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Seoul  K1,  K2     Busan

Kibong Rhee

Where You Stand

November 17 – December 31, 2022

Seoul  K3

Korakrit Arunanondchai

"Image, Symbol, Prayer"

December 15, 2022 – January 29, 2023


Haegue Yang

Press Release

양혜규, 2022년 하반기 주요 활동 동향 공개


Group exhibition
Museum in Motion
Museum of Contemporary Art, Antwerp
September 16, 2022 - January 8, 2023


Group exhibition
Monochrome Multitudes
September 22, 2022 - January 8, 2023
Smart Museum at the University of Chicago
Curators: Orianna Cacchione, Christine Mehring


Singapore Biennale 2022: Natasha
October 16, 2022 - March 19, 2023
Co-Artistic Directors: Binna Choi, Nida Ghouse, June Yap and Ala Younis


Okayama Art Summit 2022: Do we dream under the same sky
September 30 - November 27, 2022
Okayama, Japan
Artistic Director: Rirkrit Tiravanija


Solo exhibition
M+ Commission: Haegue Yang
November 12, 2021 - August 24, 2022
M+, Hong Kong
Commissioner: Doryun Chong


Solo exhibition
양혜규: 이중 영혼
Haegue Yang: Double Soul
March 5 - July 31, 2022
SMK – National Gallery of Denmark
Curator: Marianne Torpe

November 2022

Haegue Yang and Daniel Boyd Participate in the Okayama Art Summit 2022
Haegue Yang and Daniel Boyd are currently participating in the Okayama Art Summit 2022, an international art exhibition held in Okayama City, Japan, every three years. With the contemporary artist Rikrit Tiravanija as artistic director, this year’s triennale takes place across ten historical and cultural sites in Okayama City, including the Okayama Castle and Korakuen Garden.
Titled Do we dream under the same sky, the triennale brings together 25 artists from various cultural and social backgrounds. As artistic director, Tiravanija aimed to highlight the “peripheral practices” of the artists who come from “itinerant backgrounds,” encouraging viewers “to dream in a sky of difference, in a sky of multiplicity, of narratives of representation that [are] peripheral to the western canon.”

For the widely anticipated triennale, the celebrated Korean contemporary artist Haegue Yang presents four works across four different venues. Installed in an open area at Ishiyama Park is An Opaque Wind – Trifid Seating in Six Folds (2022), Yang’s new sculptural complex commissioned by the Okayama Art Summit. Comprised of arched towers of varying sizes and double-sided benches branching into three, the work highlights the artist’s long-standing interest in brick, a material both universally available and locally inflected. On view at the Okayama Shrine are two new works from Mesmerizing Mesh, Yang’s series of hanji (Korean traditional paper) collages inspired by sacred paper objects employed in shamanistic rituals, while the Okayama Orient Museum showcases Sonic Cosmic Rope – Gold Dodecagon Straight Weave (2022), in which metal bells are linked together to form a geometric arrangement. Also presented in the Tenjinyama Cultural Plaza of Okayama Prefecture is Sonicwear – Gold Conical Hands (2022), evoking the sculptural costumes from the performance directed by the German artist and choreographer Oskar Schlemmer.

Participating as the only Australian artist, Daniel Boyd introduces glass façade installations, alongside a selection of videos and paintings. Displayed across the classrooms, hallways, and gymnasium of the Former Uchisange Elementary School, Boyd’s paintings appropriate images of icons that have played significant roles in Australia’s founding history. He then covers much of the painting’s surface with clear, convex dots of glue, which act as “lenses” through which one views and comprehends the world. The artist further translates this signature technique into a moving image in Yamani (2018), exhibited in the Tenjinyama Cultural Plaza of Okayama Prefecture. Featuring numerous dots that consistently move across the screen, the video metaphorically evokes the process by which an individual fills and enlightens the dark void of the unknown based on their unique background and knowledge.

Shedding light on the narratives of diverse cultural and social backgrounds beyond the Western canon, Do we dream under the same sky runs through November 27, 2022. Throughout the duration of the triennale, the Okayama Art Summit will release interview videos with participating artists, which can be viewed on its official website.

November 2022

Candida Höfer, Subject of Solo Exhibition Candida Höfer: Liechtenstein at Kunstmuseum Liechtenstein, Vaduz
Candida Höfer, the acclaimed German photographer based in Cologne, is the subject of the solo exhibition Candida Höfer: Liechtenstein at Kunstmuseum Liechtenstein, Vaduz. The exhibition presents a selection of new works by Höfer, created in Liechtenstein throughout the fall and winter of 2021. The artist has previously created a number of site-specific works across cities such as Brussels or Düsseldorf; her most recent group of works created in and for Liechtenstein lies within a similar oeuvre. For most of the works currently on view, Höfer used a large format digital camera to photograph her subjects, which are the interior and exterior structures of museums or libraries that serve a range of cultural purposes.

Höfer’s photographs are juxtaposed with selected works from two collections of the museum, creating dialogue about surfaces and materiality, geometric shapes and abstraction found in artworks from different genres and periods—ranging from classical modernism to present day. Kunstmuseum Liechtenstein und Hilti Art Foundation Vaduz I 2021, capturing the exteriors of the two buildings, inspires discourse on surfaces and materiality by being displayed alongside works by Edith Dekyndt, Bill Bollinger, and Gotthard Graubner. The exhibition allows visitors to experience Höfer’s photographs from a refreshing perspective, by presenting them within an unfamiliar context featuring other works.

Characteristic of Höfer’s oeuvre is an objective, minimalist visual idiom, a pronounced interest in structures and orders of space, followed by remarkable attention to detail. To create her images, she makes use of the light available at the various locations and spaces, avoiding using any spotlights for illumination. Carefully planned and precisely executed, the artist’s photographs are the opposite of snapshots. The subject matter bespeaks human presence and influence, even when human presence is absent in most of the spaces captured by the artist.

