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Personal Structures Culture.Mind.Becoming La Biennale Di Venezia 2013
PERSONAL STRUCTURES CULTURE.MIND.BECOMING LA BIENNALE DI VENEZIA 2013 PALAZZO BEMBO . PALAZZO MORA . PALAZZO MARCELLO ColoPHON CONTENTS © 2013. Texts by the authors PERSONAL STRUCTURES 7 LAURA GURTON 94 DMITRY SHORIN 190 XU BINg 274 © If not otherwise mentioned, photos by Global Art Affairs Foundation PATRICK HAMILTON 96 NITIN SHROFF 192 YANG CHIHUNg 278 PERSONAL STRUCTURES: ANNE HERZBLUTh 98 SUH JEONG MIN 194 YE YONGQINg 282 All rights reserved. No part of this publication may be reproduced, stored THE ARTIsts 15 PER HESS 100 THE ICELANDIC YING TIANQI 284 in a retrieval system, or transmitted in any form or by any means, CHUL HYUN AHN 16 HIROFUMI ISOYA 104 LOVE CORPORATION 196 ZHANG FANGBAI 288 electronic, mechanical, photocopying, recording or otherwise, without YOSHITAKA AMANO 20 SAM JINKS 106 MONIKA THIELE 198 ZHANG GUOLONg 290 permission of the editor. ALICE ANDERSON 22 GRZEGORZ KLATKA 110 MICHELE TOMBOLINI 200 ZHANG HUAN 292 Jan-ERIK ANDERSSON 24 MEHdi-GeorGES LAHLOU 112 ŠtefAN TÓTh 202 ZHENG CHONGBIN 294 Print: Krüger Druck + Verlag, Germany AxEL ANKLAM 26 JAMES LAVADOUR 114 VALIE EXPORT 204 ZHOU CHUNYA 298 ATELIER MORALES 28 Edited by: Global Art Affairs Foundation HELMUT LEMKE 116 VITALY & ELENA VASIELIEV 208 INGRANDIMENTO 301 YIFAT BEZALEl 30 www.globalartaffairs.org ANNA LENZ 118 BEN VAUTIER 212 CHAILE TRAVEL 304 DJAWID BOROWER 34 LUCE 120 RAPHAEL VELLA 218 FAN ANGEl 308 FAIZA BUTT 38 Published by: Global Art Affairs Foundation ANDRÉ WAGNER 220 GENG YINI 310 GENIA CHEF 42 MICHELE MANZINI 122 in cooperation with Global Art Center -
Chul Hyun Ahn Perceiving Infinity 106 South Street Easton, Maryland 21601
Portal, 2013 Untitled (Double) #4, 2013 Edition 2/3, plywood, changing LED Edition 1/3, plywood, LED lights lights and mirrors and mirrors 61.5 x 61.5 x 6 inches 45.5 x 45.5 x 5.5 inches Not Pictured Mirror Drawing I, 2013 Mirror Drawing II, 2013 Plywood, LED lights and mirrors Plywood, LED lights and mirrors Tunnel, 2013 Unique, cinderblocks, fluorescent lights and mirrors 23 x 68 x 68 inches Exhibition made possible with support of the C. Grimaldis Gallery, Baltimore, the Talbot County Arts Council and the Maryland State Arts Council. Chul Hyun Ahn Perceiving Infinity 106 South Street Easton, Maryland 21601 410-822-ARTS (2787) www.academyartmuseum.org The Academy Art Museum is supported by a grant from the Maryland State Arts Council, an agency funded by the State of Maryland and the National Endowment for the Arts. Western, his family background is Asian, and Museum, amongst many others. Discovered Exhibition Checklist that his mother’s Buddhist religion - with by Constantine Grimaldis, who first saw Chul Hyun Ahn its philosophy of “emptiness” - may have Ahn’s work at his 2002 MFA thesis exhibition unconsciously influenced his way of working. at MICA, Ahn is a member of a group of Upon seeing her son’s work during a US visit young light artists including Olafur Eliasson, Perceiving Infinity she immediately Ivan Navarro, understood the Spencer Finch, and November 16, 2013 – January 26, 2014 artwork. Leo Villareal. He mentions Dan Chul Hyun Ahn was born in Busan, South led him to place one of his paintings in a box In 2011, Ahn began Flavin and James Korea. -
CHUL-HYUN AHN Seeking Perspective 09.03|22.04.17 Opening on Thursday, 9 2017 | 7 Pm to 9 Pm
