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Current Exhibition

GoEun Museum of Photography Special Exhibitions
GoEun Museum of Photography & KT&G Sangsangmadang Photographers of the Year,
The 10th KT&G SKOPF

Shinwook KIM, Jungkeun PARK, Jaeuk LEE
DEC 1. 2018 – FEB 20. 2019


ⓒ Jaeuk LEE, It‘s not your fault #1, Digital C-print, 2016



  Since 2012 GoEun Museum of Photography has partnered with KT&G Sangsangmadang to host an annual exhibition focused on discovering and supporting new artists with experimental minds and outstanding artworks. As part of their continuous effort to present a new future and potential for Korean photography, GoEun Museum of Photography and KT&G SKOPF (KT&G Sangsangmadang Korean Photographer’s Fellowship) program intend to encounter and interact with artists setting the direction for the scene’s future. This year, KT&G SKOPF exhibition’s 10th anniversary will be celebrated with Jaeuk Lee, Shinwook Kim and Jungkeun Park as Artists of the Year.

KT&G SKOPF took its first steps a decade ago before smartphones became a daily necessity. Emergence of these devices not only brought changes to photographic technologies but has entirely altered the method of communication. Visual information in particular is still on a sharp upward curve in terms of production and consumption. Today images are progressing into a powerful form of language that may even replace words and thoughts. In addition, photography has become the most familiar medium and at the same time a very dangerous tool. Such dramatic changes were what inevitably led to the start of KT&G SKOPF program. Come to think of it, changes in cultural environment surrounding the photographic technology may have been drastic but it does not look like the essence of photography has changed suddenly. Instead the photographers are fighting against this era overflowing with visual images and questioning the value of photography in the most earnest way. Instead of asking what photography can do today, they are focused on what needs to be done.

2018 Artists of the Year Shinwook Kim, Jungkeun Park and Jaeuk Lee are all artists working on observing and documenting the boundaries and surroundings of the world they are part of. Although in different hues, the three artists ask the world a similar question. After all, who is life for? Why do we need to live here? On the contrary, why do we have to leave here? Such chain of inquiries is not about the people who are driven away from the lives exploding with competition and faced with new choices. The liberalistic economic views and unleashed globalization have resulted in a crisis difficult to escape from for individuals and nation alike. Such crises are bound to shock the class living on fragile grounds with a bigger blow. Shinwook Kim’s photographs cast a socio-geographic question mark on the location and its residents viewed through airport cities. In fact, he is a cab driver in London and had ample chance to circle the cities surrounding the airport which became the theme and subject this project. Airport is a physically grand location but on the other hand, it is a non-place stripped of ‘ontological life’ that requires a substantial manpower due to its nature as a state-run facility serving a specific purpose. Airport cities in the end are cities created by the demand of aviation industry and such satellite cities grow proportionally to the size of the airport. From such parasitic and functional airport cities created by necessity, Kim chases after how it came to be, and what is the form of its life and its social significance. Jungkeun Park captures this era’s second generation Ipdojo, or the island’s First Ancestors who have migrated to Jeju. Ipdojo is a term used to call the people who are not originally from Jeju but were exiled to the island and took roots there. Contemporary Ipdojo is different from the past movement of returning to rural regions, as they have moved in pursuit of a lifestyle of their own. Resembling fashion shoots, Park’s images capture the bohemians searching for an ideal life and contrast them against the wilderness they settled in to highlight the dissonance between ideal and reality. Jaeuk Lee’s project starts from the economic turmoil in Greece, where the aftermaths of 2008 financial crisis continued to result in a national disaster in 2015. However, there is no trace of chaos indicating such crisis in his images. Instead he has captured the “invisible fear” from every day lives. Catching that particular moment meant long hours of waiting in one place. From the scenes one cannot find any specific clues hinting a nation in a coma. Yet look closer and there are peculiarly unnatural points. Closed up shops, homeless passing beneath the overpass, and the artist himself not knowing where to go. From the sceneries lacking such physical traces Lee captures how the power of capital penetrates into the daily lives. Yet there’s no icons or expressions. They are represented with sentiments that cannot be explained in language.

