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PhotoView ISSUE 13 APRIL 2013
2013. 4-a
PhotoViewIssue.13
Photography exhibitions eMagazine
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010-7520-7716
PhotoView Contents
2013.4-aByun Soon Choel (Eng, Kor)
Kim Sun-Min (Eng, Kor)
Sophie Calle (Eng, Kor)
Yook Keun Byung (Eng, Kor)
MISE-EN-SCENE
KyungJa Jeong
Jung Jung Ho (Eng, Kor)
Kim Gun Woo
Ahn Sung Jun
Li Gang
HEEDOO JUNG (Eng, Kor)
Jeong-woo Lee (Eng, Kor)
humor:us
Kim HyeJin
Kim Ji Ho
Lee, Mihong
Yang, yang-keum
GERHARD GROSS (Eng, Kor)
Won Seoung-Won (Eng, Kor)
29
Byun Soon Choel
1996 to the Present
2013. 3. 21 ~ 5. 7GRIGO Gallery
75, 070-7570-3760
www.grigogallery.com
Byun Soon Choel, -.2002.101x127cm.Digital Pigment Print
Byun Soon Choel, -.2002.101x127cm.Digital Pigment Print
Byun Soon Choel, -.2001.152x177cm.Digital Pigment Print
Byun Soon Choel, -.2001.152x177cm.Digital Pigment Print
Byun Soon Choel, ..2005.127x152cm.Digital Pigment Print
Byun Soon Choel, .2005..127x152cm.Digital Pigment Print
Byun Soon Choel, ..2005.101x127cm.Digital Pigment Print
Byun Soon Choel, .2005..150x209cm.Digital Pigment Print
Byun Soon Choel, Desire1.2003.101x127cm.Digital Pigment Print
Byun Soon Choel, Desire1.2003.101x127cm.Digital Pigment Print
Byun Soon Choel, National Song Contest.2005..101x127cm.Digital Pigment Print
Byun Soon Choel Exhibition
Grigo Gallery is exhibiting Byun Soon Choel's from March 21 to May 7, 2013. The exhibition is
a fragment of the artist's main collection that captures human nature and its correlation to one's identity. The works
in this exhibition are being displayed to the public for the first time.
Throughout his artistic career, Byun's works have expanded from exploring private places to public, and from
personal identity to communal and societal, as he continues to widen the spectrum.
Byun reflects the subject's self-concept through his unique observation and eccentric language, creating his own
niche within the art world. While many other portraitists succumb to categorizing the subjects and applying a social
and cultural meaning to them, Byun explores deep into one's mind to bring out the source of their natural, human
desires, thus capturing even the deepest, subconscious level of one's very personal, self-concept.
For this, the artist visits the subject's own places, just as the Old Masters had. Such places could be either personal
or public. Upon the thin fine between the personal and public distances, Byun Soon Choel analyzes the subject
within his moderated view.
In pursuing his unique, artistic practice and philosophy, the artist has visited a plethora of places in order to
comprehend the outer and internal boundaries of the subject's identity which has gone through a tunnel of time.
The presence of Byun's large-sized photographs are the resultant of his passionate and curios inquiry into personal
identity, self-concept, and one's role within the social and cultural frames.
This exhibition will provide a thorough narration of how the artist's selective group of the portrayed subjects have a
common, organic correlation to one another.
Also, the exhibition celebrates Byun's newly publishing collection book, which will offer another fresh encounter
with his works.
GRIGO 3 21 5 7 .
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Byun Soon Choel
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Kim Sun-Min Falsehood mingled with Truth Truth mingled with Falsehood
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2013. 4. 3 ~ 4. 9THE K GALLERY
192-6, 02-764-1389
www.the-k-gallery.com
Kim Sun-Min , peach , made up of 7 layers, 7 inkjet print, 70x70cm, 2012
Kim Sun-Min , Cherry, made up of 36 layers, inkjet print, 70x70cm, 2012
Kim Sun-Min , Acid saccharification, made up of 5 layers, inkjet print, 70x70cm, 2012
Kim Sun-Min , Dahlia, made up of 8 layers, 70x70cm, inkjet print, 70x70cm, 2012
Kim Sun-Min , Carp, made up of 11 layers, 70x70cm, inkjet print, 70x70cm, 2012
Kim Sun-Min , Hydrangea, made up of 183 layers, inkjet print, 70x70cm, 2012
Kim Sun-Min , Rose, made up of 22 layers, inkjet print, 70x70cm, 2012
Kim Sun-Min , carp, made up of 12 layers, inkjet print, 70x70cm, 2012
Kim Sun-Min , pear, made up of 19 layers, inkjet print, 70x70cm, 2012
Kim Sun-Min , [blueberry] made up of 15 layers, inkjet print, 70x70cm, 2012
Kim Sun-Min , Rose, made up of 162 layers, inkjet print, 70x70cm, 2012
Kim Sun-Min , apple, made up of 9 layers, inkjet print, 70x70cm, 2012
Kim Sun-Min , elongate ilisha , made up of 13 layers, inkjet print, 70x70cm, 2012
Kim Sun-Min , kara. made up of 4 layers, inkjet print, 70x70cm, 2012
Kim Sun-Min , goldfish, made up of 10 layers, inkjet print, 70x70cm, 2012
Kim Sun-Min , kiwi, made up of 15 layers, inkjet print, 70x70cm, 2012
Foreword
Kim Sun-Min's photo:
Falsehood mingled with Truth
Truth mingled with Falsehood
Modern-day Pictorialism was a kind of savior to
art photography, which occurred as soon as the
reality, the hope of artistic photography, failed
in obtaining a position as art. The directing point
pictorialist photography carried was to have composite
photographs, meaning imaginary image made of several
negatives which then transformed into mechanical
image. Despite being captured by camera, this
artificially-touched falsehood mingled with truth made
a considerable contribution to how the photography
was accepted as a means of expression. Not to mention,
the composition technique and the picture quality have
received praises for its amazement. Although may seem
quite primitive if compared to that of modern computer
technology, the significance here is that this photography
took a major step towards the realm of self expression
through composition and ultimately challenged the
realm of art. The reason creation is seldomly achievable
is that new technologies concurrently develop and one
should start thinking from the unprecedented to achieve
any creation.
Here, Sun-Min Kims still images are present. They
are the close-ups of the heartless. One would say the
photographed flowers, fruits and fish are not considered
heartless as they have vitality as well as possess feelings.
However, the reason that the subjects look to maintain
the conditions of awkward details is that they are all
falsehoods mingled with truth, made of plastic. Yet, the
details are too good for fabricated image. Taking fish for
instance, Kim took a photo of real fish and, for the sake
of realism, combined its layer with another photo of fake
fish and then combined partial details of the two. These
works get rid of the need for separating imitations from
originals. It is not easy to find the meaning even if we
look into the works without the thought whether they
are originals or not in mind. Everyone knows that the
photos taken modern days are beyond such
, - Falsehood mingled with Truth
Truth mingled with Falsehood
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dispute. Some may doubt whether there was any need
for revealing the truth while looking at the photos.
