PhotoView 2013.5(May)-B

PhotoView ISSUE 16 May 2013

PhotoViewIssue.16

Photography exhibitions eMagazine

2013. 5-b

www.inprint.co.kr

Archival Pigment Print

inprint

010-7520-7716

/ Publisher : Seo, JH ([email protected])

: www.sazine.co.kr

: 070-4685-3166

: www.webhard.co.kr (ID:ufoto / PW:7777)

Monthly Photography Exhibitions eMagazine PhotoView

.

.

PhotoView , PhotoView .

facebook www.facebook.com/ephotoview

tweeter www.tweeter.com/ephotoview

naver blog blog.naver.com/ephotoview

download www.sazine.co.kr/photoview

Yo

ll Lee

, B

lue Tree

PhotoView Contents

2013.5-bYoll Lee (Eng, Kor)

Yeonju Sung

Choi, Wonrak

33

, Jaime Permuth (Eng, Kor)

Chang Nam (Eng, Kor)

() ()

Jaeman Cho

STEPHANE FERRERRO (Fr, Kor)

YongHwan Lee (Eng, Kor)

Kim, Soonin

Cha, KyoungHee (Eng, Kor)

Kook Jiwon (Eng, Kor)

Baek, Hyung Wook

Soohee Jung (Eng, Kor)

Myoung Ho Lee, Robert Overweg

Ko, jungnam (Eng, Kor)

Yoll Lee

Blue Tree

2013. 5. 30 ~ 6. 11 , Jung Art Gallery

400 B1, 02-2254-2981~2

2013. 6. 13 ~ 6. 27, Jung Art Gallery

539-1 6F, 032-329-2981~2

2013. 7. 2 ~ 7. 15, Jung Art Gallery

833 4F, 031-679-0680~4

www.jungartgroup.com

Yoll Lee , Blue Tree

Yoll Lee , Blue Tree

.

, , .

.

.

.

.

.

.

Trees have always brought me great comfort.

Trees always represent comfort, rest, and a friend to me because I spent my childhood in the countryside.

Even now, when I come upon some awesome trees, I cannot walk away and must hang around.

Trees in my work are not simply the Photographic objects; they are the theme I explore in my whole life.

While the lighting acts as make-up on the arrogant trees, it is the trees themselves that stand out as the

primary focus.

Sometimes questions come to mind; do I look at the trees or do the trees look at me? Am I the audience, or

are the trees?

(Yoll Lee)

Istituto Europeo di Design

(PhotoGroup)

Graduated from 'Chung-Ang University', Department of Photography, Seoul Korea.

Graduated from 'Istituto Europeo di Design', Department of Photography, Milano Italia.

Representative of 'PhotoGroup'

--

2009. 7. 22 ~ 2009. 8. 10 (W Gallery)

2009. 5. 4 ~ 2009. 5. 16 Number ( )

2008. 12. 3 ~ 2009. 1. 11 ()

1999. 6. 11 ~ 1999. 6. 20 . ... (Gallery May)

1998. 10. 8 ~1998. 10. 20 C'era una volta il nudo, e poi... (Famiglia Artistica Milanese)

-Solo Exhibition-

2009. 7. 22 ~ 2009. 8. 10 "The wind blows" (W Gallery) Seoul Korea

2009. 5. 4 ~ 2009. 5. 16 "Number" (Gallery Illum) Seoul Korea

2008. 12. 3 ~ 2009. 1. 11 "Flowing Flower" (KimYoungSeob PhotoGallery) Seoul Korea

1999. 6. 11 ~ 1999. 6. 20 "There was the Nude, and..." (Gallery May) Seoul Korea

1998. 10. 8 ~1998. 10. 20 "C'era una volta il nudo, e poi..." (Famiglia Artistica Milanese) Milano Italia

-Art Fair-

2010. 4. 29~ 2010. 5. 3 SEOUL PHOTO 2010 (COEX ) Seoul

2009. 9. 12 ~ 2009. 9. 16 SIPA 2009 ( ) Seoul

Ko, jungnam

Changing Opinion

2013. 5. 1 ~ 6. 15 Curiosity

412-27 1

Jungnam Ko _Changing Opinion_ 1966, 08()_Inkjet pigment print_76.2101.6cm_2012

Jungnam Ko _Changing Opinion_ (__1960 _Auguste Rodin) Inkjet pigment print_76.2101.6cm_2006

Jungnam Ko _Changing Opinion_ Paul Cezanne, 1966 (La Montagne Sainte-Victoire)_Inkjet pigment print_76.2101.6cm_2012

Jungnam Ko _Changing Opinion_ 01 ( , _ 024_1981)_Inkjet pigment print_76.2101.6cm_2006

Jungnam Ko _Changing Opinion_ 1968, 04()_Inkjet pigment print_76.2101.6cm_2012

Jungnam Ko _Changing Opinion_ 1983_Inkjet pigment print_76.2101.6cm_2006

Jungnam Ko _Changing Opinion_ (__1976, 11 _Vincent Willem van Gogh) _Inkjet pigment print_76.2101.6cm_2012

Jungnam Ko _Changing Opinion_ , 1967, 09()_Inkjet pigment print_76.2101.6cm_2013

Changing Opinion .

._

,

. Changing Opinion

(Philip Glass) ,

,

. .

, , , ,

, . . ,

._

._ , . _

.

. ,

. .

.

Changing Opinion

It is the most difficult to make something simply. In anything at all, perfection is finally attained not when

there is no longer anything to add, but when there is no longer anything to take away. _Antoine de Saint

Exupery

Minimalism is based on the belief that the true reality is achieved only when the artistic technique or

dramatization is minimized and when the basis the essence of a subject is expressed, allowing the gap

between the reality and the work of art is minimized. The title of Changing Opinion was derived from the

music of Philip Glass. His music also makes one think of the meaninglessness of reason and emotion by

showing or destroying the repetitiveness of language and space as it shows the minimalism of extreme

simplicity and repetitive features of simple forms. It is my way of expressing in photography as well.

Books are things that are strapped to one by being written or printed of certain thoughts, feelings or

knowledge for a certain objective, content and format and are semiologically describing humans culture,

history and etc.

There are various praises for books.

Homes without books are like houses without doors and a room without books is like a body without a

soul_Marcus Tullius Cicero

When reading a book, one must read carefully as if he was in the heart of the writer_Henry Zorro.

The window is bright and the person is calm. I read bearing the hunger_Wooam Song Si Yeol.

The theme is the communication through an objet called book. Communication has to win more sympathy

than ordinary opinions or persuasion and one must not forget to be considerate of others feelings. I was

attracted to people who created books and to the traces of lives that lived fiercely for a period of time

through the books. It was to steal daily lives of others from the old, used books.

I will look out the window, holding books for the time.

Jungnam Ko _Changing Opinion_, 1975, 10(, )_Inkjet pigment print_121.441.2cm_2013

Ko, jungnam1992 BFA in Art, Chonnam National University, Korea

2002 AD in photography, Tokyo Institute of the Arts, Japan

2004 MFA in Media Art-Photography, Tokyo Polytechnic University, Japan

Solo Exhibitions

2012 Tokyo Story_Super Normal, Gallery Beansseoul _Seoul

2011 Architectural Landscape, Gallery Bresson_Seoul

Inside another rectangle within the initial rectangle, Gallery kim, Seoul Korea

2009 Jindalrae, Gallery Bresson , Seoul Korea

2008 unlimited, Gallery kim, Seoul Korea

2007 Jindalrae, Gallery curiosity, Seoul Korea

2007 Changing Opinion, Gallery cafe miel, Seoul Korea

2005 Winter Vacation_Travelling Through the Landscape, Gallery kim, Seoul Korea

2004 On Concrete, by Ando Tadao, MOKKUMTO Gallery, Seoul Korea

2004 Summer Vacation_Travelling Through the Landscape, Gallery Bar FERRARA, Seoul Korea

2003 Ando Tadao_YUMEBUTAI, Gallery CREADLE, Yokohama Japan

2002 The House, Tokyo Story, Gallery Lux, Seoul Korea

Selected Group Exhibitions

2013 , _Gyeonggido 2012, _Cheongju

_10_space99 gallery_Seoul , _Gyeonggido (Paradise Lost),

_Pusan 2011 , _Seoul , _Pusan Social

Photography, gallery illum_Seoul 2010 _ , _Daejeon 5_

, _Seoul 2010~8 , _Seoul 2009 '1990 ,

_Gyeonggido 4_, _Seoul 2008 , Gallery

_Seoul 2007 , _Yeongwol

, _Seoul 2006 , _Seoul depositors meeting,

Gallery art &river bank_Tokyo, Japan art shopping, _Jeju 2007 newspaper, Gallery

_Seoul 2006 , _Seoul , Gallery on,

Knapp Gallery_London UK.

