007
Cha, KyoungHee , , , Pigment Print, 100x120cm, 2011
Cha, KyoungHee , , , Pigment Print,125x150cm, 2007
Cha, KyoungHee , , , Pigment Print, 125x150cm, 2011
Cha, KyoungHee , , , Pigment Print,125x150cm, 2007
Cha, KyoungHee , , , Pigment Print, 125x150cm, 2006
Cha, KyoungHee , , , Pigment Print,100x120cm, 2012
Cha, KyoungHee , , , Pigment Print, 100x120cm, 2012
Cha, KyoungHee , , , Pigment Print, 125x150cm, 2011
Cha, KyoungHee , , , Pigment Print,100x120cm, 2008
Cha, KyoungHee , , , Pigment Print, 100x120cm, 2012
Cha, KyoungHee , , , Pigment Print, 125x150cm, 2012 2
(, () )
. .
.
. . .
, ,
. .
.
,
. .
.
.
. , , , .
. ,
, . , ,
, . , ,
.
. ,
.
,
. , .
.
.
, . ,
.
,
. .
. ,
.
.
, , R. .
. ( ).
. , .
,
.
. . .
. ,
. ,
, .
.
.
. .
Kim Jinyoung Art Critic, Chairman of the Standing Committee ofAcademy of Philosophy
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.
,
,
,
. .
,
.
.
.
. .
.
, .
.
.
,
.
.
,
.
,
.
2013
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.
Cha Kyounghee1973
2008
2005
2003
2013 , , ,
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 , ,
2013 THE GROUND / FORESHORE
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, Gallery Lux, Seoul
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
Son, Muk Gwang
2013. 9. 2 ~ 9. 30alpha gallery
4 20-42 4F, 02-3788-9468
www.alphagallery.co.kr
Son Muk Gwang , , 90x40cm, Hanji, Pigment Print, 2012
Son Muk Gwang , , 90x40cm, Hanji, Pigment Print, 2012
. .
. .
.
(Ansel Adms).
. .
()
. ,
. , ,
. , .
. ,
.
.
. ' .
,
. .
Son Muk Gwang , , 90x40cm, Hanji, Pigment Print, 2012
Son Muk Gwang , , 90x40cm, Hanji, Pigment Print, 2012
Son Muk Gwang , , 90x40cm, Hanji, Pigment Print, 2012
Son Muk Gwang , , 90x40cm, Hanji, Pigment Print, 2012
Son Muk Gwang , , 90x40cm, Hanji, Pigment Print, 2012
Son Muk Gwang , , 90x40cm, Hanji, Pigment Print, 2012
Son Muk Gwang , , 90x40cm, Hanji, Pigment Print, 2012
(Son Mukgwang )
1993
1996
1990-2005 .
2013.9 -
2013.8 -
2013.7 -
2013.5 19802000
-
2012.8 ()-KSD
2012.6-
2012.5 DAF -
2012.5 -
2011.3 -
2011.2 ()-
2010.6 .-
2010.4 -
2009.5 -
2009.10 -
2009.8 .-
2008.3 -3.15
2004.10 -
1993.10 -
1989.10 -
2012.10 -
2012.8 -
2012.6 -
2012.5 66-
2011.1 -
2011.10 -
2011.9 2011-
2011.4 -
2009.10 60-
2008.10 -3.15
200
DAF,,
,,,
100
Hong Sung-Do
Out of Earth
2013. 9. 4 ~ 10. 2GALLERY IHN
73, 02-732-4677~8
www.galleryihn.com
Hong Sung-Do , Tourist,Plexglass,aluminum,photo,140x249cm,2013_01
9 4 10 2 .
, .
''
. 2000
'Tourist' .
.
.
.
'Tourist' .
.
(1953~1959) .
, .
.
. 2011
. ,
. '
'
. ,
.
.
(1953-)
1983
1991 Pratt Institute
13
(, )
, , ,
Gallery IHN is pleased to hold a solo exhibition of Hong Sung-Do titled 'Out of earth' from 4th September
to 2nd October 2013. The artist, Hong Sung Do is well known for overlapping photographs of the same
setting, taken with a time difference and combining them with sculptural elements. In this exhibition his
inspiration from his visit to Cuba can be observed through photo sculptures and object installation.
