DAHOON NAM

Using cardboard boxes, discarded materials, recycled monitors, and inexpensive consumer goods, Nam reconfigures familiar art-historical icons associated with artists such as Antony Gormley, Alexander Calder, Nam June Paik, Jeff Koons, and Maurizio Cattelan. Recognizable yet deliberately imperfect, these objects resist the authority of their sources. By rendering canonical works provisional and unstable, Nam unsettles the boundaries between art and commodity, originality and reproduction, creativity and imitation. Through these imperfect reconstructions, his work exposes the mechanisms through which value is produced and sustained by art history and the market.

Nam holds a B.A. in Art History from the University of Toronto. Recent solo exhibitions include Industrial Bank of Korea Headquarters (Seoul, 2026), Culture Salon 5120 (Seoul, 2025), Space Hwanggeumhyang (Seoul, 2024), and Chamber 1965 (Seoul, 2023), among others. His work has also been featured in group exhibitions at Suwon Museum of Art (Suwon, 2025), Wałbrzych Art Gallery BWA (Poland, 2025), Jeonbuk Museum of Art (Wanju, 2025), Seoul National University Museum of Art (Seoul, 2024), Post Territory Ujeongguk (Seoul, 2022), and Jeju Museum of Contemporary Art (Korea, 2022), among others. His work is held in the collections of Suwon Museum of Art, Jeju Museum of Contemporary Art, Yangju City Chang Ucchin Museum of Art, and Yongsan Park, and he received the University of Toronto Shelley Peterson Student Art Exhibition Award (2017) and the YYZ Artists’ Outlet Award (2016).