photoview 2013.9(september)-a

PhotoView ISSUE 18 September 2013

PhotoViewIssue.18

Photography exhibitions eMagazine

2013. 9-a

www.ephotoview.com

Archival Pigment Print

010-7520-7716

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PhotoView Contents

2013.9-aJung, Ji-Hyun (Eng, Kor)

Seo, ji young (Eng, Kor)

BeomSik Won

Jordan Matter (Eng, Kor)

Seungrae leo Cho (Eng, Kor)

2013

Cheung, CheungHoi

Lee Seung-joo

Joo Yeon Woo (Eng, Kor)

Byung - Hun MIN (Eng, Kor)

Moon, Soon Woo

Cha, KyoungHee (Eng, Kor)

Hong Sung-Do (Eng, Kor)

, &

Kim Sohee (Eng, Kor)

Chanmin Park

Nathan Harger

,

Son Muk Gwang

Jung, Ji-Hyun

Construction Site

2013. 9. 6 ~ 10. 16SongEun ArtCube

947-7 1, 02-3448-0100

www.songeunartspace.org

Jung, Ji-Hyun , Construction Site 20, C-print, 80 x 100cm, 2012

Jung, Ji-Hyun , Construction Site Dreg 05, C-print, 60 x 80cm, 2012

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Artist Statement

These days, almost all community spaces (topos koinos) are on the blink of extinction. The essence of cities

as dwellings for human beings is being lost and instead used in the context as an economic and political

index.

People give up the spaces of living as they are dazzled by splendid blueprints for city development and by

economic benefits from climbing real estate prices. And in its place, thin steel plate walls overtake and

become a functional urbanization without human beings.

My work is about the space of urbanization which is normally not seen nor approached by the public. The

spaces portrayed in my photography are of temporal construction spaces or of abandoned buildings. Thus,

these venues can be considered as disconnected spaces which are in the temporary phase of construction or

deconstruction. I explore and focus on these isolated spaces of urban development to have us question the

reckless speed of urbanization and to reflect on our living environment.

This exhibition consists of 2 main series titled Construction Site and Construction Site Dreg.

Construction SiteThese photographs are taken at construction sites of large apartment complexes in Korea which will become

peoples "nests and shelters". The sites are the spaces where the destruction of nature conflicts with the

creation of human residence. These spaces might be non-existent in peoples mind until the construction is

completed but at the same time, they are ongoing and functional spaces under urbanization.

Through my photography work, I transformed the rational and cold feeling of the construction spaces into

personal and emotional ones. To present this, I used imaginative discoveries and installations which are

opposed to the functionality of urbanization.

With the support of the Korea Housing Corporation, the photographs were taken after studying and

exploring the construction sites at Pan-Gyo New City around Bundang district, Cheong-Ra New City in

Incheon and Sin-Nae Development District in Seoul.

Construction Site DregBuilding materials have their own function and usually remain as part of the building. However, sometimes

the materials are disposed, re-classified and then recycled as new materials. These remnants from the

construction sites have become a good subject for my photography. Although the residues were partly

functioning until the architecture is completed, they are disposed upon completion of construction, losing

their functionalities and then are re-classified as a different object. However, I think this is the moment

of rebirth to integral perfection. Remnants are the result of unforeseen calculation of functionalism but I

consider them not as garbage, but as objects of functionalism without any fixed formats.

1983

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2013 SKOPF , KT&G ,

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2012 Asian Students and Young Artists Festival Prize , ,

Jung, Ji-Hyun

1983 Born in Seoul, Korea

Lives and works in Seoul, Korea

Education

2012 M.F.A in Photography, Chung-Ang University, Seoul, Korea

2010 B.F.A in Photography, Chung-Ang University, Gyeonggi-Do, Korea

2005 B.F.A in Photography, Seoul Institute Of The Arts, Seoul, Korea

Solo Exhibitions

2013 Construction Site, SongEun ArtCube, Seoul, Korea

Group Exhibitions

2013 Baengnyeongdo 525,600 minutes: Interview, Incheon Art Platform, Incheon, Korea

Residency Now, Songwon Art Center, Seoul, Korea

2013 Platform Access, Incheon Art Platform, Incheon, Korea

2013 SAJINBIPYONG Award Exhibition, Gallery Iang, Seoul, Korea

2012 In Transit, Uropean Month of Photography Berlin, Berlin, Germany

Speciaal project fotografisch talent uit Korea, Breda International Photo Festival, Breda, Netherlands

The Art Factory Project, Sunset Janghang Festival, Janghang, Korea

Gongteo Project, Cheongju, Korea

2010 Hidden Sense, Daegu Photo Biennale, Daegu, Korea

Emerging Artists, Doosan Art Center, Seoul, Korea

Award & Project & Residency

2013 Korean Photographers Fellowship, KT&G Sangsangmadang, Seoul, Korea

Young Artist Program, Arko Art Center, Seoul, Korea

Incheon Art Platform 4th Artist Residency, Incheon, Korea

14th SAJINBIPYONG Award, Photo Space, Seoul, Korea

2012 Asian Students and Young Artists Festival Prize, ChosunIlbo, Seoul, Korea

Seo, ji young

Scent of time

2013. 9. 6 ~ 9. 28Artspace Guundol

390-23, 041-567-6871

www.artspace4.com

Seo, ji young , lisianthus, inkjet print, 80x80cm, 2010

Seo, ji young , rose, inkjet print, 40x40cm, 2013

Seo, ji young , delljiwoom, inkjet print, 40x40cm, 2013

Seo, ji young , pink peony, inkjet print, 40x40cm, 2013

Seo, ji young , pink lisianthus, inkjet print, 80x80cm, 2011

Seo, ji young , poppy, inkjet print, 60x60cm, 2011

Seo, ji young , peony, inkjet print, 50x60cm, 2012

Seo, ji young , calla, inkjet print, 50x60cm, 2012

Seo, ji young , cheunilhong, van dykebrown print, 22x28cm, 2011

Seo, ji young , tulip, van dykebrown print, 22x28cm, 2011

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Seo, ji young Photography Exhibition

Hye-Jeong Kang (Image Review)

Flowers are one of the most beloved subject matters among the artists from the East and the West.

