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Back Gallery Chang Officially Opens Its Seoul Location with Inaugural Exhibition by Yuri Gorbachev Gallery Chang, headquartered in Manhattan, New York, has officially opened its fourth location—Gallery Chang Seoul—at Oakwood Premier COEX Center in Samseong-dong, Seoul. To commemorate the opening, the gallery has launched a special inaugural exhibition featuring world-renowned Russian-born artist Yuri Gorbachev, the gallery announced on the 18th. Gallery Chang currently operates two locations in New York. The new Seoul space was established with the goal of serving as a cultural bridge between the New York and Korean art scenes and will be led by Director Hong Somin. Running through January 17, 2025, the inaugural exhibition at Gallery Chang Seoul is particularly significant in that it presents, for the first time in Korea through a commercial gallery, a selection of museum-exhibited works by Gorbachev, including his iconic Winter in Uglovka (1998). The exhibition marks a meaningful first step in connecting the artistic worlds of Russia and New York with Seoul. The exhibition showcases a total of 29 works, with a focus on seven major pieces from the 1990s—widely regarded as the peak period of the artist’s career and originally exhibited in museum contexts. The show is also conceived as an opportunity to reexamine these works from a contemporary perspective, recognizing their importance across politics, economics, society, culture, and art history. On view as well is one of Gorbachev’s most notable international collaborations: the limited-edition 1994 Stolichnaya Vodka poster Russian Heritage . Featuring a Russian winter landscape, traditional architecture, and the iconic Stolichnaya vodka bottle rendered in vivid colors and intricate detail, the work is valued not merely as an advertisement but as a highly collectible piece that encapsulates the essence of Gorbachev’s artistic vision. Regarded as the creator of the aesthetic philosophy known as “Positivism” and one of the most prominent artists to emigrate from the former Soviet Union to the United States in 1991, Yuri Gorbachev was classically trained at the Soviet Academy of Arts. His works combine Russian tradition with modern aesthetics, offering viewers a distinctive visual experience through bold color palettes and luminous golden details. Notably, the absence of black in his paintings stands out; instead, he employs bright, vibrant colors to infuse his works with energy and positivity—core principles of his Positivist philosophy. Through the use of traditional lacquer and glaze techniques, Gorbachev maximizes texture and light reflection, achieving a harmonious balance between classical craftsmanship and contemporary style. His luminous color sensibility conveys hope and happiness, demonstrating art’s power to forge deep emotional connections with audiences. Gorbachev’s works are held in the permanent collections of more than 30 major museums and institutions worldwide, including the State Russian Museum and the Russian Museum in St. Petersburg, The Metropolitan Museum of Art in New York, the Louvre Museum in Paris, the Moscow Museum of Modern Art, the National Art Museum of Ukraine, and the United Nations Headquarters. Meanwhile, Gallery Chang Seoul is set to play a key role in bringing New York’s contemporary art ecosystem to Seoul and further connecting the Korean and global art scenes. Director Hong Somin stated, “The opening of Gallery Chang’s Seoul location is expected to contribute to Seoul’s rapidly growing art market while further expanding the international presence of Korean artists already active in New York. We see great potential in the Korean art market and plan not only to introduce works by artists currently active in New York to Korea, but also to serve as an important gateway for Korean artists seeking opportunities in New York.” www.mhns.co.kr 갤러리 장, 서울 공식 오픈 및 개관전 유리 고르바초프 전시 개최 [문화뉴스 이용훈 기자] 뉴욕 맨해튼에 본사를 두고 있는 갤러리 장(Gallery Chang)이 서울 삼성동 오크우드 프리미어 코엑스 센터에 네 번째 지점인 서울 갤러리 장 서울을 공식 오픈하고 이를 기념한 개관전으로 러시아 출신의 세계적 예술가 유리 고르바초프(Yuri Gorbach < >

Back “Mirror-Like Paintings”: Jimi Gleason’s First Solo Exhibition in Seoul A solo exhibition by contemporary artist Jimi Gleason, Illuminated Silence , is being held at Gallery Chang Seoul, located in the Oakwood Premier COEX Center, through June 28. Centered on the theme “silence painted with light,” this exhibition marks the final chapter of Gleason’s Coast to Coast touring project, which concludes in Seoul after presentations in New York and Los Angeles. Using metallic pigments and specialized materials, Gleason creates mirror-like paintings that shift according to the viewer’s movement and the angle of light. His works metaphorically express light that emerges from stillness, and the silence revealed by that light. Gallery Chang explained, “This exhibition, presented in Seoul for the first time, brings together both signature works and new pieces, proposing new possibilities for art at the intersection of the material and immaterial, the visual and the emotional.” By Han Seung-hee / SBS News news.sbs.co.kr '거울 같은 회화' 지미 글리슨 첫 서울 개인전 현대미술 작가 지미 글리슨 의 개인전 가 갤러리 장 서울, 오크우드 프리미어 코엑스 센터에서 오는 6월 28일까지 개최됩니다. < >

