korean eye M O O N G E N E R AT I O N
korean eye M O O N G E N E R AT I O N
One thing is clear about the world in which we live in today;
It is fitting that we think of Korea when considering how the
this is unquestionably a global age. We send messages around the
advances of technology have changed the shape of our lives and
world at all hours of the night; we share music, videos on mobile
the art world. Korea is among the most technologically advanced
phones, maps downloaded from the internet, twitter, text and
countries on the planet and many of us rely on their products
so forth...we are in constant communication with one another.
daily. Koreans are the fastest innovators of new technology.
Our world has shrunk, united by the power of technology, media
Trust me, if it exists they already have it and they have done all
and images, however the art world has grown ever bigger – it is
of this in such a short time. In less than sixty years, Korea has
seemingly an inverse ratio. What was once the privilege and
evolved into an urban manufacturing giant, one that provides the
province of a few is now a largely democratic community that
world with a large percentage of its electronics.
increases in scope daily. Thanks to technology, experiencing art is open to almost everyone. It was just a few years ago that
It is interesting that a society with such a clear objective to
checking your mail meant opening an envelope; even reading
exist on the cutting edge of technology is one that is also strictly
your email meant sitting at a computer. Now we can peruse
bound by tradition and religion. Korea has a large population
museum collections on our phones while emailing from an airport
of practicing Buddhists and Christians. I believe that it is this
lounge in Guadalajara.
coexistence of tradition and the future that gives Korean Art today its energy and vitality. Korea is not an easy place, no frontier ever is, but it is a fascinating one where interesting Contemporary Art is being created.
The works in this exhibition offer just a snapshot of what is happening artistically in Korea today. The local market and interest in Contemporary Art there has recently exploded and a much larger show would be necessary to give a complete picture of the scene, but I believe Korean Eye: Moon Generation is a good starting point for those unfamiliar with Korean Contemporary Art. I hope our exhibition will lead to further international exposure of this growing market with such an exciting group of artists. Contemporary Art is happening all around us, all the time. It is our mission to connect with, expose and continue to explore that which is new to our eyes.
SIMON de PURY
David Ciclitira
Yu In–Chon, Korean Minister of Culture, Sports and Tourism
Founder of Korean Eye
My wife Serenella and I have been visiting Korea for many years.
"It gives me great pleasure to offer my support to the
When I recently revisited the country to launch the inaugural
Korean Eye: Moon Generation exhibition at the Phillips de Pury
Ballantine’s Championship, I was able to spend a considerable
& Company Space at the Saatchi Gallery. We are very proud
amount of time visiting galleries and meeting with young artists.
to be able to introduce so many of our leading young contemporary artists to the international art world.
Whilst we have been familiar with Korean Contemporary Art through our involvement with Korean students at the Royal
Korea has a rich artistic tradition and in a year where our
College of Art we were genuinely surprised by the depth and
President has emphasised the need to rebrand our country,
quality of the works that were being produced.
I believe that initiatives such as Korean Eye offer the opportunity for the world to see Korea through a new light.
Over the last few years we’ve all become familiar with Chinese Contemporary Art but for some reason the same has not been
My congratulations and thanks go to the organisers and all
true for contemporary art from Korea.
concerned in this inaugural exhibition, especially the artists and it is my sincere wish that there will be many more editions
I came up with the idea to create a regular platform to display
of Korean Eye in the future."
Korean art, both in Europe and around the world. In the process of talking to people we have found other enthusiasts for Contemporary Korean Art and what started out as a small idea has ended up in a partnership with Phillips de Pury & Company and Standard Chartered who have been tremendous supporters.
I am pleased to welcome you to the first Korean Eye exhibition and hope that you will find as much in the works as we have.
www.koreaneye.org
Yu In-Chon
The diverse spectrum of Korean Contemporary Art Joon Lee (Deputy Director, Leeum, Samsung Museum of Art)
Since Marshall McLuhan first introduced the phrase ‘global
Korean artists are now facing a much wider range of social
village’ in the 1960s we have seen a rapid increase in
issues such as: the irony of post-industrial society, virtual reality,
globalisation. New technology, particularly the emergence of
everyday life, fantasy and pop culture. Korean art was first
the internet, has resulted in the world contracting into a ‘global
introduced to the rest of the world in the 1990s at the Gwangju
village’. This new paradigm has enabled people, commerce,
Biennale. At this time, artists began to transcend the boundaries
capital, knowledge and culture to travel beyond pre-existing
of painting, sculpture, installation, performance, digital art and
boundaries.
photography. Today, the philosophical and aesthetic conditions of contemporary Korean society spawn rich satires, ironies and
Globalisation has fueled cultural exchanges between the East
metaphors of conflicting values, hidden in the diverse forms of
and the West. In this context, Asian contemporary art is rapidly
visual art. Some of these are based on autobiographical
moving from peripheral to global stages. Chinese and Japanese
narratives, while others are critiques of social problems.
contemporary art has already received academic and critical attention from universities and museums in Western cultures.
The artists featured in Moon Generation are searching for hidden
However, unlike Japanese art which has experienced long
meanings via a careful interplay of various and opposing themes
international exposure and Chinese art which has strong national
including, the traditional and the modern, life and death, reality
support from economic growth, Korean art is still in the shadows.
and fantasy, nature and civilization and individual and group. East Asian philosophy has imbued Korean sensibility with
Korea, the world’s 13 th economic power has hosted the 1988
unique meanings and perspectives which explore themes of life
Summer Olympics, the 2002 FIFA World Cup, the Gwangju
and death with Yin and Yang and the Five Elements. Eastern
Biennale, Media City Seoul and the Busan Biennale. However,
aesthetics does not define concepts such as the visible and
Korea still remains a divided country in the eyes of the Western
invisible and the full and the empty as independent, but rather
world. The perception of a country or an individual is made
as inseparable and symbiotic. In the East opposites co-exist
up of a myriad of factors and is not static or fixed. It is in
unlike in the West where aesthetics are more grounded in
constant flux. The exhibition Moon Generation is, therefore,
realism. It is interesting that Moon Generation associates Korean
an opportunity to develop the West’s perception of dynamic
Contemporary Art with the subtle image of the moon contrasting
Korean Contemporary Art.
with the image of an intense sun. Throughout the history of mankind, the images of the sun and the moon have been
The exhibition includes a wide spectrum of Korean Contemporary
metaphorically embodied as a man and woman. What is important
Art from emerging to established artists. Korean art in the 1970s
is not the symbolic meaning, but their interactive, circular and
was the era of Korean Monochrome Painting, while the 1980s
relative relationship with each other.
observed social and political injustice reflecting, for example, the agony of the dispersed family. However, the 1990s marked
It is commonly emphasized that the 21st century is the era
a turning point: democracy led to more transparency and
of culture. Ever increasing globalisation calls for communication,
economic growth, widening Korea’s doors to the rest of the
sympathy and respect for cultural diversity. I hope this exhibition
world. These factors have led to an era of diversity that has
in London contributes to the global perception of Korean
enabled Korea to move forward onto a global stage without
Contemporary Art.
jeopardising its local identity.
Welcome to the Korean Eye: Moon Generation exhibition,
As a bank with a long history of doing business in some of the
the first ever international exhibition and sale of Korean
world’s most dynamic markets and as the largest foreign investor
Contemporary Art. Korea has a magnificent heritage with a strong
in the Korean financial services industry, Standard Chartered
and vibrant culture and its contemporary art scene is rich in
is very proud to sponsor this exhibition. We are dedicated to
expression and diversity. It is our hope that this exhibition will
making a difference in the communities in which we operate and
share just some of the talent and culture that Korea has to offer.
we are committed to connecting our clients to the growth markets of the world. By sponsoring Korean Eye we achieve both
Korean Eye seeks to create a legacy of Korean Contemporary Art
of these objectives.
and the cosmopolitan city of London provides the ideal backdrop for education and appreciation of this rapidly developing art
However, none of this would have been possible had David
scene. By giving an international stage to these artists we are
Ciclitira, founder of Korean Eye, not had the passion and
promoting an understanding not just of Korean Contemporary Art,
determination to bring his vision to reality. I would like to thank
but also of the beautiful country that is Korea.
him and Phillips de Pury & Company for joining us on this journey.
We trust that you will enjoy the exhibition and that you will support us in promoting Korean Contemporary Art in the international arena.
Yours, Tim Miller Director, People, Property and Assurance, Standard Chartered Bank and Chairman, Standard Chartered First Bank Korea
Moon Generation Daehyung Lee (Curator, Korean Eye: Moon Generation)
The same object often triggers different interpretations.
