embracing the void
DESCRIPTION
Korean Collective London 2011TRANSCRIPT
When a Korean artist applies a brush stroke to Hanji (mulberry bark) paper, the intention is to draw the viewer’s
attention to the space the mark has corrupted as much as to the mark itself. The relationship of the object to
the space it inhabits and man (or woman) to the object are two central tenets of Korean art . The embrace of
‘nothingness’ as a path towards Buddha-hood is at the heart of spirituality in Asia, and the invasion of consumer
goods and services infringes on this incorporeal world. All the artists brought together for this exhibition are
concerned with our use of space and the relationship of us and our material possessions to the void.
Moon Beom (b.1955) works with natural and manmade materials. His earliest work (in the 1970s) focused
on the textural relationship between rocks and paper. In the next decade he introduced a rich pigment into
his sculptural compositions. One of the most captivating works from this period is India (1986) in which four
bowls of yellow pigment are placed atop a white painted canvas interrupted by sketchy brush marks.
The pigment filled bowls might allude to the spice turmeric, in common use on the sub-continent. The intense
blue colour that Moon applied to his canvases in the 1990s, which he marked with expressive black brush
strokes, have copper pipes, steel rods and grills inserted between the painted panels (Desert, 1991), suspended
from the top of the frame (Custom, 1994)or placed across the painting’s red and blue surface (Nine Windows,
1994). In each case the metal object(s) regulate the space on the picture surface. In these examples Moon
has been clearly influenced by Arte Povera, but from 1995-2003 in the ‘Slow Same’ series his focus was drawn
to traditional Eastern landscape, which he described in the modern media of acrylic, oil-stick and urethane.
Moon’s acknowledgement of the fundamental importance of traditional landscape painting in Asian art collided
with the Modern world in another series, ‘Same Slow Same’ (1998-2003) in which the artist broadens his
investigation to examine the impact of mechanical speed and biological duration on our human psyche. This
he recounts in puddles of paint that he manipulates into amorphic forms. Moon’s observation, most pointedly
demonstrated in the works in which tool parts lie in containers alongside natural objects, is that the mental
and physical accoutrements of Modern life are much harder for man to assimilate than nature’s.
In his ‘Flat Series’ (2003) Gwon Osang (b.1974) shares Moon’s interest in the inherent problems of the
commercialisation of consumption. The Flat 3 (2003) depicts images of hundreds of different and desirable
watches, each displaying its brand on the dial or strap. The market in Asia for fine watches and jewellery has
expanded faster than perhaps any other luxury good in recent years, and the works from this series break
down the hierarchies of prestige that inform price, by presenting the artefacts in a collective spread. In the
artist’s most recent works, ‘Deodorant Type’, the same visually democratic notion has been applied to his
Styrofoam sculptures, to which Gwon has applied hundreds of fly-speck photographs of the human body
EMBRACING THE VOID
02 | 03
(‘Pieta’, 2007), on one occasion a horse and rider (‘Manchester Mounted Police’, 2008) and on another, a
Lamborghini (‘The Sculpture II’, 2005), this time cast in bronze. There is a clear reference in each of these
sculptures to the West: The Pieta is a Christian convention, and the Christian church now permeates Modern
Korea; the equestrian statue is a Classical tradition and the Lamborghini a ‘desirable’ Western consumer good
presented in the typically European medium of bronze, which has found form in the statue of Admiral Yi Sun-
sin in central Seoul. The series name alone, ‘Deodorant Type’, hints at Gwon’s disapproval at the indiscriminate
application of goods and conventions from the West onto an Asian public. Asians have no use for deodorants,
and by implication little use for many of the luxury goods and conventions the West unloads on the continent.
Perhaps the most physically intrusive cultural phenomenon that owes all to America’s obsession with plastic
beauty, is the predilection among Korean women in particular for cosmetic surgery, which normally tries to
Caucasianize the face. The patchwork face of the girl in ‘Bazaar’ (2008), striding out like a cat-walk model,
certainly leaves the viewer with the impression that a plastic-surgical intervention has been performed.
