The3rd print by Total Museum of Contemporary Art

2014.11.20 â&#x20AC;&#x201C;12.10 Total Museum

The Third Print

판화는 일반적으로 그림, 글씨등으로 새긴 판을 이용하여 종이에 인쇄하는 시

A term in printmaking that suggests the form of the art and

각 예술 기법과 그 결과 만들어진 작품을 의미한다. 모노타이핑(Monotyping)

its techniques as results of the print on paper such as from a

과 같은 특별한 경우를 제외하면 여러 번 인쇄하여 복제가 가능하다. 인쇄된

engraved plates of pictures or text. Unlike paintings, prints

각각의 작품은 회화의 작품과 달리 쇄(刷)라 불리며 다른 장르에 비해 특히 매

can be duplicated multiple times and those duplications are

체적인 특성을 고수함과 동시에 다양한 판의 기법을 통해 “찍어내는”판화의

called ‘editions’, yet there is also a singularly-executed type

고유영역을 지켜왔다.

of prints known as the Monotypes. Printmaking have unique characteristics coming from the mediums and techniques

한편, 문화적 성장과 테크놀로지의 발달로 인하여 예술에도 변화가 생겼다. 장

as compared to other technical applications and the vari-

르와 영역의 구분이 모호해지고, 특히 테크놀로지의 발달은 판화의 재료와 기

ous methods of using ‘plates and prints’ can be considered

법에 많은 영향을 미쳤다. 많은 작가들이 판화기법을 이용해서 독창적인 작

unique ways of ‘printing’.

품을 만들고, 판화만을 고집하고 에디션을 중시하였던 많은 판화가들이 새로 운 기법과 방법들을 응용해 본인의 방식으로 1장의 판화를 찍어낸다. 과거의

Recent trends and contemporary concerns in art have

모노타이프라는 장르가 하나의 트렌드로서 Monotypes, Collotypes, Cast

changed and the distinctions between art genres and forms

prints, Gum printing, Clich. Verre, Blueprints, Brown Sepiaprints,

become blurred. Technology also affected the materials and

Embossed Lead Imges, Cast Plate Intaglio 등의 다양한 방식으로 표현

methods of printmaking in many ways. Artists who have been

되었다면, 현재의 작가들과 판화가들은 또 다른 새로운 방식(The Third Print)

insisting only on traditional printmaking techniques and em-

의 모노타이프를 통해 판화의 정체성을 내포한 더 넓은 영역으로의 가능성을

phasizing on editions, started to apply new techniques and

보여주고 있는 것이다.

methods to their own style and create unique or singular prints.

이번 전시는 판화가 가지고 있던 기존의 방식에 작가 본인만의 독특한 방식 을 더한 모노프린트의 가능성을 보여준다. 더불어 관람객들은 작가들이 숨겨

Traditionally, monotype printing signifies ‘mono’ edition such

놓은 작품 속에서 비춰지는 ‘쾌’를 찾을 수 있다. 사실 예술작품은 너무 다양

as Collotypes, Cast prints, Gum printing, Cliché Verre, Blue-

하기 때문에, 그것들을 제공하는 ‘쾌’ 역시 무척 다양하다. 이는 꼭 어떤 ‘즐거

prints, Brown Sepia prints, Embossed Lead Images and Cast

움’을 의미한다기 보다 예술작품을 통한 일종의 ‘카타르시스’를 경험하게 되는

Plate Intaglio and so on. However, current artists and print-

순간을 의미하는 것이 더 적절하다. 어떤 작품은 비통하게 하거나 멜랑콜리하

makers are interpreting ‘mono-printing’ as an integral part

게 하기도 하고, 또 어떤 작품들은 열광적인 기분을 만들어내기도 한다. 두려

of their practice in developing their art to the next stage of

움과 경탄, 유쾌함과 흥분, 웃음과 슬품의 눈물, 공포와 노염 등등 우리의 감성

‘the third print’. Printmaking as in a unique form of expression

(emotion)과 지성을 끌어들인다. 이는 ‘표현’으로서 작가가 표출하기도 하지

rather than duplicating of the similitude. This exhibition will

만, 또 다른 측면으로는 ‘반응’으로서 충분히 감상자의 몫이 된다.

present the possibility in combining unique and alternative ways with the traditional monotype.

이승아, Urich Lau

Seungah Lee, Urich Lau

The Third Print

권오신 김영훈 김현숙 노상준 문형민 백승우 안세은 이승아 임자혁 장양희 정명국 최원정 Justin Lee Lim Shengen Lynn Lu Miguel Chew Shinyoung Park Weixin Chong Urich Lau

권오신

KWON Oh-Shin

권오신은 순간순간 떠오르는 기억의 파편을 수집하고, 수집된 이미지들을 재조합하여 새로운 시공간의 기억으로 재구성한다. 권오신은 석판화 로 베이스가 되는 작품을 제작하며, 판화가 가진 복제성의 특성을 이용하여 과거의 작품속 이미지를 오려내어 현재의 작품에 꼴라쥬하고, 레진 을 이용하여 층을 만들어낸다. 권오신에게 있어 꼴라쥬기법은 기억이 가진 중층성의 의미를 포함하고 있으며, 이는 기억이라는 것은 과거에 머 무는 것이 아닌 현재 진행형이라는 것을 환기시켜주는 역할을 한다.

작가노트 Artist Statement

우리는 매일 여러가지 상황을 경험하고, 이러한 경험은 기억으로서 존재하며, 동시에 독자적인 여행을 시작한다. 이 무의식적으로 행해지는 여행 속에는 수많은 이야기가 존재하고, 새로운 상황과 만나게 되면, 이전의 기억이 다 른 기억으로 변화하며, 또 다시 새로운 이야기를 만들어 간다. 개인적인 자신의 기억으로부터 느껴지는 불가사의 한 감각을 본인 나름대로 해석하고, 형태로 표현한다. 형태가 된 기억의 파편들은 모이거나, 흩어지고 서로 뒤엉 켜 경험하지 않은 새로운 기억의 세계를 만들어 낸다. 나는 누구나 한번쯤 스쳐 지나간듯한 과거의 시간을 현재의 나의 기억 안에서 풀어나감으로써, 어디선가 본 듯한 현실의 공간인 듯 하나 실은 너무나 비현실적인 화면을 나타 낸다. 그것은 과거와 현재의 기억, 꿈, 시간 그 사이를 부유하는 다른 공간으로 존재하게 되는 것이다. 또한, 기억 의 이미지로서 제삼자의 기억 속에서 새로운 시간의 기억을 만들어 가는 것으로 보다 많은 사람들과 기억을 공유 하는 것을 시도하고 있다.

Each day, we experience new and unprecedented situations. And each day, these new situations are stored away in our memory banks, where they begin to take on a life of their own. They begin a journey through our consciousness, and these journeys from a web of myriad tales, which may be shaped further by new situations that we encounter. Memories that ought to be accurate may be faulty, and even altogether false. These phenomena testify to the bizarre and mysterious nature of memory. Our memories of times past, what happened when and where, are actually memories of internal <times>, which are reformulated by the passage of time and stimuli from the surrounding environment. Thoughts like these bring me back to the days of my childhood.

Time no. 130904 mixed media on lithograph 100x50cm(x2) 2013

김영훈

Kim, young-Hoon

김영훈 작가는 인물이미지를 메조틴트로 작업하여 다양한 설치방법을 통해 내적, 외적 혹은 그 경계선 상에 존재하는 인간의 형상을 표현한고 있다. 이번전시에서 보여주는 작품 <Tell me the truth> 는 세로 18.5센티 가로 3.5센터 전체길이 8미터의 설치 작품으로 시작과 끝이 없는 공 간에 서있는 군상의 모습을 표현하고 있다.

작가노트 Artist Statement

나는 작업은 우주 이상의 그 어떤 미지의 공간 어느 곳에서 모호하며 완성되지 않은 영혼을 지니고 살아가는 우리 혹은, 나의 이야기에서 비롯된다. 결국 ‘나’라는 시작점은 있으나 공간이나 시간의 끝은 알 수 없음에 대한 질문이 다. 그 넓이와 깊이와 실체에 관한 절대적 동경과 막연한 그리움이다. 또한 그러면서도 속세에 살아가고 있는 한 인간의 작디 작음에 대한 어루만짐이다. 감정의 부질 없음이다. 그리하여 안식하고자 평온하고자 인식하고자 하 는 바램의 결과물이다. 그것은 시작도 끝도 없는 미지의 현실을 가끔은 잊고 살아가는 지금 여기에 있는 한 인간 의 자화상이다.

My works were originated from the problems of my natural shape about the “I” existing within the unknown massive space and time, termed as the universe. The universe which is thought and imaginated to me is a virtual image and naught without the beginning and the end. This concept may be a possible premise, if one could be slough off the concepts of the space and the time in which man has the central place. However, this question is not preposterous and wide-ranging because the starting point is just the “I” Since the existence of me is being alive, the universe can be persisted in the state of being. If I not existed, the universe could not too. The consideration originated from the both situations of “the universe” and “the I” was after all connected with another world being inside me, which acknowledged to me that the universe, with the ego of the “I” as a boundary could be divided into the macro-universe toward the outside and the macro-universe toward the inside.

Tell me the truth Mezzotint dimensions vary 2013

김현숙

Kim, Hyunsook

김현숙 작가는 플라모델을 캐스팅하는 작업으로 전통판화로부터 탈피한 본인만의 방식을 취해 작업을 진행해왔다. 최근 작업들은 캐스팅에 서 조금더 진행된 레이저 컷팅을 이용해 대형 플라모델 작업 연작을 소개해왔다. 작가의 작품에서 플라모델 형태와 개념은 일상세계로부터 빌 려왔지만 미술로서의 작업방식은 그것과 상이한 방식으로 존재하는데, 조립될 형상, 순서나 번호가 없으며 런너(runner)는 작품을 구성하는 틀로 작용한다. 그녀가 플라모델을 만드는 방식은 우연적이고, 결과를 알 수 없으며, 수많은 내러티브를 만들어내는 규칙이 없는 놀이와 같다.