Back shane guffogg: at the still point of the turning world - strangers of time SCALA CONTARINI DEL BOVOLO MUSEUM, PHOTO CREDIT: VICTORIA CHAPMAN Shane Guffogg, “At the Still Point of the Turning World - Only Through Time is Time Conquered” 2023, oil on canvas, 84 x 108 inches, (213.6 x 274.3 cm) Shane Guffogg (photo credit Sonia Huckabay) PRESS RELEASE Celebrated American artist Shane Guffogg lands in Venice this April New exhibition opening during the Venice Biennale to showcase ongoing dialogue between the abstract artist and poet T.S. Eliot This April, at the historic Scala Contarini del Bovolo, Venice, American Artist Shane Guffogg will present a new series of 21 paintings titled At the Still Point of the Turning World – Strangers of Time , opening during the 60th International Art Exhibition – La Biennale di Venezia 2024. Guffogg’s latest major exhibition promises to add a splash of joy and a touch of magic to Venice’s energetic art scene this April. This unprecedented collection of work in fact represents the ongoing dialogue between the abstract artist and poet T.S. Eliot’s renowned set of poems, Four Quartets , which has inspired Guffogg to create works that explore the intersection of time, space, consciousness and transcendence. The series of large-scale paintings explores concepts of movement, escape and migration, placing human nature as innately transitory throughout history. These themes are particularly autobiographical, as Guffogg's father immigrated to the United States in 1957 from Northern England, driven by the pursuit of the "American dream". Subsequently, Guffogg moved from the central valley of California to Los Angeles in the late 1980s, in the pursuit of artistic and cultural acceptance. The exhibition will be split in two rooms, each inspired by a different passage from T.S. Eliot’s writing and will feature selected works that can be enhanced through augmented reality (AR). Utilizing AR and artificial intelligence, Guffogg expands the possibilities of what art can be, inviting viewers to see and think beyond the 24/7 age of information, in a meaningful and immersive way. At the end of the first room, for example, will be the large canvas Only Through Time is Time Conquered (7 x 9 feet; 213.6 x 274.3 cm), which draws on the colours of the rich history of Venice and a painting by Tintoretto permanently exhibited in the rooms of Palazzo Contarini. The canvas will be AR-enabled, to allow viewers to experience the movement of the artist's hand in creating the work. The viewer will have a QR code to scan and then, once pointed at the painting, the AR will be activated showing the inversion of the application of colours and lines, until the painting is in its initial phase, which will then dissolve visually revealing the work by Tintoretto underneath. Jacopo Tintoretto, Paradise, (ca. 1588 – oil on canvas, cm 154 x 350 ) photo credit: courtesy of Gioielli Nascosti dI Venezia Guffogg’s “Only Through Time is Time Conquered” and tintoretto’s “paradise” near by “JACOPO TINTORETTO’S 1388 OIL-ON-CANVAS PAINTING, “PARADISE,” MEASURING 154 X 380CM, IS PROMINENTLY DISPLAYED AT THE SCALA CONTARINI DEL BOVOLO IN VENICE, ITALY. IT SERVES AS A FOCAL POINT IN DIALOGUE WITH GUFFOGG’S “AT THE STILL POINT OF THE TURNING WORLD - STRANGERS OF PARADISE” EXHIBITION. MOVED BY THE PROFOUND INFLUENCE OF TINTORETTO’S WORK, GUFFOGG DECIDED TO CREATE SITE-SPECIFIC PIECES AT SCALA CONTARINI DEL BOVOLO. FOLLOWING THOROUGH CONTEMPLATION, HE OPTED TO HARMONIZE HIS COLOR PALETTE WITH THAT OF TINTORETTO’S MASTERPIECE, A DECISION THAT SUCCESSFULLY SUPPORTS THE COHESIVE THEME OF HIS EXHIBITION AT THE SAME VENUE.” — VICTORIA CHAPMAN, STUDIO DIRECTOR, GUFFOGG STUDIO Enamoured with Europe’s Old Masters and inspired by their techniques, Guffogg has developed his own unique style incorporating a fascination of magic, iconography and quantum physics, which perfectly matches the uniqueness of the exhibition’s setting. The iconic Scala Contarini del Bovolo, a Venetian palazzo featuring a spiralling 15th Century staircase, 28 meters high, intertwines and dialogues with the artworks seamlessly. - Midas Neither Flesh nor Fleshless #1 , 2023, oil on canvas, 40 x 36 inches, (101.6 x 91.4 cm) Written by Victoria Chapman (Studio Director, Guffogg Studio) "In Four Quartets, T.S. Eliot explores themes of the present moment, the cosmic order, and coexistence, a sentiment shared by artist Shane Guffogg. Commencing in April 2023, Guffogg embarked on a creative journey, producing twenty-one paintings inspired by three stanzas from Burnt Norton, the first chapter of Eliot's work. These artworks, employing lines and colors, provide a visual examination of the exchange of thoughts across time. Guffogg's engagement with Four Quartets commenced over three decades ago and endures, as he contemplates Eliot's exploration of the abstract interplay between life experiences and the formation of memories. Eliot's poem, written in England between 1936 and 1942, is divided into