Galerie Dohyang Lee » Sun Choi

Adventskalender

Dohyang Lee — Tue, 26 Nov 2024 22:30:01 +0000

Collective exhibition with

Anna Jaccoud, Carolina de la Roche, Charlotte Seidel, Darius Dolatyari-Dolatdoust & Sarah-Anaïs Desbenoit, Elisabeth S. Clark, Hugo Béhérégaray, Jade de Rooster, Jérémy Berton, Jot Fau,
Mackerel Safranski, Moongi Gim, Namhee Kwon, Natalia Villanueva Linares,
Radouan Zeghidour, Ronan Debosque, Sarah Illouz & Marius Escande, Sun Choi and Yeonjin Oh

Available artworks list

14.12 – 28.12.2024

It is a tradition to wait for Christmas and count the days on the Advent Calendar. This end of the year is a time for waiting, introspection and reflection, but also for hope in better days and joy.
Reading a book is a way to patiently wait. The Dohyang Lee Gallery invites visitors to its Adventskalender* (Advent Calendar) which forms a large library where everyone can find own’s « book » that will go with…

+ info

press article by Projets

Jérémy Berton, Welcome Stranger, 2021 – 2022, painted polyurethane resin, varnished plaster, steel rod, 25 x 10 x 22 cm, unique piece
Red Gold, 2021 – 2022, polyurethane resin, varnished plaster, steel rod, 21 x 10 x 21 cm, unique piece
Anna Jaccoud, Sans titre ou Calligramme (Pliés series), 2024, typographic drawing with machine on drawing paper, 53 x 47 cm, unique piece
Sans titre (Sondés series), 2024, typographic drawing with machine on drawing paper, 53 x 47 cm, unique piece
Coin 3, 2024, white painted MDF wastes, coating, squares, 135 x 38 x 48 cm, unique piece
Jade de Rooster, Bargello, 2023, collage of silkprinted papers on wood board, 60 x 45 cm, unique piece
Hexagon, 2023, collage of silkprinted papers on wood board, 60 x 45 cm, unique piece
Honeycomb, 2023, collage of silkprinted papers on wood board, 60 x 45 cm, unique piece

Anna Jaccoud, Sans titre (Sondés series), 2024, typographic drawing with machine on drawing paper, 53 x 47 cm, unique piece
Coin 3, 2024, white painted MDF wastes, coating, squares, 135 x 38 x 48 cm, unique piece
Jade de Rooster, Bargello, 2023, collage of silkprinted papers on wood board, 60 x 45 cm, unique piece
Hexagon, 2023, collage of silkprinted papers on wood board, 60 x 45 cm, unique piece
Honeycomb, 2023, collage of silkprinted papers on wood board, 60 x 45 cm, unique piece
Jérémy Berton, Camion 1, 2024, aluminium block, 21 x 10 x 8 cm, unique piece
Camion 2, 2024, aluminium block, 25 x 9,5 x 9,5 cm, unique piece
Camion 3, 2024, aluminium block, 25 x 8,5 x 8,5 cm, unique piece

Sarah Illouz & Marius Escande, Pistachier Térébinthe, 2024, series of 7 felts made of Brigasca sheeps wool, from botanic boards of the 16th century, dyes from Roya valley, 100 x 70 cm front/back, unique piece
Symplocos Paniculata, 2024, series of 7 felts made of Brigasca sheeps wool, from botanic boards of the 16th century, dyes from Roya valley, 100 x 70 cm front/back, unique piece
Mackerel Safranski, Feed the light, 2022, video animation, unique channel, colour, sound, 9’14’’, edition of 5 + 2 AP. Drawing and editing : Mackerel Safranski. Script : Mackerel Safranski. Sound and music : Kim Sung Chool. Sources : La Pesanteur et La Grace, Simon Weil, translated by Jin Yoon,
publication by Moonji Publishing Company
Sarah Illouz & Marius Escande, Aigremoine Eupatoire, 2024, series of 7 felts made of Brigasca sheeps wool, from botanic boards of the 16th century, dyes from Roya valley, 100 x 70 cm front/back, unique piece
Charlotte Seidel, Larmes, 2024, installation, shells, mermaid tears, variable dimensions, unique pieces
Kastanjeboom (Marronnier, Jardin Anne Frank, Paris), 2024, Latex printing on blue paper,
15 x 34 cm, 15 x 36,6 cm, edition of 3 + 1 AP.

Charlotte Seidel, Kastanjeboom (Marronnier, Jardin Anne Frank, Paris), 2024, Latex printing on blue paper, 15 x 34 cm, 15 x 36,6 cm,
edition of 3 + 1 AP.
Jot Fau, Charnellement Modèle, 2023, cardboard, foam covered with silk, rope, chestnut tree branch, cotton thread, 28 x 35 x 9 cm, unique piece
Things both great and small, 2023, wood covered with velvet, leather, plastic toy covered with leather, portrait embroidered on leather, 71 x 15 x 15 cm, unique piece
Namhee Kwon, Someone, 2002 remade in 2024, ccrylic on cotton, 8 x 9 x 2 cm, unique piece
An impression of a lecture, 2002 refait en 2024, cotton, 11 x 13,3 x 0,5 cm, unique piece
Elisabeth S. Clark, With, mere, near, together, 2020, china peas with pins, grey cardboard boxes, ribbon, 6 x 6 x 6 cm, edition of 25

Charlotte Seidel, Kastanjeboom (Marronnier, Jardin Anne Frank, Paris), 2024, Latex printing on blue paper, 15 x 34 cm,
15 x 36,6 cm, edition of 3 + 1 AP.

Charlotte Seidel, Kastanjeboom (Marronnier, Jardin Anne Frank, Paris), 2024, Latex printing on blue paper, 15 x 34 cm, 15 x 36,6 cm,
edition of 3 + 1 AP.
Jot Fau, Charnellement Modèle, 2023, cardboard, foam covered with silk, rope, chestnut tree branch, cotton thread, 28 x 35 x 9 cm, unique piece
Things both great and small, 2023, wood covered with velvet, leather, plastic toy covered with leather, portrait embroidered on leather, 71 x 15 x 15 cm, unique piece
Elisabeth S. Clark, With, mere, near, together, 2020, china peas with pins, grey cardboard boxes, ribbon, 6 x 6 x 6 cm, edition of 25
Natalia Villanueva Linares, Palette LOD11 (S1), 2024, silk paper bricks, with the performance Lands of Dual11, 60 x 50 cm, unique piece
Couleur LOD11 (S1), 2024, glass pots, colours extracted from Lands of Dual11, first session, 10 cm diameter x 8 cm per pot, unique piece
Poématique XL, LOD11, 2024, kraft paper, acrylic paint, 80 x 50 cm, unique piece

Namhee Kwon, Someone, 2002 remade in 2024, ccrylic on cotton, 8 x 9 x 2 cm, unique piece
An impression of a lecture, 2002 refait en 2024, cotton, 11 x 13,3 x 0,5 cm, unique piece

Elisabeth S. Clark, With, mere, near, together, 2020, china peas with pins, grey cardboard boxes, ribbon, 6 x 6 x 6 cm, edition of 25

