Euyoung Hong,홍유영

GCC Festival Exhibition

In Quiet Silence and Heavy Sea MistGCC Gallery I2018. 9. 18 (Tue) - 11.11 (Sun)

Quiet Riot, Opening Reception at Tina Keng Gallery, Taiwan

May 12, 2018, 4:30 p.m.TKG+ Project, Tina Keng Gallery, Taipei, Taiwan2F, No.15, Ln. 548, Ruiguang Rd., Neihu Dist., Taipei 114, Taiwanwww.tinakenggallery.com

Quiet Riot

May 12 - July 15, 2018Opening reception｜May 12, 2018, 4:30 p.m.Curated by Chen Wei-Ching, JoanneVenue:TKG+ Project, Taipei, Taiwan2F, No.15, Ln. 548, Ruiguang Rd., Neihu Dist., Taipei 114, Taiwan Gallery hours｜TUE - SUN. 11 a.m. - 7 p.m.Sponsor｜The Taipei City Department of Cultural AffairsParticipating Artists: Nobutaka AozakiChiu Chen-HungEuyoung HongJames Ming-Hsueh LeeLiu HojangCinthia Marcelle & Tiago Mata MachadoQuiet Riot explores how to engage in social practice in a nuanced and subtle manner, and to develop it into an art form of social intervention, in the face of the current social predicament of anxiety, uncontrollability, and threats. In a seemingly conforming, but in fact tactful and adaptable preparatory state, the works on view embody the artists’ observation of the encroaching global capitalism in today’s unstable political situation. The exhibition re-examines our familiar state of affairs and objects from diverse points of view, investigates the construction and camouflage of the everyday, as well as our perception of contemporary life and the inconsistencies therein. Featuring six (group) artists, respectively from Brazil, Korea, Taiwan and Japan, this exhibition adopts an indirect and lighthearted — rather than critical — approach in an attempt to identify disorder within order, to react and adapt, to manifest a tenacity and a reactionary spirit, in the hope of finding possibilities for systematic change, reasons for existence, and ways for coexistence.In the covert corners of life, encroached by anxiety and disturbance, radical rebellion may lead to forced repression, but alleviated voices that resist flexibly could elicit prolonged thinking. Brazilian artist Cinthia Marcelle and director Tiago Mata Machado coproduced the video The Century, 2011, reflecting social injustice and lost ideals. In the video, countless everyday objects are thrown out from the street corner, to reveal the filthy and fragile sovereignty of our time through their violent beats and strikes. The video resembles a piece of music of social practice that condemns the rapid development of Brazil. James Ming-Hsueh Lee has long been known for his humorous revisits of objects in life’s surroundings and his new venture on established meanings and values. His work Imperceptible Violence studies the bounded seesaw relationship and tense situation of men and objects, of objects and objects in varied spheres. The new work of Liu Hojang, titled Premixed Cement, collects unresolved questions such as the substitution of artistic expressions, the beginning and ending of ecological collapse, and the unceasing uncontrollability of the material. The unset concrete is analogous to the restless equilibrium system, striving for final resistance before solidification. Chiu Chen-Hung’s new work light trail aims at enhancing the possibilities of encounter between everyday objects and space. The natural light in the exhibition space fuses with the light and shadow created by the artist, hiding our perception of the space underneath various temporal and spatial grooves. The work preserves a direct but gentle confrontation, mistily scattered around the exhibition area. The artists investigate actions of social practice taken against Capitalism through everyday materials. They also expose how habitual thinking in contemporary life responds to the radical changes in society and then proceed to self-introspection in search of the