photoview 2013.2(february)-b

PhotoViewIssue.10

Photography exhibitions eMagazine

PhotoView ISSUE 10 FEBRUARY 2013

2013. 2-b

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PhotoView Contents

2013.2-bMaden Pictures 13 (Eng, Kor)

Hwang Gyu Tae

Park Yeonhee

AHN MI YOUNG

Lee Hyun Kwon

Oh Hee Yoon

Ikjae Jack Lee

Kim Seok Jin

Lim ChaeWook (Eng, Kor)

www.inprint.co.kr

Archival Pigment Print

inprint

010-7520-7716

Maden Pictures 13

2013. 1. 15 ~ 3. 3ARARIO GALLERY SEOUL cheongdam

99-5 , 02 541 5701

www.arariogallery.co.kr

Hyun-Jin Kwak _AGONIST_2009_Laserchrome print, silicon mount, 150x200cm

Hyun-Jin Kwak (b.1974)

Hyun-Jin Kwak graduated with BFA from Hongik University, Korea, and currently lives and works in Stockholm,

Sweden. Through her long sojourn in Sweden, Kwak has been exploring the ethnicity gap between Korea and

Sweden and applying this to her work. The school uniform, which forms and regulates the collective, generally

connotes a sense of uniformity, equality, fairness and nationality. Kwak explores the secrets of the school girls

through their school uniform, as well as their own common lifestyle and reasons for existence. The girls in school

uniforms in Kwaks photographs seem to be sharing a common secret with each other. However, in the beautiful

background, the girls emit an aura of violence and melancholia rather than cheerfulness. The artist explains that this

reflects the means of survival in the contemporary society where one is constantly facing others as their competitors.

Situated somewhere between Koreas collective society and Swedens individualism, Kwaks works shed a light on

the value system of adolescents today and reflect the social structure and collectivity of East and West.

(Hyun-Jin Kwak, b.1974)

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Hyun-Jin Kwak _Duplicitas_2009_Laserchrome print, silicon mount_100x126cm

Hyun-Jin Kwak _Forest of Content_2009_Laserchrome print, silicon mount_150x200cm

Hyun-Jin Kwak _Macondo #1_2008_Laserchrome print, silicon mount_110x140cm

Hyun-Jin Kwak_Macondo #2_2008_Laserchrome print, silicon mount_110x140cm

Hyun-Jin Kwak _Macondo #3_2008_Laserchrome print, silicon mount_110x140cm

Hyun-Jin Kwak (b. 1974, Seoul)Lives and Works in Stockholm

Education

2006 Postgraduate Program in UIAH, University of Art and Design Helsinki, Helsinki

2005 MFA in Konstfack, University of Art, Crafts and Design, Stockholm

2003 Postgraduate program in Konstfack, University of Art, Crafts and Design, Stockholm

1998 BFA in Hong-Ik University, Seoul

Selected Solo Exhibition

2013 The Island-A Case Study of a Collectors Mind, Gallery F 15, Moss

2012 The Island- A Case Study of a Collector's Mind, Fotografins Hus, Stockholm

2011 Girls In Uniform, Galleria UNO+UNO, Milano

Hyun-Jin Kwak _OSTRACION CONCATEATUS_2009_Laserchrome print, silicon mount_ 110x126cm

