{"id":57694,"date":"2026-02-05T10:57:12","date_gmt":"2026-02-05T01:57:12","guid":{"rendered":"https:\/\/kiaf.org\/?post_type=insights&p=57694"},"modified":"2026-02-05T11:00:24","modified_gmt":"2026-02-05T02:00:24","slug":"dual","status":"publish","type":"insights","link":"https:\/\/kiaf.org\/en\/insights\/57694","title":{"rendered":"DUAL"},"content":{"rendered":"

Koh yeo-myoung<\/p>\n

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podo20210718, 200x100cm, wood frame with pigment print on matte paper. 2021<\/em><\/p>\n

We are accustomed to understanding things through a single meaning. But in front of Koh yeo-myoung\u2019s work, that habit does not hold for long. The grapes in his images are not merely objects, because two different states exist within them at once. Here, the grape is no longer fruit; it is both one and two\u2014an open figure of being that holds generation and dissolution simultaneously.<\/div>\n
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podo20240315, 200x100cm, wood frame with pigment print on matte paper. 2024<\/em><\/div>\n
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Placed before the camera, the grape appears as one form, yet within that form dwell multiple conditions at the same time: the thing that plainly exists before our eyes, and another dimension of reality latent within it. The visible and the invisible, being alive and passing away, sensation and thought\u2014these are not separated, but overlap on the same surface.<\/div>\n
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podo20240630, 200x100cm, wood frame with pigment print on matte paper. 2024<\/em><\/div>\n
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In this exhibition, DUAL, that doubleness becomes even clearer in formal terms. Black and multicolor: the same grape, the same gaze as a point of departure, yet the image splits into two distinct states. This is not a division, however, but two ways a single presence reveals itself. In the black works, the gaze comes to a halt; in the multicolor works, it wavers.<\/div>\n
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podo20240814, 200x100cm, wood frame with pigment print on matte paper. 2024<\/em><\/div>\n
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The artist photographs the grapes at extreme proximity and enlarges them into large-scale prints, pushing the materiality of the subject to its limits. Yet this relentless factuality is not aimed at representation. Rather, a surface made excessively sharp does not help us \u201cunderstand\u201d the object; it forces us to ask how we have been looking. The wrinkled skin, the powdery bloom, the traces of freezing\u2014these details do not explain the thing so much as make us newly aware of the act of seeing.<\/div>\n
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podo20240907, 200x100cm, wood frame with pigment print on matte paper. 2024<\/em><\/div>\n
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Koh yeo-myoung\u2019s grapes neither symbolize abundance nor insist on decay. They are placed prior to fixed meaning, compelling the viewer to confront their own gaze. In that duration, the audience comes to recognize not how the world is understood through things, but how one\u2019s way of meeting the world is formed.<\/div>\n
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podo20241014, 200x100cm, wood frame with pigment print on matte paper. 2024<\/em><\/div>\n
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DUAL is not a story about a world split in two. It is a record of sustained looking\u2014of holding, to the end, the two faces contained within a single existence. It offers no answers, only quietly makes room for us to keep looking, all the way through.<\/div>\n
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\u2014 Song Ji-won, Curator, Gallery NoW<\/div>\n
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Gallery NoW<\/div>\n
16, Eonju-ro 152, Gangnam-gu, Seoul, Korea<\/div>\n
02-725-2930<\/div>\n
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