JJ ÁßÁ¤°¶·¯¸®_°¿øÁ¦(Wonje Kang), Á¤Àçö(Jaechul Jung)
¡áÀü½ÃÁ¦¸ñ : Collision +
¡áÀü½Ã±â°£ : 2024. 7. 2(Tue) – 7. 27(Sat)
¡áÂü¿©ÀÛ°¡ : °¿øÁ¦(Wonje Kang), Á¤Àçö(Jaechul Jung)
¡áÀü½ÃÀå¼Ò : ÁßÁ¤°¶·¯¸®(Joong Jung Gallery)
¡á°ü¶÷½Ã°£ : 11 am - 6 pm (Tue - Sat)
¡áÀü½Ã±âȹ : ÃÖÀç¿ì(Ryan Choi)
¡áÀü½Ã¹®ÀÇ : ¼¿ï½Ã Á¾·Î±¸ Æòâ10±æ 7-12(7-12, Pyeongchang 10-gil, Jongno-gu, Seoul, Republic of Korea)
T. 02 549 0207, E. info@joongjunggallery.com
Press Image : https://drive.google.com/drive/folders/1cyKQwk_RqWZWuqnDcP2Z_DX5X4bjH7B0?usp=sharing
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ÁßÁ¤°¶·¯¸®´Â 7¿ù 2ÀÏ(È) ºÎÅÍ 27ÀÏ(Åä)±îÁö °¿øÁ¦, Á¤Àçö ÀÛ°¡ÀÇ 2ÀÎÀü <Collision +>À» °³ÃÖÇÑ´Ù.
ÇÑ ¹ø ¿Ï¼ºµÈ ÀÛÇ°µéÀ» ÇØüÇÏ°í Àç¹è¿ÇÏ¿© »õ·Î¿î ÇüÅÂÀÇ ¶Ç´Ù¸¥ ÀÛÇ°À» ¸¸µå´Â ÀÛ¾÷ °úÁ¤ÀÇ ¸¶Áö¸· ´Ü°è¿¡ ÀÖ´Â Chaosmos ½Ã¸®Áî´Â ¿©·¯ ¹ÌÀûÀÎ ¿ä¼Ò ¹× °³³ä °£ÀÇ Ãæµ¹À» º¸¿©ÁØ´Ù. ¿Ï°áÀº °ð ¶Ç´Ù¸¥ ½ÃÀÛÀÓÀ» ÁÖÀåÇÏ´Â °¿øÁ¦ÀÇ ÀÛ¾÷Àº ‘âÁ¶·Î À̾îÁö´Â Ãæµ¹’À̶ó´Â ¸Þ¼¼Áö¸¦ ´øÁø´Ù.
¾ÆÇÁ¸®Ä«¿Í Àεµ¸¦ ¿©ÇàÇϸç Á÷Á¢ º¸°í ´À³¤ °ÍÀ» ¹ÙÅÁÀ¸·Î ¿©·¯ ¸ð¼øÀûÀÎ »çȸÀû Çö»óµé¿¡ ´ëÇÑ °¨Á¤°ú ¹Ù¶÷À» Ç¥ÇöÇÑ Á¤ÀçöÀÇ Middle Ground ½Ã¸®Áî´Â ¿ì¸® Çö½Ç ¼ÓÀÇ, ±×¸®°í ÀÛ°¡ ³»¸éÀÇ Ãæµ¹À» ³ªÅ¸³½´Ù. ÇÏÁö¸¸ µ¿½Ã¿¡ ŸÇù°ú ÀýÃæÀ¸·Î ³ª¾Æ°¡±â À§ÇÑ Ãæµ¹ÀÇ Çʿ伺À» Á¦½ÃÇÏ¸ç ‘Ãæµ¹°ú ¼ö¿ë’¿¡ °üÇÑ ´ëȸ¦ ¾ß±âÇÑ´Ù.
Joong Jung Gallery is pleased to present Collision +, a duo exhibition of Wonje Kang and Jaechul Jung, on view from July 2 to 27.