October 2022

Kim Yong-Ik, Ahn Kyuchul, and Hong Seung-Hye participate in the 12th Seoul Mediacity Pre-Biennale program Station
The 12th Seoul Mediacity Biennale’s pre-biennale exhibition, Station, in which leading artists like Kim Yong-Ik, Ahn Kyuchul, and Hong Seung-Hye are participating, runs through January 29, 2023, across eight cultural spaces in Seoul, including the Seoul Museum of Art, the Seoul Metropolitan Archives, and the Seoul Citizens Hall. The exhibition is designed to reflect on media art practices and experiments that have occurred in Korean art history, alongside works from the Seoul Mediacity Biennale's permanent collection, examining the perception of media art at an empirical level. More than half of the entries from 18 contemporary artists belong to the collection of the Seoul Museum of Art, representing the identity of the Seoul Mediacity Biennale, which aims to preserve the theme surrounding artistic practice and contemplation as a resource during the temporary period of the Biennale within museum’s permanent system.
One of Seoul Museum of Art’s most acclaimed international exhibitions, the Seoul Mediacity Biennale has been providing a stage for contemporary art experiments while resonating with the changing media and urban environment, ever since being established in 2000 under the name of ‘Media_City Seoul.’ When referring to the identity of this biennale, it is essential to mention the exhibition Seoul in Media, which took place three times between 1996 and 1999. The inaugural edition of Seoul in Media: 1988-2002 did not limit itself to the old media represented by paintings, calligraphy, and sculpture, introducing art that corresponded to the contemporary generation and new media such as video, installation, graphics, film, and animation; this ultimately encouraged the audience to view art as everyday objects. 
The project’s composition, in which artistic images were intercrossed with modern images flooding inside and outside the exhibition space—moving beyond the traditional way of viewing—was seen as an unconventional attempt. Meanwhile, the essential questions revealed by this encounter between artistic visuals and ever-changing cityscapes remain valid in the modern world. 

A leading modernist of the Korean art scene, Kim Yong-Ik presents Plane Object (1977), a work that represents the artist's activities and identity from the 1970s. Showcasing a piece of sprayed, wrinkled fabric pinned onto the wall, the work juxtaposes the fabric’s “real” and “imitated” wrinkles across the same plane, experimenting with the ideas of the reproduction, illusion, and momentary expression of painting. 
Ahn Kyuchul once again presents For Vincent (1994) —a series of sculptures featuring asymmetrical holes penetrating the plaster filling in mass-produced flowerpots—previously introduced in Seoul in Media - Food, Clothing, Shelter. Ambivalent concepts evoked by the work’s title and form, provide stark contrast with the conventional utilization of space, and existing, functional visual language often encountered in urban residential settings. 
Meanwhile, Hong Seung-Hye presents Organic Geometry (1999), from the eponymous series initiated in 1999, utilizing the basic elements of pixels, black and white tones, simplified shapes, repeated movements, and square-shaped frames. As a sequence and painting that forecasts the series’ future forms and structures, Organic Geometry takes upon many compositional variations including moving image and installation. 

As a platform of media art research for the last 25 years, the Seoul Mediacity Biennale has been exploring the “nowness” of art without being attributed to a specific space and time. Station, as a pre-test that examines the ideal operation of the Seoul Mediacity Biennale, which combines conditions of connected regions, non-material resources, and self-sustainable systems, provides a place to “be here and now” for the sake of artistic participation and production.

[Source from the 12th Seoul Mediacity Pre-Biennale: Station press release]

October 2022

Korakrit Arunanondchai, Subject of Solo Exhibition Songs for living / Songs for dying at Art Sonje Center, Seoul
Korakrit Arunanondchai, the renowned Thai contemporary artist who works between Bangkok and New York, is the subject of the solo exhibition Songs for dying / Songs for living at Art Sonje Center, Seoul. Marking the artist’s first solo showcase in Korea, the show introduces Songs for dying (2021), his video installation that received much critical acclaim upon its introduction in the 13th Gwangju Biennale, along with the sequel titled Songs for living (2021), recontextualizing both works in a theatrical context.

Arunanondchai, who works across a diverse range of mediums such as painting, video, and performance, is known for his practice that interweaves personal narratives and historical constructs. In Songs for dying, the artist’s personal experience pertaining to the loss of his grandfather is juxtaposed with historical episodes such as the Jeju April 3 incident¹ and the ongoing pro-democracy movement in Thailand. Using rich visual references that allude to animist rituals, the artist links together different events that are seemingly irrelevant to one another, connecting personal narratives and historical incidents in a spiritual dimension. This is the artist’s deliberate attempt to reflect on the world outside of a Western ontological framework, which is closely connected to his interest in ghosts and spirituality, founded upon his Buddhist beliefs.

Screened minutes after Songs for dying is Songs for living, the former’s sequel created in collaboration with the New York-based environment designer and cinematographer Alex Gvojic. As in his previous work, Songs for living introduces various animist symbols—ghosts, shamans, and a sea turtle—all of which function as mediums that link the material world with the spiritual, as well as the realm that cannot be explained by modern science. Songs for dying / Songs for living, which explores the concept of time beyond human life by referencing various cultural and religious narratives, runs through October 30, 2022.
¹ The Jeju April 3 Incident (also known as the Jeju Uprising) refers to one of the biggest peacetime killing of civilians in modern Korean history, which broke out when Jeju islanders held a protest against the U.S. Army Military Government. The uprising was supppressed with years of violence, resulting in the deaths of approximately 30,000 civilians.
Source: “Jeju April 3 Incident Victims to Receive Record State Compensation.” Yonhap News Agency, 27 Oct. 2021,

September 2022

양혜규, 2022년 하반기 주요 활동 동향 공개
보도자료: [국제갤러리] 양혜규, 2022년 하반기 주요 활동 동향 공개

〈2022년 하반기 미술관 전시〉
1. 《동작 중인 미술관Museum in Motion》
- 장소: 벨기에 안트베르펜 현대미술관 M HKA
- 기간: 2022년 9월 16일 – 2023년 1월 8일
- 큐레이터: 나브 학Nav Haq

지난 10여 년간 진행되었던 벨기에 왕립미술관의 대대적인 보수공사 이후 재개관하는 주요 자매 기관인 안트베르펜 왕립미술관(KMSKA)을 통해 마침내 플랑드르¹ 미술 소장선이 제자리를 되찾게 되었다. 이를 통해 미술기관들을 더욱 국제적인 수준으로 끌어올리고자 하는 플랑드르 미술계의 차세대 인프라 도약도 시작되었다. 이어 플랑드르 미술계는 동시대 미술을 전담하는 안트베르펜 현대미술관의 새로운 건물을 위해 올해 말 건축 공모전을 시작한다.
안트베르펜 현대미술관은 문제의 신관을 염두에 두고, 이미 상당한 가치의 영구 소장품 전시를 포함한 주요 사업을 개시했다. 앞으로 진행될 프로젝트들에 대한 일종의 시사회로서, 또한 왕립미술관이라는 자매기관의 올가을 재개관을 보완하는 역할로서, 특별전 《동작 중인 미술관Museum in Motion》을 개최한다. 이번 전시는 안트베르펜 현대미술관 M HKA의 소장품이 갖춰야 할 미래 이미지에 초점을 맞추되, 컬렉션 내에서 이미 중요한 위치를 점하고 있는 작가뿐만 아니라 미술관이 새롭게 포함하거나 혹은 존재감을 강화시키고자 하는 작가의 작품을 포함하고 있다. 이는 미술관의 장기적인 포부를 드러내고, 새로운 궤적의 출발을 알리는 신호이다.