2010 The Act of Deceiving, Peter Lav Gallery, Copenhagen

Girls In Uniform, VERKSTAD- ett rum frkonst, Norrkping

2009 Girls In Uniform-Study of Elements, Kulturhuset, Stockholm

Study of Element-A Script for Verification, Trunk Gallery, Seoul

2008 Girls In Uniform, Peter Lav Gallery, Copenhagen

2007 Hyun-Jin Kwak, HaningeKonsthall, Stockholm

2006 A Script for Verification, Uppsala Konstmuseum, Uppsala

Democratic Storytelling, Mia Sundberg Galleri, Stockholm

2005 Girls In Uniform, GalleriKonstfack, Stockholm

2002 WHERE R U, GalleriKonstfack, Stockholm

1999 Installation and Performance/Club-2 People, Seoul

1998 Installation and Performance/Club-1, Seoul

Selected Group Exhibition

2012 The Collector, Uppsala Konstmuseum, Uppsala

Gallerirsta, Kumla

Ett riktigt hem En replik p en replik, Sven Harrys Konstmuseum, Stockholm

Den doldakonsten, HaningeKonsthall, Stockholm

2011 Emotionally Yours, Technoloplis, Athens

Patterns of the Mind, Museum AboaVetus&Ars Nova, Turku Biennial 2011, Turku

WONDER WOMEN, Mouseo SAACS, Pieve di Teco

Girls In Uniform, Fotografia Europea, Chistri di San Pietro, Reggio Emilia

2010 Byul Collection Now, Sinsa Art Center, Seoul

2009 ART AND THE CITY, Gallery 175, Seoul

Platform Seoul 2009- Kimusa "Void of Memory", Seoul

2008 SMALL FORMATS, Peter Lav Gallery, Copenhagen

The Core of Industry, Fotografia Europea, Spazio Gerra, Reggio Emilia

Pubertet, Haugar Art Museum Vestfold, Tnsberg

2007 Detfinnsmerilivetnfrgochform(fast intemycket), Transit Art Space, Stavanger

2006 Nordic Cut, Art Pavillion Zagreb, Zagreb

Ny Nordisk Fotografi, Hasselblad Center, Gothenburg

KabusaKonsthall, Kpingebro

SIMPLE, Milliken Gallery, Stockholm

2005 artFOG /Museum Anna Nordlander,Skellefte

NySvenskFotografi, Hasselblad Center, Stockholm

Master Exam/Konstfack, Stockholm

2004 Mobility, GalleriDrGlas/So Stockholm, Stockholm

Solid Ideas, Vita Havet, Konstfack, Stockholm

Avbild 2, GalleriBildkonstAkademi, Helsinki

Ladyfest, Kulturhuset, Stockholm

V rsalong, Liljevalchs, Stockholm

2003 TEKNG, Kulturhuset , Stockholm

V rsalong, Liljevalchs, Stockholm

HallundaFolkets Hus Stockholm, Stockholm

Ayoung Kim (b.1979)

Ayoung Kim graduated from Chelsea college of Art and Design, UK, and has established herself as an acclaimed

artist through many solo and group exhibitions in Korea and abroad. In this exhibition, Kims work PH Express is

based on the historical event in which Britain occupied Geomundo off Koreas southern coast without permission

for two years from April 1885 to February 1887 to control the Russian advancement in Korea. After a year of

research on resources and documents from about 120 years ago, the work was written into a scenario and filmed in

the backdrop of Geomundo, which was called Hamilton Port at the time. The work portrays the daily life of British

naval officers and crewmen who occupied Geomundo, and delivers the tension in Europe at the time. However,

what the artist focuses on is that despite such political situation, the Korean residents on the island hardly show

any appearance, and even seem peaceful. The occupation ended two years later, leaving just a few tombstones of

some British soldiers who lost their lives in Geomundo. This historical incident became forgotten except for being

studied by just a few historians. The artist combined a sense of reality and theatricality by superimposing the actual

Geomundo and scene of actors acting in front of the blue screen. Through the recombination of the event, the artist

asks for another reflection on historical meaning and value. The work also retraces the relationship between Koreas

past and present, and the countrys relationship with the world.

Ayoung Kim_PH Express_2011_Two-Channel video_31 min

(Ayoung Kim, b.1979)

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Ayoung Kim _PH Express_2011_Two-Channel video_31 min

Ayoung Kim(b.1979, Seoul)

Education

2010M.A. Fine Art, Chelsea College of Art and Design, London

2007 B.A. (Honours) Photography, London College of Communication, London

2002 B.A. Visual Communication Design, Kookmin University, Seoul


2012 Crossings, 16 Bungee, Seoul

PH Express, Knstlerhaus Bethanien, Berlin

2010 Minima Memoria, Street Level, Glasgow

2009 Ephemera, I-Myu Projects, London

2008 Ephemeral Ephemera, Space VAVA, Seoul

Solo Project

2009 A Delegation, Window Gallery at Gallery Hyundai, Seoul


2012 The Shade of Prosperity (Screening), Rivington Place, London

Playtime, Culture Station Seoul 284, Seoul

Urban Promenade, Pohang Museum of Steel Art, Pohang

Photo Transgression - Part 2, Gallery Jungmiso, Seoul

Art Spectrum 2012, Leeum (Samsung Museum of Art), Seoul

Korean Eye: Energy and Matter, Fairmont Bab Al Bahr, Abu Dhabi

2011 Korean Eye: Energy and Matter, The National Assembly, Seoul, Korea; Museum of Arts and

Design (MAD), New York

What Had Happened, Doosan Gallery, Seoul

Fotografias, Museum of Modern Art of Rio de Janeiro(MAM), Rio de Janiero

Displaced realities, Oriental Visart, Geneva

Future Map Prize, 176/Zabludowicz Collection, London

2010 New Photography in Korea, Gallerie Paris-Beijing, Paris

Down the Road of Globalisation, Crypt Gallery at St Martin-in-the-fields, London

Summer Exhibition 2010, Royal Academy of Arts, London

Present from the Past: The 60th Commemoration of the Korean War, Korean Cultural Centre, London

Window Vol.2, Gallery Hyundai, Seoul

4482 Contemporary Korean Artists in London, Bargehouse, London

Osannolik Digital Festival in Kulturnatten, Vxj

Ways of Seeing (Part II), I-Myu Projects, London

2009 2009 Seoul International Photography Festival, Garden 5, Seoul

Korea Tomorrow, SETEC, Seoul

Salon09, Four Corners Film, London

Aim High: Joong-Ang Fine Arts Prize Awarded Artists Show, Hangaram Museum, Seoul Arts Center, Seoul

