{"id":2701,"date":"2020-09-28T18:55:06","date_gmt":"2020-09-28T09:55:06","guid":{"rendered":"https:\/\/kiaf.org\/?post_type=events&p=2701"},"modified":"2022-07-15T13:35:59","modified_gmt":"2022-07-15T04:35:59","slug":"atelier-aki-x-kiaf-online-viewing-room","status":"publish","type":"insights","link":"https:\/\/kiaf.org\/en\/insights\/2701","title":{"rendered":"ATELIER AKI X KIAF Online Viewing Room"},"content":{"rendered":"

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Founded in 2010, ATELIER AKI has steadily established as one of the most active contemporary art galleries in Seoul, Korea. ATELIER AKI has promoted established and the next generation of contemporary Korean artists domestically as well as internationally. Throughout the various art projects and international art fairs, the gallery continues to play a key role to inform the innovative works to the current global art world.<\/p>\n

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Kwon Daehun, Chalna-Postbox C3, 2020, resin, acrylic paint, linen, steel, wooden board, 150 x 80 x 35 cm<\/figcaption><\/figure>\n

KWON DAE HUN (b.1972, Korea)
\nKwon Dae Hun graduated ‘Seoul National University’, which is the top-ranking university in Korea with both bachelor\u2019s and master\u2019s degrees in sculpture. Within a few years later, he had enrolled in Slade School of Fine Art to graduate with MFA degree.
\nHe has been actively involved in numerous exhibitions in UK, France, and Korea, receiving acknowledgement of excellency of his sculpture practice. In 2005, he had earned the Bursary award from RBS (Royal British Society of Sculptors) and in 2011, he was the first Korean artist who had been honorably awarded \u2018The Jack Goldhill Award\u2019, which the prize is only granted to an outstanding work of sculpture.<\/p>\n

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Koh Sangwoo, Elephant Kiss, 2019, Archival pigment print, 100x136cm, 145x195cm<\/figcaption><\/figure>\n

KOH SANGWOO (b.1978, Korea)
\nKoh Sangwoo is a recognizable artist by the blue tone photograph. He is a visual artist who consolidates photography, performance, and painting. Beauty is one of the concepts present in all of Koh Sangwoo\u2019s works. By capturing emotion with his camera, he explores the relations between people, their connections and passions. He finds his inspiration in Jackson Pollock, Willem de Kooning and Andy Warhol\u2019s work. Although his work involves the new technologies, his artwork is not purely digital and not entirely relying on Photoshop.
\nKoh Sangwoo\u2019s art pieces were featured in several exhibitions at key galleries and museums. Moreover, he has participated in various international art fairs and his works are held in major collections globally.<\/p>\n

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Jeong Seongjoon, Anyone can be happy, 2020, oil on canvas, 162 x 112 cm<\/figcaption><\/figure>\n

JEONG SEONGJOON (b.1981, Korea)
\nA Bejing-based artist, Jeong Seongjoon, captures the adventures and journey of animals to find their utopia in his works. The transportation for the main characters which are the animals in this case is in color, but everything else is painted in achromatic. He presents questions about whether humans and animals can coexist though contrasting colors, while he puts a desire where the nature and humans can coexist on the canvas.
\nHis art pieces were entirely sold out at Beijing art fair and also at his solo exhibition at Shanghai. He becomes a promising artist in China, and his art piece had been recently collected by Bernard Arnault, the chairman and chief executive of LVMH, Louis Vuitton Moet Hennessy.<\/p>\n

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Kwon Kisoo, Untitled, 2020, acrylic on canvas on board, 162x130cm<\/figcaption><\/figure>\n

KWON KISOO (b.1972, Korea)
\nKwon Kisoo is acknowledged as a bridge artist between Korean traditional painting and contemporary art scene. Most of his works are inhabited by a modern icon of his own creation: an alter ego names \u2018Dongguri\u2019, which is a character with a round face and spiky hair that appears in almost every painting by the artist as his avatar.
\nKwon Kisoo has been selected for artist theme project by Google which elaborates iGoogle homepage with the many other key artists including Jeff Koons. He also showed his work at Venice Biennale, Long Museum in Shanghai and his art pieces had been collected at Asian Art Museum in San Francisco, National Museum of Modern and Contemporary Art in Korea and many other major museums.<\/p>\n

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Wang Jianuo, \u300aC.S.03\u300b, 2020, acrylic painting, 160 x 130 cm<\/figcaption><\/figure>\n

WANG JIANUO (b.1989, China)
\nWang Jianuo is one of the most successful pioneers of Art of Trend in China. His art pieces are a combination of cartoons, graffiti and collages. The evolution of Wang Jianuo’s works is very clear, and he has been following the trend line, constantly changing the images and breaking through himself. Although he is a young artist, he is one of the representative trend artists. Once Wang Jianuo returned back to China, he has quickly become famous and his works can always be seen in major fairs.
\nHis works have been greatly recognized by the society, senior collectors and famous stars are scrambling to collect his works<\/p>\n

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Yoon Sangyoon, In bloom 2, 2020, oil on canvas, 130 x 162 cm<\/figcaption><\/figure>\n