현대미술관 M HKA의 운용에 대한 주요 지침서인 『Museum in Motion』에서 따온 전시 제목 《동작 중인 미술관》은 미술관의 미래 행보를 구체적으로 반영한다. 미술관 내 두 개의 주요 공간에서 선보이는 이 전시는 새로운 건물이 그 모습을 갖추는 과정에서 함께 진행될 일들의 야심찬 방향성을 제시하는 일종의 이정표이다. 《동작 중인 미술관》전에 초대된 주요 작가로는 고든 마타 클락, 야요이 쿠사마, 알란 세쿨라Allan Sekula 등 규범이 된 대가들뿐 아니라, 에텔 아드난Etel Adnan, 지미 더햄Jimmie Durham 등 최근 작고한 작가, 그리고 양혜규 작가와 비슷한 연배의 양푸동Yang Fudong, 실파 굽타Shilpa Gupta, 오토봉 엥캉가Otobong Nkanga, 로르 프루보Laure Prouvost 등도 포함되어 있다.

양혜규 작가는 이번 전시에서 2001년 베를린 아트 포럼 페어로부터 VIP 라운지 디자인을 제의받아 처음 제작한 〈브이아이피 학생회〉를 출품한다. 이후 〈브이아이피 학생회〉는 영국 브리스톨의 아놀피니 미술관(2011년), 벨기에 안트베르펜 현대미술관(2014년), 독일 본 쿤스트페어라인(2014년), 리움미술관(2015년), 쿤스트하우스 그라츠(2017년) 등에서 전시를 거듭하면서 양혜규 작가의 시그니처가 되었다. 이미 2014년 안트베르펜 현대미술관에서 한번 전시가 되기도 했던 〈브이아이피 학생회〉는 《동작 중인 미술관》에 다시 등장한다.

2001년 당시 양혜규는 특정한 사람들을 위한 배타적 공간일 수도 있는 장소를 단순히 장식하기보다는 VIP라는 정의에 주목했다. 나아가 소속 공동체에 기여하는 VIP의 사회적 역할에 주목했고, 그들로부터 의자나 테이블을 빌려서 라운지를 꾸리기에 이르렀다. 지역 인사들에게서 빌린 가구로 조성된 쉼터에서 관람객은 휴식을 취하며 전시를 조망할 수 있다.
〈브이아이피 학생회〉에서 VIP란, 작품의 취지와 개념에 공감하여 전시를 위해 가구를 대여해 준 각계각층의 사람들, 즉 실천과 참여로 작품 제작과 전시 구성에 ‘기여자’가 된 능동적인 이들을 지칭한다. 이러한 관객에 의한, 관객을 배려하는 행위는 단순한 시각적 표현 양식으로서의 미술을 넘어선 사회적 ‘환대’라고 볼 수 있다. 따라서 전시된 가구에는 사회적인 조각품이라는 추가적인 의미가 부여된다. 이 가구들은 대학 동아리방의 짝이 맞지 않는 각양각색의 가구 집합처럼 미학적으로 결코 조화롭지만은 않다. 하지만 대여자의 다채로운 취향과 계층적 지위를 여지없이 드러내는 동시에 대여자의 사회적 기여 의지를 가시적으로 보여준다. 〈브이아이피 학생회〉는 이 다양한 개별자들을 한시적 공동체로 형상화하며 해당 도시의 사회적 환대를 의인화하는 집합적 초상화를 그려낸다. 가구를 매개로 작가(착안), 대여자(협조), 관람객(감상과 이용), 그리고 미술관(실행) 사이에는 모종의 연대가 형성되고 일시적이나마 이들은 보이지 않는 공동체를 이룬다.

작가는 〈브이아이피 학생회〉를 통해 오늘날 마치 기업이나 여타 시설처럼 일사불란하게 통일된 미학으로 정돈된 미술관의 모습과 활동에 보다 사회적인 역할과 위치를 주문하고자 한다. 〈브이아이피 학생회〉는 일종의 작업지침서만으로 이루어진 개념 작업으로 볼 수 있고, 작품의 구현을 위해서는 미술관이 앞장서서 주변을 돌아보며 많은 시간과 공을 들여야 한다. 미술관은 대여자 목록을 만들고, 인사들을 접촉해서 허락을 받고, 가구를 운송하고, 전시를 꾸며야 한다. 작가는 대여자와 가구를 둘러싼 서사를 수집하고 이를 기관의 주변적 배경으로 정의하며 돌보는 이 다층적 진행 과정을 전시 도록으로 발간할 것을 미술관에 제안한다. 이와 더불어 미술관으로 하여금 이러한 개념적인 작업 역시 소장의 대상으로 고려할 수 있는 상상력과 비전을 가질 것을 요청한다.
¹ 벨기에 동(東)플랑드르와 서(西)플랑드르 2주를 중심으로 하는 지방.
2. 《모노크롬 다중Monochrome Multitudes》
- 장소: 시카고 대학교 스마트 뮤지엄Smart Museum at the University of Chicago
- 기간: 2022년 9월 22일 – 2023년 1월 8일
- 강연 날짜: 2022년 11월 17일
- 큐레이터: 오리아나 카치오네Orianna Cacchione, 크리스틴 메링Christine Mehring

‘모노크롬’을 근원적이고 확장 가능한 예술형태로 간주하고 그 역사를 돌아보는 《모노크롬 다중Monochrome Multitudes》전은 환원적으로 보이는 이 미술양식이 세계와 공명하는 방식은 물론 그것의 예술적 가능성을 탐구하며 20세기 및 21세기 미술을 보다 확장된 내러티브로 바라보고자 한다. 이번 전시는 스마트 뮤지엄이 소장품의 설치를 다변화해 이미 역사화된 규범을 재고하고 큐레이팅 전략을 새롭게 모색하고자 기획하는 ‘확장의 내러티브’ 프로젝트의 일환이다.

난해하다는 인식이 지배적인 ‘모노크롬’ 미술을 보다 쉽게 접근하고 이해할 수 있도록, 미술관은 시카고 대학교의 학생 및 교수진, 미술관 직원 및 관계자들을 총동원하여 제작한 오디오 가이드를 관람객에게 제공할 예정이다. 또한 천체물리학, 신경과학, 수학, 법률, 문학, 연극에 이르기까지 다양한 전공의 시카고 미술관 교수진, 학생, 동문 등에게 개별 작품을 설명하는 라벨object labels의 작성을 의뢰하여 다양한 목소리를 포용하는 다차원적 노력을 기울였다. 윌리 도허티Willie Doherty, 올리비에 모셋Olivier Mosset, 샬롯 포스넨스케Charlotte Posenenske, 얀 보Danh Vo 등이 함께 참여하는 본 전시는 오리아나 카치오네Orianna Cacchione와 크리스틴 메링Christine Mehring이 공동으로 큐레이팅을 맡았고, 양혜규는 새로이 의뢰받아 제작한 대형 벽걸이 형태의 〈솔 르윗 뒤집어 걸기 – 20배로 확장된, 모듈 벽 구조물〉 신작을 미술관 로비에 선보인다.

