South Korea, 1980 Artist Biography Works Next Anon South Korea, 1980 BIOGRAPHY EDUCATION 2007-08 Sungkyunkwan University of Graduate School, Surface Design Major SELECTED SOLO EXHIBITION 2023 13th_Paticolor one`s memory_Brown gallery_SEOUL 2023 12th_Hello_space O_SEOUL 2022 11th_Color of imagination_Seojin art space_SEOUL 2022 10th_Novelty_Space route_SEOUL 2021 9th_Minded_Malong197_SEOUL SELECTED GROUP EXHIBITION 2022 Thick Coat of Color (Malong197) / Momen art project (Gallery JJ) / Momen art Project (New York) 2021 The color of space((H contemporary gallery) / Mind (Lotte Card's headquarters) / Sunny, cloudy and rainy (Gallery hom) / 2020 Spring greeting (Abani Busan) / Breeze art fair (Ando) 2019 Affordable HONG KONG / Breeze art fair (Nodeul Island) / SEEA 2019 (Seongnam Arts Center) 2018 Breeze art fair (Sejong Art Center) / PLAS art fair (Coex) / Seoul art show (Coex) / Hello (Jinsan Gallery) SELECTED PUBLIC & PRIVATE COLLECTIONS Cheil Companty, Sungkyunkwan University, Asan Medical Center, Baekseok University, Museum of Moden Poetry WORKS Load More

< Back Layered May 1, 2024 Layered Anon Something Sweet Gallery Cafe X Gallery Chang Indulge your senses with Something Sweet’s latest delight! We are thrilled to present the vibrant textile works of Anon (b. 1980, South Korea), adding a splash of color to our café. Since our grand opening last March, Something Sweet has been offering unique cream lattes and savory croffles in diverse flavors and colors. As we celebrate the arrival of spring, where vibrant blossoms burst into life and verdant foliage carpets the landscape, we invite you to engage in a sensory journey. Anon hand-dyes cotton fabric in a diverse array of colors, imbuing each piece with a spectrum of colors. Through the artist’s unique methods of color experiments, the cotton layers are exposed to a myriad of hues, turning into multicolored works. Immerse yourself in the tapestry of colors as you explore Annon’s vivid textiles alongside our delectable signature treats.

< Back Festival Cloud: The Intersection of Music and Digital Art Aug 26, 2019 Festival Cloud: The Intersection of Music and Digital Art Theo Woodward Aug 26 - Sep 7, 2019 "Festival Cloud" is an immersive exhibition that explores the profound connection between music and digital art through the innovative work of Theo Woodward. As a freelance sound engineer, AV technician, and video editor, Theo Woodward bridges the realms of music and visual art with his unique approach. His work includes creating music videos, album covers, and promotional materials for musicians and brands, alongside his own music releases and animations. Theo Woodward’s main piece for this exhibition, "Festival Cloud," epitomizes his dedication to integrating music and digital art. This central work combines intricate soundscapes with captivating digital visuals, reflecting Theo’s expertise in both fields. His career highlights include touring with the Indie rock band Florry, performing at SXSW in 2019, and releasing acclaimed albums such as Immaterial Notions and Unseen I. Tracks like "Recollection of the Boundless Inbetween" and "Blisswave Sonnet in 360 VR Resampling" showcase his ability to blend electronic music with innovative digital art. The exhibition will feature Theo’s diverse range of works, emphasizing the interconnection between auditory and visual experiences. "Festival Cloud" serves as a focal point, inviting viewers to experience the seamless fusion of sound and digital artistry. With monthly listeners across cities such as Garbsen, Silver Spring, Washington, New York City, and Krakow, Theo’s work has garnered attention and acclaim, solidifying his role as a pivotal figure in the field of music and digital art. This exhibition provides a unique opportunity to engage with the creative synergy of these two disciplines, offering a dynamic and thought-provoking experience for all attendees.