Distinctively, a flower in a still-life painting has often been described as symbolically to function as a pure

ornament or imply religious amity. Ever since the Renaissance when the attention regarding the nature

was drawn in terms of humanities and science, a flower became the object of exploration about the

innate characteristics and beauty it holds. Generally, there are two varying perspectives in approaching the

flowers. The one is a scientific approach aspiring to depict the appearance, color and texture of flowers in

an accurate and lifelike fashion. The other is the naturalists approach intended to explore the inner nature

that is innate to a flower. If the former is an approach that is a formal, patternized and botanical towards

a flower, the latter stems from the process of sensory recognition of a flowers vitality and sensual beauty.

In this case, the flower either implies the organic harmony of the birth and growth of all the nature, and

their changes, or symbolizes the beauty and transience of all the sensitive life existing in the natural world;

which reminds of the old expression no red-hot flower can sustain ten days (: loosely translated

as beauty is often short-lived).

The flowers Series by Ji-Yeong Seo well depicts the spiritual vitality of flowers via dynamic lines, colors and

vivid sculptural textures. Started from 2008, the still-life flowers enable viewers to perceive the allegorical

implications of flowers the innate nature of flowers as the symbolic language and the universal order in

it. The artist has avoided depicting a flower like the one in a vase or an ornamental one in a bouquet, but

strived to shape the momentary life of a flower that fully blooms, and then, withers away. The pinhole

camera was exposed for at least five up to 20 days to record the daily scenes the bouquet goes through and

turned them into imageries via the technique that leverages facts. All the beginnings of her works exist in

time and the long-time exposure is the most common method to recognize the target object. Therefore,

the image recreated by photos symbolically display the transience of life through the layers of long time

where the past becomes the present and the future becomes the present. In other words, the associated

reactions by images recreated by an array of photos can be referred to as the portrait of ours. As every life

has its fate, obedience to the predestined life is to go with the ways of nature. Some said a human is born

with the aggregate amount of hours. and he/she is bestowed to spend through the entire life. Every human

is born, grows and is supposed to follow the given path of their destiny according to their wheel of fortune

at one point. Here, the time is some kind of an object of essence hidden in the area that we cannot perceive

with our naked eyes. In this note, Seos the flowers Series visualizes the existence of this invisible being

through photographic images based on the condensed flows of sustaining time.

Distinctively, her latest Series is remarkable in its classical yet contemporary

composition, colors and the beauty of austere moderation. Notably, the new objects such as insects,

butterflies and birds, which could not be seen in her previous works, appear near her flowers. Typically,

flowers, mirrors (a convex mirror reflected on the surface of a glass vase), critters like insects and butterflies

symbolize vanitas or mmento-mori. Flowers provide the transient beauty, and then, soon shrivel, which

makes them the object that signifies the transience of life, momentary discontinuance, and any type of

futility and ephemeralities. Also, insects and butterflies are born as a caterpillar, which makes them a symbol

of a human entangled in greed, futility or sin, or the resurrection. These objects stir up a sense of self-

examination in a philosophical way about time, life and death from artists. Yesterday cannot be the same

as tomorrow. Everything is futile towards the force majeure of time. Seo desired to express the beauty and

life of a flower and the principles of the nature through the aesthetic distance of the pinhole camera. In her

other works (2010) and (2010), viewers can feel the motions of time that pass through

the petals with the breezy winds making petals head lower, cause crispy sounds or make withered flowers

fall off. She managed to demonstrate the thoughts of changes in objects and impermanence of life by

meticulously recreating the even the littlest details of flowers blooming, wilting, falling off and scattering

away.

For all intents and purposes, we tend to believe a camera should describe the target object in a rational and

analytical way and record the materialistic being in a realistic fashion. That is because of its propensity for

disclosing the innate nature of the object by exposing its hidden part. Her other work (2010)

shows a bunch of flowers scattered in a glass vase with half-full water. In its surroundings, a stuffed

butterfly and flower patterns look as if the artificial flowers are fixed on a screen, and they visually seem

protruded outside the screen. The beauty of live flowers is locked in the weight of time. Meanwhile, the

bogus (flowers) have been baptized by the light to show off their shadows confidently. It makes it difficult

to discern which is truly genuine. The layered times offer deep and diverse color effects, while the endless

and dynamic lines manifest the sensual beauty of life in a sensory way. (2011) Moreover, the still-

life designs and patterns drawn on the background are the tool to imply the beauty and life of flowers in

a contrasting way. , , (2010) These works blurs the boundaries

between the genuine and the bogus, the foreground and the background, and the realities and fiction to

cause a sense of poetic fantasy. The flower inside the vase signifies the tubular way of life, but its a real. In

the same way, insects and butterflies imply the wandering soul or hidden desire that explores the honey of

a flower, but here, its just a stuffed objet that has lost its life. As such, the artist desired to put a spotlight

on the irony coming from the genuine and the bogus, subsistence and absence, and existence and non-

existence, and yet another resemblance to emphasize the life and existentiality of flowers. Recreating them

in photographs, in the end, is to create the new illumination between the boundaries of realities and fiction.

The aesthetic issue that is facing the contemporary artists is how much earnest and careful they should be to

transform the object in real life. They seem to regard the realistic nature of photos as something associated

with the narrow-minded academism, and to believe the denial of reality is the most contemporary form

of art. The most suitable medium to satisfy such crave is, without a doubt, the digital system. For the last

decade, Seo has been consistent in her works where she uses only the pinhole camera not with any

mechanical aids but a beautiful one itself. To her, the mechanical beauty of this primitive form of a camera

has been challenging her to put an aesthetic brake in the era of destructive speeds. As her confession

shows, it is the important aesthetic tool that can express the distance in time and aesthetic perspectives in

the most realistic way.