Publication

3_LOVE, 2012 4_ photonet , 2007

Collection

2012 ,

2011

2010

2009

, 2Myoung Ho Lee, Robert Overweg

Down the Rabbit Hole

2013. 5. 23 ~ 6. 30 101

309-3, 02-739-3093

www.gallery101.co.kr

Robert Overweg, The End of the Virtual World 1

Myoung Ho Lee, , Ink on Paper, (H)1190x(W)1850mm, 2012

101 4 2 . Down the Rabbit Hole (

), 1

2 .

.

. .

, .

. .

.

. ,

. , . ,

. ,

.

, ,

.

.

.

. . .

. .

. .

4 .

. (

2012) 3D .

.

, (Robert overweg)

. .

( ) .

. .

.

, .

.

.

.

,

.

. ,

,

.

.

, () () .

, .

, .

,

,

. , . , ,

.

Robert Overweg, , Game, satin print on dibond, (H)82 x (W)144 cm, 2010



Robert Overweg

Robert Overweg

( 2012)

.

, .

(NIMK, ) ,

, . ArtFZ (ArtEZ Arnhem)

2009 . AvBA

(Academie van Bouwkunst Arnhem) (MediaLAB Amsterdam)

.

Robert Overweg

Robert Overweg

Born in Amsterdam, The Netherlands

2011 Artist in residence @ NIMK (Dutch institute for media arts), Amsterdam, The Netherlands

2010 Artist in residence @ TAG / Todays Art, The Hague, The Netherlands

2008 ArtEZ academy for visual arts (Graphic design), Arnhem, The Netherlands

Solo Exhibition

2011 The Prologue, NIMK, Amsterdam, The Netherlands

2010 Robert Overweg: photographer in the virtual world, Concrete, Amsterdam, The Netherlands

2009 SHOT: documenting current spaces, Luxor, Zutphen, The Netherlands

Group Exhibition

2012 Media City Seoul, Seoul Museum of Art, Seoul

2011 Game-city, CBK, s-Hertogenbosch, The Netherlands

2010 Art Festival PLATINE, Art festival PLATINE, Cologne, Germany

2010 Breda Photo, International photo festival, KOP, Breda, The Netherlands

2009 City limits, Galerie 48, Breda, The Netherlands

2011 NIMK , ,

2010 TAG / Todays Art , ,

2008 ArtFZ , ,

2011 The Prologue, NIMK, ,

2010 Robert Overweg: photographer in the virtual world, Concrete, ,

2009 SHOT: documenting current spaces, Luxor, ,

2012 , ,

2011 Game-city, CBK, ,

2010 Art Festival PLATINE, Art festival PLATINE, ,

2010 Breda Photo, International photo festival, KOP, ,

2009 City limits, Galerie 48, ,

Myoung Ho Lee

Birth. 10th July 1975, Seoul, Korea

Occupation

Artist. Photography / Related Media

Professor. Dept. of Photography, Kyungil Univ., Kyungsan, Korea

Education

2012. Studying Ph. D. Course, Dept. of Photography, Graduate School of Joong-Ang Univ., Seoul, Korea

2006. MFA, Dept. of Photography, Graduate School of Joong-Ang Univ., Seoul, Korea

2003. BFA, Dept. of Photography, College of Arts, Joong-Ang Univ., Seoul, Korea

Solo Show(Selected)

2013. 10. 17 11. 08. 798 Photo Gallery, Beijing, China

2012. 06. 07 07. 08. Jungmiso, Seoul, Korea

2010. 05. 05 06. 06. Sungkok Art Museum, Seoul, Korea

2009. 03. 19 04. 18. Yossi Milo Gallery, New York, USA

2009. 02. 03 02. 05. National Art Studio, Seoul, Korea

2008. 10. 16 11. 19. Zandari, Seoul, Korea

2007. 05. 25 06. 20. Factory, Seoul, Korea

Group Show/Project(Selected)

2013. Venice Biennale, Venice, Italia

2013. Seoul Photo, Seoul, Korea

2013. Garosoogil Project, Seoul, Korea

2013. Sungkok Art Museum, Seoul, Korea

2012. National Museum of Contemporary Art, Seoul, Korea

2012. Images, Vevey, Swiss

2012. Art Link, Tel-Aviv, Israel

2008. Take Out Drawing, Seoul, Korea

2008. Space Dot One, Jeju, Korea

2012. Moran Museum of Art, Namyangju, Korea

2012. Gwangju Museum of Art, Gwangju, Korea

2012. National Museum of Contemporary Art, Seoul, Korea

2011. Lima University Museum of Art, Lima, Peru

2010. Seoul Museum of Art, Seoul, Korea

2011. Pohang Museum of Steel Art, Pohang, Korea

2011. Yossi Milo Gallery, New York, USA

2011. Gyeonggi Museum of Modern Art, Ansan, Korea

2011. J. Paul Getty Museum, Los Angeles, USA

2010. Seoul National University Museum of Art, Seoul, Korea

2010. National Taiwan Museum of Fine Arts, Taipei, Taiwan


2010. Kyoung Book National University Art Museum, Daegu, Korea

2010. Daegu Culture and Arts Center, Daegu, Korea

2010. Palais Rameau Museum, Lille, France

2010. Fuglsang Kunst Museum, Odense, Denmark

2010. Jeju Museum of Art, Jeju, Korea

2010. Incheon Art Platform, Incheon, Korea

2009. PPP, Phnom Penh, Cambodia

2009. Brandt Museet for Fotokunst Odense, Denmark


2009. National Art Studio, Seoul, Korea

2009. James Cohan Gallery, Shanghai, China

2009. The Museum of Photography, Seoul, Korea

2008. Kumho Museum of Art, Seoul, Korea

2008. Take Out Drawing, Seoul, Korea

2008. Kiyosato Museum of Photographic Arts, Kiyosato, Japan

2007. Seoul City Gallery Project, Seoul, Korea

2007. Dong-Kang Museum of Photography, Dong-Kang, Korea

2007. The Central Academy of Fine Arts, Beijing, China

Award/Grant/Artist-In-Residence-Program(Selected)

2013. Culture & Arts Fund, The Arts Council Korea



2010. Artist Support Program, Seoul Foundation for Arts & Culture, Seoul, Korea

2009. Artist of Tomorrow, Sungkok Art Museum, Seoul, Korea

2008. National Art Studio, The National Museum of Contemporary Art Korea


2006. Photograph Critique Award, The Committee of Photograph Critique Award

Collection(Selected)

J. Paul Getty Museum, Los Angeles, USA

Kiyosato Museum of Photographic Arts, Kiyosato, Japan

The Royal Library, Copenhagen, Denmark

Seoul Museum of Art, Seoul, Korea

National Museum of Contemporary Art, Seoul, Korea

Hermes, Paris, France

Air France, Paris, France

BES(Banco Espirito Santo), Lisbon, Portugal

Progressive Insurance Corporation, Cleveland, USA

Fidelity Investment Group, New York, USA

Statoil Art Collection, Oslo, Norway

Gyeonggi Museum of Modern Art, Ansan, Korea

Sungkok Art Museum, Seoul, Korea

Seoul National University Museum of Art, Seoul, Korea

First College Museum of Art, Suncheon, Korea

Kyungil University Library, Daegu, Korea

Byul Collection, Seoul, Korea

Kolon Group, Gwacheon, Korea

Eagon Industry, Seoul, Korea

Hana Bank, Seoul, Korea

Deutsche Bank, Hongkong

Louis Vuitton, Paris, France

Paranoia Film Production, Los Angeles, USA

Amana Holdings, Tokyo, Japan

KPX, Seoul, Korea

Art Bank, Seoul, Korea

(Myoung Ho Lee)

' ' ,

'FOAM' . 2006 ''

, 2007 '' (2009),

(2010), (2012) . 798

. LA (2011) ,

.

