PhotoView 2013.4(April)-A

PhotoView ISSUE 13 APRIL 2013

2013. 4-a

PhotoViewIssue.13

Photography exhibitions eMagazine

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PhotoView Contents

2013.4-aByun Soon Choel (Eng, Kor)

Kim Sun-Min (Eng, Kor)

Sophie Calle (Eng, Kor)

Yook Keun Byung (Eng, Kor)

MISE-EN-SCENE

KyungJa Jeong

Jung Jung Ho (Eng, Kor)

Kim Gun Woo

Ahn Sung Jun

Li Gang

HEEDOO JUNG (Eng, Kor)

Jeong-woo Lee (Eng, Kor)

humor:us

Kim HyeJin

Kim Ji Ho

Lee, Mihong

Yang, yang-keum

GERHARD GROSS (Eng, Kor)

Won Seoung-Won (Eng, Kor)

29

Byun Soon Choel

1996 to the Present

2013. 3. 21 ~ 5. 7GRIGO Gallery

75, 070-7570-3760

www.grigogallery.com

Byun Soon Choel, -.2002.101x127cm.Digital Pigment Print

Byun Soon Choel, ..2005.127x152cm.Digital Pigment Print

Byun Soon Choel, .2005..127x152cm.Digital Pigment Print

Byun Soon Choel, ..2005.101x127cm.Digital Pigment Print

Byun Soon Choel, .2005..150x209cm.Digital Pigment Print

Byun Soon Choel, Desire1.2003.101x127cm.Digital Pigment Print

Byun Soon Choel, National Song Contest.2005..101x127cm.Digital Pigment Print

Byun Soon Choel Exhibition

Grigo Gallery is exhibiting Byun Soon Choel's from March 21 to May 7, 2013. The exhibition is

a fragment of the artist's main collection that captures human nature and its correlation to one's identity. The works

in this exhibition are being displayed to the public for the first time.

Throughout his artistic career, Byun's works have expanded from exploring private places to public, and from

personal identity to communal and societal, as he continues to widen the spectrum.

Byun reflects the subject's self-concept through his unique observation and eccentric language, creating his own

niche within the art world. While many other portraitists succumb to categorizing the subjects and applying a social

and cultural meaning to them, Byun explores deep into one's mind to bring out the source of their natural, human

desires, thus capturing even the deepest, subconscious level of one's very personal, self-concept.

For this, the artist visits the subject's own places, just as the Old Masters had. Such places could be either personal

or public. Upon the thin fine between the personal and public distances, Byun Soon Choel analyzes the subject

within his moderated view.

In pursuing his unique, artistic practice and philosophy, the artist has visited a plethora of places in order to

comprehend the outer and internal boundaries of the subject's identity which has gone through a tunnel of time.

The presence of Byun's large-sized photographs are the resultant of his passionate and curios inquiry into personal

identity, self-concept, and one's role within the social and cultural frames.

This exhibition will provide a thorough narration of how the artist's selective group of the portrayed subjects have a

common, organic correlation to one another.

Also, the exhibition celebrates Byun's newly publishing collection book, which will offer another fresh encounter

with his works.

GRIGO 3 21 5 7 .

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Byun Soon Choel

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Kim Sun-Min Falsehood mingled with Truth Truth mingled with Falsehood

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2013. 4. 3 ~ 4. 9THE K GALLERY

192-6, 02-764-1389

www.the-k-gallery.com

Kim Sun-Min , peach , made up of 7 layers, 7 inkjet print, 70x70cm, 2012

Kim Sun-Min , Cherry, made up of 36 layers, inkjet print, 70x70cm, 2012

Kim Sun-Min , Acid saccharification, made up of 5 layers, inkjet print, 70x70cm, 2012

Kim Sun-Min , Dahlia, made up of 8 layers, 70x70cm, inkjet print, 70x70cm, 2012

Kim Sun-Min , Carp, made up of 11 layers, 70x70cm, inkjet print, 70x70cm, 2012

Kim Sun-Min , Hydrangea, made up of 183 layers, inkjet print, 70x70cm, 2012

Kim Sun-Min , Rose, made up of 22 layers, inkjet print, 70x70cm, 2012

Kim Sun-Min , carp, made up of 12 layers, inkjet print, 70x70cm, 2012

Kim Sun-Min , pear, made up of 19 layers, inkjet print, 70x70cm, 2012

Kim Sun-Min , [blueberry] made up of 15 layers, inkjet print, 70x70cm, 2012

Kim Sun-Min , Rose, made up of 162 layers, inkjet print, 70x70cm, 2012

Kim Sun-Min , apple, made up of 9 layers, inkjet print, 70x70cm, 2012

Kim Sun-Min , elongate ilisha , made up of 13 layers, inkjet print, 70x70cm, 2012

Kim Sun-Min , kara. made up of 4 layers, inkjet print, 70x70cm, 2012

Kim Sun-Min , goldfish, made up of 10 layers, inkjet print, 70x70cm, 2012

Kim Sun-Min , kiwi, made up of 15 layers, inkjet print, 70x70cm, 2012

Foreword

Kim Sun-Min's photo:

Falsehood mingled with Truth

Truth mingled with Falsehood

Modern-day Pictorialism was a kind of savior to

art photography, which occurred as soon as the

reality, the hope of artistic photography, failed

in obtaining a position as art. The directing point

pictorialist photography carried was to have composite

photographs, meaning imaginary image made of several

negatives which then transformed into mechanical

image. Despite being captured by camera, this

artificially-touched falsehood mingled with truth made

a considerable contribution to how the photography

was accepted as a means of expression. Not to mention,

the composition technique and the picture quality have

received praises for its amazement. Although may seem

quite primitive if compared to that of modern computer

technology, the significance here is that this photography

took a major step towards the realm of self expression

through composition and ultimately challenged the

realm of art. The reason creation is seldomly achievable

is that new technologies concurrently develop and one

should start thinking from the unprecedented to achieve

any creation.

Here, Sun-Min Kims still images are present. They

are the close-ups of the heartless. One would say the

photographed flowers, fruits and fish are not considered

heartless as they have vitality as well as possess feelings.

However, the reason that the subjects look to maintain

the conditions of awkward details is that they are all

falsehoods mingled with truth, made of plastic. Yet, the

details are too good for fabricated image. Taking fish for

instance, Kim took a photo of real fish and, for the sake

of realism, combined its layer with another photo of fake

fish and then combined partial details of the two. These

works get rid of the need for separating imitations from

originals. It is not easy to find the meaning even if we

look into the works without the thought whether they

are originals or not in mind. Everyone knows that the

photos taken modern days are beyond such

, - Falsehood mingled with Truth


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dispute. Some may doubt whether there was any need

for revealing the truth while looking at the photos.