2018 Artists of the Year tell global social phenomena in micro narratives to intrigue the viewers to ponder on what contemporary photography is documenting and how it is expressing. Interestingly enough, although they each capture different locations, regions and people, all three artists are asking the same question: from where did the source of power ruling the present come from and how it is affecting the reality. Their photography pierces through the current moments but simultaneously embodies the age-long anxiety of the future. This brings down the temperature of the images even lower. With KT&G Sangsangmadang, GoEun Museum of Photography will continue to support the journey of various photographers pursuing experimental paths.

Hyun Jung
Jury Chairperson, The 10th KT&G SKOPF
Exhibition's Works
All rights is reserved.



Artist Statement

Shinwook KIM
Unnamed Land: Air Port City
(More)
I have regularly travelled to and from the Heathrow airport more than 2500 times since 2010 and the many photography I have taken there formed the series Unnamed Land: Air Port City.

The boundaries of the airport and surroundings seem clear but often they can be vague and obscure. The runway is blocked with a high fence but it is connected to a bypass slip road outside the airport, a huge long-term parking lot, rental car companies, hotels and many other airport-related facilities which are lined up like dominoes and make it hard to get through the airport boundary.

For half a century since then, just like other modern public facilities, the airport has expanded due to an unexpected increase in demand. What used to be agricultural and residential areas have been cleared and now there is an awkward coexistence between the existing and newly expanded areas. For this reason, you often see strange scenery around the airport. 

Areas surrounding airports create strange scenery and attract diverse people. Although airports are essential elements of big cities as they connect with distant cities, ironically cities are unable to. Airports require a huge area which is not available within existing cities. Moreover, the flight noise makes it impossible for them to be located in city centres. Therefore, airports generate their own surroundings in a relatively short period of time on the outskirts of cities.

Since its official opening 72 years ago, the airport is still relentlessly expanding. As I focus on the area which I named “Unnamed Land: Air Port City” and people surrounding the airport city rather than investigating its interior and intended purpose, paradoxically its spatiality is revealed. 

Jungkeun PARK
Island’s First Ancestors
(More)
Those who left the place they were born and have lived in, to set foot on the island where they will become the forebear to their children to be born and live there: in Jeju they are known as ipdojo, or the island’s First Ancestors. As Jeju comes to be known as the best place to enjoy natural environment and a slow life, people burnt out from a restless life of constant competition are settling in the island as the First Ancestors.

The project observes those cultural factors, or ‘nature’ and ‘creativity’ to be more specific, as the codes to understand Jeju’s First Ancestors and discusses how the young generation is coping with the changes in social structures.

Being employed is not an easy task for this generation. Even when they do find a job, the level of quality is not guaranteed for these vocations that would have contained the big and small inner voices as they did in the days of our parents who led the industrialization. It’s natural for them to turn towards a life of one’s own based on their talent and passion. The First Ancestors threw away their business suits and penetrated into all corners of Jeju to change the colors of this island through their originality and talents. They created all kinds of sculptures using welding skills, and wrote or photographed things inspired by their past experience of a volatile life. Some have introduced urban sentiments to the beaches or quiet farming villages and started to run cafes or guesthouses. Manifestation of such creativity can be explained not only with the local characteristics unique to Jeju but also from the piles of export container boxes in faded colors that once pioneered the industrialization era.

Nature is not a luxury one can afford in the cities. Many of Jeju’s First Ancestors have decided to move to Jeju and start an unhasty life because of their fascination for the island’s nature that are in their pure state. Yet this nature is not the ‘first nature,’ or untouched by the human hands, but a ‘second nature’ where humans have physically brought the nature from their imagination into real life. To the young First Ancestors who are migrating to Jeju to avoid an intense life, a nature untinged by the chaotic society of competition is an essential condition for their resting place. Yet the nature they’ve sought after turns out to be a nature ‘disguised’ for capitalistic productions. A statue shaped like an octopus, one of Jeju diving women’s main harvests, weave through the seaside walls while the head of a long necked Brachiosaurus protrudes beyond the nature-themed amusement park to look over a First Ancestor family.

Jaeuk LEE
It’s not your fault
(More)
Refugee issue was a common news topic when I was studying abroad. People fled Syria to escape from civil war, traveling through Turkey, Greece and to Europe. The northern German city where I was living in also set up a camp for them. accidents big and small broke out when a large population suddenly rushed in, resulting in anti- Islamic movements in eastern Germany.