, , ,

LA .

1975 .

, .

Yeonju Sung

Wearable Food 1x1qx17x1=1

2013. 5. 15 ~ 6. 8gallery imazoo

20 12 AAn Tower b1, 02-557-1950

www.imazoo.com

YEONJU SUNG , Cheese

< Wearable Food 1x1qx17x1=1 > 2013 5 15 6 8

.

.

,

. -

.

.

.

.

.

,

( )

. ,

.

.

. .

, ,

.

.

.

.

, ,

,

, ,

, .

- , ,

.

YEONJU SUNG , Jamong2

YEONJU SUNG , Crab stick, Pigment Print

YEONJU SUNG , Spinach, Pigment Print

YEONJU SUNG , Red beet, Pigment Print

YEONJU SUNG , Bamboo shoot, Pigment Print

YEONJU SUNG , Oriental melon, Pigment Print

YEONJU SUNG , Pasta, Pigment Print

YEONJU SUNG , fragrant mushroom, Pigment Print

1986

2010 .

2013 Wearable Food 1x1qx17x1=1 ,

2012 Art Process_ CSP Art space

Wearable foods by Yeonju Sung_STUDIO AKKA IN H PROJECTs_Milan, Italy

Earthly Paradise : Displaced Realities _Pacific Design Center, LA, USA

2011 Romantic Winter with Artist Yeonju Sung_ Gallery Bandi Trazos

2009 Wearable Food_ ,

_ ,

2013 _ the K ,

2012 _

Knock! Knock! _Bandi Trazos Shanghai, China

2011 Wearable Food | Be Artistic_

Ahn-nyung | Hello_ Lebasse Projects gallery in culver city, LA

Gem_LAAA 825 gallery, LA

Momentum_ LeBasse Projects gallery in China town, LA

[Food: Food]_,

Edition Pop-up_,

Art fair

2010 _ ,

KIAF_ ,

ART EDITION_ ,

2011 Shanghai Art fair_ Shanghai, China

KIAF_

ART EDITION_SETEC.

2012 Palm Springs Fine Art fair VIP Lounge, CA, USA

Kunstart21, Bolzano Art fair, Italy

Asia top gallery hotel art fair, Westin Chosun, Seoul, Korea

/ / / 500 /

YEONJU SUNG

09.29.1986 Seoul, South Korea Born in Seoul,

2010 . B.F.A. Dep. of Painting, College of Arts, HongIk University, Seoul, Korea

[Solo Exhibitions]

2013 Wearable Food 1x1qx17x1=1 , Gallery Imazoo, Seoul

2012 ART PROCESS_csp111 gallery, Seoul

Wearable foods by Yenju Sung_Studio AKKA in H PROJECTs_ Milan, Italy

Earthly Paradise : Displaced Realities_ Pacific Design Center, Los Angeles, USA

2011 Romantic Winter with Artist Yeonju Sung, Gallery Bandi Trazos, Seoul

2009 "Wearable Foods", Gallery Young, Seoul

"The Image Between Reality and Non-Reality", Mok-Ho Cultural Center, Ulsan, Korea

[Group Shows]

2012 Tasty World, Yang Pyeong National museum, Yang Pyeong, Korea

Knock! Knock!, Bandi Trazos Shanghai, China

Yummy Yummy, Gallery Golmok, Itaewon Seoul, Korea

Fashion Holic, Galleria centercity Department store, Chun An, Korea

2011 Wearable Foods| Be Artistic_Sheraton Walkerhill Hotel

Ahn-nyung | Hello_ LeBasse Projects gallery in culvercity, LA

gem_LAAAA 825 gallery, LA

"Momentum"_ LeBasse Projects gallery in Chinatown, LA

[Food : Food]_Lina Gallery, Seoul

"Edition Pop-up", Interalia, Seoul

[ Art fair ]

2010 Asia Top Hotel Art Fair,The Shilla Hotel Seoul

Korea International Art Fair, Coex, Seoul

Art Edition, Bexco, Busan

2011 Shanghai Art Fair 2012_Shanghai mart, Shanghai, China

KIAF_ Coex, Seoul

ART EDITION_ SETEC, Seoul

2012 Palm springs artfair_CA

Kunstart21, Bolzano Art fair, Italy

Asia top gallery hotel art fair, Westin Chosun, Seoul

[Collections]

The National Museum of Contemporary Art, Korea / Crown Hatae / The Classic 500 / Konkuk University

Choi, Wonrak

II

2013. 5. 17 ~ 5. 29BAEDARI Photo Gallary

14-10, 070-4142-0897

www.uram54.com

Choi Wonrak

5, 6, 7

.

.

.

.

.

.

.

?

.

( 5 .)

KTX .

.

,

.

6~7 .

.

----

?

?

.

.

.

.

...

,

.

. .

.

.

.

.

Choi Wonrak

Choi Wonrak

.

, .

.

,

.

.

.

.

. .

. .

.

.

.

.

?

,

,

,

.

.

.

.

.

CHOI WONRAK

1955

, , , ,

2010 ()

2012 ()

2006 ()

2007 Gallery bit()

2008 6 ()

2008 Festival ()

2009 7 ()

2009 ()

2011 ()

2011 ()

33

2013. 5. 18 ~ 7. 31(1), (2)

, , , , ,

, , , , ,

462-1, 02-396-8744

www

, series - 4, Pigment Print, 1996

5.18 , . .

5. 18 33 . 33 .

, . . 33

. 1980 ' ' '

' .

,

. 1980

5. 18 , , .

.

. 5. 18 ,

.

11

.

, . ' '

5. 18 " ", "

" .

.

.

.

,

.

1

. 5. 18 ( ), ( )

.

,

. 5. 18

.

5. 18 20 ,

,

, ,

5. 18

.

. .

5. 18 ' '

.

2 5. 18 .

| .

,

.

.

1

.

,

, ''

, .

.

.

, 5. 18 .

, 5. 18 1980 ,

'' | 5. 18

. , , .

, , Pigment Print, 1996

, Configurated_in_Accumulative_Space- , Archival Pigment Print, 150x189cm, 2007

, - , Archival Pigment Print, 2011

, - 1-1 , Archival Pigment Print, 2011

, series - Forgetting Machines # II-01, Archival Pigment print, 65x90cm, 2009

, series - 1953.5.9 - 1980.5.23, Archival Pigment Print, 2006_2011

, Gwangju Story Plate. 43 , 1995 9 28

, Gwangju Story Plate. 48 , 1995 9 28

, seires, , Gelatin Silver Print, 1990

, seires, , Gelatin Silver Print, 1991

Curators Choice-Joanne Junga Yang

, Jaime Permuth

(Yonkeros)

2013. 5. 21 ~ 6. 2Ryugaheon,

7-10 / 3 4 , 02-720-2010

www.ryugaheon.com

Jaime Permuth, Untitled from the series YONKEROS, 2010

1 _

,

Curators Choice( ) 5 .

,

.

Curators Choice ,

.

(Jaime Permuth).

, The School of Visual Arts

ICP .

