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Manchester Art Gallery
2008.08
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kunstvere in hannover
2007.04
Once, I was strolling down a street, and looked up. The sky was clear, no clouds, no birds, no airships, no sun. Some kind of void.
Some other day, as I was walking along the street, I looked up in a daze. The sky was empty. And so it goes.
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Gallery SUN Contemporary
2009.11
Lee Jin Joon's 『Your Stage』 and Space of Imaginary Acting. In a recent couple of years, Lee Jin Joon has been in the spotlight for works encompassing diverse mediums, such as image, installation, performance and theater and an unique theme. Here, I would like to make a brief comment on this exhibition work, 『Your Stage』(2009), which is believed to show the significant aspect of the grand theme and methodology which he currently desires to set up.
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gallery chosun
2009.10
A man is slogging uphill with his back to a monochrome landscape. Wherever he goes, his swaying body and stooped posture represent that he is painstakingly moving forward. It looks as if he is given greetings from neither of his surroundings, the magnificent buildings in the back, shabby dust fences, and walls of someone's house. (Indeed, any of these interacts with another which remains separated). The man is struggling in these heterogeneous components. Neither adapting day-to-day changes nor getting bored of repeated daily routines, he is wearily wandering in the unfriendly space with basic living conditions.
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2008.04
All artists have their own world. Commonly referred to as the artist’s ‘art world’, it shows the life the artist has lived, the way his work has come to life, and the stories that can only be told by the artist. The audience comes to understand an artist’s work and the artist himself through looking into the art world of the artist. A mid-career artist in his 40s usually has a definite art world of his own, and even if it isn’t definite, it is naturally formed by other factors.
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Kim.Jinhye Gallery
2008.10
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Tokyo-gallery+BTAP
2008.09
In contemporary art, with its guaranteed unfettered freedom, it seems that the order of Neoclassical expression, the world of David or Ingres, will continue to wither away. This is not to say that grace has completely abandon of artistic thought makes it now more difficult to perceive.
Perhaps for this reason, when we attempt to depict divinity our understanding is often limited to use of motifs we are familiar with from the bible, such as halos.
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Centre Culturel Francais
2007.08
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Avanthay Contemporary, Zurich
2008.06
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Hakgojae Gallery
2009.09
2006 heralds a new stage in Dong-Yeon Kim’s oeuvre. Dong-Yeon Kim’s circumstances foster his artistic development and demand that he realise his ideas on a grand scale. Within a brief period of time Kim makes numerous series of ceramic and aluminium objects, accompanied by drawings and paintings, systematically enlarging his artistic vocabulary and establishing new self-evident impulses.
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Kunsthalle darmstadt
2006.03
Dong-Yeon Kim’s “The Holy City” consists of schematized model buildings. The miniaturized structures, partly made of aluminum, give the effect of elements from a modular building-block system. They neither possess an individual character nor do they appear to refer to any sort of spiritual meaning in the sense of the title.
The buildings are empty, only silhouettes. They are stretched out, giving the impression of a system of transitions, tunnels, shafts, never static, comforting shelter. The buildings are often combined into larger architectural complexes, for example forming a square around an open courtyard, thus actually evoking a ‘holy’ cloister.
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Riccardo Crespi Gallery
2010.02
For his second solo exhibition at Riccardo Crespi, the artist of Korean origin Shin il Kim presents Active Anesthesia-Into, an evolution of the project with the same title shown at his first exhibition in Milan two years ago.
Starting out from a reflection on the state of passivity, of numbness of the senses, that in many ways characterizes our daily life and in particular our relationship with the media, the artist seeks to reawaken an active condition, to stimulate us to look at the world in a more conscious and participatory way.
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Smack Mellon
2008.09
A silent film, “The toll of the sea”, the first color feature film made in Hollywood in 1922, is about a biased love story that is similar to Puccini ‘s “Madame Butterfly”.
It is a very perplexed and unbalanced love story in which I found some kind of unsolved codes with hidden orders and power game between the powerful man and the obedient woman in the film. This coded love story in place of pure love story has the same aspect as the massive power that tends to control the world by war under the name of ‘peace’ and lopsided power structure in society. In a conventional view, ‘love’ should be pure without hidden purposes and ‘peace’ should not generate war.
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