But, if one thinks about it intently, he or she will realize
that the message is coming from the method of the
photography, not the photo itself. Composite photo
of modern pictorialism is made when another image
is overlapped on the transparent part of film and the
two distinct images create a single picture while several
negatives are overlapped to be printed. On the other
hand, Kim made her photo by using the point that she
was able to pierce a hole elaborately in any part as layers
were overlapped in so-called digital picture. This is the
basic principle of computer synthesis. She says one is
not able to distinguish specific part of an image, having
himself or herself in visual confusion in telling imitations
from originals from fakes, when different layers are
combined after exchanging negatives and positives,
inter-erasing distinct subjects, namely imitations and
originals
Sun-Min Kim's works require somewhat different
perspective than general photography. It seems the
author is trying to tell the effects of the computer work
on herself through the actions shown in the work. It
brought the trigger point that the computer works can
be analog, at least in the photography. It is said that the
stereotype that computer technology enables everything,
for example converting an aircraft to a ship, a man to
a woman, and fire to flood, conceals the massiveness
of handworks through computer. I partially agree. The
reason of missing film developing chemicals, photo
papers, and several types of films more is that handwork
is perceived handier than computer technologies. There
is no such thing as straight photography in digital. If one
asks for anything that exists in analog photo and does
not in digital, the answer would be contact printing. A
digital photo without contact is premised on Photoshop
and its process is done by hand. The photo whose color,
concentration, brightness, and contrast are directly
modified by hand is the straight photo, differentiated
from RAW files.
Through the process of exposing and erasing scales one
by one, it becomes hard to tell if certain part has gone
through the artificial touch, while the author recognizes
layers
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the feeling of the handwork as keeps combining pieces
and overlapping layers. Even so, however, computer
work would not completely relate to handworks, or
come to a full agreement.
If the hand adjusting through computer program is
manual, what is the difference from physical body or
skilled hand? It is the part where the answer needs to
be found for the question what is to be said about a
still photo made from both original and fake and thus
disabling author and gallerys sense of distinction. The
authors alternative is to reveal the cross section of
the existing and the fake in binomial manner through
miniatures of the whole work. In other words, the
images of originals overlapped with the crude images
before work are presented like the chart presenting the
difference of film sensitivity in standing position. The
falsehood mingled with Truth and the truth mingled
with falsehood coexist in Kims photos, representing
the confused work activity. As previously mentioned,
the kind of computer hand work which the author
experienced in this work reveals the feeling which
extends to the longing for the analog photo in the past
film era. Contemporary people's stress and her hard
work are hidden in the works even though they do not
visually stand out. It is the work requiring a great deal
of effort like the work which people bend and move the
joints of dolls to shoot and make them as the image with
sound in the clay animation we have frequently seen on
TV. If I see the details of this exhibition and her working
process from a positive perspective not to see her works
just as flower photos while keeping the mediocrity of still
life photos as they are in spit of the works which much
effort was made, I believe that this exhibition will be
an opportunity of newly feeling prejudices towards the
reality, which the author had felt all the while.
Goo sung-soo (photographer)
(Clay Animation)
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I once learned painting with flowers, apples, and trees
among common objects.
Through the paintings, I naturally established my own
perfect image of stationary objects, and soon realized
discrepancies exist between them and real objects.
I have adhered to this thought while doing my own
photo works.
When I took a picture of often painted stationary object,
the picture did not come out as the perfect image in my
mind.
Thus I tried with fake objects and judged them as closer
to the perfection. In order to make them much more like
the one in my mind, I overlapped the objects texture
over numerous layers and ultimately achieved my own
originality.
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, Falsehood mingled with Truth
Truth mingled with Falsehood
kim sun min
2013
2010
2007
2012 In- sight, ,
2012 2012 JAM , ,
2012 2012 Asyaaf , 284( ),
2011 Post photo 9th exhibition, ,
2011 , 2011 Asyaaf, ,
2010 Post photo 8th exhibition, ,
2010 The professional touch ,
2009 Craft trend fair coex, ,
2009 , ,
Education
2012 M.S. ,Photography, Hongik University, Seoul, Korea
2010 B.S. ,Department of Crafts, Sungshin Women's University, Seoul, Korea
2007 B.S. ,Photo Art, Kaywon School of Art and Design, Gyeonggi-do, Korea
Group Exhibitions
2012 In- sight, HOMA at Hongik University, Seoul
Art Market JAM, JangHeung Art Park, Gyeonggi-do Yangju
Asian Students and Young Artists Art Festival Youth, at the Culture Station, Culture Station Seoul 284, Seoul
2011 Post Photo 9th Exhibition, gong art space, Seoul
Asian students and Young Artists Art Festival Art Coming into My Life,
Hongmoonkwan at Hongik University, Seoul
2010 Post Photo 8th Exhibition, Illum Gallery, Seoul
Hongik Art Group Fine Art Competition, Insa Art Center, Seoul
2009 Craft Renaissance Craft Trend Fair, Coex Hall(1,2), Seoul
Posco Steel Art Award, Posco art museum, Seoul
Sophie Calle
, (O et Quand?)
2013. 3. 13 ~ 4. 20313 ART PROJECT, 313
313, 02-3446-3137
313artproject.com
Part of the work O et Quand? Lourdes, 2005 / 2008
Print, Text, Frame, Neon, Marble, Candle lights, Shelf
Sophie Calle
Part of the work O et Quand? Lourdes, 2005 / 2008
Print, Text, Frame, Neon, Marble, Candle lights, Shelf
Sophie Calle
O et Quand? Nulle Part, 2012
Calligraphy under Plexiglas, Books, Handwritten note, Chain and Pendent Fittany Iron
Sophie Calle
Take care of yourself. Children's writer, Marie Desplechin /
Prenez soin de vous. crivain pour la jeunesse, Marie Desplechin, 2007
Color Print, Text, Frame
Sophie Calle
Take care of youself. French intelligence officer, Louise /
Prenez soin de vous. Officier traitant de la DGSE, Louise, 2007
Color Print, Text, Frame
Sophie Calle
Take care of yourself. Expert in women's rights at the UN, Franoise Gaspard /
Prenez soin de vous. Experte des droits des femmes l'ONU, Franoise Gaspard, 2007
Color Print, Frosted Glass, Frame
Sophie Calle
313 ART PROJECT is proud to present the opening
of the solo exhibition of internationally renowned
artist, Sophie Calle (born 1953~). During the
exhibition, the public will be presented with a
selection from Calles representative series; Prenez
Soin de Vous (Take Care of Yourself), shown at the
French Pavilion at the 52nd Venice Biennale and O
et Quand? (Where and When?) a travel record to
places recommend by her clairvoyant for Calle to
seek her future.
Prenez Soin de Vous (Take Care of Yourself),
shown at the French Pavilion at the 52nd Venice
Biennale, acquired a sensation as it open a new door
to the contemporary art scene. As one of the most
comprehensive and representative series, Prenez
soin de vous is the final sentence of a break-up
email Calle received in June 2004. She perceived
this awkwardly written, unspontaneous text as a
trait of the way men write letters to women, and
asked other 107 women to analyse it according
to their specific expertise. A variant of profession
from a judge, dancer, singer, composer, diplomat,
head-hunter, criminologist and etc participated.