5 21 (Queens) (Willets Point)

.

. Junk()

, .

3

, 1

3 .

. .

, .

Curators Choice ,

. : 02-720-2010

Artist Statement

Jaime PermuthYonkeros

Yonkeros is a popular term for businesses that strip wrecked cars and sell them as scrap metal or for parts.

The term is a Spanglish derivative of junk, conjugated grammatically to refer to people who engage in this

line of work.

Yonkerosis a lyrical exploration of first world consumerism, waste, and obsolescence as they intersect with

third world ingenuity and survivalist strategies in the no-mans-land of Willets Point, Queens.

This series of photographs is both an appeal and a eulogy; the City of New York is determined to erase the

existence of this small enclave, not withstanding that it continues to provide an essential service to the

community and that it constitutes a source of income and employment to a segment of the citys immigrant

working class.

But above all, Willets Point is a vast inventory of parts, and like all catalogues it is also a poem.


Jaime Permuth

(Jaime Permuth) . 1991

Hebrew University , 1994 The School of Visual Arts

, 2009 .

MoMA, , , , , El

Museo del Barrio, , , Casa del Lago,

. The Polaroid Corporation, ,

, , , ,

.

The School of Visual Arts ICP: The International

Center of Photography , The Center for Creative Aging,

el Museo del Barrio, ICP, , , Maine

Photographic Workshops, .

Jaime Permuth is a Guatemalan photographer living and working in New York City where he teaches in the Master of Professional Studies in Digital Photography at the School of Visual Arts.

His photographs have been shown at several venues in New York City, including The Museum of Modern

Art, The Queens Museum of Art, TheBronx Museum of the Arts, The Museum of the City of New York, The

Jewish Museum, El Museo del Barrio, and The Brooklyn Museum of Art. He has also exhibited internationally

at the MuseoNacional de Arte Moderno in Guatemala, Casa delLago in Mexico City, and the Israeli

Parliament. Among others, his work is included in the collections of The Museum of Fine Arts Houston, The

Brooklyn Museum of Art, The Museum of the City of New York, Yeshiva University Museum, State University

of New York New Paltz, Art Museum of the Americas (DC), Fullerton Art Museum (CA) and Museum of Art

Ft. Lauderdale (FLA). He has received commissions from El Museo del Barrio, The Queens Museum of Art,

The Jewish Museum, and Queens Theater in the Park.

His first monograph entitled YONKEROS was published in 2013 by La Fabrica Editorial (Madrid).

Chang Nam

- The Sea and I The Inter-space

2013. 5. 22 ~ 5. 27INSA ART CENTER (1) 188, 02-736- 1020

www.insaartcenter.com

Chang Nam , Digital Pigment Print on Matte Canvas. 2012

Chang Nam , Digital Pigment Print on Matte Canvas. 2013

- --

- .

.

.

-

.

, .

.

.

.

-

.

. ,

.

.

.

The Sea and I The Inter-space -Chang Nam-

The Sea and I - To the physical inter-space, the roaring furious waves soon turn into the foams and scatter

into the air. The self-destructive waves conceived from the abyss of a huge sea tangled with the fierce

storms and the blizzards, like the absurdity of the Sisyphe, rise sky-high and struggle again with a great

desire then soon disappear into the infinite space. I have to draw the things, unknown and difficult to

express in words that surround the roots of life, from the silence and, as if Id talk to them, contemplate the

constantly changing and expanding nature and retrace the fading memories of the abyss.

The sea and I The inner inter-space, producing the poetic vision and the abundant satisfaction, brings out

the skein of the memories which are tangled with the desire drifting endlessly in the middle of the abyss

and the language of silence that made them swirl. Magic of the space, shelters me always, wakes me up

to the unknown feelings, and makes me to wonder endlessly with the new questions, that is the inter-

space. The sea flowing in the darkness is reproduced as the symbols of the irreducible senses through my

uncontrollable consciousness. Now, the sea existing in my sight is already beyond the physical reality, reveals

the images that are more decisive and concise, or rather metaphysical. The distorted colours, derived from

the consciousness, became pure and unique which are even incomparable with any intense light - some as

the sadness and the anger, some as the excitement and the passion, and sometimes as the comfort and the

peace diffuse with its own language.

The sea and I The close inter-space brings out the sediment of the memories which was compressed in the

inside and at the same time, unties the skein of insoluble consciousness such as a desire or an aspiration,

maybe lingering regrets or longings. And such a space requires me the incessant transformation of the

consciousness. The sea makes me to question endlessly to myself and encourages me with a sort of magical

power which enables me to find out invisible myself. Im perceiving the incessant existence of life and

dreaming of the future, and I encounter my another me who exists in between the undeniable reality and

the eternity of time. Thus, the sea unfolds the multi-facetted aspects of undisguised myself and the multi-

layered pieces of memories.

- - -

.

,

.

( )

.

.

?

. .

(re-presentation)

(imago) .

. , , , , , -,

.

.

.

,

.

.

.

() .

.

.

() ,

(Paul Klee)

(Francis Bacon) .

. (index)

.

-

. .

.

. .

(a a t)

. ,

,

.

.

.

.

.

.

. :

-

. .

,

. (...) .

.

.

-(sign-stimuli) .

-

.

.

,

.

(indexation) .

.

.

( )

. Paris, Perpignan (1990~1996)

France

2013 - , (, )

2010 , (, Gallery M )

2010 , (, )

2008 (, )

2007 (, )

2013 SOAF (, COEX))

2012 SOAF (, COEX)

2010 (, 315 )

2010 (, )

2010 1 - ()

2010 (, Hancock University Art &Design Center)

2009 (, )

2009 Seoul photo

2009 (, COEX)

2009 (, )

*

2010 ()

CHANG NAM

MFA in Photography, Chung Ang University Graduate School of Arts. Korea

Focused on Painting in France(1990-1996)

University of Perpignan. France

BFA in Panting, Kyung Won University. Korea

Studied at Kunst Doc Art Gallery & Institute. Korea

Instructor at Dan Guk University. Korea

Solo Exhibition

2013 "The Sea and I The Inter-space" ( Insa Art Center, Seoul, Korea )

2010 "I Saw the Sea" Invitation Exhibition (Gallery M, Seoul, Korea)

2010 "Speculative Sea'' Patronized Exhibition (Art Sagan Gallery, Seoul, Korea)

2008 "Illusion" (Cydream Photo Gallery, Seoul, Korea)

2007 "Hidden" (Bit Gallery, Seoul, Korea)

Group Exhibition & Art Fair

2013 SOAF (Coex, Seoul, Korea)

2012 SOAF (Coex, Seoul, Korea)

2010 Kyung Nam International Photography Festival (315 Center, Chang Won, Korea)

2010 Pingyao International Photography Festival (Pingyao, China)

2010 Korea-Russia Exhibition of Exchange(Russia)

2010 East Meets West (Hancock University Art &Design Center, L.A, USA )

2009 Portfolio Preview Beijing (Beijing, China)

2009 "In That Place" Seoul Photo

2009 (Coex, Seoul, Korea)

2009 "Dream" (Seoul Contemporary Art, Hangaram Art Museum Arts Center Seoul, Korea)

Award 2010 The Photographers of The Year

() ()

2013. 5. 22 ~ 5. 28gallery Now

192-13 3, 02-725-2930

www.gallery-now.com

Min Ja Chung ,Temptation01,115x106cm,Pigment Ink on Archival Paper,2011

:

.

.

.

.

.

.

.

.

.

.

.

power .

.

.

.

.

.

.

,

reality

.

.

.

.

.

.

.

.

.

Metonymy .

.

. ,

.

.

,

.

.

.

.

