Edition R - Incorporeal Landscape (EN)

풍 경

Edition R

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INCORPOREAL LANDSCAPE

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김 민 정

도 윤 희

정 주 영

MINJUNG KIM

YUN-HEE TOH

CHUNG ZUYOUNG

Foreword

Gallery Hyundai presents Incorporeal Landscape, a group exhibition featuring Minjung Kim (b. 1962), Yun-Hee Toh (b.

1961), and Chung Zuyoung (b. 1969), as part of the gallery’s newly launched project Edition R . Edition R aims to Revisit earlier works of artists represented by Gallery Hyundai, Reevaluate their aesthetic achievements from a contemporary lens, and Revive their past selves and practices to extend into the present. By examining the breadth of creative trajectories connecting the past, present, and future of each artist, Edition R proposes a more enriched and immersive experience of aesthetic journeys throughout each artist’s oeuvre.

The Chinese characters of poong-gyeong , the Korean vocabulary for “landscape,” literally translates to: a view created by the wind. This indicates the space between the observer and the object through which the wind passes; it is the world before our eyes, the world we encounter. Incorporeal Landscape introduces major early works

by Kim, Toh, and Chung whose themes broadly encompass the entire spectrum from the tangible reality to the invisible scenery beyond. The exhibition presents a survey of major works by the three artists from the mid-1990s to the late 2000s, produced from when they were in their twenties to forties: Minjung Kim’s aesthetic interpretations of the relationships between human and nature; the internal landscapes of Yun-Hee Toh, moving from imperceptible awareness to a recognition

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of reality; and Chung Zuyoung’s challenges to the very concept of landscape-assubject, reselecting and retransforming landscapes that have already been selected and transformed.

During the 1990s, Minjung Kim took inspiration from the nature in Italy, taking in a myriad of sensations and gradually beginning to "empty" herself. Utilizing hanji paper, ink, and watercolor as her main medium, Kim dealt with the relationship between ink and watercolor whose pigment pushes the ink, and thus, experimenting with the formal language of abstract painting. Yun-Hee Toh’s works originate from the indescribable; the artist was intensely focused on invisible worlds and fascinated with the concept of temporality. And yet, her clear perception touches the core of human and the beauty of this true substance. At the start of Chung Zuyoung’s exploration of painting, during her early years studying abroad in Germany, “painting about painting” became a question the artist posed to herself and she found her answer from the “true-view” landscape of Kim Hong-do and Jeong Seon, produced some 250 years earlier. Chung borrows a minute part from and extremely magnifies this part of this “true-view” landscape, and thus suggests a concept of “in-between” painting placed between true-view and real-view, concept and existence, abstract and representative.

For these three artists, the landscape is a material of meditation that catalyzes points of interaction between self and the world. They turned to painting for the outward expression of what they sensed and perceived and they have established innovative aesthetic value through recognition, sensibility, and spiritual spectrum creatively expressed on a two-dimensional surface. Incorporeal Landscape provides the opportunity for a closer look at each artist’s body of work, their methodology and medium, and the persisting core of their practice.

Furthermore, tracing the “landscape” of each artist from the past to present, this exhibition aims to contemplate on and provide beautiful observations on how one can perceive the “landscape” and how every “landscape” is gazed differently.

PL ATE S

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Minjung Kim

Eclisse

1996

Ink and watercolor on mulberry Hanji paper 69 × 67.5 cm

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Minjung Kim

Natura

1996

Ink and watercolor on mulberry Hanji paper

101 × 136.5 cm

Minjung Kim

Primavera

1997

Ink and watercolor on mulberry Hanji paper 70 × 117.5 cm

Minjung Kim

Senza Titolo III

1997

Ink and watercolor on mulberry Hanji paper 73 × 72 cm

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Minjung Kim

Primavera

1998

Ink and watercolor on mulberry Hanji paper 67.5 × 62.6 cm

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Minjung Kim

Da me

1999

Ink and watercolor on mulberry Hanji paper 50 × 28 cm

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Minjung Kim

Nascita Ripetuta

2000

Ink and watercolor on mulberry Hanji paper

112 × 131 cm

Minjung Kim

La terra

2002

Ink and watercolor on mulberry Hanji paper 46 × 72.7 cm

Minjung Kim

Moon in the sun

2004

Ink and watercolor on mulberry Hanji paper

186 × 135 cm

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Yun-Hee Toh

Being

1996

Oil and varnish on linen

122 × 244 cm

Yun-Hee Toh

Being

1996

Oil and varnish on linen

100 × 200 cm

Yun-Hee Toh

Being - Swamp

1996

Oil and pencil with varnish on linen

122 × 244 cm

Yun-Hee Toh

Being - Forest

1998

Oil and pencil with varnish on linen

122 × 244 cm

Yun-Hee Toh

Being - Forest

1998

Oil and pencil with varnish on linen 200 × 100 cm each

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Yun-Hee Toh

Being - Suspended Vapor

2003

Oil and pencil with varnish on linen

150 × 100 cm

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Yun-Hee Toh

Two Silences of Heaven and Earth were Being Linked

2004

Oil and pencil with varnish on linen

282 × 244 cm (diptych) / 141 × 244 cm each

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Yun-Hee Toh

Being

2005

Oil and pencil with varnish on linen

122 × 244 cm

Yun-Hee Toh

Night Erases Day

2007-2008

Oil and pencil with varnish on linen

141 × 636 cm (triptych) / 141 × 212 cm each

Yun-Hee Toh

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Chong Son, Clearing After Rain

1973

천국과 지상의 두개의 침묵은 이어져 있다

61.3 × 50 × 50 cm

Ink and watercolor on mulberry Hanji paper

Yun-Hee Toh

A Certain Time is Darkened by the Sunlight

2008-2009

Oil and pencil with varnish on linen

165 × 150 cm (diptych) / 165 × 75 cm each

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Chung Zuyoung

Kim Hong-Do, Kahakjong Pavilion (detail)

1996

Oil on linen

200 × 400 cm

Chung Zuyoung

Kim Hong-Do, Yongrangho Lake (detail)

1997

Oil on linen

200 × 400 cm

Chung Zuyoung

Kim Hong-Do, Shijungdae Rock (detail)

1998

Oil on linen

200 × 400 cm

Chung Zuyoung

Chong Son, Clearing After Rain in Inwangsan Mountain (detail)

1999

Oil on linen

200 × 360 cm

Chung Zuyoung

Chong Son, Clearing After Rain in Inwangsan Mountain (detail)

1999

Oil on linen

200 × 360 cm

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INTERV IE W What does it mean for the artists to exhibit their earlier works?

What about the media and methodology, to which the artists passionately devoted their 20s to 40s?

And the core of the artists’ oeuvre, which penetrates from the past to the present?

In February 2024, Minjung Kim, Yun-Hee Toh, Zuyoung Chung participated in written interviews.

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Minjung Kim

It’s been quite a while since you created these works. How does it feel to present them to an audience again?

