Installation view
of 《Not I, not I, but the wind that blows through me》 ©Gallery HyundaiGallery Hyundai presents 《Not I, not I, but the wind that blows through me》, a two-person exhibition featuring recent and new works by Kang
Seung Lee and Candice Lin, until October 5.
Grounded in each artist’s conceptually
rigorous, research-driven practice, the exhibition highlights their shared
inquiries into materiality and the thematic expansion. Together, the artists
premiere approximately 30 new works that reflect their ongoing engagement with
queerness, embodied history, and memory.
Lee presents his latest video work, Skin
(2024), alongside new graphite drawings, gold-thread embroidery on sambe
(Korean hemp fabric), and assemblages, while Lin unveils a carefully curated
selection of new works encompassing video animation, painting, drawing, and
ceramic sculpture.
Installation view
of 《Not I, not I, but the wind that blows through me》
©Gallery HyundaiBuilding upon distinct cultural backgrounds
and formal languages, Kang Seung Lee and Candice Lin shed light on marginalized
or erased histories, consistently giving voice to overlooked narratives of
individuals and communities.
Kang Seung Lee continues his long-standing
project of documenting and commemorating the lives and legacies of queer
artists, writers, choreographers, and gay and transgender activists from
earlier generations, many of whom met an early death. Lee’s recent work
demonstrates a sustained contemplation into materiality and its conceptual
reach. In his recent body of work, Lee explores the aging queer body as a
living archive, presenting human skin as a site inscribed with layered memories
both intimate and political.
Candice Lin, in turn, engages with both
traditional and organic, living materials and processes, ranging from painting,
drawing, sculpture, installation, and video to mold, fungi, bacteria,
fermentation, and stains. Her work addresses the politics of representation and
explores issues race, gender, and sexuality, drawing from histories of
colonialism and diaspora. By queering the boundaries between human and animal,
and by examining interspecies relationships, Lin challenges the taxonomic
structures that underpin colonial violence and control of bodies, surfacing the
systems of classification, control, desire, and power.
Installation view
of 《Not I, not I, but the wind that blows through me》
©Gallery HyundaiThe title of the exhibition, 《Not I, not I, but the wind that blows through me》, is drawn from a line in D.H. Lawrence’s the poem “Song of a Man
Who Has Come Through.”
As the conceptual cornerstone of the
exhibition, the phrase metaphorically reflects how suppressed histories begin
to breathe again and how memories circulate through the win that blows through
us. It resonates deeply with the artists’ enduring practice, which seek to
render visible what has long been invisible in silence, and to reimagine what
has been forgotten through the language of our time.