작가노트 Artist Statement

본인의 플라모델 형태와 개념은 일상세계로부터 빌려왔지만 미술로서의 작업방식은 그것과 상이한 방식으로 존재 한다. 일상용품인 플라모델(plastic model kits)의 경우 조립될 형상이 정해져 있고 일정한 규칙에 따라 만들어지 며 조립이 완성된 후 런너(runner)는 용도폐기 된다. 반면에 본인의 플라모델의 경우 조립될 형상이나 규칙은 존재 하지 않으며 런너는 작품을 구성하는 틀로 작용한다. 이러한 본인의 플라모델 방식은 런너 상태의 평면작품과 런 너 상태를 벗어난 설치작품으로 제시되고 있다. 본인의 플라모델은 미술작업이란 놀이라는 개념이 밑바탕을 이루 고 있다. 본인에게 미술작업이란 하나의 표현이고 의미를 만드는 것이다. 그것은 본인이 살아가는 삶과도 직결되 며 일종의 놀이로 표현된다. 정확하게는 규칙이 없는 놀이이고 우발적인 사건이라 할 수 있다.

Even though the forms and concept of the Plamodel in my artwork are borrowed from a daily life, the way of work as an art exists in different ways. The plamodels, daily life stuffs, have their own specific shapes to be assembled from the model kits, and they become to be assembled in the correct order, and then the remaining runners are discarded. On the other hand, the Plamodels in my work do not have any shape to be assembled nor any order to be followed, and a runner becomes a frame which composes my artworks. This way of the Plamodel in my work appears as plane artworks with a runner and installation artworks beyond the state of a runner as well. My Plamodels are based on the notion that an art work is play. An artwork, for me, means to express and to signify. The artwork is directly connected to my life and it is expressed as a kind of play. To be more specific, my artwork is a play without any rule, and it is an event that was not planned in advance.

Pyeonlyn 1_The Pieces of Memory, Time, and Life coloring on laser cut-out aluminum 147x108x2.5cm 2011

노상준

최근까지 노상준 작가는 미니어쳐 형식의 작업들

sangjunRoh

은 관객들이 다가가서 관찰할 수 있는 방법 위주 로 제작, 전시되어왔다. 하지만 이번 The Third Print 전시의 작업은 반대로 작품의 사진 이미지 를 크게 확대하여 멀리서 볼수있고 육안으로 보기 힘들었던 부분까지 관찰할 수 있도록 제작하였다.

작가노트 Artist Statement

우리는 언제부턴가 낡은 것을 버리고 새로운 것을 추구하는 것이 당연하게 받아들여지는 생활패턴 속에서 살아가 고 있는지도 모른다. 어쩌면 그런 생각이나 삶의 태도가 사회체제를 효과적으로 돌릴 수 있는 것 같기 도 하다. 더 빠르고 더 새로운 것을 따라가며 개인이 스스로에게 부여할 수 있는 사물의 가치 보다는 공통적으로 인정되는 사물 의 가치에 더 익숙해지면서. 우리가 소소하게 느낄 수 있었던 소중한 것들의 중요성을 잃어가는 것 같다. 기본적으로 빠르지 않은 리듬감을 가지고 살아가는 나는 현대사회의 급격하고 역동적인 리듬에 부합되기에는 역 부족이었는지 모른다. 계속되는 소외감과 고립 속에서 끊임없이 주변을 바라 보게 된다. 도시의 풍경들과 사람들의 행동패턴들…. 어떤 힘에 이끌려 사람들은 같은 행동 들을 반복하고 무엇인가를 계속적으로 추구하며 공통적인 목표에서는 비교, 경쟁이 일어나고 서로서로에게 그런 생각들을 교육, 강요하곤 한다. 이런 것들은 일종의 영향력을 발휘하기 위한 영역표시 같기도 하고 동시에 자신이 살아있음을 느끼기 위한 자기 확인 같기도 하다. 그 결과로 여러 가지 부산물 들이 만들어 지는데 그것은 사상이나 관습일 수도 있고 도시일 수도 있고 나에겐 작업일 수도 있는 것 같다. 그런 것들이 체계화되고 우리에게 익숙해질수록 공포로 다가오는 경우가 종종 있는 것 같다.

The Pink Elephant Digital Print 340cm x 300cm 2014

나는 우리의 일상에서 수단으로 이용되는 재료를 이용하여 주변의 사회현상들이나 구조, 상황들을 조감도 적인 시점으로 재조합하는 작업들을 하고 있다. 집단 생활에서 오는 개인의 고립과 격리에 관심이 있으며 그것들 을 은유를 통해 재인식하고자 한다.

I do not know from when our life patterns started to encompass the idea that we needed to throw away the old and pursue the new. Perhaps these thoughts or this way of approaching life can meaningfully change the existing social system. However, while pursuing the faster and the newer instead of valuing the blessings given to each individual, and while valuing those things commonly approached, those significant minor things that we had felt was important, we seem to be forgetting. For someone like me who moves to an innately slower rhythm, it might be beyond my capacity to fit into this modern world that moves in fits and starts and reverses gears. From inside the continuing alienation and isolation from this modern world, I endlessly look around. The illustration’s landscape and human living patterns… These thoughts educate and coerce me – what kind of strength leads people to act the same way, to continuously pursue the same something while being constantly compared, to continuously grasp at these common dreams, as competition increases amongst each other? These thoughts, on the one hand, shows the pervasive influence of their own territory, and on the other hand, lets one know that one is still alive. As a result, many by-products are being created through this process - a thought, a custom, an illustration or to me, a work of art. This process can become an accepted formula and as we gets more familiar with it, it can also become something increasingly dreaded. Using ingredients from our daily life, I am working to re-create the conditions, systems, environment, and circumstances of this existence, with a bird’s eye view. I am interested in exploring this isolation and segregation that comes to an individual living the communal life, by use of the metaphor. Thereby, I hope to bring renewed appreciation.

문형민

hyungmin Moon

Recycle Project는 제목 그대로 이전 작업이나 전시의 과정에서 발생하는 페기물을 재활용한 프로젝트이다. 많은 비용과 시간을 들여 제작 하지만 결국 전시기간 동안만 존재하고 파기할 수 밖에 없는 상황에 대한 이야기를 담고 있다. 특히 해외전시를 위해서 제작했다가 파기한 작업 들을 다시 조합하여 개집을 만들었던 이 작업은 작품의 겪었던 긴 여정을 그대로 적어간 작품 제목과 ‘개집’이라는 시각적 언어를 상충시키면서 문형민 특유의 블랙유머를 잘 드러낸다.

작가노트 Artist Statement

recycle project: a doghouse built out of an artwork that I spent 3,000 dollars of initial production cost for the exhibition in London and 6,000 dollars to ship it back to Korea only to be found completely damaged The title literally tells it all. Hyungmin Moon created an artwork for the exhibition in London spending almost 3,000 dollars for the production. After realizing that return shipping cost 6,000 dollars, he suggested the curator that he will destroy the work if paid a portion of the production cost thinking why spend more when he can just sell his work for less. Nonetheless, the shipping procedure was already finalized leaving the curator no choice but to send it back to Korea paying twice as much. Unfortunately, however, the work was delivered completely damaged due to marine transportation and prolonged stay at the distribution center. He kept the damaged artwork in his studio over four years, and finally decided to make something out of it so as to illustrate this ridiculous situation. The actual ‘doghouse’ and a very long title describing detailed orientation of it obviously demonstrate Hyungmin Moon’s unique style of black humor. Since 2009, this doghouse has travelled Seoul, Tokyo, Buenos Aires, Zagreb and Venice.

Recycle Project : a doghouse built out of an artwork that I spent 3,000 dollars of initial production cost for the exhibition in London and 6,000 dollars to ship it back to Korea only to be found completely damaged Mixed Media 50 x 80 x 80 cm 2009

백승우

Seung Woo Back

Expired Edition Utopia/Blow up #1-#8 Gold foil stamping on the newspaper 550x415mm 2013

Expired Edition, “이 책은 2013년 5월 16일로 만료시킴을 공표함.” 오늘날 예술가는 무언가를 끊임없이 생산한다. 그리고 그들의 ‘생산품’은 사회적인 관계 망 속에서 지속적으로 소비되 길 원한다. 그 이유는 예술 세계 안에서 보다 넓게는 일상 속에서, 상품화 할 수 없는 것들은 곧 잊혀진 다는 것을, 사라 질 운명이란 것을 그들은 알고 있기 때문이다. 여기에는 ‘새로운 것’에 대한 강박적이고 맹목적인 요구들도 한몫한다. 생산 라인에 속도를 높여 만든 신작들은 창고에 재고 더미가 되기 쉽상이다. 결국 소비되지 못하는 건 어느덧 우리의 시야에서 벗어나고 예술적 가치는 물건의 가격이 폭락하듯 잊혀지고 만다. <Expired Edition만료한 에디션>은 백승우 작가와 디자이너, 출판사의 협업으로 만들어진 두 번째 결과물이 다. 그 첫 번째 협업물은 바로 2009년 <유토피아>, <블로우 업> 시리즈를 묶은 타블로이드판 신문이었다. Expired Edition은 그로부터 5년 후, 창고에 쌓여있던 남은 책들을 모두 수거해 재활용한 프로젝트이다. 이는 기존에 상품화 된 출판물과 그 이후에 에디션으로 만들어진 작품의 예술적 가치가 어떻게 다시 ‘실현’ 또는 ‘복원’될 수 있는가를 실험한 것으로 우리에게 “책으로서의 기능이 만료된 작품을 어떻게 다시 소비할 것인가?” 질문을 던진다. 한 때 마르셀 뒤샹이 ‘샘’이라고 이름 붙였던 변기로 관객을 조롱하듯이, 여기서도 상품은 작품으로 치환된다.

김정은 (IANNBOOKS 편집장)

Expired Edition, “This is an announcement thatthe book will expire on May 16, 2013.” Artists today are endlessly producing something. They would like their “products” to be continually consumed within a social network; that is because artists know what cannot be commodified in the realm of art (or more broadly, in everyday life) will quickly be forgotten, and that their days are numbered. The compulsive and irrational demand of people for “something new” contributes to this phenomenon. Consequently, new products, which were manufactured by speeding up the production line, are likely to end up as inventory in the warehouse. In the end, what cannot be consumed vanishes from people’s purview and the value of art plummets like a commodity that drops in price and is forgotten. Expired Edition is the second collaborative work between Back Seong Woo the artist, a designer, and a publishing company. The first such effort was a tabloid newspaper project that was done in 2009 and combined the Utopia/Blow Up series. Five years later, Expired Edition is a project that recycles all the remaining books from storage. It was an experiment in which what was previously published and then later turned into artwork with edition numbers could be re-enacted or resurrected; and asking the viewers how “one could consume books whose use has expired.” Marcel Duchamp had once mocked art viewers by entitling a urinal a “Fountain”; similarly, Back Seung Woo has transformed a commodity into artwork. Expired Edition By Kim Jeong-eun, Publisher of IANNBOOKS

안세은

Trifling Moment Digital Print, Acrylic on Canvas 61x91cm 2014

An Se-Eun

일회용 종이 장식, 생수 병뚜껑, 신문지 등 가볍게 선택되고 쉽게 버려지는 일회용품이나 하찮은 물품들을 재해석 해온 안세은 작가는 자신의 주변 으로 시선을 넓혀 반복되는 일상과 사소한 순간이 내포하고 있는 의미를 되짚어 보고자 한다.