Korean Eye: Moon Generation, Saatchi Gallery, London

The Cinematic-Montage, Seoul Museum of Art, Seoul

The Irony, Kimi Art, Seoul

2008 4482 Contemporary Korean Artists in London, Bargehouse, London

T.error: Your Fear Is an External Object, MenupontGaleria, Mucsarnok (Kunsthalle) Budapest, Budapest

The 1st Bridge: Scope in The Bridge (Gana Art 25th Anniversary), Insa Art Center, Seoul

30thJoong-Ang Fine Arts Prize Selected Artists Show, Hangaram Museum, Seoul Arts Center, Seoul

Lateral Thinkers - from the Mind to the Wall inDarmstadt days of photography 2008, Mathildenhohe, Darmstadt

2007 The Alchemy of Shadows, The 3rd LIPF 07 (Lianzhou International Photo Festival 2007),

Lianzhou

4482 Contemporary Korean Artists in London, Kings Park Studio, London

Traces of Document (part of Freerange Festival), The Old Truman Brewery, London

Hills Like White Elephants, SSamzie Space, Seoul

2006 An Event in London, The Plum Tree, London

Hyun-doo Park (b.1971)

Hyun-doo Park majored in Photography in Chungang University, Korea and School of Visual Arts, New York. Through

various solo and group exhibitions, Park consecutively presented Goodbye Stranger 1, 2, 3 series. For this exhibition

at Arario Gallery Cheongdam, Park presents Goodbye Stranger 2, in which the artist photographed ordinary people,

such as boxers, office workers and housewives in popular entertainment spaces like broadcasting studios and

concert halls in the period of 5 years. The artists work demonstrates the idea that while spaces of popular media

give information and pleasure to the mass, the individual cannot enter the media itself. Park stages office workers

with unrealized childhood dreams and depressed boxers who long for the spotlight and audience cheers in splendid

Star Craft or Quiz Show sets, casting a stark contrast between inescapable reality and unrealized dreams. By

juxtaposing elements of reality and unreality and fact and fabrication, Park focuses on the communication rupture

between the individual and spaces of mass media which dominates mass communication in contemporary society.

Hyun-doo Park_Goodbye Stranger 2, #07_2007_Inkjet pigment print_139x183cm

(Hyun-dooPark, b.1971)

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Hyun-doo Park _Goodbye Stranger, #11_2008_Inkjet pigment print_139x183cm

Hyun-doo Park _Goodbye Stranger 2, #15_2007_Inkjet pigment print_139x183cm

Hyun-doo Park _Goodbye Stranger 3, #03_2009_Inkjet pigment print_100x130cm

Hyun-doo Park (b.1971)

Education

2003 MFA Photography, School of Visual Arts, New York, NY

1999 BFA Photography, Chung-ang University of Photography, Seoul


2012 Stranger, Project Space Beijing, Beijing

2011 Goodbye Stranger 2 (Artist Selection Seoul Museum of Art), Gallery Chosun, Seoul

Goodbye Stranger, ArtsideBeijing, Beijing

2010 Goodbye Stranger 3, Insa Art Center, Seoul

2004 Goodbye Stranger 1, Gallery Lux, Seoul

2000 Stranger, Chungang Art Gallery, Anseung


2012 Hello Strangers, Korean Cultural Office, Sydney

Alice in Wonderland 2, ECCO Cadiz

Montage, Gaain gallery, Seoul

2011 Experimental Media Arts, Goyang Aram Nuri Arts Center, Goyang

Seoul Photo Festival, Seoul Museum of Art, Seoul

Looking into the others, Gallery Chosun, Seoul

Up-And-Comers, Total Museum of Contemporary Art, Seoul

Alice in Wonderland, The Finnish Museum of Photography, Helsinki

spiration, Seoul Museum of Art, Nanji Gallery, Seoul

Sketch the City, Seoul Museum of Art, NAM SEOUL Annex Building, Seoul

Special Story, Cyan Museum, Yeongcheon

Hyun-doo Park _Goodbye Stranger 3, #10_2010, Inkjet pigment print_130x256cm

Open Studio, Seoul Museum of Art, Nanji Art Studio, Seoul

2010 Open Studio, IASK Goyang, Goyang

Sympathy, GoyangOulimNuri Arts Center, Goyang

Yeosu International Art Festival, Jinnam Cultural Center, Yeosu

Daegu Photo Biennale, Daegu Culture & Arts Center, Daegu

Busan Biennale, Now Asian Artist, Busan Cultural Center, Busan

Cross+: Celebrating 60 Years of Korea-Spain Diplomatic Ties, Palais de Seoul, Seoul

