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Back Gallery Chang Hosts VIP Afterparty at New York Fashion Week 2024 Gallery Chang Hosts VIP Afterparty at New York Fashion Week In collaboration with Something Sweet Gallery Cafe, Gallery Chang introduced Korean cuisine while hosting a solo exhibition by internationally renowned "brick artist" Kim Kang Yong. On the 7th, Gallery Chang in Manhattan, New York City, successfully held an afterparty for VIPs attending New York Fashion Week, in partnership with Something Sweet Gallery Cafe. The 2024 New York Fashion Week VIP afterparty at Gallery Chang featured over 100 celebrities, models, and figures from the art and fashion industries, including Prince Mario Max (actor and producer), Maria Soldier (CEO of Alex Soldier), Ara Cho (representative of Gallery Chang and Something Sweet Gallery Cafe), and Alex Soldier (founder of Alex Soldier). Hosted by the renowned jewelry brand Alex Soldier, the afterparty took place alongside a solo exhibition by the internationally acclaimed "brick artist" Kim Kang Yong, attracting many prominent figures from the fashion and art worlds. The event, themed around the fusion of art and gastronomy, elevated the party’s prestige by offering VIP guests a luxurious culinary experience through collaboration with Something Sweet Gallery Cafe, a leader in the globalization of Korean desserts. Notably, the combination of black sesame croffles and the cafe's signature drinks delighted attendees, reaffirming the notion that "the most Korean can also be the most global." Ara Cho, representative of Something Sweet Gallery Cafe, stated, “It is highly significant for our art and desserts to be recognized on a global stage like New York Fashion Week, merging fashion, art, and culinary culture. We aim to expand Korean culture sustainably through diverse artistic formats, going beyond mere one-time showcases.” Meanwhile, Gallery Chang's VIP afterparty is expected to raise interest in K-Culture and art on the global stage of New York Fashion Week, allowing various Korean enterprises to continue to expand their unique cultural and aesthetic identities worldwide. 갤러리장, 뉴욕 패션위크 VIP 애프터파티 개최 썸싱스윗 갤러리 카페와 협력해 한국 음식 소개국제적 명성 ‘벽돌 화가’ 김강용 개인전 함께 진행 뉴욕시 맨하튼에 있는 갤러리장은 지난 7일 썸씽스윗 갤러리 카페와의 협업으로 뉴욕 패션위크에 참석한 VIP들을 위한 애프터파티를 성황리에 개최했다. 갤러리장에서 지난 7일 열린 2024 뉴욕 패션 위크 VIP 애프터파티에는 프린스 마리오 막스 (배우 겸 프로듀서. 왼쪽부터), 마리아 솔져(알렉스솔져 대표), 조아라(갤러리장 대표, 썸씽스윗 갤러리카페 대표), 알렉스 솔져 (알렉스솔져 설립자)등 100여명의 셀럽과 모델, 아트와 패션 관계자들이 참석해 성황을 이뤘다. 유명 주얼리 브랜드 알렉스 솔저(Alex Soldier)가 주최한 2024 뉴욕 패션위크 VIP 애프터파티가 지난 7일 뉴욕시 맨해튼 갤러리장(Gallery Chang)에서 성황리에 개최됐다.이번 행사는 국제적으로 명성을 얻고있는 ‘벽돌 화가’ 김강용 작가의 개인전과 함께 진행됐는데, 패션과 예술계의 저명한 인사들이 다수 참석했다.예술과 미식의 융합을 주제로 한 이번 행사는 한국 디저트의 세계화를 선도하고있는 썸씽스윗 갤러리 카페(Something Sweet Gallery Cafe)와 협업을 통해 여러 VIP들에게 한국의 고급스러운 미식 경험을 제공함으로써 파티의 품격을 한층 높였다.특히 흑임자 크로플과 카페만의 시그니처 음료의 조합은 많은 사람들의 입맛을 사로잡으면서, ‘가장 한국적인 것이 가장 글로벌할 수 있다’라는 가능성을 다시 한번 확인시켜준 것으로 평가됐다. 썸씽스윗 갤러리 카페의 조아라 대표는 “뉴욕 패션위크라는 세계적인 무대에서 우리의 예술과 디저트가 패션, 아트, 식문화를 하나로 융합하는 자리의 아이콘 중 하나로 자리잡게 된 것은 매우 의미 있는 일”이라며 “앞으로 단순한 일회성 쇼케이스를 넘어서, 다양한 예술 형식을 융합한 지속 가능한 문화 행사를 통해 뉴욕과 그 외 지역에서 한국의 문화를 지속적으로 확장해 나갈것”이라고 밝혔다. 한편 갤러리장의 VIP 애프터 파티가 2024 뉴욕 패션위크라는 글로벌 무대에서 K-컬처와 예술에 대한 관심을 높이면서, 다양한 분야의 한국 기업들이 독특한 문화와 에쑬적 정체성 확장을 통해 세계적인 영향력을 지속해 갈 것으로 기대된다. [Source from THE KOREA DAILY press release, provided by Jongwon Park] news.koreadaily.com 갤러리장, 뉴욕 패션위크 VIP 애프터파티 개최 유명 주얼리 브랜드 알렉스 솔저(Alex Soldier)가 주최한 2024 뉴욕 패션위크 VIP 애프터파티(VIP After-party)가 지난 7일 뉴욕시 맨해튼 갤러리장(Gal... < >

Back Artist Stephen Robert Johns Breaks the Boundary Between Architecture and Painting An exhibition by painter Stephen Robert Johns , who gained international attention after being invited to a special global project that engages in artistic “dialogue” with the late works of world-renowned architect Zaha Hadid, will be held throughout August at Gallery Chang in Gangnam, Seoul. Titled Stephen Robert Johns: Reading the Language of Nature Through Color and Curve , the exhibition presents Johns’s distinctive painterly practice at the intersection of architecture and painting. A leading figure in American hard-edge painting, Johns is set to participate this fall in Traveling