Namhee Kwon, Someone, 2002 remade in 2024, ccrylic on cotton, 8 x 9 x 2 cm, unique piece
An impression of a lecture, 2002 refait en 2024, cotton, 11 x 13,3 x 0,5 cm, unique piece
Elisabeth S. Clark, With, mere, near, together, 2020, china peas with pins, grey cardboard boxes, ribbon, 6 x 6 x 6 cm, edition of 25
Natalia Villanueva Linares, Palette LOD11 (S1), 2024, silk paper bricks, with the performance Lands of Dual11, 60 x 50 cm, unique piece
Couleur LOD11 (S1), 2024, glass pots, colours extracted from Lands of Dual11, first session, 10 cm diameter x 8 cm per pot, unique piece

Elisabeth S. Clark, With, mere, near, together, 2020, china peas with pins, grey cardboard boxes, ribbon, 6 x 6 x 6 cm, edition of 25
Natalia Villanueva Linares, Palette LOD11 (S1), 2024, silk paper bricks, with the performance Lands of Dual11, 60 x 50 cm, unique piece
Couleur LOD11 (S1), 2024, glass pots, colours extracted from Lands of Dual11, first session, 10 cm diameter x 8 cm per pot, unique piece
Poématique XL, LOD11, 2024, kraft paper, acrylic paint, 80 x 50 cm, unique piece

Natalia Villanueva Linares, Lands of Dual11, performance

Namhee Kwon, Heo Nanseolheon Poetry Generator_Write Yours, 2024, Polaroid photo, 8,8 x 10,8cm, unique piece
Heo Nanseolheon Poetry Generator_Photo, 2024, Polaroid photo, 8,8 x 10,8cm, unique piece
Jérémy Berton, Sometimes I have bad days, 2021 – 2022, painted polyurethane resin, magnet, wood box, rope, 50 x 8 x 5 cm, edition of 10

Charlotte Seidel, Larmes, 2024, installation, shells, mermaid tears, variable dimensions,
unique pieces
Jérémy Berton, Camion 2, 2024, aluminium block, 25 x 9,5 x 9,5 cm, unique piece
Camion 1, 2024, luminium block, 21 x 10 x 8 cm, unique piece
Camion 3, 2024, aluminium block, 25 x 8,5 x 8,5 cm, unique piece
Welcome Stranger, 2021 – 2022, painted polyurethane resin, varnished plaster, steel rod,
25 x 10 x 22 cm, unique piece
Red Gold, 2021 – 2022, polyurethane resin, varnished plaster, steel rod, 21 x 10 x 21 cm, unique piece
Anna Jaccoud, Sans titre ou Calligramme (Pliés series), 2024, typographic drawing with machine on drawing paper, 53 x 47 cm, unique piece
Sans titre (Sondés series), 2024, typographic drawing with machine on drawing paper, 53 x 47 cm, unique piece
Coin 3, 2024, white painted MDF wastes, coating, squares, 135 x 38 x 48 cm, unique piece
Jade de Rooster, Bargello, 2023, collage of silkprinted papers on wood board, 60 x 45 cm, unique piece
Hexagon, 2023, collage of silkprinted papers on wood board, 60 x 45 cm, unique piece
Honeycomb, 2023, collage of silkprinted papers on wood board, 60 x 45 cm, unique piece
Sarah Illouz & Marius Escande, Pistachier Térébinthe, 2024, series of 7 felts made of Brigasca sheeps wool, from botanic boards of the 16th century, dyes from Roya valley, 100 x 70 cm front/back, unique piece

Hugo Béhérégaray, Les Oiseaux, 2023, ink and watercolour on paper, 32 x 24 cm, unique piece
Le Château, 2023, ink and watercolour on paper, 32 x 24 cm, unique piece
Le Traffic, 2023, ink and watercolour on paper, 32 x 24 cm, unique piece
Yeonjin Oh, Solitaire #56, 2021, oil on screen printing lm, 29,7 x 21 cm, unique piece
Solitaire #4, 2021, oil on screen printing lm, 29,7 x 21 cm, unique piece
Solitaire #51, 2021, oil on screen printing lm, 29,7 x 21 cm, unique piece
Solitaire #24, 2021, oil on screen printing lm, 29,7 x 21 cm, unique piece
Solitaire #3, 2021, oil on screen printing lm, 29,7 x 21 cm, unique piece
Pastry #16, 2022, chromogenic print, dark green frame, anti reflect glass, 34,5 x 45,5 cm (without frame),
37,5 x 48,5 cm (frame), unique piece
Pastry #17, 2022, chromogenic print, dark brown frame, anti reflect glass, 40,5 x 45 cm (without frame),
43 x 47,5 cm (frame), unique piece
Ronan Debosque, Diorama, 2024, metal, polymethacrylate, water, ionic fogger with ultrasounds, rubber, water pump, 130 x 90 cm (metal tray), 40 x 40 cm (polymethacrylate tray), unique piece

Yeonjin Oh, Solitaire #56, 2021, oil on screen printing film, 29,7 x 21 cm, unique piece
Solitaire #4, 2021, oil on screen printing film, 29,7 x 21 cm, unique piece
Solitaire #51, 2021, oil on screen printing film, 29,7 x 21 cm, unique piece
Solitaire #24, 2021, oil on screen printing film, 29,7 x 21 cm, unique piece
Solitaire #3, 2021, oil on screen printing film, 29,7 x 21 cm, unique piece
Pastry #16, 2022, chromogenic print, dark green frame, anti reflect glass, 34,5 x 45,5 cm (without frame),
37,5 x 48,5 cm (frame), unique piece
Pastry #17, 2022, chromogenic print, dark brown frame, anti reflect glass, 40,5 x 45 cm (without frame),
43 x 47,5 cm (frame), unique piece
Ronan Debosque, Diorama, 2024, metal, polymethacrylate, water, ionic fogger with ultrasounds, rubber, water pump, 130 x 90 cm (metal tray), 40 x 40 cm (polymethacrylate tray), unique piece
Sun Choi, Non Drawn Painting, 2022, oriental pigments and gelatin on duvet covers used by salt workers, 268 x 180 cm, unique pieces

Sun Choi, Non Drawn Painting, 2022, oriental pigments and gelatin on duvet covers used by salt workers,
268 x 180 cm, unique pieces
Carolina de la Roche, Blessure à vif, 2024, collage on paper, frame, 27 x 21 cm without frame, 30 x 24 cm
with frame, unique piece
Convulsion fébrile, 2024, oil on canvas, 41 x 33 cm, unique piece
Mise en abîme, 2024, collage on paper, frame, 26 x 16 cm without frame, 30 x 24 cm with frame, unique piece
Hugo Béhérégaray, La Ville, 2023, ink and acrylic on paper, 124 x 140 cm, unique piece
Moongi Gim, Vicky Cristina Barcelona, 2024, sculpture being part of the series Poor Piece, scotch tape on paper, 70 x 50 x 40 cm, unique piece