In the lunar calendar the hunter full moon phase recalls a time
The moon and the sun are examples of objects that generate
when hunters, having been dealt the good fortune of an extended
conflicting views between the East and the West. The moon has
twilight period, could remain longer on the hunt. One can
been an auspicious symbol within Korean culture and has been
imagine the chase during these shadowy, yet mysteriously
an ominous representation to the West. Looking at the moon
luminous hours as in the glow of dusk, the darkness would
Koreans pray for a better future while the West associates it with
creep upon the hunter closing in on his prey. The artists as
darkness, lunatics and uncertainness. These different views on
‘Moon Hunters’ capture the essence of this chase, however
the moon have been deeply rooted in the collective sentiments
ineffable and fantastical their prey may be.
of the two cultures. As a result, the moon has traditionally been associated with the East and the sun with the West. In the
Their images drift into fantasy and defy of our rational, ordered
complex process of an eclipse, the sun and the moon reconfigure
and modern circumstances. Everyday we have a choice to live
themselves as one passes by the other, often casting a shadow
within reality or retreat into a fantastical and extraordinary
of reflection.
world. The artists as ‘Moon Hunters’ makes that decision for us and by doing so invite us into an oneiric reality, an
In this way, the eclipse suggests an encounter between Korean
inspired dream and an ahistorical realm of fantastic existence.
and Western Contemporary Art and instead of establishing a
For example, Lee YongBaek hunts down the bait of fake reality.
hierarchy, the new relationship between the two has become one
His immaculate depiction of fake fish catches simulacrum from
of symbiosis. The exhibition Moon Generation is subdivided into
the mimesis of reality. The magical realist Jeon JoonHo’s mummy
categories reflecting each artist's interpretation – ‘Moon Hunters’,
sculpture is an oxymoron of space, time, the sublime, graveness
‘Moon Reflection’ and ‘Moon Configuration’ – under the
and witticisms. JoonHo’s jump into banal reality is not towards
overarching theme of an eclipse.
any specific end, but opens the door to a surreal, magical world. Sim SeungWook’s black line sculpture is a journey to find the colours in black and the shapes in abstraction. Black, the darkest colour in existence, maximizes the decorative silhouette in his black gravity series.
Unlike the fantasy portrayed in ‘Moon Hunters’ wherein images
Postmodernism asserts that centres and boundaries are always
only seem like illusions, the ‘Moon Reflection’ series is meant to
in constant motion. However, occasionally the centre and the
be precisely that – an illusion. In the moon lies the very nature
boundary simultaneously converge at a central point. We may
of illusion. Which other celestial object waltzes through the
witness this miracle occurring in nature the moment the
shadow of the Earth and the light of the sun while casting
moon configures with the sun to create a total eclipse.
shadows and changing shapes quite like the moon does?
‘Moon Configuration’ transposes this celestial occurrence
The moon creates the illusion of waxing and waning when in fact
between the moon and the sun onto a more earthly plane where
its form remains unchanged. Although logically we comprehend
the East represents the moon and the West the sun. In these
what is occurring, we remain, nonetheless, entranced by the
images East/West configurations occur through the blending and
moon’s inconstancy.
juxtaposition of various regional symbols and icons. The tattoo artist Kim Joon explores displaced human beings using capitalist
In this series, some Korean artists are the moon incarnate,
icons of the West to unveil the conflict between individual and
producing optical illusions that are colourful, corporeal and full
collective desires. Park JungHyuk’s flesh landscape, a culmination
of absence. The abundant mixtures and manipulations of space
of images from magazine ads, movies and porn sites, transforms
and time prompt the viewer to wonder, “Is seeing believing?”
the original message of the images into a hybrid pun. Debbie Han’s Venus’ speak of disharmony between body and mind,
In these works, where for instance layered images are without
reality and fantasy and East and West through the digital image
layered meanings, the art speaks for itself. For example,
of the Korean female body with manipulated faces based upon
Bahk SeonGhi’s sculpture distorts the gravity of space with
the image of the Greek goddess Venus.
flattened still-life chairs. The viewer’s abortive attempt to see the link between illusion and reality only leads to SeonGhi’s’s
Just as the moon and the sun rely on each other to create an
witty sense of space. Cho Hoon collects raunchy adult fliers and
eclipse, art from the East and the West rely on each other to
presents scantily clad call-girls through his classic white, low
discover new forms of artistic appreciation and new combinations
relief sculpture portraying the female body as a vulnerable and
of aesthetic forms and potentialities. Perhaps, when we reflect
easily misled illusion in the male dominated society.
back upon our present time as an age of cultural configurations we will also see an age of collaborative imagination and expression. This is the spirit of ‘Moon Generation’
I’m Just a Sculptor
Fire! Belch the eggs Savoring the Freedom of death
Quenching a new life I’m a still Still a sculptor.
A Ceaseless dance to your breath Shit! I’m A Sculptor.
That embraces fire And lights up the world Cut gently your skin Opening ‘a road to the dawn of the era’
The flesh of iron collapses Down to the ground with no name Perches on the vein of frozen land And evaporates like a ball of dead snow
I, shit! Am Just A sculptor.
Fire, shot Thaw the frozen land You shitty fire.
To the conceived land My fellow! Follow roads to dawn “Your tears are now your river” To the month of giving birth
Choi TaeHoon Skin of Time, 2009
Choi TaeHoon
Park SeungMo does not translate objects into sculptural forms from
Instead, SeungMo reconstructs reality through the creation of his
their banal reality. His objects do not function as mediations on
objects which reflect his internalisation of their essence and leaves
human existence, nor are they a modern formal beauty which has to
us with the question, “Which is the reality?�
do with the inner nature of an object.
Kim Jong-Gill
Park SeungMo Contrabass, 2005
Bahk SeonGhi’s works exist beyond the boundary between past and present, transience and permanence, reality and illusion, being and non-being and East and West. Tae-Man Choi (Professor at Kook Min University)
Bahk SeonGhi Point of View 08-112, 2008
DongWook Lee Handle, 2007
DongWook Lee’s works are suffused with a simultaneously gloomy and lyrical horror. His miniature human figures condense both hyper-reality and surrealistic illusion, creating odd, but beautiful cacophonies.
HyungKoo Lee Homo Animatus, 2007
Approaching his work from a scientific standpoint, HyungKoo Lee creates playful, yet remarkably realistic reconstructions of skeletons resembling familiar cartoon characters. The works begin as meticulously rendered drawings that are reminiscent of classical natural studies and culminates as anthropomorphic skeletal sculptures.
White paper and black pencil: these are the two most familiar tools to an artist. Kim’s work has a profound relationship with the fundamental tools of drawing. He selects images from the countless number of drawings he makes and then transforms these images into sculptural works which are created by drawing on white forms in black pencil. In his sculptures InBai creates rhythm and movement by omitting physical details that should not be revealed and by accentuating physical details that never seemed important before. It is this rhythm that brings us closer to an understanding of InBai’s work.
Inbai Kim Shamoralta Shamoratha, 2007 Side view
Park SungTae discovers a new material for sculpture by creating a unique visual effect: when one views his works, the features of the motifs look slightly different from their shadows. Here the sculpture no longer emphasises the volume of an object, but instead plays with the viewer’s perception.
Park SungTae Untitled, 2008
Debbie Han’s recent work focuses primarily on female imagery – the
These aspects of ambiguity and variableness clearly reflect the
standardisation of feminine beauty and its relativity. Although she
artist’s primary principle of appropriation and pastiche and
incorporates Venus, the symbol of Western classical beauty, as the
contributes to creating a new type of artistic language. Furthermore,
base on which she has built and transformed to create her work,
Han’s perspective corresponds to the illogical and nonlinear
it is not in an effort to revive Classicism. Rather, her work serves
paradigm of Postmodernism. The ideal beauty Debbie Han seeks
to emphasise the principle aesthetics of hybrid culture. Han does
is not confined within Westernised forms of art, but moves to
maintain some characteristics of the classical Venus, but on top
embrace a greater perspective in which those ‘Others’ whose race
of that applies a non-occidental perspective. For instance, she
or status were subjected to suppression and marginalisation could
incorporates Asiatic or African facial features to depict diverse
join with equal rights.
racial characteristics to present a whole different sense of Venus.
Huang Du (Curator, Shanghai Biennale 2006), taken from Debbie Han’s Translation of Beauty.
Debbie Han Secretive Three Graces, 2008
Cho Hoon’s fascination with collecting erotic leaflets has heavily influenced his oeuvre and has led to his exploration of the materialized female form within consumer society. Constructed from a male gaze, erotic advertisements which portray sensual images of women are used to momentarily grab the viewers’ attention before the image and the advertisement is discarded.
In Hoon’s sculptures he eliminates the background solely focusing on the female form to maximize the lingering
Cho Hoon Ecstasy, 2007
Even though, we as unique individuals, live in a different
Based upon the perception of such commonality, I try to put the
environment, at a point in time we feel the same when we look
incidental excitement into a two dimensional surface of colour to
at a certain object. When I am having a conversation with my
propel you to another imaginative, phantasmal world.
family and friends I feel that we are of the same mind. I believe
Lee Rim, March 2009
that one admits the difference and similarity between each creature through interacting with each other.
Lee Rim Confusion No.1, 2009
Portraits in modern art tread far beyond accurately representing a
Upon meeting Kang’s portraits the audience is invited to stare into
person; rather they invite a new way of communicating a different
the eyes of a stranger, an act which elicits a completely different
type of meaning to an audience. Hyung Koo Kang’s facial portraits
experience and suggests a new method of communication.
do not reveal any type of backdrop or environment, but solely focus on depicting the subject’s face in great detail. When staring at such paintings by Kang one cannot help but realise that the face inside the portrait has its gaze fixed straight on the onlooker.