〈솔 르윗 뒤집기〉의 주된 재료는 2000년대 중반부터 양혜규 작업에 꾸준히 등장해온 블라인드이다. 블라인드로 이루어진 분할 면의 시각적 개폐성은 시점에 따라 모호한, 일종의 반투명성을 가진다. 블라인드의 다채로운 색, 형태 그리고 구조는 바람/빛/냄새 등의 감각 기제들과 섬세하게 융합되어 대형 설치물로 발전해왔다. 기존 블라인드 작품이 역사적 인물, 장소 혹은 사건이라는 서사를 품은 추상이라면, 2015년 리움미술관에서 열린 작가의 개인전 《코끼리를 쏘다 象 코끼리를 생각하다》에서 처음 소개된 〈솔 르윗 뒤집기〉는 자유로운 형식적 변주를 포기하고 구성에서 해방된, 또 다른 자유를 전유한다. 규격화된 특정 단위의 정제된 구조가 단색으로 간명하게 표현되는 〈솔 르윗 뒤집기〉를 통해 블라인드라는 재료는 극적인 전환을 맞는다.

〈2022년 하반기 비엔날레/트리엔날레 활동〉
1. 오카야마 아트 서미트, 《우리는 한 하늘 아래에서 꿈을 꾸는가Do we dream under the same sky》
- 기간: 2022년 9월 30일 – 11월 27일
- 큐레이터: 리크리트 티라바니자Rirkrit Tiravanija

오카야마 아트 서미트Okayama Art Summit는 3년 간격으로 열리는 국제적인 현대미술전으로, 리암 길릭(2016년), 피에르 위그(2019년)에 이어, 올해는 국제적인 활동으로 유명한 작가 리크리트 티라바니자(뉴욕 거주, 1961년생)의 기획 아래 주최된다. 이번 행사는 오카야마 성Okayama Castle과 오카야마 고라쿠엔Okayama Korakuen Garden 근방에 역사적, 문화적 의미에서 중요한 10여 군데의 장소에서 25명의 작가를 초대하여 9월 30일부터 11월 27일까지 약 두 달간 개최된다.

이번 전시는 지난 몇 년간 전세계를 강타한 팬데믹, 미국 내 백인우월주의, 그리고 다양한 지역에서 발현된 민족주의적 포퓰리즘에 반하는 우리의 태도와 관점을 재조율할 기회를 마련한다. 이를 위해 ‘떠돌아다니는itinerant’ 작가들의 주변자적 작업peripheral practices에 집중한다. 여기서 ‘떠돈다’는 의미에는 전시에 참여하는 대다수의 작가들의 배경이 문화적, 사회적으로 다양하다는 점을 포함한다. 설사 그들의 작업과 활동지역이 서구 예술계 패권의 중심에 위치할지라도, ‘떠돌아다니는’ 이들의 입지는 비서구적인 요소들과의 공감으로 형성되었고, 이들의 삶과 개인적 서사는 서구와는 다르게 구축되었다.

《우리는 한 하늘 아래에서 꿈을 꾸는가》라는 의문 부호가 빠진 의문문으로 이루어진 전시 제목은 어떤 열린 의문을 제시한다. 예술감독의 말을 빌리자면 ‘꿈’이란 서구적 규범의 변두리에 위치하는 다름의, 혹은 다양성의 하늘(세상) 아래 벌어지는 서사이다. 꿈을 통해 우리(참여작가와 관람객)는 규범적 입장에서 벗어난, 복합적인 정체성을 내재한 재현을 직접 경험하게 된다. 이러한 꿈은 보통의 일상에서는 포착되지 않는 이야기와 삶 그리고 사고방식, 시선, 듣는 방법, 존재 방식을 향해 우리의 마음을 연다.
양혜규 작가는 오카야마 아트 서미트의 서로 다른 전시 장소에서 총 네 가지 작업을 출품한다.

오랜 기간 양혜규는 다양한 지역과 시대를 총망라하는 기하학과 입방체 구조에 대한 관심을 시발점으로 삼아, 이러한 기하학적 시각 언어가 서로 다른 문화에서 어떻게 공통적으로 소환하는지 관찰해 왔다. 이러한 연장선에서 작가는 〈불투명 바람〉이라는 제목 하에 2015년부터 소형 지표landmark처럼 기능하는 야외 벽돌 구조물을 제작해 왔다.
양혜규는 오카야마 아트 서미트의 의뢰로, 벽돌 조각 신작인 〈불투명 바람 – 육각 안 세 갈래 자리An Opaque Wind – Trifid Seating in Six Folds〉(2022)를 이시야마 공원에서 선보인다. 작가는 세계 어디에서든 구할 수 있지만, 지역적 특성을 담고 있는 벽돌이라는 재료의 물질성materiality과 벽돌의 크기와 비율이 작업 구조의 전반적인 디자인에 영향을 준다는 사실에 주목한다. 〈불투명 바람 – 육각 안 세 갈래 자리〉는 세 갈래로 가지치기한 양방향 벤치(double-sided bench)와 아치형을 띠는 다양한 크기의 마감탑으로 구성되어 있다. 작품 제목처럼 오목한 삼각형 구조의 중심부에서 세 갈래로 뻗어 나오는 벽돌 벤치는 자연적, 인공적으로 조성된 주변환경에 대한 우리의 성찰을 유도한다. 흰색, 베이지색, 회색빛 갈색의 구운 점토벽돌을 기본으로 하되 다채로운 색조의 콘크리트 벽돌을 중간중간 배치하여 장식적 문양ornament을 암시하며, 벽돌과 무동력 흡출기 등의 모든 구성 재료는 현지에서 수급했다. 벽돌 벤치와 탑은 여섯 개 원의 교차점을 전부 연결하여 생성된 육각 기하학을 기반으로 구성되었다. 각 형태는 이 기하학 망 위에 그려진 다각형을 서로 다른 높이로 당겨 올려 추출했기 때문에 구조적이면서도 기하학적 리듬감을 느끼게 한다. 7세기부터 이슬람 디자이너들과 장인들에 의해 발달되어 온 육각형 구조는 완벽성은 물론 물질적 세상에 존재감을 드러내는 신성한 질서divine order를 상징하고, 육각형은 보편적인 존재universal being를 대변한다.

초기의 〈불투명 바람〉 연작과는 달리, 최근에는 화분에 담긴 식물이 작품의 일부로 출현한다. 신작들은 총체적인 환경건전성holistic, environmental integrity이라는 개념과 입방체 형태의 독특한 기하학적 구조를 동등하게 강조한다. 한편 회전하는 무동력 흡출기는 작품을 둘러싼 지속적인 공기와 기운의 끊임없는 움직임을 시각화한다.