Works on paper weren’t particularly popular (especially in Italy) at the time, but that never stopped me from working on them, deepening my practice in solitude, unbothered by sales or mainstream trends. I really loved immersing myself in the work itself. The pieces in this exhibition are early works that had rarely been shown to the public before. Looking back at who we used to be in the past can sometimes feel a bit embarrassing, but these pieces are still very meaningful and I am proud of them because they constitute the starting point of my artistic world.

This exhibition presents your past works that may feel unfamiliar to people who have recently come to know your work. Could you tell us a bit about the transition from your older works to your newer ones?

The pieces in this exhibition are from the early days of my career as an artist. I made them after moving to Italy from Korea, right around my graduation from the Brera Academy in Milan. At that time, everyone was getting excited about video and photography, and that’s where most of my fellow students were focusing their attention. I didn't know how to work with machines and wasn't particularly interested either, so I decided to keep pursuing the work I’d been practicing all along: working with hanji (Korean mulberry paper). When I presented my work at the academy, professors would ask why I was so insistent on sticking with paper. While they didn't understand much about my choice of medium, I’ve been doing calligraphy and watercolor painting since I was a child. Having studied Oriental painting all the way through graduate school, working with paper was essentially ingrained in me. In addition, I was quite influenced by Lucio Fontana and Alberto Burri from the Italian art scene then. Seeing the way Fontana was using space beyond the plane, or organizing space through his strokes, I started to realize that paper, too, wasn’t just a small plane,

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▶Minjung Kim, 2023 ▼Natura , 1996 ink and watercolor on mulberry Hanji paper, 101 × 136.5 cm (detail)

that it could be something more than this limited sheet on which to paint a flat picture. You actually had to get past that plane. I witnessed Burri's use of fire to burn and puncture, and how the traces of burning actually became components of the works themselves, transcending space. Yet, I was cautious about incorporating elements like these — moving past the plane and using fire — into my own work. I was still so accustomed to traditional practices and watercolors, and I think it was a very careful process of bridging traditions with new approaches. So the transition into my newer works has spanned over four decades — the pieces in this exhibition were generated through a process of (ink and wash) abstraction that combined

watercolor with variations on the calligraphic stroke in a single frame while adding in a kind of vitality and rhythm.

It’s clear that choices of medium and methodology are very significant in your work.

What moved you to choose a particular medium or method, at the moment?

Hanji is the medium I've worked with my whole life, and will stay with me always. Its lightness and translucence suit my personality. And more than anything, it’s deeply familiar to me because I was trained in calligraphy and literary paintings in my childhood. I started learning watercolor at eleven, and practiced calligraphy from the age of eight

until I was well into my thirties. In calligraphy, the stroke is more than just an application of color.

My work combines the technique of ink wash, of connecting the pool of pigment to the stroke with a brush, and those of watercolor. The way ink seeps into hanji is very different from how black watercolor paint reacts to paper. My work brings these different properties together. In Western watercolor, when brush and paint touch the paper, the paint dries on its surface rather than soaking into it, essentially limiting the range of possible techniques other than layering and wiping. In contrast, hanji paper soaks up (watercolor) paint.

And when one combines ink and watercolor, the pigment in the paint pushes out the ink. These early works were a process of experimentation and learning, playing with the back and forth between coexistence and repulsion atop that delicate surface of paper.

Was there any specific phenomenon or element that particularly inspired you when you were working on the series of works in this exhibition?

When I was working on these pieces, I considered hanji to be a kind of maternal origin and used strokes of both watercolor and calligraphy. I also found inspirations from the processes of change in the natural world. Back then, whenever the weekend came around I’d just get on a train by myself and go wherever the Italian landscape took me. I’d get off at any station and walk around looking at the nice scenery and beautiful buildings, lost in contemplation. I might meditate on the landscape, or stare at a magnification of a tiny leaf and lose track of time, or read a book on Eastern philosophy. There was a scientist/ philosopher named Fritjof Capra who meshed Eastern philosophy with Western science. When I was reading his book, Tao of Physics, my mind was a jumble of all this newly acquired knowledge tangled with what I had already known — and I was seeing things through that lens. I was filled with thoughts and inspirations from the scenery, and created works in that state. It was a time when I

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was driven by the desire to express something. I don’t think I was thinking about “emptiness” yet back then — I was more focused on unpacking what I had brought with me from Korea. On the contrary, these days I’m emptying out a lot of that desire. My work now actually involves the repetition of a very restrained technique.

Your career spans many decades.

While your work has changed over the years, how would you describe the unchanging core of your artistic practice?

I would say, my attitude toward the work. I try to empty my mind before I start working. What I seek is to express forms and rhythms with the pleasure of a breath spontaneously ensuing from a calm mind. To make a new piece, I have to let go of greed. Sometimes the process of emptying my mind takes longer than the work itself.

During periods when I’m working intensively, the excitement I feel for a new work can naturally lead me to producing a wide variety of other works.

But there comes a point after about creating 30 pieces when I get bored and lose interest. That’s when I think, “that work is done.” Once I reach this state, I start to empty my mind and greed again.

I believe that inspiration comes to empty hearts and minds. Since it's not easy to empty both, I go through a process of controlling my desires, like looking at the ocean for a long time or reading a book. And when the desire is gone, my mind becomes clear, and I'm ready to finally work again with focus.

Painting is the oldest form of artistic production. Finding a truly new approach to painting can be difficult, as is change or modulation in the genre. Is there a reason that painting is your methodology of choice?

There are limitations, of course, that come with working on a flat surface. But when I’m working with paper, I never run out of inspiration. It's interesting to see the effects of the different techniques rooting from the subtle processes determined by the nature of the material. Also,

works that reveal the concealed characteristics of paper as a material are particularly well-suited to expressing thoughts that are formulated through a kind of sensibility. At the end of the day, artists are thinkers. So the more limitations inherent to the material, whether it’s paper or something else, the easier it can be to express your thoughts once you master the medium. The ultimate purpose of my work is to return to nothingness — I can't fully express my contemplations in a work that involves a ton of different materials. So to me, the notion that flat work has inherent limitations is one borne of a wholly materialistic perspective. Painting can always be approached in a new way. I once came across a concisely written Italian dissertation on why Zen or Taoist practitioners used ink. The hanji paper work that I do is not flat in the Western (or oil painting) notion of the word — it’s not the kind of flat work you just hang on a wall. There are countless artists who have used ink, or pierced paper, or used fire. But very few have worked with rice paper and fire in a delicate way. When I use fire I do it in a highly controlled manner, so my work is never overwhelmed by it. Even when I literally tear or burn the paper, my process is neither aggressive nor destructive — rather, the remaining traces create lines, forms, and even space. I actually think that working with paper or on a flat surface enables modulation, which in turn encourages infinite variations of expression. The more limited the material or the surface, the easier it is to control a plane — and once you accomplish a real connoisseurship, you can eventually use your materials of choice to fully express your spirit and thoughts.

In this exhibition, "landscape" is more than just a visible vista — here, “landscape” connotes something beyond the superficial form that meets the eye. How do you interpret the term?

