YeonYong Kim, ChoongHyun Roh, DongWook Suh, DooJin Ahn, Yongkook Jeong
《Almost Landscape》 Installation View (1)
2GIL29 GALLERY is pleased to present Almost Landscape (풍경미수 風景未遂), a group exhibition featuring Yeonyong Kim, Choonghyun Roh, Dongwook Suh, Doojin Ahn, and Yongkook Jeong, on view from June 13 to July 11, 2026.
This exhibition approaches landscape not as a fixed representation, but as a dynamic process that is constantly deferred, transformed, and reconstituted. Through their distinct visual languages and painterly methodologies, the five artists evoke specific places and scenes while simultaneously disrupting the conventions of singular representation. Moving fluidly between representation and abstraction, sensation and memory, reality and psychology, their works explore the multilayered possibilities embedded within the notion of landscape.
The exhibition title, Almost Landscape (풍경未遂), refers to a landscape that remains unfinished, or perhaps to possibilities that lie beyond landscape itself. Here, the term misu (未遂) does not imply failure. Rather, it points to a state of perception and sensation that can never be fully resolved, and therefore remains perpetually open, evolving, and incomplete.
Yeonyong Kim, 무제(가장의 근심) Untitled, from the series ‘The Cares of a Family Man’, 2026, Hand-cut analogue collage on laminated MDF board, 84.1 x 59.4 cm
Yeonyong Kim (b.1973) explores the structures of sensation and image, continuously questioning the processes through which images are formed and perceived. His work approaches imagery not as a simple representation of figures, landscapes, or objects, but as a site where perception and thought intersect. Through layered fragments, overlapping pictorial planes, and compositions charged with tension, the boundaries between reality and unreality remain fluid, opening new possibilities for perception. Currently a professor at the School of Visual Arts, Korea National University of Arts, Kim has established a distinctive position within contemporary painting discourse through his ongoing exploration of both the conceptual and material dimensions of painting.
Choonghyun Roh, 밤, 2022, Oil on Canvas, 50 x 65 cm
Choonghyun Roh (b.1970) has long captured everyday scenes from urban peripheries, aging alleyways, and redevelopment districts through his characteristically contemplative gaze. Familiar yet vanishing landscapes are transformed within his paintings into psychological spaces imbued with traces of time and emotional density. Observing scenes often left undocumented amid urban transformation, Roh reveals the accumulated layers of memory and feeling embedded within the landscape.
Dongwook Suh, 밤-불 켜진 국회의사당-사슴, 2026, Oil on Canvas, 227.3 x 162.1 cm
Dongwook Suh (b.1974) focuses on the materiality of painting and the rhythms of perception, producing works that move between representation and abstraction. Layered brushstrokes, color, and the flow of the pictorial surface simultaneously suggest and dissolve recognizable forms, transforming landscape from a fixed image into a state of sensation in the process of becoming. In his work, the canvas functions less as a depiction of a specific place than as a space in which painting reveals its own formation and instability.
Doojin Ahn, 촤락-풍경위에 풍경, 2022, Acrylic & Oil on Canvas, 130 x 160 cm
Doojin Ahn (b.1975) has developed a painterly world that drifts between reality and unreality through organic forms, flowing movements, and imagery evocative of living organisms. Within his canvases, forms continually emerge and disappear, while the boundaries between nature and body, landscape and sensation, become fluidly intertwined. Treating painting not as a fixed image but as a living state of perception, Ahn unfolds an unstable and ever-shifting understanding of reality across the pictorial surface.
Yongkook Jeong, 유목遊目Wandering Perspectives, 2023, Ink on Paper, 207 × 536 cm
Yongkook Jeong (b.1972) reinterprets the traditional sensibilities of East Asian painting and the concept of yeobaek (emptiness) through a contemporary painterly language, offering new ways of thinking about landscape. The traces of scenery that emerge through washes, layering, and expanses of open space evoke the flow of time, memory, and contemplation rather than representing a specific location. By dismantling and reconfiguring familiar images of nature, Jeong expands landscape into a realm of inner perception and psychological space. Currently a professor in the Department of Painting at Yeungnam University, he continues to renew the sensibility of traditional ink painting within the context of contemporary art.
Almost Landscape proposes landscape not as a mere depiction of nature or a visual subject, but as a field where memory and sensation, materiality and psychology intersect. The landscapes presented by these five artists resist completion, continually oscillating between formation and dissolution. In doing so, they invite viewers to reconsider how we perceive, remember, and imagine the world around us.
2GIL29GALLERY
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