Min Ja Chung ,Temptation03,115x106cm,Pigment Ink on Archival Paper,2011

Yoon Hee Kim ,Drawing of Time II-Fish2,100x67.6cm,Inkjet print,2009

Yoon Hee Kim ,Drawing of Time II-Fish3,100x67.6cm,Inkjet print,2009

Jong Ok Kim , ,100x75cm,Inkjet print pine art papar,2012

Yoon Hee Kim

1983.2

2001.2 ()

2011.2

2013 ,

2012 '2012 Contemporary Photography Program', ,

2011 SEOUL PHOTO 2011, ,

2010 ( ) , ,

2007 , ,

1980 Finders Family , ,

Jong Ok Kim

2011 , ,

2013 ,

2012 2012 "Contemporary Photography Program" ,

2011 2011 SETEC,

2010 ,

2009 NEW START (),

2009 ,

2008 ,

2007 ,

2006 ,

2005 ,

2004 ,

2003 ,

Min Ja Chung

2011 'Temptation' ,

2013 ,

2012 '2012 Contemporary Photography Program' ,

Jaeman Cho

Happy Underground

2013. 5. 22 ~ 6. 4Able Fine Art NY Gallery

127-3 1F , 02-546-3057

www.ablefineartny.com

Jaeman Cho , Gay 434, 120 x 80cm, Pigment Print on Fine Art Paper, 2008

Jaeman Cho , Gay 243, 120 x 80cm, Pigment Print on Fine Art Paper, 2008

Happy Underground _

Happy

Underground 5 22 Able Fine Art NY Gallery Seoul .

,

.

Happy Underground

.

Jaeman Cho , Gay436, Pigment Print on Fine Art Paper, 2008

Jaeman Cho , Transgender 531, 120 x 80cm, pigment Print on Fine Art Paper, 2011

Jaeman Cho , Transgender 433, 120 x 80cm, Pigment Print on Fine Art Paper, 2011

Jaeman Cho , Transgender 551, Pigment Print on Fine Art Paper, 2011

. ,

, .

,

. , ,

, .

, ,

.

. , ,

.

. . .

, .

. ,

. . .

, . ,

. .

, .

. ,

. .

,

. ,

. , ,

, .

, .

, .

.

, , .

.

-

Jaeman Cho

1983

1987

1998

1983 Graduated from Kyewon High School of Arts, GyeongGi-Do

1987 B.F.A in Drama & Film Chung Ang University, Seoul

1998 Studied in International Center of Photography, New York

Solo Exhibition

2013 Happy Underground, Able Fine Art Gallery, Seoul

2010 Another Scene behind Scene, Jangeunsun Gallery, Seoul

2008 In Plain Sight, F.T Art Gallery, Los Angeles

2007 Snap Life, Small Works Gallery, Las Vegas

2005 Small Wonder, White Room Gallery, Los Angeles

2003 Face of America, Yoshida's Gallery, Portland

Group Exhibition

2013 Special Exhibition , Able Fine Art Gallery, Seoul

2012 10 Curators & 10 Futures, Seoul Arts Center, Seoul

2011 Heaven, Earth , Man, Absinthe Gallery, Seoul

Touth, Kepco Art Center, Seoul

2010 Bling Bling Breeze, CSP 111 Art Space, Seoul

2009 Silence & Arrogance, C.T Gallery, Seoul

2006 Festival, Meyer Gallery, Park City, Utah

2005 Passion & Fashion, Philips Gallery, New York

2004 Asian Contemporary, Arthur Leggett Gallery, Vancouver

2002 America American , What's New Gallery, Seattle

Art Fair

2010 Seoul Photo, Seoul

2007 Palm Spring Photo Festival , CA

2005 Santa Barbara Art Fair, CA

2002 Photo LA, Los Angeles

STEPHANE FERRERRO

Intimit Urbaine / Urban intimacy

2013. 5. 22 ~ 6. 29Kyungpook National University Art Museum

80 , 053-950-7968

artmuseum.knu.ac.kr

Stephane Ferrerro, AT A GLANCE

STEPHANE FERRERROS PHOTOGRAPHY - Urban intimacy

. Urban

intimacy (2) , ,

. , ,

.

Urban intimacy At a glance 25 .

Urban intimacy .


Stephane Ferrerro, URBAN INTIMACY

I : Intimit Urbaine / Urban intimacy

, (Stphane Ferrero) (Urban)' .

2 (, , )

, . , , ,

. .

, .

, ,

(, , ) .

,

.

,

. ,

.

.

La ville pntre l'intimit de nos vies Nos histoires fantasmes ou relles sont crites en profondeur dans le

labyrinthe urbain, o les lignes des structures rpondent aux courbes des corps.

Avec sa srie de diptyques, Stphane Ferrero invite le public se promener travers trois des villes les

plus urbanises du monde chinois (Shanghai, Hong Kong et Taipei) et regarder travers les faades qui

composent la vie quotidienne de leurs habitants.

Ces villes hyper-matrialises peuvent encore donner un peu d'espace l'imagination et nous permettre de

pntrer dans l'intimit des vies subtilises derrire les murs.

"Intimit urbaine" nous questionne sur notre relation avec l'urbanit, dressant un parallele entre les

esthtiques corporelle et urbaine. L'exposition attire galement notre attention sur la part d'interprtation

inhrente la photographie puisque certains des modles fminins posant sont rels et d'autres sont des

mannequins-poupes. Cette astuce permet l'artiste de rappeler que la vracit des histoires devines n'est

pas un probleme...

II : Un regard / At a glance

,

. , : ?,

?

, -

, , , - .

.

.

. .

, .

Bas sur des instantans combins en triptyques, il s'agit d'une tentative d'exprimer ma vision du monde

chinois - principalement la Chine continentale, Hong Kong et Taiwan - un monde o je vis depuis de

nombreuses annes et que j'essaie toujours de saisir.

Avec ces triptyques, j'essaie de donner une forme visuelle mes sentiments.

Rassembler trois cadres autour d'un seul sujet ou emplacement me permet, partir de dtails, dapporter

une vision trs personnelle.

Les trois cadres interagissent afin dincliner vers diffrentes perceptions et de traduire divers sentiments de l

environnement urbain.

En un regard peut aussi tre vu comme un concept influenc par le cinma et le journalisme. Ces deux

domaines ont certainement affect mon travail comme dune part, je suis cinphile et que dautre part, jai

exerc le mtier de journaliste pendant plusieurs annes.

Un projet de photographie de Stphane Ferrero

, . 2007

, , , ,

. , (

).

Exhibitions

2013

King Gallery, Taipei, Taiwan, United in differences, group exhibition

2012

O-Gallery, Shanghai, China, Urban Intimacy, solo exhibition

2010

Zhejiang International Arts Exchange Museum, Yiwu, China, China-France Arts Exchange Exhibition, group

exhibition

Alliance Franaise, XiAn, China, At a glance, solo exhibition

Casa de Portugal, Macau, 2010 Borderless Arts members Exhibition, group exhibition

Alliance Franaise, Chonqqing, China, At a glance ... China-s, solo exhibition

Dada Bar, Shanghai, China, Shanghai Photographer Night 3rd Edition, Shanghai feeling, group exhibition

Alliance Franaise, Jinan, China, At a glance ... China-s, solo exhibition

2009

Osteria, Shanghai, China, At a glance ... , solo exhibition

Alliance Franaise, Dalian, China, At a glance ... China-s, solo exhibition

Alliance Franaise, Hangzhou, China, At a glance ... China-s, solo exhibition

St Paul Corner Gallery, Macau, 2009 Borderless Arts members Exhibition, group exhibition

2008

B H Gallery, Macau, 2008 Spring group, group exhibition

Soohee Jung

Nameless Places

2013. 5. 22 ~ 5. 28GALLERY LUX

185 3F, 02-720-8488

www.gallerylux.net

Soohee Jung , Nameless Places #1 50x50cm Archival Pigment Print 2010

.

tv ,

. .

.

, , ,

. ,

. .

.

I was born and raised in the city but it's strange to me.