value of existence. Nobutaka Aozaki’s Value_Added #240950 is an ongoing performance. It questions the daily system of consumption, trying to find a limited space of imagination within the mechanism through the artist’s intervention. The artist takes a can of corn to 110 supermarkets and repurchases it. In the hyper-marketed product circulation and the orderly structure, the system is severely ossified and we cannot identify where the item belongs. The selling price of the item at different locations reveals the economic structure of the city. Korean artist Euyoung Hong’s installation (Un)balanced explores the changing meaning and function of objects in particular relation to the system of value in the regime of capitalism. Commodities of equal price but unequal quantity are placed on two ends of the steel plates to achieve a fragile balance. The value of the products fluctuates according to complex social and economic factors such as wages, labor maintenance, technological innovation, the price of land use, and market conditions. The asymmetrical structure of economic domination and the unbalance of value system denotes the origin of social injustice in capitalist society.Through different cultural upbringings and experiences of intervention into daily life’s mechanism, the five participating artists examine and respond to the social, economic, and political unbalances triggered by globalization. They counteract formalism and bring art into contact with our life at the moment through subversive and informal practices, various aesthetic operations, the appropriation of urban spaces, and the creation of new languages. In addition, they propose the possibility and necessity of systematic revolution, and the condition of our coexistence, regarding the privilege of philosophical expression and discursive language, as well as how to manifest our reflexive spirit outside of the existing discourse.About the artistsNobutaka Aozaki(b. 1977 in Kagoshima, Japan) lives and works in New York Nobutaka Aozaki is a New York-based artist born in Kagoshima, Japan. He completed his MFA at the Hunter College in 2012. He has been awarded the Artist Files Grant from A Blade of Grass Foundation, the C-12 Emerging Artist Award from the Hunter College, and the Artists’ Fellowship from the New York Foundation for the Arts. His work has been shown at Brooklyn Museum, New York; Queens Museum, New York; ISCP, New York; Temple Contemporary, Philadelphia; Varmlands Museum, Sweden; SPIKE, Berlin; and Statements, Tokyo. He has participated in the Skowhegan School of Painting and Sculpture, the Queens Museum Studio Program, AIM program at the Bronx Museum of the Arts, and LES studio program at Artist Alliance Inc. He is currently in the LMCC’s Workspace Residency program. Recent publications include Spike Art Quarterly, New York Times, Huffington Post, Hyperallergic, ArtAsiaPacific, and Cabinet Magazine.Chiu Chen-Hung(b. 1983 in Taiwan) lives and works in Taipei and Hualien, Taiwan Chiu Chen-Hung completed the graduate program in plastic arts at National Taiwan University of Arts in 2008. His works are primarily presented in the framework of installation and sculpture. Like conducting an archeological expedition, he is especially proficient in excavating remaining outlines and imprints from bygone time and space. Through his practice of abstraction and reinterpreting both designed and rationalized logics, he vividly reshapes these existed objects and thus develops a vast memory restoration.Important exhibitions Chiu participated in include the Greater Taipei Biennial of Contemporary Arts, National Taiwan University of Arts(2016); Taiwan Biennial, National Taiwan Museum of Fine Arts (2016); Rencontres Internationales Paris/Berline/Madrid (2015); Liverpool Biennial: City States (2012); ThaiTai: A Measure of Understanding, Bangkok Art and Culture Centre (2012; Une terrible poetique, La Biennale de Lyon, Galerie Olivier Hong (2011); Arte da Taiwan, Museo di Arte Contemporanea di Villa Croce, Genova (2011); Taiwan Calling — The Phantom of Liberty, Mucsarnot Museum, Budapest (2010), among others. In 2012, he participated in the residency program at Cite internationale des arts Paris. Euyoung Hong(b. 1975 in Seoul, Korea) lives and works in London and Seoul.Euyoung Hong, Ph.D. is an artist and researcher. Hong graduated in sculpture from the Ewha Womans University, Seoul in 1998, and was awarded an MA and MFA in sculpture by the University of Iowa, U.S.A. in 2002. She completed her PhD without any amendment at the Goldsmiths College, University of London in 2013. She received many prestigious grants and prizes, provided by the Gyeonggi Cultural Foundation, Gyeonggi; the Pollock-Krasner Foundation, New York; Second Prize, Premio Fondazione Arnaldo Pomodoro, Milano; and Paradise Culture Foundation, Seoul. In 2018, she was selected for the Artist of the Year by the Korean Cultural Center in Washington, D.C. She has exhibited nationally and internationally, with Saatchi Gallery, London; Metropolitan Arts Centre (MAC), Belfast; Youngeun Museum of Contemporary Art, Korea; Gallery Hyundai, Korea; National Museum of Contemporary Art, Korea; CICA Museum, Korea; International Studio & Curatorial Program (ISCP), New York, and many others. She was an artist in the 11th term of the SeMA Nanji Residency, run by the Seoul Museum of Art, Seoul in 2017. She is currently participating in an artist residency at the Gyeonggi Creation Center, Gyeonggi. She published a peer-review book, The Spatial Politics of the Sculptural: Art, Capitalism and the Urban Space (2016). She is a part-time lecturer at the Ewha Womans University, Seoul.James Ming-Hsueh Lee(b. 1978 in Taiwan) lives and works in Taipei, Taiwan James Ming-Hsueh Lee is the 2005 Taipei Arts Award First Prize winner and received his Ph.D in 2013 from the Loughborough University, U.K. He has rich experience in exhibitions both at home and abroad. Recently, selected exhibitions include “2016 Taipei Biennial” and “The Testimony of Food: Ideas and Food” in Taipei Fine Arts Museum, “RIVER— The Way of Living in Transition Asia Contemporary Art Links” in Gwangju Biennial Gallery 1, “Things Wholesale” in Kuandu Museum of Fine Arts, “Other Landscapes” in La Rotonde Place Stalingrad in Paris, “0 & 1: Cyberspace and the Myth of Gender” in 501 art contemporary art center in Chongqing, “Simply Screen: In-between of Asia” in M.P Birla Millennium Art Gallery in London and Tanzfabrik Transart Institute in Berlin. James Ming-Hsueh Lee’s works often center on the objects found in the stores. He searches for alternative meanings in relation to art contexts. With a penetrating sense of humor, he reexamines and reflects upon the habitual understanding of ‘things’ indoctrinated by the media, education and society. Through reversing the usage of the objects, transforming their appearances or people’s perceptions of them, the artist is able to offer refreshing and amusing interpretations, creating relaxing feeling to asset other possibilities for the exploration of contemporary art.Liu Hojang(b. 1972 in Taiwan) lives and works in Taipei, TaiwanLiu Hojang graduated from the Sculpture Department of Taiwan Academy of Fine Arts in 1994 and received anM.F.A. at Queens College, the City University of New York in 2002. Liu’s photographic works and projects is concerned with more than image making or technology quality. His peculiar artistic practice often reflects the social context and politics behind the surface — may it be an object, a place, or a community, his works shed light on their individualities and differences. By