The perceived image that is projected onto the retina, with all its limitations, could be called a “landscape” — but I actually start from memory, interpreting and painting nature from those

impressions first, and only after then gaze upon the mountains, oceans, or land before me. For me, the “landscape” is an image of the mind.

According to the Buddha, what we desire appears to us as a visible image. People can look at the same landscape, but each one will see it differently. Someone with a head full of noise might not even see it. For me, a “landscape” is something that is projected onto my heart and eyes at the synchronization between myself and the full state of nature as-is, when my heart and head have been completely emptied — it’s the moment that landscape and I become one. That is when the landscape moves through me, via lines or other various avenues, and into my work.

What does “seeing” mean to you?

In the process of sensing an external object, “seeing” is the initial gateway that differs in the eye of each beholder, I think. Ultimately, everything we see is an illusion. As Capra explained scientifically: when we see a tree, we perceive it to be a tree using our vision — but when we observe it closer under a microscope, we see its cells, which are ionized, converted into electrons, and eventually disappear. From the standpoint of physics, then, the tree we see doesn’t actually exist.

Furthermore, no one with an already overloaded brain can properly contemplate any one object just as it is. In fact, I think “seeing” happens when we gaze upon something with the mindset of the Buddha, realizing that everything visible to the eye is actually an illusion.

Yun-Hee Toh

It’s been quite a while since you created these works; how does it feel to present them to an audience again?

I'm always telling the same story, just in a different way. This exhibition of older works feels like a good opportunity to trace the trajectory of the intervening years.

This exhibition presents your past works that may feel unfamiliar to people who have recently come to know your work. Could you tell us a bit about the transition from your older works to your newer ones?

Now I work in a pictorial language, but back in the old days I used to find beauty and inspiration for my work in antique furniture, old books, ceramics, and so on. More specifically, the colors of antique wooden furniture, the smell of old books, the quality of faded paper, and the surface of ceramics all became subjects of my work.

From the 1990s to the early 2000s, I explored the subterranean world, or the invisible world, taking an interest in traces of life like fossils over more readily visible materials in the surface environment. And as I focused on the invisible, I naturally grew more engrossed in temporality.

There is a poetic beauty in everything we see and feel in life, including the phenomena and materials we encounter. I take this “poetry” and make it real. I always exist in the middle layer between the “poetry” I see and the actual landscape. It was in this context, from the early 2000s to the early 2010s, that I used to give poetic and literary titles to my works. Then, around 2014, I realized that the literary and visual elements in me were in a kind of conflict. After much deliberation, I decided to remove the literary elements from my work and started using color, which had been extremely restrained in my work until around that point. Still, the process of translating the beauty I discover onto canvas is the same now as it was then — it’s just that in my newer work, my thoughts find completion and expression through the tool of my body as sensations, intuitions, and images before they ever reach the stage of verbalization.

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Yun-Hee Toh, 2023

It’s clear that choices of medium and methodology are very significant in your work.

What moved you to choose a particular medium or method, at the moment?

In “Being,” a series of works on the theme of temporality, I used pencil — which is graphite, a material made from wood that decays and is reborn through the chemical reactions of time.

And to create a lens or window into an unknown world, I used varnish. I chose this mediumin place of wax or resin, which has more material limitations. I built up dozens of layers of pencil and

varnish to create a sense of immeasurable depth, embedded with vast eons of time. I would lay very thin, delicate pencil drawings on linen, and then cover them with oils and varnishes as if mashing the drawing itself, building up countless layers.

At the time, I was interested in the ground, in fossils, in what is hidden beneath the surface, and I was fascinated by the layering of time; hence, my process was also that of systematic layering, requiring a great deal of accumulated time and labor, like anything amassed over a long period.

Starting in 2003, I began exploring the beauty of

Being, 1996 oil and varnish on linen all phenomena, events, and materials, sometimes 100 × 200 cm (detail)

titling my works with language taken from my own diaries. However, I came to the realization that assigning titles in this way functioned as a determination of the work’s meaning, and to get past this limitation I turned to color, which I had long avoided. Captivated by color’s infinite spectrum of expressions, I have been creating my own pictorial language ever since. The methodology I’ve adopted is painting in the classical sense, using the medium of paint and canvas. And through this work, by utilizing paint and canvas as a kind of medium for my mind and body, I came to understand that the body and mind are not separate. I use my body, especially my hands, as a tool to reflect my inner reality onto the canvas. The speed with which I wield the paint, the tactility of the paint, the clumpiness of the material, the relationship of the colors as they intertwine and coexist with one another, and the balance of color and physicality are all key factors in bringing my inner world to the surface. Even though my painting is done on canvas, I work as if I am sculpting with paint.

Was there a specific phenomenon or element that particularly inspired you when you were working on the series of works in this exhibition?

From the mid-1990s to the early 2000s, as a human being with a finite span of time left to live, I made

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work that looked closely at various phenomena, life, or material characterized by a kind of infinite temporality. I observed cell division under a microscope, discovering the macroscopic world from within the microscopic world, and accepted that everything actually constitutes one universe, without distinction between the microscopic and macroscopic. This process resulted in the "Being" series, which involves visualizations of the cell division process — as swamps, glaciers, fossils, soil, water, forests, etc.

I find inspiration for my work in the things behind everyday phenomena, or in the kind of veiled beauty that goes unrecognized or overlooked.

From time to time when I catch this beauty I write down my perceptions like a diary. For example, some of the works in this exhibition that visualize my perception of reality have titles that are borrowed from my own writings.

Night Erases Day is about the changing perception of day as night falls. This is essentially a pencil drawing made with gestures resembling those of erasure. The result looks like the traces left after you use an eraser to eliminate black graphite. Two Silences of Heaven and Earth were BeingLinked was inspired by the reflection of mountains on a lake — two objects that seem opposed or unrelated but are actually connected.

It in fact reminded me of heaven and earth, and the way they can never be separated into a binary.

Night Erases Day The time we call night opens a new world to mankind.

Quieting the noise of daily life, it invites different interpretations of all the day’s happenings.

Night makes us erase day.

“Night is talented.”

Two Silences of Heaven and Earth were Being Linked The mountain and the mountain reflected in the lake The merely seen set against the observed Heaven and earth are not two separate places.

Some things are easier to see when you close your eyes.

Your career spans many decades.

While your work has changed over the years,how would you describe the unchanging core of your artistic practice?

My work is a way of life for me. It’s not about choosing a subject and then turning that into my practice — I’m taking the things that are pulled toward me by this inherent force I was born with and expressing them on canvas. It’s something that happens automatically, like breathing. I’m essentially taking things I’ve known for a long time but was unable to express, and letting them grow and materialize. No matter what phenomenon I’m observing, the image is always within me. These images are deposited, layer after layer, in the depths of my mind, and then one day they just pop out. Whatever form of work I'm doing, it's an expression of whatever happened to captivate me in the course of my daily life.

The thought is the work.

The thought is complete before it is expressed in logic or language, revealing itself through emotion and intuition, image and the body.

How to transform it — to express it, so to speak?

This is the work.

