photoview 2013.3(march)-a

PhotoViewIssue.11

Photography exhibitions eMagazine

PhotoView ISSUE 10 FEBRUARY 2013

2013. 3-a

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Monthly Photography Exhibitions eMagazine PhotoView

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Han Sungpil , Illusionary Pagoda, 2012, Archival Pigment Print, 240x300cm

PhotoView Contents

2013.3-aHan Sungpil (Eng, Kor)

Lim ChaeWook (Eng, Kor)

Area Park (Eng, Kor)

Koo Bohnchang

Song Seung-Jin (Eng, Kor)

Jeong Seong Dae

Ah Woo Dong

LEE DUEGYOUNG

Kim, Deok Su

Jiwon Kim

BOM

49

Yeongmoo Hur

PHTOSCAPE : EYE for the Ordinary Miracle

www.inprint.co.kr

Archival Pigment Print

inprint

010-7520-7716

Han Sungpil

Illusion, and the Meaning of Space

Containing Memories and Traces

,

2013. 3. 5 ~ 4. 7ARARIO GALLERY SEOUL

#99-5 #99-5 Cheongdam-dong, Kangnam-gu, Seoul, Korea, +82 2 541 5701

www.arariogallery.com

Han Sungpil , Fly High into the Blue Sky, 2012, Chromogenic Print, 179x220cm

Han Sungpil , , (Tandem Sequence, Namhansan Fortress), 2011, Archival Pigment Print on Korean Paper, 180x241cm

Arario Gallery Seoul Cheongdam hosts Han Sungpils solo exhibition from March 5 to April 7. The exhibition,

entitled Illusion, and the Meaning of Space Containing Memories and Traces, will present new photos, videos and

installations from Faade Project, which the artist has been working on since his solo exhibition in 2011.

The exhibition consists of three parts: Faade Project, which expands its scope to installations of Koreas cultural

heritages; Memories and Trances, in which the artist captures the memories and times of his personal history and

family redevelopment sites; and a newly released video work, realizing the worlds first 4K UHD image. These works

not only mark a new era in the technological history of media, but also delves into the fundamental question of

conceptual interpretation of space and original and copy in the photographic media.

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Han Sungpil , No more plastic Surgery, 2012, Archival Pigment Print, 84x130cm

Han Sungpil , Illusionary Pagoda, 2012, Archival Pigment Print, 240x300cm

Han Sungpil , La Grand Palace, 2012, Chromogenic Print, 178x243cm

Han Sungpil , Wine Garden; Holy Blood, 2012, Chromogenic Print, 158x122cm

Han Sungpil , (Inside Out), 2011, Chromogenic Print, 90x135cm

Han Sungpil , ! (Danger! Falling Rocks), 2012, Chromogenic Print, 100x131cm

Exhibition Overview

Han Sungpils upcoming solo exhibition at Arario Gallery Cheongdam, marking his return since the last solo

exhibition at Arario Gallery Samcheong in 2011, comprises approximately 20 pieces, including photographs, videos

and installations.

The special factors that appear distorted or fictive in Han Sungpils Faade Project are all records of a realistic place

that actually exist. The artist finds times when the buildings, surroundings and the feeling of light and air would

be expressed in a most accurate manner in photographs. The exhibited works are, technically, HD photography or

the worlds first 4K video media, but they were created with warm, analogue sentiments. The artists representative

series, Faade Project, deepens its significance as the artist turns his eyes to the sites where domestic cultural

heritages are being restored, and photographs the objects after they are covered with screens, and a photograph

of a redeveloped building is newly introduced in connection to Faade Project, which reminds the viewers of memory

and trace, and the meaning of space. Also, the video/installations that branch out of the photographs successfully

unfurl the fundamental question and form o the photograph as a medium, namely the conceptual interpretation of

space and original and copy.

Han Sungpils uniquely rich, mysterious and original sense of color in his photographs and video are recorded during

sunrise or sundown, the hours when day and night coexist, which is often called the magic hour and I'houre

entre chien et loup in French. As natural and artificial light are intermingled without boundaries, images in the real

and virtual realm are entangled beyond distinction. The resultant photographs or images are categorized into three

sections as shown below.

Faade Project: expanding the visual scope towards domestic installation projects

His representative work introduced in this exhibit, the Faade project, is characterized by its attempt to expand the

scope of his work. The series, which teases out the gap between the real and the virtual through buildings in the

process of restoration, screens at the construction sites, or common structures and their murals, extends its coverage

from fancy European streets as seen in his previous work to domestic architecture. His work in Korea goes beyond

seeking out screened locations, and involves personal visits, suggestions and collaborative operations, which allows

the artist to directly engage with the meaning of the project from its initial concept to the stage of completion.

Especially, features a huge water tank found in a forest in Jeju Island, photographed

with the sky right after sunset as its background, disintegrating the boundary between the real and the virtual in line

with the Faade projects theme, as the sky and birds drawn on the tank blends in with Nature.