From the beginning of his career, Hong, Sung Do utilized a vise; nippers and he is well known for
dismantling objects and then he collates it together. Henceforth, he employs nude and combines photo
with partial elements of a body designating a section of the society's desire of 'plastic surgery'. In recent
works, the 'tourist' series narrates the loss of the subject and the absence of existence.
Hong, Sung Do has challenged various art forms considering aesthetic consciousness and dismantling the
conventional forms. While the artist had travelled in certain places, he discovered the bizarre landscapes and
the people who live with various methods of life, while he utilizes the artistic scenes by approaching it with
a new possibility of aesthetic expression. The sculptor, Hong, Sung Do continuously explores the 'tourist'
series that breaks the boundaries between photography and sculpture, which he enabled it into a three
dimensional form. In his recent works, he travelled to Cuba and reveals the Cuban landscape dramatically by
exposing the past scenes of international isolation and simultaneously reflecting the recent scenes.
The title 'Out of earth' seems adventurous and makes us feel uncanny about the undeveloped space while
stimulating fear. Through the ambivalent landscape of Cuba and the expressions they make on their venture
into the world, we experience the excitements the artist must have felt during the journey. Especially the
Styrofoam sculptures and floating helium balloons are the results of representation of hope, anxiety and
ambivalent place.
Hong Sung-Do , Tourist,Plexglass,aluminum,photo,45x80cm,2013_07
Hong Sung-Do , Tourist,Plexglass,aluminum,photo,45x80cm,2013_16
Hong Sung-Do , Tourist,Plexglass,aluminum,photo,45x80x13cm,2013_04
Hong Sung-Do , Tourist,Plexglass,aluminum,photo,45x80x19cm,2013_15
Hong Sung-Do , Tourist,Plexglass,aluminum,photo,45x80x22cm,2013_13
Hong Sung-Do , Tourist,Plexglass,aluminum,photo,60x107cm,2013_02
Hong Sung-Do , Tourist,Plexglass,aluminum,photo,60x107cm,2013_06
Hong Sung-Do , Tourist,Plexglass,aluminum,photo,60x107cm,2013_09
Hong Sung-Do , Tourist,Plexglass,aluminum,photo,60x107cm,2013_10
Hong Sung-Do , Tourist,Plexglass,aluminum,photo,60x107cm,2013_11
Hong Sung-Do , Tourist,Plexglass,aluminum,photo,60x107cm,2013_12
Hong Sung-Do , Tourist,Plexglass,aluminum,photo,60x107cm,2013_14
Hong Sung-Do , Tourist,Plexglass,aluminum,photo,60x107x22cm,2013_08
Hong Sung-Do , Tourist,Plexglass,aluminum,photo,110x195x22cm,2013_03
Hong Sung-Do , Tourist,Plexglass,aluminum,photo,110x196cm,2013_05
Hong Sung-Do , Tourist,Plexglass,aluminum,photo,110x196cm,2013_17
Hong Sung-Do , Tourist,Plexglass,aluminum,photo,110x196cm,2013_18
Hong Sung-Do , Tourist,Plexglass,aluminum,photo,110x196cmcm,2013_19
HONG SUNG DO
In Hong, Sung Do works the tourist series employs a photo of a spontaneous moment and implies the
concept of time. The artist shoots a photo of a specific space and retakes a photo after a certain time.
And then he cuts the alterative 2nd image of photo and applies on the 1st photo. Hereby, Hongs tourist
photos are simply not a role of a substance for a record of a visit but a perspective view of the tourist that is
concerned of subjects ambiguity and the absence of existence.
1991 M.F.A., Sculpture, Graduate School of Pratt Institute, New York
1983 B.F.A., Sculpture, Hong-ik University, Seoul
Solo Exhibitions
2013 Gallery IHN, Seoul
2009 Gallery IHN, Seoul
2007 Rainy Day, Gallery Skape, Seoul
2007 Tourist, Gallery Touchart, Heyri Art Vally, Paju
2007 Tourist, Canvas International Art, Amsterdam
2005 Tourist, Gallery IHN, Seoul
2002 Art Space Seoul, Seoul
1998 Holden, Greenaway Art Gallery, Adelaide, Australia
1998 Sun Gallery, Seoul
1995 Gallery Boda, Seoul
1994 Art Center, Seoul
1992 Sonamoo Gallery, Seoul
1991 Gallery Hyundai, Seoul
1991 Higins Hall, New York
Award
1998 The 21st Sun Art Award
.