My work seeks to discover the beauty hidden behind the surface of the world, of different phenomena and events and so on. “Beauty” here does not refer to trends or pretty things. Beauty isn’t something shiny or sparkling — it’s in things that only reveal themselves over time, things that strike me, things that flow through the shafts of everyday life, like truth. Beauty is an ethic.

Painting is the oldest form of artistic production. Finding a truly new approach to painting can be difficult, as is change or renewal or modulation in the genre. Is there a reason that painting is your methodology of choice?

Humans cannot iterate with words the way we see with our eyes. As such, for me, painting is a way of speaking in silence. A work of art is a language without words, a practice of writing that uses the sensations of the hand. My entire world exists within the two dimensions of my canvas.

For me, painting is life. The artist's subject is the artist's cause, and painting is a reflection of one's inner reality. So painting, then, reflects the artist’s inner reality, and each exhibition offers up my inner world to the gaze of the other. Also, for me, color serves as spiritual inspiration. Every color has its own expressive power. In the end, what we call color is not an entity in itself — its emotion is the chemical phenomenon of collision in the space between colors, which can change depending on the light and its rays, or the state of the viewer’s mind. The process of capturing these relationships of color in the form of an image is essentially endless because they are so fluid and undefinable. Things that were difficult to convey with language become a kind of visual language through the intensity of color.

In this exhibition, "landscape" is more than just a visible vista — here, “landscape” connotes something beyond the superficial form that meets the eye. How do you interpret the term?

Landscape is a powerful form that allows me to establish a relationship to the world. And that form, in turn, facilitates my reconciliation with the world.

What does “seeing” mean to you?

To me, to “see” is to penetrate the real scene on the surface, visible to the naked eye, and to uncover the hidden underbelly — the heart of the thing. It is, in other words, an act of reinterpretation through the inner eye. This allows us to make sense of the world. It shows us what things and facts actually look like — it visualizes my perception in the form of an artwork. To “see” is also to use metaphor to make my recognition richer than reality.

Chung Zuyoung

It’s been quite a while since you created these works. How does it feel to present them to an audience again?

Most works in this exhibition were created between 1995 and 1997, when I was studying abroad in Amsterdam, and some were created shortly thereafter, in 1998 and 1999, when I returned to Korea. They were presented at a 1998 group exhibition for emerging artists, my first solo exhibition in 1999, and my second solo exhibition in 2000. It's indeed been a long time since then, and it's especially moving to revisit these pieces from a period when I was wrapping up my time as a student, returning home, and first starting to exhibit my work.

This exhibition presents your past Chung Zuyoung, 2023

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works that may feel unfamiliar to people who have recently come to know your work . Could you tell us a bit about the transition from your older works to your newer ones?

Well, the postmodern discourse and the medium of painting were both on the wane back then, and you could say that I was just beginning to seriously explore painting myself. In my own way, I pursued this question of “painting about painting” by choosing traditional Korean painting as my research subject in revisiting various aspects of painting and its history. The trueview landscape painting as a genre is itself an interpretation of the natural world as well as a worldview, and that naturally led me to the more specific subject of the mountains. That marked the moment when I reconceptualized

the mountains of Kim Hong-do and Jeong Seon’s paintings as akin to the most important subjects of Western landscape painting. Mountain and rock formations were regularly compared to the human body in the painting traditions of East and West alike, which connects to my Alps series and, more recently, Meteorologica. In retrospect, it was certainly a journey toward the theme of this exhibition — landscape — which rather makes it all the more meaningful.

It’s clear that choices of medium and methodology are very significant in your work.

What moved you to choose a particular medium or method, at the moment?

During my early years of studying abroad in Germany and Amsterdam, I began to see painting through new eyes. It’s almost as if, despite having committed to becoming a painter, I was a bit lost on what exactly to paint, and how. I also didn’t feel so confident in terms of my knowledge of technical aspects of painting. That’s why I grew interested in learning and mastering every stage of the process, from priming the canvas to making paints myself. To this day I still prime my own canvases — and although I use tubed paint now, back when I was producing the works in this exhibition, I used to grind the pigments myself to make the oil paint I needed. Those works were relatively large, so you might say it was a sort of manufacturing process to accommodate that bigger scale of canvas. A large piece not only requires an understanding of materials and techniques, but more than anything it awakened a sense of using strokes. I think it was along this process, as my understanding of the embodied, physical aspects of painting grew, that I first started gradually developing this integrated “painting-writing” technique of painting as if I am drawing.

Was there any specific phenomenon or element that particularly inspired you when you were working on the series of works in this exhibition?

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The first landscapes I painted while studying abroad were of a nearby park. I think to me, it felt like nature in miniature form. After that, I started painting the European landscapes I had encountered while traveling — but in 1995, during a brief visit home, I saw the 250th Anniversary Exhibition of Kim Hong-do and it really shook me.

Something about the realism of those landscapes combined with their comprehensive compositions really served as a powerful source of inspiration.

I took that exhibition catalog back with me to Amsterdam, and it became the starting point for the paintings in this exhibition.

Your career spans many decades.

While your work has changed over the years, how would you describe the unchanging core of your artistic practice?

When I was learning to paint, I was taught not to repeat what was already known, historically or personally. Some of that was just caution against derivative self-replication, yes, but there was also an emphasis on the need to renew your own practice as an artist. And that is an attitude I still strive to maintain today. Of course, there's the sheer quantitative volume of works bound as a series, and the conceptual enrichment and thickening that happens a part of that process, but I think it's important to offer a consistent interpretation with each piece.

Painting is the oldest form of artistic production. Finding a truly new approach to painting can be difficult, as is real change or modulation in the genre. Is there a reason that painting is your methodology of choice?

Due to the background and reasoning implied by this question, painting has actually died many times over. And each time, it has come back to renew its own history via slightly different positions and perspectives. Just recently I was reading the oldest known book on the topic of painting, and there’s a part about how the author wrote the book out of a fear that painting would die out. So “the death of painting” is a subject as

old as the practice of painting itself. Still, between our belief in the power of painting as a medium for the transparent representation of the world and the notion that it must be able to claim conceptual legitimacy, it appears that enough pretext remains to maintain the status of painting today. I do believe that painting, at least since the advent of photography and mass production, looks to the handcrafted nature of its own origins with some self-awareness. And I enjoy thinking about exactly where, amidst the layers of acute struggle that painting has gone through, my own work relates to — in the way a research scientist observes cells and tissue.

In this exhibition, "landscape" is more than just a visible vista — here, “landscape” connotes something beyond the superficial form that meets the eye. How do you interpret the term?

I’d like to respond by unpacking the title of the current exhibition — Incorporeal Landscape. The word “incorporeal” refers to something formless, in the sense of having no physical form, but it simultaneously reaches beyond merely form or substance to encompass the immaterial realms, like the metaphysical, spiritual, and mental.

Landscape painting is thus "not the objective reproduction of the artist’s visual impressions, but rather the intervention of the scene in their psychology... It is the creation of a landscape from within.”* *Choi U-Chang, Landscape and Mind: Essays on East Asian Landscape Painting (Tree of Thought, 2006), 79. This excerpt references traditional landscape painting and quotes the geographer Augustin Berque.