Hyung Koo Kang Woman, 2009
Jeon JoonHo Untitled, 2007-2008
The purpose of my recent work is to reveal the desire, conflict and irony of contemporary people through various experimental ways. My work, for sure, evades conceptual or visual ambiguity. However, a wide spectrum of interpretation on my work is always welcome. This is my firm attitude towards invaluable contents underneath the thick veil of abstruse contemporary art. Jeon JoonHo, November 2003
Sim SeungWook Black Gravity, 2009
Sim SeungWook’s works are geared more towards abstraction than composition. What catches the eye is the peculiar texture and seemingly repetitive decorations. However, SeungWook’s purpose is to evade this very repetition; by using black the decorative structure of his work is like a mathematical function designed to avoid repetition.
If the obsession of a precise repetition can be a thoroughly unconscious behaviour, the work to avoid repetition is a completely conscious behaviour that requires a high level of concentration. Perhaps this is why his works never lose the simplicity of abstraction, even amidst their complex structure. Daehyung Lee
The fundamental idea for my aluminium works is that an artist should never be afraid of change. My main body of work has been Hyper-Realistic portraits on large scale canvases, but I always welcomed change into my art making...As I started working with aluminium, I though about moving and changing pictures. The best aspect about aluminium is that it can look and feel so different according to the surrounding space, light and time. In addition, the audience can use these advantages to change the different ways that the works are perceived, according to the shifting of lighting and space Hyung Koo Kang
Hyung Koo Kang Lincoln in the book, 2009 front and back cover
Koh MyungKeun’s photo-sculptures embrace the emptiness inside all things. Their transparent surfaces reflect images of the world, whether architecture, landscape or the elements, while within there is nothing. This approach reflects a Buddhist-inspired awareness of ephemerality, as Koh's art demonstrates how to rise above this mortal plane.
Koh MyungKeun The One - 1, 2009
Lee LeeNam Digital Eight–fold Screen, 2008
Lee LeeNam’s work encompasses both the traditional and modern image. Using DID monitors and traditional Asian folding screens Lee transforms the static iconography of swans, butterflies and birds into moving images.
Whang InKie landscapes represent a sense of time that is marked by two distinct measures. The first is InKie’s depictions of the times of day through light and shadow. In these landscapes we see the varying sunlight, such as dawn, sunset, or twilight. The other measure of time is greater. It is one that encompasses memory and recalls a distant past through specific historic images and places, while the process and medium of his work is immediately recognized as contemporary. Grace Kook-Anderson (Curator of Exhibitions, Laguna Art Museum)
Whang Inkie Pla Mountain 09-188, 2009
With the interest of improving the somewhat disparaged image
To Joon, tattoos are a metaphor for one’s hidden desires and
of the tattoo, Kim Joon aims to reinvent the body as the site of
obsessions. His tattooed bodies represent the luxury brands that
beautiful expression. However, in keeping with current Korean
are sealed into our consciousness and suggest the serious impact
culture where tattoos are considered almost taboo, his works
that they have on our identities through the most sensual and
involve not direct body tattooing per se, but images that utilize
tempting imagery.
3D computer graphics. Joon’s computer graphics are somewhere
Inhee Iris Moon
in between painting and photography and the resulting digital humanoids are painted with brand logos such as Gucci, Armani, Budweiser and BMW.
Kim Joon Bird–land Donald duck, 2008
Lee Ufan From Point, 1977
In both his sculptures and paintings, Lee Ufan gives the impression of unpremeditated simplicity, creating an atmosphere of what he calls “the art of emptiness”. In order to fully appreciate the “poetry and truth” of Ufan's oeuvre it is necessary to try to bare one's senses and remove oneself from the realm of everyday awareness. Grace Kook-Anderson (Curator of Exhibitions, Laguna Art Museum)
Park JungHyuk Park's park 3, 2008
The wave of inundating media spawns a myriad of images. These
Park’s fleshy landscape is a rebellious narration against this
images seem to have different purposes; careful scrutiny reveals
absurdity. The highly calculated collage of different images from
that they are nothing more than a visualisation of human desires.
various sources becomes one entity with rich layers of narratives.
Their hideous intention is to create an absurd hierarchy – the
It is an act of camouflaging.
controller and the controlled. Scantly clad girls in magazines,
Daehyung Lee
pornography, obscenity on TV and in movies were all born with a different purpose, but they are misused as an agency to control the hypnotised public.
Yi HwanKwon Jangdockdae, 2008
You have often experienced such distortion when watching a cinemascope film, where images seem elongated upward and downward. When I watched films as a child, I would imagine the elongated world. I wished I could get in this space; for instance, when you stretch your arm forward, the length of your arm looks shorter, but then again its depth could be shown thicker. Whereas, if you place your hand up or down, its length seems longer, but then again its depth could be shown thinner‌ Yi HwanKwon, March 2009
Lee YongBaek hunts down the bait of fake reality. His immaculate depiction of fake fish catches simulacrum from the mimesis of reality. Daehyung Lee
Lee YongBaek Plastic Fish, 2008
'Dongguri' is the name of a black and white geometric figure with a cheeky permanent grin that roams across Kwon KiSoo’s many and varied projects. This comic-like character can be found in Kwon's animations playing amongst traditional Korean landscapes, floating across a painted flat expanse of monochrome colour or rendered in multiples of three-dimensional forms like a miniature Dongguri army. This is KiSoo’s artistic alter-ego, a simple, yet indistinct personality whose cute pose and carefree spirit is unwavering.
The childlike Dongguri cannot be judged according to looks, age or dress; it has become a repetitive artistic icon and commercial product that blurs the difference between mass production and art. Dongguri parodies contemporary life and the desire to hide individuality or difference in a world fuelled by media stereotypes and pressures to conform.
Kwon KiSoo Time, 2009
SeungHyo’s work transforms the two-dimensional into the three–
The result is a rich infusion of individual memories and collective
dimensional in order to construct more scientific and spiritual
associations. Never intended to represent a specific story, his work
notions of identity. The process of collecting images is reminiscent
occupies a grey zone. It is the zone of reinterpretation. Numerous
of recollecting memories. According to the artist, the accumulation
fragments of plastic and photographs have metamorphosed into
of multi-layered images is actually “a kind of dedicated performance
a hybrid being that challenges pictorial convention and stretches
to visualise affection toward a woman.” Very personal. But, the
possibilities of mixing fragmented memories into a single entity.
collaged photographs of his daily experiences act as common areas
Daehyung Lee
of recognition that ground his work in a shared reality, igniting unconscious associations in the viewer.
Jang SeungHyo Mad About You, 2009
Modern bustling cities are crowded with people rushing back and forth. A few individuals might on occasion stand still for a while to observe the multi-faceted lifestyles of the city dwellers through their facial expressions, clothes or appearances. Most people just hurry along the crowded streets, brushing past other people. Lee YongDeok is one of the former. With his keen and exquisite sense of observation, he admires the graceful vigour of life expressed by the man or woman walking down the street.
Lee YongDeok Dancing 082682, 2008
Violence is a foul smell.
Violence is similar to a putrid smell. Once, twice and a third time…the repeated stimuli brings out disgust, nausea and loss of appetite. It slowly sinks into the environment and disappears without a trace. However, it hasn’t disappeared; it is hidden, while desensitising the senses. Although it is invisible, “the pain of an offensive smell” remains in the memory.
The artist wants to identify this hidden odour and erase it completely.
That’s why Lee SeungMin paints the smell.
Daehyung Lee
Lee SeungMin Conspirator-bystander, 2009
In the work of Yoon JongSeok the image is very important. Folded clothing turns into the form of a gun or animal, creating a disorientating image made more mysterious by his dot painting technique. His dots secure the infinite and absolute space and leads to abstraction rather than hyper-realism. Jaegil Yu
Yoon JongSeok Masked Net (Pair), 2008
Choo JongWan's imagery makes us meet ourselves in a clear and transparent way. When looking at his images you may experience shocking body-soul separation through which you compare and identify yourself with others. Junghwa Ha
Choo JongWan Emergence, 2008
Han KiChang combines modern materials with traditional
KiChang questions the communication between the East and West
sentiments in his works. He works with a variety of materials such
and between tradition and modernity in the reality of civilization.
as used x-ray films, metal staplers, light boxes, video images and
Overambitious to renew itself, Korean history of modern art has
most recently with sticking paper that he cuts and matches together.
failed to learn to appreciate the values of the past.
These materials reflect the artist’s wish to “heal” himself and humanity by assembling and mixing the products of modern
Park Jun-Heon taken from Modern artistic reflection on the
industrial society…
tradition: Han KiChang
Han KiChang Hybrid Landscape, 2008
In order ‘not to immerse himself into what he sees’, BooMoon uses his camera in an automatic way. Therefore, his interpretation of the landscape is not an admission (of signs and objects), but a ‘phenomenon’ – the landscape ‘can’t be owned because it hasn’t got a physical existence’. If BooMoon has chosen not to photograph the human presence or any element recalling it (housings, cultivated lands, roads) it is not because he is fascinated with untouched pure nature, but because he refuses the concept of ownership.
