Galerie Dohyang Lee » Jenny Feal http://www.galeriedohyanglee.com Galerie Dohyang Lee, Dohyang Lee Gallery, Bakary Diallo, Elisabeth S. Clark, Geamoon, Hayoun Kwon, Hoël Duret, Julien Creuzet, Magali Lefebvre, Marcos Avila Forero, Marie-Jeanne Hoffner, Paula Castro, Rohwajeong, Romain Vicari, Alice De Mont, Anthea Hamilton, Kristina Solomoukha, Eric Tabuchi, Pierre Leguillon Sat, 11 Apr 2026 16:39:32 +0000 en-US hourly 1 http://wordpress.org/?v=3.8.1 éco (…..) éco (…..) éco (…….) – part I http://www.galeriedohyanglee.com/en/eco-eco-eco-volet-i?utm_source=rss&utm_medium=rss&utm_campaign=eco-eco-eco-volet-i http://www.galeriedohyanglee.com/en/eco-eco-eco-volet-i#comments Fri, 30 Sep 2022 11:39:08 +0000 http://www.galeriedohyanglee.com/?p=19067 Collective exhibition part I October 15th – November 19th 2022 press release and pictures]]> Available artworks list.


éco (…..) éco (…..) éco (…….) part I


eco_1_0

15.10 – 19.11.2022


« Our home is burning and we are still looking somewhere else »1



The Dohyang Lee Gallery invites you to the first part of the collective exhibition eco (…..) eco (…..) eco (…….). For this title that approaches a trinity of notions, deliberately hidden to leave one’s imagination free, we propose an interpretation knowing that eco2 is a prefix which comes from the ancient Greek word oîkos3 (house).

We thus suggest an analogy with the house (in the meaning of architectural building), which is composed of three major elements, the structure, the skin and its environment.

éco (…..) or économie4 (economy). The economy frames and structures societies. In this sense, it allows their physical existence. Like architectural structures, they can be solidary with each other (community systems or communism), or on the contrary assert an ostentatious audacity of power (capitalism). Auguste Choisy (1841 – 1909) stresses the primordial importance of the structure in terms of architecture. The architectural form is conditioned, according him, by societal developments and not by a purely individual and arbitrary gesture.

éco (…..) or écologie5. (ecology). Ecology is assimilated to the skin of a house, and becomes the interface between interior and exterior. It organizes their respective relationships, and contributes to the well-being, psychological and physiological balance of each inhabitant through the created atmosphere. The German architect Gottfried Semper (1803 – 1879) emphasized the importance of enveloping materials, through his studies on polychromy, ornamentation, as a testimony of the arts and means of expression at a given time. As our present time at the beginning of the 21st century is concerned with ecological issues, the materiality of our coatings used would be a subject of study for later generations, as an attempt to safeguard natural resources.

éco (…….) or écosystème6 (ecosystem). We can see the ecosystem as a synthesis where the structure creates a skeleton, the skin wrapping around this skeleton. From this union is formed an interior environment, influenced by the flexibility or rigidity of the structure and the quality of the materials of this skin (visual, plastics…). This same skin is in contact with the outside, which influences the feeling of security or insecurity. We can quote the concepts and achievements of many pioneering architects like Richard Rogers (1933 – 2021) and his sustainable cities, as an attempt to achieve an urban ecosystem for the present and the future.

The works of the main hall make us think of an inner courtyard, like a Roman atrium, with the presence of works allusive to light, water, plant, while those of the lower level, try to integrate nature but with a more mineral aspect and focused on History and the relationships between human being and nature.







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Joon Yoo, Future, 2021, 3 quadrichromic photoetchings (cyan, yellow, magenta, fluorescent pink) on 100% cotton 300g Hahnemühle paper, paper dimensions 125 x 106cm each etching, printed image dimensions 110 x 80 cm each etching, edition of 5 + 1 AP
Amalia Laurent, Les Persiennes, 2019, cotton, pigment, batik, rotin, digital printing on nylon, 50 x 70 cm, unique piece
Les Persiennes, 2019, cotton, pigment, batik, rotin, digital printing on nylon, 50 x 70 cm, unique piece
Minjung Kim, Australian Paper, 2015, 16mm color film with Oxberry down shooter and digitally scanned, 2’20’’, edition of 5 + 2 AP
Emma Passera, The Hight Priestess, 2022, glass, mirrors, pole dance shoes, resin eggs with insects, 100cm x 45 cm x 30 cm, unique piece
Minja Gu, Boiled Potato, 2019 – 2020, installation, 32 pieces, boiled potatoes peels on cardboard,
24 x 18 cm each piece, unique pieces
Joon Yoo, Thinking about movement, 2019, 3 paper collages of architect paper on arche paper 300g, graphite coloring,
31 x 41 cm each collage, unique pieces
Namhee Kwon, Empty notes / Notes vierges, 2001 – 2022, sewing and drawing on fabric, 29,7 x 21 cm, series of unique pieces
A Portrait of a book / Portrait d’un livre, 2001 – 2022, photography, frame, glass, 21 x 30 cm, edition of 5 + 2 AP
Zohreh Zavareh, Je l’ai attendu devant un lac, il est arrivé avec des mots en main, 2021, printing on paper prototype, 147 x 15,5 cm,
edition of 10 + 2 AP
Yue Yuan, Map for your ears, 2021, foldable map of Paris, blue stickers, 25 x 11 cm, edition of 3



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Joon Yoo, Future, 2021, 3 quadrichromic photoetchings (cyan, yellow, magenta, fluorescent pink) on 100% cotton 300g Hahnemühle paper, paper dimensions 125 x 106cm each etching, printed image dimensions 110 x 80 cm each etching, edition of 5 + 1 AP
Amalia Laurent, Les Persiennes, 2019, cotton, pigment, batik, rotin, digital printing on nylon, 50 x 70 cm, unique piece
Les Persiennes, 2019, cotton, pigment, batik, rotin, digital printing on nylon, 50 x 70 cm, unique piece
Minjung Kim, Australian Paper, 2015, 16mm color film with Oxberry down shooter and digitally scanned, 2’20’’, edition of 5 + 2 AP
Emma Passera, The Hight Priestess, 2022, glass, mirrors, pole dance shoes, resin eggs with insects, 100cm x 45 cm x 30 cm, unique piece



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Joon Yoo, Future, 2021, 3 quadrichromic photoetchings (cyan, yellow, magenta, fluorescent pink) on 100% cotton 300g Hahnemühle paper, paper dimensions 125 x 106cm each etching, printed image dimensions 110 x 80 cm each etching, edition of 5 + 1 AP
Emma Passera, The Hight Priestess, 2022, glass, mirrors, pole dance shoes, resin eggs with insects, 100cm x 45 cm x 30 cm, unique piece



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Emma Passera, The Hight Priestess, 2022, glass, mirrors, pole dance shoes, resin eggs with insects, 100cm x 45 cm x 30 cm,
unique piece



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Yue Yuan, Jardin Anonyme, 2021, installation, 20 flyers printings, 30 x 45 cm each.
Several plants, variable dimensions , unique pieces
Laurent Fiévet, Whistle 14 – Johanna, 2015, loop video, sound, color, 4’05’’, edition of 5 + 2 AP
Clarissa Baumann, Era mar, notes pour un déplacement entre le Palais des Beaux-Arts et les bords de la Seine avec un coquillage porté près de l’oreille, 2015, archives of the performance plan d’évasion, plan d’invasion, plan d’appropriation ; Epson P20 000 pigment inkjet printing on Museum Etching Hahnemühle 350g, glued on Dibond, 20 x 30 cm, edition of 5 + 2 AP
Elisabeth S. Clark, Afterword, 2016, dry letter gloss transfer with silicone coated matt backing tissue, staples, fluorescent pink tape, 16 x 25 cm, edition of 5 + 2 AP. Colored postcards, unique pieces



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Laurent Fiévet, Whistle 14 – Johanna, 2015, loop video, sound, color, 4’05’’, edition of 5 + 2 AP



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Yue Yuan, Jardin Anonyme, 2021, installation, 20 flyers printings, 30 x 45 cm each.
Several plants, variable dimensions , unique pieces



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Clarissa Baumann, Era mar, notes pour un déplacement entre le Palais des Beaux-Arts et les bords de la Seine avec un coquillage porté près de l’oreille, 2015, archives of the performance plan d’évasion, plan d’invasion, plan d’appropriation ; Epson P20 000 pigment inkjet printing on Museum Etching Hahnemühle 350g, glued on Dibond, 20 x 30 cm, edition of 5 + 2 AP
Elisabeth S. Clark, Afterword, 2016, dry letter gloss transfer with silicone coated matt backing tissue, staples, fluorescent pink tape, 16 x 25 cm, edition of 5 + 2 AP. Colored postcards, unique pieces



