Galerie Dohyang Lee » Yue Yuan 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 Wed, 27 May 2026 14:47:52 +0000 en-US hourly 1 http://wordpress.org/?v=3.8.1 Change your light for the public http://www.galeriedohyanglee.com/en/change-your-light-for-the-public?utm_source=rss&utm_medium=rss&utm_campaign=change-your-light-for-the-public http://www.galeriedohyanglee.com/en/change-your-light-for-the-public#comments Sat, 05 Nov 2022 15:10:05 +0000 http://www.galeriedohyanglee.com/?p=19361

Yue Yuan, Change your light for the public, 2022, video, col…

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Yue Yuan, Change your light for the public, 2022, video, color, sound, 2’08’’, edition of 5 + 2 A.P


Viewing upon request

]]> http://www.galeriedohyanglee.com/en/change-your-light-for-the-public/feed 0 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


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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



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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



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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



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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



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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



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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



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



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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



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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



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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
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



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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



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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



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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 Jetsam & Flotsam http://www.galeriedohyanglee.com/en/jetsam-flotsam?utm_source=rss&utm_medium=rss&utm_campaign=jetsam-flotsam http://www.galeriedohyanglee.com/en/jetsam-flotsam#comments Wed, 15 Jun 2022 15:08:07 +0000 http://www.galeriedohyanglee.com/?p=18848 Yue Yuan Curated by Franck Balland July 09th – August 13th 2022 press release and pictures With the support for the galleries / exhibition of Centre national des arts plastiques (National Centre for Visual Arts).]]> Jetsam & Flotsam


Curated by Franck Balland

jetsam_0

With the support for the galleries / exhibition of CNAP Centre national des arts plastiques (National Centre for Visual Arts).


09.07 – 13.08.2022

Dear Yue,

I hope you’re well since we last wrote to each other. As for me, coming back to Paris and the cool air (which I hope will stick around for a while), did me a lot of good. Heat literally fries my neurons.

Sorry I took so long to send you this text. You probably didn’t know, but I’m a very slow writer. I need to start over several times before finding what seems to be the right entrance, the axis on which to consider things from a position that doesn’t weigh upon one’s work or that isn’t too austere for readers – it goes without saying that I don’t always find it… In spite of everything, I increasingly avoid a generic approach, and make do with what the proposition inspires me, or what I feel it seeks to create.

In this instance, I’ve decided to write you a letter. Admittedly in a particular style, since it’s not a letter addressed to you alone: I’m publically addressing several thoughts to you by this means (and I’m not inventing anything, it’s been done before, as you know). You may ask: why this form and not another? I’d like to reply that the maritime aspect, which you allude to in several places in this exhibition, encouraged me to adopt this type of correspondence, but I’m not sure that this romantic parabola (vaguely romantic, indeed) really interests me. Let’s say that I see a way of prolonging an exchange based on the pieces exhibited in the gallery: stretching out the echo of your questions by introducing other remarks in return.

Is this comprehensible? Let’s take the title, for example, that you explained to me when we last met. I wasn’t acquainted with the maritime signification, and even the reference to the two moray eels in The Little Mermaid didn’t ring a bell. You told me (and it’s my turn now to spread the information to the readers of these lines) that each work designates a specific type of rubbish. Flotsam derives from the verb to float, and qualifies objects which have surfaced after an accident or a shipwreck. These objects have been thrown overboard without any initial intention. The nuance is essential, because jetsam, on the contrary, means that the objects were deliberately thrown into the sea (“thrown”, the stem of the word is still there), to try to lighten a damaged vessel, for example. This nuance is essential from a juridical point of view, because the matter is totally different. Flotsam, as remains of the accident, can be reclaimed by the owners of the vessel if the objects are recuperated by other persons. Jetsam, since the crew deliberately threw them overboard in order to save the craft, belong to those who recuperate them from the sea (if they do indeed intend to keep them, of course). I wonder if you were familiar with that particular point and, if the exhibition could consist of objects belonging, in your view, to one or the other of these categories: flotsam and jetsam. (I also thought that if maritime law was applied on land, it would be the end of capitalism, and the beginning of something that certainly wouldn’t be much more cheery – but that’s another story).