appropriating the relation between the visible and the invisible, he provides an authentic narrative to the social functions and sensibility of art to transform the values of human network into forces that sustains art in its becoming. He was featured in a solo exhibition at the Taipei Fine Art Museum (2017). His work has been exhibited at the Asia Biennial, Taiwan (2017); CCA the Ujazdowski Castle, Poland (2016); Taipei Contemporary Art Center, Taipei (2016), Queens International, New York (2013); and Taipei Biennial, Taipei (2004).Cinthia Marcelle & Tiago Mata Machado(b. 1974 in Brazil) lives and works in São Paulo and Belo Horizonte, BrazilThe Brazilian duo was formed in 2008 by the artist Cinthia Marcelle and the critic and filmmaker Tiago Mata Machado. In the same year they founded Katásia Filmes, with the curator and filmmaker João Dumans, a production company dedicated to the creation and study of cinema and art based in Belo Horizonte, Brazil. Since this time they started to share scripts and filmings of collaborative solo projects as the video 475 Volver, 2009 and the feature film Os Residentes, 2011. In this same year they produced their first video Buraco Negro that was showed in the 29ª Bienal de São Paulo. In 2009 they received a prize from Rumos Cinema e Vídeo Experimental, Itaucultural, São Paulo to develop the vídeo Plataforma. In the following years the duo realized the trilogy of vídeos: O Século (2011), Rua de mão única (2013), Comunidade (2016) that was showed in important exhibitions such as Triennale New Museum, New York, 2011; Rochester Art Center, Rochester, EUA, 2012; International Film Festival Rotterdam, Netherlands, 2013; 13ª Bienal de Istambul, Istambul, 2013; IV Semana dos Realizadores, Rio de Janeiro, 2014; Festival del Nuevo Cine Latinoamericano, Havana, 2014; Biennial of Moving Image, Swiss, 2016; and NGO: Nothing Gets Organised, Joanesburgo, 2016. In 2017 they produced a new video Nau/Now for the Brazilian Pavilion at Venice and their first solo show at the Logan Center Exhibitions, Chicago, with a group of previews videos.About the curatorChen Wei-Ching, Joanne (b. 1978 in Taiwan) lives and works in New YorkChen Wei-Ching, Joanne is an independent curator, widely published critic and founder of an art organization. She is the former Director of Taiwan Art Gallery Association and Art Taipei Art Fair from 2007 to 2010. Currently, she is the founder of inCube Arts, a non-profit art organization founded in 2012 in New York City with a focus on art from Asia, South Asia and a commitment to exhibition-led enquiry. inCube Arts SPACE located in midtown west side in Manhattan, provide regular exhibitions, supporting international emerging curators and artists. She is the organizer of inToAsia: Time-based Art Festival, the first and most important art festival that dedicate to Asian time-based art in North America. Chen has also curated international exhibitions such as No Cause for Alarm with Ying Kwok at La MaMa La Galleria in New York (2016), inToAsia: Time-based Art Festival 2013 — MicroCities at the Queens Museum, Stephan Stoyanov Gallery, the NARS Foundation and Residency Unlimited in New York (2013), Jenny Chen: Without End at the ISE Cultural Foundation, New York (2012), London Calling a touring exhibition (China/Taiwan, among others. She has written and published her articles in Artco, Art Investment, Art Collection+Design, Artitude Magazine, Art Taipei Forum Media, and the National Culture and Arts Foundation Online Media. She was a contributing writer for the Global Art Fair Guide in 2013, covering the North and South American art market. She is also the jury for the NARS Foundation residency program in 2016, an invited consultant for the New York Foundation for the Arts’ Doctor's Hours program in 2016.

