Seoul Art Space Geumcheon(SASG) will be joining the 2021 Res Artis Conference <DEFINING THE NEXT DECADE> to discuss the impact of the COVID-19 pandemic on the sector.

About the SASG Participation Panel

Friday 10 September 16:30-18:00 BKK (18:30-20:00 KST)

[Adapting practice & program to the digital environment] 

The pandemic has forced artists to develop an online presence, adapt their practice to a digital medium and conduct online residency, showcasing and professional development opportunities. 

How and can all artists ‘pivot’ their practice? Can artists retain copy-right in the digital realm? What programming and legal considerations should artists and arts residencies contemplate in order to cater for increased virtual activity in the field?

More information about the conference can be found at the link below.

*Informaion_2021 Res Artis Conferences Bangkok

  #Program_2021 Res Artis Conference Bangkok

  #Speakers_2021 Res Artis Conference Bangkok

Res Artis Conference 2021 Bangkok

Defining the Next Decade
8 – 17 September 2021

Res Artis is excited to announce our first ever fully digital Res Artis conference hosted by SAC Gallery, Bangkok and supported by ASEF culture360KONNECT ASEAN, ASEAN FoundationGoethe-Institut Thailand and Japan Foundation, Bangkok. Titled Defining the Next Decade, the conference will examine the tremendous impact of COVID-19 and the future of the international arts residencies field. We will present the results of Res Artis survey data and examine new models of arts residencies that have evolved in response to the pandemic. This includes the rise in local exchange, virtual residencies, and digital residency activity that has occurred while physical exchange is paused.

Taking place during diverse time zones spread over two weeks in September, the virtual nature of this conference will reflect new digital residency activity emerging in the field and will offer greater accessibility for attendees and contributors alike. We will offer workshops and presentations from members of the art residency field throughout the world with a particular focus on those based in South East Asia and Thailand. The conference will include opportunities for facilitated small group interactions, artistic offerings as well as Bangkok gallery and residency tours. This promises to be a digital event unlike any other that through its programming and format will address the importance of meaningful “hosting” in the virtual realm.

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SNS : @jiyoungyooo


Artist Statement

Working primarily with painting and often combining it with digital printing, installation, and objects, Jiyoung Yoo examines the way a format of medium transforms its content. Her practice is primarily focussed on the conversion of indefinite ideas in flux into disconnected fragments arranged within a certain frame and on the consequent substitution of their nature with the medium’s formal qualities. Yoo employs painting as a means of visualising the process by questioning the underlying principle of painting where it has its external relation to the wall and internal relation to content. Overlapping the conditions of painting with daily elements within the system of arrangement, her works unfold an unusual painting situation where the viewers are invited to perceive the structure within and outside the medium.




Jiyoung Yoo is a South Korean-born artist who is based in London and Seoul. Questioning the conventional conditions of painting, Yoo explores relationships between objects within the system of arrangement developed based on their uses. She graduated with an MA degree in Painting from the Slade School of Fine Art, London (2017) and received a BFA in Painting from Hongik University, Seoul (2014). She recently had two solo exhibitions in Seoul including One After Another, Alltimespace (2019); and Spilled Water, RainbowCube (2018). She has been awarded grants and residencies, among which are: the Seoul Foundation for Arts and Culture’s solo show grant (2021) and research grant (2019); and the position of artist-in-residence at Seoul Art Space Geumcheon, Seoul (2021) and Katitak Centre, HKBU, Hong Kong (2018). She was the finalist of Korean Eye 2020 organised by Parallel Contemporary Art (2020) and Contemporary Visions 8 run by Beers London (2017).