South Korea, 1955 Artist Biography Works Next Moon Insoo South Korea, 1955 BIOGRAPHY Moon Insoo is a celebrated South Korean sculptor and painter, renowned for his pioneering use of industrial materials such as cement and steel to create large-scale works that challenge conventional boundaries between sculpture and painting. Born in Korea in 1955, Moon graduated from Hongik University with a degree in Sculpture and later completed his graduate studies at the same institution. Emerging in the 1990s as a leading figure in contemporary Korean art, Moon’s innovative approach to material and form gained both national and international recognition. Moon’s works are characterized by their monumental scale, raw textures, and integration of industrial materials. His cement paintings, a hallmark of his practice, merge the physicality of sculpture with the flat surfaces of painting, creating a dynamic interplay of texture, weight, and light. Through his use of oxidized steel and weathered cement, Moon captures the passage of time and the interplay between human-made structures and nature. His philosophy reflects a deep engagement with the contrasts of modern society—industrial and organic, permanent and ephemeral. One of Moon’s most iconic works, Barrier , was installed at the Seoul Arts Center Sculpture Park in 1993. This massive structure of steel and cement is a powerful meditation on division and connection, both physical and symbolic. The work’s weathering over time has added layers of meaning, drawing comparisons to Richard Serra’s Tilted Arc for its bold presence and ability to provoke discussion among viewers. Moon achieved critical acclaim early in his career, winning back-to-back special prizes at the Grand Art Exhibition of Korea in 1984 and 1985. In 1993, he was awarded the Kim Sejung Young Sculptor Prize, and his work was exhibited internationally, including a notable solo exhibition in Paris hosted by the French Ministry of Culture. Currently, Moon Insoo continues to live and work in Korea, where his practice remains focused on exploring the relationship between material, space, and societal structures. His contributions to Korean contemporary art, particularly his innovations with cement and steel, have left a lasting impact on the art world and continue to inspire new generations of artists. EDUCATION 1974 Graduated from Seoul Arts High School 1981 Graduated from plastic art department, art college of Hongik University 1983 Graduated from sculpture department, graduate school of Hongik University Art fair 2013-2023 Kiaf (Seoul) 2013-2013 Gallery Art Fair (Seoul) 2017-2018 Changwon Art Fair (Changwon) 2015-2023 Soaf (Seoul) 2017 Manif (Seoul) 2016_2019 Plastic Art Fair (Seoul) 2015-2023 Daegu Art Fair (Daegu) 2012-2017 Busan Art Fair (Busan) 2011 Miami Art Fair (Miami) +a number of others PRIVATE EXHIBITIONS 2024 e.Jung Gallery (Seoul) 2023 Brown Gallery(Seoul) 2023 e.Jung Gallery (Seoul) 2022 IFC hall (Seoul) 2020 DGB gallery (Daegu) 2017 Geon Gallery (Daegu) 2013 Mokam Museum (Guenggi) 2012 Mokam Museum (Guenggi) 2009 e.jung Gallery (Seoul) 2008 Duroo Gallery(Seoul) 2007 Mokam Museum (Guenggi) 2004 Gowon Museum (Suwon Univ.) 2003 Masan MBC (Masan) 2000 Gallery In(Seoul) 1999 Lee Jung-hee Gallery(Seoul) 1997 Artnet Gallery(Suwon) 1996 Park Young-deok Art Gallery(Seoul) 1994 Park Young-deok Art Gallery(Seoul) 1993 Le Rond-Point Gallery (French Ministry of Culture, Invited by World Arts Center, Le Rond-Point, Paris) 1992 Culture and Arts Promotion Institute Art Hall(Seoul) 1988 Culture and Arts Promotion Institute Art Hall(Seoul) 1987 Batanggol Art Museum(Seoul) +a number of others GROUP EXHIBITION 1987-95 Ecold de Seoul(Kwanhun Art Museum, Seoul) 1987-99 Korean Association of Contemporary Sculpture Exhibition(Art Hall, Seoul) 1985 Korea Sculptor Association Exhibition(Art Hall, Seoul) 1983-93 Seoul Festival of Contemporary Art(Art Hall, Seoul) 1981 Hongik Sculpture Association Exhibition(Art Hall, Seoul) 1980 Yehong Exhibition(Kwanhun Art Museum, Seoul) INVITATION EXHIBITIONS 2019 Cross-section of Korean Contemporary Sculpture (Seosomseongji History Museum) 2014 Baum Sculpture Forum (Baum Gallery) 2011 lead to Suwon Maehall (Suwon) 2000 Marine Art Festival(Sejong Culture Assembly Hall, Seoul) / Groping for New Formality(Anyang Culture and Arts Assembly Hall, Anyang) 1998 Korea Association of Contemporary Sculpture Exhibition (Wonseo Gallery, Seoul)/ May Art Festival(In Art Gallery, Seoul) KOREAN CONTEMPORARY ART(Cerrillos Cultural Center, USA) 1996 Contemporary Art Communication Exhibition (Park Young-deok Art Gallery, Seoul)/ Korean Contemporary Sculpture Association Exhibition (Korean Culture and Arts Promotion Institute Art Hall, Seoul) 1993 Commemorative Exhibition celebration opening of Seoul Art Center Exhibition Hall(Seoul Art Center, Seoul)/A phase of Korean Contemporary Art(Pyo Art Gallery, Seoul) 1991 Bronze Fish(To Art Space, Seoul)/Works for Children's Playing Space Exhibition(Space Art Museum, Seoul) 1989 Small Sculpture Exhibition(Gallery Seomi, Seoul)/ and other exhibitions +a number of others PRIZE 2011 Artist of the Year Award (Korean Art Association) 1993 Kim Se-Jung Young Man's Sculpture Prize/ 1992 Total Art Museum Prize/ 1986 The 5th Korean Art Competition(the former National Competition) Grand Prix 1985-1984 The 3, 4th Korean Art Competition(the former National Competition) SPECIALLY SELECTED Work Collection National Museum of Contemporary Art (Kwachun) / Institute for Culture and Arts Promotion(Seoul) Pungsaeng High School (Sungnam) Seoul Art Center (Seoul) Chejudo Sculpture Park (Cheju) Total Art Museum (Changheung) Daewon High School (Seoul) Daejon Expo Future Theme Park (Daejon) Daewon Women's High School (Seoul) / Industrial Lease Building (Seoul) Mokpo Sculpture Park (Mokpo) +a number of others WORKS Load More

