gallery soso catalogue

K O R E A

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Contents

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Contents

Introduction

Byung So CHOI

Eull KIM

Hai Young SUH

Hyung Gwan KIM

Kiwon PARK

Seung Un CHUNG

Yun Soo KIM

Zu Young CHUNG

SoSo Exhibitions

06

10

24

42

56

72

92

112

128

146

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introduction

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Architect Sam Yeong CHOI

He strives to reconfigure the precious traditions of Korea into a modern paradigm and artisanship. Hoping to

imbue happiness and hopes for people through architecture, he passionately endeavors in eco-friendly wooden

architecture projects, serving as the head of KAWA DESIGN GROUP. His iconic works include Seongdong-gu

Senior Welfare Center, Deokyang-gu Office, Minmaru Housing I, Gapyeong Bazaul Housing I, Dongbaek Apel-

baum Housing Complex, RED SCHOOL, gallery SoSo. He was awarded the Grand Prize at the Korea Architecture

Award, Grand Prize at the Korea Wooden Architecture Contest, Best Prize at the Korea Civil Engineering and

Architecture Technique Awards, and 2003 and 2010 Arcasia Award Gold Medal.

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hun

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The design of gallery SoSo was intended to induce a close dialogue between architecture and the nature via a

path on a sloping land consisting of artificially forested pitch pines and miscellaneous trees. The idea behind

the gallery was that it must be planned and built in full consideration of the nature and harmony with the exist-

ing order of nature, selecting a technique of economical construction that does not dominate the surrounding

environment with a light and modest landscape in a modest and elegant manner.

Gallery SoSo is a small-scale architecture as a gallery consisting of a concrete structure and a wooden one.

The wooden structure, in particular, was designed as a rahmen structure where the connected part between

the barrage and the columns was combined into multi nodes of steel. The office building and the first floor of

the gallery building whose two planes are embedded into land except for the entrance plane were constructed

with concrete as the basis to make a harmony between the two buildings. 1F and 2F of the gallery building are

unified as the concrete wall and the wooden rahmen column intrude each other’s space. The entrance gate is

a path that heads towards a forest that flows between the two buildings. On the upper deck lies a sense of joy

between the forest, an illusion reflected on the existing garden of forest and the gallery window.

The gallery is connected through stairs that humbly accept to the slope of the nature, and the bridge that one

encounters after looking around the exhibition, walking around the wooden rahmen forest conveys a message

of harmony imbued by the nature and the architecture.

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1943 Born in Daegu, Korea

Education

1974 B.A.F College of Art, Jung-ang University, Seoul, Korea

Solo exhibitions

2012 Daegu Museum of Art, Daegu, Korea

2012 Gallery IBU, Paris, France

2011 Culture and Art Center, Daegu, Korea

2010 Gallery aso, Daegu, Korea

2010 Gallery 604, Busan, Korea

2009 Han Kisook Gallery, Daegu, Korea

2008 Gaain Gallery, Seoul, Korea

2008 Bongsan Culture Center, Daegu, Korea

2006 Gallery M, Daegu, Korea

2005 Gallery IBU, Paris,France

2003 Ci-Gong Gallery, Daegu, Korea

2002 Space 129, Daegu, Korea

1997 Ci-Gong Gallery, Daegu, Korea

1979 Muramatsu Gallery, Tokyo, Japan

1978 Seoul Gallery, Seoul, Korea

Selected Group Exhibitions

2011 Depaysement-blooming the city, Arko Museum of Art, Seoul, Korea

2011 Qi is Full-Drawing Yi, Daegu Museum of Art, Daegu, Korea

2010 Invisible window, yfo gallery, Daegu, Korea

2009 Joint Show, yfo gallery, Daegu, Korea

2009 Pulse New York, Hudson River Park, New York, USA

2008 Gyub, Gallery SoSo, Paju, Korea

2008 Inter-viewing painting, Soma Museum of Art, Seoul, Korea

2002 Age of philosophy and Aesthetics, National Museum of Contemporary Art, Seoul, Korea

1999 Looking at the Alchemy of an age, Busan Museum of Modern Art, Busan, Korea

1996 Development of Korean Modernism, Kumho Museum, Seoul. Korea

1996 Korean Drawing Now, Brooklyn Museum, New York, USA

1980 Impact Art Festival, Kyoto Museum of Art, Kyoto, Japan

1979 Sao Paulo Biennale, San Pauloo, Brazil

1977 Korean contemporary painting, Museum of History, Taipei

1977 Korea: A Facet of contemporary Art, Central Museum of Art, Tokyo, Japan

Byung So CHOI

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11Untitled Newspaper, ballpoint pen, pencil, mirror, 640x200cm, 2009

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12 Untitled Paper, ballpoint pen, pencil, 240x81x542cm, totalsize 1020x81cm, 2012

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14

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15Untitled Newspaper, ballpoint pen, pencil, 240x81x542cm, 2011 (detai)

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16

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17Untitled Paper, ballpoint pen, pencil, 240x81x542cm, totalsize 1020x81cm, 2012 (installation view)

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18

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19Untitled Newspaper, ballpoint pen, pencil, dish, 45x45x17cm, 2005

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Untitled Paper, ballpoint pen, pencil, 240x81x542cm, totalsize 1020x81cm, 201120

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21Untitled Paper, ballpoint pen, pencil, 240x81x542cm, totalsize 1020x81cm, 2011 (detail)

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22

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23Untitled Book, ballpoint pen, acrylic box, 31×23×20cm, 2012