사소한 순간 그 날이 그 날 같은 반복적인 일상 그 곳이 그 곳 같은 비슷한 환경 그 사람이 그 사람 같은 주변의 지인 되풀이 되는 수많은 만남과 이별 이 사람과 저 사람이, 이 나라와 저 나라가. 이것과 저것이, 마구 뒤엉켜져 있는 나는 여기저기 기웃거리며 사는 유목민이다. 나와는 아무 상관없는 저기 저 뒷골목이, 그 때 그 행인이, 거기 그 전봇대가, 여기 이 소음이 모여 오늘이 되고, 내일이 되고, 또 내가 된다.

In this world where everything is consumed once and is lost in superficial relationships. I continually create individual dots that not only rebirth the beautiful form of disposables, but also collectively act as a gesture to inscribe my existential significance. Part without knowing if it’s the last time. Meet without knowing who the other is. Glimmers bring without knowing it’s a one cent coin. Speaks of tomorrow without knowing it dies today. I am a common disposable, an ordinary street scene, a small, trivial one cent coin, an anonymous pedestrian, a newspaper read once and tossed. Everything is a trifling moment.

이승아

Seungah Lee

이승아 작가의 <Hitchhiker>는 싱가포르에서 진행되었던 DRIVe 프로젝트의 일환으로 만든 프린트 작품이다. 기존의 에디션을 기반으 로 종이에 찍어내는 실크스크린 판화기법에서 탈피하여 종이대신 아크릴 구조물 위에 공업용 유성 실크스크린으로 에디션 없는 다색 판화 를 제작하였다. 작가의 이러한 의도는 똑같이 찍어내는 대량 복제 판화로 부터 하나의 에디션으로서 가치는 갖을 수 있는 작업제작을 시도 하려는데 있다.

작가노트 Artist Statement

DRIVE 라는 퍼플릭 아트 프로젝트의 일환으로 제작한 작업이다. 여행에 편승해가는 히치하이커이지만 한편으로 새로운 여행에 함께 하기 전, 상대방을 관찰하는 이중적 잣대의 모습이다. 여러 도시를 옮겨다니면서 새로운 상황 과 환경에 익숙해져 가기위한 내 모습의 일부, 혹은 적응과정의 한 단면으로 설명될 수 있다.

Hitchhiking generally means a way to gain a vehicle by written sign or physical gesture. I focus on the meaning of hitchhikers’ gestures that include their hope to ride for exciting journey. Each hitchhiker on my work is ‘gazing’ for something. He is also hitchhiking for starting their interesting journey and gazing for examination about others or objects at the same time. Here, examination implies awareness, realization, and a bit of vigilance such as unstable factors about accompanying with a stranger. This effort makes unstable factors of hitchhiking to neutralize and this tension seems to be the preparation process for real Drive.

Hitchhiker Spray painting, Silkscreen on plastic board 160cm x 90cm 2014

임자혁

Yim Ja-hyuk

<A.P. 섬네일 2001-2013>은 2001년 부터 2013년 까지 작가가 그린 과거의 그림 중에서 선택한, 80개의 작은 드로잉의 부분 이미지로 이루어져 있다. 각각의 원본 그림은 모두 몇 가지 드로잉 시리즈의 일부이거나 개별적인 종이 그림이다. 작가는 ‘손 전체를 기억하느라고 잊혀지는 손톱들’, 즉 작가가 그림을 그리는 동안에 세심히 고려하고 즐기지 만, 그림을 그리고 나면 ‘무엇을’에 가려 잊혀지기 쉬운 부분들을 모아 보여준다. 다시 말해 작가는 각각의 그림의 ‘엄지손톱들’을 배색과 세부의 모양에서 찾아 비춰 보여주는 것이다. 이 때, 원본 그림이 가지는 서사는 증발하고 의미는 희석된다. 오직 색채와, 부분적으로 보이는 확대된 형태가 나열되고 있다. 여기서 전작이 출력된 2차이미지로서의 프린트들은 다시 하나의 제목<A.P. 섬네일 2001-2013>이 붙는 원 본 작품을 이룬다. 개별적인 낱장의 프린트는 반복적으로 출력될 수 있는 가능성을 가지고 있지만, 전체는 ‘모노프 린트’의 역할을 하는, 1회의 설치 작업이다.

<A.P. The Thumbnails 2001-2013 > consists of 80prints, each of which is an enlarged detail the artist selected and reproduced from small drawings she composed between 2001 and 2013. The detail is like the fingernail one forgets on remembering the hand; the artist pays close attention to it during the making process, but seems to forget it on completing the work in which it resides. However, in The Thumbnails, Yim seeks to rediscover the detail. Each of her “thumbnails” catches the detail from a previous work in the proverbial beam of a searchlight--at the same time that the detail comes into focus, its surrounding narratives evaporate and meanings fade to leave only an array of coloration and cropped shapes. The copied abstracted fragments come together as A.P. The Thumbnails to take their place anew as components of a singular titled original work. However, this unity is fleeting. It is conditioned by the space and duration of the exhibition, after which the details will be dispersed never to be brought together again. In exacting this temporal constraint, Yim produces a monoprint in four dimensions: a print that cannot be replicated not only due to the limits of materials, means of production, or space, but because of the limits of time.

Yim Ja-hyuk, A.P. The Thumbnails 2001-2013 Inkjet Print on Hahnemuhle graphite on the wall 80sheets; 55.88cm X 43.18cm(each) 2014

장양희

장양희 작가의 작업에서 인간은 그 원초적 기의가 배제되고 흔적들로 남는다. 이

YangHee Chang

번 전시에서 보여주는 작품 <CROWD>는 204개의 보편적인 얼굴로 만들어 진 높이 4미터에 이르는 기둥이다. 검은색 아크릴판에 레이저를 이용해 내거티 브, 포지티브로 얼굴 이미지를 새기고 개별성을 무시한 기계적 배열을 통해 현대 사회 속의 인간의 존재를 표현하고자 한다. 이 작업을 통하여 작가는 인간의 물 적실체를 비워 비실체성을 강조하여 주체가 상실된 익명속에 감춰진 이 시대를 드러내고자 하였다.

지표도 좌표도 없이 떠도는 인간들

이선영 (미술평론가)

인간의 얼굴을 이루는 수많은 해부학적 심리적 판들을, 잠재적 평면이 중첩된 예술인 판화와 교차시키는 장양희 의 작품에는 이 시대의 보편적인 얼굴이 드러난다. 장양희가 가시화한 이 시대의 얼굴은 익명적이다. 여기에서 인 간은 드러난다기보다 사라진다고 해야 옳다.…장양희의 작품은 개인의 의지를 벗어난 이러한 예기치 못한 균열과 틈 속에서 또 다른 의미와 가치를 발견한다. 검은 아크릴 판에 새긴 168개의 초상들로 거대한 기둥을 만든 작품은 레이저로 많이 파인 허연 부분이 어느 각도에서 보면 더 정확한 생김새를 알려준다. 부조처럼 얇게 파인 판들은 네 거티브/포지티브 이미지가 교차되듯이 시각성과 촉각성을 상호보완적인 것으로 만든다. 이러한 디테일에도 불구 하고 개별성을 무시하는 기계적 배열방식은 공중에 붕 뜬 사람들처럼 지표와 좌표를 삭제해 버린다. … 장양희의 작품의 독특한 점은, 이러한 시간성이 영상이나 서사가 아니라, 아크릴판이나 종이 같은 공간적 매체들 위에서 구 현되었다는 점에 있다. 내용적으로는 동일성이 아닌 차이를 통해 개인과 공동체에 접근한다는 점이 독특하다…. 2012 <SHADOWY FIGURES>, 갤러리 그림손. 발췌

Humans Drifting without Pointer or Coordinates Sun-Young Lee (Art Critic) The universal face of this era is revealed in Yang-Hee Chang’s works, which cross numerous anatomical psychological layers that form the human face with printmaking_ an art of overlapping potential planes. The face of the era visualized by Chang is anonymous. Here, we should say the human is vanished, rather than being revealed. … New significance and value can be discovered in Chang’s works, in such unexpected cracks and gaps, beyond the artist’s will. As we look at the giant column made with 168 portraits engraved on black acrylic panels, we can see the more exact features of the figures if we look at the white laser-engraved areas from a certain angle. The panels, engraved thinly like reliefs, make the visual and tactile aspects mutually supplemental, as in the intersecting relationship between the negative and positive image. In spite of such detail, the mechanical method of arrangement, which ignores individuality, erases the pointers and coordinates, like people floating in midair. … The peculiarity of Chang’s works is that such aspect of time is embodied not through video or narrative, but on spatial media such as acrylic panel or paper. In terms of contents, it is peculiar that she approaches the individual and community not through sameness but through difference…. 2012 <SHADOWY FIGURES>, Gallery Grimson, Seoul, Korea.

CROWD Laser engraving on acrylic panel 480x60x60cm 2012-2014

정명국

JUNG MYOUNG GUK

작가노트 Artist Statement

나의 작품은 어린 시절 가지고 놀았거나 눈에 포착되었던 신기하게 보았던 것들을 재현하는 것으로 시작된다. 자동차에 대한 동경이나 환상이 생기기 이전, 바퀴가 달려있는 움직일 수 있는 물체를 가지고 노는 행위는 큰 즐거 움 이었다. 성인이 된 후 브랜드를 알게 되고 자동차의 금전적 사회적 가치를 알게 되면서 가지고 싶다는 생각과 욕 심이 커졌으며 더 좋은 것을 소유하려는 욕망으로 변하였다. 향수 중에 샤넬 넘버3라는 브랜드가 있다. 향수를 사용하지 않는 사람도 알고 있는 유명한 상표 중 하나로 BMW사의 Mini라는 자동차 또한 그렇지 않나 생각한다. 성인이 되어버린 지금에는 어른의 시각으로 차를 선택하 게 되는데, 아동시기에 장난감 차에서 느꼈던 즐거운 기억과 함께 어른의 물질주의 시선(브랜드의 힘과 타인의 시 선을 무시할 수 없는)이 적절히 결합된 모델의 차가 미니(mini)라 생각한다. 물질의 소유에 대한 욕망도 채워주고 타인의 시선으로부터도 인정받는 느낌, 과거에 느꼈던 즐거움의 또 한번의 재현, 이런 것들을 차에서 얻고 싶고 느 끼고 싶어 하는 것이 아닐까? 어린 시절 좋아하는 것을 그릴 때 제일가까이 있었던 도구가 흑연연필 이었다. 연필을 사용하여 차를 덮은 종 이 위에 자동차의 형상과 질감을 하나 하나 새긴다. 프로타주(frottage)기법으로!