To conclusion, her aesthetic sensitivity is exposed by translating and suggesting the reality through the

ironical relations between the medium called a pinhole camera and the time. What differentiates her

still photos from still-life paintings is that she recreated the existence and life of flowers in a direct way,

reinforcing the symbolical allegory. Through the flowers serise, she manifests her own aesthetic talents and

propensity in the most sensory way.

(Seo, ji young)

2013: ( Scent of time ) ( ),

2011: (Dreaming flowers) (),

2008: (Dreaming flowers) (),

2008: (The water of chaos) ( ),

2005: (The image of mundane scenes) ( ),

1999: (In Harmony ) ( ),

1996: (In The Stopped Time) ( ),

2011: The Blank' (, )

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BeomSik Won

Archisculpture

2013. 9. 13 ~ 11. 11TOYOTA PHOTO SPACE

299 , 051-731-6200

www.toyotaphotospace.org

BeomSik Won , Archisculpture 001, Photographic Print, 2010

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2013 Dark to Light by Karen Marr and Laurence Dreyfus, , ,

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2013 Other Spaces: Re-imagining Architecture, , ,

2013 Candid Arts Exhibition, , ,

2012 Now X Here : 5 , , ,

2012 The Salon Art Prize 2012, , ,

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2012 The Recent Graduates Exhibition by Jessica Hall, , ,

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Jordan Matter

Dancers among us

2013. 7. 24 ~ 9. 22Savina Museum of Contemporary Art

159, 02-736-4371

www.savinamuseum.com

: 8,000 6,000

Jordan Matter, Dancers Among Us

Taken/ Ricardo Graziano, Ricardo Rhodes, Danielle Brown, Octavio Martin/ Sarasota, FL, 2011

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Savina Museum of Contemporary Art presents Jordan Matter's(1966, born and work in NY) first solo

exhibition in Korea. He transformed ordinary life activities such as crossing the street and shoveling snow

into artistic experiences using dancers as his muses and subjects. The photos are breathtaking and almost

unbelievable, but there is no computer manipulation to this work.

Jordan Matter will show about 50 images from his project titled Dancers Among Us working with dancing

companies all over the United States. The exhibition also includes his new release series titled Athletes

Among us .Jordan Matter's photography reminds us of the challenging spirit and passion of life that we've

forgotten.

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Self Portrait, Francisco Graciano/ San Francisco, CA/ 2013

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Light as a Cloud/Jason Macdonald/ New York, NY/ 2012

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She Said Yes/ Ricky Ruiz, Carrie Nicastro/ Chicago, IL/ 2011

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Double Take/ Angela Dice, Demetrius McClendon/ Chicago, IL/ 2011

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Broadway Bound/ Michael Cusumano/ New York, NY/ 2010

/ / , / 2010


Stroller Boogie/ Karin Wentz and her dauther/ New York, NY/ 2010

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Under the Boardwalk/ Jill Wilson, Jacob Jonas/ Santa Monica, CA/ 2012

/ , / / 2012

Jordan Matter, Athletes Among Us

Window Light/ Jacob Jonas, Jill Wilson/ New York, NY/ 2013

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Jordan Matter, Athletes Among Us

Wainting to Cross/ Jackie Carlson/ New York, NY/ 2013

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Jordan Matter comes from a long line of accomplished artists. He is the great-grandson of paintr Arthur

B. Carles, grandson of renowned photographer Herbert Matter and painter Mercedes Matter, and son

of filmmaker Alex Matter. Jordan Matter began his career as a baseball player, but after seeing a Henri

Cartier-Bresson exhibit he picked up a camera and discovered his true passion. Matter has become a world-

renowned photographer whose images have been celebrated on television and in print and blogs across the

globe.

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He has seized dance as a metaphor for various moods and endeavors common to us all. These lyrical

gestures have been thoughtfully orchestrated against a rich variety of settings. ken alone, these fascinating

backdrops add a layer revealing the diversity of American life"

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Seungrae leo Cho

Ice for Healing (father's letter)

2013. 9. 9 ~ 9. 30Gallery tis

26-2(146), 017-203-7144

www.gallerytis.com

Seungrae leo Cho , Ice for Healing 2009 02 27 60X90

Ice for Healing - father's letter

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Ice for Healing -The father's letter

The Artists note

The Ice for Healing project was started with the joyfulness of receiving letters from nature.Through the

project, the sickness of my soul was cured. During the time when I was working for the project, I was

touched by the letters from nature because of the formless words of love on the letters. Taking the pictures

of ice crystals comforted me and made me fall into the state of joyfulness. I approached to ice crystals

with my heart before I pressed the shutter of the camera. Also, I felt the bond of unity with ice crystals by

inserting my feeling inside of them. My heart was full of the joys when I could capture the enchanting colors

made from the shapes of ice crystals and lights of nature.

The moments I worked for the project was the time of healing that filled up my heart with love. I have

taken the pictures of ice crystals for 10 years to cure the inside of my heart. I think that there is truth with

the pictures that can tell something about my life. I have not exhibited even once, but I was happy for the

project with ice crystals.

Because it was the process that cleaned my soul. Dont just take a picture when you are happy. Taking a

picture will make you happy.

As feel light more though there is darkness, find a genuine delight in sorrow. As light is felt brighter when

there is darkness, you can find a true delight in sorrow. Happiness is found in hardships. The true value of

soul is discovered when we have nothing to show off about our bodies. The true love of God is discovered

when we have nothing to depend on in this world. Light, which always appears in the Ice for Healing

project, means the love of God who cures the pains from losses and hardships.