두 번째로 오카야마 신토사원에서 〈황홀망恍惚網〉 두 점 〈파동 충천 아가미 넋줄기 – 황홀망恍惚網 #115〉(2022)과 〈파동 충천 물갈퀴 넋전 – 황홀망恍惚網 #116〉(2022)을 선보인다.

〈황홀망〉은 정신과 물질의 관계에 대한 양혜규의 오랜 고찰에 바탕을 두고 있다. 작가는 최근 몇 년간 유럽의 이교도적 전통과 아시아의 샤머니즘에 이르는 신비주의에 대한 예술적 연구를 심화시켰다. 작가의 이러한 시도는 종이 무구들에 영감을 받은 신작 종이 콜라주 시리즈로 이어졌다. 한국에서는 한지, 일본에서는 와시washi로 불리며 제작 과정에서 고도의 전문성을 요하는 이 종이는 뽕나무의 속껍질로 만들어지며, 정제, 치유, 퇴마, 정화 의식을 위한 물건을 만드는 데 사용된다. 종이를 접어 오린 후 다시 펼쳐 만드는 방식으로 만들어진 종이 모티프들은 대칭적인 구조를 보이는 것이 특징이다. 작가에게 이러한 종이 오브제들은 탈물질적 영역에 도달하기 위해 매개 역할을 하는 오브제들을 만들고자 하는 인간의 욕구를 상징한다.

여우, 다산, 쌀, 농사, 번영, 사업의 번창 등과 관련된 일본의 주요 토속신 중 하나인 이나리Inari를 모신 오카야마 신사에는 두 점의 〈황홀망〉 작업이 전시되어 있다. 단색의 바탕 위 각 중앙에는 하얀색 종이로 정교하게 겹겹이 층을 이루고 있는, 생명체처럼 생긴 모티프가 자리하고 있다. 작품들은 신도의 고헤이(흰 종이를 지그재그 모양으로 접어서 끼운 나무 막대기)부터 한국 무속신앙에서 고인의 영혼을 상징하고 악령을 막기 위해 제사장에 설치되는 넋전까지 아시아 지역의 원시종교적 맥락으로 볼 수 있는 종이 무구를 참고한다.

세 번째로 오카야마 시립 오리엔트 미술관Okayama Orient Museum에 설치되어 있는 〈소리 나는 우주 동아줄 – 십이각 금 반듯 엮기Sonic Cosmic Rope – Gold Dodecagon Straight Weave〉는 금속 방울을 기하학적 구조로 10m 길이로 엮은 동아줄 모양의 작품이다. 동아줄의 바깥쪽은 금색으로, 안쪽은 은색으로 이루어져 있다. 제목이 시사하듯 동아줄 형태의 이 작품은 전시장 천장으로부터 1층 바닥까지 닿을 듯 말 듯 떨어진다. 동아줄은 각종 설화에서 탈출을 위한 방도로 활용되어 왔는데, 양혜규는 특히 지상에서의 위기상황을 모면하기 위해 하늘에서 내려온 동아줄을 타고 올라가 해와 달이 된 오누이에 대한 설화로부터 영감을 얻었다.

양혜규의 방울로 제작된 〈소리 나는 조각〉 연작 중에는 힘을 가하면 움직임을 일으키거나 이를 통해 소리가 발생하기도 하는 작품들이 있다. 〈소리 나는 수호물Sonic Guard〉이나 〈소리 나는 동아줄〉은 몸체 자체가 유기적이라 유동적인 움직임을 자아낸다. 〈소리 나는 동아줄〉의 경우 손으로 흔들면 딸랑거리는 소리를 내는데, 이 소리는 작품의 거대한 곡선 형태의 움직임을 따라 공명하듯이 위아래로 연속적으로 전파되며 요동친다. 이러한 청각적, 시각적 효과는 우리의 시선을 미술관 바닥에서 천장까지 연결된 동아줄을 따라 하늘을 향하도록 유도한다. 다양한 공감각적 경험을 제공하는 양혜규의 조각은 오카야마 시립 오리엔트 미술관의 압도적인 건축 공간을 신비로운 환경으로 전환시키며, 여러 고대 문명에서 유래하는 신화적이며 우주적인 지향성을 담아낸다. 〈소리 나는 동아줄〉은 전시 관계자들에 의해 주기적으로 활성화될 예정이다.

마지막으로, 양혜규의 작업은 텐진야마 문화 센터Tenjinyama Cultural Center 2층 공간에 마련된 인덱스Index라는 이름의 기획공간에서도 볼 수 있다. 기획자인 티라바니자는 참여작가 전원에게 서미트에 출품한 작업에 대한 지표로 기능하는 참조물을 인덱스를 위해 요청했다. 이 공간에서 소개되는 〈소리 나는 의류 – 금 고깔손Sonicwear – Gold Conical Hands〉은 독일의 바우하우스 작가 오스카 슐레머의 조각적인 의상을 상기시킨다.
2. 2022 싱가포르 비엔날레 Singapore Biennale 2022, 《나타샤Natasha》
- 기간: 2022년 10월 16일 – 2023년 3월 19일
- 큐레이터: 최빛나, 니다 가우즈Nida Ghouse, 준 얍June Yap & 알라 유니스Ala Younis

제7회 싱가포르 비엔날레 2022(이하 SB2022)는 2022년 10월 16일부터 2023년 3월 19일까지 탄종 파가르 복합물류 단지Tanjong Pagar Distripark, 센토사 코브Sentosa Cove, 라자루스 섬Lazarus Island, 세인트 존스 섬St John’s Island, 얀 키트 플레이필드Yan Kit Playfield, 지역 도서관Regional Libraries, SAM 레지던시SAM Residencies, SAM 호어딩스SAM Hoardings 등 싱가포르 내 다양한 장소에서 진행된다. 싱가포르 비엔날레의 공동 예술 감독을 맡은 최빛나, 니다 가우즈Nida Ghouse, 준 야프June Yap와 알라 유니스Ala Younis는 《나타샤Natasha》라는 전시명 아래 50여 명의 작가 및 협력자로 구성된 파격적인 라인업을 발표했다. 이들은 “팬데믹으로 인해 일상 생활이 불가능해지고 그동안 많은 이들을 잃었지만, 우리는 지금 강제적이든 자발적이든 간에 급속한 정상화 과정을 목격하고 있다”면서 《나타샤》전을 통해 팬데믹 이전의 상황을 돌아보고, 팬데믹으로 경험하게 된 낯선 상황, 그에 대한 적응능력, 새 삶을 살아가면서 세상과 우리를 연결 짓는 또 다른 가능성에 대한 인지 등 다양한 가치와 환경을 환기하기를 희망한다.