Analogue-Digital, Korea Museum, Yong-in

Chaotic Harmony II, Santa Barbara Museum of Art, Santa Barbara

Drawing the World, Incheon Art Platform, Incheon

New Collections 2009, Seoul Museum of Art, Seoul

Ventriloquism of Image, Interalia, Seoul

Studio Parade Incheon Art Platform, Incheon

Intro 2010, IASK Goyang, Goyang

2009 Chaotic Harmony, The Museum of Fine Arts, Houston

Da saek Da gam 4, Gallery Zandari, Seoul

Scales of the Dragon 2009, Seoul Arts Center, Seoul

Joong-ang Art, Seoul Art Center, Seoul

Proposal for Preparation, Dohjidai Gallery of Art, Kyoto

2008 New Generation Art Fair, KT&G sangsangmadang, Seoul

Seoul International Photography Festival, Ancient Seoul Station, Seoul

Unplugged market, Ganna Art Center, Seoul

The Bridge, Insa Art Center, Seoul

Photo on Photograph, Kumho Museum, Seoul

Photo Collection No.1, Lina Gallery, Seoul

Twist, Shinsege Gallery, Seoul

Todays Fairytale, Suh-Ahn Gallery, Suh-Ahn

ING canvas, Gallery Wa, Yangpyeong

Silver Fox, Trunk Gallery, Seoul

2007 4tography, TouchArt Gallery, Paju

Dream Work, Seoul Museum of Art, Seoul

Korean Photography Spectrum, Trunk Gallery, Seoul

Face-off, Gallery Zandari, Seoul

Korea Photography Fair, Ssamzi Gallery, Seoul

Residency/Awards

2012 Project Space Beijing studio, Beijing

2011 Artist Selection, Seoul Museum of Art, Seoul

Nanji Art Studio, Seoul Museum of Art, Seoul

HIAP Suomennlinna Studio, Helsinki

2010 Goyang Art Studio, National Museum of Contemporary Art, Goyang

2009 8th Keon-hi Art Foundation.Daum Prize.

31th Joong-ang Fine Arts Prize

2003 Aaron Siskind Award and Fellowship. New York

Yongseok Oh (b.1976)

Oh graduated with a masters degree from Suwon University. He connects a number of photographs and video clips

taken in different times and spaces such as classic Sci-fi or dramas with similar spatial context and creates a new

narrative, raising questions about what is authentic and what is fabricated. His work Siamese Montage recombines

into a continuum scenes from the film Breakfast at Tiffanys and video scenes of todays reality taken by the artist

himself. He connects images of different times and spaces under the subject similarity, but demonstrates that no

one can be sure about the association of the images. All that the audience can gather and presume from Ohs works

are indefinite impressions and results. Through such incoherent narrative, Oh reflects on the aspect of artificiality in

photographic and video medium.

Yongseok Oh_Classic No.1915_2010_Single Channel video_Looped

(Yongseok Oh, b.1976)

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Yongseok Oh _Siamese montage No.3_2010_Two Channel video, Siamesescope, Divix Player, 2min

Yongseok Oh (b.1976)

Education

2002 B.F.A., College of Fine Art, Suwon University,Suwon

2004 M.F.A., College of Fine Art,Suwon University Graduate School, Suwon


2011 Square and square, Federation square, Melbourne

2010 Classic,16 bungee, Seoul

2005 New Artist: Drama, Alternative Space Pool, Seoul


2012 (Im)Possible Landscape, PLATEAU, Seoul

How the City Works-Daegu Photo Biennale, Daegu

Frieze Art Fair, NewYork

Sporadic positioning, ARARIO Gallery Cheonan, Cheonan

2011 Korea re-imagining the city, Goldcoast city Gallery, Goldcoast

The 4th Moscow Biennale, ARTPLAY design center, Moscow

Video+Cast, ARCO, Seoul

Shadow from the Empty, Leeahn Gallery, Dague

Time window, Pohang Museum of still art, Pohang

Yongseok Oh _Siamese montage_2008_Two Channel video, Siamesescope, Divix Player, 1min54sec

Welcome to media space, Jungmiso, Seoul

Convergence, OCI Museum, Seoul

Closer to Contemporary Art, Gyeonggi Museum, Ansan

2010 SeMA2010-Crack of Image,Seoul Museum of Art, Seoul

Korean-Australian international exchange exhibition, The Trickster, Gyeonggi Museum of Modern Art, Ansan

KIAF2010-Special exhibition, Korea media art, COEX, Seoul

Power house, Gallery Hyundai, Seoul

That Seventy`s, IMART, Seoul

Special Edition, 16 bungee, Seoul

Lip_sync, Shinsegae gallery, Seoul

Jeonju International film festival-Image in time, JIFF Art Gallery, Jeonju

DIGIFESTA-Main exhibition, Speed of Earth 2010km/sec, Gwangju Biennale Exhibit Hall, Gwangju