Although we usually feel happy through the actors from TV, watching TV is actually the absence and

severance of communication like illusion. Because we often face with this situation in the city. City is newly

and conveniently developing everyday. On the other hand, we can see the pressure of modern people who

are afraid of the late preparation for tomorrow.

The shouting of many signs, artificial light brightened in the night like in the daytime and the deep shadow

which is made by fancy and high buildings. All of these make a hard life. I had to find out my own place for

healing myself and standing against my living foundation where I cannot be away easily. The project, is started from finding little breaks through walking in the city. And I hope it makes the

urban people, who is living in the same age, happy.

Jung soo hee

2012

2008

2013 ,

2012 post photo,

2010 post photo,

2012 Photograhpic design, Hongik Universty Graduate school of Industrial Art Korea

2008 Visual communication design, KyungwonUniversity

Solo Exhibition

2013 Nameless Places, Gallery Lux, Seoul

Group Exhibition

2012 Post Photo, Topohouse Gallery, Seoul

2010 Post Photo, Topohouse Gallery, Seoul

YongHwan Lee

2013. 5. 23 ~ 6. 2 & V

YongHwan Lee , 65x43cm, Civilization series, Pigment print, 2009

YongHwan Lee , 156x110cm, Political landscape series, Pigment print, 2011

(trompe-l'oeil)

.

(acte photographique) .

,

.

, ()

YongHwan Lee , 90x90cm, Political landscape series, 2013

YongHwan Lee , 120x90cm, Political landscape series, 2013

YongHwan Lee , 65x43cm, Civilization series, Pigment print, 2009

YongHwan Lee

2010

, , 2011

, , 2000

, ,1996

, -,1995

Selection, , 1983

() .

.

.

. .

, .

.. .

Political Landscape intends to present the aimed spot where peoples relative relationship and the ways of

desire meet each other. A political agenda is not realized by using a direct order but interest groups make

them obey by themselves for their own desire.

One day I found the fence screen for subway construction in front of my house was covered with a

landscape photo. This long forest running through the city started filling every space of the city in an

instant. Such virtual space became to be deployed in the real world and coexist with it. Now, as virtual space

becomes a daily life in the reality, artificial nature begins replacing the real nature in every urban space. My

photos are standing at the point where they are giving interference each other in the social, political and

economic aspects including my personal daily life.

Kim, Soonin

Sensibility-inside

2013. 5. 23 ~ 6. 5GALLERY illum

2 51-13 2 , 02-2263-0405

www.galleryillum.co.kr

, . .

. .

. ,

, .

. 2~3 .

.

. .

, - .

, .

. ,

. ,

.

, , . ,

.

.

. , . ,

. ()

-. , ,

. , .

. ,

. , .

TOYOTA PHOTO SPACE

Cha, KyoungHee

,

2013. 5. 24 ~ 7. 15TOYOTA PHOTO SPACE

299 ,051-731-6200

www.toyotaphotospace.org

KyongHee Cha , , , , pigment print, 125x150cm, 2007

2010

, .

.

. 2013 1 4 .

,

.

.

.

. 2013 4

, , .

2013 .

, , .

. 2002

, , ,

.

, . ,

. ,

. . .

.

,

. , ,

.

.

. ?

?

.

. .

. .

, . , ,

.

. ,

.

.


.

.

.

. .

.

: TOYOTA PHOTO SPACE

KyongHee Cha , , , Pigment Print, 100x120cm, 2004

KyongHee Cha , , , Pigment Print, 100x 120cm, 2004

,

,

,

. .

,

.

.

.

. .

.

, .

.

.

,

.

.

,

.

,

.

2013

,

, .

.

.

,

.

,

. .

5,

.

?

?

.

.

,

,

.

2006

The Ground

It might be that if we love someone beyond

measure,then even death falls in that love and

forgetshis own duty, leaving the person whomhe

ought to perish alive, as vividly as the person was

in his lifetime. And this might be what you call the

photographic image.

Excerpt from Kim JinyoungsSilent Days.

The series named The Ground began with my

effort to comfort myself after losing my sister. His

death was an accident that taught me that how to

take a step forward in everyday life could determine

life and death. I have no choice but to miss the time

that we shared together, but on the other hand, it

remains in my memory as a different being, telling

me that death is not disappearance but another

form of being alive. What was it that was shown to

her lying in her last bed? Was our house seen by her

eyes?When man dies, he returns to the dust. I left

for the natural landscape that includes the dust in

which the deceased is living.

During working on this project, I found that the

natural scenery, living space, and the space of death

in each region arejoined together as one. In this

sense, I tried to observe the objects in nature from

the point where I could show them equally, rather

than to focus on only one of them. I was attracted

by none of them. I just looked into and conform to

every capillary vessel of nature. And by representing

the four seasons in elegant colors, I tried to unite

nature, the living space of the survivors, and the

grave as the residence of the dead. In my works,

the term Ground,here, means both the abode of

the deceased and the place of living, and the grave

placed in Groundworks as a mediator between the

living and the dead. This series,The Ground, was

intended to show that life and death, or the world

of life and that of death, are neither separated nor

walled; but rather, there is a continuation between

them, for both are living together by picking out

their own Ground. 2013.

Foreshore

Even several years ago, there used to be a mudflat

here where fishermen were catching fish at high

tide and women were gathering shellfish at ebb

tide. One day, a great number of life forms in this

place suddenly disappeared with the sea. However,

these dry and cracked vestiges of the sea, where

nothing seems to survive, began to be inhabited

once again by new life forms: small sea crabs dig

holes to build their home andthe populations of

Suaeda japonica, a plant that grows on salt marshes,

put forth flowersassiduously.In springtime, it rises

again and again no matter how harshly you trample

upon them, and easily crumbles to pieces even by

the most careful step when summer is over and fall

comes. And then, it waits for spring again.

I came here for the first time in last May when spring

is almost gone, and stayed here watching the last

season. Did this place offer the shelter of comfort to

me who had been trampled upon by the heavy foot

of life? How much time and oblivion will be needed

to be able to wait for beauty after once losing it? I

learned the tremble of life and what waiting is from

all the living things in this barren land, or the mere

vestiges of the sea. I found the beauty of life in

them who are week but proudlypay for their life. As

the thrown-away gloves, boots, and shells tell you

about the past time of this land and the life forms

living here about today, these photographs will talk

about the time of my youth in which I aspired to live

as passionately as any other person. 2006.

. .

.

. . .

, ,

. .

.

,

. .

.

.

. , , , .

. ,

, . , ,

, . , ,

.

. ,

.

,

. , .

.

.

, . ,

.

,

. .

. ,

.

.

, , R. .

. ( ).

. , .

,

.

. . .

. ,

. ,

, .

.

.

. .

. . ,

. , ,

. . , . ,

. . . .

. , ,

. .

. , . ,

. ?

. .

. .

. ,

.

. .

. , .

, .

.

, , .

, .

. ,

, .

.

.

. .

.

. . .

. , , , , .

. , .

, .

(Acedia) (Vita Nova) .

. ,

, . .

.

. .

The Ground A Long-distance Gaze or the Alchemy of a Grave

The series titled by Cha Kyounghee features photographs of graves. It is not uncommon

for photographers to choose graves as their subject matter, for so many photographs of graves have been

so far taken with various themes. Nevertheless, there is still something unusual in this photographers eye

capturing the image of graves with the lens. She does not shoot them at close range: rather, her subjects

are photographed from a distance as long as possible. The graves trapped by that long-distance gaze are

almost covered by or sink into the landscape filling up the entire frame, not standing out as in other pictures

of graves. Inotherwords, she intentionally De-subjectizes the subject with the long-distance gaze. This gaze

of de-subjectificationseems to closely relate to the artists unique way of not only approaching the subject,

but also composing the framethat is, how to make the photographic space multi-layered. The gaze, in her

pictures, transforms the photographic space into a dialectical one in which the subject is at once covered

and revealed and therefore, in this complicate space, her graves go far beyond the level of a mere visual

subject to become a polysemous sign that requires careful reading. In this sense, the understanding of this

photographic series would be a matter of understanding of this polysemy of her sign. Then, what does this

sign of a grave mean?

