Opening: Friday, November 9 at 6pm
The Korean Cultural Center Washington, DC proudly presents Damageable Perfection, a solo exhibition of installation works by 2018 Artist of the Year Euyoung Hong that examines the intersection of urban spaces and politics, opening November 9.
Euyoung Hong’s work explores the complex social relationships that emerge between urban spaces, objects, and politics. She is particularly interested in how familiar concepts are transformed by capitalist urbanization, such as changing ideas of urban land use, the politics of space, and social vs. spatial production and transformation.
By looking at urbanization in the Republic of Korea, Hong focuses on how our understanding of everyday objects and ideas has evolved over time in terms of the politics of space. This transformation is especially evident in the essential ways that society participates in, conceives, and constructs a capitalist urban system.
The Artist of the Year recognition, presented to a single artist whose work is featured at the Korean Cultural Center, spotlights outstanding creators of the highest class. Selected from among those who applied to the center’s Open Call for Artists, this notable artist is honored with a special solo exhibition. The Open Call program celebrates its third anniversary in 2018 and aims to introduce unique Korean and Korea-inspired artists to mainstream art in the United States.
Admission to the opening reception including talks by the artist on Friday, November 9 at 6:00 p.m. is free and open to the public, but registration is required at www.KoreaCultureDC.org. Damageable Perfection will remain on view during regular hours through November 30, 2018.
About the 2018 Artist of the Year
Euyoung Hong, Ph.D. is an artist and researcher. Hong graduated from Ewha Womans University in Seoul in 1998 studying sculpture, and was later awarded an MA and MFA in sculpture by the University of Iowa, Iowa in 2002. She completed her Ph.D. without any amendment at Goldsmiths College, University of London, in 2013. She received many prestigious grants and prizes, from the Gyeonggi Cultural Foundation in Gyeonggi Province, the Pollock-Krasner Foundation in New York, Second Prize at the Premio Fondazione Arnaldo Pomodoro in Milan, and Paradise Culture Foundation in Seoul. In 2018, she was selected as Artist of the Year by the Korean Cultural Center Washington, D.C. She has exhibited nationally and internationally, including at Saatchi Gallery in London, Metropolitan Arts Centre (MAC) in Belfast, Youngeun Museum of Contemporary Art in Gyeonggi Province, Tina Keng Gallery in Taipei, Gallery Hyundai in Seoul, Seoul Museum of Art in Seoul, K Museum of Contemporary Art in Seoul, and International Studio & Curatorial Program (ISCP) in New York, among others. She participated in many residency programs, including at the International Studio & Curatorial Program (ISCP) in New York (2007), the National Studio in Changdong (National Museum of Contemporary Art) (2009), Youngeun Museum of Contemporary Art in Gyeonggi Province (2010), and Nanji Residency in Seoul (Seoul Museum of Art) (2017). She is currently participating in an artist residency at Gyeonggi Creation Center in Gyeonggi Province. She published a peer-review book, “The Spatial Politics of the Sculptural: Art, Capitalism and the Urban Space” (2016). She is a part-time lecturer at Ewha Womans University in Seoul.
Damageable Perfection presents two new works with the same title, Curtain Room (2018), are installed in two main exhibition spaces. These works focus on the dual aspects of urban space, where the definition of space, standard, and order, which is proposed and constructed by a society, is easily forgotten, invaded, distorted, and removed. In Gallery B, Curtain Room (2018) is built in a circular form, which is suspended from the ceiling and covered with ivory curtains. Inside the space of the curtain, a wooden chair is placed on a wheeled steel structure, so that the viewers can see the lower half of the chair. On the invisible upper side of the chair, various found objects are installed, such as glass cups, a plant, broken glass, and a broken chair leg, which were collected from empty or removed spaces in South Korea. With a dim light, shadows of the objects and living noises spread though and beyond the space of the curtain room to make an imaginary space. This room creates forced openness. In Gallery A, Curtain Room (2018) is composed of three separate pieces of curtain structure. As these fragmented structures are opened up and spread throughout the exhibition space, this curtain room is different from the other, which produces a closed, yet forced open space. This fragmented space is easily penetrated and invaded by people. In this space, it is difficult to distinguish between the inside and the outside.
These two new works were developed from the ideas of previous works, particularly Curtain Room (2017) and Goshiwon Project (2017). Curtain Room (2018) intends to discover the complex relationship between desire and survival and between dominance and fragility, which are formed in and through the capitalist system of urban space. By looking at changes in an encounter of space, things, and society with the system of capitalism, the works focus on a certain aspect of urban space, in which the production of space in the system of capitalism is inseparable from the exploitation of space, time, and people, and from the system of negative production through dispossession, displacement, disappearance, and destruction. Through these negative logics of space, every space has to be constantly influenced by a capitalistic system of transforming the visible to the invisible by undoing and erasing existing spatial orders and relations. This process of undoing or erasing is, in many cases, visibly or invisibly aggressive and violent.
Korean Cultural Center is located at 2370 Massachusetts Ave. NW.