Lehmann Maupin’s Exclusive Artist Tammy Nguyen’s First Solo Exhibition in Korea: “A Comedy for Mortals: Inferno”.. and More
Lehmann Maupin Seoul
Lehmann Maupin’s Exclusive Artist Tammy Nguyen’s First Solo Exhibition in Korea: “A Comedy for Mortals: Inferno”
Lehmann Maupin Seoul is pleased to present “A Comedy for Mortals: Inferno” by Tammy Nguyen (b. 1984) on view through May 6. This exhibition is the artist’s first exhibition at Lehmann Maupin since joining the organization in 2022 and her first solo exhibition in Korea. It is based on Dante’s Divine Comedy and consists of a trilogy.
Starting with “A Comedy for Mortals: Inferno” in Seoul, it will be followed by “A Comedy for Mortals: Purgatorio” at Lehmann Maupin London in 2024, and finally “A Comedy for Mortals: Paradisio” at Lehmann Maupin New York in 2025.
The exhibition will feature more than 20 new works in a variety of media (paintings, works on paper, artist books, etc.). The artist’s work takes a predominantly narrative approach, with an ongoing interest in Southeast Asia and the diaspora. She also explores the intersections between these relatively unrecognized histories and utilizes a variety of materials and techniques in her work, including watercolor, vinyl paint, screen printing, stamping, gilding, intaglio, and glow-in-the-dark inks.
Nguyen, a Vietnamese-American artist, created an artist book for the exhibition, which she describes as the ‘heart and soul’ of this exhibition. The book unfolds into various shapes, including a spaceship, and consists of nine volumes. Five of them are available at Lehmann Maupin and four at Sojeonseolim in Gangnam, Seoul.
Lehmann Maupin Seoul: 213 Itaewon-ro, Yongsan-gu, Seoul
Perrotin Dosan Park: "Please Throw Me Back In The Ocean" by Kara Joslyn
Perrotin Dosan Park presents “Please Throw Me Back In The Ocean” the first solo exhibition of Kara Joslyn (b. 1983) in Korea, on view through April 28. This exhibition will feature ten new paintings of varying sizes that are extremely precise and surprisingly optical illusions.
The exhibition is a self-reflection on the artist’s cultural experiences in his native California and an exploration of collective desires and memories influenced by cultural notions of consumerism and Americana as a source of social breakdown today.
The works are grayscale and starkly contrasting and dominated by geometric and angular paper sculptures of hooks, anchors, masks, dolls, and shells. They are based on images from the artist’s collection of papercraft books, and many of the compositions are intuitive.
Kara Jocelyn is a Los Angeles-based artist whose three-dimensional paintings explore themes of storytelling and illusion. The spaces created by the light in her work are dreamy and unstable, combining fantasy and reality, and form part of her own compelling aesthetic.
Please Throw Me Back In The Ocean
4.5-4.28, 2023
Perrotin Dosan Park: 10 Dosan-daero 45-gil, Gangnam-gu, Seoul
Pace Gallery Seoul
A Solo Exhibition by Liu Jianhua, who Straddles the Line between Ceramics and Sculpture
Pace Gallery Seoul presents “Liu Jianhua,” a solo exhibition by Chinese artist Liu Jianhua (b. 1962), whose work straddles the boundaries between ceramics and sculpture, through April 29. This exhibition focuses on the artist’s exploration and technical mastery of ceramics, which he has been practicing for more than 50 years, since 1977, when he was apprenticed in Jingdezhen, the ceramic production capital of China.
In addition to A Unified Core, the exhibition will feature works from the series ‘The Shape of Trace’ (2016-2022), ‘Blank Paper’ (2009-2019), and ‘Lines’ (2015-2019). The exhibition takes place on the first and second floors of the gallery, with A Unified Core installed on the first floor. It shows approximately 500 teardrop-shaped ceramics pouring down from the sky.
On the second floor, ‘The Shape of Trace’ and ‘Blank Paper’ are on display. ‘Blank Paper’ which hangs large on the wall, looks like white paper but is a thin piece of porcelain. Compared to porcelain, thin porcelain plates are relatively difficulty and tricky to produce, and Blank Paper is a series of works that demonstrate the artist’s technical proficiency.
Through his sculptures and installations, Liu Jianhua explores themes of accumulation and transience. He explores Chinese history and culture through a variety of materials, including ceramics, found objects, waste, and industrial products. Ceramics, the main material of his work, is connected to the long tradition of Chinese ceramic art, but it also functions as an indicator of contemporary development in the context of globalization.
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