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Feb 20 - Mar 25, 2025 Intro Installation Views Artwork Next [C1] New York Andy Moses: Recent Works Feb 20 - Mar 25, 2025 Andy Moses INTRO Andy Moses’s Recent Works explore the dynamic interplay between nature’s forces and the physical properties of paint. Through fluidity, movement, and light, he creates mesmerizing compositions that feel both organic and otherworldly. His unique process—driven by chemical reactions, viscosity, and gravity—transforms paint into flowing landscapes of energy, capturing the ever-changing rhythms of the natural world. Born in Los Angeles, Moses was influenced by West Coast art movements, particularly the immersive qualities of California’s Light and Space movement. His paintings interact with light in a way that makes them appear to shift with the viewer’s perspective, revealing intricate layers of color and form. brings together a selection of Moses’s most recent paintings, including works from 2024 alongside select pieces from previous years. This exhibition marks his long-awaited return to New York, making it a particularly meaningful presentation of his latest explorationThrough his work, he invites viewers into a world where movement, depth, and energy unfold in real time, challenging the way we perceive light and space. INSTALLATION VIEWS ARTWORK

AUG 1 - 30, 2025 Intro Installation Views Artwork Next [C4] Seoul Organic Precision: The Geometry of Nature AUG 1 - 30, 2025 Stephen Robert Johns INTRO Organic Precision: The Geometry of Nature 《색과 곡선으로 읽는 자연의 언어》 이번 전시 《색과 곡선으로 읽는 자연의 언어》는 갤러리 장에서 개최되는 작가의 서울 첫 개인전으로, 그의 대표 시리즈인 S-Curve, Elementos (agua), Circle Series 등을 중심으로, 자연이 품은 곡선의 리듬과 색의 배치를 통해 감정과 시간, 공간을 시각적으로 재구성하는 회화적 실험입니다. 특히 작가가 하늘 위에서 관찰한 산호세 코스타리카의 지형에서 영감을 받은 작품 속 이미지들은 밝고 선명한 그린과 블루 색감을 품부하게 표현하며, 나무와 강을 나타내는 추상적 요소들과 다양한 견고한 기하학적 형태들이 서로 어우러집니다. 또한 Stephen 항공기의 시선에서 내려다본 팜랜드 (Farmland, 농작지)의 형태에서 포착한 구조적 질서를 작업 전반에 걸쳐 반복적으로 담아냅니다. 이 농지의 기하학적 패턴들은 작가의 독특한 시각 언어를 형성하는데 중요한 역할을 합니다. INSTALLATION VIEWS ARTWORK

Aug 20 - 25, 2024 Intro Installation Views Artwork Next [C1] New York FAIRYTALE Aug 20 - 25, 2024 Kim In Ok INTRO 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 involves 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 a 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 various challenges, Kim In-Ok invites us into a pure and warm world of fairy tales and imagination. INSTALLATION VIEWS ARTWORK

Jan 21 - Feb 28, 2025 Intro Installation Views Artwork Next [C4] Seoul Beyond Boundaries: Reinterpreting Tradition, Reimagining the Modern Jan 21 - Feb 28, 2025 Ahn Seongmin INTRO Time flows from the past to the present, but art transcends those boundaries, existing across eras. Seongmin Ahn’s work exemplifies this timeless quality, seamlessly moving between tradition and modernity, East and West. Her solo exhibition, "Beyond Boundaries: Reinterpreting Tradition, Reimagining the Modern" , invites us to experience a dialogue between the heritage of traditional Korean Minhwa and the creative language of contemporary art. At the core of Seongmin Ahn’s practice lies a fundamental question: “What is tradition, and how does it remain alive in the modern world?” Korean Minhwa , known for its symbolic imagery and free-spirited expressions, reflected the aspirations and emotions of everyday people. Yet in Ahn’s hands, Minhwa transforms into something more: a platform for reinterpretation and reinvention. Familiar motifs—cranes, lotus flowers, and Hwajodo (bird-and-flower paintings)—are reimagined alongside modern, Western objects and symbols of contemporary life. Through these juxtapositions, Ahn creates fresh narratives that blur the lines between past and present, East and West, tradition and innovation. Her work challenges the notion that tradition is static or confined to history. Instead, Ahn presents tradition as a living, evolving force, one that can interact with the present moment and inspire new meanings. Her canvases are not merely visual displays but philosophical spaces where boundaries are dissolved, allowing diverse cultural and temporal elements to coexist and create new artistic possibilities. This exhibition opens the year 2025 with profound significance—a symbolic beginning that bridges the vitality of tradition and the ingenuity of modern creativity. Ahn’s works inspire viewers to rediscover familiar stories while embracing the new, offering a glimpse into how the past and present can harmonize to produce something timeless and contemporary. INSTALLATION VIEWS ARTWORK