Korean Art Show, New York

2009 The Imaginary Line, DoArt, Seoul

Textual Landscapes, Bryce Wolkowitz Gallery, New York, NY

The Cinematic Montage, Nam Seoul Annex Building, Seoul Museum of Art, Seoul

As of Now_ Conditions of Being, Korean Culture Service China, Beijing

2008 The 3th Seville Biennale, Seville

Fiction and Non-Fiction, Seoul Museum of Art, Seoul

Metamorphosis, Espace Louis Vuitton, Paris

Trance POP-Korea Vietnam Remix, Arko Art Center, Seoul

Galerie Quynh &San Art, Sai Gon

Yerba Buena Center for the Arts, San Francisco

Cuvee Biennale, OK Center for Contemporary Art, Lintz

CINEMA SIM, Itau Culture, San Paulo

2007 Thermocline of Art- New Asian Waves, ZKM/Center for Art and Media, Karlsruhe

2006 The 6thShanghai Biennale, Shanghai Art Museum, Shanghai

The 4th Seoul International Media Art Biennale, Seoul Museum of Art, Seoul

2004 Young Video Show ShowShow, Ssamzie Space, Seoul,; MAAP Multimedia

Art Asia Pacific, Singapore

Mac 2004 Media Art, Seodaemun Prison, Seoul

Joongang Fine Arts Prize, Seoul Museum of Art, Seoul

2003 Incheon Media Art Festival, Incheon Culture & Arts Center, Incheon

Asia Video Art Conference, Video Art Center Tokyo, Tokyo, Japan; Bandung

Crystalization of Time, Dukwon Gallery, Seoul

Up and coming film festival, Hannover

City-Zooms, Bremen, Germany

2002 Mapping Korea, Ilju Art House, Seoul

Sung Eun Chang _B.T Scaffolding_2012_Lightjet print_160x106.67cm

Sung Eun Chang _Black Sponge_2012_Lightjet print_160x106.67cm

Sung Eun Chang (b.1978)

Sung Eun Chang graduated from University of Paris, and has exhibited her work in many solo exhibitions. Using

space as the subject, Changs Spatial Measure series demonstrates how peoples thoughts and life styles change with

shift in their surrounding spaces. She focuses on the fact that space, a man-made construction, affects people, and

that an individual becomes numb to the size or value of the space under his or her subjective observations. In Rue

Visconti (2006), the artist lined up 19 young people side by side, expressing the narrowness of the space. Although

the road is large enough for a car to pass through, the narrowness of the street is only a subjective observation of

the individual. The artist explores how people perceive space in daily life through such retrogressive and cyclical

structure that affects the physical body in the end. Chang focuses on how we become unaware of our surrounding

space and environment, and attempts to measure space through the human body. Recording spaces that only

humans and life can measure, Chang experiments with how humans perceive and respond to spaces and matter.

Sung Eun Chang _Blue Band_2012_Lightjet print_106.67x160cm

(Sung Eun Chang, b.1978)

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Sung Eun Chang _Green Hose_2012_Lightjet print_93x140cm

Sung EunChang_Rue Visconti_2006_Lightjet print_160x200cm

Sung Eun Chang _Space Hamilton_2010_Lightjet print_93x140cm

Sung Eun Chang (b.1978)

Education

2009 Ph.D. of arts plastics PANTHEON-SORBONNE Universit Paris1 Doctorat Arts et Sciences de lArt, Paris

2007 M.F.A PANTHEON-SORBONNE Universit Paris1 Master2 Rechercher, Arts

PlastiquesParis


2012 force-form, SPACE WILLING N DEALING, Seoul

2010 Inhabit, Trunk gallery, Seoul

2007 Virtualit, Au Centre CulturelCore, Paris


2012 10 YOUNG CREATORS,Daelim Museum Project Space, Seoul

Tagging Art works Gyeonggimoma, Ansan

Outskirt, Gallery Factory, Seoul

Ex-change:Explore, Cubic House4 in ClayarchGimhae Museum, Gimhae

Sung Eun Chang _Wall_2010_Lightjet print_46.67x70cm

2011 SPACE STUDY, PLATEAU, Seoul

2010 2010 DaeGu Photo Biennale Asia Spectrum: Multicentralism, Deagu

The penguin that goes to the mountain, Nam June Paik Art Center, Yong-in

Out of line, Space Hamilton, Seoul

2009 Light on, Johyun gallery, Seoul

9th SongEun Award, INSA Art Center, Seoul

AGAINST INTERPRETATION, Interalia Art Company, Seoul

The Five Spaces : open studio, The National Art Studio Changdong, Seoul

1st PHOTO KOREA : Shooting Image, Coex E hall, Seoul

EXPosition of Mythology-Electronic Technology, Nam June Paik Art Center, Yong-in

Seogyo Sixty 2009-The Game for Respect, Gallery Sangsangmadang, Seoul

Body, Gesture, Performance, Trunk gallery, Seoul

2008 Still life, Gallery Crous Beaux Arts, Paris

Contemporary Korean Art in the World 2: Contemporary Korean Artists in Paris,Hangaram Art Museum, Seoul Arts

