photoview 2013.2(february)-a

PhotoViewIssue.9

Photography exhibitions eMagazine

2013. 2-a

PhotoView ISSUE 9 FEBRUARY 2013

/ Publisher : Seo, JH ([email protected])

: www.sazine.co.kr

: 010-7520-7716

: www.webhard.co.kr (ID:ufoto / PW:7777)

Monthly Photography Exhibitions eMagazine PhotoView

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Yisook Sohn , 03, C-print, 70X70cm, 2012

PhotoView Contents2013. 2-a

Yisook Sohn,

Park Nohae (Eng, Kor)

Mario Giacomelli (Eng, Kor)

John Goto

HWI KIM (Eng, Kor)

's Photo Story

Myung Duck Joo

Lee Hoon Koo

17

Han, SooJin

Heo Yoon Jeong

Yoon, Jeong Seok

Choi, Soo Jung

SECRET OF THE CITY

Paolo Ventura

The Origin

Hasselblad Masters 2012

www.inprint.co.kr

Archival Pigment Print

inprint

010-7520-7716

Yisook Sohn,

I see

2013. 2. 1 ~ 3. 25TOYOTA PHOTO SPACE

299 , 051-731-6200

www.toyotaphotospace.org

Yisook Sohn 03, C-print, 70X70cm, 2012

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Yisook Sohn 13 C-print, 70X70cm, 2008

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2011 Across the Divide: Critical Mass 2010, PCNW(Seattle),

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Rayko Photo Center(San Francisco), USA

2011 Art of Attraction, F.L.O.A.T. Gallery, New York, USA

2010 MAYDAY, Detroit Center for Contemporary Photography, Pontiac, USA

2009 15thGriffin Juried Exhibition, Griffin Museum of Photography, Winchester, USA

2008 International Exhibition of Fine Art Photography,

The Center for Fine Art Photography, Fort Collins, USA

2008 19th Annual Juried Show, Contemporary Arts Collective, Las Vegas, USA

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2010 2010 Critical Mass Top 50

2009 Lens Culture International Exposure Awards, Honorable Mention

Park Nohae

To Bloom and Fade with No Regrets

2012. 11. 2 ~ 2013. 2. 27

44-5, 02 379 1975

www. racafe.kr

Ruoergai, Amdo Tibet, 2012.

A 20-year-old mother, milking a yak, goes into her tent to breastfeed her child. I am but a passing camper on this

earth; I want my life to bloom to the full and fade to the last, like the flowers in this prairie. After I am gone, new

grass will grow, a new sun will rise, and children will be born. Perhaps a rich life lies not in accumulating, but in

extinguishing. Is it not our goal in life to burn away each day given to us to no regret, so leap forward with light and

love?

Plowing on the Highlands Amuquhu Village, Shankar, Amdo Tibet, 2012.

.

.

,

.

Amuquhu Village, Shankar, Amdo Tibet, 2012.

On the great prairies of highlands where air is thin,

farmers still plow green barley. Though Tibet is also

provided with tractors and machine tillers, the land

hardens and life dies out when machines are used; thus

the farmer breathes soft life into the land with a small

plow pulled by a horse. As if saying the worthy things in

life must be thus pushed relentlessly with an indomitable

step, the plowing farmer does not look back.

As the Destination NearsLabrang, Amdo Tibet, 2012.

.

.

.

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Labrang, Amdo Tibet, 2012.

In the highest lands where humans may live, Tibetans

embark on the pilgrimage of the full bow, in the lower

position humans may take. A woman who has walked

across the highlands with the full bow slows, easing her

breath, as she nears her destination nears. So that she

may remember why she had embarked on this long,

perilous pilgrimage so that she may not be so foolish as

to go for the sake of going, so that she may remember

that every step is already her destination.

Tarchogs SongJiu qu huang he di yi wan, Ruoergai, Amdo Tibet, 2012.

Tharchog .

.

.

Jiu qu huang he di yi wan, Ruoergai, Amdo Tibet, 2012.

On the hillsides of Tibet, colorful tarchogs flap in the

wind. Written on them are Tibetan Buddhist texts; those

who could not read said that If you touch these cloths,

the winds would read the words for them. The winds

race across the vast stretches of the prairie to sing the

fervent songs of prayer; what song do I sing, in my

vagrant wanderings of love?

Communal Labor of the Tibetan WomenAmuquhu Village, Shankar, Amdo Tibet, 2012.

.

,

,

.

.


