GALLERY HYUNDAI is the first specialized gallery in Korea opened in April, 1970 and has developed in the contemporary art scene about 43 years since its opening, accompanied by many artists. Through various high quality exhibitions, we present not only Korea’s most prominent contemporary artists, but also introduce various artists by which you can, at a glance, examine closely the trend of the global art market. GALLERY
HYUNDAI has held a great number of exhibitions with the masters and the most prominent artists who are representative of the modern and contemporary Korean art such as Soo Keun Park, Jung-Seop Lee, Ucchin Chang, Ki Chang Kim, Daiwon Lee, Kyung Ja Chun, Whanki Kim, YoungKuk Yoo, Tschang-Yeul Kim, Lee Ufan, Sang Hwa Chung, Nam June Paik, Hyun-Ki Park, John Pai and Moon-seup Shim.
GALLERY HYUNDAI recently had large retrospective exhibitions commemorating Soo Keun Park's 45th anniversary(2010), Ucchin Chang's 20th anniversary(2011), Whanki Kim(2012) and Young Kuk Yoo(2012) to revive the representative of the contemporary Korean art and to initiate in promoting such artists to Korea and worldwide. And also, it
has highlighted the most significant tendencies of the past, the present and the future of the international world of art, by exhibitions of international artists such as Jean-Michel Basquiat, Andreas Gursky, Thomas Struth, Thomas Demand, Damien Hirst, Michael Craig-Martin, Billy Childish, Robert Indiana, Gerhard Richter, Robert Rauschenberg, Ellsworth Kelly, Julian Schnabel, Francois Morellet, Sarah Morris, Zeng Fanzhi, On Kawara and Ai Weiwei.
G-Seoul Solo Show Booth C-26
Presenting: Myoung Ho Lee
Combining a respect for nature with a highly conceptual investigation into image making, Myoung Ho Lee (b. 1975) has been photographing the trees since 2004, isolating them from their surroundings through the imposition of a white canvas
backdrop. Through digital retouching, he removes evidence of the canvas’s support structure, so that it appears to float unaided behind the tree that it frames.
At once deadpan and playful, the resulting photographs highlight the beauty and physicality of the trees, while also flattening them, causing them to appear as unreal, two-dimensional images inserted into the landscape. Through this interplay between nature and artifice, Lee collapses the traditions of portraiture and landscape painting and photography, examining the nature of representation and its effect on nature itself.