Jung Myung kuk uses pencil that he used to play in his youth and he reproduces interesting things caught his eyes. His way of expression developed from behavior of playing things to act of possession which creates real life sized giant by deliberately consolidating view points of materialism and other people. In his work no 3 mini, we can find subtle harmony between frottage techniques and the real sized giant cars.

No.3 mini Frottage on paper 190x369cm 2009

최원정

Fearless Antique silverware antique chain mail, metal and string dimensions vary 2013 Lace armor #1 engraving on magnesium plate 50x50 cm 2014 Lace Armor #2 engraving on magnesium plate 50x50 cm 2014

WonJung Choi

작가노트 Artist Statement

나의 작품은 새로운 세상에 적응해 가는 자아가 스스로 변화되어가는 진화의 과정을 다양한 유기체를 통해 표현한다. 동시에 다른 나라와 다른 문화 속에 살아가는 삶의 진행 상태를 시사하고 점차 “하이브리드” 되어가는 정체성과 삶의 방식의 변화 과정을 보여 주고자 한다. 이번 전시에서는 앤틱 상점에서 찾아낸 은식기, 체인메일, 금속 등으로 만든 <하이브리드 물고기 Hybrid Fish> 를 위한 갑옷 3점 <두려움 없는 Fearless >을 보여준다. 이 조각 작품은 다양한 개성과 특성이 변화하는 과정을 보여 주는 이전 작품들과 연속선 상에 있다. <두려움 없는 Fearless> 은 그 진화의 과정 가운데 방어를 위해 갑옷으로 무장 해야 하는 지금 현재 모습을 표현한 것이다. 갑옷과 은식기, 사람 갑옷과 동물 갑옷, 역사적 상징과 지역성을 비교, 대조, 비유하는 과정은 이중적 세상( dual world)에 살고 있는 나를 매료시켰다. 함께 전시되는 판화 작품 <레이스 갑옷 Lace armor #1, #2 > 은 은식기에 나타난 음각 문양과 앤틱 레이스 패턴 의 공통점을 찾아 또 하나의 하이브리드 이미지를 나타내고자 마그네슘판에 도들새김기법을 사용하여 표현하였다.

My works reference the process of mutation and evolution undertaken by diverse organisms in order to adapt to their surroundings. In the same way, my work alludes to my own condition of displacement as a foreigner living in a different country, and the process of transformation in my “hybrid” identity and way of life. In this exhibition I present three armor suits of “Hybrid Fish” made from antique silverware, chainmail and other metal parts. This work is a continuation of earlier works in which fish take on different traits and characteristics, a representation of my own adaptation to a new culture. “Fearless” was created for the present state of myself, the fish are clad in a protective shell of metal armor, which speaks to the artist’s continued evolution. It’s fascinated me living in the dual world by process of comparison, metaphor and contrast of armor and silverware, armor suit for human and animal, historical symbols and locality. I made “Lace Armor #1, #2” which is made of magnesium plates with my own ‘hybrid’ engravings from images of antique lace patterns and silverwares. 32

The Third Print Curator’s note Urich Lau

The works presented by the Singapore artists in The Third Print aim to push and

interest in photography, as an artform and technique of ‘drawing made by light’.

explore ways in imaging and printing technicality. It is important to stray away

Lynn Lu re-presented the concept of stillness and focus in her work “ensō”, in ref-

from known and tested methods and techniques, and to experiment with var-

erence to traditional form of calligraphy that leaves a definite mark from deep

ious forms and structure to present ideas and subject matters. Materiality and

concentration and precision. The artist used materials shed from her body (hair,

form are crucial in the manipulation and visualization of an artist’s conceptual

nails, skin, etc) but these proved too delicate for embossment as the technique

framework. And in the present society where technology and the over-zealous

preferred. Nonetheless, various range of tones in ink are used to intensify this

transformation and distribution of images, the act of “image-making” seem to

specific series of hair prints, in which the artist leaves impressions of method-

be a reactionary agent to other (man-made) images that are already in the flux

ical strokes and physical performativity. Shinyoung Park’s “Beautiful Lies #02”

of discontinuity and disjuncture. Technology and space, human conditions and

is based on the studies of how the concept of beauty is deemed an important

reactions, are key in this collection of work.

factor for success in society. Science and technology has enabled the artificiality about looking good. But in today’s industrialized manner of treatment and modification, beauty raises more skeptical views and criticism.

In the print, object and video works of Weixin Chong, the artist attempts to interpret dreams with reconstructed imageries and texts. The body of work entitled “Re*” is presented as prints and printed packaging. With mind-enhancing

An imagery conjured by Miguel Chew that is inevitable conjured from the art-

software, the artist created fantastical experimentations in imaging of dreams.

ist’s process of applying shapes of objects and constructing into an odd-shaped

The parallel video entitled “Dream Recall” is made from Youtube footages with

silhouette, resembles a certain giant fictional robot that defends Earth from in-

selected words from the description of a dream. Justin Lee seeks to record ev-

vasion and destruction. Object and function are disregarded and subject and

eryday images and things as visual art elements in his immediate local culture

form take over the visual direction, as the final image has subverted the source

and questions such appearances with a blend of east and west influences. He

image.

believes art plays an important part in society (and the viewers) for creating awareness of the surroundings. His current works reflect on the effect of texts

And the imagery created in my work, entitled “Video Conference: Electrosomnia”,

/ images found in mass media like signage, billboards and consumer products

began as a series in the form of a video installation for a residential building in

have on people’s perceptions of things while going about their daily life. And he

a quiet part of Singapore waiting to be demolished. The artist’s model as the

aptly called it “I am A Product of Up Bringing”.

subject matter is told to sleep when being recorded. The idea of existence and destruction was based on Armenian folk beliefs that sleeping is regarded as the

Lim Shengen created 2 handmade books entitled “Tashi, Tashi, Tashi, Tashi…”

dead in eternal sleep, vice versa for the living who has embraced death while

that was compiled in the process of photocopying an image of nothing on the

sleeping. The artist works in cross disciplines and the transference of image be-

scanner bed of the photocopying machine and its subsequent prints. The me-

tween video and print represents the rigorous and disruptive act between still-

chanical and accidental abstraction in dots and lines refer to the artist’s deep

ness and motion.

Justin Lee

I Am a Product of Up Bringing Ink transfer on carton box Dimensions variable 2011

Justin Lee는 일상의 이미지와 사물을 기록하여, 동양과 서양의 영향 이 혼합된 로컬문화를 탐구한다. 그는 예술이 주변에 대한 의식을 구 축함으로 써 사회와 관람객들에게 중요한 역할을 한다고 믿는다. 그의 최근 작품은 대중매체의 글과 이미지가 사람의 일상 생활에서 사물의 인식에 미치는 영향을 반영한다.

Justin Lee’s series of works bring a different understanding of today’s Singapore society and lifestyle with a blend of east and west cultures. Justin also seeks to record everyday lifestyle into visual art based on his cultural, and its surrounding by doubting questions appearances. He believes that art play an important part in helping people to grow and to see the important role-play and awareness of themselves. His current works reflect on how text influences and controls the users in our daily lifestyle. His works also reflect on words and images from the mass media like signage, billboards and consumer products, which control our thoughts and expression. 36

Lim Shengen

Tashi, Tashi, Tashi, Tashi… 는 복사기에 아무것도 넣지 않은 것을 복사하는 과 정을 반복하여 손으로 만든 책이다. 기계적이고 우연한 점과 선의 추상은, 빛 의 만든 그림이며 기술인 사진에 대한 작가의 깊은 관심을 뜻한다.

Tashi, Tashi, Tashi, Tashi… is a handmade book compiled in the process of photocopying an image of nothing on the scanner bed of the photocopying machine and its subsequent prints. The work aims to create a graphic abstraction by lines using the idea based on photography being literary a drawing made by light, while fulfilling the traditional acceptance of drawings of carbon graphite on paper. 38

Tashi Tashi Tashi Tashi 80GSM A3 paper – 700 pages Installation - Dimensions variable 2013

Lynn Lu

작품의 제목은 깊은 집중과 정확도를 요구하는 전통적인 서예를 뜻한다. Lynn Lu는 본인의 신체에서 떨어지는 재료들(체모, 손톱, 피부 등)을 작업에 이 용하고 있으며, 부조로 표현하기에는 너무 약한 재질임에도 불구하고, 다양 한 잉크의 톤을 통해 강렬한 느낌을 표현했다.

I was originally interested in printing without ink (embossing) and using materials shed from my body (hair, nails, skin etc) but those materials proved too delicate to emboss, thus the grey ink used in the end. The hair-prints were just the very beginning explorations of printmaking medium for the opportunity to think and experiment further. 40

ensō Relief print and embossing on cotton paper 53 x 79 cm each 2013

Miguel Chew

Miguel Chew는 기묘하게 생긴 실루엣을 적용하는 과정을 통해 작업 을 구현해내는데 그 이미지는 지구를 침략과 파괴로부터 방어하는 거 대한 로봇의 모양을 닮아있다. 대상과 기능은 무시되었고, 주제와 형 태가 시각적 방향을 대체하며, 최종 이미지는 소스이미지를 와해시 키고 있다.