When terrorist attacks were made against the public in Europe, police in the cities began to question passersby more frequently and people became more suspicious of each other. as racism based on distrust continued to spread, I could feel myself becoming detached from my identity as a member of that society.

The project started from taking self-portraits out of such helplessness, questioning how my inner self would look like. The seemingly unfortunate faces are metaphors of ourselves who are yearning for consolation. The ways individuals are left neglected in crisis, with lack of protection from the country, are not so much different from each other. our hearts are healed just by knowing there's someone out there who is the same as ourselves.

About Artist

Shinwook KIM
1982   Born in Seoul

Education
2014   MA Photography, Royal College of Art, UK
2012   BA Fine Art, Goldsmiths, University of London, UK
2006   Photographic Art, 1st class Honours, Kaywon School of Art, South Korea

(More)
Solo Exhibitions
2018   Unnamed Land: Air Port City, SPACE 22, Seoul, South Korea
2015   SLEEPWALKER, Korean Cultural Centre UK, London, UK
2012   Photographic Images of Fish and Shellfish in Korean Classical Painting, MOKSPACE, London, UK

Selected Group Exhibitions
2018   ManifestO Rencontres Photographiques de Toulouse, Place St Pierre, France
     META PICS, UARTSPACE, Seoul, South Korea
     THE SCRAP, CULTURE STATION SEOUL 284, Seoul, South Korea
     Young Portfolio Acquisitions 2017, Kiyosato Museum of Photographic Art, Kiyosato, Japan
2017   Family Reunion, Pi Gallery, London, UK
2015   The Open West, The Wilson Gallery and Museum, Chaltenham, UK
2014   UNSEEN, Amsterdam, The Netherland
     2014 New Hero, ‘Public Art’ Selected Artist Exhibition, NEMO, Seoul, South Korea
     Young Art Taipei 2014, Taiwan
     UMIT PRESENTS 16MM FILM, BL-NK, London, UK
     RCA SECRET 2014, Royal College of Art Battersea, London, UK
     World Emerging Artist Exhibition (3 person exhibition), Selected by AAF Milan, Superstudio Piu, Milan, Italia
2013   Import/Export, Tornio/Harparanda, Northern Media Culture Association Magneetti, Finland/Sweden
     Splinter, Michael Hoppen Gallery, London, UK
     The Others, Hanmi Gallery, London, UK
     Night Break (Two Person Exhibition), MOKSPACE, London, UK
     Contemporary Korea Photo Exhibition of Four Young Photographers, Guardian Garden, Tokyo, Japan
     RA Summer Exhibition 2013, Royal Academy of Arts, London, UK
     NordArt 2013, Büdelsdorf, Germany
     7th International Arte Laguna Prize Finalists exhibition, Venice Arsenale , Venice, Italia
     WIP Show, Entrance Gallery, Royal College of Art, London, UK
     14th Photography Criticism Awards winning Exhibition, Iyang Gallery, Seoul, South Korea
2012   The Recent Graduates Exhibition Curated by Jessica Hall, Battersea Evolution, London, UK
     クラウト[cloud/crowd], LE DECO gallery, Tokyo, Japan
     EWAAC Art Award exhibition, La Galleria Pall Mall, London, UK
     4482, [Map the Korea] Barge house, London, UK
2006   ACROSS THE BORDER, Gallery 27, Kyunggi‐do, South Korea 

Awards
2018   Laureates 2018 ManifestO Rencontres Photographiques de Toulouse, France
2017   Photographers of the Year, The 10th KT&G SKOPF, South Korea
2015   Winner of KCCUK Open Call, Korean Cultural Centre UK
     Finalist, The Open West, The Wilson Gallery and Museum, UK
2014   Royal College of Art ‘Overseas Student Bursary Award’, UK
2013   Finalist, “Import/Export”, Northern Media Culture Association Magneetti, Finland/Sweden
     Royal College of Art ‘Fine Art Bursary Award’, UK
     The Winner of “The British Institution Awards”, RA Summer Exhibition Prize, Royal Academy of Art, UK
     Finalist, NordArt 2013, Germany
     Finalist, 7th International Arte Laguna Prize, Venice, Italia
     Finalist, Portfolio Review Duesseldorf, Germany
     Monthly Art Magazine ‘Public Art’ Selected Artist, South Korea
2012   14tPhotography Criticism Awards, Photo space, South Korea
     EWAAC Art Award, UK
     Warden’s award, Goldsmiths college, UK
2005   The 1st Place honours Award, Kaywon school of Art, South Korea