Each woman contributed to the co-creation by
scrutinizing, deconstructing and dissecting of the
text. By translating the womens interpretation into
3-dimensional space, Calle plays down the work
s cerebral side and accentuates its playfulness, thus
creating a vivid aesthetic object. Thus, Calle explicitly
reveal her private life where the public is able to
apply and substitute their own emotion creating a
catharsis. Intersecting her private life by engaging
with the public, Calle is not only a representative
of the French art, but an artist that represents
conceptual art of todays generation.
Calle worked on O et Quand? (Where and
When?) since 2005 to 2011. Berck and Lourdes
are the name of the eponymous French cities which
Calle visited in the wake of her mothers death as
recommended by her clairvoyant, Maud Kristen.
Submitted to the instructions of a stranger, Calle
oddly corresponds to the clairvoyants detailed
313
(Sophie Calle, 1953~) 3 13
~4 20 . 2007
(Take Care of Yourself, Prenez
Soin de Vous)
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(Where and When?, O et Quand?)
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provision of the scheduled trips from train schedule,
place of accommodation, people to meet, subject
of conversation and etc. Here, Calle accumulates
the conversation with other strangers that she has
encountered in her journey. The perception that
people want to know their future and once this is
known they want to control their own destiny was
a revelation to Calles works. These series poses the
question of dominance and subordination, authority
and obedience, self-determination and other-
directness.
Since Calle is not afraid to explicitly reveal her private
life, she uses her surroundings and actual figures
as regular subjects. In respect, her oeuvres have a
specific target but it is not limited to characters or
events which the general public may define. Thus,
Calle is also known not only as an artist but also a
writer and movie director as her works are expressed
as 3D writing rather than narratives.
Since the 1970s, Calle has been leading a new wave
in the contemporary art through adding artistic
performance in conceptual art. Such an example
of a performance would be taking pictures whilst
following a stranger from Paris to Venice (Suite
Venitienne, 1979), inviting strangers to sleep on her
bed (The Shadow,1981), hire a private detective
to follow her discretely (The Shadow, disguise as a
hotel janitor and analyze left over notes that Calle
picked up from the guests room (The Hotel, 1981)
and many more. These performances created a new
wave to the world of contemporary art.
Calles works have been exhibited internationally
including solo exhibitions in Festival dAvignon,
France (2012), Rencontres Internationales de la
photographies, Arles, France (2012), Palais de
Tokyo, Paris (2010) Musee dArt Moderne et dArt
Contemporain, Nice (2010), De Pont Foundation,
Tilburg, Netherland (2009), Palais des Beaux-Arts,
Brussels (2009), Metropolitan Museum of Art, New
York (2009) and many more. Whilst her group
exhibitions include The Pulitzer Foundation
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(The
Hotel, 1981)
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(Malakoff) .
(Festival dAvignon, 2012),
(Rencontres Internationales de
la photographies, 2012), (Palais
de Tokyo, 2010), (Musee dArt
Moderne et dArt Contemporain, 2010),
(De Pont Foundation, 2009),
(Palais des Beaux-Arts, 2009),
(Metropolitan Museum of
Art, 2009), (Whitechapel Art
Gallery, 2009) .
(The Pulitzer Foundation
for the Arts, 2012),
(Schirn Kunsthalle Frankfurt, 2012),
(Tate Modern, 2010),
(Guggenheim Museum New York, 2010),
(Leeum, 2010), PS1 (PS1
Contemporary Art Center, 2010),
(Royal Academy of Arts, 2009),
(Pompidou Centre, 2007) .
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for the Arts, St. Louis Missouri, U.S.A (2012),
Schirn Kunsthalle Frankfurt, Germany (2012), Tate
Modern, London (2010), Guggenheim Museum,
New York (2010), Leeum Samsung Museum of
Art, Seoul (2010), PS1 Contemporary Art Center,
New York (2010) Royal Academy of Arts, London
(2009), Pompidou Centre, Paris (2007) and many
more. Her works are collected in various places
around the world including Tate Modern in London,
De Font Museum of Contemporary Art in Tilburg,
Metropolitan Museum of Art in New York and many
more.
Located in the center of Seouls nouveau art hub and
since its opening on June 2010, 313 ART PROJECT
has exhibited works of artists such as Gilbert &
George, Vik Muniz, Erik Bulatov, Teresita Fernandez,
Ashley Bickerton, Xavier Veilhan, Jon Kessler, Tony
Oursler and many more prominent artists around
the world. 313 ART PROJECT has committed to
introducing preeminent oeuvres of important
international contemporary artists to the Korean art
audience.
(Sophie Calle, 1953~)
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Yook Keun Byung
+ Sound of Silence
2013. 3. 21 ~ 4. 20Pyo Gallery
314, 02-543-7337
www.pyoart.com
Yook Keun Byung , The sound of landscape=Site energy_220cmx146.67cm _C-print Color_2010
+ Sound of Silence
A season that all living things come alive again is arrived.
For March when the energy of all creation is revived, we prepare an exhibition of Yook Keun Byungs work
presenting the vitality of nature.
The exhibition is composed by series and series. It is expected to
show artists passionate survey for a history and a nature that he has studied since his debut in 1992.
series are photograph works which took grasses in forest are taken after
visiting somewhere in forest in many times and observing closely and deeply., Actually they are a small part of forest,
as small as one span tall, although they look like huge scope of forest. The photos seem to prove that small and
insignificant creatures also keep the remarkable energy of the earth to themselves. With the marking of Ankh +
that has been symbolized the life since the ancient Egypt, it signifies the date and time when he has visited there. In
addition, it represents his philosophy on life (past=present=future) that even a split second capturing trivial objects
have a meaning as a part of the history.
series are shot-cut video works that are 5-10 minutes durations with no sound, recorded specific
moments of the nature such as fog lifting, sun rising, wind blowing, raining. However the silence in his works,
make us to realize ourselves as a weak organisms in the nature. Moreover it gives us more magnificent echo
than any sound and makes us to meditate deeply. The passage of time marked at the bottom of the video screen
is also interpreted as importance of the present as in interpretation on the number markings on . Considering to the fact that His video works motivate viewers to enlighten that the nature
is always alive and support our lives even at the moment that people cannot recognize about the truth, it can be a
only answer for the investigation of the origin of all creation.
In terms of the fact that Yook Keun Byung who has got worldwide reputation though critical video art about
civilization shows his perspective toward the world, the Exhibition acquire important gravity at this time. Pyo Gallery
wishes that the Exhibition can be a great opportunity to provide a relaxed meditation and a vital energy for the
audience who would be enduring busy contemporary urban life though Yook Keun Byungs work implying energy of
vital life.
