Confronting the Enduring Impact of
Societal Polarity, State Politics, and Cultural Legacies of the Cold War

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NEW YORK, NY, October 24th, 2024 - Stephanie Kim Gallery announced the opening of STORIED: COLD WAR LEGACIES. This unique exhibition is composed of works never before shown in New York by artists Mina Cheon, Tracy Weisman and Won Seoung Won. The exhibition offers a fresh perspective on the enduring impact of the Cold War’s social polarities, state politics, and cultural legacies. Curated by Dr. Stephanie Seungmin Kim, the exhibition will run through December 7, with an opening night VIP reception on Thursday, October 24th. The VIP reception will include a performance by Agnieszka Pilat, a Polish-American artist, who is training a trio of robotic dogs to paint autonomously for an upcoming exhibition in Korea, as well as Jin Pureum, a saxophonist and Kengchakaj, a pianist, will interpret the show with new and improvised songs.

STORIED presents a spectrum of strong voices that stand in stark contrast to what we hear and see in the media, offering a fresh and engaging perspective on the world. The exhibition’s exploration of how diplomatic relations, global peace, and women’s rights continue to be at the fore by Cold War era power structure resonates with the current political climate, marking the exhibition highly relevant and engaging to our times.

As these geopolitical constructs persist, the artworks invite contemplation of the lingering effects of post-WWII alliances and Cold War anxieties. This exhibition is a timely reflection on art’s role to capture past and present cultural tensions. More importantly, the exhibition serves to promote critical awareness, stimulate conversations, and encourage storytelling about the personal and the political histories we inherit, the chaos we live in, and hope for a future that we shape collectively.

Stephanie Kim’s concept of STORIED encapsulates the past and the future, intertwining ideas of power and control with intergenerational personal political histories. “With it both current and legacy meanings, denoting power and control, refers to traditional and social media - all of which seemed apt and compelling in the context of the exhibition and its subject matter,” said gallery director Stephanie Kim. “There is a powerful interplay between artists who have had vastly different life experiences and yet share many of the same themes, perspectives and points-of-view in their work. Given the current state of world politics and media, STORIED is timely and important.”

Tracy Weisman’s explosive reimagining of Cold War-era Duck and Cover illustrations evoke a range of emotions, from anxieties of the Cold War tension and global warfare, such as the Cuban Missile Crisis of the past to current United States politics related to women’s rights, privacy, and protection. For those growing up in Korea, including Won Seoung Won and curator of the exhibition Stephanie Kim, the wail of sirens from routine military drills were a part of everyday life. The drills became a numbing repetition of the Korean conflict played over time, a stark reminder of the trauma of a country in constant war. Weisman’s work, in this context, is intuitively connected to Mina Cheon’s politically charged pop paintings in the straightforward visual narrative that carries complex cultural meanings. The parallels are thought-provoking. Cheon’s 007 (2013) creates a tension between state propaganda and artistic commentary, what is permissible in creative expression in one country can be deadly in another - all three artists are a testament to the inspiring power of art to respond to the world around them.

Mina Cheon’s paintings, inspired by Pop Art and Social Realism, create a mirroring effect of North Korean women portrayed as military fembots and dehumanized state machines. By amplifying the imaginary portrait of the North Korean other, Cheon inserts her own stormy passing down North Korean lineage and familiar connections that were broken and interrupted by the Korean War. As an artist, she responds to what is often left out in media and popular culture about the Koreas beyond the schismatic charge toggled between cathartic reunification opportunities and nuclear threat. Global warfare witnessed through girls’ playthings is expressed in both Cheon’s 99 Miss Kim(s) dolls installation commemorating September 9, the birth of Communism in North Korea, and contrasts Cheon’s Dresses for Different Events (2008), a collection of life-size South Korean 70s paper doll vintage dresses, each representing a different event in the lift of a South Korean woman.

While Cheon’s playful paper cut-out dresses are from her own childhood, Weisman also frequently uses vintage objects to decode, reminding us that as Churchill said, “Those that fail to learn from history are doomed to repeat it.” Weisman recreates her 2017 work Indivisible? and entitles it Precipice. The US flag, rendered in black and white textiles, replaces stars with emoji of things that can either divide or unite us.

STORIED’s third component is ambiguity, evoked by Won Seoung Won’s Sea of Journalists. Won uses a collage and layers of 2000 photographs to recreate the overwhelming chaos of a stormy sea. It is a new narrative for a world that is simultaneously fictitious and true. The painting depicts various journalists reporting on a typhoon, each with a distinct approach: some dive headfirst into the eye of the storm, others skillfully navigate the treacherous waves, while a few lurk like bloodthirsty hyenas, waiting for a disaster-related opportunity. The vast, churning sea represents the complexity of the story—a chaotic and layered reality that feels too overwhelming to fully comprehend.

About the Artists

Mina Cheon is a new media artist, scholar, and activist best known for her “Polipop” paintings inspired by Pop Art and Social Realism. Her practice draws inspiration from the partition of the Korean peninsula, exemplified by her parallel body of work created under her North Korean alter ego, Kim Il Soon, in which she enlists a range of mediums including painting, sculpture, video, installation. She is represented by the Ethan Cohen Gallery in New York and exhibiting for the first time with Stephanie Kim Gallery. Cheon has shown her art at the American University Museum of Art, Smith College Museum of Art, Baltimore Museum of Art, Seoul Museum of Art, Korea Society in New York, the Asia Society Triennial, and the Busan Biennale.

