Archives: Artists

Statement

Kwanyoung Jung’s work is divided into two parts. The first is the space he imagines or the virtual space he has never seen. Jung always works on a virtual space that exists between a place he has never been to, a vague nostalgia for something that is not present in reality, or a place where he has not been. Most of these works have black thin lines on large canvas or paper. The lines are drawn without discriminating between the first and the last without any differences in color or thickness. The picture is composed of only one line, and spaces are created on the picture according to the intervals at which the lines are arranged. It is reminiscent of a virtual terrain created by computer 3D programming. But each line is drawn with a certain breath and rhythm as if meditating rather than mechanical.

Second, work on black and white objects or objects in the virtual space that are more recent works. Those objects are virtual objects or beings that exist in a virtual space and do not have any names like the objects in the Evis Tangui work. The things or beings remind us of anything on earth, but they are virtual objects without names.

The artist draws elements that are basic elements such as water or fire but do not have any particular form. His drawings are drawings of certain imaginary beings or objects made up of fundamental elements.

Jung’s black and white drawings were drawn in such a way that they could be painted at once and washed with water repeatedly to reveal the marks the brush had passed on the paper. And because of the brush strokes memorized on paper, virtual objects contain dynamic energy and a vital impression. The work in this series consists of a collection of several or several dozen drawings. Just as almost all things or organisms are made up of a collection of atoms or cells. The drawings can either be individual or grouped together.

GlogauAIR Project

“Unknown Landscape”

I am going to further my research on my recent work through the residency program at GlogauAIR. In my recent work I have tried to install my black and white drawing work on various parts of the actual space, such as walls, floors and ceilings, rather than simply putting them on the wall. I was interested in the fact that my work actively responded to the exhibition space beyond the boundaries of the flat painting, and was installed and arranged according to the characteristics of the space, thereby making the space itself a virtual space for showing my imagination. As a result, the space itself became an element of active work, not just a background for exhibiting work.

For instance, my recent work, Ubiquitous, was installed in an abandoned villa. I made use of the spatial characteristics of the old villa so that my drawings would look like the mushrooms or fungus encroaching on the walls of the villa. The work blotted the old walls and floors of the villa, but in harmony with the surrounding stains, giving them new meaning and life. As a result, the work expanded into the entire villa and the exhibition space felt completely different.

I plan to further my research through this “Unknown Landscape” project, which will install my black and white drawings on various parts of the space, thereby transforming the actual space into a new space for showing my imagination.

I will concentrate on how to create new drawings and how to install these drawings in space to create a new landscape. In the previous exhibition the given space was quite limited. This time, I plan to make more use of the topographic features of space and cover the drawings in a wide area, so that the drawings can create my imagination in real space. In this way, I want to make sure that the viewers will feel like they are in a different Planet when they come into the space where my work is installed.

CV Summary

EDUCATION

• 2005 – 2011 Master of fine art, Burg Giebichenstein Kunsthochschule Halle
• 1995 – 2002 Bachelor of fine art, Chugye University for fine Art, Seoul

PRIZE

• 2007 3rd Prize, Walter Koschatzky Kunst-Preis 2007, Wien, AU

SOLO EXHIBITIONS

• 2016 Galerie Christine Knauber, Berlin
• 2009 Berlinertapete Galerie, Berlin

GROUP EXHIBITIONS

• 2019 “Ich bin der Raum wo ich bin”, Gellertstraße 14, Karlsruhe, DE
• 2018 “Liquid Planet” Kunsthaus Baselland, Basel, CH
• 2017 “UND#9” Karlsruhe, DE “Focus on Imaging”, Espace entreprises Saoneor, FR
• 2016 NordArt 2016, Kunstwerk Carlshütte, Carlshütte, DE Schöneber Art 2016, Zwitschermaschine, Berlin, DE
• 2015 “Abstrakt Real” Galerie im unteren Schloss Pähl, DE
• 2014 H.K.U. Preview, Lee Gallery, Berlin, DE Artist, 그 예술적 영혼의 초상 특별전, KimBoSung Artcenter, Seoul, KR “TranSit”, 30 Links, Berlin, DE
• 2013 Lee Gallery, Berlin, DE Koreanisches Kulturzentrum, Berlin, DE ”Beating surfaces” Sofitel Europe, Mazzocca Contemporary Paintings, Luxemburg 5. Internationale Kunstausstellung, Stockholmer Feuerwache, Berlin, DE
• 2012 “Der PaPalagi” Soldinerstrasse 201, Berlin, DE “Retro-Perspective” Kartüche Gallery, Berlin, DE 4. Internationale Kunstausstellung, Stockholmer Feuerwache, Berlin, DE “0 Grad”, Kartüche Gallery, Berlin, DE “Renaissance der Gesichter” F200, Berlin, DE Lee Gallery, Berlin, DE
• 2011 Bijouxismus 4th, Wohnzimmerausstellung, Berlin, DE Hilfsaktion für Japan, Japanisch-Deutsches Zentrum Berlin, Berlin, DE NordArt 2011, Kunstwerk Carlshütte, Carlshütte, DE Ostrale 011, Dresden, DE

Gallery

Statement

Minjung Lee works with images collected from digital media. This is different than simply looking for the motif of her painting on digital. She is interested in the way in which images are handled in the digital world, as well as the way in which she experiences them, and that is the main theme of her paintings.