.
. (rivet) .
, .
.
1991 Pratt Institute
1983
2013 Out of Earth, ,
2009 ,
2007 Rainy Day, ,
2007 Tourist, , ,
2007 Tourist, ,
2005 Tourist, ,
2002 ,
1998 Holden, ,
1998 ,
1995 ,
1994 ,
1992 ,
1991 ,
2001 ,
1998 12
, &
, Digital Weaving
2013. 9. 10 ~ 10. 5KIPS gallery seoul photography
32 32 ( 609-3), 02-542-7710
kipsgalleryseoul.com
, Woven Milieu 2 (2012. 11) High Definition Single Channel Video 2012
10
.
.
.
' , Digital Weaving' .
, .
.
. Digital Weaving
(Cindy Sherman, 1954~)
.
UN
(Alessio Delfino) .
.
.
. .
.
.
.
Peter Henry Emerson(1856-1936)
.
.
,
.
. Digital Weaving
, .
, Metamorphosis, 720 HD video 16min, loop
,
. 2013
.
.
, Freezed Momentum, 2011, Digital print
, , 066_Hand Stitch with Pigment Ink on Hanji_105cm65cm_2013
, , 048_Hand Stitch with Pigment Ink on Hanji_146cm86cm_2013
, 109_Hand Stitch with Pigment Ink on Hanji_135cm83cm_2013
2007 6 ,
. / / , / (Rainer Kunze)
, .
.
.
, , 153_Hand Stitch with Pigment Ink on Hanji_117cm101cm_2013
, , 157_Hand Stitch with Pigment Ink on Hanji_126cm110cm_2013
,
.
, . ,
, .
. .
.
, .
, ,
.
,
. ,
.
[] .
[] , [
] .
, ,
[] .
[] , [].
, ,
. ,
.
[] .
Kim Sohee
Small Doings:
2013. 9. 6 ~ 9. 22Next Door Gallery
576-9, 02-730-2560
www.nextdoorgallery.co.kr
Kim Sohee, 1- , , , Focusing in Order to Let Anxiety Go 1- Thread, Needle, Scissors, 2013,
pigment print, 48 x 70 cm/ video projection 03:02
Kim Sohee, 2- , , Focusing in Order to Let Anxiety Go 2- Fan, Plastic Bags, 2013,
pigment print, 69 x 100 cm/ video projection 03:28
Kim Sohee, 30 , A Bite-off 30 Minutes after Each Meal, 2013, pigment print, 96 x 140 cm
Kim Sohee, , Raising a Pet, 2013, pigment print, 96 x 140 cm
Kim Sohee, , Meditating at a Quiet Place, 2013, pigment print, 69 x 100 cm
Kim Sohee, , Scribbling, 2013, pigment print, 69 x 100 cm
Kim Sohee, , Thinking Upside Down, 2013, pigment print, 69 x 100 cm
Kim Sohee, , Cure for Cutting Wrists, 2013, pigment print, 69 x 100 cm
Kim Sohee, 1, Regular Exercise 1, 2013, pigment print, 100 x 69 cm
Kim Sohee, 2, Regular Exercise 2, 2013, pigment print, 100 x 69 cm
Kim Sohee, 1, Comfortable Sleep 1, 2013, pigment print, 100 x 69 cm
Kim Sohee, 2, Comfortable Sleep 2, 2013, pigment print, 100 x 69 cm
: , ,
:
: 2013 8 22 11
. ,
. , , .
. .
: , . ?
: . .
,
.
: ?
: , 4 .
. .
: .
: . , .
,
. ,
.
.
: . .
, .
.
.
: . ?
: . .
.
: , .
. .
. .
. , .
. , .
, , , .
. ! !.
. .
. . ?
: .
: . . ,
? ...
: , ()
.
: ?
: ,
.
.
: .
. .
. ? . , ,
, .
.
: , ,
. .
: , , , .
: . , , .
. , . .
. , .
. , 1
. . .
. . , ,
. .
, . ?
: 4
. ,
.
: . , ,
.
. .