Publication, Selected Article
2016   L’insense, France
2015   SLEEPWALKER, KCCUK, UK
2014   SCIENCE & FICTION, black dog publishing, UK
2013   Night Break, IANN BOOKS, South Korea
2012   Photography of the Year: Collection 6, UK
2012   ALLITERATI Magazine UK, Issue 8, UK

Public Collections
Oriel College, University of Oxford, UK
Kiyosato Museum of Photographic Arts, Kiyosato, Japan
MOKSPACE, UK



Jungkeun PARK
1978   Born in Chungbuk

Education
2012   M.A. of Photography at Chung-Ang University, South Korea
2005   B.A. of Photography at Kyungil University, South Korea

(More)
Solo Exhibitions
2016   Women Divers, Lotus Gallery, Paju, South Korea
2012   Space that Composes Me, Gallery Lux, Seoul, South Korea
     Space that Composes Me, Toyota Photo Space, Busan, South Korea

Selected Group Exhibitions
2018 A hundred minus thirty, Art Space C, Jeju, South Korea
   Dépaysement (Jungkeun Park & Eunsuk Jun), Entrepot Gallery, Hobart, Australia
   A narrative of an island and wind, Art Space IAa, Jeju, South Korea
   △, □, ○, Unlimited conversation (Seungwook Koh & Jungkeun Park), Space 22, Seoul, South Korea
2017 17th DongGang International Photo Festival, DongGang Museum of Photography, Yeongwol, South Korea
   Foundation of Recognition, Young Photographers’ Exhibition, Gallery Toma, Daegu, South Korea
2015 Site and Road, Jeju Culture Art Center, Jeju, South Korea
   Water for Future, Cheonggyecheon Square, Seoul, South Korea
2014 Texas Project, Miari Texas, Seoul, etc., South Korea

Awards and Fellowships
2018   Arts Tasmania Residency, Hobart, Australia
     Jeju Culture Foundation Residency, Jeju, South Korea
2017   Photographers of the Year, The 10th KT&G SKOPF, Seoul, South Korea
2012   Gallery Lux Emerging Photographers Award, Seoul, South Korea
2010   Second place, Kyonghyang Art Award, Seoul, South Korea

Publication
2016   Women Divers, Yolhwadang, Paju, South Korea



Jaeuk LEE
1980   Born in Busan

Education
2016   MFA, Integrated design, University of the arts Bremen, Germany
2007   BA, Digital media design, Hongik University, South Korea

(More)
Solo Exhibition
2018   It's not your fault, KT&G Sangsangmadang Gallery, Seoul, South Korea

Selected Group Exhibitions
2018 Sleepless namdo: the 70th anniversary of the Jeju april 3rd Uprising and Massacre network Projet, d/p, Seoul, South Korea
2017 Iaa odyssey, art Space Iaa, Jeju, South Korea
   Elsewhere, Bremen Municipal Gallery, Bremen, Germany
   I conflict, therefore I am, donggang International Photo Festival, Yeongwol, South Korea
2016 Masters of Photography, Photokina leica Gallery, Cologne, Germany
   Conflict?, St. Mark's Church, Hannover, Germany
   Are you with me now?, art and Culture Spedition e.V., Bremen, Germany
2015 Crisis-What crisis, Gallery Mitte in the Kubo Kunsthaus, Bremen, Germany
   Facing new Spaces, Triennale of Photography Hamburg, Hamburg, Germany

Awards and Fellowships
2018   MMCA Residency Goyang, Goyang, South Korea
2017   The 10th KT&G SKOPF Final Winner, Seoul, South Korea
     Jeju Culture Foundation Residency, Jeju, South Korea
2016   Bremen-Izmir Photographic exchange project, Goethe Institute, Germany

Publication
2018   Wonderland, KT&G Sangsangmadang, Seoul, South Korea

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