But, if one thinks about it intently, he or she will realize

that the message is coming from the method of the

photography, not the photo itself. Composite photo

of modern pictorialism is made when another image

is overlapped on the transparent part of film and the

two distinct images create a single picture while several

negatives are overlapped to be printed. On the other

hand, Kim made her photo by using the point that she

was able to pierce a hole elaborately in any part as layers

were overlapped in so-called digital picture. This is the

basic principle of computer synthesis. She says one is

not able to distinguish specific part of an image, having

himself or herself in visual confusion in telling imitations

from originals from fakes, when different layers are

combined after exchanging negatives and positives,

inter-erasing distinct subjects, namely imitations and

originals

Sun-Min Kim's works require somewhat different

perspective than general photography. It seems the

author is trying to tell the effects of the computer work

on herself through the actions shown in the work. It

brought the trigger point that the computer works can

be analog, at least in the photography. It is said that the

stereotype that computer technology enables everything,

for example converting an aircraft to a ship, a man to

a woman, and fire to flood, conceals the massiveness

of handworks through computer. I partially agree. The

reason of missing film developing chemicals, photo

papers, and several types of films more is that handwork

is perceived handier than computer technologies. There

is no such thing as straight photography in digital. If one

asks for anything that exists in analog photo and does

not in digital, the answer would be contact printing. A

digital photo without contact is premised on Photoshop

and its process is done by hand. The photo whose color,

concentration, brightness, and contrast are directly

modified by hand is the straight photo, differentiated

from RAW files.

Through the process of exposing and erasing scales one

by one, it becomes hard to tell if certain part has gone

through the artificial touch, while the author recognizes

layers

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the feeling of the handwork as keeps combining pieces

and overlapping layers. Even so, however, computer

work would not completely relate to handworks, or

come to a full agreement.

If the hand adjusting through computer program is

manual, what is the difference from physical body or

skilled hand? It is the part where the answer needs to

be found for the question what is to be said about a

still photo made from both original and fake and thus

disabling author and gallerys sense of distinction. The

authors alternative is to reveal the cross section of

the existing and the fake in binomial manner through

miniatures of the whole work. In other words, the

images of originals overlapped with the crude images

before work are presented like the chart presenting the

difference of film sensitivity in standing position. The

falsehood mingled with Truth and the truth mingled

with falsehood coexist in Kims photos, representing

the confused work activity. As previously mentioned,

the kind of computer hand work which the author

experienced in this work reveals the feeling which

extends to the longing for the analog photo in the past

film era. Contemporary people's stress and her hard

work are hidden in the works even though they do not

visually stand out. It is the work requiring a great deal

of effort like the work which people bend and move the

joints of dolls to shoot and make them as the image with

sound in the clay animation we have frequently seen on

TV. If I see the details of this exhibition and her working

process from a positive perspective not to see her works

just as flower photos while keeping the mediocrity of still

life photos as they are in spit of the works which much

effort was made, I believe that this exhibition will be

an opportunity of newly feeling prejudices towards the

reality, which the author had felt all the while.

Goo sung-soo (photographer)

(Clay Animation)

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I once learned painting with flowers, apples, and trees

among common objects.

Through the paintings, I naturally established my own

perfect image of stationary objects, and soon realized

discrepancies exist between them and real objects.

I have adhered to this thought while doing my own

photo works.

When I took a picture of often painted stationary object,

the picture did not come out as the perfect image in my

mind.

Thus I tried with fake objects and judged them as closer

to the perfection. In order to make them much more like

the one in my mind, I overlapped the objects texture

over numerous layers and ultimately achieved my own

originality.

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, Falsehood mingled with Truth


kim sun min

2013

2010

2007

2012 In- sight, ,

2012 2012 JAM , ,

2012 2012 Asyaaf , 284( ),

2011 Post photo 9th exhibition, ,

2011 , 2011 Asyaaf, ,

2010 Post photo 8th exhibition, ,

2010 The professional touch ,

2009 Craft trend fair coex, ,

2009 , ,

Education

2012 M.S. ,Photography, Hongik University, Seoul, Korea

2010 B.S. ,Department of Crafts, Sungshin Women's University, Seoul, Korea

2007 B.S. ,Photo Art, Kaywon School of Art and Design, Gyeonggi-do, Korea

Group Exhibitions

2012 In- sight, HOMA at Hongik University, Seoul

Art Market JAM, JangHeung Art Park, Gyeonggi-do Yangju

Asian Students and Young Artists Art Festival Youth, at the Culture Station, Culture Station Seoul 284, Seoul

2011 Post Photo 9th Exhibition, gong art space, Seoul

Asian students and Young Artists Art Festival Art Coming into My Life,

Hongmoonkwan at Hongik University, Seoul

2010 Post Photo 8th Exhibition, Illum Gallery, Seoul

Hongik Art Group Fine Art Competition, Insa Art Center, Seoul

2009 Craft Renaissance Craft Trend Fair, Coex Hall(1,2), Seoul

Posco Steel Art Award, Posco art museum, Seoul

Sophie Calle

, (O et Quand?)

2013. 3. 13 ~ 4. 20313 ART PROJECT, 313

313, 02-3446-3137

313artproject.com

Part of the work O et Quand? Lourdes, 2005 / 2008

Print, Text, Frame, Neon, Marble, Candle lights, Shelf

Sophie Calle

Part of the work O et Quand? Lourdes, 2005 / 2008

Print, Text, Frame, Neon, Marble, Candle lights, Shelf

Sophie Calle

O et Quand? Nulle Part, 2012

Calligraphy under Plexiglas, Books, Handwritten note, Chain and Pendent Fittany Iron

Sophie Calle

Take care of yourself. Children's writer, Marie Desplechin /

Prenez soin de vous. crivain pour la jeunesse, Marie Desplechin, 2007

Color Print, Text, Frame

Sophie Calle

Take care of youself. French intelligence officer, Louise /

Prenez soin de vous. Officier traitant de la DGSE, Louise, 2007

Color Print, Text, Frame

Sophie Calle

Take care of yourself. Expert in women's rights at the UN, Franoise Gaspard /

Prenez soin de vous. Experte des droits des femmes l'ONU, Franoise Gaspard, 2007

Color Print, Frosted Glass, Frame

Sophie Calle

313 ART PROJECT is proud to present the opening

of the solo exhibition of internationally renowned

artist, Sophie Calle (born 1953~). During the

exhibition, the public will be presented with a

selection from Calles representative series; Prenez

Soin de Vous (Take Care of Yourself), shown at the

French Pavilion at the 52nd Venice Biennale and O

et Quand? (Where and When?) a travel record to

places recommend by her clairvoyant for Calle to

seek her future.