Carolina de la Roche, Blessure à vif, 2024, collage on paper, frame, 27 x 21 cm without frame, 30 x 24 cm
with frame, unique piece
Convulsion fébrile, 2024, oil on canvas, 41 x 33 cm, unique piece
Mise en abîme, 2024, collage on paper, frame, 26 x 16 cm without frame, 30 x 24 cm with frame, unique piece
Hugo Béhérégaray, Wheel of Fortune, 2022, watercolour on paper, 30 x 29,5 cm, unique piece
La Ville, 2023, ink and acrylic on paper, 124 x 140 cm, unique piece
Moongi Gim, Vicky Cristina Barcelona, 2024, sculpture being part of the series Poor Piece, scotch tape on paper, 70 x 50 x 40 cm, unique piece
Radouan Zeghidour

Hugo Béhérégaray, Wheel of Fortune, 2022, watercolour on paper, 30 x 29,5 cm, unique piece

Hugo Béhérégaray, La Ville, 2023, ink and acrylic on paper, 124 x 140 cm, unique piece
Moongi Gim, Vicky Cristina Barcelona, 2024, sculpture being part of the series Poor Piece, scotch tape on paper, 70 x 50 x 40 cm, unique piece
Radouan Zeghidour

Radouan Zeghidour

Darius Dolatyari-Dolatdoust & Sarah-Anaïs Desbenoit, Red Room, 2024, set, 4:3 video, 36’54’’, sound, colour, mixt techniques, edition of 5 + 2 AP. Performers artists : Darius Dolatyari-Dolatdoust and Anaïs Commaret. Variable dimensions. Sarah-Anaïs Desbenoit (Images, Lights), Darius Dolatyari-Dolatdoust (Ceramics, Textiles and Choreography), Mathilin Bernard (Chair), Faustine Benton, Asma Berrouachedi and Audrey Gambier (Set assistants), Paul Lajus (Sound), Quentin L’helgouac’h (Camera assistant)
Carafe, 2024, carafe in enameled ceramics, variable dimensions, unique piece
Pois vertical, 2024, candlestick in enameled ceramics, variable dimensions, unique piece
Tasses, 2024, cups in enameled ceramics, variable dimensions, unique pieces
Pois pyramide, 2024, candlestick in enameled ceramics, variable dimensions, unique piece
Carreaux, 2024, 20 tiles in enameled ceramics, variable dimensions, unique pieces

Darius Dolatyari-Dolatdoust & Sarah-Anaïs Desbenoit, Carafe, 2024, carafe in enameled ceramics, variable dimensions, unique piece
Pois vertical, 2024, candlestick in enameled ceramics, variable dimensions, unique piece
Tasses, 2024, cups in enameled ceramics, variable dimensions, unique pieces
Pois pyramide, 2024, candlestick in enameled ceramics, variable dimensions, unique piece
Carreaux, 2024, 20 tiles in enameled ceramics, variable dimensions, unique pieces

………………………………………………..

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

………………………………………………..

Protected: Sori 2021 – sound

Dohyang Lee — Tue, 13 Dec 2022 15:40:19 +0000

éco (…..) éco (…..) éco (…….) – part II

Dohyang Lee — Fri, 30 Sep 2022 12:06:49 +0000

Available artworks list.

éco (…..) éco (…..) éco (…….) part II

Collective exhibition with
Alexis Foiny, Anna Tomaszewski, Boris Kurdi, Carolina De La Roche, Charlotte Delval, Charlotte Seidel, Gabriel Moraes Aquino, Jade De Rooster, Joongho Yum, Kyunglynn Chang, Laurent Mareschal, Léa Barbazanges, Léo-Paul Barbaut, Loïs Szymczak, Maëlle Poirier, Max Blotas, Minsook Kang, Moongi Gim, Morgane Porcheron, Natalia Villanueva Linares, Nefeli Papadimouli, Paula Castro, Sun Choi, Thomas Garnier, Violaine Lochu

03.12 – 30.12.2022

The Dohyang Lee Gallery invites you to the second part of its collective exhibition éco (…..) éco (…..) éco (…….). éco 1 is a prefix that comes from the ancient Greek oîkos 2 (house). Unlike the first part, where we dealt with material and social notions, this time we want to ponder upon spiritual notions.

What does HOME mean?

- Legend says that Christmas Day was set for December 25th, in the year 354 AD by Pope Liberius. Indeed, this day corresponded to a pagan feast of the sun’s (rebirt)H, following the winter solstice, theoretical day where the night is the longest. Most people celebrate Christmas with their families and gather home to share memories, look to the future and prepare the new year (as the new sun was expected in this Roman feast).

- In most households there is a profound feeling of l(O)ve among all the members. It is the bond that allows cohesion, solidity and durability between them and to endure the troubles of life. We note a great difference between the atmosphere of Mme de Fleurville’s house and that of the Fichini’s, as described by the Countess de Ségur in her famous trilogy of the Petites Filles Modèles (Good Little Girls). 3

- Let’s imagine someone who lost everything and ended up on the streets. He lives for a while without a home in complete insecurity, sometimes in winter’s cold. Activists and social workers tell that when these people find a home, they can begin a process of personal (rec)O(very), regain dignity, security, rebuild a future and health.

- Some may think of a (com)M(union). Without invoking religion, we think of a communion of people who found a community or a family. This family could be extended like in ancient times, or nuclear like in our present times, but remains a base that allows each person to come into blossom, to build itself.

- Florence Nightingale theorized the practice of nursing after her experience of the Crimean War in the mid 19th century. For her, the need to professionalize a profession, to educate through exercises, to change the condition of housing patients, was the key to reduce diseases. Inside a family, C(are) is one of the essential acts, which is entrusted to parents towards their children in childhood and in return to children towards parents in their old age. This care is often done at home.

- Why not mention the (r)E(turn) of the prodigal son of the parable. Parents falling out with their children, brothers and sisters who no longer speak to each other, friends who separate. Couples who tear themselves apart. Yet the parable tells us of forgiveness, of an unexpected return home of the lost son, which causes the father an infinite joy, but also the jealousy and anger of the eldest son. The return of a lost and found happiness.