The absence of the face in Jeong Myoungjo’s (b.1970) immaculate life-sized oil paintings of the backs of Korean
women in traditional costume, draw our attention to the invisibility of females in this paternalistic society.
In’ Play-Ground #09-03’ (2009) Jeong’s brush describes with enamelled precision the sweeping silk and silver
thread brocade of a hanbok (Korean clothing). The Jeogori (upper garment ) is a luscious navy blue and the full
folds of the chima (skirt) a rich crimson. The model is probably wearing a gache (wig), which she has adorned
with an elaborate assortment of ornaments. The figure, little more than a mannequin, stands as many of Jeong’s
subjects do, in a void. Jeong’s meticulous attention to the detail of the costume at the expense of the subject
invites the viewer to seek visual satisfaction from the garment’s surface ornament and decoration rather than
fulfilment from the subject.
Lee Jinhan’s (b.1982) fantastic landscapes depart from the traditional Eastern formula of portraying nature.
They explode onto the canvas with an expressionist energy. But underlining the vitality of these pictures
is a disciplined structure. ‘Night Light’ (2010) is a carefully composed harmonious work constructed out
of pyramids, flats and circles. An oil sketch like ‘Brazilian Garden’ (2011) shows another side to the artist’s
personality as she allows us to look at an intimate snapshot of cacti, sand and sea cocooned in a white shell
against a blood red background.
Korean artists are not afraid of technology. Je Baak’s (b.1978) videos (‘The structure of ’ ,2010), which are in
fact nocturnal films of fairground rides, appear as space stations. The artist is interested in the antithetical
relationship between man and machine. In ‘Gong 1’ (2009) the object that defines human actions is deleted - in
this case the football in a football match. The urgency and excitement that the viewer might experience from a
real match dissipates. Our gaze spreads out across the field of play and our senses conjoin with the rhythm of
the players movements.
Iain Robertson | Head of Ar t Business Studies, Sothebys Institute of Ar t
04 | 05
MOON BEOM
Moon Beom is an ar tist whose works ably transform both the traditional and the modern. At once creating sculptures that speak to a Western conceptual ar tistic vocabulary and at another, painting canvasses of abstracted landscapes, which recall the long tradition of Korean figurative painting, Moon is an exper t negotiator of the paradoxical. His paintings, with large swaths of vibrant primary colours, occur in an ambiguous time and space. His objects within sculptures and installations, rendered meaningless through their appropriation, are both minimalist and conceptual but undeniably precise and beautiful. Resisting classification, Moon’s works do not reflect conflict between a nostalgic
reverence of tradition and the enthusiastic embrace of the modern. Rather, they express the objective evaluation of a post-modern world, one that builds, appropriates and reflects on its present and past in ways that speak wholly of the future.
Moon Beom received his BFA and MFA from Seoul National University and currently lives and works in Seoul. His work has been reviewed in Ar t in American, Ar tforum, Tema Celeste, Ar t Press and Sculpture. His solo exhibitions have included Kim Foster Gallery in New York, PKM Gallery and Kukje Gallery in Seoul.
(Below) Slow, Same, # 676 | acrylics, oilstick, varnish on panel | 55 x 153 x 7 cm | 2008(Above) Slow, Same, # 678 | acrylics, oilstick, varnish on panel | 55 x 153 x 7 cm | 2008
06 | 07
Slow, Same, # 620 | acrylics, oilstick, varnish on canvas | 122 x 145 cm | 2008
10 | 11
Slow, Same, # 609 | acrylics, oilstick, varnish on canvas | 122 x 145 cm | 2008
GWON OSANG
Gwon Osang is a sculptor first and foremost, whose work often lives between two and three dimensions. Questioning contemporary perceptions and misrepresentations is common in his practice. What may first appear to be two-dimensional photography is in fact three. Led by a fascination with modern materials, Gwon creates light, hybrid sculptures, which meld the classical and the modern. Popular culture, par ticularly adver tisements, plays a role in Gwon’s re-interpretation of classical sculptural themes and techniques.
