Tina Kim Gallery In Press Archive

Bringing together new and recent works—several of which have been especially conceived for this occasion—"Breathing Through Skin" highlights four artists and their critical invocations of monstrosity—

Encounters, contact and coalition are processes of contamination.

The Korean artist talks to Tatler about her expansive creative practice, her identity crisis and her work, Antigone being part of Para Site's upcoming exhibition. It seems impossible to define Mino

In Ghada Amer's paintings, threads behave like coloured rivers, abstraction obscures figuration and unknown women proliferate.

An adventure into art in a digital time going online has been a trend for some time now, but it has never been as relevant and important as it has become during the covid-19 pandemic.

Minouk Lim's 'It's A Name I Give Myself' (2018) probes the scars of war via a compilation of video excerpts featuring individuals separated from their families by the Korean War, narrated by a fast-c

Chung Seoyoung, who is putting on a solo show in Korea for the first time in four years, has filled the gallery space with mysterious objects, as usual.

This is a statement that the Korean abstract artist, Lee Seung Jio (1941-1990), made in 1971, a few years after he gained attention in Korea for his cooly geometric abstract paintings of cylindrical f

Kim Tschang-Yeul (b. 1929), a towering figure of Korean modern art, is best known for his trompe l'oeil depictions of pristine water drops beaded on either a monochromatic surface or raw linen. As Kim

Suki Seokyung Kang’s multipart installations are neatly organised so as not to interfere with one another. The space invites people to walk, sit and stand among minimalist installations in soft colour

This year, all Koreans at the Venice Biennale are women. The Korean Pavilion is curated by Kim Hyun-jin and three participating artists Jung Eun-young, also known as siren eun young jung, Jane Jin Kai

As someone who has personally spent too much time in too many art fairs over the past decade or so, I have become acclimated to a certain kind of art-fair art-viewing experience. Neon signs vie for at

In her work, Suki Seokyeong Kang treats the human body as a kind of interface between built environments, objects, and movement. The Korean artist produces seducing objects and immersive installation

The Golden Ratio might summon memories from an early art history or biology course: the geometric rubric for natural symmetry printed over photographs of a fern leaf or the face of a marble kouros fig

Artist Kim Tschang Yeul has been painting water drops for more than 45 years. What began as a spark of inspiration soon became a signature motif that differentiated him from his Korean compatriots. Wi

It is not uncommon among contemporary Korean artists to find the same title used repeatedly for different paintings, often over a period of several years. Although one might find a number sequence to

Ghada Amer, in her current exhibition at Cheim and Read, does something that formidable artists do: makes a proposal that is, in essence, unanswerable. In her 2016 painting Women in White, she combi

Donald Trump will make an appearance of sorts at this year’s Art Central fair in Hong Kong. Visitors will find him in a 1930s-style living room hidden among the gallery booths filled with abstract pai

Minouk Lim's first solo exhibition in New York introduces the South Korean artist's equally haunting and inquisitive practice with three bodies of work intertwined into a eulogy on loss and the consequential search for the missing. The Hole-In-Chest Nation (2014), Running on Empty (2014), and The Possibility of the Half (2012) occupy...

Kim Yong-Ik is known as the artist who sought to define his own trajectory beyond the two movements that dominated South Korean artistic thought throughout the 1980s— Dansaekhwa ('monochrome' painti

There are two sides to every story - so the old adage goes. The idea is that the truth value of a story can be a nebulous thing that depends on who is telling it. But at the same time, we are taught h

As an art critic in the 1990s, Park Chan-kyong would often refer to what he called the 'colonial unheimlich', a theory that is key to understanding his visual work. He claims that there is a serious r

Though at present the concept of 'media' is almost wholly equated with communication technologies, throughout the modern period this notion extended beyond the technological field, to include aestheti