CHUL-HYUN AHN Seeking Perspective 09.03|22.04.17 Opening on Thursday, 9 2017 | 7 pm to 9 pm Galerie Paris-Beijing is pleased to present “Seeking Perspective”, the second exhibition dedicated to Baltimore-based artist Chul Hyun Ahn (Busan, Korea, 1971) with a new series of sculptural installations comprising of both floor-based pieces and wall works. Shaped within finite dimensions, the works of Chul Hyun Ahn employ a combination of lights and mirrors in order to manipulate perspective. The repetitions of light patterns, resul- ting in boundless reflections, convey the impression of looking into a seemingly limitless space. By providing an illusionistic environment, Ahn’s sculptures encourage the viewer to consi- der concepts that defy human understanding. “ By looking at the emptiness, I hope people can find the place or something they had been searching for”. Despite the use of basic industrial materials such as concrete, cast, plywood, mirrors neon and led lights Ahn has the ability to introduce a contemplative dimension to his works. Interacting with Ahn’s installations implies questioning the perception of the object and its construction: by looking deeply into his artificial environment, the obvious physical boundaries of the sculpture become doubtful, the illusion of the endless void and infinite depth generates a dazing paradox. Ahn’s knowledge in art and technology embraces the Zen practice of meditation: in the Zen Buddhist tradition, the enlightenment is achieved through meditation, which can be increased by reducing optical stimuli. The dizzying visual impact provoked by Ahn’s balanced use of lighting and mirrors is aimed at tracing a pathway to a spiritual expe- rience. -
The Samawi Collection Photography & New Media Volume ǁ
The Samawi Collection Photography & New Media Volume ǁ Published by Ayyam Gallery ayyam art center The Samawi Collection Alserkal Avenue, B-11, Street 8, Al Quoz 1 PO Box 283174 Dubai, UAE Photography & New Media Phone + 971 4 323 6242, Fax + 971 4 323 6243 [email protected], www.ayyamgallery.com Volume ǁ 2 We would like to thank all the team at Ayyam Gallery and the Ayyam Art Center who worked hard and long to make this exhibition and catalogue possible. We would also like to thank all the artists and galleries who produced and gave us the opportunity to purchase these great works. Finally we would like to thank the United Arab Emirates and its leaders for having the vision to allow art lovers and patrons from all over the world to call this great nation home. Khaled Samawi and Hisham Samawi 4 Modern Patronage of the Arts and the Art Market Introduction The path to artistic creation is one that is in a perpetual state of flux. The desire to create is inherent to mankind. Though it is the delicate balance between the desire and the realization in which patronage has flourished for centuries, the two are intertwined, often unsteadily, yet this balancing act is required and ultimately beneficial to the continued production of visual culture. Twenty-first century patronage of the arts has evolved from its origins as a binary relationship to four distinct models: Private Collectors, Corporations, Governmental, and Dealers. The private individual as a collector has emerged as one of the driving forces of the modern art market. -
BENTLEY GALLERY 215 East Grant Street Phoenix, AZ 85004 480.946.6060 BENTLEY
