K-Artists
Carefully curates and introduces three representative artists from the Korean contemporary art scene each week since the 2000s.
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3 K-Artists This Week
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Exhibitions
《Shadow Play》, 2025.10.23 – 2025.11.05, Faction
In traditional East Asian theatre, mysterious and non-human beings frequently appear—monsters, ghosts, and spiritual apparitions. These figures symbolically embody human joy, suffering, and conflict.
2025.10.22
Articles
Artist Soojung Jung’s Imaginary Scenes Full of Life Force
Soojung Jung (b. 1990) has been experimenting with her own distinctive language of figurative painting, rooted in her interest in the small and large events, narratives, and images that unfold around her. Her paintings, reminiscent of dreamlike scenes, present unfamiliar yet familiar moments that emerge from her imaginative interpretation of real-life events.
2025.11.10
Articles
[Critique] Kim Heecheon - Living amid Moving Image
When more than a century ago, Thomas Edison invented the motion picture camera and its viewer, he thought of moving images as nothing more than some insignificant flickering images, which briefly appear through a tiny hole in a coin-operated machine. But with technology transitioning from film to digital media, there has been a bewildering evolution in moving images.
2020.01.21
Exhibitions
《Worm and Saint》, 2017.11.04 – 2017.11.19, Space Kneet
When I first encountered the works of Park Wunggyu, I prematurely dismissed them, thinking, “This just isn’t for me—it’s not within my realm of interest.” They felt overly religious, yet blasphemous; too explicit, yet obscure.
2017.11.02
Articles
[Review] Minae Kim – Black, Pink Balls
According to the exhibition guide, 《Black, Pink Balls》 is connected to Minae Kim’s previous solo exhibition 《Thoughts on Habit》 from last year. In that exhibition, Kim installed a fence inside the gallery at a 14-degree angle from the wall, restricting the movement of visitors.
2014
Articles
[Critique] Border Life
“Kim Jipyeong’s contemporary chaekgeori not only borrows the compositional structure of traditional chaekgeori, but also actively embraces the process through which cultural signifiers are expanded and reproduced within it. Rather than emphasizing the artist’s originality,
2007
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Exhibitions
《The Sea of Shinan-Mud, Sand and Wind》, 2022.06.16 – 2022.07.24, One and J. Gallery
“When I revisited my hometown islands of Shinan around 2005 after a long time, everything that had once been so familiar to me since childhood appeared strangely unfamiliar, as if I were seeing it for the first time. That sensation—something like déjà vu experienced through jamais vu—signified an immense gap between my memory and the reality before my eyes.”
2022.06.15