. , .
: .
, .
?
: . , , .
: ?
: . , . ,
! . , .
. ! .
. . .
: . ,
, ,
.
.
, ,
. .
, . ,
, .
.
. .
. - _ ()
Anxious Anxiety
Participants : Sun-in Kim(Author of "Obsessive Compulsive Disorder, Living in Death"), Sohee Kim(Artist)
Young-hye Yuk(Photography Curator)
Place : Caf Toze in Jongno, Seoul
Time ; 11 am, Thurs. August 22, 2013
It had been several years since wed last seen one another, but while preparing for her fifth solo exhibit,
artist Sohee Kim reached out to me. Perhaps it was because of the ties wed formed when Id visited her
three previous solo shows in Korea. She said she wanted to discuss her new work with myself and one other
person.
Young-hye Yuk: Suicide, the after-life, now its anxiety. What is the anxiety about?
Sohee Kim: My head fills with many random thoughts when Im by myself at home. It seems I have to do
something to calm myself down. When vacantly staring at a household item, I ponder over what I could use
it for and this has become a kind of fun game for me in eliminating anxiety.
Young-hye Yuk: Was that fun game photography?
Sohee Kim: Taking photos came later. About four years ago, while living alone, I would do zany things to
get rid of stress. You see, my head unwittingly fills with bizarre thoughts. Sometimes Id get this feeling of
uneasiness, even when I was at home.
Young-hye Yuk: I guess you must have experienced something bad.
Sohee Kim: I hadnt. Actually, I enjoy watching TV shows about crime or murder cases, natural disasters
and such. Not only on television but I also look up videos or news on the Internet. I guess Ive been
subconsciously traumatized by the images that Ive casually watched. One in particular is still vivid in my
mind. During college, when I was living on my own, I saw a girl on TV living by herself get slaughtered by
some lunatic when shed been out hanging her laundry. I think thats when I started to take special care
locking up.
Young-hye Yuk: It seems youve been overly exposed to cruel images. It also seems like a kind of obsession.
A little later, another person, author of, Obsessive Compulsive Disorder, Living in Death, Sun-in Kim
joined us. He had been the chairman of an OCD organization as well as other associations and is now a
professional psychological counselor.
Comparing her anxiety to obsessive compulsiveness, Sohee Kim has taken the opportunity to show herself
as well as her work, which expresses anxiety, to the specialist.
Sun-in Kim: Thanks for showing me your photos. So, theyre pictures that you took because you felt
anxious?
Sohee Kim: Yes. The small things that I do to overcome the anxiety are what I capture in the photographs.
One time I performed a mock death. Of course, I wasnt actually dying, but as I went through the death
experience, I overcame the suffering that comes with it.
Sun-in Kim: Everyone has the desire to experience a certain moment, which I call capturing the moment
psychology. An example would be the desire of photographing a marathon runner at the exact moment of
crossing the finish line. Ordinary people also have this psychology. However, in obsessive compulsiveness,
theres a desire to do this even though they dont want to. Its a dual mentality. When you see a razor blade,
even though you know youll get hurt by touching it, you want to experience that painful moment. It doesn
t matter whether its harmful or not harmful to you. The only thing you want is to feel that moment and you
ll only be satisfied by doing so. The urge to feel a certain moment, this psychology can be applied to many
different moments. Safe moments, clean moments, moments of attacking and moments of self-infliction
are all examples. A person with obsessive compulsive disorder feels satisfaction by a certain experience even
while being repulsed by it. They say, Yes! This is how it feels! Theyre addicted to that sense of satisfaction,
which is why they persist in thinking certain harmful thoughts or doing harmful things. On the other hand,
regular people dont get addicted to that feeling of satisfaction when going through a certain moment, so
even if they think of something repulsive or act upon it, its just temporary. They dont continue to do it. By
any chance, have you ever felt repulsed by suicide?
Sohee Kim: Not really.
Sun-in Kim: Then, you dont have OCD. The things you want to do are not what matters in OCD. Then, you
re saying you feel pacified by doing various replacement behaviors when youre anxious? For instance, mock
suicides or like in the photography here...
Sohee Kim: My anxiety isnt fully relieved, but at least for that moment my replacement behavior (game)
reduces the anxiety, so I suppose thats why I keep doing it.