Ice makes its shapes in a blink of an eye and being a part of nature, it melts down and disappears. It is same

as our life that disappear into the soil without any possession. What I saw were the spiritual ice crystals that

were jeweled by receiving the light, not the ice crystals from the world. If ones life is receiving love, his/her

soul will become a bright jewel. I presented my feelings with my heart to show that I was fascinated in the

spiritual feelings of the ice crystals created by the light with their ambiguous states of being ice. Ice became

a symbol of love to myself throughout the processes of the project.

Photographer Seungrae leo cho

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2013. 8. 10 ~ 10. 30Goeun Museum of Photography,

452 16, Tel. 051-746-0055

www.goeunmuseum.org

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Common People

2013. 8. 23 ~ 9. 4175 GALLERY 175

175-87 B1, 02-720-9282

blog.naver.com/175gallery

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Joo Yeon Woo

Traveler's Cup

2013. 8. 29 ~ 9. 24trunk gallery

128-3, 02-3210-1233

www.trunkgallery.com

Joo Yeon Woo , Travelers cup #1_Digital Pigment Print on Archival Paper _67x100cm_2013

Artist Statement

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I have addressed creative discourses on issues of blurred boundaries not just in the geographical sense, but

also in the virtual and physical sense. My creative works explore the blurred boundaries of todays nomadic

life style. Todays nomadism is not that of unrestricted wandering; it is based on a global nomadic culture.

Our nomadic lifestyle redefines the meaning of home as something that one may carry only in ones mind

or in ones own character. In addition, our experiences are now multi-cultural, transcending geographic

locations and the ethnic characteristics of our living environments.

As a culturally displaced artist, I have been drawn to the theme of cultural displacement and identity, and to

social psychological and cross-cultural studies that are heavily influenced by immigrant experiences and by

the interaction between people and space. My most recent projects have adopted a documentary approach

and artistic archives to present my experiences of dislocation and rootlessness in our contemporary nomadic

culture.

Drinking Your Surroundings (2004~ongoing) and Travelers Cup (2012~ongoing) comprise over hundred

digital pigment prints that represent the places I have lived in and visited. These works embody my desire

to come to terms with my origins and to create an artistic archive of my cultural displacement and the

attendant sense of instability and sense of alienation. I have been collecting images of my different

surroundings and arranging them, per place, within the water glass that I drink from every day, in order

to absorb that place visually and conceptually. These portraits of place convey my thoughts and feelings

about the places where I have not constructed an identity and therefore am unable to retrieve spatial

memories and stories.

Joo Yeon Woohttp://www.spacekite.net

RESEARCH INTERESTS

Research interests include drawing, painting, installation involving experimental video, and digital

photography- more specifically, the fusing of these media, such as painting on a digital pigment print,

video from a still image, and interactive installation with video footage. My creative works deal with cultural

displacement and identity, and to social psychological and cross-cultural studies heavily influenced by a

global nomadic culture.

EDUCATION

MFA 2005 Drawing and Painting College of Arts and Architecture

(Related Area Study in Media Art) The Pennsylvania State University, USA

MFA 2003 Painting College of Fine Arts & Design Hongik University, Korea

BFA 2000 Visual Arts College of Music & Visual Arts Kyungpook National University, Korea

ACADEMIC APPOINTMENTS

2007 - present Assistant Professor of Painting and Drawing, University of Colorado, Boulder

2006 - 2007 Visiting Assistant Professor of Painting and Digital Media,

Oklahoma State University, Stillwater

INVITED SOLO SHOWS & TWO PERSON SHOWS

2013 The 18 Souvenirs

Truck Gallery, Seoul, Korea, Aug 29~Spe 24(scheduled)

2012 Travelers Cup

Class of 1925 Gallery, University of Wisconsin-Madison, Madison, WI,Jun 1 ~ July 17

2011 Landscape

The Great River Gallery, Anoka-Ramsey Community College, Coon Rapids, MN, Dec 1 ~ Jan 21

Skyscape1

The Mark A. Chapman Gallery, Kansas State University, Manhattan, KS, May 25~July 15

2009 Recent Works: Drinking Your Surroundings

DAMI gallery, Daegu, Korea, Aug 11~28

The Glass Bead Game: Two-person show with Myungho Lee

Gallery Television 12, Seoul, Korea, Mar 20~Apr 10

2007 Drinking Your Surroundings_Korea

Art Museum of Kyungpook National University, Daegu, Korea, Jun 19~29

Thousand of Hands

The Misciagna Family Center, Altoona, PA, Jan 18~25

2005 Drinking Your Surroundings_USA

West Hall, Penn State University, State College, PA, Jan 20~Mar 1

Byung - Hun MIN

RIVER

2013. 8. 31 ~ 11. 3The Museum of Photography, Seoul

45 19, 20, 02-418-1315

www.photomuseum.or.kr

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Moon, Soon Woo

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2013. 9. 3 ~ 10. 4gallery NUDA NUDA

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cafe.daum.net/NUDA

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2013. 9. 4 ~ 9. 17GALLERY LUX

185 3, 02-720-8488

www.gallerylux.net

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Kim Jinyoung Art Critic, Chairman of the Standing Committee ofAcademy of Philosophy

The series titled by Cha Kyounghee features photographs of graves. It is not uncommon

for photographers to choose graves as their subject matter, for so many photographs of graves have been

so far taken with various themes. Nevertheless, there is still something unusual in this photographers eye

capturing the image of graves with the lens. She does not shoot them at close range: rather, her subjects

are photographed from a distance as long as possible. The graves trapped by that long-distance gaze are

almost covered by or sink into the landscape filling up the entire frame, not standing out as in other pictures

of graves. Inotherwords, she intentionally De-subjectizes the subject with the long-distance gaze. This gaze

of de-subjectificationseems to closely relate to the artists unique way of not only approaching the subject,

but also composing the framethat is, how to make the photographic space multi-layered. The gaze, in her

pictures, transforms the photographic space into a dialectical one in which the subject is at once covered

and revealed and therefore, in this complicate space, her graves go far beyond the level of a mere visual

subject to become a polysemous sign that requires careful reading. In this sense, the understanding of this

photographic series would be a matter of understanding of this polysemy of her sign. Then, what does this

sign of a grave mean?