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1953 Born in Goheung, Korea

Education

1989 M.F.A. Jewelry Design, Graduate school of industrial Arts, Hong-ik University, Korea

1981 B.F.A. Metal Craft, WonKwang University, Korea

Selected Solo Exhibitions

2011 Cow, Chicken, Dog, Pictures, Gallery SoSo, Paju, Korea

2010 So Here... Is There a Bird?, Space Gong Myung, Seoul, Korea

2009 Tears, SPACE CAN, Seoul, Korea

2008 Kim Eull Drawing; Tear, Ga Gallery, Seoul, Korea

2007 Miscellaneous Painting II, Gallery Noon, Seoul, Korea

2006 Drawing is Hammering, Take Out Drawing, Seoul, Korea

2006 Miscellaneous Painting, Gallery Ssamzie, Seoul, Korea

2005 Kim Eull Painting & Drawings, Baik Hae Young Gallery, Seoul, Korea

2004 Kim Eull Drawing 2004, Gallery Fish, Seoul, Korea

2003 Kim Eull Drawing 2003, Gallery Fish, Seoul, Korea

2003 Kim Eull Drawing 2002, Gallery Doll, Seoul, Korea

2002 #265 Ok ha-ri, Project Space SARUBIA, Seoul, Korea

2001 This and That Mountains, Gallery Savina, Seoul, Korea

1996 Self-Portrait, Kumho Gallery, Seoul, Korea

1994 Kim Eull, Kumho Gallery, Seoul, Korea


2011 Ahn-Nyung/ Hello, Le Basse Projects, LA, USA

2009 Layered City, Artside, Beijing, China

2009 Big Boys, Andrewshire Gallery, LA, USA

2009 scape of misunderstanding, Zaha Museum, Seoul, Korea

2008 Art in Daegu2008 Uprising of the Images, KT&G, Daegu, Korea

2008 POP&POP, Sungnam Cultural Center, Sungnam, Korea

2007 Gyeonggi, National Highway NO.1, Gyeonggido Museum of Art, Ansan, Korea

2006 Persistent Drawing, Gyeonggi Cultural Foundation, Suwon, Korea

2006 Thump, Gallery Noon, Seoul, Korea

2006 1 Hundred Years of Korean Art, National Museum of Contemporaly Art, Kwachun, Korea

2006 Drawing Energy, Arko Art Center, Seoul, Korea

2006 Drawn to Drawing, SOMA Museum, Seoul, Korea

2005 The play between, Andrewshire gallery, Arena 1, LA,USA

2004 Rolling space, Marronnier Art center, Seoul, Korea

2003 REAL-SCAPE Revisited, National Museum of contemporary Art, Korea

2002 Self-portrait of Korean Art, Sejong Center Museum, Seoul, Korea

Eull KIM

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Cow, Chicken, Dog, Pictures

The phrase seems somewhat disrespectful, but for me it is a precious enlightenment.

It is a gathering of peers in the same level. They are all close to people, giving ben-

efit and pleasure... Particularly, since the cow, chicken and dog are living creatures,

however great it may be, the picture seems to be the lowest in status. (Pictures have

become overly arrogant... Perhaps they need to be taught a lesson.) (Note: picture =

artistic creation)

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26 Untitled Found wood box, steel, bronze, cement, 3 drawing books, paper, acrylics, 33x23x15cm, 2010

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Untitled Mixed media, 46x62x17cm, 2010 27

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28 Untitled Found wood box, wood, acrylics, 32x28x23cm, 2010

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31Untitled Mixed media, 33x50x19cm, 2010

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32 Discovery Wood, oil on canvas, found object, 79x55x16cm, 2011

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33Discovery Artist made wooden furniture, oil on canvas, found object, 215x122x46cm, 2011

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Untitled Artist made wooden furniture, found object, fabric, oil on canvas, 93x125x15cm, 2011 Untitled Wooden box, found object, oil on canvas, 71x47x16cm, 2011Untitled Artist made wooden furniture, found object, fabric, oil on canvas, 93x125x15cm, 2011 (installation view)34

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35

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36 Untitled Water color on paper, 32x24cm, 2011

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38 Untitled Water color on paper, 32x24cm, 2011

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39Untitled Mixed media, 71x22x16cm, 2010

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41Untitled Water color on paper, 24x32cm, 2011

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1968 Born in Seoul, Korea

Education

1991 B. F. A in sculpture, Ewha Womans University, Seoul

1995 M. F. A in sculpture, Accademia di belle arti di Brera, Milano, Italia

Solo Exhibitions

2010 Gallery SoSo, Paju, Korea

2007 Kumho Museum of Art, Seoul, Korea

2003 Gallery IHN, Seoul, Korea

2002 Space SADI, Seoul, Korea

2002 Gana Art Center, Seoul, Korea

2001 Total Museum of Art, Jangheung, Korea

2000 Window Gallery, Gallery HYUNDAI, Seoul, Korea

2000 Gallery IHN, Seoul, Korea

1996 Gallery BODA, Seoul, Korea


2010 Clayarch Museum, Gimhae, Korea

2004 Wall Works, C.A.I.S gallery, Seoul, Korea

2002 Three Young Artist from Korea, MDS Gallery, Tokyo, Japan

2002 Neo Painting, Youngeun Museum of Contemporary Art, Kwangju, Korea

1995 Palazzo Arengario, Monza, Italy

1995 salon 95‘ Accademia di Belle Arti di Brera, Milano, Italy

1990 New Form, Gallery Yoon, Seoul, Korea

1990 4th Sea Art Festival, Busan, Korea

Hai Young SUH

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“Bricks - the Interface of Phenomenal World and Place”

The artist Suh Haiyoung presents works inspired by scenes from the real life. In her most recent works we find her studying bones--she

shaped fragmented skeletal structures such as bones of the finger, toe, rib and clavicle using resin--perhaps in her search for the very root

of art. We also find her creating various forms and structures with bricks, the most typical and smallest unit composing urban buildings.

Taking this brick motif to another level, she places it in the context of a temporal and spatial concept, utilizing it to structure an installation,

or as an object, or employing it in diverse art forms such as video and painting. These efforts have produced signs and linguistic images that

constitute the space in which we lead our lives.

With bones as objects, Suh’s approach was primarily conceptual. As she transitioned to the brick motif, her focus shifted to the phenomenol-

ogy of spatial forms. In these endeavors Suh appears to be exploring the way we perceive things, while minimizing the interference of her

subjectivity in the effort. She started off with a conceptual approach (1995-1996), after which she experimented with form and structure

(1997-2003). She then returned to the two-dimensional plane, interpreting her object with a focus on the place (2004-2007). Most recently

her theme is the everyday space of life, and she is now in the process of revising her interpretations and creating layers of them for a special

overlapping effect (2008-2010).

Over the course of 16 years, numerous contexts and views had emerged and were understood from a perspective that was current at each

point in time. They now form layers independently or are combined with others in the places in which they are remembered. These times

stored in memory are in a way like individual acts in a play or the curtain that closes and opens to signal the change of scene. They also seem

like a thin film, each when lifted leads to new perception. These moments will unfold like an unrealistic space that exists only as a function

of one’s subjective interpretation. The bricks, which were seen as the visual corridor between the secret room and the open square, serve

as the interface between the two different spaces. Seen from afar, the bricks generate a mysterious aura like a film of halftone dots. Suh’s

bricks were taken out of the buildings they were part of and flown behind the curtains that are drawn in the back of the plane. The moving

in and out and back in, or the alternation of inhalation and exhalation builds itself with time into a theatrical panorama.