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Emma Passera, The Hight Priestess, 2022, glass, mirrors, pole dance shoes, resin eggs with insects, 100cm x 45 cm x 30 cm, unique piece
Yue Yuan, Jardin Anonyme, 2021, installation, 20 flyers printings, 30 x 45 cm each.
Several plants, variable dimensions , unique pieces
Laurent Fiévet, Whistle 14 – Johanna, 2015, loop video, sound, color, 4’05’’, edition of 5 + 2 AP
Clarissa Baumann, Era mar, notes pour un déplacement entre le Palais des Beaux-Arts et les bords de la Seine avec un coquillage porté près de l’oreille, 2015, archives of the performance plan d’évasion, plan d’invasion, plan d’appropriation ; Epson P20 000 pigment inkjet printing on Museum Etching Hahnemühle 350g, glued on Dibond, 20 x 30 cm, edition of 5 + 2 AP
Elisabeth S. Clark, Afterword, 2016, dry letter gloss transfer with silicone coated matt backing tissue, staples, fluorescent pink tape, 16 x 25 cm, edition of 5 + 2 AP. Colored postcards, unique pieces
Joon Yoo, Future, 2021, 3 quadrichromic photoetchings (cyan, yellow, magenta, fluorescent pink) on 100% cotton 300g Hahnemühle paper, paper dimensions 125 x 106cm each etching, printed image dimensions 110 x 80 cm each etching, edition of 5 + 1 AP
Amalia Laurent, Les Persiennes, 2019, cotton, pigment, batik, rotin, digital printing on nylon, 50 x 70 cm, unique piece
Les Persiennes, 2019, cotton, pigment, batik, rotin, digital printing on nylon, 50 x 70 cm, unique piece



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Amalia Laurent, Les Persiennes, 2019, cotton, pigment, batik, rotin, digital printing on nylon, 50 x 70 cm, unique piece
Les Persiennes, 2019, cotton, pigment, batik, rotin, digital printing on nylon, 50 x 70 cm, unique piece



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Amalia Laurent, Les Persiennes, 2019, cotton, pigment, batik, rotin, digital printing on nylon, 50 x 70 cm, unique piece
Les Persiennes, 2019, cotton, pigment, batik, rotin, digital printing on nylon,
50 x 70 cm, unique piece
Minjung Kim, Australian Paper, 2015, 16mm color film with Oxberry down shooter and digitally scanned, 2’20’’, edition of 5 + 2 AP
Laure Tiberghien, Météores #3, 2021, unique printing chromogen, frame, glass,
50 x 60 cm, unique piece
Météores #5, 2021, unique printing chromogen, frame, glass,
50 x 60 cm, unique piece
Emma Passera, The Hight Priestess, 2022, glass, mirrors, pole dance shoes, resin eggs with insects, 100cm x 45 cm x 30 cm, unique piece



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Minjung Kim, Australian Paper, 2015, 16mm color film with Oxberry down shooter and digitally scanned, 2’20’’, edition of 5 + 2 AP



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Minjung Kim, Australian Paper, 2015, 16mm color film with Oxberry down shooter and digitally scanned, 2’20’’, edition of 5 + 2 AP



eco_1_13

Laure Tiberghien, Météores #3, 2021, unique printing chromogen, frame, glass, 50 x 60 cm, unique piece
Météores #5, 2021, unique printing chromogen, frame, glass, 50 x 60 cm, unique piece



eco_1_14

Minja Gu, Boiled Potato, 2019 – 2020, installation, 32 pieces, boiled potatoes peels on cardboard,
24 x 18 cm each piece, unique pieces
Joon Yoo, Thinking about movement, 2019, 3 paper collages of architect paper on arche paper 300g, graphite coloring,
31 x 41 cm each collage, unique pieces
Namhee Kwon, Empty notes / Notes vierges, 2001 – 2022, sewing and drawing on fabric, 29,7 x 21 cm, series of unique pieces
A Portrait of a book / Portrait d’un livre, 2001 – 2022, photography, frame, glass, 21 x 30 cm, edition of 5 + 2 AP
Zohreh Zavareh, Je l’ai attendu devant un lac, il est arrivé avec des mots en main, 2021, printing on paper prototype, 147 x 15,5 cm,
edition of 10 + 2 AP



eco_1_15

Joon Yoo, Thinking about movement, 2019, 3 paper collages of architect paper on arche paper 300g, graphite coloring,
31 x 41 cm each collage, unique pieces
Namhee Kwon, Empty notes / Notes vierges, 2001 – 2022, sewing and drawing on fabric, 29,7 x 21 cm, series of unique pieces
A Portrait of a book / Portrait d’un livre, 2001 – 2022, photography, frame, glass, 21 x 30 cm, edition of 5 + 2 AP
Zohreh Zavareh, Je l’ai attendu devant un lac, il est arrivé avec des mots en main, 2021, printing on paper prototype, 147 x 15,5 cm,
edition of 10 + 2 AP



eco_1_16

Yue Yuan, Map for your ears, 2021, foldable map of Paris, blue stickers, 25 x 11 cm, edition of 3



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Zohreh Zavareh, L’avenir dans l’oeuf, 2021, egg shell, silicone, variable dimensions , unique pieces



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Marcos Avila Forero, Arquitecturas de la memoria, 2013, photography glued on aluminium, wooden frame, American wooden box, 40 x 60 cm, edition of 30 + 3 AP. Tale, edition Les Amis du Palais de Tokyo / GDM… unique piece.
Collection Artothèque de Brest
Radouan Zeghidour, Dégradation, 2021, ceramics, ennamel, 30 x 26 cm around, unique piece



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Marcos Avila Forero, Arquitecturas de la memoria, 2013, photography glued on aluminium, wooden frame, American wooden box, 40 x 60 cm, edition of 30 + 3 AP. Tale, edition Les Amis du Palais de Tokyo / GDM… unique piece. Collection Artothèque de Brest
Radouan Zeghidour, Sans titre, 2022, latex, 68 x 27 cm around, unique piece



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Clarissa Baumann, Spiralooping, notes pour un mouvement inspiré d’une visite au Spiral Jetty de Robert Smithson,2017, Epson P20 000 pigment inkjet printing on Ultra Smooth Hahnemühle 305g, 35 x 55 cm, edition of 10 + 2 AP
Spiralooping, 2017, HD video, loop, color, sound, 3’30’’, edition of 5 + 2 AP
Emmanuel Tussore, Tas de béton, 2021, concrete sculpture installation, variable dimensions, unique pieces
Zohreh Zavareh, Costume d’intranquilité pour le personnage principal, 2021, fabric,
acrylic painting, wooden chair, variable dimensions, unique pieces
Emmanuel Tussore, Tas de béton, 2021, concrete sculpture, variable dimensions, unique piece



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Zohreh Zavareh, Costume d’intranquilité pour le personnage principal, 2021, fabric,
acrylic painting, wooden chair, variable dimensions, unique pieces



eco_1_22

Masahiro Suzuki, Fragments encadrés N° 1-2 : évolutifs, 2022 (2017 in Montrouge), woven flame cotton fabric (Chita in Aichi, Japan). Indigotier vegetable tincture (Indigo Design in Rudrapur, India]) with henna. Vegetable ink with sawdust of the pernambuco bow. Rope found at the Old Port and dyed. Marbles collected in Carrara during the bike trip in 2013, shell found on the Blue Coast and glued with stained glue, small branch and bauxite stones collected in Sommières (Gard), scraps of canvas collected in the workshop La Calade in Marseille, Small lichens gleaned from La Motte-Leyrat (Creuse), 17,9 x 17,3 x 6,9 cm, La Motte-Leyrat (Creuse), France.
Fragments encadrés N° 0 : évolutifs, 2022 (2017 in Marseille), friend Joppe’s pebble, collected paint residues, burnt plastic cork found on the Blue Coast and painted, broken glass, painted and recollected, wall debris collected in Alexandria (Egypt), scraps of canvas collected in the La Calade workshop in Marseille, brick debris found in the ruin of Notre-Dame de la Salette in Marseille, cardboard dyed at Quesnel-Aubry (Picardie). Industrial wood, 16,3 x 16,8 x 7 cm, La Motte-Leyrat (Creuse), France
Assemblage N° 4-1 : revisité, 22022 (2015 in Aix-en-Provence), twill and Canvas cotton fabric (Chita in Aichi [Japan]), Boesner cotton canvas, 1908 dated old sheets. Indigotier vegetable tincture (Indigo Design in Rudrapur [India]) with henna. Vegetable inks: roots of garance harvested and ground in Lauris (Luberon), petals of sophora japonica collected in Lourmarin (Luberon), cosmos harvested in the Convent – Juxtapoz workshops in Marseille, arched sawdust of the pernambuco, extract of Indian mulberry chlorophyll, Campfire wood, sappan wood. Chestnut box, 22 x 17 x 6 cm, La Motte-Leyrat (Creuse), France



eco_1_23

Emmanuel Tussore, Tas de béton, 2021, concrete sculpture installation, variable dimensions, unique pieces



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Emmanuel Tussore, Tas de béton, 2021, concrete sculpture, variable dimensions, unique piece



