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Perfect Home Artworks displayed in the 21st Century Museum of Contemporary Art in Kanazawa, Japan.

Do Ho Suh draws attention to the ways viewers occupy and inhabit public space. Interested in the malleability of space in both its physical and metaphorical manifestations, Suh constructs site-specific installations that question the boundaries of identity. His work explores the relation between individuality, collectivity and anonymity.

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Staircase IV, 2004 , translucent nylon, dimensions variable

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Reflection, 2004, nylon and stainless steel tube, dimensions variable

In exquisitely made works, Do Ho Suh explores contemporary arrangements of space and the unstable boundaries of its categorisation along lines of individuality and collectivity, physicality and immateriality, mobility and fixity. Influenced by his peripatetic existence – leaving his native South Korea to study and live in the United States, he has more recently moved between New York, Seoul and London – an enduring theme of the artist's practice is the connection between the individual and the group across global cultures.

The multiplicity of individuality is tested through meditative processes of repetition: whether interlinked along a lattice of fishing nets, amassed into monumental tornado-like forms, absent from ranks of empty uniforms, or present in every yearbook photo taken at the artist's high school over 60 years, the artist uses the reproduced human figure to explore sensitively, and with spectacular formal effect, the ways in which personal space inherently extends into the collective sphere.

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Installation View, Do Ho Suh, Home Within Home, 12 November 2013 – 11 May 2014, Museum of Modern and Contemporary Art, Seoul, Korea

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Seoul Home/Seoul Home/Kanazawa Home, 2012, Silk, metal armature, 1457 x 717 x 391 cm

Influenced by his peripatetic existence, an enduring theme of the artist’s practice is the connection between the individual and the group across global cultures.

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Boiler Room: London Studio, 2015, Polyester fabric and stainless steel tubes, 217.2 x 155.7 x 185.2 cm

Constructed much like items of clothing, Suh's portable modules of space were designed to be packed in his suitcase as he travelled between continents, the artist's own personal peripatetic history bleeding into the universalised nomadism of a globalised world. Transitory, connecting spaces – corridors, staircases, bridges, gateways – feature often in the artist's drawings and sculptural installations: rather than borders,

Suh is fascinated with the linking spaces through which the body travels between cultures. In this international era, the house is a protective mantle transformed by its arrivals in different contexts: in different works, homes from different stages of the artist's life nest one inside the other in differently coloured swathes of fabric, or come dramatically into collision in painstakingly constructed models.

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Specimen Series: Radiator, Apartment A, 348 West 22nd Street, New York, NY 10011, USA, 2013. Polyester fabric, stainless steel wire, and display case with LED lighting. Edition of 3. Courtesy the artist and Lehmann Maupin, New York and Hong Kong.

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Specimen Series: Refrigerator, Unit 2, 348 West 22nd Street, New York, NY 10011, USA, 2015, Polyester fabric, stainless steel wire, and display case with LED lighting, 220.3 x 116.8 x 120.5 cm

This coexistence, which belies simplistic conceptions of cultural authenticity, is further investigated in Suh's large-scale public interventions in cities. With a mobile hotel, parked daily in the neglected gaps of urban fabric, and compact dwellings perched incongruously on existing tower blocks or sandwiched precariously between two neighbouring buildings as if having landed haphazardly after a long journey, the artist considers notions of organisation, proximity and belonging in a networked world.

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Installation view, Do Ho Suh, Lehmann Maupin, Hong Kong, 2013–2014. Courtesy the artist and Lehmann Maupin, New York and Hong Kong. Photograph by Kitmin.com.

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Installation view, Do Ho Suh: Passage/s, Victoria Miro, 1 Febuary - 18 March 2017 (photography: Thierry Bal).

Passage/s introduced a new process, in which Suh’s signature architectural pieces are compressed into large-scale two-dimensional ‘drawings’.

