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Lee Su Jin

Works at: Seoul Art Space_GeumCheon
Stays in: 2014, 2015
E-mail: leesujinn@gmali.com


2015 M.F.A. Candidate in Cinema, Graduate School of Communication & Art, Yonsei University, Seoul
2004 B.F.A. in Painting, Sungshin Women's University, Seoul

Selected Solo Exhibitions

2014 Luminizing Sequence 2 : into the Maze of Momentum, Gallery Absinthe, Seoul
2013 Luminizing Sequence, Art Space Plasma, Seoul
2012 The Deep Stay, Unit Site in Doksan-dong, Seoul
2012 The Deep Stay, Gaain Gallery, Seoul
2011 Flexible Wall, Bo-an Inn, Seoul
2010 Tied Up, Cheong-gye Art Studio, Seoul

Selected Group Exhibitions & Projects

2015 Infinity, Space k, Gwacheon, S.Korea
2015 Indulgence in Space, site of plant in Samjung-dong, Bucheon, S.Korea
2015 Sikka 15, Al Bastakia, Dubai, UAE
2015 Artist's Portfolio_ Archive Lounge, SAVINA Museum of Contemporary Art, Seoul
2014 Brushing a City against the Grain, Seoul Art Space_ GEUMCHEON, Seoul
2014 Secret Action, Total Museum of Contemporary Art, Seoul
2014 Tomorrow 2014, DDP, Seoul
2014 Festival Marque, National Museum of Modern and Contemporary Art, Gwacheon, S.Korea
2014 Space Amusement, LIG Art Space, Seoul
2014 New Hero, Blue Square Nemo, Seoul
2014 Changwon Asian Art Festival, Sungsan Arthall, Changwon, S.Korea
2014 Space Craft_ Interface and Potential Space, SOMA Museum of Art, Seoul
2014 Report Show from The International Collaboration Program, Seoul Art Space_ MULLAE, Seoul
2013 Project Part One, The Substation Gallery, Singapore
2013 3 Korean Contemporary Artists Group Show : Site Explorers, Ado Gallery, Kumamoto, Japan
2013 Flat Art fair, Construction site in I-PARK Seocho-dong, Seoul
2012 Moving Coordinates, Stone and Water, An-yang, S.Korea
2012 Hansunjung Project, Insa Art Space, Seoul
2011 Being with You, Be-Hive, Seoul
2011 Young & Upcoming, Kunsthalle, Gwangju, S.Korea
2011 Critical Program for Young Artist, ARKO Art Center, Seoul
2011 Book Performance_ Primo Levi : pain of survivor, Bo-an Inn, Seoul
2010 Intro, Cheong-gye Art Studio, Seoul
2009 Rite of Passage, Suwon Art Center, Suwon, S.Korea
2006 Archiving Project, SOMA Drawing Center : run by SOMA Museum of Art, Seoul
2006 Public Art Project_ Nomad in City 2 Discovery, Space Beam, Incheon, S.Korea
2006 Exhibition_ Nomad in City 1, Incheon Culture and Art Center, Incheon, S.Korea
2005 Good Form, Insa Art Space, Seoul
2005 Seoul Young Artist Show 2005, Seoul Museum of Art, Seoul

Selected Residencies

2015 Maraya Art Centre : supported by Seoul Art Space_ GEUMCHEON International Exchange Artists Program, Sharjah, UAE
2014~2016 Seoul Art Space_ GEOMCHEON 6th~7th Residency Artist : run by Seoul Foundation for Arts and Culture, Seoul
2013 The Substation : supported by Seoul Art Space_ MULLAE International Collaboration Artists Program, Singapore

Prizes and Grants

2014 SeMA Emerging Artists, Seoul Museum of Art, Seoul
2014 The Sponsorship for Visual Artists, Seoul Foundation for Arts and Culture, Seoul
2012 The Sponsorship for Visual Artists, Seoul Foundation for Arts and Culture, Seoul