Kim Hong-Do, Kahakjong Pavilion (detail) 1997, oil on linen, 200 × 400 cm (detail)

What does “seeing” mean to you?

In my answer to the previous question, I noted that seeing, in a landscape, is an internal construct operating beyond the realm of the visual.

Building on that, I consider seeing to involve issues of tradition and archetype by engaging the collective memory and recollection beyond individual sensory experience. In today’s world, where the act of “seeing” can be compared to optical devices and issues of memory are being digitized as data, I still believe that seeing is a vital channel through which human perception and cognitive systems interact with the outside world.

* Choi U-Chang, Landscape and Mind: Essays on East

Asian Landscape Painting (Tree of Thought, 2006), 79.

This excerpt references traditional landscape painting and quotes the geographer Augustin Berque.

BIOGR A PH Y

Minjung Kim

b. 1962

Gwangju, Korea

Langen Foundation, Neuss, Germany

Currently Lives and Works in New York, USA and

Mahón, Menorca, Galería Cayón, Menorca, Spain

St. Paul de Vence, France

EDUCATION

1997

MFA, The Accademia di Belle Arti di Brera, Milan, Italy

Galerie Catherine Issert, St. Paul de Vence, France

2018

Minjung Kim: Mountains, Robilant+Voena, St. Moritz, Switzerland

The Memory of Process, White Cube, London, UK

Making the Void, Filling the Void, Gwangju Museum of Art, Gwangju, Korea

2017

1987

Phasing, Patrick Heide Contemporary Art, London,

Korea

Cendre & Lumière: œuvres de Minjung Kim,

1985

Départemental 06, Nice, France

MFA, Oriental Painting, Hongik University, Seoul,

BFA, Oriental Painting, Hongik University, Seoul,

UK

Musée des Arts Asiatiques de Nice, Conseil

Oneness, Hermès Foundation, Singapore

Korea

Paper, Ink and Fire: After the Process, Gallery

SELECTED SOLO EXHIBITIONS

2016

2024

Repeticiòn, Galerie Nordenhake, Mexico City, Mexico

2023

Robilant+Voena, St. Moritz, Switzerland

Burning Gravity, Sotheby’s Monaco, Monaco

2021

Hyundai, Seoul, Korea

Phasing, Galerie Volker Diehl, Berlin, Germany

Leslie Sacks Gallery, Brentwood, Los Angeles, USA

2015

Traces, OCI Museum of Art, Seoul, Korea

The Light, The Shade, The Depth, Luxembourg & Dayan, Palazzo Caboto, Venice, Italy

2014

Oko, New York, USA

Timeless, Galerie Commeter, Hamburg, Germany

Minjung Kim: The Sound of Light , Galerie

Snow into Water, Volker Diehl Gallery, Berlin,

Minjung Kim- Red Mountain, Studio d'Arte Raffaelli,

Long Street of Timeless History of Phasing Grey Germany

Timeless, Gallery Hyundai, Seoul, Korea

2020 Hill Art Foundation, New York, USA

92

2019

Commeter, Hamburg, Germany Trento, Italy

2013

Predestination, Patrick Heide Contemporary Art, London, UK

2012

2002

Contemporanea Roma, Rome, Italy

Copenhagen Gallery, Copenhagen, Denmark

The Sound of Light , Museo de’Arte

Leslie Sacks Gallery, Los Angeles, USA Galleria Sahrai, Milan, Italy

2010

Paintings, Kang Collection Korean Art, New York,

Paul de Vence, France

The Gaze of... Selected Works of the Unicredit Art

Galleria Recalcati, Turin, Italy

Collection de dessins, Galerie Catherine Issert, St.

Galleria Cafiso, Milan, Italy

No Forms, Hill Art Foundation, New York, USA

1999

Walter Wickeiser Gallery, New York, USA

Still Masters II, Patrick Heide Gallery, London, UK

2021

Galleria Sant'Angelo, Biella, Italy

Galerie Patrick Cramer, Geneva, Switzerland

Still Masters, Patrick Heide Gallery, London UK

2009

1998

2020

Galleria Valeria Bella Stampe, Milan, Italy

Tension, Patrick Heide Contemporary Art, London, UK

Galleria Ermanno Tedeschi, Rome, Italy

Galleria Cafiso, Milan, Italy

La Possibilité d'une collection, Galerie Catherine

1997

Bright Days Ahead, Galerie Commeter, Hamburg,

Cappella di Villa Rufolo, Ravello, Italy

2008

1996

Minjung kim: Murtations, Robilant+Voena, London,

Galleria Kontraste, Forte dei Marmi, Italy

Galleria Ermanno Tedeschi, Turin, Italy

UK

Gallerie Mudimadrie, Antwerp, Belgium

2007

Guanshanyue Art Museum, Shenzhen, China

Copenhagen Art Gallery, Copenhagen, Denmark

Galleria Arte Borgogna, Milan, Italy

1991

Baiksong Gallery, Seoul, Korea

Injae Art Museum, Gwangju, Korea

Leslie Sacks Gallery, Los Angeles, USA

SELECTED GROUP EXHIBITIONS

Giudecca 795 Galleria d’Arte, Venice, Italy

2024

Patrick Heide Contemporary Art, London, UK

2006

Montecarlo Art Gallery, Milan, Italy

Fondazione Palazzo Bricherasio, Turin, Italy

Incorporeal Landscape, Gallery Hyundai, Seoul,

Ikos, Modena, Italy

2003

Museo Comunale di Ascona, Ascona, Switzerland Leslie Sacks Gallery, Los Angeles, USA

Gallerie Patrick Cramer, Geneva, Switzerland

Pushing Paper: Contemporary Drawing from 1970

York, USA

Over the Top, Patrick Heide Gallery, Brussels, Belgium

Being and Believing in the Natural World, RISD Museum, Providence, USA

Angeles, USA

Maestri antichi, moderni imprenditori, Galleria Valeria Bella Stampe, Milan, Italy

2012

World, Ermanno Tedeschi Gallery, Tel Aviv, Israel

Settimana della Corea, Santa Maria della Vita,

to Now, The British Museum, London, UK

2011

2018

Landscape and Memory, Patrick Heide

Imagined Borders, the 12th Gwangju Biennale, Gwangju, Korea

Clouds Stretching For A Thousand Miles: Ink in

Galleria E. Tedeschi, Tel Aviv, Israel

Contemporary Art, London, UK

2010

Asian Art , Asia Society, New York, USA

Twilight Zone, Morgen Gallery, Berlin, Germany

Sculpture Biennale 2018, Changwon, Korea

2009

The Balance of Non-Sculpture, Changwon

2017

York, USA

Over Land and Sea, Hunter Dunbar Projects, New

Abstraction: 1911-2014, Leslie Sacks Gallery, Los

Bologna, Italy

Soft and weak like water, the 14th Gwangju Gwangju, Korea

2014

2019

Korean: Now and Then, Asia Week New York

Biennale, Gwangju Biennale Exhibition Hall,

Collection, Unicredit Pavillon, Milan, Italy

New!, Galleria Valeria Bella Stampe, Milan, Italy

2023

2004

USA

Germany

The Mulberry Forest Becoming Ocean, Esther

Feeling of Light , Almine Rech, Brussels, Belgium

Italy

Issert, St. Paul de Vence, France

Korea

Galleria Valeria Bella Stampe, Milan, Italy

Soffi d’energia nel mistero del vuoto, Arte92, Milan,

94

2022

Schipper, Berlin, Germany

Contemporary, Kang Collection Korean Art, New

Across the Cross, Chiesa degli artisti- Sant'alberto, Trapani, Italy

La Biennale di Venezia - Sant Elena, Venice, Italy

Pre-Fazione, Galleria La Giarina, Verona, Italy Galleria E. Tedeschi, Rome, Italy

