Tina Kim Gallery is proud to announce our 2024 programming. Our spring season begins with a solo exhibition of Amsterdam-based artist Jennifer Tee, whose wide-ranging practice touches on migration and the relationship between material culture, the environment, as well as spirit and matter.
We continue with anticipated monographic exhibitions of women artists who have shaped Korean contemporary art, such as Chung Seoyoung. She has challenged conventional boundaries in sculpture, exploring relationships between language, objects, and space. With a keen perception of the rapid urban transformation of the 90s taking place through Korea's manufacturing boom (construction materials produced in Korea such as styrofoam, linoleum, lumber, plywood), Chung's work and material choices engage these realities with irony and absurdity.
This exhibition will be followed by Suki Seokyeong Kang, whose use of Korean traditional motifs and processes often relegated to the place of craft confronts the very notion of the relationship and hierarchies existing between the individual and the collective, the domestic and the public.
Punctuating the continual notability of the late Pacita Abad and her traveling North American retrospective currently at the SFMOMA soon to arrive at MoMA PS1, we will present Pacita's socialist realist works in June.
In the Fall, we return to one of our gallery's central driving forces with an exhibition of Dansaekhwa, foregrounded and inspired by never-before-published letters exchanged from the 60s to 80s between towering icons of Korean modernism: Park Seo-Bo, Kim Tschang-Yeul, Lee Ufan, and Kim Whanki.
In October, Kibong Rhee, who is known for his ethereal and metaphysical works, will present a solo exhibition of paintings that expand on his meditation on water and its various forms, showcasing his virtuous understanding of the landscape and its spatial translations.
In November, we will close the year with a long-awaited presentation of Ha Chong-Hyun, a leading voice in the Dansaekhwa movement, who to this day continues to innovate the space of Korean abstraction.