Pyo, Mi Sun
+ Sound of Silence
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Yook Keun Byung , The sound of landscape=Site energy_160cmx106.67cm _C-print Color_2010
Yook Keun Byung , The sound of landscape=Site energy_160cmx106.67cm _C-print Color_2010
Yook Keun Byung , The sound of landscape=Site energy_160cmx75.36cm)_C-print Color_2010
Yook Keun Byung , The sound of landscape=Site energy_160cmx94.48cm_C-print B&W_2010
Yook Keun Byung , The sound of landscape=Site energy_220cmx146.66cm _C-print_2010
Yook Keun Byung , The sound of landscape=Site energy_220cmx146.66cm _C-print Color_2010
Yook Keun Byung , The sound of landscape=Site energy_220cmx146.66cm _C-print Color_2010
Yook Keun Byung , Nothing_led television monitor, usb memory_9min_2013
Yook Keun Byung , Nothing_led television monitor, usb memory_10min 5sec_ 2013
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MISE-EN-SCENE
2013. 3. 28 ~ 6. 2 Leeum
2 747-18
www.leeum.org
AES+F
: The FeastofTrimalchio:Arrival ofGolden Boat,2010
/ Digitalprint/Diasec,295495cm
AES+F
Courtesy ofMAMM and Triumph Gallery,Moscow
: - / , - , - AES+F, , , : 15 - 1 : ( ) / (3/28, 2) 2 : () / (4/18, 2) - : Ready Action
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Adad Hannah
//////1 ////////////Halfa Second////// ,2013
12 HD ,,,
Installation with 12 HD videos,12 screens,wood,paint,fabric,etcetera.
Size variable
Adad Hannah
Jung Yeondoo
-B The Bird-B camera,2013
Diptych photography
106106cm,106x179cm
Jung Yeondoo
Gregory Crewdson
Beneath the Roses
Untitled,2007
ArchivalInkjetprint
148.6 x227.3cm
Gregory Crewdson
Courtesy Gagosian Gallery
| Eve Sussman|Rufus Corporation
89 89 Seconds atAlcazar
[ - Video still-Dog Rolls]
2004
Video
10:00 loop
Eve Sussman|Rufus Corporation
Yang Fudong
The Fifth Night[ Video still],2010
7 7 Channelvideo installation
10:37 loop
Yang Fudong
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KyungJa Jeong
Story within a story
2013. 3. 29 ~ 5. 20TOYOTA PHOTO SPACE
299 , 051-731-6200
www.toyotaphotospace.org
KyungJa Jeong , Story within a Story_01, Digital Pigment Print, 100x100cm, 2010
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KyungJa Jeong , story within a story_02, Digital Pigment Print, 100x100cm, 2011
KyungJa Jeong story within a story_07, Digital Pigment Print, 50x50cm, 2010
KyungJa Jeong story within a story_08, Digital Pigment Print, 25x25cm, 2010
KyungJa Jeong story within a story_14, Digital Pigment Print, 50x50cm, 2010
KyungJa Jeong story within a story_18, Digital Pigment Print, 25x25cm, 2011
KyungJa Jeong story within a story_25, Digital Pigment Print, 25x25cm, 2010
KyungJa Jeong story within a story_27, Digital Pigment Print, 100x100cm, 2011
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KyungJa Jeong
1974
2011 Edinburgh College of Art, Contemporary Art (MA)
2007 (MFA)
1999 (BFA)
2008 Reverie, Somewhere ( , )
1998 Floating ( , )
2013 Supermarket Independent Artist Run Art Fair (Kulturhuset, , )
2012 , (, )
2011 Communal Garden (Carnival of Monsters, Nottingham, )
In between Something and Nothing - Reflections of Space (Edinburgh College of Art, )
2009 2 ( , )
2008 (, )
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2007 Round Trip ; Into the garden of my mind (, )
Academy Lights (The Central Academy of Fine Arts, , )
Emerging Korean Photographers (Verkligheten, )
2006 (, , )
2005 60 ( , )
1998 vision98 ( , )
2009 Lens Culture International Exposure Awards, Honorable Mention
2007 Academy Lights , , ,
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Story within a Story
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Jung Jung Ho
White Utterance
2013. 4. 1 ~ 4. 14
462-1, 02-396-8744
Jung Jung Ho , i, 80x100cm, pigment print, 2013
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Artist Statement
Photography is a medium that documents the world
realistically. It is also work of reckoning and interpreting
implications lent to the layers of represented signifiers.
What I want to do through photography is to document
the visible yet allude to the invisible. I can encapsulate
nature, but grasping its true nature is not easy. I also feel
its impossible to contain the invisible with the camera
lens to represent the world realistically. After several
failures I begin concentrating on the sounds of nature
and my inner self. I press the shutter according to my will
at the moment, disregarding conventional techniques
such as composition and depth academic photographs
demand.
Captivated by snow and white, I wander a field,
following my intuition without knowing what I have
to photograph. I take photographs at random. I
pursue spiritual freedom, departing from conventional
composition. I trust contingency stemming from
intuitive angles, relying on my hunch. My camera at last
begins capturing the boundaries between the visible and
invisible, and some images inspire my mind.
When seeing photographs, viewers try to learn the
messages they convey. My photographs can be said
to be ambiguous images with no concrete objects or
message, or abstract images composed of dots, lines,
and planes. However, this simplicity and ambiguity
refers to another expansion. I hope viewers can discover
invisible or unintentional meanings through only part of
these visual, perceptual scenes.
Wassily Kandinsky said White is an absolute silence
full of possibility. This is nothingness with youth: more
exactly, nothingness before inception and birth. My
white is a blank space to fill and an utterance of my
inner will to start something. It is a sublime silence and
simultaneously an outcry. Snow becomes another eye to
see the world in my photography
Jung Jung Ho , i Tension in Black I,64x80cm,pigment print, 2012
Jung Jung Ho , ii Tension in Black ii, 64x80cm,pigment print, 2012
Jung Jung Ho , iii Tension in Black iii,64x80cm,pigment print, 2012
Jung Jung Ho , iv Tension in Black iv, 64x80cm,pigment print, 2012
Jung Jung Ho , () The State of All Things 80240cm, pigment print 2012
Jung Jung Ho , i White from Black i,64x80cm,pigment print, 2012
Jung Jung Ho , ii White from Black ii,64x80cm,pigment print, 2012
Jung Jung Ho , ii Black and White ii,64x80cm,pigment print, 2012
Jung Jung Ho , iii Black and White iii,64x80cm,pigment print, 2012
Jung Jung Ho , ii White, White Utterance ii, 80x100cm, pigment print, 2013
Jung Jung Ho , iii White, White Utterance iii, 80x100cm, pigment print, 2013
Jung Jung Ho , vi White, White Utterance vi, 80x100cm, pigment print, 2013
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On the Chaosmos of Black and White
Literature-Art Critic & Dankook University Professor By
Yoo Heon-sik
What we above all take note of is change in black and
white forms. Starting from a black agile dot reminiscent
of ohm, the primal sound of the universe, Jung Jung-ho
s work features black ovals, and finally shows concrete
tree shapes. The transition in Jungs photographic work
coincidently follows the basic movement of Tao, or way,
or principle: The Tao produced One; One produced
Two; Two produced Three; Three produced All things.