This would mean, in any case, that certain pieces had floated onshore here, if they really are flotsam. Personally, I have to admit that I don’t really believe in this story. I think there is a form of honesty in your work that excludes this type of gymnastics: who would be convinced that all or a part of what is here is the result of a happy aquatic drama bailed out by the gallery? To the best of my knowledge (and please let me know if I’m wrong), I don’t believe either that you are referring to concepts in order to form a décor. The small model at the entrance of the exhibition makes it clear: space, here, is constructed, materially and symbolically, and yet it’s still a model, which is less formed by the works than by the place that receives them.

What I believe, in reality, is that the place (or broadly speaking, the exhibition space) allows you to highlight certain situations that, in different circumstances, would go unnoticed. It is indeed something else to store empty wrapping material in an immaculate space, designed to receive a priori precious objects, than it is to store them in the yellow recycling bin. You have to admit that it provides a certain form of elevation. However, if it’s a “transfiguration of the banal”, as proposed by Danto, this reveals to us less the intrinsic qualities of this scrap than the currents they followed to arrive here (the maritime metaphor once again), tor drifted towards. And so the title given to this exhibition seems to reveal that which, outside the space dedicated to the monstration of the propositions you create, falls into the categories of choice or non-choice, or accidents: a way of making art that is not reduced to the cloistered space of the studio but, faithful to what constitutes any daily activity, is based on the given aspects of the many unnoticeable parameters.

I would like, before finishing, to go back to the notion of belief, barely mentioned before when it came to “transfiguration.” On my behalf, remembering several precedent propositions (one that consisted of stealing a wish, or a coin, in the Trevi fountain, for example, or exchanging a lemon from a Carrefour supermarket by one from a Monoprix supermarket), I feel that it occupies a central position in your practice. We can immediately eliminate the religious dimension of the term and point towards a system of thoughts consisting of attributing a particular power to a thing which, in the case of your work, is often perfectly ordinary. You alternatively (and sometimes simultaneously) assert the factice quality of this belief, as much as its almost sacred dimension. And you question this notion once again, in the basement, through your collection of imperfect objects by precisely evaluating their defects, reaching towards the quest of the perfect outcome. Belief in an industrial production that perfectly conforms to the ideal it proposes is confronted here with the logic of the product flow, in which every factory-fresh object will necessarily reach the shops. It is gratifying, and I think you will agree with me, that places of art allow this broken promise to be shown – and this failure, since it is not situated in the established way of doing things, is the unique reason of their added value as works of art. It seems to me that we are grasping the double movement here once again.

That’s all for now. Feel free to make any useful corrections. Until then, I wish you an excellent preparation. We’ll meet again very soon.

Yours,
Franck



jetsam_1

Yue Yuan, Horizon extensible, 2022, in situ installation in the gallery, protocol written down on A4 paper, 30 letters


jetsam_2

Yue Yuan, Horizon extensible, 2022, in situ installation in the gallery, protocol written down on A4 paper, 30 letters
Invisibility should be Counted, 2022, gallery’s model, cardboard, unique piece


jetsam_3

Yue Yuan, Horizon extensible, 2022, in situ installation in the gallery,
protocol written down on A4 paper, 30 letters
Invisibility should be Counted, 2022, gallery’s model, cardboard, unique piece


jetsam_4

Yue Yuan, Invisibility should be Counted, 2022, gallery’s model, cardboard, unique piece


jetsam_5

Make things happen…, 2022, stickers, 8,5 x 16 cm, unique pieces


jetsam_6

Yue Yuan, Horizon extensible, 2022, in situ installation in the gallery,
protocol written down on A4 paper, 30 letters


jetsam_7

Yue Yuan, Horizon extensible, 2022, in situ installation in the gallery,
protocol written down on A4 paper, 30 letters