In

In May of 2012, the decade-long restoration was complete, and the screen was removed leaving the real

Hannamru alone at the site. Han Sungpils work is introduced in the middle school art textbook in 2013 (Kumsung

Publishing), helping the students succeed the meaning of memories and historical restoration through educational

memorialization.

Memories and Traces Reconstruction Project: Materialization of an Emotional Space

Reconstruction sites, where buildings are torn down and the traces of peoples lives are exposed bare. Han stores

time with his unique sensitivity and perspective at the sites where many artists produced photographs to raise social

issues from a critical viewpoint. This series, which captures the boundary between mind and matter, strips the

exterior and gazes at the traces, seeking vestiges of the past in present time, whereas the existing Faade Project

looks at the future through present time by way of the exterior.

For instance, as seen in , a building is meticulously cut in half for the reconstruction project in order to

build a road through the house, but as the interior is exposed, the sight reminds the viewer of times when people

occupied and lived in the quarters. This piece represents how a personal and sensitive space, which would have

been the storage of someones memories or reflections, turns into a cold block of matter in the form of a concrete

building.

Han explains as follows: People think of home with warm memories when we speak of

a house. But the house remaining here is a solely material object, standing forlornly at the site of reconstruction.

All the neighbors have left in the wake of construction, and the only two remaining houses are precariously standing

at the top of tens of meters-long blue tarp. The memories and traces of home and family are replaced by traumatic

scars, and the meaning of house turns from home to house as building, and consequently rocks as mere blocks of

concrete, Danger! Falling Rocks that may harm passers-by the time here is crumbling, disintegrating time.

Grafting the Worlds First4K UHD Digital Imaging Technology: Conceptual Interpretation of Space and Original

and Copies

The video work in this exhibition will be realized with LG Electronics new 4K UHD TV (4 times greater resolution

compared to the existing HDTV, high definition TV comprising 3840x2160 pixels). This project was made possible by

LG Electronics releasing and selling the worlds first 4K UHD TV in 2012, which allowed the artist to begin working

with 4K UHD technology for the first time in the world.

The artists Facade Project has led super HD and detailed oriented production, as huge photographs of 200x300cm

were meticulously produced, realizing an average resolution of 20,000 x 25,000 with over 0.5 billion pixels, through

the process of photographing with a large camera and going through dram scan and digital finishing. With the

rapid progress in digital media in the recent years, the artists interest moved on from photographs to video images,

which resulted in the worlds first 4K UHD video image work, ensuring the utmost detail.

The works produced with cutting-edge technology set Gamcheon-dong, Busan as their background. Seen from afar,

the pastel-tone exotic scenery captures the attention of countless visitors; local residents and artists in Busan have

recently drawn murals around the area in order to vitalize the village and create new spaces.

features the murals at Gamcheon Village in photographs and videos, as extensions of the artist

s previous works. The piece restructures visual illusion and beauty, representing the actual streets of Gamcheon and

the car murals as dawn begins to break, using natural lighting and street lamp lights.

visualizes the recently built observatory and its scenic view, introducing the overall landscape of

Gamcheon village. The observatorys walls are covered with murals depicting Santorini Greece as well as the

e Gamcheon village itself, and visitors can compare the idealized version of the village with its actual view. The

images and installations are effectively expressing the conceptual interpretation of space and the issue of the

original and the copy as fundamental questions and forms of the photograph media, using image and sculptures

based on photography.

Han raises questions regarding reality and ideal, and all things in polarized form, through his photographs, images

and installations. As a contemporary artist living in our time, he captures, observes, analyzes and represents a critical

keyword of our current society, namely illusion, and the meaning of space carrying memories and traces, showing

how he instinctively serves the role of a contemporary artist.

Han Sungpil (b. 1972)

Born in 1972, Seoul, he graduated from Chung-Ang Universitys School of Art, Department of Photography,

and received his Masters from Kingston College (U.K.) and London Design Museums joint program Curating

Contemporary Design.

He approaches controversial and fundamental themes such as the real and the virtual, original and copy,

environmental issues arising out of the greenhouse effect, knowledge of history and the error of iconography,

and collective unconscious and irony with deep reflection and acute sentimentality, embodying them through

innovative concepts and attractive visualization. His attitude towards life, attempting to understand the multiplicity

of culture, uniquely studying Nature and interpreting everyday life, effectively transfers to his work. His works harbor

a sharp sense of humor and sublime aesthetics.

After his first solo exhibition in 1999, he has been introducing his work at numerous domestic venues including

the National Museum of Contemporary Art (Gwacheon), the Library of Congress (Yoido), Seoul National University

Museum of Art, Seoul Museum of Art, Gyeonggi MoMA, Daegu Art Museum, Pohang Museum of Art, Jeju Museum

of Art, Busan Biennale, and Daegu Photography Biennale, as well as overseas locations including the Houston Art

Museum, Santa Monica Art Museum, Argentina National Museum of Art, Japans Kiyosato Museum of Photograhy,

Japans Yokohama Triennale, Spain Madrid Photo Espaa, Spain Cordova Photography Biennale, Slovakia Month of

Photography, and U.K. Birminghams International Image Festival.

