Wee Young-Il

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Works at : Seoul Art Space_Geumcheon
Stays in : 2012
E-mail : wee012@hanmail.net
Profile :

Graduated from the painting Dept. College of Fine Art, Hong-Ik Univ.( B.F.A )
Graduated from Graduate School of the painting  Dept, Hong-Ik Univ.( M.F.A )

Solo Exhibition
2013  6th Solo Exhibition 'Who knows?!' Gallery b'One. Seoul. Korea)
2012  5th Solo Exhibition 'Guinness Desire' (CAIS Gallery. Seoul. Korea)
2009  4th Solo Exhibition ' Planet wee012 All-Star' (Insa Artcenter. Seoul. Korea)
       3rd Solo Exhibition ' Desire to Mainstream' (Void Gallery. Seoul. Korea)
2007 2nd Solo Exhibition 'A League Of Their Own II, III'(Noam Gallery. Seoul. Korea)
       1st Solo Exhibition 'A League Of Their Own I'(Espacej Gallery. Shanghai. China)

Group Exhibition
2013~2014 Animamix Biennial (Daeguartmuseum. Daegu. Korea )
       Open Studio(Gyeonggicreationcenter. Gyeonggi. Korea )
2012  A white paper of Fantastic Art ( Sejong Museum of Art. Seoul. Korea )
       Attack of image (Goyang Art Studio. Gyeonggi, Korea )  
       HAHA HOHO( Yeongdeungpo Lotte Gallery. Seoul. Korea )
       It’s Pop Art( Sejong Museum of Art. Seoul. Korea )
       Gyeongnam Goseong Dinosaur EXPO 2012( Gyeongnam,  Korea )
2011   Being with You( artbehive. Seoul. Korea )
       Retro( Nan ji Gallery. Seoul. Korea ) 
       Group hallucination(hoyeunGallery. Suwon. Korea ) 
       Color against stereotype( anthracite. Seoul. Korea ) 
       Fun&Pop(GCCS. Gwacheon. Korea )
       Bring in the World ( Nan ji Gallery. Seoul. Korea ) 
       Robot City Fantasy( 315 Art center. Seoul.  Korea )
       Nan ji  & Daejeon Residency( Igong Gallery. Daejeon. Korea )
       A Fantastic Place( PYO Gallery. Seoul. Korea )
2010  Korea Tomorrow(SETEC , Seoul, Korea)
       2010 ATU( Sangsangmadang, Seoul. Korea ) 
       PUBLIC ART New Hero Fly in Heyri ( Gallery Hangil, Heyri, Korea )
       Smile Code.( Gail Museum, Gapyeong, Korea ) 
       New Focus( ART seasons ,Singapore city. Singapore )
       Defense mechanism( TN Gallery, Beijing, China )
       Free Style : A Dialogue Between Art and Design( HOMA. Seoul. Korea ) 
       Star Wars-Episode III 'New Future ( UNC Gallery. Seoul. Korea )
2009  Animamix Biennial 2009-2010(Shanghai MOCA. Shanghai. China )
       Tele Bridge 2009- Group Exhibition ( Television 12 Gallery. Seoul. Korea )
       Open Studio “Cue“( Changdong National Art Studio. Seoul. Korea )
       Super Hero( guro arts valley. Seoul. Korea )
       Im your Hero( Shinsegae Department store-incheon. incheon. Korea )
       TWO+ ( Eve gallery, Seoul, Korea )
       Arts for Children 'SUPER STAR'( KOLON tower. Gwacheon. Korea )
       OASIS Inside of the City ( Hyundai Department store-mia. seoul. Korea )
2009  Spring outdoor sculpture exhibition( SEMA. seoul. Korea )
       Playground ( CAIS Gallery hong kong. China )
       Hero returns( Vit Gallery. Seoul.  Korea )
       smile smile smile( Godo Gallery. Seoul,  Korea )
2008  '2008 young korean artist "I AM AN ARTIST"( MOCA. Gwacheon. Korea )
       7th Funny Funny (Sejul. Seoul. Korea )
       Microart 69 ( Insa Art center. Seoul.  Korea )
2007  'B612 strange story' ( Kyonggi cultural foundation. Suwon. Korea )
       Diversity in From &Thought’Exhibition(Duolun Museum of Modern Art. Shanghai. China )
2006  Open-Studio, UNIT2006 ( Hut Gallery. Seoul. Korea )
2005  The 27th JoogAng Fine Art Competition( Hangaram Museum, Seoul,  Korea )
       KOR & JPN  Friendship year ‘Ssugoremigi’ Exhibition( COEX Pacific Hall. Seoul. Korea )