(Chapter 42, Tao Te Ching by Laozi)
If we define Tao as nothingness, one concentric circle
refers to the emergence of One; the two circles to the
creation and expansion of Two; and three circles to the
emergence and expansion of Three. Diverse physical
aspects of the Three, that is, the results of change in all
things are subsequently appearing in his tree images.
As being derived from nothing becomes enriched,
the imagery is filled with black. Reversal occurs here.
Returning is the movement of Tao (),
(Chapter 40, Tao Te Ching by Laozi). White defeated
by black launches its counterattack. As white infiltrates
gradually into the territory of black, the whole turns
into white. From now on, the feast of white begins.
Returning to the world of white, the original ground,
the amusement of lines stemming from white flow
throughout his scene.
Jungs works on display at the show are metaphysical,
ontological abstract forms. The dynamics between black
and white monochromes in the first part can be read
as the correlation between nothing and being. Works
in the second part are composed of abstract images
rendered through contact between white and white
up close or far away. The dim lines derived from the
contrast between snow(white) and ice(black) and hills
capped with snow emerge. Diverse curves are formed
through the movement of the border between black
and white and encounters of white and white.
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Even if applying the theme of Hegels dialectic: that
the creation of being derives from the attractive and
repulsive forces of being and nothing, Jungs work
symbolically displays the fact that there is always inter-
infiltration between being and nothing, mutual struggle
and mutual recognition between something and nothing
in creation, and the result returns to white.
Hamlets shout To be, or not to be, that is the question
refers to the primal nature of human existence. The
shaking border between black and white is neither
chaos nor cosmos, but the two. This thus can be
called chaosmos. As the border or chaosmos moves
depending on the dynamics of forces, one orients to
life, and the other to death. In Jungs work this appears
as morphologic imbalance according to inter-infiltration
and dynamics between black and white.
Interpretation of black and white in his work is an issue.
According to Wassily Kandinsky, White is an absolute
silence full of possibility. This is nothingness before
inception and birth. By contrast, Black is nothing
without possibility, an eternal silence without future
or hope. This description on black and white almost
corresponds to the above interpretation of Jungs work.
White as nothing is the formless source of life and form
whereas black as nothing proceeds to extinction as
form. As white corresponds to the infinite and black
to the finite, the process of returning to white through
black signifies the fate of black within white. In this
respect we can understand the ontological order of his
oeuvre.
The order of black and white can be grasped from a
different perspective however: a scene starts from black,
and finishes with white as gradually infiltrating white.
While the interpretation above is based on the Taoist
world-view, this is anchored to the Christian world-view.
In Genesis Chapter 1 chaos and darkness is nothing
or black as the negative ousted by light(white), Logos.
That is to say, black is chaos(darkness) in the beginning
and not the source of life, whereas white works as
the driving force giving rise to life, denying black in
connection with light. The two cases see white as the
source of life, but the source of existence can be white
or black depending on the world view. What perspective
does Jung see within the origin of the world?
We take note of not only tension and resonance derived
from confrontation and interpenetration between
black and white, but self-rupture within black and
interrelation between white. Jung seems to use black
s chromatological meaning mixed with its ontological
meaning. If he sees black simply as darkness and death,
white as the source of life, no movement appears in
black or evil has to emerge from black. However, the
rhythm of life is sensed in rupture within black. At the
moment black secures the affirmative possibility of life,
white loses its ontological meaning, deteriorating to a
passive object
White passivity appears in work of the second part
reveals only the vague borders of the hills while relying
on the white of snow. Jung Jung-ho unconsciously
moves to blacks ontological meaning from its
chromatological meaning. Black has the ability of
bearing new life in itself as an unidentified undefined
object(chaos). This may be correct in that it corresponds
to the black hole and chaos theories in modern physics.
We just need to seriously consider in what context we
use black and white.
Before photographs could capture natural phenomena
abstractly, viewers often used their infinite poetic
imagination. Jungs photographs are highly impromptu
and abstract however, the task assigned to the abstract
photographer is how to attain objectivity, reducing
subjective interpretation, and how to convert the
casual into the inevitable. As photography relies more
heavily on external conditions than other art genres, it is
always hard to embody the meaning of inevitability and
objectivity in contingency. Jung nonetheless has taken
a significant step in raising abstract images captured
from nature to objective, inevitable metaphysical forms,
anchored to his individual life experience and thought.
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Jung Jung HoEducation
2012 Studied from dept of Photography ,
Graduate School of Hongik University
2009 Graduated from dept of Mass Communication,
School of Kunkuk University
Solo Exhibition
2013 White Utterance, Gallery Pyeungchangdong, Seoul, Korea
2005 Beautiful Moment, Gallery Quesaisju, Seoul, Korea
Group Exhibition
2013 33 Artist, Gallery Pyeungchangdong, Seoul, Korea
2013 Art Link Project, Insa Art Center, Seoul, Korea
2013 Art Link Project, Alpensia Convention, Pyungchang, Korea
2012 In-sight, HOMA museum, Hongik Univ. Seoul, Korea
2012 Daily Life Abstract Seoul, Unofficial Preview Gallery,
Seoul, Korea
2012 SCAF Contemporary Art Star,
Seoul Art Center Hangaram Museum, Seoul, Korea
2012 Art Preview and Portfoilo show, Sejong Univ. Seoul, Korea
2012 Daegu Photo Biennale- International Young Photographer,
Bongsan Center, Daegu, Korea
2012 ASYAAF, Culture Station Seoul 284, Korea
2011 Post Photo, Gong Art Space, Seoul, Korea
2011 Pingyao Photo Festival, Sansi, China
2010 Post Photo, Ilum Gallery, Seoul, Korea
2009 IVI Photo, Gwanghwamun Gallery, Seoul, Korea
2008 Variation of String, Chonggye Town Square, Seoul, Korea
2008 Magnum Photo Award,
Seoul Art Center-Hangaram Museum, Seoul, Korea
2008 Korean Air Photo Award, Sejong Art Center, Seoul, Korea
2007 Pathos of Salaryman, LIG Art Center, Seoul, Korea
2006 Korean Air Photo Award, Gongpyeong Art Center,
Seoul, Korea
2004 Photo, Gallery Woorim, Seoul, Korea
Award
2013 Cyart New Discourse Artist
2012 Art Preview and Portfolio Show Award
2008 Hankook Ilbo Photo Essay Award
2008 Magnum Photo Award
2008 Intel International Photo Award
2007 National Geographic International Photo Award
2007 Korean Air Photo Award
Book
2011 Gift of Himalaya, Gimyoungsa, Korea
Kim Gun Woo
2013. 4. 2 ~ 4. 14Ryugaheon
7-10 / 3 4 , 02 720 2010
www.ryugaheon.com
Kim Gun Woo _ Less traveled #03 _ pigment print 16.5 x 23.4in
Kim Gun Woo _ Delighted in #01 _ pigment print 23.4 x 16.5in
Kim Gun Woo _ Delighted in #05 _ pigment print 16.5 x 23.4in
Kim Gun Woo _ Less traveled #02 _ pigment print 16.5 x 23.4in
Kim Gun Woo _ Who seeks finds #05 _ pigment print 16.5 x 23.4in
(Kim Gun Woo)
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Ahn Sung Jun
Mime
2013. 4. 3 ~ 4. 9 GALLERY LUX
185 3F, 02-720-8488
www.gallerylux.net
, Mime_#01_ _110X134cm__ _2012
, Mime_#07_ _110X134cm__1_2013
, Mime_#12_ _110X134cm___2012
, Mime_#13_ _110X134cm__ _2010
, Mime_#14_ _110X134cm__ _2010
Mime
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2011
2013 Mime_
2011 IN-COMPLETION_
2011 , Seoul Museum of Art, Seoul
Li Gang
Mongolia's pony express
2013. 4. 3 ~ 4. 23gallery Now
192-13 3, 02-725-2930
www.gallery-now.com
Li Gang
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1948
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SEOUL PHOTO 2012 FOTOMORROW PROJECT SECLECTED ARTIST
HEEDOO JUNG
Resonance of memories :
Private Monument
2013. 4. 4 ~ 4. 7Coex
159, 2F C-58 02.6000.1597
www.seoul-photo.com
Heedoo Jung , The Desk and STUDIO playground48.3x32.9cm _ archival pigment print _ 2011
Everyone has memories and recollections deeply entrenched in his heart, whether they are beautiful or sad.