four sections, each relating to one of the classical elements: air, earth, water, and fire. Eliot's verse, 'Be remembered; involved with past and future. Only through time is time conquered.' from Burnt Norton Section II, highlights the central theme of time's influence on human existence. Influenced by both Eastern and Western literature, including the Bhagavad Gita, Confessions of Saint Augustine, and The Divine Comedy, Eliot also drew inspiration from Beethoven's quartet, which may have influenced the poem's title and musical underpinnings. Guffogg, with his sound-to-color synesthesia, instinctively recognized this musicality, evident in his paintings. The works convey an inherent 'sound score' through their visual rhythm, offering an intuitive perception that guides the composition through the choice of lines and colors. The exhibition's largest piece, 'Only Through Time is Time Conquered,' exudes a dynamic quality, with blue lines at its core that pulse and summon supporting red and yellow lines, infusing contrasting tones with an oceanic sense of movement. Guffogg shared his creative process, revealing a connection between sound and color: 'As I was working on the seven by nine-foot canvas, and listening to abstract-classical-orchestrated music, I noticed the presence of dissonant chords. This parallel with my paintings, especially 'Only Through Time, Time is Conquered,' where complementary colors push against each other, creates a tension akin to the unsettling notes in the music. This experience immerses me in the present moment during the painting process, disconnecting from extraneous thoughts.” “The importance of a painting’s title varies from artist to artist. In the case of Shane Guffogg, the title serves as an informative element for the painting but does not determine or predict its creation. The titles, “Only through time is time conquered,” “Reach into the silence,” and “Neither flesh nor fleshless,” draw inspiration from T.S. Eliot’s desire to transcend time and live in the present, as explored in these stanzas.” Neither Flesh nor Fleshless #2 , 2023, oil on canvas, 40 x 36 inches, (101.6 x 91.4 cm) Neither Flesh nor Fleshless #3 , 2023, oil on canvas, 40 x 36 inches, (101.6 x 91.4 cm) Neither Flesh nor Fleshless #4 , 2023, oil on canvas, 40 x 36 inches, (101.6 x 91.4 cm) “Guffogg’s enduring fascination with Eliot’s Four Quartets has led to the evolution of his artwork, reflecting increasing complexity. His approach to life also mirrors this deepened connection, as he embraces fleeting moments with a sense of permanence. Using glazes, he masterfully creates the illusion of multiple light sources within his compositions. In addition, his extensive research into the techniques and materials of old masters, along with his background in publishing articles on art, results in figurative subjects transformed into abstract forms.” The interplay between light and dark, represented by transparent veils of light and complementary colors, produces a dynamic tension within the paintings, leading the viewer into an infinite shadow of darkness while drawing them towards the light. Guffogg's work encapsulates a timeless quality, capturing the eternal moment, which resonates with Eliot's themes. It invites the viewer to engage consciously and subconsciously, seamlessly merging these aspects and revealing the essence felt rather than merely perceived. Neither Flesh nor Fleshless #5 , 2023, oil on canvas, 30 x 24 inches, (76.2 x 60.9 cm) Neither Flesh nor Fleshless #6 , 2023, oil on canvas, 30 x 24 inches, (76.2 x 60.9 cm) Neither Flesh nor Fleshless #7 , 2023, oil on canvas, 40 x 36 inches Neither Flesh nor Fleshless #8 , 2023, oil on canvas, 60 x 48 inches, (152.4 x 121.9 cm) Neither Flesh nor Fleshless #9 , 2023, oil on canvas, 30 x 24 inches, (76.2 x 60.9 cm) Neither Flesh nor Fleshless #10 , 2023, oil on canvas, 30 x 24 inches, (76.2 x 60.9 cm) Neither Flesh nor Fleshless #11 , 2023, oil on canvas, 60 x 48 inches, (152.4 x 121.9 cm) Neither Flesh nor Fleshless #12 , 2023, oil on canvas, 40 x 36 inches, (101.6 x 91.4 cm) Guffogg's "At the Still Point of the Turning World" series, originating from a subconscious sketch in 2009, explores his quest for inner balance and serves as an autobiographical narrative. These paintings are not self-portraits in the conventional sense but expressions of his existence, a journey through the human condition, and his relationship with time. His artistic process involves a silent, solitary exploration of his work, where thoughts become visual language. Music plays a pivotal role in his creative process, acting as a conduit to connect with the universal essence. This process, which Guffogg describes as dipping his toes into the pond of the universe on a good day, is a ritual he continues to uphold. “This narrative underscores the profound and personal dimensions of Guffogg’s artistry and the unique creative process that fuels it.” Guffogg's art, much like T.S. Eliot's poetry, encapsulates a profound yearning, inviting observers to experience the authentic, providing a space to encounter time and the present. These works