2008

Moi & Les Auters, Galerie Catherine Issert, St. Paul

Prospects and Interiors: Sculptors’ Drawings of

2016

2004

de Vence, France

Inner Space, Henry Moore Institute, Leeds, UK

Viewing The Past Thru Modern Eyes, Kang

A Grain of Dust, A Drop of Water, the 5th Gwangju

2015

2002

Collection Korean Art, New York, USA

Happy Modern and Contemporary Korean

Biennale, Gwangiu, Korea

Mostra collettiva, Galleria Cafiso Arte, Milan, Italy

2001

Paris, New York, Washington D.C. The Odyssey

2001, Korean Republic Embassy, Washington D.C., USA

Seoul, Korea

Asia Society, New York, USA

Italy

Searching for Korean Painting - 10 Artists,

Dallas Museum of Art, Dallas, USA

Fortunae, Fano, Italy

Print ‘87, The 3rd Gallery, Seoul, Korea

Fundación Helga de Alvear, Cáceres, Spain

Museo della Preistoria, Trapani, Italy

Center, Seoul, Korea

Dove sostano gli Dei, Centro Storico di Saronno,

Ticosa Spazio a Shed, Como, Italy

Sequenze d’Arte Contemporanea, Torre di Ligny -

1998

Salon I ‘94, Galleria Arte Borgogna, Milan, Italy

Territori di frontiera, Spazio Laboratorio Hajech,

S.B.C. European competition ‘94, Swiss Bank

Milan, Italy

SELECTED COLLECTIONS

New-Expressionism of Korean Painting, Art Center,

First Price International Competition, Fanum

Mostra di incisioni, Sala Grassi, Milan, Italy

Gallery, Seoul, Korea

Brera a Venezia, Liceo Artistico Statale, Venice, Italy

Galleria Cophenhagen, Cophenhagen, Denmark

Simboli e simbolismi nell’arte contemporanea,

Salon I ‘94, Villa Litta Carini, Milan, Italy House, London, UK

Kwanhoon Gallery, Seoul, Korea

Aspect of Modern Korean Painting, Chunbuk Art

1986

The 12th Choon Chu Fine Arts Association

Exhibition, Arab Cultural Center, Seoul, Korea

Ad Imaginem, Spazio Linati, Milan, Italy

Mostra collettiva, Galleria Cafiso, Milan, Italy

1997

Castello Sforzesco, Milan, Italy

The 2nd Yiyeonhoe Exhibition, Kwanhoon Gallery,

1990

Hanmoim Incisione, Kwanhoon Gallery, Seoul,

Korea

The variableness of Korean Painting, Art Center,

Arti visive, Circolo Culturale Bertold Brecht, Milan, Italy

Pittura e scultura del terzo millennio, Casa del Rigoletto, Mantova, Italy

Mostra collettiva, Galleria Borgogna, Milan, Italy Mostra collettiva, Galleria Cafiso, Milan, Italy

Incisione collettiva, Castello di Galliate, Galliate, Novara, Italy

Mostra collettiva, Galleria Kontraste, Forte dei Marmi, Italy

1996

Mimesis, Galleria della Cassa di Risparmio di

La Stampa Originale, Civica Biblioteca d’Arte del

Prospect of 90s Korean Art , Art Center, Seoul,

1989

Current Seoul, Seoul Art Center, Seoul, Korea

International Exhibition of Art Colleges Hiroshima ‘95, Hiroshima, Japan

Quali differenze, Galleria Arcadia Nuova, Milan, Italy

Mostra Collettiva, Galleria Cafiso, Milan, Italy Salon I, Living Art Gallery, Milan, Italy

Mostra collettiva, Galleria Kontraste, Forte dei Marmi, Italy

Korea

Seoul, Korea

1985

Seoul, Korea

Exhibition, Arab Cultural Center, Seoul, Korea

Consciousness of transition in the Korean modern

Seoul, Korea

Consulate General of Japan, Taiwan, Korea, Japan

Formative consciousness of 16 Artists for Today

and Tomorrow, Dongduk Art Gallery, Seoul, Korea Yeobaik - 16 Artists, Baegak Art Space, Seoul, Korea

88’ New Figurative Korean Art , Chunbuk Art Center, Seoul, Korea

1987

The 13th Choon Chu Fine Arts Association

Exhibition, Art Center, Seoul, Korea

The 3rd Yiyeonhoe Exhibition, Dongduk Art

Hill Art Foundation, New York, USA

Leeum, Samsung Museum of Art, Seoul, Korea Metropolitan Museum of Art, New York, USA Musée des Arts Asiatiques, Paris, France OCI Museum, Seoul, Korea

Swiss Re Art Collection, Zürich, Switzerland

The 5th Gwangju Contemporary Art Festival,

Montefiore Conca, Italy

University, Ithaca, USA

Seoul, Korea

The 11th Choon Chu Fine Arts Association

Choon Chu Fine Arts Association Japan Exhibition,

Herbert F. Johnson Museum of Art, Cornell

Princeton University Art Museum, New Jersey, USA

1988

Gwangju Namdo Art Center, Gwangju, Korea

Fondazione Palazzo Bricherasio, Turin, Italy

Art, Seoul, Korea

The 11th Seoul Modern Art Festival, Art Center,

painting, Kwanhoon Gallery, Seoul, Korea

1995

86’ Works of Korean Paintings, Hongik Museum of

43 Artists, Chosun Ilbo Museum, Seoul, Korea

Caldaro, Bolzano, Italy

Nel segno della Luna, Rocca Malatestiana,

96

1994

The 1st Yiyeonhoe Exhibition, Arab Cultural Center,

RISD Museum, Providence, USA Tate Modern, London, UK

The British Museum, London, UK

UniCredit, Milan, Italy

Yun-Hee Toh

b. 1961

Seoul, Korea

Lives and works in Seoul, Korea and Berlin, Germany

EDUCATION

1992-94

Visiting Scholar, University of Illinois at Chicago,

Chicago, U.S.A.