Center, Seoul

Toujoursaujourdhui, Gallery KASHYAHILDEDRAND, Zrich

Sans titre, LDA - La DeuximeAile, Paris

2007 COURANT DR, Dansunappartement, 11 rue Saint Florentin 75008 Paris

Re :Re :Re : inter elarng, La Gnrale Des Arts, Paris

The Harmony of Sense & Sensibility GalerieDroite, ENSBA de Paris, Paris

52meSalon dart contemporain de MONTROUGE, Paris

Residency

2009 Chang Dong Studio, Seoul

2008 CitInternationale des Arts, Paris

2013 Maden Pictures 13 ( 13)1 15 33 .

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Maden Pictures 13

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Arario Gallery Cheongdam is pleased to present Maden Pictures 13 as the gallerys first exhibition of 2013, from

January 15th to March 3rd, 2013. Showing photography and video works, this exhibition is an extension of Maden

Pictures, a group photography exhibition organized by Arario Gallery Cheonan in 2010.

Maden is a new coinage which puts together the word Made (past participle of make) and letters en. Invented as

a tool of representation, photography is no longer limited to the traditional range but is being actively applied as a

medium of various concepts today. While photography developed from the aesthetics of moment, which highlights

the documentary function of the medium, contemporary artists have transcended the chance element and

documentary aspect of photography, to infinitely exploring ways of creating new works. As such, the completely

and passively staged scenes in the photographic and video works in the exhibition correspond to the meaning of the

word Maden.

The figures and backgrounds in the works in the exhibition do not assume a chance situation, but present their own

fascinating story. Connoting different times and spaces, people from individuals to groups in various circumstances

fuel the viewers curiosity. Groups of girls in school uniforms impose a certain action in Hyun-Jin Kwaks work,

emanating an unidentifiable sense of melancholia which contrasts starkly with the beautiful background of Sweden.

Ayoung Kims work PH Express is based on the British invasion of Geomundo Korea in 1995. In this work, actors

perform the daily life of the British soldiers at the time, retracing a fascinating event in history.The figures in Hyun-

doo Parks photograph appear alone in brilliant TV broadcasting sets, demonstrating a severed and isolated sense of

the individual. YongseokOhs new space-time created by joining irrelevant images and film scenes of similar spatial

context raises a question on the authenticity and fictitiousness of the image. Figures in Sung Eun Changs work fill a

specific space through gestures like standing in a row on the streets, or entering an envelope. Chang conveys stories

about the spaces in the daily life in which we live, through ways that only humans can perceive and measure.

Maden Pictures 13 presents the characteristic works of five artists who transform photography and video into a

synthesized art form. These works retrace the countless hours of labor-intensive production process that take place

before pressing the shutter or record button. Simultaneously, works which stage objects and figures by rearranging

separate spaces like film and theater provide an opportunity for us to contemplate upon the fundamental meaning

of photographs that surpass the element of chance and arrive at the significance of new work. The transformed

and processed space-times in the works at times connect with different space-times, expanding infinitely and

demonstrating boundless possibilities.

Hwang Gyu Tae

2013. 1. 23 ~ 3. 3 12 , Shinsegae Gallery

1 52-5, 1588-1234

www.facebook.com/shinsegaegallery

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Park Yeonhee _untitled c-print 100x75(cm) 2013

Park Yeonhee _untitled_c-print 90x150(cm) 2013

Park Yeonhee _untitled_c-print 110x180(cm) 2013

AHN MI YOUNG

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The Moon,The Vaccum or The Drowers

2013. 2. 20 ~ 2. 26Gallery Lux

185 3F, 02 720 8488

www.gallerylux.net

AHN MI YOUNG

AHN MI YOUNG

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2009 (A moonlit collage scenery), ,

2008 (Sheep on the Moon), ,

2007 (Walking in a Lunar City), ,

2007 (Walking in a Lunar City), ,

2006 (Cats in a Lunar City),,

2005 (Artificial Tears), ,

2004 (A Lunar City), ,

2009 (Rest, or Repeat Marks), ,

2008 12, ,

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2000 Post Photo, SK Gallery,

Lee Hyun Kwon

One Year 1

2013. 2. 20 ~ 3. 5Grimson Gallery

64-17, 02 733 1045

www.grimson.co.kr

Lee Hyun Kwon , 14, c-print 50x75

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Winning Works.

Psychiatrist

Member of Korean Association of Psychoanalysis(KAPA)

Candidate of International Psychoanalytical Association

Article

2011 "Photography and Psychoanalysis" KAPA

Solo Exhibition

2013 One year, Grimson Gallery

2011 Seoul, Walking in the Han-Gang(river),

Grimson Gallery

2011 Seoul, Walking in the Han-Gang(river),

Kukmin Daily

Group Exhibition

2012 3 invitation exhibition(gallery gaga) .

DNA-15 exhibition(united gallery).