Sun-in Kim: Why do you get so anxious?
Sohee Kim: It doesnt get to the point where Im a nervous wreck but rather I think of things that I don
t want to think about when Im alone, so Im probably doing these other things in order to avoid having
those thoughts. At first, it felt like I was getting better, so I continued and at some point it became a sort of
obsession that I couldnt do without at that moment.
Sun-in Kim: I guess we should set the concept of obsessive compulsive disorder straight. OCD is a
psychological disorder in which a person is distressed by the thoughts or behaviors that one continues to
do even though that person doesnt want to. Obsessive compulsive disorder can be largely divided into
obsession and compulsion. Obsession is continuing to think of something that you dont want to. For
instance, I could get infected by germs if I grab this door knob. Compulsion is continuing an unwanted
behavior in order to eliminate the discomfort and anxiety that comes from the persisting obsessions, or the
repetitive distressing thoughts. If youre uneasy about something dirty on your hand, then you wash your
hands dozens of times in order to eliminate the uneasiness.
Sohee Kim: I think that for me the replacement behavior that I do is me trying to forget about the anxiety,
to not have uneasy thoughts, and in a way the behavior is done with the intent of healing. Actually, Im a
rather worrisome person, so I feel this kind of anxiety often.
Young-hye Yuk: Im getting confused with the different concepts of anxiety, stress, worrying and OCD.
Sun-in Kim: Let me clear it up for you. It can be mainly divided into obsessive compulsive tendency, obsessive
compulsive personality disorder, and obsessive compulsive disorder. Obsessive compulsive tendency is just
that. Its a tendency, like the tendency to be tidy or going to the same restaurant again and again. Thats not
an illness. So, the person is not tormented nor do they torment others. Obsessive compulsive personality
disorder has two major traits which are obstinacy and perfectionism. It also involves people with stinginess
about money or rigidity. For example, they get mad at a friend for being one minute late, blaming him or
her for not being punctual. The person in this case isnt the one who is tormented but those around them
are. These people dont consider themselves ill. On the other hand, with obsessive compulsive disorder the
person in question is extremely tormented. Theyre agonized while checking door locks dozens of times.
And some may even coerce family members to check doors too. They can torment others too this way, so
obsessive compulsive disorder is when the person in question is tormented but not others, or when the
person is tormented while also tormenting others. Ms. Kim, does your work process torment you?
Sohee Kim: These works were done by recalling the things I had done about four years ago when
experiencing anxiety and by expressing them again through photography. So, I think it might be a bit of a
leap to diagnose OCD by asking whether this process was tormenting.
Sun-in Kim: That means you sublimated the anxiety in the photographs. People use various methods in
order to protect themselves from unpleasant emotions such as anxiety, guilt, or depression. This is called
a defense mechanism, and sublimating is when a person expresses a certain desire or impulse in a way
that is socially acceptable. For instance, when a person with a violent inclination becomes a boxer, this can
be considered sublimating. This is the most beneficial of defense mechanisms. For you, the anxiety was
sublimated in your art work.
Sohee Kim: I believe most people have little things that they do like me to relieve anxiety. Although for me it
was expressed in a very subjective act through my art, I think many people will relate to this. Can something
that we commonly feel, like anxiety, cause obsessive compulsiveness?
Sun-in Kim: Yes. Anxiety, as well as doubt, consciousness of ones thoughts or behavior and perfectionism.
Its various and complex.
Young-hye Yuk: Is there a way to relieve anxiety?
Sohee Kim: One way is to realize the contradiction of the anxiety. In other words, use rational thinking.
Coming to the point where there is no further debate, coming to the realization, Oh, thats not what it
was! Lets say someone called you, saying theyre the public prosecutors office and youve been implicated
in a crime. And they say theyll call back. So you were anxious, but you realize, This is voice phishing! It
wasnt the public prosecutors office. The anxiety is gone. This is a way of realizing the contradiction of the
anxiety and appeasing the uneasiness.
Sohee Kim: In my case, I dont think there was a definitive thing that helped me overcome anxiety. Books
tell us to meditate, take medication, exercise regularly, but for me the best way was to surrender to myself
and let me behave in these rather odd and meaningless ways. Of course, like painkillers instead of remedial
medicines, I didnt reach the original goal which was complete relief from anxiety.