Nowadays, it is not an exaggeration to say that the flood of images, digital image is being produced explosively in every second, every minute, and it has come to an era where we can easily share and access them in digital space. Now, more images are consumed in a shorter period of time than in any other age. This environment has made us different in attitude toward pictures. People are no longer seeking a single image or exploring the meanings of many aspects of an image, nor even viewing a single image for a long time.

Minjung does not see this phenomenon just as critical, but rather as a phenomenon that responds to environmental conditions. She herself is also not exempted in its environmental impact. She was rather interested in the images being arranged in the digital world by mechanical, mathematical, and algorithmic calculations.

The artist always questions herself about the position of painting in this age. And she is also interested in the direction that painting moves. Especially, can paintings themselves accept this time of age? And how does painting itself make a difference? Minjung Lee is studying them with great interest.

GlogauAIR Project

Project “Parallel World”

I am planning a project “parallel world” during the residency period. The “parallel world” refers to another world on a parallel line, not an universe in which I exist, an unknown world that exists in isolation from one another. I am going to work on the digitalized vast nature in Google Earth through the project “parallel world” and myself who exists in other forms in the nature. Google Earth, created by digitizing nature in the real world, comes from reality, but its nature is different from the real world. There are no humans or animals in it, only the vastness of natural space exists. And there are no day and night, weather changes, and general laws of physics in the nature. In it I wander the nature as a new being, as an eye that never stares, neither hurt nor dies.

I would like to imagine this digital world as a separate world different from the real world and to direct the world’s appearance and experience in the world to the exhibition.

In the exhibition, large paintings will be installed as if they were thin walls or curtains. And people walk around freely between the paintings. I am aiming to make the exhibition a three-dimensional, spatial exhibition, not an Exhibition of simple flat painting.

I have always tried to put paintings in the center of my work, but also tried paintings to intervene and influence space through installation. I am interested not only in the planar part of the painting work, but also in using the material and three-dimensional part of the canvas to create space and to extend the reality to a spatial part.

For example, I set up large paintings over 2m in the last Orgelfabrik exhibition to float in the space not hanging on the wall. So while the canvases create a new space by dividing space like a thin wall, many of the painted images on that thin wall (Canvas) remind me of floating images in the digital world.

During the residency period, my activities can be divided into three parts. The first is to collect images through Google Earth for the project. The second is to use the collected images to work on the canvas. The third is a study of installation using space rather than just hanging the paintings on the wall. In other words, I will study how my paintings will be exhibited and how a flat painting can be extended to a spatial experience like sculptures.

CV Summary

EDUCATION

• 2014-2019 Diplom of fine art, staatliche Akademie der Bildenden Künste Karlsruhe bei Prof. Marcel Van Eeden.
• 2006-2011 Bachlor of fine art, Pusan National University, Busan, Korea

EXHIBITIONS

• 2019 Diplomausstellung, Staatliche Akademie der bildenden Künste Karlsruhe, Karlsruhe DhArt Karlsruhe, Villa in Gellertstrasse, Karlsruhe D
• 2019 it´s my turn to drive, Kalinowski Raum Staatl. adBK Karlsruhe, D
• 2018 Galerie Ahnen, Luis Leu, Karlsruhe D
• 2018 Intersection, Orgelfabrik Durlach, Karlsruhe D
• 2017 Der Turm, Orgelfabrik Durlach, Karlsruhe D
• 2017 UND#9, ehemaligen Dragonerkaserne, Karlsruhe D
• 2016 “Van Eeden ́s 9”, Hochschule für Technik und Wirtschaft Karlsruhe, Karlsruhe D
• 2016 Gruppenausstellung, Gallery Artpark, Karlsruhe D
• 2016 Nominierten-Ausstellung Stipendium Werkstatt Plettenberg, Galerie der Sparkasse, Plettenberg D
• 2013 5. Internationale Kunstausstellung, Stockholmer Feuerwache, Berlin D
• 2011 “9th BIEAF” führende Gruppenausstellung in Ulsuck Kunsthalle, Busan Kr
• 2010 Gruppenausstellung in Akademiestudio, Busan Kr

Gallery