May 7 - Jun 8, 2024 Intro Installation Views Artwork Next [C1] New York REVEALING May 7 - Jun 8, 2024 Moon Insoo INTRO New York, NY – Gallery Chang is pleased to present Revealing: Moon Insoo, the debut solo exhibition of Korean artist Moon Insoo in New York City. This exhibition showcases a series of paintings and sculptures created by Moon Insoo over the past 40 years, employing various sizes and techniques. After graduating from Seoul Arts High School and obtaining both BFA and MFA degrees in Sculpture at Hongik University, Moon Insoo has diligently pursued the elite course of the Korean art scene. Particularly noteworthy is his consecutive selection for special recognition at the Korea National Art Exhibition following his graduate studies. In 1993, he won the Kim Se-Choong Sculpture Award and was invited by the French Ministry of Culture to hold a solo exhibition in Paris, thereby gaining recognition as a talented artist with immense potential at a young age, both domestically and internationally. Moon Insoo’s recognition extended beyond the art world to the general public in Korea through his 1993 work, Barrier installed in the outdoor sculpture park of the Seoul Arts Center. This large-scale sculpture, constructed with rugged steel plates and hefty cement blocks, underwent oxidation and rust over the course of 30 years, sparking controversy among numerous viewers who held a belief that “Art is something beautiful.” Moon Insoo’s artistic practice, which significantly breaks away from the traditional grammar of sculpture by using cement and iron as primary materials and creating oversized works that surpass human scale, was unfamiliar to the general Korena public in the 1990s. The discourse surrounding Moon Insoon’s Barrier evokes parallels with Tilted Arc (1981) by Richard Serra, a renowned American sculptor, which also stirred social controversy. In 1981, Richard Serra installed a massive steel sculpture titled Tilted Arc , commissioned by the U.S. General Services Administration, in the center of a Foley Federal Plaza in Manhattan, New York, measuring 120 feet in length and 12 feet in height. This sculpture, upon installation, immediately sparked vehement protests as it divided the plaza in half and obstructed the gaze and movement of passersby. At the time, to the majority of citizens unfamiliar with the concept of public art, the artwork, crafted from rusty steel plates, appeared as nothing more than an obstructive eyesore on their commute routes. Approximately 1,300 citizens working in nearby buildings submitted petitions advocating for the removal of the artwork, leading to Serra filing a lawsuit against the federal government, which he ultimately lost, resulting in the dismantling of the artwork in 1989. While Serra's work was removed, this case remains a seminal example, expanding the traditional role and limitations of sculpture and elevating public art as a genre of societal interest. While Moon Insoo is often likened to Richard Serra due to similar incidents and material choices, in reality, he draws much inspiration from the works of European sculptors such as Anthony Caro and Eduardo Chillida. Particularly in this exhibition, series such as "Red Bull" and "Owl of Minerva" will be prominently displayed. Moon Insoo's sculptures, which vividly depict the dynamism and strength of bulls and owls by emphasizing the contrast between black and red, blur the boundaries between painting and sculpture with a unique technique. ABOUT THE ARTIST Moon Insoo, a Korean contemporary artist known as the ‘Sculptor of Steel and Concrete,’ stands out for his modern approach, unbounded by traditional styles. His upbringing amidst war’s aftermath shapes his work, reflecting themes of destruction and reconstruction. His sculptures are abstract and urban, often incorporating heavy steel plates and protruding rebar, reminiscent of his childhood surroundings. Typically assembled like large patchworks, they exude both strength and lyrical beauty. While they seem to collide with the forces of creation and destruction, they possess a simple yet profound beauty, preserving the artist’s effort and becoming more intimate over time as they weather and age. INSTALLATION VIEWS ARTWORK