2015-2017 MA Painting, Slade School of Fine Art, UCL, UK

2009-2014 BFA Painting, Hongik University, KR



Solo Exhibition

2019 One after Another, Alltimespace, Seoul, KR

2018 Spilled Water, Rainbow Cube Gallery, Seoul, KR



Selected Group Exhibition&Projects

2021 Todays, Keep in Touch, Seoul, KR

2020 cut! cut! cut! - index, Alltimespace, Seoul, KR

2020 Axis 2020, 021 Gallery, Daegu, KR

2020 Anti-Sea, The London Arts Board, London, UK

2020 To All Our Absent Dialogues (organised by Warbling Collective), 155a, London, UK

2020 cut! cut! cut!, Seetangraum, Jeju, KR

2019 Study of Basic Forms 1, Ilwoo Space, Seoul, KR

2018 TasteView, Tastehouse, Seoul, KR

2018 Painters by Painters, 2/W, Seoul, KR

2018 Mei Yahn Yu, Kaitak Centre, Hong Kong (two-person show with Jocelyn McGregor)

2018 Contemporary Visions 8, Beers London, London, UK

2017 The Choice of a New Generation (organised by isthisit?), Muse at 269, London, UK

2017 Is this it?, Serf, Leeds, UK

2017 Faith, Austin Forum, London, UK

2017 MeMeMeMe, The Crypt Gallery, London, UK

2016 pillow, swallow, hollow, yellow, The Artwall, Athens, GR

2016 Techno and the City, Fiumano Projects, London, UK

2015 The Windshow, Camden People's Theatre, London, UK




2021 Exhibition Grant, Seoul Foundation for Arts and Culture, KR

2020 Korean Eye 2020, PCA(Parallel Contemporary Art), London, UK

2019 Research Grant, Seoul Foundation for Arts and Culture, KR

2017 Finalist, Contemporary Visions VIII, Beers London, UK

2017 Scholarship, ART-UNI-ON (founded by Hyundai Motor and Seoul National University), KR




2021 Seoul Art Space Geumcheon, Seoul Foundatioin for Arts and Culture, KR

2018 Academy of Visual Arts, HKBU, Hong Kong

*How to break water into pieces;

2020, oil paint on canvas mounted on fiberboard, jesmonite, copper tube, lacquered balsa, clock mechanism, 29 x 29 x 4.2 cm


2019, UV print and coloured pencil on linen, plaster, acrylic paint, gel wax, glass, 200 x 140 x 5 cm

2019, oil and acrylic paint on wood, plaster, 53 x 55 x 4.5 cm

Template of Hope

Installation view: Spilled Water (2018, Rainbow Cube)

1-13 from Plate XIXX.

2018, oil and acrylic on canvas, dimensions variable

Stay in 2021

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She is a studying for a master’s degree in the Department of Sculpture at Seoul National University college of Art.


Her first individual exhibition was Serious Warming-up at the KIGOJA in 2015 and as part of the group exhibition Seoul Babel at the Seoul Museum of Art in 2015.



I have been curious about the movement of people in the digital media environment to express their opinions. Humans who dream of a new world as subjects who changed history have created movements from the past to the present with their thoughts and will in their bodies. Individuals showed all the movements aimed at a developmental direction to resolve when society lost its developmentality.


The daily and continuous movements that people make are made into short videos. This is an anticipation for a future that is not yet visible. I’m interested in where the direction of the force toward the future is headed by collecting many shorts videos like trailer. Create a situation to assess the identity and capture the moments that will be created in the future.




2020 Completed MFA courses(Sculpture), Seoul National University, KR

2015 BFA Painting, Seoul Women’s University, KRs



Solo Exhibition

2015 Serious Warming-up 2013; 2015, Kigoja: Independent Arts Space, Seoul



Group Exhibition

2018 A Rowing Stone, Woosuk Gallery, Seoul

2016 Seoul Babel, Seoul Museum of Art, Seoul

2014 Non Class, Digital Media City Gallery, Seoul

2014 Art Factory Project, Culture Station Seoul 284, Seoul



Awards & Grants

2020 Artwork Support Program, SFAC

2018 First Arts Support, SFAC



2021 Seoul Art Space Guemcheon, Seoul, Korea

2016 Hangar, Barcelona, Spain


War against monsters under the fifth high wave

2019, Single channel video, 14' 31“

Pose Searching

2019, plywood, acrylic, LED, 193.6 x 79cm


Serious Warming-up

2017, Single channel video, 07' 21"