The sub-themes of this drama are: Fiesta for Nocturn 1 & 2, <Borders to Movement 3>, A Square, A Shot of Cogitation 3, A Garden in Ruins,

and Dormant Dialogue. Each theme is composed of what the artist has seen and/or felt as she commuted between her home and studio

everyday. Each fleeting yet memorable scene is recorded on the artist’s body like a diary, leaving traces that pile up layer after layer. The

scenes in and of themselves are quite mundane. The images of flowers, people, squares, libraries, roads, mountains, and buildings are

metaphorically translated onto a canvas, a place, or another dimension of the curtain to build a site-specific structure. Place, in this context,

symbolizes the response to deficiency that exists in today’s society and space. The Curtain is the relationship that cohesively holds together

the outcomes and the simultaneity of what is happening here and now. The canvas that serves as a platform for the Place and the Curtain is

itself the phantom emerging from that 0.2cm thickness and its stage, the artist’s body and the wall all at the same time.

In this Curtain, the vanishing point has been split and deconstructed, its fragments hiding on the other side of the Curtain. The pictorial

plane serves as an important medium. It connects two or three points in space in a plausible way and invokes a specter of an unnatural

place she pursues. There is visible irony in juxtaposing in a single place seemingly random objects that are both familiar and strange. She

has also imbued a sense of consistency in what is site-specific by the use of the Curtain and the Film. The two layers are intertwined and

can invoke all spaces and phenomena Suh may have perceived. As expressed in Fiesta for Nocturn 2 and A Garden in Ruins, the point at

which time and place freezes is in the other world where one may go on imagining about the next Act and the next Chapter. Suh Haiyoung

has laid out for our enjoyment a phantasmagoric world consisting of layers and layers of a life peaceful, quiet and mundane. We need only

to accept the invitation.

Kwan Hoon LEE, CuratorProject Space Cafe Salvia

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44 Space_ less Masking tape, variable size, 2001

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45

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46 A garden in ruins Graphite pencil, acrylic on canvas, 130cm x194cm, 2010

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47

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48 Dormant dialogue Graphite pencil, acrylic on canvas, 130x194cm, 2010

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49

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50 Fiesta for nocturn 2 Graphite pencil, acrylic on canvas, 310x480cm, 2010

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51A border for traveling Graphite pencil, acrylic on canvas, 310x510cm, 2010 (installation view)

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52

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53Isola I E.V.A, variable size, 2011

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54 Colone I E.V.A, variable size, 2011

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55Isola I E.V.A, variable size, 2011

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Education

2006 M.F.A. Fine Arts, Goldsmith College, London, UK

1998 M.F.A. Paintings, Graduate School, Seoul National University, Seoul, Korea

1995 B.F.A. Paintings, Visual Arts Department, Seoul National University, Seoul, Korea

Solo Exhibitions

2012 LIGHTHOUSE, Gallery SoSo, Paju, Korea

2010 Long Slow Distance, Vit Gallery, Seoul, Korea

2010 Long Slow Distance, Gallery Bora, Seoul, Korea

2009 Afterglow, Gallery SoSo, Paju, Korea

2008 Long Slow Distance, Gallery Noon, Seoul, Korea

2008 Long Slow Distance, Korea Art Center, Busan, Korea

2007 Long Slow Distance, Toilet Gallery, London, UK

2007 Long Slow Distance, Gallery SoSo, Paju, Korea

2007 FOuR PAINTINGS, sadi Window Gallery, Seoul, Korea

2004 Void of Representation, Hanjun Plaza Gallery, Seoul, Korea

1996 Drawings and Photographs, Yoon Gallery, Seoul, Korea


2012 Tagging Art Works, Gyeonggi museum of modern art, Ansan, Korea

2009 Artist Gallery- Fleeting, SNU Museum, Seoul, Korea

2009 Drawing of the world, world of drawing, SNU Museum, Seoul, Korea

2009 Emotional Landscape, Pochun Art Vallery, Pochun, Korea

2006 Degree Show, Goldsmith College, London, UK

2006 Zenith 06, Nomoregrey Gallery, London, UK

2006 George Polke Invites, George Polke Gallery, London, UK

2006 Still Dynamics, Jerwood Space Gallery, London, UK

2006 Nocturnal, Sarah Myerscough Gallery, London, UK

2004 Still-Life, Ilmin Museum of Art, Seoul, Korea

2002 Inter Project-Symbiosis, Inchon Culture Center, Inchon, Korea

2002 Private Narratives, Pusan Metropolitan Museum of Contemporary Art, Pusan, Korea

1999 21C New Frontier, Samsung Plaza Gallery, Sungnam-Si, Korea

1999 Korean Contemporary Art–Trends in the 90s, Ellen Kim Murphy Gallery, Seoul, Korea

1998 Young Korean Artists 98, National Museum of Contemporary Art, Kwachun, Korea

1998 The Retina and The Sense of Touch, DongA Gallery, Seoul, Korea

Hyung Gwan KIM

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57

It is with great pleasure and privilege that I introduce the paintings of Hyung Gwan

KIM, in this exhibition of his work at the Toilet Gallery, Kingston, London. I first saw

Hyung Gwan KIM’s work at the private view of his MA Fine Art degree show at Gold-

smiths College, London, in the summer of 2006. It was a close, sultry night, exacer-

bated by the chaos and scrum of crowd. In a quiet room, I discovered his work, which

appeared like an oasis of calm amidst the hustle and bustle of the crowd. The work

stood out for it’s maturity and meditative quality and immediately invoked a sense

of calm. Amongst the oppressive atmosphere of the private view, his paintings ap-

peared powerfully with a quiet sense of conviction. Not quite figurative, nor abstract,

Hyung Gwan KIM’s paintings presented a sense of ephermerality yet familiarity to

the viewer.

Hyung Gwan KIM’s work embodies the often-precarious status and value of the im-

age in our visual culture. We are continually bombarded by visual imagery that is

relentlessly disseminated through various forms of digital and mass media and as

one processes the gamut of images the meanings and referents that they carry get

blurred. Perceptions of what is experiential or simulated become indistinguishable;

have we experienced that or did we imagine it happening? Hyung Gwan KIM’s work

echoes this blurring of referents and associations within the image. His paintings

present familiar yet unclear images that evoke a shadowy reminiscing of the past.

