Events

Damageable Perfection featuring 2018 Artist of the Year Euyoung Hong

viernes

9 nov, 2018 – 6:00 P.M. - 8:00 P.M.

(mensualmente el 9no y el 30mo para 1 veces)

2370 Massachusetts Ave. NW
Washington, DC 20008 Mapa

Mas Información

The Korean Cultural Center Washington, D.C. proudly presents Damageable Perfection, a solo exhibition of installation works by 2018 Artist of the Year Euyoung Hong that examines the intersection of urban spaces and politics, opening November 9.

Euyoung Hong’s work explores the complex social relationships that emerge between urban spaces, objects, and politics. She is particularly interested in how familiar concepts are transformed by capitalist urbanization, such as changing ideas of urban land use, the politics of space, and social vs. spatial production and transformation. By looking at urbanization in the Republic of Korea, Hong focuses on how our understanding of everyday objects and ideas has evolved over time in terms of the politics of space. This transformation is especially evident in the essential ways that society participates in, conceives, and constructs a capitalist urban system.

The Artist of the Year recognition, presented to a single artist whose work is featured at the Korean Cultural Center, spotlights outstanding creators of the highest class. Selected from among those who applied to the center’s Open Call for Artists, this notable artist is honored with a special solo exhibition. The Open Call program celebrates its third anniversary in 2018 and aims to introduce unique Korean and Korea-inspired artists to mainstream art in the United States.

Admission to the opening reception including talks by the artist on Friday, November 9 at 6:00 p.m. is free and open to the public, but registration is required (below). Damageable Perfection will remain on view during regular hours through November 30, 2018.

Damageable Perfection

WHAT: Art exhibition, artist talks, & public opening reception
WHO: Euyoung Hong
WHEN: Opening Reception: Friday, November 9, at 6:00 pm
On View: November 9-30, 2018 (open M-F, 9am-noon & 1:30-5:30pm)
WHERE: Korean Cultural Center Washington, D.C. (2370 Massachusetts Ave. NW)
HOW: Free RSVP to the opening reception (below), or visit during walk-in hours.

RSVP TO THE OPENING RECEPTION!

https://docs.google.com/forms/d/e/1FAIpQLSfI2609snVO-vACh0rRVMuNR1vrpzjmA5alRGiBXez_YV9owA/viewform

Damageable Perfection presents two new works with the same title, Curtain Room (2018), installed in two main exhibition spaces. These works focus on the dual aspects of urban space, where the definition of space, standard, and order, which is proposed and constructed by a society, is easily forgotten, invaded, distorted, and removed. In Gallery B, Curtain Room (2018) is built in a circular form, which is suspended from the ceiling and covered with ivory curtains. Inside the space of the curtain, a wooden chair is placed on a wheeled steel structure, so that the viewers can see the lower half of the chair. On the invisible upper side of the chair, various found objects are installed, such as glass cups, a plant, broken glass, and a broken chair leg, which were collected from empty or removed spaces in South Korea. With a dim light, shadows of the objects and living noises spread though and beyond the space of the curtain room to make an imaginary space. This room creates forced openness. In Gallery A, Curtain Room (2018) is composed of three separate pieces of curtain structure. As these fragmented structures are opened up and spread throughout the exhibition space, this curtain room is different from the other, which produces a closed, yet forced open space. This fragmented space is easily penetrated and invaded by people. In this space, it is difficult to distinguish between the inside and the outside.

These two new works were developed from the ideas of previous works, particularly Curtain Room (2017) and Goshiwon Project (2017). Curtain Room (2018) intends to discover the complex relationship between desire and survival and between dominance and fragility, which are formed in and through the capitalist system of urban space. By looking at changes in an encounter of space, things, and society with the system of capitalism, the works focus on a certain aspect of urban space, in which the production of space in the system of capitalism is inseparable from the exploitation of space, time, and people, and from the system of negative production through dispossession, displacement, disappearance, and destruction. Through these negative logics of space, every space has to be constantly influenced by a capitalistic system of transforming the visible to the invisible by undoing and erasing existing spatial orders and relations. This process of undoing or erasing is, in many cases, visibly or invisibly aggressive and violent.

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