Serious Warming-up

2015, 3 channel video, 08' 30"

Stay in 2021

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I received BFA and MFA in sculpture department of Seoul National University in South Korea and studied in the fiber department of the School of Art Institute of Chicago in USA. I have had solo show twice including “Living Island” in CICA Museum in Kimpo, Korea in 2020, and I have been participated in several group shows including “Contemporary Landscape in Flux” in The Research House for Asian Art in Chicago in 2021. I have been in one-month program residencies in Monson Arts, Vermont Studio Center, and MASS MOCA in US, and currently working in one-year residency program in Seoul Art Space Geumcheon run by Seoul Foundation for Arts and Culture.


Note for practice_Sujin Moon

A sense of touch is the basis for all the other sensations. Sight is reconstructed image in the brain from sensing the light when it touches the retina, hearing is to sense the sound wave when it touches the eardrum, taste is a chemical reaction to the foods particles touching the taste buds on tongue, and smell is to sense the odor molecules touching the olfactory cells in the nose. All senses involve a tactile process of ‘touching’ with something.

I define myself as a sculptor. Making sculpture is touching something: touching something’s surface, feeling the texture and resistance of it, and carrying the weight of the thing and wrestling and struggling with it with my whole body.

My practice involves performance carrying my own weight or some other things’ one. My sculptures and installations are often created in a way of pressing and mark-making. Mark-making is occurred when two different bodies attach to each other firmly enough to remain their skins on each other’s bodies. I accepted the process of it as physical and metaphorical.

I tend to regard something invisible and intangible as the things have physical presence. I believe that something without physical body such as thoughts or emotions also has physical power to make something or someone moves. As a sculptor, my goal is making some intangible things into touchable, and remaining marks of something without body.


Living Island, 2020

The exhibition consists of documenting materials of the performance work, ‘Living Island’, which occurred from the beginning of February to mid-March 2020 at Lake Hebron in Monson, Maine. ‘Living Island’, a month-long performance project, creates a snow island on the frozen lake with the simple act of shoveling snow until the spring starts the island melt. The work is intertwined with the ideas of the fear from the situation of standing and working on the unstable earth, on the ice, the alertness of latent death, the vulnerability of being, and the consolation from the connection and solidarity with people.


Considering the nature of performance work, which is always moment-specific, the question of how to present the performance afterwards in the gallery space always matter. In this sense, the documenting materials are created as interpretations of the memories of the performance, rather than a representation of it. I attempted to find the appropriate forms for the textures and shapes of fragments of the memories. Some moments become a bundle of papers which is bounded to physical weight and thickness. Some other moments become a video, or in other words, light. The other becomes a movement, which is waiting to be activated by someone flipping their fingers.


We have passed through a long year. This year was colder and harsher than any other winters due to the spread of the novel virus so that we had to stay inside longer than ever. In this difficult moment, we cannot let the anxiety out of our mind completely. I look back again at the memories of being on the lake and I rethink how weak and small we are, and how much we can be consoled by someone’s support, as I could be by the people in Monson. I hope this work will be a metaphor for lives and a humble gesture of support and solidarity to someone who visits the show.