serve as a testament to Guffogg's need to share evidence of what it means to be alive, encompassing thoughts, emotions, love, suffering, and healing. His art, particularly in the "Neither Flesh nor Fleshless" series, is deeply autobiographical, portraying moments of existence. The "Neither Flesh nor Fleshless" series invokes an enigmatic quality, exploring the interplay of flesh and the absence of it. Guffogg's approach involves allowing his hands to move across the canvas, making the brushes an extension of his physicality. Thin veils reminiscent of Renaissance art, particularly the translucent black veil seen in the Mona Lisa, represent the delicacy and fragility of life and the moment of transition. These paintings aim to present an unsolvable question, provoking contemplation. Emotional and primarily red in color, with various shades of dark, earthy-red, charcoal, and smoky hues, the series delves into the convergence of spiritual and physical worlds. These works provoke contemplation of time and composition, offering a reflection on the past, present, and even the future. They express a belief system rooted in human existence, sharing intimate thoughts, sensations, and a blend of the mental and spiritual. They evoke words like "annunciation," "rapture," and "communion," prompting self-awareness and introspection. Collectively, the series emanates an ethereal quality, while individually, each painting conveys a unique message. Gestural marks transform into ribbons or veils of light, revealing saturation and fluidity, evoking celestial elements. The series prompts a sense of longing and contemplation, exploring the boundary between order and chaos. Guffogg's work serves as a testament to truth, representing both a historical narrative and a visual and emotional experience. Reach into the Silence #1 , 2023 oil on canvas, 72 x 60 inches (182.8 x 152.4 cm) “The “Reach into the Silence” series, comprised of eight paintings, visualizes a Gregorian chant, embodying the concept that words and music can reach stillness only through form and pattern. Guffogg’s ability to follow a command and create in response to a voice reflects the depth of his creative process.” In contrast to Monet's works at Giverny, Guffogg doesn't depict his garden but paints abstract moments informed by the landscape. His connection to the land and his understanding of light enables him to create a sense of depth and movement, similar to Monet's approach. Guffogg's keen perception of the environment, weather patterns, and his intimate connection with his chosen workspace contribute to the unique quality of his artwork. Reach into the Silence #2 , 2023 oil on canvas, 72 x 60 inches (182.8 x 152.4 cm) Reach into the Silence #3 , 2023 oil on canvas, 72 x 60 inches (182.8 x 152.4 cm) Reach into the Silence #4 , 2023 oil on canvas, 72 x 60 inches (182.8 x 152.4 cm) Reach into the Silence #5 , 2023 oil on canvas, 72 x 60 inches (182.8 x 152.4 cm) This narrative delves into the intricate and profound dimensions of Guffogg's artistic process, inviting viewers to explore the intricate layers of his work and its connection to the world around him. “In Guffogg’s own words, his artistic process serves as a form of meditation, a means of documenting his journey through life. Each line, each brushstroke on the canvas represents a unique moment in time. What viewers witness in his paintings is the accumulation of these moments, all distilled into a singular, profound instant.” His artworks are not only visual expressions but also personal narratives, sharing his own story while reflecting on the profound themes found in T.S. Eliot's text. In each brushstroke, viewers can explore the interplay of line, color, and elements of space, delving into the essence of his experiences and the emotions woven into his work. Reach into the Silence #6 , 2023 oil on canvas, 72 x 60 inches (182.8 x 152.4 cm) Reach into the Silence #7 , 2023 oil on canvas, 72 x 60 inches (182.8 x 152.4 cm) Reach into the Silence #8 2023 oil on canvas, 72 x 60 inches (182.8 x 152.4 cm) Only Through Time is Time Conquered, 2023, oil on canvas, 84 x 108 inches, (213.6 x 274.3 cm) “Be remembered; involved with past and future.only through time is time conquered.” — Burnt Norton Section II, T.S. Eliot Since Guffogg’s first encounter with the Four Quartets , his fascination has not wavered. If anything, it has grown deeper, which is evident in the developing complexities of his paintings and can also be seen in how he lives life, taking each moment in each day as something that is fleeting but permanent. Guffogg uses glazes to paint the illusion of various light sources within the composition. He has also written and published numerous articles analyzing paintings of the old masters and reads books on artists’ materials from the past. The results are figurative subjects painted as abstract forms. There is a balanced struggle between the light and dark, yin and yang, represented through painted transparent veils of light and complementary colors, that push the illusionary picture plane further back into an infinite shadow of darkness as light