He has attracted attention with large scale public art projects, wrapping buildings with huge screens at places

such as Namhan Sanseungs Hannamru, Changgyeong Place Suninmoon, Goyang Cultural Foundation, Gonggan

Building, Dusan Art Center, and the 18th Street Art Center in the U.S.

His installations are widely known through public channels such as publications and broadcasts, and his works are

introduced in the middle school (2013, Kumsung Publishing) and high school (2011, Kyohaksa) art textbooks.

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Lim ChaeWook

Snow Mountains

2013. 2. 28 ~ 3. 28Shin Hwa Gallery

G/F 32 Aberdeen Street, Central, Hong Kong, Tel +852 2803 7960

www.shinhwagallery.com

Lim ChaeWook , Mt. Seorak 1312, 100x100cm, Archival Pigment Print on Hanji, 2013

Lim ChaeWook , Mt. Seorak 1304, 50x150cm,Archival Pigment Print on Hanji, 2013

Lim ChaeWook , Mt. Seorak 1310, 50x100cm, Archival Pigment Print, 2013

ForewordShin Hwa Gallery hosts the 3rd solo exhibition of Lim ChaeWook in Hong Kong, shan-shui photography artist from

Korea. His exhibitions always bring excitement from his followers, eagerly anticipating Lims new interpretation of

Koreas shan-shui.

Lims works always contain natures monologues and dialogues in the landscapes. From the wind to the forest, from

the rocks to the trees, from the mountain ridges to the sky, there are quiet conversations echoing between them.

Lim perceived these visual echoes and placed them into his works with the inspiration from shan-shui-hua.

Lim selects and interprets a specific piece of landscape, for its visual echo somehow talked to him. He answers back

with his unique frames that magnify the landscape. A dialogue with nature is formed at the fleeting moment when

the object is being photographed. This dynamic between the nature and Lim penetrates all through his works.

In his new exhibition of Snow Mountains, the height of the aesthetic formed with the visual echoes has reached

another level. The mountains, trees and the grass featured in Lims photographs are crispy dry in the cold winter,

meanwhile deliver a peaceful and self-content allure under the snow. The calmness completes the visuals with a

sense of hearing, whereas the blowing snow adds a sense of touch.

Snow Mountains are all developed in hanji (traditional Korean paper). It deepens the textures of black and white

shan-shui photography. Youll appreciate it more as they are not ink drawing but the reality of the world we live in.

Youre cordially invited to exhibition Snow Mountains, contemporary and oriental shan-shui photograph exhibition.

Director Christie Shin

Shin Hwa Gallery

Feb, 2013

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The landscape drawn by the cameraYoung 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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Lim, Chaewook (1970~)

Education

2002 B.F.A Dept. of Oriental Paintings College of Fine

Arts, Seoul National Univ.