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Clarissa Baumann, Spiralooping, notes pour un mouvement inspiré d’une visite au Spiral Jetty de Robert Smithson,2017, Epson P20 000 pigment inkjet printing on Ultra Smooth Hahnemühle 305g, 35 x 55 cm, edition of 10 + 2 AP



eco_1_25a

Clarissa Baumann, Spiralooping, 2017, HD video, loop, color, sound, 3’30’’, edition of 5 + 2 AP



eco_1_26

Emmanuel Tussore, Tas de béton, 2021, concrete sculpture, variable dimensions, unique piece
Marcos Avila Forero, Arquitecturas de la memoria, 2013, photography glued on aluminium, wooden frame, American wooden box, 40 x 60 cm, edition of 30 + 3 AP. Tale, edition Les Amis du Palais de Tokyo / GDM… unique piece. Collection Artothèque de Brest
Radouan Zeghidour, Sans titre, 2022, latex, 68 x 27 cm around, unique piece
Jenny Feal, Frappez Fort, 2020, books detail, earthenware, sponge, 37 x 25 x 20 cm, unique pieces. Production Fondation d’entreprise Martell
Julia Gault, La goutte chargée de terre, 2022, raw earthware, thread, copper tubes, steel pipe clamp, variable dimensions (23 meters long necklace), unique piece
Guillaume Lépine,Pâtisserie (12 x 16) #2, 2022, acrylic painting on wood pannel, 40,6 x 25,4 cm, unique piece
Encres marbrées (24), 2022, digital printing on fabric (cotton gauze), 139 x 182 cm, unique pieces
Encres marbrées (12), 2022, digital printing on fabric (cotton canvas), 139 x 182 cm, unique pieces
Encres marbrées (2), 2022, digital printing on fabric (cotton gauze), 139 x 182 cm, unique pieces
Radouan Zeghidour, Dégradation, 2021, ceramics, ennamel, 30 x 26 cm around, unique piece



eco_1_27

Radouan Zeghidour, Sans titre, 2022, latex, 68 x 27 cm around, unique piece
Jenny Feal, Frappez Fort, 2020, books detail, earthenware, sponge, 37 x 25 x 20 cm, unique pieces. Production Fondation d’entreprise Martell
Radouan Zeghidour, Sabotage, 2022, ceramics, ennamel, 34 x 27 cm around,
unique piece
Namhee Kwon, I am safe / Je suis sauve, 2001 – 2022, photography, glued on Dibond, aluminium 2mm, 56,8 x 80 cm, edition of 5 + 2 AP
Julia Gault, La goutte chargée de terre, 2022, raw earthware, thread, copper tubes, steel pipe clamp, variable dimensions (23 meters long necklace), unique piece
Radouan Zeghidour, Dégradation, 2021, ceramics, ennamel, 30 x 26 cm around, unique piece



eco_1_28

Jenny Feal, Frappez Fort, 2020, books detail, earthenware, sponge, 37 x 25 x 20 cm, unique pieces. Production Fondation d’entreprise Martell
Radouan Zeghidour, Sabotage, 2022, ceramics, ennamel, 34 x 27 cm around,
unique piece
Namhee Kwon, I am safe / Je suis sauve, 2001 – 2022, photography, glued on Dibond, aluminium 2mm, 56,8 x 80 cm, edition of 5 + 2 AP
Julia Gault, La goutte chargée de terre, 2022, raw earthware, thread, copper tubes, steel pipe clamp, variable dimensions (23 meters long necklace), unique piece



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Jenny Feal, Frappez Fort, 2020, books detail, earthenware, sponge, 37 x 25 x 20 cm, unique pieces. Production Fondation d’entreprise Martell



eco_1_30

Radouan Zeghidour, Sabotage, 2022, ceramics, ennamel, 34 x 27 cm around,
unique piece



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Julia Gault, La goutte chargée de terre, 2022, raw earthware, thread, copper tubes, steel pipe clamp, variable dimensions (23 meters long necklace), unique piece



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Guillaume Lépine,Pâtisserie (12 x 16) #1, 2022, acrylic painting on wood pannel, 40,6 x 25,4 cm, unique piece
Pâtisserie (12 x 16) #2, 2022, acrylic painting on wood pannel, 40,6 x 25,4 cm, unique piece
Encres marbrées (24), 2022, digital printing on fabric (cotton gauze), 139 x 182 cm, unique pieces
Encres marbrées (12), 2022, digital printing on fabric (cotton canvas), 139 x 182 cm, unique pieces
Encres marbrées (2), 2022, digital printing on fabric (cotton gauze), 139 x 182 cm, unique pieces



eco_1_33

Guillaume Lépine,Pâtisserie (12 x 16) #1, 2022, acrylic painting on wood pannel, 40,6 x 25,4 cm, unique piece
Pâtisserie (12 x 16) #2, 2022, acrylic painting on wood pannel,
40,6 x 25,4 cm, unique piece
Encres marbrées (24), 2022, digital printing on fabric (cotton gauze),
139 x 182 cm, unique pieces
Encres marbrées (12), 2022, digital printing on fabric (cotton canvas),
139 x 182 cm, unique pieces
Encres marbrées (2), 2022, digital printing on fabric (cotton gauze),
139 x 182 cm, unique pieces



eco_1_34

Guillaume Lépine,Pâtisserie (12 x 16) #2, 2022, acrylic painting on wood pannel, 40,6 x 25,4 cm, unique piece
Encres marbrées (24), 2022, digital printing on fabric (cotton gauze),
139 x 182 cm, unique pieces
Encres marbrées (12), 2022, digital printing on fabric (cotton canvas),
139 x 182 cm, unique pieces
Encres marbrées (2), 2022, digital printing on fabric (cotton gauze),
139 x 182 cm, unique pieces
Clarissa Baumann, Spiralooping, 2017, HD video, loop, color, sound, 3’30’’, edition of 5 + 2 AP
Emmanuel Tussore, Tas de béton, 2021, concrete sculpture installation, variable dimensions, unique pieces
Zohreh Zavareh, Costume d’intranquilité pour le personnage principal, 2021, fabric,
acrylic painting, wooden chair, variable dimensions, unique pieces
Emmanuel Tussore, Tas de béton, 2021, concrete sculpture, variable dimensions, unique piece
Marcos Avila Forero, Arquitecturas de la memoria, 2013, photography glued on aluminium, wooden frame, American wooden box, 40 x 60 cm, edition of 30 + 3 AP. Tale, edition Les Amis du Palais de Tokyo / GDM… unique piece. Collection Artothèque de Brest



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Mijung Shin, Bam Island, 2020, unique channel video, color, sound, 19’41”, edition of 5 + 1 AP



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Mijung Shin, Bam Island, 2020, unique channel video, color, sound, 19’41”, edition of 5 + 1 AP



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Mijung Shin, Bam Island, 2020, unique channel video, color, sound, 19’41”, edition of 5 + 1 AP



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Mijung Shin, Bam Island, 2020, unique channel video, color, sound, 19’41”, edition of 5 + 1 AP


………………………………………………..

73-75 rue Quincampoix 75003 Paris France
Tuesday – Saturday 2 pm – 7 pm and with rendez vous
tel : +33 (0)1 42 77 05 97
www.galeriedohyanglee.com


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]]> http://www.galeriedohyanglee.com/en/eco-eco-eco-volet-i/feed 0 NEWS http://www.galeriedohyanglee.com/en/news?utm_source=rss&utm_medium=rss&utm_campaign=news http://www.galeriedohyanglee.com/en/news#comments Fri, 07 Aug 2020 15:13:35 +0000 http://www.galeriedohyanglee.com/?p=16207 NEWS



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CLARISSA BAUMANN

ARTFEM II- Biennal of Macau
Collecti

…
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macau-cb

CLARISSA BAUMANN

ARTFEM II- Biennal of Macau
Collective exhibition curated by Leonor Veiga
30.09 – 13.12.2020
Macao Museum of Art, Macao


iac-cb

Passarada
Performance inside the collective exhibition Rituelles
10.2020 – 01.2021
Institut d’Art Contemporain Villeurbanne / Rhône Alpes, Villeurbanne, France






hamac-jf

JENNY FEAL

Places to be
Collective exhibition curated by Nathalie Viot
25.06.2020 – 02.01.2022
Fondation d’entreprise Martell, Cognac, France






modular-vl

VIOLAINE LOCHU

Modular K
Solo show and performance curated by Bettie Nin
01.10 – 22.11.20
CAC La Traverse, Alfortville, France






arson-vl

bruit-cs

CHARLOTTE SEIDEL

le bruit des choses
Solo show
10.10 – 14.11.2020
Galerie Dohyang Lee, Paris, France






fmac_rz

lyon-rz

Comme un parfum d’aventure
Collective exhibition curated by Matthieu Lelièvre and Marilou Laneuville
07.10.2020 – 03.01.2021
MAC Lyon, Lyon, France
















sam-art-rz

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73-75 rue Quincampoix 75003 Paris France
Tuesday – Saturday 2 pm – 7 pm
tel : +33 (0)1 42 77 05 97
www.galeriedohyanglee.com

