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o Year : 2013
o Genre : visual arts
o Website :
o Email :


Solo exhibition
2010  <Seoul art space Archive room open invitation exhibit>, Seoul art space, Seoul, Korea
2009  <RohwaJeong solo exhibition and Summer Festival>, Schloss Balmoral, Germany
2008   <Single room for 2 people(Emerging 8)>, Ssamzie Space, Seoul, Korea
2007  <The key in a suitcase>, Jinheung Art hall, Seoul, Korea
          <Complement>, Art space HUT, Seoul, Korea

Group exhibition
2013  <Let’s Remain Courteous - Yeom’ Jungho’s solo show>, HITE collection, Seoul, Korea
          <EX>, Espace des arts sans frontierés, Paris, France
2012  <Work out>, Schloss Plüschow, Germany
2011  <The day without hands-DINGOS>, RYU HWARANG, Seoul, Korea
2010  <Zeitgleich>, WERKSTATT GALERIE 20, Germany
          <EXTENDED SENSES>, Song won Art Center, Seoul, Korea
          <Incheon International Digital Art Festival 2010>, Song-do Tomorrow city, Incheon, Korea
          <Balmoral Blend>, Arp Museum, Germany
          <Close Encounter>, Jeju Museum of art, Jeju-do, Korea
2009  <DECENTERED>, Arko Art Center, Gwangju Museum of art, Busan Museum of art
2008  <Intro>, Goyang National Art Studio, Gyeonggi-do, Korea
          <Ssamzie Space 1998-2008>, Ssamzie Space, Seoul, Korea
          <Fashion Show>, Moran Museum, Geonggi-do, Korea

2013  Media Canvas Project in Collaboration ; RohwaJeong + Jihee Kim ' Flow District /
          Never ending novel ' _ Media Facade, Seoul Square
          Curated by Sung woo Kim

2013  Artists in Abroad Residence program support 2013, Arts Council Korea, Korea
2010  Arbeitsstipendien Schloss Plüschow 2010, Germany
          Artists in Abroad Residence program support 2010, Arts Council Korea, Korea
2009  Vermont 2009-10 Freeman Foundation Asian Aartists' Fellowship
           _ Korea  Honorable Mention, selected , Vermont, U.S.A
          SongEun Arts Award 9th, SongEun Arts & Cultural Foundation, Seoul, Korea
2008  Grant for Young Artists 2008, Arts Council Korea, Korea

2013  Geumcheon art space, Seoul, Korea
2012  Cite internationale des arts Paris, France
2010  Schloss Plüschow for a scholarship 2010, Germany
2009  Schloss Balmoral _ Exchange Residency Program, Germany
2008  2008-2009 National Art Studio, Goyang 5th Residency Long Term Artist, Korea


Signature _ brush, carved dustpan, dust _ 50x50x10 cm _ 2013

Two different time _ Toilet paper, cardboard toilet paper tubes, wood holders _ 40x40x10 cm _ 2013 

Moving - unchangeable 1425 _ Single channel video _ 00:02:32 _ 2013 _ captured image

Between a and A _ acrylic on canvas _ 260x153cm _ 2010

Between a and A _ single channel video _ 00:02:42 loop _ 2010 _ captured image

Wanna be happy every night… _ panties x2ea, lamp _ 40x40x40cm _ 2010

The discovery of living _ masking tape, personal objects in use _ 550x550x350cm _ 2010

ISOPINK _ chiffon fabric, fluorescent tubes, MDF _ 500x330x350cm _ 2009

Das Leben Der Anderen _ single channel video _ 00:03:21 loop _ 2009 _ installation view

Self-portrait _ aluminum case, sponge _ 28x70x20cm _ 2008

Small Ways to Make Surroundings Stand up
Hyun Si Won, Independent Curator

No artists are free from “everyday life”. Both artists and viewers all are well aware how slowly quotidian aspects stimulating art move, and how these aspects might be a constraint that hinders them from going far. And yet, works by RohwaJeong (Noh Yun-hee & Jeong Hyunseok) reflect the time, days and nights they have shared together. Their work begins at the minute they turn back to opposite directions. We may refer to all backgrounds forming the moment as the everyday. But, I call what initiates RohwaJeong’s works are “nuances” filling their surroundings. The nuances their work encapsulates display a slight twist in the everyday structure, sending subtle signals to innumerable things shaping their surroundings. Their work appears poetic, with the minute differences each thing slightly moving with their own motive power shows. The question concerning the “relations” they have constantly raised is triggered by these differences. The differences reflect their habitude to compare with and adjust their different perspectives in a fluid state stemming from different ways of thinking rather than their invariable trait, springing from the two artists’ united identity. The times the two artists have shared overlap with another and the time large and small things around them have gone through. <In 86 Days Packed> (2010) the artists begin their journey, always carrying a case they made to anywhere they travel. When they move, traces of space and time, such as muddy water on a rainy day and dust are left like fragments on its surface. While the time of 86 days is stored inside and outside of the case, the stains of time the artists have excavated come into being, and an accidental picture made by the surroundings of the places they have traveled emerges. <Two Different Time> (2013) in which two separate objects look like two rolls of toilet paper at a glimpse shows two objects with opposite traits. One becomes a mirror image to another, overturning the image of a common object, in that it is made with paperboard cores wrapped with a long strip of toilet paper: this roll of paper is made by putting paperboard cores together. The material composing the two types of toilet paper is the same, but the time they undergo flows in diagonally opposite directions. The white roll of toilet paper becomes shorter when used, whereas the blue roll of toilet paper arouses an urge to increase its length in us. The materials they deal with mainly appear light like commas in a sentence or accents in musical notes. Where does this lightness come from and where is it going? RohwaJeong raises things in the air and repositions them, making sections. The strength suggested in <Wanna be happy every night...>(2010), an installation work representing a polygonal star shape with two underpants and lighting; <The Discovery of Living> (2010), a monumental work in a circle formed with personal objects; and <The Things> (2014), a performance of hanging a canvas with letters with a rope does not greatly oppose gravity, not far from the ways each thing exists. In the way of maintaining the usual state of things in tension, the artists recreate the objects with which they spent time with, or say goodbye to a cutting board they used. <bye-bye> (2014) <Souvenir of Somewhere (frame)> (2013) demonstrating their collection of abstruse, gorgeous images is a souvenir from the future, reminiscing over old magazines they discovered at a secondhand bookstore in Paris. In this work they make temporary frames by applying white acrylic to some images secured from hand-stained magazines, thereby blurring the boundaries among images and setting up a secret archive for images on a white wall. <Souvenir of Somewhere (tree)> (2013) in which they erect tree images earned from printing material shows how their work can be interesting despite their minimum involvement. They display a fresh enlightenment from trees that were original standing on ground, rather than lying on paper, and trees forming a forest when they meet other trees. In their recent exhibition (Gallery Factory, April 30-May 25, 2014), <Within Arm’s Length>, RohwaJeong summons things that are usually placed near or at the back of the venue. They seem to reflect each other in a completely empty world, not a world full of meaning, with a pair of canvases facing each other, the venue’s floor plan printed with nothing, and a ladder used for displaying artworks. They are in their own state, not interrupting others at all.