1. https://www.oxfordlearnersdictionaries.com/definition/english/eco?q=eco
2. https://en.wiktionary.org/wiki/%CE%BF%E1%BC%B6%CE%BA%CE%BF%CF%82#Ancient_Greek
3. The trilogy includes the Countess of Segur’s novels, Les Malheurs de Sophie, Les Petites Filles Modèles, Les Vacances

Version imprimable du communiqué de presse

Léa Barbazanges, Optiques, 2015, 12 digital printings, printing on baryta Hahnemühle paper, anti reflects glass, lead, 19,5 x 14,5 cm each,
edition of 7 + 2 AP
Natalia Villanueva Linares, Desmedida (extraits) Briques 1 – 9, 2018 – 2022, 8 bricks of hundreds second hand clothing patterns, tied together with thread, 23 cm x 9 cm x 6 cm each brick (approximative size), 1 brick of hundreds of hundreds second hand clothing patterns, tied together with thread, transparent vinyl sewn with golden thread, 23 cm x 9 cm x 6 cm (approximative size), unique pieces
Joongho Yum, Sous la peau, 2021, archival pigment printing on Ivory Mat paper, 70 x 105 cm, edition of 5 + 1 AP
Charlotte Delval, Hors Saison – Honorine, 2022, graphite on speckled blue canson paper, glass, 50 x 65 cm, unique piece
Hors Saison – Herbe, 2022, graphite on speckled pink canson paper, glass, 50 x 65 cm, unique piece
Hors Saison – Humus, 2022, graphite on aneth green canson paper, glass, 50 x 65 cm, unique piece
Laurent Mareschal, Et le douzième mois (2009), 2009, Christmas Tree with cut branches covered with plaster, 127 x 36 x 25 cm, unique piece
Minsook Kang, Plant Human, 2022, single channel video, color + black and white, sound, 14’, edition of 3 + 1 AP
Loïs Szymczak, Les marches de la honte, 2021, collage on wood, paper, walnut ink, acrylic, wood frame, 122 x 122 cm, unique piece
Jade De Rooster, Kaléidoscope, 2022, silk screened papers glued on a wood pannel, 120 x 69,8 cm, unique piece
Alexis Foiny, Solastalgia Medeor, 2022, nylon thread based 3D printed ower, pigments, ceramics piece, glass basements, fragrance glass bottle realised in collaboration with Domitille Michalon- Bertier et IFF, variable dimensions, unique piece
Morgane Porcheron, Plante Sauvage #1 – 12, 2021, installation, ennameld ceramics, dimensions variables, unique pieces
Nefeli Papadimouli, Eventail (une couleur de nous-mêmes pour la dernière fois), 2017 – 2021, color catcher paper, oak wood, golden threads,
brass + associated suit, folded fan : 167 cm high, unfolded fan : 280 cm diameter, unique pieces
La Parade (Trois n°2), 2021, three colored photographs, inkjet printing on Epson Fine Art paper, frame, 21,5 x 16 cm (without frame), 25 x 19,5 cm (with frame), edition of 5 + 1 AP
Skinscapes, 2022, drawing on technical paper, graphite, white wood frame, 3 mm PVC gluing, 2mm anti – reflect glass, 25 x 40 cm (without frame), 44,5 x 62 cm (with frame), unique piece
Vessels, 2022, drawing on technical paper, graphite, oak wood frame, Marie Louise, glass, 27 x 39,5 (without frame), 37,5 x 49,5 cm (with frame), unique piece

Léa Barbazanges, Optiques, 2015, 12 digital printings, printing on baryta Hahnemühle paper, anti reflects glass, lead, 19,5 x 14,5 cm each,
edition of 7 + 2 AP
Morgane Porcheron, Plante Sauvage #1 – 12, 2021, installation, ennameld ceramics, dimensions variables, unique pieces
Natalia Villanueva Linares, Desmedida (extraits) Briques 1 – 9, 2018 – 2022, 8 bricks of hundreds second hand clothing patterns, tied together with thread, 23 cm x 9 cm x 6 cm each brick (approximative size), 1 brick of hundreds of hundreds second hand clothing patterns, tied together with thread, transparent vinyl sewn with golden thread, 23 cm x 9 cm x 6 cm (approximative size), unique pieces
Joongho Yum, Sous la peau, 2021, archival pigment printing on Ivory Mat paper, 70 x 105 cm, edition of 5 + 1 AP

Morgane Porcheron, Plante Sauvage #1 – 12, 2021, installation, ennameld ceramics, dimensions variables, unique pieces

Léa Barbazanges, Optiques, 2015, 12 digital printings, printing on baryta Hahnemühle paper, anti reflects glass, lead, 19,5 x 14,5 cm each,
edition of 7 + 2 AP

Natalia Villanueva Linares, Desmedida (extraits) Briques 1 – 9, 2018 – 2022, 8 bricks of hundreds second hand clothing patterns, tied together with thread, 23 cm x 9 cm x 6 cm each brick (approximative size), 1 brick of hundreds of hundreds second hand clothing patterns, tied together with thread, transparent vinyl sewn with golden thread, 23 cm x 9 cm x 6 cm (approximative size), unique pieces
Joongho Yum, Sous la peau, 2021, archival pigment printing on Ivory Mat paper, 70 x 105 cm, edition of 5 + 1 AP
Alexis Foiny, Solastalgia Medeor, 2022, nylon thread based 3D printed ower, pigments, ceramics piece, glass basements, fragrance glass bottle realised in collaboration with Domitille Michalon- Bertier et IFF, variable dimensions, unique piece
Charlotte Delval, Hors Saison – Honorine, 2022, graphite on speckled blue canson paper, glass, 50 x 65 cm, unique piece

Joongho Yum, Sous la peau, 2021, archival pigment printing on Ivory Mat paper, 70 x 105 cm, edition of 5 + 1 AP
Charlotte Delval, Hors Saison – Honorine, 2022, graphite on speckled blue canson paper, glass, 50 x 65 cm, unique piece
Hors Saison – Herbe, 2022, graphite on speckled pink canson paper,
glass, 50 x 65 cm, unique piece
Hors Saison – Humus, 2022, graphite on aneth green canson paper,
glass, 50 x 65 cm, unique piece
Laurent Mareschal, Et le douzième mois (2009), 2009, Christmas Tree with cut branches covered with plaster, 127 x 36 x 25 cm, unique piece
Minsook Kang, Plant Human, 2022, single channel video,
color + black and white, sound, 14’, edition of 3 + 1 AP
Loïs Szymczak, Les marches de la honte, 2021, collage on wood, paper, walnut ink, acrylic, wood frame, 122 x 122 cm, unique piece
Jade De Rooster, Kaléidoscope, 2022, silk screened papers
glued on a wood pannel, 120 x 69,8 cm, unique piece
Alexis Foiny, Solastalgia Medeor, 2022, nylon thread based 3D printed ower, pigments, ceramics piece, glass basements, fragrance glass bottle realised in collaboration with Domitille Michalon- Bertier et IFF, variable dimensions,
unique piece

Charlotte Delval, Hors Saison – Honorine, 2022, graphite on speckled blue canson paper, glass, 50 x 65 cm, unique piece
Hors Saison – Herbe, 2022, graphite on speckled pink canson paper,
glass, 50 x 65 cm, unique piece
Hors Saison – Humus, 2022, graphite on aneth green canson paper,
glass, 50 x 65 cm, unique piece
Laurent Mareschal, Et le douzième mois (2009), 2009, Christmas Tree with cut branches covered with plaster, 127 x 36 x 25 cm, unique piece
Minsook Kang, Plant Human, 2022, single channel video,
color + black and white, sound, 14’, edition of 3 + 1 AP
Alexis Foiny, Solastalgia Medeor, 2022, nylon thread based 3D printed ower, pigments, ceramics piece, glass basements, fragrance glass bottle realised in collaboration with Domitille Michalon- Bertier et IFF, variable dimensions,
unique piece

Loïs Szymczak, Les marches de la honte, 2021, collage on wood, paper, walnut ink, acrylic, wood frame, 122 x 122 cm, unique piece
Jade De Rooster, Kaléidoscope, 2022, silk screened papers glued on a wood pannel, 120 x 69,8 cm, unique piece