with Zaha , an exhibition at the Afragola high-speed railway station in Naples, Italy. The exhibition is a curated project in which contemporary artists respond to Zaha Hadid’s organic curves and architectural philosophy. Johns will present works that sensorially connect to Hadid’s curved structures through what he calls “topographic painting”—abstracted aerial views of the land seen from above. For many years, Johns has traveled between California and Costa Rica, documenting patterns of mountain ranges, river systems, and farmland observed from airplanes. The organic terrains he captures bear a striking resemblance to Hadid’s architectural language of flow and curvature. This visual dialogue continues in Johns’s August solo exhibition at Gallery Chang in Gangnam. Three painting series connected to the Zaha Hadid project— Puntarenas , Mountains & Volcanos , and Piedadis Church —will be shown together, revealing a resonant interplay that moves fluidly across the boundaries of architecture and painting. By Han Jang-hee www.kmib.co.kr 占쏙옙占쏙옙占� 회화占쏙옙 占쏙옙占� 占썬문 占쌜곤옙 占쏙옙占쏙옙티占쏙옙 占싸뱄옙트 占쏙옙占쏙옙占쏙옙 占쏙옙占쏙옙회 占쏙옙占쏙옙占쏙옙占쏙옙 占쏙옙占썅가 占쏙옙占쏙옙 占싹듸옙占쏙옙占� 占쏙옙占쏙옙 占쏙옙占썅물占쏙옙 占쏙옙占쏙옙占쏙옙占쏙옙占쏙옙 占쏙옙占쏙옙화占쏙옙占싹댐옙 특占쏙옙占쏙옙 占쏙옙占쏙옙 占쏙옙占쏙옙占쏙옙트占쏙옙 占쏙옙청占쏙옙 占쌍몌옙占쏙옙占� 회화 占쌜곤옙 占쏙옙티占쏙옙 占싸뱄옙트 占쏙옙占쏙옙占쏙옙 占쏙옙占쏙옙회占쏙옙 < >

Back Kim In-ok’s New York Debut: ‘FAIRYTALE’ Kim In-ok’s New York Debut: ‘FAIRYTALE’ Gallery Chang is pleased to present Fairytale, the debut solo exhibition of Korean artist Kim In Ok in New York City. Kim In Ok, a female artist from Korea, has been actively creating works using traditional oriental painting techniques, specifically the use of powdered pigments and mineral pigments. Her unique soft and soothing painting has recently led her to explore various new approaches in her work. This exhibition features many of her representative pieces, including the well-known series The Way Back to Hometown and Waiting. Additionally, it will include new works that have not been previously shown, drawing significant attention. Kim In Ok is a recognized painter who has received acclaim through numerous solo and group exhibitions. Her work is known for its lyrical quality and the delightful contrast of vivid colors. Although the materials and techniques she uses follow traditional Oriental painting methods, her work also shows notable Western influences in its formal aspects. Her paintings often incorporate elements of minimalism and surrealism, such as trees that float away like cotton candy or broccoli transforming into trees, showcasing a blend and transition of styles. The artist skillfully navigates the boundaries between figurative and abstract art, as well as realism and surrealism. Her labor-intensive process involve repeatedly applying and drying layers of powdered and mineral pigments, resulting in works that are even more beautiful and naturally colored when viewed in person. Using the metaphor of tree standing tall amidst a storm, the artist conveys her philosophy:”Everyone hopes for happiness, not misfortune. While we cannot turn back time, we can look forward to future dreams.” Through her work, she aims to offer comfort and hope to viewers. In a reality filled with carious challenges, Kim In Ok invites us into a pure and warm world of fairy tales and imagination. 김인옥 뉴욕 데뷔전 ‘FAIRYTALE’ @갤러리장(8/20-25) 김인옥(Kim In Ok) 작가가 8월 20일부터 25일까지 맨해튼 갤러리장(Gallery Chang)에서 뉴욕 데뷔전 ‘FAIRYTALE”을 열었다. 김인옥 작가는 고향에 대한 그리움과 보편적인 정서를 독특한 시각적 언어와 감성적인 스타일로 묘사한다. 한국의 전통적 정서와 현대적 감각을 조화롭게 표현해 동서양의 경계를 넘어 섬세한 감성과 서정성을 전달하는 작가다. 갤러리장 장준환 대표는 “김인옥 작가의 작품은 감정선의 교류를 통해 예술의 진정한 가치를 보여주었다. 동서양을 아우르는 그의 예술적 표현은 우리 모두가 공감할 수 있는 보편적인 정서를 담고 있으며, 이를 통해 관람객들은 새로운 예술적 경험을 하게 되었다”고 밝혔다. 김인옥 작가는 홍익대학교에서 동양학을 전공한 후 동대학원 동양학과를 졸업했다. 고려대, 강릉대, 홍익대 등에서 강사로 가르치다가 전업작가가 됐다. 홍익대 선배인 벽돌화가 기강용 작가의 부인이다. [Source from nyculture press release, provided by Sukie ] www.nyculturebeat.com 김인옥 뉴욕 데뷔전 'FAIRYTALE' @갤러리장(8/20-25) - Lounge - NYCultureBeat FAIRYTALE: Kim In Ok Aug 20 - Aug 25, 2024 Gallery Chang, NYC 김인옥(Kim In Ok) 작가가 8월 20일부터 25일까지 맨해튼 갤러리장(Gallery Chang)에서 뉴욕 데뷔전 'FAIRYTALE'을 열었다. 김인옥 작가는 고향에 대한 그리움과 보편적인 정서를 독특한 시각적 언어와 감성적인 스타일로 묘사한다. 한국의 전통적 정서와 현대적 감각을 조화롭게 표현해 동서양의... < >