I am interested to use the inanimate object as a visual starting point to make art that ended up having nothing to do, either aesthetically or conceptually. This process of using a tangible subject, but then totally disregarding the subject’s function and so subverting the source image as well as its purpose, served inevitably to challenge the viewer’s perception and identification of objects, so leading me ultimately to question the relationship between a visual source and the final work of art. 42

Untitled Laser-cut on aluminum with cable light 70cm x 120cm 2009

Shinyoung Park

오늘날 한국 화장품 산업의 과학적인 기술의 발전은 눈부시다 해도 과언이 아니다. 모공 수축, 색소 침착, 축 처진 피부, 다크 서클 등 셀 수 없이 많은 피부의 결함들을 방지하고 고친다고 주장하는 이 제품들은 나이를 불문하고 여 성 고객들을 압도적으로 현혹하고 있다. 게다가 요즘은 한류 콘텐츠, 즉 드라마와 K팝등의 영향으로 한국 화장품 에 열광하는 외국인 관광객들에게 명동 화장품 매장은 관광 필수 코스로 인식 될 정도이며 문화관광연구원에 따르 면 2012년 외국인 관광객 쇼핑품목 가운데 향수, 화장품이 46.2%나 차지한것으로 밝혀졌다. 라이트박스로 제작한 이 ‘아름다운 거짓말들 #02’ 이란 작품은 화장품 회사들이 현대여성들에게 미치는 영 향에 대해 생각하게 한다. 알록달록 매혹적인 립스틱 처럼 생긴 이 동그라미들은 사실이기엔 너무도 믿기 어려운 획기적인 화장품들의 효과들을 우리들에게 진실처럼 주입시킨다. ABC 차트를 이용한 이 작품은 어린아이들이 새 로운 영어 단어와 뜻을 배우는 것처럼, 현대 여성들이 화장품 효과를 나열한 이 차트를 통해 자신들의 얼굴에 무엇 이 잘못되었고 무엇을 어떻게 고쳐야 되는지를 새롭게 찾아내고 배우는 현실을 풍자하고 있다. 끊임없이 우리를 둘러싸고 있는 컴퓨터 조작된 여성의 이미지들, 에어브러쉬로 잡티 하나 보이지 않는 광고 들과 방송들 또한 현대 여성들로 하여금 흠집 없는 도자기 같은 피부를 열망하게 한다. 작가는 언제부터 이러한 노 화현상이 고쳐야하는 병으로 취급받게 되었고 왜 우리들은 세상이 만든 불합리한 미의 기준에 부응하기 위해 자연 적인 노화현상에 억지로 대항하려고 하는지를 질문한다.

Researchers have studied the concept of beauty as a factor in a person’s success. These studies have shown that attractive people are often hired sooner, get promotions more quickly, and are paid more than their less-attractive coworkers. When findings like these are published, they prompt the masses to become obsessed with appearance—an obsession that the cosmetic industry is more than happy to exploit. The beauty industry has come a long way with the development of science and technology; Enlarged pores. Fine lines. Pigmentation. Sagging. Dark circles. These are just some of the flaws that today’s cosmetic products promise to fix, but are these claims truthful or is it all merely clever marketing? Beautiful Lies explores the tyranny of the cosmetic industry and its effect on the modern woman. A commentary on the never-ending list of beauty remedies that exist in the market, this A-Z chart depicts the flaws in our faces that need to be corrected and to be improved. It also questions why these aging processes are now considered as flaws and why we are fighting against this natural process to meet the unrealistic beauty standards set by the media. Although this work applauds beauty breakthroughs, it also embodies my skeptical views towards them, and raises a persistent question about whether we are being misled by bogus scientific claims, or perhaps by something even far less tangible—hope. Beautiful Lies #02 LED Light Box 850 X 1250 mm 2014

Urich Lau

이 시리즈는 싱가포르에서 철거될 조용한 지역의 주거건물을 위한 비디오설치작업으로 시작되었다. 존재와 파괴 의 생각은 아르메니아의 잠과 죽음에 대한 민속문화에 기반을 두고 있다. Urich Lau의 비디오와 프린트를 넘나드 는 작업은 정지와 동작 사이에 엄밀하며 분열적인 움직임을 나타낸다.

The work began as a video installation for a resident building destined to be demolished. From a session with the artist’s model who were told to sleep in a pure dark space for the recording, the work aims to highlight the idea of the physicality of the human subject engulfed in an isolated space – as a void that predominates the body in single pulses that delineate the overcast of pixels in low fidelity video (electro-). The video is recorded in 24fps (frame-per-second) but edited to 240fps. Subsequent the sound and the video are in fast-motion with the model sleeping (-somnia), and the irregular motion resembles the agitated body in the time of death. Death is referenced in Armenian folk beliefs that sleeping is regarded as the dead in eternal sleep, vice versa for the living who has embraced death while sleeping. The image is extracted from the video is represented as a work in print that is laboriously transferred with acid into an overly saturated layers of inked surfaces. At this stage the stillness from the motion is transfixed as this following position and under the heavy saturation of ink.

Video Conference: Electrosomnia Video with sound 4 min, 25 sec 2013 Video Print: Electrosomnia Interlaced Xylene transfer from interlaced video on inkjet paper 151.5 x 91.5 cm 2013

Weixin Chong

Weixin Chong은 복원된 이미지와 문자를 가지고 꿈을 해석하려고 시 도한다. Re* 는 프린트와 프린트된 패키지로 구성되었고 같이 연결된 비디오작업, Dream Recall은 꿈을 묘사하는 선택된 단어를 통해 유튜 브의 자료들로 제작되었다.

Re* is a science fiction product display of a mind-enhancing software with diverse applications. Presented as packaging of the various products, and a panoramic display of large monoprints that show the software in use, like screens/ screenshots. A video collage of recaptured footage from Youtube, selected with search words from the description of a dream, as an attempt to reconstruct the dream in its various layers.

Re* Prints on paper Dimensions variable 2011

Dream Recall Video 4 min, 00 sec 2011

Curriculum Vitae

권오신 KWON Oh-Shin Education 1998 B.F.A Ewha Womans University, Seoul, Korea 2003 M.F.A Ewha Womans University, Seoul, Korea 2007 M.F.A Tama Art University, Tokyo, Japan 2010 Ph.D Tama Art University, Tokyo, Japan Selected Solo Exhibitions 2014 Neverland, Gallery DOS, Seoul 2013 un_doing the memory, E-land space, Seoul 2013 BELT competition 2013 _KWON Oh-Shin, Yoo art space, Seoul 2012 TIME CAPSULE, Gallery Namu, Seoul 2009 TIME MACHINE, SPACE 15th, Seoul 2008 TIME Travel, FUTABA Gallery, Tokyo 2006 KWON Oh-Shin Exhibition, Gallery YAMAGUCHI, Tokyo Selected Group Exhibitions 2014 GwangHwaMun Art Festival, Sejong Museum, Seoul 2014 Time That Becomes Memory, Gallery LVS, Seoul 2014 Making Print : Print Making, KDB DAEWOO Art Space, Seoul 2014 CRE8TIVE REPORT, OCI Museum, Seoul 2013 C OOL TRANSPRINT, Sema Gyunghuigung of Seoul Museum of Art, Seoul 2013 B etween mirrors infinite reversibility, EWHA Art Center, Seoul 2013 M akers in Print: International Exhibition, The Layton Gallery at MIAD, U.S.A 2012 House of Editions, Shinsegae Gallery, Seoul 2012 P rint Workshop_MULTIPLE ORIGINALS, Shinsegae Art Wall Gallery, Seoul 2012 Art Gwangju 2012, Kim, dae jung convention center, Gwangju 2012 Myself : Writing, SPACE15th, Seoul 2012 P rintmaking & Communication, Sema Gyunghuigung of Seoul Museum of Art, Seoul 2012 Being in Between, SPACE15th, Seoul 2012 B ricoleur of Sensuous, Alive Jincheon Printmaking Museum, Jincheon 2012 TAIWAN&KOREA international print Exhibition 2012, RI Gallery and other, Taipei 2011 The 16th SPACE International Print Biennial, OCI Museum, Seoul 2011 Printmaking&Information, Sema Gyunghuigung of Seoul Museum of Art, Seoul

김영훈 Kim, young-Hoon Education 1999 M .F.A., SungShin Women’s University, Printmaking Dept. Seoul, Korea 1997 B .F.A., Kangwon National University, Art Education Dept. Chuncheon, Korea Solo Exhibitions 2013 Cafe Conhas, Seoul 2013 Gallery Leebae, Busan

2012 2012 2009 2006 2002 2002 1999

Atelier turning, Seoul Simyo Gallery, Seoul Ashiya-garo, Ashiya-City Changdong Art Studio, Seoul Chuncheon Museum, Chuncheon Boda Gallery, Seoul Kepco Gallery, Seoul

Selected Group Exhibitions 2014 Printmaking, 63 Sky art Museum, Seoul 2014 Made in NY/ Made in Seoul , The Korea Society Gallery, New York 2014 Korean Contemporary Printmaking 2014-2015 in RUSSIA, Togliatti Art Museum, Russia 2014 Interpret + Look, Gallery Far Beyond, Seoul 2014 Making print : Print Mmaking, WM Class Yoksamyok Art Space, Seoul 2013 Makers in Print: International Exhibition, The Layton Gallery at MIAD, U.S.A 2012 Bricoleur of Sensuous, Jincheon Print Making Museum 2011 Asia Plate & Print Exhibition, Kuandu Museum of Fine Arts, Taipei 2011 Relationship, Gallery Art Nexus, Chuncheon 2011 Print, the beauty of patience & sublimity, Milsl Museum of Art, Seoul

김현숙 Kim, Hyunsook Education 1995 B.F.A. Painting, Ewha Womans University, Seoul, Korea 1998 M.F.A. Painting, Ewha Womans University, Seoul, Korea 2013 Ph.D. Painting, Ewha Womans University, Seoul, Korea Solo Exhibitions 2013 Re-Play: Immanent Actuality, Gallery 41, Seoul 2011 Re-Play, GYMproject, Seoul 2007 Dream Plamodel, William Morris Gallery, Heyri 2007 Dream Plamodel, Goyang National Art Studio, Goyang 2005 Plamodel Printmaking, doArt Gallery, Seoul 2004 play together, SADI Window Gallery, Seoul 2002 OO PLAMODEL, doArt Gallery, Seoul 2001 Play, SAGAN Gallery, Seoul 2000 Kim Hyun-sook, Kwanhoon Gallery, Seoul Selected Group Exhibitions 2014 New Generation & Tradition, Gyeonghuigung of Seoul Museum of Art, Seoul 2014 The Spring of Yangpyeong, Yangpyeong Art Museum, Yangpyeong 2013 Neverland, Danwon Art Museum, Ansan 2013 Garden of Confession, Gwangju Biennale Gallery, Gwangju 2013 Healing Ground, SOMA Museum of Art, Seoul 2012 Image Reconstitution, Sein Gallery, Seoul 2012 Daegu Art Factory Experimental Arts Project part 1 – Lifeness of Art, Daegu 2012 Jin-Gyeong: The True Landscape, National Museum in Krakow, Poland 2012 Printmaking & Communication, Gyeonghuigung of Seoul Museum of Art, Seoul 2012 Plastic days, Pohang Museum of Steel Art, Pohang 2012 Light Drwaing for Me 2, Gallery 27, Kaywon School of Art &Design, Uiwang 2012 AR FESTIVAL, Pajubookcity Asia Publication Culture & 50 Information Center, Paju

