The "Intent" exhibition by artist Jo Woo-In explores the two dimensions of reality - the microscopic and the macroscopic. His ideas are an interplay between quantum physics theory and atomism both of whcih are very different to one another. Atomism is the quest for the most fundamental building block of reality while quantum physics sees reality as a pattern and a dynamic dance between a variety of small particles. The macroscopic world is the world of forms that we can see and touch. The microscopic world is that aspect of reality which we cannot see but we know is the source of the visible reality.
Artist Jung Jung-Yeob continues the topic of the dual nature of reality. According to him, Western culture is based on generally masculine ideas whereas Eastern culture is based on the balance of yin and yang or the masculine and feminine. His artistic roots are Korean traditional art (Minjung art) and traditional printmaking but re-examined to add current social and ecological themes. The seeds and the insects depicted on the poster refer to the universe's creative powers as they are reflected in the plant and animal world.
"Before any Words" by Lacey Kim addresses another aspect of duality - consciousness and unconsciousness, the visible and the invisible spectrums of the activity of the human mind. Through the conscious mind we realise our existence and existence is seens as the journey we take to return to ourselves. This return to our own individual essence is the ultimate final proff that indeed, we do exist. The lines and basic forms depicted in the artworks serve as records of the moments experienced and thus records of the journey to the essence of existence. The hand movements have been practices and done over and over again as a way of reflecting the rhythmic nature of reality and incorporating apsetcs such as energy and vitality.
"Faces Say Something" at Kim Se-Jung Museum features sculptures from 15 artists all of which explore the different facial expressions they had seen during the pandemic. The sculptures aim to capture the wide spectrum of reactions and conflicting emotions that this event caused. Facial expressions are also seen as the technical medium for expression of various feelings and thoughts and the sculptures (made of clay, wood, coal, resin, terracotta and more) also explore them from purely mechanical point of view.
"For_Rest" by Hwang Hye-Jin underscores the power of beauty to elevate the heart and the mind and lead them to a better world, first within and then, hopefully, without. Ordinary elements of nature such as trees, flowers, deers etc. are interpreted through aesthetic lenses and enriched with a sense of beauty, balance, optimism, and gentleness that intends to create a dream space in between reality and fantasy. This middle ground is not an escape but rather a step in between living buried in reality and living in a dreamt-up better world. The artist notes that her work aims to relax, soften and lighten the heart rather than to embody complex theoretical philosophies.
"Keep Calm & Give a Shit" features paintings and cartoons by Kim Hoon-gyu, Soon-iji, Wong Ping, and Tala Madani, whose works instantly capture the attention of the viewer and immerse them in the narrative. The narrative in question is a tapestry of interwoven comentaries on social issues which consists of alegorical and satirical word plays. The artists defend this socio-political commentary: "We need art that changes minds and sparks new ideas, not morphine-like art that weakens the perception of reality or alleviates pain through beauty."
The show "Brain Planet" at OCI Museum addresses the latest rage around generative AI models such as ChatGPT. It features pictures created by the artist with poems added by AI, in a sense the exhibition is co-authored by the tool. Disconnected visions and ideas are poured on the canvas in the same way in which big data serves as a training field for AI. Random ideas are stored between the wrinkles of the brain. The exhibition highlights the similarity of the human mind and AI algorithms.
"Inside Out” is a group exhibition in which the artist collective explores the challenges of dealing with the inner world generated by our external lives. As we go through life, we meet various people and circumstances and they all leave traces within. Often, these traces are difficult or downright negative - how can we deal with this? how much time do we need to process and recover from the challenges and do we have that time before something else hits us? The title of the show refers to the artistic practice of taking what's inside and externalising it in a technical language.
"Korean Letters" by Lee So-Yeong explores the visual forms of Hangul, the Korean alphabet. The artworks are built around the visual form of the Korean characters. Fragments of different words are explored from aesthetic perspective. Both, the content and the form of the alphabet are highlighted. In the paintings, the consonants take the shapes of nature and objects, while the vowels take the forms of human gestures. Ultimately, the artist is looking for harmony and balance between people and nature through the harmony of the language. Aren't langauges created to establish harmony in the first place? The artworks are accompanied by short stories that underscore the new approach of using text and visuals at the same time.
"Kyong-Ju, Namsan: Holy Buddha Land" is an exhibition dedicated to the Kyong-Ju Namsan mountain which has 13 royal tombs, 4 mountain fortresses, 150 temple sites, 130 Buddha statues, and 100 pagodas. These cultural relics are scattered and hence often refered to as "roofless museum" or "a repository of Shilla culture". The show is a celebration of Shilla culture and its strong Buddhist influence as well as a celebration of the mysticism of the mountain and the inspiration and religious consolation that it offers.