BP艺术家动态 | 金赞颂个展展评：肉身本体论

金赞颂个展：“触手可及”丨Artist Residency TEMI 展览现场

Chansong Kim's Solo Exhibition: At A Moment's Touch 

丨Exhibition View

感官疑团：肉身本体论

Mass of Sense: The Ontology of Flesh

文/ Kim So-ra

我侧躺着，蜷缩着身体，双臂垂下，双腿并拢。我不断地折叠和伸展我的关节，估量我的体积，直到手指碰到手指，前臂碰到大腿，小腿和大腿重叠在一起。我试图模仿金赞颂个展《触手可及》中一件作品所描绘的姿势。艺术家在创作时是从什么样的角度看待她的身体？她试图捕捉哪些感觉？

I lie on my side and curl up my body, with my arms hanging and my legs pulled close. I keep folding and stretching my joints, weighing up my volume, until fingers touch fingers, forearms touch thighs, and calves and thighs overlap. I’m trying to mimic the pose in one of Chansong Kim’s works in her exhibition titled At a Moment’s Touch. From what kind of perspective did the artist look at her body, and which senses did she try to capture?

金赞颂 Chansong Kim

《匿名场景》Scenes of Anonymity, 2021

162.2 x 260.6 cm

布面油画

Oil on canvas

她所画的是真实的身体。然而，要像她画中那样移动我的身体并不容易。首先，很难从这些泛红的肉体中清晰辨认出身体部位，上臂或大腿、手指或脚趾在眼前的画面中相差无几。而当我不断猜测画中的身体构造时，我又突然对这些肉体彼此覆盖的位置关系感到疑惑。前一刻它们看似并置，下一刻却混为一谈。在经过漫长的努力试图辨认画中的姿势后，我为自己的愚蠢感到恼火，但很快我又陷入艺术家所强调的“肉体“感以及它所散发的气息中，再度开始摸索自己的身体。然而，这些姿势让我逐渐偏离感受艺术家所感的初衷，并印证着我们的感受甚至全然不同：我可能对艺术家的意图有所感知，但又不能完全确定；而我的身体也并非画中的身体。身体之所感，是无法用理性或'知识'来解释的。肉体的魅力是在于知识之外的。

What she drew are actual bodies. However, it’s not so easy to move my body as shown in her paintings. First of all, it’s hard to differentiate the reddish pieces of the flesh according to which body parts they belong to — upper arm or thigh, fingers or toes. Different body parts appear quite similar to one another. Moreover, as I keep on guessing the body structure inside the painting, it suddenly becomes unclear which flesh covers which, if one is over or under the other. One moment they appear to be placed side by side, and then they just appear to be lumped together. I get annoyed by my foolishness after looking at the paintings for a long time figuring out the poses, but soon my curiosity about the feeling of ‘flesh,’ the artist’s keyword, and the air that touches it, leads me again to grope my body. However, these gestures get gradually more distant from my original intention to feel the artist’s sense and confirm that what I feel is actually entirely different from what she feels. I think I may know the feeling that the artist tried to express but I can’t be entirely sure; and my body is not the body inside the paintings. The sense felt by the body is something that cannot be explained in the domain of reason, or ‘knowledge.’ The allure of flesh lies beyond the knowledge. 

金赞颂 Chansong Kim

《薄膜、灰尘和柱子》Film, Dust and Pillars, 2021

97 x 145.5 cm

布面油画

Oil on canvas

金赞颂长期以来一直对人体感兴趣。十多年来，这一直是她的绘画主题，她总是画自己的身体。她将照片中自己的身体视为陌生物，当她在画布上对这些身体图像进行重新创作时，“画布中的主体和身体变得散乱且难辨彼此”，“在这个过程中，曾经图像内部不稳定的他者使肉体的边界模糊，并从中显露。”此外，在她最近的作品中，身体“感觉就像躺在那里的奇怪的团块”，“没有被适当感知的团块散落在画布上，并开始与渗透其中的空气共同创造新边界的景观 ”。有趣的是，金赞颂眼中的身体总位于边界之上，这种边界并非固定，而是流动且晦涩的，时而模糊，时而蔓延。而肉体位居前线，像弹力球一样有弹性，像棉花糖一样柔软，像硅胶一样覆盖在表面的肉体则成为接触世界的膜，是抵御外部入侵的盔甲，是直接向世界开放和交流的实体。