Tracy Weisman is a visual storyteller and interdisciplinary artist with studios in Narragansett, RI and Palm Springs, CA. As a former speechwriter, Tracy used metaphors to tell her clients’ stories, and she does the same in her visual arts practice. She draws inspiration from the inherent stories hidden in found and collected objects, and incorporates a variety of mediums in her work, including painting, mixed media collage, art garments, photography, textiles, mixed-media, collage and assemblage. Her work has addressed autobiographical and political themes such as memory, grief, body image, the American presidency, gun violence, and the clerical sexual abuse scandal in the Catholic Church.

Seoung Won is an artist known for her unique and delicate photo collage works that blend reality and imagination. The artist constructs her works based on stories of friends and acquaintances, incorporating her own imaginative approach. Won’s photographs involve digital manipulation, and the spaces and subjects are meticulously captured before being carefully overlaid to evoke an analog sensibility. Traveling around the world, the artist combines photographic sources she personally captured, synthesizing images from different locations and times into a single, new composition. Won Seoung Won completed her studies at the Kunstakademie Düsseldorf in Germany and the Kunsthochschule für Medien Köln. 

Agnieszka Pilat is a painter and conceptual artist who experiments with machines as subjects and collaborators. Like religious icons and royal portrayals of noble ancestry, Pilat’s paintings conceptually trace the lineage of 21st-century robotics and artificial intelligence back to the steam-powered mechanisms of the Industrial Revolution. She grew up in Łódź, Poland during the height of the Cold War and witnessed the fall of the Polish People's Republic. In 2004, she moved to California to pursue a Bachelor of Fine Arts with an emphasis in illustration and painting. While studying at the Academy of Art University in San Francisco, she developed a passion for portraiture and continues to emphasize this in her contemporary works. Pilat’s career changed dramatically when she painted a portrait of a vintage fire alarm bell. Pilat began to explore the intersection of art and technology, seeking out artistic opportunities and collaborations with Bay Area tech giants. Pilat maintained residencies with organizations such as SpaceX, Wrightspeed, Autodesk and Waymo, and now paints with Boston Dynamics’ robot dog,  Spot. 

Pureum Jin and Kengchakaj met in 2015 during their master's degree studies at the Manhattan School of Music, where they developed a unique partnership through diverse musical experiments and explorations. Both are accomplished bandleaders in their own style, yet they have cultivated a remarkable synergy, whether performing as a duo or in larger ensembles. For this exhibition, they drew inspiration from themes provided by three different artists, infusing each with their own musical creativity. Their aim is to express these ideas through entirely new compositions, showcasing the distinctive chemistry between them.

Stephanie Seungmin Kim (PhD, RCA) is a curator, gallerist, and writer who has worked with more than 600 artists around the world. Her companies and gallery have directed more than 80 international shows and produced two documentary films. She frequently speaks about new multidisciplinary curatorial methods, is a part of Global (De)Centre and co-leads a pillar of MIT’s new Humanities group.

Exhibition Details:

VIP Preview, October 24th, 6-9PM

78 Franklin Street, 2nd floor

New York, NY 10013

www.stephaniekimgallery.com

Opens from October 25th  to December 7th

By appointment

EMAIL director@sleeperssummit.com / info@stephaniekimgallery.com

PHONE +1 929 339 6574

For more information, contact: info@hudsoncutler.com

Featured Artists: 이강소, 신상호, William Darrell, Lintalow Hashiguchi, 장재록, 정성윤, 김기라, 이동기, Sammy Lee, 이용백, 박종규, Sui Park, Tallur L.N., 배병우, 육근병, Yue Minjun x 최지만

The opening exhibition at Ground Seoul Gallery spotlights the potential birth of new art forms generated by the connection and fusion of move-sound-image, as nature and human civilization merge—where the organic meets the inorganic, humanity integrates with technology, and time and space intertwine, opening new horizons. Various independent branches of art have converged within the realm of visual arts through a co-evolution with technology, culminating in art of our time representing a true 'Total Art.'

Ground Seoul observes the potential for new art forms emerging at the point where the scope of human experience rapidly expands from Earth to the universe. We fully support 21st-century contemporary art as a 'Total Art' in which the worlds of scientific reason and artistic imagination align.

Ground Seoul aspires to become a ‘space of openness’ within the art world, collaborating with artists, curators, and collectors to explore and define the sharp edges of civilization. In doing so, we aim to become an integral part of Seoul’s rich intellectual and cultural network, contributing to the global cityscape.

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Stephanie Kim Gallery is proud to present Slice of Watermelon by Hongbin Kim and Yong Eun Kwon, the first duo exhibition from the two artists recognized for their exhilarating use of color and energy. 

While this is the first time Hongbin Kim and Yong Eun Kwon have shown their works together, the two artists have a shared past and their works explore the challenges, energy and excitement of New York through the use of fluorescent color, movement and energy. Both earned BAs and MFAs from two of most prestigious art schools in Korea, Hongik University and Ewha Women’s University. Subsequently, they earned MFAs from School of Visual Arts (SVA) in New York, an experience to which they refer as a process of “unlearning and reimagining” their work in the context of New York City. 

