Hayoung Chung

  • Jiyen Lee, Stain-Rainbow Forest 2, 2021–22, structural coloration film, carbon rod, motors 3EA, silicon ring, led lighting bar 22EA, wire, carpet, Nanopatterning replication technology, color 3-D printing, LED control system, dimensions variable. Installation view.
    picks February 28, 2022

    Jiyen Lee

    In nature, we have observed that the coloration of the skin of a chameleon, the wings of a butterfly, or the plumage of a peacock can change depending on the surrounding environment or the viewer’s angle. Unlike a chemical color with pigment or dye, this structural color appears when light is reflected, scattered, and diffracted due to the geometric microstructure of the surface. After consulting with a nanotechnology scientist, artist Jiyen Lee turned to nanopattern replication technology to mimic this invisible nanostructure. The resulting reliefs constitute the core of her sculptures in the

  • View of “The Sea Life of South Korea and Other Curious Tales, 2021.
    picks October 08, 2021

    Mark Dion

    Mark Dion’s adventuresome experiments in fact and fiction have finally taken him to Seoul, where he injects his signature Wunderkammers with local flavor, putting Korea’s marine ecosystem on display. For this exhibition’s vast, elaborate centerpiece, Cabinet of Marine Debris (all works 2021), the artist reimagines the cabinet of curiosities, showcasing fishing nets, colorful bottle caps, and other plastic waste gleaned from the country’s south and west coasts. Borrowing institutional classification systems from the sixteenth century, Dion recycles such banal stuff into objets d’art. Simultaneously,

  • Gina Beavers, Liz Phair ‘Parasite’ Lips, 2020, acrylic on linen on panel, 30 x 30 x 4".
    picks February 17, 2021

    Gina Beavers

    Early on in Bong Joon-ho’s 2019 film Parasite, the mother of the wealthy Park family leads a prospective tutor on a tour of their luxurious and starchitect-designed estate, which, perhaps like every symbol of success, carries a dark underside. Gina Beavers has aptly chosen this scene—or rather, a piece of fan art depicting it made by the American singer Liz Phair—as a motif in her first solo exhibition in Asia. The eight paintings in the show (whose title winks to motivational economist Adam Davidson’s idea of an emerging “passion economy”) were sourced from online #foodporn and makeup tutorials,