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]]> http://www.galeriedohyanglee.com/en/news/feed 0 Madeleine http://www.galeriedohyanglee.com/en/madeleine?utm_source=rss&utm_medium=rss&utm_campaign=madeleine http://www.galeriedohyanglee.com/en/madeleine#comments Thu, 05 Mar 2020 14:26:02 +0000 http://www.galeriedohyanglee.com/?p=15863 Alexandra Riss, Clarissa Baumann, Doyeon Gwon, Elisabeth S. Clark, Jenny Feal, Yue Yuan, Emmanuel Tussore, Kihoon Jeong, Minja Gu, Namhee Kwon May 23rd – July 25th 2020 press release and pictures article by Maya Sachweh in Artaïs Contemporain article by Anne-Cécile Sanchez in Journal des Arts n° 548]]> ‘madeleine’

with
Alexandra Riss, Clarissa Baumann, Doyeon Gwon, Elisabeth S. Clark, Jenny Feal,
Yue Yuan, Emmanuel Tussore, Kihoon Jeong, Minja Gu, Namhee Kwon

madeleine_0


23.05 – 25.07.2020



article by Maya Sachweh in Artaïs Contemporain


“ And suddenly the memory returns. The taste was that of the little crumb of madeleine which on Sunday mornings at Combray, when I went to say good day to her in her bedroom, my aunt Léonie used to give me, dipping it first in her own cup of real or of lime-flower tea. The sight of the little madeleine had recalled nothing to my mind before I tasted it; perhaps because, … , that their image had dissociated itself from those Combray days to take its place among others more recent; perhaps because of those memories, so long abandoned and put out of mind, nothing now survived, everything was scattered… ”*
The exhibition entitled madeleine, approaches the notions of memory, past time, present time, future time, material and intangible. Each presented artist proposes his or her interpretation in his or her own way, from which we can draw certain encounters. Invocation of memories, which can be worked as frozen or continuous materials. Work on the memory of living and non-living beings, from an archaeological, essential or historical perspective. The effects of time, paradoxes on sensations, the materiality of the object are taken into account.

Alexandra Riss, born in 1992 in Clamart, lives in Paris and Tours. She graduated in 2016 from the Ecole Supérieure d’art et de design Tours – Angers – Le Mans. In 2019, In 2019, she exhibited at the 64th Salon de Montrouge where she won the Kristal Prize. The works of Alexandra Riss oscillate between observation of the real and construction of a fiction. She disposes of memories and objects that surround her in vibrant compositions, convinced that the best way to address others is from her own experience. In this dream space, all objects are facets of an intimate reality of the artist. Like the heroic deeds that founded a legend character, it is the staging evoked, narrated or just imagined that reveals the power of things. Far from being only props, objects become actors, witnesses, hoarders of silent stories. The work is ultimately all this: it is a history, it is of time and successive states, it is at the same time a material and immaterial presence.

Clarissa Baumann (1988) is an artist born in Rio de Janeiro. She posseses a double cursus as she graduated from the Escola Superior de Desenho Industrial da Universidade do Estado do Rio de Janeiro and the École nationale supérieure des Beaux-Arts of Paris. She was also trained in contemporary dance in the Angel Vianna Escola e Faculdade de Dança. Clarissa Baumann is the winner of the Beaux-Arts de Paris Prize and the Adagp Révélation des Arts Plastiques Prize in 2016 through the Salon de Montrouge. Passing in transit between technical drawing, plastic arts and dance, the research of Clarissa Baumann puts a question to the place of the body and daily actions in the middle of a constructivist and functional conception of the world. Taking the shape of a play between short-lived processes and various media that question the limits between visible and invisible, her work builds itself from actions occurring on contexts and already existing relations. Pushed until their surpassement or disappearance, the multiple dimensions of the gesture question our relationship with human scale in a contemporary world more complex than ever : What is the origin of an action? What are its temporal and spatial progresses? Until where could it be visible? How does it continue to exist?

Doyeon Gwon is a Korean artist, born in 1980, who lives and works in Seoul. He studied German Literature in Hanyang University and graduated in Photographic Arts in Sangmyung University of Seoul in 2016. In 2019 his work was rewarded with the ILWOO Photography Award. Gwon explores the relationships between knowledge, memory, visual and language through the medium of photography. The artist expresses the subjects that are transformed by losing their primary function as photographic objects. Leaving only the outer shell, this object comes into harmony with its temporality. Doyeon Gwon uses less the medium of photography to archive the time that consists of materiality, than to revisit the photographic object that served as archive.

Elisabeth S. Clark, born in 1983, lives and works in Londres and in France. She received her MA from the Slade School of Fine Art in 2008 and a BA from Goldsmiths University in 2005. Her participation in the 2017 Lyon Biennale “Les Mondes Flottants” was noticed. Elisabeth S. Clark’s art practice is engaged in translation processes, of both a physical and linguistic nature, encouraging a sensitive perception of our environment and the spaces we occupy. By transforming poetry into a visual, sensual and imaginative experience, she proposes to reconsider the materiality of language itself as well as the expression it elicits. In this way, language reaches beyond itself to see, to think and feel in stillness.

Jenny Feal (1991, Havana) obtained a Master from the Ecole Supérieure des Beaux-Arts de Lyon in 2016, where she currently lives. The same year, she won the Renaud Prize for the installation Te imaginas. Her works were exposed in the MAC Lyon during the Lyon Biennale “Là où les eaux se mêlent”, in 2019. For her, objects are part of our daily life and they testify not only a physical or functional trajectory, but also symbolic. Because of its reproduction or transformation, a distance and a feeling of strangeness are caused in the spectator’s experience. The thin line between personal and collective items is determined by the introduction of super cial and daily objects, loaded with symbolic, historical, social and political dimensions. Cuba is a reference and an endless source.

Yue Yuan was born in 1989 in China. He currently lives and works in Paris. In 2019, he graduated from the École nationale supérieure des Beaux-Arts of Paris. In 2019, the artist won the Agnès b. Prize for the Contemporary Art. He was selected for the 68th edition of Jeune Création (2018) and the 65th Salon de Montrouge (2020). Yue Yuan seeks to give special attention to trivial moments of daily life. It is in fact the notion of spatial perception that leads the whole work, deployed in installations, photographs, actions and sounds. In his career, the reconstruction of the urban experience is accentuated in his in-situ interventions, he weaves a strong link with his context. These stories, through his personal observations and conceptual commitment, depict everyday life in a universe of absurdity, magic, poetry and humour.

Emmanuel Tussore (1984) is interested in the notion of transit shaking up the very idea of borders. Drawing on history and current events, his multidisciplinary practice explores a tragic world in which the notion of disappearance is predominant.

Kihoon Jeong was born in 1980, and he is currently living and working in Seoul, South Korea. His work has been the object of many exhibitions in Art Sonje Center, Kumho Museum of Art and Seoul Museum of Art, Seoul (2015), Incheon Art Platform (2014), Art Space Pool and Songeun Art Space, Seoul (2011).
The world of Kihoon Jeong’s artwork is about unique attitude/action which resists against huge system, standardized groups, unified culture and forced regulation. His works poetically unveil stories of time and labor, but in a subtile way confront the competitive social frame that enforce speed and efficiency. Using construction tools with speed during labor hours, Kihoon Jeong, destroys, dissolves, disslocates, and grinds ordinary objects through repetitve gestures.br/>

Minja Gu , is an artist born in 1977 who lives in Seoul. Fristly she took courses of philosophy in the Yonsei University and later graduated from the Korean National University of Arts. She was part of the ISCP studio program residency (2011) and HISK Gent (2015). Minja Gu recieved the 10th Annual SongEun Art Award. In 2018, she was part of the selection of four artists for the Korea Artist Prize, an annual award with an exhibition organised by the MMCA ( National Museum of Modern and Contemporary Art, Korea) and the SBS Foundation.
Her work mainly consists of the performances and videos that revisit ideas related to the universal objects of human experience such as labor, time, and love. Her works defamiliarize our received ideas taken for granted as true. The artist’s experience of residency programs in various cities, especially the city where daylight saving time is practiced has led her to explore her interest in the artificiality of civilization that taints the natural element of time.

Namhee Kwon, born in 1971, is a Korean artist who lives and works in Paris. Graduated in 1997 from the Hongik University of Seoul, she later graduated from Goldsmiths College of London in 2002. She benefits a personnal exhibition A Writer’s Diary in the Cite Internationale des Arts, Paris (2015) and in 2019 at Tenderbooks, London. Namhee Kwon is a Korean conceptual artistj, interested in representing literary and poetic impressions of everyday life through a visual language, and using text and symbols to alter the visual perceptions of her surroundings.

