Seoul

Noh Sang-Kyoon

Gallery Simon

Noh Sang-Kyoon has had but one modus operandi for more than a decade: He glues rows and rows of sequins all over canvases and found objects, giving every item a signature glistening finish. You may have noticed his twinkling sequined Buddhas at the Armory show in 2004 or in Basel any year since 1999; at the Venice Biennale in 1999, he covered three walls with large sequined canvases. Appropriated from the glitzy world of fashion, sequins still register as gaudy, faux-luxe, and sexy, even when applied to monochromatic painting. Tightly aligned on the surface of the canvas, each reflects light, giving the shimmering surface of Abstract Expressionism a whole new meaning.

When he is not evoking the Greenbergian regime of the flat surface, Noh recalls Duchamp’s readymade: Take a series of found objects (mannequins, statues, CDs, paintbrushes), cover them with the sequins, et voilà! In the ongoing

Sign-in to keep reading

Artforum print subscribers have full access to this article. If you are a subscriber, sign in below.

Not registered for artforum.com? Register here.

SUBSCRIBE NOW for only $50 a year—65% off the newsstand price—and receive the print magazine plus full online access to this issue and our archive.*

Order the PRINT EDITION of the February 2006 issue for $17 or the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.