pushes toward the viewer. The paintings embody a certain timelessness; capturing the eternal moment, which is the key and link to Eliot. The viewer is an integral part of the work because these paintings require an exploration that engages the conscious and subconscious, which the artist seamlessly fuses together, bridging the essence of what is felt rather than merely perceived. In 2009, while listening to a public speaker and without thinking, Guffogg felt a need to sketch his subconscious. This was the beginning of the At the Still Point of the Turning World series – lines that would loop out toward the edge and back around to the center of the page as if there was a hidden gravitational force controlling his hand. It was the artist’s way of finding his own still point and inner balance. These paintings are autobiographical. They aren’t mirror images of what he looks like; eyes, face, hair, etc. Rather, they are the evidence of his existence, the exploration of the human condition, and his relationship to time. Not only are they paintings, they are a confirmation of truth. When Guffogg enters his studio, it is a silent act. The artist walks around, looking to see what his paintings are telling him. He works alone, there are no assistants. Watching him lay down the first traces of lines is quite mystical. He has said that thoughts become words, but what do our thoughts look like before they become language? Then the music is turned on and he becomes a conduit. As Guffogg likes to say, when he is having a good day in the studio, he gets to dip his toes into the pond of the universe. Like Eliot’s poetry, Guffogg has instilled a certain yearning into these works. These paintings also bring a moment for the observer to experience a place to witness time and the present. I think this may be Guffogg’s need to share evidence of what it means to be alive; think, feel, love, suffer, heal. I am returning to the fact that it is autobiographical. Guffogg has said he paints moments of existence. “The experience of these paintings transports us to places of refuge that are completely unknown. They are summoning moments of his existence, steeped within the consciousness of which they are manifested.” [Source from VC Projects press release] www.vcprojects.art Shane Guffogg/Scala Contarini del Bovolo Museum, Italy — VC PROJECTS < >

Back Yuri Gorbachev Solo Exhibition ‘Museum Collection’(6/20-7/27) Gallery Chang is pleased to announce a solo exhibition featuring the work of the internationally renowned Russian-American artist, Yuri Gorbachev. Drawing inspiration from his childhood memory in Russia, the radiant jewel tones of Byzantine art, and the intricate craftsmanship of Peter Carl Faberge, a famous Russian goldsmith, Gorbachev creates vivid, richly textured paintings through the use of oil, gold, silver, and bronze. Gorbachev’s work, characterized by the application of specially formulated lacquer and glazing techniques, reflects his classical training and expertise in ceramics acquired in Russia. Gorbachev, born in the Soviet Union in 1948, established a successful career as a ceramicist specializing in sculpture in his home country. His native region of Novgorod(Но́вгород) produced one of the foremost schools of icon paintings, established by Andrei Rublyov, who was a disciple of the renowned Byzantine artist Feofan the greek. Gorbachev regards Rublyyov as a major influence on his art, alongside Picasso, Rousseau, Kandinsky, and Malevich. In 1991, upon arriving in the US, Gorbachev transitioned from ceramics to working with oil on canvas, making the beginning of the most prolific period of his career. Since then, Gorbachev has exhibited his work in nearly three hundred exhibitions worldwide. His works also have been widely collected by renowned international galleries and museums, including the Russian National Museum, the Louvre, the National Armenian Gallery, and the Clinton White House, among others. Gorbachev’s global appearances have enabled him to extensively travel, particularly in Asia. The inspiration he gained from his trips to Asia has profoundly shaped his art-making, leading him to leave the cultural influences froths journeys and childhood memories into his canvas. In 1995, Gorbachev went to Bali, and the profound impact of this previously unfamiliar culture led him to incorporate Indonesian motifs as a central element in his still-life series. For instance, flower hold significant importance in Balinese culture, being used in ceremonies for all life events, including brith, death, and everything in between. Gorbachev’s longing for his homeland also plays an important role in his art. In his landscapes series, Gorbachev channels this nostalgia into a vibrant kaleidoscope of Russian scenes. His works depict vivid visual imagery, including a racing troika and buildings reminiscent of Moscow’s iconic St. Basils’s Cathedral, against the backdrop of snowy, idyllic countryside. Sometimes Gorbachev blends a diverse array of visual tropes from still life and landscape series into one canvas, featuring wild animals, lush flora, and enigmatic figures carrying a symbol of the sun, moon, and star. His unique way of juxtaposing various cultural influences yields paintings that reinterpret both Asian and Russian myths, fairy tales, and landscapes, thereby opening up a realm of curiosity and imagination. Notably, Gorbachev’s art stands out for its ability to interweave diverse cultures and imagery, brought to life through vibrant colors, dynamic figures, and imagination. Opening reception on June 20th Yuri Gorbachev, River in My City, 1998, Oil, gold, bronze on canvas, 36 x 48 inches 러시아 출신 미국인 화가 유리 고르바초프(Yuri Gornachev)의 개인전 ‘Museum Collection’ 뉴욕 미드타운에 위치한 갤러리 장(Gallery Chang)에서 6월20일부터 7월27일까지 열린다. 