When the grass becomes green, Tibetans leave for the

prairies; when the grass begins to dry, Tibetans return

to the village to settle. Alone in the silence and darkness

of the vast prairies, and together with neighbors that

share clay walls in the village, Tibetans live with the

wisdom of living alone together, knowing that you

cannot be happy together when you cannot be happy

alone. Cool winds blow white clouds across the highland

barley fields, carrying the song of the women who share

communal labor.

Nap on a Green PrairieAmuquhu Village, Shankar, Amdo Tibet, 2012.

.

.

.


A young man, returned to the village from a weary

nomads season, lets loose his tired horses and naps on

the grass. White clouds flow slowly by, fragrance of the

flowers floating near; the song of women cutting barley

also come drifting with the wind. The young man, done

with his part, lies against the backdrop of the earth and

enjoys a deep, sweet nap in the green prairie.

Langmusi, Amdo Tibet, 2012.

Morning at Langmusi Langmusi, Amdo Tibet, 2012.

3,350

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3,350m above sea level, at the sacred lands of Tibetan

Buddhism, the sun rises upon Langmu Monastery.

Daybreak is a mystery. In the laws of the universe, the

sun rises once a day, sets once a day; we are given the

gift of another day of life. Thus it is said that every day

is a new life; that we must spend the life of today to no

regret; that every moment, we must give our all to live.

The daybreak of Langmusi tells us as its light shines upon

the mysteries of life.

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Mario Giacomelli

THE BLACK IS WAITING FOR THE WHITE

2012. 11. 24 ~ 2013. 2. 24The Museum of Photography, Seoul

45 , 02 418 1315

www.photomuseum.or.kr

Mario Giacomelli, Io non ho mani che mi accarezzino il volto

(I have no hands caressing my face),

Gelatin silver print, 5040cm, 1961~1963

Mario Giacomelli, Io non ho mani che mi accarezzino il volto

(I have no hands caressing my face),


Mario Giacomelli, Il pittore Bastari

(Bastari the painter),


Mario Giacomelli, Scanno,

Gelatin silver print, 4050cm, 1957

Mario Giacomelli, Verra la morte e avra i tuoi occhi

(Death will come and will have your eyes),


Mario Giacomelli, Presa di coscienza sulla natura

(Awareness of Nature),

Gelatin silver print, 4050cm, 1977-2000

Mario Giacomelli, Questo ricordo lo vorrei raccontare

(I would like to recount this memory),

Gelatin silver print, 4050cm, 2000

Life of the Artist

Poverty was a blessing>

Mario Giacomelli was born in Senigallia, a small town in Italy in 1925. The scar of death and parting he had to bear

at an age of nine as his father suddenly passed away had largely affected his work throughout his life. His mother

made a living and supported her three children by washing laundry at a hospital for the aged. She had wanted

Giacomelli, her eldest son to be educated but even at a young age the boy knew better and started working as

a typesetter at a print shop when he was only 13. There he became fascinated with typography and the art of

printing. He was already enjoying drawing pictures and writing poetry at the time. Later in his life he had described

the poverty that had taught him pain and weight of life as a blessing.

The turmoil of the Second World War had stretched its claws at the artist as well and he was forced to serve in the

military. After being discharged he was still poor but thanks to the inheritance from an old lady who was at the

hospital his mother worked at, Giacomelli was able to open a print shop of his own. He was able to buy a ticket to

the movies and purchase his first camera because of this print shop. However he had never met this lady who left

behind all her wealth to him instead of her family. He had only kindly listened to her stories whenever she called him

on the phone to ease her loneliness. The life-changing chance came to him thusly, unexpected.

From then until the end of his life he had managed this print shop for a long time while never stopping his career

as a photographer. In the later years he had grown quite weak after a sudden surgery and one day he asked his son

Simone to bring him his camera from the house. The artist adjusted exposure and shutter speed himself and had his

son take a picture of him. Although he had help from his son, it was in fact the last portrait Giacomelli had made.

With this photograph as his last work, he ended his life on November 25, 2000 at Senigallia where he had resided

all his life.

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Giacomelli's Art and Main Series

Nothing happens by chance. Darkness nor light

Giacomelli was most fond of the photographs taken at the hospital his mother worked at. The place was full of

fear and sadness for death. Yet to him it was packed with horror of life that's even more dreadful than fear for

death. From a young age when he would tag along his mother to the hospital, he witnessed there the irrationality,

loneliness and despair of life. He had continued with the project at the hospital until 1983. Later he titled the

series Death Shall Come and It will have Your Eyes, after the poem written by a famous Italian poet Cesare Pavese

(1908~1950).