Hongbin Kim is also known as “Van” from the Korean verb “vanhada” which has a dual meaning: "to fall in love" and "to oppose." This duality symbolizes the artist's pursuit of beauty and conflict inherent in his creative process, as well as his ambivalent view of the situations individuals face in modern society. Kim’s work captures the 'chaos of New York' and associated 'anxiety of an unsettled life.' This visual expression of the stimuli and stress of the city comes to life through exaggerated colors, movement and energy which dramatically articulate his experiences. Kim explores the nature of vibrant surfaces, pushing the properties of acrylic paint to new levels. Among the distinctive features of his works are Kim’s playful manipulations of paint which seem to explode from the canvases. 

Yong Eun Kwon is often associated with a character from her work called “Fish Daegari,” literally “fish head” in Korean. This pink, half-human-half-fish persona informs many elements of her painting. Kwon works across two-dimensional and three-dimensional spaces, humorously creating portraits of incomplete modern humans who seek to escape the excessive competition, endless work, complicated thoughts and emotions of their daily lives. She aims to convey humorously, through the juxtaposition of humans and fish, that irrational, emotional, and irrepressible desire to be free. Alcohol often appears in her work. This is reminiscent of the liberation of citizens in the ancient Dionysus Festival. The fish head is a mask worn for the Dionysus Festival in her art world. Kwon’s works are driven by the desire for all of us to live more authentic lives, to take more time to find happiness, to see that our lives are short and finite, and as she often humorously points out, “that beneath our skins, we're all just pink meatballs!

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Hongbin Kim x Yong Eun Kwon Slice of Watermelon

Opening Reception on July 26th, 7-10pm 

View by appointment only until Sept 22, 2024

Stephanie Kim Gallery 78 Franklin St., 2nd Floor New York, NY 10013

Please rsvp to Director@SleepersSummit.com

To Learn more: stephaniekimgallery.com

Park West Gallery presents SoHo’s Got Seoul, a first-of-its-kind art exhibition of over 20 works by five multi-talented Korean artists, K-Pop and K-Drama stars, Jae-Yong CHOI, KO Jun, Jian KWON (Solbi), Min-Woo LEE, Jun SHIM (Negativ). The exhibition is curated by Dr. Stephanie Seunmgin Kim whohas curated exhibitions and festivals in 22 cities across the globe and worked with over 600 artists across a range of disciplines.

At: MadBerry Farmhouse Myeongdong.

Organized by: NextOn, Root341, and Sleepers Summit

Artworks by: Massimiliano Moro, Sui Park, William Darrell, Sammy Lee

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The synthesis of art and agriculture in the heart of the city
A six-story building in Myeong-dong is the new home of MADBERRY Farmhouse, a cutting-
edge strawberry farm using hydroponic indoor farming methods to cultivate the most
challenging crop: strawberries. MADBERRY is also an art and cultural hub, bringing artists,
agriculture and the community together in a new and powerful way. The combination is…
refreshing. Just as farms on the first and the second floor bring air and light and beauty,
artworks commissioned by Root341 and Sleepers Summit add to the aesthetic and create a
thought-provoking atmosphere.

Curated by Dr. Stephanie Seungmin Kim

Hosted by UNESCO ICDH

Organized by Sleepers Summit and C-47 Post Studio

Exhibition Space at UNESCO ICDH 2nd floor Exhibition Hall

Artwork by: Minsang Cho, Leenam Lee, Sammy Lee and Minsu Oh

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The exhibition also included three rooms with five dedicated mini documentary featuring images from Memory of the World, paired with infographic telling the story through our important documentary heritage.

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Museum Myungwon at Kookmin University

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Host: Kookmin University

Curated by: Stephanie Kim, Sae Eun Lee, and Matt Incledon

Featured Artists: Bridget Riley, Luke Elwes, Sammy Lee, and Vakki

도연희 진행 전시 디자인: 제로링궐 (박태원, 임성엽, 임재남, 전지은)

협력 : 허드슨 커틀러, 플랙스 , 이스카이아트

Opening on 1 April 2022, the SOMA Museum presents a major new exhibition MOM ∞ MAM: Möbius of body and mind. Curated by Stephanie Seungmin Kim, it is an ambitious study of creative and scientific developments in mind and body, in relation to sports and art. Located at the historic Seoul Olympic Park in Seoul, South Korea, SOMA Museum (Seoul Olympic Museum of Art) has been promoting art that embraces the body as the medium. The Soma Museum of Art announced that it had selected Stephanie Kim’s curatorial proposal as “it is a  project that presents the potential for expanding the notion of ‘sports art’ by showing the relationship between body and mind of sports and art in a variety of ways. The scope is both historical as well vast.” 

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MOM ∞ MAM goes further by exploring the mind-body connection, stressing how the mind and body are not two separate entities but ever-connected beings, with the boundary between inside and outside unknown, like a Möbius strip.

Told through an assembly of artworks and juxtaposition of historical references, MOM ∞ MAM will introduce some of the world’s most prominent and exciting artists to Korea for the first time.