Chansong Kim has been interested in human body for a long time. It has been the subject of her paintings for more than a decade, and she always paints her own body. She says that she sees her own body photographed in pictures as an unfamiliar object, and when she re-creates it on the canvas, “the subject and the body inside the canvas get muddled up and cannot be completely and clearly separated” and “in the process, the unstable other that used to be inside blurs the boundary and starts to emerge.” Furthermore, she adds that in her recent works, the body “feels like strange lumps that just lay there” and “the lumps left without having been properly sensed spread on the canvas and start to create the landscape of new boundary together with the penetrating air.” What is interesting in her remarks is that she considers that the body is located on the boundary. Here, the boundary is not fixed, but it is fluid and obscure, blurring and spreading at times. And flesh is up in front. As elastic as a bouncy ball, and as tender as a marshmallow, the flesh that can cover the surface like silicon is a membrane that touches the world, an armor protecting against the external invasion and an entity open up to and exchanging directly with the world.

金赞颂 Chansong Kim

《塌陷与碰撞》Collapse and Collision, 2021

112.1 x 162.2 cm

布面油画

Oil on canvas

尽管在金赞颂过往作品中出现的身体赤裸且缺失面部；但它们总伴随着可识别、暗示周遭环境的背景，例如露台、敞开的门或手指触摸的树叶。它们有时会唤起一种平静而带有异国情调的浪漫情绪，搭配女性慵懒纤细的手腕或中性柔和的色彩。相反，她最近的展览《当空气接触肉体》中的画作却被肉体填满：拒绝提供任何叙事的身体部位交织在一起，有力地揭示了自己作为“此地存在”的存在。艺术家的画笔捕捉到了这一点，在画布上流畅地闪烁，突出了肉体的体积和质地，并迅速奔向方形画布之外的潜在世界。

Although the bodies that appeared in Kim’s past works were naked and without faces, they were accompanied by identifiable background objects, such as a terrace, an open door, or leaves touched by the fingers, suggesting the surrounding environment. They sometimes evoked a calm yet exotic and romantic mood, with languid and slender female wrists or neutral pastel colors. On the contrary, her recent exhibition When the Air Touches the Flesh consists of paintings filled with flesh. Body parts entwined refusing to provide any narrative reveal themselves powerfully as the presence of ‘here-being.’ The artist’s brush captures this, smoothly flashing across the canvas, highlighting the volume and texture of flesh, and runs speedily toward the dormant world outside the square canvas.

金赞颂 Chansong Kim

《匿名的手臂》Unknown Arms, 2020

91 x 65 cm

布面油画

Oil on canvas

金赞颂 Chansong Kim

《黄色幻影》Yellow Phantasm, 2016

80.3 x116.8 cm

布面油画

Oil on canvas

然而，这具身体并非真实的身体，而是属于这幅画面。当你仔细观察它时，会发现关节上的皱纹被抚平了，肌肉被笔触扫往解剖学上不成立的方向。小腿上的肉滑落下来，渗透到脚的顶部，而纠缠在一起的手指间的肉被挤压并粘在一起。虽然艺术家看到并画出了自己的身体，但这些画远非超现实主义的表达，也似乎并不打算模仿她的身体。在金赞颂的工作室里，“请勿描述”这句话被贴在墙上作为她的创作承诺。这并不意味着艺术家打碎并从根本上重构了身体。即使肉体的物质性在她的作品中很突出，但她的肉体并不像弗朗西斯·培根的肖像画那样没有骨头地流淌，也不像汉斯·贝尔默的作品那样，出现被拆解又重组的怪异手脚、弯曲或缠绕的关节。金的身体既是现实，也是想象，它看到了，也被看到了，它是一种置于不同品质之间的边界和中间地带的、自在且自为的感觉。换句话说，身体是一个围绕着自己的物质，但它不能完全由头脑控制；它像空气一样，不由自主地遇到不可避免的外部世界，占据时空并形成关系。金对身体的这种探索似乎与莫里斯·梅洛-庞蒂的肉体本体论相一致，他在晚年的《可见与不可见》（1964）和《肉体本体论》（1964）一书中提倡这种本体论。