Mario Giacomelli had been an enthusiast of poetry and even wrote some himself since he was young. He was often

inspired by poems or would take the title of his works from lines of poetry. Although with the words That is that,

he had regretted even those expressions were of vain, he had always tried to take photographs read as poetry, and

write poems suggesting photography.

His other major work I Have No Hands Caressing My Face showing dancing priests also takes its title from a poem

written by Father David Maria Turoldo (1926~1992), a poet and an essayist. In early 1960s with the help from some

priests who were impressed by Giacomelli's work, the artist had a chance to visit a catholic seminary. He visited

the school several times since then and at times took photographs without the bishop knowing. The images of the

priests dancing in the snowy field which are one of Giacomelli's most famous works were made as the photographer

threw snow balls at the priests who came out one day to see the snow.

Originally, the poem I Have No Hands Caressing My Face (1948) by Father Turoldo was about fear of a young priest

who has chosen to walk the path of a clergyman but in Giacomelli's work of the same title he had ironically shown

the priests free of all worries and dread. These images are the warmest and the brightest of all his works. Later he

had confessed that he had also witnessed priests lost in fear during his visits yet had only took those images with a

film in his heart.

On the other hand, the Scanno series from the mid-1960s shows an intense contrast of black and white capturing

the people of little Italian town named Scanno dressed in the traditional dark garments. The series became even

more famous when John Szarkowski (1925~2007), the then Director of the Department of Photography at New

York's Museum of Modern Art showed much interest in the works and added most of them to the Museum's

collection. Some of them were introduced in Looking At Photography one of the major exhibitions curated by

Szarkowski. Giacomelli also left behind other series on the grandeur and the laws of nature including Lourdes series

showing patients and the disabled flocking into Lourdes looking for a miracle, a holy land in France where Virgin

Mary had made appearance.

In order to fully transfer the impression he received from the object on to the image, Giacomelli had never hesitated

to experiment with new formats. Long before land art movement began in America, he had asked the farmers to

draw some symbols on the field to photograph them, or painted the negatives and inverted black and white to

change the contrast. Never bound to the orthodox of photography, he had instead attempted artificial figurativeness

and revealed his own sentiments. Still his sensitive insight on the object and the sincere minds on photography go

beyond all methodical techniques and intensely draw the viewers into them.

During his last years he was immersed in creating a new series by synthesizing his previous works together. He had

much concentrated in photographically recreating the illusions he saw in his dreams using dramaturgical methods.

In I Would Like to Tell This Memory which he held onto until the last days of his life, the artist is bidding farewell by

raising his hat as if he is returning to his late father symbolized by the masks lying next to him. This image that he

had actually seen in his dreams became his last goodbye to us.

The sad, gloomy, fearsome and grave stories told by Giacomelli's works are however exceptionally solid, backed

up by the outstanding formativeness and abstractness created by his senses and sentiments. Thus the sadness,

gloominess and the fear are all beautiful.

-Woongu KANG, from foreword for Mario Giacomelli Exhibition

( ) 11, 10 (Mario Giacomelli,

1925~2000) THE BLACK IS WAITING FOR THE WHITE (2012.11.24~2013.2.24) .

220

, .

(Simone Giacomelli, 1968~ ) (Fondazione

FORMA per la Fotografia) .

(Alessandra Mauro) .

About Exhibition

The Museum of Photography, Seoul (Chief Director Song Youngsook) celebrates its 10th anniversary this November

with THE BLACK IS WAITING FOR THE WHITE (2012.11.24~2013.2.24) exhibition, the first retrospective of Italian

photographer Mario Giacomelli (1925~2000) in Korea. It will be the domestic premier of Giacomelli's art works

and will accordingly exhibit more than 220 photos spanning his entire career in photography as well as publications

produced during his life time, and the Museums Giacomelli collection. The exhibition was made possible thanks

to the artist's son Simone Giacomelli (1968~) who is also managing the Giacomelli archive at his home town and

Fondazione FORMA per la Fotografia, an institution dedicated to photography in Milan. Its director Alessandra

Mauro who had long worked with Mario Giacomelli for his publications and exhibitions is scheduled to visit Seoul

for the exhibition opening.