* PROUST Marcel, Du côté de chez Swann, GF Flammarion, Paris, 1987, p. 140-145


madeleine_1

Doyeon Gwon, Flashsub Memory #Summer Break # 3, 2019, inkjet printing on 310 g Hahnemühle paper, oak frame, glass, 55 x 73 cm,
edition 2 of 5 + 1 A.P
Namhee Kwon, Rencontrons nous à la gare, 2020, white neon tubes, 140 x 11 x 7 cm, edition of 3 + 2 A.P
Kihoon Jeong, The origin of chair, 2015, wooden chair feet, variable dimensions, unique piece
Yue Yuan, Borrowed wish, 2019, installation, coin, water from Trevi fountain, plastic bottle, 17,8 x 5 x 5 cm (bottle), 21 x 29,7 cm (paper), unique piece
Photo © Aurélien Mole


madeleine_2

Clarissa Baumann,
Cuillère, 2016, book, photographies, copies, 27 pages, variable dimensions between 21 x 42 cm and 21 x 1500 cm, edition of 5 + 2 A.P. Production Fondation d’Entreprise Hermès
Cuillère, 2015, silver spoon of the model Virgule from the Puiforcat workshop, 21cm, silver thread 1 mm x 15 m coiled up on a 25 cm diameter x 41 cm wooden spool, black rubber, unique pieces. Production Fondation d’Entreprise Hermès
Cuillère, 2017, sound piece, stereo sound, 5’47’’, edition of 5 + 2 A.P. Clarissa Baumann (sound recording), Olavo Vianna, (composition and mixing), Louise Leverd (cello). Photo © Aurélien Mole


madeleine_3

Doyeon Gwon, Traveller Novice #1, 2011, inkjet printing on 310 g Hahnemühle paper, oak frame, glass, 55 x 55 cm, edition of 7 + 1 A.P
Author Annual Report #, 2015, inkjet printing on 310 g Hahnemühle paper, oak frame, glass, 55 x 55 cm, edition 4 of 5 + 1 A.P
Namhee Kwon, A Writer’s diary / book, 2019, printing on paper of the artist’s handwritten copy of Virginia Woolf’s diary, 295 pages each book, 14.8 x 21.2 x 2 cm each book, edition of 33 + 3 A.P
Jenny Feal, Diario (Journal), 2016, clay, ennamel, 30 – 35 cm diameter each piece, unique pieces
Elisabeth S. Clark, Billets doux, 2018, 2 shells, water, violet ink from two “billet doux” (love notes), paper, 20 x 11,5 cm the installation,
series of unique pieces
Prenons ce temps, 2011, handwritten letter, envelope, Encre de la Tête Noire ink (J. Herbin), 22 x 11 cm, unique piece
Namhee Kwon, When you cry … I will cry too…, 2019, installation, silk screen on fabric tissues, 46 x 46 cm (per tissue), series of unique pieces
Doyeon Gwon, Flashsub Memory #Summer Break # 3, 2019, inkjet printing on 310 g Hahnemühle paper, oak frame, glass, 55 x 73 cm,
edition 2 of 5 + 1 A.P
Namhee Kwon, Rencontrons nous à la gare, 2020, white neon tubes, 140 x 11 x 7 cm, edition of 3 + 2 A.P
Kihoon Jeong, The origin of chair, 2015, wooden chair feet, variable dimensions, unique piece
Yue Yuan, Borrowed wish, 2019, installation, coin, water from Trevi fountain, plastic bottle, 17,8 x 5 x 5 cm (bottle), 21 x 29,7 cm (paper), unique piece
Minja Gu, 2019 – 2020, series of 19 black and white photographic printings on 180 g special matte inkjet superior paper, 20 x 30 cm, edition of 5 + 1 A.P. Photo © Aurélien Mole


madeleine_4

Namhee Kwon, A Writer’s diary / book, 2019, printing on paper of the artist’s handwritten copy of Virginia Woolf’s diary, 295 pages each book,
14.8 x 21.2 x 2 cm each book, edition of 33 + 3 A.P
Jenny Feal, Diario (Journal), 2016, clay, ennamel, 30 – 35 cm diameter each piece, unique pieces. Photo © Aurélien Mole


madeleine_5

Doyeon Gwon, Traveller Novice #1, 2011, inkjet printing on 310 g Hahnemühle paper, oak frame, glass, 55 x 55 cm, edition of 7 + 1 A.P
Author Annual Report #, 2015, inkjet printing on 310 g Hahnemühle paper, oak frame, glass, 55 x 55 cm, edition 4 of 5 + 1 A.P
Namhee Kwon, A Writer’s diary / book, 2019, printing on paper of the artist’s handwritten copy of Virginia Woolf’s diary, 295 pages each book, 14.8 x 21.2 x 2 cm each book, edition of 33 + 3 A.P
Jenny Feal, Diario (Journal), 2016, clay, ennamel, 30 – 35 cm diameter each piece, unique pieces
Elisabeth S. Clark, Billets doux, 2018, 2 shells, water, violet ink from two “billet doux” (love notes), paper, 20 x 11,5 cm the installation,
series of unique pieces
Prenons ce temps, 2011, handwritten letter, envelope, Encre de la Tête Noire ink (J. Herbin), 22 x 11 cm, unique piece
Namhee Kwon, When you cry … I will cry too…, 2019, installation, silk screen on fabric tissues, 46 x 46 cm (per tissue), series of unique pieces.
Photo © Aurélien Mole


madeleine_6

Namhee Kwon, When you cry … I will cry too…, 2019, installation, silk screen on fabric tissues, 46 x 46 cm (per tissue), series of unique pieces
Doyeon Gwon, Flashsub Memory #Summer Break # 3, 2019, inkjet printing on 310 g Hahnemühle paper, oak frame, glass, 55 x 73 cm,
edition 2 of 5 + 1 A.P
Namhee Kwon, Rencontrons nous à la gare, 2020, white neon tubes, 140 x 11 x 7 cm, edition of 3 + 2 A.P
Kihoon Jeong, The origin of chair, 2015, wooden chair feet, variable dimensions, unique piece
Yue Yuan, Borrowed wish, 2019, installation, coin, water from Trevi fountain, plastic bottle, 17,8 x 5 x 5 cm (bottle), 21 x 29,7 cm (paper), unique piece
Minja Gu, 2019 – 2020, series of 19 black and white photographic printings on 180 g special matte inkjet superior paper, 20 x 30 cm,
edition of 5 + 1 A.P
Doyeon Gwon, Flashsub Memory #Summer Break # 5, 2019, inkjet printing on 310 g Hahnemühle paper, oak frame, glass, 55 x 73 cm,
edition 2 of 5 + 1 A.P. Photo © Aurélien Mole


madeleine_7

Minja Gu, 2019 – 2020, series of 19 black and white photographic printings on 180 g special matte inkjet superior paper, 20 x 30 cm,
edition of 5 + 1 A.P. Photo © Aurélien Mole


madeleine_8

Minja Gu, 2019 – 2020, series of 19 black and white photographic printings on 180 g special matte inkjet superior paper, 20 x 30 cm, edition of 5 + 1 A.P. Photo © Aurélien Mole


madeleine_9

Elisabeth S. Clark, After a long time or a short time, 2019, aluminium, variable dimensions, series of unique pieces
Alexandra Riss, Diaphragme, 2018, performative object, embroidery on fabric, 89 x 62 cm, unique piece. Loop recorded sound, 17’31’’, unique piece. Photo © Aurélien Mole


madeleine_10

Elisabeth S. Clark, After a long time or a short time, 2019, aluminium, variable dimensions, series of unique pieces


madeleine_11

Alexandra Riss, Diaphragme, 2018, performative object, embroidery on fabric, 89 x 62 cm, unique piece. Loop recorded sound, 17’31’’, unique piece
Kihoon Jeong, Time beyond the clock, 2015, powdered mirror, mirror, 60 x 50 cm, unique pieces
Yue Yuan, As far as you can touch, Antipode de Paris, 2020, text printed on white vinyl glued on the oor, around 100 x 100 cm, unique piece
Emmanuel Tussore, 2020, series of 13 pigmented ink inkjet printings, oak frame, glass, 20 x 20 cm (without frame), 24,5 x 24,5 cm (framed), edition of 7 + 2 A.P
Namhee Kwon, - 3-, 2011, white neon tube, 20 x 8 x 7 cm, edition of 3 + 2 A.P
Photo © Aurélien Mole


madeleine_12

Yue Yuan, As far as you can touch, Antipode de Paris, 2020, text printed on white vinyl glued on the floor, around 100 x 100 cm, unique piece
Emmanuel Tussore, 2020, series of 13 pigmented ink inkjet printings, oak frame, glass, 20 x 20 cm (without frame), 24,5 x 24,5 cm (framed), edition of 7 + 2 A.P. Photo © Aurélien Mole


madeleine_13

Emmanuel Tussore, 2020, series of 13 pigmented ink inkjet printings, oak frame, glass, 20 x 20 cm (without frame), 24,5 x 24,5 cm (framed),
edition of 7 + 2 A.P. Photo © Aurélien Mole


madeleine_14

Yue Yuan, As far as you can touch, Antipode de Paris, 2020, text printed on white vinyl glued on the oor, around 100 x 100 cm, unique piece
Kihoon Jeong, Time beyond the clock, 2015, powdered mirror, mirror, 60 x 50 cm, unique pieces


madeleine_15


Yue Yuan, As far as you can touch, Antipode de Paris, 2020, text printed on white vinyl glued on the oor, around 100 x 100 cm, unique piece
Kihoon Jeong, Time beyond the clock, 2015, powdered mirror, mirror, 60 x 50 cm, unique pieces
Emmanuel Tussore, Promenade de digestion, 2020, pigmented ink inkjet printing, oak frame, glass, 20 x 20 cm (without frame), 24,5 x 24,5 cm (framed), edition of 7 + 2 A.P
Namhee Kwon, - 3-, 2011, white neon tube, 20 x 8 x 7 cm, edition of 3 + 2 A.P


madeleine_16

Doyeon Gwon, The art of shovel, 2015, documentary video, black and white, sound, 5’05’’, edition of 5 + 1 A.P


madeleine_17

Doyeon Gwon, The art of shovel, 2015, documentary video, black and white, sound, 5’05’’, edition of 5 + 1 A.P


