{"id":57315,"date":"2025-12-11T10:36:39","date_gmt":"2025-12-11T01:36:39","guid":{"rendered":"https:\/\/kiaf.org\/?post_type=insights&#038;p=57315"},"modified":"2025-12-11T10:36:39","modified_gmt":"2025-12-11T01:36:39","slug":"%eb%b3%b4%ec%9d%b4%ec%a7%80-%ec%95%8a%eb%8a%94-%eb%b0%b0%ec%9a%b0%eb%93%a4","status":"publish","type":"insights","link":"https:\/\/kiaf.org\/en\/insights\/57315","title":{"rendered":"Invisible Actors"},"content":{"rendered":"<p>Cho Kyoungjae<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-57329\" src=\"https:\/\/static-edge.kiaf.org\/web\/2025\/12\/11102552\/Exhibition-View-1.jpg\" alt=\"\" width=\"600\" height=\"400\" \/><\/p>\n<p style=\"text-align: center;\"><em>Installation View (1)<\/em><\/p>\n<p style=\"text-align: justify;\">Cho Kyungjae is a photographer who completed the Meistersch\u00fcler program at Kunstakademie M\u00fcnster and has been active in both Europe and Korea. His work revolves around constructing actual spaces within the limited frame of the camera, often transforming them into abstract compositions, which he captures through photography.<\/p>\n<p style=\"text-align: justify;\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-57316\" src=\"https:\/\/static-edge.kiaf.org\/web\/2025\/12\/11102543\/1.-Kkal%EA%B9%94_a-suffix-used-to-mean-a-state-or-a-quality-2024-Inkjet-print-160x127cm-ed.-25.jpg\" alt=\"\" width=\"600\" height=\"757\" \/><\/p>\n<p style=\"text-align: center;\"><em>Kkal(\uae54)_a suffix used to mean a state or a quality, 2024, Inkjet print, 160x127cm, ed. 2(5)<\/em><\/p>\n<p style=\"text-align: justify;\">His work focuses on a subtle exploration of the intricate interactions between space, objects, light, and time. Using photography as his primary medium, along with installations and performances, he experiments with various forms to rearrange and reinterpret everyday objects and spaces. Through this, he captures the inner transformations and subtle interactions of fleeting moments that are often overlooked. His work reconstructs and records space and objects within the limited frame of the camera in an abstract manner, revealing the delicate interplay and inherent changes between objects, space, and time. He also observes these interactions with great care, and these explorations are clearly reflected in his photographic work. His photographs are pure images captured with an analog camera, where physical objects are installed in real spaces without the use of collage or digital manipulation. In this process, objects lose their original function and form, transforming into their intrinsic colors and shapes, thereby creating a new visual language.<\/p>\n<p style=\"text-align: justify;\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-57330\" src=\"https:\/\/static-edge.kiaf.org\/web\/2025\/12\/11102553\/Exhibition-View-2.jpg\" alt=\"\" width=\"600\" height=\"400\" \/><\/p>\n<p style=\"text-align: center;\"><em>Installation View (2)<\/em><\/p>\n<p style=\"text-align: justify;\">This exhibition, Invisible Actors, presents these explorations as a &#8216;theater of invisible actors&#8217; unfolding within the frame of the camera, demonstrating that existence itself is already an act. Through this exhibition, the audience can directly experience the subtle interactions between objects, space, and time. Cho KyungJae expands his photographic work beyond its finished form by incorporating various physical media, such as installation and sound. As in his previous exhibitions, this exhibition continues to transform and deconstruct the structural characteristics of photography into other formats.<\/p>\n<p style=\"text-align: justify;\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-57319\" src=\"https:\/\/static-edge.kiaf.org\/web\/2025\/12\/11102545\/4.-Blue-2022-Inkjet-print-58x47cm-ed.-15.jpg\" alt=\"\" width=\"600\" height=\"755\" \/><\/p>\n<p style=\"text-align: center;\"><em>Blue, 2022, Inkjet print, 58x47cm, ed. 1(5)<\/em><\/p>\n<p>&nbsp;<\/p>\n<p style=\"text-align: justify;\">Cho Kyoungjae \u2018Invisible Actors\u2019<\/p>\n<p style=\"text-align: justify;\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-57321\" src=\"https:\/\/static-edge.kiaf.org\/web\/2025\/12\/11102546\/6.