Installation view of 《눈눈:밤밤:이이》 ©CAN Foundation
CAN Foundation presents a two-person exhibition, titled 《눈눈:밤밤:이이》 by Yang
Moonmo and Cho Kyoungjae, on view through July 25 at MO BY CAN.
In today’s society, where information and images are delivered
quickly and effortlessly, the act of “seeing” is often the first to be
perceived—yet just as quickly, it is forgotten. As a result, seeing is
increasingly understood as a fleeting moment meant merely to process scattered
bits of information. This exhibition begins with a question: in a time when
“seeing” is equated with “scrolling” through screens, what are we truly seeing,
thinking, and feeling?
Installation view of 《눈눈:밤밤:이이》 ©CAN Foundation
《눈눈:밤밤:이이:》 explores the multiplicity of meanings embedded in homophones—words
that sound the same but carry different meanings—to consider how the act of
“seeing” can encompass images, events, and phenomena that may be read or
interpreted in diverging ways. The exhibition unfolds through the works of
artists Yang Moonmo and Cho Kyungjae, who offer contrasting perspectives on how
perception is shaped.
Yang Moonmo (b. 1986), who studied painting at Hongik University
and later received his degree under Professor Thomas Scheibitz at the
Kunstakademie Düsseldorf, translates his experiences, emotions, and thoughts
into brushstrokes on canvas. Rather than rendering past moments into fixed
images or forms, his work captures the passage of time as gestures—floating
across the canvas or appearing through accidents of motion.
Installation view of 《눈눈:밤밤:이이》 ©CAN Foundation
Cho Kyoungjae (b. 1979) studied in the Department of Design at
Suwon University and Photography at Sangmyung University, later receiving his
degree under Professor Daniele Buetti at the Kunstakademie Münster. In his
practice, Cho stages industrial materials within the limited frame of the
camera to create compositions that resemble abstract paintings, which he then
captures through photography.
Materials such as wooden beams, steel plates, and Styrofoam are
stripped of their original functions and purposes, instead used as if they were
brushstrokes and pigments on a canvas—reframing the act of construction into a
painterly gesture.