Gwon, born in 1974, has been featured in numerous group exhibitions including ‘A Positive View’, Somerset House, London (2010), ‘Conflicting Tales’, The Burger Collection, Berlin (2008), ‘Peppermint Candy’ touring exhibition (2007), the Asia Triennial in Manchester and the Global EurAsia Exhibition at Ar t Cologne (2008).
Solo exhibitions have included Doosan Gallery, New York (2010), Manchester Ar t Gallery (2008), Arario Gallery, Beijing (2007).
Fuse | resin coated C-print sculpture | 47 x 165 x 71 cm | 2007 - 2008
12 | 13
Bazaar | resin coated C-print sculpture | 180 x 105 x 55 cm
| 2008
16 | 17
St. Sebastian | resin coated C-print sculpture | 173 x 55 x 70 cm | 2009
JEONG MYOUNGJO
Jeong Myoungjo’s life-size hyperrealist oil por traits immaculately por tray Korean women in traditional dress. However, Jeong distinguishes her por traits by uneasily forcing the focal point away from the familiar, the visage, to the back. Her female protagonists face expansive colour backgrounds, most often a prophetic black.Though the viewer is easily immersed in the detailing of the costumes, mounds of cloth from the Jo-Sun Dynasty and costumes ranging social classes from the highest queen, concubine, nobel to the lowest enter tainer, the forced objectification of the subject creates a tension that reaches beyond the canvas. These women are silent, whether by their own will or involuntarily; what is cer tain is that they are silent and
immovable – marching neither forward nor backward. Though Jeong distinguishes the women through their dress, her deliberate removal of the face and any movement allows viewers to reflect on their own position in time, as characters looking forward, but always bound by the past.
Jeong received her BFA and MFA from the College of Fine Ar ts at Hongik University in Seoul, Korea. She has par ticipated in a number of solo and group exhibitions in Seoul , Beijing, Tokyo, Tel Aviv, Amsterdam and Athens.
18 | 19
Play-Ground #11-02 | acrylic, oil on canvas | 80.3 x 116.7 cm | 2011
The Paradox of Beauty # 11-03 | Oil on canvas | 162.2 x 97 cm | 2011
20 | 21
Play-Ground #08-02 | acrylic, oil on canvas | 162 x 130 cm | 2009
JE BAAK
Ja Baak’s ar tistic practice centres on his spiritual practice of Zen Buddhism. The object or subject of attention is constantly shifted, sometimes deleted, to prompt the viewer to experience familiar scenes from altered perspectives. Transforming the serious into the comical, the familiar into the uncomfor table and the spectacular into the empty, Baak forces viewers into an introspection, developing the beginning of an ‘inward eye’ whereby self realisation and ultimately enlightenment is attained.
Baak received his B.F.A. in Visual Communication from Seoul National University and his MA in Communication Ar t & Design from the Royal College of Ar t, London.
He was awarded both the Chris Ganrham Memorial Award from the Royal College of Ar t and The Grand Prize from Joongang Fine Ar t in 2010. He has exhibited widely in group exhibitions in Korea and the UK.
Gong 1 | single channel DVD projection | 4min 3sec (Looped) | 2009
22 | 23
The structure of, #3 | multi channel LCD monitor installation | about 9min (looped) | 2010
The structure of, #1, #3, #4, #2 | installation view | about 9min (looped) | 2010
LEE JINHAN
Lee Jinhan’s paintings, pulsing with colour, expansive and refined but still playful, reinterpret fundamental ar t historical conventions. Lee experiments with media in her works, utilizing glitter, gouache, oil and acrylic for the brightly coloured grounds and floating objects, sometimes digitalised, on the surface. Her energetic canvasses explore both the Renaissance representation of perspective and the flat object-driven Modernism, which abandons reference to the real world. In challenging traditional painting concepts and perceptions, Lee aims to reinvent the formal qualities of painting
as well as celebrate those same qualities that have formed our understanding of ar t movements today.