‘The landscape is like a cloud in the wind. It creates itself according to my mood and my ability to interpret it’. It fluctuates freely and is an exchange process between the person and the visible (world or image). Catherine Grout Excerpt from "Ideal", from Northscape Boomoon.
BooMoon Untitled #6913, 2007
The validity of news does not extend beyond many days…
The JoongAng Fine Arts Prize
News represents each event, appearing and disappearing day after day. However, one rarely experiences bodily sensations from these
The JoongAng Media Network (JMnet) is Korea's leading
events. It seems that each story literally emanates its ephemerality
comprehensive media group.
in its use. This is how I appreciate the world without any physical experience, as long as it is an edited and modified representation.
The JoongAng Fine Arts Prize is one of the largest and most prestigious art awards in Korea. Since 1978, the prize has led
“Since reality can be known only through the forms that articulate
to the discovery of many talented Korean artists who are still
it, there can be no reality outside of representation.” These stories
actively contributing to the development of Korean Art.
move into the past as their daily use ends. One might not know which will be remembered and which will be forgotten.
Ayoung Kim, Awarded the JoongAng Fine Arts Prize in 2008
Kim Ayoung "Accept North Korea into the nuclear club or bomb it now, 11th of Oct, 2006", 2007
C H O I TA E H O O N
CHO HOON
Skin of Time, 2009 Stainless steel, plasma cutting and HQ lighting. 350 x 350 x 300 cm. (137 3/4 x 137 3/4 x 118 1/8 in).
Ecstasy, 2007 Fortified Plastic. 210 x 130 x 7 cm. (82 5/8 x 51 1/4 x 2 2/3 in). Signed lower left; signed, titled, dated and numbered of five on the reverse. This work is from an edition of five.
PA R K S E U N G M O Contrabass, 2005 Aluminium wire and fibreglass. 69 x 42 x 190 cm. (27 1/4 x 16 1/2 x 74 3/4 in). This work is from an edition of six.
LEE RIM Confusion No.1, 2009 Oil on canvas. 194 x 147 cm. (76 3/8 x 57 3/4 in).
BAHK SEONGHI Point of View 08-112, 2008 Coloured pencil on mixed media. 120 x 75 x 38 cm. (47 3/8 x 29 1/2 x 15 in).
HYUNG KOO KANG Woman, 2009 Oil on aluminium. 240 x 240 cm. (94 1/2 x 94 1/2 in). Signed lower right.
DONGWOOK LEE Handle, 2007 Mixed media. 103 x 7 x 5 cm. (40 1/2 x 2 5/8 x 2 in).
JEON JOONHO Untitled, 2007-2008 Oil on resin, wood, glass, monitor and digital animation. 100 x 230 x 165 cm. (39 3/8 x 90 5/8 x 65 in).
HYUNGKOO LEE Homo Animatus, 2007 Resin, aluminium sticks, stainless steel wires, springs, oil paint. 100 x 150 x 110 cm. (39 3/8 x 59 x 43 1/4 in).
SIM SEUNGWOOK Black Gravity, 2009 Hot melt glue and steel frame. 248 x 157 x 31 cm. (97 3/8 x 61 3/4 x 31 in).
INBAI KIM Shamoralta Shamoratha, 2007 Pencil on Plastic. This work is from an edition of three and one artist’s proof. 90 x 55 150 cm. (35 1/2 x 21 5/8 x 150 in).
HYUNG KOO KANG Lincoln in the book, 2009 Oil on aluminium, fortified plastic and urethane. 210 x 310 x 110 cm. (82 5/8 x 122 x 43 1/4 in). Signed lower centre.
PA R K S U N G TA E Untitled, 2008 Aluminium insect screen. 80 x 210 cm. (31 1/2 x 82 5/8in).
DEBBIE HAN Secretive Three Graces, 2008 Lightjet print, aluminium and acrylic. Signed, titled, dated and numbered of eight on the reverse. The work is from an edition of eight. 170 x 150 cm. (66 x 59 in).
KOH MYUNGKEUN The One - 1, 2009 Film and plastic. 138 x 50 x 18 cm. (54 3/8 x 19 3/8 x 7 1/8 in). Signed and dated on the lower left side.
LEE LEENAM Digital Eight–fold Screen, 2008 Eight DID monitors mounted on an eight–fold screen. 500 x 200 cm. (197 1/2 x 78 5/8 in). This work is from an edition of three.
WHANG INKIE
JANG SEUNGHYO
Pla Mountain 09-188, 2009 Plastic blocks mounted on panel in two parts. Overall: 192 x 192 cm. (75 1/2 x 75 1/2 in). Signed, titled and dated on the reverse.
Mad About You, 2009 C-print sculpture. 198.1 x 58.4 x 76.2 cm. (77 7/8 x 22 7/8 x 29 7/8 in).
LEE YONGDEOK KIM JOON Bird–land Donald duck, 2008 C-print. 120 x 120 cm. (47 x 47 in). Signed, titled and dated on the reverse. This work is from an edition of five.
Dancing 082682, 2008 Mixed Media. 110 x 190 x 15 cm. (43 1/4 x 74 3/4 x 15 3/4 in).
LEE SEUNGMIN L E E U FA N From Point, 1977 Oil on canvas. 28 x 305 cm. (11 x 120 in).
Conspirator–bystander, 2009 Oil on canvas. 112 x 194 cm. (44 1/8 x 76 1/4 in). Signed and dated on the reverse.
YOON JONGSEOK PA R K J U N G H Y U K Park's park 3, 2008 Acrylic on canvas. 130 x 300 cm. (51 x 118 1/2 in). Signed, titled and dated on the overlap.
Masked Net (Pair), 2008 Acrylic on canvas. Each: 100 x 200 cm. (39 1/2 x 78 5/8 in). Signed and dated on the overlap.
C H O O J O N G WA N Y I H WA N K W O N Jangdockdae, 2008 Fortified Plastic in six parts. Son 113 x 76 x 76 cm. (44 1/2 x 29 3/4 x 29 3/4 in). Daughter 102 x 80 x 70 cm. (40 1/8 x 31 1/2 x 27 1/2 in). Pa 160 x 136 x 115 cm. (63 x 53 1/2 x 45 1/4 in). Ma 127 x 107 x 115 cm. (50 x 42 1/8 x 45 1/4 in). Grandpa 172 x 135 x 110 cm. (67 5/8 x 53 1/8 x 43 1/4 in). Grandma 105 x 151 x 105 cm. (41 1/4 x 59 1/2 x 41 1/4 in).
LEE YONGBAEK Plastic Fish, 2008 Oil on canvas. 182 x 228 cm. (71 1/2 x 89 5/8 in). Signed, titled and dated on the reverse.
KWON KISOO Time, 2008 Acrylic on canvas in four parts. Overall: 227 x 130 cm. (51 1/8 x 357 1/2 in). Signed, titled and dated on the reverse.
Emergence, 2008 Acrylic, charcoal and colour pencil on canvas. 130 x 194 cm. (51 1/8 x 76 3/8 in). Signed and dated on the overlap.
HAN KICHANG Hybrid Landscape, 2008 Mixed media. 160 x 160 cm. (63 x 63 in). Signed lower right.
BOOMOON Untitled #6913, 2007 C-print. 160 x 240 cm. (63 x 94 1/2 in). Signed, titled and dated on the reverse. This work is from an edition of six.
K I M AY O U N G "Accept North Korea into the nuclear club or bomb it now, 11th of Oct, 2006", 2007 Lightjet print. 160 x 120 cm. (63 x 46 3/4 in). Signed, titled, dated and numbered of three on a label attached to the reverse. This work is from an edition of three.