Hyung Gwan KIM speaks of how every Spring a strong sandy wind travels from China

to Korea, and obscures the landscape distorting ones vision and perspective, like a

sand storm. The landscape appears like an intangible dream yet one perceives it to

exist. In his current works, he explores the transience of imagery, of intimating at the

familiar, yet allowing the viewer to interpret the image’s meaning, demanding a re-

call of ones own visual memories and perceptions. Hyung Gwan KIM reminds us that

amidst the chaos of our modern condition, memories serve to remind us of our own

temporal existence, and that like the sandy storms from China, we too exist fleetingly

in the consciousness and vision of others. _ Caroline Alexander, Trustee/Co-curator,

The Toilet Gallery, Kingston, London


Education

2006 M.F.A. Fine Arts, Goldsmith College, London, UK

1998 M.F.A. Paintings, Graduate School, Seoul National University, Seoul, Korea

1995 B.F.A. Paintings, Visual Arts Department, Seoul National University, Seoul, Korea

Solo Exhibitions

2012 LIGHTHOUSE, Gallery SoSo, Paju, Korea

2010 Long Slow Distance, Vit Gallery, Seoul, Korea

2010 Long Slow Distance, Gallery Bora, Seoul, Korea

2009 Afterglow, Gallery SoSo, Paju, Korea

2008 Long Slow Distance, Gallery Noon, Seoul, Korea

2008 Long Slow Distance, Korea Art Center, Busan, Korea

2007 Long Slow Distance, Toilet Gallery, London, UK

2007 Long Slow Distance, Gallery SoSo, Paju, Korea

2007 FOuR PAINTINGS, sadi Window Gallery, Seoul, Korea

2004 Void of Representation, Hanjun Plaza Gallery, Seoul, Korea

1996 Drawings and Photographs, Yoon Gallery, Seoul, Korea


2012 Tagging Art Works, Gyeonggi museum of modern art, Ansan, Korea

2009 Artist Gallery- Fleeting, SNU Museum, Seoul, Korea

2009 Drawing of the world, world of drawing, SNU Museum, Seoul, Korea

2009 Emotional Landscape, Pochun Art Vallery, Pochun, Korea

2006 Degree Show, Goldsmith College, London, UK

2006 Zenith 06, Nomoregrey Gallery, London, UK

2006 George Polke Invites, George Polke Gallery, London, UK

2006 Still Dynamics, Jerwood Space Gallery, London, UK

2006 Nocturnal, Sarah Myerscough Gallery, London, UK

2004 Still-Life, Ilmin Museum of Art, Seoul, Korea

2002 Inter Project-Symbiosis, Inchon Culture Center, Inchon, Korea

2002 Private Narratives, Pusan Metropolitan Museum of Contemporary Art, Pusan, Korea

1999 21C New Frontier, Samsung Plaza Gallery, Sungnam-Si, Korea

1999 Korean Contemporary Art–Trends in the 90s, Ellen Kim Murphy Gallery, Seoul, Korea

1998 Young Korean Artists 98, National Museum of Contemporary Art, Kwachun, Korea

1998 The Retina and The Sense of Touch, DongA Gallery, Seoul, Korea

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58 Long Slow Distance 1002 Oil on linen, 100x73cm, 2010

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63Long Slow Distance 1023 Oil on canvas, 97x145cm, 2010

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64 Long Slow Distance 1026 Oil on canvas, 162x130cm, 2010

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65

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66 LIGHTHOUSE 008-3 Acrylic on canvas, 191x162cm, 2012

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67

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68 LIGHTHOUSE 008-1 Acrylic on canvas, 148x148cm, 2012

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69LIGHTHOUSE 011-1 Acrylic on canvas, 91x91cm, 2012

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70 LIGHTHOUSE 010 Acrylic on canvas, 91x91cm, 2012

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71LIGHTHOUSE 007-1 Acrylic on canvas, 91x91cm, 2012

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72

1964 Born in Cheongju, Korea

Education

1989 B.F.A. in Western Painting, Department of Art Education, Chungbuk National University, Korea


2010 Artist of the Year 2010 - Who’ Afraid of Museums?, National Museum of Contemporary Art, Korea

2009 Floating, Miki Wick Kim Contemporary Art, Zurich, Swiss

2008 Friction, Space Gallery, Seoul, Korea

2006 Light Weight, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain

2006 Ruin, Arko Art Center, Seoul, Korea

2004 Warmth, Cigong Gallery, Taegu, Korea

2002 Level, Garam Gallery, Seoul, Korea

1997 Sense, Center for Contemporary Photography, Melbourne, Australia


2012 Dansaekhwa Korean Monochrome Painting, National Museum of Contemporary Art, Korea

2011 Artist of the Year 1995-2010, National Museum of Contemporary Art, Korea

2011 Welcome to my World, AAIPS, Seoul, Korea

2011 Internal Angle, Gallery SoSo, Paju, Korea

2010 2010111120110111, Ggooll, Seoul, Korea

2009 Beginning of New Era, National Museum of Contemporary Art, Seoul, Korea

2009 100Daehangro, Arko Art Center, Seoul, Korea

2008 Contextual Listening, Mongin Art Center, Seoul, Korea

2008 Layer, Gallery SoSo, Paju, Korea

2007 Void in Korean Art, Leeum Samsung Museum of Art, Seoul, Korea

2006 Drawn to Drawing, Soma Museum, Seoul, Korea

2005 The 51st Venice Biennale, The Korean Pavilion, Venezia, Italy

2004 Rolling Space, Marronnier Art Center, Seoul, Korea

2003 75cm, Project Space SARUBIA, Seoul, Korea

2000 Design or art, Design Museum, Seoul, Korea

2000 Special Exhibition, Kwang-Ju Biennale, Kwang-Ju, Korea

1999 Ventilate in the Breeze, Wonseo Gallery, Seoul, Korea

1999 Dangerous show, Sal Bar, Seoul, Korea

1998 Brushed Non-brushed, Sai Gallery, Seoul, Korea

1998 The Reversion of Drawing, Whanki Museum, Seoul, Korea

1997 New Forms from Ancient Traditions, Joseloff Gallery, Hartford, USA

1996 Attention to the Artists, Dong-ah Gallery, Seoul, Korea

1995 Special Exhibition, Kwang-Ju Biennale, Kwang-Ju, Korea

1993 The New Generation Tendency in Korean Contemporary Art, Fine Art Center, Seoul, Korea

1992 From Concept to Essence, Kum-ho Museum of Art, Seoul, Korea

Kiwon PARK

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73

Introduction of the Artwork

Painting works of the ‘Width’ series are geometrical colored painting works. Situa-

tions of certain space within a space observed in various perspectives are broadly

divided into some planes, which were formed after repetitions of small lines heading

different directions. The flow of the colors are reminiscent of the ‘Four Seasons’

in the nature, connected in ‘green’, ‘blue’ and ‘brown.’ These painting works are

projected as a large single colored plane, and a close look reveals the overlap of the

separated planes and accumulated lines. This form of paintings represents interest in

place, empty space and circularity on a two-dimensional plane. This is necessary to

play the role of the landscape deeply imbedded in audience and the place.