Prenez Soin de Vous (Take Care of Yourself),

shown at the French Pavilion at the 52nd Venice

Biennale, acquired a sensation as it open a new door

to the contemporary art scene. As one of the most

comprehensive and representative series, Prenez

soin de vous is the final sentence of a break-up

email Calle received in June 2004. She perceived

this awkwardly written, unspontaneous text as a

trait of the way men write letters to women, and

asked other 107 women to analyse it according

to their specific expertise. A variant of profession

from a judge, dancer, singer, composer, diplomat,

head-hunter, criminologist and etc participated.

Each woman contributed to the co-creation by

scrutinizing, deconstructing and dissecting of the

text. By translating the womens interpretation into

3-dimensional space, Calle plays down the work

s cerebral side and accentuates its playfulness, thus

creating a vivid aesthetic object. Thus, Calle explicitly

reveal her private life where the public is able to

apply and substitute their own emotion creating a

catharsis. Intersecting her private life by engaging

with the public, Calle is not only a representative

of the French art, but an artist that represents

conceptual art of todays generation.

Calle worked on O et Quand? (Where and

When?) since 2005 to 2011. Berck and Lourdes

are the name of the eponymous French cities which

Calle visited in the wake of her mothers death as

recommended by her clairvoyant, Maud Kristen.

Submitted to the instructions of a stranger, Calle

oddly corresponds to the clairvoyants detailed

313

(Sophie Calle, 1953~) 3 13

~4 20 . 2007

(Take Care of Yourself, Prenez

Soin de Vous)

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(Where and When?, O et Quand?)

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(Take Care of

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provision of the scheduled trips from train schedule,

place of accommodation, people to meet, subject

of conversation and etc. Here, Calle accumulates

the conversation with other strangers that she has

encountered in her journey. The perception that

people want to know their future and once this is

known they want to control their own destiny was

a revelation to Calles works. These series poses the

question of dominance and subordination, authority

and obedience, self-determination and other-

directness.

Since Calle is not afraid to explicitly reveal her private

life, she uses her surroundings and actual figures

as regular subjects. In respect, her oeuvres have a

specific target but it is not limited to characters or

events which the general public may define. Thus,

Calle is also known not only as an artist but also a

writer and movie director as her works are expressed

as 3D writing rather than narratives.

Since the 1970s, Calle has been leading a new wave

in the contemporary art through adding artistic

performance in conceptual art. Such an example

of a performance would be taking pictures whilst

following a stranger from Paris to Venice (Suite

Venitienne, 1979), inviting strangers to sleep on her

bed (The Shadow,1981), hire a private detective

to follow her discretely (The Shadow, disguise as a

hotel janitor and analyze left over notes that Calle

picked up from the guests room (The Hotel, 1981)

and many more. These performances created a new

wave to the world of contemporary art.

Calles works have been exhibited internationally

including solo exhibitions in Festival dAvignon,

France (2012), Rencontres Internationales de la

photographies, Arles, France (2012), Palais de

Tokyo, Paris (2010) Musee dArt Moderne et dArt

Contemporain, Nice (2010), De Pont Foundation,

Tilburg, Netherland (2009), Palais des Beaux-Arts,

Brussels (2009), Metropolitan Museum of Art, New

York (2009) and many more. Whilst her group

exhibitions include The Pulitzer Foundation

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Hotel, 1981)

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(Malakoff) .

(Festival dAvignon, 2012),

(Rencontres Internationales de

la photographies, 2012), (Palais

de Tokyo, 2010), (Musee dArt

Moderne et dArt Contemporain, 2010),

(De Pont Foundation, 2009),

(Palais des Beaux-Arts, 2009),

(Metropolitan Museum of

Art, 2009), (Whitechapel Art

Gallery, 2009) .

(The Pulitzer Foundation

for the Arts, 2012),

(Schirn Kunsthalle Frankfurt, 2012),

(Tate Modern, 2010),

(Guggenheim Museum New York, 2010),

(Leeum, 2010), PS1 (PS1

Contemporary Art Center, 2010),

(Royal Academy of Arts, 2009),

(Pompidou Centre, 2007) .

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for the Arts, St. Louis Missouri, U.S.A (2012),

Schirn Kunsthalle Frankfurt, Germany (2012), Tate

Modern, London (2010), Guggenheim Museum,

New York (2010), Leeum Samsung Museum of

Art, Seoul (2010), PS1 Contemporary Art Center,

New York (2010) Royal Academy of Arts, London

(2009), Pompidou Centre, Paris (2007) and many

more. Her works are collected in various places

around the world including Tate Modern in London,

De Font Museum of Contemporary Art in Tilburg,

Metropolitan Museum of Art in New York and many

more.

Located in the center of Seouls nouveau art hub and

since its opening on June 2010, 313 ART PROJECT

has exhibited works of artists such as Gilbert &

George, Vik Muniz, Erik Bulatov, Teresita Fernandez,

Ashley Bickerton, Xavier Veilhan, Jon Kessler, Tony

Oursler and many more prominent artists around

the world. 313 ART PROJECT has committed to

introducing preeminent oeuvres of important

international contemporary artists to the Korean art

audience.

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Yook Keun Byung

+ Sound of Silence

2013. 3. 21 ~ 4. 20Pyo Gallery

314, 02-543-7337

www.pyoart.com

Yook Keun Byung , The sound of landscape=Site energy_220cmx146.67cm _C-print Color_2010

+ Sound of Silence

A season that all living things come alive again is arrived.

For March when the energy of all creation is revived, we prepare an exhibition of Yook Keun Byungs work

presenting the vitality of nature.