2011 Bricoleur of Sensuous, Alive Jincheon Print Making Museum, Jincheon 2011 Walking on the Modern Forest Street of ChungJung -Ro!, Chung Jeong Gak, Seoul 2011 Printmaking & Information, Gyeonghuigung of Seoul Museum of Art, Seoul 2011 〔Form:像 View:想〕In the Eye of Imagery, Touchart Gallery, Heyri 2011 Light Drwaing for Me, Gallery 27, Kaywon School of Art&Design, Uiwang 2011 Relationship, Gallery Art Nexus, Chuncheon 2011 Print, the beauty of patience & sublimity, Milsl Museum of Art, Seoul 2011 Print, the beauty of patience & sublimity, Milsl Museum of Art, Seoul

노상준 sangjunRoh Education 2002 University of Seoul, environmental sculpture 2005 Chelsea college of art, University of Arts London, PGDiploma Fine Art 2006 Chelsea college of art, University of Arts London, Master of Fine Art Solo Exhibitions 2011 Upset, GYM project, Seoul 2010 Giant funfair, Gallery Factory, Seoul. Selected Group Exhibitions 2014 Weaving Viewpoint, Space Cottonseed, Singapore 2014 merrymaking space, LIG art space, seoul 2014 small is beautiful, Gana art gallery, busan 2013 Neverland, Danwon art museum, Gyeonggi-do 2013 1212@space bm, space bm, seoul 2013 From l to I, Exco(Daegu Exhibition & Convention Center), Daegu 2013 Korea tomorrow, Seoul Arts Center Hangaram museum, Seoul 2013 Lee Eugean Gallery’ collection show, Seoul 2013 New paper, Space K, Kwang-ju 2013 Slow Art, Lio Gallery, Gyeonggi-do 2013 Lee & Park Gallery, Gyeonggi-do 2012 UNO Show1, Kangnamgu, shinsadong, 545-1, Seoul 2012 Love is all around, Jangheung artpark museum, Gyeonggi-do 2012 Healing camp, Gana art center, Seoul, Korea 2012 GANA atelier report exhibition ,Jangheung artpark museum, Gyeonggido 2012 YiInjeon, Eugean gallery, Seoul 2012 Unrealistic zoo,Lotte Gallery, Kyunggido 2011 Color ball_Let it be, Powerless Gallery, Seoul 2011 Oblique Narratives, Tomio Koyama Kyoto Edition, Kyoto 2011 Fly to the sky, Moran museum, Kyunggido 2011 Sublimation, Space can, Seoul 2011 Parts ang Whole, Hiromi yoshii Gallery, Tokyo

문형민 hyungmin Moon Education B.F.A. Art Center College of Design, Pasadena, California M.F.A. California State University, Los Angeles, Los Angeles, California Solo Exhibitions 2014 era of foraging, Aando Fine Art, Berlin 51 2014 by numbers, Space Cottonseed, Singapore

2008 2005 2004 2002 2002

dumb Project: vol. 01, Gallery Seomi & Tuus, Seoul Lost in Supermarket, Gallery Ssamzie, Seoul Unknown City, Sungkok Museum of Art, Seoul 9 Objects, Insa Art Center, Seoul Window Gallery, Gallery Hyundai, Seoul

Selected Group Exhibitions 2014 Well-Constructed, Aando Fine Art, Berlin 2014 The Meaningful Patterns, Art Center Whith Block, Paju 2013 Show Must Go On, Praxie Space, Singapore 2013 Nivatour 2, Total Museum of Contemporary Art, Seoul 2013 Barter Center for Images of Corea Campanella, Mozart Hall, Hotal Amadeus, Venice 2012 Road to 12,104 Miles, Palais De Glace-Placio Nacional De Las Artes, Buenos Aires 2012 Prelude, Space Cottonseed, Singapore 2012 Nomadic Report 2012, Part II, China: Two Weeks’ Vacation, Arko Art Center, Seoul 2012 Sema 2012, Seoul Museum of Art, Seoul

백승우 Seung Woo Back Education 2000 B.F.A. in Photography, ChungAng University, Seoul, Korea 2002 M.F.A. in Photography, ChungAng University, Seoul, Korea 2005 M.A. in Fine Art and Theory, Middlesex University, London, U.K. Selected Solo Exhibitions 2012 Gaps, Unrealistic Generals, Gana Art Center, Seoul 2012 Memento, Doosan Gallery New York, New York 2011 Deferred Judgement, Art Sonje Center, Seoul 2011 Blow Up, Misashin Gallery, Tokyo 2010 lwoo Phtography Award Exhibition, Ilwoo Space, Seoul 2009 Revised Ideal, Gana Art New York, New York 2007 Real World, Insa Art Space, Seoul 2007 Real World, Foil Gallery, Tokyo 2006 Blow up, Gana Beaubourg Gallery, Paris Selected Group Exhibitions 2014 SEMI CLOSE UP, 149-11 Donggyo-dong, Seoul 2014 Photography and Media - 4:00 AM, Seoul Museum of Art, Seoul 2014 Five Views of the Korean Peninsula, noorderlicht gallery, Groningen 2013 Photography and Society, Daejeon Museum of Art, Daejeon 2013 Relativity in City, Total Museum of Contemporary Art, Seoul 2013 The MMCA Construction Archive Project, Museum of Modern and Contemporary Art, Seoul 2013 AIR 3331 × MIK: Made in Kanda, Art Chiyoda 3331, Tokyo 2013 Real DMZ Project-From the North, Art Sonje Center, Seoul 2013 In Search of Lost Time, OCI Museum, Seoul 2013 WAR+MEMORY, Jeonju Photo Festival, Jeonju 2013 Cities of Ancient Futures, Changwon Asian Art Festival-Sungsan Art Hall, Changwon 2013 Succeeding, TOPOHAUS ART CENTER, Seoul 2012 Being Political Popular, UCI Museum, Irvine,CA 2012 Garden of learning, Busan Biennale, Busan 2012 The Magic of Photography, Daegu Photo Biennale, Daegu 2012 Re-Opening DOOSAN Gallery Seoul, DOOSAN Gallery, Seoul 2012 Camera - Human beings, IGONG GALLERY, Daejeon 2012 More Real? Art in the Age of Truthiness , SITE Santa Fe, Santa Fe 2012 More Real? Art in the Age of Truthiness, Minneapolis Institute of Art Museum, Minneapolis 2012 Real & Illusion, Seoul Auction, Seoul 2012 The Power of Photography analog & digital, Trunk Gallery, Seoul

2011 Seoul Photo Festival, Seoul Museum of Art, Seoul 2011 the 8th Juan Media Festival 2011, Juan station Square, Incheon

안세은 An Se-Eun Education 1994 B.F.A in Painting, Ewha Woman’s University, Seoul, Korea 1996 M.F.A in Painting, Ewha Woman’s University, Seoul, Korea 2000 M.F.A in New Forms, Pratt Institute, New York Solo Exhibitions 2012 Floating Between, Nest Gallery, Geneva 2010 Disposable Identity, Gallery Kong, Seoul 2008 Disposable Identity, Gallery Grimson, Seoul 2005 Where am I?, UN Center, Vienna 2001 Perfect World, Keumsan Gallery, Seoul 2000 Perfect World, Steuben East Gallery, New York 1996 Creating a World, Icon Gallery, Seoul Group Exhibitions 2014 Weaving Viewpoint, Space Cottonseed, Singapore 2014 Multiple Languages, Silverlens Galleries, Manila 2014 Unbearable Lightness of Being, Finale Art File, Manila 2014 Cool Memories, Light & Space Contemporary, Manila 2014 Recent Works, Light & Space Contemporary, Manila 2014 Reload, Project Space Pilipinas, Quezon 2012 NordArt, KunstwerkCarlshütte, Büdelsdorf 2012 Layer & Grain, Space Haam, Seoul 2012 Myself: Writing-Inscribed Scene, Space 15th, Seoul 2011 R eport on Remembrance and Healing, Korean Cultural Center, Berlin 2011 Purpose of Life, Pohang Museum of Steel Art, Pohang 2011 Whole Different Animals, Gallery Cha, Seoul

이승아 Seungah Lee Education 1998 B.F.A., Painting, Ewha Womans University, Seoul, Korea 2002 M .F.A., Painting & Printmaking, Ewha Womans University, Seoul, Korea 2006 Diploma, Contemporary Theory, Goldsmiths College, University of London, UK 2007 M .A., Interactive Media, Cultural Studies, Goldsmiths College, University of London, UK 2010 P h.D., Completion of Course work, Ewha Womans University, Seoul, Korea Solo Exhibitions 2013 Space15th, Seoul, 2012 Objectifs, Singapore 2008 Art Cube Gallery, Seoul 2008 Gallery Dam, Seoul 2007 APT Gallery, London 2005 Seo Gallery, Seoul 2004 Keumsan Gallery, Seoul Selected Group Exhibitions 2014 Weaving Viewpoint, Space Cottonseed, Singapore 2014 2 1st Century Contemporary Prints, City Museum, Space of Kyung-Hee Palace, Seoul 2014 DRIVe, Gilman Barracks Art town, Singapore 2014 49 going to 50, space Art21one, Singapore

2014 Cool Memories, Light & Space Contemporary, Manila 2014 Unbearable lightness of being, Finale Art File, Manila 2013 Show Must Go On, Institute of Contemporary Arts Singapore 2013 New Collections, Park Soo Keun Museum, Kangwondo 2013 Cool Transprint, City Museum, Space of Kyung-Hee Palace, Seoul 2013 Panoramic Imprint, Substation, Singapore 2013 Between Mirrors: Infinite Reversibility, Ewha Art Center, Seoul 2012 Print and Communication, City Museum, Space of KyungHee Palace, Seoul 2011 Eye pumping, Goodman arts center, Singapore 2011 New Image, New Usage, The History of Korean New Media Art, I-gong theater, Seoul 2011 Korea Art Today, Korean Cultural Center, Sydney 2011 Digital four Senses, Hanbit Media Gallery, Seoul