After graduating with a B.F.A. from Hongik University - Seoul, Lee Jinhan obtained an M.F.A from Central Saint Mar tins, London. She is currently completing an M.F.A. at Goldsmiths, London. Her works have been exhibited in both Korea and the UK.
Night Light | acrylic, gouache, glitter and masking tape on canvas | 100 x 160 cm | 2010 (Right) Smurfette | oil, acrylic, gouache, glitter and masking tape on linen | 180 x 140 cm | 2011
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Pineapple | oil, acrylic, gouache, glitter and masking tape on canvas | 160 x 160 cm | 2011
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Icy Tropical | acrylic on canvas | 30.5 x 41 cm | 2011
Brazilian Garden | oil, acrylic on linen | 18 x 26 cm | 2011
MOON BEOM (b1955)
Fruitmarket gallery, Edinburgh, UK “Fusing Cement in Art,” Sunggok Museum of Art, Seoul 1994 “Logos & Pathos,” Kwanhoon Gallery, Seoul 1993 “Contemporary-Communication Art,” Galerie Bhak, Seoul 1992 “Informel après Informel,” Chosunilbo Gallery, Seoul 1991 “Korean Contemporary Art,” Sonjae Museum of Contemporary Art, Kyungju, Korea 1990 “Nineties Artists of Korea,” Seoul Museum of Art, Seoul 1989 “Kim Yong-Ik, Moon Beom, Hong Myung-Sup,” Space Gallery, Seoul 1988 “Korean Contemporary Painting,” National Museum of History, Taipei 1987 “Tail of Elephant,” Kanagawa Gallery, Yokohama, Japan 1986 “Korean Art – Old and New,” City Hall, Kyoto 1985 “Seoul 16 Young Artists,” Kwanhoon Gallery, Seoul 1984 “Korean Art Now,” City Museum, Taipei 1983 “Contemporary Paper Works, Korea and Japan,” City Museum, Kyoto “Korea New Paper Works,” Spring Gallery, Taipei “Three Korean Artists in L.A.,” Artcore Gallery, Los Angeles 1982 “After Logicalness,” Su Gallery, Taegu, Korea “Common Sense, Susceptibility, Symptom,” Kwanghoon Gallery, Seoul 1981 “32e Salon de Jeune Peintre & Expression,” Grand Palais, Paris “Seoul 80 – Objecthood,” Space Gallery, Seoul “Seoul 80 – Work by Screen,” Dongduk Gallery, Seoul “Seoul 80 –Report on Masters,” Space Gallery, Seoul 1980 “Seoul 80 –Work with Photo,” Space Gallery, Seoul 1979 “Performance, The Thing which to See,” Naengchun Valley, Taegu, Korea 1978 “Performance, See & Look,” Nakdong River, Taegu, Korea
PUBLIC COLLECTIONS National Museum of Contemporary Art, Seoul, Korea Sonjae Museum of Contemporary Art, Kyungju, Korea Samsung Museum of Modern Art, Seoul Hoam Gallery, Seoul, Korea Sunggok Museum of Art, Seoul, Korea Kumho Museum of Art, Seoul, Korea
SELECTED BIBLIOGRAPHY Art in America, review by Jonathan Goodmann, March, 2008 Catalogue for exhibition at PKM GALLERY with essay by Richard Vine 2004 Art Press, review by Robert C. Morgan, Sept 2003 Tema Celeste Contemporary Art, “Concepts by hand,” review by Robert C. Morgan, Jan./Feb. 2002 Art in America, “Moon Beom at Kim Foster” review by Richard Vine, December, 2001 Art Forum, “Moon Beom: Kim Foster Gallery” review by Barry Schwabsky, May, 2001 Sculpture, “The Globalized Artist in the New Millennium” review by Robert C. Morgan, October 2000 The End of the Art World, by Robert C. Morgan, p, 46-47, Allworth Press, 1999 Catalogue for exhibition at Kukje Gallery, essay by Park Kyung-mee, May 1999, Korea Flash Art, review by Grady T. Turner, Jan/Feb. 1998, Italy Review, review by Robert C. Morgan, 1997, New York