Nefeli Papadimouli, Eventail (une couleur de nous-mêmes pour la dernière fois), 2017 – 2021, color catcher paper, oak wood, golden threads, brass + associated suit, folded fan : 167 cm high, unfolded fan : 280 cm diameter, unique pieces
La Parade (Trois n°2), 2021, three colored photographs, inkjet printing on Epson Fine Art paper, frame, 21,5 x 16 cm (without frame), 25 x 19,5 cm (with frame), edition of 5 + 1 AP
Skinscapes, 2022, drawing on technical paper, graphite, white wood frame, 3 mm PVC gluing, 2mm anti – reflect glass, 25 x 40 cm (without frame), 44,5 x 62 cm (with frame), unique piece
Vessels, 2022, drawing on technical paper, graphite, oak wood frame, Marie Louise, glass, 27 x 39,5 (without frame), 37,5 x 49,5 cm (with frame), unique piece
Carolina De La Roche,Sans titre, 2022, collage, frame, glass, 18 x 13 cm (without frame), 31 x 25 cm (with frame), unique piece
Cartographie des souvenirs, 2020, fabric collage, frame, glass, 20 x 20 cm (without frame), 23 x 23 cm (with frame), unique piece
Ver de cerca, 2018, collage, frame, glass, 11,5 x 9 cm (without frame),
15 x 20 cm (with frame), unique piece
Trémula, 2021, collage, frame, glass, 21 x 15 cm (without frame),
32,5 x 26 cm (with frame), unique piece
Vagabundos Buscando significacion, 2019, collage, frame, glass, 22 x 14 cm (without frame), 37 x 28 cm (with frame), unique piece
Los Tortolitos, 2021, collage, frame, glass, 35 x 25 cm (without frame), 56 x 40,5 cm (with frame), unique piece
Sans titre, 2022, pencil drawing, frame, glass, 14 x 9 cm (without frame), 27 x 21 cm (with frame), unique piece
Sans titre, 2022, collage, frame, glass, 23 x 17 cm (without frame), 26 x 20 cm (with frame), unique piece

Nefeli Papadimouli, La Parade (Trois n°2), 2021, three colored photographs, inkjet printing on Epson Fine Art paper, frame,
21,5 x 16 cm (without frame), 25 x 19,5 cm (with frame), edition of 5 + 1 AP

Charlotte Seidel, Feuille (Robinier, Square Viviani), 2022, robinia leaves, 23kt gold leaf, 25 x 7,5 x 3,5 cm, unique piece
Boris Kurdi, Sans titre, 2022, graphite and color pencils on green paper, cardboard, 11,9 x 17,6 cm (drawing), 12,7 x 18,4 cm (cardboard),
unique piece
DRDR, 2022, graphite and color pencils on paper, cardboard, 12,2 x 19,4 cm (drawing), 13 x 20,1 cm (cardboard), unique piece
Sans titre, 2022, graphite and color pencils on paper, cardboard, 8,9 x 13,6 cm (drawing), 9,6 x 14,6 cm (cardboard, unique piece

Charlotte Seidel, Feuille (Robinier, Square Viviani), 2022, robinia leaves, 23kt gold leaf, 25 x 7,5 x 3,5 cm, unique piece

Kyunglynn Chang, Not so functional objects (Grey), 2022, digital printing on poster, 42 x 29,7 cm, edition of 50
Not so functional objects (Navy), 2022, digital printing on poster,
42 x 29,7 cm, edition of 50
Morgane Porcheron, Plante Sauvage #1 – 12, 2021, installation,
ennameld ceramics, dimensions variables, unique pieces
Moongi Gim, Poor Piece, 2022, scultpures series, scotch tape on paper
, variable dimensions, unique pieces
Léa Barbazanges, Optiques, 2015, 12 digital printings, printing on baryta Hahnemühle paper, anti re ects glass, lead, 19,5 x 14,5 cm each,
edition of 7 + 2 AP
Natalia Villanueva Linares, Desmedida (extraits) Briques 1 – 9, 2018 – 2022, 8 bricks of hundreds second hand clothing patterns, tied together with thread, 23 cm x 9 cm x 6 cm each brick (approximative size), 1 brick of hundreds of hundreds second hand clothing patterns, tied together with thread, transparent vinyl sewn with golden thread, 23 cm x 9 cm x 6 cm (approximative size), unique pieces
Joongho Yum, Sous la peau, 2021, archival pigment printing on Ivory Mat paper, 70 x 105 cm, edition of 5 + 1 AP
Charlotte Delval, Hors Saison – Honorine, 2022, graphite on speckled blue canson paper, glass, 50 x 65 cm, unique piece
Hors Saison – Herbe, 2022, graphite on speckled pink canson paper,
glass, 50 x 65 cm, unique piece
Hors Saison – Humus, 2022, graphite on aneth green canson paper,
glass, 50 x 65 cm, unique piece

Moongi Gim, Poor Piece, 2022, scultpures series, scotch tape on paper, variable dimensions, unique pieces

Kyunglynn Chang, Dasik Incense Holder (Light Blue), 2022, jesmonite, pigments, epoxy glue, 13 x 13 x 3 cm, edition of 5
Dasik Incense Holder (Purple), 2022, jesmonite, pigments, epoxy glue, 13 x 13 x 3 cm, edition of 5

Kyunglynn Chang, Not so functional objects (Grey), 2022, digital printing on poster, 42 x 29,7 cm, edition of 50
Not so functional objects (Navy), 2022, digital printing on poster,
42 x 29,7 cm, edition of 50
Dasik Incense Holder (Light Blue), 2022, jesmonite, pigments, epoxy glue,
13 x 13 x 3 cm, edition of 5
Dasik Incense Holder (Purple), 2022, jesmonite, pigments, epoxy glue,
13 x 13 x 3 cm, edition of 5
Moongi Gim, Poor Piece, 2022, scultpures series, scotch tape on paper, variable dimensions, unique pieces

Nefeli Papadimouli, Espacentres, 2019, artist’s book, canvas, cardboard, laser print on cotton paper, thread,
47,5 x 33 x 2,5 cm (folded book), 47,5 x 65,5 x 2,5 cm (unfolded book), edition of 5 + 2 AP
Thomas Garnier, Chimera, 2021, concrete block, light bar, multiple dimensions, series of 20 unique pieces
Strates, Acropolis, Sumer, Arches, Prismes, 2021, photocarving on Hahnemüle paper 1584 300g/m2, frame, glass, 100 x 150 cm, edition of 2 + AP
Gabriel Moraes Aquino, Jimmy, 2022, ennameld ceramics, 14 x 9,5 cm, unique piece. Production Fondation Fiminco
Sakuras, 2022, ennameld ceramics, 19,5 x 14,5 cm, unique piece. Production Fondation Fiminco
Sapinière, 2022, ennameld ceramics, 11 x 8 cm, unique piece. Production Fondation Fiminco
Canal, 2022, ennameld ceramics, 10 x 13 cm, unique piece. Production Fondation Fiminco