John Goto

Dreams of Jelly Roll

2013. 1. 22 ~ 2. 28Gallery On,

69 1, 82 2 733 8295

www.galleryon.co.kr

John Goto, Jelly Roll and the Sirens 2009/11 / 80.5 x 47.4 cm / Gicle print on Hahnemhle Photo Rag paper

John Goto, Buck House 2009/11 / 53.5 x 31.5 cm / Gicle print on Hahnemhle Photo Rag paper

John Goto, Baron Samdi 20009/11 / 80.5 x 47.4 cm / Gicle print on Hahnemhle Photo Rag paper

John Goto, Nickelodeon 2009/11 / 53.5 x 31.5 cm / Gicle print on Hahnemhle Photo Rag paper

John Goto, White House 2009/11 / 53.5 x 31.5 cm / Gicle print on Hahnemhle Photo Rag paper

John Goto, Women of the Family 2009/11 / 80.5 x 47.4 cm Gicle print on Hahnemhle Photo Rag paper

John Goto, Berlin Olympics 2009/11 / 80.5 x 47.4 cm / Gicle print on Hahnemhle Photo Rag paper

John Goto, Morton in Moscow 2009/11 / 80.5 x 47.4 cm / Gicle print on Hahnemhle Photo Rag paper

John Goto, The Crave 2009/11 / 53.5 x 31.5 cm / Gicle print on Hahnemhle Photo Rag paper

John Goto, Things to Come 2009/11 / 53.5 x 31.5 cm / Gicle print on Hahnemhle Photo Rag paper

John Goto, Battle Scene 2009/11 / 53.5 x 31.5 cm / Gicle print on Hahnemhle Photo Rag paper

(John Goto) . Jazz

. Dreams of Jelly Roll .

Jelly Roll Morton The Library of Congress Alan Lomax 1938 8

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The University of Derby Fine Art .

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19651970 Berkshire College of Art St Martin's School of Art . 1977

1978 Ecole de Louis Lumire, F.A.M.U. .

1981 Photographers Gallery Andrew

Mummery Gallery, Galerie f5.6 Gallery On , Derby Fine Art

.

Synecticsworld Synectics Survey of Contemporary Genius 2007

.

HWI KIM

Faces of the Real

2013. 1. 26 ~ 2. 8

63-13

hwikim.com

hwi Kim , __30x30cm_2012

hwi Kim , _ __100x100cm_2012

hwi Kim , ____55x55cm_2012

hwi Kim , _.___55x55cm_2012

hwi Kim , ____75x75cm_2012

hwi Kim , ____55x55cm_2012

hwi Kim , ____75x75cs_2012

hwi Kim , ____75x75cm_2012

hwi Kim , ____55x55cm_2012

(Commentary)

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Faces of the Realis exactly what it reads; I have captured real faces of the Real (artists) I respect and admire. I

especially chose the face of all body parts to photograph because I believe it represents one's characteristics both

inside and outside. All photographs are taken with discontinued professional Kodak slide film and Hasselblad. All

film have been developed professionally by a pro lab and scanned at highest resolution at my workshop. Scanned

images are sent to a fine-art printing lab and printed at finest quality they can ever get. When I designed this analog-

oriented workflow, I worked diligently to reflect 100% of what I really saw in artists with a distinguishing analog

taste of slide film; therefore, personally rejected all digital modifications that could alter the truths.

HWI KIM

2013. 1. 10 ~ 2. 6. / 2. 7 ~ 3. 6 , / .

Trunk Gallery

5 66, 02 3210 1233

www.trunkgallery.com/

Kang Woongu , Gelatin silver print, , 1973

Kang Woongu , Gelatin silver print, , 1973

Min Chung Sik , () Gelatin silverprint, Photography 12x16.5cm

Min Chung Sik , Gelatin silverprint, Photography 14.5x8.8cm

Min Chung Sik , () Gelatin silverprint, Photography 16x11.1cm

Myung Duck Joo , 40 , 1971 Gelatin silverprint, Photography

Myung Duck Joo , Gelatin silverprint, Photography

Hyun il young , ( 2) Gelatin silverprint, Photography 40.3 x 27

Hyun il young , (, ) Gelatin silverprint, Photography 21.6 x 30.5

Hyun il young , ( ) Gelatin silverprint, Photography 23.3 x 30.4

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2013. 1. 25 ~ 2. 13BAEDARI Photo Gallary

14-10, 070 4142 0897

www.uram54.com

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2013. 1. 29 ~ 3. 2RYUHWARANG,