The painting works of ‘Width’ series tout a balanced harmony of the minimalist form

and natural colors, inducing the sense of comfortable empty space and essential

circularity. The works clearly show a trilateral form of the place, audience and the

works.

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74 Width No.20 Oil color on korean paper, 214x150cm, 2007

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75Width No.16 Oil color on korean paper, 214x150cm, 2007

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86

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87Scenery Oil color on plastic sheets, 2010 (installation view)

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88 Airwall Air tube, 2010 (installation view)

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89

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90

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91Width Oil color on korean paper, 214x150cm, 2012 (installation view)

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92

Seung Un CHUNG

1963 Born in Kangjin, Korea

Education

1996 Meisterschueler (Professor : J. Kounellis)

1995~99 Kunstakademie Duesseldorf (Professor : J. Kounellis)

1990~94 Akademie der bildenden Kuenste Nuernberg (Professor : S. C. Colditz)

1982~89 B.F.A., Seoul National University

Solo Exhibitions

2012 Skyline, Gallery SoSo, Paju, Korea

2010 Skyline, Gallery Space, Seoul, Korea

2007 Perspective_Jip, Kkum, Sup, Gallery NooN, Seoul, Korea

2007 Close Perspective_Jip, Kkum, Sup, Gallery SoSo, Paju, Korea

2003 Gallery FISH, Seoul, Korea

2000 HORIZON, Project Space SARUBIA, Seoul, Korea

1997 STEPHAINIENSTRSSE 16, Dusseldorf, Germany


2007 Writing Painting, Painting Words, Seoul Museum of Art, Seoul, Korea

2006 Drawn to Drawing, Soma museum of art, Seoul, Korea

2005 Art & Mathematics Savina Museum, Seoul, Korea

2004 SPACE Seoul Museum of Art, Seoul Consonanance Haein-sa Sungbo Museum,

Hapchon Talking to the Wall, Marronier Art Center, Seoul, Korea

2003 The Lamentations of Chul Am, sadi gallery, Seoul, Korea

2002 Coming to Our House, project space Zip, Seoul, Korea

2001 Touch the Skull of Romanticism, Total Museum, Jangheung, Korea

1999 Chung Seung-un & Hwang ou-chul, Syocho Plastic Academy, Seoul, Korea

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93

Some Questions about ‘The Skyline’ of Seung Un CHUNG

When glancing at Seung Un Chung’ art works once, his works look like an assemblage of conceptual plastic vocabularies. In spite of the

title of the exhibition informing that the art works are based on the motif of skylines, a feeling of tension is firstly aroused when looking at

them. Due to their forms seemingly completed by following certain rules and the restrained way of expression, Chung’s skylines seem rather

imprisoned in the materiality of plywood and the abstractness of geometrical shapes. Wondering if I should approach them emotionally

or rationally in order to have a better appreciation, I start to have a doubt that there might be something that the artist himself is afraid of

revealing, something that is hidden behind those precise shapes.

For instance, the red and black brushstrokes applied on the long boxes made in plywood seem rather expressive at the first time. But when

looking closely, you may find that each stroke was controlled carefully. Furthermore, the red and black colors are traditional red for stamp

and Chinese ink. These colors made from natural sources are applied instead of pre-existing colors of paint tubes or artificial colors mixed on

a palette. The Chinese ink is a conceptual color holding every range of colors inside. The traditional red for stamp is a mysterious red color

used when writing amulets. Both of them have a presence that is much stronger and deeper than any other colors.

Then, what is the meaning of the combination between these two; the geometrical shape of the hexahedrons where easily recognizable

mountain ridges are represented and these ready-made-like colors? Besides, it is ambiguous to define the works hanging on the wall

whether their forms are three-dimensional or two-dimensional.

They follow a typical composition of painting: a skyline between land and sky, and the depth of landscape defined as the foreground, middle

ground and background. But he built three-dimensional paintings displaying backward from the background to the foreground and enclosed

them in a frame. If painting is a way of representing three-dimensional objects in two dimensions, in his works, he chose the composition

and characteristics of painting in order to bring them back to three dimensions. How can we interpret this inversed process?

The piece representing a mountain ridge and its shadow is rounded as a ¼ sphere on the corner where two walls meet. This installation

is also a study on the three-dimensional space using a flat surface. While talking about this piece, Chung briefly mentioned about a work

of Malevich presented in <The Last Futurist Exhibition of Paintings: 0, 10>, Petersburg, 1915. It seemed to me as an important point to

understand Chung’s art work.

He was interested in the way how Malevich’s ‘flat’ work representing squares floating in an absolute space was installed at a corner oc-

cupying a ‘three dimensional’ space rather than a surface of a wall. In a different way, his ¼ sphere piece also deals about the relationship

between the two dimensions and space.

There are several questions in common occurring in the works presented in this exhibition; why is he so careful with his colors and brush-

strokes? And why does he keep constantly applying two dimensional components into the three-dimensional space?

The way of moderating or restraining colors and the characteristics of two dimensions are also used in another piece <Skyline> where thin

painted strings are installed in a space drawing catenaries. Various colors are used in this installation. The artist laughed when he said ‘I

should go through every process of painting, just like painting on a canvas.’

It seemed like he finally finds freedom to paint after minimizing the surface to paint till it becomes a thin string. His laugh seemed bursting

out of recalling his secretive game which consists of voluntarily restraining himself.