Anna Tomaszewski, Apokalupto, 2021, ceramics, ennamel, 42 x 21 x 7 cm,
unique piece
Sun Choi, Roke Hon – Mono, 2011, books, stones, action of the Roke typhoon, variable dimensions, unique pieces
Gabriel Moraes Aquino, Pelouse, 2022, ennameld ceramics, 8 x 14 cm,
unique piece. Production Fondation Fiminco
Monnaie, 2022, ennameld ceramics, 19,5 x 14,5 cm, unique piece.
Production Fondation Fiminco
Paddock, 2022, ennameld ceramics, 13 x 13,5 cm, unique piece.
Production Fondation Fiminco
Usine, 2022, ennameld ceramics, 14 x 10 cm, unique piece.
Production Fondation Fiminco
Flor Metal, 2022, ennameld ceramics, 6,5 x 10 cm, unique piece.
Production Fondation Fiminco
Squat, 2022, ennameld ceramics, 7 x8 cm, unique piece.
Production Fondation Fiminco
Tank, 2022, ennameld ceramics, 10 x 7,5 cm, unique piece.
Production Fondation Fiminco
Chantier, 2022, ennameld ceramics, 7 x 6 cm, unique piece.
Production Fondation Fiminco
Jimmy, 2022, ennameld ceramics, 14 x 9,5 cm, unique piece.
Production Fondation Fiminco
Sakuras, 2022, ennameld ceramics, 19,5 x 14,5 cm, unique piece.
Production Fondation Fiminco
Sapinière, 2022, ennameld ceramics, 11 x 8 cm, unique piece.
Production Fondation Fiminco
Canal, 2022, ennameld ceramics, 10 x 13 cm, unique piece.
Production Fondation Fiminco
Nefeli Papadimouli, Espacentres, 2019, artist’s book, canvas, cardboard, laser print on cotton paper, thread, 47,5 x 33 x 2,5 cm (folded book), 47,5 x 65,5 x 2,5 cm (unfolded book), edition of 5 + 2 AP

Sun Choi, Roke Hon – Mono, 2011, books, stones, action of the Roke typhoon, variable dimensions, unique pieces

Paula Castro, Juntos y Tensos, 2014, nails, elastic band, variable dimensions, unique piece
Violaine Lochu, Hòxó #vossakpé, 2021, video diptych in collaboration with Marcel Gbeffa, 2 flat screens, color, sound, 9’36’’, edition of 5 + 2 AP. Video images : Cécile Friedmann. Production FRAC MECA Nouvelle Aquitaine, Bordeaux, France
Charlotte Seidel, Les Oeillets, 2022, cotton, carnations, 73,5 x 44 cm, unique piece
Anna Tomaszewski, Apokalupto, 2021, laser photography, 150 x 125 cm,
edition of 5 + 2 AP
Apokalupto, 2021, ceramics, ennamel, 42 x 21 x 7 cm, unique piece
Sun Choi, Roke Hon – Mono, 2011, books, stones, action of the Roke typhoon, variable dimensions, unique pieces
Nefeli Papadimouli, Espacentres, 2019, artist’s book, canvas, cardboard, laser print on cotton paper, thread, 47,5 x 33 x 2,5 cm (folded book), 47,5 x 65,5 x 2,5 cm (unfolded book), edition of 5 + 2 AP
Thomas Garnier, Chimera, 2021, concrete block, light bar, multiple dimensions, series of 20 unique pieces
Strates, Acropolis, Sumer, Arches, Prismes, 2021, photocarving on Hahnemüle paper 1584 300g/m2, frame, glass, 100 x 150 cm, edition of 2 + AP

Charlotte Seidel, Les Oeillets, 2022, cotton, carnations, 73,5 x 44 cm, unique piece

Nefeli Papadimouli, Espacentres, 2019, artist’s book, canvas, cardboard, laser print on cotton paper, thread, 47,5 x 33 x 2,5 cm (folded book), 47,5 x 65,5 x 2,5 cm (unfolded book), edition of 5 + 2 AP
Thomas Garnier, Chimera, 2021, concrete block, light bar, multiple dimensions, series of 20 unique pieces
Strates, Acropolis, Sumer, Arches, Prismes, 2021, photocarving on Hahnemüle paper 1584 300g/m2, frame, glass, 100 x 150 cm, edition of 2 + AP
Léo-Paul Barbaut, Parimaginaire, 2020, etching carving, precut copper pannel, frame, glass, 29 x 39 cm (without frame), 31 x 41 cm (with frame), unique piece
Joongho Yum, Sous la peau, 2018, archival pigment printing on Ivory Mat paper,
70 x 105 cm, edition of 5 + 1 AP
Max Blotas, Lovers are like bees, in that they live a honeyed life (Amantes ut apis vitam mellitam exigunt), 2021, time capsule, chewing-gum, blu tack, thorns, motor, infrared camera, LED, electrical wire, microcontroller, 45 x 35 x 170 cm,
unique piece
Charlotte Delval, Sans Laisse, 2020, brads, plaster, golden ring, 14 x 8,5 x 4 cm, unique piece

Léo-Paul Barbaut, Parimaginaire, 2020, etching carving, precut copper pannel,
frame, glass, 29 x 39 cm (without frame), 31 x 41 cm (with frame), unique piece
Cloudboy, 2022, paper clay porcelain ceramics dyed with color oxides, glaze, glaze, 17 x 19 x 2,5 cm,
brass and bronze metallic shapes, mechanical pencil drawn fresco, unique pieces
Cahute, 2022, paper clay porcelain ceramics dyed with color oxides, glaze, glaze, 26 x 19 x 8 cm,
brass and bronze metallic shapes, mechanical pencil drawn fresco, unique pieces
Polyhouse, 2022, paper clay porcelain ceramics dyed with color oxides, glaze, glaze, 33 x 19 x 7 cm,
brass and bronze metallic shapes, mechanical pencil drawn fresco, unique pieces
19Inside, 2022, paper clay porcelain ceramics dyed with color oxides, glaze, glaze, 21 x 21 x 6 cm,
brass and bronze metallic shapes, mechanical pencil drawn fresco, unique pieces
Joongho Yum, Sous la peau, 2018, archival pigment printing on Ivory Mat paper, 70 x 105 cm, edition of 5 + 1 AP
Max Blotas, Lovers are like bees, in that they live a honeyed life (Amantes ut apis vitam mellitam exigunt), 2021, time capsule, chewing-gum, blu tack, thorns, motor, infrared camera, LED, electrical wire, microcontroller, 45 x 35 x 170 cm, unique piece
Thopter (R), 2019, miniature car (1/64), parts of bees (apis mellifera), centipedes (scolopendra cingulata), cicadae (neotibicen linnei), foies (sarcophaga carnaria), mantes (mantis religiosa) and spiders (hogna radiata), 3,5 x 2,5 x 3 cm, unique piece
Thopter (B), 2019, miniature car (1/64), parts of bees (apis mellifera), centipedes (scolopendra cingulata), cicadae (neotibicien linnei), mantes (mantis religiosa), moths (saturnia pyri), scorpions (tetratrichobothrius avicaudis), 4,5 x 3,5 x 4 cm, unique piece
Thopter (G), 2019, miniature car (1/64), parts of ants (lasius Niger), bee (apis mellifera), centipedes (scolopendra cingulata), flies (musca domestica), mantes (mantis religiosa), scarab (copris lunaris), scorpions (tetratrichobothrius avicaudis), wasps (vespula vulgaris), 4,5 x 3,5 x 4 cm, unique piece