Back Two Masters Meet at Gallery Chang Seoul: A Dual Exhibition by Kim Kang Yong and Shane Guffogg Gallery Chang will present a two-person exhibition featuring two leading figures of Korean and American contemporary art—Kim Kang Yong and Shane Guffogg—this coming October at Gallery Chang Seoul, located inside the Oakwood Premier COEX Center. Titled Infinite Dialogue , the exhibition unfolds as a stage for a philosophical exchange in which two masters from East and West pose questions and offer responses in their own distinct visual languages. Over the past five decades, Kim Kang Yong has explored the essence of existence and perception through the everyday motif of the “brick.” His canvases, built up with layers of sand and shadow, are not simply depictions of objects but are widely regarded as philosophical spaces that question the very act of seeing. Shane Guffogg, meanwhile, has constructed a body of work that moves fluidly across the boundaries of light and time, science and art, grounded in the fundamental question: How can time and space be compressed into a single moment? Last year, in conjunction with the 60th Venice Biennale’s official theme, Stranieri Ovunque – Foreigners Everywhere , Guffogg held a solo exhibition at the Scala Contarini del Bovolo Museum in Venice titled At the Still Point of the Turning World – Strangers of Time . Through the concept of “strange time,” he wove the Biennale’s central inquiry into his work, drawing widespread international attention and coverage from major outlets including the BBC. This Seoul exhibition brings Guffogg’s globally recognized projects into dialogue with Kim Kang Yong’s long-standing investigations, collectively posing the question, What does it mean to see? The conversation between the two masters, initiated in Seoul, is set to continue in a New York exhibition in 2026, further expanding an artistic discourse that bridges Korea and the United States. Chang Junhwan, CEO of Gallery Chang, commented, “We have continued a two-way exchange by introducing Korean artists in New York and global masters in Korea. This exhibition is a concentrated expression of that identity and will serve as an important opportunity to demonstrate the stature of Korean art on the world stage.” www.mk.co.kr 서울 갤러리장에서 만나는 두 거장, 김강용·구포그 2인전 - 매일경제 갤러리 장(Gallery Chang)이 오는 10월 오크우드 프리미어 코엑스 센터 내 ‘갤러리 장–서울’에서 한국과 미국의 미술계 거장 김강용·셰인 구포그(Shane Guffogg) 2인전을 개최한다. ‘무한의 대화’라는 타이틀이 붙은 이번 전시는 동서양 두 거장이 각자의 언어로 질문과 응답을 주고받는 ‘철학적 대화’의 장으로 펼쳐진다. 김강용 작가는 지난 < >

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 Shin Ki Woun’s Works Presented in New York: Solo Exhibition, Illusion of Permanence Artist Shin Ki Woun has developed a multidisciplinary practice encompassing video, installation, and performance, grounded in a background in sculpture and philosophy. His work is distinguished by its exploration of time and materiality as tools for dismantling structures of authority, symbolism, and memory, inviting viewers into a sensorial and reflective mode of thought. Based between Seoul and Daegu, Shin presents his first solo exhibition in the United States with Illusion of Permanence in New York. Gallery Chang New York opened Shin Ki Woun’s solo exhibition Illusion of Permanence on August 7. The exhibition brings together, for the first time in New York, a range of works—from Shin’s representative projects examining the erosion of time, matter, and power, to his latest works documenting the demolished interior of a former Chase Bank branch in Middletown, USA. The exhibition title, Illusion of Permanence , exposes the fiction and instability inherent in the concept of “permanence.” Over extended durations, Shin Ki Woun wears down materials or dismantles symbolic objects to reveal how emblems of authority and institutional power—things often believed to endure indefinitely, such as coins, clocks, chess pieces, and even the remnants of a demolished bank—can in fact be easily disintegrated and erased. On view are video works capturing the slow abrasion of a coin’s surface, installation works documenting the gradual erosion of metal sculptures, and experimental video pieces that physically and visually