'Stolen Time', Solo Show

Maison de l’Architecture Franche-Comté, 

Besançon, France 2018

Bien Urbain Festival

Photo by © Elisa Murcia Artengo 

Installation work using collected materials from Besancon, France

solo show @ Maison de l’Architecture Franche-Comté, France 2018

Group Show 'Silver Sehnsucht'
at the Silver Building, London, UK 


work by :
Brad Downey, Christian Jankowski, Christine Sun Kim, Christopher Stead, Helena Hunter and Mark Peter Wright, James Bridle, Jazoo Yang, Khadija Von Zinnenbug Carroll, Mark Salvatus, Poklong Anading, Paola Torres Nunez Del Prado, Rosana Antoli, William Mackrell

Opening party performances by:
Mark Leckey, Trevor Jackson, Latete Atoto, Rory Bowens

" Jazoo Yang’s _Specimens of the Street [Materials_ series] are an amalgamation of the diverse, the distant, and the disregarded. Formed of the lost fragments of urban life that Yang rescues before their inevitable disappearance – remnants of a buildings’ outer walls, scraps of wallpaper from an interior, the remains of antique tiles – these often silent, ignored objects are here magnified from the mundane, framed to acknowledge the immensity of the intimate. Yet what we see in Yang’s works could easily have been taken from the space in which they hang. The chipped surfaces of the Silver Building will soon be smoothed and glossed over, removing any trace of its current state of decay. Yang’s works, however, show how the past, present and future are fused in the very materiality of these walls. "
-Rafael Schacter ( Creative Direcor, Curated shows @ Tate Modern, Somerset House )

More info >> https://www.itsnicethat.com/articles/silver-sehnsucht-art-270917

Group show 

'Increasingly Deeper Layers of the Past'

at Gallery Boan1942, Seoul 2017

Impovisational installation  
using found objects in burned house near gallery Boaninn
Increasingly Deeper Layers of the Past 2017

Solo show 'Re-born' 

at Gallery Boaninn, Seoul 2017

Depths rather than Representation 

- Hyunjeong Woo (Independent Curator)

An artist is a being that fights him or herself. Attempts to create something that did not exist before turned into struggles to undo things that existed before. An act of drawing thus becomes an act of erasing, a shape buried in the bottom of the picture can hardly be seen in the eyes of the viewer.

Today what matters most on canvas is a texture, in other words, the surface. Clement Greenberg defended that “the next step in the denial of illusion was to lift the extraneous elements above the surface of the picture and secure the effects of depths and volume by bringing this or that part of picture physically close to the eye, as in bas-relief.” [1]

In this regard, David Joselit expanded the appearance of flat surface painting into a realm of viewer’s ‘psychological response’, focusing on what triggers viewers to change their attitudes towards having a sensible experience, instead of pointing out how viewers distinguish a subject from another. [2]

Nonetheless to say, the starting point of the change derives from the artist’s act of recoding her own mind. The artist freely applies various media from conté and acrylic to industrial materials, such as cement, revealing her abiding interests in the creation and the extinction of a city.

The traces of the past that can never be completely gone, wooden materials found in piles of ruins that became part of the installation, and the iron frames wrapped around canvas are all balanced well with the exhibition space. In the midst of scraping off of what she drew with a carving tool, the artist intuitively realized, at some point, that there was nothing she can do more.

The fact (or belief) that a work happens to be completed regardless of the artist’s intention or plan is what distinguishes the Wall series from the previous work. First and foremost, this nearly impossible task to entirely separate oneself from one’s work seems to have achieved its goal to some degree through the instantly appearing energy inside and outside the canvas.

[1] Clement Greenberg, "Review of the Exhibition Collage", in The Nation, 27 November 1948, reprinted in Geenberg, The Collected Essays and Criticism: Volume 2: Arrogant Purpose, 1945-1949, ed. John O'Brain(Chicago: University of Chicago Press, 1986), p.260.

[2] (Zoya Kocur (editor), Simon Leung (editor), Jiwon Seo (translator), Theory in Contemporary Art since 1985 (Seoul: Doosan Donga), re quoted from p.288)

재현 대신 깊이

독립 큐레이터 정현우

아티스트는 자신과의 싸움을 하는 존재이다전에 없던 것을 만들어내기 위하여 고군분투하던 노력은 전에 있던 것을 지우려는 몸부림으로 변화하였다그리는 행위는 곧 지우는 행위가 되며 형상은 화면 아래에 묻혀 관람자의 눈에 잘 띠지 않는다이제 캔버스에서 중심이 되는 부분은 매체의 질감 즉 표면이다

클레멘트 그린버그(Clement Greenberg)는 환영을 부인하는 다음 단계는 회화의 표면 위에 외적인 요소들을 쌓아 올리고마치 저부조(bas-relief)에서처럼 회화의 이 부분 또는 저 부분을 물리적으로 눈에 가깝게 가져옴으로써 깊이와 양감의 효과를 확보하는 것이라는 말로 재현을 벗어난 회화 작업의 심리적 깊이를 옹호했다. 이에 대해 데이비드 조슬릿(David Joselit)은 평면 회화의 등장을 관람객의 심리적 반응으로 확장시키는 데작품을 감상하는 사람들이 대상을 식별하는데 치중하기보다 감각적인 경험을 하는 방향으로 태도가 변화되는 지점에 주목하였다. 

물론 변화의 시작점은 작가의 심리를 기록하는 행위에 있다작가는 콩테와 아크릴에서부터 시멘트와 같은 산업자재를 자유롭게 구사하며 도시의 생성과 소멸에 대한 작가의 지속적인 관심을 표출한다완벽하게 사라지지 못하는 과거의 흔적들폐허에서 건져 올린 목재는 설치 작업의 일부분이 되었고 캔버스를 감싸는 철 프레임의 묵직함이 전시 전체 공간의 균형을 맞춘다자신이 그린 부분을 조각 도구를 활용해 긁어내는 와중에 작가는 더 이상 손 댈 수 없는 순간을 직감으로 인지한다고 했다작품이 작가의 의도 또는 계획과는 상관없이 완성된다는 사실(혹은 믿음)이야말로 Wall 시리즈가 이전 작업과 차별되는 지점이라 할 수 있다

무엇보다도 작가 자신과 작업을 철저하게 분리하려는 이 불가능에 가까운 시도는 캔버스 안과 밖에서 즉각적으로 나타나는 에너지를 통해 어느 정도 성과를 얻은 듯 보인다.