I would like to first read her pictures of graves from the ontological perspective. And I am attracted by her

new gaze on the interrelationship between life and death. In her gaze, the grave is no longer the abode

of death, or the outside of life, as is commonly believed. Rather, it comes into the very inside of life and

experiences all that life undergoes. As life goes passes the seasons, so the grave passes spring with peach

blossoms pink on the branches, and winter covered with snow. As life is present in all spaces, so the grave

is also domiciled in a field, on the seashore, or near someones house. Occasionally, for example, a grave,

placed on the top of a slope on one side of the road, looks like a house built by someone who is living there

and watching passersby through the window. Nevertheless, the ontological peculiarity of these photographs

does not found only in the internalization of the grave in life. With a closer look at them, you may found

that the grave, looking like a trivial detail in the landscape, shows itself as a dominating element. The

images, in which the screen of the mountain mist evokes the ancient memory, may lead you to think, not

that the landscape includes the grave, but that the former is being created from the latter. If these pictures

could be regarded as ontological, it is a paradoxical ontology.

Next, I look at her pictures of graves from the psychoanalytic perspective. And the graves captured by her

long-distance gaze read as the sign of Mourning. Freud, who rounded out the concept, explains mourning

as the libidinal movement in which the grief of bereavement, or losing a loved one, gradually returns to life

and completes healthy detachment from the deceased. However, the photographers grave seems to be

connected with some other type of mourning: it seems closer to Proustian mourning than to Freudian one.

For Proust, mourning is not to achieve a parting from the deceased, but the work of memory to incorporate

the deceased within it for the purpose of not forgetting him, or to put it another way, burying him not in

the grave under the ground but in that in the heart. Chas sign of a grave carries out the similar function.

Her graves that seem to become entirely part of nature, living together with the living in the time and space

of life, resemble more the image of recollection and forgetfulness to keep the deceased in our life, than that

of parting and oblivion. If is mourning photography, her graves would not to be found in

natural space but be the ones in her heart that she personally built inside of herself.

Finally, I read Chas sign of a grave from the meta-theoretical perspective that deals with the photographic

image itself. As is widely known, it was Ronald Barthes who delved into the intimate relationship between

the photograph and a grave more than anyone else. He understands the photograph as the image that has

a double relationship with death. The photograph is essentially the image of death (death is the eidos of

that photograph), for it is the result of transforming what is living and moving into the image of death,

as still as a dead body. On the other hand, it also represents the Return of the dead. The photograph as

an indexical image is the visual record of Being alive then and there, or the image of the reviving past, or

the return of Having been alive then in the gaze of the beholder. This persuades us to read Chas sign of

a grave as a signifier that implies another special meaning. The photographer takes pictures of graves, and

by doing this, she represents the grave space as the photographic one. This representation, however, does

not simply mean the conversion of the object to the image. If is mourning photography, her

photographic practice will have another special meaning. This is because, if the photograph is the space

of the living past, the grave that turned into a photograph is no more the space of death and recollection,

but a magical space in which the dead is still alive and returns to the present. In a sense, her photographic

behavior may be described as the practice of alchemy to change the grave into the abode of the living,

not that of the dead. But this alchemy of grave and photography is not allowed to everyone. It is only the

gaze of love to build a grave in the heart and keep the deceased in it that makes the alchemy possible. The

photographers love seems to be still ongoing.

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2013

The Ground

It might be that if we love someone beyond

measure,then even death falls in that love and

forgetshis own duty, leaving the person whomhe

ought to perish alive, as vividly as the person was

in his lifetime. And this might be what you call the

photographic image.

Excerpt from Kim JinyoungsSilent Days.

The series named The Ground began with my

effort to comfort myself after losing my sister. His

death was an accident that taught me that how to

take a step forward in everyday life could determine

life and death. I have no choice but to miss the time

that we shared together, but on the other hand, it

remains in my memory as a different being, telling

me that death is not disappearance but another

form of being alive. What was it that was shown to

her lying in her last bed? Was our house seen by her

eyes?When man dies, he returns to the dust. I left

for the natural landscape that includes the dust in

which the deceased is living.

During working on this project, I found that the

natural scenery, living space, and the space of death

in each region arejoined together as one. In this

sense, I tried to observe the objects in nature from

the point where I could show them equally, rather

than to focus on only one of them. I was attracted

by none of them. I just looked into and conform to

every capillary vessel of nature. And by representing

the four seasons in elegant colors, I tried to unite

nature, the living space of the survivors, and the

grave as the residence of the dead. In my works,

the term Ground,here, means both the abode of

the deceased and the place of living, and the grave

placed in Groundworks as a mediator between the

living and the dead. This series,The Ground, was

intended to show that life and death, or the world

of life and that of death, are neither separated nor

walled; but rather, there is a continuation between

them, for both are living together by picking out

their own Ground. 2013.