Scale and time are vast and contiguous: Beginning with a reference to the Disk Thrower by Myron to the pivotal work by the ‘godmother of performance’, Marina Abramovic’s Rest Energy, the list is creative.

There are 35 works by 17 participating artists: Marina Abramović, Eugenio Ampudia, Je Baak, Bee Chee Chang, Jia Chang, Paula Garcia, Cole Hanauer, James Harris, Evi Kalogiropoulou, Lee Sang Yong, Lie Sang Bong, MAI (Marina Abramović Institute), Miguel Nunes, Minsu Oh, Ji Hyun Yu, Sadeck Waff, and Moritz Waldemeyer.

Stephanie Seungmin Kim, curator of the exhibition speaks of how ‘sports and art may seem like separate fields with few similarities, but share many parallels…Both artists and athletes constantly challenge the limits of their bodies and minds; once they reach the top, their achievements become part of the public realm; and both sectors are facing disruption through technology that challenges their core raisons d’être.’

While this exhibition illustrates the cultural and historical relationship between sports and art from multiple angles, it also attempts to go beyond the dichotomous thinking that separates the body, read as [Mom] in Korean, and mind, pronounced as [Ma:m].

Mom ∞ Mam is written as < 몸 ∞ 맘>, the symbol ‘∞’ symbolising infinity, and indeed looking similar to tracks where athletes compete. In Korean, they share one common consonant and the verb can be switched as if they were indeed closely connected.

While connecting two very different fields, sports and arts, Mom ∞ Mam will look at different iterations of body and mind in both fields from many angles. The exhibition ventures into the future to examine issues at stake: AI creating artworks, the highly technical development of bodies of professional sportsmen and the gamified world of today. In order to create meaningful juxtaposition, the newly commissioned artworks are exhibited alongside archives and representations from eleven institutions, including some from the National Gallery London, the British Museum, and the Minneapolis Institute of Art.

An Exhibition of Three Sections

First Section: MOM MOM

The human body is the home of the sensory system and the interface between an individual and society. Part of the beauty of sport is maximising the use of the human body through training and one’s will. Art embraces the fullness of expression of the body while sport creates extraordinary expressions of the body and both have implications across cultures and history.

As we discover interesting intersections between sport and art, and by juxtaposing and assembling them, we hope to formulate a new interpretation of the two. Section One Mom Mom starts with the story of Myron’s Townley Diskobolos (Disk Thrower). Estimated to have been completed in 460–450 BC, it is the symbol of harmony, balance and athletic energy which had been transformed into a timeless artwork. Phidias’s Zeus of Olympia and the Doryphoros (Spear Bearer) of Polykleitos are other well-known Greek sculptures of classical antiquity, depicting solidly built, muscular, standing athletes, as seen from Alma-Tadema’s work showing the lasting effect of Greek antiquity even to the 19th century. This continues to the present, as Moritz Waldemeyer creates the Golden Ratio inspired by Doryphoros, using 3D printing and LED lights, reintroducing the spear that had been lost in history.

Contemporary artists are meant to shake off the mythologised or ritualised power and violence seen through sports games. Evi Kalogiropoulou’s work takes the Greek mythological figure Medusa into a 21st-century version of a cyborg. Taking a cue from Donna Haraway where her cyborg is an emancipatory figure blurring the separation between human and animal and human from the machine, Medusa is expressed as a running machine. Kalogiropoulou’s other work, The Beauty and the Innocent, questions the sports industry’s consumption of body and gender images with a provocative performance video.

 Eugenio Ampudia shows professional athletes getting ready to jump, and reveals the photoshopped painting as their huddle. In his highly evocative work, Prado GP, cyclists pass the old masters and shine a light. The repetitive action of the athletes makes them look similar to soldiers. Cole Hanauer photographs boxers in clothes he has designed, challenging the traditional concepts associated with boxing.

Jia Chang challenges taboos by photographing the naked female body urinating, in Standing Up Peeing, and the works are chosen with reference to Doryphoros, which was considered as the ‘canon’, possessing ideal proportion and beauty.  Beechee Chang’s Look Inside is the first step of three steps of mind, where the audience is encouraged to look inside the box, to experience as if one were looking through one’s own mind.

The exhibition journeys into a literal marriage between art and sports with Lie Sang Bong’s five dresses for Olympic gold medalist Yuna Kim. Shown with the IOC recording of her Sochi Olympic performance, the dresses are each hand-modelled and  show how the dress is meant to express her weightless jump and flawless techniques.

The historical archives of winter Olympics show the long history of winter sports. Korea is naturally mountainous, making skiing a natural method of transport. The archives illustrate how the icy roads were travelled on better with slices – which look similar to skis – and some posters reveal the very first opening of ski resorts in Korea in the 1960s.

As extreme sports such as surfing are becoming very popular, the Miguel Nunes photo of the European bodyboarding champion Hugo Pinheiro reveals high tides that are indeed deadly to amateur surfers. This is juxtaposed with Oh Minsu’s monumental Korean ink painting that includes people enjoying sports within nature in the style of Korean traditional genre painting.