Thomas Garnier, Chimera, 2021, concrete block, light bar, multiple dimensions, series of 20 unique pieces
Strates, Acropolis, Sumer, Arches, Prismes, 2021, photocarving on Hahnemüle paper 1584 300g/m2,
frame, glass, 100 x 150 cm, edition of 2 + AP
Léo-Paul Barbaut, Parimaginaire, 2020, etching carving, precut copper pannel,
frame, glass, 29 x 39 cm (without frame), 31 x 41 cm (with frame), unique piece
Cloudboy, 2022, paper clay porcelain ceramics dyed with color oxides, glaze, glaze, 17 x 19 x 2,5 cm,
brass and bronze metallic shapes, mechanical pencil drawn fresco, unique pieces
Cahute, 2022, paper clay porcelain ceramics dyed with color oxides, glaze, glaze, 26 x 19 x 8 cm,
brass and bronze metallic shapes, mechanical pencil drawn fresco, unique pieces
Polyhouse, 2022, paper clay porcelain ceramics dyed with color oxides, glaze, glaze, 33 x 19 x 7 cm,
brass and bronze metallic shapes, mechanical pencil drawn fresco, unique pieces
19Inside, 2022, paper clay porcelain ceramics dyed with color oxides, glaze, glaze, 21 x 21 x 6 cm,
brass and bronze metallic shapes, mechanical pencil drawn fresco, unique pieces

Léo-Paul Barbaut, Cahute, 2022, paper clay porcelain ceramics dyed with color oxides, glaze, glaze, 26 x 19 x 8 cm, brass and bronze metallic shapes, mechanical pencil drawn fresco, unique pieces
Polyhouse, 2022, paper clay porcelain ceramics dyed with color oxides, glaze, glaze, 33 x 19 x 7 cm, brass and bronze metallic shapes, mechanical pencil drawn fresco, unique pieces

Max Blotas, Thopter (R), 2019, miniature car (1/64), parts of bees (apis mellifera), centipedes (scolopendra cingulata), cicadae (neotibicen linnei), foies (sarcophaga carnaria), mantes (mantis religiosa) and spiders (hogna radiata), 3,5 x 2,5 x 3 cm, unique piece
Thopter (B), 2019, miniature car (1/64), parts of bees (apis mellifera), centipedes (scolopendra cingulata), cicadae (neotibicien linnei), mantes (mantis religiosa), moths (saturnia pyri), scorpions (tetratrichobothrius avicaudis), 4,5 x 3,5 x 4 cm, unique piece
Thopter (G), 2019, miniature car (1/64), parts of ants (lasius Niger), bee (apis mellifera), centipedes (scolopendra cingulata), flies (musca domestica), mantes (mantis religiosa), scarab (copris lunaris), scorpions (tetratrichobothrius avicaudis), wasps (vespula vulgaris), 4,5 x 3,5 x 4 cm, unique piece

Maëlle Poirier, Rose Shape Device, 2022, plastic, resin, mini screens, blackberry touches, led, arduino, around 13 x 12 cm, unique piece
Pseudo, 2020, vidéo from a website page, loop, color mute, 1 h, edition of 5 + 2 AP
Bubble Shape Device, 2022, plastic, resin, mini screens, blackberry touches, led, arduino, around 13 x 12 cm, unique piece
Symbiose, 2022, ideo (repetitive programme) on screen (16 x 10 cm), plastic box/aquarium (21 x 12,5 x 13,5 cm), mineral oil, pearls, threads
Apple Shape Device, 2022, plastic, resin, mini screens, blackberry touches, led, arduino, around 13 x 12 cm, unique piece

………………………………………………..

Protected: Sickness circle

Dohyang Lee — Sun, 03 Jul 2022 18:38:45 +0000

Protected: Sickness sound

Dohyang Lee — Sun, 03 Jul 2022 18:38:26 +0000

Protected: Flower 2021

Dohyang Lee — Sun, 03 Jul 2022 18:38:06 +0000

SORI

Dohyang Lee — Fri, 06 May 2022 11:27:20 +0000

SORI

SUN CHOI

Available artworks list.

28.05 – 02.07.2022

The exhibition S O R I (sound) evokes the vividness of life via two routes: digital condensation of sounds of individuals pronouncing their own name and projection of landscape images taken through lens covered with the artist’s blood drop. The Korean title refers to the human breath at the heart of their experience, from the most intimate to the most vast level (atmosphere), from being unscathed to being threatened (historical events), from the striking to the abstract (communication). Sori is given as a set of audible and visual facts of life which often escapes our habitual consciousness.

In 2021, with the artwork Sori, the Korean artist Sun Choi gave himself a particular task of gathering and assembling the voices of 20,000 inhabitants of Doksan district in Seoul pronouncing their own name. Although particular, its core idea is not new to him: allowing his works to extend the intensity of his primary aesthetic experience in reality and towards his audience and leading them to remain at the limits of metaphor. Sori (sound), which at the same time fills and disperses itself in the atmosphere, obliges him: the concentrated sound, emitted once every minute from 4 Bluetooth speakers, resembles the sound of thunder and falls down without any representative or favorable trace. These pronounced names speaks only through the lives sensitized to sounds of life that are just as ephemeral as it is imperceptible.

Flower (2021) consists of a continued audiovisual projection of reddened images filmed with the artist’s smartphone camera. Each of these images shows at different interval the progressive change of color resulting from clotting blood drop – simultaneously vivid and perishing – of the artist covering the lens. In front of the window next to the projection is the suspended transparent film sheet which eclipses the landscape of the declining district.

Butterflies (2014 – 2022) started out in 2014 as a project whose aim is to visualize each breath of immigrant workers that the artist met on the streets of Ansan, Korea. The work came about as a result of the artist’s feeling of futility and nonsense regarding various social events. It brings forth a strong visual experience of human breath to do away with notional understanding of human affairs and has also been carried out in many parts of the world.

Very often Sun Choi would extract materials from real events and treat it as an undeniable fact to be brought directly into the exhibition space. The work requires our attentional and physiological engagement towards the material, allowing it to speak for the events they were extracted from. For example, in his White Painting (Pig’s Painting), he spreads gooey lard over multiple sheets of paper conjoined to form a large wall to tell a story of millions of pigs buried alive following the outbreak of African swine fever. Their existence having been reduced to serial numbers, Choi typewrites them in small magenta letters and lists them in his book Magenta Painting (2021). His insistence is upon his own inability to remain a mere spectator to the tragedy.