The artist’s attitude during the round table gathering people interested in his art work in order to review his works till 2009 seemed quite

tolerant accepting the others’ comments rather than expressing strong likes or dislikes. But he sometimes revealed his thoughts on the

process of making his work when someone asked him questions. For instance, he aims to create a unity of an art work and the space where

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94 Skyline 2012 (installation view)

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95

it is placed like a ‘mural painting’. Besides, ‘when painting, he always paints on canvas.’ but when it happens, ‘he worries about turning

back to the past’. He would like to get away from the canvas, but he keeps turning back to it as he thinks that ‘the nature of the canvas is to

support painting and the space of painting is the canvas.’ The artist’s direction to go for a work like a mural painting instead of using canvas

composes a very important base to look for various questions that I have previously made. Besides the different possibilities of mobility,

there is a big difference in terms of the origins and meanings between paintings on canvas and mural paintings. Leaving the Stone age’s

ritualistic murals aside, the explanation given by Gaius Plinius Secundus(23~79) on the origin of painting created after the foundation of

human civilizations allows us to understand thoughts of humans who express through paintings. According to Plinius’s ‘Historia Naturalis’,

the origin of painting started from drawing the contour of humans’ shadow. The daughter of Butades, potter living in Corinth, fell in love

with a young man. When he had to leave abroad due to a war, she casted light of a lamp on her lover’s face while he was sleeping. Then,

she drew the outline of the shadow made by the lamp. This story is considered as a base to explain the origin of painting. It is obviously just

a speculation of the ancient romans who tried to make everything as the fruit of the Greek and Roman civilizations. But it is possible to get

the unchangeable concept of painting through this story, which is hard to distinguish rather it is a true story or a mythology. The story tells

us that the beginning of painting is to paint an existing element on the related place, therefore, a mural painting related to a specific site.

Canvas is a product invented during the period of Renaissance, 1400 years later since then. It matters more with the issues of art sponsoring

and distribution besides the possibility of supporting more various colors than wooden panels or walls. It hasn’t been that long that painting

started to travel. Also, it is within the last decades that the attempts to recover the ‘site specific’ character of painting have been being made

in order to solve several problems of ‘no placeness’.

However, when looking at the works that he has shown till now, it is hard to consider Seungun Chung’s ‘mural-like-work’ as site specific

works. Except the installation works (creating strong tension among objects by using the principle of keystone) made during his studies

abroad and the piece installed at a house in Sinsa-dong, which triggered later the series of ‘House Dream Forest’, his works following the

format of installations seem rather as the expression of his interests in abstractness of the three dimensional space. As even his installation

works in variable dimensions carry out the possibility of expansion or reduction by its structure in modules, the comments on his intention

aiming for a ‘mural-like-painting’ seem not very convincing, as a mural painting, by its nature, can’t be removed from or attached back on

the wall. Therefore, more values should be attached to the ‘painting’ when thinking of a ‘mural painting’, rather than the word, ‘mural’.

The series of ‘Skyline’, mostly taking the appearance of sculpture contain aspects of painting although they are not. Based on the characters

of painting as color and two dimensional surface, they are carefully placed in the connection to the space arising an uncomfortable feeling

as if familiar things seem betraying each other, in other words, like the restrained feeling of love.

This uncomfortable feeling is felt in his work in general, which takes an attitude suppressing his temper given from the birth as an artist,

separating from his usual past and betraying the expected comfortable feelings that reveal effortlessly. Besides, his anti-capitalist attitude

prevents him to commercialize his work as a brand. He even betrays usual expectations from viewers. When reviewing his ‘skyline’ series

through keywords such as betrayal, suppression, separation and recovery, they appear as paintings. These keywords are found from the for-

mat of his art work. However, the things that are unsaid here, for example, the contents rather than the formats, the romantic and nostalgic

subjects such as ‘house’, ‘dream’, ‘forest’ and ‘skyline’ of mountains and cities draw a feeling of tension again encountering the format that

the artist had selected. This feeling of tension is mostly pleasant instead of being anxious and it seems like the solid format of his work

keeps his sweet and soft stories away from decaying. If I get to face his work again, I think I will be able to expect the beginning of a fun

experience, as if I have just arrived in the station of a new destination from a long journey. _ Yoonie Lee(history of art)

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96

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97Skyline 2012 (installation view)

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98

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99SLOA002, SLOA003, SLOA001 Birch plywood, each 30x40x36cm, 2012 (installation view)

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100 Untitled Color on birch plywood, 30x30x120cm, 2012

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101Untitled Birch plywood, 118.5x426cm, 2012 (installation view)

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102

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103Untitled Plywood, rectangular lumber, 252x227x706.5cm, 2012 (installation view)

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104

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105Skyline Mixed media, variable size, 2009

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106

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107Skyline Mixed media, variable size, 2009

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108 Untitled A string stained with ink, wood, variable size, 2007

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109Untitled Styrofoam, plaster bandage, 30x48.5x30cm, 30x48.5x60cm, 30x48.5x90cm, 30x48.5x150cm, 2007

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110

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111Untitled Wood, 135x90x216cm, 2004

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112


Education

2005 M.F.A. Graduate School of Sculpture Dept., Chung-Ang University, Seoul, Korea

1998 B.F.A. Dept. of Sculpture, College of Fine Arts, Chung-Ang University, Seoul, Korea

Solo Exhibitions

2011 The Bluest Scene, Gallery SoSo, Paju, Korea

2008 Ultramarine-Beyond The Sea, Project Space SARUBIA, Seoul, Korea

2005 Desert of Winds, DOS Gallery, Seoul, Korea

2004 Longing for Innocence, HYUNDAY Window Gallery, Seoul, Korea

2003 Longing for Innocence, SPACE MOM Museum of Art, Cheongju, Korea

2001 SAGAN Gallery, Seoul, Korea


2010 The Re-composition of Landscape, JEJU Museum of Art, Jeju, Korea

2010 Alive Gently, POSCO art museum, Seoul, Korea

2009 open studio by National Art studio, Goyang, Korea

2009 Beginning of New Era, construction Site of National Art Museum, Seoul, Korea

2009 Archive of Spirtual awakening, ZAHA Museum of Art, Seoul, Korea

2009 Propose 7-vol.4, KUMHO Museum of Art, Seoul, Korea

2009 Natural, SUNGKUK Art Museum, Seoul, Korea

2009 Fleeting, Museum of Art Seoul National University, Seoul, Korea

2008 Creation Anatomy, GYEONGGIDO Museum of Art, Ansan, Korea

2006 Softness, SOMA Museum of Art, Seoul, Korea

2006 Meditative Forest, SEOUL Museum of Art, Seoul, Korea

2004 Prize-Winner’s exhibition of Korea Young Artists Biennale, Daegu Culture & Arts Center, Daegu, Korea

2003 Water, SEOUL Museum of Art, Seoul, Korea

Yun Soo KIM

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113

Yun Soo Kim takes the motifs of yearning for the infinite world (space) beyond reality,

and questions the boundary of visual space. By taking enormous amount of inten-

sive labor as a self-reflective practice, it hazes the definitude of property of matter

and language and body action also is revealed as a work that integrates that topic.

