A City Broken and Built by Belief and Desire: The Exhibition "Solid, Weak, Temple".. and More
Chamber 1965
A City Broken and Built by Belief and Desire: The Exhibition "Solid, Weak, Temple"
Solid, Weak, Temple, an exhibition featuring artists Kim Doongji, Ahn Jinseon, Ryu wooseok, will be on view at Chamber 1965 from August 3 to August 20.
The exhibition discusses urban landscapes that oscillate between solidity and disappearance. Rather than being uniform and stable, the exhibition suggest that our cities are spaces that are constantly changing and becoming inhomogeneous., shaped by beliefs and desires. The exhibition space, Chamber 1965, is not smoothly covered with white walls as most exhibition spaces are, but rather has an exposed framework, giving it a sense of its own spatial character. The works in the exhibition resonate with this feature of the space, further revealing a sense of the city.
Ahn Jinseon uses plywood to create a sculpture with angular edges and curved forms. Ahn’s work becomes a support for Ryu wooseok and feels like a part of the space, opening to the outside. Ryu wooseok drew the changes in objects that occurred during the process of moving original pedestals in the exhibition hall. In his drawings, these changes are seen as events and take on new life within the space of the drawing. Kim Doongji envisions the exhibition space as a city and a temple, displaying sculptures in the form of religious iconography. Also, the square-shaped sculpture < Form (像, sang in Korean) >(2023), made of cement, is attached to the wall, blurring the boundaries between the wall and the work.
The pace of city, which is both steadfast and volatile, and the cityscape are transformed into their own forms in works and reach out to the viewer.
Cheongju Art Studio
An Exhibition Introducing the works of the 17th Cheongju Art Studio Residents: Lim Yunmook’s "The Figure in the Carpet" and Hwang Ail's "Fractus Fractal”
At Cheongju Art Studio, Lim Yunmook’s The Figure in the Carpet and Hwang Ail’s Fractus Fractal will be held from August 1 to August 13, as the first installment of the ‘CJAS 17th ARTIST RELAY EXHIBITION’. In the ‘CJAS 17th ARTIST RELAY EXHIBITION’, 14 artists will unveil their works during their residency at the studio from August 1 to December 24.
Lim Yunmook’s The Figure in the Carpet gives a glimpse into the artist’s struggles in the process of work. Lim has been exploring the point at which everyday materials meet or collide with the inner world in his paintings. In this exhibition, the artist connects a story about a rug he read in a column to the way of life. Just as weaver who creates the pattern of a rug weaves the rug without any purpose, life is also naturally completed by a collection of individual events with no purpose. In Fractus Fractal, Hwang Ail focuses on the relationship between order and disorder, whole and part, visible and reality. The artist makes his works resonate with the space, and in this exhibition, he especially utilizes the venue of Cheongju Art Studio. By creating an installation using glass and latexcolor as the main materials, Hwang provides new pathways for things that have been stuck in our perceptions.
The ‘CJAS 17th ARTIST RELAY EXHIBITION’, which was initiated by Lim Yunmook and Hwang Ail, takes us a step closer to artists’ themes and concerns.
413 BETA
Collision as Energy for Life: Exhibition “Fleeting Excitation, Wide-spreading Stir”
Fleeting Excitation, Wide-spreading Stir, an exhibition featuring artists Yoonyoung Choi, Yunjin Han, will run from July 28 to August 17 at 413 BETA.
The exhibition connects the principle of ‘collisional excitation,’ a phenomenon that occurs when a particle collides with an atom, to a slice of life: the subject can be thought as living off the energy generated by collisions with others outside of themselves.
Through paintings, drawings, and installation, Yoonyoung Choi depicts a ‘temporary settlement’ that comes with the various conflicts in life. In the paintings < A Fixed Chapter >(2022) and< When I Look Back, There Is Only a Wish That Is Getting Farther Away >(2022), multiple shapes and their respective intense colors collide, bringing to the fore a sense of conflict between images. Yunjin Han examines the relationship between the individual and the other through the concepts of ‘affect’ and ‘Affection’. At the center of this is the emotion of ‘wishing’, which can be directed toward the other, or it can be something that the other and the subject have for each other. In the velvet fabric and resin installations < Envelop ‘Causa Sui’-7 : Festival >(2022) and < Envelop ‘Causa Sui’-6 > (2002), only black light emanates, evoking a sense of overwhelming.
Rather than negatively perceiving the inevitable process of collision, the exhibition invites us to see it as an event that gains energy for the next. It is here that we can explore a newly woven sense of collision.