31-13 B1, 02 6326 3113

www.ryuhwarang.com

Myung Duck Joo , Beethoven, 66cm x 97xm, 2002

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Lee Hoon Koo

2012. 1. 30 ~ 2. 8gallery Now,

192-13 3, 02 725 2930

www.gallery-now.com

, Lee Hoon Koo

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The moment

2013. 2. 4 ~ 3. 3

851-4 1 , 02 599 7709

www.ujungartcenter.com

, b&w print, 45x34cm, 2012

, digital c-print, 246x80cm, 2010

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7-10 / 3 4 , 02 720 2010

www.ryugaheon.com

14 x 22 digital c print + photo drawing 2012

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2013. 2. 7 ~ 2. 20Gallery illum

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Illusion a.m 4:17

2013. 2. 13 ~ 2. 26gallery Now,

192-13 3, 82 2 725 2930

www.gallery-now.com

choi Soo Jung , Illusion a.m. 4;13_120x80cm_Digital photo collage_UV inkjet print_2010

choi Soo Jung , Illusion a.m.3_60x60cm_Digital photo collage_UV inkjet print_2010

choi Soo Jung , Illusion a.m.5;13_173x125cm_Digital photo collage_UV inkjet print_2012

choi Soo Jung , Inner III_90x130cm_Digital photo collage_UV inkjet print_2012

choi Soo Jung , Inner_162x138cm_Digital photo collage_UV inkjet print_2011

choi Soo Jung , Karma IV_175x138cm_Digital photo collage_UV inkjet print_2011

choi Soo Jung , Karma_203x137cm_Digital photo collage_UV inkjet print_2012

choi Soo Jung , Reality a.m.2_135x95cm_Digital photo collage _UV inkjet print _2010

choi Soo Jung , Reverse_160x125cm_Digital photo collage_UV inkjet print_2012

choi Soo Jung , Stare_80x80cm_Digital photo collage_UV inkjet print_2012

choi Soo Jung , _138x264cm_Digital photo collage_UV inkjet print_2011

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SECRET OF THE CITY

2013. 2. 13 ~ 2. 28GalleryGOLMOK

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2010 Elusive butterfly 146Gallery (Seoul)

2010 Bad Blood ( ) Nikon Salon (Tokyo)

2011 Bad Blood ( ) Beans seoul Gallery (Seoul)

2011 Bad Blood ( ) Nikon Salon (Osaka)

Group exhibition

2007 SeaWoon Document In-sa ART center (Seoul)

2008 Memory of Festival Gallery Mukta (Seoul)

2010 1st Ordinary Freak Gallery LUX (Seoul)

2012 8th GIAF Se-jong ART center (Seoul)

2012 "Son Top Jun" Kyoung-min Art center (Kyoung ki)

Awards

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Monthly-disposables Project, Group Exhibition, Netherlands, 2010

Artpoli ON/OFF Group Exhibition, Gallery Lamer, Seoul, 2009

Avec Magazine Issue 01, South Korea, 2012

Diet Cola Zine Issue 03, UK, 2012

Voight Kampff Magazine Issue 05, UK, 2012

Monthly-disposables Project, Netherlands, 2010

Ninaian Project, Pastel Music, South Korea, 2010

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Zuavo Scomparso (Lost in Rome)

2013. 2. 13 ~ 3. 16Gallery Baton,

1535-12 3F, 02 597 5701

www.gallerybaton.com

Paolo Ventura, February 05, 2012, Archival inkjet print, 30 x 40 inch, Edition of 3

2 13 Paolo Ventura "Lo Zuavo Scomparso(Lost in

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Paolo "Winter Stories"

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Paolo Ventura

BORN

Milan, Italy, 1968

Lives and works in New York City

EDUCATION

1989-1991 Accademia di Belle Arti di Brera, Milan

SOLO EXIBITIONS

2011 L'Automa, Museo Fortuny (Venice)

Automaton & Selected Works (Winter Stories), Gallery Baton (Seoul)

2009 Winter stories, Hasted Hunt Kraeutler Gallery (New York)

Winter Stories, Galerie Camera Obscura (Paris)

Winter Stories, Studio la Citta' (Verona)

Fabulous Fictions, The Hague Museum of Photography, The Hague

Winter Stories, Central Exhibition Hall, Moscow

2008 Storie D'Inverno Forma International Center of Photography, Milano

"Winter Stories," HASTED HUNT, New York

2007 "Souvenir de Guerre," Maison de la Photographie Npdc, Lille

"Viaggio nella Memoria," Galleria Nazionale d'Arte Moderna, Rome

"In Tempo di Guerra," Incamera Gallery, Pietrasanta

2006 "In Tempo di Guerra," Forma International Center of Photography, Milan

"Souvenir de Guerre," Rencontres de la Photographie, Arles

"War Souvenir," HASTED HUNT, New York

"War Souvenir," Lazia Nowa, Krakow

"War Souvenir," A-3 Gallery, Moscow

GROUP EXIBITIONS

2011 54th Venice Biennial (Italian Pavilion, Venice)