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73-75 rue Quincampoix 75003 Paris France
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]]> http://www.galeriedohyanglee.com/en/madeleine/feed 0 Regreso de otra Amalia http://www.galeriedohyanglee.com/en/regreso-de-otra-amalia?utm_source=rss&utm_medium=rss&utm_campaign=regreso-de-otra-amalia http://www.galeriedohyanglee.com/en/regreso-de-otra-amalia#comments Thu, 13 Feb 2020 11:25:27 +0000 http://www.galeriedohyanglee.com/?p=15807

Jenny Feal, Regreso de otra Amalia, 2018, vidéo HD, couleur, son monophonique, 25’56’’, édition de 5 + 2 EA


Viewing upon request

]]> http://www.galeriedohyanglee.com/en/regreso-de-otra-amalia/feed 0 BIENNALE DE LYON 2019 PHOTOS http://www.galeriedohyanglee.com/en/biennale-de-lyon-2019-photos?utm_source=rss&utm_medium=rss&utm_campaign=biennale-de-lyon-2019-photos http://www.galeriedohyanglee.com/en/biennale-de-lyon-2019-photos#comments Tue, 01 Oct 2019 09:59:28 +0000 http://www.galeriedohyanglee.com/?p=15526 BIENNALE DE LYON 2019





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]]> http://www.galeriedohyanglee.com/en/biennale-de-lyon-2019-photos/feed 0 OFF SITE AUTUMN 2019 http://www.galeriedohyanglee.com/en/hors-les-murs-automne-2019?utm_source=rss&utm_medium=rss&utm_campaign=hors-les-murs-automne-2019 http://www.galeriedohyanglee.com/en/hors-les-murs-automne-2019#comments Thu, 05 Sep 2019 09:46:09 +0000 http://www.galeriedohyanglee.com/?p=15242 OFF SITE – AUTUMN 2019



Nuit Blanche


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Nuit Blanche



05.10.2019 // 11 pm – 12 pm



nuit_blanche_cs+ infos




The 6th Jonggeundang Artist Prize



Opening 19.09.2019
Exhibition 19.09 – 30.09.2019



jonggeundang_sc+ infos




Le Fil d’Alerte



Opening 09.09.2019 // 18h30
Exhibition 10.09 – 26.10.2019



fil_alerte+ infos // + exhibition views




Signal Mouvement


Solo show at Ateliers Vortex


06.09 – 05.10.19



atelier_vortex_vl+ infos




Là où les eaux se mèlent


Participation in the 15th Biennal of Lyon


Opening 16.09 – 17.09.2019
Exhibition 18.09.2019 – 05.01.2020



biennale_lyon+ infos // + exhibition views




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73-75 rue Quincampoix 75003 Paris France
Tuesday – Saturday 11 am – 1 pm // 2 pm – 7 pm
tel : +33 (0)1 42 77 05 97
www.galeriedohyanglee.com

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]]> http://www.galeriedohyanglee.com/en/hors-les-murs-automne-2019/feed 0 Mar oculto http://www.galeriedohyanglee.com/en/mar-oculto?utm_source=rss&utm_medium=rss&utm_campaign=mar-oculto http://www.galeriedohyanglee.com/en/mar-oculto#comments Mon, 29 Apr 2019 10:47:26 +0000 http://www.galeriedohyanglee.com/?p=15123 Jenny Feal Text by Matthieu Lelièvre May 18th – July 20th 2019 With the support to the galleries / exhibition of the French Centre National Des Arts Plastiques (National Center for Plastic Arts). press release and pictures]]> Mar oculto




mar_occulto

Opening on Saturday, May 18th 2019 from 6 pm to 9 pm

Exhibition until 15.06.2019
Extension of the exhibition from 02.07 to 20.07.2019
With the support for the galleries / exhibition from the CNAP French National Center for Plastic Arts..


Jenny Feal’s work often mysteriously refers to the Mar Oculto, the Occult Sea. She has already used this sombre, enigmatic expression to name precedent research projects, and this new occurrence refers to the shifting, uncertain context the young artist has chosen for this exhibition. Jenny Feal was born in Havana, where the sea represents an omnipresent, insulating environment. The term “occult” has a double meaning: the hidden and the unknown in an esoteric acceptation, as well as purposely hidden elements, confined to secrecy. This ambivalence is found in an exhibition that deals with matters at the same time deep voiced and mute, sad and joyful. The expression Mar Oculto is also the title of one of the works in this show, in which piled drops of dried clay suggest a hidden sea that exists as an idea alone, a dissimulated concept that discreetly creates an enclosed bond between all the fragments of a complex narrative hidden behind protective screens. Along with the sea, all types of water are summoned here. For example, the water in the visitor’s body, an element that is as vital as it is destructive and clandestine. The entire exhibition is woven together in an underground, serpentine manner. Water connects all the pieces, and yet it seems to have evaporated completely, existing through its very absence. Upon its disappearance, everything seems to have been brought together. The exhibition is composed of works that are to be read both independently and through the intimate relationship created between them.

The exhibition starts with a text written by the artist: the story of the Cococitizens, a fictional narrative of sand dunes and the inhabitants of an island who paradoxically have never seen the sea. Their self-sufficiency may be functional, but they live in confinement. This tiny eco-system lives under the thumb of a far-off government, and their only chance of salvation could come from being swept away by a cyclone. Economic and political confinement weighs upon them, and although they do not all question their situation, the younger generations discuss their destiny and decide to search for a cyclone. The narrative transcribes Jenny Feal’s personal experience in Cuba. The angst is real, and the exhibition is built on a series of narratives that illustrate the hopes and limits of her generation. Every element confronts the complex issue of political domination and the tension between renunciation and the desire for a geographic, temporal or contextual elsewhere. Every object contributes to the construction of a general feeling of confinement and anguish in the temporal territory of the art gallery. For example, the Cococitizens are like fencers, and their abundant sweat may be compared to the materialized form of spent water, a vital substance that evaporates in vain, because life in economic insulation destroys their dreams of achievements in the sport world due to a lack of means and restriction of their possibility to travel abroad.
Other objects, either reproduced, melted down in bronze or invented, such as a bed on broken dishes, seem to evoke a shipwreck or impossible repose, whereas a shaving brush that used to belong to a family member, a hopeful symbol of accomplishment and yet a painful example of the price one sometimes has to pay to gain ones freedom, has been melted down, immortalized by its own destruction, and ends up incarnating the political metaphor of longed-for change.

In Cuba, water is omnipresent, especially as a territorial frontier, however the island is more specifically incarnated in her work by land. Water and clay, so present in her pieces, represent the relationship all these elements maintain, generating the tension that impregnates her work. The combination of clay and water is more than just a material happening, it is a metaphor of life, with the intrinsic ambivalence that resides in the absence of life: death. The sensual texture of clay is her artistic demiurge, omnipresent in her work. She considers it as a noble material, thanks to which everything is possible. In the Bible, the first man is named ha-adam, a term designating the earth, from which Golem, in Jewish mythology, emerges. Jeanny Feal compares this material to thought, the flexible, malleable materialization of thought. Work in clay can be interrupted, continued step by step, dried, or broken down… Philosophically, clay is a timeless material; it can be endlessly remodelled. Jenny Feal recalls her first piece at the Havana Art School: a vertical pipe in clay reaching from the ground to her mouth, like a “canalization piece” that could metaphorically transport water. This first ceramic piece, an evacuation, already suggested the asphyxiating, violent sensation of drowning. And the feeling remains in all her work. The exhibition Mar oculto does not withhold a form of traumatism.

Certain elements in the exhibition appear as biographical fragments, whereas others stem from the fictional narrative she created to translate feelings linked to her experience, such as insulation and enclosure. The artist admits that the minute she sets foot on an island, wherever it may be, she feels asphyxiated. A form of sadness hovers over the exhibition, on the surface of this obscure sea formed by drops of sweat, where sombre sentiments only exist thanks to the omnipresent poetry enhanced by irony and the absurd, initiated by the narrative of the Cococitizens. The story that opens the exhibition evolves throughout the different worlds created by the artist. Her process of creation is dominated by the desire to create a story. Perhaps the morality of her story also resides in the fact that the Cococitizens, in spite of their insulation and confinement, and maybe precisely because of them, are still able to dream. They do not need to have seen an elsewhere in order to imagine it. All the objects in this exhibition are brought to life according to the same rules, such as the materialization of thought and the fragments of a partly shared personal story that belongs to others along with the artist. These objects are the depositaries of an endless mental exploration. Jenny Feal appeals to all visitors coming to grips with a story whose codes are unfamiliar. At the crossroads of interpretations, in this strange atmosphere, how can one not be struck by such an intuitive, sensual realm.