C H O I TA E H O O N
BAHK SEONGHI
b. 1965, Seoul, Korea
b. 1965, Seoul, Korea
Education 1994 M.F.A. Kyung–Hee University, Seoul, Korea 1997 B.F.A. Kyung–Hee University, Seoul, Korea
Education 2002 Major in Sculpture, Accademia di Belle Arti Brera , Milan, Italy 1994 B.A. Sculpture, Fine Arts Department, Chung–Ang University, Seoul, Korea
Selected Solo Exhibitions 2007 Skin of Time, Gallery Touch Art, Gyeong–Gi Do, Korea 2006 Galaxy, Kim Chong Yung Sculpture Museum, Seoul, Korea 2005 Gold Line, Cite International des Arts, Paris, France 2004 Wall Sculpture, Gallery ARTSIDE, Seoul, Korea 2003 Iron Age Stories, Dukwon Gallery, Seoul, Korea 2002 Small But Great, Gallery ARTSIDE, Seoul, Korea 2000 Aesthetics of Slowness, Moran Museum of Art, Korea Selected Group Exhibitions 2008 KOAS, Insa Art Center, Seoul Korea 2007 Art & Park: The sound in Natural, Sungnam Art Center, Seoul, Korea 2006 Friend Of Kumho, Kumho Museum, Seoul, Korea 2005 Moran Artists, Moran Art Museum, Namyangju, Seoul, Korea 2004 China International Art Salon, Beijing, China 2003 International Sculpture Exhibition, Guilin Yuzi Paradise, Guilin, China 2002 International Environmental Art Forum, Seoul Art Center, Seoul, Korea 2000 Gwangju Biennale – The Special Exhibition Invitational Exhibition of Donga Art Prize Awardees, National Museum of Contemporary Art, Korea
Selected Solo Exhibitions 2008 Gallery Sabina, Los Angeles, United Stated of America 2007 Existence, Arquitectos de Cordova, Cordova, Spain 2006 Galeria Arte Contemporanea Jorge Shirley, Lisbon, Portugal 2005 2005 Artist of Today, Kim Chong Yung Sculpture Museum, Seoul Korea 2004 Galeria EDURNE, Madrid, Spain 2003 Galeria Arte Contemporanea, Jorge Shirley, Lisbon, Portugal 2002 Galerie Artinprogress, Berlin, Germany 2001 Galleria Lawrence Rubin, Milan, Italy Selected Group Exhibitions 2009 Chuangtzu and butterfly, Gallery Gana GangNam, Seoul, Korea 2008 Expenditure, Busan Biennale, Busan, Korea 2007 November Illusion–take six, Gallery Eugene, Seoul, Korea 2006 Contemporânea de Madrid acolhe, Gallery Jorge Shirley, Madrid, Spain 2005 Colectiva, Gallery Jorge Shirley, Lisbon, Portugal 2004 Art Seoul, Hangaram Museum in Seoul Arts Center, Seoul, Korea 2003 International Installation Triennale, Man and Earth, Haifa, Museum, Israel 2002 Preghiera alla terra, Modern Art Museum Pagani, Castellnza, Varese, Italy 2001 Group Show, Gallery Lawrence Rubin, Milan, Italy 2000 Arte si parte, Faundation Sirssu, Lugano, Switzerland
PARK SEUNG MO b. 1969, Busan, Korea
DONGWOOK LEE b. 1976, Seoul, Korea Education 1998 B.F.A. Dong A University, Busan, Korea
Selected Solo Exhibitions 2003 Hangaram Art Gallery, Seoul Arts Centre, Seoul, Korea 2005 Gallery Artside, Seoul, Korea 2008 Gallery Artside, Seoul, Korea
Selected Group Exhibitions 2009 Ticktac–Korean sculpture, Gallery Godo, Seoul, Korea 2008 Albemarle Summer Show, Albemarle Gallery, London, England 2007 Lines in Space, Kyunggido Museum, Kyunggi, Korea 2006 Three Men Sculpture Show, Jang Eun Sun Gallery, Seoul, Korea 2004 Out Door Project, Sejong Center, Seoul, Korea 2003 Hangul Exhibition, Mok–A Museum, Kyunggi, Korea 2002 1234567890, INSA Gallery, Seoul, Korea 2001 Sculpture Park Exhibition, Zoo Land, Daejeon, Korea 2000 Nandan Arts Festival, Kolkata, India
Education 2003 M.F.A. College of Fine Arts, HongIk University, Seoul, Korea 2001 B.F.A. College of Fine Arts, HongIk University, Seoul, Korea Selected Solo Exhibitions 2008 Avanthay Contemporary, Zurich, Switzerland 2006 Bleeding Pond, ARARIO SEOUL, Seoul, Korea 2004 Mouthbreeder, Brain factory, Seoul, Korea 2003 Inbreeding, KEPCO Plaza, Seoul, Korea Selected Group Exhibitions 2008 Peppermint Candy: Contemporary Art of Korea, The National Museum of Fine Arts, Buenos Aires, Argentina 2007 Dongwook LEE, Donghee KOO, Suejin CHUNG: Group Show Berlin, Peres Project, Berlin, Germany 2006 Give me Shelter, Union Galley, London, United Kingdom 2005 Beautiful Cynicism, ARARIO BEIJING, Beijing, China 2004 Alchemy of Daily Life, National Museum of Contemporary Art, Gwhachon, Korea 2003 A Slice of Contemporary Art, LCM gallery, Ilsan, Korea 2002 Dream of Butterfly, HongIk University Contemporary Art museum, Seoul, Korea
HYUNGKOO LEE
P A R K S U N G TA E
b. 1969, Pohang, Korea
b. 1960, Gwangju, Korea
Education 2002 M.F.A. Yale University, School of Art, New Haven, United States of America 1998 B.F.A. Hong-Ik University, College of Fine Art, Seoul, Korea
Education 1993 M.F.A. Department of Oriental Painting, Graduate School of Seoul National University, Seoul, Korea. 1987 B.F.A. Department of Oriental Painting, College of Fine Arts, Seoul National University, Seoul, Korea
Selected Solo Exhibitions 2008 Basel Natural History Museum, Basel, Switzerland 2007 Korean Pavilion, Homo Species, Giardini, Venice Biennale, Venice, Italy 2006 Animatus, ARARIO Gallery Cheonan, Korea 2004 The Objectuals, Sungkok Art Museum, Seoul, Korea Selected Group Exhibitions 2007 Contemporary Korean Art: Wonderland, National Art of Museum China, Beijing, China 2006 ALLLOOKSAME? China Korea Japan, Fondazione Sandretto re Rebaudengo, Turin, Italy 2005 Visions of the Body, Seoul Museum of Art, Seoul, Korea 2004 Young Artists from Korea, China and Japan, National Museum of Contemporary Art, Gwacheon, Korea 2003 Fake & Fantasy, Art Center Nabi, Seoul, Korea 2002 M.F.A.Thesis Exhibition, Yale University School of Art, New Haven, United States of America 2001 The Wight Biennial, The New Wight Gallery, UCLA, Los Angeles, United States of America Selected Awards 2003 SSamziespace Studio Program, Seoul, Korea 2002 Joan Mitchell Foundation Award 2001 Skowhegan School of Painting and Sculpture, Skowhegan, ME, USA
INBAI KIM
Selected Solo Exhibitions 2006 Park, Sung–Tae, Ifa Gallery, Shanghai 2005 Black & White, Macao House Museum, Macao 2003 Park, Sung–Tae, Krokin Gallery, Moscow 2002 Park, Sung–Tae, Gong Gallery, Seoul 2001 Park, Sung–Tae, Pyo Gallery, Seoul Selected Group Exhibitions 2007 Group exhibition, Gallery Sun, Seoul, Korea 2004 Stillness & Movement, Seoul Olympic Art Museum, Seoul, Korea 2003 Monologue by Black & White, Gallery Sang, Seoul, Korea 2000 Man + Space – Human and Gender, Gwangju Biennale Special Exhibition, Gwangju, Korea Selected Awards 1994 Prize of Excellence, MBC Grand Art Exhibition, Seoul Arts Center, Seoul, Korea
DEBBIE HAN b. 1969, Seoul, Korea Education 1999 M.F.A. New Forms, Pratt Institute, New York, United States of America 1993 B.A. Art University of California Los Angeles, United States of America
b. 1978, Seoul, Korea Education 2005 Sculpture Graduate Course, College of Fine Arts, HongIk University, Seoul, Korea 2002 B.F.A. Sculpture, College of Fine Arts, HongIk University, Seoul, Korea Selected Solo Exhibitions 2008 Ancient Futures, Nam Seoul Annex, Seoul Museum of Art, Seoul, Korea 2007 Move in earnest, ARARIO SEOUL, Seoul, Korea 2006 Stand on the edge of dimensions, Gallery Skape, Seoul, Korea Selected Group Exhibitions 2007 The 8th Ssamzi Open Studio, Ssamzi Space, Seoul, Korea 2006 Busan biennale, Living Furniture, South Korea, Pavillion, Busan, Korea 2005 Portfolio 2005, Seoul Museum of Art, Seoul, Korea 2004 Sema 2004, Seoul Museum of Art, Seoul, Korea 2003 All Rubber, Sejong Center, Seoul, Korea 2002 Dream of Butterfly, Ssamzie space, Hongik Museum of Modern Art, Seoul, Korea 2000 Seoul Fringe Festival, Super fly, Seoul, Korea