The exhibition is composed by series and series. It is expected to

show artists passionate survey for a history and a nature that he has studied since his debut in 1992.

series are photograph works which took grasses in forest are taken after

visiting somewhere in forest in many times and observing closely and deeply., Actually they are a small part of forest,

as small as one span tall, although they look like huge scope of forest. The photos seem to prove that small and

insignificant creatures also keep the remarkable energy of the earth to themselves. With the marking of Ankh +

that has been symbolized the life since the ancient Egypt, it signifies the date and time when he has visited there. In

addition, it represents his philosophy on life (past=present=future) that even a split second capturing trivial objects

have a meaning as a part of the history.

series are shot-cut video works that are 5-10 minutes durations with no sound, recorded specific

moments of the nature such as fog lifting, sun rising, wind blowing, raining. However the silence in his works,

make us to realize ourselves as a weak organisms in the nature. Moreover it gives us more magnificent echo

than any sound and makes us to meditate deeply. The passage of time marked at the bottom of the video screen

is also interpreted as importance of the present as in interpretation on the number markings on . Considering to the fact that His video works motivate viewers to enlighten that the nature

is always alive and support our lives even at the moment that people cannot recognize about the truth, it can be a

only answer for the investigation of the origin of all creation.

In terms of the fact that Yook Keun Byung who has got worldwide reputation though critical video art about

civilization shows his perspective toward the world, the Exhibition acquire important gravity at this time. Pyo Gallery

wishes that the Exhibition can be a great opportunity to provide a relaxed meditation and a vital energy for the

audience who would be enduring busy contemporary urban life though Yook Keun Byungs work implying energy of

vital life.

Pyo, Mi Sun

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Yook Keun Byung , The sound of landscape=Site energy_160cmx75.36cm)_C-print Color_2010

Yook Keun Byung , The sound of landscape=Site energy_160cmx94.48cm_C-print B&W_2010

Yook Keun Byung , The sound of landscape=Site energy_220cmx146.66cm _C-print_2010

Yook Keun Byung , Nothing_led television monitor, usb memory_9min_2013

Yook Keun Byung , Nothing_led television monitor, usb memory_10min 5sec_ 2013

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MISE-EN-SCENE

2013. 3. 28 ~ 6. 2 Leeum

2 747-18

www.leeum.org

AES+F

: The FeastofTrimalchio:Arrival ofGolden Boat,2010

/ Digitalprint/Diasec,295495cm

AES+F

Courtesy ofMAMM and Triumph Gallery,Moscow

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//////1 ////////////Halfa Second////// ,2013

12 HD ,,,

Installation with 12 HD videos,12 screens,wood,paint,fabric,etcetera.

Size variable

Adad Hannah

Jung Yeondoo

-B The Bird-B camera,2013

Diptych photography

106106cm,106x179cm

Jung Yeondoo

Gregory Crewdson

Beneath the Roses

Untitled,2007

ArchivalInkjetprint

148.6 x227.3cm

Gregory Crewdson

Courtesy Gagosian Gallery

| Eve Sussman|Rufus Corporation

89 89 Seconds atAlcazar

[ - Video still-Dog Rolls]

2004

Video

10:00 loop

Eve Sussman|Rufus Corporation

Yang Fudong

The Fifth Night[ Video still],2010

7 7 Channelvideo installation

10:37 loop

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Story within a story

2013. 3. 29 ~ 5. 20TOYOTA PHOTO SPACE

299 , 051-731-6200

www.toyotaphotospace.org

KyungJa Jeong , Story within a Story_01, Digital Pigment Print, 100x100cm, 2010

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KyungJa Jeong story within a story_07, Digital Pigment Print, 50x50cm, 2010

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KyungJa Jeong

1974

2011 Edinburgh College of Art, Contemporary Art (MA)

2007 (MFA)

1999 (BFA)

2008 Reverie, Somewhere ( , )

1998 Floating ( , )

2013 Supermarket Independent Artist Run Art Fair (Kulturhuset, , )

2012 , (, )

2011 Communal Garden (Carnival of Monsters, Nottingham, )

In between Something and Nothing - Reflections of Space (Edinburgh College of Art, )

2009 2 ( , )

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2007 Round Trip ; Into the garden of my mind (, )

Academy Lights (The Central Academy of Fine Arts, , )

Emerging Korean Photographers (Verkligheten, )

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2009 Lens Culture International Exposure Awards, Honorable Mention

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Jung Jung Ho

White Utterance

2013. 4. 1 ~ 4. 14

462-1, 02-396-8744

Jung Jung Ho , i, 80x100cm, pigment print, 2013

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Artist Statement

Photography is a medium that documents the world

realistically. It is also work of reckoning and interpreting

implications lent to the layers of represented signifiers.

What I want to do through photography is to document

the visible yet allude to the invisible. I can encapsulate

nature, but grasping its true nature is not easy. I also feel

its impossible to contain the invisible with the camera

lens to represent the world realistically. After several

failures I begin concentrating on the sounds of nature

and my inner self. I press the shutter according to my will

at the moment, disregarding conventional techniques

such as composition and depth academic photographs

demand.

Captivated by snow and white, I wander a field,

following my intuition without knowing what I have

to photograph. I take photographs at random. I

pursue spiritual freedom, departing from conventional

composition. I trust contingency stemming from

intuitive angles, relying on my hunch. My camera at last

begins capturing the boundaries between the visible and

invisible, and some images inspire my mind.

When seeing photographs, viewers try to learn the

messages they convey. My photographs can be said

to be ambiguous images with no concrete objects or

message, or abstract images composed of dots, lines,

and planes. However, this simplicity and ambiguity

refers to another expansion. I hope viewers can discover

invisible or unintentional meanings through only part of

these visual, perceptual scenes.

Wassily Kandinsky said White is an absolute silence

full of possibility. This is nothingness with youth: more

exactly, nothingness before inception and birth. My

white is a blank space to fill and an utterance of my

inner will to start something. It is a sublime silence and

simultaneously an outcry. Snow becomes another eye to

see the world in my photography

Jung Jung Ho , i Tension in Black I,64x80cm,pigment print, 2012

Jung Jung Ho , ii Tension in Black ii, 64x80cm,pigment print, 2012

Jung Jung Ho , iii Tension in Black iii,64x80cm,pigment print, 2012

Jung Jung Ho , iv Tension in Black iv, 64x80cm,pigment print, 2012

Jung Jung Ho , () The State of All Things 80240cm, pigment print 2012

Jung Jung Ho , i White from Black i,64x80cm,pigment print, 2012

Jung Jung Ho , ii White from Black ii,64x80cm,pigment print, 2012

Jung Jung Ho , ii Black and White ii,64x80cm,pigment print, 2012

Jung Jung Ho , iii Black and White iii,64x80cm,pigment print, 2012

Jung Jung Ho , ii White, White Utterance ii, 80x100cm, pigment print, 2013

Jung Jung Ho , iii White, White Utterance iii, 80x100cm, pigment print, 2013

Jung Jung Ho , vi White, White Utterance vi, 80x100cm, pigment print, 2013

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On the Chaosmos of Black and White

Literature-Art Critic & Dankook University Professor By

Yoo Heon-sik

What we above all take note of is change in black and

white forms. Starting from a black agile dot reminiscent

of ohm, the primal sound of the universe, Jung Jung-ho

s work features black ovals, and finally shows concrete

tree shapes. The transition in Jungs photographic work

coincidently follows the basic movement of Tao, or way,

or principle: The Tao produced One; One produced

Two; Two produced Three; Three produced All things.