Matthieu Lelièvre
Translated in English by Emmelene Landon



mar_1

Jenny Feal, Los cocoteros (The coconut trees), 2016, silk screen printing on a jute canvas, 94 x 76 cm, edition 13 + 2 A.P
Tapis rouge (I am afraid of forgetting everything one day), 2019, sculpture, red glazed earthenware, variable dimensions, serie of unique pieces
Esgrima anónima (Anonymous fencing), 2016, serie of coloured analog photographies printings, ink jet on adhesive paper, Dibond glued on aluminium, 60 x 88 cm, edition of 5 + 2 A.P. Photo © Aurélien Mole


mar_2

Jenny Feal, Esgrima anónima (Anonymous fencing), 2016, serie of coloured analog photographies printings, ink jet on adhesive paper, Dibond glued on aluminium, 60 x 88 cm, edition of 5 + 2 A.P
Vacios y estan (Empty and here they are), 2016, serie of coloured analog photographies printings, ink jet on adhesive paper, Dibond glued on aluminium, 88 x 60 cm, edition of 5 + 2 A.P. Photo © Aurélien Mole


mar_3

Jenny Feal, Mar oculto (Occult sea), 2019, sculpture, glazed earthenware, jute, wood, unique piece
Patterson, 2016, black and white analog photography printing, ink jet on adhesive paper, Dibond glued on aluminium, 60 x 88 cm, edition of 5 + 2 A.P
Entrenatmiento (Training), 2016, black and white analog photography printing, ink jet on adhesive paper, Dibond glued on aluminium, 60 x 88 cm, edition of 5 + 2 A.P
Como levitando (Like levitating), 2016, coloured analog photography printing, ink jet on adhesive paper, Dibond glued on aluminium, 60 x 88 cm, edition of 5 + 2 A.P. Photo © Aurélien Mole


mar_4

Jenny Feal, Mar oculto (Occult sea), 2019, sculpture, glazed earthenware, jute, wood, unique piece. Photo © Aurélien Mole


mar_5

Jenny Feal, Esgrima anónima (Anonymous fencing), 2016, serie of coloured analog photographies printings, ink jet on adhesive paper, Dibond glued on aluminium, 60 x 88 cm, edition of 5 + 2 A.P
Los cocoteros (The coconut trees), 2016, silk screen printing on a jute canvas, 94 x 76 cm, edition 13 + 2 A.P
Tapis rouge (I am afraid of forgetting everything one day), 2019, sculpture, red glazed earthenware, variable dimensions, serie of unique pieces.
Photo © Aurélien Mole


mar_6

Jenny Feal, Tapis rouge (I am afraid of forgetting everything one day), 2019, sculpture, red glazed earthenware, variable dimensions, serie of unique pieces.
Photo © Aurélien Mole


mar_7

Jenny Feal, Tratando de acostarse sin hacer un pliego ( Trying to sleep without making a single fold), 2019, red glazed earthenware, fabric, wood, mattress, variable dimensions around 140 x 200 x 68 cm, unique piece. Photo © Aurélien Mole


mar_8

Jenny Feal, Tratando de acostarse sin hacer un pliego ( Trying to sleep without making a single fold), 2019, red glazed earthenware, fabric, wood, mattress, variable dimensions around 140 x 200 x 68 cm, unique piece. Photo © Aurélien Mole


mar_9

Jenny Feal, Córtate la barba (Cut the beard), 2015, bronze, newspapers, steel, mirror, variable dimensions, serie of unique pieces.
Photo © Aurélien Mole


mar_10

Jenny Feal, Córtate la barba (Cut the beard), 2015, bronze, newspapers, steel, mirror, variable dimensions, serie of unique pieces.
Photo © Aurélien Mole


mar_11

Jenny Feal, Regreso de otra Amalia (Return of another Amalia), 2018, HD video, color, monophonic sound, 25’56’’, edition of 5 + 2 A.P.
Photo © Aurélien Mole


mar_12

View from outside. Photo © Aurélien Mole


lyon_biennale_logo

Participation of Jenny Feal to the 15th Lyon Biennale 2019
Là où les eaux se mêlent
Musée d’Art Contemporain de Lyon, Lyon, France

18.09.2019 – 05.01.2020



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73-75 rue Quincampoix 75003 Paris France
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]]> http://www.galeriedohyanglee.com/en/regreso-de-otra-amalia-video/feed 0 The time of apples http://www.galeriedohyanglee.com/en/le-temps-des-pommes?utm_source=rss&utm_medium=rss&utm_campaign=le-temps-des-pommes http://www.galeriedohyanglee.com/en/le-temps-des-pommes#comments Sun, 05 Aug 2018 22:05:11 +0000 http://www.galeriedohyanglee.com/?p=14574 In the contemporary art space ÉTÉ 78, Ixelles, Belgium Louis-Cyprien Rials, Marcos Avila Forero, Paula Castro, Jenny Feal, Charlotte Seidel, RohwaJeong, Kihoon Jeong, Yangachi, A4rizm, Sun Choi September 15th – October 06th 2018 press release and pictures press article PointCulture press article Lupita]]> Le temps des pommes
Collaboration between the Dohyang Lee and the contemporay art space ETE 78, Ixelles, Belgium



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Opening on Saturday, September 15th 2018 at the contemporary art space ETE 78, Ixelles, Belgium
15.09 – 06.10.2018
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Open on Saturdays 22.09, 29.09, 06.10 / 2pm – 6pm and on rendez vous

The title of the exhibition Le temps des pommes refers to the song The time of cherries *, written by Jean Baptiste Clement ( 1836 – 1903 ) in 1867. This song sings originally the summer, the beauty of the nature and the nostalgia for a lost time. It is then associated with the Paris Commune **, because of its author, who participated in.
“ Change the world, change the life for the happiness of all ”, such was the dream of the people who participated in. For the exhibition Le temps des pommes, the artists think over from past to present about the world and the social, political, economic, ideological history while having a visionary analysis.

Born in 1981 in Paris, Louis-Cyprien Rials attended theater lessons at the conservatory, in France, before discovering photography in Japan, where he lived for many years. He is the winner of the SAM PROJECTS 2017 Prize.
His work documents through photographs and videos a world devoid of humans. All that remains are the forms and terrains conducive to disorientation and contemplation. Through an exploration of the possible representations of landscapes from micrographics to satellite imagery, by changing the scale of these studies, he proposes to the viewer a space as free to the imagination as to pareidolia. In this universe of the retreated and forgotten being, this documentation of abandoned scenography, of monuments – natural or not – of ruins , traces recorded in geography, reveals a piece of humanity as seen through the prism of his absence.

Graduated in 2010, from the Ecole Nationale Supérieure des Beaux-Arts of Paris, Marcos Avila Forero (born in 1983, in Paris) is invited to the 57th Venice Biennal (2017) Viva Arte Viva by the curator Christine Macel.
The curator Daria de Beauvais, said : “ Videos, frescoes/murals, objects, sculptures, performances or installations, the work of Marco Avila Forero always seems to evoke an off-screen : a meeting, a story or a process it keeps track of. His micro-fictions made of bits and pieces seek to build up a colusion between times and places that seem at odds rather than demonstrate or document. The richness and poetry of this work come from the visit and the diversion of the boundaries… At times of increased and dematerialised flaws, Marcos Avila Forero broaches the duration and materiality of movings/shiftings and migrations, provides meaning and substance that are too often neglected… The human being is also central in his work. It is the one who paradoxically waits at the edges waiting forever “ the good moment ” to jump ahead/lead the way. ”

Jenny Feal is born in 1991 in Havana, Cuba, and obtained a Master from the Ecole Supérieure des Beaux-Arts de Lyon in 2016. The sale year, she won the Renaud prize for the installation Te imaginas.
For her, objects are part of our daily life and they testify not only a physical or functional trajectory, but also symbolic. Through her work, the artist takes existing objects with proper lives that belong to a specific context. Because of its reproduction or transformation, a distance and a feeling of strangeness are caused in the spectator’s experience. The thin line between personal and collective items is determined by the introduction of super cial and daily objects, loaded with symbolic, historical, social and political dimensions. Cuba is a reference and an endless source.

Sun Choi, born in 1973, lives in Seoul, South Korea. He graduated from the Hongik University in Séoul in 2003. He won the grand prize of the SongEun Award in 2013.
For Sun Choi “ the artist had vague questions about art. And he made efforts to make those vague questions more clear and tried to put those efforts into practice. Leaving behind the past irrationality of contemporary Korean art, which overlaps with his time, he found it difficult to figure out what on earth art is and what we can call artistic. In front of the vagueness created by Western-oriented conventional wisdom about art, the misery of reality that you and I can clearly witness is paradoxically artistic enough. There are two conflicting factors existing at the same time in his “work” that is presented as art: visible and invisible, material and immaterial, clear and unclear, and artistic and inartistic. He is creating artworks in hope that “ art ” will vanish.”

RohwaJeong, made by Yun-hee Noh (Seoul, 1981) and Hyeon-seok Jeong (Seoul, 1981), is an visual artist couple from Seoul, South Korea. More than a duo, it an unique and unsplitable being. Their work observes and pays attention to relations changing in various times and spaces, and makes efforts to capture them effectively in their works. In particular, they try to probe into diverse relations among individuals and the individuals’ detailed conflicts arising from their roles in the relations. This is a movement to get away from the majority’s subjective and violent eyes that interpret all phenomena around in somewhat lazy and stereotyped judgment. Accordingly, it sometimes appears to be a situation or state that may induce various interpretations of a certain relation through works. In 2019, the duo participates in the 12th Gwangju Biennale, Imagined Borders, in South Korea.