Oct 24 - Dec 10, 2024 Intro Installation Views Artwork Next [C1] New York THE FUTURE IS PAST IS PRESENT Oct 24 - Dec 10, 2024 Shane Guffogg INTRO Shane Guffogg: The Future as Past is Present A Solo Exhibition Featuring Twenty-Four Oil and Canvas Paintings Opening October 24, 2024, at Gallery Chang, New York City, NY It’s always fascinating how Shane Guffogg approaches his work. His titles, like The Future, as Past is Present , draw you into his world. They aren’t just clever phrases; they represent Shane’s reflections on time, space, and the essence of existence. His fascination with time is unmistakable, a theme that has guided his artistic practice for over three decades. Much of his thinking has been shaped by T.S. Eliot’s Four Quartets , an exploration of time and transformation that Eliot began writing on the cusp of World War II. Shane’s work has always carried a certain weight—a documentation of his life and his presence on this earth. His upcoming solo exhibition at Gallery Chang will showcase this perfectly. The Counting of Days series in this exhibition beautifully embodies this concept. While the pieces visually resemble flowers, they profoundly reflect Guffogg’s lived experiences. Each brushstroke marks the passage of time, much like the counting of prayer beads, capturing sensory moments from his birth to the day the painting was completed—an actual count documented at the bottom of each painting. These works are a personal narrative and a universal meditation on the passage of time. The softness and freedom conveyed in these paintings evoke the transient nature of existence—appearing and fading much like passing thoughts. Each piece is centered around a singular color palette, offering a meditative quality that invites viewers to contemplate the fleeting moments of their own lives. Guffogg's approach to painting is almost alchemical. Through each stroke, he transforms raw materials into something profound—an enduring expression of thought, memory, and emotion that transcends the limitations of time. In the series A Rose is a Rose is a Rose , inspired by Gertrude Stein’s poem Sacred Emily and Guffogg's connection to his garden, the work challenges traditional ideas of fixed identity and meaning. Rather than offering literal depictions of roses, Guffogg's paintings embody abstract experiences that explore the fluidity of identity. His characteristic use of sweeping ribbons, flashes of color, and veils of light creates an ethereal, dreamlike space where viewers are drawn into the divine and the miraculous. This series becomes a visual journey through unseen forces, reflecting the ever-changing and fluid nature of perception and self. Guffogg’s mastery of intertwining time and identity reaches its pinnacle in his At the Still Point of the Turning World series, a title drawn from T.S. Eliot’s Four Quartets . These works transcend time and space, functioning as visual poetry that seeks to capture the infinite. There are energetic forces in these paintings. When asked how the artist creates this sense of movement and gravity, guiding the viewer into the painting, he said; “It’s hard to explain how I know. There isn’t a thought or thoughts, or my inner voice speaking to me. It is a feeling that goes beyond where words go and I know a painting is done when I can sense it the painting is breathing on its own and will continue to do so after it leaves the studio.” It's no wonder David Ash, a renowned quantum physicist, was captivated by Guffogg’s art at his May 2024 Paris exhibition. After experiencing the works, Ash observed, “You’re painting what I’m writing about. This is a form of quantum physics,” seamlessly connecting Guffogg’s artistic expressions with the intricate theories of space, time, and existence. The convergence of Eliot’s philosophical poetry, quantum theory, and Guffogg’s personal experiences creates a profound resonance in his art. One particularly striking example is his Late Roses in Early Snow , a painting that connects deeply with the intellectual and artistic energy of the delicate beauty of Monet and the dynamic gestures of Pollock, Guffogg’s work coexists with the rhythms of nature while also engaging with contemporary perspectives. Much like Eliot’s blending of Western and Eastern philosophies, Guffogg captures a unique synergy of influences from both traditions. The soft pastels in this painting, reminiscent of New York’s winter landscapes, evoke a harmonious dialogue between the city's constant reinvention and the timeless quality of Guffogg’s artistic vision. Through his work, Guffogg continues to push the boundaries of painting as a medium for exploring reality's deeper mysteries. His upcoming exhibition at Gallery Chang promises to be a powerful continuation of his exploration of the intricate connections between time, identity, and existence. For viewers, it’s an invitation to pause, reflect, and engage with the profound questions that define our very being. – Victoria Chapman INSTALLATION VIEWS ARTWORK