1986

M.F.A., Sungshin Women’s University, Seoul, Korea

1984

B.F.A., Sungshin Women’s University, Seoul, Korea

SELECTED SOLO EXHIBITIONS

2022

BERLIN, Gallery Hyundai, Seoul, Korea

2018

Phase of Light , Art Center White Block, Seoul, Korea

2015

Brushed, Non-brushed after 10 Years, Gallery

2001

Phase of Light , White Block Art Center, Paju, Korea

2018

B-Side, DoArt, Seoul, Korea

VOYAGER , Kosmetiksalon Babette, Berlin,

2007

Being, Lee Hyun Gallery, Daegu, Korea

Being-Forest , Fassbender Gallery, Chicago, USA

1999

Being-Forest , Kumho Museum, Seoul, Korea

1998

Artemisia Gallery, Chicago, U.S.A.

Gallery Hyundai, Seoul, Korea

1996

Gallery Bhak, Seoul, Korea

1994

Woong Gallery, Seoul, Korea

1993

Artemisia Gallery, Chicago, U.S.A.

Mega Bock , UferHallen, Berlin, Germany

Basel, Switzerland

2006

Simply Beautiful: Breath of Nature in Korean

2016

Contemporary Art , Total Museum of

Korea

Biel, Switzerland; Château du Grand Jardin,

The Edge of Night , OCI Museum of Art, Seoul,

2015

Since 1970, Where, in What Form, Shall We Meet

Again, Henceforth, Whanki Museum, Seoul, Korea

2014

Drawing Paintings, Gallery Sejul, Seoul, Korea

2013

Contemporary Art, Seoul, Korea; CentrePasquArt, Joinville, France

2005

Beyond Repetition, Seoul Museum of Art, Seoul, Korea

2003

Tradition and Innovation, Asian Art Museum, Berlin, Germany; Gallery Hyundai, Seoul, Korea

Korean Contemporary Art of 21st Century, Sun

1986

2012

1999

Duson Gallery, Seoul, Korea

Unknown Signal, Gallery Hyundai, Seoul, Korea

Incorporeal Landscape, Gallery Hyundai, Seoul,

2008

Abstract Gestures from Female Painters, New

Switzerland

2017

Kleinformat, 30 Positionen, Galerie Karin Sutter,

APMAP 2013: REVERSCAPE , AmorePacific Beauty

Gallery Hyundai, Seoul, Korea

2024

The Hidden Beauty, Galerie Beyeler, Basel,

Germany

Bundo, Daegu, Korea

1992

2011

2007

2008

HYUNDAI 50 PART II, Gallery Hyundai, Seoul, Korea

SELECTED GROUP EXHIBITIONS

Korea

2020

Being, CAIS Gallery, Seoul, Korea

Night Blossom, Gallery Hyundai, Seoul, Korea

Gazing without Eyes, Mongin Art Center, Seoul,

98

2005

Korea

Spring Project, Seoul, Korea

2022

Unboxing Project: Today, New Spring Project, Seoul, Korea

Campus, Osan, Korea

Flowers of a Moment , OCI Museum of Art, Seoul, Korea

2011

Abstract it!, National Museum of Modern and

Contemporary Art, Deoksugung, Seoul, Korea

2010

Present from the Past , Korean Cultural Centre UK, London, UK

Moon is the Oldest Clock , National Museum of Modern and Contemporary Art, Deoksugung, Seoul, Korea

Gallery, Seoul, Korea

Revival of the Painting – 21st c. Korean Painting Leading Artists, Sungkok Art Museum, Seoul, Korea

1996

Nominees of Prix Whanki, Whanki Museum, Seoul, Korea

1995

Korean Women Artists’ Festival ’95, Seoul Museum of Art, Seoul, Korea

1994

Young Korean Women Artists, Artemisia Gallery, Chicago, USA

1991

SELECTED COLLECTIONS

Museum, Tokyo, Japan

Aekyung Industrial Co., Ltd., Seoul, Korea

1989

Chicago Public Art Program Collection, Edgebrook

Asian Contemporary Art , Tokyo Metropolitan Art

Art Sonje Center, Seoul, Korea

Asian International Art Exhibition, Tagawa Museum

Branch Library, Chicago, U.S.A.

Fukuoka, Japan; National Museum of Singapore,

Seoul, Korea

Chung Zuyoung

b. 1969

Seoul, Korea

Lives and works in Seoul, Korea

Daewoo Engineering & Construction, Co., Ltd.,

EDUCATION

Singapore; National Art Gallery, Kuala Lumpur,

Four Seasons Hotel, Seoul, Korea

1992

Bandung, Indonesia; National Museum of History,

Hilton Hotel, Seoul, Korea

of Art, Tagawa, Japan; Fukuoka Art Museum,

Malaysia; The Asian-African Conference Museum, Taipei, Taiwan; Seoul Museum of Art, Seoul, Korea

1987

Young Artists of Today, Duson Gallery, Seoul, Korea

Hanwha Corporation, Seoul, Korea HITEJINRO Co., Ltd., Seoul, Korea

Ho-Am Art Museum, Seoul, Korea

Kunstakademie Düsseldorf, Düsseldorf, Germany

Marriott Hotel, Seoul, Korea

SELECTED SOLO EXHIBITIONS

National Museum of Modern and Contemporary

2023

Art, Gwacheon, Korea

Palantir Technologies, Denver, U.S.A.

Philip Morris Companies Inc., New York, U.S.A.

Meteorologica, Gallery Hyundai, Seoul, Korea

2021

Seoul Museum of Art, Seoul, Korea

Flesh and Fissure, Nook Gallery, Seoul, Korea

Stiftung Sculpture at Schoenthal, Kloster Schönthal,

2020

Standard Chartered Bank, Seoul, Korea Schoenthal, Switzerland

The Big Year, Yeemock Gallery, Seoul, Korea

Sungshin Women’s University Museum, Seoul,

2017

Sungkok Art Museum, Seoul, Korea

Gallery, Seoul, Korea

Gallery Bundo, Daegu, Korea

Mountains Eternally Present , Gallery SoSo, Paju, Korea

2006

Mountains before Your Eyes, Gallery 175, Seoul, Korea

2004

Mountains on the Border, Gallery FISH, Seoul, Korea

2003

Floating on the Han River, Suka Art Space, Busan, Korea

2002

Art Sonje Museum, Gyeongju, Korea

Korea

Sage Visage Paysage, Gallery Hyundai, Seoul, Korea

2000

Switzerland

2016

Space Kitchen, Seoul

Swiss Reinsurance Company Ltd. (Swiss Re), Zurich, Telefonica, Miami, U.S.A

University of Illinois at Chicago, Chicago, U.S.A. World Bank Group, Washington D.C., USA