EDUCATION1982 MFA, College of Fine Art, Seoul National University, Seoul 1980 BFA, College of Fine Art, Seoul National University, Seoul
SELECTED SOLO EXHIBITIONS 2007 Kim Foster Gallery, New York Possible Worlds, PKM Gallery, Seoul 2005 Kim Foster Gallery, New York 2004 Radom Landscapes, PKM Gallery, Seoul 2003 Kim Forster Gallery, New York 2001 Kim Foster Gallery, New York 1999 Kukje Gallery, Seoul 1997 Gallery Shilla, Teagu, Korea 1996 Gallery Bhak, Seoul Gallery Shilla, Teagu 1994 Seohwa Gallery, Seoul Gallery Bhak, Seoul Gallery Shilla, Teagu, Korea 1993 Icon Gallery, Seoul 1991 Jean Gallery, Seoul 1989 Soo Gallery, Seoul 1987 Fine Art Center, Seoul Kwanhoon Gallery, Seoul 1982 Total Gallery, Seoul
SELECTED GROUP EXHIBITIONS 2009 “Foregrounded,” PKM Gallery, Seoul 2008 Winter Collection, PKM Gallery, Seoul 2007 “Percept/scape-concept/scape,” Gallery Lux, Seoul 2006 “Terrain,” Kim Foster Gallery, New York “Camera Work,” City Museum of Art, Seoul 2006 “Simply Beautiful,” Centre PasquArt, Biel/ Bienne, Switzerland 2005 “The Diversity Show,” curated by Betty Levin, Credit Suisse First Boston, New York “Le Flux,” Galerie Lumen, Paris “Cool & Warm,” Sunggok Museum of Art, Seoul “Echo Beyond the Time,” Ewha Womans University Museum, Seoul2004 “Painting That Paint Themselves,” Kresge Art Museum, East Lansing, Michigan “Collectors Gallery,” Albright-Knox Art Gallery, Buffalo, New York 2002 “Inaugural Exhibition,” curated by Robert C Morgan, Chelsea Art Museum, New York 4th Gwangju Biennial, Gwangju, Korea “An Hors D’oveure,” Kim Foster Gallery, New York 2001 “Black & White,” Kim Foster Gallery, New York 2000 3rd Gwangju Biennial, Gwangju, Korea 1999 “Nature,” Parkyusook Gallery, Seoul “Three Friends,” Simon Gallery, Seoul “Seoul 80 - Sweet Lips,” Contemporary Art in Seoul 1998 “Spiritual- scapes,” Generous Miracles Gallery, New York 1997 “Paik Nam June, Moon Beom, Park Hyun-Ki, Chun Kwang-Young,” Kim Foster Gallery, New York 1996 “Window Display Project,” Gallery Hyundai, Seoul “Anachrome,” Gallery Seowha, Seoul, Korea “Install – Scape,” Taegu Center of Culture, Taegu, Korea 1995 Red Mill Gallery, VSC, Vermont “Seoul 80 – Intertextuality, Speed,” Gaain Gallery, Seoul “Information & Reality, Korean Contemporary Art,”
GWON OSANG (b1974) JEONG MYOUNGJO (b1970)
EDUCATION2004 M.F.A. Graduate studies in Sculpture, HongIk University, Seoul2000 B.F.A. Dep. of Sculpture, College of Arts, HongIk University, Seoul
SELECTED SOLO EXHIBITIONS 2011 DOOSAN GALLERY, Seoul, Korea AANDO FINE ARTS, Berlin, Germany2010 GALLERY 2, Seoul, Korea DOOSAN GALLERY, New York, USA 2009 NEW YORK Solo Show, ARARIO GALLERY, New York, USA 2008 Manchester Ar t Gallery, Manchester, UK 2007 ARARIO BEIJING, Beijing, China 2006 Gwon, Osang, Union II (Opening show), London, UK The Sculpture, ARARIO Gallery, Cheonan, Korea 2005 Deodorant Type & The Flat, Andrew Shire Gallery & 4-F Gallery, L.A, U.S.A2001 Deodorant Type, Insa Ar t space, The Korea Culture& Arts foundation, Seoul, Korea
