About Gallery SOSO

92, Heyrimaeul-gil, Beopheung-ri, Tanhyeon-myeon, Paju-si, Gyeonggi-do, Korea

Gallery SOSO has been organizing eight exhibitions annually, starting from the opening exhibition in May 2007 to the latest one in 2017. We exhibit works of artists that show sharp interpretation and insights on space and make their own story to tell personally through artworks. In particular, exhibitions are held with a focus on conceptual art. Such an intention is in compliance with style of the gallery made of exposed concrete and cedar trees beyond a white cube so that artists could prepare for their exhibition by actively intervening in the gallery space. Gallery SOSO has recently focused on exploring Korean artists and making inroads into the global market.
We plan to continuously introduce works of artists that deserve to be mentioned in art history. The fact that some of the artworks exhibited in both 2016 and 2017 at the Gallery SOSO were recently added to the collection of National Museum of Modern and Contemporary Art, Korea and Seoul Museum of Art can reaffirm this. We also expect to exhibit works of not only established artists but also emerging artists with their own uniqueness.
Gallery SOSO plans to engage in projects of international exchanges, seeking to introduce competent overseas artists to Korea, enriching the domestic art circles. It attempts to find various ways by introducing Korean artists abroad to be highly recognized on the global stage.

Past Exhibition

Seung-Un Chung: Skyline_Nameless

2017.4.22. – 6.4.
Gallery SOSO presented Skyline_Nameless, a solo exhibition of artist Seung-Un Chung, taking place from April 22 to June 4. Chung expresses landscapes of various circumstances and places via different means, staring with Skyline series from 2009. In the exhibition, he presented artworks where oil colors are added to threads which laid down in a space. Chung puts numerous brushstrokes with a small brush on a thread without a surface as he would do on a canvas. A combination of different colors are shown through hardened paints, and many layers create a matiere. The exhibition hall became a canvas where many catenary lines crisscrossed and a depth of a space unlimitedly expanded and changed depending on the relationship of the artwork and viewers. Chung’s skyline consisted of close relationships between materials, space and time, showing an attitude of challenging the new boundaries of a painting.

Strands of thread were hung in the gallery space that was filled with light. Dried layers of paint clung to the thread form restrained silhouettes. In Skyline, Seung-Un Chung reduced structure to its most elemental form, where the gallery has became a blank canvas intersected by simple lines, and the depth is defined by the relationship between the work and the viewer.
His works are created through interactions between materials and gravity, space and structures, and labor and time. The morphology of the work is evident in the material tectonics organized into a single structure. The colors of the paint are blent together, capturing the passing effects of light in an almost impressionistic manner.

Curator’s Note
Seung-un Chung is an artist who mainly works with three-dimensional sculptures or conceptual installations, rather than the canvas, but is nevertheless fundamentally oriented towards the canvas. One clear example is that he has the intention to make his works like “murals” that function within the given space. While producing three-dimensional works, mainly with wooden structures, he has presented a new type of work in which he connects lines in the space, which is the minimized form of the canvas. On a small surface, which looks like nothing but a line, he unfolds a harmony of colorful worlds using a thin brush, as if he were painting a landscape on a canvas. These works look minimal in form; however, they can be seen as an act of spreading out everything that can be done on a conventional canvas to a maximum extent.

His oppressed orientation towards painting triggers suspicion. Even in his three-dimensional works, he clearly bears in mind the contours, which are basic properties of painting. But when he occasionally applies color, he will take the chance of being obstinate, by using colors with strong material properties, such as Korean ink or cinnabar, or reversing the rule of perspective used in painting in an unnatural way. This seems to be an attitude of continuous distancing from a certain aspect of painting. What he is avoiding is not painting itself, but rather certain characteristics of painting—perhaps room for pathos to intervene. In the works, which are made as accidental results of irreversible acts become permanent, he spends a lot of time controlling such aspects of chance. Adding rules when he deals with irregular objects, and applying rules of numerical progressions, which seem completely unrelated, are some of the methods he uses to reject contingency. Thus, he is removing certain aspects of painting, while pursuing its other properties. Chung’s hanging lines seem to show a typical model of the oppressed painterly nature found in his work in general. This presents to spectators a sort of savor, as if they were seeing a plant growing from a crack in the asphalt. Among the properties of the artist’s line works, this exhibition will focus on the maximum painterly qualities locked in the minimum form. –Yun-Hee Lee

Seung-Un Chung

1999 Kunstakademie Düsseldorf(Prof. J. Kounellis), Germany
1996 Meisterschüler(Prof. J. Kounellis)
1994 Akademie der Bildenden Künste Nürnberg(Prof. S.C. Colditz), Germany
1989 B.F.A in Painting, Seoul National University, Seoul, Korea

Selected Solo Exhibitions
2016 Skyline_Red Island, LIG Art Space, Seoul, Korea
2014 Horizonte_Blaue Berge: Trough Project No. 4, Goethe Institut, Seoul, Korea
2012 Skyline-archipelago: 2×4 24 Rectangular Lumber and Suitcase, LIG Art Hall, Busan, Korea
2012 Skyline, SoSo Gallery, Heyri Artvalley, Korea
2009 Skyline, Gallery SPACE, Seoul, Korea
2007 Close View_JIB KKUM SUP, Noon Gallery, Seoul, Korea
2007 Distant View_JIB KKUM SUP, SoSo Gallery, Heyri Artvalley, Korea
2003 JIB SUP KKUM, Gallery FISH, Seoul, Korea
2000 HORIZON, Project Space Sarubia, Seoul, Korea
1997 Seung-Un Chung, Stephanienstrsse 16, Düsseldorf, Germany

Selected Group Exhibitions
2016 AR Towns: Non Profit Art Space Art Festival, Jeju Museum of Art, Jeju, Korea
2016 Be Touched V Somewhere, Vacant, O’Newwall E’juheon, Seoul, Korea
2015 Embracing a Location_Hoeryeong, Space Mom Museum of Art, Cheong Ju, Korea
2015 Somyo, SoSo Gallery, Heyri Artvalley, Korea
2014 New Acquisitions 2012, National Museum of Modern and Contemporary Art, Seoul, Korea
2014 Space Amusement, LIG Art Space, Seoul, Korea
2014 Painting Becomes Space, Space Becomes Painting, Nook Gallery, Seoul, Korea
2014 SPACE CRAFT – Interface and Potential Space, SOMA Museum of Art, Seoul, Korea
2014 Minimum VS. Maximum, Art Center White Block, Heyri Artvalley, Paju, Korea
2013 APMAP 2013 Osan Reverscape, Amore Pacific Beauty Campus, Osan, Korea
2013 Korean Art, Era of Grand Navigation, Busan Metropolitan Museum of Art, Busan, Korea
2013 NEW & NOW: SeMa’s New Acquisitions 2012, Seoul Museum of Art, Seoul, Korea
2012 Proportion and Order, Space Mom Museum of Art, Cheong Ju, Korea

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