Paula Castro, born in Buenos Aires in 1978) lives and works in the same city. She approaches the drawing through landscapes and imaginary concepts compound of points and lines. Representation of the realm of imagination and mind, the world is regarded as a “ body ” of infinite points on which the surface is in movement in the time and space. Things found everywhere (photos, words, places) are the origin of her works. Forms and thoughts constantly change and are transformed into an organic whole of lines and points, ideas and concepts, imaginary and real places. Her drawings are the result of a visual modification or a mysterious meeting between literature and line.

Charlotte Seidel, born in 1981, in Hamburg, Germany lives and works in Paris. According to Isaline Vuille, this artist harvests a sensitive art of the invisible, of the absence and ephemeral, often taking place in situ, poetically to magnify details. Creating small intensities emerging from the continuous stream of events and images surrounding us, Charlotte Seidel uses the reality as material, a sometimes banal everyday life, common histories, isolating familiar elements to which we do not necessarily pay attention. Encouraging people to take a closer look on our environment, the practice of Charlotte Seidel made, piece by piece, something that could be called poetry of everyday life.

Kihoon Jeong was born in 1980, and he is currently living and working in Seoul, South Korea. The world of Kihoon Jeong’s artwork is about unique attitude/action which resists against huge system, standardized groups, unified culture and forced regulation. His work begins with the question that if we are not able to transform social structure and custom at the collective dimension, what would we do ? He goes counter to vanity, neglected things, irregular activity and the logic of market through attempting minute modification of microscopic units at a partial level and making a backward movement from the logic of power within social structure.

Yangachi was born in 1970 in Busan, South Korea and was graduated of a B.F.A in sculpture from the University of Suwon and a Master in media arts from the Yonsei University, in Seoul. He is interested in the screen, movie, surveillance. The artist accumulates episodes, collects information and transforms them into “ signs ” to edit them by sequence. He proceeds then in superimposing signs and puts them in a relationship of explanation. Yangachi spreads his reality and his experiences and reflects them in the contemporary Korean society to criticize it.

Afour Rhizome (or A4 Rhizome or A4rizm) is one of artist’s names chosen by Kyoo Seok Choi (born in Seoul, South Korea, in 1976), graduated from the Paris VIII University. This name rather neutral indicates his work and his project of a construction of the archives of knowledges, works of art and oneself. The choice of the name questions : “ what is an artist ? ”
One of his works is named Balls of Dictionnary in which a sheet of the “ recovered ” Petit Robert dictionary is transformed into a ball by keeping the visibility of the number of page, it is tidied up in a “collected” jewelry box and is presented. Some balls are sold in separately with a price fixed freely by the buyer to the flea market. The routes of these objects, the sale prices, the dates and the places of sale, the names, the email addresses of the buyer and the details of expenses are documented. This document is integrated into the process of construction of this work and is also exposed as an element of the work.

* NB : https://en.wikipedia.org/wiki/Le_Temps_des_cerises
** NB : https://en.wikipedia.org/wiki/Paris_Commune

printable version



With the support of ÉTÉ 78, Ministry of Culture of the Republic of Korea and the Korea Arts Management Service


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pommes 2

Charlotte Seidel, …, 2012 – 2016, book, impression, hand bookbinding, 25 x 18,5 x 7,5 cm, edition of 7 + 2 AP
Paula Castro, Embarcaciones indigenas sobre el lago, exposition internationale coloniale Paris 1931, 2011, ink on paper, frame, glass, 23 x 29 cm framed, unique piece
AFour Rhizome, Boules de dictionnaire, 2018, several materials, variable dimensions, unique pieces
Jenny Feal, Diario (Journal), 2016, clay, enamel, variable dimensions, unique pieces
Kihoon Jeong, The origin of chair, 2015, feet of a wooden chair, variables dimensions, unique piece
Louis-Cyprien Rials, Kanab, 2018, wallpaper, two oak frames, etching, postcard, anti reflective glass, variable dimensions,
edition of 5 + 2 AP
Louis-Cyprien Rials, Mene, Mene, Tekel, Upharsin – Bols, 2015, 3 ceramic bowls, black pigments, variable dimensions, unique pieces
Sun Choi, You Can Continue to Breathe at the Ending Point of My Breath, 2011, Japanese people’s breath, India ink on paper, variable dimensions, unique piece
Sun Choi, Interrupted voyage, 2018, ephemeral installation with sea salt from the sea of North Korea. Documentary video. Photo © Sun Choi


pommes 3

Sun Choi, Naked painting, 2015, canvas, 155 x 100 cm, unique piece
Charlotte Seidel, …, 2012 – 2016, book, impression, hand bookbinding, 25 x 18,5 x 7,5 cm, edition of 7 + 2 AP
Paula Castro, Embarcaciones indigenas sobre el lago, exposition internationale coloniale Paris 1931, 2011, ink on paper, frame, glass,
23 x 29 cm framed, unique piece. Photo © Sun Choi


pommes 4

Charlotte Seidel, …, 2012 – 2016, book, impression, hand bookbinding, 25 x 18,5 x 7,5 cm, edition of 7 + 2 AP
Paula Castro, Embarcaciones indigenas sobre el lago, exposition internationale coloniale Paris 1931, 2011, ink on paper, frame, glass,
23 x 29 cm framed, unique piece
AFour Rhizome, Boules de dictionnaire, 2018, several materials, variable dimensions, unique pieces. Photo © Sun Choi


pommes 5

Jenny Feal, Diario (Journal), 2016, clay, enamel, variable dimensions, unique pieces. Photo © Sun Choi


pommes 6

Jenny Feal, Córtate la barba (Coupe-toi la barbe), 2016, bronze, newspapers, steel, mirror, variable dimensions, unique pieces. Photo © Sun Choi


pommes 7

Kihoon Jeong, The origin of chair, 2015, feet of a wooden chair, variables dimensions, unique piece. Photo © Sun Choi


pommes 8

Kihoon Jeong, Time beyond the clock, 2015, mirror, powdered mirror, 60 x 50 cm, unique pieces. Photo © Sun Choi


pommes 9

Sun Choi, Interrupted voyage, 2018, ephemeral installation with sea salt from the sea of North Korea. Documentary video. Photo © Sun Choi


pommes 10

RohwaJeong, Three cornered, 2018, silk screen print on paper, 57 x 76 cm, unique piece. Acrylic on silk screen mesh, brass, variable dimensions, unique piece
5/4, 2018, silk screen print on paper, 57 x 76 cm, unique piece. Acrylic on silk screen mesh, brass, variable dimensions, unique piece. Photo © Sun Choi


pommes 11

RohwaJeong, Three cornered, 2018, silk screen print on paper, 57 x 76 cm, unique piece. Acrylic on silk screen mesh, brass, variable dimensions, unique piece
5/4, 2018, silk screen print on paper, 57 x 76 cm, unique piece. Acrylic on silk screen mesh, brass, variable dimensions, unique piece. Photo © Sun Choi


pommes 12

Jenny Feal, Córtate la barba (Coupe-toi la barbe), 2016, bronze, newspapers, steel, mirror, variable dimensions, unique pieces
Jenny Feal, Diario (Journal), 2016, clay, enamel, variable dimensions, unique pieces
AFour Rhizome, Boules de dictionnaire, 2018, several materials, variable dimensions, unique pieces
Marcos Avila Forero, Archive – Casa perdida 1, 2017, analog photography black and white on baryta paper, 50 x 60 cm, edition of 15 + 3 AP
Marcos Avila Forero, Archive – Casa perdida 2, 2017, analog photography black and white on baryta paper, 50 x 60 cm, edition of 15 + 3 AP
Marcos Avila Forero, Archive – El guia – Cesitar, 2017, digital color photography on baryta paper, 80 x 60 cm, edition of 15 + 3 AP
Marcos Avila Forero, Archive – Raspachin, 2017, digital color photography on baryta paper, 80 x 60 cm, edition of 15 + 3 AP
Paula Castro, Embarcaciones indigenas sobre el lago, exposition internationale coloniale Paris 1931, 2011, ink on paper, frame, glass,
23 x 29 cm framed, unique piece
Charlotte Seidel, …, 2012 – 2016, book, impression, hand bookbinding, 25 x 18,5 x 7,5 cm, edition of 7 + 2 AP
Sun Choi, Naked painting, 2015, canvas, 155 x 100 cm, unique piece. Photo © Sun Choi


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73-75 rue Quincampoix 75003 Paris France
Tuesday – Saturday 11 am – 1 pm // 2 pm – 7 pm
tel : +33 (0)1 42 77 05 97
www.galeriedohyanglee.com

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]]> http://www.galeriedohyanglee.com/en/le-temps-des-pommes/feed 0 Te imaginas (You imagine) http://www.galeriedohyanglee.com/en/te-imaginas-tu-imagines?utm_source=rss&utm_medium=rss&utm_campaign=te-imaginas-tu-imagines http://www.galeriedohyanglee.com/en/te-imaginas-tu-imagines#comments Wed, 25 Jul 2018 14:54:33 +0000 http://www.galeriedohyanglee.com/?p=14529


Jenny Feal, Te imaginas (You imagine), 2016, HD video, color, monophonic sound, 4’54’’.

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