SEP 30 - OCT 22, 2025 Intro Installation Views Artwork Next [C1] New York REALITY + IMAGE SEP 30 - OCT 22, 2025 Kim Kang Yong INTRO This exhibition highlights the masterworks of Kim Kang-Yong from the early to mid-2010s, a period widely regarded as the pinnacle of his artistic maturity. During these years, the artist lived in New York, immersing himself in a new environment that reshaped his practice. The unfamiliar light, sounds, and rhythms of the city, as well as the dynamic context of the international art world, became catalysts that pushed his work to new depths of intensity and reflection. Sand and brick, his signature materials, gained new resonance through his New York experience. From a distance, the canvases appear photographic, yet up close, the densely layered grains of sand reveal themselves as tangible surfaces. This interplay between image and matter intensifies the tension between reality and illusion, compelling the viewer to ask: “What does it mean to see?” During this period, Kim also engaged in dialogue with critics, collaborated with New York galleries, and participated in international exhibitions. These encounters gave his work a universal dimension while simultaneously deepening its philosophical roots in Korean materiality and tradition. This exhibition is not merely a retrospective of a past era. It is a re-encounter with the moments when Kim Kang-Yong reached the height of his artistic achievement through dialogue with the city of New York. At the same time, it stands as a testimony to how Korean contemporary art has established a distinctive voice within the global stage. For collectors, the exhibition offers rare significance. The works from Kim’s New York years are among the most complete and exceptional in his career, carrying both art historical weight and collectible value. More than aesthetic objects, these works become living presences—continuing conversations that unfold new meanings with time and resonate daily in the collector’s space. 「 REALITY + IMAGE: Revisiting the Works of the 2010s. 」 This exhibition is a meditation on how art reveals reality, and how the act of seeing itself becomes an endless dialogue. INSTALLATION VIEWS ARTWORK

SEP 2 - OCT 10, 2025 Intro Installation Views Artwork Next [C4] Seoul Memories of Our Future SEP 2 - OCT 10, 2025 Shane Guffogg INTRO 셰인 구포그: 기억 속의 미래 2025년 9월, 서울 갤러리 장에서 셰인 구포그의 신작 연작 Memories of Our Future가 전시된다. 캘리포니아 스트라스모어 목장에서 제작된 이 작품들은 빛, 시간, 지각에 대한 평생의 탐구를 확장하며 “우리는 시간을 어떻게 보는가?”라는 질문을 던진다. 작업은 사전 스케치 없이 잠재의식에 따라 즉흥적으로 진행되며, 수개월간의 중첩적 결정으로 완성된다. 이 과정은 회화를 시간 속 의식의 기록으로 보는 그의 철학을 반영한다. 구포그의 회화는 교리보다 체험을 중시하며, 친밀하면서도 광대한 감각의 문턱으로 관람자를 초대한다. 이번 전시는 그의 경력에서 중요한 전환점으로, 아름다움과 복잡함의 공존, 보이지 않는 것의 가시화, 기억이 미래로 향하는 안내자일 수 있음을 시각화한다. 시간은 그의 캔버스에서 선형이 아닌 층위로 펼쳐지며, 현재와 과거, 미래가 긴밀히 연결되어 있음을 상기시킨다. “기억 속의 미래”는 오는 9월 서울 갤러리 장에서 열리는 셰인 구포그의 신작 개인전이다. 그의 국제적 행보가 언제나 되돌아오는 지점—시간, 지각, 그리고 의식을 형성하는 보이지 않는 힘—을 다시 묻는다. 포그는 제임스 웹 우주망원경의 이미지에서 영감을 받아, 시간을 분절하고 겹겹이 쌓아 올린 유약층을 통해 과거·현재·미래가 동시에 진동하는 포털을 만들어낸다. 그는 말했다. “과거를 들여다보아야 지금을 인식할 수 있고, 그래야 미래를 이해할 수 있습니다.” 웹 망원경이 보여주는 별의 탄생과 소멸은 그의 사고를 바꾸었다. “시간은 선형이 아니다. 우리가 보는 과거가 바로 현재다.” 그의 붓질은 기억과 가능성을 동시에 담으며, 마치 굴절된 빛의 파동처럼 흐른다. 또한 그의 공감각은 색채를 음악으로 번역해, 화면 위 흔적들이 시각과 청각의 공명을 함께 불러낸다. 나는 그의 작품 앞에 앉으면 빛의 동굴에 들어가는 듯하다. 인공이 아닌 원초적 만화경 속에서 그림자는 장막으로, 장막은 투명함으로 흩어지며, 모든 것은 끊임없이 유동한다. 거포그는 말한다. “관람자는 여러 순간의 시각을 동시에 목격하게 됩니다. 그것은 관점이 아니라 시간을 초월한 현존입니다.” 결국 “기억은 우리의 미래”는 향수도 예언도 아니다. 그것은 차원이 교차하는 현재의 순간을 살라는 초대이며, 기억과 미래가 하나로 접혀 있음을 보여준다. 그의 회화는 이렇게 말한다: 우리는 기억이자 미래이며, 지금 이 빛나는 순간 속에 접힌 존재다. INSTALLATION VIEWS ARTWORK