Solo Exhibition

2013 Snow Mountains, Shin Hwa Gallery, Hong Kong

2012 Mind Spectrum, Schema Art Museum, Cheongju

2012 The Mountains, Shin Hwa Gallery, Hong Kong

2012 Mind Spectrum, Pyo Gallery Artspace, Seoul

2011 Mind Spectrum, B&Vit Gallery, Seoul

2010 Mind Spectrum, Shin Hwa Gallery, Hong Kong

2010 Wolcheon-ri Solsum, Gallery Won, Seoul

2009 Mind Spectrum, Chung Art Gallery, Seoul

2009 Mind Spectrum, Hana Art Gallery, Seoul

Group Exhibition

2012 SCAF(Seoul Contemporary Artstar Festival),

Seoul Arts Center, Seoul

Residence 2012- Enviroment art exhibition,

Masan Art Center, Changwon

Art Village of Gyeongsangnam-do,

Masan Art Center, Changwon

ArtRoad77-4th, BookHouse Art Space,

Paju, Gyunggido

2011 Korea Art TodayBreathe,

Hong Kong Arts Centre, Hong Kong

Namsong International Art Show,

Seongnam Art Center, Seongnam

Travelers, Gallery White block, Paju

KCAF 2011, Seoul Arts Center, Seoul Korea

2010 Art Garden, Gallery Su, Seoul

ArtRoad77-2th, Gallery Hangil, Paju, Gyunggido

More beautiful than the flowers,

Lee yoonsoo Gallery, Seoul

Life is life, Namsong Museum,

Gapyung, Gyunggido

Drawing with Dreams ,Uijeongbu Art Center,

Uijeongbu, Gyunggido

Dreaming exhibition of three artists,

Atelier Aki, Seoul Korea

The two different view points of the two artists,

Manolin, Seoul

KCAF 2010, Seoul Arts Center, Seoul Korea

2010 Attention Please!-Collection for young artists,

Jinsun gallery, Seoul

2009 KASF 2009, SETEC, Seoul

Kyunghyang Newspaper Special Preview 2009,

Seoul

KCAF 2009, Seoul Arts Center, Seoul

The Flow of Contemporary Printmaking Exhibition-

KyungHyang Gallery, Seoul

2008 ART GROUP START, SFC, Seoul

KASF 2008, SETEC, Seoul

Art Fair

2012 Daegu Art Fair 2012, EXCO, Daegu

Asia Top Gallery Hotel Art Fair Hong Kong ,

Mandarin Oriental, Hong Kong


Asia Top Gallery Hotel Art Fair Hong Kong ,

Mandarin Oriental, Hong Kong


Art edition 2010, Bexco, Busan

KIAF 2010(Korea International Art Fair),

COEX, Seoul

Art Gwangju 2010, Kimdaejung Convention

Center, Gwangju

Asia Top Gallery Hotel Art Fair Seoul 2010,

Hotel Shilla, Seoul

Seoul Photo Art 2010, COEX, Seoul

SOAF 2010(Seoul Open Art Fair), COEX, Seoul

Korea Galleries Art Fair, Bexco, Busan

Asia Top Gallery Hotel Art Fair Hong Kong 2010,

Grand Hyatt Hong Kong, Hong Kong

Daegu Art Fair 2010, EXCO, Daegu

SIPA 2010(Seoul International Print, Photo Art Fair),


Asia Top Gallery Hotel Art Fair 09,

Grand HYATT Seoul, Seoul


SIPA 2009(Seoul International Print, Photo Art Fair),


Asia Top Gallery Hotel Art Fair Hong Kong 09,

Grand Hyatt Seoul, Hong Kong

SOAF 2009(Seoul Open Art Fair), COEX, Seoul

Los Angeles Art Show 2009, LA Convention Center,

LA, USA

2008 SIPA 2008(Seoul International Print, Photo Art

Fair), Seoul Arts Center, Seoul

Awards

2001 Jang Young-Shil Award

(Ministry of Science and Technology)

1997 The 1st Korea Internet Contest-The First

prize(Ministry of Infomation and Communication)

Publications

, Artblue, 2010

COLLECTIONS

Deutsche Bank

Harbour City Hongkong

Daewoo E&C

Severance Hospital

Fine Tower

Vision Tower

Contact

Mobile : +82-(0)10-3218-2593

E-mail : [email protected]

Website: www.limcw.com

Facebook: www.facebook.com/chaewook.lim

iPhone & iPad App : Lim Chaewook

Biography

Area Park

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2013. 3. 2 ~ 5. 9GoEun Contemporary Photo Museum

1 37 10, 051 744 3933

www.goeunmuseum.org

Area Park, -, C-Print, 2012

It has been about half century since photography techniques were flowing into this country. Photographic

techniques have been evolving through the analogue era and the digital era, and the diffusion of camera has caused

the generalization of photography. Photography, which achieved its own popularity and artistry, is now in the

center of contemporary art. In the past 5 years, GoEun Museum of Photography has been trying various projects

such as the exhibitions that make the most of the display spaces characteristics and academies for the development

of Korean Photography and the base expansion of the population of the people who love photography. With the

outcome of those attempts, the museum begins the interim report project as a systemic plan for the progress

of photography, to review accomplishments of the photographers in their forties who are at the center of

photographic art.

In Korean society, each generation has its own characteristic because Korea has experienced turbulent political and

economic situation in short term. Especially, there is huge difference between people in their fifties and in their

twenties and thirties. The fifties and the sixties have grown their national consciousness through the experience of

the war and the modernization of their country. As a result, they cherish public interests. In the contrast, people in

their twenties and in their thirties, who have developed their own unique and youthful culture, are more concerned

with personal interests than those of public. The forties, who are in the middle of those two groups, became aware

of importance of public interests through the intense movement for democracy, and at the same time, have ability

to react and adapt quickly to changing situations, because they have experienced rapid changes of political and

economic situations. Hence, the forties are the intermediates that can harmonize two conflicting generations. In

spite of this importance of the forties, however, the social status of those people in Korea society is unstable. Those

people have tremendous responsibilities, but social roles and authorities allowed to them are relatively poor.

The same problem happens in art field. The photographers in their forties are the intermediates between rising

photographers in their twenties and thirties and leading photographers in their fifties and sixties. They were

given birth and have been grown by analogue era, but it was digital era that showed them new world. Those

photographers that have experienced changing situations and adapted to them have characteristics of both

eras. Based on this fact, they have affected contemporary photography by seeking and trying variety of Korean

photography, breaking the mould.

Having been doing passionate artwork through their twenties, now they are arriving at puberty. At this moment, the

photographers need objective eyes to the direction of their art work and chance to settle down their artistic move.