양혜규 작가는 SB2022에 2인조duo 조각을 출품한다. 〈하이브리드 중간 유형 – 무성한 전기 이인조〉 (2022)는 싱가포르 비엔날레를 위해 고안된 신작으로, 인체에 비견될 만한 규모의 ‘몸체’ 사방에는 전기 콘센트가 음각과 양각으로 번갈아 조각되어 있다. 머리 위에는 형형색색의 플라스틱 채소들로 야채 정원이 가꾸어져 있고, 허리 주변에는 손잡이가 달려있다. 쌍둥이처럼 유사한 형태의 두 조각물은 공통적으로 스테인리스강 프레임으로 구성되어 있지만, 표면은 상이하게도, 하나는 방울과 플라스틱 끈으로 덮여 있고, 또 다른 하나는 등나무로 짜여 있다.

보통 현실에서 전기 콘센트란 사물은 건물 벽 뒤에 고정된 시설물로 존재한다. 그러나 〈하이브리드 중간 유형 – 무성한 전기 이인조〉에서 전기 콘센트는 독립적인 직립형 개체로 제시된다. 이 조각 작품은 형태적으로 사물과 생명체가 결합된 듯한, 즉 보다 포괄적인 하이브리드의 개념을 암시하고 있다. 또한 이 ‘사물-생명체thing-creature’는 최소한의 유사종족개체수가 필요한 생명체인 양 2인조를 이루면서 생물의 군집생태를 연상시키기도 한다. 전시명 《나타샤》처럼 작가는 비인격적인 사물, 상황, 현상 등에 대한 인간적인 인식과 그 한계를 논하는데 관심이 많다. 이 복합적이고 자기주장 강한 조각들은 손잡이를 통해 실제적이고 은유적인 움직임의 가능성을 담지한다. 인체 비율로 확대되어 현실 공간을 점유하는 이 ‘사물-생명체' 조각 듀오는 주기적으로 전시 관계자들이 ‘활성화'시켜 딱딱한 조각의 기계적인 춤을 선보일 계획이다.

September 2022

Gimhongsok and Jae-Eun Choi Participate in Group Exhibition My Sleep at Culture Station Seoul 284
Artists Gimhongsok and Jae-Eun Choi are currently participating in the group exhibition My Sleep at Culture Station Seoul 284, a multi-arts complex located in a renovated building of the former Seoul Station. Featuring works by 19 Korean contemporary artists and collectives taking inspiration from their personal experiences and observations, My Sleep explores a variety of discourses on sleep, an essential human activity.

Installed in the Central Hall on the first floor are Gimhongsok’s Donkey’s Sofa (2009), alongside his sculpture series titled Community of Silences (2017-2019). Showcasing 12 dozing, human-like figures wearing different animals masks—those of a bear, raccoon, pig, monkey, and dog—Community of Silences depicts people of various ages and occupations in Korean society, including a university student, taekwondo master, former truck driver, and famous movie star. Next to each figure stands a sign informing visitors that these figures, are in fact in the middle of a performance—a job they took up to earn a living. Vaguely in a state between being asleep and awake, or working and resting, Gimhongsok’s series of sculptures exist as a microcosm of contemporary society, as each figure represents an individual preparing to fall asleep in their respective positions.
Displayed in what used to be a spare room for VIP guests at the station is Jae-Eun Choi’s Dawn and Civilization (2022), previously introduced in April during the artist’s solo exhibition at MISA SHIN GALLERY, Tokyo. The installation comprises a miniature sculpture of a deer, which stands on a floor covered with salt and ashes, alongside a sound installation depicting water droplets falling one after another. The pile of salt—a motif that stands for the history of human civilization—is partially covered with ashes, evoking the destruction and sacrifice brought upon by disasters, as well as memories lost in time. These faint traces of the forgotten and disappeared, appear as vague as the blurred boundaries between being awake and asleep.

Meanwhile throughout August, the “Sleep Talk Series” was presented in the weekends, providing the public with an opportunity to examine the discourses on sleep, and obtain comprehensive analyses on the exhibited works. On August 20, Gimhongsok participated in the panel discussion “The Art of Sleep,” during which the artist shared his own reflections on his work. On view through September 12, 2022, My Sleep offers a refreshing perspective on the act of sleeping, often misperceived as a waste of time in today’s society, yet undeniably an essential part of human life.

August 2022

Bill Viola, Subject of Solo Exhibition Bill Viola at Museum der Moderne Salzburg, Austria
The pioneering video artist Bill Viola is the subject of an eponymous solo exhibition at Museum der Moderne Salzburg, on view through October 30, 2022. Marking the artist’s first extensive solo presentation in Austria, the exhibition provides a comprehensive overview of Viola’s practice of over five decades, which explores fundamental and existential themes pertaining to life and death.

Since the 1970s, Viola has continuously experimented with the artistic potential of video, addressing themes of the human body and spirituality. While featuring strikingly powerful, sensational imagery, Viola’s work is based on an underlying idea of hope and solidarity, making it ever more relevant in the current era marked by rapid changes and uncertainties. Among the works presented is The Raft (2004), Viola’s large-scale video installation that depicts a group of people from diverse races overtaken by a sudden rush of water, huddling together for stability and helping those who have fallen. Such a message resonates powerfully in today’s society, where the need for mutual solidarity and cooperation among the global community has grown more imperative than ever in the face of a global pandemic.
Also introduced in the exhibition are works that display the artist’s interest in various natural elements such as water, fire, and light. Five Angels for Millennium (2001), which utilizes his signature slow-motion technique, and The Reflecting Pool (1977-1979), which employs various technical strategies including mirroring and overlapping, both feature water as a central motif, symbolizing vitality and purification for a new life. Presented across a diptych of two screens mounted side by side in a dark room is Night Vigil (2004-2005), in which light and darkness serve as a reference to human desire, as well as a potent allegory of true love.

The exhibition is accompanied by a publication, which brings together selections from Viola’s writings alongside texts written by those who had a significant influence on his work. This includes: the 13th century Persian poet Jalāl ad-Dīn Muhammad Rūmī, Romanticist artist and writer William Blake, and contemporary media artist Peter Campus. Available in both English and German, the publication can be purchased on the museum’s website.

April 2022

Ugo Rondinone, Subject of Solo Exhibition burn shine fly at Scuola Grande di San Giovanni Evangelista
On the occasion of the 59th La Biennale di Venezia, the celebrated Swiss contemporary artist Ugo Rondinone will present a solo exhibition titled burn shine fly at the Scuola Grande di San Giovanni Evangelista (hereafter the Scuola), opening on April 20, 2022. The exhibition title is derived from a book of poems, you got to burn to shine (1994) by the American poet and late partner of the artist, John Giorno. Curated by Javier Molins, burn shine fly will feature iconic works by Rondinone and showcase for the first time a new body of work inspired by the historic walls of the Scuola.
Having represented Switzerland at the 52nd La Biennale di Venezia in 2007, Rondinone has maintained a close relationship with the city. In 2017, he participated in GLASSTRESS, held at the Palazzo Franchetti in Venice, where he presented an installation of 12 glass figures titled an ocean away (2017).