SELECTED GROUP EXHIBITIONS 2011 Chopping Play, ION Gallery, Singapore Collector’s stage, Singapore Ar t Museum, Singapore 2010 A POSITIVE VIEW, Summerset House, London, UK Korean Eye, Fantastic Ordinary, Saatchi Gallery, London, UK Seoul Museum of Art, Seoul, Korea | Korea Foundation, Seoul, Korea Roundabout Collection, Museum of Wellington, NL 2009 Ar t & Techne, Jeju Museum of Ar t, Jeju, Korea Peppermint Candy: Contemporary Ar t of Korea, National Museum of Korea, Gwacheon, Korea Manipulating Reality, the Center for Contemporary Culture Strozzina, Florence, Italy Conflicting Tales - Inaugural Exhibition of the Burger Collection, Zimmerstrasse, Berlin, Germany Logic of Sensibility, Interalia Gallery, Seoul, Korea 2008 Youth Por traits, Avanthay Contemporary, Zurich, Switzerland Peppermint Candy: Contemporary Ar t of Korea, The National Museum of Fine Ar ts, Buenos Aires, Argentina Asian Ar t Triennale, Manchester Ar t Gallery, Manchester, UK Global EurAsia Special Exhibition, ART COLOGNE, Germany 2007 Contemporary Korean Ar t : Wonderland, National Ar t of Museum China, Beijing, China Peppermint Candy: Contemporary Ar t of Korea, MAC (Museo de Ar te Contemporaneo), Santiago, Chile Urban Reviews Seoul: Space, People, Institut fur Auslandsbeziehungen(ifa), Stuttgar t & Berlin, Germany 2006 Give Me Shelter, Union Gallery, London, UK 2005 - 1999 : Par ticipated in more than 25 group exhibitions in Seoul, Tokyo, Beijing, Copenhagen, Shanghai, Paris, Bologna, Nagoya, Amster-dam, Milano, Nantes, Saitama, Sendai, Busan and Gwangju.
PUBLIC COLLECTIONS The National Museum of Contemporary Ar t, Korea Asano Institute, Japan David Rober ts Ar t Foundation Zabludowicz Collection Burger Collection Roundbout Collection Universal Music Group
EDUCATION2006 Completed Fine Ar ts doctoral program, Hongik University, Seoul1999 M.F.A., College of Fine Ar ts, Hongik University, Seoul 1994 B.F.A., College of Fine Ar ts, Hongik University, Seoul
SOLO EXHIBITIONS 2010 Gana Ar t Center, Seoul, Korea 2006 Insa Ar t Center, Seoul, Korea 2003 Insa Ar t Center, Seoul, Korea 2001 Sung-Bo Gallery, Seoul, Korea 1999 Eve Gallery, Seoul, Korea 1997 Kwanhoon Gallery, Seoul, Korea
SELECTED GROUP EXHIBITIONS 2009 Fashion, Ar t and Ravishing Translation, Aram Nuri Ar ts Center, Goyang, Korea 2008 Let a Thousand Flowers Bloom, Atelier Ar tists Exhibition, Insa Ar t Center, Seoul, Korea Meme Trackers, Song Zhung Ar t Center, Beijing, China Gana Ar t 25th Anniversary Exhibition - Bridge, Gana Ar t Center, Seoul, Korea Korean Group Show l, Galerie von Braunbeherens, Munchen, Germany 2007 Peony after Peony, Daejeon Museum of Ar t, Daejeon, Korea 2006 The Scent of Korea, Daegu Culture and Ar ts Center, Daegu, Korea Korean Young Ar tists Biennale, Daegu Culture and Ar ts Center, Daegu, Korea 2005 HD Generation, Gallery Quesaisje, Seoul, Korea Korea Contemporary Ar t