Gallery Baton is pleased to announce “Connect with Everything”, a solo exhibition by Tatsuo Miyajima b.1957 who is one of the international figures of contemporary art, from 26th November 2020 to 8th January 2021. This exhibition will provide a great opportunity to experience the wide spectrum of his overall artistic career including not only his representative LED (Light Emitting Diodes) work series but his recent paintings. Miyajima’s media practice transcends visual functionality of electronic materials including LED and IC and converts them into his authentic formative language. Especially, after his solo exhibition at Santa Barbara Museum of Art in 2019, the first major museum presentation in the US, he currently participates in “STARS”, a group exhibition of six most prominent Japanese contemporary artists at Mori Art Museum and “Chronicle 1995–2020”, a solo exhibition at Chiba City Museum of Art. In this situation in which the global art world pays considerable attention to his activities, it is meaningful to have his solo exhibition in Seoul at Gallery Baton.

– Gallery Baton

Why are there a pair of gloves dropped on a street, its owner unknown? The paradox and absurdity of this strange situation and its vestiges, the temporary situation, gap between language and reality, what I know perceived as real, and how it is not the truth. Jiyon Hong’s works are vessels of her emotion, humor, and doubts. They culminate into a question and answer of the self, reality, and the why of self-denial.

– Gallery 2

As a private citizen, Jenny Holzer is a woman of few words. As a very public artist–and it is hard to imagine another contemporary American artist whose visual productions have been so publicly accessible–she is a woman of a million words. Words, in fact, are the marrow of the 61-year-old Ohio-born artist’s large-scale, technology-driven productions. Thirty-six years after Holzer moved to New York City, and abruptly turned away from traditional painting to focus on the far more intricate substance of language, her loaded use of mottoes, phrases, verses, and quotations have appeared on T-shirts and posters, marble benches, and condom wrappers, have been light-projected onto the facades of government, corporate, and community buildings around the globe, and perhaps most memorably, have crawled and blinked across red-light LED screens.

– Interview Magazine

The Seoul Illustration fair is Korean largest illustration and graphic design fair, introducing artists and their artworks that are active in various of art fields. At this Seoul illustration Fair vol.10, the artists will represent their own unique artworks. In addition, there will be <Special Zone>, <Stationary goods Festival>, <Art on Fashion>. If you want to have further more information, please google in ‘Seoulillustrationfair’.

– Coex Center

Art critics have often labeled his early work “critical realism,” a term that encompassed a number of Chinese artists in the early 1990s that used satire to juxtapose capitalism and consumerism with Chinese communism.

Minjun says that the laughing character of his work was developed in response to the changes that China experienced since 1989.

“It has a lot to do with the changes brought about by China’s reform. The changes cause the changes in people’s behavior, very fast changes too. People’s emotions are different too, full and stimulating. The laughing faces represent the emotional feelings of the people.”

– CNN

Lee Seung Taek (b. 1932) is a representative figure in Korean experimental art who has continued since the 1950s until today with a prolific body of work spanning installation, sculpture, painting, photography, land art, and performance art. Lee Seung Taek’s Non-Art: The Inversive Act is a large-scale retrospective that aims to shed new light on the sixty-year career of an artist who played a pioneering role in transforming Korean contemporary art. The exhibition title Lee Seung Taek’s Non-Art: The Inversive Act encapsulates a career spent inverting every kind of object and idea, challenging fixed notions of art. His artistic views are well expressed in his declaration, “My view was inverted. My thought process was inverted. My life in this world was inverted.”and through the concept of “non-sculpture” by which he strove to break free of existing sculptural contexts.

– MMCA

For Teenagers, Joffe presents a series that documents the vulnerability and insouciance of adolescents. The boys and girls depicted avoid a direct gaze, glancing to the side or looking at the floor from beneath heavy-lidded eyes, with arms and hands awkwardly poised as though the subjects are uncomfortable in the skin of their rapidly-changing bodies. The paintings portray a sense of intimacy―friendships budding or relationships and self awareness maturing. The psychology of Joffe’s portraiture is elusive, her subjects often pensive and sometimes self-absorbed. Laying bare the physical effort of their making and suffused with a palpable empathetic warmth, Joffe’s paintings deeply question ever-shifting human connections and the endless intricacies of looking. Ultimately, the subject of Joffe’s painting is life: she charts the process of living and aging, tracing the difficulties, disappointments, and small victories to be subtly decoded from the faces and gestures of her painted subjects.

– Lehmann Maupin

As one of the most talented and innovative artists of the twentieth century, Park Rehyun (1920–1976) transformed the entire field of Korean ink-wash painting by freely crossing the boundaries of ink-wash, printmaking, and tapestries. But following her untimely death from cancer, her art was gradually forgotten, until she was primarily remembered as the wife of Kim Kichang.