She repeatedly winds and piles cardboard and vinyl sheets with usual objects and

shapes of foot. Through these processes of work, those forms are disappeared and

transformed. It may begin to resemble a massive mountain, or waves spreading in

all directions. Whatever final form it takes, the work is the result of her repeated act.

These simple shapes and her art attitude are minimal expression but it is lyrical and

poetic. Yun Soo Kim’s works are similar to a metamorphosis of desert which always

renews the shapes by wind. She may talks about only once only-beauty, this infinite

landscape is created in horizon, winding the cardboards and overlapping the vinyl

cuts. We could feel her mediation and perspective of thinking front of her transcen-

dental and surrealistic landscape.


Education

2005 M.F.A. Graduate School of Sculpture Dept., Chung-Ang University, Seoul, Korea

1998 B.F.A. Dept. of Sculpture, College of Fine Arts, Chung-Ang University, Seoul, Korea

Solo Exhibitions

2011 The Bluest Scene, Gallery SoSo, Paju, Korea

2008 Ultramarine-Beyond The Sea, Project Space SARUBIA, Seoul, Korea

2005 Desert of Winds, DOS Gallery, Seoul, Korea

2004 Longing for Innocence, HYUNDAY Window Gallery, Seoul, Korea

2003 Longing for Innocence, SPACE MOM Museum of Art, Cheongju, Korea

2001 SAGAN Gallery, Seoul, Korea


2010 The Re-composition of Landscape, JEJU Museum of Art, Jeju, Korea

2010 Alive Gently, POSCO art museum, Seoul, Korea

2009 open studio by National Art studio, Goyang, Korea

2009 Beginning of New Era, construction Site of National Art Museum, Seoul, Korea

2009 Archive of Spirtual awakening, ZAHA Museum of Art, Seoul, Korea

2009 Propose 7-vol.4, KUMHO Museum of Art, Seoul, Korea

2009 Natural, SUNGKUK Art Museum, Seoul, Korea

2009 Fleeting, Museum of Art Seoul National University, Seoul, Korea

2008 Creation Anatomy, GYEONGGIDO Museum of Art, Ansan, Korea

2006 Softness, SOMA Museum of Art, Seoul, Korea

2006 Meditative Forest, SEOUL Museum of Art, Seoul, Korea

2004 Prize-Winner’s exhibition of Korea Young Artists Biennale, Daegu Culture & Arts Center, Daegu, Korea

2003 Water, SEOUL Museum of Art, Seoul, Korea

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114 Record of Scenery Ink on paper, 2010-2011 (installation view)

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115I am walking in clouds on the Mountain Accumulating PVC / The Bluest Scene Acrylic on canvas, 2010-2011 (installation view)

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116

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117The Bluest Scene Accumulating PVC, wood, paint, 80×630×630cm, 2009-2010

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118

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119The bluest scene Accumulating PVC, 2011 (installation view)

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120 Longing for Innocence Accumulating PVC, 2003 (installation view)

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121Longing for Innocence, Accumulating PVC, 2003 (detail)

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122

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123Desert of Winds Accumulating PVC, variable size, 2004-2005

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124 Project ‘Record of Scenery’ Ink on paper, 1999-

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125Back-to-Back Tables(Project ‘Record of Scenery’) Mixed media, 30x230x92cm, 2009

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126

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127Black hole (Project ‘Record of Scenery’) 50 Sheets of print on Plexiglass Accumulation, 69x40x40cm, 1999-2003

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128


Education

1997 De Ateliers, Amsterdam, The Netherlands

Meisterschüler(by Prof. Jan Dibbets), Kunstakademie Düsseldorf, Düsseldorf, Germany

1992 BFA in Painting, Seoul National University, Seoul, Korea


2011 ‘Many’’All’’Here’, Gallery SoSo, Paju, Korea

2010 The Same Yet Different, Mongin Art Center, Seoul, Korea

2008 Zuyoung Chung, Gallery Bundo, Daegu, Korea

2007 Mountains Eternally Present, Gallery SoSo, Paju, Korea

2006 Mountains before Your Eyes, Gallery 175, Seoul, Korea

2004 Mountains on the Border, Gallery FISH, Seoul, Korea

2003 Floating on the Han River, Suka Art Space, Busan, Korea

2002 Zuyoung Chung, Artsonje Museum, Gyeongju, Korea

2000 Zuyoung Chung, Shinsegae Gallery, Gwangju, Korea; Shinsegae Gallery, Incheon, Korea

1999 Zuyoung Chung, Kumho Museum of Art, Seoul, Korea


2011 2010 New Acquisitions- Closer to Contemporary Art, Gyeonggi Museum of Modern Art, Ansan, Korea

2011 MoA invites 2011, Museum of Art, Seoul National University, Seoul, Korea

2011 Finding Flow, Jeju Museum of Art, Jeju, Korea

2010 21 & Their Times, Kumho Museum of Art, Seoul, Korea

2008 Inter-viewing Paintings: The Interface between Korean style Paintings and Western style Paintings,

SOMA Museum of Art, Seoul, Korea

2008 Jinkyeong Revisited, United Nations, New York, NY, USA

2007 Reminiscing the Medium: A “post-“ Syndrome, Museum of Art, Seoul National University, Seoul, Korea

2007 Con-terminal, National Museum of Contemporary Art, Gwacheon, Korea

2007 Hommage 100: Korean Contemporary Art 1970~2007, Korea Art Center, Busan, Korea

2006 Ongoigisin, Daejeon Museum of Art, Daejeon, Korea

2005 The Seoul Art Exhibition 2005: Painting, Seoul Museum of Art, Seoul, Korea

2004 Vision 21, Museum of Sungshin Woman’s University, Seoul, Korea

2002 Korea Young Artists Biennale 2002, Daegu Culture and Arts Center, Daegu, Korea

2001 Representation of Representation, Sungkok Art Museum, Seoul, Korea

1999 Figurescape: 6 Artists from Korea, Space Untitled, New York, NY, USA

Zu Young CHUNG

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129

In Search of an Archetype for Contemporaneity

Chung’s body of work is a reflection of her attitude in attaining a real view of land-

scape as an artist, as well as a painterly translation of her wonderment at the phe-