Because of lack of attention and support of museums and commercial galleries, however, sometimes their artwork

shrinks and even, they suffer from hardships of life.

In this situation, GoEun Museum of Photography is planning an annual project interim report as form of

retrospective to support the intermediate photographers passion for artwork. The photographers can look back

their first resolution and arrange the work of their past years through this project. The museum expect for those

photographers who are doing role of back bone of Korean Photography to reaffirm their determination to become

the artists representing Korea.

GoEun Museum of Photography

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Area Park, - , C-Print, 2003

Area Park, -, , Light-jet Print, 2009

Area Park, -, C-Print, 2012

Area Park, -#02(12.3m), C-Print, 2010

Area Park, - , C-Print, 2010

Area Park, .. - , C-Print, 2003

Area Park, - , Gelatin Silver Print, 2001

Area Park, - 120 K, C-Print, 2003

Area Park, - , C-Print

An Itinerants Record: A Trajectory of Documentary

GoEun Museum of Photography is pleased to announce the midcareer retrospective exhibition of photographer

Area Park. The exhibition spans the past twenty years of his oeuvre, featuring important works from his major series

of works, including 386 Generation, Seoul...A Society of Gap, Arbeit, Boys in the City, The Game, Hidamari, New

Village Movement, Way of Photography, and most recently, An Itinerants Record. Area Park strives to overcome the

very limitations and paradoxes inherent in the practice of documentary photography, and as such, his work may be

seen as a metaphor for a trajectory of documentary that probes the fundamental questions of photography.

In his earliest work Area Park confronted the rapidly shifting social realities of South Korea after the demise of

military regimes. 386 Generation captures the painful moments of social struggles waged by student and labor

movements. People in Seoul documents the exhausting conditions of everyday life of the working class and the

realities of forsaken commoners who have sacrificed their lives for their nation.

Adopting color photography for the Arbeit series, Area Park grapples with the violence of neoliberalism and those

exploited in its system. It is noteworthy that the artist discloses the names and their daily earnings in the title of

each image. Probing the present social problems, Park adopts a panoramic format for the first time, rather than

framing his subjects in dramatic manners as one would find in typical documentary photography. Such was Parks

idiosyncratic attempt at overcoming the limitation of documentary photography, whose status has severely dwindled

after the supposed neutrality or objectivity of documentary has been seriously challenged.

Also presented in panoramic mode, Park juxtaposes sets of two different images for the series Boys in the City.

Constructing narratives in such manner was another way to expand the possibilities of documentary practice. The

series includes images of vulnerable teenagers and young adolescents who dream their dreams but are nevertheless

subject to harsh realities, and are surrounded by both visible and invisible, or material and economic social

infrastructures that they cannot seem to withstand.

Using a large format camera for the series The Game, Park explores the enduring legacies of the Cold War. It is

noteworthy that Park boldly presents what may appear to be journalistic photography in large-scale work that

measures some two-meters wide. The series underscores the broken myths of the former military regimes in the

age of democratic establishment. Included are the images such as the statue of the teenager Yi Seung Bok, who

had supposedly been murdered by North Korean soldiers and later disputed for its veracity, as it is abandoned in the

midst of rubbish and weeds; angst-ridden exiled teenagers from North Korea; and the apocalyptic images of the

Maehyang-ri bombing range, studded with unexploded ordnances in situ.

After moving to Japan Area Park focused on the fundamental elements and condition of photography. For the

Hidamari series Park demonstrates that it is possible to make photographs with minimum amount of light. The series

is an embodiment of his modest desire to make beautiful images using the most direct and conventional elements,

namely, light, space, and duration, without resorting to now rampant digital imaging processes.

In the aftermath of tsunami in Eastern Japan in March 2011, Area Park chose not to join the competitive news

media photographers. Instead, he allowed himself passage of time and critical distance in order to represent the

ruins of the catastrophe. Way of Photography includes both documents made in such manner as well as images

of his personal attempts of interventions at the site. The latter includes the silhouette of Michael Jackson hung

amongst the trees, Almost Died Taking This Photo, and the images of various personal relics found and arranged

in groups. In short, Park operates at seemingly opposite realms: documenting the scene from a distance, as well as

willful intervention at the site.

An Itinerants Record represents found objects in Fukushima and Miyagi prefecture after the tsunami, as well as

those that the artist obtained at flea markets in Tokyo. The images of the disparate objects are unified in terms

of ontological reflection on things that have survived the brutal force of nature, or things that were chosen after

abandonment, or in use despite their old age. The artists sympathy towards such objects are a metaphor for

dysfunctional bodies and deaths, and their memories, as well as documentation of mental wandering of the artist

who recognizes the flesh that is left behind. The series is also related to the artists insistence on the use of large

format film camera. The work embodies the artists willful resistance against the countless photographic images

taken and deleted all too easily, and our consumption of digitally manipulated images today.