Aug 27 - Oct 19, 2024 Intro Installation Views Artwork Next [C1] New York REALITY + IMAGE: BEYOND THE BRICKS Aug 27 - Oct 19, 2024 Kim Kang Yong INTRO Gallery Chang is delighted to present REALITY + IMAGE: BEYOND THE BRICKS , a solo exhibition by Korean artist Kim Kang Yong. Kim Kang Yong is renowned for his captivating exploration of hyperrealism and the interplay between reality and image. He frequently uses the depiction of bricks as a metaphor for the boundary between the real and the imaginary. We invite you to join us and immerse yourself in this thought provoking experience. Kim Kang Yong’s approach to brick motifs underwent a significant transformation upon his arrival in New York in 2005. Kim stayed in New York for two years, during which the vibrant spectrum of brick colors in Manhattan inspired him to evolve from monochrome to multicolored works. This experience marked a pivotal shift in his artistic practice. Upon returning to Korea, Kim continued to experiment and enrich the depth and diversity of his expression. Kim’s brick paintings challenge the viewer’s sense of reality. Although they look incredibly realistic, they are virtual representations based on the artist’s imagination. On sand covered canvases, Kim employs shading to expertly produce the illusion of bricks, utilizing light and shadow to impart depth and texture. Shadows are essential in his work, defining surfaces, creating divisions, and giving the impression of bricks protruding and receding. Despite often being categorized as hyperrealism, Kim rejects this label. He considers his bricks to be illusions, highlighting their purpose in expressing his artistic vision. His work focuses on themes of repetition and formativity, demonstrating his skill in creating tension and balance through the repeated use of identical shapes. For the artist, the way grains of sand form bricks, and bricks come together to form buildings is similar to how cells come together to form a person, paralleling the individuals coming together to form society. Through his paintings, Kim symbolically expresses the importance of particles and humanity. INSTALLATION VIEWS ARTWORK

OCT 14 - NOV 15, 2025 Intro Installation Views Artwork Next [C4] Seoul Infinite Dialogue OCT 14 - NOV 15, 2025 Kim Kang Yong / Shane Guffogg INTRO Gallery Chang presents Infinite Dialogue , a two-person exhibition featuring the celebrated Korean artist Kim Sang Yong and the internationally acclaimed American painter Shane Guffogg, opening this October at Gallery Chang Seoul. This exhibition unfolds as a philosophical conversation between East and West, where two masters of contemporary art engage in a dialogue of forms, materials, and perception. For over five decades, Kim King Yong has explored the essence of existence and perception through the humble yet profound motif of the brick. His meticulously layered surfaces—composed of sand, pigment, and shadow—transform ordinary materials into meditative fields that question the very act of seeing. Shane Guffogg, meanwhile, constructs a universe that transcends the boundaries of light, time, science, and art. Guided by the fundamental question, “How can time and space be compressed into a single moment?”, his works invite viewers to experience the simultaneous unfolding of memory and presence. Guffogg gained international attention during the 60th Venice Biennale, where his solo exhibition At the Still Point of the Turning World – Strangers of Time at the Scala Contarini del Bovolo Museum resonated with the Biennale’s central theme, Stranieri Ovunque – Foreigners Everywhere . By weaving the notion of “foreign time” into his paintings and installations, he created a powerful reflection on human perception and belonging that was widely covered by international media, including the BBC. In Seoul, Infinite Dialogue brings together Guffogg’s global inquiry and Kim’s lifelong investigation into vision and materiality, posing a shared question to viewers: What does it truly mean to see? The dialogue between these two masters will continue beyond Seoul, leading to a forthcoming exhibition in New York in 2026, expanding the cross-cultural discourse between Korea and the United States that Gallery Chang has long championed. INSTALLATION VIEWS ARTWORK