임자혁

Yim Ja-hyuk

Education 1999 BFA in Painting, Seoul National University, Seoul, Korea 2001 MFA in Printmaking, Seoul National University, Seoul, Korea 2003 MFA in Painting, Cranbrook Academy of Art, Bloomfield Hills, USA Solo Exhibitions 2012 Wonder World, Leehwaik Gallery, Seoul 2010 Breeze, Johyun Gallery, Seoul 2007 Peripheral Vision, Gallery Shilla, Daegu 2006 Yim Ja-hyuk Drawings, Keumho Museum of Art, Seoul 2005 Bone in a Cloud, Brain Factory, Seoul 2004 Something, Everything, or Someone, Once Existed, Now Disappearing, Keumsan Gallery, Seoul 2001 Yim Ja-hyuk, Keumsan Gallery, Seoul Selected Group Exhibitions 2013 Girl’s Generation, Space Cottonseed, Singapore 2012 Flower in the Moment, OCI Museum of Art, Seoul 2012 Draw, Gallery Royal, Seoul 2012 Kumho Young Artists 45, Kumho Museum of Art, Seoul 2011 About Seeing the Painting, Gallery Zandari, Seoul 2011 Homage to Morandi: Essence of Art, Brain Factory, Seoul

장양희 YangHee Chang Education 1998 B.F.A. in Painting, College of Fine Arts, Seoul National University, Korea 2002 M.F.A. in Painting (Printmaking), College of Fine Arts, Seoul National University, Korea 2011 Candidate for Ph.D. course in Fine Art, Seoul National University, Korea Solo Exhibitions 2014 UNCERTAIN BEING, hole and corner M, Gwangju 2013 BEING, Cyartgallery, Seoul 2012 SHADOWY FIGURES, Gallery Grimson, Seoul 2011 LANDSCAPE-alized BODY, Gallery Chosun, Seoul 2010 SIGN OF BODY: Anonymous faces, Gallery Id, Cheongju 2010 ANONYMOUS FACE : Belt 2010, topohaus, Seoul 2007 ANONYMOUS FACE : Asian Young Artists, UV house, Heyri52

2005 ANONYMOUS FACE, Seizy Green Tea, Seoul 2005 DRAW MYSELF, Lamer Gallery, Seoul

2004 Master of Fine Arts in Fine Art, School of Visual Arts, New York, USA

Selected Group Exhibitions 2014 21st Century Contemporary Prints, Gyeonghuigung of Seoul Museum of Art, Seoul 2014 Engagement’s Response in 2014, Gallery Insa, Seoul 2013 Day off, Gallery Hoyeon of Kyonggi Univ., Suwon 2013 Verbal & Non Verbal, KiMi Art, Seoul 2013 Greetings from South Korea, Luciano Benetton Project 2013 Cool Print, SeMA Gyeonghuigung of Seoul Museum of Art, Seoul 2013 Drawing, Birth of Thinking: Pre_Biennale, Baek Soon Shil Museum, Heyri 2012 Printmaking & Communication, SeMA Gyeonghuigung of Seoul Museum of Art, Seoul 2011 Bricoleur of Sensuous: Proposition for Discourse in Korean Contemporary 2011 Prints, Alive Jincheon Print Making Museum, Jincheon 2011 Printmaking & Information, SeMA Gyeonghuigung of Seoul Museum of Art, Seoul 2011 R elational: Human being & Engraving, Gallery Wooduk, Seoul 2011 Collage of Memories, Soka Art Center, Beijing 2011 At the Junction between Light & Color, Interalia, Seoul 2011 Intuition, Hakgojae, Seoul 2011 Moonjibang, Art+Lounge Dibang, Seoul

Solo Exhibitions 2013 Extraordinary + Ordinary, Mixed Green gallery, New York 2012 Convergence, Kwangju arts foundation, Kwangju 2009 Mindless Particles, H.P.FRANCE GALLERY in Marunouchi, Tokyo 2008 WonJung Choi, Real Art Ways, CT 2006 Exodus of Dinosaur, PH Gallery, New York

정명국 JUNG MYOUNG GUK

Selected Group Exhibitions 2014 Weaving viewpoint, Space Cottonseed, Singapore 2013 Tandem Pursuits: Armor & Ichthyology, Wave Hill, New York 2011 Swarovski + Bazaar 20th anniversary project, Hearst building, New York 2011 Designblok, Crème de la Crème, Prague, Czech Republic

Justin Lee Education 1985 Certificate in Graphic Design, Pa-Lin Art School, Singapore 1996 Advance Certificate in Retail Merchandising Lasalle International Fashion School (part-time) Singapore 1996 Certificate in painting, Nanyang Academy of Fine Art, Singapore 1999 Diploma in Fine Art, Lasalle-SIA, College of the Arts (Painting)-Singapore (RMIT, Australia) 2006 Bachelor of Arts, University of Huddersfield, UK. (BA degree in Painting)

Education 1994 B.F.A. College of Fine Art, Sejong University (Painting) 2001 M.F.A. Sungshin Women’s University (Printmaking)

Solo Exhibitions 2012 Ten Years of Art and Craft, Art Seasons Gallery, Singapore 2012 photography and installations, Esplanade Tunnel, Singapore

Solo Exhibitions 2013 What’s this?, Gallery Gabi, Seoul 2012 One’s eyes, Space Mom Museum of art, Cheongju 2010 ON MASK, INSA art Center Gallery, Seoul 2009 Thought of take dictation2 , Munhwailbo Gallery, Seoul 2008 I Love a tree, 4art Gallery, Seongnam 2008 Thought of take dictation1, Kwanhoon Gallery, Seoul 2008 MANIF14!08 Seoul Art Fair, Art Center, Seoul 2006 Semiautomatic Machine, With white Gallery, Seoul 2001 black and white a photograph, Hanjun Gallery, Seoul 2000 Traces, Gallery lux, Seoul 1998 Speed-car, Kwanhoon Gallery, Seoul

Group Exhibitions 2014 Weaving Viewpoint, Space Cottonseed, Singapore 2013 NAFA 75 Anniversary show- Made in Singapore, Singapore 2013 2 Artists residency art show- Robotic Love, Youkobo Art Space, Tokyo 2013 CausewayEXchange-2013, group show, Penang 2013 Big SMALL show - group show, Art Seasons Gallery, Singapore 2012 Every Thing Matters, Singapore Art Museum, Singapore 2012 Singapore International Foundation’s (SIF) Diverse City, 8Q, Singapore 2012 Rover Artist, Performance art-Night Festival 2012, Substation, Singapore 2012 Art Garden –The Art of Imagination, Singapore Art Museum, Singapore 2012 Roots, group exhibition, National Library Board, Singapore 2012 Itoshima Arts Farm 2012, Itoshima, Fukuoka 2012 Buy Bye, Vue Piree Gallery, Singapore 2012 Roots, Old School-2902, Singapore 2012 Sense, Residency Art Show – Studio Kura, Itoshima, Fukuoka 2011 Replay, Alliance Française, Singapore 2011 Now you see it, now you __, Volvo Showroom Loft, Singapore 2011 INSTINC Square Invasion-group show, Instinc, Singapore 2011 CausewayEXchange-2011, KLPAC-Kuala Lumpur Performance Art Centre 2011 Life After Death, Art installation, Asia Civilizations Museum, Singapore 2011 Art Garden, Singapore Art Museum 2011 Apad’s 37th Art Exhibition, Contemporary 2011, National Library Building, Singapore

Selected Group Exhibitions 2014 Cars, Haslla art world, Gangneung 2014 3D PRINT-ING & ART, Savinamuseum, Seoul 2013 CAR STORY, Artpactory, Heyri 2012 Sung shin 30, Gallery Palaisdeseoul, Seoul 2012 Jin-Gyeong, National Museum, Krakow 2012 MAKESHOP TOP10, Makeshop art space, paju 2011 Miss Hong play the guitar, Ilhyun Museum, Yanyang

최원정 WonJung Choi Education 2000 Bachelor of Fine Art in sculpture, Hong-ik University, Seoul, Korea 2002 Master of Fine Arts in Sculpture, Hong-ik University, Seoul, 53 Korea

2011 H ungry For More, Ion Art Gallery, Ion Orchard, Singapore 2011 Wok of Life - group show, Your Mother Gallery, Singapore 2011 Asia Pulse, 10+1Art Tactic-2011, Bangkok Art and Culture Centre, Bangkok. 2011 Now Boarding, Gift Art, Singapore

Lim Shengen Education 2007 D iploma in Fine Arts, Painting, Lasalle College of the Arts, Singapore 2008 B .A. Hons Fine Arts, Lasalle College of the Arts, Singapore 2014 C ertificate in Korean Language, Korean Institute of Language, Sunmoon University, Asan, South Korea 2015 M asters in Culture Technology, KAIST, Daejeon, South Korea Exhibitions 2013 The Artist Village SHOW, Institute of Contemporary Art, Singapore 2013 Open Studios, Changdong National Art Studios, Seoul 2013 C OS.MO’, Brother Joseph Mcnally Gallery, Institute of Contemporary Art, Singapore 2013 S amsung Masterpieces, Stamford Gallery, National Museum of Singapore, Singapore 2013 Let Them Eat Cake, myVillage L3 rooftop, Singapore 2013 The Future of Museum: Techno Imagination’ Ulsan Culture and Art Center, Ulsan 2013 The Imaginarium of Shennanigen, iGONG Theater, Seoul 2013 Vulnerable Failures, Changdong National Art Studios, Seoul 2013 E xiled Prophet, A Constructed World:, Geumcheon Seoul Art Space, Seoul 2013 F or the Jettisoned and the Scattered – an exhibition and gestures’ Geumcheon Seoul Art Space, Seoul 2013 The Imaginarium of Shennanigen, Samsung Masterpieces, Singapore and Seoul 2013 The Stranger, Loop Gallery, Seoul, South Korea 2013 TAV Presents – A Letter to Dawu, Substation Gallery, Singapore 2013 S mall Singapore Show - Dummy Grenades, Kanto Gallery, Makati 2013 A Singaporean Haunting, Cups N Canvas gallery, Singapore 2013 F LOW Festival - Paying a tribute to Han River with Bengawan Solo, Golmok Gallery, Seoul 2013 P ARALLAX – Between_Borders: Singapore_China, ICA Gallery 1, Institute of Contemporary Art, Singapore 2012 M irror of Otherness: China – Singapore Video Art Exhibition, Gaodi Gallery Shenyang Arts Centre, Shenyang 2012 D ecode/Recode, Lasalle College of the Arts, Singapore, live streaming to Salford University 2012 The Lecher of Art – The Mad Conferences of Professor Ma, Substation Singapore 2012 S alon 1112: It’s about the small things..., Earl Lu Gallery, Institute of Contemporary Art, Singapore 2012 Videologue, East Coast Park, Singapore (After Sugimoto), Institute of Contemporary Art, Singapore 2011 C hristmas Tree, O, Christmas Tree, Marina Bay Sands, Artscience Museum, Singapore 2011 Transposition: Stormspotters, Project Space, Lasalle College of the Arts, Singapore 2011 Moments, Geek Gallery, Singapore 2011 Videologue: Camera Obscura, Sunshine Museum of Contemporary Art, Beijing, China 2011 S ingapore Fringe Festival - Education, Void: Utopia, Singapore Art Museum, Singapore