I would like to first read her pictures of graves from the ontological perspective. And I am attracted by her

new gaze on the interrelationship between life and death. In her gaze, the grave is no longer the abode

of death, or the outside of life, as is commonly believed. Rather, it comes into the very inside of life and

experiences all that life undergoes. As life goes passes the seasons, so the grave passes spring with peach

blossoms pink on the branches, and winter covered with snow. As life is present in all spaces, so the grave

is also domiciled in a field, on the seashore, or near someones house. Occasionally, for example, a grave,

placed on the top of a slope on one side of the road, looks like a house built by someone who is living there

and watching passersby through the window. Nevertheless, the ontological peculiarity of these photographs

does not found only in the internalization of the grave in life. With a closer look at them, you may found

that the grave, looking like a trivial detail in the landscape, shows itself as a dominating element. The

images, in which the screen of the mountain mist evokes the ancient memory, may lead you to think, not

that the landscape includes the grave, but that the former is being created from the latter. If these pictures

could be regarded as ontological, it is a paradoxical ontology.

Next, I look at her pictures of graves from the psychoanalytic perspective. And the graves captured by her

long-distance gaze read as the sign of Mourning. Freud, who rounded out the concept, explains mourning

as the libidinal movement in which the grief of bereavement, or losing a loved one, gradually returns to life

and completes healthy detachment from the deceased. However, the photographers grave seems to be

connected with some other type of mourning: it seems closer to Proustian mourning than to Freudian one.

For Proust, mourning is not to achieve a parting from the deceased, but the work of memory to incorporate

the deceased within it for the purpose of not forgetting him, or to put it another way, burying him not in

the grave under the ground but in that in the heart. Chas sign of a grave carries out the similar function.

Her graves that seem to become entirely part of nature, living together with the living in the time and space

of life, resemble more the image of recollection and forgetfulness to keep the deceased in our life, than that

of parting and oblivion. If is mourning photography, her graves would not to be found in

natural space but be the ones in her heart that she personally built inside of herself.

Finally, I read Chas sign of a grave from the meta-theoretical perspective that deals with the photographic

image itself. As is widely known, it was Ronald Barthes who delved into the intimate relationship between

the photograph and a grave more than anyone else. He understands the photograph as the image that has

a double relationship with death. The photograph is essentially the image of death (death is the eidos of

that photograph), for it is the result of transforming what is living and moving into the image of death,

as still as a dead body. On the other hand, it also represents the Return of the dead. The photograph as

an indexical image is the visual record of Being alive then and there, or the image of the reviving past, or

the return of Having been alive then in the gaze of the beholder. This persuades us to read Chas sign of

a grave as a signifier that implies another special meaning. The photographer takes pictures of graves, and

by doing this, she represents the grave space as the photographic one. This representation, however, does

not simply mean the conversion of the object to the image. If is mourning photography, her

photographic practice will have another special meaning. This is because, if the photograph is the space

of the living past, the grave that turned into a photograph is no more the space of death and recollection,

but a magical space in which the dead is still alive and returns to the present. In a sense, her photographic

behavior may be described as the practice of alchemy to change the grave into the abode of the living,

not that of the dead. But this alchemy of grave and photography is not allowed to everyone. It is only the

gaze of love to build a grave in the heart and keep the deceased in it that makes the alchemy possible. The

photographers love seems to be still ongoing.

Foreshore From Acedia to Vita Nova

The series titled by Cha Kyounghee features look like those of acedia: the dreary and dry

landscape of mind. This may be why all things are low in her photographic space divided into three sections

such as the sky, the ground, and the in-between space. The ground is low; the leaden sky is low; even the

grass is low, as if it stopped growing. These low spaces are empty. Not only the sky, but also the ground, is

empty. While you can see the grass coming out, it is too small to fill the space. An empty space tells no tales.

Of course, the photograph, by nature, tells no tales, for the image has no mouth. However, the reason of

the silence of her photographs seems to be different: it feels not as having no words to say, but as being

at a loss for words, possibly because of its empty desolateness and dryness. Then, is it only an auditory

hallucination that you can hear from her pictures? An auditory hallucination is another kind of hearing to

hear the inaudible. If you are to hear the silence of the speechless photograph, you can hear it only as an

auditory hallucination. So, it also seems that there are some sounds in her photographs. But what are they

at all?

My first auditory hallucination is the Sound of erasing. This emptiness is regarded, not as something that

has been so from the beginning, but as the result of erasing and removing things placed on the ground.

This is particularly true of the white clay ground. The white plane, of course, may be attributed to the

geological feature. However, if presents the landscape of acedia, this white ground appears to

be a bleached surface, not because of the particular kind of soil, but because the shapes and colors that had

been there were destroyed and wiped out. The same goes for the sky. The gray sky looks like the

empty air that is left by erasing and bleaching the clouds that may have been there. The next sound that I

hear is the Cracking sound. The white ground is not only bleached, but also cracked, or broken. This may

be also due to the barrenness of the land or the effects of the climate, but the cracks and splits still seem

to be resulted from some action applied on the surface. It is the black holes made between the cracks that

help you to guess what the action was. The fissures were not created of their own accord, but made by

someone who made holes on the dry land, or who dug into the ground to go under it. So, I subsequently

hear the Digging sound. The subtle and grotesque shapes of chasms suggest that the work of digging and

boring should be a painstaking and persistent task. The shapes are read and understood, not as images,

but as hieroglyphic characters, and perhaps because of this, the next sound that comes to my ears is the

Bubbling sound. You can hear it only after you perceive water streams in the frame. And only after that,

you can grasp the relationship between the image of the white land marked by dry cracks and that of damp

ground with streams of running water. The chasms and pores on the white ground may remind you, not of

a mere natural phenomenon, but of the creeping motion of a thirsty earthworm that tries to move through

the dry surface of the ground to get back to the underground swamp area. For the photographer, a river

may not be a stream of water running on the ground. Rather, it may be underground water that you meet

after boring into the dry land and getting down to the bottom. If so, it would be quite natural that the

image of the white ground with persistent holes is followed by that of a wet land with running water on it.

Finally, I hear the Sound of growing up. This becomes louder and louder. The sound of weeds that grow in

poverty on the dry white land is followed by that of wet ground with running water going here and there,

and again followed by that of weeds and flowers on a green field. The sounds of erasing, cracking, digging,

bubbling, and growing. In this way, her landscape photography of becomes full of sounds: it is

the landscape photography of sound.

Nevertheless, there is still another sound in her landscape. It is the one heard from the inside of the sounds,

that is, the sound of the various sounds changing and moving. If is landscape photography

of sound, the understanding of it would be the matter of recognizing the path of the movement of these

sounds. As far as I comprehend, the path leads from acedia to vita nova: the course of life from the dried

and dreary land of acedia to the land of vita nova where new life is discovered and grows. It seems that,

for some unknown reason, the photographer may have been seriously ill and therefore, gathered the

landscapes of the white ground, swamps, and grassland with her camera. Possibly, while collecting those

landscapes, she may have unconsciously walked along the path of the hurting heart, that is, the lifes

trajectory from acedia to vita nova. And could there be anyone who is ignorant of this path on which the

human life walks?