overturn the notion of “endurance” and continuity. Shin Ki Woun describes his practice in his artist’s note: “I use time as a tool to scrape the surface of power, reducing it to dust. Permanence is not a reality, but a structure of belief. By slowly wearing down symbolic objects—portraits of those in power, currency, and chess pieces that signify hierarchy and force—I reveal how easily they can disappear. This process is not merely destruction, but a ritualistic act that asks viewers to consider both the durability and fragility of belief itself. By juxtaposing the speed at which images vanish in the digital age with the illusion of material permanence attached to authority, I contemplate new forms of memory.”— Shin Ki Woun Shin Ki Woun’s solo exhibition Illusion of Permanence runs through August 12 (local time) at Gallery Chang New York. Founded in New York in 2019, Gallery Chang is a contemporary art gallery dedicated to presenting internationally influential artists while engaging with their artistic trajectories from a long-term perspective. In 2023, the gallery established its flagship space on West 55th Street in Manhattan, strategically located near major cultural institutions such as MoMA, Carnegie Hall, and New York City Center. Since then, Gallery Chang has expanded to additional spaces in Midtown New York (C2), Englewood, New Jersey (C3), and Seoul (C4), and now operates across four cities with active curatorial programs and community-based projects. www.ikoreanspirit.com 미국 뉴욕에서 선보이는 신기운 작가 작품, 개인전 《Illusion of Permanence(영속성의 환영)》 신기운 작가는 조각과 철학을 배경으로 영상, 설치, 퍼포먼스를 아우르는 다매체 작업을 전개해 왔다. 그의 작업은 ‘시간’과 ‘물질’을 통해 권위와 상징, 기억의 구조를 해체하고, 감각적으로 사유하게 하는 것이 특징. 서울과 대구를 오가며 활동하던 신기운 작가가 이번에 눈을 외국으로 돌려 미국에서 첫 개인전을 연다.갤러리 장 뉴욕(Gallery CHANG, New York)은 신기운 작가 개인전 《Illusion of Permanence(영속성의 환영)》를 8월 7일 개막했다.작가는 이번 전시에 대표적인 작업인 시간, 물질, 권력의 < >

Back Kim Kang Yong Solo Exhibition 《REALITY + IMAGE》 Opens The solo exhibition 《REALITY + IMAGE: Revisiting the Works of the 2010s》 by master of Korean contemporary art Kim Kang Yong will be held from September 30 to October 22 at Gallery Chang New York, located on 55th Street in Manhattan. This exhibition centers on major paintings created during the early to mid-2010s, when the artist was based in New York. Kim Kang Yong’s paintings explore the boundary between materiality and image through the use of distinctly Korean materials such as sand and fragments of brick. From a distance, the works resemble photographs, but as viewers approach, the density of texture and material presence becomes vividly apparent. His practice is built on a dual structure of “reality” and “illusion,” “material” and “image.” During his years in New York, Kim actively engaged with the international art scene, achieving an artistic synthesis that combined contemporary universality with his own distinctive formal language. This exhibition is especially meaningful in that it revisits the representative works from that period in New York once again in 2025. Kim Kang Yong was born in 1950 in Jeongeup, North Jeolla Province, and graduated from Hongik University College of Fine Arts. For decades, he has worked primarily in painting, presenting his work at major museums and galleries in Korea and abroad. Through his sand-based paintings in particular, he has established a unique visual language and is recognized as one of the leading figures in Korean contemporary art. Gallery Chang has for several years consistently examined Kim Kang Yong’s artistic world from a philosophical perspective. This solo exhibition continues that curatorial trajectory while also being expected to reaffirm the presence of Korean contemporary art within the New York art scene. Curator Jinnie Kang commented, “The 2010s marked the peak of Kim Kang Yong’s artistic maturity. By reintroducing the works from this period in New York, where they were first created, we hoped to once again present the depth and possibilities of Korean contemporary art on the global stage.” The exhibition is held at Gallery Chang on 55th Street in Manhattan. The opening reception took place on Friday, October 3, and was a great success, attended by many