-Untitled-2022-Inkjet-print-117x92cm-ed.15.jpg\" alt=\"\" width=\"600\" height=\"754\" \/><\/p>\n<p style=\"text-align: center;\"><em>Untitled, 2022, Inkjet print, 117x92cm, ed.1(5)<\/em><\/p>\n<p style=\"text-align: justify;\">Cho\u2019s photographs resemble a stage\u2014one in which no actors appear. Instead, objects, light, and the passage of time are each assigned quiet roles, composing scenes in their own restrained manner. The artist follows the shifting light throughout the day, observing with care the landscapes it leaves upon objects. What he captures is not a completed performance but an ongoing rehearsal, or the brief moment in which light attempts a small chat with the things it touches.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-57332\" src=\"https:\/\/static-edge.kiaf.org\/web\/2025\/12\/11102554\/Exhibition-View-4.jpg\" alt=\"\" width=\"600\" height=\"400\" \/><\/p>\n<p style=\"text-align: center;\"><em>Installation View (3)<\/em><\/p>\n<p style=\"text-align: justify;\">When one lingers on his images, a subtle ensemble choreography among the objects begins to surface. There is a deliberate alignment\u2014a direct, ordered kind of group movement\u2014yet alongside it exists another, more indirect choreography, where each object preserves its own distinct character while gently responding to others. These dual movements, though visually still, generate slow internal waves, as if signaling the continuous negotiation of a scene.\u00a0<\/p>\n<p style=\"text-align: justify;\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-57322\" src=\"https:\/\/static-edge.kiaf.org\/web\/2025\/12\/11102547\/7.-Gray-Smoke-2021-Inkjet-print-180x150cm-ed.15.jpg\" alt=\"\" width=\"600\" height=\"753\" \/><\/p>\n<p style=\"text-align: center;\"><em>Gray Smoke, 2021, Inkjet print, 180x150cm, ed.1(5)<\/em><\/p>\n<p style=\"text-align: justify;\">Under his gaze, objects are never mere surfaces that re\ufb02ect light. They become responsive presences that push and pull the surrounding landscape, adjusting their positions like performers aware of their partners onstage. Through these scenes, the artist reveals that the simple act of an object existing is already a form of action. In such moments, the camera ceases to be a recording device; it becomes an unseen observer, a spectator, and a mediator of the faint tension between light and matter.\u00a0<\/p>\n<p style=\"text-align: justify;\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-57323\" src=\"https:\/\/static-edge.kiaf.org\/web\/2025\/12\/11102548\/8.-Iron-002-2024-Inkjet-print-29.7x21cm-ed.15.jpg\" alt=\"\" width=\"600\" height=\"762\" \/><\/p>\n<p style=\"text-align: center;\"><em>Iron 002, 2024, Inkjet print, 29.7x21cm, ed.1(5)<\/em><\/p>\n<p style=\"text-align: justify;\">Thus his photographs evoke a stage stripped of actors yet \ufb01lled with invisible performers quietly responding to one another, each revealing their own \ufb02eeting scene within every-changing natural light. The image is not a \ufb01xed tableau but a small rehearsal shaped by breath, distance, angle, and illumination. In this sense, it becomes clear why his work feels theatrical\u2014not because it imitates drama, but because the order, tension, and relationships already \ufb02owing between things compose a stage of their own.<\/p>\n<p>&nbsp;<\/p>\n<p>GALLERY PALZO<br \/>\n2F, 145-3, Yonghak-ro, Suseong-gu, Daegu, 42216 Republic of Korea<br \/>\n+82-53-781-6802<\/p>\n<p><a href=\"https:\/\/www.gallerypalzo.com\/\" target=\"_blank\" rel=\"noopener noreferrer\">WEB<\/a>\u00a0\u00a0<a href=\"https:\/\/instagram.com\/gallerypalzo\" target=\"_blank\" rel=\"noopener noreferrer\">INSTAGRAM<\/a>\u00a0\u00a0<a href=\"http:\/\/www.facebook.com\/artpalzo\" target=\"_blank\" rel=\"noopener\">FACEBOOK<\/a><\/p>\n","protected":false},"featured_media":0,"template":"","categories":[50,51],"class_list":["post-57315","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":true,"content":true,"excerpt":false}}},"acf":[],"_links":{"self":[{"href":"https:\/\/kiaf.org\/en\/wp-json\/wp\/v2\/insights\/57315","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=57315"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kiaf.org\/en\/wp-json\/wp\/v2\/categories?post=57315"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}