Cha Kyounghee1973

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ACADEMIC DEGREES

2003 Photography, Paekche Institute of the Arts

2005 B.F.A Fine Art Photography,

Chungang University

2008 M.F.A Fine Art Photography, Graduate School

of Chungang University

SOLO EXHIBITIONS

2013 The Ground of Living, Gallery Lux, Seoul

2013 The Ground of Living, The Space of the

Inbetween,

Cheongsajin Project for Supporting Young

Photographers, Toyota Photo Space, Busan

GROUP EXHIBITIONS

2003 Femininity in the Photographs planned by

Yeonggwang Gallery, Seoul, Korea

2005 View-point planned by Seoshin Gallery,

Jeonju, Korea

2005 Sajinbipyong Awards Exhibition, Gallery Lux,

Seoul, Korea

2006 Central University for Nationalities Exchange

Exhibition,

Museum of Art Central University for

Nationalities, China

2007 Chungang Art Festival, Gallery Hyun, Seoul,

Korea

2007 Portraits of the Big Cities planned by Seoul

Guarantee Insurance Co., Ltd. Seoul, Korea

2008 The 809 International New Image Art Festival,

The 809 International Art Residencies,

Yichang, China

2009 21C New Silk Road, The Korean Cultural

Center, Beijing, China

REWARDS

2002 Grand Prize, The 1st National College Photo

Contest hosted by Bingrae

2005 The 7th Sajinbipyong Awards-Iphos

COLLECTION

2009 Korea Center for Korean Embassy, Beijing,

China

Son, Muk Gwang

2013. 9. 2 ~ 9. 30alpha gallery

4 20-42 4F, 02-3788-9468

www.alphagallery.co.kr

Son Muk Gwang , , 90x40cm, Hanji, Pigment Print, 2012


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Out of Earth

2013. 9. 4 ~ 10. 2GALLERY IHN

73, 02-732-4677~8

www.galleryihn.com

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Gallery IHN is pleased to hold a solo exhibition of Hong Sung-Do titled 'Out of earth' from 4th September

to 2nd October 2013. The artist, Hong Sung Do is well known for overlapping photographs of the same

setting, taken with a time difference and combining them with sculptural elements. In this exhibition his

inspiration from his visit to Cuba can be observed through photo sculptures and object installation.

From the beginning of his career, Hong, Sung Do utilized a vise; nippers and he is well known for

dismantling objects and then he collates it together. Henceforth, he employs nude and combines photo

with partial elements of a body designating a section of the society's desire of 'plastic surgery'. In recent

works, the 'tourist' series narrates the loss of the subject and the absence of existence.

Hong, Sung Do has challenged various art forms considering aesthetic consciousness and dismantling the

conventional forms. While the artist had travelled in certain places, he discovered the bizarre landscapes and

the people who live with various methods of life, while he utilizes the artistic scenes by approaching it with

a new possibility of aesthetic expression. The sculptor, Hong, Sung Do continuously explores the 'tourist'

series that breaks the boundaries between photography and sculpture, which he enabled it into a three

dimensional form. In his recent works, he travelled to Cuba and reveals the Cuban landscape dramatically by

exposing the past scenes of international isolation and simultaneously reflecting the recent scenes.

The title 'Out of earth' seems adventurous and makes us feel uncanny about the undeveloped space while

stimulating fear. Through the ambivalent landscape of Cuba and the expressions they make on their venture

into the world, we experience the excitements the artist must have felt during the journey. Especially the

Styrofoam sculptures and floating helium balloons are the results of representation of hope, anxiety and

ambivalent place.

Hong Sung-Do , Tourist,Plexglass,aluminum,photo,45x80x13cm,2013_04



Hong Sung-Do , Tourist,Plexglass,aluminum,photo,110x196cmcm,2013_19

HONG SUNG DO

In Hong, Sung Do works the tourist series employs a photo of a spontaneous moment and implies the

concept of time. The artist shoots a photo of a specific space and retakes a photo after a certain time.

And then he cuts the alterative 2nd image of photo and applies on the 1st photo. Hereby, Hongs tourist

photos are simply not a role of a substance for a record of a visit but a perspective view of the tourist that is

concerned of subjects ambiguity and the absence of existence.

1991 M.F.A., Sculpture, Graduate School of Pratt Institute, New York

1983 B.F.A., Sculpture, Hong-ik University, Seoul

Solo Exhibitions

2013 Gallery IHN, Seoul

2009 Gallery IHN, Seoul

2007 Rainy Day, Gallery Skape, Seoul

2007 Tourist, Gallery Touchart, Heyri Art Vally, Paju

2007 Tourist, Canvas International Art, Amsterdam

2005 Tourist, Gallery IHN, Seoul

2002 Art Space Seoul, Seoul

1998 Holden, Greenaway Art Gallery, Adelaide, Australia

1998 Sun Gallery, Seoul

1995 Gallery Boda, Seoul

1994 Art Center, Seoul

1992 Sonamoo Gallery, Seoul

1991 Gallery Hyundai, Seoul

1991 Higins Hall, New York

Award

1998 The 21st Sun Art Award

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2013. 9. 10 ~ 10. 5KIPS gallery seoul photography

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Small Doings:

2013. 9. 6 ~ 9. 22Next Door Gallery

576-9, 02-730-2560

www.nextdoorgallery.co.kr

Kim Sohee, 1- , , , Focusing in Order to Let Anxiety Go 1- Thread, Needle, Scissors, 2013,

pigment print, 48 x 70 cm/ video projection 03:02

Kim Sohee, 2- , , Focusing in Order to Let Anxiety Go 2- Fan, Plastic Bags, 2013,

pigment print, 69 x 100 cm/ video projection 03:28

Kim Sohee, 30 , A Bite-off 30 Minutes after Each Meal, 2013, pigment print, 96 x 140 cm

Kim Sohee, , Raising a Pet, 2013, pigment print, 96 x 140 cm

Kim Sohee, , Meditating at a Quiet Place, 2013, pigment print, 69 x 100 cm

Kim Sohee, , Scribbling, 2013, pigment print, 69 x 100 cm

Kim Sohee, , Thinking Upside Down, 2013, pigment print, 69 x 100 cm

Kim Sohee, , Cure for Cutting Wrists, 2013, pigment print, 69 x 100 cm

Kim Sohee, 1, Regular Exercise 1, 2013, pigment print, 100 x 69 cm

Kim Sohee, 2, Regular Exercise 2, 2013, pigment print, 100 x 69 cm

Kim Sohee, 1, Comfortable Sleep 1, 2013, pigment print, 100 x 69 cm

Kim Sohee, 2, Comfortable Sleep 2, 2013, pigment print, 100 x 69 cm

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Anxious Anxiety

Participants : Sun-in Kim(Author of "Obsessive Compulsive Disorder, Living in Death"), Sohee Kim(Artist)

Young-hye Yuk(Photography Curator)

Place : Caf Toze in Jongno, Seoul

Time ; 11 am, Thurs. August 22, 2013

It had been several years since wed last seen one another, but while preparing for her fifth solo exhibit,

artist Sohee Kim reached out to me. Perhaps it was because of the ties wed formed when Id visited her

three previous solo shows in Korea. She said she wanted to discuss her new work with myself and one other

person.