Exhibition, Metropolitan Culture Center of Athens, Athens, Greece 2004 Global Ar t in Korea-Japan, Jongno Gallery, Seoul, Korea Looking at the Atelier, Insa Ar t Center, Seoul, Korea 2003 Tokyo Global Ar t 2003, Arai Gallery, Tokyo, Japan 2002 International Young Ar t 2002, Sotheby’s Tel-Aviv, Israel Elizabeth Foundation for the Ar ts, New York, Sotheby’s Amsterdam, The Netherlands Expression and Text, Youngeun Museum of Contemporary Ar t, Gwangju, Korea 2001 Invitational Exhibition for Opening of the Gallery, Jebiri Ar t Gallery, Gangneung, Korea Ar t is an Image, Kwanhoon Gallery, Seoul, Korea 2000 Hongik Woman Artists Association - Seoul, Woman, Jongno Gallery, Seoul, Korea Korea Young Ar tist Biennale, Daegu Culture and Ar ts Center, Daegu, Korea 1999 National Grand Ar t Exhibition, National Museum of Contemporary Ar t, Gwacheon, Korea Misulsegye Prize Exhibition, Seoul Museum of Ar t, Seoul, Korea MBC Grand Ar t Exhibition, Seoul Museum of Ar t, Seoul, Korea 1998 National Grand Ar t Exhibition, National Museum of Contemporary Ar t, Gwacheon, Korea Mimesis, Representation, Simulacre, Hanwon Museum of Ar t, Seoul, Korea1997 Joong-Ang Fine Ar ts Competition, Ho Am Art Gallery, Seoul, Seoul Contemporary Ar t Festival, Ar t Council Korea Ar t Center, Seoul, Korea
30 | 31
JE BAAK (b1978) LEE JINHAN (b1982)
EDUCATION
2008 - 2010 MA, Communication Art & Design, Royal College of Art,
London, UK
1998 - 2003 BFA, Visual Communication,
Seoul National University, Seoul, Korea
EXHIBITIONS & PROJECTS
2011 Group Exhibition, “More than Tastes”, Art Space Hue, Seoul, Korea
Solo Exhibition, “Gong”, Soomdo, Seoul, Korea
Group Exhibition, “point against point”, Arti et Amicitae,
Amsterdam, Netherland
2010 Group Exhibition, “The Garden which has two roads never
meet each other”,
Museum of Art in Seoul National University, Seoul, Korea
2010 Screening, Seoul Square, Seoul, Korea
2010 Group Exhibition, “The Plaza Principle”,
The Leeds Shopping Plaza, Leeds, UK
2010 Moving Image for London Fashion Week, Eun Jeong S/S Presentation
2010 Group Screening, “Wonder Room”, Selfridges, London, UK
2010 Group Screening, “Akwaaba Astronomy, Launchpad City”,
Science Museum, London, UK
2010 Solo Exhibition “Prelude”, Art Club 1563 by SUUM, Seoul, Korea
2010 Group Screening, “Acoustic Images”,
BFI (British Film Institute), London, UK
2010 Group Exhibition, “Joongang Fine Arts Prize -
Selected Artist Exhibition”, Seoul Arts Center, Seoul, Korea
2010 Degree Show, Royal College of Art, London, UK
2010 Group Exhibition, “Present from the past”,
Korean Cultural Centre, London, UK
2010 Group Exhibition, “4482”, Barge House, Oxo Tour, London, UK
2010 Group Screening, “Wrong Love”, A Foundation, Liverpool, UK
2009 Group Exhibition, “Work in Progress Show”, Royal College of Art,
London, UK
2009 Group Exhibition, “The Cube”, Hockney Gallery,
Royal College of Art, London, UK
2009 Group Exhibition, “Cross Fields”, Korean Cultural Centre, London, UK
2009 Group Screening, “Acoustic Images 2009”, 29 Thurloe Place, London, UK