The theme of sports and water continues, and how sports were connected to the evolution of class and leisure is highlighted by James Harris’ Blue Lagoon Iceland and George Seurat’s Bathers at Asnières. The former is from the 21st century while the latter is from the 19th century. Seurat’s iconic painting was reproduced from the National Gallery with its consent and shows workers relaxing in the river Seine, and is meant to contain class criticism.

The pairing of old and new is changed to the pairing of East and West: Ji Hyun Yu’s illustration of Chariot was commissioned to refer to how the Olympic sports derived from Greek mythology and how the Olympics derived from serving the gods. Lee Sangyong’s chariot, on the other hand, is at odds with Korean tradition where people believed chariots were temporary shelters for bodies and souls in which to rest before they reached the next life.

Zero Lingual examines how the ‘Bang’ of the boundary space shapes our perception of inside and outside. By placing a tilted clumsy geometry ‘Bang (room)’ in the middle of the exhibition, Zero Lingual created a series of newly perceived ‘Bangs (rooms)’. The movement through each ‘Bang’ is a way of organising our experience of it, of orienting the body (MOM) and soul (MAM). Viewers’ perception of spatial enclosure goes beyond the physical boundary occupied by our understanding of notions, form, materiality, colours, and sound through artworks. This exhibition reflects questions about how we could perceive the nature of the visible body and the invisible mind.

Inside this ‘bang’ are the chariot and tomb paintings from Goguryeo, the ancient Korean Kingdom that stretched far into China and Russia. Hunting using archery was an important event that worked to train the army and had ceremonial usage. A lesser-known tomb painting of Ssireum – traditional Korean wrestling – is also inside, revealing the multicultural society that Goguryeo was.

The second section: READY & GO

The second part looks into technological advances that will change art and sport forever. Je Baak’ s Let’s Swim Together investigates the rhetorical question of what would happen if AI learned to swim. Indeed, AI is without a body, therefore AI does not physically swim but conceives visually how to swim, and this conversely leads us to question the world we live in with AI and the purpose of our body.

Moritz Waldemeyer revisits the core of Martial Arts, which is also a meditational practice, along with a fighting system. We encourage visitors to learn about the ‘art of the sword’, which is different to ‘the way of the sword’ and ‘the skill of the sword’. Visitors can use the swords to record the path of the sword, using cameras’ long-exposure technology.

Sadeck Waff’s choreography entitled Murmuration looks mechanical and highly controlled, using light as props and the seamlessness of endless rehearsals. Le ballet des lucioles depicts the swarm of fireflies, using lights as props.

Regarded as one of the most influential artists of the 20th and 21st centuries, Marina Abramović’s seminal work Rest Energy epitomises performance art that uses the body to the extreme but ironically is amplified by the heartbeats of Marina Abramović and Ulay. While they suspend their bodies in absolute trust of each other, the arrow is facing Abramović’s body, with Ulay holding a bow; the temporality of performance art can be translated to the work, using recording devices.

The exhibition also provokes questions about how the blockchain industry is driving certain artworks, gamified military actions and human-free news reportage are increasing, and art in augmented reality is exploring new frontiers. Chang Bee Chee’s second work shows both light and darkness within a box, entitled Look Back where the electronic circuits create an illusion of one’s past.

The last section is entitled BRAVO.

This third section in the exhibition shows that the most crucial aspects to be considered are humanism and collaboration. Still touching on sports and art, the last part shows how we inspire each other.

The first work one faces is Marina Abramović Institute’s Cleaning the House workshop. The space encourages visitors to leave their mobile phones and enter in quiet, to emphasise the importance of training and emptying the mind in order to create art. Paula Garcia’s RAW shows the collaboration of extremely challenging art projects, as various participants help Garcia prepare for a racing car crash. This ‘dangerous’ work needs an important collaborator – the other driver who is a stunt man. One sees him coming out of the car after a crash too. The viewer understands the work’s context by looking at the Noise Body work. Chang Bee Chee’s Look Beyond is at the end of the exhibition. 

Curator Stephanie Seungmin Kim comments:

“I wanted to question the meaning of arts and sports from multiple angles. We have experienced the ultimate separation between bodies and ever closer networks during the pandemic. Advanced technology not only nurtures new mediums for art but also challenges the very nature of creating art. Through artists, I want to propose a new ecology that includes not just nature and humans, but all living and non-living things. This is pivotal through the expansion of sports, e-sports and sports in the metaverse.”

About SOMA Museum

The Seoul Olympic Museum of Art, located inside the 95,940㎡ Sculpture Park, filled with sculptures and landscapes from around the world, was created in celebration of the Seoul Olympics. Outside of the museum building, visitors can appreciate beautiful sculptures and natural sceneries while strolling in the Sculpture Park.

The Seoul Olympic Museum of Art is comprised of various facilities, such as Museum 1, an indoor exhibition space with a panoramic view of the Sculpture Park; and Museum 2, built in the underground space that connects the museum to the Sculpture Park. As one of the area’s most famous landmarks, the Seoul Olympic Museum of Art encourages visitors to commune with nature by creating a unique landscape that brings nature, humanity, art, and architecture together in perfect harmony.

As a centre connecting neighbouring cultural spaces, including the Peace Plaza and Mongchontoseong Fortress, the Seoul Olympic Museum of Art will also soon feature a walking trail that connects the natural elements of the surrounding facilities and links to different scenery.