YOON SANGYOON (b.1978, Korea)
\nYoon Sangyoon is a Korean artist and he produces his paintings into one by right hand and the other by the left hand. This results in completely different atmospheres which make people to believe that his paintings must have been done by different artists.
\nIn his paintings, he explores the relationship between the conscious and the unconscious. The shimmering surface lies the depths of the unconscious mind, mirroring and yet separated from the conscious world.
\nIn contrast, Yoon\u2019s drawings, sketched with his left hand, are created impulsively without correction, and can be considered short-hand records of the unconscious. These two different streams of Yoon\u2019s practice flow together, analytically and intimately deconstructing the human mind.<\/p>\n

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Oh Younghwa, Sweet Lacure gourmande, 2019, oil on canvas, 140 x 95 cm<\/figcaption><\/figure>\n

OH YOUNGHWA (b.1981, Korea)
\nOh Younghwa, who is actively working in Beijing, studied at the Department of Fine Arts at \u2018Saint-Petersburg state university\u2019 in Russia and graduated from \u2018Chosun University\u2019 with a bachelor\u2019s degree of Arts. She also completed achieving the master\u2019s course of Arts at \u2018China Central Academy of Fine Art\u2019.
\nHer paintings continue to be based on her own cat with her unique refined sense. Since she is interested in stray cats which are on the border between the city and the nature, she looks at the possibility of coexistence between people, nature and the relationship for the future. She participated as a resident artist at Beijing Residency, Gwangju Museum of Art. Furthermore, she was invited by a leading Chinese gallery to participate in various exhibitions.<\/p>\n

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Lee Mijung, Delivered flowers #01, #02, #03, 2020, acrylic on birch plywood, 40 x 16.5 cm, 42 x 12 cm, 41.5 x 11 cm<\/figcaption><\/figure>\n

LEE MIJUNG (b.1988, Korea)
\nLee Mijung transforms her art pieces into touchable objects by creating a sculptural sense on a canvas. She focuses on expanding the meaning of each image and creating a flexible scene which can be interpreted in various situations in a physical space. After graduating from one of the high-ranking universities in Korea, \u2018Hongik university\u2019, she participated in major solo exhibition at OCI Museum, Gallery KunstDoc, Art Delight and etc. She also had chosen as residency with the Kuandu Museum of Fine Arts in Taipei and selected as OCI young creatives. Moreover, her art pieces have been collected at \u2018Kuandu Museum of Fine Arts\u2019 in Taipei, \u2018National Museum of Modern and Contemporary Art\u2019 in Korea, OCI Museum of Art in Korea and etc.<\/p>\n

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Park Hyojin, Respite, 2020, Pigment print, 110×90 cm<\/figcaption><\/figure>\n

PARK HYOJIN (b.1974, Korea)
\nPark Hyojin completed another master’s degree at the \u2018Goldsmith’s College\u2019 in London after she graduated from \u2018Ewha Womans University\u2019. She has moved away from conventional sculpting techniques such as cutting and welding, and she aims to present to break down the boundary between the sculptures and paintings.
\nHer experimental work had been recognized by Serenella Cichlitira, a world-class super collector and head of Korean Eye, and she collected the artist\u2019s art pieces. Park Hyojin was actively engaged in exhibition with a renowned French designer, Roland Mouret. She was also invited to a special individual exhibition at START, which is emerging as a major art fair showing the British sense of youth. Moreover, she was selected as one of 100 contemporary artists by Aesthetica art magazine in 2014.<\/p>\n

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Song Eunyoung, 51 (Turquoise Wall), 2019, oil on linen, 2 pcs , (162.2×112.1cm, 162.2×130.3cm)<\/figcaption><\/figure>\n

SONG EUNYOUNG (b.1970, Korea)
\nSong Eunyoung\u2019s work is particularly marked by ironic, foreign elements that are obviously perceived but they coexist in her scenes, delaying any final definition. As she mentioned, her work is realistic and unrealistic, simple and complicated and is in front and back at the same time. While we discover some stable, gentle images in her works, we are from time to time surprised by the nonlinear experiences brought up by the arrangement of those images. As agnosticism is the view that the nature or substance of things is unknown or unknowable, the artist represents objects that she seems to know or to see with her own distinctive manner.<\/p>\n

ATELIER AKI
\n1F \/ B1F Galleria For\u00eat 32-14, Seoulsup 2-gil, Seongdong-gu, 04769, Seoul, Korea
\n+82 2 464 7710<\/p>\n

WEB<\/a>\u00a0 \u00a0 \u00a0INSTAGRAM<\/a><\/p>\n","protected":false},"featured_media":0,"template":"","categories":[50,51],"class_list":["post-2701","insights","type-insights","status-publish","hentry","category-insight","category-stories"],"translation":{"provider":"WPGlobus","version":"3.0.0","language":"en","enabled_languages":["ko","en"],"languages":{"ko":{"title":true,"content":true,"excerpt":false},"en":{"title":false,"content":false,"excerpt":false}}},"acf":[],"_links":{"self":[{"href":"https:\/\/kiaf.org\/en\/wp-json\/wp\/v2\/insights\/2701","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/kiaf.org\/en\/wp-json\/wp\/v2\/insights"}],"about":[{"href":"https:\/\/kiaf.org\/en\/wp-json\/wp\/v2\/types\/insights"}],"wp:attachment":[{"href":"https:\/\/kiaf.org\/en\/wp-json\/wp\/v2\/media?parent=2701"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kiaf.org\/en\/wp-json\/wp\/v2\/categories?post=2701"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}