2011 The Sponsorship for Visual Artists, Seoul Foundation for Arts and Culture, Seoul


 Private but Non-private (2014)
 stage scream curtain, wood panel, wheel, hinge, mix media _ dimensions variable_ installation_ 2014
 < Brushing a City against the Grain >, Seoul Art Space_ GEUMCHEON, Seoul

 The Deep Stay (2014)
 stage scream curtain, wood panel, mix media _ dimensions variable_ installation_ 2014

 <Space Craft : Interface and Potential Space>, SOMA Museum of Art, Seoul, 2014

  Flying across the Moonlight (2015)
 Flying across the Moonlight _ fishing basket, thread, wire, mix media_120x120x195cm _ installation_ 2015
 Mystic is at all times nearby _ spice, electric bulb_ dimensions variable_ installation_ 2015
 <SIKKA 15>, Al Bastakia, Dubai, UAE

 Luminizing Sequence : Into the Maze of Momentum (2014)
 Lyrics for a Brilliant Dawn_ bells, artifical flower, support fixture, mix media_ 55 x 110 (cm), installation, 2014
 Jamming Signals_ mirror acrylic panel, stanless steel pole, mix media, 245 x 60 (cm), installation, 2014
 Fishing the Sunlight_ acrylic panel, color vinyl, hologram paper, transparent paper, damaged paper collected from the site_  dimension variable_ installation_ 2014
 < Luminizing Sequence > 19-16 Okin-dong, Seoul 
 Flexible Wall (2011)
 packing strap, mix media_ dimensions variable_ installation_ 2011
 < Flexible Wall > Bo-an Inn, Seoul

Glass Landscape (2010)

damaged glass collected from the site_ dimensions variable_ installation_ 2010

The Residual Strategy

By Yang Hyo-sil (Aesthetics)

Shards and remains are destined to be put into a garbage can and left out on a corner. They are soon removed and forgotten. Shards barely manage to exist even if they congregate and form a whole. For this reason, they can be a conveyer or an exponent of truth. A whole that is stable, aesthetic, and harmonious visually, formatively, or narratively is in its own place, or a bright place to deceive others. These shards are something that keeps vanishing; something which prevents us from reading and interpreting them. Shards as fragments, chaotic images, or forms exist dimly yet persistently to intimidate us from cracks or interstices. There is a stark contrast between a deceiving whole and disappearing truth or a visible image and indecipherable narrative in this age when organic totality or semantic hermeneutics has died out. Cracks or fragments are suddenly revealed by chance in a lyrical drama. Hidden behind it are shards – boxes, journals, letters, photographs, and pins – to affirm distortion, conversion, or the overlap of memories. The memory of one who is wounded can be restored thanks to such shards. With the advent of such shards, what was presumably asserted to be memories of a correct fact proves to be false, and with this a sealed whole again becomes imperfect and is torn open. Only trifling, insignificant, and suspicious things have the right and qualification to talk about that place at that time. These things testify, disturb, and destroy memories of the subject. The things conveying parts disclose the deceitfulness of human subjects who desire the whole. The role of shards is to deter subjects from seeking such subjectification. Artists are those who take the reverse order of such lyrical narratives. They first of all bring secrets, interstices, and gaps to the foreground. Shards that have to play some part in the middle disturb the gaze and shatter the logic from the beginning with intention. As things that have to be concealed are first deployed, the whole always remains destroyed. Sharp glass shards, abandoned strings, neglected buildings, places with few visitors are placed intentionally at a corner of the stairs. This is anti-narrative, anti-organic, anti-teleological, and illogical. What happens when the significant overlaps with the insignificant, truth with distortion, intention with indifference, the familiar with the unfamiliar? What is the movement of the senses not involving any tuning of consciousness? Ominous, uncanny responses occurring without glossaries to refer to, referents, or contexts -----

Artist LEE SUJIN currently resides to find what will happen.