However, this body is not an actual body. It belongs to the painting. When you look closely into it, you see that the wrinkles on the joints have been smoothened out and the muscles are swept by brush strokes in anatomically wrong directions. The flesh on the calf slides down and infiltrates the top of the foot, while the flesh between tangled fingers is crushed and stuck together. Although the artist saw and painted her own body, the paintings are far from hyper-realistic expressions. They don’t seem intended to resemble her body. In Chansong Kim’s studio, the phrase “Do not describe” is attached to the wall as a creative pledge. This doesn’t mean that the artist breaks up and radically reconstructs the body. Even though the materiality of flesh stands out in her works, her flesh does not flow down without the bones as in the portraits by Francis Bacon, or show weirdly bent or interwound joints in hands and feet, which had been disassembled and then put together again, as in Hans Bellmer’s works. Kim’s body is both reality and imagination, it sees and is seen, and it is a mass of sense that is in itself and for itself, placed on the boundary and middle zone between different qualities. In other words, the body is a matter that surrounds itself but it cannot be entirely controlled by the mind; it is something that encounters the unavoidable external world involuntarily like the air, occupies space-time, and forms relationships. Such exploration of the body by Kim seems to be in line with Maurice Merleau-Ponty’s Ontology of Flesh that he advocated in his books The Visible and the Invisible (1964) and The Ontology of Flesh (1964) in his later years.

弗朗西斯·培根 Francis Bacon

《三联画 - 人体研究》Triptych - Studies of the Human Body, 1970

197 x 147.8 cm

布面油画

Oil on canvas

汉斯·贝尔默 Hans Bellmer

《洋娃娃》The Doll (La Poupée), 1935

65.6 x 64 cm

明胶银版印刷，覆以白色水粉

Gelatin silver print overpainted with white gouache

梅洛-庞蒂认为，身体通过作为l'être-au-monde（存在于世界中）与世界形成关系来实现世界的意义，而不是作为一个精神主体。这意味着身体不是一个客观的客体，而是被感知的客体，它不是一个真正的主体，而是一个通过化身被感知的客体。同时，身体是我们与世界沟通的媒介，知觉起到了让身体停留在客体内部的作用。世界或物体通过我们身体的运动获得意义，而意识则由它们实现。与将心灵与身体分离并声称心灵至上的悠久哲学传统不同，梅洛·庞蒂认为感知的主体是存在于世界上的身体，知觉的综合只有通过时空视界才能实现。

Merleau-Ponty argues that the body realizes the meaning of the world by forming relations with the world as l’être-au-monde (being-in-the-world) and not as a mental subject. It means that the body is not an objective object but a sensed object, and it is not a genuine subject but an object sensed through incarnation. At the same time, the body is a medium that enables us to communicate with the world, and the perception plays the role of letting the body remain inside the object. The world or the object gains its meaning through the movements of our bodies, and consciousness is realized by them. Unlike the long philosophical tradition that separated the mind and the body and claimed the superiority of the mind, Merleau-Ponty considered that the subject of perception was the body that existed in the world, with the perceptual synthesis being achieved only through spatial and temporal horizon. 

金赞颂 Chansong Kim

《红》Red Something, 2020

65 x 91 cm

布面油画

Oil on canvas

感知就是向世界敞开，而肉体是感知者与被感知者的接触，也是相互反射和对立从属的组合。肉身不在主体、客体、存在或意识形态之中，却同时兼有两个极端，它是存在的要素，而不是思想、物质或实体。就像世界是由水、气、火、土这些元素构成的一样。在提出这种本体论美学时，梅洛-庞蒂对绘画产生了特别的兴趣。虽然视觉是从人体器官—眼睛开始的，但它不可避免地要面向身体之外。外界物体通过被看见和展示自己而被我们感知。画家常说物体在注视自己或作品是自我完成的，这也可以理解为同一个意思。一幅画通过整个身体来感知和表现存在，在这里，我们已经无法区分看者和被看者，画家和被画者了。故哲人曰：“画家以身借于世界，化世界为画。” 说世界变成了一幅画，他的意思是世界揭示了在背景中运作的肉体，揭示了感觉的力量是一种虚构的、超越实体的东西。在绘画中，再现从来都不是真实的，任何绘画，无论是再现的还是非再现的，都可以脱离存在。绘画展现了由感性和无声意义的有效相似性构成的奇妙领域，交织着所有类别，如本质和存在、想象和实质、可见和不可见。