(Chapter 42, Tao Te Ching by Laozi)

If we define Tao as nothingness, one concentric circle

refers to the emergence of One; the two circles to the

creation and expansion of Two; and three circles to the

emergence and expansion of Three. Diverse physical

aspects of the Three, that is, the results of change in all

things are subsequently appearing in his tree images.

As being derived from nothing becomes enriched,

the imagery is filled with black. Reversal occurs here.

Returning is the movement of Tao (),

(Chapter 40, Tao Te Ching by Laozi). White defeated

by black launches its counterattack. As white infiltrates

gradually into the territory of black, the whole turns

into white. From now on, the feast of white begins.

Returning to the world of white, the original ground,

the amusement of lines stemming from white flow

throughout his scene.

Jungs works on display at the show are metaphysical,

ontological abstract forms. The dynamics between black

and white monochromes in the first part can be read

as the correlation between nothing and being. Works

in the second part are composed of abstract images

rendered through contact between white and white

up close or far away. The dim lines derived from the

contrast between snow(white) and ice(black) and hills

capped with snow emerge. Diverse curves are formed

through the movement of the border between black

and white and encounters of white and white.

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Even if applying the theme of Hegels dialectic: that

the creation of being derives from the attractive and

repulsive forces of being and nothing, Jungs work

symbolically displays the fact that there is always inter-

infiltration between being and nothing, mutual struggle

and mutual recognition between something and nothing

in creation, and the result returns to white.

Hamlets shout To be, or not to be, that is the question

refers to the primal nature of human existence. The

shaking border between black and white is neither

chaos nor cosmos, but the two. This thus can be

called chaosmos. As the border or chaosmos moves

depending on the dynamics of forces, one orients to

life, and the other to death. In Jungs work this appears

as morphologic imbalance according to inter-infiltration

and dynamics between black and white.

Interpretation of black and white in his work is an issue.

According to Wassily Kandinsky, White is an absolute

silence full of possibility. This is nothingness before

inception and birth. By contrast, Black is nothing

without possibility, an eternal silence without future

or hope. This description on black and white almost

corresponds to the above interpretation of Jungs work.

White as nothing is the formless source of life and form

whereas black as nothing proceeds to extinction as

form. As white corresponds to the infinite and black

to the finite, the process of returning to white through

black signifies the fate of black within white. In this

respect we can understand the ontological order of his

oeuvre.

The order of black and white can be grasped from a

different perspective however: a scene starts from black,

and finishes with white as gradually infiltrating white.

While the interpretation above is based on the Taoist

world-view, this is anchored to the Christian world-view.

In Genesis Chapter 1 chaos and darkness is nothing

or black as the negative ousted by light(white), Logos.

That is to say, black is chaos(darkness) in the beginning

and not the source of life, whereas white works as

the driving force giving rise to life, denying black in

connection with light. The two cases see white as the

source of life, but the source of existence can be white

or black depending on the world view. What perspective

does Jung see within the origin of the world?

We take note of not only tension and resonance derived

from confrontation and interpenetration between

black and white, but self-rupture within black and

interrelation between white. Jung seems to use black

s chromatological meaning mixed with its ontological

meaning. If he sees black simply as darkness and death,

white as the source of life, no movement appears in

black or evil has to emerge from black. However, the

rhythm of life is sensed in rupture within black. At the

moment black secures the affirmative possibility of life,

white loses its ontological meaning, deteriorating to a

passive object

White passivity appears in work of the second part

reveals only the vague borders of the hills while relying

on the white of snow. Jung Jung-ho unconsciously

moves to blacks ontological meaning from its

chromatological meaning. Black has the ability of

bearing new life in itself as an unidentified undefined

object(chaos). This may be correct in that it corresponds

to the black hole and chaos theories in modern physics.

We just need to seriously consider in what context we

use black and white.

Before photographs could capture natural phenomena

abstractly, viewers often used their infinite poetic

imagination. Jungs photographs are highly impromptu

and abstract however, the task assigned to the abstract

photographer is how to attain objectivity, reducing

subjective interpretation, and how to convert the

casual into the inevitable. As photography relies more

heavily on external conditions than other art genres, it is

always hard to embody the meaning of inevitability and

objectivity in contingency. Jung nonetheless has taken

a significant step in raising abstract images captured

from nature to objective, inevitable metaphysical forms,

anchored to his individual life experience and thought.