Unofficial Discourser

2018 Gyeonggi Creation Center Review Exhibition2018. 4.26 (Thur) - 6.24 (Sun)Opening Reception: 2018. 4. 25 (Wed) 16:00Gyeonggi Creation Center101-19, Seongam-ro, Danwon-gu, Ansan-si, Gyeonggi-do, 15651, KoreaTEL : +82-32-890-4820www.gcc.ggcf.kr

Spaces Through the Negative

Czong Institute for Contemporary Art Museum의 <현대미술전시시리즈>는 현대미술작가들을 대상으로 한 전시와 출판이 연계된 프로젝트이다. 프로젝트에 참가한 작가는 일주일 간 전시 공간을 제공받고, 일종의 온라인 전시 공간이라 할 수 있는 e-book 형태의 지면을 할애 받는다 (『CICA Art Now #1』). 이 프로젝트를 통해서 젊은 작가의 실험적인 작품은 온라인과 오프라인 공간이라는 상반된 플랫폼을 통해 전시된다. <현대미술전시시리즈>는 젊은 작가들의 실험성과 함께 동일한 작품이 다양한 매체에서 다층적인 의미로 읽힐 수 있다는 점에 주목한다. ■ Czong Institute for Contemporary Art Museum2017.11.29 - 2017.12.3 <현대미술전시시리즈>의 첫 번째 전시로 기획된 홍유영의 『Spaces Through the Negative』展은 미술관 내에 두 개의 전시실에서 9점의 새로운 입체, 설치 작업을 선보인다. 공간, 사물 그리고 사회가 자본주의라는 체제와 마주하면서 발생되는 변화들을 주목하고 현대사회에서 공간과 the negative(음적)의 복잡한 관계성 관한 작업들을 선보인다. 자본주의 체제에서 공간의 생산이라는 것은 음적 공간(negative space)의 점유와 개발 또는 dispossession 등의 음적 생산(negative production) 체계와 맞닿아 있는 점에 천착하여 이를 여러 입체작업을 통해서 발전시켜 본다. ● 『Curtain Room(커튼 룸)』(2017)은 작가가 2016년 3개월 동안 뉴욕의 한 레지던시 프로그램에 참여하기 위해 잠시 거주했던 맨해튼의 약 한 평 남짓한 주거 공간을 새로운 관점에서 발전시킨 작업이다. 기존의 작업들에서도 나타나듯 현대 사회에서 주거와 공간의 사이에서 발견되는 다양한 관념들의 이질적인 관계성을 주목한다. 이는 단순히 공간에 대한 묘사나 재현에 그치는 것이 아닌 특정 사회 구조 안에서 인간의 욕망과 좌절, 불안 그리고 긴장 등이 하나의 공간을 통해 다양한 방식으로 표출되는 일련의 공간적 생산과 작동, 질서와 체계에 대한 비판적 관찰자인 동시에 참여자, 생산자 혹은 연구자로서의 탐구이자 재해석이다. 이 작업에서는 공유와 침범 그리고 가변적 경계 등 자본주의적 공간 체계에서 생산되는 공간의 특이성을 새로운 방식으로 확장시킨다. ● 2016년에 진행되었던 『A Study of the Space of Han Pyeong (한 평 공간에 관한 연구)』에서 조금 더 나아가 『Goshiwon Project(고시원 프로젝트)』(2017)는 2017년 가을 신림동의 한 고시원을 방문하게 되면서 협소하고 밀집된 공간 안에서 목격된 다양한 사건(event)과 그러한 사건들을 생산하는 공간 체계를 중심으로 접근해 본다. 자본주의 사회에서 경제적으로 취약한 집단일수록 사적 공간에 대한 경계가 모호해지는 경우가 많은데 특히 갈 곳이 마땅치 않거나 경제적으로 매우 어려운 사람들이 모여 형성하는 이 한국 특유의 공동주거형태는 허름한 상업용 건물의 맨 위에 위치한 한 개의 층을 한 평단위로 약 삼십여 개 이상의 최소한의 개인공간으로 다시 소분할 하는 방식으로 이루어져 있다. 이렇게 분리되어 있으면서 동시에 응축된 공간은 얇게 구축된 건축구조의 특성상 각각의 개인 공간에서 발생되는 이질적인 소리와 빛, 그리고 움직임 등이 섞이며 극도의 긴장감 속에서 서로의 공간을 공유하게 된다. ● 『Negative Landscape(음적 풍경)』(2017)은 네 개의 작업으로 구성이 되어있다. 이 작업들은 작가가 이전부터 주의 깊게 관찰해온 철거를 앞 둔 오래된 집과 건물들이 한치의 빈틈도 없이 빽빽이 들어서 있는 몇몇 서울의 재개발 지역의 실재 도면들을 바탕으로 지도상의 건축물들을 삭제하고 건물바닥의 토지만 남긴 채 공간을 재분할하고 재배치한 입체 작업이다. 자본이 주도하는 경쟁적 산업 구조 속에서 공간의 생산과 소멸, 무게성과 적층성, 변화와 획일성, 공간구획과 사회적 배치(social zoning) 등의 관계에 관하여 질문을 던지는 작업이다. ■ 홍유영미술관: 수요일-일요일 10:30 a.m. - 5:30 p.m. (월,화요일 휴무)Museum Galleries: 10:30 a.m. - 5:30 p.m. Wednesday - Sunday196-30, Samdo-ro, Yangchon-eup, Gimpo-si, Gyeonggi-do, Korea 10049경기도 김포시 양촌읍 삼도로 196-30, 10049전시 전후, 철수 및 설치 기간은 휴무입니다. 테이스트바는 정상 운영합니다.Museum galleries close on the installation period. Please check the exhibition information for more details.