Founded in 1261, the Scuola is known for its imposing stone gateway, designed by the 15th-century Venetian architect Pietro Lombardo. Situated within the Scuola’s magnificent frescoed rooms, Rondinone’s works will exquisitely transform the historic site into a space that invites visitors to reflect on “the marvels and mysteries of life.” The artist has further remarked: “The sculptures in burn shine fly are natural growths out of a loam of perception and feeling I had of the Scuola Grande di San Giovanni Evangelista. The work aims to coax the sublime from the subliminal.” burn shine fly, slated to run through September 17, 2022, will be accompanied by a fully illustrated catalogue published by Skira.

February 2022

Louise Bourgeois, Subject of Solo Exhibition Louise Bourgeois: The Woven Child at the Hayward Gallery, London, UK
The internationally acclaimed contemporary master Louise Bourgeois is the subject of the solo exhibition Louise Bourgeois: The Woven Child, on view from February 9, 2022, at the Hayward Gallery in London, UK. Located at the Southbank Centre—the largest cultural institution in the UK—the Hayward Gallery has staged exhibitions featuring prominent artists such as Bruce Nauman, Anish Kapoor, Tracey Emin, and Lee Bul since opening in 1968. Bourgeois’ retrospective, which focuses exclusively on works made with fabrics and textiles, presents approximately 90 pieces created during the artist’s last two decades.

Since the mid-1990s, Bourgeois started to incorporate a range of textiles including clothing, linen, and tapestry fragments in her work. The artist, who believed in “the magic power of the needle … to repair the damage,” perceived the actions involved in fabricating these works—cutting, ripping, sewing, adjoining—as a means of coping with childhood traumas.

The installations, sculptures, collages, fabric drawings, books, and prints showcased in the exhibition often feature the spider motif recurrent throughout Bourgeois’ oeuvre. Growing up in a family that ran a tapestry restoration business, Bourgeois came to associate the spider and its ability to weave a web, with her mother. Situated in one corner of the gallery space is Spider (1997) from Bourgeois’ Cells series, which she began creating in the 1990s. Observed in the piece is a spider straddling an enclosure filled with a selection of objects, which directly reference the artist’s personal history—a broken watch, perfume, and old tapestries—evoking its role as a protector of the house.

Also showcased in the exhibition is a comprehensive selection of the artist's fabric heads. The fabric busts displaying various patterns and textures represent a range of psychological emotions including isolation, neglect, and abandonment, deeply rooted in the artist’s subconscious. Portrayed on one side of Untitled (2002) is a beast-like image that alludes to recurrent themes of duality and ambivalence present in Bourgeois’ oeuvre, expanding on the artist’s interest in animalistic desires and primitive urges inherent in humans. Alongside the fabric heads is a series of columnar figures evoking Bourgeois’ vertical pillar-like sculptures from the 1940s and 1950s, which are rendered in soft textiles instead of steel and wood, as in her older works. The exhibition, which showcases a large number of works by an artist who regarded art as a means of alleviating her childhood trauma, remains on view through May 15, 2022, and will travel to Gropius Bau, Berlin, in July 2022.

February 2022

Louise Bourgeois, Subject of Solo Exhibition Louise Bourgeois x Jenny Holzer: The Violence of Handwriting Across a Page at the Kunstmuseum Basel, Switzerland
Louise Bourgeois, one of the most prominent artists of the 20th century, is the subject of the solo exhibition Louise Bourgeois x Jenny Holzer: The Violence of Handwriting Across a Page, on view from February 19 through May 15, 2022, at the Kunstmuseum Basel, Switzerland. Curated by the American contemporary artist Jenny Holzer, the exhibition presents Bourgeois’ extensive oeuvre as seen through Holzer’s eyes. Holzer, who utilizes language as a primary medium in her work, examines the ways in which writing helped alleviate Bourgeois’ childhood trauma. Presented across the nine galleries of the Kunstmuseum Basel’s ‘Neubau’ (new building), the hallway connecting the ‘Hauptbau’ (main building) and the Neubau, and the façade of the museum, this comprehensive exhibition brings together Bourgeois’ drawings and sculptures, along with excerpts from her writings as carefully selected by Holzer.

This unprecedented encounter between two of the most influential artists of the 20th and 21st centuries begins in the Neubau. Bourgeois’ lifelong obsession over writing allowed text to remain a crucial form of her expression. Throughout the course of her psychoanalysis, which began in 1951 soon after her father’s death, Bourgeois wrote extensively, exploring the depths of her inner mind. Her writings, which describe underlying emotions and impulses, are interweaved through Bourgeois’ multifaceted practice; text is seen embroidered on fabric including underpants and handkerchiefs, stamped on lead plaques, and incorporated into selected works from her installation series, Cell.

Installed in the hallway between the Neubau and Hauptbau is Bourgeois’ monumental installation, Twosome (1991). Taking the form of a railroad tank car moving back and forth on a track, Twosome embodies the tensions and dynamics between opposing concepts—including mother and child, male and female, inside and outside. The presentation extends outdoors; from February 16 to 22, 2022, excerpts from Bourgeois’ writing were projected onto the façades of Basel’s City Hall (Rathaus), the Old University (Alte Universität) on the Rhine, and the Kunstmuseum’s Hauptbau. These texts will further be displayed on the façade of the Kunstmuseum’s Neubau for the remaining duration of the show. Also accompanying Louise Bourgeois x Jenny Holzer: The Violence of Handwriting Across a Page is an eponymous catalog published by JRP | Editions, as well as an Augmented Reality App developed by the London-based creative innovation studio Holition, providing an immersive and multisensory experience of the works on view (available on-site only).

December 2021

Bill Viola, Subject of Solo Exhibition Bill Viola: Five Angels for the Millennium at the West Bund Museum, Shanghai
The internationally renowned contemporary video artist Bill Viola is the subject of the solo exhibition Bill Viola: Five Angels for the Millennium at the West Bund Museum in Shanghai, on view from December 10, 2021. Part of the museum’s Centre Pompidou x West Bund Museum Project, running from 2019 to 2024, which presents curatorial and educational programs alongside highlights from the Centre Pompidou’s permanent collection, the exhibition showcases Five Angels for the Millennium (2001), Viola’s monumental installation composed of five videos. Widely known for his unique artistic practice that explores fundamental and existential themes by portraying universal human experiences of life and death through video, Viola presents his immersive installation at the “Box”—the museum’s space dedicated to ambitious multimedia works.