figures from the art world and collectors. Meanwhile, at Gallery Chang Seoul, located in the Oakwood Hotel at COEX in Seoul, a two-person exhibition titled Infinite Dialogue featuring Kim Kang Yong and American West Coast contemporary master Shane Guffogg is currently on view and will run through November 15. The Seoul exhibition focuses on Kim’s recent new works, offering a different perspective on his current artistic world from the 2010s masterpieces presented in the New York solo exhibition. www.art-culture.co.kr 김강용 개인전 《REALITY + IMAGE》 개최 > 전시 - 아트앤컬처- 문화예술신문 한국 현대미술의 거장 김강용 작가의 개인전 《REALITY + IMAGE: Revisiting the Works of the 2010s》이 9월 30일부터 10월 22일까지 뉴욕 맨해튼 55번가에 위치한 갤러리장 뉴욕(Gallery Chang New York)에서 개최한다.김강용, Realiy+Imag… < >

Back Cosmic Inspiration from the James Webb Space Telescope: Past, Present, and Future United on a Single Canvas The solo exhibition Memories of Our Future by American artist Shane Guffogg is on view from September 2 to October 10 at Gallery Chang Seoul (B2, No. 8, Oakwood Premier, 46 Teheran-ro 87-gil, Gangnam-gu, Seoul), bringing the artist’s lifelong inquiry into time and consciousness to Korean audiences. Memories of Our Future poses a deceptively simple question at the heart of its experience: How can memory become the future? From the center of Gangnam, Guffogg invites viewers to contemplate this paradox through a body of work that fuses cosmology, perception, and painterly time. As part of the fall exhibition season, Gallery Chang Seoul (CEO Jang Jun-hwan) presents this major solo show, which centers on large-scale canvases completed at the artist’s Strausmore Ranch studio in California. The exhibition distills Guffogg’s decades-long philosophical exploration of light, time, and perception. While Guffogg employs traditional materials, his process resists fixed plans. Working without preliminary sketches, he relies on the subconscious and improvisation, building up dozens of translucent glaze layers over months. As colors and forms accumulate on the canvas, past and future, consciousness and the unconscious, become intricately intertwined—forming a unique painterly “record of time.” Guffogg explains, “Time is not linear; the past we perceive is, in fact, the present.” This philosophy forms the core of the exhibition and translates into the multilayered experience of time that viewers encounter before his works. A key source of inspiration for this exhibition comes from images captured by the James Webb Space Telescope, particularly scenes of stellar birth and extinction. Reflecting on these cosmic images, Guffogg notes, “Looking into the universe, I realized that the past is constantly touching the present. We must recognize the past to understand the now, and only then can we prepare for the future.” The ribbons, veils, and oscillations of color that unfold across his canvases evoke refractions of light and tremors of time, generating the sensation that human memory and cosmic movement are intimately connected. Beyond visual pleasure, Guffogg’s paintings carry a synesthetic resonance. Color can feel musical; brushstrokes ripple like waves. Viewers experience not a single point in time, but multiple temporalities and sensations simultaneously—an encounter that encourages a sense of presence extending beyond the confines of the “now.” This exhibition does not merely recall the past or predict the future. Rather, it is an invitation to inhabit the present more deeply. Memory flows into the future, and the future, Guffogg suggests, is already being formed within memory. The gallery space becomes a site of contemplation, where viewing transforms into an experience of rethinking time itself. Guffogg recently drew international attention during the Venice Biennale period with an installation combining painting and music at Palazzo Contarini del Bovolo. The Seoul exhibition is expected to mark another pivotal moment in his expanding global trajectory, further deepening his central themes of memory and time. Born in California in 1962, Shane Guffogg currently works at Strausmore Ranch, surrounded by vineyards, olive trees, and the rhythms of seasonal change. Nature’s cycles permeate