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2009

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2013 33, ,

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2012 In-Sight, ,

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Jung Jung HoEducation

2012 Studied from dept of Photography ,

Graduate School of Hongik University

2009 Graduated from dept of Mass Communication,

School of Kunkuk University

Solo Exhibition

2013 White Utterance, Gallery Pyeungchangdong, Seoul, Korea

2005 Beautiful Moment, Gallery Quesaisju, Seoul, Korea

Group Exhibition

2013 33 Artist, Gallery Pyeungchangdong, Seoul, Korea

2013 Art Link Project, Insa Art Center, Seoul, Korea

2013 Art Link Project, Alpensia Convention, Pyungchang, Korea

2012 In-sight, HOMA museum, Hongik Univ. Seoul, Korea

2012 Daily Life Abstract Seoul, Unofficial Preview Gallery,

Seoul, Korea

2012 SCAF Contemporary Art Star,

Seoul Art Center Hangaram Museum, Seoul, Korea

2012 Art Preview and Portfoilo show, Sejong Univ. Seoul, Korea

2012 Daegu Photo Biennale- International Young Photographer,

Bongsan Center, Daegu, Korea

2012 ASYAAF, Culture Station Seoul 284, Korea

2011 Post Photo, Gong Art Space, Seoul, Korea

2011 Pingyao Photo Festival, Sansi, China

2010 Post Photo, Ilum Gallery, Seoul, Korea

2009 IVI Photo, Gwanghwamun Gallery, Seoul, Korea

2008 Variation of String, Chonggye Town Square, Seoul, Korea

2008 Magnum Photo Award,

Seoul Art Center-Hangaram Museum, Seoul, Korea

2008 Korean Air Photo Award, Sejong Art Center, Seoul, Korea

2007 Pathos of Salaryman, LIG Art Center, Seoul, Korea

2006 Korean Air Photo Award, Gongpyeong Art Center,

Seoul, Korea

2004 Photo, Gallery Woorim, Seoul, Korea

Award

2013 Cyart New Discourse Artist

2012 Art Preview and Portfolio Show Award

2008 Hankook Ilbo Photo Essay Award

2008 Magnum Photo Award

2008 Intel International Photo Award

2007 National Geographic International Photo Award

2007 Korean Air Photo Award

Book

2011 Gift of Himalaya, Gimyoungsa, Korea

Kim Gun Woo

2013. 4. 2 ~ 4. 14Ryugaheon

7-10 / 3 4 , 02 720 2010

www.ryugaheon.com

Kim Gun Woo _ Less traveled #03 _ pigment print 16.5 x 23.4in

Kim Gun Woo _ Delighted in #01 _ pigment print 23.4 x 16.5in

Kim Gun Woo _ Delighted in #05 _ pigment print 16.5 x 23.4in

Kim Gun Woo _ Less traveled #02 _ pigment print 16.5 x 23.4in

Kim Gun Woo _ Who seeks finds #05 _ pigment print 16.5 x 23.4in

(Kim Gun Woo)

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Ahn Sung Jun

Mime

2013. 4. 3 ~ 4. 9 GALLERY LUX

185 3F, 02-720-8488

www.gallerylux.net

, Mime_#01_ _110X134cm__ _2012

, Mime_#07_ _110X134cm__1_2013

, Mime_#12_ _110X134cm___2012

, Mime_#13_ _110X134cm__ _2010

, Mime_#14_ _110X134cm__ _2010

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2011

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2011 IN-COMPLETION_

2011 , Seoul Museum of Art, Seoul

Li Gang

Mongolia's pony express

2013. 4. 3 ~ 4. 23gallery Now

192-13 3, 02-725-2930

www.gallery-now.com

Li Gang

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SEOUL PHOTO 2012 FOTOMORROW PROJECT SECLECTED ARTIST

HEEDOO JUNG

Resonance of memories :

Private Monument

2013. 4. 4 ~ 4. 7Coex

159, 2F C-58 02.6000.1597

www.seoul-photo.com

Heedoo Jung , The Desk and STUDIO playground48.3x32.9cm _ archival pigment print _ 2011

Everyone has memories and recollections deeply entrenched in his heart, whether they are beautiful or sad.

To me, places in the photographs are where myself and others share memories. In there, traces of countless

memories together exist and resonate. This work is about the 'memories' dwelling in those places. Everyone has his

own special and precious memories in their own special places, even if that place is very ordinary.

is, with the first work in the series , the second

work of the series. series is a work about the memories of the author, myself. In the

work , I wanted to talk about not only mine but memories and recollections of unspecified

individuals, that is the traces of memories of myself and others, through the convenient store in the Hangang park,

where all Seoulites have visited at least once. The audience look at the photo of the convenience store, its interior

erased by light due to a long exposure, and tracing memories of the objects they remember. I wanted to find the

connection between the two by emotionally applying pieces of countless memories and recollections dwelling in the

space called convenience store through the act of taking pictures.

Likewise, in the second work , two objects are juxtaposed in one image. One dimension is the

private place in the past memories and it becomes the 'ground' in the image. Another one is the 'figure' existing in

the present or the closest past memory. I wanted to express how the two memories scattered and existing in the

different dimensions of spaces in my head resonate in one space.

The way of connecting a specific time and an objet in the way of remembering and recollecting the past amplifies

the strength of memories. An objet can be considered as a kind of monument which has the memories of 'someone'

who wants to remember a certain moment. However this monument will eventually lapse, unlike common

monuments that are filled with collective memories.

Everyone has memories and recollections deeply entrenched in his heart, whether they are beautiful or sad.

People build little monuments in their heads.

Can the memories be engraved under the monument?

Resonance of memories : Private MonumentJUNG HEEDOO

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Heedoo Jung , The Lightbox and Playground in apartment48.3x32.9cm _ archival pigment print _ 2011

Heedoo Jung , The Desk and Parking lot at studio48.3x32.9cm _ archival pigment print _ 2011

Heedoo Jung , The Scooter AURA100 and Ground parking lot at apartment48.3x32.9cm _ archival pigment print _ 2012

Heedoo Jung , The Sewing machine and Bamboo grove at Myungawon48.3x32.9cm _ archival pigment print _ 2012

Heedoo Jung , The Easel and Bamboo grove at Myungawon48.3x32.9cm _ archival pigment print _ 2012

Heedoo Jung , The Stuff and Her room48.3x32.9cm _ archival pigment print _ 2012

Heedoo Jung , The Desk and Myungawon office48.3x32.9cm _ archival pigment print / 2012

Heedoo Jung , The Scooter AURA100 and Underground parking lot at apartment48.3x32.9cm _ archival pigment print / 2012

Heedoo Jung , The mat and Hangang park48.3x32.9cm _ archival pigment print / 2013

Heedoo Jung , The vehicle and Underground parking lot at mall48.3x32.9cm _ archival pigment print / 2013

Heedoo Jung , Convenience store #03-266.5x100cm _ archival pigment print / 2010

Jung Heedoo

Born 1981 in Seoul, Korea.

Organized 'THE PLAYGROUND PROJECT' ( http://www.playgroundst.net )

Education

2012 Granted master's degree in Hongik University Graduate School of Industrial Art, Photographic Design, MFA

2008 Graduated from Soongsil University, Dept. of Chemistry / Economics, BS

Group Exhibitions

2013 SEOUL PHOTO 2013 / FOTOmorrow CHOICE 2012' COEX, Seoul

2012 2012 ASYAAF Culture Station Seoul 284, Seoul

2012 PHOTO FAIR 2012' COEX, Seoul

2012 Mangwon-dong Work:room Exhibition' J1 gallery, Seoul

2012 2012 Waiting for a new picture AP gallery, Seoul

2011 POINTfeed Project GALLERY BODA CONTEMPORARY, Seoul

2011 POST-PHOTO 9th KWANHOON gallery, Seoul

2011 PHOTO Pleasure Exhibition' gallery GLEEMAN, Seoul

2011 2011 Seoul Contemporary New Generation Art Star Exhibition Seoul Arts Center Hangaram Art Museum,

Seoul

2011 2011 ASYAAF Hongik Museum of Art, HOMA, Seoul

2011 JUNG HEEDOO and CHOI JISUN :: THE PLAYGROUND PROJECT-1 GALLERY LUX, Seoul

2010 POST-PHOTO 8th TOPOHAUS, Seoul

2009 The 17th Exhibition of Korea Advertising Photographic Awards' The Advertising Culture Center, Seoul

Award

2013 'SEOUL PHOTO 2012 FOTOmorrow Project Selected Artist' Seoul, Korea

Jeong-woo Lee

To Stay

2013. 4. 4. ~ 5. 7. Trunk Gallery

462-1, 02-396-8744

www.trunkgallery.com

Jeong-woo Lee , Choi_s night, digital print_82x106cm_2013

Jeong-woo Lee , Lee_s night, digital print_136x106cm_2013

Jeong-woo Lee , Min_s night, digital print_82x106cm_2013

Jeong-woo Lee , Yoon_s night, digital print_82x106cm_2013

Jeong-woo Lee , Zang_s night, digital print_82x106cm_2013

To stay. To stay here, finally.

