Works at: Seoul Art Space_GeumCheon
Stays in: 2013
Genre: Sculpture/Installation
Profile:
Education
2007 Graduated with M.F.A at the Seoul National University, Department of Sculpture, Seoul, Korea
2000 Graduated with B.F.A at the Seoul National University, Department of Sculpture, Seoul, Korea
Solo Exhibitions
2013 "Enriched History" (supported by the Zaha Museum, Seoul)
2011 "Green Heights+Finding the Owner" (supported by the TakeOut Drawing, Seoul)
2011 "Green Heights"（supported by the SOMA Drawing Center, Seoul)
2009 "52-106" (supported by the Gallery Curiosity, Seoul)
2008 "바래다,漂,Fade" (supported by the Gallery Kwanhoon, Seoul)
2007 "遲遲'-Slowness & Waiting" (supported by the Gallery Kwanhoon, Seoul)
Group Exhibitions(selected)
2013 White&Black or Right&Wrong (the Gallery Curiosity, Seoul)
Sculpture, from independence up to now ( the Independence hall of Korea, Chun An)
2011 Haiku Sculpture (the National Taiwan University, Taiwan)
Sending signal ( Art space UOU, Ulsan, Korea)
2010 3nd Anyang public Art Project: Odong team, "Being-Residents" (Anyang 5-dong, Korea)
2009 coding conversation (Gallery space zip, seoul)
Daily sign (Space Hole and Coner, Seoul)
"At the Peace park & Dorasan station" ( Peace park & Dorasan station, Paju, Korea )
2008 Perception & Impulse(Gallery Kwanhoon, Seoul)
"Empty of the AlienⅡ-About what, The place"Gallery Hutcheson, New York)
"Under the Cheonggye Bridge"(Cheong-gye-chun, Seoul)
"Coma"(Alternative space Chung Jeong Gak, Seoul)
2007 2nd Pocheon Asia Biennale(Pocheon Express Bus Terminal, Pochen, Korea)
Hard & Soft (Wooduk Gallery, Seoul, Korea)
A wise answer to a silly question (Gallery Kunst Doc ,Seoul)
About & Around (Culture space Doctor Dobea, Seoul)
2006 Asia Modern Art Festival (Sungsan art center, ChangWon, Korea)
Jungnangcheon Project - Hop for 'Moroco oxycephalus' (Jungnangcheon, Seoul)
human, seoul, emotion (Sejong center, Seoul, Korea)
Residency & Others
2013 5th Artist of Seoul Art Space Keumchen(residency program), Seoul
2013 granted from the Seoul Foundation For Arts, Culture and Arts Council Korea in Seoul
2011 TakeOut Drawing & Museum(residency program), Seoul
2009 selected the 4th Registry Artist by the SOMA Drawing center in Seoul
2007 selected the Young Artist by the Gallery KwanHoon in Seoul
Registry SOMA Drawing Center, Seoul
Works:
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| Green Heights 1, mother-of-pearl, wood, 360x100x150cm, 2011 |
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| Green Heights, mother-of-pearl wardrobe, 2011 |
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| Fade, hanbok, dimension variable, 2009 |
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| Fade, hanbok, military uniform, dimension variable, 2009 |
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| 2nd spatial practice of chandelier, 2013 |
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| Itaewon, the Korean flag, the American flag, the Japan flag, dimension variable, 2008 |
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| A room with the south window that can see the In-Wang Mt., wallpaper, dimension variable, 2013 |
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| Look for the owner, wood, paper, pen, dimensio variable, 2010 |
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| Look for the owner, wood, paper, pen, dimension variable, 2010 |
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| tardy, wooden desk, 100X40X80cm, 2007
Dislocated Phenomenological Gaze
Lee Kwan Hoon, Curator(Project Space
SARUBIA)
The driving force vitalizing Yuon Kibaik’s
ideas and eyes derives from his instinctive response to insignificant alienated
things ousted from the colossal social system. He takes interest in abandoned,
useless everyday objects, witnessing diverse phenomena taking place in his surroundings.
The artist discovers the point shared by his body and things parasitic at the
periphery, alienated from the center. He tries to leave silhouettes of his
intrinsic form for the symbolic existence of art, transferring memories,
traces, time, and places pertaining to such significant things to the post
where he practices his thinking. He has worked in drawing, object installation,
writing, and projects for many years, even though trammeled by the symbolic
system of art (form, concept, institution, history). While maintaining a consistent
language in diversity, he has continuously posed questions concerning linguistic
phenomena taking place in relations between object and phenomenon, time and
trace, material property and text. In this process the artist remains open to
diverse perspectives. I considered him trapped in the formative frame of art
and the conventional frame of the exhibition so I advised him to pursue his own
underlying language and form, departing from any artistic form (material use and
modern pattern). He moved his body to a scene with his will to do something and
drew out some text, approaching artistic work with a sincere attitude. However,
I judged he has reached the limit. His work depends on the linguistic
environment of creation with differing values in accordance with the gaze of
the frame (the window of perception). His motifs are not objects to be
interpreted and appreciated from artistic perspectives but stimulate more
imagination when perceiving fragments of memory deviated from society. We can share
the objects of his thinking in the realm of the unconscious if we have a
passage to the unconscious open even though it is superficially invisible,
sensed by others in the atmosphere beyond their senses. This flow of
consciousness presupposes an opening of the point of thinking with minimal
traces, not matter. This was implied by the text, “Seeing,
smelling, talking, hearing, and touching them” in his work <Three Poles>
(2009, newspaper) inspired by strange eyes. This work was to prove that the
five senses can be operated by the conscious simultaneously and the inner world
of objects can be discovered through a series of actions of the conscious.
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