Selected Solo Exhibitions 2009 Debbie Han: Hybrid Graces, The Solo Project, Basel, Switzerland Debbie Han: Hybrid Graces, LA Contemporary, Los Angeles, United States of America 2007 Debbie Han, Galeria Punto, Valencia, Spain 2006 Visions of Beauty, Freddie Fong Gallery, San Francisco, United States of America 2006 DEBBIEHAN, Gallery Sun Contemporary, Seoul, Korea Selected Group Exhibitions 2009 New Digital Age, Novosibirsk State Art Museum, Novosibirsk, Russia 2008 Good Morning Mr. Nam June Paik, The Korean Cultural Center United Kingdom, London 2007 Gegen den Strich, Kunstlerhaus Bethanien, Berlin, Germany 2006 Made in Korea, Gallerie Martine et Thibault de la Chartre, Paris, France 2005 Reinventing Heritage, Hangaram Art Museum, Seoul Mobile Home Project, Santa Monica Civic Center, Santa Monica, United Stated of America 2002 L.A. Portraits, Angels Gate Cultural Center, San Pedro, California, United States of America Relative Objects, Post Gallery, Los Angeles, United States of America
CHO HOON
JEON JOONHO
b. 1974, Busan, Korea
b. 1969, Busan. Korea
Education 2008 M.F.A. Sculpture, HongIk University, Seoul, Korea 2001 B.A. Sculpture, HongIk University, Seoul, Korea
Education 1997 M.A. Chelsea College Art & Design, London, United Kingdom 1992 B.F.A. Fine Art DongEui University, Busan, Korea
Selected Solo Exhibitions 2008 Come to My Penthouse II, BiBi Space, Daejeon, Korea 2007 Come to My Penthouse, Alternative Space Loop, Seoul, Korea
Selected Solo Exhibitions 2008 Galerie Thaddaeus Ropac, Paris 2006 HYPERREALISM, Perry Rubeinstein Gallery, New York, United States of America 2004 Posco Art Museum, Seoul, Korea 2002 11&11 Korea Japan Contemporary Art 2002 (Traveling Exhibition), Gallery 21+Yo, Tokyo, Japan 2001 Sungkok Art Museum, Tomorrow's Artist, Seoul, Korea
Selected Group Exhibitions 2009 TickTAC – Korean Sculpture Exhibition, Galley godo, Seoul, Korea 2008 Busan Biennale 2008, Art is Now, Busan Cultural Center, Busan, Korea 2007 Shared Boundaries, EM Gallery, Seoul Korea 2006 EHS Project 2006, Sejong Center for the Performing Arts, Seoul, Korea 2004 Work, So Sculpture Association Exhibition, Sejong Center for the Performing Arts, Seoul, Korea 2003 City & Human, Bundang Korea Design Center, Bundang, Korea 2002 Hong-Ik Sculpture Association Exhibition, Center for the Performing Arts, Seoul, Korea 2001 Groundless, Cho Sunghee Gallery, Seoul, Korea 2000 Installation, Gangwondo Chulwon Labor Office, Chulwon, Korea
b. 1982 Seoul, Korea
Selected Group Exhibitions 2008 Busan Biennale, Korea Nanjing Triennale, China 2007 Peppermint Candy: Contemporary Art of Korea, Museum of Contemporary Arts Santiago, Chile Have You Eaten Yet?, 2007 Asia Art Biennale, National Taiwan Museum of Fine Arts, Taiwan All About Laughter, Mori Art Museum, Tokyo, Japan 2006 Singapore Biennale, City Hall, Singapore 2005 Beautiful Cynicism, ARARIO Beijing, Beijing, China 2004 Gwangju Biennale, A Drop of Water A Grain of Dust, Gwangju, Korea 2003 East of Eden, Victoria Miro Gallery, London, United Kingdom 2001 Dreaming of New Atlantis, Busan Metropolitan Art Museum, Busan, Korea
Education 2007 B.F.A. University of Sookmyung Womens University, Seoul, Korea
SIM SEUNGWOOK
LEE RIM
b. 1972, Seoul, South Korea Selected Solo Exhibitions 2009 2nd solo Exhibition, Seoul, Korea 2008 Rim Lee, Window Gallery Jinsun, Seoul, Korea 2007 To share, Gallery Zein Zeno, Seoul, Korea Selected Group Exhibitions 2009 Star Wars Episode, UNC Gallery, Seoul, Korea 2008 My Private Collection, Gana Art Center, Seoul, Korea 2008 Blue dot Asia, Seoul Art Center, Seoul, Korea 2008 We-Now, Insa Art Center, Seoul, Korea 2007 We–Now, Gallery All, Seoul, Korea 2007 Open Studio, Studio Unit, Seoul, Korea 2007 Artist Day, Studio Unit, Seoul, Korea 2007 Preview, Team Preview, Seoul, Korea 2006 Fringe festival,The Street of Hongink University, Seoul, Korea 2006 The Power of Korea Young Artist, Bunam Gallery, Seoul, Korea
HYUNG KOO KANG Education 1980 B.F.A. College of Arts, Chungang University, Seoul, Korea Selected Solo Exhibitions 2009 ARARIO GALLERY, New York, United States of America 2009 ARARIO GALLERY, Seoul, Korea 2007 ARARIO GALLERY, Cheonan, Korea 2006 Lotte Art Gallery, Busan, Korea 2005 Gwangju Art Museum, Gwangju, Korea 2004 Sejong Arts Center, Seoul, Korea 2002 Samsung Plaza Gallery, Bundang, Korea 2001 Chosun–ilbo Gallery, Seoul, Korea Selected Group Exhibitions 2006 Draw, Seoul Museum of Art, Seoul, Korea 2005 Face, Young Eun Museum of Contemporary Art, Gwangju, Korea Memory of Nature, Seoul Museum of Art, Seoul, Korea 2004 Korean Express, Gwangju Biennale, Gwangju, Korea Existence and Illusion, Gwangju Art Museum, Gwangju, Korea 2003 Face, Express, Daejeon Museum of Art, Daejeon, Korea Exploration of Light and Color, Seoul Arts Center, Seoul, Korea 2002 Self–portraits of Korea, Sejong Arts Center, Seoul, Korea Passion and the After, Insa Art Center, Seoul, Korea
Education 2007 M.F.A. Sculpture, The Art Institute of Chicago, Chicago, United States of America 2005 M.F.A. Sculpture, HongIk University, Seoul, Korea 1999 B.F.A. Sculpture, HongIk University, Seoul, Korea Selected Solo Exhibitions 2008 Black Gravity, Art Space H, Seoul, Korea Black Gravity, Carl Hammer Gallery, Chicago, United States of America 2005 The Dry Flower Garden, Gallery ARTSIDE, Seoul, Korea Selected Group Exhibitions 2009 Weird Identity, Lotte Avenue L Gallery, Seoul, Korea 2008 Insa Art Festival (INSAF2008), Gallery ARTSIDE, Seoul, Korea Destructionconstruction, Teapot Gallery for Contemporary Art, Cologne, Germany 2006 G–2 Group Exhibition, Gallery–2 Chicago, Chicago, United States of America
KOH MYUNGKEUN
WHANG INKIE
b. 1972, Seoul, South Korea
b. 1965, Seoul, Korea
Education 1991 M.F.A. Pratt Institute in New York, New York, United States of America 1987 B.F.A. Sculpture, Seoul National University, Seoul, Korea
Education 1981 M.F.A. Pratt institute, New York, United States of America 1975 B.A. College of fine Art, Seoul National University, Seoul, Korea 1971 College of Engineering, Seoul National University, Seoul, Korea
Selected Solo Exhibitions 2008 Kimchongyung Museum, Seoul, Korea 2007 Andrew Bae Gallery, Chicago, United States of America O.K Harris Gallery, New York, United States of America 2006 Tokyo gallery, Tokyo, Japan 2003 Hanmi Photo Museum, Seoul, Korea 2002 Hakkojae Gallery, Seoul, Korea 2000 SK Photo Gallery, Seoul, Korea
Selected Solo Exhibitions 2008 Frey Norris Gallery, San Francisco, United States of America 2007 Gallery Ihn, Seoul, Korea 2004 Atlanta College of Art, Atlanta, United States of America 2002 Gallery Ihn, Seoul, Korea 2000 Gallery Ihn, Seoul, Korea
Selected Group Exhibitions 2008 Station 2008 – Art on the Tsurumi Line, Tokyo, Japan 2007 ART DAEGU 2007, LeeAhn Gallery, Daegu, Korea 2006 Daegu Photo Biennale 2006, Daegu, Korea 2005 Photo SF 2005, Frey Norris Gallery, San Francisco, United States of America 2004 Gwangju Biennale, Site–4, EcoMetro, Gwangju, Korea 2003 Six photographers–six Codes, Sungkok Art Museum, Seoul, Korea 2002 Landscape from photo, Photo from landscape, The Korean Culture & Arts Foundation, Seoul, Korea Awards 1996