이 전시는 고르바초프ㅏ 자란 러시아의 풍경과 문화에서 영감을 받아 제작된 회화를 바탕으로 특히 비잔틴 예술과 세밀한 러시아 금속 공예의 장인정신을 담아낸 작품들을 선보인다. 특수 제조된 라커와 유화기법, 그리고 금, 은, 청동과 같은 비전통적인 재료를 사용하여 생동감 넘치고 풍부한 질감의 회화를 창조한 유리 고르바초프의 독특한 회화기법은 러시아에서 전통 도예가로 훈련을 받은 그의 초창기의 예술성을 반영한다. 1948년 소련 연방에서 태어난 고르바초프는 고향 노브고로드(Но́вгород) 지역에서 조각을 전공한 도예가로서 성공적인 경력을 쌓았다. 그의 고향인 노브고로드 지역은 저명한 비잔틴 예술가 테오판 그리스(Feofan the Greek)의 제자였던 안드레이 루블료프(Andrei Rublyov)가 설립한 주요 아이콘 회화 학파로 유명한 지역 중 하나이다. 고르바초프는 피카소, 루소, 칸딘스키, 말레비치와 함께 루블료프를 자신의 예술에 큰 영향을 미친 인물로 언급한다. 유리 고르바초프는 1991년 미국으로 이주한 후 도자기에서 캔버스에 오일로 사용하는 회화로 전환했다. 고르바초프는 아시아를 포함한 세계 곳곳의 다양한 나라를 여행하면서 영감을 얻었다. 1995년 인도네시아 여행 중 발리 섬의 독특한 문화의 영향을 받아 인도네시아의 신화, 역사, 자연을 상징하는 요소들을 그의 정물화 시리즈의 중심요소로 사용하게 되었다. 고르바초프의 풍경 시리즈에서는 특히 고향을 그리워하는 그의 향수가 짙게 드러난다. 하얀 러시아의 설경을 배경으로 모스크바의 상징인 성 바실리 성당 등 건축물을 포함한 생동감 넘치는 풍경을 묘사한다. 고르바초프는 때때로 정물화와 풍경 시리즈의 다영한 시각적 요소를 하나의 캔버스에 엮고, 야생 동물, 푸른 식물, 해와 달 그리고 별을 상징하는 신비로운 인물들을 특징으로한다. 동서양의 다양한 문화를 캔버스에 담아내는 고르바초프의 독특한 작품세계는 아시아와 러시아의 신화, 동화, 풍셩을 재해석하여 보는 이의 호기심과 상상력의 영역을 열어준다. 고르바초프는 세계 각국에서 300회에 달하는 전시회에 참가했으며, 그의 작품은 러시아 국립 박물관(상트페테르부르크), 루브르 박물관, 국립 아르메니아 갤러리, 클린턴 정부 백악관 등지에서 소장하고 있다. 이 전시는 갤러리장 본관 C1에서 7월 27일까지 계속되며, 전시는 월요일부터 토요일 오전 11시0오후7시 사이에 관람할 수 있다. [Source from nyculture press release, provided by Sukie ] www.nyculturebeat.com 갤러리장 유리 고르바초프(Yuri Gorbachev) 개인전 'Museum Collection'(6/20-7/27) - Lounge - NYCultureBeat 유리 고르바초프: 뮤지엄 콜렉션 2024년 6월 20일-7월 27일 갤러리 장, 뉴욕 러시아 출신 미국인 화가 유리 고르바초프(Yuri Gorbachev)의 개인전 'Museum Collection' 뉴욕 미드타운에 위치한 갤러리 장(Gallery Chang)에서 6월 20일부터 7일 27일까지 열린다. 이 전시는 고르바초프가 자란 러시아의 풍경과 문화에서 영감을 받아 제작된 회화를 바... < >

Back Gallery Chang 'K-Art Chronicles' Group Exhibition K-Art Chronicles. 2024 Gallery Chang in Manhattan, New York, will host the 'K-ART Chronicles' exhibition from March 29th to April 10th. This exhibition presents a unique opportunity to explore the artistic worlds of four masters in contemporary Korean art: Cho Yong-Ik, Kim Sea Joong, Moon Insoo, and Oh Kwan Jin. According to Gallery Chang, Cho Yong Ik is recognized as a pioneer of monochrome painting in Korea, alongside Park Seo-bo, Yun Hyong Keun, Yun Myeung Ro, and Ha Chong Hyun. Through geometric elements and abstract forms, Cho Yong Ik conveys a distinctive aesthetic experience, contributing significantly to the development of Korean art history. Kim Sea Joong, acclaimed in the global art scene as a 'painter of light,' explores light, space, and time in his artworks. His works delve into spatial and temporal exploration, interpreting surfaces three-dimensionally and addressing the power of light and emotions. By combining painting and sculpture, Kim Sea Joong presents new perspectives, integrating the philosophical meanings of time and spatial senses to pursue 'invisible differentiation.' Gallery Chang's 'K-ART Chronicles' promises an enlightening encounter with the artistic achievements of these renowned Korean contemporary artists. Moon Insoo is a pioneer as a sculptor in "iron and concrete," broadening the spectrum of contemporary art. He was the first artist to win the Grand Prize in the sculpture category at the National Art Exhibition in 1986. His iconic sculpture "Red Bull" features a minimalist silhouette in a modernist style, and at this exhibition, he will showcase works including the "Red Bull" sculpture, paintings, special editions, and the "Multicolored Bull" sculpture. Oh Kwan Jin led the popularization of K-Art (Korean Art) as a painter, embodying the harmony of East and West in his works, notably represented by his Moon Jar series "Emptying and Filling." His artworks have been featured in three major Korean dramas and movies, contributing significantly to promoting Korean art globally. [Source from THE KOREA DAILY press release, provided by Jongwon Park] < >

Back Mirror-like Paintings: Jimmy Gleason's First Solo Exhibition in Seoul news.sbs.co.kr '거울 같은 회화' 지미 글리슨 첫 서울 개인전 현대미술 작가 지미 글리슨 의 개인전 가 갤러리 장 서울, 오크우드 프리미어 코엑스 센터에서 오는 6월 28일까지 개최됩니다. < >