2019 The School of Art Institute of Chicago, MFA

2017 Seoul National University, MFA

2012 Seoul National University, BFA



Solo Exhibition

2020 Living Island, CICA Museum, Gimpo

2014 Moon, Sujin solo exhibition, Woo-suk-hall, Seoul, Korea



Group Exhibition

2021 "Contemporary Landscape in Flux", The Research House for Asian Art, Chicago, IL

2019 ‘A Perfect Measurement’, Site gallery, Chicago, IL

2019 MFA thesis show, School of Art institute of Chicago, Chicago, IL

2018 New Blood XII Festival, Links Hall, Chicago, IL

2018 Object Lesson: Book Explorations, 062 Gallery, Chicago, IL

2015 ‘Serial exhibition: Project Space ‘Big Frame’, Seoul National University, Seoul

2015 ‘Non-finito’, Woo-suk Gallery, Seoul

2014 ‘Another Meeting’, Yang-gu Porcelain Museum, Yang-gu-gun

2014 Young Artist Invitation Exhibit 6th, KOSA Art Space, Seoul

2013 ’51-202’, Woo-suk-hall, Seoul

2011 Seoul National University graduate exhibition, Seoul National University, Seoul




2018 Steketee Scholarship, The School of Art Institute of Chicago

2018 J.Field/R.Field Family Travel Scholarship, School of Art Institute of Chicago

2011 Ha Dong-cheol Creative Award, Seoul National University




2021 Seoul Art Space GeumCheon

2020 Monson Arts, Monson, ME

2019 Studios at MASS MoCA, North Adams, MA

2019 Vermont Studio Center, Johnson, VT

Living Island

2020, Single Channel video, 12 min. 50 sec, 12'50"

Living Island

2020, Inkjet prints on papers, artist book, variable installation

Mothers' Mother's

2019, paper made out of cloths, interactive installation with artist's book


Breaking Words: Through Body
2018, Performance 

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Doyeon Gwon studied literature in college and then majored in photography in graduate school. His photography is concerned with exploring the relationship between knowledge and memory, the visual image, and language. His solo exhibitions include Bukhansan (Gallery Nook, Seoul, 2019), Flashbulb Memories (Gallery Lux, Seoul, 2018), The Art of Shovel (KT&G Sangsangmadang, Seoul, 2015), and Traveller Novice (Gallery Ryugaheon, Seoul, 2011). He has also participated in many group exhibitions, including FotoFest Biennial (US), PHoto ESPAÑA Biennial (Spain), Daegu Photo Biennale (South Korea), and shows at the GoEun Museum of Photography, Busan, and Seoul Museum of Art. He received the Sajin Bipyong (Photography Criticism) Award (2011), has been selected as a finalist for the 7th KT&G Sangsangmadang SKOPF (2015), was included in the British Journal of Photography’s “Ones to Watch” (2016), and received the 10th Ilwoo Photography Award.




2016 MFA, Photography, Graduate School of Sangmyung Univ. Seoul, Korea

2007 BFA, Literature, Hanyang Univ. Seoul, Korea



Solo Exhibition

2020 <SF>, Gallery SOSO, Paju, Korea

2020 <Flashbulb Memory 2>, Gallery 021, Daegu, Korea

2020 <Siot>, Ilwoo Space, Seoul, Korea

2019 <Bukhansan>, Gallery Nook, Seoul, Korea

2018 <Flashbulb Memory>, Gallery LUX, Seoul, Korea

2015 <The Art of the Shovel>, KT&G Sangsangmadang, Seoul, Korea



Selected Group Exhibition

2020 <Open the Memory>, Gallery 021, Daegu, Korea

2020 <The Museum for all, The Museum for Dogs>, National Museum of Modern and Contemporary Art, Korea

2020 <Madeleine>, Galerie DohyangLee, Paris, France

2019 <Platform Artist>, Incheon Art Platform, Incheon, Korea

2019 <Still Lives: Photo Brussels Festival>, Korean Cultural Center, Brussels, Belgium

2019 <The Art of Possible>, Goyang Aram Mesuem, Goyang, Korea

2019 <Plastic Love>, KT&G Sangsangmadang, Seoul, Korea

2019 <Traveling to the End>, National Museum of Modern and Contemporary Art residency, ChangDong, Korea

2019 <Underground Observatory: Here’s the Aleph>, Space22 Ikson, Seoul, Korea

2019 <Unfamiliar Scene>, Gallery Seoi, Seoul, Korea

2019 <291Report>, 291 photographs, Seoul, Korea

2019 <Static Sense>, Sikmulgwan PH, Korea

2019 <representing>, Art space J, Sungnam, Korea.