Selected Group Exhibitions 2007 Madrid Buscando la raiz, Sala Alcala 31, Spain 2006 Gwangju Biennial, Biennial hall, Gwangju, Korea 2005 Beyond Repetition, Seoul Museum of Art, Seoul, Korea The Elegance of Silence, Mori Art Museum, Tokyo, Japan 2004 Venice Biennale, Venice, Italy 2002 Korean & Chinese Contemporary Art Exhibition, Gwangju Museum, Seoul, Korea 2001 To Rest in the City, Ilmin Museum of Art, Seoul, Korea Dispersed, Korean Culture and Arts Foundation Gallery, Seoul, Korea 2000 Ocean Art Festival 2000 – The Texture of the Sea, Gallery Sejong, Seoul, Korea
Moran Art Prize
KIM JOON b. 1969, Seoul, Korea
LEE LEENAM b. 1965, Seoul, Korea Education 2005 Visual Communication, Graduate School at Yonsei University, Seoul, Korea 1995 B.F.A. Sculpture, College of Fine Arts, Chosun University, Gwangju, Korea Selected Solo Exhibitions 2008 Park Ryu Sook Gallery, Seoul, Korea 2007 Shinsegae Gallery, Gwangju, Korea 2006 Gwangju Media Art Lab, Gwangju/2005 Hangaram Gallery, Seoul, Korea 2004 Gwangju Media Art Center, Gwangju, Korea Selected Group Exhibitions 2009 Tea Culture Invited Exhibition of Yale University Art Gallery, Yale University/Special lecture, Connecticut, United States of America 2008 The 3rd Seville Biennale, Spain 2007 Smithonian Korea Gallery Opening Festival, Embassy of the Republic of Korea, Washington, United States of America 2006 Seoul International Media Art Biennale, Seoul, Korea Awards 2005 2002
Youth Artist of the Year Award Grand Prize, 8th Gwangju Shinsegae Art Competition Ha Jung–Woong Youth Artist Award
Education B.A. Painting, HongIk University, Seoul, Korea M.A. Painting, HongIk University, Seoul, Korea Selected Solo Exhibitions 2008 Bird Land, Sabina Lee Gallery, Los Angels, United States of America 2006 Duet, Canvas International Art Gallery, Amsterdam, The Netherlands 2005 Tattoo you, Alexander Ochs Galleries (Traveling exhibition), Seoul, Korea 2003 Flesh park, June & ttl zone, Seoul, Korea 2003 Sauna bell, Ilju Art House, Seoul, Korea 2000 Make me smile!, Gallery uduck, Seoul, Korea Selected Group Exhibitions 2009 CONDITIONS OF BEING–AS OF NOW, Beijing, China 2008 pop&pop, Seongnam Art Center, Seongnam, Korea 2007 Asian art Biennial, National Taiwan Museum, Taiwan 2006 Made in Korea, Annecy, Paris, France 2005 ASIA: THE PLACE TO BE?, Alexander Ochs Galleries, Berlin, Germany 2004 Gawngju Biennale, minority, Gwangju, Korea 2003 CROSSING 2003; KOREA/HAWAII, Koa Gallery, Hawaii, United States of America 2000 Gawnnngju Biennale, Scar, Gwanju Folklore Museum, Gwangju, Korea
L E E U FA N
Y I H WA N K W O N
b. 1936, Kyongsangnamdo, South Korea
b. 1974
Education 2001 Awarded Praemium Imperiale in painting by Japan Art Association 1961 Philosophy, Nihon University, Japan 1956 Seoul National University, Seoul, Korea
Education 2001 B.F.A. Environmental Sculpture, College of Fine Art, Kyung Won University, Korea 2004 M.F.A. Graduate School of Environmental Sculpture, Kyung Won University, Korea
Selected Solo Exhibitions 2007 Lee Ufan, Resonance, Palazzo Palumbo Fossati, San Marco 2597, 30124 Venice Lee Ufan, Pace Wildenstein, New York 2006 Lee Ufan, Galerie Nächst St. Stephan Rosemarie Schwarzwälder, Vienna 2005 Lee Ufan, The Art of Margins, Yokohama Museum of Art 2004 Moderato cantabile, Lee Ufan, Simon Callery, Nishikawa, Galerie Philippe Casini 2003 Samsung Museum of Modern Art, Seoul, Korea 2002 SCAI the Bathhouse, Shiraishi Contemporary Art Inc; Tokyo, Japan 2001 Kunstmusum Bonn, Bonn, Germany Selected Group Exhibitions 2006 Motion on Paper, Ben Brown Fine Arts, London, United Kingdom 2005 (In) Visible/ // (In), Corporeo, Museo d’Arte Provincia di Nuoro, Italy 2003 Happiness, Mori Art Museum, Tokyo, Japan 2002 Les années 70: l’art en cause, Musée d’art contemporain Entrepôt, Bordeaux, France 2001 Mono–ha – school of things, Kettle’s Yard, Cambridge & Newlyn Art Gallery, United Kingdom
Selected Solo Exhibitions 2008 Yi Hwan–Kwon, Edwin’s Gallery, Jakarta, Indonesia 2007 Yi Hwan–Kwon, Ander’s Gallery, Düsseldorf, Germany A windy day, Posco Museum, Seoul, Korea 2005 Bus Stop, Sejong Center, Seoul, Korea Selected Group Exhibitions 2008 Gana Opening, New York, United States of America 2007 Asian Art Biennial 2007, National Taiwan Museum of Fine Arts, Taiwan 2006 Bohemian Space, So Gallery–Arko Art Museum, Seoul, Korea 2005 Art and playing – Funsters, Seoul Arts Center, Seoul, Korea 2004 Busan Biennale, Busan Sculpture Project, Eulsukdo Sculpture Park, Busan, Korea 2003 Psychodrama, Sungkok Art Museum, Seoul, Korea 2002 Narrative Sculpture & Mirror of Everyday Life, Busan Metropolitan Art Museum, Busan, Korea Awards 2002 2001 1999
Grand Prize, Su–Won World cup Stadium Sculpture Park Exhibition The World Ceramic Expo 2001 Sculpture Park Exhibition The 10th Korean Figurative Sculpture Exhibition – Superior prize
PARK JUNGHYUK b. 1974, Seoul, Korea
LEE YONGBAEK b. 1972, Seoul, South Korea
Education 2007 Painting, School of HongIk University, Seoul, Korea 2005 Painting, Graduate School of HongIk University, Seoul, Korea Selected Solo Exhibitions 2004 Resupination, Insa Art Space, Seoul, Korea 2003 Maloclusion, Artspace Hue, Seoul, Korea Selected Group Exhibitions 2008 BlueDotASIA, Seoul Art Center, Seoul, Korea 2004 Media City Seoul, Seoul Museum of Art, Seoul, Korea 2004 In club, GwangJu Biennale, Gwangju, Korea 2003 Digital Salon, Artspace Hue, Seoul, Korea 2003 JeonJu International Film Festival (JiFF) MIND section, Jeonju, Korea 2002 Cross talk, The Korean Culture & Art Foundation Centre, Seoul, Korea 2001 EMAF, Ewha Womans University, Seoul, Korea
Education 1993–95 Staatliche Akademie der bildende Kunst Stuttgart, Aufbau Studium (Bildhauerei), Germany 1991–93 Staatliche Akademie der bildende Kunst Stuttgart, Normal Studium (Malerie), Germany 1985–90 B.F.A. College of Fine Art, HongIk University, Seoul, Korea Selected Solo Exhibitions 2008 ARARIO GALLERY, Cheonan, Korea 2007 New Folder, Arario Gallery, Beijing, China 2006 Angel–Soldier, +Gallery, Nagoya, Japan 2005 Angel–Soldier, Kuandu Museum of Fine Art, Taipei, Taiwan Selected Group Exhibitions 2008 3rd Nanjing Triennale ‘Reflective Asia’, Nanjing Museum, Nanjing, China The 5th Busan Biennale ‘Expenditure’, Busan, Korea 2007 Peppermint Candy: Contemporary Art of Korea, Museo de Arte Contemporáneo de Santiago, Chile 2006 ALLLOOKSAME/TUTTTUGUALE, Art China Korea Japan Art, Fondazione Sandretto Rebaudengo, Turin, Italy SLOW TECH, MoCA, Taipei, Taiwan
KWON KISOO
LEE YONGDEOK
b. 1972, Young–ju, Korea
b. 1956, Korea
Education 1998 M.F.A. HongIk University, Seoul, Korea 1996 B.F.A. HongIk University, Seoul, Korea
Education 1989 M.F.A. Sculpture, Graduate School of Seoul National University 1982 B.F.A. Sculpture, College of Fine Arts, Seoul National University
Selected Solo Exhibitions 2008 4 seasons, Park Ryu Sook Gallery, Seoul, Korea 2006 Black Forest, Artpark Gallery, Seoul, Korea 2005 Animation, PaikHaeYoung Gallery, Seoul, Korea 2004 A Red Fountain, Gallery Fish, Seoul, Korea
Selected Solo Exhibitions 2009 Depth of Shadow, PYO Gallery LA, Los Angeles, United States of America 2006 Depth of Shadow, Shanghai Duolun Museum of Modern Art, Shanghai, China 2004 METRIX A – Transfer–Still, the 3rd Seoul International Media Art Biennale, Seoul Metropolitan Museum of Art, Seoul, Korea 2003 Transfer–Backward, Pyo Gallery, Seoul, Korea 2000 The Both Sides of Existence, Moran Museum of Art, Korea