< Back CHASE Project: Shin Ki Woon Apr 1, 2025 Shin Kiwoun: Illusion of Permanence is now On View at Gallery Chang - New York The title Illusion of Permanence highlights the fragile and often deceptive nature of what we perceive to be permanent. Shin Kiwoun’s artistic practice revolves around slow transformation—physically eroding objects over time, often through mechanical or elemental forces. Through this process, he dismantles symbols of power and authority such as coins, statues, and busts—objects that typically claim to stand the test of time. In the works presented, viewers will encounter sculptural elements that have been ground down over hours and video documentation of iconic materials being worn away. These acts of removal are not merely destructive, but meditative and revelatory—raising questions about durability, memory, and symbolic value in a rapidly changing world. “I use time as a tool to scratch away the surface of power. Permanence is not a fact, but a structure of belief. By gradually wearing down symbolic objects–portraits of authority, currency, commemorative forms– I reveal how easily they can be erased. This process is not just about destruction; it is a ritualistic act that asks the viewer to consider the tension between belief and fragility. In an age where digital images disappear in 24 hours, I juxtapose the speed of deletion with the illusion of material endurance to question how we remember.” -Shin Kiwoun The show runs August 7th - 12th, 2025, with an artist talk on August 8th at 6:00 PM.

< Back Echoes of My Dear Friend: A Robot's Lament Dec 1, 2022 Echoes of My Dear Friend: A Robot's Lament Anikoon’s upcoming public art project, "Echoes of My Dear Friend: A Robot's Lament," is a poignant exploration of nostalgia and solitude through the lens of retro robotics. This exhibition, set in the former CHASE Bank building in Middletown, New York, takes a heartfelt look at the connections between past and present, and between the mechanical and the emotional. Known for his unique approach to integrating vintage toy robots into his art, Anikoon projects the modern human experience onto these nostalgic figures. With imagery inspired by classic wind-up tin robots and iconic Star Wars characters, his work blends retro aesthetics with a contemporary critique of isolation and estrangement. The playful and vibrant surface of his creations often hides deeper themes of loneliness and melancholy, as reflected in the expressive, whimsical faces of his robotic subjects. "Echoes of My Dear Friend: A Robot's Lament" employs a dynamic range of techniques, including graffiti-inspired spray paint and a playful use of comic book elements and halftone dots. These methods contribute to the pop-art vibrancy of his work while maintaining a modern, flattened aesthetic. Through the combination of restrained composition and vivid colors, Anikoon emphasizes the flatness of the canvas, drawing attention to the work’s painterly qualities while evoking a sense of visual and emotional depth. The exhibition's title, "Echoes of My Dear Friend," reflects the artist's nostalgic and somewhat melancholic journey as he searches for a lost connection. The narrative revolves around a robot—a symbol of Anikoon’s own childhood imagination—who laments the absence of a once-familiar ATM, now gone from its old place in the former bank. The robot’s quest to reconnect with this absent friend mirrors the universal human experience of longing for the past and grappling with the passage of time. Anikoon's art is not just a homage to the past but a commentary on the fleeting nature of relationships and memories. As he prepares for his upcoming participation in the Moment Art Project in New York this May, this December exhibition serves as a tender reminder of the importance of cherishing precious memories and meaningful connections, even as we navigate the fast-paced demands of modern life. Through "Echoes of My Dear Friend: A Robot's Lament," Anikoon offers viewers a reflective space to consider their own experiences of connection and loss, and to appreciate the warmth and significance of the relationships that shape our lives. This exhibition invites us to pause and remember, to celebrate the simple joys and enduring friendships that continue to echo through our lives, even as time and change transform the world around us.