Young-hye Yuk: Suicide, the after-life, now its anxiety. What is the anxiety about?

Sohee Kim: My head fills with many random thoughts when Im by myself at home. It seems I have to do

something to calm myself down. When vacantly staring at a household item, I ponder over what I could use

it for and this has become a kind of fun game for me in eliminating anxiety.

Young-hye Yuk: Was that fun game photography?

Sohee Kim: Taking photos came later. About four years ago, while living alone, I would do zany things to

get rid of stress. You see, my head unwittingly fills with bizarre thoughts. Sometimes Id get this feeling of

uneasiness, even when I was at home.

Young-hye Yuk: I guess you must have experienced something bad.

Sohee Kim: I hadnt. Actually, I enjoy watching TV shows about crime or murder cases, natural disasters

and such. Not only on television but I also look up videos or news on the Internet. I guess Ive been

subconsciously traumatized by the images that Ive casually watched. One in particular is still vivid in my

mind. During college, when I was living on my own, I saw a girl on TV living by herself get slaughtered by

some lunatic when shed been out hanging her laundry. I think thats when I started to take special care

locking up.

Young-hye Yuk: It seems youve been overly exposed to cruel images. It also seems like a kind of obsession.

A little later, another person, author of, Obsessive Compulsive Disorder, Living in Death, Sun-in Kim

joined us. He had been the chairman of an OCD organization as well as other associations and is now a

professional psychological counselor.

Comparing her anxiety to obsessive compulsiveness, Sohee Kim has taken the opportunity to show herself

as well as her work, which expresses anxiety, to the specialist.

Sun-in Kim: Thanks for showing me your photos. So, theyre pictures that you took because you felt

anxious?

Sohee Kim: Yes. The small things that I do to overcome the anxiety are what I capture in the photographs.

One time I performed a mock death. Of course, I wasnt actually dying, but as I went through the death

experience, I overcame the suffering that comes with it.

Sun-in Kim: Everyone has the desire to experience a certain moment, which I call capturing the moment

psychology. An example would be the desire of photographing a marathon runner at the exact moment of

crossing the finish line. Ordinary people also have this psychology. However, in obsessive compulsiveness,

theres a desire to do this even though they dont want to. Its a dual mentality. When you see a razor blade,

even though you know youll get hurt by touching it, you want to experience that painful moment. It doesn

t matter whether its harmful or not harmful to you. The only thing you want is to feel that moment and you

ll only be satisfied by doing so. The urge to feel a certain moment, this psychology can be applied to many

different moments. Safe moments, clean moments, moments of attacking and moments of self-infliction

are all examples. A person with obsessive compulsive disorder feels satisfaction by a certain experience even

while being repulsed by it. They say, Yes! This is how it feels! Theyre addicted to that sense of satisfaction,

which is why they persist in thinking certain harmful thoughts or doing harmful things. On the other hand,

regular people dont get addicted to that feeling of satisfaction when going through a certain moment, so

even if they think of something repulsive or act upon it, its just temporary. They dont continue to do it. By

any chance, have you ever felt repulsed by suicide?

Sohee Kim: Not really.

Sun-in Kim: Then, you dont have OCD. The things you want to do are not what matters in OCD. Then, you

re saying you feel pacified by doing various replacement behaviors when youre anxious? For instance, mock

suicides or like in the photography here...

Sohee Kim: My anxiety isnt fully relieved, but at least for that moment my replacement behavior (game)

reduces the anxiety, so I suppose thats why I keep doing it.

Sun-in Kim: Why do you get so anxious?

Sohee Kim: It doesnt get to the point where Im a nervous wreck but rather I think of things that I don

t want to think about when Im alone, so Im probably doing these other things in order to avoid having

those thoughts. At first, it felt like I was getting better, so I continued and at some point it became a sort of

obsession that I couldnt do without at that moment.

Sun-in Kim: I guess we should set the concept of obsessive compulsive disorder straight. OCD is a

psychological disorder in which a person is distressed by the thoughts or behaviors that one continues to

do even though that person doesnt want to. Obsessive compulsive disorder can be largely divided into

obsession and compulsion. Obsession is continuing to think of something that you dont want to. For

instance, I could get infected by germs if I grab this door knob. Compulsion is continuing an unwanted

behavior in order to eliminate the discomfort and anxiety that comes from the persisting obsessions, or the

repetitive distressing thoughts. If youre uneasy about something dirty on your hand, then you wash your

hands dozens of times in order to eliminate the uneasiness.

Sohee Kim: I think that for me the replacement behavior that I do is me trying to forget about the anxiety,

to not have uneasy thoughts, and in a way the behavior is done with the intent of healing. Actually, Im a

rather worrisome person, so I feel this kind of anxiety often.

Young-hye Yuk: Im getting confused with the different concepts of anxiety, stress, worrying and OCD.

Sun-in Kim: Let me clear it up for you. It can be mainly divided into obsessive compulsive tendency, obsessive

compulsive personality disorder, and obsessive compulsive disorder. Obsessive compulsive tendency is just

that. Its a tendency, like the tendency to be tidy or going to the same restaurant again and again. Thats not

an illness. So, the person is not tormented nor do they torment others. Obsessive compulsive personality

disorder has two major traits which are obstinacy and perfectionism. It also involves people with stinginess

about money or rigidity. For example, they get mad at a friend for being one minute late, blaming him or

her for not being punctual. The person in this case isnt the one who is tormented but those around them

are. These people dont consider themselves ill. On the other hand, with obsessive compulsive disorder the

person in question is extremely tormented. Theyre agonized while checking door locks dozens of times.