Selected Group Exhibitions 2007 Another Home, Cais Gallery, Hong Kong 2006 Joyful art travel, Gwangju Museum of Art, Gwangju, Korea Living Furniture, Busan Biennial, Busan, Korea The 5th Asia–Pacific Triennial of Contemporary Art, Queensland Art Gallery, Australia 2005 The Elegance of Silence, Mori Art Museum, Tokyo, Japan Looking Both Ways: Three Artists, Yellow Bird Gallery, Newburgh, New York, United States of America 2004 Contemporary Art in Taipei, MOCA–Taipei, Taipei 2003 Korean Contemporary Art Exhibition, Art and Playing, Hangaram Art Museum of Seoul Arts Centre, Seoul, Korea 2002 The 1st Floodgate Open Art Museum Project, Hangang Park, Seoul, Korea
Selected Group Exhibitions 2008 Seville Biennale 2008, Seville, Spain Singapore Biennale 2008, Singapore, Singapore 2007 Have You Eaten Yet?–200, Asian Art Biennial, National Taiwan Museum of Fine Arts, Taiwan 2006 Shanghai Biennale, Shanghai Art Museum, Shanghai 2004 Art and Playing 2, Hangaram Art Museum of Seoul Arts Center, Seoul, Korea 2003 Figurative Sculptures, Mokkumto Gallery, Korea 2002 News Paper–Sculpture, The Korean Art Center, Korea 2001 Exhibition of Exchange Interuniversity 2001,Gallery Beronanos, Paris, France 2000 Sculpture Now 2000, Moran Museum of Art, Korea
JANG SEUNGHYO b 1971, Busan, Korea Education 2006 M.F.A. Sculpture, New York University, New York, United States of America 2004 Doctor's course in Sculpture, HongIk University, Seoul, Korea 2001 M.F.A. Sculpture, HongIk University, Seoul, Korea 1997 B.F.A. Sculpture, HongIk Univercity, Seoul, Korea Selected Solo Exhibitions 2008 Dedicated Performance, ArtSpace H, Seoul, Korea 2007 Apollo & Daphne, 33 Bond Gallery, New York, United States of America 2004 Korean 12 Muse, Sejong Centre, Seoul, Korea Selected Group Exhibitions 2007 Moon Man, National Science Museum, Daejeon, Korea 2005 From Berlin to DMZ, SOMA Museum, Seoul, Korea 2005 10 Years After, Insa Art Center, Seoul, Korea 2003 Soul of the Future, Seoul Museum of Art, Seoul, Korea 2001 Soul of the Future, Seoul Institute of the Art, Seoul, Korea Selected Awards 2002 The Minister of Culture and Tourism's Citation 1997 Grand Prize – The 1st Open Air Sculpture Award, The Minister of Culture and Tourism 1997 Special acknowledgment – The 8th The Korean Figurative Sculpture Award
Awards 1987 1986
The 6th Korean Fine Art Grand Prize Exhibition – Grand Prize The 5th Korean Fine Art Grand Prize Exhibition – Superior Prize
LEE SEUNGMIN b. 1978, Iksan, Korea Education M.F.A. HongIk University of Fine Art, Seoul, Korea B.F.A. HongIk University of Fine Art, Seoul, Korea Selected Solo Exhibitions 2008 ILLUSIVE, ArtSpace H, Seoul, Korea Selected Group Exhibitions 2008 Korean Group Show, toujours aujourd'hui, Kashyahildebrand, Zurich, Switzerland 2007 Blue Ocean, The Blossom of Youth, Gallery Velvet, Seoul, Korea 2007 5th Funny Funny, Gallery Sejul, Seoul, Korea 2006 5th Preview, Gallery Team–Preview, Seoul, Korea 2006 Zoom + canvas, Gallery I, Korea
YOON JONGSEOK
HAN KICHANG
b. 1970, Seocheon, Korea
b. 1966, Seocheon, Korea
Education 2002 M.A./B.A. Hannam University, Daejeon, Korea
Education 2006 Ph.D Course, Graduate School of Dankook University, Seoul, Korea 2000 M.F.A. Graduate School of Korea University, Seoul, Korea 1993 B.F.A. Chugye University for the Arts, Seoul, Korea
Selected Solo Exhibitions 2008 A Net hanging down the concealed inside, Gallery ARTSIDE, Beijing, China 2006 Exhibition of drawing with living, Agricultural Studies Center, Carrara, Italy 2005 Flower, Daily life Exhibition, Gallery ARTSIDE, Seoul, Korea 2003 Flower Exhibition, MA gallery & Pentagram gallery, Fukuoka, Japan Selected Group Exhibitions 2008 Female Sensibility, Gallery ARTSIDE, Seoul, Korea 2007 Waysofseeing, Star gallery, Taiwan 2006 X–ray, Daecheong ho Art Museum, Chungcheongbuk–do, Korea 2005 Guem River Nature Art Pre–Biennale, Biennale Special gallery, Gongju, Korea Selected Awards Award of excellence, Grand Art Exhibition of Korea Korea Young Artist Biennale; awarded a Special Prize
Selected Solo Exhibitions 2007 Korea Advanced Institute of Science and Technology Gallery, Seoul, Korea 2006 Cite Internationale Des Arts Gallery, Paris, France 2003 Kumho Museum of Art, Seoul, Korea 2002 Total Museum of Contemporary Art, Jangheung, Korea Selected Group Exhibitions 2008 Meme Trackers, Songzhuang Art Museum, Beijing, China 2007 Flowering Day at the Museum, Bukchon Art Museum, Gongju National Museum, Gongju, Korea 2006 Brand New – Collectors’ Item, Eugene Gallery Opening Exhibition, Seoul, Korea 2005 4th Seoul International Media Art Biennale, Media City Seoul, Seoul, Korea 2004 Harmony: Flowers & Birds, Gana Art Center, Seoul, Korea 2003 Spectrum 2003, Samsung Museum of Art Leeum, Seoul, Korea
C H O O J O N G WA N b. 1975, Daegu City, Korea
BOOMOON Education 1999 M.A. in Fine Art at Graduate School of Yeung–Nam University, Korea. 2004 B.A. in Fine Art at Yeung–Nam University, Korea Present Membership of 'Daegu Contemporary Artists Association‘ Selected Solo Exhibitions 2008 Gallery SOMI, Seoul, Korea 2006 Gallery Maek–Hyang, Daegu, Korea 2005 Daegu Culture & Art Center, Daegu, Korea 2004 Hangisook Gallery, Daegu, Korea 2002 Space129, Daegu, Korea Selected Group Exhibitions 2008 Nord Art 2008 KIC International Exhibition, Carlshuette GmbH. Hamburg Buedelsdorf, Germany 2007 Art Lovers, Gallery M, Daegu, Korea 2006 Korea Young Artists Biennale, Daegu Culture & Art Center, Daegu, Korea 2005 Vision & Perspective (Busan Metropolitan Art Museum, Korea 2004 Sum of the Contemporary Art, Daegu Culture & Art Center, Daegu, Korea 2003 Exhibition of Contemporary 5 Artists, Space129, Daegu, Korea 2002 Thinking of body, Daegu Culture & Art Center, Daegu, Korea
b. 1955, Daegu, Korea Education Photography, JoongAng University Selected Solo Exhibitions 2008 Park Ryu Sook Gallery, Seoul, Korea 2006 Gallery Ci–Gong, Daegu, Korea 1999 Gallery Side2, Tokyo, Japan 1997 Chapelle St. Lous de la Salpetriere, Paris Selected Group Exhibitions 2004 Officina Asia, Galleria d’Arte Moderna, Bologna, Italy 2001 The Horizon: Sea & Sky, Gallery Bernili, Barcelona, Spain 2000 Anti–Memory: Contemporary Photography 2, Yokohama Museum of Art, Yokohama, Japan
K I M AY O U N G b. 1979, Seoul, South Korea Education 2007 B.A. Photography, London College of Communication, London, United Kingdom 2005 ABC Diploma, Professional Photography Practice, London College of Communication, London, United Kingdom 2002 B.A. Visual Communication Design, Kookmin University, Seoul, Korea Selected Solo Exhibitions 2009 Window Gallery, Gallery Hyundai, Seoul 2008 Ephemeral Ephemera, Space VAVA, Seoul, Korea Selected Group Exhibitions 2009 The Irony, kimi Art 5th Anniversary, kimi Art, Seoul, Korea 2008 4482 Contemporary Korean Artists in London, Bargehouse, London, United Kingdom Mucsarnok, Kunsthalle, Budapest, Hungary Lateral Thinkers – from the Mind to the wall, Darmstadter tage der Fotografie 2008 (Darmstadt days of photography 2008), Mathildenhohe, Darmstadt, Germany
Published to coincide with the exhibition
K O R E A N E Y E : M O O N G E N E R AT I O N
20 June – 5 July 2009 Phillips de Pury & Company Space at The Saatchi Gallery Duke of York’s HQ King’s Road London SW3 4SQ
Preview at Standard Chartered First Bank from 18 – 23 May 2009 5th Floor Jaeil Building 53–1 Chungmuro 1–ga Jung–gu Seoul City
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Text © Simon de Pury, David Ciclitira, Yu In-Chon, Joon Lee, Tim Miller, Daehyung Lee
Design and Layout Gizelle Ferrer Production Orlann Capazorio