2011 Korea-Russia Cultural Exchange Joint Art Exhibition

2008 Asian-Pacific photo print competition

Winning Works, Samsung COEX

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2013. 2. 21 ~ 2. 27Gallery illum

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2 51-13 2, 02 2263 0405

www.galleryillum.co.kr

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Oh Hee Yoon

THE COLOR

2013. 2. 22 ~ 3. 7 " "

204-43, 02 379 6805

www.gallery-now.com

Oh Hee Yoon

Oh Hee Yoon

Oh Hee Yoon

2006 'Before The wind' - gallery cafe ''

2003 6 'Between looks and Image' - gallery ''

2000 ' ' - ' '

1999 3 'City Rounding' - ' '

2000 ~ 2012 1~4

Oh Hee Yoon

Oh Hee Yoon

Ikjae Jack Lee

2013. 2. 23 ~ 3. 7

664-12, 02 2191 8559

www.canon-ci.co.kr

_- Phantasie Stadt_CHANEL_2007

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_- Phantasie Stadt_ Louvre-1_2005

_- Phantasie Stadt_ Olympic Park_2005

_- Phantasie Stadt_ Primuscinema_2007

_- Phantasie Stadt_About_2005

_- Phantasie Stadt_Coex_2005

_- Phantasie Stadt_Ice skating rink_2006

_- Phantasie Stadt_Louvre-2_2006

EDUCATION

2012~

2007

EXHIBITIONS

2008 05 Gallery NV - NV

2008 01 '-2 PhantasieStadt'

2007 04 '-1 PhantasieStadt'

2005 02 'The Room'

_- Phantasie Stadt_Megabox Stage_2007

2

2013. 2. 26 ~ 3. 3Ryugaheon

7-10 / 3 4 , 02 720 2010

www.ryugaheon.com

#17 45x65 Digital print 2010

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2013. 2. 27 ~ 3. 5gallery Now

192-13 3, 02 725 2930

www.gallery-now.com

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2011 12 2011

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MEDITATION

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Lim ChaeWook

The Mountains

2013. 2. 26 ~ 3. 11

12 101, 02 3477 5005

www.gallery-now.com

Lim ChaeWook , Mt. Seorak 1203, 75x75cm, Archival Pigment Print, 2012

Lim ChaeWook , Mt. Deokyu 1201, 40x150cm, Archival Pigment Print, 2012

Lim ChaeWook , Mt. Jiri 1201, 43x120cm, Archival Pigment Print, 2012

Lim ChaeWook , Mt. Seorak 1101,63x200cm,Archival Pigment Print,2011

Lim ChaeWook , Mt. Seorak 1102,140x100cm,Archival Pigment Print,2011

Lim ChaeWook , Mt. Seorak 1201, 150X77cm,Archival Pigment Print, 2012

Lim ChaeWook , Mt. Seorak 1208, 50x100cm, Archival Pigment Print, 2012

The landscape drawn by the camera

Young Taek PARK(Professor, Kyonggi University, Art Critic)

The nature of Korea spreaded wide with the mountain as the center. The mountain is the backbone and frame

of national land. Accordingly the mountain is not the simple physical scenery and landscape to the Koreans from

the old time. It is mystical, miraculous and noble subject and the existence of deity. Therefore, the mountain is

the fundamental space of matrix and the basic aesthetic space to the Koreans. The history of life looking at the

mountain back and forth living with the climbing the mountain is embroidering on the life of Koreans. The Koreans

yearn for and intend to resemble the nature/mountain keeping the consecutive mountains spreading out so in mind,

pondering over the nature, surrendering themselves to the beauty made by the nature. Therefore, the true image of

man of honor in the Orient can be found in the mountain. The people anxious to be the mountain is Koreans. The

Koreans renounce the world and enter into the mountain frequently, are covered with the mysterious energy and

repeat the lives returning again to the world and the Koreans internalized the virtue borne by the deep and lengthy

mountain on the one hand and reflected on limited life of coarse human to the full extent. It has been filled with

and inherited to the poem of landscape and landscape painting completely The admiration and appreciation for

one viewing stone splitted from the mountain in such a context functions. Therefore, the shamanistic pray for the

mountain and its reduced stone and the adoration for the sacred energy are still not stopped. Even now, Korean

writers draw a lot of painting of many mountain alone and making a present of endless affection for the mountains.

The photographs of mountain by Chae Wook LIM at a glance creates an illusion to look at the reproduced picture

as the Oriental painting. It is a landscape painting drawn by the camera. The typical shape of mountain connected

and linked endlessly in the long stretched composition of panorama in line abreast is filled. We look alternately

from the right to the left, from the left to the right with the repeated eyes. The typical structure of oriental painting

landscape showing the imaginary movement and appreciation for something lying in the bed is conceived. This

is the scene that the part of mountain covered and erased with most of fog and cloud, is appeared dimly. The

strong silhouette is appeared by removing the outline of mountain as a result, the inside of mountain is actually

removed by the fog like breath. The blank space in the typical oriental painting is the strategy to show the part

of scenery full of thick cloud and mist, fog. The remaining depends on the imagination. Rather than showing the

whole, the part covered, the remaining of blank are absorbed in the empty screen. The people can not look at the