To me, places in the photographs are where myself and others share memories. In there, traces of countless
memories together exist and resonate. This work is about the 'memories' dwelling in those places. Everyone has his
own special and precious memories in their own special places, even if that place is very ordinary.
is, with the first work in the series , the second
work of the series. series is a work about the memories of the author, myself. In the
work , I wanted to talk about not only mine but memories and recollections of unspecified
individuals, that is the traces of memories of myself and others, through the convenient store in the Hangang park,
where all Seoulites have visited at least once. The audience look at the photo of the convenience store, its interior
erased by light due to a long exposure, and tracing memories of the objects they remember. I wanted to find the
connection between the two by emotionally applying pieces of countless memories and recollections dwelling in the
space called convenience store through the act of taking pictures.
Likewise, in the second work , two objects are juxtaposed in one image. One dimension is the
private place in the past memories and it becomes the 'ground' in the image. Another one is the 'figure' existing in
the present or the closest past memory. I wanted to express how the two memories scattered and existing in the
different dimensions of spaces in my head resonate in one space.
The way of connecting a specific time and an objet in the way of remembering and recollecting the past amplifies
the strength of memories. An objet can be considered as a kind of monument which has the memories of 'someone'
who wants to remember a certain moment. However this monument will eventually lapse, unlike common
monuments that are filled with collective memories.
Everyone has memories and recollections deeply entrenched in his heart, whether they are beautiful or sad.
People build little monuments in their heads.
Can the memories be engraved under the monument?
Resonance of memories : Private MonumentJUNG HEEDOO
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Heedoo Jung , The Lightbox and Playground in apartment48.3x32.9cm _ archival pigment print _ 2011
Heedoo Jung , The Desk and Parking lot at studio48.3x32.9cm _ archival pigment print _ 2011
Heedoo Jung , The Desk and Parking lot at studio48.3x32.9cm _ archival pigment print _ 2011
Heedoo Jung , The Scooter AURA100 and Ground parking lot at apartment48.3x32.9cm _ archival pigment print _ 2012
Heedoo Jung , The Sewing machine and Bamboo grove at Myungawon48.3x32.9cm _ archival pigment print _ 2012
Heedoo Jung , The Easel and Bamboo grove at Myungawon48.3x32.9cm _ archival pigment print _ 2012
Heedoo Jung , The Stuff and Her room48.3x32.9cm _ archival pigment print _ 2012
Heedoo Jung , The Desk and Myungawon office48.3x32.9cm _ archival pigment print / 2012
Heedoo Jung , The Scooter AURA100 and Underground parking lot at apartment48.3x32.9cm _ archival pigment print / 2012
Heedoo Jung , The mat and Hangang park48.3x32.9cm _ archival pigment print / 2013
Heedoo Jung , The vehicle and Underground parking lot at mall48.3x32.9cm _ archival pigment print / 2013
Heedoo Jung , Convenience store #03-266.5x100cm _ archival pigment print / 2010
Heedoo Jung , Convenience store #05-166.5x100cm _ archival pigment print / 2011
Heedoo Jung , Convenience store #23-166.5x100cm _ archival pigment print / 2011
Jung Heedoo
Born 1981 in Seoul, Korea.
Organized 'THE PLAYGROUND PROJECT' ( http://www.playgroundst.net )
Education
2012 Granted master's degree in Hongik University Graduate School of Industrial Art, Photographic Design, MFA
2008 Graduated from Soongsil University, Dept. of Chemistry / Economics, BS
Group Exhibitions
2013 SEOUL PHOTO 2013 / FOTOmorrow CHOICE 2012' COEX, Seoul
2012 2012 ASYAAF Culture Station Seoul 284, Seoul
2012 PHOTO FAIR 2012' COEX, Seoul
2012 Mangwon-dong Work:room Exhibition' J1 gallery, Seoul
2012 2012 Waiting for a new picture AP gallery, Seoul
2011 POINTfeed Project GALLERY BODA CONTEMPORARY, Seoul
2011 POST-PHOTO 9th KWANHOON gallery, Seoul
2011 PHOTO Pleasure Exhibition' gallery GLEEMAN, Seoul
2011 2011 Seoul Contemporary New Generation Art Star Exhibition Seoul Arts Center Hangaram Art Museum,
Seoul
2011 2011 ASYAAF Hongik Museum of Art, HOMA, Seoul
2011 JUNG HEEDOO and CHOI JISUN :: THE PLAYGROUND PROJECT-1 GALLERY LUX, Seoul
2010 POST-PHOTO 8th TOPOHAUS, Seoul
2009 The 17th Exhibition of Korea Advertising Photographic Awards' The Advertising Culture Center, Seoul
Award
2013 'SEOUL PHOTO 2012 FOTOmorrow Project Selected Artist' Seoul, Korea
Jeong-woo Lee
To Stay
2013. 4. 4. ~ 5. 7. Trunk Gallery
462-1, 02-396-8744
www.trunkgallery.com
Jeong-woo Lee , Choi_s night, digital print_82x106cm_2013
Jeong-woo Lee , Lee_s night, digital print_136x106cm_2013
Jeong-woo Lee , Min_s night, digital print_82x106cm_2013
Jeong-woo Lee , Yoon_s night, digital print_82x106cm_2013
Jeong-woo Lee , Zang_s night, digital print_82x106cm_2013
To stay. To stay here, finally.