Created at the turn of the new millennium, Five Angels for the Millennium features the following five angels: the Departing Angel, Birth Angel, Fire Angel, Ascending Angel, and the Creation Angel. Filmed by the artist in 1999 using an underwater camera in a pool located in Long Beach, California, the installation was previously introduced to the Korean audiences at his solo exhibition Transfiguration (2008), at Kukje Gallery, and subsequently at Bill Viola: ENCOUNTER (2020) at Busan Museum of Art. Throughout the videos, which show each angel plunging into and rising above water, Viola utilizes his signature slow-motion technique, reversing select parts to emphasize an amplified sense of time. The scene of the angels plunging into the mysterious abyss collapse the boundaries between the immortality of the universe and the mortality of the human body, exploring opposing themes of light and dark, time and eternity, life and death. The five videos, each on loop, invite the audience to become immersed in a cosmic environment devoid of gravity. Bill Viola: Five Angels for the Millennium, which restructures and expands viewers’ fixed perceptions of time and space, will remain on view through April 10, 2022.

December 2021

SUPERFLEX Reveals Public Installation Project Play Contract at the Skulpturpark Billund in Denmark
The Danish artist collective SUPERFLEX recently unveiled their public installation project Play Contract (2021) at the Skulpturpark Billund in Denmark. The installation has been created in celebration of the 10th anniversary of the Capital of Children (CoC) project, set in Billund, the hometown of Lego. CoC, which involves several institutions, foundations, and companies based in Billund, works towards building the city into a place where children are encouraged to experience the world through play, fostering their development into innovative adults with a global mindset. In collaboration with—a Lisbon-based project group consisting of architects, curators, and educators—SUPERFLEX presents Play Contract, a set of five sculptures constructed with the help of 121 children in Billund.  

Taking into consideration that “most public art is made by adults,” SUPERFLEX and invited 121 children to design playground models with Lego blocks, then realized these prototypes in the form of pink marble installations via Play Contract. While the sculptures are created from approximately 300 uniquely shaped stones, these stones remain raw and unpolished, exposing the rough surfaces that have been made from the tools that were used to cut them. Written on the walls of the sculptures are “play contracts” as dictated by children, which are to be followed by adults who visit the work. Adults are expected to respect the children’s rather absurd and insensible set of rules and embrace their senses and points-of-view. Play Contract allows adults to discover the surprises and fun that lie in giving up the control on everyday life. Following the permanent installation of the work at the park, Play Contract, a book including relevant stories and images, will be published in the near future. 

December 2021

Daniel Boyd Participates in Group Exhibition UN/LEARNING AUSTRALIA at the Seoul Museum of Art, Korea
The Australian contemporary artist Daniel Boyd is currently part of the group exhibition UN/LEARNING AUSTRALIA, held at the Seoul Museum of Art (SeMA), Korea. Co-curated by SeMA and Artspace, Sydney, in celebration of the 60th anniversary of diplomatic relations between South Korea and Australia, the exhibition provides a comprehensive overview of Australian contemporary art through the works of 35 Australian artists, collectives, and indigenous art centers. The Korean title of the exhibition, ‘경로를 재탐색합니다 (rediscover the route),’ derives from a phrase often heard while using navigation devices, and is juxtaposed with the English title, UN/LEARNING AUSTRALIA. These dual titles aim to highlight the importance of “learning” itself, rather than the purpose of it, referring to the process of unlearning and relearning existing perceptions of Australia. Daniel Boyd, whose practice continuously questions the Western hegemonic gaze in interpreting and restoring the founding history of Australia with a unique artistic vocabulary, presents three of his paintings and one installation in UN/LEARNING AUSTRALIA. 

Boyd, who comes from an aboriginal background, introduces Untitled (TDHFTC) (2021) and Untitled (UT) (2021)—two paintings that reinterpret Australian history in a new lens. First showcased at the artist’s solo exhibition with Kukje Gallery last June, the paintings each depict Boyd’s sister and his grandma’s siblings. By sharing these personal images, Boyd connects his personal experiences and heritage to his ongoing interest in recalibrating the historical lens through which we view dominant historical narratives. Through Untitled (YWSITPIACLDTL) (2019), which was first shown at Boyd’s solo exhibition with Kukje Gallery Busan in 2019, the artist questions the conventional perceptions of beauty. Untitled (37°33’51.2”N 126°58’24.4”E) (2021), an installation commissioned by SeMA, entirely covers the museum’s glass façade—consisting of countless dots, the work directly references Boyd’s signature recurrent motif. These dots act as “lenses” through which one views the world and resemble the plurality and multiplicity of perspectives. The current exhibition discusses the vulnerabilities of this world affected by the unprecedented pandemic and inspires a more in-depth understanding of the values of “learning.” The show, which runs through March 6, 2022, can also be viewed through a variety of public programs and channels including the Instagram account @52artists52actions. 

December 2021

Ugo Rondinone, Subject of Major Solo Exhibition nude in the landscape at the Belvedere 21, Vienna, Austria
The Swiss contemporary artist Ugo Rondinone is the subject of a major solo exhibition titled nude in the landscape at the Belvedere 21, Vienna, on view from December 12, 2021. Working in an extensive variety of mediums including painting, sculpture, photography, and video, Rondinone is widely recognized for his artistic vocabulary that explores the emotional and psychological depths of the human experience in relation to nature. The artist’s first solo exhibition in an Austrian museum, nude in the landscape presents a surreal environment inhabited by isolated human figures that are seemingly disconnected from nature.

The show features Rondinone’s installation series landscapes (2021), along with sculptures from his nude series (2010-11)—both of which are made from natural materials. Specifically designed for this show, the artist’s landscapes installations take the form of monumental plates. While made of natural materials such as soil and wax, these artificial-looking structures no longer evoke nature in their final embodiment. Seated in varying postures throughout the gallery space are hyper-realistic human figures deep in contemplation from the artist’s nude series, modeled directly from the human body. With their eyes closed and separate body parts attached like mannequins, these self-absorbed figures imbue the gallery space with a mystical yet meditative atmosphere. Meanwhile, the anonymity of each title—for example, nude (x) and nude (xx)—engenders an innate connection with the figures, expanding the series’ narrative potential. Through these artificial installations and sculptures that are made of natural materials, Rondinone provides an effective metaphor for humanity’s disconnection from nature. nude in the landscape, which utilizes everyday motifs to take viewers on an introspective journey within, will remain on view through May 1, 2022.
All And But Nothing (Revised Edition)

All And But Nothing (Revised Edition)



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Park Seo-Bo: Écriture

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양혜규 Haegue Yang : 황홀망 恍惚網 Mesmerizing Mesh

양혜규 Haegue Yang : 황홀망 恍惚網 Mesmerizing Mesh