There are many Korean artists who are residing in Paris. The Parisian-based Korean artists each live their lives as if

they were two people. One works during the day, but at night the other does his art. The artist appears to be two

persons but is actually one. Here is the place of daily livelihood and There is a nocturnal world where he becomes

alive. He quickly brings the day to a close, and at last goes to where he has longed for. It is only when the whole

world has gone to sleep, deep in the night that he can stay here. It is only at this hour that his mind becomes lucid.

This is when the hour of the artist truly commences. The hour of the artist is the realm of creativity.

The beings who go from here to there, these artists, yearn for the hour and the realm of the night. They long for

the night. For it is at night that they reclaim their artists identity, and become master of their own time. Such an

hour for them is only a moment. It is this moment that they barely managed to stay that Jeong-woo Lee captures.

He was curious about this and that place of these people who during the day worked in the city of Paris. He went in

search of their nights.

Le Bois de Boulogne, some beach in Normandy, Granville seashore, the steps of Trocadero, and to the wheat field

of Auvers-sur-Oise where Vincent Van Gogh is buriedthese were the places he sought out. Over there, he found

familiarity, comfortableness, and coziness in each of these spaces where they each chose to be during the time

of their own choosing. In the dark spaces, bodies were sunk in deep reflection. It was their desperate gesture to

unearth something. It was their cradle of creation.

Space where they want to stay.

To stay. Staying here finally feels comfortable.

It is night. The night gives a new birth to a person. The night embraces a rebirth. It gives rich nourishment.

The night is a cradle of hope. The realm of night is a different space from the domain of day. It is a space of the

future where one awakens.

Time they want to be in control of it.

The wall is dismantled. It is a moment when time becomes space.

A space reborn.

Time and space they are content with.

The hour of fantasy, the space of fantasy, it is comfortable.

It feels like ones hometown.

The Korean artists in Paris have come to stay there, in that place.

Trunkgallery Director Park, Young Sook

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humor:us

2013. 4. 4 ~ 5. 19space k K

Sukkuhn Oh, Jungho Oak, JoSeub

600-2 2F, 053-766-9377

www.spacek.co.kr

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_The Text Book Cover(Rock Scissors Paper)Digital c-print__26x32cm_2006

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Sukkuhn Oh _The Text Book(Chulsoo & Younghee) p37_Digital c-print_26x32cm_2006

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Sukkuhn Oh _The Text Book(Chulsoo & Younghee)p172_60x73cm Digital c-print_2007

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Sukkuhn Oh _The Text Book(Chulsoo & Younghee)p181_Digital c-print_60x73cm_2007

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Sukkuhn Oh

b.1979

Education

2005 , Nottingham Trent University. School of Art & Design

Selected Solo Exhibitions

2012 + , 179, 180 ,

2011 , ,

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2010 , , ,

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2008 , ,

2007 Bare Exposure, ,

2005 Bare Exposure, , , ,

Selected Group Exhibitions

2013 , , ,

2012 Flesh & Bone, Portland Art Museum, ,

City States, Liverpool Biennial, ,

Meta Empire : Young Artists Project 2012, ,

Twisted, ,

Emerging : New Photography Acquisitions, Portland Art Museum, ,

10-1, ,

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2010 ATU (Alternative, Translate, Universe), ,

Otonarisan, Gallery Artlier & Kyushu University Museum, ,

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Chaotic Harmony, Santa Barbara Museum of Art, ,

A4 Demo : Art For Democracy, 13 14 .

Double Interview, Art Space Hue & I-MYU Projects ,

Mind Games, Australian Centre for Photography, ,

Waseda Photojournalism Festival, 125 Memorial Gallery of Waseda University & Visual Arts

Gallery, ,

2009 Chaotic Harmony, The Museum of Fine Arts, Houston, ,

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City-Ray, ,

The Photograph as Contemporary Art, ,

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Urban & Culture, , ,

Identity, Costume, Cliche: Korean Photography Today, PCNW, ,

Young Portfoilio 2008, , ,

Mexico Photo Biennial, Centro De la Imagen, ,

2008 2008, I am an Artist, ,

2008 The Battle of Taste, ,

Discoveries Exhibition of Fotofest, , ,

2007 , , ,

Kinora Experimental Film Opera, ,

Residency

2012 3

2011 2

Jungho Oak _-_Digital print_127x152cm_2011

humor:us

Jungho Oak _ __Digital print_127x152cm_2011

humor:us

Jungho Oak _ _Digital print_127x152cm_2011

humor:us

Jungho Oak _-_Digital print_101.6127cm_2007

humor:us

Jungho Oak _-_Digital print_127x152cm_2011

humor:us

Jungho Oak

b.1974

Education

2008

2003

Solo Exhibitions

2011 , ,

2006 FREE PLASTIC, 175,

2005 , ,


2012 , 284,

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2012, Leeum,

2011 ,

2010 A4 DEMO, LAB39,

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Art in Busan 2008: ,

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MoA Cineforum 4 : Digital Portfolio,

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Everyday is not the same, BizArt Art Center,

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2010~2011

2010 18th Street Art Center , Santa Monica, CA, USA

2008

JoSeub _Break of Day-_Digital light-jet print_12986cm_2012

JoSeub _Dance-_Digital light-jet print_12986cm(each)_2012

humor:us

JoSeub _Nest-_Digital light-jet print_12986cm(each)_2012

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JoSeub _Reed&Willow-_Digital light-jet print_12986cm(each)_2012

humor:us

JoSeub _Tree-_Digital Light-Jet print_12986cm_2012

JoSeub

b.1975

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Kim HyeJin

2013. 4. 5 ~ 4. 17BAEDARI Photo Gallary

14-10, 070-4142-0897

www.uram54.com

[ 1], , -1, digital print, 120x90cm.