nomenon of encountering the eternal mountain, pre-existing in both Jeong Seon’s

painting and in reality, beyond the scope of chronological time. An ontological ap-

proach to the ego facing this eternal mountain accompanied by such fleeting amaze-

ment leads to a recognition of the ego in the world and the ego in reality and then, in

turn, the world and reality around the ego, extending towards an attempt to connect

every being within it. At the basis of this attempt is where the recognition of reality

and contemporaneity lies, stemming from corporal thinking and the experience of

life. Chung’s performative act of intervening in the realistic and actual process of

recognition embodies her ontological desire on a picture plane. These works repre-

sent a twenty-first century transfiguration of the initial impetus of True-View land-

scape painting of the eighteenth century. Chung attempts to pursue and recognize

a view of nature that is “eternally present before your eyes” as well as “same yet

different,” that is, the landscape as “a constantly vibrant kaleidoscopic archetype,”

to locate it here and now, in the present. It is thus not “a mere representation of land-

scape,” but rather “a reinterpretation of the standpoint of True-View” and “a search

for an archetype for contemporaneity.” _ Yunkyoung Kim

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130

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131Nam Mountain 3 Oil on linen, 180x200cm, 2007

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132

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133Dukyang Mountain 3, Dukyang Mountain 2 Oil on linen, each 220x190cm, 2007

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134 Nam Mountain 1 Oil on linen, 180x200cm, 2007

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135Simhak Mountain 1 Oil on linen, 95x105cm, 2007

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136

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137The Same Yet Different 2010 (installation view)

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138 Bukak Mountain 4-2 Oil on linen, 210x190cm, 2009

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139Bukak Mountain 4-1 Oil on linen, 210x190cm, 2009

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140

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141The Same Yet Different 2010 (installation view)

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142 Inwang Mountain 7 Oil on linen, 140x270cm, 2008

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143Inwang Mountain 8-1, 8-2, 8-3 Oil on linen, each 145x135cm, 2008

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144 2.Apr.2005 Oil on linen, 115x100cm, 2010

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1458.Nov.2004 Oil on linen, 115x100cm, 2010

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146

Exhibitions

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147

Close Perspective Jip Kkum Sup Seung Un CHUNG’s solo exhibition

The landscape Group exhibition (Min Kyung KAM, Choong Hyun ROH, Jeong Sun YOON)

Long Slow Distance Hyung Gwan KIM’s solo exhibition

Saeng Saeng Hwa Hwa Mountains Eternally Present Zu Young CHUNG’s solo exhibition

Gook Ji Jeon Gook IM’s solo exhibition

Layer Group Exhibition (Kiwon PARK, Mi Hyun PARK, Byung So CHOI)

Flower-less, Flower-like Group Exhibition (Myung Seop HONG, Soo Jung HAN)

Level 1 - Art is a question of naegong Ho Eun SONG’s solo exhibition

Traces of Cube Jeong Eun LIM’s solo exhibition

A Mountain Chan Kyong PARK’s solo exhibition

2007

2008

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148

The Man’s House Kyong Ju LEE’s solo exhibition

Afterglow Hyung Gwan KIM’s solo exhibition

A way of Self sonfession Group exhibition (Soon Young KWON, Yoo Yun YANG, Yuen Joo LEE, In Sook HONG)

Monkey Theater Mileta Postic’s solo exhibition

Jae Hwan JOO’s solo exhibition

Hue of Breath Taek Sang KIM’s solo exhibition

Nowwhere but everywhere Group exhibition (Young Seok OH, Woo Chul JUNG, Jeong Eun JEON)

Gook IM’s solo exhibition

Curtain Hai Young SUH’s solo exhibition

In The Ragged Mountains Group exhibition (Armin Hartenstein, Zu Young CHUNG)

Rhythm of illusion Sang Yuel YOON’s solo exhibition

Instinctively Group exhibition (Hyung Gwan KIM, Kwang Ho LEE, In Hyeon LEE)

2009

2010

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149

Cow, Chicken, Dog, Pictures Eull KIM’s solo exhibition

Many, All, Here Zu Young CHUNG’s solo exhibition

Internal Angle Group exhibition (Kiwon PARK, Mi Hyeon PARK, Hai Young SUH, Seung Un CHUNG)

Planet Jae Ho JUNG’s solo exhibition

The Bluest Scene Yun Soo KIM’s solo exhibition

A photographic exhibition Group exhibition (Philip Perkis, Tae Hee PARK, Young Gi SUH)

A nightly walk Gi Soo KIM’s solo exhibition

Cabbage, foot and Fukushima Yun Hee HUH’s solo exhibition

Skyline Seung Un CHUNG’s solo exhibition

Fancy Toys Gook IM’s solo exhibition

Daydream Yoo Yun YANG’s solo exhibition

LIGHTHOUSE Hyung Gwan KIM’s solo exhibition

Caress Kwang Ho LEE’s solo exhibition

Paths of Clues Group exhibition (Jung Bae LEE, Jin Ju LEE)

2011

2012

The Man’s House Kyong Ju LEE’s solo exhibition

Afterglow Hyung Gwan KIM’s solo exhibition

A way of Self sonfession Group exhibition (Soon Young KWON, Yoo Yun YANG, Yuen Joo LEE, In Sook HONG)

Monkey Theater Mileta Postic’s solo exhibition

Jae Hwan JOO’s solo exhibition

Hue of Breath Taek Sang KIM’s solo exhibition

Nowwhere but everywhere Group exhibition (Young Seok OH, Woo Chul JUNG, Jeong Eun JEON)

Gook IM’s solo exhibition

Curtain Hai Young SUH’s solo exhibition

In The Ragged Mountains Group exhibition (Armin Hartenstein, Zu Young CHUNG)

Rhythm of illusion Sang Yuel YOON’s solo exhibition

Instinctively Group exhibition (Hyung Gwan KIM, Kwang Ho LEE, In Hyeon LEE)

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published by Gallery SoSo

Produced and published by Gallery SoSo, Paju, Korea, 2013

All images are courtesy of the Artist and Gallery SoSo.

Gallery SoSo

413-700 / 1652-569, Heyri ArtValley, Beopheung-ri, Tanhyeon-myeon, Paju-si, Gyeonggi-do, Korea

+82) 31 949 8154 [email protected]

Hour : Tuesday to Sunday (11:00-18:00)

www.gallerysoso.com

www.heyri.net

Copyright Ⓒ 2013 by Gallery SoSo. All rights reserved.

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