Wonje Kang’s Chaosmos series, which involves dismantling and rearranging completed artworks to create new forms, represents the final stage of the artist’s current practice. It demonstrates collisions between various aesthetic elements and concepts within the artwork itself. Kang’s works assert that completion is not an endpoint but rather a catalyst for another beginning, echoing the message of "collisions leading to creation."
Jaechul Jung’s Middle Ground series expresses the artist’s emotions and desires regarding contradictory social phenomena, drawing from his firsthand experiences during travels in Africa and India. It delves into collisions within societal contexts, while reflecting those within the artist himself as well. However, it also suggests the necessity of collisions in order for compromise and reconciliation to be reached, thereby initiating conversations on the topic of "collisions and acceptance."
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°¿øÁ¦ Wonje Kang (b. 1984~)
2019 È«ÀÍ´ëÇб³ ȸȰú ¹Ú»ç Á¹¾÷
2018 ¿µ±¹¿Õ¸³¿¹¼úÇб³(Royal College of Art) ȸȰú ¼®»ç
2011 È«ÀÍ´ëÇб³ ȸȰú ¼®»ç Á¹¾÷
2009 ´ë±¸´ëÇб³ ȸȰú Á¹¾÷
ÁÖ¿ä °³ÀÎÀü
2023 °ð »ç¶óÁú Å״ϱî, ·ÎÀÌ°¶·¯¸®, ¼¿ï
³¡ÀÌ ¾ø´Â °ÔÀÓ, ÁßÁ¤°¶·¯¸®, ¼¿ï
2022 This is not the end, <¿ÃÇØÀÇ Ã»³â ÀÛ°¡>, ´ë±¸¹®È¿¹¼úȸ°ü, ´ë±¸
Going home, ERD °¶·¯¸®, ºÎ»ê
2021 00, ERD °¶·¯¸®, ¼¿ï
ȸȿ¡¼ ȸȷÎ, ºÀ»ê¹®Èȸ°ü À¯¸®»óÀÚ ¾ÆÆ®½ºÅ¸, ´ë±¸
2020 ±×¸² Å»ÇÇ, 19.48 °¶·¯¸®, ¼¿ï
2019 Project Running Painting, ERD °¶·¯¸®, ¼¿ï
2015 È帣´Â ±×¸², »çÀ̾ÆÆ® °¶·¯¸®, ¼¿ï
Encounter, È«ÀÍ´ëÇб³ ¹Ì¼ú°ü, ¼¿ï
2013 Organic Objects, KEPCO ¾ÆÆ®¼¾ÅÍ, ¼¿ï
2011 Strange Objects, Àλç¾ÆÆ®¼¾ÅÍ, ¼¿ï
Á¤Àçö Jaechul Jung (b. 1980~)
2007 È«ÀÍ´ë ¹Ì¼ú´ëÇРȸȰú Á¹¾÷
ÁÖ¿ä °³ÀÎÀü
2023 ¼ÒÅëÀÇ ÀýÂ÷, ¾ÆÅÍÅ×ÀÎ, ¼¿ï
Middle Ground:ŸÇùÇϱâ, ¸ð³ª¹«¸£ °¶·¯¸®, ¾Æ»ê
ŸÇùÀÇ ÈçÀû, ¾ÆÆ®½ºÆäÀ̽º KC, ÆDZ³
2022 °ü°è, BIKI GALLERY, ¼¿ï
2021 Ãß»ó¿¡ GOÇÏ´Ù, °¶·¯¸®ÃÊÀÌ, ¼¿ï
2019 Àͼ÷ÇØÁø ³¸¼³À½, ¾ÆÅÍÅ×ÀÎ, ¼¿ï
2017 UNFAMILIAR FACE, °¶·¯¸® ¸ÞÀÌ, ¼¿ï
2015 Unfamiliar, JJÁßÁ¤ °¶·¯¸®, ¼¿ï
2013 DOUBLE FACE, ¾Æ¶ã¸®¿¡ ÅÍ´×, ¼¿ï
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