Korea, 1985 Artist Biography Works Next Koo Nahyun Korea, 1985 BIOGRAPHY WORKS Load More

Back 'Brick Artist' Kim Kang Yong, Invitation to Opening 'Gallery Chang' Kim Kang Yong, Reality+Image 2301-2213, 132 x 99 cm, mixedmedia, 2023. 'Gallery Chang', established to promote Korean artists on Manhattan's 55th Street, will officially open its doors with a commemorative exhibition featuring the highly acclaimed brick painter Kim Kang Yong, on the 7th of next month. Gallery director Jun-Hwan Chang, the founder of 'Gallery Chang', stated, "Through the opening of 'Gallery Chang', we will continue to serve as a cultural hub to introduce works of artists representing Korea to the world from New York, contributing to the global growth of the cultural industry and enhancing the national image." Invited to this inaugural exhibition, Kim Kang Yong, known as the master of brick painting, has captivated audiences worldwide as a first-generation hyper-realism artist since the 1970s, gaining international recognition for his brick paintings. Chloe Park, a senior curator of 'Gallery Chang', explained, "In Kim Kang Yong's solo exhibition 'MASTERPIECE (2019-2023)', the focus is on his recent works, including the sand-made brick series symbolizing him, and 'Reality + Image' works. New pieces from 2023 are also being unveiled." She further elaborated, "From the mid-1970s to the 1980s, he mainly painted monochromatic brick walls, but since the 2000s, he has transformed into colorful brick painting, surpassing reality with simplicity and color, once again showcasing his uniqueness. Recently, he has been hailed as the next-generation leader following the monochromatic master, Park Seo-bo." Park continued, "His artistic realm, spanning from the first-generation hyperrealism to encompassing abstraction and monochrome, marks a significant milestone in Korean art history." She added, "His works have garnered significant acclaim among art collectors worldwide and are housed in institutions such as the National Museum of Modern and Contemporary Art, Seoul Museum of Art, and the Lévy Gorvy Art Foundation in LA. They are also actively traded in global art markets such as Sotheby's and Christie's." [Source from THE KOREA DAILY press release, provided by Jongwon Park] < >

Back Gallery Chang Seoul Opens Its First Exhibition of 2025 with Ahn Sungmin’s “Minhwa-Inspired, Minhwa-Esque” www.mhns.co.kr 갤러리 장 서울, 2025 첫 전시 안성민 작가의 ‘민화답게, 민화롭게’ 개최 (문화뉴스 박선혜 기자) 갤러리 장 서울의 2025년 첫 전시 ‘안성민 개인전 : 민화답게. 민화롭게(Minhwa Inspired, Minhwa Esque)를 개최한다고 21일 밝혔다.호텔 오크우드 프리미어에 위치한 갤러리 장 서울에서 1월 21일(화)부터 2월 28일(금)까지 진행되 < >