Gallery46, Whitechapel, LONDON

– Artists: Axel Void, Cosimo Sturniolo, Dongwuk Heo, Hanuk Jung, Hayoung Kim, Jihyun Yu, João Villas, Joon Choi, Koh Sang Woo, Kristina Chan, Ligyung, Mimi Joung, Sangyong Lee, Vakki, Zoë Marden

– Curated by Dr Stephanie Seungmin Kim

– Assistant curator: Yeony Do

– SUPPORTED BY LONDONNEWCASTLE & SSKETCH

#Touch46 #Touchiskai

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The exhibition brings back ‘touch’ which has been tabooed and sterilised recently with the pandemic. While our touch has been scrutinised and recorded, touch-screen devices became windows for human interaction. Some people were in touch with nature, finding respite from the sudden halting of normal life, some had to suffer in the proximity of others and some were alone, devoid of touch. The exhibition began with thoughts of revitalising the joie de vivre, much needed after repeated lockdowns, but it inevitably brought the memory of our recent loss and heightened perception. The different iterations of touch are revealed through this exhibition, Touch. Audiences are open to closeness, pressure, warmth, memories and pain if they are willing, or open to be touched.

While not being naively optimistic, the exhibition encourages touches to reflect and celebrate. Some works are contemplative while being playful; the exhibition curator Stephanie Seungmin Kim wanted to work with artists she admires and who encapsulate the exhibition’s spirit. The exhibition will present celebrated work from South Korea mixing mediums and senses from artists working in the UK .

Program Schedule 22 Oct 2020 to 25 Oct 2020

Location Jeju Island East & West

Hosted by Sleepers Summit Incorporation

Organised by ART LAB. Sanyang (West Jeju)

Sponsored by Arts Council Korea – Great Arts in your Front yard

Design Advisor AB Rogers Design

In partnership with Golmok Market, Hondi Market, ISKAI Art, Playce Camp Jeju, Sabujak Sabujak_Sleepers Club, Seogwipo Social Economy Welfare Center, Seonheul branch school of Hamduk Elementary school, Sooldamhwa

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Bellong Bellong Now is an art and cultural festival, organized by a group of young international creators to explore a sustainable future for Korea’s Jeju Island. “Bellong Bellong” means “Twinkle Twinkle” in Jeju dialect, and we focus on four contemporary themes relating to sustainability that concern Jeju today: The Environment, Heritage, Ecology of Art and Culture, and Education (the Next Generation).

Tamlarok

“Tamlarok”* is an artistic exploration of Jeju’s unique regional dialect and folktales that are becoming forgotten and disappearing from our lives.

* The term Tamlarok is a combination of Tamla, the kingdom that ruled Jeju island in ancient times and Rok, a sino-Korean word that means ‘record’; it is also the title of a collection of poetry written in 1764 by Shin Gwangsu.

• Tamlarok ‘Remembering the Jeju Dialect’ Yeni Kim

• Tamlarok ‘Dreams and Dreaming’ Bongsu Park x Haihm

Yin & Yang

• Yin & Yang Pyungdaeri Kidai Kim x Woody Kim

• Yin & Yang Handongri Kidai Kim x Sunyoung Chon x Maximiliano Arrocet

From Jeju to Jeju

This project focuses on how the problem of waste can be addressed in Jeju from an artistic perspective. Jeju is confronting a serious issue of waste, as its population and the number of visitors have increased dramatically in the past few years. Also, it has to dispose of a large volume of ocean waste that arrives from other countries nearby. Using rubbish found on the shore, artist Yangkura and architect Maria Glionna will create a mobile building which will be used for a performance. Afterwards, it will be presented for public display for a limited period.

• From Jeju to Jeju Kura Yang x Maria Gilonna

Wang Bwang Gap Seo ‘Come and Have a Look’

This project focuses on how the problem of waste can be addressed in Jeju from an artistic perspective. Jeju is confronting a serious issue of waste, as its population and the number of visitors have increased dramatically in the past few years. Also, it has to dispose of a large volume of ocean waste that arrives from other countries nearby. Using rubbish found on the shore, artist Yangkura and architect Maria Glionna will create a mobile building which will be used for a performance. Afterwards, it will be presented for public display for a limited period.

• Wang Bwang Gap Seo

Sleepers Summit

‘Sleepers Summit’ is a global conference for international culture and art professionals to share their ideas about contemporary issues in five areas: the Environment, Heritage, the Ecology of Culture and Art, Education (the next generation) and Jeju island. Professionals in each of these areas will share their thoughts and ideas about global trends and future prospects for sustainability. Through intense discussion, we aim to find new possibilities and develop opportunities for navigating the post-Covid-19 contemporary cultural landscape.