Nanji Open Studio

난지미술창작스튜디오 11기 오픈스튜디오- 기 간: 2017. 11. 17.(금) ~ 2017. 11. 19.(일)- 장 소: 난지미술창작스튜디오- 관람시간: 11. 17.(금) 오후 2시~7시 / 11. 18.(토) ~ 11. 19.(일) 오후 2시~6시- 개막식: 2017. 11. 17.(금) 4시, 난지미술창작스튜디오 A동 앞 (*우천시 난지회의실(B동)에서 합니다.)- 관람료: 무료- 참여 작가 및 연구자난지11기 작가기슬기, 김세진, 김웅현, 김인배, 김정모, 노은주, 믹스라이스, 박광수박선민, 이미래, 이정민, 이행준, 조 습, 차재민, 최대진, 최해리, 홍유영난지11기 연구자김정현, 배은아난지11기 국외입주자(4분기)Joe HAMILTON(호주), Godwin KOAY(싱가폴), Aya MOMOSE(일본), Akiko UTSUMI(일본)전시기간: 11. 17.(금) ~ 11. 19.(일)관람시간: 11. 17.(금) 오후 2~7시 / 11. 18.(토) 오후 2~6시 / 11. 19.(일) 오후 2~6시전시장소: 난지미술창작스튜디오 난지전시실- 연계행사 <스크리닝 in 난지>상영기간: 11. 17.(금) ~ 11. 19.(일)상영시간: 11. 17.(금) 오후 2~7시 / 11. 18.(토) 오후 2~6시 / 11. 19.(일) 오후 2~6시상영장소: 난지미술창작스튜디오 B동 1층 회의실■ 오시는 길 안내 ■ 미술관 무료 순환버스 운행안내 (11.17. ~ 11.19.)마포구청역(2번출구) → 난지미술창작스튜디오13:30, 14:00, 14:30, 15:00, 15:30, 16:00, 16:30, 17:00, 17:30 (18:00, 18:30)난지미술창작스튜디오 → 마포구청역(2번출구) 14:00, 14:30, 15:00, 15:30, 16:00, 16:30, 17:00, 17:30, 18:00, 18:30 (19:00, 19:30) *마포구청역 2번 출구 50m 직진, CU 편의점 앞에서 탑승*괄호 안 시간표는 개막식 당일(11/17)에 한합니다. - 지하철: 6호선 마포구청역 버스정류장 1번 출구 버스환승(월드컵 공원 방향) - 버 스: 9707번 "난지한강공원"정류장 하차 후 도보 3분 "월드컵파크 3단지, 난지천공원"정류장 하차 후 도보 15분- 자가용: 강변북로 일산방면 성산대교 지나 가양대교 못 미쳐 '하늘공원진입로' 교통표지판 보고 우회전 하면 바로 좌측에 있습니다. ※네비게이션으로 '난지미술창작스튜디오' , 또는 '서울시 마포구 하늘공원로 108-1(상암동 481-6)' 검색 서울시립미술관 난지미술창작스튜디오 서울특별시 마포구 하늘공원로 108-1 (상암동) 03900 82 (0)2 308 1071SeMA NANJI RESIDENCY108-1, Haneulgongwon-ro (481-6 Sangam-dong), MAPO-GU, SEOUL, 121-832, KOREA82 (0)2 308 1071http://semananji.seoul.go.kr/semananji@seoul.go.kr