There are many Korean artists who are residing in Paris. The Parisian-based Korean artists each live their lives as if
they were two people. One works during the day, but at night the other does his art. The artist appears to be two
persons but is actually one. Here is the place of daily livelihood and There is a nocturnal world where he becomes
alive. He quickly brings the day to a close, and at last goes to where he has longed for. It is only when the whole
world has gone to sleep, deep in the night that he can stay here. It is only at this hour that his mind becomes lucid.
This is when the hour of the artist truly commences. The hour of the artist is the realm of creativity.
The beings who go from here to there, these artists, yearn for the hour and the realm of the night. They long for
the night. For it is at night that they reclaim their artists identity, and become master of their own time. Such an
hour for them is only a moment. It is this moment that they barely managed to stay that Jeong-woo Lee captures.
He was curious about this and that place of these people who during the day worked in the city of Paris. He went in
search of their nights.
Le Bois de Boulogne, some beach in Normandy, Granville seashore, the steps of Trocadero, and to the wheat field
of Auvers-sur-Oise where Vincent Van Gogh is buriedthese were the places he sought out. Over there, he found
familiarity, comfortableness, and coziness in each of these spaces where they each chose to be during the time
of their own choosing. In the dark spaces, bodies were sunk in deep reflection. It was their desperate gesture to
unearth something. It was their cradle of creation.
Space where they want to stay.
To stay. Staying here finally feels comfortable.
It is night. The night gives a new birth to a person. The night embraces a rebirth. It gives rich nourishment.
The night is a cradle of hope. The realm of night is a different space from the domain of day. It is a space of the
future where one awakens.
Time they want to be in control of it.
The wall is dismantled. It is a moment when time becomes space.
A space reborn.
Time and space they are content with.
The hour of fantasy, the space of fantasy, it is comfortable.
It feels like ones hometown.
The Korean artists in Paris have come to stay there, in that place.
Trunkgallery Director Park, Young Sook
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humor:us
2013. 4. 4 ~ 5. 19space k K
Sukkuhn Oh, Jungho Oak, JoSeub
600-2 2F, 053-766-9377
www.spacek.co.kr
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_The Text Book Cover(Rock Scissors Paper)Digital c-print__26x32cm_2006
humor:us
Sukkuhn Oh _The Text Book(Chulsoo & Younghee) p37_Digital c-print_26x32cm_2006
humor:us
Sukkuhn Oh _The Text Book(Chulsoo & Younghee) p49_Digital c-print_26x32cm_2006
humor:us
Sukkuhn Oh _The Text Book(Chulsoo & Younghee) p151_Digital c-print_60x73cm_2007
humor:us
Sukkuhn Oh _The Text Book(Chulsoo & Younghee)p172_60x73cm Digital c-print_2007
humor:us
Sukkuhn Oh _The Text Book(Chulsoo & Younghee)p181_Digital c-print_60x73cm_2007
humor:us
Sukkuhn Oh
b.1979
Education
2005 , Nottingham Trent University. School of Art & Design
Selected Solo Exhibitions
2012 + , 179, 180 ,
2011 , ,
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2007 Bare Exposure, ,
2005 Bare Exposure, , , ,
Selected Group Exhibitions
2013 , , ,
2012 Flesh & Bone, Portland Art Museum, ,
City States, Liverpool Biennial, ,
Meta Empire : Young Artists Project 2012, ,
Twisted, ,
Emerging : New Photography Acquisitions, Portland Art Museum, ,
10-1, ,
(SKOPF) , ,
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2011 , 1 9-1,
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2010 ATU (Alternative, Translate, Universe), ,
Otonarisan, Gallery Artlier & Kyushu University Museum, ,
5 : , ,
Chaotic Harmony, Santa Barbara Museum of Art, ,
A4 Demo : Art For Democracy, 13 14 .
Double Interview, Art Space Hue & I-MYU Projects ,
Mind Games, Australian Centre for Photography, ,
Waseda Photojournalism Festival, 125 Memorial Gallery of Waseda University & Visual Arts
Gallery, ,
2009 Chaotic Harmony, The Museum of Fine Arts, Houston, ,
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City-Ray, ,
The Photograph as Contemporary Art, ,
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Urban & Culture, , ,
Identity, Costume, Cliche: Korean Photography Today, PCNW, ,
Young Portfoilio 2008, , ,
Mexico Photo Biennial, Centro De la Imagen, ,
2008 2008, I am an Artist, ,
2008 The Battle of Taste, ,
Discoveries Exhibition of Fotofest, , ,
2007 , , ,
Kinora Experimental Film Opera, ,
Residency
2012 3
2011 2
Jungho Oak _-_Digital print_127x152cm_2011
humor:us
Jungho Oak _-_Digital print_127x152cm_2011
humor:us
Jungho Oak _ __Digital print_127x152cm_2011
humor:us
Jungho Oak _ _Digital print_127x152cm_2011
humor:us
Jungho Oak _-_Digital print_101.6127cm_2007
humor:us
Jungho Oak _-_Digital print_101.6127cm_2007
humor:us
Jungho Oak _-_Digital print_127x152cm_2011
humor:us
Jungho Oak
b.1974
Education
2008
2003
Solo Exhibitions
2011 , ,
2006 FREE PLASTIC, 175,
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2012 , 284,
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Reality Bites 02., ,
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2010~2011
2010 18th Street Art Center , Santa Monica, CA, USA
2008
JoSeub _Break of Day-_Digital light-jet print_12986cm_2012
JoSeub _Dance-_Digital light-jet print_12986cm(each)_2012
humor:us
JoSeub _Nest-_Digital light-jet print_12986cm(each)_2012
humor:us
JoSeub _Reed&Willow-_Digital light-jet print_12986cm(each)_2012
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JoSeub _Tree-_Digital Light-Jet print_12986cm_2012
JoSeub
b.1975
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2005 13 ,
Kim HyeJin
2013. 4. 5 ~ 4. 17BAEDARI Photo Gallary
14-10, 070-4142-0897
www.uram54.com
[ 1], , -1, digital print, 120x90cm.
[ 2] , -2, digital print, 120x90cm
[ 3], , -3, digital print, 120x90cm.
[ 4], , -4, digital print, 90x120cm
[ 5], , -5, digital print, 90x120cm
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Kim Ji Ho
Traces of Consciousness
2013. 4. 10 ~ 4. 15gana art space
119 , 02-725-9256
www.insaartcenter.com
Kim Ji Ho , Traces of Consciousness #2
Kim Ji Ho , Traces of Consciousness #1
Kim Ji Ho , Traces of Consciousness #3
Kim Ji Ho , Traces of Consciousness #4
Kim Ji Ho , Traces of Consciousness #5
Kim Ji Ho , Traces of Consciousness #6
Kim Ji Ho , Traces of Consciousness #7
Kim Ji Ho , Traces of Consciousness #8
Kim Ji Ho , Traces of Consciousness #9
Kim Ji Ho , Traces of Consciousness #10
Kim Ji Ho , Traces of Consciousness #11
Kim Ji Ho , Traces of Consciousness #12
Kim Ji Ho , Traces of Consciousness #13
Kim Ji Ho , Traces of Consciousness #14
Traces of Consciousness
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2012 Linhof 617 . Color Reversal Film
Black and White Print Film . 3:1 Pigment-based Inkjet
Printer Luster 3m 1m .