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 Shane Guffogg: Memories of Our Future The solo exhibition Memories of Our Future by American contemporary artist Shane Guffogg is currently on view at Gallery Chang in Manhattan, opening on October 23. Featuring new works from 2025, this exhibition marks Guffogg’s second solo show at Gallery Chang New York, following his 2024 exhibition Shane Guffogg: The Future is Past is Present . Centered on the philosophical theme Guffogg has long explored—the “intersection of time and space”—the exhibition visualizes moments where the boundaries between present, past, and future become blurred. Through transparent layers of color and flows of light, his paintings capture traces of time and movements of consciousness, inviting viewers to reflect on how multilayered the fleeting moment of “here and now” truly is. In this exhibition, Guffogg presents a new interpretation of human perception in the age of AI. At the opening reception, he remarked, “We are already living in the fourth world—the world in our hands, the reality inside our phones,” raising the question of what “memory” and “the present” mean in an era when machines preserve memory. The complex intersections of lines and trajectories of light in his work are not merely abstract forms, but visualizations of vibrating consciousness, data flows, and the points where human thought intersects with AI. Guffogg explains, “My work is about painting the space where human and machine, present and future, memory and prediction overlap.” For many years, Guffogg has explored AI as an artistic tool through his algorithmic project Sounds of Color , which translates color into sound. He sees AI not simply as technology, but as a new “language” that expands human perception, seeking through art to restore humanity in the technological age. This exhibition not only shows the evolution of his painterly language, but also invites viewers into a new visual narrative born at the crossroads of memory and prediction, human and machine, light and time. Curator Jinnie Kang of commented, “This exhibition represents the essence of Guffogg’s philosophical painting and offers a poetic response to the nature of humanity in the technological age. We focused on the artist’s attitude of expanding human experience through the new tool of AI.” Shane Guffogg was born in Los Angeles in 1962 and studied art at the California Institute of the Arts. He later worked as an assistant to pop artists Ed Ruscha and Joe Goode. He has drawn inspiration from J.M.W. Turner’s seascapes, Mark Rothko’s late works on paper, Rembrandt’s paintings, and Jasper Johns’s early “alphabet” paintings. In the 1990s, he developed a pattern-painting technique using layered translucent oil paint to create inner light within the canvas, expressing consciousness and the subconscious. From 2009 onward, inspired by T.S. Eliot’s poem Burnt Norton , he began the ongoing At the Still Point series, depicting movements of light through ribbon-like brushstrokes. Later, inspired by Leonardo da Vinci’s Ginevra de’ Benci (National Gallery, Washington DC), he created the Ginevra de Benci series, using oil paint mixed with resin and ribbon-like light motifs that subtly suggest the feminine form of the original portrait. His works are held in collections including the Los Angeles County Museum of Art (LACMA), Duke University Nasher Museum of Art (Durham), Fundación/Colección Jumex in Mexico City, and St. Patrick’s Cathedral in New York. The exhibition runs through December 9. https://www.nyculturebeat.com/index.php?mid=Lounge2&document_srl=4166882 < >

Back KANA and Gallery Chang Host Korean Artists' Group Exhibitions KANA and Gallery Chang Host Korean Artists' Group Exhibitions The Korean Association of New York Artists (KANA) is collaborating with Gallery Chang in Manhattan to present two group exhibitions from July 30 to August 18. KANA and Gallery Chang stated that the exhibitions aim to highlight talented Korean artists and explore new directions for Korean art, expanding its potential. This initiative is based on the curatorial vision of Calvin Lee and Lina Hae Lin Hwang. The exhibitions are divided into two parts, each with a different theme: "Binary Equilibrium" and "Unbound Playground." Part 1 features artists Tae Joong Kim, Sae Jun Kim, Jean Oh, Dawn Kim, Calvin Lee, Yuna Cho, Paul Rho, and Kai Oh, all of whom share a cultural background rooted in Korea while working in New York. This section reflects the artists' perspectives on the intersection of existentialism and nihilism. From August 9 to August 18, Part 2 will showcase works by artists Anikoon, Sun You, Yong Sun Kwon, Taekyung Suh, Hongbin Kim, and Soo Park. This section presents a variety of visual languages and playful expressions, rooted in the artists' everyday experiences, childhood memories, and emotions. KANA·갤러리 장, 한인작가 단체전 개최 뉴욕한인예술인협회(KANA)는 맨해튼 갤러리 장(Gallery Chang)과 함께 7월 30일부터 오는 8월 18일까지 두 차례의 단체전을 갖는다. 뉴욕한인예술인협회와 갤러리장은 이번 2차례의 단체전에 대해 “공동 기획자 이상혁과 황혜린의 기획을 바탕으로 역량 있는 한인 작가들을 조명하고 한국 미술의 새로운 방향을 모색하며 발전 가능성을 더욱 확장하고자 한다”고 밝혔다. 전시는 1부와 2부로 나누어져 각각 ‘Binary Equlibruim’과 ‘Unbound Playground’라는 다른 주제로 진행된다. 1부 전시에는 뉴욕에서 활동하며 한국 문화적 배경을 공유하는 김태중, 김세준, 오진이, 김다운, 이상혁, 조윤아, 노바울, 그리고 오가영 작가가 참여한다. 1부 전시는 실존주의와 허무주의의 이중성의 맞닿아 있는 부분에 대한 작가들의 견해를 담아냈다. 8월 9일부터 8월 18일까지 열리는 2부 전시에는 애니쿤(Anikoon), 유선미, 권용은, 서태경, 김홍빈, 그리고 박연수 작가가 참여한다. 2부 전시는 작가들의 일상과 어린 시절의 경험 기억과 감정에서 출발해 각기 다른 시각적 언어와 유희적인 표현으로 이뤄진 작업들을 선보인다. [Source from THE KOREA DAILY press release, provided by Jongwon Park ] news.koreadaily.com KANA·갤러리 장, 한인작가 단체전 개최 뉴욕한인예술인협회(KANA)는 맨해튼 갤러리 장(Gallery Chang)과 함께 7월 30일부터 오는 8월 18일까지 두 차례의 단체전을 갖는다. 뉴욕한인예술인협회와 갤러... < >