his work. He explores science, music, and the inner landscapes of human memory, translating the meeting point of cosmic order and personal consciousness into a painterly language. By merging classical techniques with contemporary thought, Guffogg reveals the temporality of painting itself. His method of layering dozens of transparent glazes allows light to permeate the surface, enabling physical time and psychological time to coexist within a single frame. The resulting works are not merely images, but traces of time and consciousness. Art critic Victoria Chapman (Los Angeles) describes the exhibition as “an artistic shock that revives senses lost in contemporary society.” She emphasizes that even in an era where technology and convenience mediate human experience, art retains the power to return us to the essence of time and sensation. “We fear the future,” Chapman notes, “yet we are already living inside it.” She points to autonomous vehicles, robots, and digital systems that dominate daily life, warning that while machines learn faster than humans, our capacity to feel and reflect deeply risks growing dull. Emotional connection and shared language, she argues, are increasingly endangered. In this context, Chapman sees Guffogg’s work as offering a vital alternative: “His paintings are not technological spectacles. They suspend us in a state of weightlessness, freeing us from clocks and efficiency. By redefining time and reconnecting past and future, they restore human sensibility.” She concludes emphatically, “Who today still descends into the depths of identity, traversing darkness out of a necessity to create? Shane Guffogg is the answer.” Chang Jun-hwan, CEO of Gallery Chang, explains that Memories of Our Future marks Guffogg’s first overseas engagement following his Venice Biennale presentation. After his acclaimed exhibition Stranger of Time at Palazzo Contarini del Bovolo—widely covered by international media including the BBC—Guffogg chose Seoul as his next destination. “This decision signals Seoul’s emergence as a global center for contemporary art,” Chang notes. “The city is rapidly becoming a hub where major galleries converge and leading artists begin their international trajectories.” The exhibition features new works inspired by James Webb Space Telescope imagery, alongside paintings that condense light and time onto the canvas. Within the paradoxical title Memories of Our Future , viewers are invited to reconsider the meaning of time and existence. Chang adds, “That Seoul is the first stop after Venice demonstrates how the Korean art scene is shifting from consumption to discourse. We hope this exhibition will become a new bridge between Korean and global art communities.” www.bzeronews.com 제임스 웹 우주망원경서 얻은 우주적 영감, ‘과거·현재·미래 한 화면에 담다’ - 불교공뉴스 ‘기억은 어떻게 미래가 될 수 있을까?.’ 미국 작가 셰인 구포그(Shane Guffogg)가 서울 강남 한복판에서 이 질문을 던진다.그의 개인전 ‘Memorie < >

Back BECOMING WITHOUT END: The Ever-Transforming Practice of Ed Moses Gallery Chang in Midtown Manhattan is presenting the retrospective exhibition Ed Moses: Becoming Without End from August 14 through September 27. The exhibition introduces key works from Ed Moses (1926–2018), a leading figure of the postwar Los Angeles art scene, including representative pieces from his Acota , Magma , and Grid series. In the 1950s and 60s, Ed Moses was active in the art group known as the “Cool School,” alongside artists such as Craig Kauffman, Ed Ruscha, Robert Irwin, Larry Bell, Edward Kienholz, John Altoon, Ken Price, and Billy Al Bengston. Centered around the Ferus Gallery in Los Angeles, the Cool School developed an experimental and free visual language that stood apart from the New York–centered Abstract Expressionism of the time. For Moses, painting was a “laboratory,” and he continuously pursued change. Every six or seven years, he would shift his style—cutting and reconstructing canvases, or mixing materials such as resin, sand, and metal powder to create entirely new painterly surfaces. A representative work from the experimental Magma series, Ocnal (2002), shows intense energy, with lava-like red tones erupting from within black fissures. Check #2 (2003) introduces an