2009 Music + Art + Performance Project, “On the edge of Life”,
Bath International Music Festival, Bath, UK
2002 Degree show “Free Falling”, “Lee Sang”, Seoul National University,
Korea
2000-2003 Project Group “Anida”
- Installation Project in Subway Line No. 6 “Together”, Korea
- Installation Project in Seoul National University “Oasis”, Korea
- Teaching Project in Kwacheon High School “Designing Life”, Korea
- Art Therapy in Youngdong Hospital, Korea
- Opening Title Sequence for “Human Rights Film Festival”, Korea
AWARDS & ACHIEVEMENTS
2010 Chris Ganrham Memorial Award, Royal College of Art 2010
The Grand Prize, Joongang Fine Arts Prize 2010
2009 International Student Bursary, Royal College of Art
2008 Short listed, Mangroup Photography Awards
EDUCATION
2010 - 2012 MFA Fine Art at Goldsmiths, London
2007 - 2008 MA Fine Art at Central Saint Martins, London
2002 - 2006 BFA Painting at Hongik University, Seoul
SOLO EXHIBITIONS
2009 BEYOND AND WITHIN, Gallery Muse at 269, London, UK
SELECTED GROUP EXHIBITIONS
2011 33rd Joongang Fine Art Competition selected artists’ show
Seoul Arts Center, Seoul, Korea
I AM SOLITARY - LONDON
curated by Beers.Lambert Contemporary Art,
Gift at 10 Vyner st gallery, London, UK
2010 FUTURE FUTURES FUTURE,
Korean Cultural Centre UK, London, UK
Core Gallery Open Submission Exhibition for Depford X,
Core gallery, Deptford, London, UK
2010 Guasch Coranty Painting Prize Selected Artists’ Show,
Center of Art Tecla Sala, Barcelona, Spain
2010 OPEN PAINTING, Royal West England Academy,
Bristol, UK
4482: KOREAN CONTEMPORARY ARTIST IN LONDON,
Barge House, OXO Tower Wharf, London, UK
PROJECT SPACE: PRINT NOW, London Art Fair,
Design Centre, London —MAY 2010, BEARSPACE, London, UK
2009 RAYMOND GUN: PLATFORM,
Degreeart.com gallery, London, UK
GATHERING STORM, Bayfield Hall, Norfolk, UK
2008 IMPROVISATION, Newdays gallery, London, UK
CHORUS PROJECT, Hun gallery, New York, Korus House,
Embassy of republic of Korea, Washington DC, US
4482: KOREAN CONTEMPORARY ARTIST IN LONDON,
Barge House, OXO Tower Wharf, London, UK
CENTRAL SAINT MARTINS MA DEGREE SHOW 08,
Central Saint Martins College of Art and Design, London, UK
WHITE GOODS, Stroud House gallery, Stroud, UK
CENTRAL SAINT MARTINS MA INTERIM SHOW 08,
Barge House, OXO Tower Wharf, London, UK
PROJECT
2009 DIALOGUE BOX: BEYOND AND WITHIN
AirSpace Gallery, Stroke on Trent, UK
AWARD
2011 Finalist for Gallery Loop Young Artists Competition
Gallery Loop, Seoul, Korea
2011 Finalist for 33rd Joongang Fine Art Competition
Joonang Fine Art Competition, Seoul, Korea
2011 Finalist for I AM SOLITARY, LONDON
Beers, Lambert Contemporary Art, London, UK
2010 Finalist for 2010 GUASCH CORANTY PAINTING PRIZE
Fundación Guasch Coranty, Barcelona, Spain
This catalogue is published by HADA Contemporary to accompany the exhibition
KOREAN COLLECTIVE LONDON 2011
EMBRACING THE VOIDMOON BEOM
GWON OSANGJEONG MYOUNGJO
JE BAAKLEE JINHAN
3 - 25 JUNE 2011
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Published by HADA Contemporary Ltd.
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