jetsam_8

Yue Yuan, Horizon extensible, 2022, in situ installation in the gallery, protocol written down on A4 paper, 30 letters


jetsam_9

Yue Yuan, Imperfect Collection, 2022, in situ installation, ten objects found with texts printed on paper, wooden board, stamp, unique pieces


jetsam_10

Yue Yuan, Imperfect Collection, 2022, in situ installation, ten objects found with texts printed on paper, wooden board, stamp, unique pieces


jetsam_11

Yue Yuan, Imperfect Collection, 2022, in situ installation, ten objects found with texts printed on paper, wooden board, stamp, unique pieces


jetsam_12

Yue Yuan, Imperfect Collection, 2022, in situ installation, ten objects found with texts printed on paper, wooden board, stamp, unique pieces


jetsam_13

Yue Yuan, Imperfect Collection, 2022, in situ installation, ten objects found with texts printed on paper, wooden board, stamp, unique pieces


jetsam_14

Yue Yuan, Imperfect Collection, 2022, in situ installation, ten objects found with texts printed on paper, wooden board, stamp, unique pieces


jetsam_15

Yue Yuan, Imperfect Collection, 2022, in situ installation, ten objects found with texts printed on paper, wooden board, stamp, unique pieces


jetsam_16

Yue Yuan, Imperfect Collection, 2022, in situ installation, ten objects found with texts printed on paper, wooden board, stamp, unique pieces


jetsam_17

Yue Yuan, Imperfect Collection, 2022, in situ installation, ten objects found with texts printed on paper, wooden board, stamp, unique pieces


jetsam_18

Yue Yuan, Imperfect Collection, 2022, in situ installation, ten objects found with texts printed on paper, wooden board, stamp, unique pieces


jetsam_19

Yue Yuan, Imperfect Collection, 2022, in situ installation, ten objects found with texts printed on paper, wooden board, stamp, unique pieces



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Yue Yuan, Dictée, 2020, video, color, sound, 4’15…

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Yue Yuan, Dictée, 2020, video, color, sound, 4’15″


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Yue Yuan, Outside & Inside, 2019, video, color, sound…

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Yue Yuan, Outside & Inside, 2019, video, color, sound, 1’32″


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]]> http://www.galeriedohyanglee.com/en/outside-inside/feed 0 Tout ce qui est à voir n’est pas seulement ce que vous voyez http://www.galeriedohyanglee.com/en/tout-ce-qui-est-a-voir-nest-pas-seulement-ce-que-vous-voyez?utm_source=rss&utm_medium=rss&utm_campaign=tout-ce-qui-est-a-voir-nest-pas-seulement-ce-que-vous-voyez http://www.galeriedohyanglee.com/en/tout-ce-qui-est-a-voir-nest-pas-seulement-ce-que-vous-voyez#comments Mon, 24 Jan 2022 13:31:28 +0000 http://www.galeriedohyanglee.com/?p=18085

Yue Yuan, Tout ce qui est à voir n’est pas seulement …

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Yue Yuan, Tout ce qui est à voir n’est pas seulement ce que vous voyez, 2018, video, color, sound, 2’41″


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Yue Yuan, De moi à toi, 2020, video, color, sound, 2’02&#…

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Yue Yuan, De moi à toi, 2020, video, color, sound, 2’02″


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Yue Yuan, Borrowed Wish, 2019, video, color, sound, 1’34…

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Yue Yuan, Borrowed Wish, 2019, video, color, sound, 1’34″


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]]> http://www.galeriedohyanglee.com/en/borrowed-wish/feed 0 Yue Yuan http://www.galeriedohyanglee.com/en/yue-yuan?utm_source=rss&utm_medium=rss&utm_campaign=yue-yuan http://www.galeriedohyanglee.com/en/yue-yuan#comments Mon, 24 Jan 2022 00:25:50 +0000 http://www.galeriedohyanglee.com/?p=18066 Yue Yuan



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