orderly grid, yet disrupts it with irregular brushstrokes and colors, creating a surface where order and chaos coexist. In the late work Grid B (2017), Moses returns to the grid, but layered color planes seem to vibrate, giving the illusion that the painting itself is alive and breathing. Ed Moses was born in 1926 in Long Beach, California, and received his BFA and MFA from the University of California, Los Angeles (UCLA). From 1968, he taught at the University of California, Irvine, and in 1980 he was awarded a Guggenheim Fellowship. He participated in the Whitney Biennial in 1991, and in 1996 the Museum of Contemporary Art, Los Angeles (MOCA) held a major retrospective titled Ed Moses: A Retrospective of the Paintings and Drawings, 1951–1996 . His works are in the collections of the Art Institute of Chicago, the Museum of Modern Art (MoMA), New York, the Philadelphia Museum of Art, and others. His son, Andy Moses (b. 1962), is also a painter and earlier this year held a solo exhibition at Gallery Chang titled ANDY MOSES: RECENT WORKS . Curator Jinnie Kang of Gallery Chang stated that she organized this exhibition in the hope that “for New York audiences, this will not be merely a retrospective, but an opportunity to encounter Moses’s experimental spirit as it is newly reactivated each time.” https://www.nyculturebeat.com/index.php?mid=Lounge2&document_srl=4161812 < >

Back Shane Guffogg presents At the Still Point of the Turning World – Strangers of Time Shane Guffogg presents At the Still Point of the Turning World – Strangers of Time American artist Shane Guffogg is among the estimated 4% of people with synesthesia, a perceptual phenomenon in which stimulating one sensory pathway involuntarily triggers experiences in another. In Guffogg’s case, he ‘hears’ colors. This unique ability is one of the main elements that inspires his art, as well as his latest exhibition , At the Still Point of the Turning World – Strangers of Time, which coincides with the Venice Art Biennale and is held at the historic Scala Contarini del Bovolo. Collaborating with pianist Anthony Cardella and AI programmer Jonah Lynch, Guffogg has translated his dynamic paintings into musical compositions. Performed by Cardella, these musical pieces accompany Guffogg’s vibrant artworks, which reflect an ongoing dialogue with T.S. Eliot’s renowned poem cycle, Four Quartets, and explore the intersections of time, space, consciousness, and transcendence. ‘We think of time as linear. I don’t think it’s linear. On a quantum physics level, there is no time, at all. It’s strange, the concept of time and space,’ Shane Guffogg tells designboom . ‘How do you paint this moment of time? Is it possible? Each of those brushstrokes is a passing of time. There are thousands of lines in those paintings and each of the colors summons up very sensorial memories that don’t have a specific time or place but have a general feeling. So, I’m creating my tapestry of memories and feelings that become fused into a singular moment.’ At the Still Point of the Turning World – Strangers of Time at Scala Contarini del Bovolo A Spiraling Narrative at Scala Contarini del Bovolo With the historic architecture of the Scala Contarini del Bovolo as his backdrop, Shane Guffogg (find more here ) presents a new series of 21 large-scale paintings. The spiraling 15th-century staircase leading guests to the exhibition space mirrors the circular motifs in Guffogg’s works, creating a striking parallel between the venue’s architecture and his artistic vision. ‘It wasn’t until the paintings were done, that I saw images of the staircase. Subconsciously, that’s what I was doing. It wasn’t intentional,’ the artist shares. This series explores concepts of movement, escape, and migration, highlighting the inherent transitory nature of human existence throughout history. These themes are deeply autobiographical, as Guffogg’s father immigrated to the United States from Northern England in 1957, driven by the pursuit of the ‘American dream.’ Similarly, Guffogg moved from California’s Central Valley to Los Angeles in the late 1980s in search of artistic and cultural acceptance. Only Through Time is Time Conquered 2023, oil on canvas, 84 x 108 inches, (213.6 x 274.3 cm) integrating augmented reality and artificial intelligence The exhibition is divided into two rooms, each inspired by different passages from T.S. Eliot’s writing. It features elements that create a direct dialogue between the poet’s celebrated work and the artist’s canvases through the use of augmented reality (AR) and artificial intelligence (AI). By incorporating AR and AI, Guffogg expands the possibilities of art, inviting viewers to engage with the works in a meaningful and immersive way, encouraging them to look beyond the 24/7 age of information. In the first room, visitors utilize a mobile screen to observe the paintings, witnessing the lines and circles move in rhythmic patterns, while glimpses of Guffogg at work blend into the vibrant dance of color and form. ‘What I was after was that when someone walks up here and enters that room, they’re almost confronted with this movement within stillness, stopping them and bringing them into the present moment. And then, as they step into the next room, they find Neither Flesh nor Fleshless, and they find themselves in an in-between state. From me, the first room is very much about the spirit, about the unseen world. The second room is about the physicality of the world,’ the artist explains. Shane Guffogg presents a new series of 21 large-scale paintings Harmonizing Hues: The Creation of ‘Sounds of Color’ A key component of the exhibition is Sounds of Color, a visual symphony stemming from the collaboration between Guffogg, pianist Anthony Cardella, and AI software programmer Jonah Lynch. Leveraging Guffogg’s synesthesia, Guffogg and Cardella translated the hues from Guffogg’s paintings into chords. These chords were then interpreted by Lynch’s AI program, drawing inspiration from the painter’s brushstrokes and movements. The result? Musical compositions essentially composed by Guffogg’s paintings. ‘I started discussing this with Tony about a year and a half ago. I saw him play somewhere, and I said, You’re an amazing pianist. I’m going to propose an idea. What if there was a program that could read my paintings? What if it spits out some sheet music? Would you be willing to play it?’ Cardella embraced the idea, and together, they devised a method to match colors with chords and notes. Guffogg assigned specific hues to chords, and Cardella experimented with variations of these chords. ‘I’m looking at the color, and when he hits the right thing, I know,’ Guffogg says. ‘In this way, color becomes extremely important. Because it’s not only visually charged but also emotionally charged.’ Cardella performed the music live at the exhibition’s opening on April 17th, 2024. The fusion of sounds with colors and lines against the backdrop of historic architecture created a multisensory dialogue that engaged all senses. At the Still Point of the Turning World will be on view until November 24th, 2024. Reach into the Silence #1 2023 oil on canvas 72 x 60 inches (182.8 x 152.4 cm) visitors can utilize a mobile screen to observe the paintings, witnessing the lines and circles move in rhythmic patterns Neither Flesh nor Fleshless series the paintings explore concepts of movement, escape, and migration Neither Flesh nor Fleshless series ‘the second room is about the physicality of the world,’ the artist explains Neither Flesh nor Fleshless series 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) Shane Guffogg: At the Still Point of the Turning World – Strangers of Time, Neither Flesh nor Fleshless #1 , 2023, oil on canvas, 40 x 36 inches (101.6 x 91.4 cm) Neither Flesh nor Fleshless #5 , 2023, oil on canvas, 30 x 24 inches (76.2 x 60.9 cm) Neither Flesh nor Fleshless #8 , 2023, oil on canvas, 60 x 48 inches (152.4 x 121.9 cm) project info: name: At the Still Point of the Turning World – Strangers of Time artist : Shane Guffogg location: Scala Contarini del Bovolo dates: April 20th – November 24th, 2024 myrto katsikopoulou I designboom [Source from designboom press release, provided by myrto katsikopoulou ] www.designboom.com shane guffogg's synesthesia transforms paintings into music at venice exhibition < >