2018 <Write an Art, Draw a Book>, Kyungpook National University Art Museum, Daegu, Korea

2018 <DAL&1>, DAL, Seoul, Korea

2018 <Salon de Nook>, Gallery Nook, Seoul, Korea 2017

2017 <291 Report>, Space 291, Seoul, Korea

2017 <Studio 13>, National Museum of Modern and Contemporary Art residency, Goyang, Korea

2017 <From Flatness>, 021 Gallery, Daegu, Korea

2017 <Intro>, National Museum of Modern and Contemporary Art residency, Goyang, Korea

2016 <Melancholy of Books>, Kyobo Art Space, Seoul, Korea 2016

2016 <The emancipated memories>, Good Morning House, Suwon, Korea

2016 <Encounter IV : Daegu Photo Biennale>, Daegu, Korea

2016 <Twofold Dialogue>, Nook Gallery, Seoul, Korea

2016 <Ones To Watch: Photo Espana>, Madrid, Spain

2016 <Kairos Photography>, KT&G Sangsangmadang, ChunCheon, Korea

2016 <Dimension>, Gallery Shinsegea, Seoul, Korea 2015

2015 <New Force of Photography>, GoEun Museum of Photography, Busan, Korea

2016 <Mapping Territories: FotoFest in 2015>, NRG Center ,Houston, USA

2016 <Outside Timeline>, Nowhere, Seoul, Korea

2016 <International Discoveries V : Fotofest Biennale>, Houston, USA 2014

2014 <Seoul Luna PhotoFest>, Boan1942, Seoul, Korea

2014 <Sajin Bipyong>, Space 22, Seoul, Korea 2013

2014 <Succeeding>, Gallery Ilum, Seoul, Korea 2012

2012 <Here and Now>, Gallery Grimson, Seoul, Korea 2011

2011 <Seoul Photo Festival 2011>, Seoul Museum of Art, Seoul, Korea

2011 <Dongbangyogoi>, MBC Gallery M, Daegu, Korea

2011 <13nd Sajin Bipyong Awards>, Gallery ilum, Seoul, Korea 2010

2010 <Morden art draws attention from major mediaforms>, Seoul Art Space Festival, Seoul, Korea

2009 <A soft gap of time>, Gallery LUX, Seoul, Korea




2019 10th ILWOO Photography Award, HanJin Group, Seoul, Korea

2014 7th Korean Photographer's Fellowship- Final Artist of the year, KT&G Sangsangmadang, Korea

2011 12nd Sajin Bipyong Awards, Photospace, Seoul, Korea



Selection | Grant

2020 Selected as a Artist for funds to Support the Solo Exhibition, Gyeonggi Cultural Foundation, Korea

2019 Selected as a Artist for funds to Support the Solo Exhibition, The Seoul Foundation for Arts and Culture, Korea

2019 Selected as a Artist for funds to Support the Project, Gyeonggi Cultural Foundation, Korea

2018 Scholarship Program for Meeting Place, Fotofest Biennale, USA

2016 Ones To Watch, British Journal of Photography, UK

2015 “Encounter”, Winner of portfolio review, Daegu Photo Biennale, Korea




2021 Seoul Art Space Geumcheon

2019 Incheon Art Platform, Incheon, Korea

2018 DAL, Seoul, Korea

2017 National Museum of Modern and Contemporary Art residency, Goyang, Korea




Seoul Museum of Art

Art Bank, National Museum of Modern and Contemporary Art, Korea

GoEun Museum of Photography, Korea

Shinsegea, Korea

KT&G, Korea


Bukhansan_Black Mouth

2019, Pigment print


2019, Pigment print


SF_George Cayley

2020, Pigment print, 150x150cm

SF_ Percy Sinclair Pilcher

2020, Pigment print, 105x135cm