To sense is to open to the world, whereas the flesh (chair) is the contact between the sensor and the sensed, as well as the reflection (reflet) of each other and combination of opposite clauses. Flesh, which is none among the subject, object, existence or ideology, while at the same time, incorporates both extremes, is an element of existence rather than the mind, matter or entity. It’s just as the world is made of such elements as water, air, fire and earth. Proposing this ontological aesthesiology, Merleau-Ponty took special interest in paintings. While vision starts from human organ, the eyes, it inevitably faces outside the body. The outside objects are perceived by us by being seen and showing themselves. Painters often say that the objects seem to be watching them or the works are done by themselves, and this can be understood to have the same meaning. A painting senses and represents the existence through the entire body, and here, we cannot distinguish between the seer and the seen, or the painter and the painted, any more. Therefore, the philosopher said, “A painter transforms the world into a painting by lending his body to the world.” By saying that the world becomes a painting, he means that the world reveals the flesh operating in the background and reveals the power of sensuality as something imaginary, rising beyond substantiality. In a painting, representation is never real, and any painting, whether representational or nonrepresentational, can break away from the existence. Paintings unfold fantastic territories made of effective similarities of sensual nature and silent meanings, interweaving all categories such as the essence and presence, what’s imaginary and what’s substantial, and what’s visible and what’s invisible. 

金赞颂 Chansong Kim

《匿名的手》Anonymous Hands, 2022

72.7 x 72.7 cm

布面油画

Oil on canvas

金赞颂 Chansong Kim

《匿名的脚》Anonymous Feet, 2022

72.7 x 72.7 cm

布面油画

Oil on canvas

被束缚在时空中的身体占据了这个世界，就像它的体积占据了大量的感觉。感觉的缠绕与交汇发生在与世界相遇的肉体上。这开启了一种新的可能性，这是理性主体无法想象的。可能性是模糊的，根据世界和物体之间的关系而不同，并根据物质性的交换而变化。我们可以在金赞颂的作品中看到梅洛-庞蒂理论中的这种方法。金更具体地将边界的限制称为 "肉体"；那么，在相互接触的肉体皮肤之间有什么感觉，被感觉到的又是什么？是什么包围着肉体，又是什么被包围？口头描述必然是苍白的，但很明显，有什么东西在接触肉体的皮肤，而皮肤下看不见的肉体形成了一团。在这里，艺术家的画笔轻轻地移动，模糊了皮肤的封闭边界，并通过连接不同的肉块打开了感觉。她在画布上涂抹薄而光滑的颜料来表现她的身体，但实际上这是一个衡量世界厚度的行为，就像隐藏在皮肤下的肉体和它的另一面一样不可见。

The body bound in the time-space takes up the world as much as its volume as a mass of sense. Entwinement and intersection of sense occur on the flesh that encounters the world. This opens a new possibility that could not be figured out by the rational subject. The possibility is obscure, differs according to the relationships between the world and the objects, and changes based on the exchange of inter-corporeality. We can see this approach, which is found in Merleau-Ponty’s theory, in Chansong Kim’s works. Kim more specifically refers to the boundary limit as ‘flesh’; then, what senses between the skins of flesh touching each other, and what is being sensed?What surrounds the flesh, and what is being surrounded? Verbal description is bound to be insufficient, but it is clear that something is touching the skin of flesh and the invisible flesh under the skin forms a mass. Here, the artist’s brush moves softly to blur the closed boundary of skin and opens up the sense by connecting different pieces of flesh. She applies thin and smooth layers of paint on the canvas to represent her body, but actually it is an act of weighing up the thickness of the world as invisible as the flesh hidden beneath the skin and its other side.

金赞颂 Chansong Kim

《凝视》Gaze, 2022

91 x 91 cm

布面油画

Oil on canvas

在创作她最近的画作时，金曾经说过她不确定它们最终会变成什么样子。她是对的。这是一种感觉的狂喜，而且无法预见。从艺术家的身体到照片和绘画中的身体，从她的手指到她的画笔、画布、展厅和观者，感觉在传递、转化，成为一面相互映照的多面镜子。因此不可避免新的边界不断形成，连接在一起，然后分裂。我们将这种令人困惑的、独特而又共享的感觉称为“存在”。肉体和世界的问题永远无法用单一的定义来解决，而金的作品是一种在绘画中包容身体模糊性的过程...