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Traces of Consciousness

2013. 4. 10 ~ 4. 15gana art space

119 , 02-725-9256

www.insaartcenter.com

Kim Ji Ho , Traces of Consciousness #2


Traces of Consciousness

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Lee, Mihong

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2013. 4. 9 ~ 4. 15Seongnam Arts Center

808, 0310783-8000

www.snart.or.kr

Lee Mihong , Achival Pigment Print 70x105cm


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Yang, yang-keum

Mudflat, God's Garden

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2013. 4. 10 ~ 4. 16topohaus

184 2, 02-734-7555

www.topohaus.com

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GERHARD GROSS ( )

Appreciating the detail. 4 stories.

2013. 4. 10 ~ 4. 23GALLERY LUX

185 3F, 720-8488

www.gallerylux.net

GERHARD GROSS, Freeze frame


GERHARD GROSS, Study of the refusal of order: The Butterfly Effect

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freezeframe( 2006 / 2007 )

Nocturnal house facades offer the spectacle of a multiple stage play - small stages on multiple floors synchronously

play play private shows with enigmatic content, changing participation and differing plot. Performances with

anonymous actors, which may last for hours and eventually come to an end with no discernible climax by simply

switching off the lights.

The series "freeze frame" shows examples of nocturnal windows, which were being targeted from a safe distance

with a telephoto lens and greatly enlarged. In the twilight zone of indiscretion and voyeurism the images capture

insights into the privacy of anonymous city dwellers. Man is visible only in exceptional cases, predominantly the the

surrounding residential area serves as an intimate information.

Over a period of several months changes in selected targets were documented, preferably night by night. Not the

people and their actions have been under observation, but the tracks that draw their everyday lives. The distant

view through dark branches and blurred window glass often makes merely vague details and the coloring of privacy

observable.

The observer feels to be in a kind of unnoticed position of power, its pleasure is premised on the discovery of more

and more ultimately unimportan, details. Insight for insight the fragmentary illusion of a precise imagination of the

people living behind the window seems to build up. Picture by picture a story begins to develop - frozen sequences

from a variety of plays that became apparent behind the windows of house facades.

Study of the refusal of order. The Butterfly Effect.( 2010 / 2011 )

10 prints, 50x70 cm, framed

The basic idea is an analysis of norms or common standards and systems of ordering within social life.

Patterns of behaviour, which are beyond these norms or which deliberately refuse to comply to it, are being

monitored. The effects of these deviances are being recorded.

Every two months the content of a crockery basket secretly has been put into its original order. The changes have

been documented over a period of several months.

Snow2012 ( Sarajevo, Bosnia )

3 prints on Diasec, 55x15 cm

A sequence of three single images illustrate the photographers cautious approach and movement around the

chosen motif. It is a timeconsuming procedure of physical appropriation with the aim of an authentic representation

of the perceived situation. A scenario characterized by a strong element of silence and an euphoric feeling of

disorientation in terms of space and time while focusing on the visual phenomenon.

mirror cuts_quartett A-D ( 1991 / 2006 )6 prints on Diasec, 33x48 cm

mirror cuts are easily produced, and easy to consume.

An image editing program is being used for a very simple manipulation that moves minor details into the center of

inspection through cutting out the center (the essence) of the original motive and finally reduplicating what is left.

The results are concentrates of car design elements - stereotypes which somehow look familiar and real, but rather

originating from a cartoon virtuality.

GERHARD GROSS 1968, in Graz, Austria

2012 3 cycles, Bosanski Kulturni Centar, Tuzla, BIH

2011 efekat leptira/butterfly effect, Golden Eye Gallery, Novi Sad, SRB

2010 mirror cuts, HTBLA Bruck/Mur, A

2009 at dark, Spomen dom Pazin, Pazin, HR

ICONS, Galerija Most, Novi Sad, SRB

2008 seattle works, Gallery Fair, Month of Photography Ljubljana, SLO

2007 freezeframes, airport gallery, Graz, A

freezeframes, MP_art Cafe, Novi Sad, SM

2005 mirror cuts, Galerie SPOT, Zagreb, HR

mirror cuts, Golden Eye Gallery, Novi Sad, SRB

2004 mirror cuts, SKC, Belgrade , SRB

flying scopes & more, Univerzitetna knji nica Maribor, SLO

2003 mirror cuts, Joanneum Ecksaal, Graz, A

Hotel, Retzhof, Leitring, A

1997 soft graffiti, Galerie am M lkersteig, Vienna, A

soft graffiti, Raum fr Kunst, Graz, A

1995- Meridian-Koordinate, permanent outdoor installation, Pekarna / Maribor, SLO

1994 Schlaraffenland, Raum fr Kunst, Graz, A

2

2008 ICONS, Galerie Marenzi, Leibnitz, A (with Bruno Richard, F)

de-sense/re-sense, ESC, Graz, A (with Myung-Seop Hong, ROK)

freezeframes, Austrian Cultural Forum Zagreb, HR (with Bruno Richard, F)

2003 flying scopes, Beograd Gallery, Belgrad, SRB (with Dejan Grba, SRB)

2001 A vos marques, Galerie TohuBohu, Marseille, F (with Carole Monterrain, F)

1997 manifeste laafeld / potrna 97, Pavelhaus, Laafeld, A (with Borut Popenko, SLO)

1991 Birne. experimental music, Technical University Graz, A (with Andreas Weisz, A)

Belgrade, Bratislava, Budapest, Dubrovnik, Gornji Milanovac, Graz, Innsbruck, Kosice, Leibnitz, Linz, Ljubljana,

Maribor, Mostar, Osijek, Pecs, Porec, Poznan, Prishtina, Sarajevo, Tirana, Warszawa, Wroclaw, Zagreb

,

2003 City of Graz Photo Promotion Award 2003

2000 Magister of Philosophy (art history)

1997 artist in residence, Dubrovnik, HR

1995/96 scholarship, University of California (UCLA), Los Angeles, USA

1995 artist in residence, Pekarna, Maribor, SLO

since 1989: member of gruppe ERGO

Won Seoung-Won

Character Episode I

2013. 4. 11 ~ 5. 9ARTSIDE GALLERY

33, 02-725-1020

www.goeunmuseum.org

Won Seoung-Won , , C-print, 2013

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Won Seoung-Won , , C-print, 2013

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PhotoView 2013.4(April)-A