The exhibition title An Itinerants Record may locate the artist at his hometown Busan, looking back at his journeys

throughout South Korea, Japan, and Vietnam over the past two decades. But more significantly, it represents

the artists sustained effort to strike a balance in documentary practice. Vehicles like a tricycle or wooden horse

may appear to be personified, hence exuding certain sentimentality. However, the underlying leitmotif of his

work is the persistent philosophical and fundamental inquiries into the nature of photography and the act of

documentation. The exhibition title is thus a metaphor for his physical relocations, mental precariousness, and

formal experimentations to situate the inquiries into documentary photography.

In retrospect, the trajectory of Area Parks documentary practice has transitioned from the mode of hot

documentary in which the artist grasped the decisive moments at the sites of actions, to that of cool observation of

the site after the fact. Initially functioning as an immediate evidence of the event and site, his documentary gradually

evolved into the conventional form in which historical moments and aesthetic moments are fused into one. Finally,

in Hidamari, the interventionist work in Way of Photography, and An Itinerants Record, he seems to be making

a kind of ahistorical moments that refuse specific historical meaning, despite their apparent presupposition of

historical awareness and passage of time. In short, Area Park seems to be traversing these three different tendencies

in documentary photography. In this regard, his work is a means to control the balance between exploration of

possibilities in documentary and its paradoxes, and as such, it represents a documentary of his movements and

journeys as much as a trajectory of documentary.

Young Min Moon (artist, critic, professor at University of Massachusetts Amherst)

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Door of Imagination

2013. 3. 6 ~ 3. 19gallery Now

192-13 3, 82 2 725 2930

www.gallery-now.com

Song Seung-Jin _Door of imagination-1_Digital C-Print_2013

Working Notes

Door of Imagination

Searching for Stories of Imagination

I have worked on various series of photography containing my imagination and come to this abstraction story. In

this abstraction series, you may experience deja vu of your amazing memory from nature. You may stretch your

imagination in very active and brilliant ways. The journey can go on endless with one imagination generating

another.

In my photography, the photographer is a guide who opens door of story for you. Reflection images act as a mirror.

They pull hidden memory from you and show you, and also open door of story. Without forcing, viewers can

voluntarily find their stories and enter the space of imagination.

Viewers should go on with stories and imagine by themselves. Therefore, there are only filenames for identifying

images. Viewers can make their own title or stories and continue with imagination.

Oriental people may imagine oriental stories and western people may imagine western stories. Or the opposite way

is possible too. Their stories can begin from this and vary in themes according to their job and thoughts.

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Song Seung-Jin

Born in 1958 in Jeju, Mr Song has been enthusiastic and talented photographer for a long time. He is very talented

in computer graphic design as well and lectured many times for Corel Draw from 2005 to 2008 for the public.

After that, he began to fully devote his life in photography. His series of photographs, "Beautiful Korea" have been

receiving great responses from public. He is continuing to show various photographs by website, and provide

lectures on photography, and also contribute his photographs and lectures on magazines.

"Chunwoo's Beautiful Korea" - Sungandang Publishing

"How To Take Good Landscape Photographs by Chunwoo Song Seung-Jin" - Soul Mate Publishing

"Beautiful Korea" series in DCM, a monthly magazine - up to now

"Beautiful Korea" series in Mountain, a monthly magazine - up to now

Blog: http://chunwoossj.blog.me


2013. 3. 6 ~ 3. 19Topohaus 1

184, 02 734 7555

www.topohaus.com

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2013. 3. 7 ~ 3. 16Gallery On

69 1, 02 733 8295

www.galleryon.co.kr

, tour bus/ 80 x 80 cm/ c-print / 2009

, #after festival_40x40cm_gelatin silver print_2010

, #an outdoor billboard_40x40cm_gelatin silver print_2010

, #bathing beach_80x80cm_c-print_2010

, #construction site_40x40cm_gelatin silver print_2009

, #drive-in theater_80x80cm_c-print_2009

, #duck boat_25x25cm_gelatin silver print_2010

, #duck boat_25x25xm_gelatin silver print_2009

, #golf course_40x40cm_gelatin silver print_2010

, #park-eiffel tower_40x40cm_gelatin silver print_2010

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1982 Born in Korea

Education

2011 Studied from dept' of Photography Graduate

School of Hongik University / Seoul

Solo Exhibitions

The Encountered Landscape_

/ Bupyeong Arts Center / Incheon _ 2010

/ Moonshin Museum / Seoul _ 2010

Certain.. Landscape_

/ On gallery / Seoul _ 2013

Group Exhibitions

2012 Factum & Landscape / Sohang gallery / Heyri

The Prism / Culture Art Center / Incheon

Ulsan International Photography Festival / Ulsan culture

art center / Ulsan

I am a camera / On gallery / Seoul

2011 Yor're Incheon / artplatform / Incheon

Preview / TeamPreview / Seoul

The discovery of life / Bupyeong Arts Center / Incheon

2010 Post Photo / Illum gallrey / Seoul

2009 Post Photo / Topohaus gallery / Seoul

Hongik Art Design Festival / HOMA / Seoul

ASYAAF / Defense security command old bldg / Seoul

Residency

2012 Incheon Photo Archive Project _ Incheon

Foundation For Art & Culture

Collection

Incheon Foundation For Art & Culture Art Bank

Moonshin Museum

Episode shop

2013. 3. 7 ~ 4. 3 Trunk Gallery

5 66, 02 3210 1233

www.trunkgallery.com

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2013. 3. 8 ~ 4. 28ilmin museum of art