Working on her recent paintings, Kim used to say that she wasn’t sure what they would turn out to be. She was right. It’s the euphoria of sense, and cannot be foreseen.From the artist’s body to the body in the photographs and in the paintings, and from her fingers to her brushes, canvases, exhibition rooms and the viewers, the sense is transferred, transformed and become a multi-mirror that reflects each other. Thus it is unavoidable that new boundaries keep forming, joining together, and then splitting. We call this confusing mass of sense, which is unique yet shared, a ‘being.’ The problem of flesh and the world can never be solved with a single definition, but Kim’s work is a process of accepting even this obscurity with the body in the paintings. Then...

"世界是肉体，而我们该把肉体和世界的界限置于何处？"

我借用梅洛-庞蒂的这句话来完成这篇评论，想象肉体、空气、它们的偶然相遇，以及存在的奇迹；尽管这可能只是一个瞬间。

“The world is flesh, and where are we to put the boundary between the body and the world?”

I finish this review borrowing Merleau-Ponty’s quote, and imagine the flesh, air, their accidental encounter, and the wonder of presence; although it might be just an instant.

更多展览现场

身外之躯 THE BODY OF NON-BODY 

BROWNIE Project 展览现场

2022/11/8 - 2023/2/12

@BROWNIE Project Gallery

Rm 105, Blog 6, 50 Moganshan Rd, Shanghai

BROWNIE Project “身外之躯” 展览现场丨 Exhibition View

蓝色时光 The Blue Hour

Pipe Gallery 展览现场

2022/7/15 - 2022/8/12

@PIPE GALLERY

首尔特别市龙山区大沙路21 2-3F

Pipe Gallery “蓝色时光” 展览现场丨 Exhibition View

关于艺术家

About the Artist

金赞颂

Chansong Kim

金赞颂 (b.1988，韩国)，拥有韩国首尔国民大学美术学院绘画学士学位。金赞颂感兴趣于“边 界“的概念，在她以身体为主题的绘画中，主体与客体、亲密与陌生、驱逐与侵入总是在不断交织， 保持着紧张的关系，在模棱两可的边界上暗藏着悬而未决的时刻。而在这个过程中，边界被慢慢 模糊，新的内核又会从中升起，引起新一轮的共生与博弈。她的作品曾受邀展出于全球各大艺术 机构，近期重要展览包括个展“蓝色时光”，Pipe 画廊，首尔，韩国(2022);“姿势和诗歌”， CL 艺术，首尔，韩国(2022);“城市漫游者”，Artertain，首尔，韩国(2021);群展“阔 步”，Supermarkt 画廊，东京，日本(2022);“反射:某种湍流”，Lee Eungno 驻地，巴黎， 法国(2018);曾获得奖项“年度青年艺术家”，GAMMA 青年艺术家竞赛，韩国(2020);“绘画奖”，Chang Ucchin 美术馆，扬州，韩国(2016)。金赞颂将于 2023 年 3 月在摩洛哥举办 个展。她的作品曾被包括首尔市政府，清州美术馆，Chang Ucchin 美术馆等重要艺术机构收藏。

Chansong Kim (b. 1988, Korea) graduated from Kookmin University (Seoul, Korea) with a BFA in Painting. Kim’s practice revolving around the body explores the concept of "boundary". In her paintings, subject and object, intimacy and strangeness, expulsion and invasion are always intertwined, maintaining a tense relationship, like a moment in suspense on these ambiguous borders. In this process, the boundaries are gradually blurring, and a new core will rise from them, bring symbiosis and game again. Her works have been invited to various art organizations, recent selected exhibitions included solo exhibitions ''The Blue Hour'', Pipe Gallery, Seoul, KR(2022); ''Gestures and Poem'', CL Art, Seoul, KR(2022); ''Flaneur'', Artertain, Seoul, KR(2021); Group exhibitions ''Stride'', Galerie Supermarkt, Tokyo, JPN(2022); ''Reflet : une certaine turbulence'', Paris Lee Eungno Residence, FR(2018); Won awards ''2020 Young Artist of the Year'', GAMMA Young Artist Competition, KR; ''Drawing Award'', Chang Ucchin Museum of Art, Yangju, KR(2016) etc. Chansong Kim will present her solo exhibition in Morocco in March 2023. Her works have been collected by Seoul City, Cheongju Museum of Art, Chang Ucchin Museum of art and other important art institutions.

