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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Articles
Artist Haevan Lee: Painting the Geopolitical Landscapes of Borders and Buffer Zones
Haevan Lee (b. 1990), drawing from her upbringing near the Korean Demilitarized Zone (DMZ), has explored the structures of borders and their socio-cultural impact across various national boundary regions. To understand the complexities of border identities and ecological environments, she employs landscape painting, storytelling, and historical research, capturing the local context of specific sites through diverse mediums such as painting, installation, and video.
2025.11.10
Exhibitions
《The Statue Knows How to Dance》, 2021.07.08 – 2021.07.31, Gallery SP
The solo exhibition 《The Statue Knows How to Dance》 by rising sculptor Rhee Donghoon, known for his distinctive and sensuous approach to sculpture, was held at Gallery SP from July 8 (Thu) to July 31 (Sat). Marking the artist’s second solo show, the exhibition presented approximately twelve works including both sculptures and paintings.
2021.07.05
Articles
[Column] The Place of Beautiful and Sparkling Objects
Hannah Woo has consistently created installation works that construct narrative spaces using fabric as the primary material. These include landscapes populated by clusters of rods of various shapes, as in 《SWINGING》 (Wangsan-ro 9-gil 24, 2018);
2020.10.09
Articles
[Critique] The Art of Relief
In the video The World Until Yesterday by Jang Pa, the triangular shape of Sumeru Mountain, which is believed to be the center of the world in Buddhism, fades and only its reflection is left.
2019
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Activities
[Project] Art Room QUAD & Circle : Park Meena
Aiden Cheongdam goes beyond accommodation facilities and is transformed into a complex cultural space that captures the dynamic and colorful lives of contemporary nomadic people.
2022.07.22
Articles
[Critique] Others and Me: On the Impossibility of Relations and Communications
For the exhibition at PLATEAU in the summer of 2014, Inhwan Oh produced the project Guard and I, a work that unveils the tension between individual identity and social norms, critically examines the institutional order of a museum, and exemplifies Oh’s persistent attempts to communicate with others on an intimate level, even if the relationship is temporary.
2015
