Lee Su Jin
Works at: Seoul Art Space_GeumCheon
Stays in: 2014, 2015
Stays in: 2014, 2015
E-mail: leesujinn@gmali.com
Education
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
Works
Private but Non-private (2014)
Flying
across the Moonlight (2015)
Luminizing
Sequence : Into the Maze of Momentum (2014)
Flexible
Wall (2011)
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 _ 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
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
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.