个展:

2023 即将呈现，3月摩洛哥个展

2022 蓝色时光，Pipe画廊，首尔，韩国

         姿势和诗歌，CL艺术，首尔，韩国

2021 触手可及，TEMI艺术家驻地，大田，韩国

         城市漫游者，Artertain，首尔，韩国

2019 恰当的姿势，Karas画廊，首尔，韩国

2017 雾的重量，Aile画廊，首尔，韩国

2016 无法定位的风景，4walls画廊，首尔，韩国

2015 不可思议的间隙，4walls画廊，首尔，韩国

         不可思议的间隙，Cheongju艺术工作室，清洲，韩国

2014 漂浮森林，Alternative Space Noon，水原，韩国

2012 粘滞的房间，The K画廊，首尔，韩国

2010 茧屋，Kookmin艺术画廊，首尔，韩国

部分群展:

2022 即将呈现，The Stroll画廊，香港，中国

         即将呈现，PBG，Print bakery画廊，首尔，韩国

         身外之躯，BROWNIE Project，上海，中国

         阔步，Supermarkt画廊，东京，日本

         生动的自传，Dohing艺术，首尔，韩国

         固化剂，Eulji艺术中心，首尔，韩国

         喜悦：升起的名字，Lotte画廊，首尔，韩国

2021 边界，Artside画廊，首尔，韩国

         难以辨认的地图，3艺术空间，首尔，韩国

         消失的风景 (Chansong Kim, Pierre Knop)，Tra艺术，

         首尔，韩国

         香草天空，Azulezo画廊，首尔，韩国

         预览，TEMI艺术家驻地，大田，韩国

         世界上所有的绘画，Artertain，首尔，韩国

2020 转变，Pakyoung画廊，坡州，韩国

         非典型开采，KC艺术空间，城南，韩国

         线路美学，Aile画廊，首尔，韩国

         Public画廊 X Jongro塔，Jongro Towerm，首尔，韩国

2019 青春，绘画的力量，Artertain，首尔，韩国

         粉色外表，Dohing艺术，首尔，韩国

         媒介属性，K空间，果川，韩国

         上升：各式各样，Lina画廊，首尔，韩国

2018 Lee Eungno巴黎驻地计划，Lee Eungno美术馆，大田，韩国

        反射：某种湍流，Lee Eungno驻地，巴黎，法国

        新兴画布5，Lalit Kala Akademi，钦奈，印度

        她的故事，Aile画廊，首尔，韩国

        MVG休息室的3位艺术家，Lotte Department Store Gangnam，

        首尔，韩国

        Douze，LJA画廊，首尔，韩国

        回溯绘画，Aile 04画廊，首尔，韩国

2017 之间，Sophis画廊，首尔，韩国

        回溯绘画，Aile 03画廊，首尔，韩国

        莫纳德，Kimi艺术，首尔，韩国

        皮肤，Hoard画廊，首尔，韩国

        新绘画计划，Chang Ucchin美术馆，扬州，韩国

        看见未来，Aile画廊，首尔，韩国

2016 文献，Cheongju艺术工作室，清州，韩国

        丽水国际艺术节，丽水，韩国

        Majoongmool，Kimreeaa画廊，首尔，韩国

2015 就在那里，Miboo艺术中心，釜山，韩国

2014 韩国青年群体，Shine艺术家画廊，伦敦，英国

         涂鸦4，Unofficial Preview画廊，首尔，韩国

2011 明日艺术家，Kyumjae-Jeongseon美术馆，首尔，韩国

奖项:

2020 年度青年艺术家，GAMMA青年艺术家竞赛，韩国

2016 绘画奖，Chang Ucchin美术馆，扬州，韩国

2011 明日艺术家奖，Kyumjae-Jeongseon美术馆，首尔，韩国

驻地:

2021 TEMI艺术家驻地，大田，韩国

2018 Leeungno巴黎驻地，Vaux-sur-Seine，法国

2014 清州艺术工作室，清洲，韩国

收藏:

首尔市, 清洲美术馆, Chang Ucchin美术馆, Pakyoung出版公司, “A”公司, 私人收藏

Solo Exhibitions:

2023 Upcoming solo exhibition in Morocco, March

2022 The Blue Hour, Pipe Gallery, Seoul

         Gestures and Poem, CL Art, Seoul, Korea

2021 At a Moment’s Touch, Artist Residency TEMI, 

         Daejeon, Korea

         Flaneur, Artertain, Seoul, Korea

2019 Proper Gestures, Karas Gallery, Seoul, Korea

2017 Weight of the Fog, Gallery Aile, Seoul, Korea

2016 The Scenery Which Couldn’t Be Situated, Gallery 4walls, 

         Seoul, Korea

2015 Uncanny Gap, Gallery 4walls, Seoul, Korea

         Uncanny Gap, Cheongju Art Studio, Cheongju, Korea

2014 Floating Forest, Alternative Space Noon, Suwon, Korea

2012 Sticky Room, The K Gallery, Seoul, Korea

2010 Cocoon House, Kookmin Art Gallery, Seoul, Korea

Selected Group Exhibitions:

2022 Upcoming The Stroll Gallery, Hong Kong

         Upcoming PBG (Print bakery Gallery), Seoul, Korea

         The Body of Non-body, BROWNIE Project, Shanghai, China

         Stride, Galerie Supermarkt, Tokyo, Japan

         Lively Autobiography, Dohing Art, Seoul

         Hardener, Eulji Art Center, Seoul

         Rejoice : Rising Names, Lotte Gallery, Seoul

2021 Boundary, Artside Gallery, Seoul, Korea

         Illegible Map, Artspace 3, Seoul, Korea

         Disappeared Landscapes (Chansong Kim, Pierre Knop), 

         Tra Art, Seoul, Korea

         Vanilla Sky, Azulezo Gallery, Seoul, Korea

         Preview, Artist Residency TEMI, Daejeon, Korea

         All the Drawings in the World, Artertain, Seoul, Korea

2020 The Shift, Gallery Pakyoung, Paju, Korea

         Atypical Mining, Artspace KC, Sungnam, Korea

         Aesthetics of the Line, Gallery Aile, Seoul, Korea

         Public Gallery X Jongro Tower, Jongro Towerm Seoul, Korea

2019 Youth, Paintings in Power, Artertain, Seoul, Korea

         Pink Facade, Dohing Art, Seoul, Korea

         Media Attribute, Space K, Gwacheon, Korea

         Step-up : Various, Lina Gallery, Seoul, Korea

2018 Lee Eungno Residence in Paris, Lee Eungno Museum, 

         Daejeon, Korea

         Reflet : une certaine turbulence, Paris Lee Eungno 

         Residence, France

         Emerging Canvas 5, Lalit Kala Akademi, Chennai, India

         Her Story, Gallery Aile, Seoul, Korea

         3 Artists in MVG Lounge, Lotte Department Store 

         Gangnam, Seoul, Korea

         Douze, LJA Gallery, Seoul, Korea

         Retrace with Drawing, Gallery Aile 04, Seoul, Korea

2017 Between, Sophis Gallery, Seoul, Korea

         Retrace with Drawing, Gallery Aile 03, Seoul, Korea

         Monad, Kimi Art, Seoul, Korea

         Flesh, Gallery Hoard, Seoul, Korea

         New Drawing Project, Chang Ucchin Museum of Art, 

         Yangju, Korea

         Seeing the Future, Gallery Aile, Seoul, Korea

2016 Document, Cheongju Art Studio, Cheongju, Korea

         Yeosu international art festival, Yeosu, Korea

         Majoongmool, Kimreeaa gallery, Seoul, Korea

2015 Out There, Miboo Art Center, Busan, Korea

2014 Young Korean Collective, Shine Artist Gallery, London, 

         England

         Scribbles 4, Unofficial Preview Gallery, Seoul, Korea

2011 Tomorrow’s Artist, Kyumjae-Jeongseon Art Museum, Seoul, 

         Korea

Awards:

2020 Young Artist of the Year, GAMMA Young 

         Artist Competition, Korea

2016 Drawing Award, Chang Ucchin Museum of Art, Yangju,

         Korea

2011 Tomorrow’s Artist Prize, Kyumjae-Jeongseon Art Museum, 

         Seoul, Korea

Residencies:

2021 Artist Residency TEMI, Daejeon, Korea

2018 Paris Leeungno Residency, Vaux-sur-Seine, France

2014 Cheongju Art Studio, Cheongju, Korea

Collections:

Seoul City, Cheongju Museum of Art, Chang Ucchin Museum of Art, Pakyoung Publishing Company, ‘A’ Company, Private Collections

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