At a time when few Korean women could sustain a career as artists, Park Rehyun had to strive constantly to juggle her artistic production with her demanding life as a mother and the wife of a hearing-impaired husband. By incorporating domestic handicrafts and motifs from her daily routines into her works, she expanded the modes of artistic expression and achieved her own independent vision based on her identity as a mother, woman, and Asian.

This exhibition introduces the life and art of Park Rehyun, who overcame social restrictions on women while still embracing her domestic responsibilities. Both as a loving wife who mastered English, Korean, and lip-reading in order to help her husband communicate and as a pioneering artist who excelled in painting, tapestry, and printmaking, Park Rehyun was indeed a “triple interpreter.”

– MMCA

Every year, SeMA, Buk-Seoul Museum of Art invites two artists to hold an exhibition under the name of Title Match. For the past six years, Title Match has experimented with exhibition formats and sought new possibilities for competition, conversation, and collaboration between its two invited artists. This year, a theorist has been invited for the first time to change the format of the exhibition.

In its seventh anniversary this year, Title Match is joined by artist Yang Ah Ham and critic Dongjin Seo. The two try to converse on the theme of “How do we interpret today?” As a critical response to Yang Ah Ham’s work to research and analyze problems in the social system and predict the near future, Dongjin Seo brings the narrative of a Utopian past to usher in a new future. Within this conversational structure, the two hope to glimpse into each other’s creativity and imagination and draw out common ground on the subject in an atmosphere of respect and support.

– SeMA

10 Corso Como Seoul is pleased to present the exhibition “Charlotte Perriand, Photographer and designer”, curated by Enrica Viganò, in collaboration with Charlotte Perriand Archives, Admira, Cassina and Fondazione Sozzani. Architect, urban planner, designer, collaborator of Le Corbusier, ever solitary and tireless traveler, Charlotte Perriand, with a unique and unconventional wit, was a pivotal figure in design of the 20th century and influenced contemporary living in multiple ways.

– Fondazione Sozzani

Dust Clay Stone focuses on works that represent the complex issues of identity faced by individuals experiencing situations of migration, as well as the perceptions that are formed or lost in the course of such experiences. The four artists, Pia Arke, Theresa Hak Kyung Cha, Bouchra Khalili and Alexander Ugay, whose works appear in the exhibition either experienced migration due to personal reasons or historical circumstance or are still living in a situation of it. While each of them has diverse cultural background through the experience of having been born in different regions of the globe and migrated to different continents or countries, the artists reveal their interests in the complex identity, the individual and collective memories, post-colonialism and allyship in their works. The works are also inter-connected in their methods of creating works such as their deep exploration of the structure of languages, the representation of images, approaches to the archival references, etc.

– Art Sonje Center

The artist uses a technique called Hyperrealism to precisely depict the back of a woman in a hanbok. The hanbok, completed with a delicate touch, is as elaborate as it is before your eyes. The persistence that reminds us of the splendid costumes of the Baroque era captivates the audience. For some, the beauty of tradition according to the details, and for others, the pain imposed on maintaining the beauty. But that’s not all. Rather, it can be said that the artist’s intention is to leave various interpretations to the audience through an anonymous appearance. The woman in the work does not show any words or stories. Looking back at the silent object, each audience imagines their own story. This resembles the current trend of communicating with anonymous people through social media. It is difficult to confirm each other’s sincerity in a system that is connected through the act of’follow’. In the feed of SNS, there is only the packaged beauty shared by the other party. In the photos where all the sense of reality has been erased, nothing like scars, anguish, or sadness can be seen. Therefore, SNS becomes a kind of playground where each other’s hearts are not confirmed.

– Design Press

Through Woo Jung-soo’s various works in Where Is My Voice, we can see that the message he ultimately wanted to convey was about moving images. Like a navigator’s journey to find his lost voice, you can discover the artist’s attitude of Woo Woo Jung-soo, who finds a new way of dealing with the plane through the free use of icons and patterns, experiments with colorful colors and lines, textures and supports.

– Doosan Art Center

Heenang heesoo Kim presents a new title for the upcoming solo exhibition, “The Other Side of My Mind”, away from his usual theme of ‘normal life’. Kim normally works with everyday life as his main subject. For this exhibition, he carefully steps into exploring the negative side of our individual hearts and minds living the ‘unusual life’ in the recent months of pandemic.

– Everyday Mooonday

This exhibition introduces about 30 works by contemporary artists based on portraits. ‘Portrait’ has been a part of the history of art, inspiring many artists. Portrait works reproduced by artists working at the forefront of contemporary art convey many messages to us living today. Through their work, they constantly ask questions about schizophrenia, group madness, violence or paranoia, and the absurdities that we forget or try to pretend not to know.