Hence his brutally realist view of art. Art, in his view, allows for exercising our capacities to establish a personal relationship with reality, to the point where it defamiliarizes and makes us rethink the status of our factual comprehensions of the world. Choi’s method consists not only in expanding the threshold of his intuition, but also that of his understanding of the significations of the historical events whose truth can only be approached by the sense provided by the material medium as facts of experience. In his effort to extract a sense that does not lie, to do away with the idea that art and aestheticization can take precedence over experience, Choi visits the sites of real events, with the imperative of liberating himself from the phenomenological conditions to share the taste of their truth, presents and gives voice to the paradoxically aestheticized but never encrypted material of experience.

Jimin Son, Associate Professor, Philosophy of Art.

Printable version of the press release

Sun Choi, You Can Continue to Breathe at the Ending Point of My Breath, 2011, drawings installation, Japanese people’s breath,
India ink on paper, 79 x 872 cm, unique pieces

Sun Choi, You Can Continue to Breathe at the Ending Point of My Breath, 2011, drawings installation, Japanese people’s breath,
India ink on paper, 79 x 872 cm, unique pieces
Non Drawn Painting, 2022, oriental pigment and gelatin on duvet covers which saltmakers used, 268 x 180 cm, unique pieces
Magenta Painting, 2021, 400 pages book made by numbers of killed pigs (first book from three books), cover made in pig skin, pages made in translucent paper,
digital laser pigment printing, 26 x 19,5 x 2,5 cm,
unique piece (prototype on the exhibition)
Naked painting , 2000, mixed media on canvas, 155 x 100 cm, unique piece

Sun Choi, You Can Continue to Breathe at the Ending Point of My Breath, 2011, drawings installation, Japanese people’s breath,
India ink on paper, 79 x 872 cm, unique pieces

Sun Choi, You Can Continue to Breathe at the Ending Point of My Breath, 2011, drawings installation, Japanese people’s breath,
India ink on paper, 79 x 872 cm, unique pieces
Non Drawn Painting, 2022, oriental pigment and gelatin on duvet covers which saltmakers used, 268 x 180 cm, unique pieces
Magenta Painting, 2021, 400 pages book made by numbers of killed pigs (first book from three books), cover made in pig skin, pages made in translucent paper, digital laser pigment printing, 26 x 19,5 x 2,5 cm, unique piece (prototype on the exhibition)

Sun Choi, You Can Continue to Breathe at the Ending Point of My Breath, 2011, drawings installation, Japanese people’s breath,
India ink on paper, 79 x 872 cm, unique pieces

Sun Choi, Non Drawn Painting, 2022, oriental pigment and gelatin on duvet covers which saltmakers used, 268 x 180 cm, unique pieces
Magenta Painting, 2021, 400 pages book made by numbers of killed pigs (first book from three books), cover made in pig skin, pages made in translucent paper, digital laser pigment printing, 26 x 19,5 x 2,5 cm, unique piece (prototype on the exhibition)

Sun Choi, Magenta Painting, 2021, 400 pages book made by numbers of killed pigs (first book from three books), cover made in pig skin, pages made in translucent paper, digital laser pigment printing, 26 x 19,5 x 2,5 cm, unique piece (prototype on the exhibition)

Sun Choi, You Can Continue to Breathe at the Ending Point of My Breath, 2011, drawings installation, Japanese people’s breath,
India ink on paper, 79 x 872 cm, unique pieces
Magenta Painting, 2021, 400 pages book made by numbers of killed pigs (first book from three books), cover made in pig skin, pages made in translucent paper, digital laser pigment printing, 26 x 19,5 x 2,5 cm, unique piece (prototype on the exhibition)
pièce unique (prototype sur l’exposition)
Naked painting , 2000, mixed media on canvas, 155 x 100 cm, unique piece

Sun Choi, Naked painting , 2000, mixed media on canvas,
155 x 100 cm, unique piece

Sun Choi, Sickness circle, 2014, video, color, mute, loop, edition of 5 + 2 AP

Sun Choi, Sickness 1, 2017, digital pigment printing on 245g RCP satine paper, frame, glass, 50 x 70 cm each, edition of 5 + 2 AP
Sickness 2, 2017, digital pigment printing on 245g RCP satine paper, frame, glass, 50 x 70 cm each, edition of 5 + 2 AP
Sickness circle, 2014, video, color, mute, loop, edition of 5 + 2 AP

Sun Choi, Sickness circle, 2014, video, color, mute, loop, edition of 5 + 2 AP
Nest, 2022, Nest, 2022, gelatin, food color, artificial flavoring, LED light, table, variable dimensions, unique pieces (prototype for this exhibition)
Sickness sound, 2017, video, color, mute, loop, edition of 5 + 2 AP

Sun Choi, Nest, 2022, gelatin, food color, artificial flavoring, LED light, table,
variable dimensions, unique pieces (prototype for this exhibition)

Sun Choi, Flower 2021, 2021, single chanel video, color, mute, blood of the artist on lens, 1’35’’, loop, edition of 5 + 2 AP
Sori, 2021, translated 20,000 people’s name to sound on 10 bluetooth speakers, micro SD card, 1’00’’, loop 1 time every minute,
4 pieces on this exhibition, edition of 5 + 2 AP

………………………………………………..

Corona Camouflage

Dohyang Lee — Wed, 13 Apr 2022 14:52:50 +0000

Sun Choi, Corona Camouflage, 2021, video, sound, color, 5’22’’

Viewing upon request

OFF SITE AUTUMN 2019

Dohyang Lee — Thu, 05 Sep 2019 09:46:09 +0000

OFF SITE – AUTUMN 2019

Nuit Blanche

CHARLOTTE SEIDEL

Videos projection

05.10.2019 // 11 pm – 12 pm

+ infos

The 6th Jonggeundang Artist Prize

SUN CHOI

nominated to 6th Jonggeundang Artist Prize

Opening 19.09.2019
Exhibition 19.09 – 30.09.2019

+ infos

Le Fil d’Alerte

MARCOS AVILA FORERO

nominated to the 21th Fondation d’Entreprise Ricard Prize

Opening 09.09.2019 // 18h30
Exhibition 10.09 – 26.10.2019

+ infos // + exhibition views

Signal Mouvement

VIOLAINE LOCHU

Solo show at Ateliers Vortex

06.09 – 05.10.19

+ infos

Là où les eaux se mèlent

JENNY FEAL

Participation in the 15th Biennal of Lyon

Opening 16.09 – 17.09.2019
Exhibition 18.09.2019 – 05.01.2020

+ infos // + exhibition views

………………………………………………..

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

………………………………………………..

The time of apples

Dohyang Lee — Sun, 05 Aug 2018 22:05:11 +0000

Le temps des pommes

Collaboration between the Dohyang Lee and the contemporay art space ETE 78, Ixelles, Belgium

with Louis-Cyprien Rials, Marcos Avila Forero, Paula Castro, Jenny Feal,
Charlotte Seidel, RohwaJeong, Kihoon Jeong, Yangachi, Afour Rhizome, Sun Choi

Opening on Saturday, September 15th 2018 at the contemporary art space ETE 78, Ixelles, Belgium
15.09 – 06.10.2018
_____________________

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

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press article PointCulture

press article Lupita

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

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

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

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

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

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

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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