Andy St. Louis

  • picks April 09, 2020

    Nakhee Sung

    Nakhee Sung’s abstract paintings have long evoked comparisons to musical scores, fashioning resonant harmonies and rhythms through an elemental approach to form, line, and palette. In these new works, Sung stacks bezeled volumes of color with variable gradients and opacities into aggregate configurations that appear to vibrate on a shared wavelength. Rather than seeming iterative, these canvases impart a precise set of variations on a theme: Their unifying structural logic is marked by a strong sense of verticality that is offset by nuanced perpendiculars, approaching the orderliness of a grid

  • picks October 23, 2019

    Haegue Yang

    Diverging from the object-oriented impulse characteristic of her recent solo museum presentations, Haegue Yang stages an immersive environment without a defined center for her first exhibition at Kukje Gallery. A room-enveloping wallpaper work, Incubation and Exhaustion, 2018, juxtaposes cutting-edge surgical robots, primordial moss-covered rock formations, and age-old agricultural imagery from Occitania in France. Beneath a layer of artificial fog swirling underfoot, a massive holographic vinyl grid evokes the playing board used in Korean chess, a traditional game whose Chinese precursor dates

  • picks April 18, 2019

    Jungki Beak

    Extending upward from the museum’s ground floor through its mezzanine, a scaffold of steel pipes and 3-D-printed plastic joints shaped like dragon heads forms a puzzling temporary structure. Toward the rear of the gallery, an equally mystifying wooden altar draws one’s gaze to a hefty mass of raw iron ore surrounded by miniature cooling fans. Together, these works—Yongso and Chimhodu, both 2019—function as a pair to transform the room into a symbolic space, giving rise to the necessary conditions for an ancient rain ritual. This engagement of traditional East Asian beliefs, premised upon the