139 1,2 , 02 2020 2050

www.ilmin.org

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Solo exhibitions

2011 Superblock, Gallery2, Seoul

25 Bridges, GYM Project, Seoul

2010 Two Faces, Songwon Art Center, Seoul

2009 Teheran, Design Foundation Gallery D+, Seoul

2008 Hangang Project2: 25 Bridges, Gallery Kunstdoc, Seoul

2006 69 Snack Booths, Gallery Now, Seoul

Group exhibitions

2012 2012 Seoul Photo Festival, Seoul Museum of Art, Seoul

2010 XyZ city, Timessquare, Seoul

Extended Senses, Gallery Loop, Seoul

Autonomy Zone 1-130, Arts Council Korea, Seoul

2009 Novel01: Looking for Lee Junho, Takeout Drawing, Arko Art Center, Seoul

Platform in Kimusa, Kimusa, Seoul

2008 Empty Space of Alien, Hutcheson Gallery, New York, USA

Changwon Asian Art Festival, Hangang Project3:Every Building, Changwon

Donggang Special Photo Exhibition, Hangang Project2: 25Bridges,

Donggang Museum of Photography, Yeongwol

Mindful Garden, Shinsegae Art Gallery, Seoul

Hangang Renaissance, Seoul Museum of Art, Seoul

2007 City_net Asia 2007, Seoul Museum of Art, Seoul

2005 The Park, Seoul Olympic Museum of Art, Seoul

Another View, Gallery Lux, Seoul

2004 Another View, Mokkumto Gallery, Seoul

Award

2010 Young Artist Workshop Art Criticism, Arko museum, Arts Council Korea

Support for Planning Projects, Seoul foundation for arts and culture, Arts Council Korea

2009 Artistic Expression Activities, Seoul foundation for arts and culture, Arts Council Korea

2007 New Artist Trend, Seoul foundation for arts and culture

Publication

2010 Two Faces

2009 Teheran

2008 Hangang Project2: 25 Bridges

2006 69 Snack Booths

Kim, Deok Su

CalmNess

2013. 3. 10 ~ 3. 31

1 1376-13 T.051-744-3570

www.gallery-now.com

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Jiwon Kim

unFACEful vol.2

2013. 3. 12 ~ 4. 5 NUDA

597 BF1, 070-8682-6052

www.gallery-now.com

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185 3F , 02 720 8488

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81-3, 02 733 9576~7

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(Line & Line)

2013. 3. 14 ~ 3. 20Gallery illum

2 51-13 2, 02 2263 0405

www.galleryillum.co.kr

Yeongmoo Hur, line 1

(Yeongmoo Hur)

Tyler School of Art (Temple University, )

2007 "Graduation Thesis Exhibition", Tyler Hall, Tyler School of Art (Temple University, )

2006 "Any Color You Like", Penrose Gallery, Tyler School of Art (Temple University, )

2010 Bronze, The EPSON International Pano Awards, David Evans (Curator)

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2007 Photographic Awards, Tyler School of Art (Temple University, )

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2013. 2. 28 ~ 3. 21interalia A, B, C

(1940) (1954) (1955) (1955) (1956)

(1968) (1971) (1969) (1970) (1974)

147-17 , 02 3479 0114

www.interalia.co.kr

PHOTOSCAPE: PHTOSCAPE: EYE for the Ordinary Miracle

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Joo Myungduck PHTOSCAPE : EYE for the Ordinary Miracle

Joo Myungduck , Abstract photography


Joo Myungduck , Abstract photography_Bilbao, 2011,


Joo Myungduck , Abstract photography_Seoul, 2011,


Min Byunghun PHTOSCAPE : EYE for the Ordinary Miracle

Min Byunghun , Snowland Series, SL242 BHM2010, Gelatin silver print

Min Byunghun , Snowland Series, SL079 BHM2005, Gelatin silver print


Min Byunghun , Tree Series, TR001 2008, Gelatin Silver print


Min Byunghun , Tree series, TR201 BHM2008, Gelatin silver print


Min Byunghun , Tree series, TR202 BHM2008, Gelatin silver print


Min Byunghun , MG248 BHM2010, Gelatin silver print


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Kim Jungman , WONDERLAND. YOSEONAM. YEONGWOL. GANGWON. KOREA 2009, DIGITAL SILVER PRINT,0X122cm