For slightly over two hours, three quite different individuals discussed Anxious Anxiety, dipping in and
out between the boundaries of anxiety and obsessive compulsiveness, crossing in and out of Sohee Kim
s world of photography and the real world. We possess so many feelings of anxiety in our lives. At a closer
look, we can find that on the other side of anxiety are our desires and pleasures, and the desire that we
can do nothing about is, in fact, the anxiety. Meanwhile, a difference in perception may turn yesterday
s indifference into todays anxiety and todays anxiety into tomorrows indifference. In this way, its no easy
task to predict or keep an eye on the capricious and hard-to-break multiple facets of anxiety. Once caught
in the whirlpool of anxiety, the likelihood to reach obsessive compulsiveness rises. The small zany behaviors
that Sohee Kim shows are her own way of confronting Anxious Anxiety. On the perilous road between
obsessive compulsiveness, she manifests a small but extraordinary ability to cross the uneasy stepping stones
in a remarkably pleasant way.
- Edited by Young-hye Yuk (Photography Curator)
Chanmin Park
DYSTOPIA
2013. 9. 6 ~ 10. 19MakeShop Art Space
500-14 (), 070-7596-2500
www.makeartspace.com
Chanmin Park , BL209373100126581925,ed.1/ 5,digital pigment Print,135x100cm, 2012
Illusion City
2011 ,
blocks
untitled series .
,
,
(illusion) . blocks series
.
, .
,
.
, -
-
. ,
(real) ? .
? . ,
,
. untitled series
, ()
. , - , - ,
.
,
,
.
-
- .
Chanmin Park , BL1155552803170604, ed.1/ 5,digital pigmentprint,135x100cm, 2011
Chanmin Park , BL1155571103585518, ed.1/ 5,digital pigmentprint,135x100cm, 2011
Chanmin Park , BL212373113127061324, ed.1/5,digital pigmentprint,160x125cm, 2012
Chanmin Park , Untitled_02, ed.1/5,digital pigmentprint,135x100cm, 2012
Chanmin Park , Untitled_21, ed.1/5,digital pigmentprint,120x120cm, 2013
Chanmin Park1970
Education
2011 MA in contemporary art, The University of Edinburgh (Edinburgh College of Art),
2008
1997
Solo Exhibition
2013 Untitled (SeMA ), , (11)
2013Dystopia, , (9)
2008 Intimate City, ,
Group Exhibition
2013 Supermarket Independent Artist Run Art Fair, Kulturhuset, ,
2012 , , ,
2012 Twin Town, Korean Cultural Center UK, London,
2012 KT&G , ,
2012 4482, Map the Korea, London,
2011 Carnival of Monsters, Nottingham,
2011 In between Something and Nothing-Reflections of space, Edinburgh College of Art, Edinburgh,
2009 Seoul Art Salon, AT Center,
2009 Seoul Photo (Art Fair), ,
2008 - , ,
2008 , -,
2007 Round Trip; Into the garden of my mind (, ), ,
2007 Academy Lights, The Central Academy of Fine Arts,,
2007 Emerging Korean Photographers, Gallery Verkligheten,
2006 , , ,
Prize
2011 Brighton Photo Fringe, Open '11 TEXTS
2008 SKOPF ( ) 1
2008 Gallery Lux
Nathan Harger
2013. 9. 11 ~ 10. 10GALLERY K ON G
157-78, 02-738-7776
www.gallerykong.com
Nathan Harger , Untitled (Process Tank), Brooklyn, NY, 2010
Nathan Harger, holding_patterns
Nathan Harger, overpass
Nathan Harger, Untitled (Crane 2), New York, NY, 2008
Nathan Harger, Untitled (Vertical Swing), Brooklyn, NY, 2010
, , , ,
Nathan Harger 9 11
10 10 .
. 36 2008 2009
,
.
, PDN 30 (new and emerging photographer to watch)
, , 2010 Prix
Pictet, Foam magazine (Whats Next? A Search into the
Future of Photography), 2012 , Johnson, VT - Award
. New York , Art Forum, American Photography
, ,
.
.
.
,
.
,
.
,
.
16 .
66x 64 cm, 107 x 71 cm, 178x158 cm , 300 900 .
2007