– Space K

teamLab (f. 2001) is an international art collective, an interdisciplinary group of various specialists such as artists, programmers, engineers, CG animators, mathematicians and architects whose collaborative practice seeks to navigate the confluence of art, science, technology, and the natural world.

teamLab aims to explore the relationship between the self and the world and new perceptions through art.

In order to understand the world around them, people separate it into independent entities with perceived boundaries between them. teamLab seeks to transcend these boundaries in our perception of the world, of the relationship between the self and the world, and of the continuity of time. Everything exists in a long, fragile yet miraculous, borderless continuity of life.

– DDP

The LOTTE Museum of Art will hold a large-scale exhibition featuring “genius artist” Jean-Michel Basquiat, who displayed a passionate world of art while resisting social bias. Basquiat, who made a meteoric rise on the New York art scene in the early 1980s and left some 3,000 artworks, opened a new horizon for contemporary visual culture through his new art charged with the energy of freedom and resistance. More than 150 masterpieces by this artist, whose name has become a byword for youth, and who is loved by people around the world as a source of new inspiration.

– Lotte Museum Of Art

In Galaxy Express, Yangachi posits that digital art is a psychic medium allowing for communication with other universes. This exhibition presents a realization of such a “galaxy” of the not-too-distant future, manifested in futuristic tokens cast from religious icons, dolls, and sculptures and photos by the artist, all of which bear dozens or hundreds of eyes, mouths, and other sensory organs. Yangachi’s artworks guide us through the clues hidden within them, experimenting with the essence of “media” through their points of contact with a galaxy that, although imperceptible, exists.

In MMCA Hyundai Motor Series 2020: Haegue Yang – O₂ & H₂O, the artist attempts another leap toward “the abstraction of reality.” As the major energies of living organisms, air and water do not exist purely in natural states as chemical symbols. While O₂ & H₂O refers precisely to specific materials, the title feels abstract at the same time, metaphorically expressing the evolution of the artist’s persistent interest in tracing formless sensorial experience with the abstract language of art. O₂ & H₂O poses questions to contemplate in totality the world of scientific facts, the perceptual world including experiences and senses that venture beyond such facts, and the phenomenal world that is gradually pushed to the brink with the climate crisis and disasters.

– MMCA

Jinju Lee draws delicately and in detail the pieces of memories and symbolic objects of everyday life that contain traces of the past intact. Based on tenacious observation of life and reality, she creates a peculiar and unfamiliar landscape formed on reality.

We live our lives while perceiving the world subjectively within the framework of our own experience and thought. On the one hand, some things exist in a way that cannot be seen or that are invisible or unexplainable. Thus, the way that people view the world is essentially imperfect in that it is somewhat distorted or lacking. In this exhibition, Jinju Lee presents her work in a huge A-shaped structure that encompasses the entire space so that the images cannot all be grasped at once. As if admiring an open scroll, the viewers realize the inevitable existence of ‘the unperceived’ which exists but is invisible, as they move along with the work created at eye level. Viewers will have the opportunity to think about the structure of truth that exists in ways that cannot be explained in many areas of life.

Tiger Lives is a special exhibition consisting of cultural relics and paintings of tigers in the Coreana Museum of Art and the Coreana Cosmetics Museum’s collection, presented alongside contemporary videos, paintings, and installations. Taken from video artist Nam June Paik’s eponymous work, the title emphasizes the persistent belief in the tiger’s symbolic presence in its present-progressive tense. From tiger claws – known for their power to ward off ill fate – to tiger embroideries on the military attire, paintings of roaring tigers and their comical renditions in folk art, tigers occupy a wide spectrum of representations to encompass disparate classes and beliefs. The symbolism of the tiger, meanwhile, stimulates new explorations in the minds of contemporary artists, mediating discrete points of history, culture, and myth. We hope that the exhibition would present the visitors with an opportunity to experience the rich oeuvre of tiger symbolisms through traditional representations and contemporary recontextualizations. 

– space*c

This show introduces the history of APMA through a wide range of artworks it has collected, encompassing paintings, metalcraft, woodcraft, and textile works. As the first exhibition dedicated to its traditional art collection, it attempted to show a large number of works to reexamine the value and historical significance of Korean traditional art.

– Amorepacific Museum of Art

The exhibition features 22 works across multifaceted categories, from sound installation, audience-driven performance, interactive sound installation, light art to visual music by 13 internationally recognized artists and collectives. With this exhibition, D MUSEUM is being reinvented as a new art platform where 13 sound spaces await to elicit awareness, sentiments and memories of individuals. In infinite yet transient aural world the audience will be reintroduced to the sense of hearing and guided into the journey of space, time and sound.

– D Museum