Kim Jinyoung Art Critic, Chairman of the Standing Committee ofAcademy of Philosophy

Cha Kyounghee

1973

2008

2005

2003

2013 , , ,

2009 10 , ,

2009 21C , , ,

2008 The 809 International New Image Art Festival,

the 809 international art residencies,

,

2007 , ,

2007 , ,

2006 , ,

2005 7 , ,

2005 View-point, ,

2005 , ,

2005 7 ,

2002 1 ,

2009 , ,

ACADEMIC DEGREES

2003 Photography, Paekche Institute of the Arts

2005 B.F.A Fine Art Photography,

Chungang University

2008 M.F.A Fine Art Photography, Graduate School

of Chungang University

SOLO EXHIBITIONS

2013 The Ground of Living, The Space of the

Inbetween,

Cheongsajin Project for Supporting Young

Photographers, Toyota Photo Space, Busan

GROUP EXHIBITIONS

2003 Femininity in the Photographs planned by

Yeonggwang Gallery, Seoul, Korea

2005 View-point planned by Seoshin Gallery,

Jeonju, Korea

2005 Sajinbipyong Awards Exhibition, Gallery Lux,

Seoul, Korea

2006 Central University for Nationalities Exchange

Exhibition,

Museum of Art Central University for

Nationalities, China

2007 Chungang Art Festival, Gallery Hyun, Seoul,

Korea

2007 Portraits of the Big Cities planned by Seoul

Guarantee Insurance Co., Ltd. Seoul, Korea

2008 The 809 International New Image Art Festival,

The 809 International Art Residencies,

Yichang, China

2009 21C New Silk Road, The Korean Cultural

Center, Beijing, China

REWARDS

2002 Grand Prize, The 1st National College Photo

Contest hosted by Bingrae

2005 The 7th Sajinbipyong Awards-Iphos

COLLECTION

2009 Korea Center for Korean Embassy, Beijing,

China

Kook Jiwon

Tree, Tree

2013. 5. 30 ~ 6. 5Morris Gallery

397-1, 042-867-7009

www.morrisgallery.co.kr

Kook Jiwon

Kook Jiwon

( , )

. .

.

? .

. ."

. . .

.

, .

.

. ,

.

. .

. 2005, .

,

.

.

! .

.

. ?

.

.

. .

,

( ) .

45 . (, Equivalent)

,

.

. ,

.

, , .

, .

,

. ,

.

.

.

.

,

. ,

, .

.

() . .

, .

, ,

.

.

Tree Not Losing Its Way

By Cho Sang-young, Ph.D. in Fine Arts & Art Critic

I

A man loses his way at times because his body is dominated by his idea. In other words, if his idea spreads

to his mind, his body is moved by the energy. The following are some lines from a drama that caused quite

a stir in Korea a few years ago.

What would you like to do if you were born again? Id like to be a tree. I would be a tree that never moved

again once rooted. And so, I would not part with anyone again.

The tree does not lose its way since it never moves once it takes root. The place where it was born becomes

its cradle and grave. The tree does not need to look for something to eat as men and animals do. If a seed

falls in the place where the tree is dead, a new tree comes into being with the compost of the dead tree.

This can be referred to as the resurrection of the tree.

The general public may feel the tree is a fool standing vacantly without thinking. They can not think that

the tree communicates and collaborates with other trees to defeat the enemy, feeling some emotions.

However, if trees are in an eco-system through which they communicate, think, and act. If trees have to

live on weather forecasts as humans do, just one of the trees could not survive. The trees have survived for

many years without losing their way.

II

Artist Kook Ji Won photographs such trees. Her first solo show titled Reason for Coexistence took place

in 2005. The works exhibited at the show were black-and-white photographs featuring those standing

vacantly before the models enlarged images entirely displayed over department stores and busy streets,

typical spaces of consumption. With these works, Kook intended to encapsulate her observation and

intuition in her angles and printing paper, conveying her messages. The photographs were the results of

her first attempt to seriously consider human existence and identity in consumer society. While her previous

photographs captured those standing vacantly by the enlarged images of the models, her recent pieces

feature trees or woods. Works on display at her second solo exhibition are titled Tree, Tree. Her works

remind viewers of those losing their eternity between the tree of life and the tree of the knowledge of

good and evil. Her eyes toward the trees seem to be something special.

It is hard to photograph a momentary situation, and photography itself often involves endless waiting.

Pressing the shutter of a high-priced camera is not all that is required of photography. Explorations of many

sites and comprehensive viewpoints are necessary for photographing. With this the expression of fashioning

photographs is more often used than taking photographs. Photographers aspire to capture the mind and

become a spiritual mirror for viewers (or consumers), transcending the stage of empathy through the

camera.

Four or five years ago Kook came to have common feelings with the tree. Her equivalent empathy with the

tree -that is, her identifying herself with the tree--signifies her endeavor to communicate with the others

alongside her respect for the place where each tree stands. This equivalency accounts for the perspective

she has before a tree is chosen as the subject of her angle. This feature now seems to be an element easy

to apply to her work as her specific artistic possession. In her work, a tree appears as her altar ego, so we

may consider that the tree sees her, instead of her seeing the tree. Kook captures the contrasts of mountain

ridges and lines of trees and forests after going around the Daecheong Dam, mountains and seashores of

the Jeolla area, thereby stimulating viewer sensibility.

Living men, animals, and plants are all in the continuous moments of choice. The number of trees she

captures in photography gradually increases, which is interpreted as a phased expansion to a forest. Some

trees are set on the background of clouds or under bright light, and others are intentionally out of focus.

This seems to be a reflection of her solid will to internalize her unperturbed independence, signifying her

self-pity and questioning about her own identity. The two trees resembling human faces and the rough

spread of a hypnotically shaking forest may be metaphorical representations of an aspect of human affairs

and the moment of communion humans undergo when they overcome a rainstorm through mutual

reliance. The tree whose bright color stands out among the forest of other trees seems to connote some

momentary attraction that someone who is entrusted with a spherical mission in our gloomy lives goes

through when he navigates toward a significant life.

III

All activities of the tree are derived from the hormone secreted in accordance with the intellectual signal

system rather than being carried out by chance. Even though the tree undergoes the inconvenience of

immovability and sufferings by the seasons, it never stops communicating with the earth, the sky, and the

atmosphere. The tree is thus replete with its will for life and ampleness to form a forest, a complete world.

The tree is abounding with soulful movements, moving beyond its biological growth. This means the tree

has sufficient wisdom. The artist learns humbleness from the tree, willingly reflecting the trees will for life

and ampleness. As if extracting formative order from the woods densely entangled with trees, she wants

to experience the beginning and end of the order, posing the question as to why she is dominated by the

order. Through this exhibition, it is hoped her existence becomes a tree not losing its way while growing

into a forest.

Difference

2013. 5. 15 ~ 5. 21gallery Now

,,,,,

192-13 3, 02-725-2930

www.gallery-now.com

, ,Inkjet print,2012

, The underground,Inkjet print,2012

2012 , 3.15

2012

2012 ,

2011 ,

1960

2012

2012 ,

2011 ,


,

/ ()

2012 , 3.15

2012 ,

2011 ,

, Love and Death,80x50cm,Inkjet print,2013

1976

2012 , 3.15

2012 ,

2011

2011 ,


2012 , 3.15

2012 ,

2011 ,

, Object,Inkjet print,2013

2012 , 3.15

2012 ,

2011 ,

.

mimesis .

. 20

, .

motto .

.

. .

.

.

Difference' .

. .

.

.

. .

.

.

. .

, ,

. .

.

. .

.

. .

.

. .

. spectacle

. .

.

.

.

.

.

. .

.

.

.

.

.

. .

.

.

. 20

.

. .

.

21 .

. .

(reaction).

Baek, Hyung Wook

ME IN THE MIRROR

2013. 5. 15 ~ 5. 21GALLERY LUX

185 3F, 02-720-8488

www.gallerylux.net

,

?

?

?

, , .

,

.

, ,

.

, .

.

? .

,

- ?, ?

?, ?

, .

.

?

, ?

?

- , ?

2013 , ,

2012 ASYAAF, 284,

2012 postphoto, ,

2011 postphoto, ,

www.inprint.co.kr

Archival Pigment Print

inprint

010-7520-7716

PhotoView 2013.5(May)-B

Documents

Transcript of PhotoView 2013.5(May)-B