• Sleepers Summit Kidai Kim, Kura Yang x Maria Gilonna, Nayun Lee, Christophe Gaudin, Yeony Do x Hyerim Ju

–      2017.9.6 – 2017.9.17

–      Curating and directing

–       Location: Ordos International Convention and Exhibition Center, Ordos, Inner Mongolia, China

–       Hosted by United Nations Convention to Combat Desertification

–       Organised by China Youth Centre for International Exchange

–       Sponsored by Sansonite, Subaru and Korea Forest Service

–       Collaboration with China Guaghua foundation, CARI, Kansong art and culture foundation and Forest China

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–       Artists: aCYf- China Youth Center for international exchange, Guy badeaux,
Yunhao bai,
Sehee Sarah bark, Manfruelli batti, Clear,
Francois Cointe, Agnes Denes, Jinyong Dou, ECOTV, Forest China,
Future Forest, Djamel Ghanem, Jianying Gong,
Buri Gude,
James Harris, Mengxing Hu,
Huan Huang, Kyoung Kap Min, Vladimir Kazanevsky, Yazan Khalili, Minkyu Kim,
Myung-Woo Kim,
Nampyo Kim,
Sukhoon Kim,
Yejeong Ko and Youngbo Kim, Leenam lee, Sea Hyun Lee, Wonsoo Lee, Myoung Ho Lee, Yidan Leng, Xiongyi Li, Zhongjun Li, Fu Li,
Jian Liang,
Damien MacDonald, Almagul Menlibayeva, Michael Munene, Nahum, Yongkil Oh,
Sun-Mi Park,
Se Yoon Park,
Placide,
Robert Rousso,
SaSha Rushworth,
John Sabraw,
George Steinmetz, Richard Streitmatter-Tran, Serkan Taycan, Cristian Topan, Vomorin, Nanyi Wang, Aijun Wang, Hua Xu, Wei Zhang, Xinzhong Zhang, Yuanwu Zheng

Save the earth Green Corps is a global anti-desertification campaign co-led by Future Forest, All-China Youth Federation, the United Nations Convention to Combat Desertification (UNCCD), the World federation of United Nations Associations (WFUNA) and UN Academic Impact (UNAI) Korea. For the UNCCD COP13 (Conference of the Parties: thirteenth Session), Stephanie Seungmin Kim curated an exhibition entitled Planting for Hope, Land for Life, which features ninety works by fifty-seven artists. The work exhibited included paintings, photographs, cartoons and caricatures, as well as seven documentary videos that portray the anti-desertification of five environmental organisations. There were six themes— Desertification/Anthropocene; Flee or Fight; Call for Action; Man and Nature; Slow Down, Get Sustainable; and Human Life and Culture…The World— to explore the ways in which contemporary art is currently addressing global ecological issues.

The exhibition showed the desertification and land degradation interpreted through the artists’ viewpoints, and played a role in raising awareness about the necessity of environmental protection internationally, beyond Korea and China.

–    Title Exhibition for 1st Jikji Korea International Festival

–    Location: Cheongju Cultural Centre, Korea

–    Curating and directing

–    Organised by: Cheongju-si / Cheongju Jikji Korea

–    Sponsored by: SONY, Ministry of Culture, Sports and Tourism, Nonghyup

–    Artists: Sangsoo Ahn, Leenam Lee, Junghwa Choi, Bien-U Bae, Moonassi, Jian Kwon, Suhee Kim, Notion Architecture, Hanuk Jung, Youngil Shin, Hyukyoung Um, Kwangho Lee, Mimi Joung, Minjeong Guem, Kyungtack Hong, Inho Lim, Sangjin Kim, Sang Un Jeon, Seung Ae Lee, Kyudong Jung, Hyeyoung Koo, Brigitte Stepputtis, Burcu Yağcıoğlu, Dario Bartolini, Gina Czarnecki, Jeremy Bailey,
Jürgen Dünhofen, Marshmallow Laser Feast, Miao Xiaochun, Phil Dobson, Ron Arad, Ryoichi Kurokawa, Semiconductor, Shona Kitchen, William Kentridge

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In 2011 September, art historian and curator Stephanie Seungmin Kim has combined the work of 40 contemporary artists, designers and architects to create an exhibition titled, Jikji, The Golden Seed. The exhibition shows the first ever book to be printed using moveable metal type and celebrates the great revolutionary impact it has had on the world of printing. The “Golden Seed” exhibition title refers to the spreading of knowledge, as the invention of this print method enabled the sharing of knowledge for many.

Jikji is interpreted not only as type but is also a recognition of craft and innovation. Showcasing a range of different pieces, from virtual reality films to 600-year old artefacts and ceramics, the exhibition is an observance of history that coherently engages with the idea of invention and progression. It is an abstract demonstration of how new technology has affected the art of communication and the print industry.

Stephanie Seungmin Kim, who is renowned for promoting contemporary artists of Asia, displays the work of artists from all over the world in this captivating compilation of art and history. The exhibition features work by designers and artists from Canada, China, Japan, Italy, Korea, the UK and the USA and some historical pieces from the Gutenberg Museum in Mainz and the Old Printing Museum in Cheongju.

Ron Arad, a designer from Israel, is one of the participating artists to showcase his work in this exhibition. Arad has created a pavilion to commemorate the invention of the bound book. It represents an open book being pushed downwards as it’s pages fan beneath it. This piece will be unveiled at the Cheongju Art Centre as part of the Jikji, The Golden Seed collection.

Exhibition Designer Ab Rogers has designed the space to allow the artworks to be separated into different themed sections, whilst still exhibiting them as a collective. Splitting the exhibit into eight “episodes”, Rogers has created an immersive experience for visitors with a flow that unites all themes with a strong visual language.