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Kim Jungman , THE REFLECTION OF TIMES.J USANJI. CHEONGSONG. GYEONGBUK. KOREA2010, DIGITAL SILVER PRINT, 122X160cm


Kim Jungman , TIME OF SILENCE. MUREUNG. VALLEY. DONGHAE. GANGWON. KOREA2010, DIGITAL SILVER PRINT, 160X122cm


Kim Jungman , LIVING LONELINESS. NAMHAN RIVER. CHUNGJU. CHUNGBUK. KOREA2011, DIGITAL SILVER PRINT, 160X122cm


Kim Jungman , A SIMPLE BROKEN ROCK. NAMHAN RIVER. CHUNGJU. CHUNGBUK. KOREA2011, DIGITAL SILVER PRINT, 160X122cm


Kim Jungman , WELL MEET YOU AGAIN. NAMHAN RIVER. CHUNGJU. CHUNGBUK. KOREA2011, DIGITAL SILVER PRINT, 122X160cm


Kim Jungman , THE PART OF ME. GYEONGSANGBUKDO. DOK DO. KOREA2010, DIGITAL SILVER PRINT, 160X122cm


Kim Jungman , . . 2012, DIGITAL SILVER PRINT, 160X122cm


Kim Daesoo PHTOSCAPE : EYE for the Ordinary Miracle

Kim Daesoo , bmb2007049 (Color of Bamboo)Gelatin Silver Print, 41x54.8cm

Kim Daesoo , bmb1999047Gelatin Silver Print, 55x120cm

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Kim Daesoo , bmb1999119 (Road to Sky)Gelatin Silver Print, 41x54.8cm


Kim Daesoo , bmb2006064Gelatin Silver Print, 45x180cm


Kim Daesoo , bmb2005017(Swing)Gelatin Silver Print, 120x160cm


Kim Daesoo , bmb2008101Gelatin Silver Print, 41x54.8cm


Kim Daesoo , bmb2008018(Snow Flakes)Gelatin Silver Print, 120x160cm


Kim Daesoo , bmb2008071 (Like the garden of eden)Gelatin Silver Print, 55x120cm


Atta Kim PHTOSCAPE : EYE for the Ordinary Miracle

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Ahn Sekwon PHTOSCAPE : EYE for the Ordinary Miracle

Ahn Sekwon , Seoul New Town in Weolgok-dong Panorama2007, Archival Pigment print, 70x300cm

Ahn Sekwon , 2008, Archival Pigment Print, 83x300cm

Seoul, a Landscape of Silence

Cheonggye Stream Scape series (2003-2006)

A Village Disappears into History, Seoul New Town Project in Weolgok-dong (2003-2008)

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Ahn Sekwon , Disappearing Lights of Weolgok-dong I2007, digital C-print, 180x237cm


Ahn Sekwon , Lights of Weolgok-dong2005, digital C-print, 180x230cm


Ahn Sekwon , Cheonggye Streams View of Seoul Lights 20042006, Digital C-print, 127x278cm


Chun Kyungwoo PHTOSCAPE : EYE for the Ordinary Miracle

Chun Kyungwoo , BreaThings #132008, C-print, 90x72cm

Chun Kyungwoo , BreaThings #102009, C-print, 70x93.5cm


Chun Kyungwoo , BreaThings #052008, C-print, 90x66.5cm


Chun Kyungwoo , Versus #52007, C-print, 66x90cm


Chun Kyungwoo , Believing is Seeing #112007, C-print, 135x103cm

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Koo Sungsoo PHTOSCAPE : EYE for the Ordinary Miracle

Koo Sungsoo , Photogenic Drawing Series

03-114 Leaves l 03-104 Leaves03-105 Leaves l 03-115 leaves

2010, C-print, 75x55cm

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Koo Sungsoo , Photogenic Drawing Series03-097 Leaves





Koo Sungsoo , Photogenic Drawing SeriesLeaves


Kim Siyeon PHTOSCAPE : EYE for the Ordinary Miracle

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Kim Siyeon , Yellowish2012, Digital print, 136x203cm

Kim Siyeon , Yellowish2012, Digital print, 103x153 cm


Kim Siyeon , Thread2011, Digital print, 53x40cm


Gwon Osang PHTOSCAPE : EYE for the Ordinary Miracle

Gwon Osang , 2008 July2010, Lightjet print, wood frame, 217.6X172cm

Gwon Osang , a(15)2010, Lightjet print, wood frame, 217.6x172cm


Gwon Osang , 2011 October (Boom)2012 Lightjet print, wood frame 146x97cm


Gwon Osang , 2009 July (Head)2012, Light jet print, wood frame 146x97cm


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www.inprint.co.kr

Archival Pigment Print

inprint

010-7520-7716

photoview 2013.3(march)-a

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