Five Months of Ink drawing in the Park: Hyungjun Choi’s Solo Exhibition “Outdoor Installation Easel”.. and More
Post Territory Ujeongguk
Five Months of Ink drawing in the Park: Hyungjun Choi’s Solo Exhibition “Outdoor Installation Easel”
Hyungjun Choi (b. 1997)’s solo exhibition Outdoor Installation Easel is on view from June 23 to July 9 at the Post Territory Ujeongguk. Hyungjun records changes in natural landscapes and visualizes their climatic and dynamic elements based on outdoor sketching and installation. The artist identifies the main material of ink painting as solidity. The artist understands Korean traditional ink by noting its ability to easily adhere to surfaces, and traditional hanji’s ability to keep its original shape.
In this exhibition, the artist uses ink to represent a place where he was forced to move in without his will. The work consists of ink drawings of parks in Yangju, Gyeonggi-do, places where he worked as a social service agent, and the Korea army training center where the artist had stayed. < Dokbawi Park outdoor sketching > (2020-2022) is an ink drawing in which the artist installed an easel-like structure in Dokbawi Park for five months. The artist reveals that the process of filling the easel-like structure was like his own life as he moved to Yangju, Gyeonggi-do, and settled down.
The exhibition also features other works by the artist, as well as the artist’s statement, which provides a candid description of the project’s process as he attempted to sketch outdoors in a structural installation.
CR Collective
New Challenges for Sculpture: Minsun Lee’s Solo Exhibition “Sculpture”
조각을 향한 새로운 도전: 이민선 작가의 개인전 “Sculpture”
CR Collective is pleased to present Sculpture, a solo exhibition by Minsun Lee (b. 1985), on view from June 22 to July 29. In this exhibition, Minsun challenges the concept and reality of sculpture, reflecting on the illusions that have been commonly imposed on sculpture and artists.
To faces sculpture, Minsun passes through various media such as sculpture, video, and fiction. The 13 new works in this exhibition are all installed on wheeled wooden boards, making them not fixed in one place. Also, the artist uses everyday objects such as paper, sand, and flour dough to create works that cannot be defined as sculpture or non-sculpture.
In video works such as < A Visitor > and < A Whistleblower >, the artist performs a one-man show and utilizes footage of real-life moments, betraying the expectation required to address specific events for artists. In three short stories that read like the artist’s autobiography, the artist also reveals the everyday life that lies between art and non-art, and calls attention to the contradictions of sculpture, which is preoccupied with concepts and ignoring materiality.
In this way, the exhibition rethinks the concept of sculpture and common ideas of artists. Minsun’s work, which denies and distorts the institutional order, will provide a deeper understanding of sculpture.