Contemporary Korean Art with Bae Bien-U, Hong Kyoung Tack and Lee Leenam curated by Stephanie Kim

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Thursday October 22d, Friday 23rd and Saturday 24th 2015, cutlog will launch its sixth Edition from 4 pm to Midnight in the majestic “Hotel particulier ” the Hotel de l’Industrie. It is in this St Germain 1500 smetter that cutlog will welcome the public and create a new Parisian “rendez-vous” every evenings of this week with an international selection of artists and curators.

ART, INSTALLATIONS, PERFOMANCES, VIDEO ART AND DJS.

Program:

Thursday 22, Friday 23, Saturday 24 October

6pm opening

6.30 pm Video screening, Festival du film d’artiste

8.00 pm vernissage and presentation of the show by Bruno Hadjadj Founder and Director.

Every evening untill Midnight, performances, musicians and djs. cutlog Paris contemporary art fair finds itself in the international off-fairs dynamic and is now a rendez-vous since its opening six years ago. Focused on avant-garde, breakthrough artists and discovery, cutlog offers a platform to up and coming artists, as well as a bridge among galleries, established collectors and institutions.

Since its kick off, cutlog has steadily gathered the best selection of worldwide press, collectors, museum directors, foreign and French institution directors, curators and art lovers.

For the last years, over 15,000 visitors visited cutlog, attracted by the impressive selection of international galleries, by the wide art and cultural programme of conferences, curatorial projects, performances as well as landmark events such as the 5th Artist’s film festival.

During the fair, cutlog club welcomes daily screenings for the Artist’s film festival, a programme of performances and a series of curatorial projects. At 9pm, cutlog becomes an “After-fair” for artists, collectors, musicians, professionals and art lovers with Dj-sets and live performances.

cutlog is supported by the Regional council of Île-de-France.

–    2015. 10.17 – 10.29

–    Location: Cavendish Square, London

–    Curating

–    Co-curator: Alexandre Bianchini, Cedric Christie, Luca Berta, Vanya Balogh

Vera Pilpoul, Sylvie Podriguez

–    Artists : Moonassi, Gunwoo Shin, Hannuk Jung, Hyeyoung Ku, 권바다, 이바정, Damien MacDonald, Petro

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During the Frieze Art Fair, in 2015, the exhibition Silent Movies was held at Q-Park, in London’s Cavendish Square, to showcase works by various artists through non-profit exhibitions. Q-Park is a large underground car park near Oxford Circus Station in the heart of London, an impressive area with 20,000 square meters of continuous spiral black and white space. The exhibition was opened to public continuously for three days and two nights. It featured a selection of purely monochromatic works in the forms of sculpture, photography, painting, drawing and site-specific installation. Curators from seven countries (Korea, Belgium, Switzerland, Israel, Italy, Jamaica and Croatia) organized the exhibition and more than 100 artists took part. The curator Stephanie Kim also participated as the team of international guest curators and presented nineteen monochrome artworks by six Korean artists and two British artists.

–       2015.5.29 – 2015.5.31

–       Location: Gilman Barrack

–       Co-curating: Seong-Youn Kim, Janice Kim, Jen Yeno KimJang, Seungah Lee, Urich Lau

–       Supported by The Embassy of the Republic of Korea, MCST, Art Council Korea, National Arts Council Singapore

–       Sponsored by LG and Singapore Airlines

–       Collaborated with NTU centre for contemporary art Singapore, Gilman Barrack, EDB Singapore, Faculty for creative industries, School of Dance and Lasalle college of the arts

–       Artists: Adriane Wachholz, Bkil J Beomyoun, Bohyun Yoon, Byungjun Ko, Chen Sai Hua Kuan, Chun Kai Qun, Gina Czarnecki, Jaewook Lee, Joo Choon Lin, Jungki Beak, Kira Kim, Kisoo Kwon, Kwangkee Lee, Kyoungtack Hong, Laure Prouvost, Leenam Lee, Liao Jiekai, Lim Shengen, Lucia Jeecun Lee, Marcel Gaspar, Mark Wallinger, Pual Lincoln, Sejin Kim, Semiconductor, Seungah Lee, Sherman Ong, Sisoo Park, Teow Yue Han, Urich Lau, Uriel Orlow, Woojin Jeon, Yangachi, Yongbaik Lee, Yongho Kim, Zune Lee

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Singapore Open Media Art Festival (SOMAF) was held in 2015 to mark the 40th anniversary of diplomatic relations between Korea and Singapore. SOMAF collaborated with Gillman Barracks, a contemporary arts cluster in Singapore, to organise a major public project that would allow for an exchange of memories to take place between all participants.

Six curators from South Korea and Singapore, along with thirty six international artists are participated in SOMAF. The exhibition was very different from other media exhibitions with the use of an open outer space, forming a significant extension of the exhibition site.

With the theme of The Moment of Karma, curators aim for art and random moments in daily life to combine in a meaningful moment of relationship for audiences. As people strolled around the park encountering the video images, they heard new sosunds that they had never experienced before along with the art, that communicated new meanings to them. Stephanie Seungmin Kim was responsible for inviting a range of European artists, including Semiconductor, Mark Wallinger, Uriel Orlow, Laure Prouvosst and Adrian Wachholz.