Lynn Lu Education 1999 Bachelor of Fine Arts. Carnegie Mellon University; Pittsburgh, Pennsylvania USA 2002 Master of Fine Arts. San Francisco Art Institute; San Francisco, California USA 2004 Post-graduate research. Tokyo National University of Fine Arts and Music; Tokyo, Japan 2008 PhD (ABD). Musashino Art University: Imaging Arts and Sciences; Tokyo, Japan 2010 Doctor of Philosophy. University of Newcastle: School of Drama, Fine Art & Music; Newcastle, Australia Exhibitions 2013 Art Nomade, Langage Plus, Alma; La Pulperie, 2013 Chicoutimi; Gallerie SAW, Gatineau; FADO Peformance Art Centre, Toronto 2013 In Confidence, Perth Institute of Contemporary Arts (PICA); Perth 2013 IN>TIME, DEFIBRILLATOR; Chicago, Illinois 2013 Being in love is like feeling the sun from both sides, The Curb Center Vanderbilt University, Tennessee 2012 Future Proof, Singapore Art Museum; Singapore 2012 SPILL Festival of Performance: National Platform, Ipswich Art School Gallery; Ipswich 2012 E n c o u n t e r (curatorial project), Southampton Solent University; Southampton, 2012 New Performance, Brinkkala Gallery, Gallery Berner, Titanik Gallery; Turku 2012 IKRA Performance and Dance Festival; Sverigefinska folkhögskolan; Haparanda 2012 P r o x i m i t y (curatorial project), Southampton Solent University; Southampton 2012 Parlour Jardin, Oxford Botanical Garden; Oxford 2011 The Secret Language of Flowers, Andipa Contemporary; London 2011 TINA B Prague Contemporary Art Festival, The former Czech Museum of Fine Art; Prague 2011 la carte de tender: Lynn Lu + Andrée Weschler, Substation Theatre; Singapore 2011 Infr’Action ‘11, Open Space Gallery; Sète 2011 A Crossroads, Institute of Contemporary Arts (ICA); Singapore 2011 OH! Open House, six private homes in Marine Parade; Singapore 2011 2 Nights with 2 Gyrlz (in collaboration with Samantha Sweeting), Performance Space, London 2011 LAPSody, Theatre Academy; Helsinki 2011 Where Land Meets Water, Southampton Solent University; Southampton, 2011 InterChange, Chan Hampe Gallery; Singapore

Miguel Chew Education 1996 Diploma in Fine Art (Printmaking), LASALLE College of the Arts, Singapore 1997 Bachelor of Arts Fine Art (Printmaking), Royal Melbourne Institute of Technology University, Australia 2002 Master of Arts (Fine Art), Royal Melbourne Institute of Technology, Australia 2005 Postgraduate Diploma of Teaching in Higher Education, 54

National Technological University - National Institute of Education Solo Exhibitions 2008 Perception is a Delusion, Jendela Esplanade, Singapore 2005 Perception, Plastique Kinetic Worms, Singapore 2000 PEOPLE 2000, Plastique Kinetic Worms, Singapore Selected Group Exhibitions 2013 The Masterpieces, Stamford Gallery, National Museum, Singapore 2013 Flagship Genius, Lim Hak Tai gallery, Singapore 2012 Locals Only, Taksu Gallery, Singapore 2011 Sooner Or Later This Happens To Everyone, Everyone, Lim Hak Tai gallery, Singapore

Shinyoung Park Education 1994 Lynfield College, Auckland, New Zealand 1998 B.F.A. Elam School of Fine Arts, University of Auckland, New Zealand 2003 M.F.A. Elam School of Fine Arts, University of Auckland, New Zealand Solo Exhibitions 2012 Label Me, Space 15th, Seoul, Korea 2005 Contemporary, Artspost, Hamilton 2004 Blind Nation, Corban Estate Arts Centre, Auckland 2004 ing, The Edge, Aotea Centre, Auckland Selected Group Exhibitions 2014 The first encounter, the beginning of ‘empty’ friendship’, Incheon Art Platform 2014 Weaving Viewpoint’, Space Cottonseed, Singapore 2013 Panoramic Imprint, The Substation, Singapore 2013 22nd Annual Wallace Art Awards 2013’, Auckland 2013 Near and Dear Objects, 7 Adam gallery & Art on gallery, Singapore 2012 T he Sovereign Asian Art Prize, Marina Bay Sands, Singapore 2012 R.E.D. (Reality Equals Dream), ION Art Gallery, Singapore 2012 Yeosu International Art Festival, GS Caltex Yeul Maru, Yeosu 2012 Trace Back, Chang Dong Art Studio, Seoul 2011 2nd Small Sculpture Show 2011, Sculpture Square, Singapore 2011 UNIFEM S.N.O.W 2011 Gala Benefit, Capella, Singapore 2011 Eye Pumping, Goodman Arts Center, Singapore

Urich Lau Education 1997 Diploma of Visual Art (Painting), Lasalle–SIA College of the Arts, Auckland, Singapore 2001 Bachelor of Fine Arts, University of Tasmania, Australia 2004 Master of Fine Art, Royal Melbourne Institute of Technology, Australia Solo Exhibitions 2013 Persistence of Vision, Space Cottonseed, Singapore 2013 Life Circuit 5.0, Noxious Sector Projects, Seattle Washington 2013 Video Conference: Exposition 3.0, Creative Cube, LASALLE 55 College of the Arts, Singapore

2012 Focal Point – Verve, The Arts House, Singapore Selected Group Exhibitions 2013 Singapore Biennale 2013, Singapore Art Museum 2013 VII Tashkent International Biennale of Contemporary Art, Art Gallery of Uzbekistan 2013 Masterpieces – Singapore’s Leading Digital Art Exhibition, National Museum of Singapore 2013 COS•MO, Brother Joseph McNally Gallery, Institute of Contemporary Arts Singapore 2013 The Under 100 Show, Goodman Arts Centre Gallery, Singapore 2013 Intimate Moments with Singapore, Platoon Kunsthalle – Berlin 2013 Arts Night Crawl, Aliwal Arts Centre, Singapore 2013 The Artists Village Presents, The Substation, Singapore 2013 DAW Singapore 2013, Goodman Arts Centre and Cups N Canvas Gallery, Singapore 2013 Small Singapore Show, Kanto Gallery, Manila 2012 Project Glocal – Dezipcoding, 8Q SAM (Singapore Art Museum) 2012 Project Glocal – Cityzening, Jorge B. Vargas Museum, University of the Philippines 2012 Suito Osaka – Ustream Art, Tasuno Hirano Machi Gallery, Osaka 2012 Decode/Recode, LASALLE College of the Arts, Singapore 2011 ETERNITY – 2nd Experimental Film Forum 2011, The Substation Theatre – Singapore 2011 All Woks of Life, Your Mother Gallery, Singapore 2011 DiverseCity , School of the Arts Gallery, Singapore

Weixin Chong Education 2010 Bachelor of Fine Arts, LASALLE College of the Arts, Singapore 2014 Master of Art, Royal College of Art, London Solo Exhibitions 2011 Re*, solo exhibition in Trispace, Institute of Contemporary Arts Singapore Selected Group Exhibitions 2013 Panoramic Imprint, Printmaking Society Singapore exhibition, The Substation (Singapore) 2013 In-Visible, Royal College of Art Faculty of Printmaking exhibition, Cafe Gallery (London) 2013 School of Fine Art Work-In-Progress Show, group exhibition, Royal College of Art (London) 2012 Stone Encounters, lithography exhibition, LASALLE College of the Arts (Singapore) 2011 100 Friends 100 Faces, exhibition for Phunk Studio Transmission Lab, Lasalle (Singapore) 2011 Etiquette II, curated by Zarina Muhammad and Tania de Rozario, The Substation 2011 rtf(x), Light Editions Gallery, by Galeri Chandan (KL) in conjunction with the Singapore Biennale 2011 The Infinite Supply, Praxis Space, LASALLE College of the Arts (Singapore)

The Third Print 20 November – 10 December 2014, Total Museum of Contemporary Art, Seoul, Korea

Curated by

Seungah Lee, Urich Lau

Organized by Total Museum of Contemporary Art Sponsored by The Seoul Special City, Seoul Foundation for Arts and Culture, Arts Council Korea, National Art Council Singapore, LASALLE College of the Arts Participated artists: KWON Oh-Shin, Kim, young-Hoon, Kim, Hyunsook, sangjunRoh, hyungmin Moon, Seung Woo Back, An Se-Eun, Seungah Lee, Yim Ja-hyuk, YangHee Chang, JUNG MYOUNG GUK, WonJung Choi, Justin Lee, Lim Shengen, Lynn Lu, Miguel Chew, Shinyoung Park, Weixin Chong, Urich Lau Book Credit Edited by Seungah Lee Photographed by Artists, unless stated. Designed by The object Produced & Published by Seungah Lee, Total Museum of Contemporary Art First printed on Dec 8, 2014, Euteum Process Print (Rendezvous paper 240g 130g)

© 2014 by Seungah Lee, Total Museum of Contemporary Art All rights reserved. No part of this publication may be reproduced or transmitted in any form by electronic or mechanical means including photocopying, recording, or any other information storage and retrieval system without permission from copyright holder.

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