Back Korean Association of New York Artists (KANA) Part 1 ‘Binary Equilibrium’ The Korean Association of New York Artists (KANA) is hosting two group exhibitions at Gallery Chang in Manhattan from July 30 to August 18. Curated by Calvin Lee and Lina Hae Lin Hwang, the exhibition is divided into two parts: Part 1, "Binary Equilibrium" (July 30 - August 7), and Part 2, "Unbound Playground" (August 9 - August 18). In Part 1, "Binary Equilibrium," artists Tae Joong Kim, Sae Jun Kim, Jean Oh, Dawn Kim, Calvin Lee, Yuna Cho, Paul Rho, and Kai Oh, all active in New York, will participate. The exhibition title "Binary Equilibrium" is inspired by philosophical texts such as Nietzsche’s "Thus Spoke Zarathustra" and Sartre’s "Being and Nothingness," reflecting the artists' perspectives on the intersection of existentialism and nihilism. Referencing the Eastern concept of Yin and Yang, the exhibition explores the boundary of these two waves, seeking balance between contrasting themes. The Eight Trigrams represent specific forms of nature and life. Each trigram contains elements of the Eastern natural world, and together they symbolize a state of completeness in Buddhism. The works of the eight artists, which incorporate the harmony of existence and nothingness, resonate with the Eastern worldview of past generations encapsulated in the Korean flag. Exploring how objects are perceived by subjects, German aesthetician Nikolai Hartmann categorized beauty into four concepts, and this exhibition references Hartmann’s framework in examining how humans perceive nature. The exhibition is divided into four sections: Sublime Beauty (Sae Jun Kim, Tae Joong Kim), Humorous Beauty (Jean Oh, Kai Oh), Tragic Beauty (Calvin Lee, Dawn Kim), and Elegant Beauty (Paul Rho, Yuna Cho). Each pair of artists explores the philosophical thoughts of existentialism and nihilism, sharing diverse perspectives on the meaning of life and existence through their works. "Binary Equilibrium" focuses on the existential flow rooted in human relationships with nature, contrasting with the nihilistic principles of nature. Sae Jun Kim and Tae Joong Kim depict nature, observing existence from a perspective that is opposite to that of the audience. Jean Oh and Kai Oh investigate the ambiguity and clarity of existence, expanding the ecosystem’s perspective and capturing the dissonance between humans and nature. Calvin Lee and Dawn Kim visualize the relationship between nature and humanity, transforming a vertical structure into a horizontal one to create a sense of order on the same plane. Paul Rho and Yuna Cho share a common theme of nature’s permanence, rearranging memories of nature to elevate and expand the boundaries of Korean elegance. The opening reception will take place on July 30 from 6 PM to 8 PM, followed by an artist talk on Saturday, August 3, at 2 PM featuring artists Paul Rho, Calvin Lee, Jean Oh, and Kai Oh. 뉴욕한인예술인협회(KANA, Korean Association of New York Artists, https://www.nykana.org)가 7월 30일부터 8월 18일까지 맨해튼 갤러리 장(Gallery Chang)에서 2회의 그룹전을 연다. 이상혁(Calvin Lee)과 황혜린(Lina Hae Lin Hwang)이 기획한 이 전시는 1부 ‘Binary Equilibrium’(7/30-8/7)과 2부 ‘Unbound Playground’(8/9-8/18)로 나뉘어 진행된다. 제 1부‘Binary Equilibrium’에서는 뉴요게서 활동하는 김태중(Tae Joong Kim), 김세준(Sae Jun Kim), 오진이(Jean Oh), 김다운(Dawn Kim), 이상혁(Calvin Lee), 조윤아(Yuna Cho), 노바울(Paul Rho), 그리고 오가영(Kai Oh)작가가 참여한다. 전시 타이틀 ‘Binary Equilibrium’은 니체의 ‘차라투스트라는 이렇게 말했다’와 사르트르의 ‘존재와 무’와 같은 철학적 텍스트에서 영감을 받았으며 실존주의와 허무주의의 이중성의 맞닿아있는 부분에 대한 작가들의 견해를 담아낸다. 동양의 음양 개념을 참조하여, 전시는 음과 양의 물결의 결계선에 대한 탐구를 진행하며 두 개념의 대립을 넘어서 상반된 주제 사이에서의 균형을 찾아간다. 8괘는 자연과 인생의 구체적 형태를 나타낸다. 8괘의 각 괘는 동양의 자연계 구성물들을 담고있는데 각 괘가 모인 8괘는 불교에서 완전의 상태를 상징한다. 존재와 무의 음양의 조화를 포함하여 자연과 삶을 소재로 한 8명의 작가들의 작업들은 태극기가 담아내고 있는 선대의 한국인들의 동양적 세계관과 관점에 공명한다. 객체를 주체가 어떻게 바라보는지에 대한 탐구에서 독일 미학자 니콜라이 하르트만은 미적범주라는 개념을 정리하여 아름다움을 네개의 개념으로 분류하는데 전시는 인간이 자연을 어떻게 바라보는가를 두고 하르트만의 체계를 참고했다. 이정시는 숭고미(김세준, 김태중), 골계미(오진이, 오가영), 비장미(이상혁, 김다운), 우아미(보바울, 조윤아)의 4개의 섹션으로 나뉘어져 있다. 두작가가 짝을 이루어 실존주의와 허무주의의 두 철학적인 사유를 탐구하며, 인생과 존재의 의미에 대한 각기 다른 관점을 작품을 통해 공유한다. ‘Binary Equilibrium’은 인간과 자연을 근간으로 사람과의 관계에서 시작된 실존주의의 흐름과 이에 반한 자연의 허무주의의 원리에 집중한다. 김세준과 김태중은 자연을 형상화하며 자연의 관점에서 세상을 역으로 바라보며 관객의 관점과 반대되는 지점에서 존재를 관찰한다. 오진이와 오가영은 존재의 모호함과 명확함의 경계의 대한 탐구로 진행되며 생태계의 단면을 확장하고 인간과 자연을 동격으로 두어 서로간의 이질감을 포착해낸다. 이상혁과 김다운은 자연과 사람간의 관계릐 수직적인 구조를 수평적인 구조로 동일 선상에 뒁 생성되는 질서를 시각화한다. 노바울과 조윤아는 자연의 영속성을 공통된 주제로 담고 잇으며 자연의 대한 기억을 재배열하여 승화시켜 한국의 우아미의 경계를 확장해나간다. 오프닝 리셉션은 7월 30일 저녁 6시부터 8시까지 진행되며, 8월 3일 토요일 오후 2시 노바울(Paul Rho), 이상혁(Calvin Lee), 오진이(Jean Oh), 그리고 오가영(Kai Oh) 작가가 참여하는 아티스트 토크가 열릴 예정이다. Part 1: ‘Binary Equilibrium’ July 30 - August 7, 2024 [Source from nyculture press release, provided by sukie] www.nyculturebeat.com 뉴욕한인예술인협회(KANA) 그룹전 1부 'Binary Equilibrium' @갤러리 장 NY(7/30-8/7) - Lounge - NYCultureBeat KANA x Gallery Chang Summer Exhibition Part I : Binary Equilibrium July 30 - August 7, 2024 Gallery Chang: 150 West 55th St. New York Opening Reception: Tuesday, July 30, 6-8 pm Artists: Tae Joong Kim, Sae Jun Kim, Jean Oh, Dawn Kim, Calvin Lee, Yuna Cho, Paul Rho, Kai Oh Curated by KANA - Calvin Lee, Lina Hwang 뉴욕한인예술인협회(KANA, Korean As... < >