Otherwordly (Museum of Art and Design, New York)

New Yorker Fiction/Real Photography (Steven Kasher Gallery, New York)

2009 Manipulating Reality

(Centro di Cultura Contemporanea Strozzina, Palazzo Strozzi, Florence)

The Invention of a World

Collection from Maison Europeenne de la Photographie,

(Itau' Cultural Institute, Sao Paulo)

Kaleidoskope D'Italie, la Photographie Italiens des Annees 50 a Nos Jours,

(Centre National de l'Audiovisuel, Luxembourg)

Through the Lens, Photography From the Permanent Collection,

Lowe Art Museum, Miami

New York Photographs, Hasted Hunt Gallery, New York

Through the Lens, Photography From the Permanent Collection,

Lowe Art Museum, Miami

New York Photographs, Hasted Hunt Gallery, New York

2008 Contemporary Photographic Views, Weinstein Gallery, Minneapolis

Inside the Human Space, Isola di San Servolo, Venezia

The New Original Photo, Interalla Gallery, Seoul

Una Historia Privada, Theatro Circo Price, Madrid

"Ellis Island and Beyond," Aperture Gallery, New York

AIPAD, Hasted Hunt Gallery, New York

"Roma," Palazzo Delle Esposizioni, Roma

"Una Storia Privata," Museo Bilotti, Roma

2007 Art Miami, Hasted Hunt Gallery, Miami

Paris-Photo, Forma Gallery, Paris

NYC, Phillips De Pury Gallery, New York

Photo-London, M+B gallery, London

"Hunter and Hunted," Sara Tecchia Gallery, New York

"On the Wall," Aperture Gallery, New York

"Luci su Milano," New art acquisitions of Unicredit Bank, Milan

2006 "Une Histoire Privee," Maison Europeenne de la Photographie, Paris

Art 212, HASTED HUNT, New York

BIBLIOGRAPHY

2009 "Winter Stories," Aperture (To be released Fall 2009)

2006 "War Souvenir," Contrasto

FILM AND DOCUMENTARY

2007 BBC, Genius of Photography

(objet)

_Ko, Jungnam_Changing Opinion_ , 1938__digital pigment print_3040inch_2013

2013. 2. 13 ~ 2. 19gallery gana art space 3F 3

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119, 02 734 1333

gana.insaartcenter.co.kr

_Kim, Donggyu_2Km03_digital c-print_297420mm_2012

_Kim, Sangduk_Cucurbita Maxima_digital pigment print_80110cm_2012

_Kim, Sehee_Mono no Portrait 1_C-Print_27.935.6cm_2012

_Tachikawa, Kouzi__color negative print_1114inch_2011

_Park, Kyungwook__pigment print_17060cm_2011

_Park, Jengho_ 1_pigment print_2432inch_2012

_Oh, Jaewoong_contempl ate life1_325246mm_gelatin silver print_2012

_1_digital print_2432inch_2012

_Lee, Dongwoong_20 's 1_inkjet print_2735cm_2012

_the passage_digital print_3040cm_2012

_Lee, Joo_Watch my show series I_pigment print_111.7678.23cm_2012

_IM, Jiwon_ 1_digital c-Print_2024inch_2013

_Hata, Tetsuhiko_ _gelatin silver print

_Cho, Hyemi_core 1_metallic print_5050cm_2012

_Choi, Yeunme_ 1_inkjet print_6231cm_2012

_Bandaibasi_20x30inchc-print_2012

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, , Gelatin Silver Print, 40x30cm, 1990~2001

, - , Gelatine Silver Print, 100x250cm, 2009

, 1215-20100424, , Inkjet Print, 30x45cm, 2010

, , , Pigment Print, 100x200cm, 2010

, , , Pigment Print, 120x150cm, 2008

, - , , Gelatin Silver Print, 60x120cm, 2012

, , Inkjet Print, 100x230cm, 2002~2012

, 7- #9, , Pigment Print, 137x182cm, 2010

, (), , Gelatin Silver Print, 50x60cm, 2012

, , , C-Print, 50x60cm, 2012

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