Back Chungbuk’s Future Lies Not in Seoul, but in the World. Chang Junhwan, Shane Guffogg, and Lee Jong-tae Present a “Global Vision” A new vision was put forward suggesting that Cheongju, Chungcheongbuk-do, should no longer remain in a “second-place strategy” of following Seoul, but instead connect directly with the global stage. A special lecture on culture–technology convergence held on the 2nd at Chungbuk National University was organized through the initiative of New York–based attorney Chang Junhwan, CEO of Gallery Chang. The event drew significant attention from students, particularly with the participation of world-renowned artist Shane Guffogg, who was born in California. Following the lecture, a roundtable discussion was held at the headquarters of Cheongju-based specialty chocolate company Bonjeong, joined by its CEO Lee Jong-tae. Together, the three speakers shared a common awareness: that Chungbuk should be envisioned not as a mere “regional city,” but as a global culture-and-technology hub. Attorney Chang Junhwan proposed the concept of a “city to stay” as a direction for Chungbuk’s urban development. “Many regional cities have the weakness that people simply visit and leave,” he said. “But to revitalize the economy, we need to create conditions that encourage people to stay one more day.” He emphasized the activation of the nighttime economy as a core requirement. “A city lives when the night is alive,” Chang noted, calling for more programs that young people can participate in, as well as cultural events that continue into the evening. He added that “even if railways and roads are connected, the local economy cannot grow unless people actually stay,” citing the PyeongChang Winter Olympics, where nighttime content and cultural events contributed significantly to the regional economy. Addressing students directly, he advised, “Success doesn’t come from a single giant leap, but from a series of small successes. It’s important to keep creating modest achievements here in Chungbuk and connect that confidence to the global stage.” He described the lecture itself as a “cultural experiment for Chungbuk’s future,” adding, “Chungbuk has extraordinary natural assets like Songnisan and a deep cultural heritage. Let’s start today by thinking together about how to connect these to the global market.” Visiting Cheongju for his first lecture in Korea, Shane Guffogg shared his fresh impressions of Chungbuk with students. “On the way to Cheongju, I saw landscapes of greenhouses and rolling hills,” he said. “It reminded me of rural New England or the outskirts of New York. This place, where nature and city coexist, has real appeal as a global testbed.” He was especially impressed by Korea’s café culture. “Korean cafés are on a completely different level,” he remarked. “Even highway rest stops have distinct designs and concepts. They’re not just places to sell coffee, but feel like artworks in themselves. This kind of creativity is a core competitive strength of Korean culture.” Guffogg also introduced his own artistic practice. “My work layers multiple dimensions of time onto a single canvas,” he explained. “That process resembles the concept of superposition in quantum computing. Art and science may seem different, but in fact they speak the same language.” The lecture concluded with a flood of student questions. Guffogg expressed his satisfaction, saying, “When the audience laughs and nods, the lecture truly comes alive. I was impressed by the active discussion culture among both professors and students at Chungbuk National University.” He added, “I hope small cultural movements that begin in Chungbuk will spread beyond Asia to the world,” and expressed his desire to continue engaging with Korea. He is currently presenting a new series, Memories of Our Future , at Gallery Chang Seoul. Lee Jong-tae, CEO of Bonjeong, emphasized the role that regional companies must play on the global stage. “Cultural value often begins in small cities rather than major metropolises,” he said. “Just as artistic movements in France and galleries in Manhattan grew by absorbing content from outside the center, Chungbuk can also generate such momentum.” He stressed that regional brands should function not merely as “sellable products,” but as mediators of global cultural exchange. “Population may decline, but cultural and economic value must grow,” Lee explained. “As a regional brand, Bonjeong is actively participating so that Chungbuk can have a voice on the global stage.” Referring to Bonjeong’s collaboration with a New York gallery, he noted, “This project marked the first case of a Chungbuk brand entering a global cultural platform.” He added, “We will continue to participate in world-class cultural projects to grow Bonjeong into a global brand.” Lee concluded, “When regional companies join hands with culture, they can create new engines of growth. Bonjeong will stand as a cultural partner until the day Chungbuk gains global recognition.” The special lecture and roundtable together reaffirmed the possibility that Chungbuk can connect directly with the world, rather than merely following in Seoul’s footsteps. Each speaker emphasized a different aspect—Chang Junhwan highlighted a “city to stay,” Shane Guffogg stressed the “globalization of cultural creativity,” and Lee Jong-tae underscored the “global leap of regional brands”—but their message was unified. www.bzeronews.com 충북의 미래는 ‘서울 아닌 세계’…장준환·셰인·이종태, ‘글로벌 비전’ 제시 - 불교공뉴스 충북 청주가 더 이상 서울을 따라가는 ‘2등 전략’에 머물지 않고, 곧바로 세계와 연결되는 글로벌 비전의 필요성이 제시됐다.문화와 예술, 그리고 지역 브랜드가 어 < >