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Home Within Home – Prototype, 2009-2011

Born in 1962 in South Korea, Do Ho Suh received a BFA in painting from the Rhode Island School of Design and a MFA in sculpture from Yale University. He currently lives and works in London. Suh represented Korea at the 49th Venice Biennale in 2001, and has staged numerous recent international solo exhibitions and site-specific projects at institutional venues including the Contemporary Arts Centre, Cincinnati (2016); MOCA Cleveland (2015 - 2016), travelling to MCA San Diego (2016); The Contemporary Austin, Texas (2014); National Museum of Modern and Contemporary Art, Seoul, Korea (2013); 21st Century Museum of Contemporary Art, Kanazawa, Japan (2012 - 2013 and 2005); Hiroshima City Museum of Contemporary Art, Hiroshima, Japan (2012); University of San Diego, California (2012); Samsung Museum of Art, Seoul, Korea (2012); Seattle Art Museum, Washington (2011 and 2003) and Tate Modern, London (2011). The artist has participated in the 8th Gwangju Biennale (2012), 12th Venice Architecture Biennale (2010), and 6th Liverpool Biennial (2010). The first survey exhibition of Do Ho Suh's work in Europe was presented at the Serpentine Gallery, London in 2002.

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Brainwash, 2008, Acrylic on canvas, 200 x 200 cm

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Brainwash, 2008, detail

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Brainwash, 2008, detail

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Brainwash, 2010, Acrylic on canvas, 200 x 200 cm

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Brainwash, 2010, detail

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Big Present, 2008, Acrylic on canvas, 220 x 200 cm

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Masturbation, 2008, Acrylic on Canvas, 194.5 x 133 cm

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Nine nipples, 2008, Acrylic on canvas, 95 x 193 cm

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Nine nipples, 2008, detail

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playpray, 2009, Acrylic on Canvas, 300 x 130 cm

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The Forty Hours, 2007, Acrylic on canvas, 112 x 162 cm

My working is the interest in the confront of the antinomies that can’t be coexistable each other, and the interest in the crack of life and reality. I study the problems of forms in the deterministic system of thought; especially I try to several the phenomena of control prevailing in the detailed parts of society through the processes of combination of recombination.

Various feelings of joy and anger are to be produced surplus in the process of making relations with outer world. And the ‘surplus’ feeling s forces us to go into the vagrant fancies. Moreover the fancies make a false value combining with other people’s fancies. Vain truth make orders though the ordering system that compelling it, and confines people in it.

I am taking out the buoying image within my brain, and that is why it is the story begun with the fancy of one personal brain. The conflict of value from different cultures produces admission, exclusion and a kind of variant, and the huge canvas is filled utmost with the images containing all these.

Park Kyung Ryul

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Jungwook Kim 2012, Korean ink on Korean paper, 162.5 x 112 cm

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Jungwook Kim 2012, Korean ink on Korean paper, 170 x 116.5 cm

"The silent state of the figures is derived from Jungwook Kim’s way of life. She records every moment of life with her head and mind, and opens herself up to all kinds of forms and methods of life. Like a contemplative and observant poet writing down a line implying thoughts and memories about life, living things, death and people, she delivers her feelings through repetitive brush strokes.

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Jungwook Kim 2010, Korean ink on Korean paper, 168 x 116 cm

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Jungwook Kim 2012, Korean ink on Korean paper, 20 x 20 cm

She thinks and keeps thinking. She covers and keeps covering. She draws and keeps drawing. Like a short line of text can be visualized as all kinds of sensitive images and shapes in one’s head, Jungwook Kim’s work is like a sensitive gift comforting the viewers. She doesn’t have strong likes or dislikes towards the concepts that people tend to define as the opposites, such as beauty and ugliness, good and bad, bright and dark, happiness and anxiety, or comfort and wounds. Jungwook Kim attempts to understand ‘their natural state of being’ and spreads out that very moment of sympathy on paper. Likewise, Jungwook Kim’s unbound way of seeing represents another outlook on the world and gives us a certain shining moment." —Yunkyong Kim

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Jungwook Kim 2009, Korean ink on Korean paper, 162 x 130 cm

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Jungwook Kim 2012, Korean ink on Korean paper, 27 x 21cm

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Jungwook Kim 2008, Korean ink on Korean paper, 162 x 112 cm

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Jungwook Kim 2008, Korean ink on Korean paper, 162 x 111.5 cm

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Jungwook Kim 2008, Korean ink on Korean paper, 145.5 x 129 cm

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Jungwook Kim 2007, Korean ink on Korean paper, 74 x 129 cm

Jungwook Kim was born in Seoul in 1970. She lives and works in Seoul, Korea. She is well known for her ‘black portrait’ series executed in Korean traditional painting technic. The unique sensibility of her painting has already attracted many art people around the world. Jungwook Kim’s art comforts us and we can feel alive by sharing artist’s emotions.







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