Residency & Awards
2013~2014 Seoul Art Space-Geumcheon, long-term Residency (Seoul. Korea )
2013~2013 Gyeonggi creation center, middle-term Residency (Gyeonggi. Korea )
2010~2011  Nan ji Art Studio, long-term Residency (Seoul. Korea )
2008~2009  Changdong National Art Studio, long-term Residency (Seoul. Korea )
2008  8th Songeun Fine Art Competition( Insa Art center. Seoul. Korea )
2007 Soma Drawing Center  archive registry Artist ( Seoul. Korea )

2005 Selected in the 27th Joongang Finearts Prize (Seoul Arts Center. Seoul)


SF-Structure, 나무판 위에 레이저 인두, 실크스크린, 240x30cm(5ea), 2012

SF-Structure1, 패널 위에 아크릴, 유채, 실크스크린, 110x220cm, 2012

쓸모 없는 것을 증명하는 데 쓸모 있는 것, sanding on acryl, steel, wood, silkscreen, 120x78x45cm, 2012

세상에서 가장 멀리서 수직면에 그림 그리기, 2012

세상에서 가장 멀리서 수직면에 그림 그리기(Exhibition view), 2012

Process of Aleatorik painting, 2013

1-6-4-5-6-4, silkscreen ink on birch panel, 126x67cm, 2013

5-3-6-4-3-3, Acrylic and silkscreen ink on panel, 78x90cm, 2013

Still-life series(from left:3-5-3-4-6-3, 3-1-1-4-6-3, 3-5-4-2-3-6), Acrylic, Oil color, Silkscreen ink on birch panel, dimension variable, 2013

"Who Knows?!" Exhibition view, Gallery b'One, 2013

Critical Mind Implied in Wee Young-il’s Satirical Poems
Shim Sang Yong, Art Historian, Art Critic

Wee Young-il’s Drawing on a vertical plane from the farthest (2012) is an implication of stories he wants to convey to the world. Like Guinness Desire, one of his exhibition titles, his work is a satirical poem-like implication of the evanescence of human desire pervasive in this age. This work is above all read as his resistance to drawing or more accurately “drawing of significance”. The artist makes a lot of effort to draw a picture from the farthest distance. However, the more effort he makes, the less value the picture has. His intent is conveyed to his painting in inverse proportion to the distance. His painting here is after all nothing but an instrumental mechanism to prove that the more effort he makes, the more vanity he feels. By doing this, he reveals a paradox in painting and places the result in an insignificant place. Wee’s aesthetics is always in a position antithetic to the value the Guinness Book of Records claims. What the Guinness Book has mythologized is nothing short of the objects de-mythologized in Wee’s world. What the Guinness Book invested in, with the title of hero, was stripped of rank and position by the artist. His 2012 works like <Inappropriate Clothes> and <Complexman Ero> are good examples of how he deals with deceitful heroism overflowing in this era. He makes the apostle of justice fighting with irrationality absurd. Any truth a hero seeks is absent in his world. The rhetoric of heroes is actually an automatic machine in super capitalism. While a pictorial mechanism to debunk the evanescence of drawing pictures in his 2012 work <Drawing on a vertical plane from the farthest> was distance”, it was “contingency” in his 2013 pieces. The paintings drawn from a distance now become things whose fate is determined by the roll of a dice. Does they become better? They perhaps grows more ridiculous. The little-hero game of “painting” and the overstated panorama of “art history” are equally likened to childish games like a puzzle game or a Lego game. This is in the same context as the way Wee raises a question about and challenges the world he belongs to. Wee’s critical mind bridging the interior of art to its exterior is rarely valid or pungent and his methodology of objectifying becomes more persuasive.