And some may even coerce family members to check doors too. They can torment others too this way, so

obsessive compulsive disorder is when the person in question is tormented but not others, or when the

person is tormented while also tormenting others. Ms. Kim, does your work process torment you?

Sohee Kim: These works were done by recalling the things I had done about four years ago when

experiencing anxiety and by expressing them again through photography. So, I think it might be a bit of a

leap to diagnose OCD by asking whether this process was tormenting.

Sun-in Kim: That means you sublimated the anxiety in the photographs. People use various methods in

order to protect themselves from unpleasant emotions such as anxiety, guilt, or depression. This is called

a defense mechanism, and sublimating is when a person expresses a certain desire or impulse in a way

that is socially acceptable. For instance, when a person with a violent inclination becomes a boxer, this can

be considered sublimating. This is the most beneficial of defense mechanisms. For you, the anxiety was

sublimated in your art work.

Sohee Kim: I believe most people have little things that they do like me to relieve anxiety. Although for me it

was expressed in a very subjective act through my art, I think many people will relate to this. Can something

that we commonly feel, like anxiety, cause obsessive compulsiveness?

Sun-in Kim: Yes. Anxiety, as well as doubt, consciousness of ones thoughts or behavior and perfectionism.

Its various and complex.

Young-hye Yuk: Is there a way to relieve anxiety?

Sohee Kim: One way is to realize the contradiction of the anxiety. In other words, use rational thinking.

Coming to the point where there is no further debate, coming to the realization, Oh, thats not what it

was! Lets say someone called you, saying theyre the public prosecutors office and youve been implicated

in a crime. And they say theyll call back. So you were anxious, but you realize, This is voice phishing! It

wasnt the public prosecutors office. The anxiety is gone. This is a way of realizing the contradiction of the

anxiety and appeasing the uneasiness.

Sohee Kim: In my case, I dont think there was a definitive thing that helped me overcome anxiety. Books

tell us to meditate, take medication, exercise regularly, but for me the best way was to surrender to myself

and let me behave in these rather odd and meaningless ways. Of course, like painkillers instead of remedial

medicines, I didnt reach the original goal which was complete relief from anxiety.

For slightly over two hours, three quite different individuals discussed Anxious Anxiety, dipping in and

out between the boundaries of anxiety and obsessive compulsiveness, crossing in and out of Sohee Kim

s world of photography and the real world. We possess so many feelings of anxiety in our lives. At a closer

look, we can find that on the other side of anxiety are our desires and pleasures, and the desire that we

can do nothing about is, in fact, the anxiety. Meanwhile, a difference in perception may turn yesterday

s indifference into todays anxiety and todays anxiety into tomorrows indifference. In this way, its no easy

task to predict or keep an eye on the capricious and hard-to-break multiple facets of anxiety. Once caught

in the whirlpool of anxiety, the likelihood to reach obsessive compulsiveness rises. The small zany behaviors

that Sohee Kim shows are her own way of confronting Anxious Anxiety. On the perilous road between

obsessive compulsiveness, she manifests a small but extraordinary ability to cross the uneasy stepping stones

in a remarkably pleasant way.

- Edited by Young-hye Yuk (Photography Curator)

Chanmin Park

DYSTOPIA

2013. 9. 6 ~ 10. 19MakeShop Art Space

500-14 (), 070-7596-2500

www.makeartspace.com

Chanmin Park , BL209373100126581925,ed.1/ 5,digital pigment Print,135x100cm, 2012

Illusion City

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Chanmin Park , BL1155571103585518, ed.1/ 5,digital pigmentprint,135x100cm, 2011

Chanmin Park , BL212373113127061324, ed.1/5,digital pigmentprint,160x125cm, 2012

Chanmin Park , Untitled_02, ed.1/5,digital pigmentprint,135x100cm, 2012

Chanmin Park , Untitled_21, ed.1/5,digital pigmentprint,120x120cm, 2013

Chanmin Park1970

Education

2011 MA in contemporary art, The University of Edinburgh (Edinburgh College of Art),

2008

1997

Solo Exhibition

2013 Untitled (SeMA ), , (11)

2013Dystopia, , (9)

2008 Intimate City, ,

Group Exhibition

2013 Supermarket Independent Artist Run Art Fair, Kulturhuset, ,

2012 , , ,

2012 Twin Town, Korean Cultural Center UK, London,

2012 KT&G , ,

2012 4482, Map the Korea, London,

2011 Carnival of Monsters, Nottingham,

2011 In between Something and Nothing-Reflections of space, Edinburgh College of Art, Edinburgh,

2009 Seoul Art Salon, AT Center,

2009 Seoul Photo (Art Fair), ,

2008 - , ,

2008 , -,

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

2007 Academy Lights, The Central Academy of Fine Arts,,

2007 Emerging Korean Photographers, Gallery Verkligheten,

2006 , , ,

Prize

2011 Brighton Photo Fringe, Open '11 TEXTS

2008 SKOPF ( ) 1

2008 Gallery Lux

Nathan Harger

2013. 9. 11 ~ 10. 10GALLERY K ON G

157-78, 02-738-7776

www.gallerykong.com

Nathan Harger , Untitled (Process Tank), Brooklyn, NY, 2010

Nathan Harger, holding_patterns

Nathan Harger, overpass

Nathan Harger, Untitled (Crane 2), New York, NY, 2008

Nathan Harger, Untitled (Vertical Swing), Brooklyn, NY, 2010

, , , ,

Nathan Harger 9 11

10 10 .

. 36 2008 2009

,

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, PDN 30 (new and emerging photographer to watch)

, , 2010 Prix

Pictet, Foam magazine (Whats Next? A Search into the

Future of Photography), 2012 , Johnson, VT - Award

. New York , Art Forum, American Photography

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16 .

66x 64 cm, 107 x 71 cm, 178x158 cm , 300 900 .

2007

photoview 2013.9(september)-a

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