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2012 Post-Photo
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Kim Ji Ho , Traces of Consciousness #16
Lee, Mihong
-
2013. 4. 9 ~ 4. 15Seongnam Arts Center
808, 0310783-8000
www.snart.or.kr
Lee Mihong , Achival Pigment Print 70x105cm
Lee Mihong , Achival Pigment Print 70x105cm
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Lee Mihong , Achival Pigment Print 70x105cm
Lee Mihong , Achival Pigment Print 70x105cm
Lee Mihong , Achival Pigment Print 70x105cm
Lee Mihong , Achival Pigment Print 70x105cm
Lee Mihong , Achival Pigment Print 70x105cm
Lee Mihong , Achival Pigment Print 100x150cm
Yang, yang-keum
Mudflat, God's Garden
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2013. 4. 10 ~ 4. 16topohaus
184 2, 02-734-7555
www.topohaus.com
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- 2008. Korea International Art Fair 2008 (KIAF)
- 2008. SIPA2008()
- 2009. 11
- 2010. 6
- 2010, 2011. KASF(Korea Art Summer Festival) SETEC
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GERHARD GROSS ( )
Appreciating the detail. 4 stories.
2013. 4. 10 ~ 4. 23GALLERY LUX
185 3F, 720-8488
www.gallerylux.net
GERHARD GROSS, Freeze frame
GERHARD GROSS, Freeze frame
GERHARD GROSS, Freeze frame
GERHARD GROSS, Freeze frame
GERHARD GROSS, Study of the refusal of order: The Butterfly Effect
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freezeframe( 2006 / 2007 )
Nocturnal house facades offer the spectacle of a multiple stage play - small stages on multiple floors synchronously
play play private shows with enigmatic content, changing participation and differing plot. Performances with
anonymous actors, which may last for hours and eventually come to an end with no discernible climax by simply
switching off the lights.
The series "freeze frame" shows examples of nocturnal windows, which were being targeted from a safe distance
with a telephoto lens and greatly enlarged. In the twilight zone of indiscretion and voyeurism the images capture
insights into the privacy of anonymous city dwellers. Man is visible only in exceptional cases, predominantly the the
surrounding residential area serves as an intimate information.
Over a period of several months changes in selected targets were documented, preferably night by night. Not the
people and their actions have been under observation, but the tracks that draw their everyday lives. The distant
view through dark branches and blurred window glass often makes merely vague details and the coloring of privacy
observable.
The observer feels to be in a kind of unnoticed position of power, its pleasure is premised on the discovery of more
and more ultimately unimportan, details. Insight for insight the fragmentary illusion of a precise imagination of the
people living behind the window seems to build up. Picture by picture a story begins to develop - frozen sequences
from a variety of plays that became apparent behind the windows of house facades.
Study of the refusal of order. The Butterfly Effect.( 2010 / 2011 )
10 prints, 50x70 cm, framed
The basic idea is an analysis of norms or common standards and systems of ordering within social life.
Patterns of behaviour, which are beyond these norms or which deliberately refuse to comply to it, are being
monitored. The effects of these deviances are being recorded.
Every two months the content of a crockery basket secretly has been put into its original order. The changes have
been documented over a period of several months.
Snow2012 ( Sarajevo, Bosnia )
3 prints on Diasec, 55x15 cm
A sequence of three single images illustrate the photographers cautious approach and movement around the
chosen motif. It is a timeconsuming procedure of physical appropriation with the aim of an authentic representation
of the perceived situation. A scenario characterized by a strong element of silence and an euphoric feeling of
disorientation in terms of space and time while focusing on the visual phenomenon.
mirror cuts_quartett A-D ( 1991 / 2006 )6 prints on Diasec, 33x48 cm
mirror cuts are easily produced, and easy to consume.
An image editing program is being used for a very simple manipulation that moves minor details into the center of
inspection through cutting out the center (the essence) of the original motive and finally reduplicating what is left.
The results are concentrates of car design elements - stereotypes which somehow look familiar and real, but rather
originating from a cartoon virtuality.
GERHARD GROSS 1968, in Graz, Austria
2012 3 cycles, Bosanski Kulturni Centar, Tuzla, BIH
2011 efekat leptira/butterfly effect, Golden Eye Gallery, Novi Sad, SRB
2010 mirror cuts, HTBLA Bruck/Mur, A
2009 at dark, Spomen dom Pazin, Pazin, HR
ICONS, Galerija Most, Novi Sad, SRB
2008 seattle works, Gallery Fair, Month of Photography Ljubljana, SLO
2007 freezeframes, airport gallery, Graz, A
freezeframes, MP_art Cafe, Novi Sad, SM
2005 mirror cuts, Galerie SPOT, Zagreb, HR
mirror cuts, Golden Eye Gallery, Novi Sad, SRB
2004 mirror cuts, SKC, Belgrade , SRB
flying scopes & more, Univerzitetna knji nica Maribor, SLO
2003 mirror cuts, Joanneum Ecksaal, Graz, A
Hotel, Retzhof, Leitring, A
1997 soft graffiti, Galerie am M lkersteig, Vienna, A
soft graffiti, Raum fr Kunst, Graz, A
1995- Meridian-Koordinate, permanent outdoor installation, Pekarna / Maribor, SLO
1994 Schlaraffenland, Raum fr Kunst, Graz, A
2
2008 ICONS, Galerie Marenzi, Leibnitz, A (with Bruno Richard, F)
de-sense/re-sense, ESC, Graz, A (with Myung-Seop Hong, ROK)
freezeframes, Austrian Cultural Forum Zagreb, HR (with Bruno Richard, F)
2003 flying scopes, Beograd Gallery, Belgrad, SRB (with Dejan Grba, SRB)
2001 A vos marques, Galerie TohuBohu, Marseille, F (with Carole Monterrain, F)
1997 manifeste laafeld / potrna 97, Pavelhaus, Laafeld, A (with Borut Popenko, SLO)
1991 Birne. experimental music, Technical University Graz, A (with Andreas Weisz, A)
Belgrade, Bratislava, Budapest, Dubrovnik, Gornji Milanovac, Graz, Innsbruck, Kosice, Leibnitz, Linz, Ljubljana,
Maribor, Mostar, Osijek, Pecs, Porec, Poznan, Prishtina, Sarajevo, Tirana, Warszawa, Wroclaw, Zagreb
,
2003 City of Graz Photo Promotion Award 2003
2000 Magister of Philosophy (art history)
1997 artist in residence, Dubrovnik, HR
1995/96 scholarship, University of California (UCLA), Los Angeles, USA
1995 artist in residence, Pekarna, Maribor, SLO
since 1989: member of gruppe ERGO
Won Seoung-Won
Character Episode I
2013. 4. 11 ~ 5. 9ARTSIDE GALLERY
33, 02-725-1020
www.goeunmuseum.org
Won Seoung-Won , , C-print, 2013
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Won Seoung-Won , , C-print, 2013