BENTLEY GALLERY 215 East Grant Street Phoenix, AZ 85004 480.946.6060 BENTLEY www.bentleygallery.com Chul Hyun Ahn b. 1971, Busan, South Korea EDUCATION 2002 MFA, Maryland Institute College of Art, Baltimore, MD 2000 MA Studies, Eastern Michigan University, Ypsilanti, MI 1997 BFA, Chu-Gye University for the Arts, Seoul, South Korea SELECTED EXHIBITIONS 2018 GYRE, New Media Gallery, Vancouver, Canada 2017 Looking Glass, Cornell Art Museum at Old School Square, Delray Beach, FL Seeking Perspective (solo), Galerie Paris-Beijing, Paris, France 2016 Reaching into Infinity (solo), Tarble Arts Center, Eastern Illinois University, Charleston, IL Reaching into Infinity (solo), Kalamazoo Institute of Arts, Kalamazoo, MI Movado Group, Basel, Switzerland Light/Licht/Lumière, C. Grimaldis Gallery, Baltimore, MD 2015 Smoke and Mirrors: Sculpture and the Imaginary, Museum of Contemporary Art Jacksonville Line of Site: Chul Hyun Ahn & Cheryl Goldsleger (two-person exhibition), C. Grimaldis Gallery, Baltimore, MD 2014 Imagining Deep Time, National Academy of Sciences, Washington, DC Chul Hyun Ahn: Infinite Space, Dennos Museum Center, Traverse City, MI Perceiving Infinity, Movado Group, Basel, Switzerland Korean Shape, Galerie Paris-Beijing, Brussels, Belgium 2013 Personal Structures: Culture, Mind, Becoming, Palazzo Bembo Sanctioned by the 55th Venice Biennale, Venice, Italy Perceiving Infinity (solo), Academy Art Museum, Easton, MD Illuminated Void (solo), Sharon London Liss Fine Art, Ontario, Canada Boca Raton Museum of Art, Boca Raton, FL 2012 Korean Eye, Saatchi Gallery, London, United Kingdom Neon, Museo D’Arte Contemporanea Roma, Rome, Italy Segment 2, Borusan Contemporary, Istanbul, Turkey Selections from the Samawi Collection II, Ayyam Art Center, Dubai, United Arab Emirates Infinite Voyage (solo), Hada Contemporary, London, United Kingdom 2011 Illuminated Void (solo/catalog), C. -
Look Again July 15 – October 10, 2010 Artist List in a Time When Virtual Worlds, Synthetic Products, Staged Chul-Hyun Ahn (B
Look Again July 15 – October 10, 2010 Artist List In a time when virtual worlds, synthetic products, staged Chul-Hyun Ahn (b. 1971 Busan, South Korea; Lives: Baltimore, USA) events and political rhetoric have fused our physical environ- Christian Andersson ment with ubiquitous deceit, the notion of illusion occupies (b. 1973 Stockholm, Sweden; Lives: Malmo, Sweden) almost every facet of our being. Beyond the canvas, object, Daniel Arsham (b. 1980 Cleveland, Ohio; Lives: New York City, USA) and tricks exclusive to the eye, artists are re-employing the Tara Donovan trompe l’oeil (“trick of the eye”) tradition as a contemporary (b. 1969 Nyack, New York; Lives: Brooklyn, USA) vehicle for revelation and disclosure. Look Again explores Chris Dorosz (b. 1972 Ottawa, Canada: Lives: San Francisco, USA) these ideas from an international purview, congregating artists Tim Hawkinson that employ everyday materials to build and break the daily (b. 1960 San Francisco, California; Lives: Los Angeles, USA) Houston deception we call reality. (established 1971, USA) Jamie Isenstein th (b. 1975 Portland, Oregon; Lives: New York City, USA) In the latter half of the 20 century, new technologies and Diane Landry advances in perceptual theory began to expand the implica- (b. 1958 Cap-de-la-Madeleine, Canada; Lives: Quebec City, Canada) tions of trompe l’oeil, even as its profile waned in the political Jorge Macchi st (b. 1963 Buenos Aires, Argentina; Lives: Buenos Aires, Argentina) context of postmodernism. At the dawn of the 21 century Adam Putnam this decline has begun to reverse course in a dramatic way, as (b. 1973 New York City, New York; Lives: New York City, USA) evidenced by exhibitions like the Getty’s “Devices of Wonder: Max Sudhues (b.