So Close Yet So Far Away, Art Center White Block, Paju, Korea

2015

Nonbat Gallery, Paju, Korea

2013

partes extra partes, Gallery Hyundai, Seoul, Korea

100

Mountain Inwang Nr.6, Gallery Hyundai Window

2007

De Ateliers, Amsterdam, Netherlands

Ministry of Foreign Affairs, Seoul, Korea

Korea

1997

Korea

IT Thinknet, Seoul, Korea

Kumho Museum, Seoul, Korea

2010

The Same Yet Different , Mongin Art Center, Seoul,

2008

Meisterschüler (by Prof. Jan Dibbets),

Korea University Medical Center, Seoul, Korea

‘Many’ ‘All’ ‘Here’, Gallery SoSo, Paju, Korea

B.F.A. in Painting, Seoul National University, Seoul,

Hyundai Development Company, Seoul, Korea Ilmin Museum of Art, Seoul, Korea

2011

Shinsegae Gallery, Gwangju and Incheon, Korea

1999

Kumho Museum of Art, Seoul, Korea

SELECTED GROUP EXHIBITIONS

2024

Incorporeal Landscape, Gallery Hyundai, Seoul,

Korea

Whose Forest, Whose World, Daegu Art Museum, Daegu, Korea

Korea

2012

Con-terminal, National Museum of Contemporary Art, Gwacheon, Korea

Surplus time, THE Gallery, Seoul, Korea

Hommage 100: Korean Contemporary Art

2023

Crossings: A Cross section of Korean

1970~2007, Korea Art Center, Busan, Korea

NewSpring Project, Seoul, Korea

University, Istanbul, Korea

2006

UNBOXING PROJECT 2: Portable Gallery,

2022

Contemporary Art , Mimar Sinan Fine Arts

2011

Layers of Mind, Superior Gallery, Seoul, Korea

2010 New Acquisitions- Closer to Contemporary

2021

Korea

Next Ten Years, Wumin Art Center, Cheongju, Korea

2020

Completed Incompleteness, Yeemock Gallery, Seoul, Korea

2019

More Less, Much More, Yeosu International Art

Festival, Yeosu Expo Convention Center, Yeosu, Korea

2018

Hasanhara, BIBI Space, Daejeon, Korea

Chadosalinjigye, Cais Gallery, Seoul, Korea

Ongoigisin, Daejeon Museum of Art, Daejeon,

Art , Gyeonggi Museum of Modern Art, Ansan,

Korea

MoA invites 2011, Museum of Art, Seoul National

2005

Community College, Kaneohe, USA

Vision 21, Museum of Sungshin Woman's University, Seoul, Korea

2002

Korea Young Artists Biennale 2002, Daegu Culture and Arts Center, Daegu, Korea

Sculpture+Painting=Environment , Coex Chosun Art Gallery, Seoul, Korea

2001

Representation of Representation, Sungkok Art Museum, Seoul, Korea

University, Seoul, Korea

Remake Corea, Space *C, Seoul, Korea

Informal Arguments, Zaha Museum, Seoul, Korea

The Seoul Art Exhibition 2005: Painting, Seoul

Figurescape: 6 Artists from Korea, Space Untitled,

15th Anniversary Special Exhibition, Kumho

Beyond Landscape, Art Sonje Museum, Gyeongj

Hub: Open Studio, National Goyang Art Studio,

Walk in the Breeze, Wonseo Gallery, Seoul, Korea

Finding Flow, Jeju Museum of Art, Jeju, Korea

Do Window Vol.3, Gallery Hyundai, Seoul, Korea

The New Epicenter: Chapter 1 Post-Nature, Wumin Art Center, Cheongju, Korea

2010

21 & Their Times, Kumho Museum of Art, Seoul, Korea

Spring and Autumn, Hakgojae Gallery, Seoul,

Swing, Gallery Topohaus, Seoul, Korea Museum of Art, Seoul, Korea

Museum of Art, Seoul, Korea Goyang, Korea

Korea-Japan Interchange Exhibition, Hangaram Art Museum, Seoul and Tokyo National University of Fine Arts Museum, Tokyo, Japan

1999

New York, USA

and Art Sonje Center, Seoul, Korea

Korean Contemporary Art: Trends in the 90's, Ellen Kim Murphy Gallery, Seoul, Korea

1998

Korea

Portraits, Gallery Chosun, Seoul, Korea

Who's Up and Coming, Dong-ah Gallery, Seoul,

Korea

In the Ragged Mountains, Gallery SoSo, Paju, Korea

Center, Goyang, Korea

Prize Winner at the Public Subscription, Shinsegae

2016

2008

2004

Logos & Pathos, Kwanhoon Gallery, Seoul, Korea

Jeonju, Korea

of Art, Seoul, Korea

Landscape of Seoul, Sejong Museum of Art, Seoul,

OLD & NEW - In Memory of Kansong,

Dongdaemun Design Museum, Seoul, Korea

Cycle, ReCycle, Interalia, Seoul, Korea

City of Human Being, Goyang Oulim Nuri Arts

Korea

Gallery, Gwangju and Incheon, Korea

Inter-Viewing: Interface Between Korean and

Chuimsae, Sori Arts Center of Jeollabuk-do,

Seoul

Paper, Not Paper, Gallery 175, Seoul, Korea

USA

Paju, Korea

SELECTED COLLECTIONS

2003

Art Sonje Center, Seoul

Western Paintings, Seoul Olympic Museum of Art,

Painting is Better than the Frame, Kumho Museum

2015

Jinkyeong Revisited, United Nations, New York,

The Parts and the Whole, Nook Gallery, Seoul,

THE chART, Gana Art Center, Seoul, Korea

From Trace to Artwork , Seoul National University

2007

New Image Painting, Gallery Rho, Seoul, Korea

Daegu Art Museum, Daegu

Seoul National University Museum of Art, Seoul,

The Discovery of Living in Seoul, SSamzie Space,

Mongin Art Center, Seoul, Korea

Crossings 2003: Korea/Hawai'i, East-West Center

Seoul Museum of Art, Seoul

Jeong Seon Art Museum, Seoul, Korea

Korea

Museum of Art, Seoul, Korea

Reminiscing the Medium: A “post“-Syndrome,

2013

Korea

New Scenes, Buk Seoul Museum of Art, Seoul, Korea

102

Fragmentary Thoughts, LIG Art Space, Seoul,

Reconstruction of Masterpieces, Savina Museum of Contemporary Art, Seoul, Korea

Creative Dreams in Mosaic , Hanhyanglim Gallery,

Daegu Art Expo, EXCO, Daegu, Korea

Seoul; Alternative Space LOOP, Seoul, Korea

Gallery, Honolulu and Gallery 'Iolani of Windward

Gyeonggi Museum of Modern Art, Ansan, Korea Seoul National University Museum of Art, Seoul

This catalogue is published on the occasion of the exhibition: Edition R

INCORPOREAL L ANDSCAPE 에디션 R 풍경

March 13 – April 14, 2024 Gallery Hyundai, Seoul

Concept

Sunghee Lee Organization Jae Hee Cho Hannah Kim Design

Yunsuk Kwon Photography

Youngmin Lee PR

Minsoo Kim Translation Maya West

Haena Chu

Artworks © Artist

Catalogue © 2024 Gallery Hyundai All Rights Reserved. No part of this publication may be reproduced or transmitted in any manner whatsoever without prior written permission from the copyright holders.

14, Samcheong-ro, Jongno-gu, Seoul, 03062, Korea T +82 2 2287 3500

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