K-Artists
Carefully curates and introduces three representative artists from the Korean contemporary art scene each week since the 2000s.
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Articles
[Critique] The Photogenic as an Undercurrent
Gerhard Richter once said, “I find many amateur photos better than the best Cézanne.”1) By “better,” Richter is not simply comparing the representational capability of photography to that of painting.
2024
Articles
Kwanwoo Park’s Art as “Event”: On the Human as “Phenomenon”
Kwanwoo Park (b. 1990) approaches the human being as a “phenomenon,” addressing in his practice issues such as consciousness and self-consciousness through perception, the tension between reality and fiction as mediated by “belief,” as well as questions of migration and identity.
2025.09.15
Articles
[Review] The Memory of Water: Beak Jungki’s Contagious Magic
The legend has it that the Ganga (Ganges), the sacred river of India, sprang up from the lotus shaped feet of Vishnu, became a galaxy flowing through heaven, and then came down to the earth along the tangled locks of the hair of Shiva.
2019.03.15
Articles
[Critique] Setting Things in Motion
Community, collaboration, and continual transformation have been central to the works of South Korea–born, Los Angeles–based artist Kang Seung Lee. For over ten years, he has developed a research-based practice
2023
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Articles
Yunchul Kim’s Artistic World: Rooted in Fundamental Questions About Material
Yunchul Kim (b. 1970) is an electronic music composer and visual artist who has worked with installation, drawing, sound, text, and various media. Kim, who has asked fundamental questions about “material” since studying abroad in Germany, has explored the possibilities of imagination and the creation of another reality that goes beyond the realm of human experience, paying attention to its potential tendencies.
2024.10.22
Articles
[Critique] Surface-Façade Subjects
What kind of subject should a photographer focus on if he wished to develop the characteristics of the contemporary era objectively and plainly, using photography? And suppose that the nature of the contemporary era is extremely subjective, abstract, and
2016.01.01
Articles
[Critique] The Yeesookyungs¹
“In schematized time, nothing really new can emerge—everything is always-already there, and merely deploys its inherent potential... We are dealing here with another temporality, the temporality of freedom, of a radical rupture in the chain of (natural and/or social) causality.”
2012