painting wholly, with the whole mind of eyes. It is rather to show less than more, rather to show part than all. They

understand that to let them imagine than to show them is the better way to show the subject. That is to let them

dream, remember and select the object and subject inside the retrospection and suggestion. It lets them imagine

and perceive something through the various sensory organs in the body, except for retina, and the spiritual energy

by assuaging the visual desire to look at all with the retina on purpose. The thing that lets the people conceive the

actual world by simulating the spiritual energy and that attracts the body and soul to the world over the painting

was none other than the landscape. The imaginative action of the observer is raised and the painting is completed

in their imagination for the first time. It is to let them taste the experience (the spiritual energy) taking a stroll in the

real nature by looking the landscape. If it is the landscape that the observer is positively attracted and takes part in

and his imaginative power and the sublimination are encouraged, the photographs of Chae Wook LIM as well is so

called such photographs as to encourage positively to look from the heart such as imagination.

The mixed color with thick blue and black as the close-range view is moved to the later view is thinned gradually.

No, the mountains in this photographs are hard to be returned to a specific color. This color is not directed and

dramatized by the intention of photographer, is but captured by the real record at that instant and at that place.

It looks like black embracing all the colors in nature or the colors hard to describe by language spreads severely. It

is deep, far and cool. The photographer told that he intended to capture the shape/color incapable of looking by

the eye of camera. No, such a color shall come into view naturally. Does the heart encounter eventually the color

not by the retina? This photographs of mountain framed by the innate learned heart as the Korean eventually

rubbed thick with the Korean emotion. The scenery of mountain looks like to be disappeared shortly, looks like

to be recovered. The mountain becomes the alive life and billows. The atmosphere breathing and the energy

repeatedly billows and scattered are covering and getting around the mountain. The main parts comprise Mountain

Seorak, Mountain Deogyu and Mountain Jiri. So-called these are representative mountains of Baekdu big mountain

range. The photographer told and realized suddenly that the root of our national emotion has been originated

from the mountains by walking along the ridges of those mountains several times, and realized the fact that the

blood vessel of Korean race is flowing the winding mountaintops and ridges hotly. Accordingly, the photographer

has a worry, how to capture this mountain permeated with the emotion of our race bodily through the media of

photograph. He discovered that the first step of his trouble resided already in the typical landscape. The landscapes

drawn by foregoer also do not reach the reappearance of scenery overlooking on the eyes only, the mechanical

imitation for Chinese landscape or the iconography in accordance with the Confucian ideology only. The emotion

and the aesthetic sense of our race filled in the mountains of Korean Peninsula and natural scenery have been

filled completely in the landscapes drawn by Danwon, KIM Hong Do and Kyemjae, JUNG Sun . The photographer

majoring in Oriental Painting during the University Days takes a photograph of landscaped mountain through

the camera again, on the one hand the landscape by foregoers shall be reincarnated, and intends to call out the

emotion and esthetic sense germinated from the mountain as the life base and space to the photographic paper.

The photographer took a photographs mainly around the dawn. He, at the moment of standing in the strange

boundary, filled the overlooked mountain captured at the very same time zone in the thick time zone where the

balance of power, yin and yang energy are interlocked tightly in the earth and the sky. The mountains filled in

the angle of view of camera of his own making are shaking between the photographic image and picture. The

bulk of mountain flooded in the thick tone of color and the empty sky looking like the blank, the cloud and mist

removing and crushing the shape of mountain by entering into the gap between mountains are really spreading

out like picture. The feeling that the taste of landscape of indian ink is reappeared, on the one hand, the attempt

saying the charm of our mountains are seen vividly with the eye line of mechanical camera are approaching us. The

important thing in the Oriental Painting was not the reappearance of physical phenomenon but the experience of

phenomenon It is not the simple reappearance but the spiritual reappearance. It is not to contemplate the object

by the eyes but to contemplate the object by the minds eye so-called. To perceive the actual world by stimulating

the spiritual energy and to attract the body and soul to the world over the pictures, this was the landscape. The

photographs of Chae Wook LIM also revived in such a context. His photographs is the landscape of indian ink as it

is. But it is the image of photographs if we take a close look. However, in the cool and great perspective, the blank,

the color of single color, the stretched physical aspect of a mountain stimulating the sublime beauty, and in the

screen stretched in lengthwise and breadthwise, etc. the experience to look the realistic landscape are surrounded.

We fathom again our land, the identity of mountain, the tradition of esthetic culture formed by the space.

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2010 Mind Spectrum, Shin Hwa Gallery,

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2012 SCAF(Seoul Contemporary Artstar Festival),

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Los Angeles Art Show 2009, LA Convention

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Deutsche Bank

Harbour City Hongkong

Fine Tower

Vision Tower

Website: www.limcw.com

Facebook: www.facebook.com/chaewook.lim

iPhone & iPad App : (Lim Chaewook)

www.inprint.co.kr

Archival Pigment Print

inprint

010-7520-7716

photoview 2013.2(february)-b

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