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Palazzo Zenobio Venezia
2009.06
ON-AIR Project explores actual faces of existence in abstraction after the disappearance of reality, by contrasting the defining nature of photography, which represents, registers, and records images against the law of nature, i.e., that all that exists will eventually disappear.
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Johyun Gallery
2011.09
At first, I thought I knew the paintings well. Cactus drawn as tall as a man and somewhat familiar sceneries looked easy and simple from the outside. But..
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313 Art Project
2011.08
It is the way in which the operation of being void and compact in the canvas results from the interaction of color and space, as well as the working process embodying the artist’s thoughts.
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Sungkok Art Museum
2011.02
The Unnamable Scenery, including three chapters, three spaces, and three stages, is three independent and associated incidents that appropriate the structure of a dialectic tragedy.
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Aspen Art Museum
2011.07
Internationally renowned artist Haegue Yang creates installations that include photographic, video, and sculptural elements and are informed by the artist’s philosophical and political investigations. Responding to the places where she exhibits, Yang creates site-specific new work that incorporates both the architecture of the exhibition space and materials gathered from the region.
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Artsonje Center
2011.05
An image is only one of the truths drifting in our imaginations and beliefs. The question is, how do we look at that?
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Arnolfini
2011.07
The two‐person exhibition The Sea Wallwill facilitate a conversation between the work of artist Haegue Yang and Felix Gonzalez‐Torres. Operating though a number of conceptual and aesthetic approaches, this dialogue will look to activate their respective practices anew, drawing on the co‐existence of the poetical and political aspects in their work, contextualising them in a contemporary socio‐political, as well as artistic discourse.
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Cais Gallery
2011.05
Looking over Seoul today, I've discovered a gap between the conceptual image and the recognition on city space we live in reality. Various perspectives from outside, inside, below and above needed to observe this complex nature.
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Brain Factory
2008.11
Rarely do we use the term “painter” when we call a person who paints nowadays, as ofter as we used to, but I care for what the word emits, such as antiquated sense and professional persistence. Seok Ho Kang is one of the few who, as far as I know, fit in a “painter” rather than an “artist”.
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Kumho Museum
2006.05
On the white walls of the exhibition room hang 60 identical paintings. Oil paintings painted on different sizes of a canvas account for about 40 works and the rest of the works are drawings on a paper. A figure on a seemingly perfect square canvases and papers is an unknown man standing with his hands folded behind his back in check jacket from behind.
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Insa Art space, Seoul
2005.08
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Museum of Art, Seoul National University
2007.08
Recently. It appears as though some artists are already growing out of the realm of melancholic ‘post‐’syndrome. The beginning of the postmodern society was proclaimed most definitively by Jean‐Francois Lyotard in his acclaimed 1979 writing “The postmodern condition”. Arthistorically, the metanarrative of the visual art, Modernism, had come to surrender itself to the postmodernism that rose in the 1980s and was held effective all though the 1990s.
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